“采桑子”·群芳過后“苗薈”好

As one of the pioneer batch of university students after the Great Culture Revolution， she has been a math teacher for 11 years， a judicial officer for 6 years， and run a catering company. As time goes by， she became more elegant and resilient. When traditional handicrafts were faced with the threat and might disappear， she resolutely put aside all her established success in her 40s and devoted all her energy and savings to the protection and promotion of a nationality’s culture and developed her favorite career. She is Liu Lijun， founder of Beijing Caisangzi Art Development Center and MIAOLOSOPHY Studio of Beijing Women Federation. Recently， the reporter interviewed Ms. Liu Lijun on the brand “MIAOLOSOPHY” and the development model of “Cai Sang Zi”.

她是恢復(fù)高考后的第一批大學(xué)生，當(dāng)過11年的數(shù)學(xué)教師，做過6年的司法干警，還經(jīng)營(yíng)過13年的餐飲公司。

時(shí)光的荏苒，給予了她淡雅的氣質(zhì)和篤定的信念。

于是，當(dāng)面對(duì)民間傳統(tǒng)手工藝快速消失的困境之時(shí)，她在不惑之年毅然拋棄已然成功的一切，將全部精力和積蓄投入到了民族文化的保護(hù)與傳承之中，同時(shí)也成就了自己狂熱喜愛的事業(yè)。她就是北京采桑子文化藝術(shù)發(fā)展中心、北京婦聯(lián)苗薈巧娘工作室的創(chuàng)始人——?jiǎng)⒘④?。近日，本刊記者專訪了劉立軍女士，且看“苗薈”品牌和“采桑子”模式如何在她的生命中光榮綻放！

The establishment of

the center

苦創(chuàng)“采桑子”

In 1996， Liu Lijun went to study in the University of Nottingham with her husband. She travelled in 15 cities of 8 European countries within two years. The museums of these cities unfolded the scroll of human civilization before her and she was overwhelmed by the exquisite art heritage. The moment she stepped out of British Museum， she asked herself： “What are exhibited in Chinese museums？”

In 1998， Liu Lijun and her husband returned to Beijing and spent a whole year to visit all the museums of Beijing and communicated with experts and working staff of the museums， through which she realized that the status quo and dilemma of the promotion of Chinese Culture -- protective measures could not counterbalance the speed of disappearance. Therefore， she told herself that she should do something.

From that moment on， she tried to search.

1996年，劉立軍隨丈夫到諾丁漢大學(xué)留學(xué)。兩年間，她游歷了歐洲8個(gè)國(guó)家15座城市，每到一地就一頭扎進(jìn)博物館，燦爛的人類文明使她大開眼界，精美的藝術(shù)遺產(chǎn)讓她流連忘返。在邁出大英博物館門檻的那一刻，忽然一個(gè)聲音在心底發(fā)問：“中國(guó)的文化展示在哪里？”

1998年，劉立軍一家人返回北京。她又用一年時(shí)間把北京的大小博物館走了一遍。通過與專家以及博物館的工作人員交流，她發(fā)現(xiàn)當(dāng)時(shí)中國(guó)文化傳承的現(xiàn)狀與困境——緩慢的保護(hù)跟不上消失的文明。于是，她的心底再一次發(fā)出了聲音，“我能做些什么？”

自那一刻起，她便開始了一種朦朧中的尋找……

In 2000， she investigated and surveyed Chinese handicrafts and began to think about forming a cultural industry chain. Liu Lijun said， “I searched the internet and found that there was a Yi Bao Yuan folk cultural market in Shenzhen， which had good reputation. I went there enthusiastically， but it turned out to be a stall of the folk art products. It was low ended and not what I expected.” After spending two years on the research of the markets in the cities including Beijing， Shanghai and Guangzhou to investigate Chinese minority communities， I gradually designed a sustainable model of cultural promotion and combining culture and market. This model is centered on the reservation and promotion of traditional culture in terms of culture， and has a chain of market – research – train - produce – market.

