Xiao Fang Xi Hui: The basic characteristics and protection principles of the cultural space of intangible cultural heritage

Intangible Cultural Heritage Cultural Space

Basic characteristics and principles of protection

Xiao Fang Xi Hui

Excerpt

Intangible cultural heritage cultural space is a composite heritage based on a certain law of time, constructed by the corresponding groups of people in relatively determined spatial places to practice specific cultural activities. It has both attributes that are common to intangible cultural heritage and characteristics that distinguish it from other types of intangible cultural heritage. The basic characteristics of cultural space are explained through the perspective of time, space and social relations: the dynamic inheritance of spatial themes and the periodic recurrence of spatio-temporal complexes are presented from the perspective of time; the regional terroir of spatial characteristics and the traditional regulation of spatial places are presented from the perspective of spatial relations; under the perspective of social relations, the organization and standardization of spatial activities and the open sharing of activity space are presented. Nowadays, with the acceleration of the process of globalization, the trend of temporal and spatial compression has intensified, cultural diversity has been strongly impacted, and the protection of cultural space of intangible cultural heritage is facing severe challenges, and it is necessary to implement the active protection of cultural space based on the basic characteristics of its spatio-temporal complex, following the principle of authenticity of connotation, the principle of ecosystem and the principle of adaptability of life, in order to achieve the orderly inheritance and development of excellent traditional culture.

keyword

Intangible cultural heritage;

Cultural spaces;

Since its introduction to the mainland, the term "cultural space" has become a widely used term in the humanities and social sciences. Researchers have conducted a lot of theoretical discussions on "cultural space" based on their respective subject areas, but basically revolve around "cultural space" as a research perspective and "cultural space" as a type of intangible cultural heritage. In view of the current weak discussion of the cultural spatial characteristics and protection theories of intangible cultural heritage in the academic circles, this paper intends to discuss the basic attributes and characteristics of cultural space from the perspectives of time, space and social relations, and establish the main principles for its protection, so as to enrich and promote the theory and practice of intangible cultural heritage protection in mainland China.

01

Cultural spaces from the perspective of intangible cultural heritage

In Old Chinese, "文" means "wrongly drawn, like a text". It represents interlaced strokes, intersecting textures, and later extends to the meaning of cultivation; "hua" means "teaching line also." Teachings at the top become the bottom." It means to practice indoctrination. The term "culture" has been formed since the Han Dynasty, and the "Saying Yuan Zhiwu" contains that "all the martial arts are prosperous, for the sake of disobedience, the culture does not change, and then adds curses." It means wenzhi indoctrination. The word "culture" in the modern sense comes from the West, derived from the Latin word "cultura", which originally meant farming, cultivation, and was later defined by the British anthropologist Taylor, generally referring to knowledge, beliefs, art, ethics, laws, customs, and any other abilities and habits acquired by a person as a member of society through study.

As a "concrete abstraction" concept, the attention and cognition of space by Chinese and Western scholars has gone through a long process. In ancient China, people formed the concept of space very early, the Warring States period "Corpse" proposed "four squares up and down the Universe", "Zhuangzi" has "in and out of the Liuhe, travel to Kyushu", Yu, He is the abstract meaning of the concept of space, refers to the east, west, south, north, upper and lower six specific directions framed three-dimensional space. Liezi, Guan Zhong, Yang Xiong, Liu Zongyuan, Zhang Zai and others made in-depth discussions on the formation, existence, development, scope and state of motion of space. The spatial epistemology of traditional Western philosophy mainly follows two logical paths: one is the "metaphysical" concept of space, which was opened by the ancient Greek philosopher Aristotle's view of finite space, and has undergone the inheritance and development of Newton's absolute view of space, Leibniz's relative view of space, Kant's pure intuitive view of form space, and Hegel's dialectical view of space-time; the second is the spatial epistemology of "subject ——— body", which is represented by Descartes and later developed and evolved by Locke, Berkeley, Hume, Merle Ponty, Heidegger and others. Emphasize the important role of the subject or body in spatial cognition, and follow the subjective consciousness or body perception to examine the process of human spatial cognition.

