从认定到管理：这一轮非遗政策，把重心挪到了哪

▍一、国家层：名录会动，评估会退

据 2026 年 10 月 20 日国新办新闻发布会介绍，「十五五」时期将开展第二次全国非遗普查摸清家底，同时完善项目名录动态调整机制，加强对急需保护项目的扶持，优化传承人培育体系，完善评估和退出机制。

这段表述的分量在方向。过去的制度更像一次性的资格授予，评上了就一直在；如今多了进出的机制与评估的周期。名录与传承人从身份变成岗位，岗位要交作业。

两份「十五五」规划里也有对应。中办、国办印发的《文化遗产保护传承"十五五"规划》（2026 年 9 月）提出健全非遗代表性项目名录动态调整机制、健全代表性传承人名录体系与梯队建设，并建立文化遗产保护督察制度；文化和旅游部印发的《非物质文化遗产保护传承"十五五"规划》把「完善非遗项目保护体系」「优化非遗传承人才培育体系」列在六方面重点任务的前两位。

▍二、省级：评估结果，接进了钱的分配

山西的动作更早。据山西省文化和旅游厅 2026 年 6 月 29 日对省人大代表建议的答复，新修订的《山西省非物质文化遗产条例》已于 2026 年 6 月 1 日施行，理顺了传承人准入认定、扶持培育与动态退出机制。

更值得看的是钱怎么接。《关于做好 2027 年省级非物质文化遗产保护资金申报工作的通知》（山西省文化和旅游厅、省财政厅，2026 年 10 月 12 日印发）把钱分成项目保护补助、传承人补助与传统工艺振兴类项目支持三块；申报条件写明，2025 年评估不合格、丧失传承能力或申请放弃的传承人不在补助范围。

评估从一句原则变成账本上的一行。对基层的影响很直接：评估不再只是填表，它连着下一年的经费。

按年份归档的工序记录与作品清单

▍三、市级：带徒，写进了条文

晋中的做法更早就落到了条文上。《平遥推光漆器髹饰技艺保护条例》2023 年 10 月 1 日施行，共十九条。其中第九条明确，代表性传承人常随学徒不得少于二人；第十条提出推行现代学徒制、建设实训基地；第十二条涉及生产性保护示范基地的认定。

▍四、这条线对做手艺的人意味着什么

先说要紧的一件，档案。普查与动态调整都要看材料，工坊若没有工序记录、作品谱系与授徒台账，评估时说不出话。今年可先建三样：一件器物的工序照片、一份历年作品清单、一本授徒记录。

紧跟着是梯队，再有一件是讲述。带徒指标进了考核，一个人撑着整个工坊的模式难以为继；「合理利用」与「防止过度商业开发」并列出现在同一份文件里，讲清自己怎么做、做到什么程度会越来越重要。两件事指向同一个方向：把过程留下来、说出来。说不清来源的手艺，在评估与市场两头都吃亏。

▍问答

问 ｜ 非遗传承人评估不合格会怎么样

答 ｜ 会影响资格与补助。据前述 2026 年 10 月 12 日省级资金申报通知，2025 年评估不合格、丧失传承能力或申请放弃的传承人不在补助范围；国家层面据 2026 年 10 月 20 日国新办新闻发布会介绍，正在完善评估和退出机制。具体标准以各级主管部门公布的细则为准。

问 ｜ 非遗项目被移出名录，是不是就不保护了

答 ｜ 不等于停止保护，等于调整定位。动态调整是让名录更贴近存续状况，对急需保护的项目加强扶持，对不再符合条件的作出调整。据中办、国办印发的《文化遗产保护传承"十五五"规划》，对急需保护的非遗项目要加大扶持传承力度；具体项目怎么处置，以主管部门公告为准。

问 ｜ 韵和鸣怎么判断一位老师的作品值不值得收

答 ｜ 看三件事，都不看头衔。看工序是否完整，比如漆器的裱布、髹涂、阴干、推光有没有省；看来源是否讲得清，器物出自哪位老师、在哪做的、用了什么材料；看合作方式是否联名，匠人的名字与手艺要写在作品上。头衔会变，工序不会。

📩 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

〖 综 〗

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English

The National Level: Lists Move, Evaluations Exit

According to the State Council Information Office press conference of 20 October 2026, the 15th Five-Year period will see a second national survey to establish a clearer baseline, a dynamic adjustment mechanism for the project list, stronger support for items in urgent need, and a completed evaluation and exit mechanism for bearers.

