A Case Study Of The Development Of Cheng

The four most famous inkstones consist of Duan inkstone, Tao instone, Sheinkstone, Refined clay inkstone. The Refined clay inkstone is the only earthenware.Besides studying the changes of the Refined clay inkstone in history and its artisticfeatures, an emphasis is placed on case study of an artist making the Refined clayinkstone. With his life history as the main line, the difficulties faced by theintangible cultural heritage items in the current social context are expressed andreflections of today’s social context for intangible cultural heritage items are put asfollows: how to break through the bottleneck of intangible cultural heritageprotection, and how to let people of different ranks actively participate in theprotection of intangible cultural heritage in line with the basic requirement andpurpose of protecting the diversification of heritage.The full paper is divided into four parts. In the first chapter the reasons forchoosing this topic and the related literature are described, in the second chapterthe historical changes and artistic features of the Refined clay inkstone are mainlydiscussed and other aspects are summarized including the status in the history ofinkstones, materials and processes, subject matter and patterns. In the third chapter,main part of this paper, based on the life history of the folk artist, Liu Cunxian,whose job is making inkstones, the production, life and inner world of the folkartists is trustily recorded. Because of the recession and transformation of Refinedclay inkstone, Liu Cunxian had to keep improving the production craft ofinkstones to inherit and innovate the craft in the changing industry making theRefined clay inkstone. Like other crafts, industry competition cannot be ignored.So the competition between the peers is thought-provoking. The interpretation ofthe elite in the social context, the pros and cons of the geopolitical and industrycompetition will not only affect producers self-identity, also coordinate therelation of the folk artists and the market demand. Finally, in the fourth characterof this paper, the conclusion, the thought is attributed to the perception ofnon-material cultural heritage protection, calling for the better development of the heritage protection.With the reflection of Liu Cunxian’s art life history, we can see the dilemmathe intangible cultural heritage faced, and understand in depth that the intangiblecultural heritage items should be examining the heritage protection instead ofapplying for heritage protection. When we protect the intangible cultural heritage,we should also think more about how to integrate the essence of traditional cultureand modern social, to prevent the non-material cultural heritage from beingmarginalized, thereby to protect our multicultural ecology.