Research On The Protection Of Intangible Cultural Heritage From The Perspective Of Time And Space

In the 1980s,with the advancement of reform and opening up,Chinese traditional culture began to get attention,and many traditional customs and arts preserved in the folk have been explored.As the"living fossil"of Chinese drama,Mulian(目连)opera has been concerned by the academic circles at home and abroad since the end of 1980s.Qimen(祁门)County,as a popular area of the opera,has been rebuilt in succession since the 1990s,under the initiative of local government.In 2006,Qimen Mulian opera was listed in the first batch of national intangible cultural heritage list by the Ministry of culture.Since then,the research on Qimen Mulian opera has become more and more beneficial.Although Mulian opera is a kind of drama,its exorcism ceremony before and during the performance makes it unique.The combination of this kind of drama with the tradition of sacrificial rites in ancient China is the result of the evolution from sacrificial rites to Carnival.The ceremony of"sacrificing the five evils(五猖)"held by the Mulian troupe in Qimen County before the performance is a kind of alienation from the tradition of sacrificing the five evils of Chu state.Therefore,in local society,people can meet the psychology of religion and entertainment.The plot and geographical environment created by them are in line with Qimen County,which undoubtedly creates a sense of truth.These functions provide the precondition for its own production and development.After being adapted by Zheng Zhizhen(郑之珍),the religious ideas of Mulian opera,such as Buddhism,fit in with many popular folk beliefs in Qimen.Clan is very common in Qimen County.This organization not only provides financial and human support for the establishment and maintenance of Mulian Opera Troupe and the cultivation of new artists,but also provides sufficient organizational guarantee for it before and after moving Mulian opera.It is this kind of social structure and religious structure that provides the soil for the survival and development of Mulian opera.After the restoration of Qimen Mulian opera in the 1990 s,it gradually attracted the attention of the academia and the public.And through the opportunity to perform on various occasions,it expanded the influence of Qimen Mulian opera.However,with the changes of the times,the geographical environment,psychological needs and social structure on which Mulian opera relies for survival have not been re established.Therefore,the inheritance and survival of Mulian opera are facing many difficulties.To solve these problems fundamentally,this paper holds thatwe must find the source from history and the reasons for the problems as a whole by the relevant theories of "cultural ecology".Therefore,we must put the play into the whole ecosystem,and restore the existing ecosystem and social structure of the past.At the same time,the cultural festival of Mulian opera is held regularly,and a long-term and effective communication mechanism is established.In this way,Mulian opera can return to people’s life,and at the same time,it can solve many problems in the protection and development of Mulian opera.