Exploring the Role of Campus Clubs in Fostering Sustainable Development of Traditional Chinese Stone Rubbing Artistry: A Case Study of Nanjing Forestry University

Exploring the Role of Campus Clubs in Fostering Sustainable Development of Traditional Chinese Stone Rubbing Artistry: A Case Study of Nanjing Forestry University | Research Square window.SnipcartSettings = { analytics: { enabled: false } }; (function() { var accessVector = localStorage.getItem('access_vector') || ''; window.dataLayer = window.dataLayer || []; if (accessVector) { window.dataLayer.push({ user: { profile: { profileInfo: { snid: accessVector } } } }); } })(); (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='https://www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','dataLayer','GTM-K279D39R'); Browse Preprints In Review Journals COVID-19 Preprints AJE Video Bytes Research Tools Research Promotion AJE Professional Editing AJE Rubriq About Preprint Platform In Review Editorial Policies Our Team Advisory Board Help Center Sign In Submit a Preprint Cite Share Download PDF Research Article Exploring the Role of Campus Clubs in Fostering Sustainable Development of Traditional Chinese Stone Rubbing Artistry: A Case Study of Nanjing Forestry University Haomiao Tao, Huangjia Lu, Ping Zhu This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-4115629/v1 This work is licensed under a CC BY 4.0 License Status: Posted Version 1 posted You are reading this latest preprint version Abstract Traditional Chinese stone rubbing artistry is an ancient Chinese art that involves the technique of tightly covering paper on the surface of metal, stone, and other hard objects, and transferring the objects’ graphics, decorations, inscriptions, and so on to paper with ink or oil colors. Traditional Chinese stone rubbing artistry is a unique discipline that integrates epigraphy, calligraphy, and painting and is widely used in archaeology, literature, and art. With the passage of time, it is now on the verge of being in the lost-and-listed category of intangible cultural heritage projects in Nanjing. Hence, revitalizing this ancient art form of traditional Chinese stone rubbing artistry has become a realistic problem. This study explores a new path for the sustainable development of traditional Chinese stone rubbing artistry with the intervention of campus art clubs and a combination of digital platforms. Taking the first practice of the Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club as an example, this study explores the “five-in-one” inheritance model of traditional Chinese stone rubbing artistry represented by the master-apprentice system by adopting research methods such as literature analysis and expert interviews. Traditional Chinese stone rubbing artistry intangible cultural heritage campus clubs sustainability Figures Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6 Figure 7 Figure 8 1. Introduction In 2003, UNESCO implemented the Global Capacity Building Strategy for Safeguarding Intangible Cultural Heritage under the framework of the Convention for the Safeguarding of the Intangible Cultural Heritage [ 1 ]. Accordingly in 2005, the General Office of the State Council of China issued “Opinions on enhancing preservation of intangible cultural heritage,” proposing to improve the level of safeguarding and transmission of intangible cultural heritage and to increase the dissemination and popularization of it [ 2 ]. Nanjing is a famous ancient capital with extensive cultural deposits. The intangible cultural heritage here is rich in quantity and has high cultural value. Traditional Chinese stone rubbing artistry is one of the representative intangible cultural heritage with rich characteristics. It is a technique for transferring patterns on artifacts to paper and mainly includes ink-printing rubbing, ink-abrasion rubbing, black-gold rubbing, and full-shape rubbing techniques [ 3 ]. These rubbings emphasize the extreme pursuit of details in the production process, demonstrating the superior skills of ancient craftsmen. They recorded the characters and patterns of ancient stone carvings, bronze objects, and other artifacts, preserving precious historical information for future generations. At present, because of great changes in the social, economic, and humanistic environments on which intangible cultural heritage depends, there arises several issues, such as the break in the generation of inheritors, the lack of funds for protection, and the insufficiency of protection measures, which make intangible cultural heritage increasingly marginalized. To address these issues, we can give full play to the positive role of higher learning institutions and college student groups in the inheritance of intangible cultural heritage. Currently, the main bodies of operation of major domestic colleges’ and universities’ art clubs are college students and their instructors; thus, they are the main force for the development of traditional intangible cultural heritage in the future. Youth groups in clubs have unique artistic aesthetics and, simultaneously, a strong interest in exploring intangible cultural heritage. They gather at campus art clubs and pass on their dying intangible cultural heritage through continuous learning, exploration, and research. However, colleges and universities can provide young people with the cultural atmosphere needed for the inheritance of intangible cultural heritage and basic knowledge of rubbing techniques; connect platforms such as research institutes, museums, and workshops to improve the teaching quality of campus intangible cultural heritage clubs; and connect intangible cultural heritage exploration with the practice of college clubs. The Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club has made some pioneering explorations of new methods and modes of transmitting traditional Chinese stone rubbing artistry, which will provide valuable lessons for the sustainable development of intangible cultural heritage. 2. Literature Review Currently, scholars, both domestically and internationally, have made significant progress in researching the sustainable development of traditional Chinese stone rubbing artistry and have made fruitful achievements, mainly focusing on the historical evolution of rubbing techniques, craft methods, and artistic characteristics. In recent years, with the continuous promotion of the protection of intangible cultural heritage in many places, research on the innovation of protection and inheritance strategies of traditional Chinese stone rubbing artistry has also gradually increased at home and abroad. The social development of intangible cultural heritage is affected by a combination of factors, including the government, enterprises, the public, and the social environment [ 4 ]. For governments, different methods and standards for recognizing intangible heritage in various countries and regions have led to a divergence in public understanding. Finding commonalities is essential to facilitate the fair, just, and open development of intangible heritage sites [ 5 ]. Regional participation in intangible heritage preservation contributes to a better understanding of one’s cultural heritage [ 6 ] and its positive impact on traditional villages [ 7 ], the industrial economy [ 8 ] and rural revitalization [ 9 ]. For the public, the effective promotion of intangible heritage in various regions demonstrate [ 10 ] its value across economic, cultural, and social dimensions [ 11 ]. This helps transform public cultural values and continually drives the socialized development of intangible heritage inheritance [ 12 ]. Research on the development of intangible cultural heritage skills can be broadly divided into theory and practice. The theoretical level mainly focuses on a comprehensive analysis of the reality and future development trends of intangible cultural heritage skills. It explores the common problems of the existing intangible cultural heritage skills, such as the confusion of the protection object, the lack of excellent talent [ 13 ], the lack of raw materials [ 15 ]. It puts forward the theoretical concept of “living” inheritance [ 14 ], which centers on intangible cultural heritage skills and intangible cultural heritage derivative products to deepen the concept. The theoretical concept of “living” inheritance is put forward, and the concept is deepened around intangible cultural heritage and its derivatives [ 16 ], advocating the combination of intangible cultural heritage skills with local and national culture and the life of the people [ 17 – 19 ]. At the practical level, it is primarily based on domestic and international practice cases of the development of intangible cultural heritage skills, advocating that the development of intangible cultural heritage skills requires cultural experience and practical skills [ 20 ]. The development of intangible cultural heritage skills relies primarily on digital multimedia platforms for artistic innovation [ 21 ]. New media platforms and digital technology [ 22 ] are necessary to promote the effective inheritance of intangible cultural heritage skills. Simultaneously, practical cases should focus on studying training methods for different inheritors of intangible cultural heritage skills. Preserving intangible cultural heritage highlights the importance of both skill development and the development of inheritors. It regards inheritors as its central focus [ 23 ], and cultivating qualified inheritors of intangible cultural heritage skills require an enhancement of their cultural qualities and artistic cultivation [ 24 ], fostering mutual promotion between the theoretical and practical levels. Current literature directly related to traditional Chinese stone rubbing artistry mainly focuses on the technique of traditional Chinese stone rubbing artistry [ 25 ] and its applications to expand the research [ 26 ]. In this context, the discussion on the inheritance of traditional Chinese stone rubbing artistry is confined to the traditional intangible cultural heritage “passing from generation to generation” mode. There is a lack of in-depth research on the practical aspects and methods of inheriting intangible cultural heritage and fewer examples of innovative inheritance methods centered around campus clubs. This study explores the renewal of inheritance methods for intangible cultural heritage skills to address the aforementioned shortcomings. 3. Research Ideas and Methods This study takes traditional Chinese stone rubbing artistry as the main research object and explores how this skill can achieve sustainable development in campus clubs. This study utilizes the big data platform to conduct an in-depth analysis of the problems faced by intangible cultural heritage sites, such as gaps in talent cultivation, low recognition of skills, and limited dissemination of theoretical knowledge. This study adopts a semi-structured interview method to conduct in-depth interviews with 3 experts, 4 student inheritors, and 15 intangible cultural heritage artisans. It is also deeply involved in operating of the Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club, exploring the long-term viability and sustainability of developing intangible cultural heritage sites in campus clubs. This study adopted a variety of research methods, including a literature review, case studies, and interviews. First, through a literature review, we read and analyzed both domestic and international intangible cultural heritage documentation, summarizing the current academic understanding of intangible cultural heritage inheritance methods and providing a research foundation for this paper. Second, using the Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club as a case study, we explored new modes of inheriting and innovating intangible cultural heritage techniques within campus clubs, observing youth groups’ recognition of intangible cultural heritage from a new perspective and examining the impact of the master-apprentice system on its inheritance. Finally, employing semi-structured interviews with experts in traditional Chinese stone rubbing artistry and student inheritors, we seek to understand the current state of inheritance of this art form as well as the market awareness of intangible cultural heritage and other issues and analyze the potential of exploring the inheritance of intangible cultural heritage within the club model. 