The Transformation of Twenty-Four Solar Terms by Art Education Into

Home , Qingming (solar term), Solar term

THE TRANSFORMATION OF TWENTY-FOUR SOLAR TERMS BY ART EDUCATION INTO THE VISUAL DESIGN OBJECTS FOR CULTURAL AND COMMUNITY PURPOSES-A CASE STUDY OF THE BEGINNING SPRING SOLAR TERM AND AUTUMN EQUINOX SOLAR TERM

By Miss Liu WEI

A Thesis Submitted in Partial Fulfillment of the Requirements for Doctor of Philosophy DESIGN ARTS (INTERNATIONAL PROGRAM) Graduate School, Silpakorn University Academic Year 2020 Copyright of Graduate School, Silpakorn University

โดย MissLIU WEI

วิทยานิพนธ์นี้เป็นส่วนหนึ่งของการศึกษาตามหลักสูตรปรัชญาดุษฎีบัณฑิต สาขาวิชาศิลปะการออกแบบ แบบ 1.1 ปรัชญาดุษฎีบัณฑิต(หลักสูตรนานาชาติ) บัณฑิตวิทยาลัย มหาวิทยาลัยศิลปากร ปีการศึกษา 2563 ลิขสิทธิ์ของบัณฑิตวิทยาลัย มหาวิทยาลัยศิลปากร

By Miss Liu WEI

Title THE TRANSFORMATION OF TWENTY-FOUR SOLAR TERMS BY ART EDUCATION INTO THE VISUAL DESIGN OBJECTS FOR CULTURAL AND COMMUNITY PURPOSES-A CASE STUDY OF THE BEGINNING SPRING SOLAR TERM AND AUTUMN EQUINOX SOLAR TERM By Liu WEI Field of Study DESIGN ARTS (INTERNATIONAL PROGRAM) Advisor Assistant Professor VEERAWAT SIRIVESMAS , Ph.D.

Graduate School Silpakorn University in Partial Fulfillment of the Requirements for the Doctor of Philosophy

Dean of graduate school (Associate Professor Jurairat Nunthanid, Ph.D.)

Approved by

Chair person (Professor Eakachat Joneurairatana )

Advisor (Assistant Professor VEERAWAT SIRIVESMAS , Ph.D.)

Co advisor ( Rueanglada Punyalikhit , Ph.D.)

External Examiner (Professor Nicole Wragg , Ph.D.)

ABSTRACT 60155905 : Major DESIGN ARTS (INTERNATIONAL PROGRAM) Keyword : Twenty-four solar terms, Chinese paper-cutting, Art and design education, Intangible Cultural Heritage, Chinese Yin and Yang Philosophy MISS LIU WEI : THE TRANSFORMATION OF TWENTY-FOUR SOLAR TERMS BY ART EDUCATION INTO THE VISUAL DESIGN OBJECTS FOR CULTURAL AND COMMUNITY PURPOSES-A CASE STUDY OF THE BEGINNING SPRING SOLAR TERM AND AUTUMN EQUINOX SOLAR TERM THESIS ADVISOR : ASSISTANT PROFESSOR VEERAWAT SIRIVESMAS, Ph.D. The Twenty-four solar terms guide agricultural production and Chinese people's daily lives. Industrialization and informatization have changed the way of life of the Chinese. People are gradually moving away from nature and agricultural production, and the twenty-four solar terms are facing a crisis of cultural loss. UNESCO listed the Twenty-four solar terms as the world's intangible cultural heritage of humanity in 2016, but most ordinary Chinese still do not realize the urgency of protecting this traditional culture. This is a practical study. The research goal is to transform the invisible Twenty-four solar terms culture into visible Chinese paper-cut works and then promote the invisible Twenty-four solar terms culture through art and design education.

This research transforms Twenty-four solar term cultures into visual design objects and integrates them into art and design education for community residents. This article's research framework is partly based on the review of relevant literature. The following conclusions are reached through questionnaire surveys, expert interviews, and field surveys:1) Intergenerational inheritance focuses on intangible cultural heritage; 2) Service life is inheriting intangible cultural innovation Development trend. Therefore, this research is carried out by holding art and design education paper-cutting workshops.

The results show that it is feasible to transform the invisible twenty-four solar term culture into visible Chinese paper-cutting and promote the invisible Twenty-four solar-term culture through art and design education. Therefore, the theoretical research framework of " intangible cultural heritage inheritance" is deduced, which can be used to study intangible cultural heritage inheritance. This theoretical framework can be summarized as Transforming invisible, intangible cultural heritage into a new visual form and value through visual art forms to realize the two tasks of interpretation and inheritance of intangible culture.

ACKNOWLEDGE MENTS

ACKNOWLEDGEMENTS

I would like to express my gratitude to Silpakorn University, supporting research, innovation, and creativity. For its support and cooperation in this project in Bangkok's Chinatown community activities. I would like to express my special appreciation and thanks to my doctoral supervisor, assistant professor Dr. Veerawat Sirivesmas and my doctoral advisor Dr. Ruenglada Punyalikit ( Faculty of Decorative Arts, Silpakorn University) , for both of their patience, motivation, and valuable knowledge, allowing me to grow as a researcher. I would like to acknowledge all the experts and lecturers in the Doctor of Philosophy Program in Design Arts ( International program) , Faculty of Decorative Arts, Silpakorn University, for their useful suggestions, which became a valuable contribution present study. I would like to express my gratitude to Professor Eakachat Joneurairatana for agreeing to be the committee chair for the thesis. Once again, I wish to express my deepest gratitude to all the mentioned lecturers. I wish to extend my appreciation to Mr. Somchai Kwangtongpanich ( Chinatown historian), and Zhang Bo (deputy director of Thailand China Culture Center) and Xiao Ke-zhi (former curator of China Agricultural Museum), and Xiao Fang (Professor of Beijing Normal University, Chinese folklorist) for their support in all matters throughout the research process. I would also like to thank the students of grades 2018 and grade 2019 of the Visual Communication Design Department of Liaoning University of science and technology and Liaoning General Chamber of Commerce of Thailand for your generosity, constant support motivation. I am thankful to all of the people whose names are not listed here. Thank you so much for the help given through thick and thin and for continuous understanding and encouragement. Finally, I would like to express my gratitude to my family, especially my aunt Li Wen-Xiu who has continuously provided support, encouragement, and financial support. I also would like to thank Dr. Watanapun Krutasaen and Dr. Khun Kunius, and Ph.D. candidate Yang Xing for their advice, help, and endless encouragement.

Liu WEI

TABLE OF CONTENTS

Page ABSTRACT ...... D

ACKNOWLEDGEMENTS ...... E

TABLE OF CONTENTS ...... F

LIST OF TABLES ...... N

LIST OF FIGURES ...... O

Chapter 1 Introduction ...... 1

Research background ...... 1

Research question ...... 2

Research Objectives ...... 3

Research hypothesis ...... 3

Research scope ...... 3

Research outcome ...... 4

Research methodology ...... 5

Definition terminology ...... 5

Chapter conclusion ...... 7

Chapter 2 Literature review ...... 8

2.1 Chinese Intangible Cultural Heritage ...... 9

2.1.1 Cultural heritage ...... 9

2.1.2 Intangible cultural heritage ...... 9

2.1.3 Chinese intangible cultural heritage ...... 10

2.1.4 Chinese intangible cultural heritage is facing a crisis of inheritance ...... 11 G

2.1.5 Excellent cases of inheritance of Chinese cultural heritage ...... 12

2.1.5.1 The Palace Museum of Ming and Qing Dynasties ...... 12

2.1.5.2 Taishan Shadow Puppet ...... 12 2.1.6 Feasibility analysis of Art and Design Education inheriting intangible cultural heritage ...... 13

2.2 Protection and inheritance of Chinese intangible cultural heritage ...... 15 2.2.1 The protection of intangible cultural heritage carried out by the Chinese government ...... 15

2.2.1.1 Establish a national intangible cultural heritage database ...... 15 2.2.1.2 Put forward the intangible cultural heritage protection concept of "Seeing people and things and life." ...... 16 2.2.1.3 Introduced a series of beneficial measures to protect and inherit the intangible cultural heritage ...... 17 2.2.2 The inheritance status and development trend of China's intangible cultural heritage ...... 18 2.2.2.1 Chinese young generation are the forerunners of intangible cultural heritage inheritance...... 18 2.2.2.2 Schools are the educational base for the inheritance of intangible cultural heritage ...... 19 2.2.2.3 Establish an intangible cultural heritage training center in the community ...... 20 2.2.3 Service life is a concrete action for the inheritance of intangible cultural heritage ...... 21

2.2.3.1 Intangible cultural heritage + creative cultural industry ...... 21 2.2.3.2 Innovative expression of intangible cultural heritage in art design ...... 23

Intangible heritage traditional crafts and innovative designs ...... 23

Cultural and creative product design ...... 24

2.2.4 The revival of Chinese traditional culture ...... 26 2.3 Twenty-four Solar Terms, Chinese paper-cutting, and Chinese philosophy of "yin and yang." ...... 29

2.3.1 Twenty-four Solar Terms ...... 29

2.3.3.1 Overview of the twenty-four solar terms ...... 29

2.3.3.2 The specific information of the twenty-four solar terms ...... 31

2.3.3.3 The specific meaning of twenty-four solar terms ...... 32 2.3.3.4 Chinese traditional calendar "lunar calendar and the solar calendar." ...... 35 2.3.3.5 The value and inheritance significance of the twenty-four solar terms ...... 36 2.3.3.6 The Inheritance of the Twenty-Four Solar Terms in Contemporary Society ...... 37

2.3.2 Chinese paper-cutting ...... 39

2.3.2.1 2D paper cutting ...... 40

2.3.2.2 3D Paper-cutting ...... 40

2.3.2.3 Chinese paper-cutting methods and techniques ...... 41

2.3.3 Ancient Chinese Philosophy ...... 44

2.3.3.1 The unity of man and nature ...... 44

2.3.3.2 Yin and Yang ...... 45

2.3.3.3 Twenty-four solar terms and "The unity of man and nature" ...... 46 2.3.3.4 Chinese Paper-cutting and "Yin and Yang" Philosophical Thoughts ...... 47 I

2.4 Family Education, School Education, Community Education in Chinese traditional culture ...... 49 2.4.1 Family education: Cultivate children's culture and values, and prepare for a perfect life...... 49 2.4.2 School education: promote more young people to understand and inherit intangible cultural heritage...... 50 2.4.3. Community education: promote Chinese culture and promote international exchanges...... 51

2.5 Chinese traditional festivals originate from Chinese agricultural production ..... 52

2.5.1 Agricultural production is the foundation of ancient Chinese civilization 52

2.5.2 Climate change affects Chinese cultural awareness ...... 54 2.5.3 Chinese traditional festivals are closely related to the twenty-four solar terms ...... 55

2.5.3.1 Chinese New Year and the Beginning of Spring solar term ...... 57

2.5.3.2 Mid-Autumn Festival and Autumnal Equinox Solar Terms ...... 58

2.6 Conclusion of the literature review ...... 60

Chapter 3 Research Methodology ...... 63

Phase I ...... 63

Phase II ...... 63

Phase III ...... 64

Phase IV ...... 65

3.1 The criterion of selection of the samples ...... 66 3.1.1 Quantitative research takes ordinary Chinese residents as research objects...... 66

3.1.2 Expert ...... 67 J

3.1.3 Fieldwork locations ...... 67

3.1.4 Representative group ...... 68

3.2 Data collection methods ...... 68

3.3. Research instruments ...... 69

3.4 Data analysis ...... 71

3.5 Conclusion of Research Methodology ...... 71

Chapter 4 Research Outcome ...... 73 4.1 The results of the cognition and inheritance Survey of twenty-four solar terms in modern society...... 73

4.1.1 People’s Cognition analysis ...... 74

4.1.2 People’s Inheritance analysis ...... 75

4.1.3 People's Expectation analysis ...... 78

Conclusion of the questionnaire ...... 80

4.2 The results of in-depth interviews and fieldwork survey evaluation ...... 81

4.2.1 In-depth interviews ...... 81 4.2.1.1 An in-depth interview with Xiao Ke-Zhi, former curator of the display department of China Agricultural Museum ...... 81

4.2.1.2 An in-depth interview with Researcher Zhou Xiao-qing...... 84 4.2.1.3 Interview with Wang Ying-De, member of the Shen Yi delegation and director of the display department of China Agricultural Museum ...... 86

4.2.1.4 Interview with Researcher Zhang Su ...... 86

4.2.1.5 An in-depth interview with folklorist Xiao Fang ...... 87

4.2.1.6 An in-depth interview with Mr. Somchai, a historian ...... 88 K

4.2.1.7 An in-depth interview with Zhang Bo, deputy director, China culture center, Bangkok, Thailand ...... 90

4.2.1.8 Conclusion of the Interview ...... 92

4.2.2 Fieldwork: a case study of Chinatown in Bangkok, Thailand ...... 94

4.2.2.1 Visiting the Yaowarat Chinese community in Bangkok Chinatown 94 4.2.2.2 Krung Thai Bank Art Gallery Traditional Chinese Wedding Exhibition ...... 95 4.2.2.3 Field research of Historic Hut Charoen Chai Community (Ban Kao Lou Rueng)...... 96 4.2.2.4 Field research Chinese traditional festivals of Yaowarat in Chinatown ...... 97 4.2.2.5 Lecture and lantern Workshop on the traditional culture of Bangkok Full Moon Festival ...... 98

4.2.2.6 Participate in a paper-folding workshop ...... 99

4.2.2.7 Conclusion of the fieldwork ...... 100

4.3 The results of art and design education workshops studies ...... 101 4.3.1 Chinese 3D Paper-cutting Workshop of Nanjing University of the arts, China...... 101

4.3.2 Chinese 2D Paper-cutting Workshop of Bangkok Chinatown...... 106 4.3.3 Chinese 2D+3D Paper-cutting Workshop of Liaoning University of science and technology, China ...... 110

Step 1. Workshop design concept ...... 112

Step 2. Teaching process ...... 112

Step 3. Exhibition ...... 113 Step 4. Appreciation of students' excellent works of Chinese 2D paper cutting ...... 114 L

Step 5. Appreciation of students' excellent works of Chinese 3D paper cutting ...... 115

Step 6. Student work report and exhibition ...... 117

Step 7. Student interview ...... 117

4.4 The results of visual design objects studies ...... 119 4.4.1 Design practical application research of Thai Full Moon Festival 2019 Lantern Design...... 119

4.4.2 The Great heat Solar Term Module Design ...... 124

4.4.3 The Beginning of Spring Solar Term Module Design ...... 129 4.4.4 The results of the cultural inheritance of visual design projects in community activities: a case study on the Lantern Design for Thailand's Full Moon Festival in 2020...... 137

4.4.4.1 Scheme determination and hand-drawn sketch stage ...... 139

4.4.4.2 Computer drawing stage ...... 142

4.4.4.3 Laser cutting stage ...... 144

4.4.4.4 Lantern installation stage ...... 146

4.4.4.5 Full Moon Festival celebration scene ...... 146 4.4.4.6 Thailand's PBS TV station reported the full moon festival and lanterns in Chinatown...... 147

4.5 Conclusion of the research outcome ...... 148

Chapter 5 Conclusion, discussion, and recommendations ...... 151

5.1 Discussion ...... 151

5.1.1 Restatement of the study ...... 151

5.1.2 Review of the inheritance practice process ...... 153

5.1.3 Conclusion and discussion of the inheritance practice process ...... 154 M

5.2 Research difficulties encountered in the process of inheritance and practice 156

5.2.1 Knowledge reserve stage ...... 156

5.2.2 Design stage ...... 157

5.2.3 Material selection stage ...... 158

5.2.4 Design and production stage ...... 158

5.3. Analysis of research results ...... 159 5.3.1 Intergenerational inheritance is the focus of intangible cultural heritage...... 161

5.3.2 Service life is the trend of intangible cultural development...... 162

5.4 Recommendations for future development and further studies ...... 163

REFERENCES ...... 165 VITA ...... 169

LIST OF TABLES

Page Table 1 Classification of the world's intangible cultural heritage...... 9 Table 2 The Chinese and English names of the 12 solar terms in the first half of the year...... 31 Table 3 The Chinese and English names of the 12 solar terms in the second half of the year...... 32 Table 4 The relationship between Chinese five main traditional festivals and the twenty-four solar terms...... 56 Table 5 The specific arrangement of the Chinese 3D Paper-cutting Workshop in Nanjing...... 102 Table 6 The specific arrangement of the Chinese 2D Paper-cutting Workshop of Bangkok...... 107 Table 7 The specific arrangement of the Chinese 2D+3D Paper-cutting Workshop of Liaoning University of science and technology of China...... 111 Table 8 The conclusion of the designing and developing methods of Thai Full Moon Festival...... 120 Table 9 The conclusion of the designing and developing methods of Great heat Solar Terms...... 125 Table 10 The summary of the designing and developing methods of the Beginning of Spring Solar Terms...... 129 Table 11The summary of the design and development methods of the Thai Full Moon Festival 2020...... 137

LIST OF FIGURES

Page Figure 1 Diagram of the research scope ...... 4

Figure 2 Representative projects of World Intangible Cultural Heritage...... 11 Figure 3 Cultural Creative Product Design of the Palace Museum of Ming and Qing Dynasties...... 12 Figure 4 Fan Zhen-gan, the inheritor of national intangible cultural heritage and his shadow play...... 13

Figure 5 Comparison of material and intangible cultural heritage...... 14 Figure 6 China Intangible Cultural Heritage Website-China Intangible Cultural Heritage Digital Museum Official Website Interface ...... 16

Figure 7 Wu Gengzhen’s Hermes window design and LV Art Space exhibition...... 19 Figure 8 Guo Meihua, the inheritor of China's paper-cut intangible cultural heritage, and her "Zhongyang" paper-cutting inheritance learning institute ...... 21 Figure 9 The traditional image of the old Beijing Lord Rabbit (left) and the new image (right) ...... 22

Figure 10 Li Xiuxia "Retrograde Angel"...... 24

Figure 11 Huang Lina "Heroin Heart"...... 24

Figure 12 Chinese paper cutting is integrated into the design of cheongsam...... 25

Figure 13 National style paper cut painting shoulder and backpack ...... 25 Figure 14 The inheritance status and development trend of China's intangible cultural heritage diagram ...... 26 Figure 15 Schematic diagram of " Gnomon-and-ruler " measuring the shadow of the sun ...... 30

Figure 16 The Chinese phonetic chronological chart of 24 Solar Terms. (Design by Liu Wei)...... 31 Figure 17 A schematic diagram of the Chinese lunar calendar based on the moon's orbit around the earth. (Design modification by Liu Wei, the original image is from Baidu.) ...... 35 Figure 18 A schematic diagram of the twenty-four solar terms based on the earth's orbit around the sun. (Design modification by Liu Wei, the original image is from Baidu.) ...... 36 Figure 19 A Schematic diagram of the Chinese solar calendar based on the Earth's operating cycle around the Sun. (Design modification by Liu Wei, the original image is from Baidu.)...... 36 Figure 20 Paper-cut scene (left) Life scenes of paper-cutting in northern Shaanxi, China (right) ...... 40

Figure 21 Paper cut relief legend ...... 41

Figure 22 3d paper-cut garden ...... 41

Figure 23 Folding paper-cut window grilles ...... 42

Figure 24 The Yin engraving and Yang engraving in Chinese Paper-cutting ...... 42 Figure 25 The Combination of Yin engraving and Yang engraving in Chinese Paper- cutting ...... 43

Figure 26 Laser Cutting techniques in Chinese Paper-cutting ...... 44

Figure 27 Diagram of the twenty-four solar terms time table...... 47 Figure 28 Diagram of the relationship between the twenty-four solar terms, Chinese paper-cutting and ancient Chinese philosophy ...... 48

Figure 29 Yangjiapu New Year Painting "Spring Cow" ...... 57

Figure 30 Twenty-four solar terms inscription promotional video ...... 58

Figure 31 Diagram of the relationship between Chinese traditional festival and agricultural civilization ...... 60 Figure 32 Diagram of the relationship between Family Education, School Education, Community Education, and Art & Design Education ...... 61

Figure 33 Research methodology diagram ...... 65

Figure 34 Twenty-four Solar Terms song, lyrics for the solar term name...... 74 Figure 35 Percentage of people aware of the acceptance of the UNESCO acceptance of the Twenty-four Solar Terms as an intangible world heritage...... 75 Figure 36 Percentage of people who believed the Twenty-four Solar Terms were based on solar or lunar calendars ...... 75 Figure 37 Responses of participants regarding the significance and inheritance of the Twenty-four Solar Terms ...... 76 Figure 38 The Qing Ming Festival is a national holiday in which people return home to worship their ancestors...... 77

Figure 39 The vernal equinox and the autumn equinox are equally divided...... 78 Figure 40 Responses of Parents willing to participate in educating their children on the Twenty-four Solar Terms...... 79 Figure 41 Survey participants’ opinions on who bears the responsibility for Twenty- four Solar Terms education...... 80

Figure 42 China Agricultural Museum Peking, China ...... 81

Figure 43 Night view of Bangkok Chinatown ...... 95

Figure 44 Thai Chinese wedding ceremony, exhibition photos ...... 95 Figure 45 Traditional Chinese festival posters, Twenty-four Solar Terms posters, paper offerings ...... 96 Figure 46 Photos of paper offerings for Mid-Autumn Festival in Dragon tail temple, Chinatown ...... 97

Figure 47 Professor Veetawat is explaining the process of making lanterns to students ...... 98 Figure 48 Mr. Somchai, a local historian in Chinatown, is explaining to students the background of airplane shaped lanterns ...... 98 Figure 49 Chinese community residents in Bangkok's Chinatown are learning origami to make souvenirs...... 99

Figure 50 Origami souvenirs are made by researchers participating in workshops.... 100 Figure 51 During the workshop, international students and instructors communicated with each other about the design plan...... 103 Figure 52 3D paper cutting works with Solar Terms as the theme. The order is as follows: Slight Heat, Qingming, Autumnal equinox, Beginning of Spring, and Beginning of winter...... 103

Figure 53 The order of the Solar Terms is Light heat, Cold dew, Great heat...... 104 Figure 54 President Liu of Nanjing Art College, the leaders of International College, and other visitors visited the exhibition, and the effect of the exhibition was ideal. 104

Figure 55 Lotus paper cutting mold and symmetrical lotus pattern...... 108 Figure 56 One-twelfth of the lotus paper-cutting mold and the circular lotus pattern...... 108 Figure 57 One-sixth of dragonfly paper-cutting mold and the circular dragonfly’s pattern...... 108

Figure 58 The researchers guiding the students on Chinese paper cutting...... 109

Figure 59 Chinatown students are absorbed in learning Chinese paper cutting...... 109 Figure 60 After the paper-cutting workshop, all participants took a group photo, and the harvest was full...... 109 Figure 61 Pictures of the learning scene of the researchers and students in the workshop...... 114

Figure 62 Qingming solar term theme paper cutting (focusing on folk activities) ..... 114 Figure 63 Rain solar term theme (Phenology); White Dew solar term (Folk customs) ...... 115 Figure 64 Winter solstice solar term theme (Life scenes); Great Snow solar term theme (focusing on natural phenomena) ...... 115 Figure 65 3D paper cutting with themes of Grain Full and Grain in Ear solar term (focusing on Farming) ...... 115 Figure 66 3D paper cutting with the theme of the solar term of the beginning of winter (focusing on folk sacrifice) ...... 116 Figure 67 3D paper cutting with the Limit of Heat Solar Terms theme (focusing on folk sacrifice) ...... 116 Figure 68 3D paper cutting with the Frost's Descent solar term (focusing on phenology), Slight Heat solar term (focusing on natural phenomena) ...... 116 Figure 69 Student work report: frost and dew Solar Terms (focusing on folk activities) ...... 117

Figure 70 Group photo of the researcher and students in the workshop ...... 117

Figure 71 Workshop final work exhibition ...... 117 Figure 72 Design sketch, dimension setting, scheme adjustment, manual model making...... 121

Figure 73 Lighting effect test of l handmade lantern at night...... 121

Figure 74 7.5cm x 10cm small lantern computer vector graph ...... 121

Figure 75 Pictures of paper components after laser cutting ...... 122

Figure 76 Schematic diagram of Lantern assembly, without glue...... 122

Figure 77 Scene of assembling the lanterns...... 122

Figure 78 Foreign visitors visit the lantern show at Chinatown Historic Hut Charoen Chai of Bangkok on Thai Full Moon Day(the 15th day of the 8th month on the Chinese lunar calendar)...... 123

Figure 79 Lanterns are used as background decoration at the scene...... 123 Figure 80 The small souvenir lanterns are presented to the seminar guests as gifts...... 123 Figure 81 The picture on the left shows the summer solar term with lotus flowers in full bloom. The picture on the right shows the symmetrical lotus paper cutting work...... 126

Figure 82 Lotus pattern paper cutting parts ...... 126 Figure 83 3D paper-cutting style lotus design, assembly use Tenon-and-mortise structure...... 127

Figure 84 Design draft and 2.5-D works of Spring cattle...... 130

Figure 85 3D spring cow basket design, hung from the ceiling ...... 131

Figure 86 2.5-D Spring chicken – display ...... 131

Figure 87 Lantern Design of the Beginning of Spring solar term ...... 133

Figure 88 Plan of main paper components of the Lantern...... 134 Figure 89 The Chinese character pattern expression of the three phenology of the beginning of spring solar term...... 135 Figure 90 Basic information of the beginning of spring solar term paper cutting ring, in turn, the beginning of spring solar term, 315 degrees of the ecliptic, February 4-5 .. 135 Figure 91 The key components of the paper lantern, as well as the following lamp assembly diagram, does not use glue...... 136 Figure 92 The lamp design and assembly diagram on the lantern is also not glued...... 136

Figure 93 40 cm square lanterns, and 10.5 cm souvenir lanterns...... 138

Figure 94 1.5 meters tall, the hexagonal lantern of Thailand full moon festival...... 139 Figure 95 Chinese Mid-Autumn Festival family reunion, Thailand Full Moon Festival to worship the moon, overseas Chinese in the world watch the moon, eat moon cakes...... 140 Figure 96 The researchers drew a pencil sketch of a grandfather rabbit riding an elephant...... 141 Figure 97 The representative phenology of the autumnal equinox Solar Terms, chrysanthemums are in full bloom, and maple leaves turn red...... 142 Figure 98 The Chinese paper-cutting style patterns drawn by computer AI vector software tell the stories of Chinese, Thai, and overseas Chinese celebrating the Mid- Autumn Festival...... 142

Figure 99 Chinese paper-cutting style rabbit, elephant, Ruyi vector pattern...... 143

Figure 100 The base of the lantern is a chrysanthemum and maple leaf ...... 143 Figure 101 The design of Chinese community-building elements in Chinatown has been transformed into a lantern design pattern...... 143 Figure 102 The laser cutting machine tried to cut 350g white cardboard and 0.5mm thick plastic PP board...... 144 Figure 103 The laser cutting machine cuts 350 white and 250 grams red cardboard...... 144 Figure 104 The local pattern of paper cutting lantern produced by laser cutting machine ...... 145 Figure 105 The large lantern paper-cutting component produced by the laser cutting machine, the paper size is 780mmx540mm...... 145 Figure 106 Small souvenir paper-cutting lantern components produced by laser cutting machine, paper size 650mmx500mm...... 145

Figure 107 Square lantern installation site ...... 146

Figure 108 Large lantern installation site...... 146

Figure 109 At the scene of the Full Moon Festival celebrations in Bangkok’s Chinatown, small souvenir lanterns were presented as gifts to the guests participating in the seminar...... 146

Figure 110 A screenshot of a news report on PBS TV in Thailand...... 147

Figure 111 A group photo of the researcher and the lantern R&D team...... 147 Figure 112 Theoretical research framework...... 160

Chapter 1 Introduction

The Twenty-four Solar Terms originated in the Yellow River Basin of China. It is a time knowledge system formed by the ancient Chinese ancestors following agricultural activities and observing the movement of celestial bodies to understand the changing laws of time, climate, and phenology in a year. In 104 BC, Deng Ping officially wrote the twenty-four solar terms into the "Taichu Calendar" as a supplement to the calendar for guiding agricultural affairs and became an essential part of the Chinese lunar calendar. Since 2000, it has played a guiding role in agricultural production and influenced the Chinese people's food, clothing, shelter, and even cultural concepts.

