Qingyang sachet of Gansu: Local Handicraft Symbols and Emotional Expression in The Context of Sustainable Development

Abstract

The sustainable development of China's intangible cultural heritage is increasingly receiving significant attention and deep concern from governments at all levels. With its distinctive local folk customs and the unique charm of traditional handicrafts, Qingyang sachet in Gansu Province has not only injected strong impetus into the local economic and social development but also greatly enhanced the emotional cohesion and cultural identity of the people. This study focuses on the local handicraft symbols and emotional expressions of Qingyang sachets against the backdrop of sustainable development, with particular attention paid to the symbolic meanings carried by Qingyang sachets during the period from the successful holding of the first Qingyang Sachet Folk Culture Festival to its recognition as a national-level intangible cultural heritage project, as well as the correlation between these symbols and the emotional expressions in the inheritance of sachet culture within the local community. This study comprehensively employs qualitative research methods, literature analysis, in-depth interviews, and questionnaire surveys to collect and systematically analyze a large amount of data. The research results indicate that Qingyang sachets are not only objects and medium, but also emotional repositories for the "makers and users" at the spiritual level, carrying profound historical and cultural values as well as emotional values. As emotional bridges and cultural ties connecting the past and the future for members of the local community, Qingyang sachets provide valuable cultural resources for the sustainable development of communities and society. Through the emotional expressions conveyed by sachets (makers, users, objects, medium), this study offers a new perspective for deeply understanding the historical, cultural, and emotional connotations of Qingyang sachets, laying a solid theoretical foundation for future conservation and inheritance efforts and injecting new vitality and hope into the sustainable development of China's intangible cultural heritage.

Firstly, the author traces the historical origins and development trajectory of Qingyang sachets, systematically reviewing their rich cultural connotations, functional evolutions, and sustainable development paths in modern society. The research reveals that Qingyang sachets not only inherit the ancient wisdom of Chinese traditional aromatherapy but also become indispensable decorative highlights in festivals and celebrations. Moreover, they serve as unique artistic medium for expressing profound emotions such as love, family bonds, and friendship, demonstrating their extensive and far-reaching social functions.

Secondly, the author conducts an in-depth analysis of the traditional handicraft symbols of Qingyang sachets using Peirce's theory of icon, index, and symbol in semiotics. Through this analysis, the author recognizes that Qingyang sachets, with their exquisite craftsmanship, rich color combinations, unique designs, and intricate patterns, not only showcase a high level of handicraft skills but also deeply embody the spiritual essence and aesthetic pursuits of Chinese culture.

Thirdly, starting from Susanne K. Langer's semiotic theory of emotional analysis, the author conducts a comprehensive and in-depth exploration of the emotional expressions in Qingyang sachets. By analyzing the two dimensions of the people involved in sachets (makers and users) and the physical aspects of sachets (objectts and medium), the author reveals a series of manifestations and inheritance processes of the emotional factors in sachets, demonstrating the significant importance and value of the emotions carried by Qingyang sachets for local community culture and historical identity.

Lastly, based on the traditional handicraft symbols and emotional expressions of Qingyang sachets, the author delves into the emotional value embedded in sachets as carriers of history, culture, and practice. At the same time, the author also focuses on the systematic construction of emotional expressions and frankly analyzes the limitations of this research. The author acknowledges that there are still deficiencies in this study regarding the depth of theory, comprehensiveness of logical argumentation, and uniformity of discourse. Additionally, the analysis of Qingyang sachets as a traditional handicraft in this study exhibits a certain degree of fragmentation, which needs to be further integrated and deepened in future research.

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