沈曉鵬

第二屆中國(guó)—中東歐國(guó)家非遺保護(hù)專家級(jí)論壇在杭召開(kāi)

遠(yuǎn)古的絲綢之路，是文化交流的紐帶，連接著來(lái)自東方和西方的貨品與風(fēng)物，創(chuàng)造了人類文明交流的傳奇與佳話。絲綢之路的駝鈴不再，卻留下了恒久的文化。如今，中國(guó)“一帶一路”倡議，也推動(dòng)著沿線國(guó)家和地區(qū)在非遺文化上的溝通、對(duì)話與合作。

9月中旬，第二屆“中國(guó)—中東歐國(guó)家非物質(zhì)文化遺產(chǎn)保護(hù)專家級(jí)論壇”在杭州舉行。論壇以“大匠至心·手創(chuàng)造的文化記憶”為主題，邀請(qǐng)53位中國(guó)和中東歐16國(guó)文化機(jī)構(gòu)的管理者、文化學(xué)者、代表性傳承人與工藝家齊聚運(yùn)河邊，探討關(guān)于非物質(zhì)文化遺產(chǎn)保護(hù)的思路與策略。

中東歐諸國(guó)從來(lái)不缺乏藝術(shù)氣息，無(wú)論是捷克的水晶、木偶，還是匈牙利的民間刺繡，或是羅馬尼亞的陶瓷，都有著引人入勝的故事。面對(duì)豐富的歷史文化遺產(chǎn)和非遺資源的富礦，中東歐16國(guó)如何傳承和發(fā)展？又有哪些關(guān)于非遺保護(hù)的經(jīng)驗(yàn)可以成為中國(guó)的他山之石呢？

來(lái)自波黑、克羅地亞、愛(ài)沙尼亞、匈牙利、拉脫維亞等“一帶一路”沿線國(guó)家的專家，在論壇上分享了各自的思考。

米蕾拉·米莉切維奇·舍契奇（波黑手工藝人）：

用在家庭設(shè)計(jì)上，傳統(tǒng)木雕技藝“活”更久

在100多年的歷史當(dāng)中，我們科尼茨地區(qū)（波黑一座歷史悠久的小鎮(zhèn)）的木雕技術(shù)得到很多發(fā)展，而且當(dāng)?shù)厣鐓^(qū)已經(jīng)將木雕技術(shù)作為他們身份認(rèn)同的一部分。這些木雕有獨(dú)特的設(shè)計(jì)，質(zhì)量也非常好，在科尼茨的家具制作當(dāng)中也會(huì)使用到這些木雕技術(shù)。

有一個(gè)有趣的現(xiàn)象，（一般來(lái)說(shuō)）木雕技術(shù)是男人學(xué)習(xí)的，而在我們國(guó)家，女性在推廣這些木雕技藝上起到重要作用。她們把這些木雕產(chǎn)品使用在了生活當(dāng)中，比如家庭物件的設(shè)計(jì)，而且她們也能夠引入很多有創(chuàng)造性的元素。

實(shí)際上，用木雕技術(shù)來(lái)做一些小物件，它的技術(shù)要求并不是那么高，但通過(guò)這些小物件能夠讓人們意識(shí)到，原來(lái)我們可以利用身邊的這些自然原材料，而且這些材料也有它的美學(xué)價(jià)值，能夠給我們帶來(lái)全新的體驗(yàn)。

戈蘭卡·霍爾揚(yáng)（克羅地亞民族博物館主任）：

沒(méi)有年輕人參與，傳統(tǒng)工藝就沒(méi)有前途

克羅地亞在非物質(zhì)文化遺產(chǎn)保護(hù)方面一直投入了大量的精力，我們有15個(gè)傳統(tǒng)工藝被列入了聯(lián)合國(guó)教科文組織的非遺名錄，這在歐洲是一個(gè)很高的數(shù)字。所以在克羅地亞，非遺文化方面有一個(gè)非常有力的政府保護(hù)，我們一直以來(lái)都試圖建立一個(gè)能讓傳統(tǒng)工藝可持續(xù)發(fā)展的框架。許多的傳統(tǒng)工藝開(kāi)始走向了商業(yè)發(fā)展，有一些是與文化旅游業(yè)進(jìn)行合作。當(dāng)然了這些行動(dòng)都是不易的。

