市集散场之后，晋中的非遗要往哪走

▍一场市集的骨架：三个单元，三种非遗

据山西省文化和旅游厅 2026 年 10 月 8 日与 10 月 12 日的两篇报道，市集分为三大主题单元。太行山水艺术单元主打自然，左权布艺虎、昔阳根雕、和顺牵绣摆在一起；中国传统文化单元主打信义，平遥推光漆器、介休琉璃、祁县玻璃器皿同场陈列，游客还能亲手印制古银票；休闲度假美食单元则汇聚平遥牛肉、榆次老陈醋、堡子酒等本地味道。

这样的分区不是摆得好看。它把"技艺类""民俗类""饮食类"三类非遗放进了同一个评价体系：都被当作可以围观、可以上手、可以带走的东西。对匠人来说，这是难得的被集中看见的机会；对城市来说，这是一次把文化资源整合打包的尝试。

▍常态化的三道坎

问题在于，七天的市集和三百六十五天的生意，是两件事。

头一道坎是场地与租金。长假的老城有流量，长假之后的老城没有。要在平日里维持一个手艺铺面，靠的是稳定的本地客流与可行的成本结构，而不是节假日的峰值。第二道坎是产品结构。游客在市集上买的是"到此一游"的记忆，客单价通常不高；要让匠人靠这个过日子，得有能进入日常生活的产品线。第三道坎是传承。据同一批报道，介休琉璃烧制技艺传承人刘文婷在市集上开了研学课堂，十几个孩子围坐体验——这是七天的版本，长期版本需要的是课时、师资与考核。

▍生态保护区这个框架，能提供什么

晋中这场市集挂在"国家级晋中文化生态保护区（晋中市）"的名下。这个名头不是装饰，它意味着保护的对象从单一项目扩展到了整体环境——技艺、传承人、相关的民俗与空间一起被纳入视野。

在这个框架下，市集的价值不只在于七天的成交额，而在于它能不能变成一种固定的公共界面：让匠人有地方定期出现，让市民知道在哪里能找到他们，让孩子有反复接触的机会。做到这一点，市集就从活动变成了设施。

对我们这些做非遗出海的人来说，晋中的做法值得留意的地方还在于：它把漆器、琉璃、玻璃器皿、布艺、根雕摆在同一条街上，等于替外来者做了一份"本地手艺地图"。地图先画清楚，货才走得出去。

据山西省文化和旅游厅 2026 年 10 月 8 日《晋中市举办"怡然晋中 甜美相约"非遗主题市集》与 10 月 12 日《国庆假日绘盛景 怡然晋中迎客来》两篇报道：该市集于 2026 年 10 月 1 日至 7 日在榆次老城举办，由晋中市文化和旅游局打造，设 30 个非遗铺面与三大主题单元，是推进国家级晋中文化生态保护区建设的举措之一。

以上仅为个人梳理，具体以官方原文为准。

▍问答

问 ｜ 什么是国家级文化生态保护区？

答 ｜ 它是中国非遗保护的一种整体性制度安排，保护对象不限于单个非遗项目，而是把某一区域内相互关联的非遗、其依存的自然与人文环境、相关传承人群一起纳入保护范围，强调整体保护与活态传承。晋中文化生态保护区即属这一类别，其建设情况以文化和旅游部门公开发布的信息为准。

问 ｜ 非遗市集对匠人到底有什么用？

答 ｜ 三层价值：短期是现金流，几天卖出的货能补上工匠淡季；中期是被看见，游客拍照传播带来的后续订单往往滞后几个月；长期是反馈，匠人在现场能直接听到用户说什么、嫌什么、愿意为什么付钱。前提是摊位费与时间成本不把前两层吃掉。

问 ｜ 韵和鸣的器物都来自哪里？只做山西的吗？

答 ｜ 不只山西。韵和鸣以山西平遥推光漆器髹饰技艺起家，根在这里，但收的器物与服务的匠人覆盖全国，整合漆、竹、绣、银、锦、瓷等多个品类。产地在哪不是标准，是不是真非遗手工才是。

