人物简介/Profile/
Liu Kuili, born in 1934, is a member of the Honorary Department of the Chinese Academy of Social Sciences, and has served as the director of the Institute of Ethnic Literature of the Chinese Academy of Social Sciences and the editor-in-chief of the Journal of Ethnic Literature. He is the author of dozens of works such as "The Collection of Folk Literature", "Liu Kuili's Folklore Collection", "Folklore: Concept, Scope, and Method", "The Tree of Life of Folk Narratives", "New Theory of Mythology", and has translated many works such as "Lenin's Annals" and "Prologue". He is one of the most important scholars in the study of Chinese folklore since the 20th century, and is also an important participant, practitioner, and important theoretical builder and contributor in the field of intangible cultural heritage protection in China, such as the sharing of intangible cultural heritage and the protection of the authenticity of the matrix, the principle of integrity, the issue of inheritors, the awareness of public property and the spirit of contract, inheritance and dissemination, and the construction of cultural and ecological reserves, which have profoundly influenced the practice of intangible cultural heritage protection in China.
• Traditional festivals embody the time system and cultural concepts of the Chinese, and are important symbols of cultural identity, national identity and national identity
•Safeguarding intangible cultural heritage is to protect and inherit the colorful and precious heritage of national culture, which is the responsibility and obligation entrusted to us by the times
• The Chinese's invention of the time system of the 24 solar terms is a well-deserved and valuable heritage in the treasure house of human knowledge
•The fundamental purpose of safeguarding intangible cultural heritage is to preserve traditions, protect the excellent traditional way of life as a whole, and reflect respect for craftsmen, technology and creative spirit
The three-day holiday of the Dragon Boat Festival has passed, and people can't wait to look forward to the arrival of the Mid-Autumn Festival. The Qingming Festival, Dragon Boat Festival, Mid-Autumn Festival, etc. were added as national statutory holidays, and the State Council began in 2007 to revise the national annual festival and anniversary holiday measures. Behind the major changes in this holiday, it is inseparable from a group of experts and scholars who unswervingly promote the combination of national traditional festivals and national statutory holidays, and Mr. Liu Kuili is one of the important ones.
Liu Kuili has been engaged in the study of folk culture all his life. In the early 50s of the last century, after returning from studying in the Soviet Union, he was deeply rooted in the field of folk culture. Even in his nineties, he still actively contributes to the protection of intangible cultural heritage and the inheritance and promotion of excellent traditional Chinese culture. Recently, Liu Kuili was interviewed by a reporter from Sichuan Daily's all-media "100 Talks on Cultural Inheritance and Development" in Beijing. When it comes to the protection and inheritance of intangible cultural heritage, he believes that China's continuous work over the past 20 years has made a qualitative leap in the achievements of intangible cultural heritage protection, which not only grasps the core of intangible cultural heritage protection and the issue of inheritors, but also attaches great importance to intangible cultural heritage over the years, and also makes more and more Chinese people respect and love traditional Chinese culture more, and consciously devote themselves to the inheritance team.
Folklore is the study that comes out
Folklore, Folklore, Intangible Cultural Heritage ...... Liu Kuili's research object has distinctive characteristics. As a "returnee" who studied in the Soviet Union in the 50s of the last century, Liu Kuili's research object did not choose Pushkin, Tolstoy and other literary giants, but aimed at ordinary people and their culture. "I chose to study folk culture," he laughs. ”
Liu Kuili's love for folk culture planted the seeds when he was a teenager. Those folk New Year's customs and interesting wedding and funeral etiquette made him curious, and legends and dramas such as "Meng Jiangnu Crying on the Great Wall" and "Cowherd and Weaver Girl" always made him listen to them with relish. At the age of 16, Liu Kuili was selected to study at the Harbin Russian Language College, and later to study in the Soviet Union. Listening to professors talk about Russian folk literature at school, as well as the experience of visiting the countryside and collecting folk tales, he completed the transformation of folk culture from emotional love to rational love. "In the course of history, the culture of ordinary people is very worthy of study, because they are rooted in the soil and have a strong vitality."
