2026年元旦假期，武汉的城市街头涌动着一股传统文化与现代审美交融的青春浪潮。记者走访发现，在汉口历史风貌区、咸安坊、黎 黄陂路、黄鹤楼公园等地的非遗市集和民俗活动中，"90后"、"00后"已然成为消费主力。他们不再是传统文化的旁观者，而是以参与者的 姿态，用"逛非遗、买文创、玩体验"的全新方式迎接新年，掀起了元旦假期的消费热潮。 朱钟宗，这位1995年出生的青年漆艺传承人，正致力于将千年大漆技艺融入当代生活。"现在来摊位的，七八成都是'90后''00后'。"他 一边展示着手中的漆器作品，一边介绍道，"年轻顾客不再只是为'传统'买单，他们更看重设计感和实用性。当他们了解到大漆工艺的繁杂 工序、每件作品的制作周期后，反而更愿意为之付出。" 非遗市集里的青春面孔 咸安坊的市集现场 1月2日下午3时，咸安坊的"吾造物集"市集内，人流如织。在一家大漆工艺品摊位前，四位"00后"大学生正聚精会神地观察着手中的漆 器。"我们来自湖北美术学院工艺美术专业，课堂上学过漆艺，但现场触摸这些作品、和创作者交流的感受完全不同。"陈雨童告诉记 者，"这里每一件作品都很有意思，我们被这种传统工艺的细腻和温度深深打动。" 放眼望去，市集 ...

Group 1: Cultural Heritage and Innovation - The integration of innovative wisdom into traditional intangible cultural heritage (ICH) is enabling Chinese ICH to reach the global stage, with efforts from inheritors, enterprises, and local governments promoting creative transformation and innovative development [1][3] - Zhang Hanmin, a national-level representative inheritor of the Bai ethnic tie-dye technique, emphasizes the importance of product innovation and cultural confidence for the international success of ICH [3][4] - The Bai tie-dye technique, traditionally limited to blue dyeing, has been expanded to over 50 plant dye colors and 40 innovative techniques, showcasing the craftsmanship at international exhibitions [4][5] Group 2: Market Expansion and Challenges - Zhang Hanmin has successfully introduced Bai tie-dye products to international markets, including the Netherlands and the UAE, but faces challenges such as competition from machine-made products and cultural understanding barriers [5][6] - The company "Lanxu" has diversified its product range from traditional home goods to scarves and cultural creative products, collaborating with international brands to appeal to younger consumers [5][6] Group 3: Cultural Storytelling and Education - Beyond selling products, it is crucial to convey the cultural stories behind ICH, as demonstrated by Zhang Hanmin's workshops and exhibitions that highlight the harmony between humans and nature [6] - The Bai tie-dye technique is positioned as a cultural medium that transcends geographical boundaries, aiming to connect with global audiences [6] Group 4: Development of Dehua Porcelain - Dehua porcelain, recognized as a national intangible cultural heritage, has seen a significant increase in export value, with a 50% growth in ceramic flower pot exports in 2025 [10][12] - The company Tongxin Ceramics has adapted to market demands by developing lightweight, eco-friendly porcelain products, reducing weight by 40% and increasing international orders [10][11] Group 5: Brand Building and Internationalization - Dehua's strategy includes transitioning from traditional OEM to self-branded, high-end customized products, with over 100 patents and trademarks registered for international recognition [12] - The county is actively promoting the "China White" brand in Europe, achieving mutual recognition of geographical indications with the EU [12] Group 6: Cultural Exchange through Events - The Yuyuan Lantern Festival, a significant cultural event, has expanded its influence internationally, attracting millions of visitors and showcasing Chinese heritage [13][15] - The festival's themes, such as "Shan Hai You Ling," have been successfully presented in international locations like Paris and Bangkok, enhancing cultural exchange and appreciation [15][17]

