Excellent traditional Chinese culture, and even the subject of intangible cultural heritage, can be said to be inseparable from the online articles I have written in the past three years. My desire to write a book specifically for intangible cultural heritage is no longer a temporary thing, but it has always been I am troubled by the limitations of my personal writing style, I am troubled by the lack of traffic and the lack of communication value, I am troubled by the power of one person, and it seems to be arty.

It has been nearly four years since I started to pay close attention to intangible cultural heritage, and I have been doing on-site visits for more than a year. In the first half of the year, I also mentioned to the editor that I would create a work entirely centered on intangible cultural heritage, but because of the above worries, I have been putting it off until now.

This book participated in the "Reading and Seeing Intangible Cultural Heritage" essay solicitation. On the day the essay solicitation started, I didn't see it myself, because during the day I was still chatting with the editor about a few ideas that I didn't even outline. What if I wanted to If I were to write several articles about intangible cultural heritage, which one would be suitable for participating in a realistic essay competition? So as soon as my friend saw it, he quickly sent it to me and said: Look, you were still talking about this a while ago. It just hit the muzzle of your gun.

When I saw this essay call, I had two very straightforward feelings: one was that I was moved that writing this intangible cultural heritage might not be just for love. After all, the travel expenses for the past two years, buying it for reference, etc. also cost my parents. A lot of money, and the other thing is that I have been worried about what I can't do on my own, and there has been a development that I can't even imagine.

After all, the audience for this kind of article is really relatively small. If I write dozens of articles, even if it is supported by the platform, it may still be like nothing, with no response. Or maybe it will attract many readers, but even if I study I don’t do anything anymore. I just code and visit intangible cultural heritage. How many intangible cultural heritage can I write in a year? It’s just a drop in the bucket.

Now it's all right, whether it's for love or for essay writing, as long as I start, I think everyone will fall in love with these intangible cultural heritage.

The essay collection that China Literature has done has always been very up-to-date, ranging from real-life themes over the years to war epidemics, Pomegranate Cup, Oracle, sports of great powers... and now to today's intangible cultural heritage. Some people always say that China Literature values ​​profits. It is true that any company does. The purpose is to make profits, but if you dare to invest money to do things that cannot guarantee returns, the success will be in the present and the benefits will be in the future.

What is difficult to do by oneself, if thousands of stars shine together, they will surely shine on our country!

Before talking about Hang Luo and this book, I would like to talk about intangible cultural heritage, the protection of intangible cultural heritage, and me and intangible cultural heritage with everyone who reads this book.

‘Intangible cultural heritage’ is actually a vocabulary defined by UNESCO, as well as the direction it covers. In other words, this term did not exist in ancient times.

The reason why heritage becomes heritage is precisely because of the "historical time" it spans. The five thousand years of Chinese civilization and the wisdom of the Chinese people have naturally left a huge amount of cultural heritage for this land.

So even though it has been divided according to world-level, national-level, provincial-level, municipal-level, and district-level levels, it is still not possible to exhaustively include all the intangible cultural heritage in Kyushu.

A few years ago, probably in 2018, when I was less than fifteen years old, I had an opportunity to do a topic with my friends on the 'Current Situation and Promotion of China's Excellent Traditional Culture'. It was at that time that I started to pay special attention to it. The term 'intangible cultural heritage' has begun to give a more detailed understanding of China's intangible cultural heritage.

At that time, the official website of the National Intangible Cultural Heritage only updated sporadic updates on some activities. The relevant research we could find was basically ten years ago. Combined with the understanding of these by the students around us, it suddenly felt like a 'bang':

It’s over, the country is providing support, but it’s still in the same state, what should we do...

I went to visit the Dongcheng Intangible Cultural Heritage Museum and found that almost no one visited it. I sent out a questionnaire and got various survey results such as 'no time', 'don't understand', and 'too much money'. Finally, I wrote out a score of more than 10,000 yuan.

Words, I thought it was a complete research report...

Thinking about it now, whether it is the inheritance of folk customs or the restoration of skills, it does not happen overnight. Short-term stagnation is a normal phenomenon. The behavior and research results back then were indeed reckless, one-sided and childish.

But I did realize in this way that people have a one-sided understanding of intangible cultural heritage. Many people may think that intangible cultural heritage only includes the "skills" part, but they don't know that folklore, sports, acrobatics and other categories also belong to intangible cultural heritage... For intangible cultural heritage

The protection, inheritance, and promotion of cultural heritage are still a road that takes a long time to walk, and we can only see the glory in the distance, but not the end.

When I started writing online articles (in 2019), I was trying to integrate Chinese culture into the creation of online articles. Those of you who have been following my books should have discovered this.