Research background At present, Twenty-four Solar Terms has gradually lost its original function in the process of high-speed modernization. Although the Twenty-four Solar Terms system's inheritance has received more and more attention in academic fields, its popularity in Chinese cultural studies is still at a low level of Chinese perceptual knowledge. New forms of cultural exchanges made young people lose their interest in preserving and practicing the Twenty-four Solar Terms. On November 30, 2016, the Twenty-four Solar Terms were selected into the UNESCO "world intangible cultural heritage of mankind" representative works list (Nan, 2016). This is a significant turning point in the development history of the Twenty-four Solar Term, and it is also the right time and challenge to revitalize the Twenty-four Solar Term. The announcing reflects that the Twenty-four Solar Terms still have particular cultural significance and social functions in modern society. Some scholars believe that there are some problems in the Twenty-four Solar Terms' survival and inheritance today (Jia-Hua, 2017). The Twenty-four Solar Terms has no survival crisis in traditional society, but now they have problems in 2 modern society and have become an intangible cultural heritage that needs to be consciously protected (Bo, 2007). We should consciously inherit Twenty-four Solar Terms and respect the natural time and rhythm of life (Fang, 2015). In recent years, however, modern Chinese people increasingly realize that "forgetting" is not always terrible, but "losing" the Twenty-four Solar Terms' thoughtful culture is a pity. Losing a medium of time between man and nature for the righteously seasonal cultivation, such as the Twenty-four Solar Terms, is what to be worried about in modern society. The successful promotion of the Twenty-four Solar Terms to be the intangible cultural heritage of UNESCO encourages many experts and scholars to pay attention to studying the Twenty-four Solar Terms. These experts and scholars are mostly sociologists, folklorists, Meteorologist, but art and design educators are rarely dealing with this topic. As an art and design educator in the field of visual communication design, researchers have been committed to the study of the above issues. According to the review of the literature and previous studies, it was found that since the Twenty-four Solar Terms has been recognized as the world's human intangible cultural heritage in 2016, it has been adopted and applied to popular science videos, children's picture books, art design, literature and Book publishing, and other fields. On this basis, the researchers hypothesized that the Twenty-four Solar Terms could also be applied to the field of art and design education. Therefore, researchers are interested in combining the Twenty-four Solar Terms culture with Chinese paper-cutting and transform it into a visual design object for cultural and community purposes. Apart from the mentioned the living inheritance of intangible cultural heritage, the result of this study will be a spark of general and international awareness towards Chinese arts and culture.

Research question How to popularize and inherit the Twenty-four Solar Terms culture? Sub-question 3

1. Who are the key person in the spread of the Twenty-four Solar Terms culture? 2. Which part of the Twenty-four Solar Terms culture is suitable as a breakthrough? 3. What kind of communication mode is more conducive to the spread of twenty-four solar terms culture?

Research Objectives 1.To study the cultural significance and social function of the Twenty-four Solar Terms in the Chinese calendar and how it affects human life as the time wisdom of ancient Chinese. 2.To study how to mobilize the young Chinese generation and overseas Chinese to educate and understand the Twenty-four Solar Terms culture. 3. To study how to create the Twenty-four Solar Terms culture in innovative form, young Chinese are willing to accept and achieve the purpose of popularization by using Chinese Paper Cutting craft as a tool to educate culturally and involve community purposes.

Research hypothesis 1. The art and design education with the theme of the Twenty-four Solar Terms may encourage young Chinese to inherit ancient Chinese culture's wisdom. 2. The community activities and visual design objects with the theme of the Twenty-four Solar Terms can attract more people to learn and spread Chinese traditional culture.

Research scope 1. Research focuses on the inheritance of Twenty-four Solar Terms culture, especially the visual expression of paper-cutting art. 4

2. Art and design Education inherited to use Chinese art and craft as a tool to educate Chinese heritage culture to the young Chinese generation. 3. Chinese younger generation and overseas Chinese.

Figure 1 Diagram of the research scope

Research outcome 1. With the concept of Twenty-four Solar Terms and the technology of Chinese paper cutting, the practical research on art education for students has effectively promoted the inheritance and popularization of TST knowledge. 2. The Twenty-four Solar Terms is the expression of the ancient Chinese philosophy of "The unity of man and nature," and the Chinese paper-cutting is the perfect embodiment of the ancient Chinese philosophy of "Yin and Yang" as to spread from the perspective of art and design education in the research process of this topic.

Research methodology This research used the mixed-method approach, which completes the results by gathering both quantitative and qualitative data. The objective is to educate the young Chinese generation to appreciate the traditional Culture. The researcher used the process of exploratory sequential design. The study can be divided into four phases. The first phase is quantitative research, the purpose is to understand the research theme fully, and then the second phase, which uses the results of the first phase for the design of qualitative research, and the purpose is to determine quantitative research results through qualitative research. After that, the confirmed results will be applied to the third phase of experimental research to explore how to use the intangible concept of Twenty-four Solar Terms (the Twenty-four Solar Terms is an intangible cultural heritage) for tangible visual transformation in paper cutting. The final results will be applied to the three-dimensional, fun, and productive Chinese paper-cuttings in the fourth stage and can be applied to art education and community activity to promote the Twenty-four Solar Terms' inheritance.

Definition terminology Intangible Cultural Heritage: Intangible cultural heritage refers to various traditional cultures that exist in intangible forms, are closely related to people's lives, and are passed on from generation to generation. The characteristics of intangible cultural heritage are sharing, life, and people-oriented. "The carrier of intangible cultural heritage is people. However, certain intangible heritages of art, concepts, knowledge, and technology also need to rely on "material" to exist" (About the Carrier of Intangible Cultural Heritage, n.d.). For example, Chinese paper-cutting art can only contain in the carrier of paper-cutting. Twenty-four Solar Terms: The time knowledge system and its practice formed by the Chinese observing the annual movement of the sun. The solar calendar in the traditional Chinese calendar (The traditional Chinese calendar uses 6 the lunar calendar and the solar calendar together). The Twenty-Four Solar Terms is a time-series guide for the agricultural regions in the middle reaches of the Yellow River in China and a time coordinate of China’s multi-ethnic and multi-regional regions. “It is a vivid manifestation of the Chinese people's natural philosophy and even a cultural time for overseas Chinese to connect with the history and culture of the home country and strengthen cultural identity.”(Xiao Fang, 2017). In 2016, the Twenty-four Solar Terms were selected as the representative list of the world's intangible cultural heritage of humanity. Chinese paper-cutting: Chinese paper-cutting is the most famous art form of Chinese folk. In a broad sense, Chinese paper-cutting refers to the two- dimensional art image to display by cutting and hollowing out the paper(Xiaohua, 2006). Chinese paper-cutting is a decoration to expresses beautiful emotions in people's daily life and festivals and creates a lively atmosphere. It has diverse forms, rich themes, and unique styles and is loved by people worldwide. In 2009, the Chinese paper-cutting was selected as the representative list of the world's intangible cultural heritage of humanity. Art and Design Education: Aesthetic in art and design education activities using craft, arts, and design as artistic means and contents. The mission is to strengthen people’s understanding and memory of what they have learned through art and design education. Yin and Yang: "Yin and Yang is a simple and extensive ancient Chinese philosophy. Its necessary interpretation is Yin and Yang, the two opposing principles in nature, the former feminine and negative and the latter masculine and positive(“Yin and Yang (Ancient Chinese Philosophical Thought).,” n.d.). "Yin and Yang are the descriptions of the fundamental factors behind the laws of nature that promote the development and change of nature's laws in ancient Chinese civilization. It is the driving force behind the gestation, development, maturity, decline, and demise of various things. 7

Chapter conclusion In this study, the researchers explored the ways to promote the inheritance of the twenty-four solar terms culture. The study uses Chinese paper- cutting art education as a means, with China's younger generation and overseas Chinese as the research target groups, and the ancient Chinese concept of "yin and yang" as a philosophical basis. The younger generations are the future and hope of China. They are the new force to revitalize and continue Chinese culture and revitalize the twenty-four solar terms. China is currently the most populous country in the world. Overseas Chinese are distributed all over the world. The twenty-four solar terms and Chinese paper-cutting techniques can evoke their common cultural memory. The research results innovated a new form to show the twenty-four solar terms culture, reflecting the modern lifestyle and Chinese cultural heritage respected by the world. In this way, the purpose of cultural inheritance is achieved and expected to be accepted internationally. China is one of the countries with the most intangible cultural heritages in the world. According to the China Intangible Cultural Heritage Network, by the end of 2018, 40 projects in China have been selected as the UNESCO World Intangible Cultural Heritage Representative List. For example, Chinese paper-cutting, Chinese calligraphy, Dragon Boat Festival, Peking Opera, Twenty-four solar terms, and others. This study can be used as a reference for other studies on the living inheritance of Chinese intangible cultural heritage in the near future.

Chapter 2 Literature review

The purpose of this research is to combine the twenty-four solar terms with Chinese paper-cutting techniques and use art education and visual design projects as research practices to promote the living inheritance of the twenty-four solar terms culture among the younger generation of China and overseas Chinese. The related literature and research include four parts. The first part and the second part are about the material of Chinese intangible cultural heritage to understand better China's intangible cultural heritage's general situation and inheritance status. The third part focuses on the twenty-four solar terms, Chinese paper-cutting, ancient Chinese "yin and yang" philosophical concepts, and the inner relationship between the three. This review has specific reference significance for other researchers who study Chinese traditional culture and the living inheritance of Chinese intangible cultural heritage. The fourth part reviews family education, school education, and community education and discusses this study's suitable objects and methods. The fifth part reviews the cultural connection between traditional Chinese festivals and twenty-four solar terms. It concludes that climate change and agricultural production have influenced Chinese cultural concepts and directly shaped Chinese traditional festivals. The last part is the conclusion of the literature review. Through the review, the researchers conclude that the invisible culture can be presented in visual art design. The method of art design education is a significant attempt to promote intangible cultural heritage's living inheritance. The literature review of this study includes the following four parts: 2.1: Chinese Intangible Cultural Heritage 2.2: Protection and inheritance of China's intangible cultural heritage 2.3: Twenty-four Solar Terms, Chinese paper-cutting, Ancient Chinese Philosophy 2.4: Family Education, School Education, Community Education in Chinese traditional culture 2.5 Chinese traditional festivals originate from Chinese agricultural 9 production 2.6: Conclusion of the literature review 2.1 Chinese Intangible Cultural Heritage 2.1.1 Cultural heritage Cultural heritage is a precious wealth left by history to humanity. Its existence can include a material cultural heritage (tangible cultural heritage) and intangible cultural heritage. Cultural heritage is a cultural relic with historical, artistic, and scientific value. “Intangible cultural heritage referred to all kinds of traditional culture existing in intangible form, closely related to people's life and inherited from generation to generation”(Encyclopedia, 2018). Whether it is a movable cultural relic or an immovable cultural relic, its material existence is artistic. The attribute of non- material cultural heritage is cultural. It is the behavior habits, manual skills, and ideology of people in life. 2.1.2 Intangible cultural heritage Intangible cultural heritage is defined by the "Convention for the Protection of Intangible Cultural Heritage" of UNESCO. “Intangible cultural heritage refers to the various practices, performances, and performances regarded as cultural heritage by groups, and sometimes individuals form, knowledge system and skills and related tools, objects, crafts, and cultural places”(Encyclopedia, 2016). The classification is as follows: Table 1 Classification of the world's intangible cultural heritage. 1 Oral traditions and expressions 2 Performing arts 3 Social customs, etiquette, festivals 4 Knowledge and practice about nature and the universe 5 Traditional handicraft skills.

The "intangible cultural heritage" we are talking about today is the introduction of English from Japanese when Koichiro Matsuura took over as the 10

Director-General of the United Nations Educational, Scientific, and Cultural Organization (UNESCO) in 1999. Article 1 of Japan's "Promotion of Traditional Crafts Industry Law" (Act No. 57 of 1974) stipulates that the standard for recognizing traditional crafts is mainly used in daily life. The material cultural heritage has the characteristics of visualization and touch, which is easy for the audience to understand, and its protection and inheritance are relatively straightforward. Intangible cultural heritage is different from tangible cultural heritage. “The characteristics of intangible cultural heritage are sharing, life, and people-oriented. It is invisible and intangible, but it is closely related to people's lives.(Kui-li, 2010)” Once there is a problem in the inheritance link, it is like sand in people's hands, it is easy to lose, and it is difficult to recover after a loss, which has brought difficulties to the protection and inheritance of intangible cultural heritage. 2.1.3 Chinese intangible cultural heritage According to the "Intangible Cultural Heritage Law of the People's Republic of China": intangible cultural heritage refers to various forms of traditional cultural expression passed down from generation to generation and regarded as a part of their cultural heritage, as well as objects and places related to traditional cultural expressions(Jing-Tao, 2011). According to the China Intangible Cultural Heritage website, by the end of 2019, “there were 1372 national intangible cultural heritage projects in China, of which 40 were selected into the UNESCO World Intangible Cultural Heritage Representative List”(Arts, 2020). China has become the country with the largest number of intangible heritages in the world. Among the more famous world-class Chinese intangible cultural heritage items are Chinese paper-cutting, Chinese calligraphy, Peking opera, Chinese shadow puppetry, Chinese traditional wooden construction techniques, twenty-four solar terms, etc. 11

Figure 2 Representative projects of World Intangible Cultural Heritage Source: http://www.ihchina.cn/project#target1 2.1.4 Chinese intangible cultural heritage is facing a crisis of inheritance In 2016, Zhai De-yu, deputy director of the Bureau of External Relations of the Ministry of Culture of China, said when the twenty-four solar terms were selected as the UNESCO World Intangible Cultural Heritage List: "The success of the declaration is not the end of the mission, but another milestone in the protection of intangible heritage(Bo, 2017)" China is rich in intangible cultural heritage, but the development of most intangible cultural heritage is not ideal for some time. Most of China's intangible cultural heritage faces the same problem: “it is out of touch with real life.(Juntao., 2012)” Moreover, most of the intangible cultural heritage was formed in the agricultural era and kept in relatively closed and backward places. The inheritance method is outdated and cannot attract the attention of young people. Due to economic development factors, many young people in today's society often go out to work, and many people are no longer engaged in agricultural production. The elderly who know intangible cultural heritage or traditional crafts are gradually getting old, which directly leads to the crisis we face today-the lack of successors. Protecting and inheriting intangible cultural heritage is a more difficult task in today's society. 12

2.1.5 Excellent cases of inheritance of Chinese cultural heritage 2.1.5.1 The Palace Museum of Ming and Qing Dynasties The Palace Museum of Ming and Qing Dynasties (National Tangible Cultural Heritage) combined with cultural tourism to develop artistic and creative products, giving full play to the visible and tangible characteristics of material cultural heritage, making the excellent traditional culture sleeping in the museum loved and accepted by the younger generation. This study can use its successful experience for reference. In recent years, the Forbidden City has been positioned on the principle of "rooted in traditional culture and closely linked to the lives of the masses" and has made many daily necessities and handicrafts that the general public can enjoy and combine traditional culture with modern life(Sohu, 2019). For example, the Forbidden City Doll series is loved by young audiences because of its fun. Mobile phone cases, computer bags, mousepads, USB flash drives, etc. continue to sell well due to their practicality.

Figure 3 Cultural Creative Product Design of the Palace Museum of Ming and Qing Dynasties https://www.sohu.com/a/316371259_814389 2.1.5.2 Taishan Shadow Puppet The sixth-generation heir to Taishan Shadow Play (National Intangible Cultural Heritage) Fan Zhenan and his son Fan Weiguo established a small shadow 13 theater Nongyingxuan in 2009. He established the Taishan Shadow Play Art Research Institute to research Taishan shadow play and modern handicrafts. The annual output of these products is about 10,000 pieces, and the products are sold well in more than ten countries, including Germany, Italy, Japan, Britain, the United States, and France (Daily, 2015) and also combined with popular hot spots to create and perform new repertoires such as "Little Apple," "Jiangnan Style" and "APEC." In performances abroad, he sang shadow puppets in English, which brought him closer to foreign audiences. In the new program "Snow White" performed in Germany, Initially, the organizer only reserved eight games, which increased to 15 dues to their popularity. (Data, 2018b). Taishan shadow puppets successfully entered the world stage.

Figure 4 Fan Zhen-gan, the inheritor of national intangible cultural heritage and his shadow play. Source:https://baijiahao.baidu.com/s?id=1606743915842294985&wfr=spider&for=pc 2.1.6 Feasibility analysis of Art and Design Education inheriting intangible cultural heritage From the above review, it is concluded that the visible and tangible characteristics of material cultural heritage have become the advantages of inheritance and protection. The researcher hypothesized that visualizing intangible cultural heritage and applying it to the field of art and design education will turn invisible culture into the visual culture, benefiting practitioners, especially young people, and promoting its inheritance and development on a larger scale. Faced with such problems, researchers need to find intangible cultural heritage projects widely contacted by people and are easy to understand to carry out research. After a 14 literature review and interviews, the researchers chose the twenty-four solar terms as an invisible research case, Chinese paper-cutting as a visible research case, and art design education as a practical research method.

Figure 5 Comparison of material and intangible cultural heritage. The reason for choosing twenty-four solar terms and Chinese paper cutting is that these two cultural heritages are closely related to the lives of Chinese people. (1) Twenty-four solar terms are the solar calendar in the traditional Chinese calendar, widely used in Chinese daily life and folk activities. (2) Chinese paper cutting technology is not difficult, suitable for learners without art foundation to learn, but also suitable for learners with art foundation to innovate. It is a typical Chinese symbol and is loved by people all over the world. (3) Twenty-four solar terms and Chinese paper-cutting are developed and passed on in Chinese agricultural society and have the most extensive mass base. (4) Both are the perfect embodiment of the concept of "yin and yang" in ancient Chinese philosophy, and they are intrinsically connected (See literature review for details). (5) At present, both are in a crisis of inheritance and become a human heritage that needs to be protected. Researchers combine the two, twenty-four solar terms as the research content, Chinese paper cutting as a manual technology, making art education and visual design possible. Chinese paper-cutting has the characteristics of story and picture. It can express the seasonal characteristics and folklore activities of the 15 twenty-four solar terms with pictures conducive to decoding intricate solar term knowledge. This method can encourage people to pass on the knowledge of the twenty-four solar terms in the process of participating and experiencing Chinese paper-cutting art and promote their living heritage. 2.2 Protection and inheritance of Chinese intangible cultural heritage The inheritance and protection of intangible cultural heritage is a massive project that requires much workforce, financial resources, and time. The establishment of the "Selection of Intangible Cultural Heritage" by UNESCO has brought dawn to the protection and inheritance of China's intangible cultural heritage. China is the country with the most intangible cultural heritage in the world. The healthy development of intangible cultural heritage needs the government and the joint efforts of the whole society. 2.2.1 The protection of intangible cultural heritage carried out by the Chinese government 2.2.1.1 Establish a national intangible cultural heritage database To further strengthen the protection of Chinese cultural heritage, inherit and carry forward the Chinese nation's excellent traditional culture, in 2013, established a national intangible cultural heritage database with the joint efforts of the whole society. Namely, "China Intangible Cultural Heritage Network-China Intangible Cultural Heritage Digital Museum." The digital protection of China's intangible cultural heritage is advancing rapidly. By the end of 2019, China has 40 world-class intangible cultural heritages and 1,372 national intangible cultural heritages, and relevant information is included. Besides, the website also contains 549 world intangible cultural heritage items from 178 countries. People can access relevant information by visiting the official website, which is very convenient(Arts, 2020). The website has expanded the dissemination and influence of China's intangible cultural heritage to a certain extent, and the protection work has achieved initial results. 16

Figure 6 China Intangible Cultural Heritage Website-China Intangible Cultural Heritage Digital Museum Official Website Interface Source: http://www.ihchina.cn/project#target1 2.2.1.2 Put forward the intangible cultural heritage protection concept of "Seeing people and things and life." On June 6, 2018, Xiang Zhaolun, Vice Minister of Culture and Tourism of China, published a signed article, "Intangible Cultural Heritage Protection: Seeing People Seeing Things Seeing Life" in the People's Daily. The article explains this concept like this: "Intangible cultural heritage is an important part of our country's excellent traditional culture, and it is in our lives. The contemporary practice of intangible heritage is the integration of excellent traditional culture with real-life and creative transformation. And the process of innovative development" (Zhao-Lun, 2018). "The protection of intangible cultural heritage in recent years has established an important concept: see people and objects see life. Intangible cultural heritage is a whole cultural phenomenon. Intangible cultural heritage is not just a product or work that embodies cultural traditions. It is more visible, A life that can be participated. Non-inherited inheritance is the vivid practice of continuously integrating people's wisdom, talent, and creativity" (Zhao-Lun, 2018). "We must support the return of intangible cultural heritage to the community, return to life, so that intangible cultural heritage can reflect and pass on in the daily lives of thousands of households, and become the current lifestyle" (Zhao-Lun, 2018). 17

2.2.1.3 Introduced a series of beneficial measures to protect and inherit the intangible cultural heritage Because this research focuses on the combination of intangible cultural heritage and art design education, the researcher focused on reviewing this part's content. In recent years, the protection and inheritance of intangible cultural heritage carried out by the Chinese government in education mainly include: -In February 2011, the Chinese government issued the "Intangible Cultural Heritage Law of the People's Republic of China" (Chairman Order No. 42). Article 34 stipulates: "Schools shall carry out relevant intangible cultural heritage education by the regulations of the competent education department of the State Council.” (Committee, 2011) -In March 2017, the Ministry of Culture of China issued the "Notice on the Revitalization Plan of Chinese Traditional Crafts". Article 9 of its "main tasks" proposes to promote universal education in the society and continue to carry out activities such as intangible cultural heritage entering campuses; Article 10 proposes to carry out international exchanges and cooperation. Carry out international exchanges, research, and training and research and collaboration in the technical field, broaden horizons, and learn from experience (Culture, 2017) -In June 2019, the China Academy of Arts China Intangible Cultural Heritage Protection Center published the "Report on the Protection and Development of China's Intangible Cultural Heritage (2019)", focusing on promoting the inheritance of intangible cultural heritage, namely, Formal education and non- formal education. Fully understand the meaning of "intangible cultural heritage on campus" and strive to improve young people's cultural self-confidence. (Wei, 2019). After more than ten years of exploration, the protection of China's intangible cultural heritage has been further deepened and has entered a stage of steady development of legal protection, scientific protection, national protection, and active international exchanges and cooperation. As mentioned above, the primary data of this study are obtained. Based on the international environment and national policies' guidance, the researchers decided to review the status quo and 18 development trend of intangible cultural heritage in China from two aspects of school education and community activities. 2.2.2 The inheritance status and development trend of China's intangible cultural heritage 2.2.2.1 Chinese young generation are the forerunners of intangible cultural heritage inheritance. For these traditional arts and techniques on the verge of extinction, we need young people full of youthful vigor to love and inherit and truly become the pioneers of intangible cultural heritage. In recent years, many young people born in the 70s, 80s, and even 90s have gradually fallen in love with the ancient Chinese intangible cultural heritage culture. Many educated young people start to learn traditional crafts that are not very conspicuous in people's minds. Young people have strong learning ability, keep pace with the times, are vital in innovation, pursue fashion, have strong communication skills, and have an international perspective. These young people inherited these traditional intangible cultural heritage and will inject new elements into the intangible heritage, making it present to the world's people with a new face. Under the background of increasingly close world cultural exchange and integration, some intangible cultural heritages have been carried onto the international stage by inheritors and young people of intangible cultural heritage. For example, Wu Gengzhen, a graduate student of the Central Academy of Fine Arts in China, was invited by Hermès in France to use Hermès leather and silk scarves to combine the art of Chinese paper-cutting to create beautiful Hermès Chinese paper-cutting shopwindow works. Wu Gengzhen combined the "paper- cutting of northern Shaanxi" with modern art. The reason why Hermès likes Wu Gengzhen is straightforward. "Be loyal to traditional handicrafts and continue to innovate" is the spirit that Hermès has adhered to since its establishment, and this is precisely what Wu Gengzhen is doing(Sohu, 2017) . He also held a solo exhibition on Chinese paper-cutting art at LV Art Space. Let the ancient Chinese art come into close contact with the world fashion circle. 19

Figure 7 Wu Gengzhen’s Hermes window design and LV Art Space exhibition. Source:https://www.sohu.com/a/210742349_656756 2.2.2.2 Schools are the educational base for the inheritance of intangible cultural heritage Raising youths' awareness of the importance of intangible cultural heritage and its protection is essential for UNESCO's work on intangible cultural heritage protection(Wenke., 2016). After years of hard work, the "Intangible Cultural Heritage on Campus" activity as a form of cultural heritage has been actively carried out in elementary schools, middle schools, universities, and vocational colleges across China. It has played an essential role in popularizing intangible cultural heritage, mobilizing young people's interest in learning, and stimulating their cultural identity with intangible cultural heritage. Intangible cultural heritage such as Chinese paper-cutting, Chinese calligraphy, Chinese guqin, twenty-four solar terms, and Taijiquan have become cultural expressions familiar to teachers and students. Such as,Tai Chi is a Chinese national intangible cultural heritage (selected in 2006). Tai Chi entering the campus can not only upload Tai Chi skills in physical education classes, exercise students' physique and maintain their temperament, but also teach students the concepts of Tai Chi, yin, and yang dialectics in Chinese Confucianism Taoism philosophy and the concept of health preservation. The entry of intangible cultural heritage on campus has brought the younger generation of China closer to the traditional culture of these nations about to disappear. Students can learn knowledge and skills and enhance young people's cultural self-confidence to inherit and spread the excellent 20 traditional Chinese culture consciously. Researchers believe that if in order to prevent intangible cultural heritage from entering the campus, activities stay at the visual display level and public opinion propaganda. It is necessary to strengthen the construction of curriculum and teaching materials and, more importantly, strengthen the teaching staff's construction. Encourage college teachers and intangible cultural heritage inheritors to develop close cooperation to bring intangible cultural heritage knowledge into the classroom. Let them teach and demonstrate related expertise and professional skills in person, and create a good learning atmosphere. Cultural inheritance's real realization extends from knowledge popularization to skill training to academic dissemination and other more profound fields. Schools are channels for cultivating intergenerational talents, and they must give full play to their role in teaching and educating people. 2.2.2.3 Establish an intangible cultural heritage training center in the community The generation, inheritance, and development of intangible cultural heritage are inseparable from its carrier inheritors. In recent years, with the Chinese government's support, the Intangible Cultural Heritage Training Center has gradually settled in the community to encourage and support the inheritors of intangible projects to carry out learning activities. Inherit the intangible cultural heritage to community residents and intangible cultural heritage lovers, so that intangible cultural heritage can enter thousands of households. For example, Guo Meihua, the inheritor of China's paper-cutting intangible cultural heritage, established the "Zhongyang" Paper-cut Institute in 2019. The intangible cultural heritage training center's overall design ideas are closely connected with modern life, combined with tourism, focusing on living inheritance, experience interaction, and brand cultivation. When Guo Meihua teaches the art of paper-cutting, she also continuously introduces cultural and creative derivatives, such as mirror frames, pillows with paper-cut elements, pendants, and other products with good results. The construction of the inheritance learning research 21 center and the protection of inheritors shorten the distance between the intangible cultural heritage and the public and enable the intangible cultural heritage to pass on lively.

Figure 8 Guo Meihua, the inheritor of China's paper-cut intangible cultural heritage, and her "Zhongyang" paper-cutting inheritance learning institute Source:https://www.meipian.cn/27av71fw 2.2.3 Service life is a concrete action for the inheritance of intangible cultural heritage Stimulating the endogenous innovation power of "intangible heritage" to meet the development needs of contemporary social life is a clear direction for protecting, inheriting, and developing intangible heritage. In recent years, under the influence of the international situation, national policies, and people from all walks of life, China's "intangible cultural heritage + entrepreneurial cultural industry" development practice has achieved specific results. The once unpopular intangible cultural heritage gradually walks out of the museum and enters people's vision. 2.2.3.1 Intangible cultural heritage + creative cultural industry The combination of intangible cultural heritage and cultural and creative industries, on the one hand, comes from intangible and spiritual intangible cultural heritage; on the other hand, it comes from tangible objects, including products materializing cultural concepts of intangible cultural heritage, cultural space related to intangible cultural heritage, and arts and crafts formed by production techniques. The best way to creatively develop intangible cultural properties is to let the public recognize, consume, appreciate, and experience them and reconstruct Chinese people's aesthetic concept. 22

The weakness of the inheritance of intangible cultural heritage is that although many inheritors of intangible cultural heritage are highly skilled, they lack the experience of modern marketing and promotion due to the long-term relatively closed apprenticeship and family workshop-style inheritance. If intangible cultural heritage cannot develop modern aesthetic products uniquely, it will not be easy to open the market, dampening young inheritors' enthusiasm. Therefore, it is particularly important to open up the inheritors' thinking and vision and improve their product design and market operation capabilities. Beijing's intangible cultural heritage, "Lord Rabbit," has done an excellent job developing cultural and creative products, which can be used as a reference for researchers. Zhang Zhongqiang, the fifth-generation heir of the old Beijing clay- colored sculpture Lord Rabbit, has been making Lord Rabbit for nearly 30 years. What he most wants to do is to pass on the ancient production methods and skills and to conform to today's cultural development (Baidu, 2018). The early Lord Rabbit was made of mud or plaster plastic and then painted by hand. The second creation of the new "Lord Rabbit" image breaks the original production process and boldly innovates in styling. The new "Lord Rabbit" is a product of cultural and creative product development and design. It is made of soft clay, colorful, and modeling cute, attracting many tourists from home and abroad to buy it. To this day, as a valuable intangible cultural heritage, Lord Rabbit has become Beijing's image ambassador, Beijing's mascot, and has also become the most representative cultural gift for Beijing's foreign exchanges.

