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第二届中国—中东欧国家非遗保护专家级论坛在杭召开
远古的丝绸之路，是文化交流的纽带，连接着来自东方和西方的货品与风物，创造了人类文明交流的传奇与佳话。丝绸之路的驼铃不再，却留下了恒久的文化。如今，中国“一带一路”倡议，也推动着沿线国家和地区在非遗文化上的沟通、对话与合作。
9月中旬，第二届“中国—中东欧国家非物质文化遗产保护专家级论坛”在杭州举行。论坛以“大匠至心·手创造的文化记忆”为主题，邀请53位中国和中东欧16国文化机构的管理者、文化学者、代表性传承人与工艺家齐聚运河边，探讨关于非物质文化遗产保护的思路与策略。
中东欧诸国从来不缺乏艺术气息，无论是捷克的水晶、木偶，还是匈牙利的民间刺绣，或是罗马尼亚的陶瓷，都有着引人入胜的故事。面对丰富的历史文化遗产和非遗资源的富矿，中东欧16国如何传承和发展？又有哪些关于非遗保护的经验可以成为中国的他山之石呢？
来自波黑、克罗地亚、爱沙尼亚、匈牙利、拉脱维亚等“一带一路”沿线国家的专家，在论坛上分享了各自的思考。
在100多年的历史当中，我们科尼茨地区（波黑一座历史悠久的小镇）的木雕技术得到很多发展，而且当地社区已经将木雕技术作为他们身份认同的一部分。这些木雕有独特的设计，质量也非常好，在科尼茨的家具制作当中也会使用到这些木雕技术。
有一个有趣的现象，（一般来说）木雕技术是男人学习的，而在我们国家，女性在推广这些木雕技艺上起到重要作用。她们把这些木雕产品使用在了生活当中，比如家庭物件的设计，而且她们也能够引入很多有创造性的元素。
实际上，用木雕技术来做一些小物件，它的技术要求并不是那么高，但通过这些小物件能够让人们意识到，原来我们可以利用身边的这些自然原材料，而且这些材料也有它的美学价值，能够给我们带来全新的体验。
克罗地亚在非物质文化遗产保护方面一直投入了大量的精力，我们有15个传统工艺被列入了联合国教科文组织的非遗名录，这在欧洲是一个很高的数字。所以在克罗地亚，非遗文化方面有一个非常有力的政府保护，我们一直以来都试图建立一个能让传统工艺可持续发展的框架。许多的传统工艺开始走向了商业发展，有一些是与文化旅游业进行合作。当然了这些行动都是不易的。
我们面临的一个挑战，就是如何在拥有一个可持续的商业框架内保持传统工艺的活力，如何吸引年轻一代加入传统工艺的工作中。没有年轻人的参与，传统工艺就没有前途。
越来越少的人愿意去职业学校学习传统工艺，包括木工、水管工，这些行业的学生越来越少，年轻人的兴致越来越低，因为这些涉及到大量的体力劳动。人们的观念越来越进入数字化时代，因此他们不愿意把注意力放到物质和体力劳动上。而且正规的学校教育并没有设置非遗方面的课程，所以儿童缺少手工艺方面的兴趣。
还有一个问题，手工艺制造的工作条件非常陈旧，这会打消年轻人投入这些行业的积极性。而从制作商品，到销售，到宣传，这些所有的环节手工业者都要亲力亲为，有一些大师没有足够的资金建立自己的工作室，因此他们也没有继承者。
那么，专家如何去为手工艺从业者提供帮助？展览是有用的，但是不会直接给手工艺从业者带来经济效益。有一些手工艺从业者会去寻找一些新的消费群体，比如：把这些传统的手工艺品制作成礼物，适应当今的一些场合；或者花费一些时间，组织一些活动，建立培训班，可能会帮助手工艺从业者提高收入。
自从2006年开始，爱沙尼亚就成为联合国教科文组织非遗保护公约的缔约国。“公约”的实施工作主要是由爱沙尼亚民族文化中心来实施的，它是我们文化部下面的一个中心，主要工作就是要管理国家非遗名录。这个名录是2007年开始的，由大学的研究者、专家，还有两个社区以及博物馆来进行合作编制。编制名录的目的就是为了保护非遗。
什么样的非遗项目能被纳入名录呢？它的标准是什么？首先，这个非物质文化遗产项目必须是对社区非常重要的，所有的社区都能够提交他们想要纳入到这个名录当中的一些项目。第二点，他们想要提交的这个项目必须是现存的遗产，并且这样的非遗项目必须是代代相传的。有一个例子，在我们一个小岛上只有一个艺人有这样的技术——专门制造节日的时候所穿的服饰。现在已经有年轻人在学了，并且自己也建立起小工厂。
另外在编制名录时，非遗项目在传播时会遇到什么样的挑战和障碍，以及有什么保护这个非遗项目的好做法，这些信息都会被呈现在非遗名录当中。
现在大概有100多个能够代表当地社区传统手工艺的项目被纳入到了我们的名录中。
在20世纪70年代，我们国家建立了一些民艺协会。目前我们有数十个传统手工艺的协会，3000多個成员。我们的民间艺术节已经连续举办了22年，成为匈牙利一个标志性的节日。在这样的场合中，许多的民艺大师展示他们的手工艺。
