Adaptation in cultural industry under conservation pressure: case study of two Chinese embroidery clusters

Abstract

In this study, we explore how tension between ‘culture’ and ‘industry’ can be effectively dealt with in promoting cultural industry, taking the Chinese embroidery sector as an example. The diverging performance of two leading centers of Chinese embroidery production suggests that local adaptive and networking capabilities are essential in creating a new path out of the tension, and these capabilities are largely determined by local openness/flexibility, entrepreneurship, and linkage capacity. In Changsha, cultural conservatism prevails, and the local embroidery sector largely maintains traditional product styles and target customers, sticking to the historic path. It is in question, however, whether such a strong bias toward the high-culture segment of the industry is good for cultural heritage protection in the long run, given that the industry at standstill has faced increasing challenges in sustaining a solid local pool of skilled labor. In contrast, Suzhou’s local embroidery sector has actively responded to the changing market environment, through increased product segmentation and customization as well as intra/cross-industry collaboration. Such a flexible, scale-up strategy has helped the industry attract local talent and meet the market demand, while maintaining space for high-end artistic products.     

《商颂》的作者、作期及其性质

<诗经·商颂>现存五篇:<那><烈祖><玄鸟><长发><殷武>.这是颂扬商族祖先的祭祀歌辞,其中涉及的内容大致包括:     

东海女真文化的认知人类学阐释——以满族萨满史诗《乌布西奔妈妈》为例

满族萨满史诗<鸟布西奔妈妈>展示了东海女真社会鲜为人知的珍贵历史及大量古俗,凸显着满族原生文化的要素及特质,蕴含着丰富的生态意蕴.东海女真文化作为一种生存策略,集中表现为东海女真民众在生存实践中的一种知识能力和创造能力,这种能力主要源自东海女真人对自然的认知,对社会的认知以及由此产生的感悟与联想.对东海女真文化进行认知人类学的解读,对廓清满族原生文化的生成动因具有重要的意义.