From 2002， Liu Lijun began to research on the culture of Miao and came to understand the minority with no script. “By collecting samples， I summed up more than 20 ways of ancient embroidery， refined various embroidery skills through personal practice. Also， I paid visits to silversmith to sort out traditional decorative patterns and processes. Finally， I collated all of these into electronic data，” Liu Lijun told the reporter.

2000年，她開始對(duì)中國(guó)手工藝進(jìn)行調(diào)研，并構(gòu)思文化產(chǎn)業(yè)鏈。劉立軍頗為惋惜地跟記者說道，“當(dāng)時(shí)我在網(wǎng)絡(luò)上查詢到深圳有個(gè)藝寶苑民俗文化市場(chǎng)，評(píng)價(jià)不錯(cuò)，我興致勃勃地過去一看，結(jié)果就是一個(gè)全國(guó)民俗品的大地?cái)?。過于低端，這不是我想要的?！眱赡陼r(shí)間，通過對(duì)北上廣等各大城市的市場(chǎng)調(diào)研和對(duì)中國(guó)少數(shù)民族聚居區(qū)的田野調(diào)查，“我構(gòu)思了一種可持續(xù)性發(fā)展的文化傳承形式，將文化與商業(yè)結(jié)合。在文化的維度，以傳統(tǒng)文化保留、傳承為核心；商業(yè)的維度，以市場(chǎng)、研發(fā)、培訓(xùn)、生產(chǎn)、市場(chǎng)為鏈條。”

從2002年開始，劉立軍開始了深入的苗文化研究，并逐漸領(lǐng)悟了這個(gè)沒有文字的民族?！巴ㄟ^搜集標(biāo)本，我總結(jié)了二十多種古老刺繡，打籽繡、馬尾繡、平繡；通過學(xué)習(xí)，提煉了不同種類的刺繡技巧，如用皂角過線，使繡面平整鮮亮；我還拜訪銀匠世家，整理傳統(tǒng)花紋和工藝，形成電子資料。”劉立軍告訴記者。

The collecting system including batik， Miao embroidery and Miao silver wares was coming into shape. It elaborated the distribution， elapsed time， materials of Miao folk art products， presented the features of the ancient totem of Miao and revealed the chronological changes of the traditional decorative patterns. The symbols created with the inspiration of the traditional decorative patterns astonished contemporary designers.

Liu Lijun said， “I am not an anthropologist， neither a folk artist. As a lay person， I just want to try my best to record and sort out the folk art heritage of Miao. In addition， I want to create a completely fresh way to help the Miao people living remotely in the mountains to increase their incomes with the thousands of years’ craftsmanship； meanwhile， using this fresh way to enable the people beyond the mountains to know the ancient civilization and primitive art.” In September 2003， Beijing Cai Sang Zi Art Development Center registered officially.

一個(gè)包括蠟染，苗繡，苗銀的母本收藏體系逐漸形成，理清了苗族民族手工藝品的分布、用時(shí)、耗材，理清了苗族原始圖騰的特征及傳統(tǒng)紋樣的來歷演變。這些從傳統(tǒng)圖案中派生出的符號(hào)，足以令現(xiàn)代設(shè)計(jì)師震驚。

“我不是人類學(xué)家，更不是民俗專家。作為普通人，一個(gè)門外漢，我只想盡自己綿薄之力，去記錄和整理苗族民間文化遺產(chǎn)，以一種全新的方式讓大山深處的苗家姐妹，通過祖?zhèn)鲙浊甑氖止ぜ妓囋鍪罩赂?。也讓山外的城里人，能一同享受這古老的文明、原始的藝術(shù)?！?003年9月11日，北京采桑子文化藝術(shù)發(fā)展中心正式注冊(cè)成立。

“Cai Sang Zi”

moving forward bravely

“采桑子”勇敢前行

“Cai Sang Zi Art Development Center is a social enterprise and as an enterprise， it has another name， i.e.， ‘MIAOLOSOPHY’， which means the essence of Miao art and creating the prospect of the folk art of China，” Liu said. At the beginning， she had completely no idea how complicated this project might be. Even though the whole process was full of bitterness， pressure and difficulty， she persisted. “Cai Sang Zi is my daughter and my dream is to expand it to the Fifth Avenue in New York，” she said with pride when interviewed by the reporter from the Office of Poverty Alleviation.