4. Current Status and Challenges of Traditional Chinese Stone Rubbing Artistry Development 4.1. Status Study Using a combination of field research and online interviews, the author conducted in-depth interviews with 3 experts in traditional Chinese stone rubbing artistry, 4 student inheritors of intangible cultural heritage, and 15 artisans. This approach aims to comprehend the current state of intangible cultural heritage preservation and market dynamics within this sector. The three experts in traditional Chinese stone rubbing artistry interviewed by the author are key custodians of this intangible cultural heritage in Nanjing. They have dedicated considerable time to this craft, offering unique insights and perspectives on the perpetuation of this heritage. The first expert in traditional Chinese stone rubbing artistry, Wang Hong, served as the Executive President of the Nanjing Traditional Chinese Stone Rubbing Artistry Club. As a fourth-generation inheritor of this craft, he is renowned for his mastery and is a celebrated figure in Nanjing’s stone rubbing circles. Recently, he has been proactively collaborating with higher education institutions, such as Nanjing Forestry University and the Jinling Institute of Science and Technology, to enhance the reach and appeal of contemporary stone rubbing techniques among university students. His work primarily involved creating rubbing from stone tablets and walls of forgotten villages, fostering a fusion of traditional skills with modern art. Wang Hong also prioritizes nurturing future talent. Under his guidance, numerous fifth-generation inheritors have emerged, preserving this artistic legacy. Zhu Wei, the second expert in traditional Chinese stone rubbing artistry, is a distinguished faculty member at the Nanjing Forestry University’s School of Art and Design. He plays a pivotal role in the Nanjing Traditional Chinese Stone Rubbing Artistry Club and as an academic advisor to the university club, focusing on art theory education and practical guidance. Zhu Wei dedicated 12 years to meticulously researching this art form and produced a collection of remarkable works. Among his notable creations are “The Wheel of the Year,” crafted using spruce slice rubbings, and “The Mark of Plants,” a series of rubbings showcasing campus flora, which have garnered widespread acclaim. Chen Kunpeng, the third expert in traditional Chinese stone rubbing artistry, is a fifth-generation inheritor and advisor to the Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club. He has been honored three times with invitations to the UNESCO-sponsored Nanjing Peace Forum, where he has notably contributed by designing and creating rubbings presented as official gifts from the city of Nanjing to distinguished guests. His innovative ecological series integrates plant ecology with traditional Chinese stone rubbing artistry, expanding the creative scope of this art form and highlighting his distinct flair for innovation. The three aforementioned traditional Chinese stone rubbing artistry experts possess extensive practical experience and theoretical understanding, making them professionals and authorities in their field. Interviews with them offered deep insights into the current developments in this art form and assisted in identifying clearer reform directions for the inheritance of intangible heritage based on the internal dynamics of skill transmission. Recently, led by Chen Kunpeng, the Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club has been actively conducting training sessions, recruiting members, and nurturing professionals. It has successfully fostered four student inheritors of intangible heritage. Xue and Wang were mentored by Wang Hong, while Liu and Huang were guided by Chen Kunpeng, who established a nascent master-apprentice training system. This intergenerational collaboration produced several joint creative works that infuse clubs with cultural dynamics. The Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club actively engages in intangible cultural heritage projects in collaboration with the districts and markets in Nanjing and Changzhou, maintaining strong partnerships with many practitioners in related fields. For this study, 15 artisans specializing in intangible cultural heritage were interviewed, comprising 7 women and 8 men within the age range of 24–52. These participants included five individuals from the Nanjing Ming Xiaoling Museum, four from the Jiangxi Yushan Museum, one from the Guangdong Chaozhou Museum, two from public welfare intangible heritage organizations in Nanjing’s Xuanwu District, and three from academic institutions, such as the Jinling Institute of Science and Technology and Nanjing University of Technology. Interviews with three traditional Chinese stone rubbing artistry experts, four student inheritors of intangible cultural heritage, and 15 artisans provided valuable insights into contemporary heritage inheritance’s current state and challenges. This study addresses common issues in the inheritance of intangible cultural heritage skills by facilitating cross-regional and intercultural exchanges among various intangible cultural heritage cultures. This groundwork is essential for exploring effective methods and approaches for the widespread dissemination of traditional Chinese stone rubbing artistry. In the interviews, the expert first emphasized the importance and urgent need to protect of intangible cultural heritage skills such as traditional Chinese stone rubbing artistry in cultural inheritance. Subsequently, the experts elaborated on the current difficulties in skill inheritance, such as the lack of interest in traditional skills among the younger generation and the significant changes in the environment for inheriting traditional skills. In addition, the experts put forward constructive suggestions, including advocating for the preservation and innovative promotion of intangible cultural heritage skills. These are key directions for research on traditional Chinese stone rubbing artistry. Students who inherit intangible cultural heritage believe that the government, enterprises, universities, and clubs should collaborate to formulate stronger policies that support the inheritance and development of intangible cultural heritage skills. At the same time, education and publicity should be strengthened to raise public awareness of traditional skills [ 27 ]. Most artisans of intangible cultural heritage have pointed out that the trend toward the marketization, commoditization, and popularization of intangible cultural heritage has provided new development opportunities for traditional skills. However, it raises concerns about whether intangible cultural heritage protection can maintain cultural originality. They called for commercial development to be accompanied by sufficient respect for intangible cultural heritage and for over-commercialization to be avoided [ 28 ]. From the above analysis, it can be concluded that traditional Chinese stone rubbing artistry encounters both opportunities and challenges in modern society. Balancing the relationship between tradition and modernity and between technology and art will be the core issue for the future sustainable development of traditional Chinese stone rubbing artistry. The traditional single-family mode of inheritance is no longer suitable for this new era. Exploring new methods of inheritance and innovation in traditional Chinese stone rubbing artistry, possibly in groups or workshops, is essential. 4.2. Current Problems 4.2.1. Discontinuity in the Inheritance of Traditional Chinese Stone Rubbing Artistry Expert Wang Hong pointed out that “some intangible cultural heritage projects are facing the problem of fractured inheritance, which is centered on the fact that the younger generation has lost interest in traditional crafts. This may lead to a lack of successors with intangible cultural heritage skills.” According to expert Zhu Wei, “the inheritance of Traditional Chinese Stone Rubbing Artistry is also facing problems such as insufficient funds, a single mode of inheritance, and a lack of innovation, which is a worrying prospect.” Traditional Chinese stone rubbing artistry is highly dependent on accumulating personal skills and experience. The learning cycle is long and difficult, making it exceptionally challenging to cultivate inherited talents in the short term. However, the current educational system lacks cognitive education on intangible cultural heritage. The quantity and quality of young inheritors in their natural state cannot meet the demand for traditional skills[ 29 ]. 4.2.2. Lack of a Mature Market and Business Models Huang, a student of intangible cultural heritage and four intangible cultural heritage workers believes that the art of goldstone topography faces the practical challenge of achieving commercialization. First, there is a generation gap between topography and young people’s modern aesthetics and consumption habits, leading to marketing difficulties. Second, traditional cultural heritage works in the current business environment generate little profit, making it difficult to establish a virtuous cycle for traditional Chinese stone rubbing artistry in the market. Third, the lack of professional market operations and brand-building awareness has led to an underestimation of the value of traditional Chinese stone rubbing artworks, and the fruits of labor have not received a reasonable economic return. All these factors affect the future vitality of traditional Chinese stone rubbing artistry [ 30 ]. 4.2.3. Insufficiency in Technological Innovation and Digital Application In an interview, expert Chen Kunpeng pointed out that although digitization provides new possibilities for the inheritance and promotion of traditional Chinese stone rubbing artistry, its application is far from ideal. Currently, the application of mainstream digital technology in Traditional Chinese Stone Rubbing art mostly involves digital scanning and archiving topographies. Currently, in-depth technological innovation and innovative applications are lacking. Moreover, cutting-edge technologies such as virtual reality and augmented reality (AR) have not been fully utilized in art education and skill experience of traditional Chinese stone rubbing artistry. Furthermore, research on new issues such as copyright attribution and the transformation of artistic value that may arise in the process of digitization is also lagging. 4.2.4. Insufficiency in Technological Innovation and Digital Application According to Xue, a student of intangible cultural heritage, traditional Chinese stone rubbing artistry, as a special intangible cultural heritage, faces a serious challenge in modern inheritance because of the specificity of the materials used for stone rubbing. During this process, traditional Chinese stone rubbing artistry needs to be created directly on cultural relics or works of art with high cultural and artistic value, and this process carries a certain risk of damage. Consequently, many cultural relics cannot be rubbed into this work. 4.2.5. Lack of Policy Support and Development Systems According to intangible heritage workers engaged in “movable type printing” at the Museum of the Ming Xiaoling Mausoleum in Nanjing, on the government side, we do not yet have sufficient resources and complementary policies to support the inheritance and development of intangible heritage. At the same time, whether these existing policies are flexible and targeted enough to address the specificities of different intangible heritage projects also requires further testing over time [ 31 ]. Ms. Wang, from the Public Welfare Intangible Cultural Heritage Organization of Xuanwu District, Nanjing, believes that the current inheritance of intangible cultural heritage still faces the impacts and challenges of digitization and modernization. The younger generation also needs to consider how modern technology can promote innovation and development of intangible cultural heritage sites. It is possible to utilize digital methods popular among young people [ 32 ], such as “Facebook” and “TikTok,” to find suitable ways to pass down traditional intangible cultural heritage sites. Through a comprehensive analysis, many problems and deficiencies in the cultivation of inheritors, selection of rubbing materials, marketization process, digital technology development in traditional Chinese stone rubbing artistry, and orientation of social policy become evident (Fig. 1 ). In this study, we believe that the introduction of the traditional “master-apprentice system” and the use of the new platform of the association can promote the new vitality of traditional Chinese stone rubbing artistry. The association has the unique advantage of combining “point + line + surface.” First, focusing on different “points” to carry out related activities, non-heritage societies can explore and learn from the three aspects of skills, theory, and practice and take it as the main node of teaching and development of club members. Second, new ways are introduced in the inheritance method, relying on the school platform and resource advantages to connect the clubs and resources in a “line” way and build a higher development platform. Once again, through the organization of the club to market transformation, give full play to the development of the club, from its development, means of publicity, policy orientation of the three major aspects of the “face” of the flowering of the digital technology and the integration of the development of the club, a better inheritance of intangible cultural heritage traditional arts and crafts, and to achieve sustainable development. 5. Case Study: Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club In the case of the Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club, the operating mode of college students’ art interest clubs demonstrates sustainable development. As the focus of this paper, the club has achieved remarkable results in the inheritance and development of traditional Chinese stone rubbing artistry. 