In the 1970s, Western theoretical circles began to focus on the essential relationship between space, time and society, and space became a new paradigm for effectively understanding society (the so-called "spatial turn"). The French scholar Lefebvre creatively proposed the ternary dialectic of the combination of spatiality, society and history, and made a new philosophical interpretation of the concept of space: first, space has the role of productive forces; second, space is a commodity that can be consumed, which is deliberately and strategically produced, and is a "product of society"; at the same time, space is pervasive with social relations, is a means of political control, and is a tool of power with control and dominance. Space is no longer a concept of physical dimension, but a social, historical concept, and different historical stages and social models will "produce" different spatial forms. In the book "The Production of Space", Lefebvre listed a variety of spatial types, such as spiritual, social, historical, etc., the concept of "cultural space" also came into being, and soon became a term frequently used by scholars at home and abroad, mainly as a theoretical basis and research perspective for discussing various cultural forms and spatial forms, and presented multi-dimensionally in anthropology, sociology, folklore, geography and other fields, with many different expressions of its concept and scope definition. For example, in the field of sociology, cultural space is regarded as a framework within which culture can be learned and inherited, and in the field of cultural geography, cultural space is mostly understood as a cultural area, that is, a geospatial area with common cultural attributes. Multidisciplinary participation has broadened the field of cultural space research, and at the same time, to a certain extent, it has also brought about the blurring and generalization of conceptual connotations.

If it is said that as a theoretical perspective is the concept of cultural space in the broad sense, then since the 1990s, UNESCO has proposed "cultural space" based on an anthropological perspective, setting it as a type of intangible cultural heritage, which is a concept of cultural space in the narrow sense. The Guidelines for the Preparation of Declarations for representative works of the Oral and Intangible Heritage of Mankind, issued by UNESCO, elaborate the concept of "cultural space" as follows: "Cultural space may be identified as a concentrated area of folk or traditional cultural activities, but it may also be identified as a specific time of cyclical or event nature; The 2003 Convention for the Safeguarding of the Intangible Cultural Heritage explicitly includes cultural spaces as a type of intangible cultural heritage in the Convention. On the mainland, the Interim Measures for the Declaration and Evaluation of Representative Works of Intangible Cultural Heritage at the National Level formulated by the State Council in 2005 pointed out that cultural spaces are "places where traditional cultural activities are held regularly or traditional cultural expressions are displayed in a concentrated manner, which are both spatial and temporal". It can be seen from the above that the cultural space from the perspective of intangible cultural heritage emphasizes the superposition of the three dimensions of space, time and cultural practice, which cannot be simply understood as a "materialistic" space, but a complex of cultural practices accompanied by time and space. First of all, cultural space is a spatial place with physical dimension; second, the spatial place must have a cultural practice in which the people participate, emphasizing the "presence" of people and practical activities; third, this "presence" cultural practice must follow a certain law of time and cycle, that is, the so-called "here, here, this person, this thing, this practice". In summary, the cultural space of intangible cultural heritage is neither the living environment or cultural ecological concept of cultural matters under the threshold of pure sociology, nor the concept of cultural area under the threshold of cultural geography, but as a type of intangible cultural heritage, it can be understood as a composite heritage based on a certain law of time and constructed by the specific cultural activities practiced by the corresponding groups of people in the relatively determined place.

02

The basic characteristics of the cultural space of intangible cultural heritage

As a special category of intangible cultural heritage, cultural spaces have both common attributes of intangible cultural heritage and characteristics that distinguish them from other types of intangible cultural heritage. The basic characteristics of cultural space are explained through the perspective of time, space and social relations: under the perspective of time, the dynamic inheritance of spatial themes and the periodic reproduction of space-time compound are presented; under the spatial perspective, the regional terroir of spatial characteristics and the traditional regulation of spatial places are presented; under the perspective of social relations, the organization and normativity of spatial activities and the openness and sharing of activity spaces are presented; the specific discussion is as follows.

(i)

Dynamic heritage of spatial themes

The Convention for the Safeguarding of the Intangible Cultural Heritage states that "intangible cultural heritage is passed down from generation to generation and is continuously recreated by communities and groups as they adapt to their surroundings and interact with nature and history". It can be seen that the intangible cultural heritage itself is dynamically inherited and changeable, and as a process of change, it is both historical and current, like a life-rich river that constantly flows in time and space. The difference between intangible cultural heritage and tangible cultural heritage lies in its dynamic inheritance. Dynamic inheritance contains two aspects of inheritance and development: inheritance emphasizes the continuation of the practical activities left over from history, which is a kind of inheritance of history and culture, but this inheritance is not a static mechanical copy, but more of a living inheritance of essence, to abide by the norms of development; development emphasizes the renewal and improvement of practical activities of the method, path, environment to meet the objective needs of changes, and to obtain beneficial results.