In the early period， Cai Sang Zi took the embroidery products of Miao to a factory in Daxing district， Beijing for further framing to finally sell them in the market. By doing this， Cai Sang Zi hoped to bring the folk art products from the mountainous areas to cities， mix the ancient and modern features， and commercialize the traditional culture. Unfortunately， the shop did not withstand the test of the market and was closed soon.

However， Liu Lijun did not give up. She led the team of Cai Sang Zi to restart her research and development of products. In 2006， the team established a training center for women of Guizhou province and Shaanxi province and turned to different governments for distribution channels.

“采桑子文化藝術(shù)發(fā)展中心是社會(huì)企業(yè)，企業(yè)品牌叫‘苗薈’，打造的就是苗族文化的薈萃，也寓意‘描繪’中國(guó)民族民間傳統(tǒng)文化的美好藍(lán)圖?！比欢鴦⒘④娙徊恢氖?，這一樸素的想法原來是一個(gè)偌大的課題。解題過程使她飽嘗了辛酸、折磨與壓力。面對(duì)諸多難題，劉立軍始終在堅(jiān)持?！安缮Ｗ邮俏业呐畠?，我的夢(mèng)想是做到紐約第五大道去！”劉立軍在接受中國(guó)扶貧辦記者的采訪時(shí)，不無驕傲的說道。

在創(chuàng)立之初，采桑子將苗家婦女們做的半成品運(yùn)送到北京的工廠，鑲邊裱框銷售，希望完成民間工藝品從農(nóng)村到城市，從古老到現(xiàn)代，從文化到商業(yè)的轉(zhuǎn)變。然而，商店并沒有經(jīng)受住市場(chǎng)的考驗(yàn)，很快就關(guān)閉了。

劉立軍沒有就這樣放棄。她帶領(lǐng)采桑子團(tuán)隊(duì)開始重新研究產(chǎn)品，2006年，貴州、陜西的婦女培訓(xùn)基地建立，銷售渠道也開始轉(zhuǎn)向政府。

When her new business started to stand up， cultural research and commercial development began to “fight for” funds as batik， Miao embroidery and Miao silver wares had been included on the list of national human intangible heritage. “I noticed that these heritages were flowing away. Foreigners came to Miao villages to cheaply purchase the folk art products and sell them in the international markets in much higher price. What’s more， they would never be recovered again.” Therefore， Liu Lijun tried her best to purchase as much as 1000 products of batik， Miao embroidery and Miao silver， which cost a fortune.

Liu Lijun told the reporter， “The pre-market research took a large number of money， so it cannot circulate to support the development.” Both the project of cultural heritage and the producing process need much to support. What we should do is to balance the money invested into cultural heritage and producing process， rather than hiding away from the dilemma.

After years of endeavors， Cai Sang Zi managed to put the funds to production and market. Meanwhile， the understanding and support from governments and the public keep on growing. Women Federation of Shijingshan District， Beijing and the National Women Federation have offered vigorous support. Shanghai Love Fund presented the only social enterprise venture award to her， which inspire her greatly.