5.1. Introduction and Development Mode of the Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club The operation mode of the Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club is relatively perfect, and it has established close cooperation with many organizations, such as the Nanjing Traditional Chinese Stone Rubbing Artistry Club, Jiangxi Yushan Museum, and Nanjing Ming Xiaoling Museum. It has rich off-campus traditional Chinese stone rubbing artistry resources and several practice guidance instructors. The club excels in the professionalism of art inheritance and the systematicity of teaching, with professional teachers from the art and design colleges of universities as the main instructors. The club undertakes the teaching of theoretical courses on intangible cultural heritage, which provides the club members with a theoretical foundation for understanding intangible cultural heritage in the early stages. The club has also hired Wang Hong and Chen Kunpeng, the inheritors of the Nanjing Traditional Chinese Stone Rubbing Artistry Club, as practical teachers to analyze the technical difficulties related to traditional Chinese stone rubbing artistry on-site. At present, the club has trained two young intangible inheritors and has attracted more than 300 students to learn traditional Chinese stone rubbing artistry. From the viewpoint of the personnel structure of intangible inheritance, the Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club can be regarded as a preparatory organization for the inheritance of traditional Chinese stone rubbing artistry. Based on traditional Chinese stone rubbing artistry, the club actively carries out propaganda activities for intangible cultural heritage, combines traditional techniques with green ecology, and includes all kinds of leaves in the scope of rubbing, expanding the scope of raw materials for traditional Chinese stone rubbing artistry. The operational mode of the club mainly includes teaching traditional Chinese stone rubbing artistry, promoting bazaar activities and practical courses, and creating cultural and creative products. In terms of teaching, the club employs intangible cultural heritage inheritors to train students as masters and apprentices, learning and passing down various kinds of traditional Chinese stone rubbing artistry. The club conducts promotional activities by opening exhibitions and bazaar practices, displaying the works created, innovating and remodeling them, integrating topography with ecological art, and injecting new connotations into the art of Traditional Chinese Stone Rubbing to meet the needs of modern society. The Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club demonstrated a sustainable “five-in-one” inheritance model. The club has injected new vitality into this ancient art by returning to craftsmanship and advocating the “master-apprentice system.” 5.2. Specific Measures for the Inheritance of the Club The Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club significantly developed through the club system, endeavoring to address current challenges. It has improved existing inheritance methods and partially addressed the challenges related to rubbing materials and technological innovation. The club has considered multiple aspects of skill inheritance and adopted a “five-in-one” inheritance model (Fig. 2 ), which includes measures in skill inheritance, cultural inheritance, talent cultivation, platform construction, and institutional safeguards. These five inheritance measures complement each other, collectively building an organic system from inheritance to innovation and from theory to practice. It strives to promote the sustainable development of traditional Chinese stone rubbing artistry in the context of modern society and provides a feasible and promising example for the inheritance and development of traditional Chinese stone rubbing artistry. 5.2.1. Return to the Traditional “Master-Apprentice System” Teaching Model Reverting to traditional inheritance methods is crucial for preserving intangible cultural heritage [ 33 ]. Through the “master-apprentice system,” (Fig. 3 ) students can immerse themselves in the ambiance of traditional skills under the master’s guidance. This allows them to experience a rich cultural heritage while preserving the authenticity of their skill acquisition and research. In the digital age, the “master-apprentice system” is a valuable method of inheritance. Currently, the master-apprentice system serves as the cornerstone of the inheritance model, with government-recognized heritage experts directly engaged in teaching, primarily sourced from the Nanjing Traditional Chinese Stone Rubbing Artistry Club. In conjunction with practical instruction, the club facilitates members’ learning of traditional Chinese stone rubbing artistry by collaborating with museums and conducting classes in primary and secondary schools. Additionally, the club identifies students with innate talent, a strong work ethic, and an unwavering commitment, integrating them into the community dedicated to learning and preserving traditional Chinese stone rubbing artistry. Nongenetic inheritors play a pivotal role in providing essential guidance, ultimately establishing a self-sustaining system for nurturing talent in traditional Chinese stone rubbing artistry. 5.2.2. Expanding the Selection of Raw Materials for Rubbing In its early stages, the practice of traditional Chinese stone rubbing artistry primarily focused on rubbing historical artifacts, such as stone tablets and bronzes. Presently, with a significant increase in the level of cultural relic protection, the range of objects suitable for traditional Chinese stone rubbing artistry is diminishing. The scarcity of raw materials presents a pressing need to expand the scope of traditional Chinese stone rubbing artistry objects. Essentially, the heart of traditional Chinese stone rubbing artistry’s legacy lies in “replication,” which involves the artistic recreation of the texture and imprints found on culturally significant objects [ 34 ]. The principles and concepts of this technique can be extended beyond the realms of literature and museums to include other domains. By leveraging the university’s disciplinary strengths and distinctive concepts, the Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club has blended the idea of ecological outreach with intangible cultural heritage. This club delves into the operational framework of “intangible cultural heritage + ecological concepts.” Novel ideas, such as rubbings of botanical forms and organisms from the Yangtze River Basin, have been incorporated into the tradition of cultural preservation. Traditional Chinese stone rubbing artistry serves as a medium for conveying both biological and cultural information stored in plant leaves and fossilized organisms. 5.2.3. Initial Formation of Products to Market Incorporating the distinctive educational traits of universities, the club designed a unique series of cultural and creative products. By combining traditional Chinese stone rubbing artifacts with plants such as ginkgo and sequoia, the club created a series of cultural and creative products featuring rubbings of various plant species. These products cater to the needs of the public, promote the exposure of traditional Chinese stone rubbing artists in the market, and make campus club activities more socially meaningful (Fig. 4 ). 5.2.4. Simplify Technical Means and Develop Digital Publicity The tools used to create traditional Chinese stone rubbing artistry include a rubbing pad, ink, Xuan paper, bristle brush, spray bottle, and rubbing board (Fig. 5 ). A rubbing pad filled with materials such as felt, sponge, or cotton is used for inking during the rubbing process. The ink for rubbing, akin to that used in calligraphy, yields better results at higher concentrations (similar steps are applied when using colored ink). Rubbing typically employs raw Xuan paper (commonly cotton-fiber paper), which is known for its long fibers and good stretching properties. A bristle brush was used to smooth out any minor wrinkles on the Xuan paper, especially when it unevenly covered the surface. The spray bottle was filled with water, and the paper was moistened during rubbing. The rubbing board holds the ink and facilitates easy inking of the pad. Tapping the rubbing pad on the board several times ensured an even ink distribution for optimal rubbing results. The detailed use of these tools in the various stone rubbing steps is explained in the following text: 1.Detailed steps for rubbing Currently, the club’s leaf rubbing technique involves the following steps: collecting leaves, cutting rubbing paper, laying and covering the paper, inking by tapping (Fig. 6 ), and waiting for it to dry before it is peeled off (Fig. 7 ). The first step involves using naturally fallen leaves flattened inside a book or between cardboard sheets in preparation for inking. It is important to select leaves with clear veins and intact textures and to control the pressing time to approximately 12–18 hours. This step aims to dry the leaves so that they feel dry and non-slippery to touch, thus meeting the requirements for rubbing. In the second step, the flattened leaves were spread out on a table, and pre-cut Xuan paper was laid over them from top to bottom. The size of the Xuan paper was slightly larger than the pattern to be rubbed to facilitate subsequent peeling and mounting. After laying the paper, a fine mist of water is sprayed onto the Xuan paper. When the paper is thoroughly wet, it is lightly brushed back and forth with a bristle brush to ensure it adheres closely to the leaves. In this step, attention must be paid to the amount of water and the angle and pressure of the bristle brush. The Xuan paper should be adequately moistened by the water, ensuring saturation without leaving any standing water on the surface. The bristle brush should be held at a 45 to 60-degree angle and lightly brushed back and forth to adhere the Xuan paper to the leaves [ 35 ]. The third step involves gently tapping the Xuan paper with the head of the bristle brush until the leaf texture is fully imprinted on the paper. When dealing with large concave surfaces, care must be taken to avoid tapping too hard or too quickly to avoid tearing the paper. During this step, the bristle brush should be nearly vertical to the paper, tapping until all small bubbles on the paper disappear. The fourth step, inking or spreading the ink, involves dabbing the ink onto the rubbing paper with a rubbing pad. Inking begins when the texture of the Xuan paper is clearly visible. Before inking, the surface of the Xuan paper must remain at 50% moisture, and the concentration of the ink must be adjusted accordingly. The goal is to mix the ink evenly in one go to prevent blotching of the paper. The rubbing pad is dipped in ink, wiped back and forth on the rubbing board, and then applied to the Xuan paper. The process stops when the pattern on the Xuan paper is clear. The paper is left to dry at room temperature for approximately an hour before being removed to complete the rubbing process. The third and fourth steps are more challenging and technically demanding, requiring multiple attempts and experience. Beginners are advised to operate under the guidance of experts or the inheritors of intangible cultural heritage sites. If the moisture and ink concentrations of the paper are not well controlled, an optimal effect may not be achieved. 2.Initial launch of digital promotion platform The club launched the “Nanjing Forestry University Traditional Chinese Stone Rubbing Artistry Club” WeChat public account as a platform for promoting the club, used for displaying the artistry and works of stone rubbing. Soon, the public account will offer public welfare-oriented classes in stone rubbing and courses in stone rubbing and cultural and creative design in which enthusiasts can participate through online reservations. The club will further promote traditional Chinese stone rubbing artistry through digital methods, such as micro-classes, 3D presentations, and AR displays, exploring new paths for the inheritance and promotion of intangible cultural heritage. 5.2.5. Promote the Art of Rubbing for the Public The club has contacted various exhibition halls in multiple regions to conduct promotional and educational activities for traditional Chinese stone rubbing artistry, primarily through exhibitions and markets. In the exhibitions, the club displays plant rubbing works and creative rubbings, such as a series featuring Chinese zodiac signs composed of different plant leaves. Through market practices, the club also conducts ecological science popularization in the communities and neighborhoods around Nanjing, allowing more people to experience the charm of stone rubbing artistry. The club is invited to participate in the 2023 Nanjing City Lifelong Learning Activity Week. In addition, the club provides related teaching videos to elementary and middle school students by integrating intangible cultural heritage into art education classes. The club has conducted traditional Chinese stone rubbing artistry teaching activities in schools such as Suojin Village Primary School in Nanjing, Jiangsu Province, and the Fourth Middle School in Chishui City, Guizhou Province, receiving a warm welcome from the students. Many teachers believe that “experiencing traditional Chinese stone rubbing artistry is beneficial for improving student’s craftsmanship” and “students’ artistic creativity has been newly inspired.” However, the club received positive feedback on market practices from its citizens. They expressed that “this was their first encounter with such intangible cultural heritage, believing it can connect with contemporary art” and “were delighted to learn about China’s intangible cultural heritage through direct participation.” 