As a complex of cultural practices based on the accompaniment of time and space, cultural space has always been in the process of dynamic inheritance. From the perspective of diachronicity, first of all, as a physical place where cultural practice occurs and develops, the spatial form in the physical dimension of cultural space will change to a certain extent, especially at the moment when it is affected by modernity, the urbanization process is developing at a high speed, and the ever-changing landscape changes occur in the physical space from time to time. Secondly, with the change of daily production and lifestyle, people's concept of time is also quietly changing, which affects the time and cycle of cultural practice activities. Correspondingly, the practice subjects in the cultural space will dynamically update the intangible cultural heritage practice activities according to the time, place and circumstances, and the activity themes of the cultural space are full of dynamic inheritance. Of course, this inheritance renewal must strictly adhere to the "core symbol" of intangible cultural heritage, adhere to the basic core of cultural practice, maintain the basis of traditional cultural characteristics, and change the "random symbol" through appropriate adjustment, which is a living renewal that adapts to the current needs and integrates into daily life. For example, the Cultural Space of Yanjing Community in Mangkang County, Tibet, after experiencing the development of traditional society to modern society, especially after the Yanjing community vigorously developed the tourism industry, The Karma Badian began to carry the function of commercial exhibition in the tourism scene, the physical place of the cultural space was changed from the courtyard of the village to the parking lot of the village community, the exhibition cycle and timing changed from once a year in the New Year to several times to perform several times in conjunction with the time of the tour group, and the content and process of the activities were also moderately simplified, but its most important entertainment and the original ceremonial gods. The basic connotation and function of entertaining the gods are still retained, and the transformation of time and space has not shifted the local people's understanding and recognition of the original cultural significance of the ceremony. This case more profoundly reveals the dynamic inheritance of the theme of intangible cultural heritage cultural space activities, the objective time and space conditions we face are constantly changing, the so-called "not to establish a truth, but poor and changeable", can not be regarded as a "static" pile of old paper or historical relics, but to take the initiative to face and accept its renewal and change, this is the vitality of intangible cultural heritage, as long as the cultural genes and spiritual core of the relative stability, can achieve the continuation of tradition, cultural inheritance.

(ii)

Periodic reproducibility of space-time compounds

As a kind of space-time complex, cultural space can be understood as the time life of the people who have inherited from tradition. It reflects the rhythm of periodic recurrence in the temporal dimension, and this cyclical recurrence is concentrated in the periodic law and node law of practical activities.

Cycle law refers to the fact that the practical activities in the cultural space are not always present, but an orderly activity that follows historical traditions, repeats in accordance with the prescribed order, and has corresponding time intervals. This prescribed sequence may be a natural time sequence, or it may be a social time sequence related to production and life. The most emblematic of the periodic law is the cultural space of various years and festivals, which are repeatedly presented according to the chronological order. For example, in the cultural space of begging in the Xihe region of Gansu, according to the "Xijing Miscellaneous Records", "Hancai women often wear seven hole needles in the open building on the seventh day of July, and they are all used to it", which shows that the custom has a corresponding cycle law at the beginning of its formation, and the development of the Xihe Beggar Festival is still in accordance with the law of intervals of the year, from the evening of June 30 to the seventh night of the first seven nights of July, the begging activities of seven days and eight nights are held every year, and the cultural practice of sitting, greeting, worshiping, entertaining, buqiao, and sending qiao is carried out in chronological order.

The law of nodes refers to the fact that cultural space is a time process, and the "beginning" and "end" of its practical activities are placed on a specific time node, and the selection of this time node is determined by the time of day or the time of man. For example, the winter solstice in traditional Chinese society has long been regarded as a humanistic festival comparable to the New Year, also known as "Sub-Year", and there is still a saying that "the winter solstice is as big as the year". This is the ancients through the observation of the celestial phenomenon, found that the winter solstice is the longest night, the shortest day, after the winter solstice day gradually increased, the night gradually shortened, the so-called yang qi began to rise, the yin qi flourished and declined, so people according to the time of day on this day to worship the gods, ancestors, pray for shade. This tradition has been formed in the pre-Qin period, and the Zhou Li Chunguan contains "to the gods and ghosts of the gods and ghosts with the winter solstice", which continues to the Ming and Qing dynasties, and the winter solstice monarch will go to the Temple of Heaven to sacrifice to the heavens and complete the "great affairs of the country", and the people will sacrifice their ancestors on this day, eating wontons or tangyuan, in order to promote yang qi, good health, and the winter solstice cultural space based on the law of nodes has suddenly emerged. Another example is the Fuxi sacrifice cultural space in the Tianshui area of Gansu, which only appears around the 16th and 19th of the first month of the lunar calendar, and usually the Fuxi Temple and Guatai Mountain are only used as tourist attractions for tourists to visit. Only at the above two points in time, the local will organize a solemn worship ceremony, the surrounding people are empty alleys, worship Fuxi, pray for Blessing Naxiang, according to the words of local residents: "Renzong Grandpa is usually busy, not guarding you every day, only at this time, Grandpa (Fuxi) appears."