Liu Kuili has always believed that "folklore is the study that comes out". After returning from the Soviet Union, he was arranged to work as a teacher in the Chinese Department of Heilongjiang University, and with the support of the Heilongjiang Provincial Federation of Literature, he began to investigate the folk literature of local ethnic minorities. Liu Kuili has a grand plan: strive to investigate the situation of the collection and circulation of folk literature in the province according to regions, nationalities, and occupations. For three consecutive years, together with his colleagues, he went deep into the Manchu, Korean, Hui, and Hezhe ethnic groups to collect folk tales, listen to them talk about festival customs, and even made a special trip to collect the legends of the Anti-Japanese Federation. "The conditions were very poor, and the only things we could use were pen and paper. I finally borrowed a tape recorder made in the twenties and thirties of the 20th century in the United States, but it weighed more than ten kilograms...... "Although the conditions are difficult, Liu Kuili enjoys it, he didn't expect that there are so many ethnic minority compatriots living in Heilongjiang, where he is located, and their traditional culture is so rich and colorful," In front of me, it seems to have opened a treasure trove. ”
In 1979, Liu Kuili was transferred from Heilongjiang to Beijing to work at the Institute of Literature of the Chinese Academy of Social Sciences. During this period, he frequently went to ethnic areas in Xinjiang, Yunnan, Guizhou, Sichuan and other places to investigate the literature and folk customs of ethnic minorities, danced enthusiastic folk dances with Russian compatriots in Xinjiang, and listened to the wild singing of Dai compatriots celebrating the completion of the new house in Xishuangbanna. This is our historic responsibility. ”
In those years, Liu Kuili's research on folk literature not only had a profound view of local culture, but also had theoretical ideas and achievements at the forefront of the discipline. He was the first to advocate faithful recording "word for word" against public opinion, and proposed that "live fish should be seen in water"; The innovative exploration of traditional concepts such as "motif" and "plot", especially the construction of the narrative theory of the "tree of life", has had a profound impact on the academic community.
Liu Kuili. Photo courtesy of the interviewee
He also assisted in promoting the establishment of the China Folklore Society, successively participated in the work of the editor-in-chief of the editorial board of the "Collection of Chinese Folk Tales", edited the magazine "Research on Ethnic Literature", etc., and organized the compilation of the "History of Chinese Minority Literature Series" as the project leader, and launched more than 40 national literary histories, presenting the vivid and vivid literary creations of ethnic minorities in different categories such as poetry, novels, and prose.
devote yourself to the cause of intangible cultural heritage,
Contribute to many conservation concepts
Since the beginning of this century, attention has been paid to the protection and transmission of intangible cultural heritage. Liu Kuili, who originally studied folklore and had a heartfelt love for folk culture, devoted himself to the cause of protecting and inheriting China's intangible cultural heritage.
How deep is Liu Kuili's love for Chinese folk culture? There are two stories that perhaps prove it. He once went to Luzhou to inspect the national intangible cultural heritage project Xianshi soy sauce. Standing on the bank of the Chishui River, seeing hundreds of fermented soybean sauce jars lined up neatly, as if welcoming the soldiers who are inspecting tourists, and the air is still filled with the fragrance of fermented beans, Liu Kuili's eyes are moist with emotion, "China's traditional crafts have been preserved by such small workshops with feelings, and they are endless." After the "5.12" Wenchuan earthquake in 2008, Liu Kuili, who was deeply impressed by Qiang Nian, applied to Sichuan as a volunteer for the first time, but the relevant parties rejected his application considering his advanced age, which has always been regretted by him.
However, over the past 20 years, Liu Kuili has made significant contributions to the protection of China's intangible cultural heritage.
In 2005, the General Office of the State Council issued the first guiding document for the protection of intangible cultural heritage, the Opinions on Strengthening the Protection of Intangible Cultural Heritage in the Mainland (hereinafter referred to as the "Opinions"), and Liu Kuili participated in the drafting of the document. It is this "Opinions" that fully explains the importance and urgency of the protection of intangible cultural heritage in the mainland, puts forward the goals and guidelines of the protection work, and proposes to establish a list system and gradually form an intangible cultural heritage protection system with Chinese characteristics. Taking this as a starting point, Liu Kuili devoted himself to the review of the National Representative List of Intangible Cultural Heritage, the List of Representative Inheritors, the List of Cultural and Ecological Reserves, and the nomination of candidates for the Representative List of the Intangible Cultural Heritage of Humanity to UNESCO under the auspices of the Department of Intangible Cultural Heritage of the Ministry of Culture at that time. In 2011, when the Standing Committee of the National People's Congress deliberated and passed the Intangible Cultural Heritage Law of the People's Republic of China, it was he who preached to the delegates the knowledge of safeguarding intangible cultural heritage.