5.3. Social Impact Since its establishment in 2019, the Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club has had a positive social impact. On the 70th anniversary of establishing diplomatic relations between China and Denmark, the club’s creation “Jinling” (Fig. 8 ) was selected as a diplomatic gift from Nanjing and was collected by Queen Margrethe II of Denmark. Additionally, the club participated in the “Nanjing Peace Forum” for three consecutive years, in 2019, 2020, and 2023. They created 150 exquisite gifts of peace by rubbing leaves and city bricks collected from various corners of Nanjing City, which were presented to guests from different countries at the forum. The club’s rubbing work has gradually gained international recognition on the world stage. The Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club combines the art of stone rubbing with red education. Around the theme of the 70th anniversary of the victory in the War to Resist US Aggression and Aid Korea in 2023, the club created a series of red metal rubbing works and held an exhibition in the 1912 block in Nanjing. This project won a provincial first prize in the “Red Special Project” at the 18th “Challenge Cup” National College Student Extracurricular Academic Science and Technology Works Competition in Jiangsu Province. In November of the same year, the club combined ecological art with the artistry of stone rubbing, creating a series of plant-rubbing works such as “Plants with Culture” and “Tree Rings.” They established an Ecological Science Popularization Art Practice Workshop and participated in the 7th Jiangsu Province College of Student Art Performance, where they won a special provincial award and were recommended for national competitions. To summarize, the innovative inheritance of traditional Chinese stone rubbing artistry requires a series of measures. An effective operational mechanism can be established by reevaluating traditional values, innovating inheritance models, and expanding through the application of digital technology. This is a continuation of the ancient art form of stone rubbing and a revitalization and innovation of human cultural heritage [ 36 ]. The efforts of the Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club positively explored the inheritance and development of stone rubbing artists in the new era. 6. Conclusions Although traditional Chinese stone rubbing artistry faces difficulties regarding technique inheritance, market adaptation, and technology application, this intangible cultural heritage is expected to be revitalized through systematic planning and implementation. Using college students’ art interest clubs as the new driving force, this study explores a new path for the sustainable development of traditional Chinese stone rubbing artistry and gives full play to the advantages and characteristics of college clubs, such as their direct connection to intangible cultural heritage bearers, as well as the diversity of the participating subjects, the strong cultural atmosphere of the campus, and the sufficient links to social resources, to provide a new way of thinking about the inheritance and protection of traditional Chinese stone rubbing artistry. This study takes the Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club as an example to explore the positive role of intangible cultural heritage clubs in the inheritance of intangible cultural heritage skills and takes the “five-in-one” inheritance model and the master-apprentice system as an innovative point to look for new paths for the sustainable development of intangible cultural heritage skills in the new era. It should be noted that this paper only explores the inheritance model of traditional Chinese stone rubbing artistry, a specific form of intangible cultural heritage. Future research should focus on how skill-based intangible cultural heritage can be inherited and developed through campus art clubs. Simultaneously, a sustainable development model for college clubs requires time and practical validation. Whether teams outside colleges can adopt college club development models to leverage their unique characteristics requires further exploration and reflection. This study offers insights into the inheritance and revitalization of other artistic and skill-based intangible cultural heritage projects. It provides a research framework and practical path for protecting and developing intangible cultural heritage in the new era. Future research can deepen the discussion on the dissemination and promotion of digital technology in traditional Chinese stone rubbing artistry, assess its practical effect on the protection and inheritance of traditional Chinese stone rubbing artistry, and explore how to integrate intangible heritage into the public’s daily life. Declarations Author Contributions: Conceptualization, P.Z. and H.T.; Methodology, H.T.; Software, H.L.; Validation, P.Z., H.T. and H.L.; Formal analysis, H.T.; Investigation, H.L.; Resources, H.T.; Data curation, H.T. and H.L.; Writing—original draft preparation, H.T. and H.L.; Writing—review and editing, P.Z.; Visualization, H.T.; Supervision, P.Z.; Project administration, P.Z.; Funding acquisition, P.Z. All authors have read and agreed to the published version of the manuscript. Funding: Not applicable. Data Availability Statement: Not applicable. Conflicts of Interest: The authors declare no conflict of interest. References UNESCO. (2003). Convention for the Safeguarding of the Intangible Cultural Heritage. Retrieved from https://ich.unesco.org/en/convention . The General Office of the State Council of the People's Republic of China. (n.d.). Opinions on enhancing preservation of intangible cultural heritage. 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Xi'an Academy of Fine Arts. Yan W-J, Li K-R. (2023). Sustainable Cultural Innovation Practice: Heritage Education in Universities and Creative Inheritance of Intangible Cultural Heritage Craft. Sustainability, 15(2). https://doi.org/10.3390/su15021194 . Liu X, Leng J. Practical and theoretical considerations on the productive protection of intangible cultural heritage. J Guangxi Univ Nationalities: Philos Social Sci Ed. 2016;38(4):64–71. Park JH, Park JH. (2019). Living: Research on the protection and sustainable development path of Korean intangible cultural heritage. J North Minzu University: Philos Social Sci Ed, (3), 88–94. Zhang X. (2015). Research on the living display design of intangible cultural heritage [Master’s Thesis]. China Academy of Art. Yang H. (2017). Intangible cultural heritage and cultural creative product design [PhD Thesis]. China Academy of Art Research. Tan Z. (2011). Research on the protection and development of the Tujia ethnic group's intangible cultural heritage [PhD Thesis]. South-Central University for Nationalities. Zhu Y. Production protection and life inheritance of traditional crafts. Folklore Res. 2015;81–7. https://doi.org/10.13370/j.cnki.fs.2015.01.009 . Gao Y, Kong D. An exploration of the productive protection of traditional crafts as intangible cultural heritage. J Chongqing Univ (Social Sci Edition). 2015;21(3):158–63. Jiang D, Xie C, Cui K. Research on the design of intangible cultural heritage inheritance services under the perspective of rural revitalization: A case study of intangible cultural heritage in Zhuanglang County. Design. 2023;36:92–5. https://doi.org/10.20055/j.cnki.1003-0069.001161 . Carrozzino M, Scucces A, Leonardi R, Evangelista C, Bergamasco M. Virtually preserving the intangible heritage of artistic handicraft. J Cult Herit. 2011;12(1):82–7. https://doi.org/10.1016/j.culher.2010.10.002 . Guo L, Tao H. (2020). The regulated protection of intangible cultural heritage and the unregulated sustainable development: A case study of Hubei Yingshan Tangle Flower skills. Journal of South-Central University for Nationalities (Humanities and Social Sciences Edition), 40,70–5. https://doi.org/10.19898/j.cnki.42-1704/c.2020.05.012 . Wang L, Ma Z. Strategies for building a sustainable ecosystem for poverty alleviation through intangible cultural heritage: A case study of traditional handicrafts. Natl Art Res. 2022;35:153–60. https://doi.org/10.14003/j.cnki.mzysyj.2022.03.19 . Zhang Y. (2016). The historical mission of intangible cultural heritage protection and inheritance is to promote its sustainable development. Cult Herit, (5), 8–11. Hu X. The reinterpretation of 'rubbing': The profound implications of rubbing techniques in contemporary art. Art Res. 2012;97–100. https://doi.org/10.13318/j.cnki.msyj.2012.02.016 . Hua S. The application of ancient pottery and Traditional Chinese Stone Rubbing techniques in design. Ceramic Sci Art. 2022;56:113–9. https://doi.org/10.13212/j.cnki.csa.2022.10.073 . Li R. Reflections on the protection of intangible cultural heritage inheritors and the construction of inheritance mechanisms. Chin Cult Stud. 2016;20–7. https://doi.org/10.15990/j.cnki.cn11-3306/g2.2016.02.002 . Ma Q, Bortolotto C. Commercialization without over-commercialization’: Normative conundrums across heritage rationalities. Cultural Heritage; 2021. pp. 1–8. Liu C. The impact of new media on the inheritance of intangible cultural heritage: A case study of traditional handicraft protection projects at the Nanjing Folk Museum. Sociologists; 2018. pp. 103–7. Zhao X. (2009). The scientific and lasting preservation of cultural relics information through the appropriate use of rubbing techniques. Sichuan Cult Relics, 122–5. Huang Y. Protection and utilization of intangible cultural heritage in the context of digitization. Cultural Heritage; 2015. pp. 1–10. Wang D. Diversified communication strategies of intangible cultural heritage. News Enthusiasts. 2018;73–6. https://doi.org/10.16017/j.cnki.xwahz.2018.06.020 . Wu W. (2016). The master-apprentice system under the perspective of intangible cultural heritage protection [Master’s Thesis]. East China Normal University. Wang B. Oil painting within the framework of art education to support local ethnic cultures and preserve cultural heritage in China. Arte Individuo y Sociedad. 2023;35(4):1275–89. https://doi.org/10.5209/aris.87531 . Guo Y. The similarities and differences between sound rubbing, sharp rubbing, full-shape rubbing and Traditional Chinese Stone Rubbing. Palace Museum J. 2014;145–53. https://doi.org/10.16319/j.cnki.0452-7402.2014.01.012 . Yu X. The digital inheritance of cultural heritage. J Changchun Univ Technol (Social Sci Edition). 2014;26:149–51. 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6","display":"","copyAsset":false,"role":"figure","size":789873,"visible":true,"origin":"","legend":"\u003cp\u003eStep-by-step diagram 1 of the leaf rubbing technique.\u003c/p\u003e","description":"","filename":"Figure6.jpg","url":"https://assets-eu.researchsquare.com/files/rs-4115629/v1/15aa2d8133711ba23564a910.jpg"},{"id":53193489,"identity":"e832ab8f-37fa-4666-a214-9d2080afab86","added_by":"auto","created_at":"2024-03-21 18:01:05","extension":"jpg","order_by":7,"title":"Figure 7","display":"","copyAsset":false,"role":"figure","size":1177725,"visible":true,"origin":"","legend":"\u003cp\u003eStep-by-step diagram 2 of the leaf rubbing technique.\u003c/p\u003e","description":"","filename":"Figure7.jpg","url":"https://assets-eu.researchsquare.com/files/rs-4115629/v1/8f18fb5891898c00c6c1644d.jpg"},{"id":53193490,"identity":"8ddd4942-89d8-4689-9c7e-98736e93a69b","added_by":"auto","created_at":"2024-03-21 18:01:06","extension":"jpg","order_by":8,"title":"Figure 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Introduction","content":"\u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eIn 2003, UNESCO implemented the Global Capacity Building Strategy for Safeguarding Intangible Cultural Heritage under the framework of the Convention for the Safeguarding of the Intangible Cultural Heritage [\u003cspan citationid=\"CR1\" class=\"CitationRef\"\u003e1\u003c/span\u003e]. Accordingly in 2005, the General Office of the State Council of China issued \u0026ldquo;Opinions on enhancing preservation of intangible cultural heritage,\u0026rdquo; proposing to improve the level of safeguarding and transmission of intangible cultural heritage and to increase the dissemination and popularization of it [\u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e2\u003c/span\u003e]. Nanjing is a famous ancient capital with extensive cultural deposits. The intangible cultural heritage here is rich in quantity and has high cultural value. Traditional Chinese stone rubbing artistry is one of the representative intangible cultural heritage with rich characteristics. It is a technique for transferring patterns on artifacts to paper and mainly includes ink-printing rubbing, ink-abrasion rubbing, black-gold rubbing, and full-shape rubbing techniques [\u003cspan citationid=\"CR3\" class=\"CitationRef\"\u003e3\u003c/span\u003e]. These rubbings emphasize the extreme pursuit of details in the production process, demonstrating the superior skills of ancient craftsmen. They recorded the characters and patterns of ancient stone carvings, bronze objects, and other artifacts, preserving precious historical information for future generations.