User:Huang Yixuan2 - Revision history

Huang Yixuan2: /* Contemporary Transformation */

2025-06-19T17:38:06Z

Contemporary Transformation

Huang Yixuan2: /* History */

2025-06-19T17:36:40Z

History

Huang Yixuan2: /* 参考文献 */

2025-06-19T17:33:00Z

参考文献

Huang Yixuan2: /* History */

2025-06-19T17:30:47Z

History

Huang Yixuan2: /* History */

2025-06-19T17:29:38Z

History

Huang Yixuan2: /* 历史溯源 */

2025-06-19T17:27:01Z

历史溯源

Huang Yixuan2: /* 问题 */

2025-06-19T17:23:05Z

问题

Huang Yixuan2: /* AI statement */

2025-06-19T17:21:32Z

AI statement

Huang Yixuan2: /* Answears */

2025-06-19T17:20:52Z

Answears

Huang Yixuan2: /* China's Art Keepers */

2025-06-19T17:19:50Z

China's Art Keepers

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 ==Contemporary Transformation==
-At present, the group of art keeper is polarized. On the one hand, the inheritors are aging seriously, the average age of national non-genetic inheritors is 63 years old, and there are only three inheritors over 80 years old in Yunnan Dai slow-wheel pottery. On the other hand, young forces are being injected. 32% of Jingdezhen's "Jingpiao" are post-90s, and the number of post-00s UP owners of bilibili's traditional craft channel has increased by 240% annually.
+At present, the group of art keeper is polarized. On the one hand, the inheritors are aging seriously, the average age of national non-genetic inheritors is 63 years old, and there are only three inheritors over 80 years old in Yunnan Dai slow-wheel pottery. On the other hand, young forces are being injected. 32% of Jingdezhen's "景漂(Jingpiao)" are post-90s, and the number of post-00s UP owners of bilibili's traditional craft channel has increased by 240% annually.
 The application and realization of digital path is based on the Internet-like modern scientific and technological means and new media applications. '''The new media era is an era of mass participation, which provides infinite possibilities for the exploration of intangible cultural heritage protection models''' (Fan Xiaoqing, 2016, 43 (04): 166-171). Statistics show that as of May this year, there were an average of 19,000 intangible cultural heritage live broadcasts in Tik Tok every day, and an average of 13 intangible cultural heritage broadcasts were launched every minute. In the past year, 274 million users watched traditional cultural video content on Bilibili (bilibili), with a total broadcast volume of 12 billion; There are more than 440,000 UP owners in bilibili who create videos of Chinese-style music, dance, Hanfu, traditional crafts, etc. These adherents and disseminators of traditional culture active on the Internet have attracted sweet living water, washed away the dust of time, and allowed the rich spiritual wealth of ancestors to return to the public eye with a more lively look (Xuan Jing, Sun Yanyang, 2023-09-21 (005)).

@@ Line 15: / Line 15: @@
 [https://baike.baidu.com/item/%E8%80%83%E5%B7%A5%E8%AE%B0/1638816]
-In the process of industrialization in the 20th century, traditional handicrafts once faced a survival crisis. After China joined the Convention for the Protection of Intangible Cultural Heritage in 2004, the concept of "keeping artists" gradually took shape. '''Unlike "craftsmen" who emphasize technology, "keeping artists" highlights the mission of cultural inheritance'''. For example, Yin Liping, the "keeper" of Chengdu lacquer art, believes that in addition to continuously improving their professional quality, lacquer art practitioners should pay more attention to the influence of the changes of the times on traditional crafts. On the one hand, they should "change at any time", and on the other hand, they should keep the core skills of Chengdu lacquer art. Only in this way can we keep our skills and start inheritance (Zhou Yiqiao, Du Jie, 2022, (07): 137-140).
+In the process of industrialization in the 20th century, traditional handicrafts once faced a survival crisis. After China joined the Convention for the Protection of Intangible Cultural Heritage in 2004, the concept of "art keeper" gradually took shape. '''Unlike "craftsmen" who emphasize technology, "art keeper" highlights the mission of cultural inheritance'''. For example, Yin Liping, the "keeper" of Chengdu lacquer art, believes that in addition to continuously improving their professional quality, lacquer art practitioners should pay more attention to the influence of the changes of the times on traditional crafts. On the one hand, they should "change at any time", and on the other hand, they should keep the core skills of Chengdu lacquer art. Only in this way can we keep our skills and start inheritance (Zhou Yiqiao, Du Jie, 2022, (07): 137-140).
 [[File:e03f491b5ce91a593f1623.jpg]]

← Older revision		Revision as of 17:33, 19 June 2025
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	阅读链接：https://kns.cnki.net/kcms2/article/abstract?v=i7m15r_oBqqVPjtapFSt2MiYnLwEzH2umPFTyDIoZnxrQ4HG6rd_h83sqng1dLC7JZbg7_WCy3IqtSRjt8UjNjTm1o01daz6nEVuReRZP3NURSfwPh4X7LVhu3AmFV69cJCFrf2e2fHtPL947yfNb1QoByB5QNNt9R9s_4uMIuFnOumhQj65rQ==&uniplatform=NZKPT&language=CHS		阅读链接：https://kns.cnki.net/kcms2/article/abstract?v=i7m15r_oBqqVPjtapFSt2MiYnLwEzH2umPFTyDIoZnxrQ4HG6rd_h83sqng1dLC7JZbg7_WCy3IqtSRjt8UjNjTm1o01daz6nEVuReRZP3NURSfwPh4X7LVhu3AmFV69cJCFrf2e2fHtPL947yfNb1QoByB5QNNt9R9s_4uMIuFnOumhQj65rQ==&uniplatform=NZKPT&language=CHS
		+
		+	==人工智能声明==
		+	为了帮助我写期末论文，我使用了以下几个AI聊天机器人：DeepSeek，中文中文和豆包。我有以下提示：“请给我介绍一下守艺人”，“请翻译下面的文本”，“请帮我重组我的文章”。在这个过程中，我也阅读了一些资料，对守艺人有了更多的了解。经过他们的翻译，我也修改了一些错误和他们关于术语的错误信息。