As Chao Gejin, a member of the Faculty of the Chinese Academy of Social Sciences and president of the Chinese Minority Literature Society, commented, Liu Kuili has "an outstanding ability to develop landmark achievements in many fields." After plunging headlong into the field of intangible cultural heritage, Liu Kuili's thoughts and writings are all based on the theme of the protection and inheritance of intangible cultural heritage. His personal footprints in the practice and research of China's intangible cultural heritage protection have become the silhouette of China's intangible cultural heritage protection to a certain extent.
As early as around 2003, Liu Kuili proposed the principle of holistic protection of intangible cultural heritage. He believes that it is necessary not only to protect the tangible appearance of intangible cultural heritage, but also to pay attention to the environment on which it depends. We should not only pay attention to the static achievements of intangible cultural heritage, but also pay attention to its mode and process of existence, as well as the wisdom and emotions it embodies, etc., and not disintegrate intangible cultural heritage into scattered parts, cultural fragments or islands. He also proposed the sharing of intangible cultural heritage and the protection of matrix elements, that is, the protection of intangible cultural heritage is not only the responsibility of the inheritor, and the protection of intangible cultural heritage is not immutable, but allows continuous development, evolution and creation under the premise of maintaining the integrity of the matrix. When the inheritors of intangible cultural heritage only pay attention to declaration and identification, but do not perform their duties, Liu Kuili also promptly proposed that the protection and inheritance of intangible cultural heritage should have a "sense of public property and the spirit of contract", reminding the inheritors that intangible cultural heritage is jointly created by the people in history, and that inheritors have the responsibility to protect but do not have the exclusive right. It is against this backdrop that the withdrawal mechanism for intangible cultural heritage inheritors was introduced a few years ago, and inheritors who fail to perform their duties will be removed under certain conditions.
Liu Kuili. Photo courtesy of the interviewee
Liu Kuili's series of thoughts on the protection and inheritance of intangible cultural heritage only bring positive effects to the practice of intangible cultural heritage protection and the construction of basic theories of intangible cultural heritage. In order to create conditions for the overall protection of intangible cultural heritage, he and his experts also made suggestions for the construction of cultural and ecological reserves, ensuring that intangible cultural heritage and tangible cultural heritage coexist interdependently, and creating a sustainable cultural and ecological environment. Today, a large number of local traditional cultures with distinctive characteristics, such as Minnan culture and Jin Chinese, as well as the Qiang culture, which was seriously damaged in the "5.12" Wenchuan earthquake, have been protected and regained their brilliance after years of construction of cultural and ecological reserves.
Promote traditional festivals and national holidays
Combine and inherit and promote Chinese culture
Liu Kuili's research is most closely related to the public, and he led the China Folklore Society to complete the project of "National Traditional Festivals and National Statutory Holidays", which directly contributed to the State Council's revision of the National Annual Festival and Memorial Day holiday measures in 2007, adding three traditional festivals such as Qingming, Dragon Boat Festival and Mid-Autumn Festival as national statutory holidays.
Liu Kuili believes that "traditional festivals embody the time system and cultural concepts of Chinese, and are important symbols of cultural identity, national identity and national identity. Although in previous years, these traditional festivals were not closed, "but among the people, these festivals and festival-related customs exist." During the Qingming Festival, everyone will sweep the tombs of their relatives, hang wormwood and wrap zongzi during the Dragon Boat Festival, and eat moon cakes in the Mid-Autumn Festival. If these traditional festivals with profound cultural accumulation can be presented in the form of statutory holidays, "the traditional festivals can be established in the hearts of more people, so that we can love our own national and cultural traditions more and enhance cultural self-confidence." ”
Since 2005, the China Folklore Society, of which Liu Kuili is the president, has held an international academic seminar on the topic of "traditional festivals and statutory holidays" for three consecutive years, inviting folklorists from many countries to discuss the relationship between traditional festivals and modern national public holidays, with the aim of promoting the integration of traditional festivals and statutory holidays, and striving to incorporate traditional national festivals into the statutory holiday system. From December 2006 to February 2007, entrusted by the National Development and Reform Commission and the then Ministry of Culture, Liu Kuili led the China Folklore Society to complete the relevant projects. Considering that the holiday more or less directly affects the national economy, Liu Kuili once suggested that no new days should be added to the original number of holidays, but only the "May Day" and "Eleventh" holidays should be transferred to traditional festivals, so as not to increase the burden on the national economy. ”
In 2016, China's 24 solar terms were inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity. Although the project was led by the China Agricultural Museum, Liu Kuili, who served as the president and honorary president of the China Folklore Society, led a group of folklorists to play an important role in intellectual and academic support. Nearly 20 seminars were held just to prepare the documents before the declaration and to refine the value of the project. Except for the last two times when the text was translated, experts such as Liu Kuili, Luo Wei, and Qi Qingfu did not fall through the whole process, just to extract the accurate spiritual core of the 24 solar terms.