\u003c/p\u003e \u003cp\u003eAt present, because of great changes in the social, economic, and humanistic environments on which intangible cultural heritage depends, there arises several issues, such as the break in the generation of inheritors, the lack of funds for protection, and the insufficiency of protection measures, which make intangible cultural heritage increasingly marginalized. To address these issues, we can give full play to the positive role of higher learning institutions and college student groups in the inheritance of intangible cultural heritage. Currently, the main bodies of operation of major domestic colleges\u0026rsquo; and universities\u0026rsquo; art clubs are college students and their instructors; thus, they are the main force for the development of traditional intangible cultural heritage in the future. Youth groups in clubs have unique artistic aesthetics and, simultaneously, a strong interest in exploring intangible cultural heritage. They gather at campus art clubs and pass on their dying intangible cultural heritage through continuous learning, exploration, and research. However, colleges and universities can provide young people with the cultural atmosphere needed for the inheritance of intangible cultural heritage and basic knowledge of rubbing techniques; connect platforms such as research institutes, museums, and workshops to improve the teaching quality of campus intangible cultural heritage clubs; and connect intangible cultural heritage exploration with the practice of college clubs. The Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club has made some pioneering explorations of new methods and modes of transmitting traditional Chinese stone rubbing artistry, which will provide valuable lessons for the sustainable development of intangible cultural heritage.\u003c/p\u003e \u003c/div\u003e \u003c/p\u003e"},{"header":"2. Literature Review","content":"\u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eCurrently, scholars, both domestically and internationally, have made significant progress in researching the sustainable development of traditional Chinese stone rubbing artistry and have made fruitful achievements, mainly focusing on the historical evolution of rubbing techniques, craft methods, and artistic characteristics. In recent years, with the continuous promotion of the protection of intangible cultural heritage in many places, research on the innovation of protection and inheritance strategies of traditional Chinese stone rubbing artistry has also gradually increased at home and abroad.\u003c/p\u003e \u003cp\u003eThe social development of intangible cultural heritage is affected by a combination of factors, including the government, enterprises, the public, and the social environment [\u003cspan citationid=\"CR4\" class=\"CitationRef\"\u003e4\u003c/span\u003e]. For governments, different methods and standards for recognizing intangible heritage in various countries and regions have led to a divergence in public understanding. Finding commonalities is essential to facilitate the fair, just, and open development of intangible heritage sites [\u003cspan citationid=\"CR5\" class=\"CitationRef\"\u003e5\u003c/span\u003e]. Regional participation in intangible heritage preservation contributes to a better understanding of one\u0026rsquo;s cultural heritage [\u003cspan citationid=\"CR6\" class=\"CitationRef\"\u003e6\u003c/span\u003e] and its positive impact on traditional villages [\u003cspan citationid=\"CR7\" class=\"CitationRef\"\u003e7\u003c/span\u003e], the industrial economy [\u003cspan citationid=\"CR8\" class=\"CitationRef\"\u003e8\u003c/span\u003e] and rural revitalization [\u003cspan citationid=\"CR9\" class=\"CitationRef\"\u003e9\u003c/span\u003e]. For the public, the effective promotion of intangible heritage in various regions demonstrate [\u003cspan citationid=\"CR10\" class=\"CitationRef\"\u003e10\u003c/span\u003e] its value across economic, cultural, and social dimensions [\u003cspan citationid=\"CR11\" class=\"CitationRef\"\u003e11\u003c/span\u003e]. This helps transform public cultural values and continually drives the socialized development of intangible heritage inheritance [\u003cspan citationid=\"CR12\" class=\"CitationRef\"\u003e12\u003c/span\u003e].\u003c/p\u003e \u003cp\u003eResearch on the development of intangible cultural heritage skills can be broadly divided into theory and practice. The theoretical level mainly focuses on a comprehensive analysis of the reality and future development trends of intangible cultural heritage skills. It explores the common problems of the existing intangible cultural heritage skills, such as the confusion of the protection object, the lack of excellent talent [\u003cspan citationid=\"CR13\" class=\"CitationRef\"\u003e13\u003c/span\u003e], the lack of raw materials [\u003cspan citationid=\"CR15\" class=\"CitationRef\"\u003e15\u003c/span\u003e]. It puts forward the theoretical concept of \u0026ldquo;living\u0026rdquo; inheritance [\u003cspan citationid=\"CR14\" class=\"CitationRef\"\u003e14\u003c/span\u003e], which centers on intangible cultural heritage skills and intangible cultural heritage derivative products to deepen the concept. The theoretical concept of \u0026ldquo;living\u0026rdquo; inheritance is put forward, and the concept is deepened around intangible cultural heritage and its derivatives [\u003cspan citationid=\"CR16\" class=\"CitationRef\"\u003e16\u003c/span\u003e], advocating the combination of intangible cultural heritage skills with local and national culture and the life of the people [\u003cspan additionalcitationids=\"CR18\" citationid=\"CR17\" class=\"CitationRef\"\u003e17\u003c/span\u003e\u0026ndash;\u003cspan citationid=\"CR19\" class=\"CitationRef\"\u003e19\u003c/span\u003e].\u003c/p\u003e \u003cp\u003eAt the practical level, it is primarily based on domestic and international practice cases of the development of intangible cultural heritage skills, advocating that the development of intangible cultural heritage skills requires cultural experience and practical skills [\u003cspan citationid=\"CR20\" class=\"CitationRef\"\u003e20\u003c/span\u003e]. The development of intangible cultural heritage skills relies primarily on digital multimedia platforms for artistic innovation [\u003cspan citationid=\"CR21\" class=\"CitationRef\"\u003e21\u003c/span\u003e]. New media platforms and digital technology [\u003cspan citationid=\"CR22\" class=\"CitationRef\"\u003e22\u003c/span\u003e] are necessary to promote the effective inheritance of intangible cultural heritage skills. Simultaneously, practical cases should focus on studying training methods for different inheritors of intangible cultural heritage skills. Preserving intangible cultural heritage highlights the importance of both skill development and the development of inheritors. It regards inheritors as its central focus [\u003cspan citationid=\"CR23\" class=\"CitationRef\"\u003e23\u003c/span\u003e], and cultivating qualified inheritors of intangible cultural heritage skills require an enhancement of their cultural qualities and artistic cultivation [\u003cspan citationid=\"CR24\" class=\"CitationRef\"\u003e24\u003c/span\u003e], fostering mutual promotion between the theoretical and practical levels.\u003c/p\u003e \u003cp\u003eCurrent literature directly related to traditional Chinese stone rubbing artistry mainly focuses on the technique of traditional Chinese stone rubbing artistry [\u003cspan citationid=\"CR25\" class=\"CitationRef\"\u003e25\u003c/span\u003e] and its applications to expand the research [\u003cspan citationid=\"CR26\" class=\"CitationRef\"\u003e26\u003c/span\u003e]. In this context, the discussion on the inheritance of traditional Chinese stone rubbing artistry is confined to the traditional intangible cultural heritage \u0026ldquo;passing from generation to generation\u0026rdquo; mode. There is a lack of in-depth research on the practical aspects and methods of inheriting intangible cultural heritage and fewer examples of innovative inheritance methods centered around campus clubs. This study explores the renewal of inheritance methods for intangible cultural heritage skills to address the aforementioned shortcomings.\u003c/p\u003e \u003c/div\u003e \u003c/p\u003e"},{"header":"3. Research Ideas and Methods","content":"\u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eThis study takes traditional Chinese stone rubbing artistry as the main research object and explores how this skill can achieve sustainable development in campus clubs. This study utilizes the big data platform to conduct an in-depth analysis of the problems faced by intangible cultural heritage sites, such as gaps in talent cultivation, low recognition of skills, and limited dissemination of theoretical knowledge. This study adopts a semi-structured interview method to conduct in-depth interviews with 3 experts, 4 student inheritors, and 15 intangible cultural heritage artisans. It is also deeply involved in operating of the Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club, exploring the long-term viability and sustainability of developing intangible cultural heritage sites in campus clubs.\u003c/p\u003e \u003cp\u003eThis study adopted a variety of research methods, including a literature review, case studies, and interviews. First, through a literature review, we read and analyzed both domestic and international intangible cultural heritage documentation, summarizing the current academic understanding of intangible cultural heritage inheritance methods and providing a research foundation for this paper. Second, using the Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club as a case study, we explored new modes of inheriting and innovating intangible cultural heritage techniques within campus clubs, observing youth groups\u0026rsquo; recognition of intangible cultural heritage from a new perspective and examining the impact of the master-apprentice system on its inheritance. Finally, employing semi-structured interviews with experts in traditional Chinese stone rubbing artistry and student inheritors, we seek to understand the current state of inheritance of this art form as well as the market awareness of intangible cultural heritage and other issues and analyze the potential of exploring the inheritance of intangible cultural heritage within the club model.\u003c/p\u003e \u003c/div\u003e \u003c/p\u003e"},{"header":"4. Current Status and Challenges of Traditional Chinese Stone Rubbing Artistry Development","content":"\u003cdiv id=\"Sec5\" class=\"Section2\"\u003e \u003ch2\u003e4.1. Status Study\u003c/h2\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eUsing a combination of field research and online interviews, the author conducted in-depth interviews with 3 experts in traditional Chinese stone rubbing artistry, 4 student inheritors of intangible cultural heritage, and 15 artisans. This approach aims to comprehend the current state of intangible cultural heritage preservation and market dynamics within this sector. The three experts in traditional Chinese stone rubbing artistry interviewed by the author are key custodians of this intangible cultural heritage in Nanjing. They have dedicated considerable time to this craft, offering unique insights and perspectives on the perpetuation of this heritage.\u003c/p\u003e \u003cp\u003eThe first expert in traditional Chinese stone rubbing artistry, Wang Hong, served as the Executive President of the Nanjing Traditional Chinese Stone Rubbing Artistry Club. As a fourth-generation inheritor of this craft, he is renowned for his mastery and is a celebrated figure in Nanjing\u0026rsquo;s stone rubbing circles. Recently, he has been proactively collaborating with higher education institutions, such as Nanjing Forestry University and the Jinling Institute of Science and Technology, to enhance the reach and appeal of contemporary stone rubbing techniques among university students. His work primarily involved creating rubbing from stone tablets and walls of forgotten villages, fostering a fusion of traditional skills with modern art. Wang Hong also prioritizes nurturing future talent. Under his guidance, numerous fifth-generation inheritors have emerged, preserving this artistic legacy.\u003c/p\u003e \u003cp\u003eZhu Wei, the second expert in traditional Chinese stone rubbing artistry, is a distinguished faculty member at the Nanjing Forestry University\u0026rsquo;s School of Art and Design. He plays a pivotal role in the Nanjing Traditional Chinese Stone Rubbing Artistry Club and as an academic advisor to the university club, focusing on art theory education and practical guidance. Zhu Wei dedicated 12 years to meticulously researching this art form and produced a collection of remarkable works. Among his notable creations are \u0026ldquo;The Wheel of the Year,\u0026rdquo; crafted using spruce slice rubbings, and \u0026ldquo;The Mark of Plants,\u0026rdquo; a series of rubbings showcasing campus flora, which have garnered widespread acclaim.\u003c/p\u003e \u003cp\u003eChen Kunpeng, the third expert in traditional Chinese stone rubbing artistry, is a fifth-generation inheritor and advisor to the Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club. He has been honored three times with invitations to the UNESCO-sponsored Nanjing Peace Forum, where he has notably contributed by designing and creating rubbings presented as official gifts from the city of Nanjing to distinguished guests. His innovative ecological series integrates plant ecology with traditional Chinese stone rubbing artistry, expanding the creative scope of this art form and highlighting his distinct flair for innovation.