Daily Life and the Living Protection of Intangible Cultural Heritage: Based on the Research of Regong Art Protection, Huangnan Prefecture, Qinghai Province

Yue Guo

doi:10.6918/IJOSSER.202409_7(9).0042

Authors

Yue Guo

DOI:

https://doi.org/10.6918/IJOSSER.202409_7(9).0042

Keywords:

Intangible Cultural Heritage Protection; Regong Art; Life.

Abstract

Since the new century, the protection of intangible cultural heritage has become a hot topic in society, and various sectors of society have proposed relevant protection measures and means. The state, market, and society have mobilized a large amount of political, economic, and socio-cultural capital to invest in the protection of intangible cultural heritage, and have achieved significant results. However, it should also be noted that with the intervention of various capital, the protection of intangible cultural heritage has encountered problems such as insufficient vitality in cultural heritage protection. Therefore, based on a case study in Huangnan Prefecture, Qinghai Province, this article attempts to return the protection of intangible cultural heritage to the context of daily life, by maintaining the lives of local people and meeting the demands of local painters, in order to achieve the protection of intangible cultural heritage of Regong art.

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References

Wang Wanping: "The Historical Changes of Cultural Cultivation in the Regong Region", Journal of Northwest University for Nationalities (Philosophy and Social Sciences Edition), Issue 06, 2007.

Ma Chengjun: "Regong Tangka Art", China Culture Daily, 2005-08-25.

Zhao Qingyang: A Brief Survey of Regong's Art History (Part 2), Xizang Art Research, Issue 01, 1997.

Zhao Qingyang: A Brief Survey of Regong's Art History (I), Xizang Art Research, No. 04, 1996.

Li Yuanyuan: "The Construction, Masking, and Elimination of Ethnic Borders - A Social Biography of Tangka Art in a Village", Ethnic Art, Issue 03, 2017.

Qi Jinyu: "Investigation on the Status of Intangible Cultural Heritage Protection of Regong Tangka Art: A Case Study of Wutun Village, Tongren County, Huangnan Tibetan Autonomous Prefecture, Qinghai Province", 2011.

Qi Jinyu: Viable Thoughts for the Inheritance and Protection of Intangible Cultural Heritage -- Taking "Regong Art" in Huangnan Tibetan Autonomous Prefecture, Qinghai Province as a case, Journal of Northwest University for Nationalities (Philosophy and Social Sciences Edition), No.06,2009.

In early 2003, the "Chinese Ethnic and Folk Culture Protection Project" was officially launched, and China's intangible cultural heritage protection work began to enter a comprehensive and integrated protection stage.

In March 2005, the General Office of the State Council issued the Opinions on Strengthening the Protection of Intangible Cultural Heritage in China, which formulated relevant measures and regulations for the protection of intangible cultural heritage at the national level.

Gao Bingzhong. The Protection of China's Intangible Cultural Heritage and the End of Cultural Revolution. Open Era, 2013 (05): 143-152.

According to 2015 data statistics, Tangka has attracted 98% of farmers and herdsmen from 4 villages to work, with an average annual output value of 210 million yuan, which is on par with the annual fiscal revenue of Tongren County. It is the first in Qinghai Province to collectively enter a moderately prosperous society.

For details, please refer to Ma Chengjun's "Regong Tangka Art", published in the Chinese Culture Daily on August 25, 2005.

The pronunciation of the village name is roughly the same, but there are different recording methods in different historical periods. The author saw doorplates in different fonts such as "wutong", "Wutun" and "Wutun" in the field, which confirmed the change of the village name in different historical periods. For this change, please refer to Professor Qi Jinyu's related works.

Regarding the classification system of Tangka inheritance in the Regong area, Zhuo Mocuo proposed five classifications: temples, families, schools, enterprises, and workshops. Wang Xingxing proposed a binary system of temple inheritance and external inheritance. Zheng Xiangchun proposed a pendulum style spiritual dimension of "home home". This article refers to these classification systems, comprehensively considers inheritance methods and training objectives, and adopts a three part system of temples, families, and workshops.

For the specific development of Regong area, see Zhao Qingyang: A Brief Survey of Regong Art History (I), Xizang Art Research, Issue 04, 1996, and a Brief Survey of Regong Art History (II), Xizang Art Research, Issue 01, 1997.

Tangka is an important religious symbol in Tibetan Buddhism, expressed in the form of scroll paintings mounted on colorful satin fabrics. It not only has the characteristics of religious symbols, but also gradually forms an art form that uses unique materials and techniques. Considering the religious significance contained in thangka, this article does not adopt the expression method of thangka art, in order to analyze the different understandings and development orientations of thangka artists in thangka production.

The interview materials were obtained from interviews conducted by interview groups Guo Yue, Aqi, Zhang Yuannian, Li Wuyunga, and Sotaiji on May 1, 2018 at Wutun Shangsi and Xiasi.

The interview data comes from an interview conducted by the interview groups Guo Yue, Ah Qi, Zhang Yuannian, Li Wuyunga, and Sotaiji on May 2, 2018 at the Wutun Family Painting Workshop.

The interview data comes from an interview conducted by the interview groups Guo Yue, Aqi, Zhang Yuannian, Li Wuyunga, and Sotaiji on May 2, 2018 at Longshu Painting Academy.