The weight lies in the direction. Earlier design resembled a one-time grant of status: once listed, always listed. Now there is a mechanism for entry and exit, and a cycle of evaluation. The list and the bearer move from identity to post, and a post requires work delivered.

Two 15th Five-Year plans echo it. The cultural heritage plan issued by the General Offices of the CPC Central Committee and the State Council in September 2026 calls for a dynamic adjustment mechanism for the project list, a fuller bearer roster with succession planning, and a heritage inspection system; the intangible heritage plan from the Ministry of Culture and Tourism puts a better project protection system and a better bearer training system among six priorities.

The Provincial Level: Evaluation Now Feeds Funding

Shanxi moved earlier. According to a reply of 29 June 2026 from the provincial culture and tourism department, the revised Shanxi regulation on intangible cultural heritage took effect on 1 June 2026, clarifying entry assessment, support and training, and an exit mechanism for bearers.

More telling is how funding connects. A notice on 2027 provincial heritage protection funds, issued on 12 October 2026 by the provincial culture and tourism and finance departments, divides the money into project subsidies, bearer subsidies and support for traditional craft revival; applicants who failed the 2025 evaluation, lost the capacity to transmit or withdrew are excluded.

Evaluation has moved from a principle to a line in the ledger. The effect at the grassroots is direct: assessment is no longer paperwork, it is tied to next year's budget.

Process records and work lists filed by year

The City Level: Apprenticeship Written into the Text

Jinzhong put it into text earlier. The regulation on protecting the Pingyao polished lacquerware decoration technique took effect on 1 October 2023 and runs to nineteen articles. Article nine states that a representative bearer shall keep no fewer than two regular apprentices; article ten promotes modern apprenticeship and training bases; article twelve concerns the designation of productive protection demonstration sites.

What This Line Means for People Who Make Things

The first is documentation. Surveys and adjustments depend on material, and a workshop without process records, a work list or an apprenticeship ledger has nothing to show. Start three things this year: process photographs of one piece, a list of works by year, a record of apprentices and teaching.

The second is succession and the third is explanation. Once apprenticeship counts enter assessment, a workshop resting on one person cannot last; and since reasonable use sits beside the prevention of excessive commercial development in the same document, explaining how you work matters more and more. Both point the same way: keep the process, and state it.

What happens if a heritage bearer fails evaluation?

It affects status and funding. Under the funding notice of 12 October 2026 from the provincial culture and tourism and finance departments, bearers who failed the 2025 evaluation, lost the capacity to transmit, or withdrew are outside the subsidy scope; nationally, the press conference of 20 October 2026 described a maturing evaluation and exit mechanism. Assessment generally looks at transmission activity, apprenticeship and teaching, and documentation, with specifics set by the competent authorities.

If an item leaves the list, does protection stop?

It does not mean protection ends, it means repositioning. Dynamic adjustment is meant to keep the list close to actual conditions, strengthening support for items in urgent need and revising those that no longer qualify. Under the cultural heritage plan issued in September 2026, support for items in urgent need is to be increased; how an individual item is handled is subject to the competent authority's announcement.

How does YUNHEMING decide whether a maker's work is worth taking on?

Three things, none of them titles. Whether the process is complete, for instance whether mounting, coating, drying and polishing were all done in lacquerware; whether the source can be stated, which maker, where, with what materials; and whether the collaboration is co-signed, with the maker's name and craft on the work. Titles change, process does not.

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