Figure 9 The traditional image of the old Beijing Lord Rabbit (left) and the new image (right) Source:https://baijiahao.baidu.com/s?id=1602801793922940457&wfr=spider&for=pc 23

Cultural and creative industries are closely related to intangible cultural heritage and are essential for developing Chinese cultural soft power. Intangible cultural heritage provides cultural materials and creative sources for cultural and creative industries. The creative cultural industry has also brought unprecedented development opportunities to intangible cultural heritage, providing it with an innovative mechanism and a platform to integrate into modern society. Combining the two, tapping the creative value of intangible cultural heritage and turning it into creative capital enhances the creative cultural industry's competitiveness and gives intangible cultural heritage new vitality. 2.2.3.2 Innovative expression of intangible cultural heritage in art design This research focuses on combining intangible cultural heritage and paper-cutting education and aims to promote the cultural heritage of the twenty- four solar terms. The researchers focused on these aspects and reviewed them. The concept of intangible cultural heritage re-entry into life is put forward in the continuous exploration of intangible cultural heritage protection practices. Article 37 of the 2011 "Intangible Cultural Heritage Law of the People's Republic of China" clearly stipulates that intangible cultural heritage can rationally use and develop cultural products and cultural services with market potential and specify the relationship between intangible cultural heritage and life(Jing-Tao, 2011). To properly handle the inheritance and innovation of intangible heritage traditional craft projects, we need to clarify the two forms emerging in the current development of traditional crafts. Intangible heritage traditional crafts and innovative designs For the intangible cultural heritage traditional craft projects that are no longer suitable for contemporary social life, the design innovation or "redesign" of the products is required to meet the contemporary people's aesthetic needs and use functions. This process is the inheritance and development of intangible heritage traditional crafts, the inheritance of sustainable development, and conforms to the definition of intangible heritage in the Convention. The function of traditional Chinese 24 paper-cutting is mainly to decorate life. It is usually pasted on doors and windows on festive occasions, mainly in red. The following two paper-cutting works are created using traditional Chinese paper-cutting techniques combined with the 2019 coronavirus. The purpose is to promote public welfare and encourage people to unite and fight the epidemic together. These two paper-cutting works are an innovative design of intangible cultural heritage traditional crafts combined with social reality.

Figure 10 Li Xiuxia "Retrograde Angel" Figure 11 Huang Lina "Heroin Heart" Source:https://m.sohu.com/a/374504337_434342 Cultural and creative product design Its meaning includes the expression carrier of cultural elements and the practicality of contemporary life. Traditional crafts use modern design methods to carry out comprehensive and innovative designs, which use manual or mechanized mass-production methods to create a modern new life and decorative products with traditional crafts and cultures, thereby stimulating consumers' desire to buy improve the added value of products with traditional culture. For example, Chinese paper-cutting cultural connotation and craft 25 characteristics combine with modern daily necessities and decorations to innovate and design new products. Such as Chinese paper-cutting clothing and new style bags. It can also be Chinese paper-cutting, and innovative designs are combined with other techniques.

Figure 12 Chinese paper cutting is integrated into the design of cheongsam. Source:http://k.sina.com.cn/article_6372044474_p17bcdaeba0200039gd.html?from=n ews&subch=photo

Figure 13 National style paper cut painting shoulder and backpack Source:http://bbs.szhome.com/20-80400-detail-19626661.html?from=1 In short, developing derivative products, innovating products' appearance, bringing intangible cultural heritage to the market on the world stage, and achieving a win-win situation for social and economic benefits are the trends in the innovative development of intangible cultural heritage. 26

Figure 14 The inheritance status and development trend of China's intangible cultural heritage diagram 2.2.4 The revival of Chinese traditional culture China has a long history of agriculture. The development of agricultural culture has provided hundreds of millions of people with material means of life and created favorable conditions for developing science and culture. For a long time, the Chinese civilization has been at the forefront of world civilization's development with its unique characteristics and brilliance. It has made outstanding contributions to the progress of world civilization. The British Sinologist Needham pointed out that China's four significant papermaking inventions, the compass, gunpowder, and printing, have promoted ancient Chinese politics, economy, and culture. These inventions were spread to the West through various channels and contributed to world civilization. However, after the Qing government closed the country, with the rise of capitalist production methods and the modern industrial revolution's acceleration, China soon fell behind. In 1840, the First Opium War broke out. China has entered a 27 semi-colonial and semi-feudal society. The Chinese nation has suffered a century of foreign invasion and civil strife. Until the founding of the People's Republic of China in 1949, China's political, economic, and cultural construction began again. With the domestic reform policies and opening to the outside world that China began to implement in December 1978, China has entered a new period of historical development. In 2009, China's GDP ranked second in the world. In September 2013, President Xi Jinping proposed the "Belt and Road Initiative." China will contact and cooperate with 65 countries and regions to develop economic and diplomatic programs. In 2018, the Chinese government proposed a national policy that will form a system for the inheritance and development of China's excellent traditional culture by 2025. Obviously, in the next 10-15 years, the cultural industry, mainly traditional Chinese culture, will be a major industrial economy that will receive essential support. The National policy for reviving China's excellent traditional culture will be a significant trend and even a pillar industry that will affect all aspects of society. Under the guidance of the social situation and national policies, more and more young people pay attention to traditional culture revival. The young Chinese born in the 80s and 90s have become the leading force in the resurrection and spread of traditional culture. They have received high-quality education and have a high degree of cultural self-confidence. They will actively discover and spread the beauty of traditional culture. The meaning of the revival of traditional culture is to lead, nourish, and serve modern life. On May 22, 2015, Xi'an Jiao tong University initiated the establishment of the New Silk Road University Alliance. Nearly 100 universities from 22 countries and regions have joined. With the theme of "jointly building an educational cooperation platform and promoting open regional development," The New Silk Road University Alliance will promote understanding and friendship between young people and cultivate high-quality, multi-talented talents with an international perspective. China proposed the Belt and Road Initiative. It is foreseeable that there will be more international exchanges and cooperation between Chinese and foreign university 28 students. To better understand China, international students will learn Chinese and traditional Chinese culture. The Twenty four solar terms of the traditional Chinese calendar, as China's unique knowledge system of time, will be well known to more international young people. Furthermore, Chinese paper-cutting, as a strong connotation of Chinese cultural symbols, will also be loved and learned by more international young people.

Conclusion Intangible cultural heritage is the cultural wealth preserved by humanity's predecessors who used it in their daily life. Unlike tangible heritage, intangible cultural heritage is like sand in people's hands. It is easy to lose without careful protection. Once lost, it cannot recover (Chen & Lyu, 2015). After the Chinese government joined the "Convention" in 2004, it has carried out a series of intangible cultural heritage protection work. China provides a lot of "Chinese experience" to the international community: 1)Teenagers are the forerunners in the inheritance of intangible cultural heritage; 2) Intangible cultural heritage has great potential to enter the campus, a long-term plan for its protection and inheritance; 3)The development of "intangible cultural heritage + cultural and creative industries" to achieve social and economic benefits is the trend of the innovative development of intangible cultural heritage; 4) Service life is a concrete action for the inheritance of intangible cultural heritage. Through literature review, we know that the history of Chinese civilization is the development history of primitive agriculture, traditional Chinese festivals originated from agricultural civilization, and Chinese traditional culture is a cultural symbol centering on agriculture. As an important part of Chinese traditional culture, Chinese intangible cultural heritage has achieved unprecedented innovation and development in recent years with the joint efforts of the whole society. Twenty-four solar terms and Chinese paper-cutting, one is the traditional Chinese calendar, and the other is traditional Chinese handicrafts, which have the 29 broadest mass base. Furthermore, all of them are the world's intangible cultural heritage, and they are the embodiment of ancient Chinese philosophy in the lives of Chinese people. The research on the protection and inheritance of the twenty-four solar terms and Chinese paper-cutting can attract the most widespread attention of Chinese and overseas Chinese. In the following content, the researcher reviewed the contents of the twenty-four solar terms, Chinese paper-cutting, Chinese yin, and yang philosophy, and explored the relationship between the three to provide research references for the protection and inheritance of the twenty-four solar terms.

2.3 Twenty-four Solar Terms, Chinese paper-cutting, and Chinese philosophy of "yin and yang." 2.3.1 Twenty-four Solar Terms 2.3.3.1 Overview of the twenty-four solar terms Twenty-four solar term cultures in China have a long history, which can be traced back to the spring and autumn periods. It bases on objective observation and phenological judgment in the Yellow River Basin's middle reaches in China. Here, there are four distinct seasons, warm climate, rich distribution of animals and plants, and natural conditions suitable for human habitation. The ancestors of China thrived here and created the Chinese civilization. In the spring and autumn period, the ancient Chinese used "土圭Gnomon- and-ruler " (i.e. Ancient observation instrument) to measure the shadows' length at noon. It found that the shadow was the longest in the middle of summer, the shortest in the winter solstice, and the length of the shadows was the same on the Spring Equinox Day and the Autumn Equinox Day. Thus, the four Solar Terms of the spring equinox, the summer solstice, the autumn equinox, and the winter solstice were first determined. In the Zhou Dynasty, eight Solar Terms were added, including spring, summer, autumn, and winter. In Huainanzi astronomy training written by Liu an in the early Western Han Dynasty, the Twenty-four solar was recorded entirely. Deng Ping's Taichu 30 calendar formally fixed the Twenty-four solar terms on the calendar and clarified the Twenty-four solar terms' astronomical positions. The sun's time every 15 degrees along the ecliptic from zero is called a solar term. It runs 360 degrees a year and experiences Twenty-four solar terms. Among them, "four seasons and eight Festivals" are still popular among the people. Four seasons with eight solar terms refer to throughout the year:1) Beginning of Spring; 2) Spring Equinox; 3) Beginning of Summer; 4) Summer solstice; 5) Beginning of Autumn; 6) Autumn equinox; 7) Beginning of Winter; 8) Winter solstice On November 30th, 2016, China's Twenty-four Solar Terms were selected into the world's intangible cultural heritage list, and the culture of Twenty-four Solar Terms returned to people's attention. The success of applying for the world heritage is the world's recognition of China's creation and a tribute to this agricultural civilization heritage.

Figure 15 Schematic diagram of " Gnomon-and-ruler " measuring the shadow of the sun Source: https://www.sohu.com/a/302697862_387185 31

Figure 16 The Chinese phonetic chronological chart of 24 Solar Terms. (Design by Liu Wei). 2.3.3.2 The specific information of the twenty-four solar terms The following review is the corresponding position of the twenty-four solar terms in the solar longitude and the corresponding relationship with time. Table 2 The Chinese and English names of the 12 solar terms in the first half of the year. No. Pin Yin Chinese English Solar Time in a year longitude

01 Li Chun 立春 Beginning of Spring 315° Feb. 03-05

02 Yu Shui 雨水 Rain Water 330° Feb. 18-20

03 Jing Zhe 惊蛰 Waking of Insects 345° Mar. 05-07

04 Chun Fen 春分 Spring Equinox 0° Mar. 20-22

05 Qing Ming 清明 Pure Brightness 15° Apr. 04-06

06 Gu Yu 谷雨 Grain Rain 30° Apr. 19-21

07 Li Xia 立夏 Beginning of Summer 45° May. 05-07 32

08 Xiao Man 小满 Grain Full 60° May. 20-22

09 Mang Zhong .芒种 Grain in Ear 75° June. 05-07

10 Xia Zhi 夏至 Summer Solstice 90° June. 21-22

11 Xiao Shu 小暑 Slight Heat 105° July. 06-08

12 . Da Shu 大暑 Great Heat 120° July. 22-24 Table 3 The Chinese and English names of the 12 solar terms in the second half of the year. No. Pin Yin Chinese English Solar Time in a year longitude

13 Li Qiu 立秋 Beginning of Autumn 135° Aug. 07-09

14 Chu Shu 处暑 End of Heat 150° Aug. 22-24

15 Bai Lu 白露 White Dew 165° Sep. 07-09

16 Qiu Fen 秋分 Autumn Equinox 180° Sep. 22-24

17 Han Lu 寒露 Cold Dew 195° Oct. 08-09

18 Shuang Jiang 霜降 Frost's Descent 210° Oct. 23-24

19 .Li Dong 立冬 Beginning of Winter 225° Nov. 07-08

20 Xiao Xue 小雪 Slight Snow 240° Nov. 22-23

21 Da Xue 大雪 Great Snow 255° Dec. 06-08

22 Dong Zhi 冬至 Winter Solstice 270° Dec. 21-23

23 Xiao Han 小寒 Slight Cold 285° Jan. 05-07

24 Da Han 大寒 Great Cold 300° Jan. 20-21 The Twenty-four solar terms reflect the law of the sun's anniversary, so the solar terms are fixed in the current Gregorian calendar. The first half of the year is on the 6th and 21st, and the second half of the year is on the 8th and 23rd. There is no difference between one or two days. The Twenty-four solar terms are the Chinese culture about time. 2.3.3.3 The specific meaning of twenty-four solar terms The specific meaning of each solar term in the Twenty-four solar terms (TST) is in the following chronological order from the first to the 24th: 33

01.立春 The Beginning of Spring: The 1st of the TST." 立" means the beginning. At the beginning of spring, everything recovered. 02.雨水 Rain Water: The 2nd of the TST. The rain began, and the rain increased, everything turns green. 03.惊蛰 The Waking of Insects: The 3rd of the TST. The weather is becoming warmer. "Zhe" means hiding. Jingzhe refers to the sudden spring thunder that wakes the hibernating animals in the soil. 04.春分 Spring Equinox: The 4th of the TST. "Divide" means to divide equally. The Spring Equinox means the equinox of day and night. 05.清明Pure Brightness: The 5th of the TST. The weather is fine, and the vegetation is luxuriant. Hundreds of flowers bloom, and spring plowing is busy. 06.谷雨 Grain Rain: The 6th of the TST. Rain begets a hundred valleys. With enough and timely rainfall, cereal crops can thrive. 07.立夏 The Beginning of Summer: The 7th of the TST. The beginning of summer. The temperature rises, and the crops grow in full bloom. 08.小满 Grain Full: The 8th of the TST. The crops are filled but not full. 09.芒种 Grain in Ear: The 9th of the TST. Wheat and another awn crop mature. Harvest in summer and sow in summer. 10.夏至 Summer Solstice: The 10th of the TST. Hot summer is coming, the shortest night, and the longest day time node of the year. 11.小暑 Slight Heat: The 11th of the TST. A little heat is when the climate starts to be hot. 12.大暑 Great Heat: The 12th of the TST. It is the hottest time of the year. 13.立秋 The Beginning of Autumn: The 13th of the TST. The heat dissipated, the weather began to cool, and autumn crops were ripe. 14.处暑 End of Heat: The 14th of the TST. "Chu" means ending and hiding. The hot summer is about to pass, and the weather is getting cool. 15.白露 White Dew: The 15th of the TST. The weather started to have dew, and it was cool in the morning and evening. 34

16.秋分 Autumnal Equinox: The 16th of the TST. The Autumnal Equinox means the equinox of day and night. 17.寒露 Cold Dew: The 17th of the TST. The temperature continued to drop, changing from cool to cold. 18.霜降 Frost's Descent: The 18th of the TST. The prelude to winter, the water condenses into frost. 19.立冬 The Beginning of Winter: The 19th of the TST. Starting to enter winter, crops over winter. 20.小雪 Slight Snow: The 20th of the TST. It began to snow. It starts to snow, with a small amount and a few times. 21.大雪 Great Snow: The 21st of the TST. The cold winter came. It frequently snows and in a large amount, and the ground is snowy. 22.冬至 Winter Solstice: The 22nd of the TST. Moderately cold season. The shortest day and longest night time node of the year. 23.小寒 Slight Cold: The 23rd of the TST. At the beginning of the cold season, there was snow on the ground. 24.大寒 Great Cold: The 24th of the TST. The coldest time of the year. Twenty-four solar terms are a knowledge system formed by the ancient ancestors following the agricultural time. The change of solar terms can directly determine the agricultural activities, which shows that the solar term sequence has a direct and inevitable relationship with people's agricultural production and has been deeply rooted in the Chinese cognition and consciousness world. Therefore, Chinese people like to grasp objects related to farming. There are many books, documents, and sayings related to agriculture and agriculture in China. Such as "Heavy Snow Predicts a Good Harvest Year”; “The Plan of the Year lies in Spring," and others. These all reflect the traditional Chinese festivals and the social origin and purpose of activities. The Chinese New Year theme is good weather, good harvest, national stability, and people's safety. Traditional agriculture has affected all aspects of Chinese traditional material civilization and spiritual civilization. Li Gen-pan, a Chinese agricultural 35 scientist, pointed out that man does not appear as the master of nature. He is a participant in natural processes. Man, and nature are not a confrontational relationship but a cooperative relationship. The sowing, growth, and harvest of grains must be consistent with nature's solar terms. The farmers have been nurtured by nature in their long-term contact with nature and feel nature's vitality. 2.3.3.4 Chinese traditional calendar "lunar calendar and the solar calendar." Many people think that the traditional Chinese calendar is the lunar calendar, which is not accurate. The traditional Chinese calendar is the combination of the lunar calendar and the solar calendar. One is the lunar calendar based on the monthly motion cycle, and the other is the solar calendar based on the solar return year cycle (i.e., Twenty-four Solar Terms). "Year" is a time unit here and is related to the cycle of agriculture. The annual cycle is the fundamental characteristic of natural time (Xiaofeng, 2017). The ancient Chinese used Yin and Yang to summarize the seasonal changes from winter to summer. the Chinese calendar is shown in 360 degrees. Each fifteen-degree section is one solar term. Two of these Solar Terms correspond to one Gregorian Calendar month.

Figure 17 A schematic diagram of the Chinese lunar calendar based on the moon's orbit around the earth. (Design modification by Liu Wei, the original image is from Baidu.) 36

Figure 18 A schematic diagram of the twenty-four solar terms based on the earth's orbit around the sun. (Design modification by Liu Wei, the original image is from Baidu.)

Figure 19 A Schematic diagram of the Chinese solar calendar based on the Earth's operating cycle around the Sun. (Design modification by Liu Wei, the original image is from Baidu.) 2.3.3.5 The value and inheritance significance of the twenty-four solar terms Fundamentally speaking, the Twenty-four solar terms system is based on accurate observations and understanding of the law of solar cycle changes. Ancient 37 people invented this system to align their lives with nature because most of them were farmers who planted in the spring and harvested in the fall. Twenty-four solar terms is used to reflect changes in the four seasons, temperature, rainfall, phenology, etc. This is a summary of the experience of the ancient workers in China in the farming season and is an important part of the Chinese traditional calendar system and its related practical activities. The Twenty-four solar terms is a set of unique Chinese time knowledge systems developed by ancient Chinese workers in observing the laws of nature. It is used to explain natural phenomena and is widely used in agricultural production and folk life.With the acceleration of China's urbanization process and the development of modern agricultural technology, the guiding function of the " Twenty-four solar terms " for farming has gradually weakened, but it still has many cultural and social functions in the contemporary Chinese lifestyle, which embodies the concept that Chinese people respect nature, conform to the laws of nature and adapt to sustainable development, and shows that Chinese people respect the universe and the uniqueness of natural cognition. 2.3.3.6 The Inheritance of the Twenty-Four Solar Terms in Contemporary Society As a typical representative of Chinese traditional culture, the twenty-four solar terms' value and status are self-evident in ancient Chinese agricultural society, and there is no inheritance crisis. However, with the acceleration of China's urbanization process and the development of modern agricultural technology, the guiding role of the "twenty-four solar terms" in agriculture has gradually weakened. Its traditional form of communication is too old to attract the attention of young people. The twenty-four solar terms have become a culture that is about to be lost and an object to be protected. In recent years, the government and people from all walks of life have made many efforts to protect and inherit the 24 solar terms. At present, the inheritance of the 24 solar terms has the following aspects: 1)Twenty-four solar terms popular science short videos, documentaries, and promotional videos. Twenty-four solar terms popular science 38 short videos, documentaries, and promotional videos. The Twenty-four solar terms science and education videos produced by journalists and film enthusiasts help the audience to better understand the seasonal characteristics of solar terms and folk culture to a certain extent. Some foreign friends also posted the foreign language version of the Twenty-four solar terms production video. People can view it on TV or through the Internet. However, these films remain at the knowledge popularization level, and the audience passively accepts them.People cannot participate or interact during the viewing process. 2)Twenty-four solar terms micro lesson. Twenty-four solar terms micro lesson. Educators and folk culture communicators have recorded many videos and posted them on the Internet. The audience can study in any place and time according to their preferences. However, the spread of twenty-four solar terms is still the spread of knowledge to knowledge. If there is no learning demand, the audience will not click on these micro-classes. Also, because the Internet is a self-media platform, there is no way to check all the micro-classes' content, resulting in the micro-classes' uneven quality. 3)Twenty-four solar terms books. Since the Twenty-Four Solar Terms was rated as a national intangible cultural heritage in 2016, books on the Twenty- Four Solar Terms have continuously emerged. The fields involved are folklore, meteorology, agriculture, and others. However, most books are about the origin, development process, literature, festivals, and common sense of life of the twenty- four solar terms. As a literature resource, it can indeed bring great convenience to the audience. However, the books' content is generally the same. There is no novelty; The audience feels monotonous when reading; It is difficult to continue reading. 4)Children's Picture Book for Twenty-four solar terms. Like a particular book form, children's picture books are lively and vivid, with rich pictures and texts that many children love. Children's picture books are very suitable for early childhood family education. Children and their parents learn together to enhance personal interaction and create a harmonious family atmosphere. When children are 39 reading stories, they can learn much about solar terms, but the exquisite illustrations can also give children a more exquisite artistic feeling. However, children's picture books are suitable for reading by young children, and there are certain age restrictions for the popularization of knowledge. 5)Twenty-four solar terms audio story. Audio stories of twenty-four solar terms. Usually issued at the same time as children's picture books. Audio stories are also suitable for the education of young children. With the popularization of smartphones, parents of children can listen to the twenty-four solar terms' stories by installing audio apps on their phones. Moreover, many audios are series; the stories are vivid and exciting, very suitable for children to listen to before going to bed; there is a certain degree of popularization of knowledge. However, like children's picture books, audio stories have age restrictions. 6)Illustration of twenty-four solar terms. The twenty-four solar terms illustrations drawn by art designers turn invisible knowledge of solar terms into visible pictures, reproduce the seasonal characteristics of solar terms and folklife, and can help people to recognize and understand solar terms knowledge to a certain extent. Furthermore, many solar terms illustrations are released according to the real solar term time nodes, like solar term forecasts to remind people. Solar term illustrations usually use in the fields of commercial propaganda and cultural propaganda. However, it is difficult for ordinary audiences without the necessary art skills to participate in the creation, and there are certain professional restrictions on the innovation and inheritance of knowledge. 2.3.2 Chinese paper-cutting Chinese paper-cutting is a typical representative of "Chinese symbolism. “Its basics are relatively easy to grasp, which is suitable for young people to learn. It is also suitable for the Chinese people and foreigners interested in Chinese traditional culture to learn. The paper-cutting techniques and manifestations are not limited by country or age. Chinese paper-cutting is one of the oldest and most popular arts. It has a wide range of uses and varied forms, strong expressive capacity, 40 simple operation, and profound folk culture. Chinese paper-cutting is rooted in agricultural production, with a strong life flavor and a strong sense of time. It is a concentrated expression of people's feelings, wishes, and thoughts. Its form of expression is direct, straightforward, and easy to understand, so it is widely spread. In 2009, China's paper cutting was selected as one of UNESCO's representative works of world intangible cultural heritage. 2.3.2.1 2D paper cutting Monochrome 2D paper cutting is the most basic form of paper cutting. It cut from red, green, brown, black, gold, and other colors. It is mainly used for window decoration and embroidery. Carving techniques are: Yin carving, Yang carving, and Yin and Yang carving.

Figure 20 Paper-cut scene (left) Life scenes of paper-cutting in northern Shaanxi, China (right) https://www.sohu.com/a/217454336_762259 https://www.meipian.cn/1p1e9038 2.3.2.2 3D Paper-cutting 3D paper-cutting can be either monochromatic or multi-colored. It adopts a new type of paper-cutting close to sculpturing and embossment, which is produced by the comprehensive methods of painting, cutting, engraving, folding, and gluing. It absorbs modern art techniques, fully reflects the characteristics of realism and romantic art, and makes the paper-cutting feel three-dimensional, can be used for ornamental modeling and children's handmade toys. 41

Figure 21 Paper cut relief legend http://blog.sina.com.cn/s/blog_53ef5ab60102ef79.html

Figure 22 3d paper-cut garden https://m.sohu.com/a/246863789_100203869 2.3.2.3 Chinese paper-cutting methods and techniques Folding Folded paper-cutting is one of the most common production expression methods. The so-called folded paper cutting is made by folding and cutting in different ways. The folded paper-cutting method can create generic shapes that are concise, easy to produce, and is light on labor and time. It is especially suitable for expressing symmetrical structures and symmetrical patterns, such as people, butterflies, fish, geometric patterns, flowers, and scenery. Appliances and other subjects can be adapted, and the development is remarkably symmetrical. Fold the paper twice or three times before cutting. The pattern is in the shape of four or six sides. The main reason for its prevalence is that the technique can create a wide 42 variety of shapes. Folded paper-cutting plays an essential role in the popularization of Chinese paper-cutting and the modeling of technological patterns.

Figure 23 Folding paper-cut window grilles https://www.wafclan.com/news/20826/ Yin engraving, Yang engraving, Combination of Yin and Yang engraving. Yang engraving paper-cutting means cutting out the parts other than the pattern. Its characteristic is to keep the original manuscript's outline and cut off the blank part outside the outline. Every line of it is connected to each other. Yang carved paper-cuts are exquisite and meticulous, and this method is generally used in southern Chinese paper-cutting. Yin engraving paper-cutting is to cut out the pattern itself, and what is left is the part outside the pattern, and the backing paper contrasts the pattern's content. Therefore, the inscribed paper-cut characteristic is that its lines are not necessarily connected, the whole work is blocky.

Figure 24 The Yin engraving and Yang engraving in Chinese Paper-cutting http://doc.100lw.com/doc/19e1e0f571c6110ad85aad4bf28432cb6517c65c 43

In traditional paper-cutting, it is rare to use one method of paper-cutting completely. Most of Chinese Paper-cutting combine the two methods of Yin engraving and Yang engraving, making the works complement each other. Set off each other. The picture effect is more abundant. Generally, the main pattern's outline is cut out by the Yang carving first, and then the decoration trimming is carried out by the Yin carving. Sometimes the yin carving and yang carving are parallel and complement each other.

Figure 25 The Combination of Yin engraving and Yang engraving in Chinese Paper- cutting https://baijiahao.baidu.com/s?id=1617180770075233021&wfr=spider&for=pc Laser cutting, is a modern cutting technology that uses a high power density laser beam to irradiate the cut material. With the advent of laser cutting technology, paper-cutting is visually airier and more in line with modern art aesthetics. Laser paper cutting uses laser equipment for operation, which is simpler and faster than traditional paper cutting and has low cost, high speed, and high efficiency. The use of laser cutting technology in paper cutting has realized the mass production of paper-cutting works, meeting the needs of the paper cutting market, and promoting the paper cutting industry's development. 44

Figure 26 Laser Cutting techniques in Chinese Paper-cutting https://www.thunderlaser.cn/sample-club/jz.html

Conclusion Above all, Handicraftsmen do traditional Chinese paper-cutting with scissors or carving knives. The price is relatively high, usually for art collections. In contemporary society, to meet the great demand for paper-cutting during Chinese festivals, many paper-cutting machines on the market are mass-produced with laser cutting machines, which are low-cost and cheap. To better carry out the research, the researcher comprehensively analyzed the advantages and disadvantages of the paper-cutting technique and chose the Chinese paper-cutting technique that combines Yin and Yang carving and the monochrome paper-cutting technique. Among them, the art design education "Paper- cutting Workshop" chose manual paper-cutting techniques. The material was 250 grams of red cardboard, and the tools were scissors and cutters. The "paper-cutting product project" combined with community activities chose laser cutting technology, the material was 0.5mm plastic plates, and it was mass-produced using laser cutting machines. 2.3.3 Ancient Chinese Philosophy 2.3.3.1 The unity of man and nature According to China's Baidu Encyclopedia (“The Unity of Man and 45

Nature(Chinese Philosophy),” n.d.): "The unity of man and nature" is a Chinese philosophical thought. "Heaven" stands for "Tao," "truth," and "law." Nature is the same, return to the road, return to life. The unity of heaven and man is not only a thought but also a state. "Heaven and man united" philosophy constitutes the subject of Chinese traditional culture. The universe is naturally a big world, and man is a small world. Man and nature are essentially interlinked, so all personnel should follow nature's laws and achieve harmony between man and nature. Lao Tzu said: "For I am abstracted from the world, the world from nature, nature from the way, and the way from what is beneath abstraction." The unity of heaven and man is not a unique concept in Chinese culture. It is found in many high-level religions globally, and there are detailed and systematic practice methods. Confucianism, Taoism, and Buddhism all offer explanations on the subject. The basic idea is that human physiological, ethical, and political, social phenomena are a direct reflection of nature. It is said that Confucius first proposed the notion in the Spring and Autumn and the Warring States Periods. Dong Zhongshu of the Han Dynasty extended the theory of heaven and human induction, and Cheng Zhuxue extended it to heaven theory. Some believe that the earliest Taoist thinker Zhuangzi developed it into a philosophical, ideological system of unity between man and nature. The new explanation is to love life, love nature, be able to understand the language of all life, feel the existence of life from time to time, blend with the melody of nature, be able to gain the trust of each other's lives, and coexist in harmony, and coexist in harmony with nature. People and matter, matter, and matter are incredibly intelligent and perfect combinations. 2.3.3.2 Yin and Yang According to China's Baidu Encyclopedia(“Yin and Yang（Ancient Chinese Philosophy）,” n.d.): Yin and Yang is a simple and extensive ancient Chinese philosophy. Its 46

necessary interpretation is Yin and Yang, the two opposing principles in nature, the former feminine and negative, and the latter masculine and flattering. Yin and Yang are the descriptions of the fundamental factors behind the laws of nature that promote the development and change of nature's laws in ancient Chinese civilization. It is the driving force behind the gestation, development, maturity, decline, and demise of various things. It is the foundation of the logical thinking of Chinese civilization - the main elements. There are four pairs of Yin and Yang: Yin and Yang intersect, Yin and Yang breeding, Yin and Yang opposition, Yin and Yang share the same root. The traditional view is that Yin and Yang represent the most fundamental opposition to everything. It is the objective law of nature, the origin of all things' movement, and the fundamental law for human beings to understand things. The concept of Yin and Yang originated from the ancient Chinese people's concept of nature. The ancients observed various opposing and related natural phenomena in nature, such as heaven and earth, sun and moon, day and night, cold and hot, men and women, and upper and lower. The concept of "Yin and Yang" came out. 2.3.3.3 Twenty-four solar terms and "The unity of man and nature" The ancients believed that the Twenty-four solar term operation's internal driving force was "Yin and Yang." The first half of the year, Spring and Summer, are periods when Yang Qi rose, and Yin Qi declined. The second half of the year, Autumn and Winter are periods when Yin Qi rises, and Yang Qi falls. The summer solstice is the longest day of the year. When the Yang Qi rises to the extreme, it is the time when the Yin Qi begins to occur. The winter solstice is the time when Yin Qi rises to the extreme, and Yang Qi begins to occur (Xiao Fang, 2015). The equinox of Spring and Autumn, the equinox of day and night (that is, the length of the day equals the length of the night), is a time of balance between Yin and Yang. Therefore, the Spring equinox, the Summer solstice, the Autumn equinox, and the Winter solstice are the first and the most important four Solar Terms. 47

Figure 27 Diagram of the twenty-four solar terms time table. The formation of the Twenty-four solar terms in China has experienced a long process of development. In a living environment with a direct relationship with everyone, the sun rises and sets. It is warm in Spring, hot in Summer, cool in Autumn, and cold in Winter, changing cyclically. In traditional Chinese society, the Twenty-four solar terms were essential to time nodes in a year, around which a series of folk rituals were produced. Through the expression of these ritual beliefs, people have achieved communication with heaven and earth, to realize the harmonious coexistence of human society and nature (Xiao Fang, 2015). For today's Chinese people, the Twenty-four solar terms have the guiding significance of the hint of the life rhythms and lifestyle adjustments, free ourselves from the physical-mechanical clock, and enjoy the colorful natural cycle of life. 2.3.3.4 Chinese Paper-cutting and "Yin and Yang" Philosophical Thoughts The concept of Yin and Yang is closely related to folklife, and this connection is reflected in the influence of the concept of Yin and Yang on many matters of folklife. This influence still exists in modern-day rural areas. The influence of Yin and Yang's concept on folklife and folk thinking is also reflected in Chinese folk paper-cutting. Besides, the reproduction of paper-cutting patterns is also directly related to the concept of Yin-Yang. It does not reflect the phenomenon of natural life, but it expresses the reproduction of life with the nature of Yin and Yang; it 48 expresses the eternal life, the intersection of Yin and Yang, the transformation of all things, and the national spirit of endlessness. People's understanding of Yin and Yang is concrete and figurative. They think that "Ming" is Yang and "dark" is Yin. In paper-cutting techniques, the Yin and Yang carvings are also the perfect embodiment of the concept of "Yin and Yang" of Chinese Taoist philosophy. This concept of Yin and Yang is the experience of working people in social circumstances. It is based on the traditional philosophy of Yin and Yang and is deeply influenced by this thought. In modern and feudal society, the concept of Yin and Yang is deeply rooted. In traditional paper-cutting patterns, the main image is usually represented by a positive image, while a negative image is only used to add details. You tell the old lady in the countryside that the red paper pattern she is cutting is "black" and "empty" is "white". She will not understand. For paper cutting, they only say Yin and Yang, which reflects the concept of Yin and Yang in the thinking and understanding of the craftspeople. The body of the paper is Yang, and the hollowed-out area is Yin. The protruding is Yang, and the concave is Yin, another form of Yin and Yang in their understanding. In the traditional folk paper- cutting patterns (except for the special-purpose ones), the distribution and coordination of the Yin map and the Yang map do not have excessive Yang map, nor excessive Yin map, and the arrangement of lines is balanced. It shows a kind of gentle mentality and magnanimous temperament, which gives the Chinese folk paper-cutting art a simplistic style.