📩 非遗项目 ｜ 匠人举荐 ｜ 跨境出海 ｜ 线下联营

欢迎留言或后台联系，我们与匠人同行。

—— 韵和鸣 · 与匠人同行

〖 平 〗

相关搜索 ｜ RELATED SEARCHES

晋中 文化生态保护区 · 山西 非遗 市集 · 榆次老城 非遗 活动 · 平遥推光漆器 介休琉璃 · 非遗 常态化 运营

English

The Skeleton of a Market: Three Sections, Three Kinds of Heritage

According to two reports from the Shanxi Provincial Department of Culture and Tourism dated October 8 and October 12, 2026, the market was arranged in three sections. The Taihang landscape section centered on nature, setting Zuoquan cloth tigers, Xiyang root carving and Heshun embroidery side by side. The Chinese traditional culture section centered on trust, displaying Pingyao polished lacquerware, Jiexiu glazed ceramic and Qixian glassware together, with visitors able to print old-style bank drafts themselves. The leisure section gathered local flavors: Pingyao beef, Yuci aged vinegar, Baozi liquor.

The arrangement was not merely decorative. It placed craft-type, folk-custom-type and food-type heritage into a single frame: all of them treated as things to watch, to touch and to carry home. For makers it is a rare chance to be seen together in one place; for the city it is an attempt to package cultural resources as one offering.

Three Hurdles on the Way to Regular Programming

The problem is that a seven-day market and a year-round business are two different things.

The first hurdle is space and rent. An old city during a long holiday has traffic; afterwards it does not. Keeping a craft stall open on ordinary days depends on a steady local flow and a workable cost structure, not on peak holiday numbers. The second is product structure. Visitors at a market buy a memory of having been there, usually at a modest price; for a maker to live on this, there must be a line of products that enters daily life. The third is transmission. The same reports note that Liu Wenting, bearer of the Jiexiu glaze firing technique, ran a study session at the market with a dozen children around her. That is the seven-day version; the long version needs class hours, teachers and assessment.

What the Ecology Zone Framework Can Offer

The market in Jinzhong was staged under the name of the national-level Jinzhong cultural ecology protection zone. That title is not decoration: it means the object of protection expands from a single item to a whole environment, with the craft, its bearers and the surrounding customs and spaces brought into view together.

Under that framework, the value of a market lies not in seven days of transactions but in whether it can become a fixed public interface: a place where makers appear regularly, where residents know where to find them, where children can come back again and again. Achieve that, and a market stops being an event and becomes infrastructure.

For those of us taking heritage abroad, there is something else worth noting in the Jinzhong approach: putting lacquerware, glazed ceramic, glassware, cloth art and root carving on one street amounts to drawing a map of local crafts for outsiders. Draw the map first; then the goods can travel.

According to two reports from the Shanxi Provincial Department of Culture and Tourism, "Jinzhong Holds the 'Pleasant Jinzhong, Sweet Encounter' Heritage Market" of October 8, 2026, and "A Flourishing National Day Holiday as Pleasant Jinzhong Welcomes Guests" of October 12, 2026: the market ran from October 1 to 7, 2026, in the old city of Yuci, organized by the Jinzhong municipal culture and tourism bureau, with thirty heritage stalls and three themed sections, as one measure in building the national-level Jinzhong cultural ecology protection zone.

The above is a personal summary only; the official texts are the authority.

What is a national-level cultural ecology protection zone?

It is a holistic arrangement within China's heritage protection system. Rather than a single item, it brings into protection the interrelated heritage of a region, the natural and cultural environment it depends on, and the communities of bearers who carry it, emphasizing integrated protection and living transmission. The Jinzhong zone belongs to this category; its status follows information published by the culture and tourism authorities.

What use is a heritage market to a maker, really?

Three layers of value. In the short term, cash flow: a few days of sales fill the slack season. In the medium term, being seen: orders that follow from visitors' photos often arrive months later. In the long term, feedback: at a stall a maker hears directly what people say, what they object to and what they will pay for. The precondition is that stall fees and time costs do not eat the first two layers.

Where do YUNHEMING's pieces come from? Only Shanxi?

Not only Shanxi. YUNHEMING began with the Pingyao polished lacquerware decoration technique, and its roots are there, but the pieces it takes in and the makers it serves come from across the country, spanning lacquer, bamboo, embroidery, silver, silk and ceramic. Where something comes from is not the criterion; whether it is genuine heritage handwork is.

ICH Projects · Artisan Referrals · Global Distribution · Salon Partnerships