我们正在加强传统手工艺的教育和培训。我们从小学和中学开始就设置了手工艺练习课程。在大学我们也设置了4个手工艺专业。除了正规的学校教育，社会上还有150多个开放式的研修班，为地区的手工艺大师和从业者提供交流学习的机会。除了研修班，我们国家还举办一些手工艺的学习营和俱乐部，一般为期是5到10天。 一些農村或者是村镇地区，有一些家庭的工作坊。66%的手工艺从业人员是妇女，这些手工艺包括珠宝制造、地毯编织等。但从业者一般都是年纪较长的人，还有一些是夫妻工作坊，他们的手艺是从家中的长辈那学到的。
举一个例子，我们的蓝染手工艺。有一个名叫Kovacs的家庭工作坊在匈牙利非常有名，这个家庭从19世纪就开始从事蓝染成品制造，现在三代人一起从事蓝染行业，第一代的大师已经90多岁了。这种家庭式的作坊能够保证文化的传承，一种手工艺高质量的传承。
我是一个手工艺人，2017年获得了拉脱维亚工艺会的认证，成为了当地的一个手工艺大师。
大家可以看到我手上戴的这个护腕，这个护腕可以在穿民族衣服的时候戴，非常美。它可以用作装饰，而且戴上以后你的手也会感觉到非常暖和，因为拉脱维亚非常冷。我们可以在护腕上装饰图案。这是玫瑰的图案，是我从玫瑰花中获得的一些灵感。在最开始，做护腕是我的一个爱好，现在我成为了一个护腕手套针织手工艺人。
如果你想要成为一个领域的大师，你必须参加不同的活动，进行展览，要显示出你的能力，让人们知道你、了解你。
在很多年前，我开始参加“大师面对面”的活动。在2015年之前我都只是参与者，但是在2015年之后我成为了一个大师。
不仅在拉脱维亚，我还可以在别的国家分享我的知识，比如我曾经教授卢森堡、日本、比利时等国家的编织者爱好者。当然了，我觉得也一个非常好的机会，来跟大家分享我在编织方面的一些经验。
China-CEE Countries Hold Forum on Intangible Cultural Heritage in Hangzhou
By Shen Xiaopeng
The 2nd China-CEEC Expert-Level Forum on Safeguarding of the Intangible Cultural Heritage was held from September 17 through 22， 2018 in Hangzhou， the capital city of Zhejiang Province in eastern China. The first was held in Poland in 2016. Fifty-three people from China and Central and Eastern European countries， where cultural heritages abound， attended the forum. The 53 included administrators of cultural institutions， scholars， heritage masters， and craftsmen. The attendees compared notes on the issues they had encountered in their efforts to safeguard intangible cultural heritage. The following is a brief summary of some discussions made by attendees from CEE countries during the 6-day event.
Mirela Milicevic Sevic （a craftsperson from Bosnia and Herzegovina）
The traditional woodcarving has been used in house decoration for more than 100 years in our culture. In Konjic， a historical town， woodcarving is recognized as an identity in the local community. Woodcarving done in furniture presents imagination and excellent quality. Interestingly enough， many women in Bosnia and Herzegovina play a key role in promoting woodcarving， although traditionally men are the mainstay of this craft. It is women who are able to introduce woodcarving creatively into household pieces.