In the past 20 years, China has achieved fruitful results in the protection and inheritance of intangible cultural heritage, and Liu Kuili is still active in the protection and inheritance of intangible cultural heritage. As an expert, he participated in the review of the Representative List of the Intangible Cultural Heritage of Humanity and the national inheritors, and invited him to provide design references from the perspective of folklore in the design of the 2024 Year of the Dragon Zodiac stamps.
Are you tired of giving up your old age and devoting yourself to work? Liu Kuili is happy in it. It is the source of his strength to promote the transmission of China's precious intangible cultural heritage from generation to generation and to maintain its youth.
dialogue
To protect intangible cultural heritage is to protect one's own history and traditions
Sichuan online reporter talks to Liu Kuili
The time perception system of the 24 solar terms is Chinese
Significant cultural contribution to humanity
Q
Reporter: Why did the 24 solar terms declare them as intangible cultural heritage of humanity back then, and what is its significance?
Liu Kuili: Strictly speaking, the 24 solar terms are part of the Chinese time system and are an objective existence. For example, a year is a cycle, how to divide the year? Our ancestors thought of the climate and phenology according to the four seasons of the year. They observed the relationship between the sun and the earth early on, and found that there is a time of the year when the day is the longest and the night is the shortest, and the other is the longest at night and the shortest day, so they determined the summer and winter solstices; Later, it was discovered that there are two times when day and night are equal, and this is the spring equinox and the autumn equinox. After having "two points" and "two solstices", they established several other time nodes, that is, when the four seasons of the year begin, so we have the beginning of spring, the beginning of summer, the beginning of autumn and the beginning of winter. After these 8 solar terms, in the middle of each two solar terms, according to the climatic phenology situation, two equal time nodes were placed, and the 24 solar terms we now know appeared.
These 24 solar terms are derived from our observation of the relationship between the sun and the earth, and are part of the solar calendar. Many of the world's regional civilizations have similar solar calendars. China not only has 24 solar terms, but also 72 weather, which has a very good summary and refinement of phenological and meteorological changes, and is a knowledge system that Chinese have explored and summarized from practice. As a large agricultural country, China's time tradition has always been maintained, and even still guides our agricultural production activities.
When we actively promoted the 24 solar terms to be declared as an intangible cultural heritage of humanity, we felt that it was too important. Although it is not a holiday, it is a very important guiding principle and symbol when we carry out productive labor. Until now, some ceremonial activities are held in some parts of China during farming or the solar terms of autumn harvest.
Q
Reporter: After urbanization, many people are far away from agriculture, what is the significance of the 24 solar terms in the current era?
Liu Kuili: The 24 solar terms are not only related to agricultural production activities. It is a time record of the natural ecology that is closely related to the life process of our entire earth, all mankind, and even every human being. Figuratively speaking, the 24 solar terms record the earth's annual rings. Most people don't seem to need the 24 solar terms to guide their daily lives. However, compared with our current use of months and weeks to arrange work and life, the 24 solar terms, a time frame formulated according to the changes of nature, have their unique scientific value and rich connotations.
In addition to guiding agricultural production activities, the 24 solar terms have a more vivid relationship and emotional expression throughout the year with the change of solar terms, and also remind people to return to nature and live in harmony with nature. Just like the Qingming Festival, it is the fifteenth day after the spring equinox. At this time, in March, everything recovers, and the weather is clear, so since ancient times, China has the custom of Qingming outing and spring outing at the same time. The Dragon Boat Festival is the midsummer moon, also known as the "evil moon", the evil spirit sprouts, and it must be avoided. Therefore, during the Dragon Boat Festival, there are bathing in orchid grass soup, collecting medicines, wearing sachets, tying colorful threads, and using wormwood, calamus, realgar wine, cinnabar and other anti-five poisons to send the plague god. These customs are all based on a scientific grasp of nature's solar terms. Therefore, even now, the 24 solar terms still have important significance for the times. The Chinese's invention of the time system of the 24 solar terms is a well-deserved and valuable heritage in the treasure house of human knowledge.
