National List Of Intangible Cultural Heritage Research Articles

Handmade Porcelain in Jingdezhen：Research on Intangible Cultural Heritage from the Perspective of Identity Construction and Cultural Identity, China

Jingdezhen, known as the porcelain capital of China, has a glorious history of porcelain making for thousands of years, which has given birth to countless outstanding craftsmen. Jingdezhen handmade ceramics embody distinct national and regional characteristics and are important representatives of traditional handicrafts. Its "hand-made porcelain skills" and "traditional porcelain kiln workshop construction skills" were included in the first batch of China's national intangible cultural heritage list in 2006, marking the start of the intangible inheritance and protection of hand-made porcelain. Today, China's intangible cultural heritage protection work has made significant progress. However, in-depth research on the inheritors of "intangible cultural heritage" still has a long way to go. This study uses identity construction and cultural identity as the framework, focusing on the intangible inheritors of Jingdezhen handmade porcelain. It aims to explain the process of their identity construction and cultural identity. The research comprehensively uses field surveys, literature reviews, case analysis and other methods, and goes deep into the workshops. , the studio communicates face-to-face with intangible cultural heritage inheritors, and provides comprehensive research results for the protection and development of intangible cultural heritage inheritors of Jingdezhen handmade porcelain.

The Role of Lusheng Chinese Musical Instruments in Promoting Literacy through Educational Functions and Transmission

Lusheng is a traditional wind musical instrument cherished by various ethnic minorities in China. The objective of this study is to investigate the role of Lusheng Chinese musical instruments in promoting literacy through educational functions and transmission. Conducted in Guizhou Province, a region rich in ethnic diversity, this study employs qualitative methods and engages two key informants who are local artisans with interview and observation forms. The data analysis reveals multifaceted insights into Lusheng’s transmission and promotion. Findings highlight the challenges posed by modernization to traditional craftsmanship, emphasizing the urgency of preserving Lusheng production skills. The inclusion of Lusheng in the National Intangible Cultural Heritage list and the establishment of educational programs in primary, and secondary schools, and universities underscore the government’s commitment to safeguarding Lusheng culture. Moreover, the research underscores the transformative impact of modern media on Lusheng’s dissemination, and cross-cultural engagement is recognized as vital for expanding its influence. Balancing tradition and innovation remains a challenge. The study suggests collaborative efforts among government, academia, and society to develop a comprehensive conservation strategy, ensuring the continued transmission and promotion of Lusheng culture.

Strengthening Education and Literacy through the Transmission Process of Suzhou Pingtan Chinese Opera in Jiangsu, China

Suzhou Pingtan is a traditional Chinese opera originating from Suzhou, Jiangsu Province, known for its melodic tunes, storytelling, and expressive performances. The objective of this study was to explore the transmission process of Suzhou Pingtan Chinese Opera in Jiangsu, China, and its impact on education and literacy. This study utilizes a combination of fieldwork, interviews, and questionnaires as research tools were used to gather data from three key informants, two main informants, and three general informants. The data collected are analyzed through qualitative methods, including content analysis and thematic analysis. The research findings reveal ten main modes of transmission, including the inclusion of Suzhou Pingtan in the national intangible cultural heritage list, the establishment of inheritors, the Suzhou Pingtan Art Festival, the enhancement of performance level and frequency, the development of Suzhou Pingtan School, the establishment of Suzhou Pingtan Museum, the expansion of performance venues, the integration into primary and secondary schools and universities, international transmission, and strong government support. The study suggests the importance of continued support for educational initiatives, the preservation of performance venues, and the cultivation of young audiences to ensure the sustainability and wider appreciation of Suzhou Pingtan.