In fact， it is not technically difficult to carve some little pieces， but these small woodcarving works open people’s eyes to the possibilities of tapping into the natural materials around us. Moreover， these materials have their innate aesthetic values and bring us totally different experience.
Goranka Horjan （Director of the Ethnographic Museum of Croatia） Croatia has dedicated time and money to the safeguarding of intangible cultural heritage. Fifteen of our traditional crafts are on the UNESCO list of heritage cultural heritage. This outstanding quantity in Europe represents the strong role the government plays in the safeguarding. We have been trying to set up a framework in which traditional arts and crafts can develop in a sustainable way.
One challenge is how to attract the young generation. Without the involvement of the young， traditional crafts wouldn’t have a future. Now young people prefer not to learn traditional crafts. No so many people like to be carpenters and plumbers. The dwindling interest can be ascribed to physical labor. In this digital era， people are reluctant to pay attention to physical and manual work. Schools do not include traditional crafts in their curricula. Workplaces of traditional crafts are a huge problem， too. These workplaces are backward at the first glance， which does not attract. Some masters do not have their studios due to lack of funds and therefore they don’t have young disciples to learn from them.
Experts can help craftspeople in a few ways. Exhibitions do help， but they do not bring economic benefits directly to craftspeople. Some professionals try to find new consumers through new lines of products such as gifts. It will help craftspeople to make money if events and training courses can be organized.
Leelo Isidora Viita （Head of Department of Intangible Cultural Heritage， Estonian Folk Culture Centre）
Since 2006， Estonia has been a signatory state to the Convention for the Safeguarding of the Intangible Cultural Heritage adopted by UNESCO in 2003. Estonian Folk Culture Center under the Ministry of Culture is in charge of administering the national list of intangible cultural heritage. In 2007 experts and scholars from universities， two communities， and a museum worked together to prepare the list. Local communities have played a key role in qualifying heritage items： all the communities are able to submit a list of existing heritage items. And all these heritage items must be alive and passed down to today within families. While the list was being formulated， considerations also went into ways to address challenges and solve problems and ways to better safeguard heritage items. At present over 100 traditional crafts representative of individual communities have been inscribed on the list.
Eszter Csonka-Takács （Director， Department of Intangible Cultural Heritage， Hungarian Open Air Museum） In the 1970s we set up many folk art associations. At present we have dozens of such associations with over 3，000 members. Folk Art Festival has been held in our country for the past 22 consecutive years. The festival is a signature event of our country. The festival enables our masters to demonstrate their virtuosos.
We are taking measures to intensify education and training of our traditional crafts. In primary and high schools students study crafts. There are four traditional crafts courses offered in our universities. Communities across the country offer over 150 study programs which are open to the general public and provide opportunities for masters and professionals to compare notes with each other. We also hold short-term programs where people can spend five to ten days learning about crafts.
There are some family workshops in villages and rural towns where women account for 66% of the workforce. They are engaged in producing jewelries， crafts， and tapestry. Generally speaking， those engaged in the traditional crafts are old people. In some workshops， husband and wife work together. They inherit the business from their forefathers.
Solvita Zarupska （Master Craftsman at the Latvian Chamber of Crafts）
I am a craftsman and became a Certified Master Craftsman of the Latvian Chamber of Crafts in 2017. Take a look at this wrist brace on my forearm. It looks beautiful when we are dressed in our national costumes. It is more than an ornament. Wrist braces make your hands warm as it is cold in Latvia. Wrist braces are adorned with patterns. This is a rose pattern. Roses inspired me at first. Making wrist braces was my hobby at first. Now I am a master who put needlework art designs on wrist braces.
If you want to be a master， you must demonstrate your capability at various events so that people can know and understand you. Many years ago I took part in Face to Face with Masters. Before 2015， I was just a participant in the event. I can share my knowledge not only in Latvia but also in other countries. I have taught my craft in Luxemburg， Japan and Belgium.
