Research On Productive Protection Of Shu Embroidery

Since signed the 2003 "Convention on the protection of the intangible cultural heritage",our government has also launched a series of policies and work guidance.Government,experts and other groups have propagated on the work of non-heritage protection and non-heritage knowledge dissemination,the term "intangible cultural heritage" has become a household name,intangible cultural heritage protection theory is also increasingly mature.According to the conditions of intangible cultural heritage itself,Wang Wenzhang summed up three ways to protect intangible cultural heritage: holistic protection,rescue protection and productive protection.Shu Embroidery,as a kind of folk art and has a productive intangible cultural heritage,was selected as a folk art category in the first batch of national non-heritage list in 2006.After thousands of years of development and deposition,Shu Embroidery has developed into a unique folk art with complete technical system.It was conceived from agricultural production,carrying the pursuit of beauty in the social life of our people,from being attached to people's daily necessities as decoration to the development of an independent art form.Shu Embroidery has made different innovations and changes in different times because of its own living state variability.In the era of modern commodity economy,people demand faster and higher economic benefits.The traditional and modern production mode of Shu Embroidery has produced some conflicts and contradictions.Through the author's field investigation,it found that there are two main conflict points between the traditional and modern production of Shu Embroidery.One is to introduce machines into Shu Embroidery production in order to improve productivity,and the other is the entry of post-modern aesthetic consciousness after the change of people's aesthetic consciousness.These two aspects have changed the production of traditional Shu Embroidery,and then caused the changes in techniques and patterns of embroidery.In the theoretical construction of productive protection,Qiu Chunlin,Lv Pintian and others put forward the viewpoint of "core skill" of productive protection.They show that the essential element of productive conservation is to protect the "core skills" of the intangible cultural heritage,and that the formal styles can be diversified when they are developed and utilized.But we must not lose "core skills",otherwise we will deviate from the original intention of productive protection.This point of view gives a powerful needle to the productive protection of intangible cultural heritage,and it puts forward the requirement of productive protection in theory.Also in the production protection of Shu Embroidery,it also gave the "hold on the core skills" requirements.By analyzing the changes of Shu Embroidery in modern production,the author discusses the value of Shu Embroidery as a non-legacy,refines the content of "core skill" in the productive protection of Shu Embroidery,and reflects on the problems that must be paid attention to in the productive protection of Shu Embroidery,that is,the boundary problem of productive protection of Shu Embroidery.And the author has provided suggestions for the productive protection of Shu Embroidery.