Research On Art Of Erhu In Wuxi City Within The Field Of Vision Of Intangible Cultural Heritage

In Chinese folk arts,Erhu has become one of the most widely spread ethnic instruments in the field,with its graceful tone and flexible playing style.Compared with other regions,the development and evolution of the Erhu art in Wuxi City are representative.First,Erhu this take root in the north,more than thousand years of art tradition is given priority to with KouChuanXinShou accompaniment form,after relying on Jiangnan Wuxi national artists improved practices,shape of Erhu,notation and the law are able to gradually improve,audience also expanded significantly;Second,in the face of the other areas widely used numerical control production technology status,the Erhu art in Wuxi City craftsman always uphold the traditional manual production,with the stick to the original true and effective protection,implements the Erhu sequel of traditional craft.Accordingly,Wuxi Erhu art itself has rich cultural connotation,which is the basis of its inclusion in the list of intangible cultural heritage.At present academia for Erhu art research,more focus on music ontology,artists or performance form etc,rheological behavior,consciousness and related groups in art intrinsic link is still inadequate.In view of this,based on the vision of "intangible cultural heritage",the "Erhu art in Wuxi City" perspective,through literature research and field investigation,the connection of history and present situation of the specific situation of space and time,probes into the core culture of the Erhu art in Wuxi City connotation.It is believed that there are four core dimensions,which affect the history,cultural significance and development prospect of the Erhu art in Wuxi City:First,from the dimension of "creation process",the Erhu art in Wuxi has continuously selected and inherited traditional art mode.It has faced so much dilemma concerning the development of this industry by means of improvising based on tradition.On the one side,the manufacture of Erhu in Wuxi has promoted the aesthetic and functionality of Erhu and therefore promoted the spread of Erhu in the present age.On the other hand,when faced with the dilemma that manufacturing skills were weakening in the process from tradition to modernity,the Erhu art in Wuxi has continued the traditional skills to the greatest extension.The expressive force of Erhu was also upgraded through the optimization of material and utilization of modern technology for research,and this is exactly the fundamental guarantee for intangible cultural heritage to be preserved through various historical period.Second,from the dimension of "performance and creation",the Erhu art in Wuxi City has come across a history from accompaniment to solo and finally creative composition.Within recent ages,the plentiful forms of traditional arts in Wuxi City have strongly driven the development and spread of Erhu art among the people.Till now,artists in Wuxi have improved the notation and play skills of Erhu one after another.During this period of time,key issues of the development of Erhu art were solved and transformed it from an accompaniment to a solo type of performance.As for now,those Erhu artists in Wuxi have established and improved a professional mode to inherit the art of Erhu.They even promoted and practiced a perfect combination of traditional and contemporary composition under a circumstance which is more and more diversified.All of the above have supported the Erhu art in Wuxi to become a vital fundamental for intangible cultural heritage.Third,from the dimension of "cultural space",the Erhu art in Wuxi not only revealed the key role of cultural characterization in the process of establishing cultural space,but also presented a path on which group identification first supported the establishment of space and then the overall effect of cultural space gradually strengthened the group identification.After investigation of the art of Erhu through field work,this paper has found that Wuxi City has effectively combined art,culture and industry based on tradition.In this space,cultural representation was presented through aggregation effect and group identification was achieved based on the mass basis.Fourth,from the dimension of "protection strategy",wholeness,truthfulness and inheritance of the preservation principles made by our government in terms of intangible cultural heritage,there are still some detailed practical demand for Erhu art in Wuxi City in terms of development and specific implement for preservation area.Through the argument within this paper,an effective strategy for the Erhu art in Wuxi in the future is achieved which gives consideration to both traditional preservation and creative development.It is both reasonable and balanced,traditional and creative and it relies both on learning and institution.This strategy not only promoted Erhu art's healthy and sustainable development,but also provided an example for the preservation of intangible cultural heritage nowadays.As the changes of The Times background and cultural environment,the development of Erhu art but culture and art,also involved in the political system,economic system,the factors influencing rights discourse and public opinion,etc.Erhu art heritage,in particular,in the moment is turning into a kind of cultural resources,whether its technical system,or aesthetic value and meaning system,all start to mining and using,meet the cultural and economic development.In this background,the cultural connotations of erhu art around wuxi,for erhu art heritage and the heritage protection system of policy and practice exploration,has the certain enlightenment and reference.