\u003c/p\u003e \u003cp\u003eThe three aforementioned traditional Chinese stone rubbing artistry experts possess extensive practical experience and theoretical understanding, making them professionals and authorities in their field. Interviews with them offered deep insights into the current developments in this art form and assisted in identifying clearer reform directions for the inheritance of intangible heritage based on the internal dynamics of skill transmission. Recently, led by Chen Kunpeng, the Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club has been actively conducting training sessions, recruiting members, and nurturing professionals. It has successfully fostered four student inheritors of intangible heritage. Xue and Wang were mentored by Wang Hong, while Liu and Huang were guided by Chen Kunpeng, who established a nascent master-apprentice training system. This intergenerational collaboration produced several joint creative works that infuse clubs with cultural dynamics.\u003c/p\u003e \u003cp\u003eThe Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club actively engages in intangible cultural heritage projects in collaboration with the districts and markets in Nanjing and Changzhou, maintaining strong partnerships with many practitioners in related fields. For this study, 15 artisans specializing in intangible cultural heritage were interviewed, comprising 7 women and 8 men within the age range of 24\u0026ndash;52. These participants included five individuals from the Nanjing Ming Xiaoling Museum, four from the Jiangxi Yushan Museum, one from the Guangdong Chaozhou Museum, two from public welfare intangible heritage organizations in Nanjing\u0026rsquo;s Xuanwu District, and three from academic institutions, such as the Jinling Institute of Science and Technology and Nanjing University of Technology.\u003c/p\u003e \u003cp\u003eInterviews with three traditional Chinese stone rubbing artistry experts, four student inheritors of intangible cultural heritage, and 15 artisans provided valuable insights into contemporary heritage inheritance\u0026rsquo;s current state and challenges. This study addresses common issues in the inheritance of intangible cultural heritage skills by facilitating cross-regional and intercultural exchanges among various intangible cultural heritage cultures. This groundwork is essential for exploring effective methods and approaches for the widespread dissemination of traditional Chinese stone rubbing artistry.\u003c/p\u003e \u003cp\u003eIn the interviews, the expert first emphasized the importance and urgent need to protect of intangible cultural heritage skills such as traditional Chinese stone rubbing artistry in cultural inheritance. Subsequently, the experts elaborated on the current difficulties in skill inheritance, such as the lack of interest in traditional skills among the younger generation and the significant changes in the environment for inheriting traditional skills. In addition, the experts put forward constructive suggestions, including advocating for the preservation and innovative promotion of intangible cultural heritage skills. These are key directions for research on traditional Chinese stone rubbing artistry.\u003c/p\u003e \u003cp\u003eStudents who inherit intangible cultural heritage believe that the government, enterprises, universities, and clubs should collaborate to formulate stronger policies that support the inheritance and development of intangible cultural heritage skills. At the same time, education and publicity should be strengthened to raise public awareness of traditional skills [\u003cspan citationid=\"CR27\" class=\"CitationRef\"\u003e27\u003c/span\u003e].\u003c/p\u003e \u003cp\u003eMost artisans of intangible cultural heritage have pointed out that the trend toward the marketization, commoditization, and popularization of intangible cultural heritage has provided new development opportunities for traditional skills. However, it raises concerns about whether intangible cultural heritage protection can maintain cultural originality. They called for commercial development to be accompanied by sufficient respect for intangible cultural heritage and for over-commercialization to be avoided [\u003cspan citationid=\"CR28\" class=\"CitationRef\"\u003e28\u003c/span\u003e].\u003c/p\u003e \u003cp\u003eFrom the above analysis, it can be concluded that traditional Chinese stone rubbing artistry encounters both opportunities and challenges in modern society. Balancing the relationship between tradition and modernity and between technology and art will be the core issue for the future sustainable development of traditional Chinese stone rubbing artistry. The traditional single-family mode of inheritance is no longer suitable for this new era. Exploring new methods of inheritance and innovation in traditional Chinese stone rubbing artistry, possibly in groups or workshops, is essential.\u003c/p\u003e \u003c/div\u003e \u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec6\" class=\"Section2\"\u003e \u003ch2\u003e4.2. Current Problems\u003c/h2\u003e \u003cdiv id=\"Sec7\" class=\"Section3\"\u003e \u003ch2\u003e4.2.1. Discontinuity in the Inheritance of Traditional Chinese Stone Rubbing Artistry\u003c/h2\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eExpert Wang Hong pointed out that \u0026ldquo;some intangible cultural heritage projects are facing the problem of fractured inheritance, which is centered on the fact that the younger generation has lost interest in traditional crafts. This may lead to a lack of successors with intangible cultural heritage skills.\u0026rdquo; According to expert Zhu Wei, \u0026ldquo;the inheritance of Traditional Chinese Stone Rubbing Artistry is also facing problems such as insufficient funds, a single mode of inheritance, and a lack of innovation, which is a worrying prospect.\u0026rdquo; Traditional Chinese stone rubbing artistry is highly dependent on accumulating personal skills and experience. The learning cycle is long and difficult, making it exceptionally challenging to cultivate inherited talents in the short term. However, the current educational system lacks cognitive education on intangible cultural heritage. The quantity and quality of young inheritors in their natural state cannot meet the demand for traditional skills[\u003cspan citationid=\"CR29\" class=\"CitationRef\"\u003e29\u003c/span\u003e].\u003c/p\u003e \u003c/div\u003e \u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec8\" class=\"Section3\"\u003e \u003ch2\u003e4.2.2. Lack of a Mature Market and Business Models\u003c/h2\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eHuang, a student of intangible cultural heritage and four intangible cultural heritage workers believes that the art of goldstone topography faces the practical challenge of achieving commercialization. First, there is a generation gap between topography and young people\u0026rsquo;s modern aesthetics and consumption habits, leading to marketing difficulties. Second, traditional cultural heritage works in the current business environment generate little profit, making it difficult to establish a virtuous cycle for traditional Chinese stone rubbing artistry in the market. Third, the lack of professional market operations and brand-building awareness has led to an underestimation of the value of traditional Chinese stone rubbing artworks, and the fruits of labor have not received a reasonable economic return. All these factors affect the future vitality of traditional Chinese stone rubbing artistry [\u003cspan citationid=\"CR30\" class=\"CitationRef\"\u003e30\u003c/span\u003e].\u003c/p\u003e \u003c/div\u003e \u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec9\" class=\"Section3\"\u003e \u003ch2\u003e4.2.3. Insufficiency in Technological Innovation and Digital Application\u003c/h2\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eIn an interview, expert Chen Kunpeng pointed out that although digitization provides new possibilities for the inheritance and promotion of traditional Chinese stone rubbing artistry, its application is far from ideal. Currently, the application of mainstream digital technology in Traditional Chinese Stone Rubbing art mostly involves digital scanning and archiving topographies. Currently, in-depth technological innovation and innovative applications are lacking. Moreover, cutting-edge technologies such as virtual reality and augmented reality (AR) have not been fully utilized in art education and skill experience of traditional Chinese stone rubbing artistry. Furthermore, research on new issues such as copyright attribution and the transformation of artistic value that may arise in the process of digitization is also lagging.\u003c/p\u003e \u003c/div\u003e \u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec10\" class=\"Section3\"\u003e \u003ch2\u003e4.2.4. Insufficiency in Technological Innovation and Digital Application\u003c/h2\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eAccording to Xue, a student of intangible cultural heritage, traditional Chinese stone rubbing artistry, as a special intangible cultural heritage, faces a serious challenge in modern inheritance because of the specificity of the materials used for stone rubbing. During this process, traditional Chinese stone rubbing artistry needs to be created directly on cultural relics or works of art with high cultural and artistic value, and this process carries a certain risk of damage. Consequently, many cultural relics cannot be rubbed into this work.\u003c/p\u003e \u003c/div\u003e \u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec11\" class=\"Section3\"\u003e \u003ch2\u003e4.2.5. Lack of Policy Support and Development Systems\u003c/h2\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eAccording to intangible heritage workers engaged in \u0026ldquo;movable type printing\u0026rdquo; at the Museum of the Ming Xiaoling Mausoleum in Nanjing, on the government side, we do not yet have sufficient resources and complementary policies to support the inheritance and development of intangible heritage. At the same time, whether these existing policies are flexible and targeted enough to address the specificities of different intangible heritage projects also requires further testing over time [\u003cspan citationid=\"CR31\" class=\"CitationRef\"\u003e31\u003c/span\u003e]. Ms. Wang, from the Public Welfare Intangible Cultural Heritage Organization of Xuanwu District, Nanjing, believes that the current inheritance of intangible cultural heritage still faces the impacts and challenges of digitization and modernization. The younger generation also needs to consider how modern technology can promote innovation and development of intangible cultural heritage sites. It is possible to utilize digital methods popular among young people [\u003cspan citationid=\"CR32\" class=\"CitationRef\"\u003e32\u003c/span\u003e], such as \u0026ldquo;Facebook\u0026rdquo; and \u0026ldquo;TikTok,\u0026rdquo; to find suitable ways to pass down traditional intangible cultural heritage sites.\u003c/p\u003e \u003cp\u003eThrough a comprehensive analysis, many problems and deficiencies in the cultivation of inheritors, selection of rubbing materials, marketization process, digital technology development in traditional Chinese stone rubbing artistry, and orientation of social policy become evident (Fig.\u0026nbsp;\u003cspan refid=\"Fig1\" class=\"InternalRef\"\u003e1\u003c/span\u003e). In this study, we believe that the introduction of the traditional \u0026ldquo;master-apprentice system\u0026rdquo; and the use of the new platform of the association can promote the new vitality of traditional Chinese stone rubbing artistry. The association has the unique advantage of combining \u0026ldquo;point\u0026thinsp;+\u0026thinsp;line\u0026thinsp;+\u0026thinsp;surface.\u0026rdquo; First, focusing on different \u0026ldquo;points\u0026rdquo; to carry out related activities, non-heritage societies can explore and learn from the three aspects of skills, theory, and practice and take it as the main node of teaching and development of club members. Second, new ways are introduced in the inheritance method, relying on the school platform and resource advantages to connect the clubs and resources in a \u0026ldquo;line\u0026rdquo; way and build a higher development platform. Once again, through the organization of the club to market transformation, give full play to the development of the club, from its development, means of publicity, policy orientation of the three major aspects of the \u0026ldquo;face\u0026rdquo; of the flowering of the digital technology and the integration of the development of the club, a better inheritance of intangible cultural heritage traditional arts and crafts, and to achieve sustainable development.\u003c/p\u003e \u003c/div\u003e \u003c/p\u003e\u003c/div\u003e \u003c/div\u003e"},{"header":"5. Case Study: Nanjing Forestry University’s Traditional Chinese Stone Rubbing Artistry Club","content":"\u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eIn the case of the Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club, the operating mode of college students\u0026rsquo; art interest clubs demonstrates sustainable development. As the focus of this paper, the club has achieved remarkable results in the inheritance and development of traditional Chinese stone rubbing artistry.