Figure 28 Diagram of the relationship between the twenty-four solar terms, Chinese paper-cutting and ancient Chinese philosophy 49

Conclusion In general, both the Twenty-four solar terms and Chinese paper-cutting are rooted in Chinese agricultural civilization, both are world intangible cultural heritage, and both are in line with Chinese Taoist "Yin and Yang" philosophy. The combination of "Chinese symbols" has a positive significance for promoting Chinese traditional culture's inheritance. The two manifestations of Yin and Yang's concept in the thinking of craftspeople significantly impact the artistic expression of Chinese folk paper-cuttings and the Twenty-four Solar Terms and folk culture. In the field of fine arts, the combination of Chinese paper cutting and Twenty-four solar terms is not accidental but a necessity. 2.4 Family Education, School Education, Community Education in Chinese traditional culture 2.4.1 Family education: Cultivate children's culture and values, and prepare for a perfect life. Chinese traditional culture has a significant influence on the formation of personality and the development of family education habits. Chinese traditional family education attaches great importance to the early training of children. As early as in the Spring and Autumn Period, Confucius put forward the incisive insight that "juveniles grow like nature and habits become nature." In ancient China, people thought our developments were concentrated in our childhoods, and retention was strong. The knowledge they learned was not easily forgotten. In the family, parents with children live longer. Parental care is the primary condition for the healthy growth of children and the basis of family education. An essential element in family education is the component-learning family. Not only do children need to grow and learn, but parents also need to continue to learn and progress. We need to develop an open attitude, an ever-growing state of life, and keep the family fresh and vibrant. The more such harmonious behaviors, the easier it is for family education to succeed and the child to grow up smoothly. In recent years, the People's Republic of China has dynamically 50 advocated the revival of traditional culture. It seems the revitalization process might begin well with the young generation who still can learn and practice many almost- forgotten Chinese pearls of wisdom. The Twenty-four solar term is a time guide for Chinese people to understand natural phenomena: the relationship between the sun, animals, plants, weather, temperature, and agriculture. It is suitable for children to understand and learn these concepts. Children can discover nature and experience folk customs. Because the Twenty-four solar term is the philosophical and cultural basis for Chinese people to carry out traditional activities, the effective inheritance of Twenty-four solar term will affect children's understanding of nature and traditional Chinese culture profoundly. This understanding influences the next generation's worldview and outlook on life in modern society. Children's contact with and knowledge of the Twenty-four solar term will inevitably lead many parents to come into contact with the culture, which will directly and positively affect the revival and inheritance of the Twenty-four solar term. The Twenty-four solar term will bring people closer to nature and social customs related to solar terms. Children are China's future and hope. They are the new force to revive and continue Chinese culture and revitalize the Twenty-four Solar Terms. 2.4.2 School education: promote more young people to understand and inherit intangible cultural heritage. The core idea of the Chinese Confucian culture is "people-oriented". It is best if the younger generation learns to be human first, and then learns books. Only by integrating traditional culture with formal education (i.e. School education) can they mutually promote each other and achieve more with less in cultivating talents. For teenagers, they have a limited ability to understand things, so they mainly cultivate a sense of identity in terms of traditional cultural education: that is, to understand and love traditional culture. With the increase in age, the increase of learning knowledge, and the expansion of knowledge, young students cannot be confined to the traditional culture of inherited, but to specifically cultivate their knowledge of the traditional culture. China's traditional culture is vast and profound, which means that there 51 are many ways to inherit it. In addition to the traditional teaching methods, there should be an aspect of "experiential learning." Each school should design the corresponding teaching model of experiential learning for traditional cultures according to its circumstances and make effective use of its resources. For example, organize student visits that expose them to intangible cultural heritage at specific times and encourage student participation in the practice of inheriting intangible cultural heritage in the form of workshops. No matter what kind of experience, they should be entertaining. Students should learn in happiness, experience Chinese traditional culture in a relaxed and pleasant atmosphere, and feel the unique charm of traditional culture (Hui, 2017). 2.4.3. Community education: promote Chinese culture and promote international exchanges. Community education is the product of social development and the changing times. China's community education started after the country's reform and opening-up (the early 1980s). It summed up the authentic experience of combining school education, family education, and developed from community education experience in foreign countries. It began and gradually developed through pilot studies. Experience from International and domestic community education practices has clearly shown that implementing various community education oriented to community members and the principle of promoting human development can meet and solve people's various educational needs and social problems. In China, in addition to family education and school education, community education can also be carried out to promote the inheritance of traditional Chinese culture. Community education has the characteristics of education continuity, social adaptability, and diversity of education means. Community education can promote communication and interaction between family members and neighborhoods. It has an important role to play in building a harmonious social environment. With the continuous development of China's political economy and culture, its international status has increased. Under the call of the national culture's "going global" strategy, the Confucius Institute has taken on the weighty responsibility 52 of promoting Chinese culture to the world. Researcher's point of view, apart from the Confucius Institute, the overseas inheritance of Chinese traditional culture can also approach foreign communities. Chinese people are scattered worldwide, and there are Chinatowns where Chinese people live in many countries and regions. Most overseas Chinese people pay more attention to the study of traditional Chinese culture and carry out community education abroad (with Chinatown as a pilot), building a bridge to spread Chinese culture at home and abroad. Conclusion For family education, school education, and community education, effective integration of the three can better promote each other. Community education abroad provides the possibility for overseas Chinese and foreigners interested in traditional Chinese culture to learn Chinese traditional culture together. In today's era, as an essential cultural "soft power," Chinese traditional culture has become an essential factor affecting national image, international relations, human harmony, and world peace. It is "to spread Chinese wisdom, tell Chinese stories, and convey the Chinese voice." Significant national cultural resources have become an irreplaceable positive factor in diplomatic activities. Traditional Chinese cultural education is mainly based on family education and school education. In recent years, guided by national policies, community education has gradually taken shape and will become a trend. 2.5 Chinese traditional festivals originate from Chinese agricultural production 2.5.1 Agricultural production is the foundation of ancient Chinese civilization China is one of the four ancient civilizations globally, with a history of more than 5,000 years. In addition to language, ancestral beliefs, worship of heaven and earth, cultural tolerance, and integration, it is also related to the agricultural civilization created by its unique geographical environment. China faces the Pacific Ocean to the east, severe cold to the north, the sea to the south, and the Himalayas 53 to the west. Natural barriers reduce wars and invasions and provide a guarantee for China's agricultural production. Most of China is located in the northern temperate zone, suitable for the growth of various crops, and provided natural conditions for ancient agriculture. The Yellow River's middle and lower reaches are the places where the Chinese people gather to live. The four seasons are distinct, the climate is suitable, and the rainfall is abundant. The working people in ancient China created the twenty-four solar terms through long-term observation of the celestial movement and phonological characteristics of the area and the practical experience of agricultural production. Since 2000, as the time knowledge system to guide China's agricultural production, the twenty-four solar terms have been the time guide for agricultural production and the coordinates of the lives of people of all ethnic groups in the country. In ancient China, agricultural production was the primary source of life. With sufficient grain production and food sources, the Chinese nation could thrive on this land. The history of the civilization of the Chinese nation is the history of the development of primitive agriculture. Chinese agricultural historian Shi Sheng-Han pointed out that China's long culture and history have been tested many times and have never been interrupted, just because of the agricultural foundation's stability in China's ancient civilizations. This view is generally accepted in the field of agricultural history. Li Gen-pan, an agricultural historian, pointed out in his book "the history of Chinese agriculture" that multiple intersections and intensive cultivation mainly characterize ancient Chinese agriculture's strong vitality. It is also one of the central mysteries of the everlasting torch of Chinese civilization. According to surveys, before the 1950s, China's agricultural population accounted for more than 90% of the total population. Agricultural production pays attention to solar terms. Spring planting, summer growth, autumn harvest, and winter storage are all based on solar terms. The twenty-four solar terms were born on the land of China and are still in use today. It is inseparable from the development of Chinese agricultural civilization, which is the inevitable development of human civilization. 54

2.5.2 Climate change affects Chinese cultural awareness The middle and lower reaches of the Yellow River, the twenty-four solar terms' birthplace, have four distinct seasons: spring, summer, autumn, and winter. The general growth cycle of crops is spring sowing, summer long, autumn harvest, and winter storage. Chinese agricultural production focuses on the Twenty-four solar terms, and its time order is based on climate change and the growth cycle of crops. This can be reflected in the naming of the Twenty-four solar terms. Twenty-four solar terms are divided into five categories. 1) eight solar terms express the change of seasons: the Beginning of spring, spring equinox, beginning of summer, summer solstice, beginning of autumn, autumnal equinox, beginning of winter, and winter solstice; 2) five solar terms express temperature: Slight Heat, Great Heat, End of Heat, Slight Cold, and Great Cold; 3) seven solar terms show precipitation: Rain Water, Grain Rain, white dew, cold dew, Frost's Descent, Slight Snow and Great Snow; 4) two solar terms are showing phonological characteristics: Waking of Insects and Pure Brightness; 5) There are two showing agricultural production: Grain Full and Grain in Ear. The twenty-four solar terms' formation has gone through a long process of development, from the initial four solar terms of the spring equinox, autumnal equinox, summer solstice, and winter solstice to the well-known Twenty-four solar terms. The Chinese cultural consciousness revolves around the change of seasons and agricultural production. The farming proverb, "A year's plan lies in the spring," stems from the Beginning of the Spring solar term's farming arrangement. "Planting beans and melons before and after the Pure Brightness" is the identification of the best sowing time for the Pure Brightness (i.e., Qingming Festival). The Great Heat solar terms are the hottest solar terms of the year, and the same period of rain and heat is the fastest-growing period of crops. The autumnal equinox solar term is the time node of the day and night equinox in the second half of the year. The dry weather is the best time for the autumn harvest of crops. The Beginning of winter solar term is the leisure time of Chinese ancient laboring people when the grain is put into the warehouse. People dry and pickle the food materials for winter. “No matter how human society develops, the simple thought of conforming to nature 55 still has vital practical significance. The rhythm of life is still closely related to the natural world.”(Xiao Fang, 2017) The ancients believed that the internal driving force of the 24 solar terms was "Yin and Yang." The first half of the year, which the Beginning of spring and the Beginning of summer, are the stage of Yang Qi rising and Yin Qi decreasing. The second half of the year, which the Beginning of autumn and the Beginning of winter, is the stage in which Yin Qi is rising and Yang Qi decreasing. According to the " Book of Rites·Yueling," the Chinese emperor attaches great importance to the solar terms' head. Each Beginning of the season must hold grand ceremonies, namely welcoming spring ceremony of the eastern suburbs on the Beginning of spring solar term; Welcoming summer ceremony of the southern suburbs of the Beginning of summer solar term; Welcoming autumn ceremony of the western suburbs on the Beginning of autumn solar term; Welcoming winter ceremony in northern suburbs of the Beginning of winter solar term.(Fang, 2015). The ancient Chinese believed in heaven, earth, sun, moon and ancestral beliefs. In the Ming and Qing dynasties of China's feudal society, official state ceremonies were usually arranged according to the solar terms. For example, the Temple of Heaven Park (the largest altar complex in the world), just south of Beijing, is where the emperor worshipped the sky, and the time of worship was the winter solstice solar term day. Moon altar Park in Beijing's west city is the place where the emperor worships the moon on the autumnal equinox solar term day. 2.5.3 Chinese traditional festivals are closely related to the twenty-four solar terms According to Zhong Jing-wen, a Chinese folklorist (1998), "Traditional Chinese festivals are cultural products created by the nation and history. He is a relic of the materialized form of ancient belief; at the same time, he is also a rhythm of life, a self-regulation mechanism formed". Several major traditional festivals in China are almost all named after solar terms, which reflect more of the agricultural lifestyle. For example, during the Spring Festival (i.e. Chinese New Year) in ancient China, farming was gradually carried out along with the Spring begins solar term (the 56 first solar term in the 24 solar terms). "Qingming Festival (the fifth solar term of the 24 solar terms)" was the solar term for farming and sowing, and the "Mid-Autumn Festival" was between the autumn equinox solar terms (the 16th solar term among the 24 solar terms), At this time, the weather is dry, which is a good time for the busy autumn harvest.The relationship between China's five main traditional festivals and the twenty-four solar terms is shown in the table below. Table 4 The relationship between Chinese five main traditional festivals and the twenty-four solar terms. No. Festival name Solar term Eating Ceremony and activities name customs 1 Chinese New Year Beginning Spring Whip the spring cows to of Spring cake welcome spring plowing 2 Ching Ming Festival Pure Cyan Rice Sow seeds in spring, worship Brightness Ball ancestors. 3 Dragon Boat Summer Zongzi Growing in summer, crops grow Festival Solstice fast, worship the earth 4 Mid-Autumn Autumn Moon cake Autumn harvest, moon Festival Equinox worship, family reunion 5 Winter solstice Winter Dumplings, Stored in winter, the emperor Solstice glutinous worships the sky, and the rice balls people worship the ancestors

China has been a mostly agricultural country since ancient times. It has long been a society where farming is the primary production and lifestyle. It is subject to periodic changes in phenology and weather, and it agrees with people's daily life. It has specific customs and activities. Chinese traditional food vocabulary such as dumplings, youth leagues, moon cakes, and others, embodies the cultural tradition of "food is heaven for the people" in agricultural civilization. It shows that the Chinese traditional festival is a cultural symbol system centered on agriculture. 57

2.5.3.1 Chinese New Year and the Beginning of Spring solar term Every year around February 4, when the sun reaches 315 degrees of yellow longitude, it enters the "the Beginning of Spring " solar term. "3000 years ago, China had a welcoming Spring ceremony, and many fixed customs have been formed so far" (Calendar, 2019). The Spring solar term's Beginning is divided from the solar terms, which have an absolute astronomical scientific basis. In nature, spring is warm in people's hearts, spring is growth, and spring is sowing. The Spring Festival's Beginning is the first of the twenty-four solar terms and a sign of spring arrival. There is a saying in the folk saying that "the sun will grow at the beginning of spring, and the plants will give rise to new roots," which is an essential season for spring plowing(Dong Xueyu, 2012) In China folk, ordinary people's daily lives should also be arranged according to the time nodes of the solar term, thus forming China's unique solar term beliefs, diet, taboos, and ritual activities. Among them, the beginning of spring solar term Ceremony is the grandest. During the Ming and Qing dynasties of China, the emperor started fasting three days before the beginning of spring solar term. On the day of the beginning of spring, he led his officials to welcome the spring in a place eight miles away in the eastern suburbs to pray for a good harvest. With the times' changes, the welcoming spring ceremony has evolved into "whipping the spring cow" among the china folk, which is why the beginning of spring is also called "Hit spring." "Spring Tellers" roam the countryside, telling the spring from house to house, sending pictures of spring cattle to persuade people to prepare for farming production (Twenty-Four Solar Terms Application Promo, 2015).

Figure 29 Yangjiapu New Year Painting "Spring Cow" Source: http://art.ifeng.com/2016/0215/2742318.shtml 58

Figure 30 Twenty-four solar terms inscription promotional video Source: China Agricultural Museum, March 2015 Among the Spring Festival's Chinese folk customs, there is a custom that children wear spring chickens at the beginning of spring day and adults wear spring flags (the spring flags are generally spring butterflies, spring flowers, and spring swallows). The ordinary people will post "Spring" characters, spring paintings and pictures, Spring children at home. The welcoming event of the beginning of the Spring later evolved into the Chinese New Year, and its festival customs were also absorbed by the Chinese New Year. The Chinese New Year is the grandest traditional Chinese holiday celebrated by the people of all ethnic groups in China and the overseas Chinese in the world. 2.5.3.2 Mid-Autumn Festival and Autumnal Equinox Solar Terms Every year around September 23, when the sun reaches 180 degrees of yellow longitude, it enters the "autumnal equinox" solar term. According to the "Chunqiu Fanlu·Yin and Yang into and Out of Chapter," it says: "Autumn equinox is accompanied by yin and yang, so day and night are average and cold and heat are average." "Autumn equinox" means two things (Ying, 2016). 1) In ancient China, the beginning of the four seasons was the beginning of spring, the beginning of summer, the beginning of autumn, and the beginning of winter. The autumnal equinox occurred within 90 days of autumn, and it equally divided autumn. 2) At this time, there are 24 hours a day, day and night, 12 hours each. This day is the same as the "Spring equinox" day. On the "Autumn equinox" day, sunlight almost hits the equator. After this day, the location of direct sunlight shifts south, and the northern hemisphere has shorter days and longer nights. In ancient China, the autumnal equinox solar term was also called 59

"Worship the moon festival." "Worship the moon" is an ancient Chinese custom. It is a worship activity for the "moon god". According to research, the Chinese Mid-Autumn Festival originated from the custom of worshiping the moon on the autumnal equinox because the autumnal equinox is not necessarily when the moon is at its fullest. Later, the Moon's Festival was moved from the Autumnal Equinox Day to the 15th of the Chinese lunar calendar because it was a full moon. People at the full moon are reunited. This is a day for a family reunion in China. In Thailand of Southeast Asia, this day is Buddha's Day, also known as the Thai Full Moon Festival, and folk will hold a grand moon worship ceremony (Mr.Somchai,2018). The custom of admiring the moon comes from offering worship to the moon, and serious worship has become a relaxing entertainment activity. The autumnal equinox solar term is in the middle of autumn. The climate in northern China is characterized by dry weather, little rain, neither cold nor hot, and mature crops, which is a good time for autumn harvest. In 2018, the Chinese government designated the annual autumn equinox solar term as the "Chinese Farmers Harvest Festival". It reflects the Chinese government's emphasis and encouragement on agricultural production and embodies China's agriculture-oriented tradition since ancient times.

Conclusion The original meaning of the twenty-four solar terms was to guide life and agricultural production. The working people in ancient China determined the date of the twenty-four solar terms based on years of research and calculations. In traditional Chinese society, the twenty-four solar terms are important time nodes in a year. A series of folk ritual activities have been generated around these time nodes to express the communication and beliefs between the ancient Chinese and the world(Fang, 2015). thereby realizing human society and the harmonious symbiosis of nature. With the changes in history, the rituals surrounding the 24 solar terms, sacrificial and religious activities gradually evolved into traditional Chinese festivals. 60

Figure 31 Diagram of the relationship between Chinese traditional festival and agricultural civilization 2.6 Conclusion of the literature review Through the previous chapters' review, the most significant feature of intangible cultural heritage is that it does not deviate from the nation's life and production mode. It is the "live" manifestation of the national personality and national aesthetic habits. It exists based on human beings, using voice, image, and skills to express. Intangible cultural heritage is the most vulnerable part of "living" culture and its traditions. Human is the carrier of intangible cultural heritage; the inheritance of people is incredibly important. Education is the most direct and effective way of survival to realize the "passing on from generation to generation" of intangible cultural heritage. After the Chinese government joined the "Convention" in 2004, it has carried out a series of intangible cultural heritage protection work. China provides a lot of "Chinese experience" to the international community, which has provided research reference and policy support for this study. The cultural connection between the twenty-four solar terms and Chinese paper-cutting is that they are both the intangible cultural heritage of humanity in the world and have the broadest mass base. They are closely related to the ancient Chinese Taoist philosophy "Harmony of Man and Nature" and "Yin and 61

Yang" philosophy. Facing the problem of losing the twenty-four solar terms culture, the researcher tries to apply the twenty-four solar terms to art and design education to combine Chinese paper-cutting techniques to promote its living inheritance. The choice of art and design education is because it has the advantages of interactivity, normative, innovation, participation, entertaining, and imperceptibly. Chinese paper-cutting as the visual form of expression is because Chinese paper- cutting is an ancient Chinese traditional manual technique with unique charm and deep love by people at home and abroad. Chinese paper-cutting patterns and story features can help students express the folk culture terms of 24 terms in pictures. The initial stage of Chinese paper-cutting is easy to learn. People can express emotions and decorate life with scissors and a piece of red paper, which is suitable for combining with art and design education.

Figure 32 Diagram of the relationship between Family Education, School Education, Community Education, and Art & Design Education School education's particular function determines that it has natural responsibility and objective conditions to inherit and protect intangible cultural heritage; Community education can affect a broader audience, regardless of age. Carrying out Chinese paper-cutting art and art design education on campuses and communities can guide students to learn and experience the charm of the twenty- four solar terms in hands-on practice. Based on this, the researchers decided to use 62 school education and community activities as the main body of research, with family education as the supplement, and the research group focused on the younger generation of China and overseas Chinese. In conclusion, the ultimate goal of intangible cultural heritage protection determines that school education and community education are the main ways and effective means to inherit intangible cultural heritage. Only sowing the good seeds of intangible cultural heritage protection in young people's hearts is the most profound and effective way to protect intangible cultural heritage. The entry of intangible cultural heritage into the campus and the community is both a realistic means and a long-term plan; it is not only a necessity for intangible cultural heritage protection, that is, cultural inheritance, but also an inevitable education reform, that is, talent training(Wenke, 2016)

Chapter 3 Research Methodology

This research used the mixed-method approach, which completes the results by gathering quantitative and qualitative data. The objective is to educate the young Chinese generation and to promote the appreciation of traditional cultures. The researcher used the process of exploratory sequential design, which included four phases as follows.

Phase I This first phase was quantitative research, which started by creating the research instrument and questionnaire, identifying the representative group, gathering quantitative data, and carrying out statistical analysis to confirm the final application results. The data gathering was done twice. The first data gathering was done to gauge the cognition and Inheritance levels of the Twenty-four Solar Terms in modern society to obtain useful data. The research results will be used for research questions in the second stage of data collection, namely literature review, field visits, and expert interviews.

Phase II The second phase of this research was qualitative research, which explores and proves the theory through the literature review, case study field observation, and in-depth interviews. For in-depth interviews, the researchers designed open-ended questions, asked the critical information providers and stakeholders of the research, recorded the answers in a diary, analyzed the content, and summarized the experts' recommendations as for field observation, the researcher used direct observation to gain valid and reliable data. The researcher also participated in the activities of some exhibitions, and on-site inspections of overseas Chinese festivals and events, for example, in Bangkok Chinatown, Thailand. 64

Photographs were taken, and reports were written to analyze and summarize the current status of Chinese traditional culture inheritance abroad. Through qualitative research, it was concluded that China's paper-cutting art education promotes the Twenty-four Solar Terms culture's living inheritance. This hypothesis formed a basis for further development at the third stage: the experimental research on paper- cutting workshops.

Phase III The third phase of this research was an experimental study. Researchers used the results obtained in Phases 1 and 2 to carry out experimental research on the paper cutting workshop. The researchers held three paper-cutting workshops. The research results and problems found in the first workshop were used as the research hypotheses, which were tested and evaluated by the second workshop. The third workshop is the second round of experimental research based on the first and second workshops. The first workshop focused on three-dimensional paper cutting, and the second workshop focused on flat monochrome paper cutting. The third workshop focused on the combination of flat monochrome paper cutting and three- dimensional paper cutting. The results obtained from the paper-cutting workshops provided empirical support for applying the research results in the fourth phase, which was design. The experimental research in the third phase and the innovative design research in the fourth phase were carried out simultaneously during the project. The two phases complemented each other, supported each other, and jointly tested the research hypothesis that China's paper-cutting art education promotes the Twenty- four Solar term culture's living inheritance.

Phase IV The fourth stage of research is the application of research results in design. Researchers use the first, second, and third phases to carry out the fourth phase of practical research. In the fourth stage, the researchers carried out four paper-cut visual design projects practical research.

Figure 33 Research methodology diagram The first practical research is a case study on the lantern design theme for the Full Moon Festival in Chinatown, Bangkok, Thailand, in 2019. Mainly discuss the effect of Chinese paper-cutting that transforms 2D into 3D, and the connection method between paper-cut components; The second practical research is based on the theme of "Summer solstice solar term" in the twenty-four solar terms. It mainly discusses how to transform the non-visual solar term knowledge into visual paper-cut patterns. The audience's understanding of the meaning of solar terms after visual transformation is the focus of this research; The third practical research is based on the theme of "The beginning of Spring solar terms" in the twenty-four solar terms. The visual transformation of the 66

"The beginning of Spring" solar terms and the concept of " Winter jasmine" is the focus of this applied research. The art form of 3D paper-cutting is precisely in line with the Chinese Spring Festival's festive atmosphere, which is conducive to attracting people's attention to the two intangible cultural heritages and arousing shared memories; The fourth practical application study is a case study with the theme of lantern design for the 2020 Chinatown Full Moon Festival in Bangkok, Thailand. It mainly discusses the communication effect of paper-cut visual design projects in overseas Chinese community festival celebrations. How to use visual solar terms information to explain the cultural connection between China and Thailand and arouse cultural resonance and cultural memory is the focus of this applied research. The experimental research in the third phase and the practical research in the fourth phase are interspersed.