規(guī)模初見，而文化研究與商業(yè)開發(fā)卻開始“爭(zhēng)奪”資金。原來，蠟染、苗繡、銀飾都被列入國(guó)家保護(hù)的人類非物質(zhì)遺產(chǎn)名錄，“我看它們?cè)谘杆倭魇?，外?guó)人來山寨廉價(jià)收購(gòu)，拿到國(guó)際市場(chǎng)就翻成幾十倍，更重要的是它們失而不可以復(fù)得?！庇谑莿⒘④姳M其所能大量收購(gòu)，蠟染、苗繡、銀飾母本收藏各有1000多件，堪稱寶庫。但是大筆的資金永遠(yuǎn)壓在那里了。

劉立軍說，“前期調(diào)研投入了大量資金，到商業(yè)開發(fā)的時(shí)候，難以形成資金流的循環(huán)?！弊鑫幕瘋鞒幸ㄥX，經(jīng)營(yíng)生產(chǎn)也要花錢。這個(gè)問題沒有辦法避免，必須要找到一個(gè)平衡點(diǎn)。

所幸，經(jīng)過多年的奮斗和努力，采桑子已經(jīng)可以把大部分資金調(diào)向生產(chǎn)和市場(chǎng)。同時(shí)，政府和社會(huì)對(duì)公益企業(yè)的理解和支持也日益壯大。比如，在北京市婦聯(lián)和全國(guó)婦聯(lián)的鼎力扶持，上海增愛基金會(huì)還把唯一一份社會(huì)企業(yè)創(chuàng)投大獎(jiǎng)?lì)C發(fā)給她，雖然數(shù)量并不巨大，但足以鼓舞劉立軍。

Cai Sang Zi development model of MIAOLOSOPHY

“苗薈”的“采桑子模式”

Liu Lijun said in the interview， “Although in the whole process， fund raising has always been a big problem， what I am pursuing is to accomplish the mission of ‘inheriting culture through industry， alleviating poverty through culture industry’ and realize the dream of ‘incorporating folk art into modern life’， instead of generating commercial profits.”

Early in 2008， Liu Lijun learned the concept of social enterprises in an international seminar， which seemed to enlighten her. Through taking part in the training program for social entrepreneurship at the beginning of 2009， Liu Lijun came to see clearly the development model of Cai Sang Zi.

“In these years， I have been hoping to conclude and create a model to lead and promote the development of the whole industry， not just to train the women to produce and sell bags and earn some money. Finally， I got the development model of Cai Sang Zi – ‘inheriting culture through industry and alleviating poverty through culture industry’. The purpose of Cai Sang Zi is quite clear. It is to help the folk art incorporate into modern life. Only the enterprise which can really compete in the market can be called an industry， which further helps alleviate poverty. This is the model I have been seeking for， a replicable model. I hope that through the practice of Cai Sangzi， we can find a way to help solve social problems. Doing business is one of ways to reach the social purpose. Without the social meaning to preserve and promote culture， I would not have set up this business，” Liu Lijun said excitedly.

在采訪中，劉立軍告訴記者，“雖然一直以來資金問題是個(gè)大問題，但是我真的不僅是為了追求商業(yè)利潤(rùn)，而是我這樣的社會(huì)企業(yè)終要達(dá)成‘產(chǎn)業(yè)傳承文化，文化產(chǎn)業(yè)扶貧’使命和實(shí)現(xiàn)‘讓民間工藝走進(jìn)現(xiàn)代生活’的愿景。”

原來，早在2008年的一個(gè)國(guó)際研討會(huì)上，劉立軍接觸到了社會(huì)企業(yè)的概念，“當(dāng)時(shí)就有種‘笙歌散盡游人去，始覺春空。垂下簾櫳，雙燕歸來細(xì)雨中’的感覺”。2009年初，她參加了英國(guó)大使館文化教育處舉辦的社會(huì)企業(yè)家技能培訓(xùn)項(xiàng)目，并在這個(gè)過程中，逐漸明晰了采桑子的未來構(gòu)架。