论文人审美对中国传统插花艺术风格的影响

China's traditional culture has a long history. Among many cultures, the traditional flower arrangement art is more distinctive. It has been included in the national Intangible cultural heritage list, and has been widely recognized by the academic community. Compared with traditional art forms such as painting and calligraphy, flower arrangement art is unfamiliar to people, and there are relatively few studies on the value of Chinese traditional flower arrangement art. However, with the rapid development of economy and society, People's living standards are improving day by day, and their spiritual and cultural values have been fully enriched. Therefore, as a popular art, flower arrangement has once again returned to the public's view. By analyzing the traditional art style of flower arrangement in China, it is beneficial to improve the education of beauty and inherit and promote traditional culture. The author conducted an in-depth analysis of literati aesthetics and traditional Chinese flower arrangement art style, and on this basis, systematically elaborated on the profound impact of literati aesthetics on traditional Chinese flower arrangement art style.The traditional flower arrangement art in China has an early origin. Throughout history, there have been numerous works created by literati and literati with the theme of flowers, plants, and trees. Flower arrangement mainly refers to the art of combining artificial decoration with natural plants. Due to its poetic shape, dignified and elegant visuals, and the artistic conception of both form and spirit, traditional flower arrangement has been widely respected. As one of the traditional arts, flower arrangement itself has a unique style, possesses national spirit and era characteristics, and is led by literati aesthetics. It analyzes the aesthetic values of ancient literati, In order to clarify the style and characteristics of traditional flower arrangement art, and ultimately expand the influence of traditional flower arrangement art, traditional flower arrangement art will radiate new vitality.

Research on the Application of Technology in the Protection of Intangible cultural heritage in Mixed Reality

Jingzhou Flower-drum opera is one of the well-known operas in Jianghan Plain, Hubei Province, and was also included in the first batch of national Intangible cultural heritage list in 2006. Jingzhou Flower-drum opera has a long history, but with the rapid development of the digital era and the impact of emerging culture, Jingzhou Flower-drum opera has also encountered an irresistible inheritance crisis. As the further development of virtual reality technology, hybrid reality technology has attracted many young people's interest in its interactivity and creativity. Secondly, as an emerging industry, hybrid reality technology has a certain degree of progress in the times, and it also has a certain degree of agreement with the protection of Intangible cultural heritage. This paper will elaborate on the development of hybrid reality technology and the current protection situation of Jingzhou Flower-drum opera, analyze the difficulties and solutions currently facing, and discuss the inheritance and development of traditional Intangible cultural heritage from the perspective of how intangible cultural heritage survives in the digital era and how to integrate with hybrid reality technology.

A Study on the Measures for the Archival Protection of the Intangible Cultural Heritage - "Chinese Painting Pigment Making Technique"

Chinese painting pigments are essential for creating Chinese paintings and are an integral part of Chinese national culture, as they embody the spirit of Chinese painting. The technique of making Chinese painting pigments was included in the third batch of the National Intangible Cultural Heritage List by the State Council in 2011, emphasizing the significance of Chinese traditional culture. However, as a "living" culture, it is susceptible to change or extinction due to various factors such as inheritance, the social environment, and conservation measures. The art of making Chinese painting pigments is a unique art form that is primarily passed down orally. However, due to the increasing scarcity of raw materials and the decreasing number of artisan heirs, this art form is facing a challenging dilemma. In light of the current situation of Chinese painting pigment making techniques, this paper proposes several feasible solutions for archival protection. One solution is to use the regional characteristics of Chinese painting pigment making for publicity. This strategy would involve promoting the unique aspects of Chinese painting pigment making in various regions to increase awareness and appreciation of the art form. Another solution is to build an archival talent team for Chinese painting pigment technique. This approach would involve identifying and training a group of experts in Chinese painting pigment making to ensure the continued preservation and development of the art form. Finally, building an online resource for Chinese painting pigment making technique would make the information accessible to a wider audience and facilitate the dissemination of knowledge about this art form.

The Past is the Link to the Present, and the Future is the Future

As a characteristic intangible cultural heritage spread in the Huaihe River basin of Anhui Province, Huagu Lantern has emerged as early as 2006, been successfully selected and included in the national intangible cultural heritage list. However, in the context of the accelerated modernization process, the inheritance and development of Bengbu Flower Drum Lantern has been seriously hindered due to the death of traditional old artists, unsystematic personnel training and many other reasons. Therefore, through literature analysis, field survey and other research methods, this paper finds out the problems of Bengbu Flower Drum Lantern, analyzes the influencing factors, and makes Bengbu Flower Drum Lantern have a better inheritance through innovation and reform.

