Studies And Investigations On Metal Forging Handicrafts Of Hepo Tibetan In Baiyu County In Ganzi

With thirty years of reforming and opening-up, the economy has been developed rapidly, as well as the innovations of science and technology. Comparing with the fulfilment of people’s physical needs, people’s spiritual needs haven’t been met. As one of the most traditional ways of expressing culture, the metal forging handicraft art of Hepo Tibetans in Ganzi District is a combination of cultural value, spiritual value, historical value, scientific value, aesthetic value, practical value and collection value, etc. Meanwhile, it has unique ethical characteristics, geographical environment, and the preservation of exquisite works. Therefore, the on-the-spot investigations and researches of it in Baiyu County are necessary. Not only does it promote the protection and inheritance of intangible cultural heritage, but also improve people’s knowledge and understanding of this art. Furthermore, it carries the spiritual value which compensates the emptiness in people’s thoughts and emotions.This paper is a research concerning the Hepo Tibetans’ metal forging art in Baiyu(Ganzi District). It contains eight chapters. The first chapter introduces the problematic and analyses the background, the meaning and its actual situation in China. The second chapter explains the records of field investigations, which includes the investigation routine, the description of investigation diary as well as the general introduction of Hepo Town. The third chapter summarizes the basic characteristics of metal forging handicrafts in Hepo Town, which are concluded by: the kinds of artisan arts, the usage of tools, the forging skills and the expressions. The fourth chapter is aimed at refining the historical and cultural connotation of Hepo Tibetans’ metal forging art in aspects of historical development, influence and handicraft culture. The fifth chapter focuses on the analysis of the actual situation and the conservation of Hepo Tibetans’ metal forging art. The sixth chapter puts forward the strategies to the development of metal forging art and culture. The seventh chapter presents our design practices on the Tibetan metal forging artisan products based upon investigations and theoretical researches. The last part presents the conclusion of this paper. Aiming at developing the Hepo Tibetans’ metal forging handicrafts, we should not only care about the economic developments, but also think about the culture and protection of the successors, and the construction of brands. We should work on new products which satisfy the needs of markets and keep up with the rhythm of modern art. We hope that more attentions will be paid on the conservation and the inheritance of intangible cultural heritages.