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自2003年初“中国民族民间文化保护工程”启动，中国的非物质文化遗产保护工作开始走入全面、整体性的保护阶段。
《中华人民共和国非物质文化遗产法》规定：非物质文化遗产是指各族人民世代相传并视为其文化遗产组成部分的各种传统文化表现形式，以及与传统文化表现形式相关的实物和场所。也就是说，非物质文化遗产既不是物，也不是人，而是指各种以非物质形态存在的与群众生活密切相关、世代传承的传统文化表现形式。由此可见，非物质文化遗产是以人为本的活态文化遗产，它强调的是以人为核心的技艺、经验、精神，其特点是活态流变。突出的是非物质的属性，更多的是强调不依赖于物质形态而存在的品质。
至今，十多年时间过去了，在各级党委政府的重视、关心、支持下，非遗正逐渐走进民众生活，为广大人民所熟识、关注并追捧。
今年9月下旬，第九届浙江·中国非遗博览会在杭州市白马湖国际会展中心举办，来自我国27个省（市、自治区）的近400位非遗代表性传承人、相关从业人员携280个非遗项目（衍生品牌）的作品、产品、衍生品，参加展示、展演、展销、研讨及竞技赛等活动。
在活动现场，笔者看到衢州邵永丰麻饼展区前围满了市民，只见身着白色工作服、头戴白色工作帽的第四代邵永丰麻饼传承人徐成正，正在表演手拿竹匾、翻飞面饼粘上芝麻的“上麻”过程，惊叹之余，市民们不自觉地排起了长队，争相购买这道来自衢州的风味名点。
衢州制作麻饼的历史悠久，唐时白居易随父親到衢州任职，曾写过一首流传至今的赞诗：“胡麻饼样学京都，面脆油香新出炉，寄与饥馋杨大使，尝得看似辅兴无。”
据传，邵永丰麻饼还有一段典故。清光绪年间，衢州民间麻饼手工制作作坊中，面饼店开得较多，当时麻饼品质参差不齐、良莠不分。1896年，一位叫邵芳恭的人做的麻饼口感好、风味独特，故前往购饼的人特别多。有一天晚上，大雪纷飞，但还是有许多人一步一个脚印到他店里买麻饼，邵芳恭见此灵机一动挂出名为“邵永丰”的招牌，寓意瑞雪兆丰年，自己的麻饼生意和吃了自己做的麻饼的人都能永远丰收。从此，“邵永丰麻饼”生意益发红火。1929年，邵永丰麻饼在南京食品博览会上一举夺得“国家级名品佳点”之称号，一时名声大噪。
“这个非遗好，有看头，还好吃。”看着活色生香的“上麻”表演，市民楼力乐呵呵地说。细品之，这话说得有歧义！事实上，邵永丰麻饼不是非遗，制作邵永丰麻饼的手工技艺才是非遗。邵永丰麻饼之所以受到消费者的青睐，与它的加工工艺分不开。
邵永丰在加工工艺上一直保持传统特色，用炭炉烘烤，从原料到成品要经过一百多道工艺，坚持现烤现卖，而且在设备上不断改良、更新，以前那种一个炭炉摆在大街上，炉灰满天飞的时代已一去不复返，如今的炭炉更为卫生和环保。2007年，邵永丰麻饼制作技艺被浙江省政府列入第二批浙江省非遗名录。当人们吃着香喷喷、热乎乎的麻饼，看着眼前穿梭、飞扬的圆饼，确实是一道引人驻足叫好的风景。但在有些人的惯性思维里，已忽略了制作技艺，而把产品当做非遗，这显然是本末倒置。
秋风送爽，漫步在浙西南龙泉市朝兴青瓷苑，苑内琳琅满目、千姿百态的龙泉青瓷令人赏心悦目。创烧于三国两晋时期的龙泉青瓷，从最初的“作品制作粗糙，窑业规模不大”，到2006年龙泉青瓷烧制技艺被列入第一批国家级非遗保护名录，再到2009年成为我国陶瓷类第一个申报并成功入选“人类非物质文化遗产代表作名录”项目。
1700余年岁月匆匆划过，笔者的眼前仿佛显现出“善治瓷器”的章氏兄弟正专注于“哥窑”与“弟窑”的创始：一种是“胎薄如纸，釉厚如玉，釉面布满纹片，紫口铁足，胎色灰黑”的研制，作品以造型、釉色及釉面开片取胜，自然朴实、古色古香的风格，更符合传统的审美情趣；而另一种则胎白釉青，釉色以粉青、梅子青为最，青翠的釉色，配以橙红底足或露胎图形，给人巧夺天工的视觉愉悦。当历经粉碎、淘洗、陈腐、练泥、成型、晾干、修坯、装饰、素烧、上釉、装匣、装窑、烧成等13道工序，独特的青瓷烧制技艺在艺苑风景林中脱颖而出，“夺得千峰翠色来”——那晶莹如玉的色泽、温润剔透的风韵、豁达灵动的气度，仿如滤去了尘世的喧嚣与纷扰，走进一片纯净天地。我们怎能不感叹人类文明史上集体智慧结晶的丰厚与凝重。
