2 亿条视频、65 亿单商品：非遗热起来之后，最难的其实不是流量

▍一、这一页数据，说明非遗已经被看见了

先把口径摆正：所谓非遗相关视频，指的是以非遗项目、传承人或相关器物为主要拍摄对象的内容；所谓非遗商品，指平台上归类为非遗相关的成交订单。再把数字摆出来看。据媒体对《中国非物质文化遗产传播蓝皮书 2026》的报道，短视频平台上一部分创作者靠镜头把散落在县域里的手艺推到了台前——有人走遍一百七十多座城市，把潮汕英歌舞、徽州鱼灯、泉州簪花一一记录下来。

平台直接给到的是数量。同一批报道援引《2025 抖音非遗数据报告》：2024 年新增国家级非遗相关视频超过 2 亿条，"00 后"非遗创作者数量增长 95%，30 岁以下传承人增长 24%，非遗商品年销售量突破 65 亿单。放在十年前，这些数字里的任何一项都不敢想。

直播台前的绣绷与成叠绣片，补光灯打在不远处的案面上

▍二、看见之后，钱留下了多少

真正能说明问题的，是流量的落点。前述报道提到贵州凯里苗侗风情园的"绣里淘"非遗集市：2023 年由凯里市把分散商户集中起来建成，经营主体从最初的 158 户增至 996 户，苗绣、蜡染、银饰等品种超过 6100 个，集市日均开播 100 人；一位姓李的绣娘接受采访时说，她的店里每月销售额稳定在十万元以上，绣品最远卖到了欧洲。

这个样本值得反复看。它解决的是三件小事：把散着的商户聚到一起，让人愿意来；让人来了能当场看工艺，不靠解释；让懂带货的人进场，把手艺翻译成订单。三件事缺一件，流量就会从指缝里漏掉。

▍三、算法能生成纹样，匠心传不了代

"算法可以生成纹样，但纹样背后的匠心只能由人来延续。"

—— 中国非物质文化遗产保护协会会长王晓峰，据中国西藏网 2026 年 10 月 19 日报道

这句话值得单独抄一遍。它把问题讲明白了：能伪造的是外观，不能伪造的是"为什么这根线必须这么绕"的那套判断。一帧画面可以在几秒钟里生成，一双能判断轻重的手要练很多年。

所以有人说"非遗已经火了"的时候，值得追问一句：火的是那个可见的部分，还是那个不可见的部分？

▍四、30 人名单里，藏着扶持方向的转向

第二部分旺盛的现实，来自那份名单。据中国西藏网 2026 年 10 月 19 日报道，中国非物质文化遗产保护协会年会开幕式发布"全国青年非遗传承人扶持计划"2026 年度入选名单，本年度遴选出 30 名青年非遗代表性传承人，扶持内容涵盖品牌运营、数字传播、设计协作与市场对接，优先支持创新能力强、带动就业增收作用明显的传承人。

注意这四个词：品牌、传播、设计、市场。它们讲的不是"把针脚练到更细"，而是"让手艺能被买到"。扶持内容的重心从技艺本身挪到了技艺之外，本身就承认了一件事——很多手艺不是死在做工上，是死在"卖不出去"上。

▍五、热闹之后，还差哪三步

我们的经验大多来自山西平遥：一件推光漆器要过制胎、裱布、刮灰、髹漆、彩绘、推光等工序，生漆取自漆树，光泽靠手掌推出来。站在做非遗出海的角度，我们关心的始终是下面三步。

头一步是来源要能查证。一件东西出自谁的手、出自哪个产地、走了哪几道工序，能不能一条条讲清楚。讲不清的部分，在流量里会被自动放大成疑问。

第二步是技艺要能被说清。海外用户不会因为"这是中国非遗"就掏钱，他们会因为"它为什么值得这个价"而掏钱。把工序译成对方听得懂的话，是出海链条里被低估的一环。

案台上摊开的漆线所用细线盘与未上色的坯体

第三步是交付要稳得住。手作品没有"补货"这回事，工期、包装、跨境运输每一环都要提前算进去。看得见的流量往往在这一环掉下来。

▍问答

问 ｜ 非遗相关的短视频这么多，内容好坏怎么分辨

答 ｜ 看三处：一看有没有拍工序的完整过程，只给结果不给过程的，多半是借个名头；二看出镜的人能不能说清这门手艺的门道，说不清的通常是请来的模特；三看有没有注明项目名称与产地，讲不出具体项目的多半不敢被追查。

问 ｜ 30 岁以下非遗传承人变多了，是不是等于这门手艺后继有人

答 ｜ 数量上是好消息，但不等于传承已经完成。据前述报道，"00 后"非遗创作者数量增长 95%、30 岁以下传承人增长 24%，说明年轻人愿意进场；判断下一代能不能留下，要看三五年后他们还在不在做这门手艺，以及有没有能力靠它生活。

问 ｜ 非遗蓝皮书这类报告里的数据，普通人从哪儿能查到

答 ｜ 三条路：报告发布方的官方渠道与中国非物质文化遗产网（ihchina.cn）会放项目名录与政策文件；平台方每年发布的行业数据报告可以看原始口径；此外，文化和旅游部官网与各地文旅部门官网是查政策与名录级别的一手来源。二手文章只当线索，不作为依据。

问 ｜ 韵和鸣怎么挑合作的非遗老师

答 ｜ 三条硬标准：必须出自真正的非遗传承人之手，工序必须手工完成、不能用机器代劳，产品线不多但要能讲清每一件的来历。我们把镜头对着匠人，是因为品牌相信一个朴素的道理——匠人更好，韵和鸣才会更好。

▍说在最后

流量把非遗送到了每个人眼前，这一步很难回头，也不必回头。接下来的一步轮到买的人：下次被一段视频打动时，多问一句它是谁做的、怎么做的。问的人多了，能答得清楚的匠人就会多起来。

你因为哪一条视频，开始对一门手艺上心？留言说说它的名字。

📩 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

〖 热 〗

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English

The Data Shows Heritage Is Finally Being Seen

Fix the definitions first: heritage-related video means content whose main subject is a heritage project, its bearer or its objects; heritage goods means orders classed as heritage-related on the platform. Now set the figures out. According to media reports on the 2026 Blue Book, short-video creators have used their cameras to bring crafts scattered across county towns into view: one of them has travelled through more than 170 cities, filming Teochew Yingge dance, Huizhou fish lanterns and Quanzhou's floral headdresses along the way.