@@ Line 11: / Line 11: @@
 ==History==
-The concept of art keepers in China is rooted in a long tradition of artisans. As early as Zhou Li Kao Gong Ji, there was a record of the "百工（hundred workers）" system, and the government craftsman system provided all kinds of handicrafts for the society. During the Ming and Qing Dynasties, folk workshops inherited their skills through strict master-apprentice system, such as "坯房佬（billet house guy）" in Jingdezhen and "绣庄（embroidery village）" in Suzhou, forming a craft school with regional characteristics.
+The concept of art keepers in China is rooted in a long tradition of artisans. As early as 《周礼·考工记》(Zhou Li Kao Gong Ji), there was a record of the "百工（hundred workers）" system, and the government craftsman system provided all kinds of handicrafts for the society. During the Ming and Qing Dynasties, folk workshops inherited their skills through strict master-apprentice system, such as "坯房佬（billet house guy）" in Jingdezhen and "绣庄（embroidery village）" in Suzhou, forming a craft school with regional characteristics.
 [https://baike.baidu.com/item/%E8%80%83%E5%B7%A5%E8%AE%B0/1638816]

← Older revision		Revision as of 17:29, 19 June 2025
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	[[File:20250620011506.jpg]]		[[File:20250620011506.jpg]]
		+
		+	==Abstract==
		+
		+	With the development of society, "artisans" have begun to shift towards "art keepers", and with the help of technology, they continue to pass on their skills and culture in a brand-new way.

	==History==		==History==

← Older revision		Revision as of 17:27, 19 June 2025
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	[[File:20250620011506.jpg]]		[[File:20250620011506.jpg]]
		+
		+	==摘要==
		+
		+	随着社会的发展，“手艺人”开始转向“守艺人”，并借助科技的力量以一种崭新的方式继续传承技术和文化。

	==历史溯源==		==历史溯源==

← Older revision		Revision as of 17:23, 19 June 2025
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	2.守艺人和手艺人的区别在哪里？		2.守艺人和手艺人的区别在哪里？
		+
		+	==回答==
		+
		+	1. 通过网络，特别是社交媒体。
		+
		+	2. 手艺人"强调技术不同，"守艺人"更突出文化传承的使命。

	==参考文献==		==参考文献==

@@ Line 80: / Line 80: @@
 == '''AI statement'''  ==
-To help me to write my final paper, I have used the following AI chatbot: DeepSeek, 文心一言 and Doubao. I have the following prompts: "Please introduce keeping artists to me", "Please translate the following text", and " Please help me restructure my passage". During this process, I have also read some materials and learned more about art guardians. After their translation, I have also modified some mistakes and their wrong information about terms.
+To help me to write my final paper, I have used the following AI chatbot: DeepSeek, 文心一言 and Doubao. I have the following prompts: "Please introduce art keepers to me", "Please translate the following text", and " Please help me restructure my passage". During this process, I have also read some materials and learned more about art guardians. After their translation, I have also modified some mistakes and their wrong information about terms.
 =中国守艺人=

@@ Line 49: / Line 49: @@
 . What is the difference between a art keeper and a craftsman?
-==Answears==
+==Answers==
 . They pass on traditional culture online, especially on social media.

@@ Line 1: / Line 1: @@
 =China's Art Keepers=
-MTI Huang Yixuan(黄译萱)
+MTI Huang Yixuan(黄译萱) 202470081632
 [[File:20250620011506.jpg]]
@@ Line 7: / Line 7: @@
 ==History==
-The concept of art keepers in China is rooted in a long tradition of artisans. As early as Zhou Li Kao Gong Ji, there was a record of the "百工（hundred workers）" system, and the government craftsman system provided all kinds of handicrafts for the society. During the Ming and Qing Dynasties, folk workshops inherited their skills through strict master-apprentice system, such as "坯房佬（billet house guy）" in Jingdezhen and "绣庄（embroidery village）" in Suzhou, forming a craft school with regional characteristics. [https://baike.baidu.com/item/%E8%80%83%E5%B7%A5%E8%AE%B0/1638816]
+The concept of art keepers in China is rooted in a long tradition of artisans. As early as Zhou Li Kao Gong Ji, there was a record of the "百工（hundred workers）" system, and the government craftsman system provided all kinds of handicrafts for the society. During the Ming and Qing Dynasties, folk workshops inherited their skills through strict master-apprentice system, such as "坯房佬（billet house guy）" in Jingdezhen and "绣庄（embroidery village）" in Suzhou, forming a craft school with regional characteristics.
 In the process of industrialization in the 20th century, traditional handicrafts once faced a survival crisis. After China joined the Convention for the Protection of Intangible Cultural Heritage in 2004, the concept of "keeping artists" gradually took shape. '''Unlike "craftsmen" who emphasize technology, "keeping artists" highlights the mission of cultural inheritance'''. For example, Yin Liping, the "keeper" of Chengdu lacquer art, believes that in addition to continuously improving their professional quality, lacquer art practitioners should pay more attention to the influence of the changes of the times on traditional crafts. On the one hand, they should "change at any time", and on the other hand, they should keep the core skills of Chengdu lacquer art. Only in this way can we keep our skills and start inheritance (Zhou Yiqiao, Du Jie, 2022, (07): 137-140).