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自2003年初“中國(guó)民族民間文化保護(hù)工程”啟動(dòng)，中國(guó)的非物質(zhì)文化遺產(chǎn)保護(hù)工作開始走入全面、整體性的保護(hù)階段。

《中華人民共和國(guó)非物質(zhì)文化遺產(chǎn)法》規(guī)定：非物質(zhì)文化遺產(chǎn)是指各族人民世代相傳并視為其文化遺產(chǎn)組成部分的各種傳統(tǒng)文化表現(xiàn)形式，以及與傳統(tǒng)文化表現(xiàn)形式相關(guān)的實(shí)物和場(chǎng)所。也就是說(shuō)，非物質(zhì)文化遺產(chǎn)既不是物，也不是人，而是指各種以非物質(zhì)形態(tài)存在的與群眾生活密切相關(guān)、世代傳承的傳統(tǒng)文化表現(xiàn)形式。由此可見，非物質(zhì)文化遺產(chǎn)是以人為本的活態(tài)文化遺產(chǎn)，它強(qiáng)調(diào)的是以人為核心的技藝、經(jīng)驗(yàn)、精神，其特點(diǎn)是活態(tài)流變。突出的是非物質(zhì)的屬性，更多的是強(qiáng)調(diào)不依賴于物質(zhì)形態(tài)而存在的品質(zhì)。

至今，十多年時(shí)間過(guò)去了，在各級(jí)黨委政府的重視、關(guān)心、支持下，非遺正逐漸走進(jìn)民眾生活，為廣大人民所熟識(shí)、關(guān)注并追捧。

今年9月下旬，第九屆浙江·中國(guó)非遺博覽會(huì)在杭州市白馬湖國(guó)際會(huì)展中心舉辦，來(lái)自我國(guó)27個(gè)?。ㄊ?、自治區(qū)）的近400位非遺代表性傳承人、相關(guān)從業(yè)人員攜280個(gè)非遺項(xiàng)目（衍生品牌）的作品、產(chǎn)品、衍生品，參加展示、展演、展銷、研討及競(jìng)技賽等活動(dòng)。

在活動(dòng)現(xiàn)場(chǎng)，筆者看到衢州邵永豐麻餅展區(qū)前圍滿了市民，只見身著白色工作服、頭戴白色工作帽的第四代邵永豐麻餅傳承人徐成正，正在表演手拿竹匾、翻飛面餅粘上芝麻的“上麻”過(guò)程，驚嘆之余，市民們不自覺(jué)地排起了長(zhǎng)隊(duì)，爭(zhēng)相購(gòu)買這道來(lái)自衢州的風(fēng)味名點(diǎn)。

衢州制作麻餅的歷史悠久，唐時(shí)白居易隨父親到衢州任職，曾寫過(guò)一首流傳至今的贊詩(shī)：“胡麻餅樣學(xué)京都，面脆油香新出爐，寄與饑饞楊大使，嘗得看似輔興無(wú)。”

據(jù)傳，邵永豐麻餅還有一段典故。清光緒年間，衢州民間麻餅手工制作作坊中，面餅店開得較多，當(dāng)時(shí)麻餅品質(zhì)參差不齊、良莠不分。1896年，一位叫邵芳恭的人做的麻餅口感好、風(fēng)味獨(dú)特，故前往購(gòu)餅的人特別多。有一天晚上，大雪紛飛，但還是有許多人一步一個(gè)腳印到他店里買麻餅，邵芳恭見此靈機(jī)一動(dòng)掛出名為“邵永豐”的招牌，寓意瑞雪兆豐年，自己的麻餅生意和吃了自己做的麻餅的人都能永遠(yuǎn)豐收。從此，“邵永豐麻餅”生意益發(fā)紅火。1929年，邵永豐麻餅在南京食品博覽會(huì)上一舉奪得“國(guó)家級(jí)名品佳點(diǎn)”之稱號(hào)，一時(shí)名聲大噪。

“這個(gè)非遺好，有看頭，還好吃?！笨粗钌愕摹吧下椤北硌荩忻駱橇?lè)呵呵地說(shuō)。細(xì)品之，這話說(shuō)得有歧義！事實(shí)上，邵永豐麻餅不是非遺，制作邵永豐麻餅的手工技藝才是非遺。邵永豐麻餅之所以受到消費(fèi)者的青睞，與它的加工工藝分不開。

邵永豐在加工工藝上一直保持傳統(tǒng)特色，用炭爐烘烤，從原料到成品要經(jīng)過(guò)一百多道工藝，堅(jiān)持現(xiàn)烤現(xiàn)賣，而且在設(shè)備上不斷改良、更新，以前那種一個(gè)炭爐擺在大街上，爐灰滿天飛的時(shí)代已一去不復(fù)返，如今的炭爐更為衛(wèi)生和環(huán)保。2007年，邵永豐麻餅制作技藝被浙江省政府列入第二批浙江省非遺名錄。當(dāng)人們吃著香噴噴、熱乎乎的麻餅，看著眼前穿梭、飛揚(yáng)的圓餅，確實(shí)是一道引人駐足叫好的風(fēng)景。但在有些人的慣性思維里，已忽略了制作技藝，而把產(chǎn)品當(dāng)做非遺，這顯然是本末倒置。