\u003c/p\u003e \u003c/div\u003e\u003cdiv id=\"Sec13\" class=\"Section2\"\u003e \u003ch2\u003e5.1. Introduction and Development Mode of the Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club\u003c/h2\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eThe operation mode of the Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club is relatively perfect, and it has established close cooperation with many organizations, such as the Nanjing Traditional Chinese Stone Rubbing Artistry Club, Jiangxi Yushan Museum, and Nanjing Ming Xiaoling Museum. It has rich off-campus traditional Chinese stone rubbing artistry resources and several practice guidance instructors. The club excels in the professionalism of art inheritance and the systematicity of teaching, with professional teachers from the art and design colleges of universities as the main instructors.\u003c/p\u003e \u003cp\u003eThe club undertakes the teaching of theoretical courses on intangible cultural heritage, which provides the club members with a theoretical foundation for understanding intangible cultural heritage in the early stages. The club has also hired Wang Hong and Chen Kunpeng, the inheritors of the Nanjing Traditional Chinese Stone Rubbing Artistry Club, as practical teachers to analyze the technical difficulties related to traditional Chinese stone rubbing artistry on-site. At present, the club has trained two young intangible inheritors and has attracted more than 300 students to learn traditional Chinese stone rubbing artistry. From the viewpoint of the personnel structure of intangible inheritance, the Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club can be regarded as a preparatory organization for the inheritance of traditional Chinese stone rubbing artistry.\u003c/p\u003e \u003cp\u003eBased on traditional Chinese stone rubbing artistry, the club actively carries out propaganda activities for intangible cultural heritage, combines traditional techniques with green ecology, and includes all kinds of leaves in the scope of rubbing, expanding the scope of raw materials for traditional Chinese stone rubbing artistry. The operational mode of the club mainly includes teaching traditional Chinese stone rubbing artistry, promoting bazaar activities and practical courses, and creating cultural and creative products. In terms of teaching, the club employs intangible cultural heritage inheritors to train students as masters and apprentices, learning and passing down various kinds of traditional Chinese stone rubbing artistry. The club conducts promotional activities by opening exhibitions and bazaar practices, displaying the works created, innovating and remodeling them, integrating topography with ecological art, and injecting new connotations into the art of Traditional Chinese Stone Rubbing to meet the needs of modern society.\u003c/p\u003e \u003cp\u003eThe Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club demonstrated a sustainable \u0026ldquo;five-in-one\u0026rdquo; inheritance model. The club has injected new vitality into this ancient art by returning to craftsmanship and advocating the \u0026ldquo;master-apprentice system.\u0026rdquo;\u003c/p\u003e \u003c/div\u003e \u003c/div\u003e \u003cdiv id=\"Sec14\" class=\"Section2\"\u003e \u003ch2\u003e5.2. Specific Measures for the Inheritance of the Club\u003c/h2\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eThe Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club significantly developed through the club system, endeavoring to address current challenges. It has improved existing inheritance methods and partially addressed the challenges related to rubbing materials and technological innovation. The club has considered multiple aspects of skill inheritance and adopted a \u0026ldquo;five-in-one\u0026rdquo; inheritance model (Fig.\u0026nbsp;\u003cspan refid=\"Fig2\" class=\"InternalRef\"\u003e2\u003c/span\u003e), which includes measures in skill inheritance, cultural inheritance, talent cultivation, platform construction, and institutional safeguards. These five inheritance measures complement each other, collectively building an organic system from inheritance to innovation and from theory to practice. It strives to promote the sustainable development of traditional Chinese stone rubbing artistry in the context of modern society and provides a feasible and promising example for the inheritance and development of traditional Chinese stone rubbing artistry.\u003c/p\u003e \u003c/div\u003e\u003cdiv id=\"Sec15\" class=\"Section3\"\u003e \u003ch2\u003e5.2.1. Return to the Traditional \u0026ldquo;Master-Apprentice System\u0026rdquo; Teaching Model\u003c/h2\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eReverting to traditional inheritance methods is crucial for preserving intangible cultural heritage [\u003cspan citationid=\"CR33\" class=\"CitationRef\"\u003e33\u003c/span\u003e]. Through the \u0026ldquo;master-apprentice system,\u0026rdquo; (Fig.\u0026nbsp;\u003cspan refid=\"Fig3\" class=\"InternalRef\"\u003e3\u003c/span\u003e) students can immerse themselves in the ambiance of traditional skills under the master\u0026rsquo;s guidance. This allows them to experience a rich cultural heritage while preserving the authenticity of their skill acquisition and research. In the digital age, the \u0026ldquo;master-apprentice system\u0026rdquo; is a valuable method of inheritance.\u003c/p\u003e \u003cp\u003eCurrently, the master-apprentice system serves as the cornerstone of the inheritance model, with government-recognized heritage experts directly engaged in teaching, primarily sourced from the Nanjing Traditional Chinese Stone Rubbing Artistry Club. In conjunction with practical instruction, the club facilitates members\u0026rsquo; learning of traditional Chinese stone rubbing artistry by collaborating with museums and conducting classes in primary and secondary schools. Additionally, the club identifies students with innate talent, a strong work ethic, and an unwavering commitment, integrating them into the community dedicated to learning and preserving traditional Chinese stone rubbing artistry. Nongenetic inheritors play a pivotal role in providing essential guidance, ultimately establishing a self-sustaining system for nurturing talent in traditional Chinese stone rubbing artistry.\u003c/p\u003e \u003c/div\u003e \u003c/div\u003e \u003cdiv id=\"Sec16\" class=\"Section3\"\u003e \u003ch2\u003e5.2.2. Expanding the Selection of Raw Materials for Rubbing\u003c/h2\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eIn its early stages, the practice of traditional Chinese stone rubbing artistry primarily focused on rubbing historical artifacts, such as stone tablets and bronzes. Presently, with a significant increase in the level of cultural relic protection, the range of objects suitable for traditional Chinese stone rubbing artistry is diminishing. The scarcity of raw materials presents a pressing need to expand the scope of traditional Chinese stone rubbing artistry objects. Essentially, the heart of traditional Chinese stone rubbing artistry\u0026rsquo;s legacy lies in \u0026ldquo;replication,\u0026rdquo; which involves the artistic recreation of the texture and imprints found on culturally significant objects [\u003cspan citationid=\"CR34\" class=\"CitationRef\"\u003e34\u003c/span\u003e]. The principles and concepts of this technique can be extended beyond the realms of literature and museums to include other domains.\u003c/p\u003e \u003cp\u003eBy leveraging the university\u0026rsquo;s disciplinary strengths and distinctive concepts, the Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club has blended the idea of ecological outreach with intangible cultural heritage. This club delves into the operational framework of \u0026ldquo;intangible cultural heritage\u0026thinsp;+\u0026thinsp;ecological concepts.\u0026rdquo; Novel ideas, such as rubbings of botanical forms and organisms from the Yangtze River Basin, have been incorporated into the tradition of cultural preservation. Traditional Chinese stone rubbing artistry serves as a medium for conveying both biological and cultural information stored in plant leaves and fossilized organisms.\u003c/p\u003e \u003c/div\u003e \u003c/div\u003e \u003cdiv id=\"Sec17\" class=\"Section3\"\u003e \u003ch2\u003e5.2.3. Initial Formation of Products to Market\u003c/h2\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eIncorporating the distinctive educational traits of universities, the club designed a unique series of cultural and creative products. By combining traditional Chinese stone rubbing artifacts with plants such as ginkgo and sequoia, the club created a series of cultural and creative products featuring rubbings of various plant species. These products cater to the needs of the public, promote the exposure of traditional Chinese stone rubbing artists in the market, and make campus club activities more socially meaningful (Fig.\u0026nbsp;\u003cspan refid=\"Fig4\" class=\"InternalRef\"\u003e4\u003c/span\u003e).\u003c/p\u003e \u003c/div\u003e \u003c/div\u003e \u003cdiv id=\"Sec18\" class=\"Section3\"\u003e \u003ch2\u003e5.2.4. Simplify Technical Means and Develop Digital Publicity\u003c/h2\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eThe tools used to create traditional Chinese stone rubbing artistry include a rubbing pad, ink, Xuan paper, bristle brush, spray bottle, and rubbing board (Fig.\u0026nbsp;\u003cspan refid=\"Fig5\" class=\"InternalRef\"\u003e5\u003c/span\u003e). A rubbing pad filled with materials such as felt, sponge, or cotton is used for inking during the rubbing process. The ink for rubbing, akin to that used in calligraphy, yields better results at higher concentrations (similar steps are applied when using colored ink). Rubbing typically employs raw Xuan paper (commonly cotton-fiber paper), which is known for its long fibers and good stretching properties. A bristle brush was used to smooth out any minor wrinkles on the Xuan paper, especially when it unevenly covered the surface. The spray bottle was filled with water, and the paper was moistened during rubbing. The rubbing board holds the ink and facilitates easy inking of the pad. Tapping the rubbing pad on the board several times ensured an even ink distribution for optimal rubbing results.\u003c/p\u003e \u003c/div\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eThe detailed use of these tools in the various stone rubbing steps is explained in the following text:\u003c/p\u003e \u003c/div\u003e \u003c/div\u003e \u003c/div\u003e\n\u003ch3\u003e1.Detailed steps for rubbing\u003c/h3\u003e\n\u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eCurrently, the club\u0026rsquo;s leaf rubbing technique involves the following steps: collecting leaves, cutting rubbing paper, laying and covering the paper, inking by tapping (Fig.\u0026nbsp;\u003cspan refid=\"Fig6\" class=\"InternalRef\"\u003e6\u003c/span\u003e), and waiting for it to dry before it is peeled off (Fig.\u0026nbsp;\u003cspan refid=\"Fig7\" class=\"InternalRef\"\u003e7\u003c/span\u003e).\u003c/p\u003e \u003cp\u003eThe first step involves using naturally fallen leaves flattened inside a book or between cardboard sheets in preparation for inking. It is important to select leaves with clear veins and intact textures and to control the pressing time to approximately 12\u0026ndash;18 hours. This step aims to dry the leaves so that they feel dry and non-slippery to touch, thus meeting the requirements for rubbing.\u003c/p\u003e \u003cp\u003eIn the second step, the flattened leaves were spread out on a table, and pre-cut Xuan paper was laid over them from top to bottom. The size of the Xuan paper was slightly larger than the pattern to be rubbed to facilitate subsequent peeling and mounting. After laying the paper, a fine mist of water is sprayed onto the Xuan paper. When the paper is thoroughly wet, it is lightly brushed back and forth with a bristle brush to ensure it adheres closely to the leaves. In this step, attention must be paid to the amount of water and the angle and pressure of the bristle brush. The Xuan paper should be adequately moistened by the water, ensuring saturation without leaving any standing water on the surface. The bristle brush should be held at a 45 to 60-degree angle and lightly brushed back and forth to adhere the Xuan paper to the leaves [\u003cspan citationid=\"CR35\" class=\"CitationRef\"\u003e35\u003c/span\u003e].\u003c/p\u003e \u003cp\u003eThe third step involves gently tapping the Xuan paper with the head of the bristle brush until the leaf texture is fully imprinted on the paper. When dealing with large concave surfaces, care must be taken to avoid tapping too hard or too quickly to avoid tearing the paper. During this step, the bristle brush should be nearly vertical to the paper, tapping until all small bubbles on the paper disappear.\u003c/p\u003e \u003cp\u003eThe fourth step, inking or spreading the ink, involves dabbing the ink onto the rubbing paper with a rubbing pad. Inking begins when the texture of the Xuan paper is clearly visible. Before inking, the surface of the Xuan paper must remain at 50% moisture, and the concentration of the ink must be adjusted accordingly. The goal is to mix the ink evenly in one go to prevent blotching of the paper. The rubbing pad is dipped in ink, wiped back and forth on the rubbing board, and then applied to the Xuan paper. The process stops when the pattern on the Xuan paper is clear. The paper is left to dry at room temperature for approximately an hour before being removed to complete the rubbing process.