(iii)

The regional terroir of the spatial characteristics

The premise of the formation of cultural space is the existence of spatial places in the physical dimension. The meteorological, hydrological, topographical and landscape terroir elements in the spatial place directly affect the economic and cultural forms of the regional society, and determine the livelihood mode and living mode of the local group. As the main body of cultural practice, people living in different regional environments have different cultural personalities and behavior patterns, so different regional spaces and terroir environments will create different cultural practices, and then form various intangible cultural spaces, that is, the ancients called "Guanggu Dachuan different system, people's livelihood in between the heterogeneous". At the same time, the development and evolution of cultural space is also carried out in a certain regional place, which will inevitably be influenced and restricted by their respective environments and cultural traditions, showing significant regional terroir characteristics, as the Japanese scholar tetsuro Tsuji said: "There is no history of leaving the terroir.".

The differences in regional terroir have created a variety of cultural spaces, such as the traditional folk dance of the Han nationality forming a distinct form type in the north and south, the southern folk represented by flower drums and tea picking dances, and the northern folk represented by rice song and dance. Flower drums, tea picking dance rely on the southern terroir environment, elegant tune, lyrics praise the beauty of Jiangnan or a beautiful love life, the action mostly follows the southern agricultural action such as tea picking, beautiful and light, slender and soft; the northern song expression is straightforward and open-minded, the action is strong and heroic, the swing is large, so that the dancers are hot to resist the cold, in line with the regional characteristics of the north. Even in the cultural space of intangible cultural heritage on the same subject, its expression is very different due to regional terroir differences. Like the Qufu Shi Memorial Ceremony in Shandong and the Confucius Festival in Tokyo, Japan, the form and content are obviously different. Originating from the Tang Dynasty, the Japanese Confucius Festival was introduced and pioneered by the Japanese envoys to the Tang Dynasty, which was initially no different from the Chinese ritual, and then gradually influenced by the local customs and customs, and the trend of localization was remarkable. The Tokyo Confucius Festival does not have the traditional Chinese sacrifice of Confucius", "Three Sacrifices" and dances, but with Japanese music to sacrifice fish and Japanese food, and by female tea masters dressed in kimono to offer tea, after the worshippers worship the Confucius icon, and then create the "Analects" propaganda and collective chanting of "Confucius Ode to virtue" link, highlighting the strong local terroir characteristics. "Hundreds of miles and different habits, thousands of miles and special customs", the cultural space originates from the practice of local people's cultural life, showing significant regional terroir, local terroir moisturizes the daily life of local residents, to a certain extent, unifies the behavior of regional people, affects their cultural psychology, and subtly connects the people and the locality.

(iv)

The traditional regulation of the space place

Every inch of the vast earth has its gods and spirits, which are given by nature and cultural history, which is the spirit of the place that the phenomenological school speaks of. The choice of location, form and scope of cultural space places is also regulated accordingly, and must be selected in accordance with historical and cultural traditions. Only the cultural practice in which the cultural practice is based on a certain regulatory system has corresponding value and significance, and this kind of regulatory place of historical inheritance gives cultural practice "sacredness" and "symbolism".