于是，龙泉青瓷不仅是国内各大非遗展览上不可或缺的一分子，而且更是走出国门，在国外广受好评。今年5月底，“浙江龙泉青瓷生活主题展”在日本东京举办，展出的龙泉青瓷作品共有百件，主要出自中国国家级、浙江省级工艺美术大师、陶瓷大师、青瓷烧制技艺传承人之手，展示的是龙泉青瓷生活化的应用。现代的龙泉青瓷忠实地继承了中国传统的艺术风格，在继承和仿古的基础上，更有新的突破与发展，已研究成功紫铜色釉、高温黑色釉、虎斑色釉、赫色釉、乌金釉和天青釉等。在工艺美术设计装饰上，有“青瓷薄胎”“青瓷玲珑”“青瓷釉下彩”“象形开片”“文武开片”“青白结合”“哥弟窑结合”等。每一回创新搏击后，都会有痛并快乐着的感悟；无数次峰回路转后，伴随着惬意涌动的澎湃豪情，艺术的生命又开始了新的征程。
同样，值得注意的是，青瓷不是非遗，青瓷烧制技艺才是非遗。在我们大书特书“非遗让生活更美好”之时，要正确引导公众的审美关注点。“浙江龙泉青瓷生活主题展”就做得很好，展览除青瓷作品外，还专门从龙泉拉了一台传统手工拉坯机，进行拉坯和刻花的活态展示。现场还有龙泉青瓷常用的瓷土原料、制瓷工具和青瓷碎片，以及老龙窑、青瓷制作场景和青瓷制作工艺流程等老照片，让观众能较直观地了解龙泉青瓷背后的动人故事，也让非遗掀开神秘的面纱，与观众近距离、面对面接触。 Since China started in 2003 a nationwide project to preserve national and folk culture， the work on the protection of intangible cultural heritage has scored a great accomplishment， as testified by the 9th Zhejiang China Expo of Intangible Cultural Heritage held in Hangzhou， capital of Zhejiang Province， in September 2017.
When the national project debuted in 2003， intangible cultural heritage was merely a concept for most people. Few knew what it really meant. It has taken a long time for people to realize that objects are not the intangible cultural heritage and that what makes these objects is. Over ten years has elapsed and now people are quite familiar with the tangible that represent the intangible.
The exhibition featured over 280 intangible cultural heritages and derivatives represented by nearly 400 state-accredited masters and professionals from 27 provinces， municipalities and autonomous regions across the country. Also held at the expo were seminars， workshops， demonstrations， exhibitions， sales， performances， competitions all regarding intangible cultural heritages.