转自：贵州日报 贵州日报天眼新闻记者 梁圣 岁末年初，国家级乡村工匠名师龙禄颖带着一身风尘与满怀憧憬，从云南回到黔东南州。2025年，她的 足迹遍布北京、长沙、米兰、大阪等城市，将苗绣的古老纹样织进世界的视野。 "要跟上时代，要讲好我们的非遗故事。怎样借力各个新媒体平台，更好地把品牌宣传出去，是目前我 们正在思考的问题。"龙禄颖目光炯炯，对未来充满信心。 2025年，她创立的贵州省施秉县舞水云台旅游商品开发有限公司迎来硕果，主营业务创收突破3000万 元，与"认领一头牛"的联名产品备受青睐，与"真维斯"的合作亦已启航。这标志着她不仅将苗绣技艺带 出了村庄，登上了国际舞台，更完成了从"非遗代表性传承人"到"乡村致富带头人"的蜕变。 "让苗绣走出苗寨，让乡亲们靠手艺赚钱"是龙禄颖不曾动摇的初心。她摸索出"公司+工坊基地+培训 +农户"模式，将分散的指尖力量汇聚成产业动能，搭建起集培训、生产、销售于一体的产业平台。二 十年来，累计培训5800余人次，培育出60余名传承人、技能人才，还建立了4个刺绣培训基地、9个村落 生产点，让留守妇女、返乡农民工无需远行就能掌握谋生技能。 当古老的纹样邂逅现代设计，传统的工艺融入品 ...

活动现场，来自老凤祥、民族乐器一厂、笔墨工坊、屋里香、澳莉嘉、景德镇瓷器、玉修文化、百草山 文化、木棉花开工坊等非遗品牌与企业，也携特色产品与创新成果亮相，构建起集展示、体验、互动、 消费于一体的文化场景。上海宝山介绍，在之后的几天中，还将有包括国家级非遗项目罗店划龙船习 俗、上海灯彩在内的48项非遗项目陆续亮相。 创意赋能，让非遗更"潮"更年轻。为深化"非遗新表达，青春新力量"主题，活动将通过"文化展示+电商 直播+高校联动"模式，联动上海多所高校、非遗传承人、电商平台及新媒体资源，开展非遗产品直播 展销、青年主播孵化营、长江文化创意市集等系列活动，激发青年群体对传统文化的认同与创新活力。 智通财经记者 邓玲玮 作为"上海新年第一游"宝山主会场活动的组成部分，12月24日，"流动的非遗·长江文化大赏"率先在宝 山滨江拉开序幕。 智通财经（www.thepaper.cn）记者从上海宝山区了解到，当天，在上海市非物质文化遗产保护中心的牵 头组织下，以上海为主的长江流域非遗特色项目亮相，典雅的古法制香技艺、古船模型制作技艺以及传 统锔瓷技艺，推陈出新的刘氏柳编翻花制作、铅活字拓版印刷等，都让市民驻足观赏；还有宝山 ...

中新网甘肃新闻12月24日电 (邱晓东 李海梅 尹倩)甘南藏族自治州，这片浸润着千年文化底蕴的土地 上，羊毛毡绣、洮绣、唐卡等非遗技艺既是民族文化的瑰宝，更是乡村振兴的重要引擎。甘南州税务局 立足州域特色产业需求，以精准政策辅导和暖心纳税服务，为非遗产业纾困解难、赋能增效，让古老技 艺在税收护航下焕发新生，实现文化传承与富民增收同频共振。 做细"办税服务"点燃毡绣"增收引擎" 在"中国拉卜楞·世界藏学府"的文化浸润下，夏河羊毛毡绣这门古老非遗技艺，在税费优惠政策赋能下 成为乡村振兴新引擎。夏河县税务局精准落实税收扶持政策，推动古老技艺实现传统与现代的华丽转 身。夏河县科才镇莫尔村的阿古卓巴文化产业有限公司，由五位大学生联合创办，以"非遗＋文创"模式 吸纳二十余名妇女及两位残障人士就业，是当地产业发展的典型代表。 图为夏河 税务干部为纳税人讲解政策。 "我们刚起步时既不懂市场运营，也不了解税收政策，连纳税申报都不会操作，一度特别迷茫。"公司财 务负责人彭措扎西回忆道，"税务干部主动找上门，及时辅导政策，帮我们解了燃眉之急。"税务干部根 据企业特点，量身定制税费优惠"大礼包"，手把手辅导企业申报文化产业增值税优惠 ...

