从"奶奶辈的扇子"到耳环箱包：千年葵艺接住了年轻人

▍一、一把扇子背后，是近二十道工序

新会葵艺以本地特产蒲葵为原料，集编织、绣花、绘画、印花于一体。据广东省人民政府地方志办公室的记载，从东晋起新会就开始种葵树、做葵艺，《广东新语》与道光《新会县志》里都留有"考此扇兴于晋时"的说法。2008 年 6 月，新会葵艺被列入第二批国家级非物质文化遗产名录。

关于葵扇的起源，史料里留下一句简短的话："考此扇兴于晋时。"这句话分别出现在《广东新语》与道光《新会县志》里，也在后来被反复引用。

一片尚未展开的葵芯新叶，叶色通透，是做工艺葵扇的原料

从采葵到成器，要经历剪、晒、焙、削、漂染、合、编织、勾花或嵌花、印花、绣花、烙画等近二十道工序。当地葵林至今保留着 1500 多亩蒲葵树（据澎湃新闻报道），看上去原料并不稀缺，但真正能用来做工艺扇的却很少——必须是树上刚长出、还没展开、没见过阳光的葵芯新叶，这样的叶子颜色通透，成器才有光泽。每一棵蒲葵树能取的葵芯有限，这就是为什么同样一把扇子，成色可以差出一大截。

▍二、年轻人不是不爱老手艺，是缺一个用它的理由

葵扇曾经是家家户户的夏天。据澎湃新闻报道，二十世纪七十年代新会县上规模的葵艺厂有 37 家，连同家庭作坊共三百多家。后来电风扇和空调普及，葵扇退出日常，手艺也随之萎缩。转折点出现在它开始变成别的形态：灯饰、屏风、耳环、手提箱、发簪。媒体报道里那句"以前觉得是奶奶辈的东西，现在很潮很日常"，说的其实是同一件事——手艺没变，使用者与它的关系变了。

编织成面的葵艺半成品，纬线细密，边缘处收口尚未完成

值得注意的是，转型不是把图案印上去那么简单。编织决定了这个材料的强度与手感，绣花和烙画决定了它能承载多少细节。一件做成提箱的葵艺品，既要受过外力仍能保持形状，又要让人看出手编的痕迹。这恰恰是老手艺的底子在发挥作用——机器可以压出同样的纹样，压不出同样的透气与韧性。

▍三、热闹之后，手艺自己也变了

所以往源头看，葵艺的难处从来不在能不能做出新样子，而在有没有足够多愿意慢下来做这近二十道工序的人。

有人担心，年轻化会让手艺失去原本的样子。这类担心并非多余，但要看清楚变化发生在哪一层。变的是器物的形态与使用场景，没变的应该是材料的处理和工序的完整：该晒的晒足，该焙的焙透，该手编的地方不许用模具压。一旦为了产能把这几步省掉，做出来的就只是"葵图案的产品"，不再是葵艺。

第二条更难守住的是定价。手工的成本大多看不见：一棵树能取的葵芯不多，近二十道工序里每一步都可能报废，成品率低是常态。如果新产品的价格要跟工业品对齐，最先被压缩的一定是这些看不见的工序。所以看一门手艺年轻化之后有没有变形，别先看它好不好看，先看它贵不贵得其所。

▍问答

问 ｜ 新会葵艺是什么级别的非遗？产地在哪个省

答 ｜ 是国家级非物质文化遗产。据公开资料，广东省江门市新会区申报的新会葵艺于 2008 年 6 月列入第二批国家级非物质文化遗产名录，堪称当地的代表性非遗项目。主要产地在广东江门新会，当地至今保留着 1500 多亩蒲葵林。

问 ｜ 非遗文创和非遗手工艺品，区别到底在哪

答 ｜ 关键在核心工序是否手工完成。非遗手工艺品的判断标准有三条：工艺技法属于非遗范畴、核心环节手工完成、各项参数达到认定标准。文创可以把传统元素用到日常用品上，但如果主要工序被机器替代，那就是"带纹样的产品"，不该与非遗手工艺品混称。

问 ｜ 普通人接触非遗，有哪些不太费力的入门方式

答 ｜ 三条路。一是看工序而不是看成器，短视频里挑讲全过程的账号；二是找本地的非遗工坊或传习所做一次体验，亲手做过再看器物，眼光完全不同；三是买一件真能用的小件，用久了自然会发现问题，问题带动追问，比读十篇文章管用。

问 ｜ 韵和鸣选品会不会只看热度，哪个火就收哪个

答 ｜ 不会，热度只是线索，不是标准。我们选器物看的是三条：只选真正的非遗手工品，拒绝流水线生产;只与真正的非遗传承人合作，所有器物均与非遗老师联名;最后看器物本身能不能在日常里被长期用下去。火不火不改变这三条，能用多久才改变。

▍说在最后

一门手艺能活多久，看的不是它有多少观众，而是有多少人每天在用。葵扇从纳凉的工具变成箱子和耳环，看起来是变了，其实是一次回归——它原本就是为了被使用才诞生的。今天我们见到太多"被展览的手艺"，真正稀缺的是"用在你手上的手艺"。

你手边有没有一样"老得很"却天天在用的东西？评论区说说它是什么，和你用了多久。

📩 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

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English

Xinhui palm-leaf craft uses the locally grown Chinese fan palm and brings together weaving, embroidery, painting and printing. According to the Local Chronicles Office of the Guangdong Provincial People's Government, the planting of palm and the making of palm crafts began in Xinhui as early as the Eastern Jin dynasty; both the Guangdong Xinyu and the Daoguang-era Xinhui County Gazetteer record the phrase that "this fan arose in the Jin period". In June 2008 Xinhui palm-leaf craft was inscribed on the second batch of the national intangible cultural heritage list.