What platforms deliver most readily is volume. The same reports cite Douyin's 2025 ICH Data Report: more than 200 million new national-level heritage videos were added in 2024, creators born after 2000 rose 95 per cent, bearers under thirty rose 24 per cent, and annual sales of heritage goods passed 6.5 billion orders. A decade ago, no one would have dared imagine any one of those numbers.

An embroidery frame and stacked embroidered panels before a livestream desk, a fill light catching the bench beyond them

Being Seen Is One Thing; Earning Is Another

What actually tells the story is where attention lands. The same reporting describes the Xiu Li Tao heritage market in Kaili, Guizhou: built in 2023 when the city gathered scattered traders in one place, it has grown from 158 businesses to 996, offers more than 6,100 product lines including Miao embroidery, batik and silverwork, and sees some 100 livestreams a day. One embroiderer surnamed Li told reporters her shop holds steady above 100,000 yuan a month, with pieces shipped as far as Europe.

The sample is worth studying. It solved three small problems: gather scattered traders so people have a reason to come; let visitors watch the work on the spot rather than rely on explanation; bring in people who know how to sell, so craft can be translated into orders. Miss any one of the three and attention leaks through your fingers.

Algorithms Can Generate Patterns; They Cannot Pass on Judgement

"Algorithms can generate patterns, but the judgement behind the patterns can only be carried forward by people."

— Wang Xiaofeng, president of the China Intangible Cultural Heritage Protection Association, as reported by Tibet.cn on 19 October 2026

The sentence deserves copying out on its own. It states the problem plainly: what can be faked is appearance, what cannot is the judgement behind why this thread has to loop this way. A frame can be generated in seconds; a pair of hands able to judge weight takes years to train.

So when someone says intangible heritage has already gone mainstream, it is worth asking whether what caught fire is the visible part or the invisible one.

A List of Thirty Hints at Where Support Is Heading

A second and livelier piece of reality comes from that list. According to Tibet.cn on 19 October 2026, the annual conference of the China Intangible Cultural Heritage Protection Association released the 2026 cohort of the National Young ICH Bearer Support Programme: thirty young representative bearers selected, with support covering brand operations, digital communication, design collaboration and market matching, and preference given to those showing strong innovation and a clear effect on jobs and incomes.

Note the four words: brand, communication, design, market. They are not about stitching finer stitches; they are about getting the craft bought. That support has shifted away from the skill itself towards everything around it admits something plainly: many crafts do not die at the bench, they die because nothing sells.

Most of what we know comes from Pingyao in Shanxi: a polished lacquer piece passes through body-making, cloth backing, ash scraping, lacquering, painting and hand-polishing, raw lacquer tapped from lacquer trees and sheen brought out by palm. Working to take heritage abroad, three steps are what we return to.

The first is that origin must be checkable. Whose hands made it, in which place, through how many steps: each one should be answerable in order. Whatever cannot be said plainly turns into doubt the moment traffic arrives.

The second is that the skill must be explainable. Overseas buyers do not pay because something is Chinese intangible heritage; they pay because they understand why it is worth the price. Translating process into language another person can follow is the most underrated link in the chain abroad.

Fine coils of lacquer thread and an uncoloured body laid out on a workbench

The third is that delivery must hold. There is no restocking a handmade piece: lead time, packing and cross-border shipping all have to be counted in advance. Attention that arrives easily usually falls away right here.

With so many short videos about intangible heritage, how do you judge their quality?

Look at three things: whether the whole process is filmed — only showing the result usually means borrowing a name; whether the person on camera can explain the craft's finer points, since models rarely can; and whether they name the project and its place of origin, because those unwilling to be checked rarely give specifics.

More bearers under thirty: does that mean the craft has successors?

In numbers it is good news, but it does not mean transmission is finished. Reports cited growth of 95 per cent among post-2000 creators and 24 per cent among bearers under thirty, which shows young people are willing to step in. Whether the next generation stays will be visible in three or five years: are they still doing it, and can they live on it.

Where can ordinary readers check data from blue books like this one?

Three routes: the publisher's own channels and the China Intangible Cultural Heritage website carry project lists and policy documents; platforms publish annual industry reports with the original definitions; and the Ministry of Culture and Tourism plus provincial and municipal culture offices are first-hand sources for policies and listing levels. Treat second-hand articles as leads, never as evidence.

How does YUNHEMING choose the heritage masters it works with?

Three hard criteria: the piece must come from the hands of a genuine heritage bearer, the process must be finished by hand rather than machine, and the range may be small but every item's origin must be explainable. We point the camera at makers because the brand believes something plain: when the masters do better, so does YUNHEMING.

Attention has put intangible heritage in front of everyone, a step hard to reverse and unnecessary to reverse. The next move belongs to buyers: the next time a video moves you, ask who made it and how. The more people ask, the more makers will be able to answer.

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