Core Insights - The 2025 Intangible Cultural Heritage (ICH) Brand Promotion Week in Dali, Yunnan, showcases 121 notable ICH brands from across China, providing a platform for experience sharing among ICH representatives [1][3] Group 1: Traditional Brands - Established brands like Tongrentang, founded in 1669, are innovating with health drinks such as "Morning Water" and "Overnight Water," appealing to younger consumers [3] - Wangxingji, another traditional brand, is incorporating contemporary themes into its fan products, including zodiac and anime designs, through material and artistic innovation [3] Group 2: Youth Brands - The Ru Shan Ming brand, founded by Li Keming, emphasizes "New Chinese Aesthetic Objects" and has gained recognition for its tea cups showcased at major events like the Paris Olympics [3] - The brand Jizhutang, led by 90s-born founder Yang Changqin, is transforming traditional bamboo crafts into modern products, creating over 3,000 flexible job opportunities with an average annual income increase of nearly 20,000 yuan [3] Group 3: Cross-Industry Innovations - "Wang's Hand Creation" is exploring the commercial value of local culture and crafts, integrating traditional skills into daily products through modern media like short videos and live streaming [3] - Pop Mart is linking trendy products with ICH, breathing new life into traditional intellectual properties through a "non-heritage + trendy play" approach [3] Group 4: Individual Practices and Innovations - ICH representatives are sharing personal experiences, such as Li Xingchang, who promotes Pu'er tea-making techniques nationwide to enhance consumer awareness of ICH [4] - Qiao Lin, representing traditional Qiao's ceramic techniques, is creating trendy accessories and home goods based on traditional skills [4] - Designer He Bowen merges traditional crafts like wax dyeing and embroidery with modern design, integrating ICH into contemporary life [4] Group 5: Brand Development and Sustainability - Professor Chen Anying from Tsinghua University emphasizes that diversity in ICH brands enhances sustainability and vitality, particularly in traditional craft regions [6] - The emergence of new brands from skilled practitioners, even those without high-level recognition, can significantly boost the transmission of ICH projects [6] Group 6: Case Study of Brand Creation - Liu Zhongping, founder of "Jieyou Nianhua Pu," created a brand that revitalizes traditional woodblock prints by incorporating modern themes and interactive experiences, such as themed events [7] - The China Tourism Press announced a 2024 initiative to promote innovative ICH products that blend traditional craftsmanship with modern design, aiming to integrate ICH into everyday life [7]

余秋雨曾言："水是大地的脉络，也是文明的底色。" 2025年11月，时序已近岁末，巩固拓展脱贫攻坚成果同乡村振兴有效衔接的五年过渡期正迎来收官的关 键节点。收官，既是对过往五年帮扶实践的直接检验，更是将常态化帮扶纳入乡村振兴战略统筹实施的 新起点。 我们的调研足迹自冀中南迤逦南下，跨桂中、抵黔东南，于滹沱河的寒波初起、红水河的暖波未散、㵲 阳河的流韵依旧间，更深刻领悟中华民族数千年与水共生的生存智慧——今日滋养亿万农户的，早已不 只是地理意义上的川流奔涌，更有农业银行循着江河脉络，淌向田间地头、浸润千企万户的金融"活 水"。作为分支机构覆盖全部县域的国有大型商业银行，农行的金融服务如江河支流般细密延展，"产业 兴、农民富、农村美"的宏大愿景，正在金融赋能中渐成乡土大地上的生动实景。 蔗海甜风：金融活水润蔗乡 11月的桂中大地，晚稻归仓的喜悦未散，来宾的蔗田里已酝酿起一场"甜蜜丰收"。"全国每3勺糖，便有 2勺来自广西"，这是刻在八桂大地的产业底色——广西糖料蔗种植面积和食糖产量连续34个榨季稳居全 国首位，连续21个榨季占全国总产量近60%，一根甘蔗，一头系着国家食糖供给安全，一头连着千万蔗 农的生计与期盼， ...