RESEARCH ON THE INNOVATIVE DESIGN OF TRADITIONAL LIGHTWEIGHT CLOTHING SILK FABRICS GUIDED BY THE CHANGE OF EMOTIONAL BEHAVIOR UNDER THE BACKGROUND OF GUANGDONG, HONG KONG AND MACAO

BackgroundThe construction and development of Dawan district has further promoted the innovative application of cultural resources, brought the long-standing Lingnan culture into the international stage, and become an important carrier and tool to strengthen international cultural exchanges and promote economic cooperation and development. Dawan district. Gauze, as a traditional and ancient manual weaving and dyeing process, has been listed in the national intangible cultural heritage list. It is on the verge of disappearing and in urgent need of rescue. Lightweight business wear is playing an increasingly important role in today's consumer market and has become a cultural image card to convey friendship and mutual assistance. This paper studies the innovative design of light and thin business clothing, and deeply integrates the two elements of shuisha and Lingnan culture, especially the changes of people's emotional behavior towards culture in the process of communication. At present, there is no relevant research report.Topics and MethodsTake water yarn as the carrier, transform Lingnan traditional culture into design elements, deeply integrate light and thin business clothing design, explore the new visual expression and process production of traditional water yarn in style, color and pattern, and give new artistic expression to traditional water yarn. The author studies the application status of gauze in related fields of cultural industry, including the advantages and limitations of gauze; Difficulties in design and production; Advantages and limitations of washing gauze clothing style types, styles and patterns. This paper will explain how to overcome the compatibility problem of the combination of light and thin business clothes and washed yarn, and put forward practical solutions from the aspects of fabric and technology. The research methods include creative practice, literature analysis, observation, field investigation and expert discussion. At the same time, the emotional behavior of water conservancy workers in various places was investigated. This study adopts the profile of mood states (POMS), which was compiled by Australian scholars grore and prapavessis in 1992 and revised by Professor Zhu Beili. It is considered to be a good tool to study emotional states. The average reliability of the scale is 0.71, which is in the standard value of 0.60 ~ 0.82. There are 40 adjectives in the questionnaire, which are divided into seven subscales: tension, anger, fatigue, depression, energy, panic and self-esteem. The corresponding score scale of 0-4 was used. The final result (TMD) of the total score of mood state is five negative emotion scores minus two negative emotion scores, plus a constant of 100 for correction.ResultsThe deep integration of “water yarn + Lingnan cultural elements + light business dress” will broaden the design field of water yarn and endow it with new artistic expression to meet the needs of the times. The combination of water yarn and other textile fabrics can improve the problems of single color, thin texture and high cost of water yarn. Through the summary of creative practice, it is found that there has been a new breakthrough in traditional technology and modern design, and found a new research perspective, which provides a theoretical basis for the application of traditional water yarn in fashion design.ConclusionThis study is not only conducive to revitalizing local culture, promoting the flow of innovative elements and continuously improving the value of urban culture, but also has practical application value for the inheritance and innovation of intangible cultural heritage, and is ready for transformation. From “China's garment industry” to “China's manufacturing industry”.AcknowledgementsThis paper is wrote by He Xiaochun and it is a research project of Guangdong Literary & Art Vocational College, Guangdong Province Education Science “13th Five-Year Plan” 2020. Project name: Research on Innovative Design of Traditional Watered Gauze in Light Business wear under the Background of Guangdong, Hong Kong, Macao Greater Bay Area Construction, Project Number: 2020GXJK313).

