女红文化当代活化的实践与结构性特征研究

초록

Nügong, a form of everyday handcraft primarily practiced by women in traditional Chinese society, has long been embedded in the gendered household division of labor summarized as “men cultivate, women weave.” Through processes of transmission, it has encompassed multiple functions, including domestic production, aesthetic expression, and emotional attachment. In contemporary society, under the combined influence of intangible cultural heritage policies, transformations in cultural consumption, and the development of digital media environments, nügong has gradually moved beyond the confines of traditional domestic labor and has been reactivated and transformed across diverse social fields. Taking contemporary revitalization practices of nügong culture as its object of analysis, this study defines nügong as a comprehensive cultural form encompassing diverse women’s handcraft practices such as textile production, embroidery, and sewing. Drawing on the theory of cultural capital, the paper analyzes the structural characteristics of the contemporary revitalization of nügong from three dimensions: functional redefinition, changes in practitioners and modes of participation, and the conditions for structural continuity. The findings indicate that through processes of aestheticization, experiential engagement, and symbolization, contemporary nügong is continuously translated into cultural resources that are consumable, learnable, and experientially accessible, circulating across everyday life, public cultural spaces, and digital media platforms. Rather than a simple continuation of traditional techniques, the contemporary revitalization of nügong constitutes a structured process through which cultural value is continually produced and embedded in modern social life, thereby transforming nügong into a living cultural system with sustained vitality in contemporary society.

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