Until 2020, I chose the "Twenty-Four Solar Terms" as an intangible cultural heritage in the children's literature competition of China Literature, People's Daily, and China Zhongfu Publishing House. Judging from the feedback of readers, online articles can indeed be regarded as

A way to activate Chinese culture and intangible cultural heritage that can better penetrate into the hearts of young people and teenagers.

It is precisely because of this that I have become more determined to use literary creation to spread Chinese culture and spread intangible cultural heritage.

In the past two years, due to some special personal reasons, I have been relatively idle and have the time to appreciate the beauty of intangible cultural heritage on the spot. Unfortunately, due to the epidemic, I may only have a superficial understanding of it so far.

There are twenty or thirty skills, intangible cultural heritage under the category of folk art, and more are still in my follow-up visit plan, waiting for an opportunity to meet.

Let’s talk about the intangible cultural heritage itself, let’s talk about Hangluo, and why I want to start writing about Hangluo.

Intangible cultural heritage, which is different from material cultural heritage, is more "people-oriented". Looking back on Chinese history, the Song Dynasty should be regarded as a turning point in the understanding of the value of 'people'.

When talking about the cultural inheritance value of the Song Dynasty, we have to mention the "Song Rhyme Culture" proposed in recent years, and Hangluo, as an important source of income for the people in Lin'an City, the capital of the Southern Song Dynasty, is an inseparable part of it.

Hangluo is the Luo of "Lingluo Silk", part of the Silk Road. It is the development of folk handicrafts, silk weaving culture, working people's pursuit of truth and pragmatism, and even a world card of Chinese culture. This is its value to history and culture.

, and also its value to the development of people’s livelihood.

Hang Luo is directly related to 'clothing, food, housing and transportation'. In the past, Hang Luo may have been something that only dignitaries were qualified to wear and could afford to wear. But now, it is now affordable and affordable for well-off families.

As society develops, intangible cultural heritage is also "flying into the homes of ordinary people" step by step.

Of course, historians should have a better understanding of Hangluo's historical value, humanistic value, or economic value than I do. What I really want to do is to let everyone understand the beauty of Hangluo in the form of stories.

Although a lot has been said about the value of Hang Luo, or the factors that borrowed the style of "Song Dynasty Culture", I actually chose Hang Luo as the first pure intangible cultural heritage story for another reason.

As mentioned earlier, the number of intangible cultural heritage that I have actually gone to the field to understand is only a few dozen. Compared with the numerous three thousand stars of national-level intangible cultural heritage, they are only one hundred and one.

I wanted to take down the brilliance of these three thousand stars one by one, put them into an article, and write a long article with several million words. However, the project is so huge that I can only draw it slowly. And two to three thousand

I can still cope with short stories of about 500,000 words, or medium and long online articles of about 500,000 words.

I also mentioned before that my topic selection is actually very wide. How to choose and why I started with Hangluo? I have to mention the double shock that Hangluo brought to my vision and hearing.

When I first learned that Fuxing Silk Factory is the only one that still masters Hangluo weaving technology, I thought, this is "Luo". Everyone knows the word "Lingluo silk", but now the weaving of "Luo" has become

Has it come to this?

When I entered the factory, the first thing I felt was "noisy". The rumble of the loom was obviously very different from the "Zhaza making machine" in the textbook. But the sound of the loom directly hit my heart.

When I recovered from the shock, my second feeling was 'heat'. It was still sunny in Hangzhou in the summer, so there was no air conditioning. It was so stuffy inside the factory that it even felt hotter than outside the factory.

How many degrees!

After several conversations, I learned many stories about Hang Luo, and even realized that if it weren’t for some metaphysical luck, I could see, read, and enjoy this treasure today.

So much so that I was so busy "inviting" to go home dozens of meters of horizontal silk and ingot-patterned silk. At this time, I still just marveled at the beauty of Hangluo and the length of its rhyme. For some stories, I still wanted to "listen to the story"

mentality.

Seeing the ready-made clothes on display, listening to Grandma Hong talking about her favorite piece of Hangluo clothing, and even hearing that Uncle Zhang, the latest generation inheritor, changed his view on Hangluo just because of a piece of clothing made of Hangluo, that feeling

Far less than the moment I actually put it on my body, I understood the beauty of it.

The sentence "We can't let the craftsmanship die in our hands", the seemingly unrealistic story, and the time spent stitch by stitch, have become a simple but bright thousand-year culture worn on the body.

Enough words have been said, why not let you in this book, through the encounter of the heroine spanning thousands of years, in a shuttle and a line, feel the world-class extraordinary story that is limited by my poor writing and ink and cannot fully shine.

Material cultural heritage - Hangluo.

Ciliansheng

Yihai day of Jiyou month of Renyin year (September 19, 2022)

Yu Jing
Chapter completed!