STUDY ON THE SENSITIVITY OF THE DEVELOPMENT OF FUJIAN OPERA AND TAIWAN OPERA AND THE CHANGES OF WORKING EMOTION AND BEHAVIOR OF THE TROUPE

Abstract Background Yangqin was introduced into China in the late Ming Dynasty and early Qing Dynasty. With the flow of musicians, it spread all over the world. It is not only used for folk God welcoming games, birthday celebrations, literati self entertainment or music clubs, but also the most eye-catching musical instrument in private collections, government and business and children's Museum music clubs. From the leisure and entertainment stage of “song” popular in the Qing Dynasty to the commercial rap of “selling medicine” and “sweeping the floor”, it absorbs the nutrition of performance forms such as car drum array, Siping opera, Tea Picking Opera and juggling, and adds the “opera in the play” of hand and foot dance to show the footprints of Yangqin. Xiangju opera, developed from Taiwan songs, is a mixture of Zhangzhou Xiangjiang generation folk music. Hunan Opera (Gezai Opera) is the only common local opera on both sides of the Taiwan Strait. In 2005, Hunan opera was included in the first batch of national intangible cultural heritage list. It is deeply influenced by Southern Fujian culture and has distinctive Southern Fujian characteristics. It has played a positive role in promoting cross-strait cultural exchanges, which is reflected in the frequent exchanges between relevant researchers and troupes on both sides of the Strait. The excellent repertoire of Hunan opera has been widely praised at home and abroad. Research Objects and Methods This study adopts the methods of literature analysis and field investigation to collect and sort out the research data. Literature analysis is mainly the collection, comparison and classification of historical data. Fieldwork is the author's fieldwork for more than ten years and his contact with folk artists and musicians of Gezai Opera. Starting from the Yangqin proposition, the master's thesis began to study and collect data, collect and read Taiwan Local Chronicles, newspaper documents, Shengzhi diaries, oral history and fieldwork for more than ten years, and copy the existing music manuscripts, photos, sound recordings and audio materials in the public sector. At the same time, it is selected from the emotional experience report form compiled by Ekman, freisen and ancoli (1980), which has been modified many times by gross and widely used. There are 10 adjectives in the emotional experience report form. Each emotion was assessed by the 9-point Likert scale, “0” means no, “8” means very strong, and the subjects were required to choose the corresponding number according to their actual emotional experience. 2.2.4 questionnaire on the degree of implementation of guidance. The questionnaire consists of 6 questions. Using the 6-point Likert scale, “0” indicates complete non-compliance, and “5” indicates complete compliance. The purpose is to check whether the subjects adjust their emotions according to the instructions of the main test when watching emotional movie clips, and ask the subjects to answer truthfully according to their actual situation. Results Performance knowledge comes from objective analysis. Performers practice and change the objective world and themselves through psychological thinking such as perception, imagination and emotion. With the progress of the times, Hunan opera is facing the dual pressure of economic and cultural inheritance. Economically, the income of the troupe's actors is unstable, which gradually weakens the actors' enthusiasm for the cause of Hunan opera. In terms of cultural inheritance, the older generation of Hunan opera is relatively old. The emergence of new culture has reduced the interest of contemporary young people in Hunan opera and led to the crisis of the inheritance of Hunan opera. In the process of the influence of life events on anxiety, they play an intermediary role through economic response. The higher the economic level, the stronger the emotional regulation ability of the troupe personnel. Among them, the mediating effect of anxiety can be adjusted through psychological elasticity. That is, economic level can regulate the pressure of life events, and coping style can be used as an intermediary factor of emotional regulation to regulate the impact of life events on anxiety through coping style. Conclusion Facing the challenge of traditional art inheritance and survival, driven by the cultural environment and multicultural environment of the global village, this is a problem that many traditional arts must think about if they want to survive. The government needs to take various measures to change the current situation and make the excellent traditional culture of Hunan opera continue to flourish. Through more bilateral exchanges and communication, cross-strait cultural inheritance and innovation, strengthen cross-strait cultural and artistic exchanges and cooperation, jointly play the piano art for the opera troupe, and work together for the in-depth development of both sides. Acknowledgments This paper is the general project of Fujian Social Science Planning Project Art Fund in 2019: Fujian Taiwan Gezai Opera (Xiang Opera). Phased achievements of Yangqin Development Research (Project No.: fj2019b029).