“其實(shí)，這么多年來，我一直希望能夠總結(jié)和創(chuàng)造出一種模式，推動(dòng)、引領(lǐng)整個(gè)行業(yè)，要從弘揚(yáng)文化的角度把民間文化產(chǎn)業(yè)做起來，而不僅僅是做幾個(gè)包、掙幾個(gè)錢、賣一點(diǎn)東西、培訓(xùn)一點(diǎn)婦女。所以，我總結(jié)采桑子的理念是十二個(gè)字，就是‘產(chǎn)業(yè)傳承文化，文化產(chǎn)業(yè)扶貧’。其實(shí)采桑子的愿景非常明確，就是要讓民間手工藝品走進(jìn)現(xiàn)代生活，只有真正的走進(jìn)了市場(chǎng)，才能稱之為產(chǎn)業(yè)，進(jìn)而也就能扶貧了。這正是我一直摸索的采桑子模式，一種真正可復(fù)制的模式。我也希望通過我們實(shí)踐，最終能夠解決一定的社會(huì)問題。商業(yè)只是手段，通過這種商業(yè)手段最終能達(dá)到明確的社會(huì)目標(biāo)。如果沒有這個(gè)社會(huì)目標(biāo)，沒有傳承文化，我真的不會(huì)做這個(gè)企業(yè)?！闭劶按颂帲瑒⒘④婏@得有些激動(dòng)。

Starting from Miao folk art， but not limited to it， the brand “MIAOLOSOPHY” created by Cai Sang Zi is committed to investigating and promoting the essences of Chinese national folk culture， establishing cultural industry chain and achieving the sustainable goal： inheriting culture， alleviating poverty， searching for the commercial model of protecting， preserving and promoting social enterprises. We have set up training and production bases to help women in poverty-stricken areas to know more about the history and value of the folk art by training them， so that they can actively participate in the preservation and promotion process， and also increase their income and further their family-social status. The sustainable model of culture preservation and promotion by using the commercial way to inherit folk art， and using market to alleviate poverty is the model of Cai Sang Zi .

Liu Lijun said， “After several years of struggling， we have established training centers in 6 counties， 14 towns and 81 villages across Guizhou and Shaanxi provinces. Until now， more than 2000 women have taken part in the training. Products of Cai Sang Zi have become the diplomatic gifts given by Chinese government to distinguished guests like Lien Chan， former Chairman of Taiwan’s ruling Kuomintang， and Sir Donald Tsang Yam-kuen， Hong Kong’s former chief executive. Folk art handicrafts finally have refined tastes.”

In June， 2011， Liu Lijun， led by Cui Yu， vice president of China Women’s Federation， headed to Tehran， Iran to participate in the 1st International Forum of Intangible Cultural Heritage of Iran and the International Expo of National Handicraft. Beijing Cai Sang Zi Art Development Center， as the only representative of China folk art industry， showed the charm of Miao folk art to the craftsmen across the globe. Liu Lijun introduced the model of Cai Sang Zi - “inheriting culture through industry and alleviating poverty through cultural industry” to the Director of Iran National Protection Center of Intangible Cultural Heritage. She promoted the Chinese culture.

In the early days of Cai Sang Zi Art Development Center， Liu Lijun assigned four tasks for the enterprise： digging up， sorting out and saving the intangible cultural heritage of Miao； helping Miao women to increase the income with the traditional skills； raising Miao women’s family and social status by increasing their incomes； and letting Miao folk art go beyond the mountains and enter international market. Now， the brand of “MIAOLOSOPHY” and the model of Cai Sang Zi based on cultural heritage have significantly increased the additional value of national products， raised the awareness of people from different countries on the Chinese culture and handicrafts and helped complete the four tasks.