3.1 The criterion of selection of the samples 3.1.1 Quantitative research takes ordinary Chinese residents as research objects. To investigate the current status and cognition of the Twenty-four Solar Terms inheritance in contemporary society and provide data support for the research on the inheritance and development of Solar Terms in the future. The researchers conducted a questionnaire survey in June 2018 in Liaoning Province, China. This study used a questionnaire to conduct a sample survey of different regions, ages, educational backgrounds, and occupational groups. From the sample size of five hundred, 438 were valid responses. This questionnaire's result included 176 males and 242 females, who have an age range from 8 to 60 years old. Among this sample, 4% were from primary schools, 46% from junior high schools and high schools, 48% from junior colleges and undergraduates, and only 2% were post-graduates. The regional distribution shows that 68% of the target group live in central urban areas, 22% live in urban and rural areas, and only 8% live in rural areas. The participants' 67 parents' occupations included unit leaders, private business owners, government institutions employees, hired employees, self-employed persons, unemployed, retirees, and homemakers. 3.1.2 Expert The experts in this study can be divided into two groups. First group: The research experts of Twenty-four Solar Terms who were mainly scholars from mainland China. 1) An in-depth interview with Xiao Ke-zhi, former curator of the Exhibition Department of China Agricultural Museum (Twenty-four Solar Terms, important organizer of application for world intangible cultural heritage) 2) An in-depth interview with Zhou Xiao-qing, a researcher at China Agricultural Museum 3) Interview with Wang Ying-de, a member of the delegation of intangible cultural heritage and director of the exhibition department of the China Agricultural Museum 4) Interview with Zhang Su, a researcher at the China Agricultural Museum 5) In-depth interviews with Professor Xiao Fang, a Chinese folklorist, Beijing Normal University, China (a well-known expert in the field of Twenty-four Solar Terms, an important member of Twenty-four Solar Terms applying for the world's intangible cultural heritage) Second Group: Overseas Chinese who love and appreciate the inheritance of traditional Chinese culture. 1) Zhang Bo, Deputy Director of the Chinese Cultural Center of Thailand. (A Chinese national, born in China, who have worked and lived abroad for a long time.) 2) Mr. Somchai, historian of Bangkok Chinatown (Chinese-descent living and working abroad. Born in Thailand, with Thai nationality) 3.1.3 Fieldwork locations 1) Investigated the Yaowarat Chinese Community in Bangkok Chinatown. 68

2) Visited the Krung Thai Bank Art Gallery exhibition of traditional Chinese wedding customs. 3) Investigated the Historic Hut Charoen Chai Community 4) Investigated the cultural activities of the Full Moon Festival in Chinatown, Bangkok. 5) Participated and practiced full moon festival traditional culture lectures and lantern workshops 6) Participated in and practiced the paper folding workshop at Historic Hut Charoen Chai Community 3.1.4 Representative group The representative groups of this study can be divided into three groups. First group. Three-dimensional Paper-cutting Workshop with the theme of Twenty-four Solar Terms, Nanjing University of the Arts, majoring in jewelry design, Location: Nanjing, Jiangsu, China; Members: 10 undergraduates (for international students), eight master students (5 for international students). Second Group. Plane Paper-cutting Workshop with the theme of Twenty- four Solar Terms, Historical Hut Charoen Chai Community, Bangkok Chinatown. Members: 10 residents of the Bangkok Chinatown community, all Chinese of Thai descent. The third group. Plane and Three-dimensional Paper-cutting Workshop with the theme of Twenty-four Solar Terms, Liaoning University of Science and Technology, Department of Visual Communication Design, Location, Anshan, Liaoning Province, China; Members: 51 undergraduates.

3.2 Data collection methods 1) The researcher gathered literature from books, articles, researches, electronic documents, and websites. The gathered literature would later be analyzed to form the conceptual framework. 69

2) Collect data from field observations of case studies through direct observation records such as questionnaires, photographs, and videos. Data from questionnaires were analyzed using percentage analysis. 3) The data collection on the group of experts was conducted in two sessions. - In-depth interviews with the first group of experts. Researchers use open-ended questions and recorded answers. - In-depth interviews with the second batch of experts. Researchers carried out interviews, recorded answers, took photographs, audio recordings, and more. 4) Data gathering from representative groups. - At the end of the first paper-cutting workshop, the researcher held an exhibition of the works and conducted interviews with the exhibition visitors to probe for valuable opinions on the projects in experimental research. Researchers took photographs, videos. Furthermore, they have directly observed the records. - At the end of the second paper-cutting workshop held an exhibition of the works, conducted in-depth interviews with representative groups who participated in the workshop. Here, the researchers used open-ended questions and recorded their answers. Simultaneously, descriptive observation, analysis, and a summary of representative groups' behavior were also conducted. - At the end of the third paper-cutting workshop, an exhibition of works and interviews were held to investigate the effectiveness of the learning experience and gains of students who had just participated in the workshop. Researchers used open-ended questions and recorded answers by taking pictures and videos. 3.3. Research instruments 1) The questionnaire consisted of three parts. - People's inheritance of Twenty-four Solar Terms culture - People's perception of Twenty-four Solar Terms culture - People's expectation of Twenty-four Solar Terms cultural inheritance 70

2) Expert interview form. The questions included two themes, the Twenty-four Solar Terms, and the Status of inheritance of traditional Chinese culture (including festivals) abroad. Questions were adjusted according to the expertise of the experts on each topic. 3) The questionnaire for the representative group included the following two sets of questionnaires. Workshop questionnaire Two groups of students with similar backgrounds were selected. One group of students did not participate in the paper-cutting workshop, and the other group participated. The questionnaires were collected, and data comparisons were made to see whether the paper-cutting workshop affected their level of understanding of the Twenty-four Solar Terms. Exhibition questionnaire Two groups of viewers were selected. One group of viewers did not visit the model exhibition, while the other group did. The two data sets were collected and compared to see whether the audience had gained an increase in their level of understanding of the 24 Solar Terms culture after visiting the model exhibition. Evaluations were made to understand the effectiveness of this method of communication. Note: This questionnaire would be used to find the representative groups' most preferred aspects of the exhibition. In constructing the questionnaires, the researcher developed the approaches from the literature review and field observation. After the questionnaires were constructed, the experts assessed them in the research instrument design for content validity and then adjusted according to the experts' recommendations. The questionnaire was further tested with 20 participants who were not from the actual group of representatives to find and edit any remaining language flaws to ensure suitable communication according to the research objectives. 4). Module exhibition. The conclusion of the design method was used as a design guide for the module exhibition, which was held in the exhibition hall of the 71 third floor of the School of Architecture and Art Design, Liaoning University of Science and Technology from January 10th to 12th, 2020.

3.4 Data analysis 1) In analyzing the representative group questionnaire's data, the researchers used a quantitative analysis method. The data was analyzed and presented in pie and bar charts, and the results of the data analysis were summarized in descriptive language. 2) Qualitative analysis was carried out on the interviews with experts and the target group evaluation forms. Researchers drew conclusions based on the subject of the interview. This data formed a basis for later experimental research. 3) In the field observations of the experimental research, the researchers conducted comparative analyses of representative groups. The first comparative analysis was made between students who participated and did not participate in the workshop. The second comparative analysis was made between the groups of audiences who visited and did not visit the model exhibition. The comparative analyses took the form of comparison tables and descriptive conclusions. 4) The researcher used results from the analyses of the case study field observation, the experts' interviews, and statistics from the representative groups to formulate an appropriate design approach.

3.5 Conclusion of Research Methodology This study used a mixed-method approach to collect quantitative and qualitative data. The study can be divided into four phases. The first phase was quantitative research, which was to fully understand the research theme and then the second phase, which used the first phase for qualitative research design. The purpose of the qualitative research was to determine the critical factors behind the quantitative results. After that, the confirmed results were applied to the third phase 72 of experimental research to explore how to use the intangible concept of Twenty- four Solar Terms (the Twenty-four Solar Terms are an intangible cultural heritage) for tangible visual transformation in paper cutting. The final results were applied to the three-dimensional, fun, and productive Chinese paper-cuttings in the fourth stage, which can be applied to art education to promote the Twenty-four Solar Terms' inheritance. In the first phase of this study, ordinary residents were selected as the targets of the research. A questionnaire survey was conducted for different regions, different ages, different educational backgrounds, and different occupational groups. Five hundred questionnaires were issued, of which 438 were valid. The second phase of the study collected data from two groups of experts, two of whom were experts on the 24 Solar Terms and were also stakeholders in the study, and two were overseas staff who loved and inherited traditional Chinese culture. In the third stage of the study, three paper-cutting workshops were held. The representative groups were: 18 undergraduate students (including seven international students), 10 Chinese Thais, and 51 undergraduate students. The data collection methods were documentary analysis, field observation, expert interviews, and a questionnaire survey of representative groups. The research tools can be divided into four parts: 1) survey questionnaire; 2) expert interview form; 3) representative group questionnaire, 4) module display. The overall results would lead to the conclusion, which would answer the research question and test the research hypothesis. The results would be discussed to present the findings, other related analyses, and suggestions that would be beneficial for further research and development.

Chapter 4 Research Outcome

This chapter introduces the research results. The data comes from audience questionnaire surveys, expert interviews, field surveys, paper-cutting workshop experiment results, and visual design project practice results. After completing the qualitative research of the investigation and analysis and forming the hypothesis, the second phase of the expert interviews and field investigations are as follows. The researcher will identify the research keywords and representative groups. In the third phase of the paper-cutting workshop experimental research, researchers explored ways to promote the Twenty solar terms in the field of art and design education. To gain experience to carry out the fourth stage of the visual design project research for cultural and community purposes, the Chinese people are interested in further developing the living inheritance of intangible cultural heritage or as reference material for other designers. The result includes four parts. 4.1: The results of the cognition and inheritance Survey of twenty-four solar terms in modern society. 4.2: The results of in-depth interviews and fieldwork survey evaluation 4.3: The results of art and design education workshops studies 4.4: The results of visual design objects studies

4.1 The results of the cognition and inheritance Survey of twenty-four solar terms in modern society. The Twenty-four Solar Terms, as wisdom of ancient Chinese agricultural civilization, have gradually lost their original functions in today's high-speed modernization, and become an annotated label on the calendar. Whether to further protect and inherit its culture has become a topic of much controversy today, which deserves our serious consideration. Based on this question, the researchers designed a questionnaire survey on "Cognition and Inheritance Levels of the Twenty-four Solar Terms in Modern Society". The problem revolves around the following key points: 1) situation of people’s cognition; 2) situation of people’s inheritance; 3) people’s 74 expectation of revitalization. 4.1.1 People’s Cognition analysis 1) Cognition level of elders is higher than that of the young generation: According to the perspective cognition, the level of cognition of the Twenty-four Solar Terms is higher in older generations than young people. China used to be an agricultural society, and Liaoning province was a big agricultural province. Most of the families had rural backgrounds. On the one hand, people born before 1970 were generally more aware of the Twenty-four Solar Terms. This group of people can clearly remember the time order of Solar Terms and understand their specific dates and characteristics. Most of them can still sing the Twenty-four Solar Terms song. On the other hand, young people know some of the Solar Terms' names but do not understand their characteristics and customs. Moreover, most cannot remember the Solar Terms' time order and cannot sing the Solar Terms song.

Figure 34 Twenty-four Solar Terms song, lyrics for the solar term name. 2) The level of cognition of the Twenty-four Solar Terms in educated people is higher than the level of cognition in people with comparatively lower education: The difference in education levels was found to relate to the level of cognition of the Twenty-four Solar Terms. People from higher education had a better capability of understanding the roles of the Twenty-four Solar Terms in cultural situations. The level of education also determines that their social roles, lifestyles, and educational concepts differ. Their preferences for traditional culture were also different. Therefore, the proportion of the population with sufficient education levels has a significant influence on whether the Twenty-four Solar Terms can be transmitted and accepted in a community. The higher the proportion of the population with high education levels, the higher the probability of the traditional culture spreading and being accepted. 75

3) The current cognition level of the Twenty-four Solar Terms in UNESCO is moderate: Most people do not know that the Twenty-four Solar Terms is now a world's intangible cultural heritage; only 40% of the target group knew the status. The result shows that people have little understanding of the Twenty-four Solar Terms' historical and cultural values. Being rated as intangible cultural heritage is a significant turning point in its revitalization. Perhaps the government has not promoted the Twenty-four Solar Terms enough.

58%

40%

Unaware Aware Indifferent

Figure 35 Percentage of people aware of the acceptance of the UNESCO acceptance of the Twenty-four Solar Terms as an intangible world heritage. 4) Cognition level of perception of the Twenty-four Solar Terms is not high: According to the question, "Are the Twenty-four Solar Terms solar or lunar calendars?" only 22% of the answers were correct, 6% of them were unclear, and 72% of them confused it with the lunar calendar.

22%

72%

Unclear Solar calendar Lunar calendar

Figure 36 Percentage of people who believed the Twenty-four Solar Terms were based on solar or lunar calendars 4.1.2 People’s Inheritance analysis 1) The perceived value of the inheritance is moderately high: Although the Twenty-four Solar Terms have gradually moved away from people's daily life, the target group still has a strong sense of inheritance. According to the question, 76

"Should the Twenty-four Solar Terms be inherited?" 66% of the target group believed that the Twenty-four Solar Terms has a massive impact on Chinese people's lifestyles, and the terms should be passed on to the next generation. However, 30% of the target group believed that the Twenty-four Solar Terms has little impact on the modern lifestyle, yet they also believed it should continue to be passed on. Only 4% believed that the twenty-four Solar Terms' loss does not significantly impact the modern lifestyle, indicating that their sense of cultural consciousness is relatively weak. Here, the strong sentiment towards the target group's cultural heritage is a massive contrast to the current situation. Although the Twenty-four Solar Terms is drifting farther away from a modern lifestyle, the sentiment towards inheritance is still powerful. Most have a high potential in recognizing and revitalizing the Twenty- four Solar Terms' cultural value and are also expecting the Twenty-four Solar Terms to be applied to their lifestyle in a new format.

2%2% 66% 30%

It doesn't matter. Let it be. It has little influence and little significance of inheritance. It has little impact, but it should be inherited. The impact is huge and should be inherited. Figure 37 Responses of participants regarding the significance and inheritance of the Twenty-four Solar Terms 2) Inheritance of some aspects of the Twenty-four Solar Terms are promoted as national festivals through government policies: Two Chinese national festivals still practiced today are the Qing Ming and Winter Solstice solar terms. The Qing Ming Festival (or the stepping grass festival) is on the fifteenth day after the spring equinox. During this festival, people go to their ancestors' tombs to worship and pay respect. As it has been necessary to people's way of life since ancient times; therefore, China's government has officially promoted this festival as a three-day national holiday. The Qingming Festival (i.e. Pure Brightness) is held on April 4th-6th of the Gregorian calendar each year. Unfortunately, Except for Qingming and Winter 77

Solstice solar terms, many young people today know little about other Solar Terms' specific dates and features.

Figure 38 The Qing Ming Festival is a national holiday in which people return home to worship their ancestors. Source from internet: Banbaowang (2019) 3) Inheritance of the Twenty-four Solar Terms has been lacking, resulting in a low cultural consciousness influenced by modern society: Young people are growing up in contemporary society's information age. This socio-cultural circumstance leaves the next generation lacking a sense of closeness to the earth and nature. Without such an understanding, it would be challenging to inherit them. The sense of connectedness to nature is one of many factors that could educate and encourage people to understand the cultural importance of Twenty-four Solar Terms in the future. Existing national promotion of cultural awareness does not seem to affect people's enthusiasm for inheriting endangered cultures. The lack of good inspiration in practicing traditional rituals and cultural festival is one of the essential factors that make cultural preservation difficult. The reduction of social practices and fewer opportunities for cultural learning is also a factor leading to the marginalization of the Twenty-four Solar Terms in the modern social context. The transformation of society and increasing modern urbanization have gradually moved people away from nature, which is the main reason for the low awareness of the Twenty-four Solar Terms. 4) The Twenty-four Solar Terms still has practical value for our life and culture: Most people consider that The Twenty-four Solar Terms is significant to modern society's agricultural context. The Twenty-four Solar Terms accurately reflect 78 the periods of seasonal changes, which are then incorporated into farming proverbs to guide effective farming practices. Many people like the Twenty-four Solar Terms because of their essential astronomical insight. For example, the spring equinox and the autumn equinox equally divide the year. The shortest night is the summer solstice, and the longest night is the winter solstice; Many people enjoy the folk customs and traditional cuisine of the Twenty-four Solar Terms. For example, it is customary to eat spring cake for the beginning of spring, noodles for the summer solstice, dumplings for the winter solstice, and activities such as flying kites at the Qingming festival. Even Chinese traditional medicine's philosophical method of curing and healing follows periodic changes of the Solar Terms. It can be said that Twenty- four Solar Terms is a guide for people to know the right times to merge their daily lives with nature and seasonal changes.

\ Figure 39 The vernal equinox and the autumn equinox are equally divided. Source: The picture comes from Mr. Somchai, a historian in Bangkok's Chinatown. 4.1.3 People's Expectation analysis 1) Children are the new force to inherit the Twenty-four Solar Terms: The survey shows that 84% of children are willing to be guardians of the Twenty-four Solar Terms culture. The Twenty-four Solar Terms involves solar, animal, plant, weather, temperature, and seasonal changes, which can help children better understand and perceive nature and the cyclical order of seasonal changes. Children have the advantage of absorbing information quickly and with good retention. If children have an opportunity to learn the Twenty-four Solar Terms from a young age, 79 they will consciously respect the time rhythm of nature and contribute something meaningful to humanity, the natural environment, and society. 2) Most parents are willing to study the Twenty-four Solar Terms with their children: According to the survey, 41% of parents are willing to participate in parent-child activities related to the Twenty-four Solar Terms to help them develop a good awareness of nature. However, 32% of parents expressed their unwillingness to join due to busy work schedules and already having little time with their children. However, these parents want their children to learn. It is worth noting that the desire to learn the Twenty-four Solar Terms not only occurs among children but also among parents who expressed a desire to learn together with their children. Even though the Twenty-four Solar Terms knowledge is lacking in modern society, it can be revitalized by supporting children and parents to learn the Twenty-four Solar Terms side by side, which would also cultivate the parent-child relationship.

20%

41% 7%

Willing to educate 32% Willing but lacking time Unwilling Indifferent Figure 40 Responses of Parents willing to participate in educating their children on the Twenty-four Solar Terms. 3) Education in Schools is crucial in the revitalization of national cultures in conjunction with education within families. According to the survey result, 42% believe that schools' education is a crucial way to inherit the Twenty-four Solar Terms. People have a high degree of trust in educational institutions. The educational atmosphere at schools is more advantageous for children to learn the Twenty-four Solar Terms successfully. Also, 25% supported education in families. In family life, parents are the everyday teachers of children, and education in a family is the foundation of life education. Parents can pass on their knowledge of daily life to children. As children grow, schools become the mainstay because of its more 80 comprehensive education. Education in schools fulfills what is lacking in family education by using the learning atmosphere and educational resources. As an essential institution of education, schools can link to family education to provide two learning tracks for children, thereby providing cultural practices opportunities in connecting and improving life in modern society.

13%

20% 42%

25%

Educational institutions Families Government agencies Other

Figure 41 Survey participants’ opinions on who bears the responsibility for Twenty- four Solar Terms education.

Conclusion of the questionnaire Although it is an indisputable fact that the role of Twenty-four Solar Terms in people's daily life is diminishing, it still has important cultural significance and social function in modern Chinese society. It was concluded that 72% of the sample population knew some names of Twenty-four Solar Terms, but they did not understand its characteristics and customs. 33% of the sample population believes that most young people growing up in the information age and lack a sense of closeness to earth and nature. This is one of the factors that make Twenty-four Solar Terms difficult to inherit. 42% of the sample population believes that the task of inheriting Twenty-four Solar Terms should be concentrated in schools. 98% of the sample target groups support the distribution of Twenty-four Solar Terms in schools as a cultural event. Schools are educational bases responsible for cultural communication. It plays the role of cultural exchange in modern society. Providing Twenty-four Solar Terms in schools will encourage students to practice Chinese cultural heritage effectively. 81

4.2 The results of in-depth interviews and fieldwork survey evaluation 4.2.1 In-depth interviews Site 1: China Agricultural Museum China Agricultural Museum is the application unit for the Twenty-four Solar Terms. Xiao Ke-zhi, the former director of the China Agricultural Museum's display department, who was the first to undertake this work, participated in the preliminary preparations for this application. "Although there have been many twists and turns, I always believe that the world will recognize this outstanding national cultural heritage."(Cao, 2017)

Figure 42 China Agricultural Museum Peking, China Source: http://www.zgnybwg.com.cn/index.html The researcher went to the China Agricultural Museum for two field visits and in-depth interviews on January 11th and 12th, 2018. They were warmly received by former curator Xiao Ke, curator Wang Yingde, researcher Zhou Xiaoqing, and researcher Zhang Su of the China Agricultural Museum, who gave many valuable opinions. The interview results are as follows: 4.2.1.1 An in-depth interview with Xiao Ke-Zhi, former curator of the display department of China Agricultural Museum Xiao Ke-Zhi is a researcher at the China Agricultural Museum and presides over the basic exhibition "Chinese Agricultural Civilization" at the China Agricultural Museum. During his tenure, he presided over the application of "Twenty-four Solar Terms" to the national intangible heritage list. He was the first to undertake the preliminary preparations for "Twenty-four Solar Terms" to apply for the world's 82 intangible cultural heritage and made significant contributions. He retired in 2015 and successfully applied for the World Intangible Cultural Heritage in 2016. Xiao Ke-Zhi gave full affirmation and a great encouragement to the research of this topic. The suggestion he gave was to find a new way to popularize and promote the Twenty-four Solar Terms and, first of all, to think about it and recognize it. First, the researcher should have a deep understanding of the Twenty- four Solar Terms and then look for ways to popularize it. This is the basic principle of learning. This requires a process from rheology to qualitative change. He first asked a question, "What is the greatest wealth left to us by the Twenty-four Solar Terms? Then, the previous curator of Xiao Kezhi gave a deep analysis. The details are as follows: For example, agricultural production's general process is "spring plowing, summer long, autumn harvest, winter Tibetan". This seems to be a cyclic process, but what does this reflect? Reflects "rules." This is a habit cultivated by nature. People observe, discover nature, recognize nature, and use nature. Ancient China was an agricultural society. People had to abide by the rules of nature. Otherwise, there would be no food to eat, and civilization would not continue. This is also the reason why there are only four ancient civilizations in the world. Many people may not notice that it is related to the Twenty-four Solar Terms. Ancient China was an agricultural country. The "Twenty-four Solar Terms "not only played a guiding role in agricultural production but also influenced the ancient people's clothing, food, shelter, and even cultural concepts. Besides, there are many folk activities in the Twenty-four Solar Terms, and it also gives people a spiritual compensation. There is something to eat, drink and to have a holiday. The Twenty-four Solar Terms have brought Chinese people the greatest spiritual wealth up to now. Although many people do not know about the Twenty-four Solar Terms now, the Chinese know the rules because this is the wisdom of life formed by the Chinese people following the law of time for thousands of years. Because of the observance of rules, people do not worry about survival issues and then form "confidence" and cultural self- confidence. 83

In the Tang Dynasty poet Li Bai's "Difficult to Travel," ， "A time will come for me to ride the wind and clean the waves, I will set my cloud while sail and cross the sea with waves." This is a very confident verse. Why be confident because of the rules. China is a monsoon climate country. Some regions have severe droughts, and some have annual floods, but everyone is not afraid because it is cyclical and will eventually recover. This gives people "hope." The Chinese nation is a disaster-ridden country, but its culture has no faults. Why? Because it always has hope. Why did General Secretary Xi Jinping propose the Chinese dream and the Chinese self-confidence? The reason is here. Twenty-four Solar Terms' most significant wealth left to the Chinese is discipline, self-confidence, and hope. The cultural traditions and the inheritance of any culture are not instilled. It is a natural solar term. As long as it is Chinese, it will come into contact with it sooner or later. It is a kind of preaching; it is a style; it is a custom. For example, when eating spring cakes, people know that the beginning of spring is here, the winter solstice dumplings have arrived, the Qingming of Qingtuan has arrived, the noodles of the summer solstice has arrived, and the autumn begins when it is time to eat pork. It is a natural acceptance, and these are all people's subtle willingness to accept, for reasonable reasons. However, there is a problem. The Chinese are a little too negligent in terms of inheritance and teaching. We don't pay attention to the process and pay attention to the results, so in the end, a lot of our Solar Terms, only the last word "eat" is left, the others are omitted. This is a question that needs to be considered when studying the popularity of Twenty-four Solar Terms. There are many strategies in Sun Tzu's Art of War in China. He summarizes them into six words: "Sprinkling and sweeping, accept or reject, and advance and retreat." "Sprinkling and sweeping" refers to the process of thought. A comprehensive understanding of the Twenty-four Solar Terms, astronomical, folklore, and phenology does not require a deep understanding, but a general understanding is sufficient. Observe more, collect more, master more, and make it your own thing as much as possible. He said that it was not the content in the form, so I could just grab the 84 core. Then, in the experiment and research process, we must understand how to let go and retreat. What form is "taken" to make everyone like it and accept it willingly. What is "advancing" is that in the process of research, you must promote your strengths. Your strength is formed. Focus on researching that form. Everyone must accept this form, but no one had used it before, or even if someone used it in the past, it is not enough. Then this involves the need to figure out away. The right method will be very popular; the wrong method will not be accepted. 4.2.1.2 An in-depth interview with Researcher Zhou Xiao-qing. He asked a question, what facilitates young people's acceptance and retention of knowledge? At this point, the researcher reached a consensus with him, and the answer is curriculum education. His advice on education is that the knowledge involved in the Twenty-four Solar Terms is pervasive, and it can be used in history, geography, natural sciences, and it can be used as teaching materials for Chinese heritage culture. The physics teacher can apply it from an astronomical perspective, the geography teacher can apply it from a climate perspective, and the natural science teacher can apply it from a phenological perspective. The Twenty- four Solar Terms can be used in primary and secondary school textbooks and university textbooks. If you cut in from the perspective of art, you can guide students to participate in the arts and crafts practice, popularize the cultural knowledge of Twenty-four Solar Terms, and the content can be considered from astronomy folklore, and phenology. Instruct students to choose the elements closely related to the Solar Terms for art and hand-crafted creations to motivate students. For example, the spring equinox's folklore event may have some scientific basis because the zodiac angle on the day of the spring equinox is zero degrees. The spring equinox day is when day and night are of equal length, precisely the time of year that the Yin and Yang are in balance, so eggs are more comfortable to stand. Similarly, the autumn equinox's zodiac angle is 180 degrees, and you can also balance the eggs at this time. On the day of the spring equinox, students are taught to paint eggs. First, they use an acceptable art decoration method to draw a beautiful coat for the eggs and then play the Stand the eggs up game. In this way, 85 students are taught not only the Twenty-four Solar Terms but also astronomy. Students will be very interested. Why are the eggs able to stand? Students will have a sense of accomplishment while remembering the vernal equinox and autumn equinox. They will also remember the knowledge of day and night in astronomy. Students can pick up much knowledge through playing—astronomy, folklore, phenology. So art education is an excellent way to teach the Twenty-four Solar Terms. On how to mobilize young people to understand and learn the 24 solar terms culture. Researcher Zhou Xiao-Qing’s answer is this. The key now is to graft the Twenty-four Solar Terms with the post-90s or the new cultural language family of the younger generation, close to the way young people think. Astronomical, phenological, and folklore may focus on a certain point. The target group to focus on is the adolescents because young people have a good memory. The sooner they are introduced, the better, and they can better use the knowledge of Solar Terms when they grow up. Many things find their way into young children's heads through activities and subtle small instances. This is very interesting. The most direct solution to the problem of inheritance is education. Integration into the curriculum can be achieved through art. The Twenty-four Solar Terms itself is a traditional Chinese culture, utilizes elements that can be visualized and created. For example, the paper-cutting design with the theme of Solar Terms is perfect. Paper-cutting can be a good expression of the scene, and the skill prerequisite is relatively low, making it more suitable for young people to learn. Art can be used as a subject matter. Popularizing the Twenty-four Solar Terms from a paper-cutting perspective is a perfect way. This is a way to encourage more young people to pay attention to, learn, inherit, and protect them. For the study of the Twenty-four Solar Terms, some people agree, while some are doubtful. Some questioned the usefulness of the Twenty-four Solar Terms. It's available on the Internet. I want to know what Solar Terms are available on the Internet. Is there any value in studying it? His answer to this question is that it is 86 obvious and worthwhile. Solar Terms have the function of a time node. It can allocate seasons and time, and the key is to make it easy for ordinary people to remember. In agriculture, there is a time node when you start plowing and what you do. You can only really master it if you remember it. But now many young people don't remember because they don't do agriculture anymore. Agriculture in the countryside may slowly disappear. However, in the city, Solar Terms and health can be combined, and the combination with health is of the most concern to people. When it comes to Solar Terms, dressing, eating, and doing activities are all related. Besides, in terms of custom culture, custom culture is an important part of building local culture and developing tourism, so why is it worthless? Many people search online when they don't understand the problem, and you will not form a systematic knowledge system. For the Twenty-four Solar Terms, what you should master and remember must be remembered. Why? Because human thinking has a path, if many knowledge points are not mastered, there will be no concept, no knowledge system can be formed, no thought process can be formed, fewer associations lower your ability to innovate. There is no useless knowledge in the world. Any knowledge inspires you. The greater the coverage of your knowledge points, the more knowledge points, the richer the association and innovation, the faster the ideas come, and the reason is especially simple. 4.2.1.3 Interview with Wang Ying-De, member of the Shen Yi delegation and director of the display department of China Agricultural Museum Wang Ying-De spoke highly of this topic. He suggested that art serves life and agrees with transforming the cultural connotation of Twenty-four Solar Terms through artistic, creative product design. Visualize it, turn it into life, and turn it into something valuable. Culture benefits, and then people benefit. He agrees with expressing non-material culture in the form of visual communication. This way, innovative transformation, innovative development, and inheritance will have a turn for the better. 4.2.1.4 Interview with Researcher Zhang Su For now, some older Chinese still recognize Twenty-four Solar Terms. 87