From Oblivion to Reappearance: A Multi-Faceted Evaluation of the Sustainability of Folk Music in Yunnan Province of China

The Southwestern Chinese province of Yunnan is the home to a plethora of traditional music, folk songs, and ethnic musical instruments with 24 local folk music items included in the national intangible cultural heritage list and extended list. In this article, the authors intend to delve into the issue of Yunnan folk music protection from the perspective of cultural sustainability theory. With an in-depth qualitative analysis of the data on the protection of 24 folk music items of Yunnan, the achievement, impact, and challenges of the current safeguarding efforts are revealed. The findings suggest that: 1. Government agencies at all levels have a dominant influence on the protection effort. 2. The local community, musicians, culture bearers, troupes, clubs, and social organizations form the “brick and mortar” of the folk music sustainability system. 3. The current reappearance or resurface of certain folk music items is a significant step toward truly reviving the folk music items in the future.

Brief Analysis on the Development of Grass-Knitting Industrialization

Straw weaving is a traditional handicraft in China, which is characterized by the use of local herbs as raw materials, after artistic processing, to make beautiful and practical handicrafts, such as straw hats, straw mats and so on. This kind of craft has a long history and a wide range of distribution. It is very popular in Hebei, Shandong, Zhejiang and other places in China. Among them, Hebei Daming grass-knitting is listed in the second batch of national intangible cultural heritage list in 2008, and other local straw weaving crafts are also listed as provincial and municipal intangible cultural heritage in succession. Since the report of the 19th National Congress of the Communist Party of China in 2017 put forward the strategy of rural revitalization for the first time, the CPC Central Committee has always attached great importance to rural revitalization. In 2021, the Law of the People's Republic of China on the Promotion of Rural Revitalization was adopted to provide legal guarantee for the work of rural revitalization and clearly put forward measures to protect agricultural cultural heritage and intangible cultural heritage. Combining straw weaving technology with rural revitalization and developing straw weaving industry in rural areas can not only promote the inheritance and development of intangible cultural heritage, but also produce economic benefits and drive rural revitalization. However, in the process of combining the two, there are many problems.

Dissemination and Inheritance of Anhui Fengyang Flower Drum Art from the Perspective of Intangible Cultural Heritage

Fengyang flower drum is a characteristic traditional folk custom in Anhui. Anhui is located between the Jianghuai watershed. Under the long-term influence of Jianghuai culture, it has bred a series of distinctive folk culture. Fengyang county also has the reputation of "hometown of Chinese folk culture and art" because of Fengyang flower drum. Fengyang flower drum was selected into the first batch of national intangible cultural heritage list of the State Council in 2006. With the development of the times and the improvement of living conditions, Fengyang flower drum no longer appears in the form of begging, but more as a performing art, which makes the social status of Fengyang flower drum decline sharply. Less and less people pay attention to this art form, and its protection and inheritance also have problems, The younger generation lacks the knowledge of Fengyang flower drum and is unwilling to understand and learn. The future of Fengyang flower drum is in jeopardy. This paper analyzes the origin, cultural connotation and era significance of Fengyang flower drum, analyzes its current communication and inheritance dilemma, and explores the solutions suitable for the current development.

The Wattled-Wall House of Salar People and Its Conservation and Development

Salar people are Turkic-speaking Islamic people and an ethnic group with a small population in China. Wattled-wall house of Salar people is a type of traditional house threatened by extinction. In 2008, the wattled-wall house construction skills were selected for the national intangible cultural heritage list. It is mainly distributed in Xunhua Salar Autonomous County, Qinghai Province of China. So far, Salar people′s traditional wattled-wall house knowledge has been poorly documented. Therefore, a study supporting cultural preservation efforts is needed, including preserving plants used in its construction. This study mainly applied ethnobotanical methods based on data collection through observation, interviews, and documentation. Additionally, ArcGIS data analysis is also used to supplement the evaluation of the traditional wattled-wall house. This study aimed to (1) document traditional knowledge about the wattled-wall house construction, (2) and evaluate the current status of the wattled-wall house from different angles like the environmental adaptability and internal advantages and disadvantages. The result showed that the local people still apply the knowledge about the wattled-wall house from generation to generation. However, due to some practical reasons, the wattled-wall house is on the verge of extinction. There are 11 plant taxa used as construction materials in wattled-wall house. Conservation efforts for species involved in the wattled-wall house are needed, especially the ones with limited availability. Re-use of wattled-wall house is needed in order to maximize the economic benefits and to safeguard its historical and architectural values. It is recommended that the conservation of this cultural heritage needs more attention and effort from the local government or the society.