我們面臨的一個(gè)挑戰(zhàn)，就是如何在擁有一個(gè)可持續(xù)的商業(yè)框架內(nèi)保持傳統(tǒng)工藝的活力，如何吸引年輕一代加入傳統(tǒng)工藝的工作中。沒(méi)有年輕人的參與，傳統(tǒng)工藝就沒(méi)有前途。

越來(lái)越少的人愿意去職業(yè)學(xué)校學(xué)習(xí)傳統(tǒng)工藝，包括木工、水管工，這些行業(yè)的學(xué)生越來(lái)越少，年輕人的興致越來(lái)越低，因?yàn)檫@些涉及到大量的體力勞動(dòng)。人們的觀念越來(lái)越進(jìn)入數(shù)字化時(shí)代，因此他們不愿意把注意力放到物質(zhì)和體力勞動(dòng)上。而且正規(guī)的學(xué)校教育并沒(méi)有設(shè)置非遺方面的課程，所以兒童缺少手工藝方面的興趣。

還有一個(gè)問(wèn)題，手工藝制造的工作條件非常陳舊，這會(huì)打消年輕人投入這些行業(yè)的積極性。而從制作商品，到銷(xiāo)售，到宣傳，這些所有的環(huán)節(jié)手工業(yè)者都要親力親為，有一些大師沒(méi)有足夠的資金建立自己的工作室，因此他們也沒(méi)有繼承者。

那么，專家如何去為手工藝從業(yè)者提供幫助？展覽是有用的，但是不會(huì)直接給手工藝從業(yè)者帶來(lái)經(jīng)濟(jì)效益。有一些手工藝從業(yè)者會(huì)去尋找一些新的消費(fèi)群體，比如：把這些傳統(tǒng)的手工藝品制作成禮物，適應(yīng)當(dāng)今的一些場(chǎng)合；或者花費(fèi)一些時(shí)間，組織一些活動(dòng)，建立培訓(xùn)班，可能會(huì)幫助手工藝從業(yè)者提高收入。

列埃洛·伊西多拉·維伊塔（愛(ài)沙尼亞民俗文化中心非物質(zhì)文化遺產(chǎn)部主任）：

編制非遺名錄，讓社區(qū)參與項(xiàng)目保護(hù)

自從2006年開(kāi)始，愛(ài)沙尼亞就成為聯(lián)合國(guó)教科文組織非遺保護(hù)公約的締約國(guó)?！肮s”的實(shí)施工作主要是由愛(ài)沙尼亞民族文化中心來(lái)實(shí)施的，它是我們文化部下面的一個(gè)中心，主要工作就是要管理國(guó)家非遺名錄。這個(gè)名錄是2007年開(kāi)始的，由大學(xué)的研究者、專家，還有兩個(gè)社區(qū)以及博物館來(lái)進(jìn)行合作編制。編制名錄的目的就是為了保護(hù)非遺。

什么樣的非遺項(xiàng)目能被納入名錄呢？它的標(biāo)準(zhǔn)是什么？首先，這個(gè)非物質(zhì)文化遺產(chǎn)項(xiàng)目必須是對(duì)社區(qū)非常重要的，所有的社區(qū)都能夠提交他們想要納入到這個(gè)名錄當(dāng)中的一些項(xiàng)目。第二點(diǎn)，他們想要提交的這個(gè)項(xiàng)目必須是現(xiàn)存的遺產(chǎn)，并且這樣的非遺項(xiàng)目必須是代代相傳的。有一個(gè)例子，在我們一個(gè)小島上只有一個(gè)藝人有這樣的技術(shù)——專門(mén)制造節(jié)日的時(shí)候所穿的服飾?，F(xiàn)在已經(jīng)有年輕人在學(xué)了，并且自己也建立起小工廠。

另外在編制名錄時(shí)，非遺項(xiàng)目在傳播時(shí)會(huì)遇到什么樣的挑戰(zhàn)和障礙，以及有什么保護(hù)這個(gè)非遺項(xiàng)目的好做法，這些信息都會(huì)被呈現(xiàn)在非遺名錄當(dāng)中。

現(xiàn)在大概有100多個(gè)能夠代表當(dāng)?shù)厣鐓^(qū)傳統(tǒng)手工藝的項(xiàng)目被納入到了我們的名錄中。

艾斯戴爾·崇高·道卡赤（匈牙利露天博物館非物質(zhì)文化遺產(chǎn)部主任）：

家庭式的作坊，能夠保證文化的傳承

在20世紀(jì)70年代，我們國(guó)家建立了一些民藝協(xié)會(huì)。目前我們有數(shù)十個(gè)傳統(tǒng)手工藝的協(xié)會(huì)，3000多個(gè)成員。我們的民間藝術(shù)節(jié)已經(jīng)連續(xù)舉辦了22年，成為匈牙利一個(gè)標(biāo)志性的節(jié)日。在這樣的場(chǎng)合中，許多的民藝大師展示他們的手工藝。

