A brief introduction to the protection of intangible genetics of Chinese folk paper-cutting
Since the late 1980s, due to the impact of globalization, the international community has begun to pay full attention to the widespread national and folk culture of all ethnic groups in the world, and has elevated the protection of "intangible cultural heritage" to an unprecedented level. high. UNESCO adopted the "Recommendations on the Protection of Traditional and Folk Culture" system at its 25th General Conference in November 1989; and adopted a resolution on declaring "Masterpieces of the Oral Heritage of Humanity" at its 29th General Conference in November 1997. And at the 154th Executive Board meeting, its description was revised to "Masterpieces of the Oral and Intangible Heritage of Humanity"; in October 1998, the "Regulations on UNESCOs Declaration of "Masterpieces of the Oral and Intangible Heritage of Humanity" were adopted; in In 2001 and 2003, the first and second batches of a total of 47 "Masterpieces of Human Oral and Intangible Heritage" were announced twice. After 12 years, the concept of intangible cultural heritage began to be promoted around the world. In particular, on October 17, 2003, the organization adopted the "Convention for the Protection of Intangible Cultural Heritage" at its 32nd conference held at its headquarters in Paris, France, which further integrated this concept of defending human cultural diversity and safeguarding the cultural sovereignty of all nations. , and the struggle to comprehensively protect "intangible cultural heritage" has moved to a new stage. On August 28, 2004, the 11th meeting of the Standing Committee of the 10th National Peoples Congress of the Peoples Republic of China voted to approve the decision to ratify the Chinese governments accession to the UNESCO Convention for the Protection of Intangible Cultural Heritage. The work of protecting "intangible cultural heritage" has begun to be fully carried out in China, and the previous cultural protection work of folk customs and folk arts has since entered a new level. The "Chinese Ethnic Folk Culture Protection Project" was initiated and organized by the Ministry of Culture and the Ministry of Finance of the Peoples Republic of China, in conjunction with the National Ethnic Affairs Commission, the China Federation of Literary and Art Circles and other units. As the work unfolds, the wave of attention and protection of "intangible cultural heritage" begins to sweep across China.
Paper-cutting is a wonderful work among my countrys intangible cultural heritage. In 2003, it was included in the top ten Chinese folk cultural heritage rescue projects. On April 8, 2004, at the "International Academic Symposium on Chinese Intangible Cultural Heritage·Folk Paper-cutting" held in Beijing, participants discussed and studied the Chinese folk paper-cutting folk custom around the core theme of applying for the intangible heritage of Chinese folk paper-cutting. Issues such as the current status of conservation, inheritance and conservation models and their relationship with the development of contemporary culture and social life. In 2006, the excavation and protection of Chinese folk paper-cutting art was officially launched. The first batch of national intangible cultural heritage lists included paper-cutting from nine places, including Yuxian paper-cutting in Hebei, Manchu paper-cutting in Fengning, Hebei, and Zhongyang paper-cutting in Shanxi. , Liaoning Yiwulu Mountain Manchu paper-cutting, Jiangsu Yangzhou paper-cutting, Zhejiang Yueqing fine-grained paper-cutting, Guangdong paper-cutting, Yunnan Dai paper-cutting, Shaanxi Ansai paper-cutting. Thirty-one types of paper-cutting were added to the first batch of national intangible cultural heritage expansion projects.
With the deepening of protection, we are increasingly aware that living rheology is the basic characteristic of intangible cultural heritage such as folk paper-cutting. Many scholars and experts are concerned about folk paper-cutting such as cultural space, cultural resources, cultural genes, Thinking about issues such as eco-museums runs through the proposition of “living culture”. However, there are few systematic discussions on how to carry out living protection and the operation of specific measures. At present, folk paper-cutting has more or less entered the market, but because a systematic and scientific protection system has not yet been established, most of the paper-cutting products entering the market are blind and lack competitiveness. Therefore, it is extremely important to explore how the folk art of paper-cutting can survive and develop under the market economy system, and how to promote its improvement and transformation into social capital and cultural productivity value.
In February 2009, the China Intangible Cultural Heritage Protection Center held the "Intangible Cultural Heritage Productive Ways Protection Forum" in Beijing to conduct in-depth discussions on the survival issues currently faced by many intangible cultural heritages. The method of production is not just state funding to maintain and promote the development of intangible cultural heritage, but also criticizes the blind and unscientific industrial development of intangible cultural heritage in some places. Although the "productive protection" theory is still a systematic project that has just started. However, compared with other protection methods, productive protection can protect folk paper-cutting under the modern market economy in a more comprehensive, essential and targeted manner.
