制造地理视角下乡村传统工艺类非物质文化遗产的生产实践

随着西方第三次工艺复兴浪潮的兴起，“制造文化”成为西方地理学者关注的新兴话题，而传统工艺制造的具身和物质层面的生产形式也得到关注。论文以传统工艺类非物质文化遗产——贵州安顺石头寨布依族蜡染技艺为例，基于制造地理的理论视角剖析了布依族蜡染的生产实践。研究发现：蜡染生产是一种具身性、物质性、地方性和关系性的实践。在身体、家庭、工坊、社区和线上等不同空间，手工艺人的身体是蜡染生产实践的主体，通过具身练习提升蜡染技能，并充分发挥能动性对产品进行创新，同时制造实践也引发了手工艺人正面或负面的身体体验；蜡染生产流程具有鲜明的物质性特征，物质的活力和能动性引导着手工艺人进行“人与物质”的合作生产；地方自然环境、传统文化等地方要素是蜡染生产的基础和条件，同时蜡染的生产实践又塑造地方的身份和特性；蜡染生产不仅是手工艺人表达自我的创造性实践，同时建构了特定的社会文化关系。研究有助于加强对经济生产实践中的文化维度的关注，为文化经济的理论研究提供了重要实证，同时通过对手工艺人的身体技能、具身体验等方面的关注，也有助于在非遗保护实践中提供更具关怀性的保障措施。

Production practice of rural traditional craft intangible cultural heritage from the perspective of geographies of making

With the rise of the third wave of craft revival in the West, "making culture" has become an emerging topic concerned by Western geographers, and the embodiment and material production forms of traditional craft making have also received attention. This research selected Shitouzhai Bouyei batik, a traditional craft intangible cultural heritage in Guizhou Province as a case study. Based on the perspective of geographies of making, we analyzed the production practice of Bouyei batik. The research found that batik production is an embodied, material, local, and relational practice. In different spaces such as human body, family, workshop, community, and online, the body of the craftsman is the subject of the batik production practice and through embodied practice, the batik skills can be improved, and the products can be innovated by using their agency. The making practice also shapes the body of the craftsman, resulting in positive or negative embodied experience. The batik production process has distinct material characteristics, and the agency of materials guide a craftsman to carry out human and material cooperative production; Local elements such as local natural environment and traditional culture are the basis and conditions of batik production, and the production practice of batik also shapes the identity and characteristics of the place; Batik production is not only a creative practice for craftsmen to express themselves, but also to construct a specific sociocultural relations. The research helps to strengthen the attention to the cultural dimension in the practice of economic production, and provides important empirical evidence for the theoretical study of cultural economy. By paying attention to the physical skills and embodied experience of the craftsmen, it also helps to provide more caring safeguards in the practice of intangible cultural heritage protection.