Because it can reflect the natural phenomenon relatively accurately, what phenomenon will appear as soon as the solar term reach? The range of Solar Terms is extensive. There are too many agricultural, health, phenological, and astronomical aspects. It recommends to choose the most prominent content of Solar Terms for innovation and development and innovate according to each solar term's emphasis. It is combining Twenty-four Solar Terms with visual design. Perceive its cultural connotation through visual and the other senses. Site 2: Beijing Normal University 4.2.1.5 An in-depth interview with folklorist Xiao Fang Xiao Fang is the director, professor, and doctoral tutor of the Department of Anthropology and Folklore of the Institute of Social Management / School of Social Sciences of Beijing Normal University, the vice president of the Chinese Folklore Society, and an expert on folklore research. He has participated in the revision and review of the Twenty-four solar terms apply for world intangible cultural heritage and has witnessed the entire process of Twenty-four Solar Terms application, with profound academic and cultural skills—books: Twenty-four Solar Terms-Chinese People's View of Natural Time, and others. Interview time: Friday, July 19th, 2018. Xiao Fang believes that this topic is the right subject. Regarding how to spread the Twenty-four Solar Terms, he suggested that they be transmitted not only to young people in China but also to foreigners. Use tangible things to communicate. There is an infinite number of things to do with the Twenty-four Solar Terms, and there are many things that can transform into visual elements. For example, the 72 climates, which reflects the general climate change throughout the year. It is a change in astronomy, geography, and phenology, easily presented in pictures. Animals, plants, news of flowers (blooming), and folk activities are all available. He suggested that the project cooperates with schools to carry out youth culture and education, emphasizing the next generation of projects, which is also more in line with China's national policy. Kindergarten children are too small. The Twenty-four Solar Terms content for preschool children is not easy to understand. 88

He suggested that it could also hold some cultural activities and workshops in the community to promote community residents' participation. In foreign countries, it can cooperate with the Confucius Institute to make it a real-world communication culture. This project is either close to the community or the school. It needs a project team or an organization to work together. He said that this research is a good idea, well done, everyone is welcome. He suggested doing experimental research in the community and then working with the project team to conduct experimental research. Twenty-four Solar Terms is a vast content. He suggested that selecting representative Solar Terms to study, first make a plan, then the process can be replicated for the other Solar Terms, and then write out the overall design plan. The communication effect is the most important thing. If the audience only knows the connotation, there is no skill, no proper way, or communication carrier, the audience will not achieve the effect, so the two are complementary. Understanding the connotation of the Twenty-four Solar Terms should be prioritized, the expression and form of communication is the second issue, and the third issue to consider is the practical activity. Site 3: Chinatown, Bangkok, Thailand 4.2.1.6 An in-depth interview with Mr. Somchai, a historian Mr. Somchai is the fourth generation of Thai Chinese, born in Chaozhou, Guangdong Province. He is currently living in Bangkok, Chinatown, studying Chinatown's local history and folk culture, which he is keen on the heritage of Chaozhou culture in Bangkok's Chinatown. Interview time: Wednesday, November 7th, 2018, September 30th, 2018, lunar calendar, the solar term for Beginning of Winter. In an interview with Mr. Somchai, the researcher chose November 7th, 2018, as a particular day. When the researcher asked him, "What is the solar term for today?" He quickly replied that today is the solar term of "the Beginning of winter." The researcher was surprised that the solar term for many young people is not always answered immediately for many young people in China. He must know a lot about Chinese traditional culture. Then Mr. Somchai started the conversation and 89 shared many Chinese stories in the Chinatown of Bangkok, Thailand, and their understanding of the Twenty-four Solar Terms, to provide a reference for researchers. The contents are as follows: In Bangkok, Chinese and Thai people of Chinese descent account for about half of the population, and some surveys say they can reach about 70% in Bangkok. Most of the Chinese in Thailand are immigrants from Chaozhou and Shantou, so their folk culture has followed many Chaoshan people's cultural traditions. Mr. Somchai said that because Thailand has three seasons and no winter, he does not have a deep understanding of the Twenty-four Solar Terms, but he knows that today is the beginning of winter Solar Terms. He is also familiar with the four Solar Terms: Spring equinox, autumn equinox, winter solstice, and summer solstice. He said that "Qingming" and "winter solstice" are two important festivals in the life of Thai Chinese. Qingming Festival is the most ceremonious time for them to worship their ancestors and the winter solstice. During the Qingming Festival, family members will gather together. In the morning, they go to the cemetery to visit their ancestors, and then the family members eat together at the cemetery. Now more and more people take the food home. On the winter solstice, they do not go to the cemetery to worship. They use Tangyuan to worship at home. They worship Buddha first, then grandparents, and then eat Tangyuan. With the change of history, traditional solar culture has integrated and evolved in Thailand. He said that many Thai Chinese people know that Qingming is from China and that Qingming Festival worships their ancestors, but Thai Chinese do not know that the Qingming Festival is one of the Twenty-four Solar Terms problems. He told me that he did not know the origin of Qingming. He did not know why the Qingming Festival was held in the early days of April instead of other days. Why did he go to worship ancestors before Qingming Festival? He would like to know all these questions. There are not many Chinese people in Thailand who know about the Twenty-four Solar Terms. The ones that do are mostly from older generations. Young people know less about it. Moreover, many people do not know what the term means. 90

When the researcher asked whether the Twenty-four Solar Terms should be passed down, Mr. Somchai replied that they should be passed down. Before, with the small, thick tear-away calendars, every solar term used to be included. Solar Terms used to be very important to farmers, but now many people live in cities, and Solar Terms can still use. It seems that it is the beginning of winter today. It is cold. People should wear a jacket to keep warm in Thailand. China was not the only culture to notice the significance of the winter solstice. The GMT: Greenwich Mean Time in the UK, the Buddhist month in Thailand, and the Mayan culture in Mexico all have records of the winter solstice. Even Christmas in western countries has something to do with the winter solstice. Because Romans believed in the sun god at that time, they believed that December 21st or 22nd was the first day of the sun and had great power. People know that after the winter solstice, the sun becomes more and more powerful. The Romans believed in the Sun god. There was no detailed record of the specific date of Jesus' birth, so December 25 became Jesus' birthday. 4.2.1.7 An in-depth interview with Zhang Bo, deputy director, China culture center, Bangkok, Thailand Zhang Bo is a Beijing native of China and deputy director of Thailand's Chinese cultural center, currently living in Bangkok for three years. Thailand's Chinese cultural center is located in Huai Kuwang, another place where Chinese people gather in east Bangkok. Most of the Chinese gather here to run their businesses. The Brilliance shopping center has gradually become the second Chinese community in Bangkok, similar to the second Chinatown in Bangkok. Interview time: Wednesday, November 7, 2018, September 30, 2018, lunar calendar, the solar term for Beginning of Winter. He comments that this topic is excellent. In Thailand, maybe Tomb Sweeping Day will be better. During the Qingming Festival and the winter solstice, Chinese people in Thailand have customary worshiping. We could organize some solar term cultural activities, and they can be indoors or outdoors, in a park, anything. It's about connecting the people with the period. For example, at the 91 beginning of winter today, we can talk about some knowledge of Solar Terms and hold some related activities and workshops to let people remember them easily. Next winter, the audience will understand. There is no winter in Thailand. The weather becomes cooler and more comfortable after today. The weather will change, and the temperature will change after each solar term. Our bodies can feel these changes immediately, so we pay close attention to the Twenty-four Solar Terms in our daily lives. The city is the same. Urban residents pay more attention to life, while rural people pay more attention to crops. Crops should follow the laws of nature. After harvesting, there will be no more production. The solar term diet is what to eat at what solar term. In old Beijing, some elderly residents are concerned about the solar term. However, now young people don't pay much attention. He said the most important solar term in Thailand is Qingming. No matter how busy people are, Qingming Festival always goes home. One is to reunite, and the other is to make offerings to their ancestors. Moreover, we all know that the Qingming Festival is a national festival and one of the Twenty-four Solar Terms, which is very important. No matter how we publicize it, it will not be as effective as the government's propaganda. If we want to make the Twenty-four Solar Terms better, government support is the most direct and effective. His answer was quite optimistic about where he came into contact with and understood the Twenty-four Solar Terms. He comes from the countryside, which he knows the Twenty-four Solar Terms. It did not need to teach. The solar term is too close to people's life. The Twenty-four Solar Terms guide people on what clothes to wear each season. People will know the solar term as soon as it arrives. For example, if the weather is prolonged, we will know what the solar term is. We can see the length of day and night. Look at the phenology, and we will know what the solar term is. On how to revitalize the Twenty-four Solar Terms, he suggests that the popularization of Twenty-four Solar Terms depends on education on traditional cultures. School education is the central part, and of course, family education. When 92 the solar term comes, it is also essential for parents to guide their children consciously. For example, the solar term for the Beginning of Winter, eat dumplings. Then the parents talk about the beginning of winter, and the children will remember. Then another solar term comes in half a month, and family activities also come. One every half a month, repeated every year. The children will naturally remember. For example, how to celebrate the Qingming Festival. How children should treat their elders or their dead ancestors. At this time, family education plays a crucial role. When the audience educates the children, it is also educating their parents. When children are young, family education is the main form. Parents can teach them through words and deeds, and the form of education can be more relaxed. As children grow up, school education becomes more important, more standardized, and more systematic. As long as the knowledge of Solar Terms is integrated into education, it can achieve a certain level of popularization, and it can also be achieved through cultural activities. 4.2.1.8 Conclusion of the Interview The researcher's interviews with experts and scholars on the Twenty-four Solar Terms are beneficial and received many constructive suggestions and lessons. The interview results are summarized as follows: 1) The greatest wealth left by the Twenty-four Solar Terms for the Chinese people is discipline, self-confidence, and hope. It is the cultural foundation on which Chinese civilization can continue to flourish, and the inheritance of the Twenty-four Solar Terms is a way to preserve the "Chinese dream." 2) A comprehensive understanding of the Twenty-four Solar Terms, its astronomical, folk, and phenological aspects do not need to be profound. A general understanding is sufficient. Observe more, collect more, master more, and make it people own thing as much as possible. Then use an innovative form to express it so that everyone is willing to accept it, to achieve popularization. 3) The most direct solution to the problem of inheritance is education. It can integrate into the curriculum through subjects such as art. Students can instruct to choose the elements closely related to the Solar Terms for art and hand-crafted 93 creations. Chinese Paper-cutting requires relatively low skill prerequisites, making it suitable for young children. Popularizing the Twenty-four Solar Terms from a paper- cutting perspective is an excellent way to attract more young people to learn, inherit, and protect it. 4) Grafting the Twenty-four Solar Terms with the new cultural language family of the younger generation is closer to the way of thinking of young people. Adolescents learning the Twenty-four Solar Terms cultural knowledge can be inspired in their thinking, make better associations, and be more innovative. 5) The Twenty-four Solar Terms have the function of time nodes, which can distribute the concept of the time of spring, summer, autumn, and winter in a particular order, which is itself a systematic time knowledge system. However, its influence may gradually decrease outside of rural areas. However, it still has inheritance value in terms of people's health and local tourism culture construction. 6) Select the most prominent content of Solar Terms for innovative development and innovate according to each solar term's emphasis. Transform the cultural connotation of the Twenty-four Solar Terms. Visualize it, bring it to life, and turn it into something valuable. 7) The Twenty-four Solar Terms must be transmitted to young people in China and foreigners. In China, the project can cooperate with schools, and engage in youth cultural education, emphasizing the next generation of projects. The researcher can also organize some cultural activities and workshops in the community to bring community residents together. The researcher can cooperate with the Confucius Institute abroad to truly make it a world culture. 8) The Twenty-four Solar Terms culture should be inherited and popularized so that more overseas Chinese can learn and understand it. 9) Popularizing the Twenty-four Solar Terms depends on education, traditional cultural education, school education as the mainstay, and family education as the supplement. As long as the knowledge of Solar Terms incorporates into education, a particular popularization effect can achieve, and cultural activities based around the Solar Terms are also possible. Government support will be the 94 most direct and effective way to inherit and popularize the Twenty-four Solar Terms culture. 4.2.2 Fieldwork: a case study of Chinatown in Bangkok, Thailand In the previous in-depth interview with experts, Professor Xiao Fang, a folklorist at Beijing Normal University in China, made it clear that the Twenty-four Solar Terms should not only be spread to young people in China but also foreigners. In foreign countries, some cultural activities and workshops can be held in the community to promote community residents' participation and make it a world culture for communication. Because of the above interview suggestions, the researchers took Bangkok Chinatown as a case study. The purpose was to understand the cognition and inheritance of Chinese traditional culture in Thailand through investigation and analysis. The research team spent half a year on investigations, visits, and observations of Bangkok's Chinatown. The fieldwork research results are as follows. 4.2.2.1 Visiting the Yaowarat Chinese community in Bangkok Chinatown Bangkok Chinatown is located in the western part of Bangkok, the capital of Thailand, having a history of 200 years. Now it has become a prosperous business district. It has the most massive scale and prosperity among the Chinatowns in Southeast Asia. This veritable "Chinese city" with Chinese style, about 2 kilometers long, stands in the west of Taijing city. Now the most famous is Yaohuali Road. Thai Chinese has a large population with a long history. The traditional Chinese culture and customs of Chinese communities are still typical in Bangkok's Chinatown. Chinese people, especially Cantonese, will feel very familiar when they come to Bangkok's Chinatown. The shop boards in the city mark with Thai and Chinese characters. Of course, Chinese characters are the central part, highlighting the characteristics of the Chinses people. 95

Figure 43 Night view of Bangkok Chinatown 4.2.2.2 Krung Thai Bank Art Gallery Traditional Chinese Wedding Exhibition In August 2018, Krung Thai Bank Art Gallery held an exhibition of the Thai Chinese marriage ceremony, which is the exhibition items included dresses, gift boxes, banquet items, and wedding ceremonies. Although it was not an actual wedding, the researcher could feel the intense traditional Chinese wedding atmosphere. This exhibition fully shows that Thai Chinese have maintained quite many traditional Chinese wedding customs here in Thailand, and some details were even more prosperous than when traditional weddings in China. The representative color of China, red, is still the most prominent color for Thai Chinese wedding. Chinese paper-cutting elements were also widely used in wedding design.

Figure 44 Thai Chinese wedding ceremony, exhibition photos 96

4.2.2.3 Field research of Historic Hut Charoen Chai Community (Ban Kao Lou Rueng) The historical hut Charoen Chai community is a Chinese community. On the second floor, there was a studio-like room with costumes and articles of many Thai Chinese. There were also various ancestral offerings made with folded golden paper. On the top floor was the stage. This historic building is a room with traditional Chinese characteristics. The local Chinese call it a community, where visitors can trace back some of the Thai Chinese's early life footprints. On the wall of the historic hut Charoen Chai community, the researcher was surprised to find several posters of traditional Chinese festivals, including two posters of Chinese Twenty-four Solar Terms. This historical building made the researcher more aware that while the Chinese immigrated to the south, they also brought their traditional culture and festival customs to Thailand and Southeast Asia, which promoted the integration of Chinese and Thai national cultures and local customs. Besides, there are many offerings made of paper, including origami and paper cutting.

Figure 45 Traditional Chinese festival posters, Twenty-four Solar Terms posters, paper offerings 97

4.2.2.4 Field research Chinese traditional festivals of Yaowarat in Chinatown On September 24th, 2018, it was the annual Mid-Autumn Festival. The researcher visited the Dragon tail temple in Chinatown as soon as the researcher arrived there, shocked by the intense festive atmosphere. Dragon tail temple is the oldest Chinese Temple in Chinatown, with more than 300 years. The area is not large. It is usually a quiet and peaceful place, but the Mid-Autumn Festival was very busy. Many Thais come to Dragon tail temple to worship, make offerings, make wishes, draw lots, and hang lanterns. Influenced by Chinese culture, Thailand's Mid- Autumn Festival is a traditional festival for overseas Chinese living in Thailand. Although it is the same Mid-Autumn Festival as the ones in China, the customs are different. In China, the concept of the Mid-Autumn Festival is a family reunion and eating moon cakes. In Thailand, the focus is on making offerings. Every year, the Mid- Autumn Festival (Full Moon Festival) has moon worshipping activities, usually from sunset to the next morning. All kinds of forms entrust with people's infinite love for life and hopes for a better future. Lanterns are the most popular product of the day. Chinatown is full of lanterns. Many of them are paper lanterns, paper folding as the main part, paper cutting as the auxiliary part, and LED lights inside, which is more in line with the current concept of energy conservation and environmental protection.

Figure 46 Photos of paper offerings for Mid-Autumn Festival in Dragon tail temple, Chinatown 98

4.2.2.5 Lecture and lantern Workshop on the traditional culture of Bangkok Full Moon Festival The historical hut Charoen Chai community is also a venue for academic exchange. Sometimes, professors of Thailand Art University will bring students (Bachelor and graduate students) to visit, observe, participate in, and study Chinatown's relevant history. Thailand's full moon festival and academic activities hold here. Veetawat of the school of decoration and design of Thailand University of art invited a local scholar to explain the process of making lanterns for the Mid- Autumn Festival, which is conducive to students' better understanding of the traditional culture and folk activities of the Mid-Autumn Festival. He also invited Thai Chinese who have mastered lantern-making skills to guide students on making lanterns by hand so that students can truly integrate into the festive atmosphere of the Mid-Autumn festival hands-on practice, listening, learning, and making.

Figure 47 Professor Veetawat is explaining the process of making lanterns to students

Figure 48 Mr. Somchai, a local historian in Chinatown, is explaining to students the background of airplane shaped lanterns 99

4.2.2.6 Participate in a paper-folding workshop In September 2018, the historical hut Charoen Chai community held a paper-folding workshop. The host, Wirin, was a graduate student from the school of decoration and design, Thailand University of art. She studied the development of origami art and tourist souvenirs in Chinatown. Most of the participants of the paper folding workshop came from the Chinatown community. They were the residents living here. Some of them were professional craftsmen and had specific handicraft skills. Some tourists who were interested in paper folding also joined the origami workshop. The materials came from the shops near Chinatown. The colors were mainly red and gold, and some were gold paper with patterns, which was of festive significance. The pieces were created by folding and were held together with glue. Then add a red string and trinkets so that when handcraft finishes, they can hang up. The practice has proved that the sense of accomplishment from completing a piece of work by the participant was authentic, even for minimal products. The researcher was pleased to be able to participate in this paper-folding workshop. Here the researcher learned how to make some auspicious souvenirs with paper and gained a lot. The learning process and related pictures of the paper folding workshop are as follows.

Figure 49 Chinese community residents in Bangkok's Chinatown are learning origami to make souvenirs. 100

Figure 50 Origami souvenirs are made by researchers participating in workshops. 4.2.2.7 Conclusion of the fieldwork According to field investigations, many traditional Chinese festivals have evolved since their introduction to Thailand. Usually, they are based on traditional Chinese festivals' cultural standards and integrated with Thai culture and customs. Worship has become more critical in the "Thai-Chinese Traditional Festival," and some custom ritual links are even more abundant than mainland China. Chinese in Thailand would buy various items for worship during the festival, according to Thai customs and others according to traditional Chinese customs. Many of them come in the form of paper offerings, mainly produced by hand through paper folding techniques. Lanterns are very popular in Bangkok's Chinatown. Especially during the Chinese New Year and the Mid-Autumn Festival (Full Moon Day in Thai), many lanterns would hung on the streets and alleyways, with a wonderfully festive atmosphere. Many Chinese shops in Bangkok's Chinatown sell these paper goods, and many traditional handicraftsmen have mastered the relevant production skills. These handicrafts had been passed down from mainland China a long time ago. In the 1970s, mainland China experienced a particular period in its history, and many traditional handicrafts gradually disappeared. However, the craftsmen in Bangkok's Chinatown have maintained these skills well and have been using them today. 101

A few product products use paper-cutting techniques because making Chinese paper- cutting tends to be more artistic, with a certain degree of difficulty. One can imagine that there are not many people in Thailand who have mastered the Chinese paper- cutting technique. However, this is precisely an opportunity, and the absence does not mean that there is no market. The researchers intend to focus on paper-cutting the three-dimensional aspect and designing and developing some paper lanterns and living objects with Chinese paper-cutting techniques. Combining Chinese paper- cutting techniques with the Twenty-four Solar Terms and reinterpreting the Twenty- four Solar Terms through innovative art forms. We should be able to spread traditional Chinese culture to the world and do it with a Chinese voice. 4.3 The results of art and design education workshops studies 4.3.1 Chinese 3D Paper-cutting Workshop of Nanjing University of the arts, China. The transformation from 2D paper-cutting to 3D paper-cutting is realized through the design of the front paper-cutting lantern. In order to test the suitability of the "Twenty-four solar terms as the theme" for the Chinese paper-cutting workshops, the researchers held a 3D papercutting workshop in Nanjing, China, on September 23rd - 28th, 2019. The representative group consisted of 19 students from Nanjing University of art, including ten undergraduates (1 international student) and nine postgraduates (5 international students). Students were required to select one of the Twenty-four solar terms by drawing lots and were given a week to complete a three-dimensional paper-cutting work. It can be a lantern design or other desktop projects. Therefore, each student's theme was randomly determined, and the student's knowledge of the Solar Terms was almost the same. In the early stage of the workshop, the guidance and suggestions given by the expert interview were adopted: "Look into the relevant literature of the Twenty-four solar terms to gain a general idea of the concept, without the need for in-depth understanding. Every solar term has much knowledge of astronomy, phenology, and folklore. Develop a clear understanding of the Solar Term that students have been assigned. Choose the 102 most prominent aspect of Solar Term for three-dimensional paper-cutting innovation and development. Create an innovative cultural connotation of the Twenty-four solar terms. It should be visual, lifelike, and something of value." At the beginning of the workshop, many students did not understand the Solar Terms. They first consciously looked up the literature, learned and understood selected aspects of Solar Terms, and then communicated with the instructor to express it in an innovative form. Because these students possessed basic art skills, the production process was relatively fast as long as the plan was determined. After the workshop, we also held an exhibition. The specific arrangement of the workshop is shown in the table below. Table 5 The specific arrangement of the Chinese 3D Paper-cutting Workshop in Nanjing. Design elements Detail Story Each student chooses a solar term in the form of a lottery. Specific information In the form of three-dimensional paper-cutting, develop a creative visual expression of the Solar Term.

Visual elements Select and determine according to the most prominent aspect of each solar term.

Color Red, white, or other colors, no limits. Materials Cardboard, transfer paper, LED light, fishing line, and others Technique Handmade Size/ Assembly No limits. Depends on Project

Work shows Hang up, display，exhibition 103

Figure 51 During the workshop, international students and instructors communicated with each other about the design plan.

Figure 52 3D paper cutting works with Solar Terms as the theme. The order is as follows: Slight Heat, Qingming, Autumnal equinox, Beginning of Spring, and Beginning of winter. 104

Figure 53 The order of the Solar Terms is Light heat, Cold dew, Great heat.

Figure 54 President Liu of Nanjing Art College, the leaders of International College, and other visitors visited the exhibition, and the effect of the exhibition was ideal. After visiting the exhibition, President Liu of Nanjing art college said: This workshop is experimental, and the effect is significant. This kind of experimental teaching research into our practical teaching can help students' creative thinking. The Twenty-four solar terms in China are closely connected with our lives, especially among more traditional communities of China, where closer relationships between man and nature existed. It contains the most primitive or fundamental philosophy of production in China. It is fascinating for students to integrate their knowledge of the Solar Terms with their design and then present it in an innovative art form. This kind of education form is also broadly advocated. President Liu positively affirmed the experimental teaching results of this workshop. He also suggested that art colleges 105 and universities should be widely open to society. In this way, on weekends, when citizens visit the school, students' works of art can be seen by more people. This exhibition is the spread of artistic beauty for society, which is the expression of social functions of education and aesthetic education. Conclusion of Workshop 1 Through experimental research, the paper cutting workshop in China with the theme of Twenty-four solar terms is suitable for studying a representative group of young students at home and abroad. These students have a specific fine arts foundation and have achieved an organic combination of theoretical study and practice. By consulting the literature, students learned the relevant knowledge of the Twenty-four solar terms and created art and handmade works through the workshop. The study found that Chinese students are more adept at creativity, and international students are generally more hands-on than Chinese students. After all, the cultural background of each country is different. The international students have paid more attention to the practical aspects of art since childhood. This is worth further discussion and research by Chinese educators. From the quality of the works produced, the expected goals of the workshops were achieved. However, a few students' results were not perfect. Nevertheless, as for this experimental research, the workshop's goal is not to judge students' works' quality. The research goal is whether students could learn more about Twenty-four solar terms due to the workshop. After the workshop, students responded that they generally have a deeper understanding of the Twenty-four Solar Terms. The audience generally recognized the twenty-four solar terms' visual art form by holding the exhibition, which was very innovative. Many viewers said that they better understand the Twenty-four solar terms after visiting the exhibition, which is conducive to its spread and awaken the Chinese people's cultural memory of the twenty-four solar terms. Research shows that popularizing the Twenty-four solar terms from a paper-cutting perspective is an excellent way to attract more young people to pay attention, learn, inherit, and protect it. 106

4.3.2 Chinese 2D Paper-cutting Workshop of Bangkok Chinatown. Since the birth of paper-cutting art, there has been no interruption in Chinese history. Because the difficulty of paper-cutting is not very great, the technique has been widely adopted in our country's rural areas. It enriches all kinds of folk activities in China and is one of the most abundant artistic forms of Chinese folk historical and cultural connotations. However, with the changes of the times, paper-cutting art gradually faded out of people's sight. Today, some people still mastered the art of Chinese paper-cutting, but it has become an art form, and it has gradually separated from people's lives. In 2009, Chinese paper cutting was added to the world's intangible cultural heritage list. Chinese paper-cutting art also needs to be inherited and developed. According to an interview with Xiao Fang, a folklore professor at Beijing Normal University, he proposed a proposal: The Twenty-four Solar Terms should spread to young people in China and foreigners. He proposed that some cultural activities and workshops be held in the community to bring community residents together. Mr. Somchai of Bangkok's Chinatown also suggested that the Twenty-four Solar Terms culture should be inherited and popularized so that more overseas Chinese can learn and understand it. Based on the above reasons, the researchers put forward the research hypothesis to hold a paper-cutting workshop abroad to test whether the cultural activities with Twenty-four Solar Terms as the theme and Chinese paper-cutting as the visual carrier can arouse the learning interest of overseas Chinese and promote the spread of Twenty-four Solar Terms culture overseas. On October 11th, 2019, researchers held a Chinese paper-cutting workshop in the historical hut Charoen Chai community (Ban Kao Lou Rueng), Chinatown, Bangkok. There were 10 participants in the workshop, all overseas Chinese. They lived in the Chinese community of Chinatown and have some experience with handicrafts. They had no formal art education and were between 40 and 60 years old. They loved Chinese traditional culture, had a strong desire to learn Chinese paper-cutting, a few people had some degree of understanding of the 107

Twenty-four Solar Terms culture. The specific arrangement of the workshop show in the table below. Table 6 The specific arrangement of the Chinese 2D Paper-cutting Workshop of Bangkok. Design elements Detail Story Great heat Solar Terms Specific information The hottest season Visual elements Lotus blooming, Dragonflies, fish Color Red Materials Red rice paper Technique Handmade Size/ Assembly Within A3 dimensions Work shows Display The characteristic of Chinese paper-cutting is that it is easy to learn initially, but mastery is difficult to achieve. Because the representative group members had not learned Chinese paper cutting before, this workshop taught Chinese 2D paper cutting, which was relatively simple and suitable for beginners. All tools needed for paper cutting were prepared in advance. These included pencils, rubbers, scissors, knives, cutting boards, and red rice paper. Considering that some representative group members may not be good at painting, researchers also prepared molds of paper-cutting patterns. Beginners only needed to learn how to fold the paper and draw directly according to the mold. To learn Chinese paper cutting, we should first learn how to fold the paper correctly, and then draw patterns on the folded paper pattern, use the intaglio and Yang carving in the paper cutting technique, cut away the redundant parts, leave the parts that need to retain, and open it into a complete round paper cutting. Because everyone's art skills are different, using paper-cutting mold reduces the difficulty of making paper-cutting to a certain extent and shortens the time it takes to produce the work. For this experimental study, the learners could fold the paper and draw the patterns by 108 themselves after learning the basics of paper-cutting from the workshop. They were then able to cut out the Chinese paper-cutting works that they had designed. This paper-cutting workshop demonstrated three paper-cutting techniques: symmetrical lotus paper-cutting, triangle Dragonfly paper-cutting, hexagon lotus paper-cutting, and seedpod of the lotus paper-cutting. The details are as follows.

Figure 55 Lotus paper cutting mold and symmetrical lotus pattern.

Figure 56 One-twelfth of the lotus paper-cutting mold and the circular lotus pattern.

Figure 57 One-sixth of dragonfly paper-cutting mold and the circular dragonfly’s pattern. 109

Figure 58 The researchers guiding the students on Chinese paper cutting.

Figure 59 Chinatown students are absorbed in learning Chinese paper cutting.

Figure 60 After the paper-cutting workshop, all participants took a group photo, and the harvest was full. 110

Conclusion of Workshop 2 Bangkok Chinatown is a place where many Thai Chinese live together. The Thai Chinese attach great importance to Chinese traditional culture. Therefore, Bangkok Chinatown better retains traditional Chinese festival customs and traditional crafts. As a unique cultural symbol of China, Chinese paper-cutting art is popular in Bangkok Chinatown. Studies have shown that, compared to the Twenty-four Solar Terms culture, the participants were more interested in learning Chinese paper- cutting techniques. The members who participated in the Chinese paper-cutting workshop were very motivated because it was their first time to learn the technique. Although many people’s paper-cutting works were not good-looking or even ugly, they enjoyed the process of participation, which was an experimental study of this workshop. The biggest gain: All members could complete their paper-cutting work under the prescribed time's predetermined requirements. The workshop achieved the expected results, and residents of Chinatown communities who participated showed an intense curiosity and interest in Chinese paper cutting. Moreover, after attending the workshop, they understood the Solar term “Great heat solar term” They learned that the summer heat is the hottest time in China; that the temperature there is similar to the hottest time in Bangkok; that the lotus blooms in the summer heat; and that dragonflies are a phenological phenomenon related to the “Great heat solar term”. In general, the workshop was a preliminary attempt for cultural exchange between China and Thailand and had specific positive effects for the Chinese paper-cutting art and the cultural heritage of the Twenty-four Solar Terms. This experimental study makes a preliminary exploration of the inheritance and popularization of Chinese traditional culture abroad, which can be used as a reference for related researchers.