In traditional society, due to the limitations of the elements of productive forces, people's daily life is often confined to a relatively closed fixed area, and when choosing a place for a certain cultural practice, it is bound to be stuck in a specific range of their own ability, but this limited choice is not arbitrary, it will be based on living habits, production experience or simple philosophical concepts (such as feng shui), follow the law, and usually pass on a fixed space place after selection. In the course of history, spatial places and regulatory traditions have been constantly constructed from each other, and their "significance" has gradually increased. Even in today's society, the spatial scope of people's daily lives has expanded, but the choice of places in cultural practice is more inherited from historical experience, on the one hand, it is manifested as the continuation of places, and more importantly, it is the convergence of selective ideas. For example, the traditional Chinese social sacrifice, since the Zhou Dynasty, has adopted the sealing of the soil to set up altars or trees to sacrifice, and the Six Dynasties "Jingchu Chronicle" records that "the day of the society, the four neighbors and the comprehensive society, the livestock mash." For the house under the tree. Sacrifice to the gods first, and then enjoy them." Although the size of the social festivals at the later levels of the country, prefecture, county, county, pavilion and li varies, the choice of their places of worship follows the above standards, showing obvious traditional regulation. This regulatory nature remains in contemporary times, as exemplified by the macao land customs inscribed on the National List of Representative Items of Intangible Cultural Heritage. Residents of The Macao region have a firm belief in the god of the society who is in charge of one side of the land, and every time the second shrine is born in early February, they will go to the Fude Ancestral Hall (Land Temple) in groups accompanied by the lion dance to worship in order to prosper Pepsi, and the local people believe that only in a specific temple place, the blessing will be fulfilled, and this sacrifice ceremony has obvious spatial boundaries and places. For the convenience of sacrifice, Macao has built a number of land temples, such as the famous Sha Li Tau Land Temple, ChiZai Yuen Fude Temple, Lower Wan Fude Temple, etc. The above shows that cultural space and regulatory places are mutually exclusive, and the places selected to inherit the tradition not only have the role of space bearing, but more importantly, have symbolic significance, giving cultural space special cultural meaning.

(5)

The organization and prescriptiveness of space activities

The practical activities under the cultural space originate from the collective mentality, language and behavior patterns, and in the process of inheritance and expansion, they are continuously processed, enriched and perfected by the collective, and the simple individual behavior does not constitute the practical activities in the cultural space. This collective mode of behavior determines the organization and normativity of cultural space practice activities.

Organizationality refers to the formation of aggregates by the people who participate in cultural practice, based on interest, geography or blood, on the premise of voluntariness and self-consciousness, on the principle of self-management and self-service, and for the purpose of ensuring the smooth progress of cultural practice. The aggregate is temporary, aggregates only during the event, is not for-profit, has a relatively loose structure, and members are free to join or withdraw. For example, the Beijing Miaofeng Mountain Temple Fair from the first to the fifteenth day of the fourth month of the lunar calendar every year attracts pilgrims from the entire Beijing-Tianjin area, pilgrims form incense club organizations because of common beliefs and customs, and all kinds of incense clubs are divided into old churches, holy meetings, cultural associations, martial arts associations, etc. According to the establishment time and activity purpose, the cultural associations donate degree items to the temple, provide food, tea breaks and other services for pilgrims, and the martial arts associations are mostly based on performances and performances, five tiger sticks, stilts, songs, dragons and lions, etc. are very lively. Over the years, pilgrims walking, performing and worshiping on various types of incense club organizations constitute the cultural space of Miaofeng Mountain, inheriting and continuing the cultural connotation of Miaofeng Mountain, and the organization of the incense club is an important guarantee for the vitality of the cultural space of Miaofeng Mountain.

Normative means that cultural practice activities need to follow the corresponding institutional norms, "no rules, no squares", cultural space has always existed a conventional system to regulate and constrain the activities in the space and their personnel behavior. For example, in traditional folk beliefs, ancestor sacrifices, gods and ghosts worship, the ritual process needs to be strictly implemented in accordance with a certain procedure, who serves as the chief priest, who serves as the accompanying person, their respective spatial positions, the order and content of the initial offering, the sub-sacrifice, and the final offering are all stipulated. Most of these procedural norms are based on historical and cultural traditions, which are customary by the people, and are inscribed in the cultural genes of the subject of practice through generations of oral transmission and practice.