远古的丝绸之路，是文化交流的纽带，连接着来自东方和西方的货品与风物，创造了人类文明交流的传奇与佳话。丝绸之路的驼铃不再，却留下了恒久的文化。如今，中国“一带一路”倡议，也推动着沿线国家和地区在非遗文化上的沟通、对话与合作。
9月中旬，第二届“中国—中东欧国家非物质文化遗产保护专家级论坛”在杭州举行。论坛以“大匠至心·手创造的文化记忆”为主题，邀请53位中国和中东欧16国文化机构的管理者、文化学者、代表性传承人与工艺家齐聚运河边，探讨关于非物质文化遗产保护的思路与策略。
中东欧诸国从来不缺乏艺术气息，无论是捷克的水晶、木偶，还是匈牙利的民间刺绣，或是罗马尼亚的陶瓷，都有着引人入胜的故事。面对丰富的历史文化遗产和非遗资源的富矿，中东欧16国如何传承和发展？又有哪些关于非遗保护的经验可以成为中国的他山之石呢？
来自波黑、克罗地亚、爱沙尼亚、匈牙利、拉脱维亚等“一带一路”沿线国家的专家，在论坛上分享了各自的思考。
米蕾拉·米莉切维奇·舍契奇（波黑手工艺人）：
用在家庭设计上，传统木雕技艺“活”更久
在100多年的历史当中，我们科尼茨地区（波黑一座历史悠久的小镇）的木雕技术得到很多发展，而且当地社区已经将木雕技术作为他们身份认同的一部分。这些木雕有独特的设计，质量也非常好，在科尼茨的家具制作当中也会使用到这些木雕技术。
有一个有趣的现象，（一般来说）木雕技术是男人学习的，而在我们国家，女性在推广这些木雕技艺上起到重要作用。她们把这些木雕产品使用在了生活当中，比如家庭物件的设计，而且她们也能够引入很多有创造性的元素。
实际上，用木雕技术来做一些小物件，它的技术要求并不是那么高，但通过这些小物件能够让人们意识到，原来我们可以利用身边的这些自然原材料，而且这些材料也有它的美学价值，能够给我们带来全新的体验。
戈兰卡·霍尔扬（克罗地亚民族博物馆主任）：
没有年轻人参与，传统工艺就没有前途
克罗地亚在非物质文化遗产保护方面一直投入了大量的精力，我们有15个传统工艺被列入了联合国教科文组织的非遗名录，这在欧洲是一个很高的数字。所以在克罗地亚，非遗文化方面有一个非常有力的政府保护，我们一直以来都试图建立一个能让传统工艺可持续发展的框架。许多的传统工艺开始走向了商业发展，有一些是与文化旅游业进行合作。当然了这些行动都是不易的。
我们面临的一个挑战，就是如何在拥有一个可持续的商业框架内保持传统工艺的活力，如何吸引年轻一代加入传统工艺的工作中。没有年轻人的参与，传统工艺就没有前途。
越来越少的人愿意去职业学校学习传统工艺，包括木工、水管工，这些行业的学生越来越少，年轻人的兴致越来越低，因为这些涉及到大量的体力劳动。人们的观念越来越进入数字化时代，因此他们不愿意把注意力放到物质和体力劳动上。而且正规的学校教育并没有设置非遗方面的课程，所以儿童缺少手工艺方面的兴趣。
还有一个问题，手工艺制造的工作条件非常陈旧，这会打消年轻人投入这些行业的积极性。而从制作商品，到销售，到宣传，这些所有的环节手工业者都要亲力亲为，有一些大师没有足够的资金建立自己的工作室，因此他们也没有继承者。
那么，专家如何去为手工艺从业者提供帮助？展览是有用的，但是不会直接给手工艺从业者带来经济效益。有一些手工艺从业者会去寻找一些新的消费群体，比如：把这些传统的手工艺品制作成礼物，适应当今的一些场合；或者花费一些时间，组织一些活动，建立培训班，可能会帮助手工艺从业者提高收入。
列埃洛·伊西多拉·维伊塔（爱沙尼亚民俗文化中心非物质文化遗产部主任）：
编制非遗名录，让社区参与项目保护
自从2006年开始，爱沙尼亚就成为联合国教科文组织非遗保护公约的缔约国。“公约”的实施工作主要是由爱沙尼亚民族文化中心来实施的，它是我们文化部下面的一个中心，主要工作就是要管理国家非遗名录。这个名录是2007年开始的，由大学的研究者、专家，还有两个社区以及博物馆来进行合作编制。编制名录的目的就是为了保护非遗。
什么样的非遗项目能被纳入名录呢？它的标准是什么？首先，这个非物质文化遗产项目必须是对社区非常重要的，所有的社区都能够提交他们想要纳入到这个名录当中的一些项目。第二点，他们想要提交的这个项目必须是现存的遗产，并且这样的非遗项目必须是代代相传的。有一个例子，在我们一个小岛上只有一个艺人有这样的技术——专门制造节日的时候所穿的服饰。现在已经有年轻人在学了，并且自己也建立起小工厂。
