1. The original value of farming context and folk crafts
Among the intangible cultural heritage, one that occupies a core part is Chinese traditional folk arts and crafts, which are deeply rooted in the historical soil of the long farming civilization.
In a period when the level of productivity was relatively low, for example, the Nanjing Yunjin wood machine weaving technique, the Miao batik technique, and the Huizhou three carvings, etc., when they were first born, they first aimed at the dimension of "use", that is, to meet the ancestors' basic material life needs such as covering, storing, housing, and offering sacrifices.
It is in such a simple act of creation that the collective unconscious aesthetic inspiration and spiritual totem gradually attach themselves to the objects, thus forming the unique cultural symbol system of early folk art. This is a situation. Another situation is that the aesthetic sprouts and spiritual totems of the collective unconscious are gradually attached to the artifacts, and this happens in this simple creation activity, thus forming the unique cultural symbol system of early folk art.
For example, the Huaiyang mud dogs have those simple decorations. They are not just objects for children to play with, but also carry the profound connotation of ancient fertility worship and totem belief.
This original unity of "practical" and "aesthetic" forms the most authentic cultural background of traditional arts and crafts, which is composed of this unity.
2. Inheritance dilemmas and cultural faults in the contemporary context
We have entered the post-industrial era and also entered the information society. Under this circumstance, the farming context on which traditional folk crafts rely for survival has undergone fundamental changes.
At present, many national-level intangible cultural heritage representative projects are generally facing severe survival challenges.
First of all, there is a break in the "inheritance genealogy". The traditional closed "inheritance system" of "father to son, master to apprentice" is difficult to maintain under the impact of modern education and social mobility. Just like the complex whistle carving in the "Nantong Banyao Kite" production technique, because it consumes time and energy, and the benefits are very meager, few young people pay attention to it.
The first is the disappearance of cultural space. Things that were originally the core carriers of folk activities, such as Fengxiang woodblock New Year pictures and Yuxian paper-cuts, have had their practical functions replaced by modern industrial prints during the seasons. As a result, their cultural influence has become weaker and weaker, and they have fallen into the dilemma of "museum art" or "minority" or "intangible cultural heritage". The social and cultural significance they contain urgently needs new interpretations and dissemination.
3. Aesthetic reconstruction and modern transformation of educational function
If you carefully explore the deep-seated value of traditional arts and crafts, you will understand that it is not only the craftsmanship of creation, but also the kind of cultural resource full of vitality and vitality that cultivates the national spirit and aesthetic character.
Under the current bottleneck of development, inheritors and relevant protection agencies need to carry out innovative design concepts based on the times while adhering to the essence of traditional skills.
This is not a deconstruction of tradition, but a refinement and activation of its inner spirit.
4. Exploring the paths of digital communication and industry-university-research collaboration
The rise of new media technology has provided unprecedented opportunities to break the time and space limitations of traditional craftsmanship, which involves both time and space limitations.
At the same time, a multi-dimensional communication matrix is built. This communication matrix is formed by combining high-quality online exhibition halls and offline thematic exposition spaces. In this way, the unique engraving charm of Taohuawu woodblock New Year paintings is presented to the public in a more immersive and informative form. At the same time, the engraving charm of Jinling sutra engraving and printing techniques is also presented to the public in an equally more immersive and informative way.
A deeper breakthrough lies in the deep integration of industry, academia and research.
Colleges and universities must give full play to their academic advantages. They must not only cultivate professionals with theoretical literacy in the protection of intangible cultural heritage, but also encourage interdisciplinary cooperation, guide students and inheritors to explore the possibility of combining traditional materials with new technologies such as 3D printing, and apply technical elements such as paper cutting and bamboo weaving to the development of cultural and creative products that conform to modern aesthetics. In this way, a benign ecological closed loop from theoretical research, skill inheritance to design innovation and industrial transformation can be built.
To sum up the above situation, traditional folk arts and crafts are a living gene of national culture. Its protection and development are by no means a simple retro and nostalgia, but a systematic project related to cultural identity, aesthetic education and economic transformation.
Only by adhering to its core skills and spiritual connotation, and at the same time embracing the changes of the times, using a rigorous academic attitude, having an open vision of protection, and using innovative design language, can it show new vitality in contemporary society, effectively serve the people's high-quality life, and the sustainable development of the Chinese nation.
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