Intangible culture with Related Tags
Costume and prop making skills
The production skills of Beijing costumes and props appeared in the middle of the Qing Dynasty. It was born with the rise of Peking Opera art. Costumes and props are divided into four categories: clothing, helmets, miscellaneous items, and handles. Clothes mainly refer to costumes, helmets mainly include helmets and hats, miscellaneous items mainly include beards, boots and shoes, and handles mainly refer to the handles of swords and guns. Among them, the production process of helmets, costumes and boots is relatively complicated. Beijing costumes pay the most attention to stage art effects. Its beautiful and exaggerated shapes, colors and patterns are conducive to setting off the artistic image of the characters in the play. The design and production of Beijing costumes involve all aspects of Peking Opera costumes and accessories. They pay attention to bright colors, grand shapes and rich patterns. They are characterized by sophisticated skills, meticulous and exquisite workmanship, high-end and luxurious materials, and elegant style, which adds brilliance to Peking Opera performances. Beijing costumes are suitable for viewing and collection, and have important reference value in the study of traditional Chinese opera costumes and ancient Chinese costumes. With the changes in society, there are not many craftsmen who can truly engage in theatrical costume production, and master-level figures are even rarer. Moreover, it is difficult for new forces to sustain. If it is not protected in time, this traditional skill that has been developed for a hundred years will face the risk of being lost.
Carpet Weaving Techniques (Beijing Palace Carpet Weaving Techniques)
The handmade wool-tufted carpet weaving technique is a handmade technique with ethnic characteristics in my country. It coils the wool thread into knots and plants it on the carpet base made of warp and weft cotton threads to form a raised velvet surface. my country began to weave carpets with wool thread in the Neolithic Age. Judging from the double-strand wool-tufted carpets unearthed from the Han tombs in Lop Nur and Minfeng County, Xinjiang Uygur Autonomous Region, carpet weaving had reached a very high level in the Eastern Han Dynasty. Carpets were laid in the palace and the mansions of the rich in the Tang Dynasty. In the Yuan Dynasty, influenced by the Mongolian lifestyle, the palace set up workshops for shearing carpets. In the Ming and Qing Dynasties, carpet weaving in Gansu, Xinjiang, Ningxia, Inner Mongolia, Beijing and other places developed rapidly. The weaving techniques of carpets include design, weaving, flat work, cutting (cutting the flat pattern into a three-dimensional shape with scissors), carpet washing, and finishing. Some of the wool threads for carpet weaving are still printed and dyed with ancient plant dyes. my country's carpets are not only a necessity for the lives of ethnic minorities, but also exported in large quantities overseas. The patterns of carpets absorb the characteristics of ancient bronze, embroidery, brocade, porcelain and other patterns. The carpets of ethnic minorities in Xinjiang, Inner Mongolia, Qinghai, Ningxia, Tibet and other places show their own unique artistic characteristics. Beijing handmade carpets were formerly known as "official carpets" or "palace carpets". Carpet weaving technology was introduced to my country from the Western Regions during the Western Han Dynasty. By the Tang Dynasty, carpet weaving in the Central Plains had been roughly mature. The carpet weaving industry flourished in the Yuan Dynasty, and large-scale carpet weaving workshops emerged. In the Ming Dynasty, official carpet weaving institutions began to weave high-quality official carpets. After the Qing Dynasty, the patterns of Beijing official carpets gradually formed an artistic style that integrated multi-ethnic colors and patterns. Since the 20th century, Beijing palace carpets have been further developed. In 1900, Beijing palace carpets won the gold medal at the Paris World Expo in France. In 1920, there were 354 Beijing palace carpet workshops, making it one of the main production areas of Chinese carpets. In 1956, the first public-private Beijing carpet factory was established. It was later merged with the carpet company and renamed "Xicheng Carpet Factory". In 1965, it was renamed "Beijing Carpet Factory No. 5". From the late 1970s to the early 1990s, Beijing's palace carpet exports were at their peak and gained wide international reputation. Beijing's handmade carpet weaving skills mainly include three aspects: first, the use of professional equipment for carpet weaving, namely the machine beam; second, special tools and measuring tools for carpet weaving; third, carpet weaving can be divided into two types of skills according to tradition: twisted carpet weaving and twisted carpet weaving. The production process of Beijing's palace carpets mainly consists of three processes: preliminary preparation, carpet shaping, and beautification and finishing. Its characteristics are: first, the pattern design is exquisite and the conception is perfect; second, the material selection is careful and the wiring is accurate; third, the processing is meticulous and strives for perfection. Beijing's handmade carpets fully reflect the characteristics of Chinese traditional culture and Beijing's palace art. The industry calls it "Beijing-style carpets", and on this basis, it is expanded to the folk, making it both royal and folk. The art of weaving Beijing palace carpets has always been passed down through oral transmission. However, due to the impact of the modern carpet industry, carpet weaving companies are struggling and lack successors. The weaving art is in danger of being lost and needs to be actively rescued and protected.
