A Study On The Current Situation Of Mongolian Siliversmith Industry From The Perspective Of Intangible Cultural Heritahe

The nomadic peoples of the northern steppe have a long history of using gold and silver,and the Mongolians are a people with an ancient and profound traditional culture.Looking back at the process of historical relics,we can see that Mongolian artisans in the use of gold and silver material ductility and plasticity,and use their ingenuity to use it in a variety of household items,and gradually sublimated it to this day.At the same time,the Mongolian silversmiths are proud to have preserved their original culture through years of perseverance.Nowadays,gold and silver are everywhere in our life,it can be both decorative and household items.This gives us a deep appreciation of the history and culture of the ethnic group and promotes the traditional culture and its development.As an important part of ethnic culture,Mongolian gold and silver artifacts have two-way characteristics of material culture and intangible culture.From the perspective of gold and silver objects,it is material culture,and from the perspective of its production process implication and cultural connotation,it belongs to the intangible culture.As an intangible cultural heritage,Mongolian silver craft needs to be preserved and developed and passed on.At the same time,the Mongolian gold and silverware making is assimilated by the characteristic modern products in the contemporary cultural diversity,so it is necessary for the ethnic culture to explore its own development situation in this opportunity.This paper is divided into five parts.The introductory section provides an overview of the significance of the selected topic,the current status of domestic and international research related to intangible cultural heritage and artisans,and the research methodology and innovation points of this paper.The first chapter introduces Mongolian silverware and the silversmith industry in Arhorqin Banner in detail.Firstly,it introduces the types of Mongolian silverware and the silverware made by the local Mongolian silversmiths in Arhorqin Banner,secondly,it introduces the geographical location,the population and the human environment of Arhorqin Banner,and focuses on the intangible cultural heritage inheritor,Cao Demu Gamusu,and his "Five Healing Instruments of Mongolian Medicine",as well as the current status of the other seven silversmiths in Arhorqin Banner.The current situation of the other seven silversmiths in Arhorqin Banner.The second chapter is about the inheritance of modern Silversmith Craft and the problems they face in Mongolia.Firstly,the author describes the steps and tools of silversmithing and the characteristics of silversmithing based on fieldwork.Secondly,the problems faced by silversmithing in terms of inheritance.The third chapter is about the craftsmanship spirit of Mongolian silversmiths and its value.First,it introduces the innovation of Mongolian silversmiths’ techniques,such as the modernization of silversmiths’ techniques to meet the aesthetics of modern young people,while trying to keep the traditional culture intact.The second part focuses on the meaning of " craftsman’s spirit",which is a moral standard of excellence and contractual spirit that was nurtured and evolved in ancient China.He also introduces the value of traditional Mongolian silversmithing,the value of developing silversmithing skills,and the cultural value of silverware.The conclusion is that the traditional Mongolian silver craftsmanship can exist and develop in the modern society,and the right to do so is in the hands of the craftsmen.Therefore,if the artisans follow the progress of the times,work together with the community and consumers,and keep their culture.Then this traditional culture can be developed in the modern society.