Digital protection and reflection on Tibetan ghee sculpture art of intangible cultural heritage in China

China’s Tibetan ghee sculpture art is the first batch of works of art approved by the state council to be included in the national intangible cultural heritage list. This paper mainly studies the origin, digitalization and intelligent protection of the Tibetan butter sculpture art in China, and also explores and attempts to effectively protect the intangible cultural heritage with modern science and technology. We hope that more people will understand, inherit and protect the fine traditional culture of the Chinese nation, and that our cultural confidence will continue to advance to new levels.

Research on application of interactive forestry science popularisation based on enhanced experience

In the information era of new media, augmented reality (AR) technology has been favoured by every field, however, the application of AR technology in the popularisation of forest science are relatively behindhand. The traditional Chinese flower arrangement art in the National Intangible Cultural Heritage List has been chosen as the research subject of this paper. The research focuses on the inheritance of flower arrangement art in the digitised popularisation and develops an AR application (APP). This research aims to achieve scientific popularisation, enjoyment and immersion of flower arrangement art. Meanwhile, users can produce new vertical flower arrangements through 'interesting transformation' to form an effective approach to scientific popularisation from passive reception to initiative practice. The results have expanded the dimension of displaying traditional Chinese flower arrangement artworks, extended the vitality of the artworks and greatly enhanced users' experience of reality, art and practice through use of scientific popularisation products.

Hetu and Luoshu: Retrospect and Prospection

Hetu and Luoshu, the cultural heritages that reflect ancient Chinese wisdom, are the origins of Heluo culture. The paper will focus on the present study of Hetu and Luoshu and give a prospection of the study trend by combing and analyzing related texts and documentaries. Hetu and Luoshu, or the Yellow River trigrams and the Luo River trigrams, also the first mystical images in Chinese graphemic culture, are regarded as the origin of Heluo culture and feature prominently in the history of Chinese culture and Chinese thoughts. The Legend of Hetu and Luoshu, which was included in the fourth group of National Intangible Cultural Heritage List in 2014, is the fountainhead of Chinese nation and witness the long history of Chinese civilization.

The right mud: Studies in the mud-coating technique of Gambiered Guangdong silk

Gambiered Guangdong silk is a traditional cloth with two-tone colors, deeply rooted in China. Its coating technique has been included in the National Intangible Cultural Heritage List. In the unique coating process of the silk, river mud plays an important role but there has been very little research involving it. To gain insight into the characterization of the special mud, the usable mud with the unusable mud were compared with SEM-EDS and XRD. The results showed that Fe(II) was the main valence state of iron in the usable clay mud (nearly 90%). Although the iron mineral particles constituted of akaganeite coated on the coated silk surface, akaganeite was not used as the original pigment because of its poor availability. The significant correlation between the Fe(II) content and textile lightness (L*1) (r=−0.82, p<0.05), and sterilization test confirmed the role of Fe(II) in the coating process. Meanwhile, given the penetration of FeSO4 into the back side, it suggested that the solid and organic-binding phases of Fe(II) were the main forms of Fe. Moreover, there were no bacteria participating in the 1-h coating process but they importantly maintained the coating availability of the mud. In short, the right mud for coating Gambiered Guangdong silk need enough precipitated Fe(II) which could obtain from bacteria reducing Fe(III). This paper provided the scientific basis for the inheritance of the mud-coating technique of Gambiered Guangdong silk.