我們正在加強(qiáng)傳統(tǒng)手工藝的教育和培訓(xùn)。我們從小學(xué)和中學(xué)開(kāi)始就設(shè)置了手工藝練習(xí)課程。在大學(xué)我們也設(shè)置了4個(gè)手工藝專業(yè)。除了正規(guī)的學(xué)校教育，社會(huì)上還有150多個(gè)開(kāi)放式的研修班，為地區(qū)的手工藝大師和從業(yè)者提供交流學(xué)習(xí)的機(jī)會(huì)。除了研修班，我們國(guó)家還舉辦一些手工藝的學(xué)習(xí)營(yíng)和俱樂(lè)部，一般為期是5到10天。

一些農(nóng)村或者是村鎮(zhèn)地區(qū)，有一些家庭的工作坊。66%的手工藝從業(yè)人員是婦女，這些手工藝包括珠寶制造、地毯編織等。但從業(yè)者一般都是年紀(jì)較長(zhǎng)的人，還有一些是夫妻工作坊，他們的手藝是從家中的長(zhǎng)輩那學(xué)到的。

舉一個(gè)例子，我們的藍(lán)染手工藝。有一個(gè)名叫Kovacs的家庭工作坊在匈牙利非常有名，這個(gè)家庭從19世紀(jì)就開(kāi)始從事藍(lán)染成品制造，現(xiàn)在三代人一起從事藍(lán)染行業(yè)，第一代的大師已經(jīng)90多歲了。這種家庭式的作坊能夠保證文化的傳承，一種手工藝高質(zhì)量的傳承。

索爾維塔·扎魯普斯卡（拉脫維亞工藝會(huì)手工藝大師）：

不停參展，把傳統(tǒng)手工藝推銷(xiāo)出去

我是一個(gè)手工藝人，2017年獲得了拉脫維亞工藝會(huì)的認(rèn)證，成為了當(dāng)?shù)氐囊粋€(gè)手工藝大師。

大家可以看到我手上戴的這個(gè)護(hù)腕，這個(gè)護(hù)腕可以在穿民族衣服的時(shí)候戴，非常美。它可以用作裝飾，而且戴上以后你的手也會(huì)感覺(jué)到非常暖和，因?yàn)槔摼S亞非常冷。我們可以在護(hù)腕上裝飾圖案。這是玫瑰的圖案，是我從玫瑰花中獲得的一些靈感。在最開(kāi)始，做護(hù)腕是我的一個(gè)愛(ài)好，現(xiàn)在我成為了一個(gè)護(hù)腕手套針織手工藝人。

如果你想要成為一個(gè)領(lǐng)域的大師，你必須參加不同的活動(dòng)，進(jìn)行展覽，要顯示出你的能力，讓人們知道你、了解你。

在很多年前，我開(kāi)始參加“大師面對(duì)面”的活動(dòng)。在2015年之前我都只是參與者，但是在2015年之后我成為了一個(gè)大師。

不僅在拉脫維亞，我還可以在別的國(guó)家分享我的知識(shí)，比如我曾經(jīng)教授盧森堡、日本、比利時(shí)等國(guó)家的編織者愛(ài)好者。當(dāng)然了，我覺(jué)得也一個(gè)非常好的機(jī)會(huì)，來(lái)跟大家分享我在編織方面的一些經(jīng)驗(yàn)。

China-CEE Countries Hold Forum on Intangible Cultural Heritage in Hangzhou

By Shen Xiaopeng

The 2nd China-CEEC Expert-Level Forum on Safeguarding of the Intangible Cultural Heritage was held from September 17 through 22， 2018 in Hangzhou， the capital city of Zhejiang Province in eastern China. The first was held in Poland in 2016. Fifty-three people from China and Central and Eastern European countries， where cultural heritages abound， attended the forum. The 53 included administrators of cultural institutions， scholars， heritage masters， and craftsmen. The attendees compared notes on the issues they had encountered in their efforts to safeguard intangible cultural heritage. The following is a brief summary of some discussions made by attendees from CEE countries during the 6-day event.