另外在编制名录时，非遗项目在传播时会遇到什么样的挑战和障碍，以及有什么保护这个非遗项目的好做法，这些信息都会被呈现在非遗名录当中。
现在大概有100多个能够代表当地社区传统手工艺的项目被纳入到了我们的名录中。
艾斯戴尔·崇高·道卡赤（匈牙利露天博物馆非物质文化遗产部主任）：
家庭式的作坊，能够保证文化的传承
在20世纪70年代，我们国家建立了一些民艺协会。目前我们有数十个传统手工艺的协会，3000多個成员。我们的民间艺术节已经连续举办了22年，成为匈牙利一个标志性的节日。在这样的场合中，许多的民艺大师展示他们的手工艺。
我们正在加强传统手工艺的教育和培训。我们从小学和中学开始就设置了手工艺练习课程。在大学我们也设置了4个手工艺专业。除了正规的学校教育，社会上还有150多个开放式的研修班，为地区的手工艺大师和从业者提供交流学习的机会。除了研修班，我们国家还举办一些手工艺的学习营和俱乐部，一般为期是5到10天。 一些農村或者是村镇地区，有一些家庭的工作坊。66%的手工艺从业人员是妇女，这些手工艺包括珠宝制造、地毯编织等。但从业者一般都是年纪较长的人，还有一些是夫妻工作坊，他们的手艺是从家中的长辈那学到的。
举一个例子，我们的蓝染手工艺。有一个名叫Kovacs的家庭工作坊在匈牙利非常有名，这个家庭从19世纪就开始从事蓝染成品制造，现在三代人一起从事蓝染行业，第一代的大师已经90多岁了。这种家庭式的作坊能够保证文化的传承，一种手工艺高质量的传承。
索尔维塔·扎鲁普斯卡（拉脱维亚工艺会手工艺大师）：
不停参展，把传统手工艺推销出去
我是一个手工艺人，2017年获得了拉脱维亚工艺会的认证，成为了当地的一个手工艺大师。
大家可以看到我手上戴的这个护腕，这个护腕可以在穿民族衣服的时候戴，非常美。它可以用作装饰，而且戴上以后你的手也会感觉到非常暖和，因为拉脱维亚非常冷。我们可以在护腕上装饰图案。这是玫瑰的图案，是我从玫瑰花中获得的一些灵感。在最开始，做护腕是我的一个爱好，现在我成为了一个护腕手套针织手工艺人。
如果你想要成为一个领域的大师，你必须参加不同的活动，进行展览，要显示出你的能力，让人们知道你、了解你。
在很多年前，我开始参加“大师面对面”的活动。在2015年之前我都只是参与者，但是在2015年之后我成为了一个大师。
不仅在拉脱维亚，我还可以在别的国家分享我的知识，比如我曾经教授卢森堡、日本、比利时等国家的编织者爱好者。当然了，我觉得也一个非常好的机会，来跟大家分享我在编织方面的一些经验。
China-CEE Countries Hold Forum on Intangible Cultural Heritage in Hangzhou
By Shen Xiaopeng
The 2nd China-CEEC Expert-Level Forum on Safeguarding of the Intangible Cultural Heritage was held from September 17 through 22， 2018 in Hangzhou， the capital city of Zhejiang Province in eastern China. The first was held in Poland in 2016. Fifty-three people from China and Central and Eastern European countries， where cultural heritages abound， attended the forum. The 53 included administrators of cultural institutions， scholars， heritage masters， and craftsmen. The attendees compared notes on the issues they had encountered in their efforts to safeguard intangible cultural heritage. The following is a brief summary of some discussions made by attendees from CEE countries during the 6-day event.
