Since The Founding Of The Jiangsu Handicraft Economy Development Research (1949-2010),

Jiangsu handicraft art is valuable treasure of Chinese people. With their hard work and wisdom, thehandicraftsmen of all ages in Jiangsu have created characteristic and world-famous regional culture. Up to now,a great number of handicrafts have been ranked as national Intangible Cultural Heritage, such as NanjingBrocade, Suzhou Kossu, Yixing Redstoneware, Changzhou Wooden Comb, Yangzhou Lacquerware, NantongKites and Blocking Printing. Since the founding of PRC, especially since the new age, with the significantchanges of China’s economic system, the traditional succession mode of "father-to-son" and"master-to-apprentice" is gradually marching toward market-oriented commodity economy. When Jiangsuhandicraft art which has experienced many vicissitudes meets with political, economic and cultural changes ofthe nation in different periods, its economic structure and management mode are also challenged. Nowadays,with economic globalization and the fast development of modern hi-tech and industralization, how Jiangsuhandcraft art can develop from "uniformity" to industrial "diversification" has become an increasingly serioustopic. So it is our historic task assigned by the times to comb and integrate its tracks in history.This paper is based on the history and reality of the development of Jiangsu handicraft art, taking thethree important stages to investigate: the early days after the founding of the PRC, the period of the CulturalRevolution and the period since the reform and opening up. It has summarized separately the general situationof the economic development of Jiangsu handicraft art, its producing mode, the living situation of thehandicraftsmen, the related policies and so on. This paper takes case studies as its objects to obtain evidenceand expounds the history of economic development of handicraft art in different periods on the basis of thecombination of theory and history and thus provides helpful reference for further study of the economicdevelopment of Jiangsu handicraft hereafter. However, with the rapid development of China’s cultural industryin recent years, the issue of the protection of intangible cultural heritage is drawing more and more attention.When tradition runs into modern, how can the old handicraft art get better protection? How can tradition andmodern be better combined? How can the excellent factors of Chinese culture top over the world in the globalmarket of handicraft products? These undoubtedly are unavoidable problems worth considering during thedeveloping process of the present cultural industry and they are the very study objectives of this paper.