At the expo， however， the most attractive things were those made tangible， tasteful， or， eye-catching through the intangible. Shao Yongfeng Sesame Cake， a delicacy from Quzhou， a central city in southwestern Zhejiang， attracted quite a few visitors. The cake goes back at least to the Tang Dynasty （618-907）， as testified by the Tang poet Bai Juyi who mentioned the cake in a poem. Shao Yongfeng is the best known sesame cake brand in Quzhou. The brand started in 1896. Back then， there were many cake bakeries across the city， but a baker surnamed Shao enjoyed brisk business. One evening it snowed， but customers still arrived to buy his cakes. Inspired by a Chinese saying that good snow harbingers bumper harvest in the coming-up year， he created the brand Shao Yongfeng （meaning bumper harvest forever）. In 1929， the brand cake from Quzhou won a top national award at a food expo in Nanjing. Nowadays， the cake retains its original favor of more than 100 years， but the technique has been upgraded and improved， more environmentally friendly. In 2007， the cake making technique was inscribed on the province’s second list of intangible cultural heritages.
Longquan Celadon is another perfect example how a traditional pottery technique fares in the 21st century. The celadon making in Longquan， a county in southwestern Zhejiang， dates back to more than 1，700 years ago. In 2006， the firing technique of the celadon making was designated as a national intangible cultural heritage and in 2009， the traditional firing technology of Longquan celadon was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity by the UNESCO. Celadon making in Longquan experienced a downturn in the early 20th century and a great comeback after the founding of the People’s Republic in 1949. Quite a few innovative breakthroughs have been accomplished since the comeback. What celadon makers in Longquan make today are quite new from those by their predecessors. In May 2017， over 100 celadon masterpieces made by masters in Longquan were exhibited in Japan.
At this expo in September， some celadon makers from Longquan demonstrated special techniques. Also on display were the clay and tools for celadon making. The photos gave visitors a glimpse of the past glories of the celadon and the beauty of the celadon-related things in Longquan that couldn’t be brought physically all the way from Longquan.
Probably many visitors to the intangible cultural heritage expo still haven’t figured out what’s tangible and what’s intangible， but that doesn’t very much matter. They saw the tangible beauty of the intangible cultural heritage at the expo. The point is that the tangible and the intangible combine to make the world beautiful.