(6)

Open and shared event space

The Convention for the Safeguarding of the Intangible Cultural Heritage considers "intangible cultural heritage to be an essential element of close relationship between people and for communication and understanding between them". As a special type of intangible cultural heritage, the cultural space is an open field of sharing and inclusiveness, and there is no threshold of class for internal practical activities, which is a living culture that the general public can participate in and enjoy. Different people, different communities, and ethnic groups can hold and share the fruits of the same culture at the same time. As a part of people's lives, cultural space is not something that any class or individual can hide or monopolize, it is a "public culture", a culture of public concern, participation and "consumption". For example, various types of festival cultural spaces are built and shared by the people. Taking the Lantern Festival as an example, since the Sui and Tang dynasties have been documented, from the Ming and Qing dynasties to modern times, everyone can participate in both men, women, children, and urban and rural poor and rich. The Sui Shu Liu Yu Biography records that "when I saw Jingyi, Ye and Waizhou, every time I looked at the night with the first moon, filled the streets with strangers, and gathered to play and travel." The drums beat the sky and burned on the ground." Zhang Dai of the Ming Dynasty described the scene of the Hangzhou New Year's Eve Lantern Festival: "The mountains are all lampless, the lamps are not seated, the seats are all people, and everyone is singing and advocating." After modern times, the Lantern Festivals in various places are even more lively, around the fifteenth day of the first month, the people make and decorate all kinds of lanterns, and hold celebrations such as burning lanterns and flares to pray for reunion and beauty, Guotai and People's Security. On the basis of the lantern festival, a series of interesting cultural festivals such as guessing lantern riddles, playing with social fires, and traveling to hundreds of diseases are formed, and wandering in them will not only highlight the public participation of the cultural space, but also reflect the sharing of the achievements of the cultural space.

The theme of the 2021 Chinese Cultural and Natural Heritage Day is "People's Intangible Cultural Heritage, People's Sharing", which emphasizes that intangible cultural heritage needs to be participated in by everyone, enjoyed by everyone, and the fruits of intangible cultural heritage protection should benefit the broad masses of the people.

03

Principles for the protection of cultural spaces of intangible cultural heritage

With the acceleration of the modernization process, the power of economic capital transcends the traditional time and space restrictions, reconstructs the social space and local culture on a larger scale and at a deeper level, and the cultural space, as a complex of local cultural practices carried out by a certain group of people in a specific time and space, its practice subjects and time and space environment are affected, and the inheritance and development of cultural space are facing great challenges. It is very urgent and necessary to protect the intangible cultural space, avoid the "cultural hegemony" of strong cultures over weak cultures, and realize the cultural diversity vision of "one flower blooming alone is not spring, a hundred flowers blooming in spring and full of gardens". As a special type of intangible cultural heritage, cultural spaces should determine the principle of protection according to their attributes and characteristics, with a view to prescribing the right medicine and being targeted.

The principle of connotative authenticity

Authenticity is the premise of intangible cultural heritage protection, and only on the basis of authenticity can cultural space talk about inheritance and development. The reality of cultural space is a kind of "truth" of development and change, which is different from the static "truth" of tangible cultural heritage, which is frozen by history. The living characteristics of intangible cultural heritage make it always in change, and its "truth" is also evolving, but this change and evolution is not without marginal restrictions, we must truly maintain and inherit the core values, core skills and core concepts inherent in culture, and update and develop the epitaxial representations of intangible cultural heritage based on changes in time and space on the basis of the original connotation. Even if there is a cultural change within the cultural space, this change should be real, in line with the law of cultural evolution, and an active choice for the natural development of the community people. In practice, it is necessary to clarify the value core of the cultural space and the source of life power, understand which can be innovated, which are unchanged, based on this forward-looking understanding and judgment, in order to guide us to "everyone to collect firewood" and "heart to one place", to maintain the healthy and orderly development of the cultural space. On the contrary, abandoning the analysis and understanding of the core connotation, protection will be like a headless fly, either stagnating the living inheritance of cultural space and making it lose its vitality and vitality; or changing the origin of culture, causing it to lose its true appearance and change from essence to other forms of cultural space.

Ecosystem principles

As a complex of interaction between people and time and cultural practice, cultural space is related to a variety of relationships between culture and the environment, cultural elements, similar to a natural ecosystem, internal elements affect each other and are interdependent, so its protection should be an ecosystem project containing all related elements.

The first is the systematic protection of cultural space habitats, involving both the natural environment and the social and cultural environment, which are the production basis of cultural space, and the lips and teeth are interdependent and symbiotic to form a cultural ecosystem. The water and soil, climate, landscape in the natural environment, the values, moral norms, aesthetic tastes, production methods and livelihood models in the social and cultural environment will all affect the generation and development of cultural space. Once the cultural practice activities are separated from their associated environment, they will become water without a source, a wood without a root, let alone talk about authenticity and locality. Just like the cultivation of Chinese herbal medicine, out of a specific water and soil, not only the growth is slow, the efficacy of the drug is also affected, and the authentic medicinal materials must rely on the specific environmental system of the local area, otherwise it is inevitable that the southern orange and the northern orange will be heard. The same is true for the protection of cultural spaces, which requires that we systematically take care of the natural environment and the socio-cultural environment.