秋風(fēng)送爽，漫步在浙西南龍泉市朝興青瓷苑，苑內(nèi)琳瑯滿目、千姿百態(tài)的龍泉青瓷令人賞心悅目。創(chuàng)燒于三國(guó)兩晉時(shí)期的龍泉青瓷，從最初的“作品制作粗糙，窯業(yè)規(guī)模不大”，到2006年龍泉青瓷燒制技藝被列入第一批國(guó)家級(jí)非遺保護(hù)名錄，再到2009年成為我國(guó)陶瓷類第一個(gè)申報(bào)并成功入選“人類非物質(zhì)文化遺產(chǎn)代表作名錄”項(xiàng)目。

1700余年歲月匆匆劃過(guò)，筆者的眼前仿佛顯現(xiàn)出“善治瓷器”的章氏兄弟正專注于“哥窯”與“弟窯”的創(chuàng)始：一種是“胎薄如紙，釉厚如玉，釉面布滿紋片，紫口鐵足，胎色灰黑”的研制，作品以造型、釉色及釉面開片取勝，自然樸實(shí)、古色古香的風(fēng)格，更符合傳統(tǒng)的審美情趣；而另一種則胎白釉青，釉色以粉青、梅子青為最，青翠的釉色，配以橙紅底足或露胎圖形，給人巧奪天工的視覺(jué)愉悅。當(dāng)歷經(jīng)粉碎、淘洗、陳腐、練泥、成型、晾干、修坯、裝飾、素?zé)⑸嫌?、裝匣、裝窯、燒成等13道工序，獨(dú)特的青瓷燒制技藝在藝苑風(fēng)景林中脫穎而出，“奪得千峰翠色來(lái)”——那晶瑩如玉的色澤、溫潤(rùn)剔透的風(fēng)韻、豁達(dá)靈動(dòng)的氣度，仿如濾去了塵世的喧囂與紛擾，走進(jìn)一片純凈天地。我們?cè)跄懿桓袊@人類文明史上集體智慧結(jié)晶的豐厚與凝重。

于是，龍泉青瓷不僅是國(guó)內(nèi)各大非遺展覽上不可或缺的一分子，而且更是走出國(guó)門，在國(guó)外廣受好評(píng)。今年5月底，“浙江龍泉青瓷生活主題展”在日本東京舉辦，展出的龍泉青瓷作品共有百件，主要出自中國(guó)國(guó)家級(jí)、浙江省級(jí)工藝美術(shù)大師、陶瓷大師、青瓷燒制技藝傳承人之手，展示的是龍泉青瓷生活化的應(yīng)用。現(xiàn)代的龍泉青瓷忠實(shí)地繼承了中國(guó)傳統(tǒng)的藝術(shù)風(fēng)格，在繼承和仿古的基礎(chǔ)上，更有新的突破與發(fā)展，已研究成功紫銅色釉、高溫黑色釉、虎斑色釉、赫色釉、烏金釉和天青釉等。在工藝美術(shù)設(shè)計(jì)裝飾上，有“青瓷薄胎”“青瓷玲瓏”“青瓷釉下彩”“象形開片”“文武開片”“青白結(jié)合”“哥弟窯結(jié)合”等。每一回創(chuàng)新搏擊后，都會(huì)有痛并快樂(lè)著的感悟；無(wú)數(shù)次峰回路轉(zhuǎn)后，伴隨著愜意涌動(dòng)的澎湃豪情，藝術(shù)的生命又開始了新的征程。

同樣，值得注意的是，青瓷不是非遺，青瓷燒制技藝才是非遺。在我們大書特書“非遺讓生活更美好”之時(shí)，要正確引導(dǎo)公眾的審美關(guān)注點(diǎn)?！罢憬埲啻缮钪黝}展”就做得很好，展覽除青瓷作品外，還專門從龍泉拉了一臺(tái)傳統(tǒng)手工拉坯機(jī)，進(jìn)行拉坯和刻花的活態(tài)展示?，F(xiàn)場(chǎng)還有龍泉青瓷常用的瓷土原料、制瓷工具和青瓷碎片，以及老龍窯、青瓷制作場(chǎng)景和青瓷制作工藝流程等老照片，讓觀眾能較直觀地了解龍泉青瓷背后的動(dòng)人故事，也讓非遺掀開神秘的面紗，與觀眾近距離、面對(duì)面接觸。endprint

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 provinces 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 Peoples 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 couldnt be brought physically all the way from Longquan.

Probably many visitors to the intangible cultural heritage expo still havent figured out whats tangible and whats intangible， but that doesnt 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.endprint