從苗族文化起家，但不局限于苗文化?！安缮Ｗ印眲?chuàng)立的“苗薈”品牌致力于研究和發(fā)展中國(guó)民族民間文化的精粹，通過建立文化產(chǎn)業(yè)鏈，實(shí)現(xiàn)可持續(xù)的文化扶貧目標(biāo)：傳承文化，扶助貧困，探索出民間文化保護(hù)、傳承、進(jìn)而發(fā)展的社會(huì)企業(yè)商業(yè)模式。通過建立培訓(xùn)生產(chǎn)基地，使貧困地區(qū)婦女認(rèn)識(shí)自己民族的歷史和文化，主動(dòng)參與保護(hù)和傳承，并提高其收入及在家庭和社會(huì)的地位。運(yùn)用商業(yè)手段來傳承民族技藝，利用市場(chǎng)經(jīng)濟(jì)來減少貧困的可持續(xù)的文化傳承發(fā)展模式，這就是“采桑子模式”。

據(jù)劉立軍介紹，“經(jīng)過幾年的實(shí)踐，現(xiàn)在我們已在貴州、陜西、山東三省建立培訓(xùn)基地，遍布6個(gè)縣、14個(gè)鎮(zhèn)、81個(gè)自然村寨，有2000多名婦女通過訂單參加培訓(xùn)?！辈缮Ｗ拥漠a(chǎn)品也成為中國(guó)政府重要外事禮品，民間手工藝品真正登上了大雅之堂。

2011年6月，劉立軍在中華全國(guó)婦女聯(lián)合會(huì)黨組成員崔郁部長(zhǎng)率領(lǐng)下，前往伊朗德黑蘭參加了伊朗首屆非物質(zhì)文化遺產(chǎn)國(guó)際論壇暨民族手工藝國(guó)際博覽會(huì)。北京采桑子文化藝術(shù)發(fā)展中心作為中國(guó)民間工藝的唯一代表，向來自不同國(guó)家的手工藝者展示了中國(guó)苗族民間藝術(shù)的魅力。期間，劉立軍向伊朗國(guó)家非物質(zhì)文化遺產(chǎn)保護(hù)中心主任匯報(bào)了產(chǎn)業(yè)傳承文化、文化產(chǎn)業(yè)扶貧的“采桑子模式”，弘揚(yáng)了民族文化乃至民族精神。

在采桑子文化藝術(shù)發(fā)展中心創(chuàng)立之初，劉立軍曾雄心勃勃地為企業(yè)規(guī)定了四大任務(wù)：挖掘、整理、拯救苗族民間非物質(zhì)文化遺產(chǎn)；幫助苗族婦女依靠傳統(tǒng)技能增收致富；通過增加收入，幫助苗族婦女提高家庭和社會(huì)地位；讓苗族民間藝術(shù)走出大山，走向世界。發(fā)展至今，“苗薈”品牌的樹立和“采桑子模式”的創(chuàng)造，以文化傳承為依托，大大提高了民族產(chǎn)品的附加值，提高了世界各國(guó)對(duì)中國(guó)民族文化和手工藝品的認(rèn)知，使得這四大任務(wù)得以完成，并在劉立軍的苗繡事業(yè)中大放異彩！

Postscript：

后記：

Liu Lijun plans to publish two historic books on Miao embroidery， trying to restore the reality of Miao embroidery and to present the cultural symbols and meaning behind each stitch. Communication and dissemination of international multi-culture， presentation of the hidden meaning of the Chinese culture and folk art need more people like Liu Lijun and more enterprises like Cai Sang Zi. We expect China Women’s Federation to mobilize all sections to replicate the model of Cai Sang Zi for more and more social enterprises to grow up.

如今，劉立軍還將出版兩本具有珍貴歷史意義的苗繡手記，力圖還原苗族刺繡的本源，深度挖掘苗繡一針一線背后所隱藏的文化符號(hào)和文化內(nèi)涵。世界多元文化的交流和傳播，中國(guó)民族文化與民間手工藝內(nèi)涵的整理和挖掘，需要更多的劉立軍和更多的“采桑子”出現(xiàn)。我們也期待中國(guó)婦聯(lián)能夠更快更好的整合多方資源，使“采桑子模式”得以不斷的復(fù)制，使越來越多的社會(huì)企業(yè)得以出現(xiàn)并茁壯成長(zhǎng)！