Traditional Chinese festivals have the ability to harmonize the relationship between man and nature
The importance of the matter
Q
Reporter: More than 10 years ago, the state incorporated traditional festivals into statutory holidays, reflecting the importance attached to traditional Chinese festivals and people's feelings. Compared with Western festivals such as Christmas, what are the differences between the four traditional festivals in China?
Liu Kuili: Traditional festivals in China are indeed different from those in many countries. Compared with the festival system of some countries or nationalities, which is based on the commemorative days of religious figures or social celebrities, the traditional festivals of the Chinese nation are mainly established based on the coordination of the relationship between man and nature. For thousands of years, this festival system has been an important part of Chinese folk traditions.
Here I would like to talk about the year in particular. It is a very important festival to regulate our relationship with nature. How to embody the renewal of oneness and the renewal of everything? How to reconcile man and nature, and solve the relationship between man and man? So we have a lot of rituals for the New Year. For example, the house should be cleaned before the Chinese New Year; In the past, I had to drink Tusu wine - a symbol of getting rid of all evil spirits and welcoming the new year; It is necessary to kowtow to the elderly to show respect, and the elderly should give the younger generation money to show their love; New Year's greetings to relatives and friends, etc. Nowadays, traditional festivals are a sign of national identity and identity for us.
Unfortunately, in 1912, Sun Yat-sen promulgated the relevant "Almanac Order", stipulating the abolition of the "summer calendar" that had been in use for thousands of years. According to the new calendar, the year starts on January 1 of the Western calendar, and our original New Year's Day refers to the first day of the first lunar month, which was later moved to January 1, and the first day of the first month has no name, and the New Year has become the Spring Festival. Of course, I am also very pleased that the state designated four traditional festivals as legal holidays more than ten years ago, which is equivalent to rebuilding and restoring people's memories of historical traditions.
Q
Reporter: Then why do some people still lament that the Chinese New Year is becoming more and more unflavored? Many people believe that the easiest way to increase their love for traditional festivals is to increase the number of days off for the New Year.
Liu Kuili: Personally, I think that after traditional festivals become statutory holidays, the atmosphere of festivals, the public's respect for traditional festivals, and their awareness of the cultural connotation of traditional festivals have been improved. It's just that the pace of life is accelerating, and the people's attention to real life is sometimes far greater than the attention to tradition, and they don't particularly think about how to continue the proposition of traditional festivals. It may take some time for this to change, but the fact that traditional holidays have become official holidays and the preservation of traditional customs have generally raised awareness of traditions.
It's just that the question of whether the New Year's flavor has become slightly lighter depends on what everyone understands as the New Year's flavor. Is the flavor of the New Year just reflected in setting off firecrackers or watching Yangge? I think the taste of the New Year is in people's hearts. If you think this year is particularly important, especially want to have a good New Year, and really respect the old and love the young during the New Year, this New Year's flavor is enough. Of course, if you think that the New Year is to eat well and dress well, and now you can usually eat well and wear new clothes, then of course there is no New Year's flavor.
As for whether the Chinese New Year can be extended? I thought about this when I was pushing for traditional festivals to be included in statutory holidays. However, we must realize that to increase holidays, the national finance should consider the holiday economy, and these issues need to be considered holistically and systematically.
The safeguarding of intangible cultural heritage is not static
Q
Reporter: Why do we need to protect intangible cultural heritage?
Liu Kuili: Intangible cultural heritage is the common way of life of a group and community, a reflection of national values, and a manifestation of national spirit and character. It is the historical imprint of a nation's struggle and creation, the "cultural record" of the towering tree of national history, and the crystallization of a nation's dialogue with its own history. It also has a very important meaning of being able to unite a group and form an identity. As a Chinese, most people will be excited to celebrate the Spring Festival, and they also know that eating mooncakes during the Mid-Autumn Festival has the beautiful meaning of full moon reunion. The protection of intangible cultural heritage is to protect and inherit the colorful and precious heritage of national culture, and it is the responsibility and obligation entrusted to us by the times. Only by protecting and developing the profound and colorful national culture to the greatest extent can the diversity and richness of human culture be reflected.
Q
Reporter: Does the protection of intangible cultural heritage mean that it will remain unchanged as it used to be?