4.3.3 Chinese 2D+3D Paper-cutting Workshop of Liaoning University of science and technology, China In order to spread the Twenty-four Solar Terms culture, everyone needs 111 to be involved. How can it be done? If we take the subtle route in our life, it may be more effective. At this time, we need designers to participate in it so that more works with Twenty-four Solar Terms appear in our life. However, the researchers themselves cannot cover a large enough number of people. So researchers use teaching methods to spread the knowledge of Twenty-four Solar Terms to visual communication students. Future designers can develop and spread like seeds and strengthen the Twenty-four Solar Terms' channels and strength. Based on the above reasons, the researchers held the "Twenty-four Solar Terms Chinese paper cutting workshop" in December 2019 at Liaoning University of science and technology of China, this time, based on a combination of 2D and 3D cutting techniques". Reasons for selecting the representative group: the workshop selected third-year undergraduates from the Department of visual communication design of Liaoning University of science and technology; Paper cutting is an art technique. Ordinary students without special training in the arts were likely to struggle with paper cutting; These third-year undergraduates had just finished the Folk-Art Design course and had mastered certain paper cutting skills. Through the input of Twenty- four Solar Terms knowledge, paper-cutting works could be more readily created around the relevant Solar Terms. Another reason is that we can test how the post- 90s Chinese college students understand the Twenty-four Solar Terms and how much they could learn about them through this workshop's experimental research. After they participated in the workshop and finished creating paper-cutting works, how many Solar Terms did they master and remember? The specific arrangement of the workshop is shown in the table below. Table 7 The specific arrangement of the Chinese 2D+3D Paper-cutting Workshop of Liaoning University of science and technology of China. Design elements Detail Story Each student chooses a solar term from a lottery. 112

Specific information In the form of 2D+3D Chinese paper-cutting, develop creative visual expressions of Solar Terms

Visual elements Select and determine according to the most prominent aspect of each solar term.

Color Red, white, or other colors, no limits. Materials Cardboard, transfer paper, LED light, fishing line, and others Technique Handmade Size/ Assembly No limits. Depends on Project Work shows Hang up, display, exhibition Step 1. Workshop design concept The researchers imparted the knowledge of Twenty-four Solar Terms to the students in the form of course teaching and guided the students in choosing the most representative elements of Solar Terms and transform them into visual graphics through materials and techniques related to the Chinese art of paper-cutting. Step 2. Teaching process 1) The selection of Solar Terms is by drawing lots because most students know the Twenty-four Solar Terms, but they do not know them deeply. Because Solar Terms involve a wide range of knowledge from astronomy to folklore and phenology, the students do not expect to cover the entire spectrum of the Solar Terms. After the students selected their topics, they focused on that particular solar period and extracted the most appropriate elements for representation. 2) The workshop lasted for two weeks. In the first week, through a literature survey, students learned the relevant knowledge of the selected Solar Terms and completed a 2D paper-cutting work. Plane paper-cutting works were mainly used for narrative purposes, focusing on the knowledge points of Solar Terms. Their contents involved folk activities or phenological phenomena and were 113 presented on A3-sized, 180g red paper jam performance. 3) The second week was developing and designing a 3D paper-cutting around the Solar Terms' original topic. Through the first week of the study, the students have attained a deeper understanding of the chosen Solar Terms. On the technical side, completing a plane paper-cutting work, their mastery of paper-cutting techniques has also improved correspondingly. 3D paper-cutting works required the students to choose the most prominent Solar Terms for innovative development. The paper's thickness, color, and size can determine according to their creative expression's actual needs. 4) On the last day of the second week of the course, all students' works were be handed in, summarized, and reported to all students to share their learning experience. The students in the report should share the knowledge of the chosen Solar Terms and elaborate on their creative ideas of paper cutting. Active observation and discussion were encouraged for the whole class. The students who observed could ask questions, and the students who gave the reports were responsible for answering. Because each student only studied their selected topic of the Solar Terms, they did not know much about other Solar Terms. This observation and discussion procedure created an opportunity for all workshop members to learn from each other and communicate. In this way, students can have a more comprehensive understanding of the Twenty-four Solar Terms in a short time, giving full play to the dual role of education and aesthetic education. Step 3. Exhibition A three-day paper-cutting model exhibition was held after the workshop. The students were given the role of explaining their works to the audience who visited. Tests were carried out on the audiences’ level of understanding of the Twenty-four Solar Terms culture after seeing the model exhibition to investigate the effectiveness of this means of communication. 114

Figure 61 Pictures of the learning scene of the researchers and students in the workshop. Step 4. Appreciation of students' excellent works of Chinese 2D paper cutting

Figure 62 Qingming solar term theme paper cutting (focusing on folk activities) 115

Figure 63 Rain solar term theme (Phenology); White Dew solar term (Folk customs)

Figure 64 Winter solstice solar term theme (Life scenes); Great Snow solar term theme (focusing on natural phenomena) Step 5. Appreciation of students' excellent works of Chinese 3D paper cutting

Figure 65 3D paper cutting with themes of Grain Full and Grain in Ear solar term (focusing on Farming) 116

Figure 66 3D paper cutting with the theme of the solar term of the beginning of winter (focusing on folk sacrifice)

Figure 67 3D paper cutting with the Limit of Heat Solar Terms theme (focusing on folk sacrifice)

Figure 68 3D paper cutting with the Frost's Descent solar term (focusing on phenology), Slight Heat solar term (focusing on natural phenomena) 117

Step 6. Student work report and exhibition

Figure 69 Student work report: frost and dew Solar Terms (focusing on folk activities)

Figure 70 Group photo of the researcher and students in the workshop

Figure 71 Workshop final work exhibition Step 7. Student interview The students were assessed on their knowledge of the Twenty-four Solar Terms Before and after the workshop. Comparisons were then made to ascertain the 118 level of knowledge gained from experience. Before attending the workshop, most of the students thought that the Twenty-four Solar Terms was a lunar calendar related to agricultural production. Only a few of the students recognized that the Twenty- four Solar Terms were solar calendars that guided agrarian production. Some students knew several famous Solar Terms, such as Qingming, winter solstice, summer solstice, spring equinox, and autumn equinox. The vast majority of students did not know that the Twenty-four Solar Terms is the world's intangible cultural heritages. They knew less about the phenology and folk activities of the Solar Terms. After the students took part in the workshop, the researchers asked the same questions, and the students answered them well. It can be seen that the workshop was active and influential in popularizing the knowledge of Twenty-four Solar Terms. All the students believe that the Twenty-four Solar Terms is traditional Chinese culture and should be popularized and passed on to more people. Many students have published their own experience of participating in the paper-cutting workshop. Student Shi Chong chose The Beginning of Winter solar term. He said that in the beginning, people did not know much about the Twenty-four Solar Terms. They have not had the opportunity to experience it. When he started studying the solar term at the beginning of winter, he felt like there was nothing to go on, that there were too few elements available. After checking the relevant materials, he gradually understood and gradually refined and combined and finally created. He thinks the process is significant and even more important than the resulting work. He enjoyed the process very much. Student Wang Chen-kun chose the Autumnal Equinox solar term. He said that at first, he was confused and did not know how to approach it. Later, with his teacher's help and through study, he had a deeper understanding of the Twenty-four Solar Terms and paper cutting skills. In terms of Chinese traditional culture, he knew what "five grains" meant. Through training, he learned more in-depth paper-cutting production skills and forms and composition and how to combine materials. His innovation and practical abilities have been expanded. Student Wu Jia-xuan chose the Rain Water solar term. He said that he 119 reviewed the knowledge, technology, and methods he had learned through the workshop. He learned a lot about the Twenty-four Solar Terms. To a great extent, it improved his technical capabilities. He felt that the workshop was significant, and he was very grateful for the course content. Conclusion of the Workshop 3 Through the experimental research of the 3D paper-cutting workshop 3, the results verified the suggestions put forward by the experts in the interview, that Twenty-four Solar Terms themed Chinese paper-cutting art experience is able "to express the culture in an innovative form so that universal acceptance and widespread popularization can be achieved." This experimental study's representative group members were third-year students of art colleges and universities who had a good foundation in the arts and had mastered specific paper-cutting skills. They are the future designers, grafting the Twenty-four Solar Terms with the young generation's new cultural languages. Young people learn Twenty-four Solar Terms, cultural knowledge, inspiring thinking, improving association, and innovation ability. Their works are closer to young people's way of thinking, conducive to the popularization of Solar Terms knowledge. The Twenty-four Solar Terms are a systematic time knowledge system and folk culture system. However, its influence in rural areas may be gradually reduced. Nevertheless, it still has heritage value in people's health preservation and development of local cultural tourism. After graduation, young students will become a part of society and bring the Solar Terms knowledge to their future design works imperceptibly, conducive to the wider spread and popularization of the Twenty-four Solar Terms in society.

4.4 The results of visual design objects studies 4.4.1 Design practical application research of Thai Full Moon Festival 2019 Lantern Design. According to the questionnaire and in-depth interviews, we can conclude 120 that the most direct way to solve the Twenty-four Solar Terms inheritance problem is education. A practical method is to integrate the cultural knowledge of the twenty- four solar terms into the art and design curriculum. The researchers finally decided to carry out the "China paper cutting workshop" experimental research. To test the feasibility of the Chinese paper-cutting workshop and whether it can promote the popularization of the Twenty-four Solar Terms culture, the researchers designed a Chinese paper-cutting Style Lantern combined with the 2019 Thailand full moon festival in August 2019. With nine steps, such as design sketch, scheme adjustment, dimension setting, manual model making, effect test, vector drawing, laser cutting, lantern assembly, exhibition layout, and others. See the table below for design and development methods. Table 8 The conclusion of the designing and developing methods of Thai Full Moon Festival. Design elements Details

Story Thai Full Moon Festival Lantern Design 2019

Specific Festival decoration, Celebration, Worship information Visual elements Full moon, rabbit, peony (Chinese national flower), “卍” symbol Color Red, Good luck & hope

Materials Red cardboard, LED light, fishing line

Technique Handmade, computer vector graphics drawing, laser cutting,

Size 29cm x 30cm, 7.5cm x 10cm (souvenir)

Assembly Tenon-and-mortise structure, no glue required for assembly

Work shows Hang up, display, exhibition

121

Figure 72 Design sketch, dimension setting, scheme adjustment, manual model making.

Figure 73 Lighting effect test of l handmade lantern at night.

Figure 74 7.5cm x 10cm small lantern computer vector graph 122

Figure 75 Pictures of paper components after laser cutting

Figure 76 Schematic diagram of Lantern assembly, without glue.

Figure 77 Scene of assembling the lanterns. 123

Figure 78 Foreign visitors visit the lantern show at Chinatown Historic Hut Charoen Chai of Bangkok on Thai Full Moon Day(the 15th day of the 8th month on the Chinese lunar calendar).

Figure 79 Lanterns are used as background decoration at the scene.

Figure 80 The small souvenir lanterns are presented to the seminar guests as gifts. 124

Conclusion of the visual design objects worship 1 The lantern's overall design process lasted a month, after four sketch designs, four size modifications, and finally, laser cutting and manual stitching were completed. In general, experimental research has achieved the expected goals. Each paper component of the lantern is flat, and it can be mass-produced with laser cutting technology to meet greater market demands. The tenon-and-mortise structure is assembled to enable the transformation from 2D paper cutting to 3D paper cutting. All parts of the assembly require no glue for bonding. On use, the lanterns can be assembled into a solid body. When not in use, it can be disassembled into flat segments for storage with minimal space requirements. The lantern's overall design conforms to the concept of energy-saving and environmental protection, which can be assembled and reused again to avoid wasting resources. The final result is entirely satisfactory. The assembly and exhibition of lanterns attracted many Thai people and foreign tourists to visit and take photos. This design provides research hypotheses for future practical applications of the design.

4.4.2 The Great heat Solar Term Module Design The analysis shows that China is in the north temperate zone and has four clearly defined seasons in a year. Southeast Asian countries are in the tropics, without four seasons. Most of the year is hot. So, the researchers chose the solar term of "Greater Heat," which is the hottest of the Twenty-four Solar Terms. During this period, the temperature is the highest, and the crops grow fastest, which is an important period in agricultural production. In China, the Greater Heat Solar Term temperature in summer can reach over 35°C, which is similar to that of the tropics. Based on this commonality, researchers choose the solar term as the design and development model to explore the diversified visual performance of 3D paper- cutting. The purpose is to expand the audience and let more people understand and accept the Solar Terms' natural progressions in the summer. This practical research focuses on the bionic design of 3D paper-cut: how to show the phenology of Solar 125

Terms (natural phenomena) visually and interestingly. In terms of design form, the researcher continually explored the transformation from 2D paper cutting to 3D paper cutting. The design and development methods show in the table below. Table 9 The conclusion of the designing and developing methods of Great heat Solar Terms. Design elements Details Story Great heat Solar Terms module design Specific information The hottest season, Balance Visual elements Lotus blooming, Lotus seedpod, Dragonflies Color Red Materials Red cardboard, LED light, fishing line, and others Techniques Natural, Handmade Size No limits. Depends on project Assembly Tenon-and-mortise structure, No glue required for assembly Work shows Hang up, display Great Heat Solar Terms, the twelfth one in the Twenty-four Solar Terms, is between July 22nd and – 24th of each year when the sun reaches the ecliptic 120 degrees. Climate characteristics: high temperature and extreme Heat. It is the hottest solar term in a year. Great heat solar term is the season when lotus flowers are in full bloom. In the hot weather, dragonflies are often seen resting on lotus leaves. Whether in China or tropical countries, this scene often appears in the summer solar term. Researchers chose lotuses, dragonflies, and lotus seed's phenological characteristics because the elements can be converted into visual graphics and expressed in 3D paper-cutting. Humans tend to approach nature, to imitate nature. Using natural elements as representative contents of Solar Terms, we were hoping for greater recognition, attention, acceptance, and greater popularization levels. The research process and results are as follows. 126

Figure 81 The picture on the left shows the summer solar term with lotus flowers in full bloom. The picture on the right shows the symmetrical lotus paper cutting work. The researcher first designed and made a lotus by observing the phenomenon of a lotus blooming and using intaglio and paper-cutting techniques. The material used was red rice paper, and the primary tool was scissors. With this paper-cutting as a basis, three more designs were added to transform the original design into a 3D paper lotus. Then, the three parts' notches were designed using the mortise and tenon structure so that the three parts could be assembled without glue. The mid-section of the paper-card is removed. In this way, a small space was created in the middle of the hollowed-out petals. There, a small LED candle was inserted, turning it into a three-dimensional paper lotus lamp. Refer to the figure below.

Figure 82 Lotus pattern paper cutting parts 127

Figure 83 3D paper-cutting style lotus design, assembly use Tenon-and-mortise structure. The solar term of summer is when the lotus is in full bloom. Because of the hot weather, people often see dragonflies resting on lotus flowers, which is the most common phenological phenomenon in Great Heat Solar Terms. The balance of the fulcrum between the body and the wings can maintain its balance without any support when the dragonfly lands on the lotus. This design is very creative and exciting，which requires the designer to master specific physical knowledge, adjust the wing angles, height, and weight of the body and wings several times to find a balance point in the dragonfly's head. Throughout its design and production process, the connections between the wings and the dragonflies' bodies only make using intersperse techniques without any glue. On the one hand, it is convenient to adjust the height and angle of the wings as needed, while on the other hand, the ability to split and reassemble parts also has its benefits. The design concept of this paper-cutting lantern is the same as that of the previous one. The model can reuse many times. If mass production is needed, laser cutting technology is an attempt. 128

Figure 84. Dragonflies in 3D paper-cutting style, without glue for assembly.

Figure 85. 3D paper cutting style lotus canopy design, no glue for assembly

Conclusion of the visual design objects workshop 2 The Great Heat Solar Terms model design produced three 3D Chinese paper-cutting design works of one lotus and one dragonfly one lotus canopy. The results are obtained through experimental research. It was feasible to select a solar term for in-depth study, design and develop a series of three-dimensional paper- cutting works, and visualize the solar term from multiple perspectives. This experimental research validates the advice given by the expert interview: "Grafting the Twenty-four Solar Terms with the new cultural language of the younger generation is closer to the way young people think. Learning about the 24th Solar Terms' cultural knowledge can inspire thinking, improve association and innovation ability". 129

4.4.3 The Beginning of Spring Solar Term Module Design The following conclusion was drawn through the previous three workshops and two visual design objects studies of the researcher. Twenty-four Solar Terms can be visualized and brought to life with Chinese paper-cutting and become valuable items. The Twenty-four Solar Terms themed Chinese paper-cutting workshop is suitable for domestic and foreign art lovers who love Chinese traditional culture. With a little guidance on the fundamentals of the Twenty-four Solar Terms, young students who possess a basic art foundation in China would have the ability to combine their paper-cutting techniques to create innovative visual connotations of the Solar Terms. Chinese participants living overseas were keener on the study of paper-cutting processes to awaken their deep cultural memory. Both Chinese and overseas Chinese have a common cultural foundation, and they are willing to express this group's cultural identity. The Twenty-four Solar Terms involves much knowledge, astronomical, folk, and phenological. To display the Solar Terms' knowledge system in a more comprehensive and detailed way, the researchers chose the first solar term of the Twenty-four Solar Terms, "the Beginning of Spring," and developed a set of 3D paper-cutting works around the Beginning of Spring Solar Terms. Gave full play to the unique artistic charm of 3D paper-cutting and interpreted “the Beginning of Spring” from a new perspective. The design and development methods show in the table below. Table 10 The summary of the designing and developing methods of the Beginning of Spring Solar Terms. Design elements Details Story The Beginning of Spring Solar Terms module design Specific information Spring plowing, Welcome spring ceremony. Visual elements Spring cow, winter jasmine, cherry, Magnolia, fish, ice, Spring character，Chinese characters Color Red, yellow 130

Materials Red cardboard, yellow cardboard, LED light, fishing line, and others Techniques Natural, Handmade Size No limits. Depends on project Assembly Tenon-and-mortise structure, No glue required for assembly Work shows Hang up, display Reasons for choosing the Beginning of Spring solar term: It is the first of the Twenty-four Solar Terms. For ancient China, the Beginning of Spring solar term is an essential one. Spring is the plan of the year. In those days, on the spring day, the emperor would lead his officials to the eastern suburb of the capital to hold a grand spring welcoming ceremony, and the people would whip their spring cattle. From the perspective of folk culture, the Spring Festival is closely related to the solar term. There are many folk activities in spring. There are also customs such as beating spring cattle, wearing spring chicken, wearing spring butterflies, pasting “Fuwa”, hanging “Yichun” characters, pasting “Yichun” paintings, and so on. The works created by the researchers are as follows.

Figure 84 Design draft and 2.5-D works of Spring cattle. With the times' changes, the welcoming spring ceremony gradually evolved into the custom of "whip spring" among the folks. In ancient China, cattle were the primary domesticated livestock in agricultural production. To remind people that winter has passed and the solar term of spring has arrived, they should prepare for spring farming and not delay farming. This work is a 2.5D paper-cutting work with the theme of spring cattle, which can use for placement and hanging. 131

Figure 85 3D spring cow basket design, hung from the ceiling In the eyes of the ancients, the ox is a symbol of good weather and national security. China's five elements refer to gold, wood, water, fire, and earth. Cattle in the five elements of Yin and Yang belong to soil and water support. In the five parts, water can produce wood so that cattle farming can promote crop growth. This work is a three-dimensional paper-cutting work with the theme of spring cattle. The built- in LED lamp is at night as a spring cow basket lantern, which can be placed, hung, and decorated in the daytime.

Figure 86 2.5-D Spring chicken – display Wearing spring chicken is a folk activity at the Beginning of Spring solar 132 term. For children to wear it at the Beginning of Spring solar term day, they left for a boy and right for a girl. In folk art, eliminating the five poisons of centipede, scorpion, toad, snake, and gecko is an essential theme, and chicken can subdue the five poisons. Therefore, spring chicken has become a talisman for children, which is a blessing for children not to be harmed by any poisonous insects. The work is a 2.5-D paper-cutting work. The researcher designed it according to the custom of wearing spring chicken in Chinese folk at the Beginning of Spring solar term day. All paper parts splice without glue. 3D Chinese paper-cutting major work: The Beginning of Spring solar term lantern design This work is a paper lantern designed by the researcher by analyzing Spring Festival's phenology and folk culture and catering to the Chinese Spring Festival's festival atmosphere. The lantern's main paper components' symbolic meaning is that the spring cattle welcome the spring, and the spring flowers, cherry blossom, and Magnolia blossom successively bloom. Built-in two LED lights, one above and one below. It can be lit at night and has an unexpected effect of light and shadow. This work involves the knowledge of spring Solar Terms, such as 1) beating spring cattle, represented by the ox head on the lantern; 2) The word "Spring" represents both the season of spring and the Spring Festival. At the same time, it is customary to hang the "Yichun" word during the Spring Festival, which includes at the top of the lantern; 3) Spring phenological phenomena: grass and trees sprout, small animals dormant in the ground begin to move, the ice on the river starts to melt, and fish can see swimming under the ice. These are all depicted in the middle of the lantern; 4) The successive blooming of the winter jasmine, cherry, and Magnolia at the Beginning of Spring solar term is represented by the flower pattern the bottom of the lantern. It is worth mentioning that all flat paper components are assembled by mortise and tenon structure without glue for bonding. It can be split and used repeatedly and also provides a hands-on experience for the users. 133

Figure 87 Lantern Design of the Beginning of Spring solar term The expression of Yin-Yang Philosophy in Chinese Paper-cutting Yin and Yang are carving in the paper cutting technique fully reflected in this work. On the right is the "Yang" part that becomes the visual object and the user object, and on the left is the "Yin" part removed from the paper by carving, which is the perfect embodiment of the concept of "Yin and Yang" in Chinese Taoist 134 philosophy. This concept of Yin and Yang is the experience of working people in social practice. Chinese paper cutting is based on traditional philosophy and deeply influenced by Yin and Yang. See the picture below.

Chinese character "spring"

The Spring Ox made of clay to

usher in spring

Winter jasmine,

Cherry

Magnolia

Figure 88 Plan of main paper components of the Lantern. The symbolic meaning of Chinese paper-cut patterns Chinese characters are square hieroglyphs. In form, it gradually changes from figure to stroke and pictograph to symbol. So in paper-cutting art, Chinese characters can be used as visual elements. To explain the meaning of works from the perspective of linguistic logic is more conducive to transmitting the information. The performance of Chinese characters on paper-cut patterns is shown in the figure below. The meaning of the following Chinese paper-cut patterns is: The Beginning of Spring solar term carries the literal meaning of "spring start." It represents warmth and growth. At the beginning of spring, the solar term's phenological characteristics are when the sun reaches 315 ° yellow longitude, jasmine, cherry blossom, and 135

Magnolia blossom successively in the Yellow River Basin of China in spring. In Chinese tradition, the 15 days of the Beginning of Spring solar term divide into three periods: "the first period is when the east wind thaws, the second period is when the dormant animal start to vibrate, and the third period is when the fish is swimming under the ice."

Figure 89 The Chinese character pattern expression of the three phenology of the beginning of spring solar term.

Figure 90 Basic information of the beginning of spring solar term paper cutting ring, in turn, the beginning of spring solar term, 315 degrees of the ecliptic, February 4-5 Application of Chinese Mortise and Tenon Structure in Paper-cutting Components In assembling the lantern, the researchers inspired by the traditional Chinese wooden construction technique "tenon and tenon structure" and designed a paper lock to connect the paper components. The entire three-dimensional paper- cut work is assembled through interspersed and can be used multiple times without glue. The details are shown in the figure below. 136

Figure 91 The key components of the paper lantern, as well as the following lamp assembly diagram, does not use glue.

Figure 92 The lamp design and assembly diagram on the lantern is also not glued. Conclusion of the visual design objects workshop 3 The Beginning of Spring solar term is usually around the Chinese New Year, sometimes on the same day. The design and development of three-dimensional paper-cutting works combined with the Beginning of Spring Solar Terms just fit the lively festive atmosphere of the Chinese Spring Festival. The structural characteristics of Chinese characters are square. These paper-cutting artworks can use as decorative items for the Chinese Spring Festival, which embodies the Beginning of Spring and meets the market demand for the festival. Besides, the Chinese New Year is the largest Chinese traditional festival for Chinese people worldwide, and people's attention will be unprecedented. This is the right time node for the inheritance and popularization of the Twenty-four Solar Terms. The researchers learned from the experience of this 3D Chinese paper-cut 137 design model for the Beginning of the Spring solar term, which provided a reference for the final result, which is the cultural inheritance of visual design projects in community activities. 4.4.4 The results of the cultural inheritance of visual design projects in community activities: a case study on the Lantern Design for Thailand's Full Moon Festival in 2020. Bangkok Chinatown is a place where Thai Chinese live, and the custom of celebrating the Mid-Autumn Festival has been maintained. Because the Mid-Autumn Festival is the day when the moon is fullest in autumn, the 15th of each lunar month in Thai religious culture is the Buddhist Holy Day, so this festival renamed the Thai Full Moon Festival. As the saying goes, people reunite under the full moon. Most of the Chinese in Bangkok’s Chinatown are immigrants from Chaozhou, China. Therefore, the Thai Chinese in Chinatown of Bangkok have retained the custom of Chinese Chaozhou people worshiping the moon at the Full Moon Festival. At the invitation of the Chinese community in Bangkok, the researchers carried out the research and development design of the lanterns for the 2020 Full Moon Festival in Thailand with the support of Silpakorn University, the office of support Research, Innovation, and Creativity. This study is carried out based on previous practical research and results from this research in terms of visual design goals. The research team developed and designed three kinds of lanterns: the hexagonal lantern, the square lantern, and the souvenir lantern. The three lantern works show below. Table 11The summary of the design and development methods of the Thai Full Moon Festival 2020. Design elements Details Story Design theme: Thai Full Moon Festival Lantern Design 2020 Story 1. Family reunion customs Story 2. Worshipping the moon on the autumnal equinox Story 3. Eat moon cakes, enjoy the moon, and play with lanterns. Specific Festival decoration, Celebration, Worship 138 information Visual elements Full moon, lucky cloud, Rabbit, Elephant, Ruyi (如意), Bangkok Chinatown window lattice, chrysanthemum, maple leaf, “卍” symbol, Father, mother, daughter, Chinese classical window lattice, crab, moon cake, grinding tools for making moon cake, Osmanthus tree, Osmanthus wine, wine set, tea set, grape, grapefruit, pomegranate, custard apple, persimmon, taro, book cake, mung bean cake, Incense burner, Candlestick, candle, three incense sticks. Color Red, Good luck & hope Materials Waterproof bulb, Fishing line. 1050mmx760mm Red Plastics PP, 650mmx500mm Red cardboard, 12cm tall Souvenir box. Techniques Handmade, computer vector graphics drawing, laser cutting Size Hexagonal lantern: Height 1.5m, Square lantern: Height 40cm, Souvenir lantern: Height 10.5cm Assemble Tenon-and-mortise structure Work shows Hang up, display，exhibition

Figure 93 40 cm square lanterns, and 10.5 cm souvenir lanterns. 139

Figure 94 1.5 meters tall, the hexagonal lantern of Thailand full moon festival. The project includes planning, hand-drawn sketches, computer drawing, laser cutting, assembly, and layout of the Full Moon Festival venue in Bangkok’s Chinatown. It took a total of one and a half months. The design, research, and development process is as follows: 4.4.4.1 Scheme determination and hand-drawn sketch stage For Mid-autumn festival (full moon festival) story. Through a literature review, researchers have found that, in traditional Chinese culture, the Mid-Autumn Festival originated from the worship of celestial phenomena and evolved from the Autumn sacrifices to the Moon of ancient times. Initially, the festival of the "the 140

Autumn sacrifices to the Moon " was on the "autumn equinox" day of the 24 Solar Terms. Since the autumnal equinox and Solar Terms of each year do not necessarily coincide with the full Moon, it was later adjusted to August 15 of the lunar calendar. In some places, the Mid-Autumn Festival was set on August 16 of the lunar calendar. The Thai Full Moon Festival originated from the Chinese Mid-Autumn Festival, which originated from worshiping the Moon on ancient China's autumn equinox. The Chinatown of Bangkok holds a full moon festival ceremony this evening. Because August 15 of the lunar calendar is a Buddhist Holy Day, wine and meat should not be included in the full moon festival. Fruits, desserts, noodles, and lanterns are the main elements. Mainland China focuses on family reunions and dinners on this day. Crabs, grapes, sweet-scented Osmanthus wine, and moon cakes are common foods on the table. Furthermore, watching the Moon, eating moon cakes, and playing with lanterns are common overseas Chinese customs. Based on the above research results, the researchers drew three pencil sketches from three different perspectives of China, Thailand, and the world, as shown below.

Figure 95 Chinese Mid-Autumn Festival family reunion, Thailand Full Moon Festival to worship the moon, overseas Chinese in the world watch the moon, eat moon cakes.