《中华人民共和国非物质文化遗产法》规定：非物质文化遗产是指各族人民世代相传并视为其文化遗产组成部分的各种传统文化表现形式，以及与传统文化表现形式相关的实物和场所。也就是说，非物质文化遗产既不是物，也不是人，而是指各种以非物质形态存在的与群众生活密切相关、世代传承的传统文化表现形式。由此可见，非物质文化遗产是以人为本的活态文化遗产，它强调的是以人为核心的技艺、经验、精神，其特点是活态流变。突出的是非物质的属性，更多的是强调不依赖于物质形态而存在的品质。
至今，十多年时间过去了，在各级党委政府的重视、关心、支持下，非遗正逐渐走进民众生活，为广大人民所熟识、关注并追捧。
今年9月下旬，第九届浙江·中国非遗博览会在杭州市白马湖国际会展中心举办，来自我国27个省（市、自治区）的近400位非遗代表性传承人、相关从业人员携280个非遗项目（衍生品牌）的作品、产品、衍生品，参加展示、展演、展销、研讨及竞技赛等活动。
在活动现场，笔者看到衢州邵永丰麻饼展区前围满了市民，只见身着白色工作服、头戴白色工作帽的第四代邵永丰麻饼传承人徐成正，正在表演手拿竹匾、翻飞面饼粘上芝麻的“上麻”过程，惊叹之余，市民们不自觉地排起了长队，争相购买这道来自衢州的风味名点。
衢州制作麻饼的历史悠久，唐时白居易随父親到衢州任职，曾写过一首流传至今的赞诗：“胡麻饼样学京都，面脆油香新出炉，寄与饥馋杨大使，尝得看似辅兴无。”
据传，邵永丰麻饼还有一段典故。清光绪年间，衢州民间麻饼手工制作作坊中，面饼店开得较多，当时麻饼品质参差不齐、良莠不分。1896年，一位叫邵芳恭的人做的麻饼口感好、风味独特，故前往购饼的人特别多。有一天晚上，大雪纷飞，但还是有许多人一步一个脚印到他店里买麻饼，邵芳恭见此灵机一动挂出名为“邵永丰”的招牌，寓意瑞雪兆丰年，自己的麻饼生意和吃了自己做的麻饼的人都能永远丰收。从此，“邵永丰麻饼”生意益发红火。1929年，邵永丰麻饼在南京食品博览会上一举夺得“国家级名品佳点”之称号，一时名声大噪。
“这个非遗好，有看头，还好吃。”看着活色生香的“上麻”表演，市民楼力乐呵呵地说。细品之，这话说得有歧义！事实上，邵永丰麻饼不是非遗，制作邵永丰麻饼的手工技艺才是非遗。邵永丰麻饼之所以受到消费者的青睐，与它的加工工艺分不开。
邵永丰在加工工艺上一直保持传统特色，用炭炉烘烤，从原料到成品要经过一百多道工艺，坚持现烤现卖，而且在设备上不断改良、更新，以前那种一个炭炉摆在大街上，炉灰满天飞的时代已一去不复返，如今的炭炉更为卫生和环保。2007年，邵永丰麻饼制作技艺被浙江省政府列入第二批浙江省非遗名录。当人们吃着香喷喷、热乎乎的麻饼，看着眼前穿梭、飞扬的圆饼，确实是一道引人驻足叫好的风景。但在有些人的惯性思维里，已忽略了制作技艺，而把产品当做非遗，这显然是本末倒置。
秋风送爽，漫步在浙西南龙泉市朝兴青瓷苑，苑内琳琅满目、千姿百态的龙泉青瓷令人赏心悦目。创烧于三国两晋时期的龙泉青瓷，从最初的“作品制作粗糙，窑业规模不大”，到2006年龙泉青瓷烧制技艺被列入第一批国家级非遗保护名录，再到2009年成为我国陶瓷类第一个申报并成功入选“人类非物质文化遗产代表作名录”项目。
1700余年岁月匆匆划过，笔者的眼前仿佛显现出“善治瓷器”的章氏兄弟正专注于“哥窑”与“弟窑”的创始：一种是“胎薄如纸，釉厚如玉，釉面布满纹片，紫口铁足，胎色灰黑”的研制，作品以造型、釉色及釉面开片取胜，自然朴实、古色古香的风格，更符合传统的审美情趣；而另一种则胎白釉青，釉色以粉青、梅子青为最，青翠的釉色，配以橙红底足或露胎图形，给人巧夺天工的视觉愉悦。当历经粉碎、淘洗、陈腐、练泥、成型、晾干、修坯、装饰、素烧、上釉、装匣、装窑、烧成等13道工序，独特的青瓷烧制技艺在艺苑风景林中脱颖而出，“夺得千峰翠色来”——那晶莹如玉的色泽、温润剔透的风韵、豁达灵动的气度，仿如滤去了尘世的喧嚣与纷扰，走进一片纯净天地。我们怎能不感叹人类文明史上集体智慧结晶的丰厚与凝重。
于是，龙泉青瓷不仅是国内各大非遗展览上不可或缺的一分子，而且更是走出国门，在国外广受好评。今年5月底，“浙江龙泉青瓷生活主题展”在日本东京举办，展出的龙泉青瓷作品共有百件，主要出自中国国家级、浙江省级工艺美术大师、陶瓷大师、青瓷烧制技艺传承人之手，展示的是龙泉青瓷生活化的应用。现代的龙泉青瓷忠实地继承了中国传统的艺术风格，在继承和仿古的基础上，更有新的突破与发展，已研究成功紫铜色釉、高温黑色釉、虎斑色釉、赫色釉、乌金釉和天青釉等。在工艺美术设计装饰上，有“青瓷薄胎”“青瓷玲珑”“青瓷釉下彩”“象形开片”“文武开片”“青白结合”“哥弟窑结合”等。每一回创新搏击后，都会有痛并快乐着的感悟；无数次峰回路转后，伴随着惬意涌动的澎湃豪情，艺术的生命又开始了新的征程。
同样，值得注意的是，青瓷不是非遗，青瓷烧制技艺才是非遗。在我们大书特书“非遗让生活更美好”之时，要正确引导公众的审美关注点。“浙江龙泉青瓷生活主题展”就做得很好，展览除青瓷作品外，还专门从龙泉拉了一台传统手工拉坯机，进行拉坯和刻花的活态展示。现场还有龙泉青瓷常用的瓷土原料、制瓷工具和青瓷碎片，以及老龙窑、青瓷制作场景和青瓷制作工艺流程等老照片，让观众能较直观地了解龙泉青瓷背后的动人故事，也让非遗掀开神秘的面纱，与观众近距离、面对面接触。 Since China started in 2003 a nationwide project to preserve national and folk culture， the work on the protection of intangible cultural heritage has scored a great accomplishment， as testified by the 9th Zhejiang China Expo of Intangible Cultural Heritage held in Hangzhou， capital of Zhejiang Province， in September 2017.
