What is the significance of protecting traditional handicrafts at present?

The word "handicraft" carries a lot of special value information, which has been paid more and more attention in contemporary design circles. Whether people appreciate or hate it, continue or resist it, people frequently use this word and related vocabulary in a positive, negative, positive and negative sense. For more than ten years, on the one hand, many scholars and researchers have been paying attention to and devoting themselves to the revival of handicraft culture, including holding national seminars, planning and shooting feature films, field trips, cross-strait research exchanges and so on; On the other hand, it is said that it is utopian and impossible to revive handicrafts in contemporary times. The former is saddened by the decline of traditional handicrafts in the contemporary era and believes that it must be restored and carried forward. The latter claims that the extinction of handicrafts in the contemporary era is inevitable and can only be preserved through imitation. In fact, the revival or extinction of handicrafts in contemporary times does not depend on people's wishes, but on handicrafts themselves, and on whether it is an open system or a closed system. Culturally, due to the characteristics of handicraft production, traditional design is set as the design keynote of experience, organic, individuality and sensibility. The original modern form of handicraft takes people and artists as the center, serving the people and advocating nature as the starting point. From the beginning, we were open to all kinds of ideas, emphasizing "handicraft" with natural, people, democracy and artistic characteristics, changing the rough and monotonous industrial style and the tedious and vulgar Victorian style, and embodying a fresh and natural design style. The handicrafts in the Art Nouveau Movement and the Art Deco Movement, which emerged in this development chain, are all based on the openness to the new situation. Decorative art, in particular, not only shows great tolerance for different ideas, but also shows great potential to accept the challenge of time: handicrafts and industrialization, East and West, ancient and modern, all kinds of ideas can be integrated together to refresh the spirit of the times in design. After that, every design change, from pop to post-modernism, should review the "handicraft" period, providing a model and reference for modern design changes. In other words, handicraft design and modern design are not isolated and closed, and this kind of design experience of human beings has always remained open in almost every historical period. Handicraft and large-scale industry determine the final form of design. /kloc-since 0/00, the development of modern design has been based on large industrial civilization, forming the style characteristics of modern design. Because of its open system, handicrafts have not disappeared, but have gained modern evolution under the influence of modern technology and modern ideas, surviving and growing in the cracks of modern design with unique development forms, providing reference for modern design. In a sense, the evolution of handicraft industry in modern times is also due to the role of machine civilization in the industrial age, which absorbed the achievements of industrial civilization with an open attitude. It filters out those complicated and trivial forms in traditional handicrafts, abandons those things that are not suitable for modern life and modern aesthetics, and makes handicrafts acquire new and modern ideas, methods and forms. The characteristics of open handicrafts are as follows: 1. Use advanced technology and corresponding tools without losing the characteristics of manual production; Second, combine modern materials with natural materials, giving priority to resource consumption and environmental protection; Third, pay attention to the perceptual characteristics of demanders and establish the principles of personalization, diversification and humanization; Fourthly, blurring the boundary between craft and art conforms to the characteristics of visual appreciation and moves towards a diversified level. It can be said that modern handicraft design and modern design develop in parallel, which can make up for all kinds of shortcomings and defects of modern design. An open handicraft industry system is a historical picture of constantly facing new situations and advancing in constant struggle. The sustainable development of handicraft industry must be based on openness. The only rejection of modern handicraft industry is complacency and closure. In the past, the closure of handicraft industry in the era of small-scale peasant economy led to the lack of some handicraft tradition. Advocate the modern concept that handicrafts can only be preserved, and even compare the research and collection of handicrafts with the hoarding of merchants, which has nothing in common with the open concept of handicrafts. It puts on the coat of repairing handicrafts, which not only disrupts the context of handicrafts, but also confuses the concept of handicrafts, misleading people into thinking that handicrafts can only enter museums. It is true that over the past 100 years, the change of traditional living space has forced traditional skills to abdicate and gradually wither. For traditional handicrafts, modern developed industrial technology is the most terrible, and it has almost become a killer. In addition, young people who play computer and surf the Internet lack an understanding of traditional culture and have a bad impression on traditional handicrafts. Because of this, under the new historical conditions and cultural background, we propose further inheritance, sublation and re-creation of traditional handicrafts, based on improving the aesthetic quality and realm of the people, changing the mindset of the opposition between tradition and modernity, hoping that the excellent genes in handicrafts can be passed down, which is also beneficial to the increasingly serious cultural crisis in contemporary times. More importantly, the contemporary practice of handicrafts should contribute to the well-off life of China people. At present, when people are generally intoxicated with the great achievements made by human beings through the development of science and technology, some people with profound humanistic spirit are already shouting loudly for the global ecological crisis and environmental pollution faced by human beings. When people generally appreciate the Internet, it expands people's understanding of information, narrows the distance between people, and pays attention to the digestion of people's minds by mass media. Globalization has come, and they even proposed to establish our "local knowledge system". The revival of handicrafts may be vague in concept, but as far as the problem is concerned, it touches the core of humanistic spirit. What's important is that although handicraft is a material and productive design form, its craft thought and knowledge belief dimension have certain universal significance. I think it is for this reason that it has a strong attraction for intellectuals in the early stage of industrialization to get out of their mental confusion. Although contemporary social and cultural factors, production environment and methods make the development of handicrafts face difficulties, for an open tradition, the difficulty is not a cemetery, but an opportunity for its renewal and development. Online design. The fact that the value of handicrafts in China is being re-recognized in a wider range shows its prospect as an open tradition.