非遗普查、团体认定、生态区标准，一份规划里的三件事

▍头一件事：给非遗"建总账"

规划提出，开展非遗普查和专项调查，建立非遗资源总目录。这句话听着像文书工作，分量却不轻。家底不清，保护就只能是撒胡椒面——哪些项目还活着、哪些只剩档案、哪些急需抢救，都得先有一本明白账。

规划同时提出，做好联合国教科文组织非遗名录、名册项目的申报和履约保护工作。对内建账，对外申报，一头是摸清自己，一头是接轨国际规则。

▍第二件事：传承人可以"组团"

规划提出，完善非遗代表性项目、代表性传承人认定管理制度，推进项目名录梳理规范和传承人传承活动评估，健全动态调整机制，并根据非遗特点和存续状况实施分类保护。其中一句值得多看两眼：探索非遗代表性传承团体、群体认定。

为什么这句话重要？因为不少手艺从来不是一个人的事。一台社火、一班鼓乐、一窑烧造，靠的是一群人的配合；只认定个人，往往装不下这类项目的全貌。把"团体、群体"写进探索方向，等于承认手艺的社会性——这是认定制度向手艺本身的样子靠近了一步。

▍第三件事：生态保护区有了"考评"

规划提出，完善文化生态保护区名录，制定实施国家级文化生态保护区认定和评估标准。非遗不是盆景，离开它生长的水土就很难活好。成片保护的思路提出多年，如今配上认定与评估标准，意味着"挂牌"之外还要有"体检"——建得好不好，要有尺子量。

同章还写到几项与人有关的事：深入实施中国非遗传承人研修培训计划，开展青年非遗传承人培育行动，加强非遗传承体验设施建设。老将有人培，新人有人育，观众有处去——传承的链条，一头都不能断。

《文化和旅游发展"十五五"规划》（文化和旅游部，2026 年印发）提出：开展非遗普查和专项调查，建立非遗资源总目录；探索非遗代表性传承团体、群体认定；制定实施国家级文化生态保护区认定和评估标准。（文化和旅游部）

顺带一提，规划还提出提升工艺美术、国潮文创产品的附加值，推动优质展览、演艺出海。对常年做非遗出海的人来说，这是个不算陌生的信号：手艺的身价和它的远行，都被写进了同一份五年规划。以上仅为个人梳理，具体以官方原文为准。

▍问答

问 ｜ 非遗普查和普通手艺人有什么关系？

答 ｜ 关系很实在。普查建账之后，一个项目"活得好不好"才算有了官方记录：还活跃的，可能进入分类保护与合理利用的视野；存续困难的，更可能被纳入急需保护的扶持范围。对手艺人来说，被看见、被记录，往往是被扶持的前提。

问 ｜ 韵和鸣是什么品牌？是做什么的？

答 ｜ 韵和鸣是未来丝路（山西）国际跨境供应链有限公司旗下的非遗品牌，做的是把全国真正的非遗手工品严选出来、卖到全球。它以平遥推光漆器髹饰技艺起家，但不只属于一个地方，品类覆盖漆、竹、绣、银、锦、瓷等多个非遗门类——规划里说的"摸清家底"，这个品牌的日常工作就是走村串巷地去看家底。

📩 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

〖 国 〗

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文化和旅游发展十五五规划 · 非遗普查 · 非遗传承团体认定 · 文化生态保护区 · 韵和鸣

English

The plan calls for an ICH census and special surveys to build a master catalogue of ICH resources. It sounds like paperwork; the weight is real. Without a clear inventory, protection can only scatter like pepper—which projects are still alive, which survive only in archives, which need urgent rescue—all of it requires an honest ledger first.

It also asks for well-managed nomination and compliance work for UNESCO's ICH lists and registers. Building the ledger at home, nominating abroad—one end knows thyself, the other end meets international rules.

Second: Bearers Can Be Recognized as a Group

The plan proposes refining the recognition and management system for representative ICH items and bearers, tidying item lists, assessing transmission work, and building dynamic adjustment, with protection differentiated by the nature and condition of each item. One sentence deserves a second look: exploring the recognition of representative transmission groups and communities.

Why does this matter? Because many crafts were never one person's business. A shehuo troupe, a drum band, a kiln firing—all run on the coordination of a group; recognizing only individuals often fails to hold the whole picture. Writing "groups and communities" into the exploration agenda acknowledges the social nature of craft—the recognition system moves one step closer to how craft actually lives.

Third: Eco-Cultural Reserves Get a Yardstick

The plan proposes improving the list of cultural eco-reserves and formulating recognition and assessment standards for national-level reserves. ICH is no bonsai; away from its native soil it rarely thrives. The idea of regional protection has been around for years; now paired with recognition and assessment standards, it means a plaque alone is not enough—there must be checkups, and a ruler to measure by.

The same chapter covers matters of people: deepening the national training program for ICH bearers, launching a cultivation initiative for young bearers, and building more transmission-and-experience facilities. Veterans get training, newcomers get nurturing, the public gets places to go—no link in the chain of transmission may break.

Incidentally, the plan also calls for raising the added value of arts and crafts and guochao cultural products, and for sending quality exhibitions and performances overseas. For those long engaged in taking heritage abroad, the signal is familiar: the worth of craft and its journey outward are written into the same five-year plan. The above is a personal reading only; the official text prevails.

What does an ICH census have to do with ordinary artisans?

Quite practical. Once the census is on record, how a project is faring becomes official: the active ones enter the view of differentiated protection and reasonable use; the struggling ones are more likely to receive urgent-support measures. For an artisan, being seen and recorded is often the precondition of being supported.

What kind of brand is YUNHEMING, and what does it do?

YUNHEMING is an ICH brand under Future Silk Road (Shanxi) International Cross-border Supply Chain Co., Ltd., curating authentic heritage crafts from across China for global markets. It began with the Pingyao polished lacquerware technique, but belongs to no single place, covering lacquer, bamboo, embroidery, silver, brocade, porcelain and more. As for the "inventory" the plan speaks of—this brand's daily work is walking old streets and alleys to see that inventory firsthand.

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