When the national project debuted in 2003， intangible cultural heritage was merely a concept for most people. Few knew what it really meant. It has taken a long time for people to realize that objects are not the intangible cultural heritage and that what makes these objects is. Over ten years has elapsed and now people are quite familiar with the tangible that represent the intangible.
The exhibition featured over 280 intangible cultural heritages and derivatives represented by nearly 400 state-accredited masters and professionals from 27 provinces， municipalities and autonomous regions across the country. Also held at the expo were seminars， workshops， demonstrations， exhibitions， sales， performances， competitions all regarding intangible cultural heritages.
At the expo， however， the most attractive things were those made tangible， tasteful， or， eye-catching through the intangible. Shao Yongfeng Sesame Cake， a delicacy from Quzhou， a central city in southwestern Zhejiang， attracted quite a few visitors. The cake goes back at least to the Tang Dynasty （618-907）， as testified by the Tang poet Bai Juyi who mentioned the cake in a poem. Shao Yongfeng is the best known sesame cake brand in Quzhou. The brand started in 1896. Back then， there were many cake bakeries across the city， but a baker surnamed Shao enjoyed brisk business. One evening it snowed， but customers still arrived to buy his cakes. Inspired by a Chinese saying that good snow harbingers bumper harvest in the coming-up year， he created the brand Shao Yongfeng （meaning bumper harvest forever）. In 1929， the brand cake from Quzhou won a top national award at a food expo in Nanjing. Nowadays， the cake retains its original favor of more than 100 years， but the technique has been upgraded and improved， more environmentally friendly. In 2007， the cake making technique was inscribed on the province’s second list of intangible cultural heritages.
Longquan Celadon is another perfect example how a traditional pottery technique fares in the 21st century. The celadon making in Longquan， a county in southwestern Zhejiang， dates back to more than 1，700 years ago. In 2006， the firing technique of the celadon making was designated as a national intangible cultural heritage and in 2009， the traditional firing technology of Longquan celadon was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity by the UNESCO. Celadon making in Longquan experienced a downturn in the early 20th century and a great comeback after the founding of the People’s Republic in 1949. Quite a few innovative breakthroughs have been accomplished since the comeback. What celadon makers in Longquan make today are quite new from those by their predecessors. In May 2017， over 100 celadon masterpieces made by masters in Longquan were exhibited in Japan.
At this expo in September， some celadon makers from Longquan demonstrated special techniques. Also on display were the clay and tools for celadon making. The photos gave visitors a glimpse of the past glories of the celadon and the beauty of the celadon-related things in Longquan that couldn’t be brought physically all the way from Longquan.
Probably many visitors to the intangible cultural heritage expo still haven’t figured out what’s tangible and what’s intangible， but that doesn’t very much matter. They saw the tangible beauty of the intangible cultural heritage at the expo. The point is that the tangible and the intangible combine to make the world beautiful.