\u003c/p\u003e \u003cp\u003eThe third and fourth steps are more challenging and technically demanding, requiring multiple attempts and experience. Beginners are advised to operate under the guidance of experts or the inheritors of intangible cultural heritage sites. If the moisture and ink concentrations of the paper are not well controlled, an optimal effect may not be achieved.\u003c/p\u003e \u003c/div\u003e\n\u003ch3\u003e2.Initial launch of digital promotion platform\u003c/h3\u003e\n\u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eThe club launched the \u0026ldquo;Nanjing Forestry University Traditional Chinese Stone Rubbing Artistry Club\u0026rdquo; WeChat public account as a platform for promoting the club, used for displaying the artistry and works of stone rubbing. Soon, the public account will offer public welfare-oriented classes in stone rubbing and courses in stone rubbing and cultural and creative design in which enthusiasts can participate through online reservations. The club will further promote traditional Chinese stone rubbing artistry through digital methods, such as micro-classes, 3D presentations, and AR displays, exploring new paths for the inheritance and promotion of intangible cultural heritage.\u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec21\" class=\"Section2\"\u003e \u003ch2\u003e5.2.5. Promote the Art of Rubbing for the Public\u003c/h2\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eThe club has contacted various exhibition halls in multiple regions to conduct promotional and educational activities for traditional Chinese stone rubbing artistry, primarily through exhibitions and markets. In the exhibitions, the club displays plant rubbing works and creative rubbings, such as a series featuring Chinese zodiac signs composed of different plant leaves. Through market practices, the club also conducts ecological science popularization in the communities and neighborhoods around Nanjing, allowing more people to experience the charm of stone rubbing artistry. The club is invited to participate in the 2023 Nanjing City Lifelong Learning Activity Week. In addition, the club provides related teaching videos to elementary and middle school students by integrating intangible cultural heritage into art education classes.\u003c/p\u003e \u003cp\u003eThe club has conducted traditional Chinese stone rubbing artistry teaching activities in schools such as Suojin Village Primary School in Nanjing, Jiangsu Province, and the Fourth Middle School in Chishui City, Guizhou Province, receiving a warm welcome from the students. Many teachers believe that \u0026ldquo;experiencing traditional Chinese stone rubbing artistry is beneficial for improving student\u0026rsquo;s craftsmanship\u0026rdquo; and \u0026ldquo;students\u0026rsquo; artistic creativity has been newly inspired.\u0026rdquo; However, the club received positive feedback on market practices from its citizens. They expressed that \u0026ldquo;this was their first encounter with such intangible cultural heritage, believing it can connect with contemporary art\u0026rdquo; and \u0026ldquo;were delighted to learn about China\u0026rsquo;s intangible cultural heritage through direct participation.\u0026rdquo;\u003c/p\u003e \u003c/div\u003e \u003c/div\u003e \u003cdiv id=\"Sec22\" class=\"Section2\"\u003e \u003ch2\u003e5.3. Social Impact\u003c/h2\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eSince its establishment in 2019, the Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club has had a positive social impact. On the 70th anniversary of establishing diplomatic relations between China and Denmark, the club\u0026rsquo;s creation \u0026ldquo;Jinling\u0026rdquo; (Fig.\u0026nbsp;\u003cspan refid=\"Fig8\" class=\"InternalRef\"\u003e8\u003c/span\u003e) was selected as a diplomatic gift from Nanjing and was collected by Queen Margrethe II of Denmark. Additionally, the club participated in the \u0026ldquo;Nanjing Peace Forum\u0026rdquo; for three consecutive years, in 2019, 2020, and 2023. They created 150 exquisite gifts of peace by rubbing leaves and city bricks collected from various corners of Nanjing City, which were presented to guests from different countries at the forum. The club\u0026rsquo;s rubbing work has gradually gained international recognition on the world stage.\u003c/p\u003e \u003cp\u003eThe Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club combines the art of stone rubbing with red education. Around the theme of the 70th anniversary of the victory in the War to Resist US Aggression and Aid Korea in 2023, the club created a series of red metal rubbing works and held an exhibition in the 1912 block in Nanjing. This project won a provincial first prize in the \u0026ldquo;Red Special Project\u0026rdquo; at the 18th \u0026ldquo;Challenge Cup\u0026rdquo; National College Student Extracurricular Academic Science and Technology Works Competition in Jiangsu Province. In November of the same year, the club combined ecological art with the artistry of stone rubbing, creating a series of plant-rubbing works such as \u0026ldquo;Plants with Culture\u0026rdquo; and \u0026ldquo;Tree Rings.\u0026rdquo; They established an Ecological Science Popularization Art Practice Workshop and participated in the 7th Jiangsu Province College of Student Art Performance, where they won a special provincial award and were recommended for national competitions.\u003c/p\u003e \u003c/div\u003e \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eTo summarize, the innovative inheritance of traditional Chinese stone rubbing artistry requires a series of measures. An effective operational mechanism can be established by reevaluating traditional values, innovating inheritance models, and expanding through the application of digital technology. This is a continuation of the ancient art form of stone rubbing and a revitalization and innovation of human cultural heritage [\u003cspan citationid=\"CR36\" class=\"CitationRef\"\u003e36\u003c/span\u003e]. The efforts of the Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club positively explored the inheritance and development of stone rubbing artists in the new era.\u003c/p\u003e \u003c/div\u003e\u003c/div\u003e"},{"header":"6. Conclusions","content":" \u003cp\u003e \u003cdiv class=\"BlockQuote\"\u003e \u003cp\u003eAlthough traditional Chinese stone rubbing artistry faces difficulties regarding technique inheritance, market adaptation, and technology application, this intangible cultural heritage is expected to be revitalized through systematic planning and implementation. Using college students\u0026rsquo; art interest clubs as the new driving force, this study explores a new path for the sustainable development of traditional Chinese stone rubbing artistry and gives full play to the advantages and characteristics of college clubs, such as their direct connection to intangible cultural heritage bearers, as well as the diversity of the participating subjects, the strong cultural atmosphere of the campus, and the sufficient links to social resources, to provide a new way of thinking about the inheritance and protection of traditional Chinese stone rubbing artistry. This study takes the Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club as an example to explore the positive role of intangible cultural heritage clubs in the inheritance of intangible cultural heritage skills and takes the \u0026ldquo;five-in-one\u0026rdquo; inheritance model and the master-apprentice system as an innovative point to look for new paths for the sustainable development of intangible cultural heritage skills in the new era.\u003c/p\u003e \u003cp\u003eIt should be noted that this paper only explores the inheritance model of traditional Chinese stone rubbing artistry, a specific form of intangible cultural heritage. Future research should focus on how skill-based intangible cultural heritage can be inherited and developed through campus art clubs. Simultaneously, a sustainable development model for college clubs requires time and practical validation. Whether teams outside colleges can adopt college club development models to leverage their unique characteristics requires further exploration and reflection. This study offers insights into the inheritance and revitalization of other artistic and skill-based intangible cultural heritage projects. It provides a research framework and practical path for protecting and developing intangible cultural heritage in the new era. Future research can deepen the discussion on the dissemination and promotion of digital technology in traditional Chinese stone rubbing artistry, assess its practical effect on the protection and inheritance of traditional Chinese stone rubbing artistry, and explore how to integrate intangible heritage into the public\u0026rsquo;s daily life.\u003c/p\u003e \u003c/div\u003e \u003c/p\u003e"},{"header":"Declarations","content":"\u003cp\u003e\u003cstrong\u003eAuthor Contributions:\u0026nbsp;\u003c/strong\u003eConceptualization, P.Z. and H.T.; Methodology, H.T.; Software, H.L.; Validation, P.Z., H.T. and H.L.; Formal analysis, H.T.; Investigation, H.L.; Resources, H.T.; Data curation, H.T. and H.L.; Writing\u0026mdash;original draft preparation, H.T. and H.L.; Writing\u0026mdash;review and editing, P.Z.; Visualization, H.T.; Supervision, P.Z.; Project administration, P.Z.; Funding acquisition, P.Z. All authors have read and agreed to the published version of the manuscript.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eFunding:\u0026nbsp;\u003c/strong\u003eNot applicable.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eData Availability Statement:\u0026nbsp;\u003c/strong\u003eNot applicable.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eConflicts of Interest:\u003c/strong\u003e The authors declare no conflict of interest.\u003c/p\u003e"},{"header":"References","content":"\u003col\u003e\u003cli\u003e\u003cspan\u003eUNESCO. (2003). Convention for the Safeguarding of the Intangible Cultural Heritage. 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J Changchun Univ Technol (Social Sci Edition). 2014;26:149\u0026ndash;51.\u003c/span\u003e\u003c/li\u003e\u003c/ol\u003e"}],"fulltextSource":"","fullText":"","funders":[],"hasAdminPriorityOnWorkflow":false,"hasManuscriptDocX":true,"hasOptedInToPreprint":true,"hasPassedJournalQc":"","hasAnyPriority":false,"hideJournal":true,"highlight":"","institution":"","isAcceptedByJournal":false,"isAuthorSuppliedPdf":false,"isDeskRejected":"","isHiddenFromSearch":false,"isInQc":false,"isInWorkflow":false,"isPdf":false,"isPdfUpToDate":true,"isWithdrawnOrRetracted":false,"journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true},"keywords":"Traditional Chinese stone rubbing artistry, intangible cultural heritage, campus clubs, sustainability","lastPublishedDoi":"10.21203/rs.3.rs-4115629/v1","lastPublishedDoiUrl":"https://doi.org/10.21203/rs.3.rs-4115629/v1","license":{"name":"CC BY 4.0","url":"https://creativecommons.org/licenses/by/4.0/"},"manuscriptAbstract":"\u003cp\u003eTraditional Chinese stone rubbing artistry is an ancient Chinese art that involves the technique of tightly covering paper on the surface of metal, stone, and other hard objects, and transferring the objects\u0026rsquo; graphics, decorations, inscriptions, and so on to paper with ink or oil colors. Traditional Chinese stone rubbing artistry is a unique discipline that integrates epigraphy, calligraphy, and painting and is widely used in archaeology, literature, and art. With the passage of time, it is now on the verge of being in the lost-and-listed category of intangible cultural heritage projects in Nanjing. Hence, revitalizing this ancient art form of traditional Chinese stone rubbing artistry has become a realistic problem. This study explores a new path for the sustainable development of traditional Chinese stone rubbing artistry with the intervention of campus art clubs and a combination of digital platforms. Taking the first practice of the Nanjing Forestry University\u0026rsquo;s Traditional Chinese Stone Rubbing Artistry Club as an example, this study explores the \u0026ldquo;five-in-one\u0026rdquo; inheritance model of traditional Chinese stone rubbing artistry represented by the master-apprentice system by adopting research methods such as literature analysis and expert interviews.\u003c/p\u003e \u003cp\u003e \u003c/p\u003e","manuscriptTitle":"Exploring the Role of Campus Clubs in Fostering Sustainable Development of Traditional Chinese Stone Rubbing Artistry: A Case Study of Nanjing Forestry University","msid":"","msnumber":"","nonDraftVersions":[{"code":1,"date":"2024-03-21 18:00:53","doi":"10.21203/rs.3.rs-4115629/v1","editorialEvents":[{"type":"communityComments","content":0}],"status":"published","journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true}}],"origin":"","ownerIdentity":"111025fb-04a0-4938-b7bd-fb7657a49c1d","owner":[],"postedDate":"March 21st, 2024","published":true,"recentEditorialEvents":[],"rejectedJournal":[],"revision":"","amendment":"","status":"posted","subjectAreas":[],"tags":[],"updatedAt":"2024-03-24T22:29:17+00:00","versionOfRecord":[],"versionCreatedAt":"2024-03-21 18:00:53","video":"","vorDoi":"","vorDoiUrl":"","workflowStages":[]},"version":"v1","identity":"rs-4115629","journalConfig":"researchsquare"},"__N_SSP":true},"page":"/article/[identity]/[[...version]]","query":{"redirect":"/article/rs-4115629","identity":"rs-4115629","version":["v1"]},"buildId":"qtupq5eGEP_6zYnWcrvyt","isFallback":false,"isExperimentalCompile":false,"dynamicIds":[84888],"gssp":true,"scriptLoader":[]}