Mirela Milicevic Sevic （a craftsperson from Bosnia and Herzegovina）
The traditional woodcarving has been used in house decoration for more than 100 years in our culture. In Konjic， a historical town， woodcarving is recognized as an identity in the local community. Woodcarving done in furniture presents imagination and excellent quality. Interestingly enough， many women in Bosnia and Herzegovina play a key role in promoting woodcarving， although traditionally men are the mainstay of this craft. It is women who are able to introduce woodcarving creatively into household pieces.
In fact， it is not technically difficult to carve some little pieces， but these small woodcarving works open people’s eyes to the possibilities of tapping into the natural materials around us. Moreover， these materials have their innate aesthetic values and bring us totally different experience.
Goranka Horjan （Director of the Ethnographic Museum of Croatia） Croatia has dedicated time and money to the safeguarding of intangible cultural heritage. Fifteen of our traditional crafts are on the UNESCO list of heritage cultural heritage. This outstanding quantity in Europe represents the strong role the government plays in the safeguarding. We have been trying to set up a framework in which traditional arts and crafts can develop in a sustainable way.
One challenge is how to attract the young generation. Without the involvement of the young， traditional crafts wouldn’t have a future. Now young people prefer not to learn traditional crafts. No so many people like to be carpenters and plumbers. The dwindling interest can be ascribed to physical labor. In this digital era， people are reluctant to pay attention to physical and manual work. Schools do not include traditional crafts in their curricula. Workplaces of traditional crafts are a huge problem， too. These workplaces are backward at the first glance， which does not attract. Some masters do not have their studios due to lack of funds and therefore they don’t have young disciples to learn from them.
Experts can help craftspeople in a few ways. Exhibitions do help， but they do not bring economic benefits directly to craftspeople. Some professionals try to find new consumers through new lines of products such as gifts. It will help craftspeople to make money if events and training courses can be organized.
Leelo Isidora Viita （Head of Department of Intangible Cultural Heritage， Estonian Folk Culture Centre）
Since 2006， Estonia has been a signatory state to the Convention for the Safeguarding of the Intangible Cultural Heritage adopted by UNESCO in 2003. Estonian Folk Culture Center under the Ministry of Culture is in charge of administering the national list of intangible cultural heritage. In 2007 experts and scholars from universities， two communities， and a museum worked together to prepare the list. Local communities have played a key role in qualifying heritage items： all the communities are able to submit a list of existing heritage items. And all these heritage items must be alive and passed down to today within families. While the list was being formulated， considerations also went into ways to address challenges and solve problems and ways to better safeguard heritage items. At present over 100 traditional crafts representative of individual communities have been inscribed on the list.
Eszter Csonka-Takács （Director， Department of Intangible Cultural Heritage， Hungarian Open Air Museum） In the 1970s we set up many folk art associations. At present we have dozens of such associations with over 3，000 members. Folk Art Festival has been held in our country for the past 22 consecutive years. The festival is a signature event of our country. The festival enables our masters to demonstrate their virtuosos.
We are taking measures to intensify education and training of our traditional crafts. In primary and high schools students study crafts. There are four traditional crafts courses offered in our universities. Communities across the country offer over 150 study programs which are open to the general public and provide opportunities for masters and professionals to compare notes with each other. We also hold short-term programs where people can spend five to ten days learning about crafts.
There are some family workshops in villages and rural towns where women account for 66% of the workforce. They are engaged in producing jewelries， crafts， and tapestry. Generally speaking， those engaged in the traditional crafts are old people. In some workshops， husband and wife work together. They inherit the business from their forefathers.
Solvita Zarupska （Master Craftsman at the Latvian Chamber of Crafts）
I am a craftsman and became a Certified Master Craftsman of the Latvian Chamber of Crafts in 2017. Take a look at this wrist brace on my forearm. It looks beautiful when we are dressed in our national costumes. It is more than an ornament. Wrist braces make your hands warm as it is cold in Latvia. Wrist braces are adorned with patterns. This is a rose pattern. Roses inspired me at first. Making wrist braces was my hobby at first. Now I am a master who put needlework art designs on wrist braces.
If you want to be a master， you must demonstrate your capability at various events so that people can know and understand you. Many years ago I took part in Face to Face with Masters. Before 2015， I was just a participant in the event. I can share my knowledge not only in Latvia but also in other countries. I have taught my craft in Luxemburg， Japan and Belgium.