On the origin of the palm fan, historical sources leave one short line: "This fan is judged to have arisen in the Jin period." The sentence appears in both the Guangdong Xinyu and the Daoguang-era Xinhui County Gazetteer, and has been quoted often since.

An unfurled young palm leaf, pale and translucent, the raw material of fine palm fans

From cutting the leaf to finishing the object there are close to twenty stages: trimming, sunning, baking, paring, bleaching, joining, weaving, hooking or inlaying flowers, printing, embroidery and pyrography. The palm groves still hold over 1,500 mu of fan palms, according to The Paper, so raw material hardly looks scarce; yet very little of it suits fine fans. The leaf must be newly grown, still unopened, and unexposed to sun, so that it stays translucent and the finished fan carries a sheen. Each tree yields only a limited number of such hearts, which is why two superficially identical fans can differ sharply in quality.

The Young Dismiss Old Crafts Because They Lack a Reason to Use Them

The palm fan was once summer in every household. The Paper reports that in the 1970s Xinhui county had thirty-seven palm craft factories of scale and more than three hundred including home workshops. Electric fans and air conditioning arrived, the palm fan withdrew from daily life, and the craft shrank with it. The turning point came when it began taking other forms: lamps, screens, earrings, suitcases, hairpins. The remark quoted in reporting that "it used to feel like something a grandmother would use, and now it feels current and everyday" is another way of saying the same thing: the craft did not change, the relationship between the user and the object did.

A half-finished woven palm panel, dense in weft, its edge binding not yet closed

It is worth noting that this transition is not a matter of printing a pattern on something. Weaving determines the strength and feel of the material; embroidery and pyrography determine how much detail it can carry. A palm-leaf suitcase must hold its shape under load while still showing the mark of the hand that wove it. That is precisely where the old competence does its work: a machine can press out the same motif, but it cannot press out the same breathability and resilience.

After the Attention, the Craft Changed Too

Seen from further upstream, the real difficulty has never been whether new forms can be designed but whether enough people are willing to move slowly through these twenty-odd stages.

Some worry that adapting to young tastes will cost the craft its character. The worry is not idle, but one has to see clearly at which level the change occurs. What changes is the form of the object and the setting in which it is used. What must not change is how the material is treated and whether the sequence stays complete: sun it for as long as it needs, bake it through, weave by hand where hand-weaving is required rather than pressing it in a mould. Skipping those steps for the sake of output produces something with a palm pattern on it, not palm-leaf craft.

The second line, pricing, is harder to hold. Most of the cost of handwork is invisible: a tree yields few suitable hearts, any one of nearly twenty stages can ruin a piece, and a low yield is normal. If the new product has to match industrial goods on price, the first thing cut will be exactly those invisible stages. So when judging whether a craft has been distorted by adapting, do not look at whether it is attractive; look at whether its price answers for what it is.

What level of heritage protection does Xinhui palm-leaf craft hold, and in which province is it made?

It is national-level intangible cultural heritage. According to public records, Xinhui palm-leaf craft, submitted by Xinhui district of Jiangmen, Guangdong, was inscribed on the second batch of the national intangible cultural heritage list in June 2008, and counts as the locality's representative heritage item. It is made mainly in Xinhui, Jiangmen, Guangdong, where over 1,500 mu of fan palm groves remain.

What really distinguishes cultural and creative products from genuine heritage handcraft?

The test is whether the core stages are completed by hand. Three criteria apply to heritage handcraft: the techniques belong to recognised heritage practice, the key stages are done by hand, and the specifications meet the standards set for it. Creative products may carry traditional motifs onto everyday goods, but if machinery has replaced the main stages, what results is a product with patterns on it and should not be described as heritage handcraft.

For ordinary people, what are the easy ways into heritage crafts?

Three routes. First, watch the sequence rather than the finished object, choosing short-video accounts that show the whole process. Second, find a local heritage workshop or training house and try it once; after having worked with your hands you see objects differently. Third, buy one small piece you will actually use, because questions arise from use and questions carry you further than ten articles.

Does YUNHEMING follow trends in what it selects?

No. Attention is a clue, never a criterion. We judge an object on three things: only genuine heritage handcraft, no assembly-line production; only collaboration with the heritage bearers themselves, with every piece co-signed with its maker; and finally whether the object can go on being used in daily life. Whether something is trending does not move those three. How long it lasts does.

How long a craft lives depends less on how many people watch it than on how many use it every day. The palm fan turning from a cooling tool into a suitcase and a pair of earrings looks like a change, but it is closer to a return: it came into being to be used. We see plenty of crafts put on display today; what is genuinely scarce is craft used in your hands.

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