141

For Rabbit, Elephant, Ruyi. Grandfather rabbit is a traditional handicraft of Han nationality in Beijing and a toy for children during the Mid-Autumn Festival; In Chinese mythology, Fairy Chang'E and her pet Rabbit live in the Moon Palace. According to legend, one year, a plague broke out in Beijing. Chang'E sent her rabbit to the world to treat these poor people. The rabbit came out of the Moon Palace became an old doctor to treat the patient. In order to thank Dr. Rabbit for his life- saving kindness, people used mud to shape its image, some riding on tigers, some riding on elephants, and some riding on unicorns, wearing armor, in various cute poses. The name "Grandpa Rabbit" came into being. This design chooses the two elements of the elephant and Ruyi; it means good luck. The design adds a cultural atmosphere to the festival activities of Thailand's full moon festival. See the figure below.

Figure 96 The researchers drew a pencil sketch of a grandfather rabbit riding an elephant. Because the Chinese Mid-Autumn Festival (Thailand Full Moon Festival) originated from the ancient Chinese custom of worshiping the moon during the autumnal equinox, based on the seasonal characteristics, the researchers chose the chrysanthemum and maple leaf as the representative phenology of the autumnal equinox solar term. They included them in the design of the base of the lantern. It emphasizes the close connection between the autumnal equinox solar term and the Mid-Autumn Festival (Thailand Full Moon Festival) in terms of time. See below. 142

Figure 97 The representative phenology of the autumnal equinox Solar Terms, chrysanthemums are in full bloom, and maple leaves turn red. 4.4.4.2 Computer drawing stage

Figure 98 The Chinese paper-cutting style patterns drawn by computer AI vector software tell the stories of Chinese, Thai, and overseas Chinese celebrating the Mid- Autumn Festival. 143

Figure 99 Chinese paper-cutting style rabbit, elephant, Ruyi vector pattern.

Figure 100 The base of the lantern is a chrysanthemum and maple leaf There are exceptional patterns on the windows of the Chinese community buildings in Chinatown. The researchers used the arch patterns on the doors and lattice patterns on the windows to design lanterns. It satisfies the lantern design's pattern needs and cleverly integrates the historical elements of the Chinese community in Chinatown into the lantern design, achieving two goals with one stone. See the Figure below.

Figure 101 The design of Chinese community-building elements in Chinatown has been transformed into a lantern design pattern. 144

4.4.4.3 Laser cutting stage Be Because the full moon festival is the rainy season in Thailand, in terms of material application, after discussion and experimentation, members of the R&D team decided to choose a 0.5mm thick plastic PP board for outdoor lantern production. The small souvenir lantern used 180 grams of red cardboard. The Laser studio of the Research and Development Center of the Silpakorn University provided a practical avenue for the lanterns' production and testing. After the design plan was determined, the research team produced four large lanterns with a height of 1.5 meters, 100 square lanterns at 40 cm, and 20 small souvenir lanterns at 10.5 cm in 20 days. The production process is shown below.

Figure 102 The laser cutting machine tried to cut 350g white cardboard and 0.5mm thick plastic PP board.

Figure 103 The laser cutting machine cuts 350 white and 250 grams red cardboard. 145

Figure 104 The local pattern of paper cutting lantern produced by laser cutting machine

Figure 105 The large lantern paper-cutting component produced by the laser cutting machine, the paper size is 780mmx540mm.

Figure 106 Small souvenir paper-cutting lantern components produced by laser cutting machine, paper size 650mmx500mm. 146

4.4.4.4 Lantern installation stage

Figure 107 Square lantern installation site

Figure 108 Large lantern installation site. 4.4.4.5 Full Moon Festival celebration scene

Figure 109 At the scene of the Full Moon Festival celebrations in Bangkok’s Chinatown, small souvenir lanterns were presented as gifts to the guests participating in the seminar. 147

4.4.4.6 Thailand's PBS TV station reported the full moon festival and lanterns in Chinatown.

Figure 110 A screenshot of a news report on PBS TV in Thailand.

Figure 111 A group photo of the researcher and the lantern R&D team. 148

Conclusion Since ancient times, the Mid-Autumn Festival has had folk customs such as worshiping the moon, admiring the moon, eating moon cakes, playing with lanterns, admiring Osmanthus, and drinking Osmanthus wine, and others, which have passed down for a long time. Influenced by Chinese culture, the Mid-Autumn Festival is also a traditional festival of some East Asian and Southeast Asian countries, mostly the local Chinese and overseas Chinese. The purpose of the research is to test whether people can feel the cultural exchange and communication between China and Thailand when watching the lantern, whether it can arouse people's memory and recognition of Chinese traditional festival culture. By observing the degree of people's love for lanterns at the Bangkok Full Moon Festival, it can be seen that the design has achieved the desired effect. People have gained a deeper understanding of Chinese traditional festival culture and customs by watching the lanterns. The report of Thailand's PBS TV station on the full moon festival has expanded its influence and promoted the inheritance and dissemination of Chinese traditional culture and festival customs. 4.5 Conclusion of the research outcome The research results of this chapter divide into five parts: survey questionnaire results, expert interview results, field survey results, experimental research results, and practical research results. 1) The questionnaire results show that although the Twenty-four Solar Terms are moving away from people's lives, 66% of the target population believes that the Twenty-four Solar Terms have a significant impact on the Chinese lifestyle and should pass on to the young Chinese generation. 98% of the interviewees supported the protection and inheritance of the Twenty-four Solar Terms culture through school education. 2) According to expert interviews, the most direct way to solve inheritance is education. In China, art curriculum education is a field that can inherit intangible cultural heritage. Teachers can guide students to choose elements closely 149 related to solar terms to carry out the visual transformation of Chinese paper-cutting and express and spread the cultural connotation of the twenty-four solar terms in the way of thinking of young people. Overseas Chinese community education can spread the twenty-four solar terms to overseas Chinese and foreigners who love Chinese traditional culture. 3) Field investigations using Bangkok’s Chinatown as a case show that traditional Chinese festivals have merged with Thai culture, and sacrifices have become important content. Paper sacrifices more commonly use, among which origami is the main one, with less paper-cutting. According to investigations, Thais like Chinese paper-cutting, but due to the lack of artisans who master Chinese paper- cutting, few paper-cutting offerings in the market exist. 4) The results are obtained through experimental research on Chinese paper-cutting workshops held in Nanjing, China, and Liaoning, China. The Chinese paper-cut design and creation with the theme of the twenty-four solar terms practiced the suggestions given by expert interviews and grafted the twenty-four solar terms with the new cultural language of China's younger generation. Young design students are future designers, and their designs are closer to young people's thinking, which is conducive to the popularization of the twenty-four solar terms. The Chinese paper-cutting workshop in Bangkok Chinatown shows that overseas Chinese are keen to learn Chinese two-dimensional paper-cutting. They enjoy the process of participating. After the workshop, they have a detailed understanding and knowledge of the twenty-four solar terms in China. 5) Through the practical research of the Chinese paper-cut visual design project, the results are obtained. Thai Chinese and other visitors generally welcome the Chinese three-dimensional paper-cut lanterns with the Thai Full Moon Festival theme. The paper-cut pattern used visual language to tell the visitors the cultural connection between the autumnal equinox and the Mid-Autumn Festival, which attracted many visitors to stop and watch. This object promoted the festival cultural exchanges between China and Thailand, added a lively festival atmosphere, and promoted Chinese traditional culture abroad. 150

The practice has proved that the Twenty-four Solar Terms' invisible, intangible cultural ideology transforms into visible Chinese paper-cutting. Through art and design education, the two tasks of interpretation and inheritance of intangible culture have been realized.

151

Chapter 5 Conclusion, discussion, and recommendations

Chapter 5 discusses the conclusions and research difficulties in the process of inheritance practice and recommendations for future research and development concerning the topic - “Transform the twenty-four solar terms into visual design objects that serve life by art education for inheritance.” This part is divided into five parts, as follows. 5.1 Discussion 5.2: Research difficulties encountered in the process of inheritance and practice 5.3: Analysis of research results 5.4. Recommendations for future development and further studies

5.1 Discussion 5.1.1 Restatement of the study This study comprehensively applied literary analysis methods, data analysis, historical comparative analysis, and questionnaire survey to define three Objectives and two hypotheses. Objectives 1. To study the cultural significance and social function of the Twenty-four Solar Terms in the Chinese calendar and how it affects human life as ancient Chinese's time wisdom. Objectives 2. To study how to mobilize the younger generation of China and overseas Chinese to educate and understand the Twenty-four Solar Terms culture. Objectives 3. To study how to create the Twenty-four Solar Terms culture in innovative form, young Chinese are willing to accept and achieve the purpose of popularization by using Chinese Paper Cutting craft as a tool to educate culturally and involve community purposes. Hypothesis 1. The art and design education with the Twenty-four Solar 152

Terms theme may encourage young Chinese to inherit ancient Chinese culture's wisdom. Hypothesis 2. The community activities and visual design objects with the Twenty-four Solar Terms theme can attract more people to learn and spread Chinese traditional culture. For the carrier of intangible cultural heritage, this study has concluded through literature analysis that the carrier of intangible cultural heritage is human beings. However, some art, concepts, knowledge, and technology of intangible cultural heritage need to rely on "material" to exist (About the Carrier of Intangible Cultural Heritage, n.d.). Whether it is a human-based or material-based intangible cultural heritage, it needs to be passed on from generation to generation to pass down. If this inheritance is broken, then this intangible heritage may die out. For the Twenty-four Solar Terms, this study gathers the historical development context, cultural significance, social function, and inheritance status of the Twenty-four Solar Terms. Twenty-four Solar Terms are a unique time knowledge system and folk culture system created by the Chinese following nature's time order. In the past two thousand years, it has served as a time guide for China's agricultural production and influenced the Chinese people's food, clothing, shelter, and even cultural concepts. However, with economic globalization and modern technology, the Twenty-four Solar Terms have gradually lost their original functions in contemporary Chinese society and have been gradually forgotten by the younger generation. In recent years, as the Chinese government attaches great importance to the revival of traditional Chinese culture, the new generation gradually realizes the significance of respecting the natural time and regain the value of the way of thinking brought by the Twenty-four Solar Terms the Chinese people. In 2016, the twenty-four solar terms were selected as the representative list of the world's intangible cultural heritage of humanity. It is known as the fifth invention of human meteorology and is a significant turning point in its development history. For a time, the twenty-four solar terms became a hot topic of concern. Academic conferences, exhibitions, literature, and books with the theme of the 153 twenty-four solar terms spring up like mushrooms. However, these only stay in the visual propaganda and public opinion, although to a certain extent, people pay more attention to the 24 solar terms, they do not fundamentally change the status quo of the cultural loss of the 24 solar terms. This study provides a method to popularize and inherit the 24 solar terms in art and design education. It puts forward the theoretical framework of Intangible Cultural Heritage Inheritance, even applicable to other intangible cultural heritage inheritance. For choosing Chinese paper-cutting as the visual carrier, as a visible intangible cultural heritage, Chinese paper-cut has both cultural attributes and visible characteristics. The picture and story characteristics of Chinese paper-cutting are suitable for describing the invisible natural phenology of the twenty-four solar terms and folk activities' content. Because the Chinese paper-cutting technique is not difficult, I love to see and hear. It is suitable for beginners who do not have a foundation in art, and it is also suitable for creation by professionals with a foundation in art. As a tool and carrier for inheriting the twenty-four solar terms, Chinese paper-cutting can inspire the enthusiasm for creating and learning the young Chinese and overseas Chinese and drive them to understand and inherit the twenty- four solar terms. 5.1.2 Review of the inheritance practice process The study uses a hybrid approach to collect quantitative and qualitative data. The conceptual framework includes five issues: intangible cultural heritage, twenty-four solar terms, Chinese paper-cutting, art design education, and ancient Chinese Yin-Yang philosophy. The research divides into four stages. The first stage is a questionnaire survey to collect data to study modern society’s cognition and inheritance of the twenty-four solar terms. The second stage is qualitative research, through literature review, case studies, field observations, in-depth interviews, and other methods to explore and demonstrate theories to find a suitable for the younger generation and overseas Chinese to understand and practice the 24 solar terms inheritance culture Way. The third stage is experimental research, which aims to study the concepts and methods of promoting the cultural heritage of the 154 twenty-four solar terms in the field of art and design education. The fourth stage is the actual study of visual design objects for cultural and community purposes. The research case is a study of the beginning Spring Solar term and Autumn Equinox Solar term. 5.1.3 Conclusion and discussion of the inheritance practice process With the subject of "Transform the twenty-four solar terms into visual design objects that serve life by art education for an inheritance," the inheritance practice is summarized, and the following results are found to be consistent with the research goals. 1. This study concludes from the literature review of intangible cultural heritage. Using Chinese paper-cutting as a visual carrier of Chinese paper-cutting to present the twenty-four solar terms' invisible cultural ideology can promote its inheritance and development in contemporary society. Government support will be the most immediate and significant boost for the twenty-four Solar Terms culture's heritage and popularization. The Twenty-four Solar Terms enter the campus, join the community, productive protection, and return to life are an effective way of living inheritance. 2.This research shows that the Twenty-four Solar Terms still have important cultural significance and social functions in modern Chinese society through the questionnaire survey results. 72% of the sample population knew some Twenty-four Solar Terms ' names but did not understand its characteristics and customs. 33% of the sample population believes that most young people grow up in the information age and lack a sense of closeness to the earth and nature, which is the main reason why it is challenging to inherit the Twenty-four Solar Terms. 42% of the sample population believes that the task of inheriting the Twenty-four Solar Terms should concentrate on schools. 98% of the sample target group supports disseminating the twenty-four solar terms as an intangible cultural heritage activity in schools. 3.This research has concluded through expert interviews, the most direct solution to the Twenty-four Solar Terms culture's living inheritance is to integrate the solar terms culture into the curriculum, especially the art and craft courses. They are 155 grafting the Twenty-four Solar Terms with the new cultural language system of the younger generation, using a way of thinking closer to young people, changing the cultural connotation of the Twenty-four Solar Terms, visualizing it, and turning it into something of value. The Twenty-four Solar Terms should pass on to the younger generation of China, and more overseas Chinese must learn and understand. 4.Researchers conducted field investigations using Bangkok’s Chinatown as a research case and found that after introducing traditional Chinese festivals to Thailand, cultural integration has occurred, and worship has become more critical. Paper sacrifices are the main sacrifices, and paper-cuts are the main ones. Thai Chinese celebrate traditional Chinese festivals with rich customs and ceremonies. Lanterns are very popular in Bangkok Chinatown. The results of practical research show that the Chinese paper-cutting workshop with the theme of the twenty-four solar terms and the Chinese paper-cutting visual design project developed in conjunction with community activities can attract more Thai Chinese to learn and spread Chinese traditional culture. 5. In the practical research of visual design projects, the researchers took the beginning of the Spring Festival and the Chinese Spring Festival celebrations as examples, the Autumnal Equinox Solar Terms, and the Thai Full Moon Festival as examples, combined with the 3D visual form of Chinese paper-cutting art. They carried out the design of paper-cutting lanterns and graphic design projects' R&D. The research focuses on the process of activities, 1)first attracting people's interest through the visual form of paper-cutting. 2)Moreover, it guides people to understand what was reviewed in the previous literature review through its easy-to-operate and easy-to-spread characteristics. The twenty-four solar terms are the life philosophy and cultural awareness of living art created by the Chinese following the time order of nature. 3)Researchers try to use Chinese paper-cutting art to explain the internal cultural connection between traditional Chinese festivals and twenty-four solar terms. 4)The purpose is to arouse people's understanding of the natural climate change and the understanding and resonance of farming civilization and then trigger people's second promotion of the twenty-four solar terms culture. 156

6.Researchers conducted experimental research on Chinese paper-cutting workshops combined with art and design education in Liaoning, China, Nanjing, China, and Bangkok, Chinatown, Thailand, and obtained results. Guide learners to use visual Chinese paper-cuts (2D and 3D) as an optical carrier to present the invisible twenty- four solar terms cultural knowledge and develop and design daily necessities/artwork, encouraging the young Chinese generation to inherit ancient Chinese culture wisdom. 7.This research provides a way to popularize and inherit the twenty-four solar terms in the form of art and design education. The purpose is to allow learners to understand and practice the twenty-four solar terms in participatory learning and promote their living inheritance. On this basis, the researchers put forward a theoretical framework for the inheritance of intangible cultural heritage, which is even applicable to other intangible cultural heritage inheritance.

5.2 Research difficulties encountered in the process of inheritance and practice In the research process, the researchers summarized the following several difficult points solutions. 5.2.1 Knowledge reserve stage Knowledge disseminator: Because many young people do not know much about China's Twenty-four Solar Terms culture. Before using art education to create daily necessities, it is necessary to strengthen students' grasp of China's Twenty-four Solar Terms knowledge, the natural time order, understanding and memorizing the seventy-two climates' contents. Students need first to learn the phenological characteristics and natural phenomena of Solar Terms, and then the folk cultural activities corresponding to Solar Terms, before they can extract representative elements and combine Chinese paper-cutting art for a visual transformation. This requires knowledge disseminators to have a wealth of knowledge reserves and to be able to impart that knowledge to the students. Learner: Chinese paper-cutting is a form of design expression, and many 157 ordinary audiences have not learned paper-cutting. This requires knowledge disseminators to carry out different art education levels according to different audience groups and different age groups. The learner should first understand the Chinese paper-cutting skills and then make art creation on the theme of Solar Terms. Chinese paper-cutting is a handicraft that is easy to learn but difficult to master. There is no difficulty in learning simple paper-cutting for beginners, which is very suitable for young people. However, if participants want to make a well-designed solar term paper-cutting work, advanced paper-cutting skills are a must, which requires much time to practice. 5.2.2 Design stage Before starting the creation of visual design projects, learners need to master the relevant knowledge of the twenty-four solar terms (astronomy, folklore, phenology). In-depth knowledge of the culture is not required. A general understanding is sufficient. The learner's role is to observe more, collect more, master more, understand more, to internalize and own the newly acquired knowledge. Then choose the most representative content, express it in an innovative form, visualize it, and bring it to life in a way that could be readily accepted and popularized. "Hollowing and connecting" are the main characteristics of Chinese paper- cutting. Learners need to create paper-cut patterns based on Chinese paper-cutting techniques and the Solar Term characteristics, which is very important. The 3D Chinese paper-cutting visual design project has stringent requirements on the size, composed of paper-cut components. The standard connection method between the paper-cut components is a glue connection. However, the connection method selected in this study is the "tenon and tenon structure," inspired by the traditional Chinese woodworking technique of wood and wood connection. The purpose is to realize the maximum space-saving and reuse in the conversion process from two-dimensional paper-cutting to three-dimensional paper-cutting, which can meet the needs of Chinese paper-cut products' mass production to reduce transportation, but also meet the needs of the audience for 158 hands-on practice. Researchers have repeatedly encountered the problem that the paper-cutting components cannot correctly connect due to inaccurate experimental research dimensions. Therefore, the researcher's point of view is that size is essential in three-dimensional paper-cut works. Take A3 red cardboard as an example: the error controller within 1-2mm, whether it is manual drawing or computer vector graphics. This question also applies to the size requirements of China's paper-cutting art and design education and laser cutting technology. 5.2.3 Material selection stage The researcher received the help of the Research and Development Center of the University of the Arts in Thailand. In order to realize the waterproof function of the lantern, the researcher tried to use laser cutting technology on plastic PP boards to create the lanterns. However, laser cutting's high temperature caused the plastic PP board's melting, and many beautiful paper-cutting details could not express. Researchers needed to make multiple adjustments to the parameters of laser cutting speed and power. At present, with the support of laser cutting technology, the material that maintains the best 3D Chinese paper-cutting effect is 250g-350g red cardboard. Due to the limited research time, selecting the most suitable materials only applies to the researcher's materials tested and evaluated. Whether other materials are suitable for laser cutting production of 3D Chinese paper-cutting projects is subject to further testing and evaluation in the future. Traditional Chinese paper-cutting is usually two-dimensional, and red rice paper is its primary material. Researchers tried to design daily necessities with the theme of Twenty-four Solar Terms, and more of their works are three-dimensional paper-cuttings. Therefore, material selection focused mainly on stiff cardboard or materials similar to paper and can be bent. 5.2.4 Design and production stage Traditional Chinese paper cutting is done by hand. Scissors, carving knife, backing plate, ruler, and pencil are necessary tools in the design stage. It is recommended that participants who do paper-cutting design projects by hand 159 should choose appropriate size backing plate according to actual needs to improve work efficiency and avoid mistakes. Thicker materials, therefore, pose serious difficulties. This requires the help of laser cutting technology. Speed and power are essential parameters of laser cutting. Different materials required different amounts of cutting time and produced different results. Researchers need to test these parameters to avoid the scorching or melting of the cardboard due to high temperatures, resulting in the inability to express the paper-cut details. Take 250 grams of red cardboard as an example. The most suitable laser cutting parameters are Speed: 80, Power: 19. Take 0.5mm thick of red PP as an example. The more suitable laser cutting parameters are Speed: 150, Power: 65. Researchers had limited time to test all types of materials and could only carry out laser cutting tests on a few selected materials.

5.3. Analysis of research results This research focuses on transforming non-visual intangible Cultural ideology into visual cultural form and promoting its inheritance and development through art design education. Researchers collect data based on questionnaires, expert interviews, and fieldwork to obtain research keywords: intangible cultural heritage, Twenty-four Solar Terms, Chinese paper-cutting, Art and design education, Yin-Yang philosophy forming research hypotheses. The researchers carried out three experimental researches on art and design education paper-cutting workshops and four practical researches on visual design projects. They then evaluated the research results by holding phased research results exhibitions, and finally obtained the theoretical research framework of "intangible cultural heritage inheritance." 160

Figure 112 Theoretical research framework This research involves five thematic keywords, non-material cultural heritage, Twenty-four Solar Terms, Chinese paper-cutting, art and design education, and Yin-Yang philosophy. The reasons why they became the keywords of this research are as follows: -This study comparatively analyzed the difficulties and advantages of the inheritance of tangible cultural heritage and intangible cultural heritage. 1) Intangible cultural heritage is invisible and intangible spiritual culture, easy to lose, and challenging to inherit and protect. 2) The carrier of intangible cultural heritage is people, intergenerational inheritance is the focus of protection and inheritance, and serving life is its innovative development trend. Based on the analysis and formation of research hypotheses, art and design education can undertake the task of “intergenerational inheritance” and “productive protection” of intangible culture. -This study uses the intangible cultural Twenty-four Solar Terms and the visible art forms Chinese paper-cutting as the research case because both have a broad mass base. Twenty-four Solar Terms are the time coordinates of China's multi- ethnic and multi-regional regions and the cultural time for overseas Chinese to 161 strengthen their cultural identity with China (Xiao Fang, 2017). As a traditional handicraft popular among Chinese folk, Chinese paper-cutting is a typical representative of "Chinese symbols." It has various forms and unique styles and is loved by people all over the world. -This study uses art design education as a bridge between the intangible culture Twenty-four Solar Terms and the visible art form Chinese paper-cutting to realize the visualization of intangible culture and realize the two tasks of cultural understanding inheritance. The choice of art design as a bridge is because it has the advantages of interactivity, normative, innovation, participation, entertaining, and imperceptibly. -This study is based on the Chinese philosophy of Yin and Yang. It is because the Twenty-four Solar Terms and Chinese paper-cutting are typical representatives of "Yin and Yang." The twenty-four solar terms are the time cycle of the year as a unit of measurement. After the winter solstice solar terms, the Yang Qi rises. After the summer solstice solar terms, the Yin Qi rises, reflecting the principle of yin-yang opposition and Yin and Yang conversion in nature. The balanced treatment of Chinese paper-cut Yin and Yang images reflects the craftsmen's thinking and understanding of the balance, harmony, and equality of Yin and Yang concepts. Chinese paper-cuts have the characteristics of pictures and stories and are suitable for describing the invisible natural phenology of the Twenty-four Solar Terms and folk activities' content. 5.3.1 Intergenerational inheritance is the focus of intangible cultural heritage. -Method: The researcher carried out three experiments on paper-cutting workshops combining art and design education. Representative groups are from Liaoning, China, Nanjing, China, and Chinatown in Bangkok, Thailand. -Objective: the purpose of the study is to guide the younger generation of China and overseas Chinese to understand and practice the Twenty-four solar 162 terms culture through Chinese paper-cutting Art and Design Education and promote its living inheritance. -Results: the study can encourage the younger generation of China and overseas Chinese to inherit ancient Chinese wisdom and precious Chinese culture. 5.3.2 Service life is the trend of intangible cultural development. -Method: The researcher carried out four practical researches on visual design objects. The last practical research is a comprehensive practice based on summing up the previous experience, which is a visual design object combined with community activities. Researchers combined with the 2020 Full Moon Festival celebrations in Bangkok's Chinatown, Thailand, and designed a series of 3D paper- cutting lanterns with the theme of "Autumn Equinox Solar Terms" Worship the Moon custom. -Purpose: The purpose of the research is to transform the invisible, intangible cultural twenty-four solar terms into a visible art form, Chinese paper- cutting, and realize its productive protection. -Results: In the end, the integrated practice project attracted extensive participation of Thai Chinese in Bangkok's Chinatown, and the Thai PBS TV station carried out a full report. The results proved that the design and application of Chinese paper-cut lanterns realized the visual transformation of the invisible, intangible cultural twenty- four solar terms. Laser cutting technology realized the mass production of paper-cut lanterns and expanded the breadth of dissemination. This community activity recognizes the productive protection of intangible culture and serves life, and promotes cultural exchanges between China and Thailand. Therefore, the hypothesis of "art and design education and visual design projects help promote the inheritance of intangible cultural heritage" is established. This "intangible cultural heritage inheritance" research framework can be used to reference other intangible cultural heritage living inheritance. Among them, intangible cultural ideology and visual culture are quantitative, art design education is the 163 research method, twenty-four solar terms and Chinese paper-cutting are variables, and other researchers can replace variables according to actual research needs and carry out research. 5.4 Recommendations for future development and further studies After conducting the research entitled " Transform the twenty-four solar terms into a visual design object that serves life by art education for an inheritance" the researcher has come to the following conclusions for future development. 1. Researcher investigated various methods until found a way to simplify art education for ordinary people. Extracting figurative elements that everyone loves to see and hear from the Solar Terms, combined with Chinese paper-cutting techniques for visual expression, can transform immaterial Solar Terms knowledge into material artworks (daily necessities), allowing the Twenty-four Solar Terms to return to people's daily lives. It can adapt to design and style changes to achieve maximum utility, which should be the starting point for those educators and designers interested in the Twenty-four Solar Terms in China. They can further develop into their field from this research. 2.Chinese people attach great importance to family education. The formation of children's personalities and the formation of habits depend on family education. The twenty-four solar terms are the solar calendar in the traditional Chinese calendar. There is one solar term every fifteen days, which is very suitable for parent-child interactive education. Parents can take their children to observe nature according to the real-time rhythm in life, experience the folk customs of solar terms, explain solar terms knowledge, and then guide children to make some art crafts and paintings related to the current solar terms. Let children learn in games and understand in participation. Early childhood has a strong memory. If family education lasts for one year, parents will accompany their children to learn together in every solar term. Children will remember the entire twenty-four solar term knowledge system imperceptibly, which will surely drive the twenty-four solar terms' inheritance. Due to the limitation 164 of the researcher's current research conditions, no practical research on the twenty- four solar terms in family education has been carried out, and the researcher will implement it in subsequent research. 3.Overseas, Chinese communities in Chinatowns, Confucius Institutes, and Chinese cultural centers worldwide are places to spread Chinese traditional culture. Chinese paper cutting is a unique cultural symbol of China. It has a unique style and love for people all over the world. In the future, with the support of stakeholders, cultural publicity activities of Twenty-four Solar Terms combined with Chinese paper cutting can be carried out in these places, such as holding art exhibitions, performing arts, academic lectures, and Chinese paper-cut workshops. While promoting cultural exchanges between China and foreign countries, it can also influence overseas Chinese and international friends' attention to the Twenty-four Solar Terms culture through Chinese paper-cutting art's cultural charm and spread Chinese traditional culture and Chinese voice to the world. 4.The Chinese Twenty-four Solar Terms encompasses a broad and profound body of knowledge, and it has much content that can express in the field of art education. Chinese paper-cutting technique can realize the visual expression of Solar Terms' knowledge, thereby developing a wide range of ordinary objects with Solar Terms as the theme. Laser cutting technology can facilitate such products' mass production, making commercial developments possible, which could genuinely help return the Twenty-four Solar Terms to people's daily lives. Therefore, this research has not only cultural and educational functions but also has broad marketing prospects. 5. This research only proposes a framework for the relationship between art education, visualization, and intangible cultural heritage inheritance. It also initially develops solutions to the difficulties that need to resolve in inheritance, but there are still many specific details that need further research. Matter, visualization, and processes are not linear relationships but cyclical processes that help each other; the three are not 1 + 1 + 1 = 3 or even more significant than 3. Need to develop, continue to prove, and improve the existing budget.

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VITA

NAME Liu wei DATE OF BIRTH 16 January 1982 PLACE OF BIRTH Changtu County, Tieling City, Liaoning Province, China INSTITUTIONS ATTENDED School of Architecture and Art Design, Liaoning University of Science and Technology, China HOME ADDRESS Building 22, Vanke City, High-tech Zone, Anshan City, Liaoning Province, China. Postal Code: 114051 PUBLICATION Project support by (S URIC) Silpakorn University, The office of support Research, Innovation and Creativity.