Liu Kuili: This is actually a misunderstanding that many people have. Asking for intangible cultural heritage to remain unchanged forever as it was yesterday is actually to hold down history and prevent it from moving forward. We can't let a person stay at the age of 3 forever and not continue to grow, so intangible cultural heritage also needs to be continuously developed, evolved and recreated. I once raised the issue of the authenticity of the substrate of intangible cultural heritage protection, that is, as long as the basic nature, basic function, basic structure, basic form and value relationship of intangible cultural heritage to human beings are protected, so that the essence of intangible cultural heritage does not change, then normal changes in intangible cultural heritage can be allowed. For example, a handicraft, perhaps this kind of ornamentation is popular today, and other colors and patterns are popular later, and it cannot be said that this handicraft has failed to be protected, it has just been developing and changing. As long as this change remains within a homogeneous limit, that is, its core elements remain unchanged, the intangible cultural heritage will still be the intangible cultural heritage.
Q
Reporter: This year marks the 20th anniversary of China's accession to the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage.
Liu Kuili: In the past 20 years, China's intangible cultural heritage protection has achieved a qualitative leap in a sense, and what impresses me the most is that the overall protection of intangible cultural heritage has achieved outstanding results, especially the core issue of intangible cultural heritage protection, that is, the issue of inheritors. Historically, most of the folk storytellers and singers who sang epics did not leave their names; Those exquisite handicrafts, everyone often pays attention to the exquisiteness of the handicrafts themselves, and rarely pays attention to the wisdom of the craftsmen. Therefore, when the concept of intangible cultural heritage inheritors is proposed, it can be said that it has found the root of protection and inheritance. In this process of protection, the inheritors have a sense of honor and pride, build cultural self-confidence, and even take responsibility. As the main body of inheritance, their concepts and emotions have also undergone great changes, and these changes have rejuvenated their skills and wisdom with vitality and creativity.
In addition, we can also note that intangible cultural heritage has become a means for people in many regions to get rich and healthy. The form of "intangible cultural heritage inheritors + farmers + cooperatives" has achieved good results in many places, effectively changing the appearance of some rural areas. Of course, we must be soberly aware that intangible cultural heritage can indeed help people make money to a certain extent, but the fundamental purpose of safeguarding intangible cultural heritage is to protect traditions, protect the overall excellent traditional way of life, and reflect respect for craftsmen, technology and creative spirit. For example, festivals, customs, and legends do not make money, so the main task of intangible cultural heritage protection is not to make money, and it cannot become a vassal of the market. If it is purely aimed at making a fortune through intangible cultural heritage, it is contrary to the original intention of intangible cultural heritage protection.
Reporter's Notes
Safeguarding intangible cultural heritage is everyone's responsibility
With silver hair, good spirits, and a graceful demeanor, this is the first impression left by Mr. Liu Kuili, who is just 90 years old this year. Before the interview, he arrived at the agreed place in advance and waited, carefully prepared small gifts for the reporters who came from afar, and patiently guided the driver in the car to avoid congestion.
However, what the reporter admires more is his heartfelt love for Chinese folk culture and his profound thinking about the protection and inheritance of China's intangible cultural heritage. In the interview, Mr. Liu Kuili talked about the many protection concepts of intangible cultural heritage at his fingertips, and he can always explain some important issues in simple terms. In particular, he constantly stressed that the protection of intangible cultural heritage must have the spirit of respect and love, and reminded the inheritors of intangible cultural heritage not to regard making money as the first priority, and not to be completely materialistic.
Mr. Liu Kuili's attention to the current situation of the development of China's intangible cultural heritage and his profound insight into the subtleties are worthy of consideration by the vast number of intangible cultural heritage inheritors and Chinese people. At present, a series of positive changes have taken place in the protection and inheritance of intangible cultural heritage in China, but there are also misunderstandings such as the simple understanding of intangible cultural heritage as traditional handicrafts and the protection of intangible cultural heritage is only the responsibility of inheritors. In fact, as Mr. Liu Kuili said, intangible cultural heritage is shared, and it is more suitable for us as consumers to help craftsmen create from the terminal, and we are also an important "inheritor" of intangible cultural heritage such as traditional customs and festivals.
From this point of view, you and I are important inheritors of intangible cultural heritage. Safeguarding intangible cultural heritage is everyone's responsibility.
Source: Sichuan Online
Reporter: Wu Xiaoling Photographer: Wei Wei