如今，东城·非遗共富工坊这个集多功能于一体的综合平台，正成为城东区文商旅融合发展的亮丽名 片。通过资源整合、平台共建、联动培训、品牌共塑等方式，工坊不仅实现了"以文化促就业，以文化 带动居民增收"的文化富民目标，也探索出了一条传统文化与现代商业相互赋能、文旅融合与区域发展 同频共振的新路径。 这样的匠心传承，正在更大的舞台上绽放光彩。作为城东区探索文商旅融合发展的创新实践，东城·非 遗共富工坊目前已有15家非遗项目和文旅产品进驻，陈列着20余种独具地方特色的非遗及文旅产品。工 坊里讲解员介绍，工坊创新采用1个文化旅游体验场馆、11个加工点、N个产品和活动的运营模式，有 效盘活了商圈闲置资产，丰富了周边业态。自2024年试营业以来，已接待参观者2.26万人次，工坊营业 额达13.94万元，在外制作坊（厂）营业额突破351.3万元。 走在工坊的展示区内，各种手工艺产品栩栩如生，八门拳的刚柔并济，扁担酿皮的匠心独运，河湟刺绣 的精巧细腻，不同民族的文化瑰宝在这里交相辉映，共同诉说着这片土地上各民族交往交流交融的生动 故事。与此同时，东城·非遗共富工坊还积极探索非遗传承对铸牢中华民族共同体意识的价值功能，将 非遗体验 ...

Group 1 - The eighth China International Import Expo showcased Jiangsu's cultural exchange activities, highlighting the integration of traditional craftsmanship and modern innovation through the participation of seven Suzhou time-honored brands [1] - Suzhou embroidery artisans demonstrated intricate techniques, such as using 1/128 silk threads to create a visual effect of floating goldfish, emphasizing the meticulous nature of their craft [1] - The Suzhou Embroidery Research Institute aims to promote the essence of Suzhou embroidery to younger generations and seeks partnerships for co-developing cultural and fashion products [1] Group 2 - Suzhou time-honored brands are adopting a younger and more international approach to narrate Jiangnan culture, exemplified by the innovative designs like the phoenix crown headpiece created for the AI digital character "Su Xiaomei" [2] - The products showcased at the expo, including the phoenix crown and the Zheng He treasure ship replica, reflect the heritage of Suzhou's gold and silver craftsmanship, taking over 100 days to create each piece [2] - The brand Zigan Jewelry plans to open a custom workshop in Shanghai next year, leveraging the expo to enhance its brand visibility and pursue international opportunities for traditional craftsmanship [2]

Core Perspective - The article highlights the legacy and evolution of the "Mian Ren Lang" craft, emphasizing its cultural significance and the personal journey of the current practitioner, Lang Jiaziyu, as he navigates the challenges of preserving this traditional art form while adapting it to modern contexts [1][11]. Group 1: Historical Background - The "Mian Ren Lang" craft has been passed down for nearly a century, originating from the family of Lang Shaoan, who established the art form with a focus on realistic and intricate designs [1][2]. - Lang Shaoan showcased his work internationally in 1953, marking a significant moment for Chinese folk art [2]. - The craft faced a prolonged decline during Lang Zhichun's tenure, where for at least ten years, there was no market for the art, leading to a reliance on personal income to sustain the craft [2][3]. Group 2: Personal Journey and Challenges - Lang Jiaziyu grew up immersed in the world of Mian Ren, learning through observation rather than formal training, which fostered a natural affinity for the craft [3][4]. - Despite his passion, Lang Jiaziyu's father initially discouraged him from pursuing a career in Mian Ren due to financial concerns, reflecting a common parental desire for stability [4][5]. - Lang Jiaziyu's determination to prove the value of traditional crafts was fueled by experiences in school, where he faced dismissive attitudes towards his skills [5][6]. Group 3: Artistic Evolution and Innovation - Lang Jiaziyu transitioned from a traditional approach to a more innovative and creative model, aiming to produce unique works rather than repetitive pieces [7][8]. - His creative process is described as intense and focused, likening it to "dancing on the edge of a cliff," where precision is crucial [8]. - He draws inspiration from his grandfather's work while striving to elevate his own artistic expression, recognizing the need for continuous improvement [8][9]. Group 4: Social Relevance and Modernization - Lang Jiaziyu's recent projects focus on capturing the essence of ordinary laborers, aiming to make the art form relevant to contemporary society [9][10]. - He reflects on the importance of representing everyday people in his work, aligning with a broader cultural narrative that values the contributions of all individuals [10]. - Despite achieving personal success, he acknowledges systemic challenges within the non-heritage market, emphasizing the need for demand creation to ensure the craft's survival [11][12]. Group 5: Future Aspirations - Lang Jiaziyu aims to create a sustainable ecosystem for artisans, advocating for a broader societal recognition of traditional crafts [12]. - He envisions a future where the craft can thrive independently of familial lineage, ensuring its continuity for future generations [12].