Mirela Milicevic Sevic （a craftsperson from Bosnia and Herzegovina）

The traditional woodcarving has been used in house decoration for more than 100 years in our culture. In Konjic， a historical town， woodcarving is recognized as an identity in the local community. Woodcarving done in furniture presents imagination and excellent quality. Interestingly enough， many women in Bosnia and Herzegovina play a key role in promoting woodcarving， although traditionally men are the mainstay of this craft. It is women who are able to introduce woodcarving creatively into household pieces.

In fact， it is not technically difficult to carve some little pieces， but these small woodcarving works open peoples eyes to the possibilities of tapping into the natural materials around us. Moreover， these materials have their innate aesthetic values and bring us totally different experience.

Goranka Horjan （Director of the Ethnographic Museum of Croatia）

Croatia has dedicated time and money to the safeguarding of intangible cultural heritage. Fifteen of our traditional crafts are on the UNESCO list of heritage cultural heritage. This outstanding quantity in Europe represents the strong role the government plays in the safeguarding. We have been trying to set up a framework in which traditional arts and crafts can develop in a sustainable way.

One challenge is how to attract the young generation. Without the involvement of the young， traditional crafts wouldnt have a future. Now young people prefer not to learn traditional crafts. No so many people like to be carpenters and plumbers. The dwindling interest can be ascribed to physical labor. In this digital era， people are reluctant to pay attention to physical and manual work. Schools do not include traditional crafts in their curricula. Workplaces of traditional crafts are a huge problem， too. These workplaces are backward at the first glance， which does not attract. Some masters do not have their studios due to lack of funds and therefore they dont have young disciples to learn from them.

Experts can help craftspeople in a few ways. Exhibitions do help， but they do not bring economic benefits directly to craftspeople. Some professionals try to find new consumers through new lines of products such as gifts. It will help craftspeople to make money if events and training courses can be organized.

Leelo Isidora Viita （Head of Department of Intangible Cultural Heritage， Estonian Folk Culture Centre）

Since 2006， Estonia has been a signatory state to the Convention for the Safeguarding of the Intangible Cultural Heritage adopted by UNESCO in 2003. Estonian Folk Culture Center under the Ministry of Culture is in charge of administering the national list of intangible cultural heritage. In 2007 experts and scholars from universities， two communities， and a museum worked together to prepare the list. Local communities have played a key role in qualifying heritage items： all the communities are able to submit a list of existing heritage items. And all these heritage items must be alive and passed down to today within families. While the list was being formulated， considerations also went into ways to address challenges and solve problems and ways to better safeguard heritage items. At present over 100 traditional crafts representative of individual communities have been inscribed on the list.

Eszter Csonka-Takács （Director， Department of Intangible Cultural Heritage， Hungarian Open Air Museum）

In the 1970s we set up many folk art associations. At present we have dozens of such associations with over 3，000 members. Folk Art Festival has been held in our country for the past 22 consecutive years. The festival is a signature event of our country. The festival enables our masters to demonstrate their virtuosos.

We are taking measures to intensify education and training of our traditional crafts. In primary and high schools students study crafts. There are four traditional crafts courses offered in our universities. Communities across the country offer over 150 study programs which are open to the general public and provide opportunities for masters and professionals to compare notes with each other. We also hold short-term programs where people can spend five to ten days learning about crafts.

There are some family workshops in villages and rural towns where women account for 66% of the workforce. They are engaged in producing jewelries， crafts， and tapestry. Generally speaking， those engaged in the traditional crafts are old people. In some workshops， husband and wife work together. They inherit the business from their forefathers.

Solvita Zarupska （Master Craftsman at the Latvian Chamber of Crafts）

I am a craftsman and became a Certified Master Craftsman of the Latvian Chamber of Crafts in 2017. Take a look at this wrist brace on my forearm. It looks beautiful when we are dressed in our national costumes. It is more than an ornament. Wrist braces make your hands warm as it is cold in Latvia. Wrist braces are adorned with patterns. This is a rose pattern. Roses inspired me at first. Making wrist braces was my hobby at first. Now I am a master who put needlework art designs on wrist braces.

If you want to be a master， you must demonstrate your capability at various events so that people can know and understand you. Many years ago I took part in Face to Face with Masters. Before 2015， I was just a participant in the event. I can share my knowledge not only in Latvia but also in other countries. I have taught my craft in Luxemburg， Japan and Belgium.