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홍천군, 농업 현장 잇는 기술 보급 확산지원단 가동…26일 출범_我的网站

A |     외부 위원 11명 위촉 2년간 활동기후변화·일손 부족 현안 함께 대응                    홍천군 농업기술센터가 26일 농촌 현안을 현장에서 풀기 위해 외부 위원 11명을 위촉, 기술 보급 확산지원단을 가동했다. 홍천군 제공 【파이낸셜뉴스 홍천=김기섭 기자】홍천군이 농업 현장의 목소리를 정책으로 잇는 기술 보급 확산지원단을 가동한다. 26일 홍천군에 따르면 군 농업기술센터는 지역 농업의 경쟁력을 높이고 농촌 현안을 현장에서 풀기 위해 홍천군 기술 보급 확산지원단을 본격 운영한다. 센터는 지난 6월 농업 현장의 의견을 정책과 사업에 체계적으로 반영하기 위한 지원단 구성·운영 규칙을 공포했다. 이 같은 규칙 제정은 전국 기초자치단체 가운데 다섯 번째다. 지원단은 농업 현장에서 실제로 필요한 기술 수요를 발굴하고 기후변화와 노동력 부족 등 지역 농업이 당면한 문제 해결에 함께 나선다. 영농에 어려움을 겪는 농업인에게 기술 지도와 조언을 건네고 현장에 필요한 사업을 제안하거나 실행 계획 수립에 참여하는 등 농업 현장과 행정을 잇는 협력 창구 역할을 맡는다. 아울러 농업 과학기술이 효과적으로 퍼지도록 농업인과 관계 기관 사이 협력체계를 다지고 현장 중심의 기술 보급과 공동 대응을 이끈다. 센터는 이날 외부 위원 11명에게 위촉장을 주고 2년간의 임기를 시작한다. 지원단은 첫 일정으로 화촌면과 남면에서 추진되는 벼 품종 비교 현장평가에 참여해 지역 여건에 맞는 품종과 재배 특성을 살펴보고 현장 의견을 나눈다. 센터는 앞으로 지원단을 통해 농업인의 실제 수요와 현장의 변화를 빠르게 파악하고 이를 기술 보급과 농업정책에 반영해 지역 농업의 대응력과 경쟁력을 높일 계획이다. 윤선화 홍천군농업기술센터 소장은 "농업인이 겪는 어려움과 현장의 변화를 가장 가까이에서 살펴 필요한 기술과 정책으로 연결하겠다"며 "지원단이 농업인의 든든한 동반자가 되도록 내실 있게 운영하겠다"고 말했다.。    

    Part of a Tang Dynasty (618-907) interlocking floral scroll with phoenix motifs in the Mogao GrottoesI have spent my whole life working with decorative patterns. A decorative pattern is a language, with its own grammar, rhythm and emotional expression. It is both decorative and symbolic, and it carries the aesthetic spirit of a nation and the cultural atmosphere of its times.
As an important part of Dunhuang art, decorative patterns are the carriers with the most rigorous compositional principles and the richest cultural spirit.
In the Dunhuang caves of Northwest China, there are numerous floral, cloud, flame, animal, and other decorative patterns. These patterns come from different periods and are found on and in structures and forms such as caisson ceilings, canopies, halos, costumes, border decorations and floor tiles, blending with statues, murals and architectural space.
Such patterns not only organically and harmoniously enriched and decorated murals, painted sculptures and entire caves, making them more splendid and perfect, but also developed their own period styles and characteristics, vividly recording the formation, change and development of Chinese decorative art and reflecting the social culture and customs of different times.
From the Sixteen Kingdoms (304-439) period through the Sui (581-618) and Tang (618-907) dynasties and beyond, Dunhuang cave mural art continued to evolve in both content and form with the changing times, and decorative patterns changed accordingly. From the three-petal leaf and honeysuckle patterns of the Northern Wei (386-534) to the scrolling-grass, baoxiang flower and linked-pearl patterns of the Sui and Tang and the medallion floral patterns dominated by mineral green in the Western Xia (1038-1227), Song (960-1279) and Yuan (1279-1368) periods, the pattern forms and color systems of different eras together form the historical lineage of Dunhuang decorative patterns, and also reflect the continuity and creativity of Chinese art.
    A Han Dynasty (206BC-AD220) tile-end with mountain-cloud patterns Photo: VCGIn my decades of design teaching and practice, I have always stressed the concept of "source and flow." The "source" is tradition, the unceasing cultural vein of national art; the "flow" is application, the innovation and development of art and design that meet the needs of contemporary life. I have learned firsthand that only by taking root in the source of fine traditional Chinese culture can the "flow" of art have vitality and creativity.
I once led students in forming a research group on "Chinese Decorative Patterns of Dunhuang Through the Ages," systematically collecting, organizing, classifying and copying the decorative patterns on Dunhuang murals and painted sculptures, including the motifs. Through this sorting and copying, we conducted in-depth research and gained a full understanding of the historical culture, artistic features and decorative effects of each type of Dunhuang pattern, and clarified the causes, characteristics and historical evolution of each type. This is the "source" for contemporary design application.
Traditional patterns are an important source of inspiration for my designs. In design, on the one hand, the original appearance of traditional patterns should be preserved to a certain extent; on the other hand, they should be summarized, simplified, extended or enriched to make them more modern.
The ceiling pattern of the banquet hall of the Great Hall of the People was inspired by Tang Dynasty caisson patterns from Dunhuang. With a lotus as the center of the ceiling, and in line with the functional needs of the architectural structure, lighting and ventilation, it combines Dunhuang floral patterns with modern functions to create a spatial decoration with a distinctive national style. This design remains regarded as a model of the contemporary expression of traditional patterns.
I was invited to serve as artistic consultant for the creative program "Nian Jin" (Auspicious Brocade) at China Media Group's 2024 Spring Festival Gala for the Year of the Dragon. Through natural patterns such as mountains and clouds of the Han Dynasty (206BC-AD220), bird and animal patterns such as flying phoenixes and auspicious lions of the Tang Dynasty, floral patterns such as peonies and laurels of the Song Dynasty, and auspicious patterns such as gourds and lanterns of the Ming Dynasty (1368-1644), we enabled the audience to appreciate the aesthetic tastes passed down by the Chinese people over thousands of years and the breadth and depth of fine traditional Chinese culture.
In contemporary society, as standardized, mass-produced industrial products have become dominant, people hope to find forms that reflect their own national cultural language and are distinctive, warm and pleasing. Traditional patterns can make people feel the depth of history and emotional warmth, and can further embody the cultural character of their nation through modern design.
The study and innovation of decorative patterns is a highly practical part of inheriting and promoting fine traditional Chinese culture. It concerns not only vision and beauty, but also cultural attitudes and identity. These patterns are not just a form of heritage found on murals or on other cultural relics; they can enter our daily lives and become cultural symbols in fabrics, utensils, spaces and even digital interfaces.
I believe that more and more later generations engaged in art and design will, on the basis of promoting fine traditional Chinese culture and adapting to people's current needs for culture, art and a better life, take innovative steps to create a new style of modern design art with Chinese characteristics - one that is national, scientific and popular, so that traditional Chinese decorative patterns can constantly generate new vitality and shine with new splendor.
The author is former president of the Central Academy of Arts and Design. This was compiled and translated by the Global Times English edition based on an article published by the People's Daily Overseas Edition on August 20.
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