The second is the ecological protection of cultural practice ontology. When facing the cultural space, it must be based on the overall form and systematic value of cultural practice for judgment and protection, cultural practice under the cultural space is often accompanied by a variety of activities, similar to the nature of the cultural cluster, can not artificially tear apart the organic cultural cluster, only protect their own "value" part. For example, the common temple fair cultural space, which contains folk customs, folk entertainment, folk commerce and other cultural activities, is a composite field that integrates folk customs of faith, material life, social organization and even craft folklore, and it is necessary to consider the overall situation in inheritance protection, not only to pay attention to the continuation of faith rituals, but also to pay attention to the commercial and entertainment functions of temple fairs, and cannot be narrowly one-sided protection. Fragmentation that violates the principle of ecology will destroy the overall appearance of cultural space, resulting in local imbalance, which not only fails to achieve the purpose of protection, but also may bring irreparable damage to cultural space.

The principle of adaptability to life

Intangible cultural heritage originates from the production and living practices passed down from generation to generation by the people, whose daily life is the fertile soil that nourishes their vigorous development, and the people's community is its practitioner from beginning to end. There is a double "symbiotic" relationship between intangible cultural heritage and people's lives, that is, symbiosis at the behavioral level (the people are the subjects of the Chinese practice of daily life, maintaining their own "physical presence") and psychological symbiosis (the people identify with intangible cultural heritage, and use this to organize life, standardize life, beautify life, and maintain a kind of "meaning present").

As a kind of regional life and cultural field full of vitality, its sustainable development must be based on the protection of local daily life, which is not a deliberate reproduction and rigid reproduction of historical relics, but a protection that requires the people to be present, with the community people as the main body, "see people and see things and see life", is a kind of protection with dewdrops, steaming, full of vitality, is a kind of protection that conforms to changes in daily life and communicates with people's daily life. Only by integrating cultural space into life can we pass on its torch, and the tradition of living and living with tradition is the ideal state of survival. Mr. Liu Kuili once used the analogy of "live fish to see in water" to the protection of intangible cultural heritage of folk literature, "live fish" refers to the dynamic change of intangible cultural heritage, and "water" refers to the objective environment of its survival and development, which is also applicable to the protection of cultural space. What needs to be added is that this "water" must be "living water", because our daily life is developing and changing, there is oxygen and food that meets the survival and development of fish in living water, and the protection of cultural space can only flourish and flow endlessly if it comes from life, close to life, and embraces life.

04

Conclusion

Under the background of globalization, today's social mode of production and people's living mode have undergone tremendous changes, the trend of "time and space compression" has been quickly transmitted from the economic and social fields to the cultural field, and the whole world is experiencing the deepest and longest degree of cultural interaction, and the trend of cultural connotation and cultural convergence is inevitable. How to protect human cultural diversity, how to promote exchanges and mutual learning between Eastern and Western civilizations, how to face the new challenges of Technological Society, and how to inherit excellent traditional cultural genes, this series of realistic and urgent issues deserve our deep consideration. The report of the "Nineteenth National Congress" of the Communist Party of China proposed that it is necessary to deeply excavate the ideological concepts, humanistic spirit and moral norms contained in china's excellent traditional culture, and inherit and innovate in combination with the requirements of the times, so that Chinese culture can show permanent charm and the style of the times. As one of the spiritual foundations of national development, intangible cultural heritage is a concentrated embodiment of excellent traditional cultural genes. Through the analysis and discussion of the intangible cultural space, in theory, it is conducive to improving the theoretical system of the inheritance and development of excellent traditional cultures; in practice, it can protect the essence of regional culture and enhance the ability to cope with the dissolution of cultural diversity by modernity. As a unique type of intangible cultural heritage, cultural space is an important field of intangible cultural heritage protection, and the academic community should further strengthen the breadth and depth of the research on "cultural space" according to the characteristics of the cultural practice complex accompanying time and space, and make more positive contributions to the protection and revitalization of intangible cultural heritage and the continuation and inheritance of human cultural diversity.

(Notes are omitted, see the original issue for details)

Source: Cultural Heritage, No. 1, 2022