Traditional spinning, dyeing, weaving and embroidery skills of the Li ethnic group
The traditional spinning, dyeing, weaving and embroidery skills of the Li ethnic group are a kind of textile skills created by the women of the Li ethnic group in Hainan Province, China. It combines spinning, dyeing, weaving and embroidery, and uses materials such as cotton thread, linen thread and other fibers to make clothes and other daily necessities. Li women learn textile skills such as tie-dyed warp cloth, double-sided embroidery and single-sided jacquard weaving from their mothers since childhood. Mothers pass on skills through oral transmission. Li women design textile patterns based solely on their rich imagination and understanding of traditional styles. In the absence of written language, these patterns have become records of the history, cultural legends, religious rituals, taboos, beliefs, traditions and folk customs of the Li ethnic group. These patterns also distinguish the five major dialects of Hainan Island. Li brocade is an indispensable part of important social and cultural occasions of the Li ethnic group, such as some religious ceremonies and various festivals, especially weddings. On these important days, Li women will design clothes for themselves. As a carrier of Li culture, the traditional textile skills of Li brocade are an indispensable part of the cultural heritage of the Li ethnic group. However, in recent decades, the number of women who have mastered weaving and embroidery skills has decreased dramatically, and the traditional weaving skills of Li brocade are on the verge of extinction and are in urgent need of protection.
Heritage with Related Tags
Fagus Factory in Alfeld
The Fagus factory in Alfeld is a complex of 10 buildings, which was built around 1910 to a design by Walter Gropius and is a milestone in the development of modern architecture and industrial design. Located in Alfeld an der Leine in Lower Saxony, the complex serves all stages of last manufacturing, storage and dispatch for the shoe industry and is still in operation today. With its groundbreaking large glass panels and functionalist aesthetic, the complex foreshadowed the work of the Bauhaus school and is a milestone in the development of architecture in Europe and North America.
Bauhaus and its Sites in Weimar, Dessau and Bernau
Between 1919 and 1933, the Bauhaus movement revolutionized architectural and aesthetic thought and practice in the 20th century. The Bauhaus buildings in Weimar, Dessau and Bernau are fundamental representatives of classical modernism, which aimed to revolutionize architecture and design. Inscribed on the World Heritage List in 1996, the site originally included buildings in Weimar (former Art School, School of Applied Arts and Haus Am Horn) and Dessau (Bauhaus Building, a group of seven master residences). The 2017 extension includes the Houses with Balconies in Dessau and the ADGB Trade Union School in Bernau, which are important contributions to the Bauhaus's philosophy of austere design, functionalism and social reform.
Wooden Churches of Maramureş
These eight churches are outstanding examples of a range of architectural solutions from different periods and regions. They demonstrate the diversity of design and craftsmanship employed in these narrow, tall wooden buildings, with their distinctive tall, slender bell towers located at the western end of the buildings, with single or double roofs covered with wooden tiles. As such, they are a unique vernacular expression of the cultural landscape of northern Romania’s mountainous regions.
Yingda Leather Museum
Located in Tianjin Airport Economic Zone, Yingda Leather Museum has a building area of 1,500 square meters and is a modern intelligent museum. The museum strives to cross-display professional leather clothing content with a long history and a wide span of time and space for people of different ages. The Leather Museum has a collection of more than 220 leather clothing collections from classical to modern, from China to Europe, as well as a variety of leather clothing manufacturing tools and leather materials. These collections all reflect the development history of the origin of leather clothing. The restoration of the fur trading scene seems to bring us back to the rural market in the Middle Ages. The various collections are like a textbook, allowing us to fully understand the evolution of leather clothing, and also show the development process of Yingda for more than ten years. The Leather Museum is a microcosm of the progress of Chinese leather clothing technology, design, craftsmanship, and equipment. It will become a display center for leather clothing culture, a data center for leather clothing research professionals, and a professional museum for fashion designers to create inspiration. It will also become a popular science garden for consumers and leather clothing enthusiasts to learn about leather clothing cultural knowledge. The Leather Museum is a private non-profit public welfare museum. The purpose of building the museum is not only to showcase the struggle and development of Yingda over the past decade, and to highlight the leading position of Yingda in China's leather clothing industry, but more importantly to save and protect the cultural treasures of leather clothing, enrich the cultural heritage of Chinese clothing, promote national spirit, and promote exchanges and development with clothing companies around the world. It can be said that the establishment of the Leather Museum in Tianjin not only fills the gap in this regard in Tianjin and even China, but is also an important measure for Tianjin to move towards a world-class city and an international fashion capital. Yingda has the ambition of "creating a century-old brand" and the development goal of "Yingda of the world". The Leather Museum integrates Chinese and Western clothing culture, which will be an important step for Yingda to move towards the hall of international mainstream clothing brands.