How to inherit and develop folk literature and art in the new era? Not long ago, a seminar on the inheritance and development of folk literature in the new era was held in Beijing, hosted by the China Federation of Literary and Art Circles, the China Folk Literature Publishing Project Leadership Group, and the China Folk Literature and Art Association. Experts and scholars gathered together to explore new ideas, mechanisms, forms, and measures for the development of folk literature, promote the high-quality inheritance and development of folk literature in the new era, and shine with new vitality and energy in the new era and new life. Further exploring the rich connotations and unique values of folk literature and art, folk literature and art deeply penetrate and thrive among the people, containing the genes of Chinese culture, and is a brilliant treasure and distinctive symbol of Chinese culture. Standing at a new historical starting point, what should be the understanding of folk literature and art? "Inheriting and developing folk literature and art is to safeguard our spiritual home and cultural heritage." Li Yi, Secretary of the Party Group and Vice Chairman of the China Federation of Literary and Art Circles, believes that it is necessary to deeply understand the significant significance and cultural value of the inheritance and development of folk literature and art, better shoulder the new cultural mission, and further enhance the sense of responsibility and mission to promote the inheritance and development of folk literature and art in the new era; Adhere to self-confidence and self-improvement, uphold integrity and innovation, further explore the rich connotations and unique values of folk literature and art, and make it fully radiate artistic charm and the brilliance of the times. There are many types of carriers of excellent traditional Chinese culture, but a very important and unavoidable carrier is folk literature and art. The politics, economy, philosophy, literature, and folklore of traditional Chinese culture can all be found in folk literature and art, and its connotation is extremely rich Wang Xianzhao, a researcher at the Institute of Ethnic Literature of the Chinese Academy of Social Sciences, believes that folk literature and art are specific and scattered. How to extract rich elements from folk literature and art, integrate them, and construct a system through research and promotion in a classified manner may be a problem that should be paid attention to in the development process of folk literature and art in the future. Let modern design enter traditional craftsmanship, let traditional craftsmanship enter modern life. With the development of new technology and new economy, the way of life is constantly evolving and updating. Folk literature and art face new challenges and opportunities. For example, the creation and dissemination of folk literature in the online cultural ecosystem, the development of traditional craftsmanship after the intervention of artificial intelligence, and the hot topics of folk art in the development of cultural communities are all new development phenomena faced by folk literature. "This requires us to use the wisdom and vision of 'creative transformation and innovative development', and the methodology of 'two combinations' to understand and practice, in order to achieve new inheritance and development in the new era and new opportunities." Pan Lusheng, Vice Chairman of the China Federation of Literary and Art Circles and Chairman of the China Association for the Betterment and Progress of the People, pointed out that for the development of folk literature and art, adhering to the people-oriented, life oriented, and creative aspects is the key. "Museums are not the end point of protecting and researching folk literature and art, but the fertile ground for the development of folk literature and art lies in the passionate life, fresh creativity, and the vast majority of the people." The combination of traditional craftsmanship and modern life is the life and cultural logic that has been passed down through history: craftsmanship and design are all for life and daily use. This internal logic will inevitably lead to the continuous innovation and development of craftsmanship in history, while respecting and inheriting the memories and wisdom of predecessors. Zeng Hui, Deputy Director and Chief Planner of Beijing International Design Week, and Chief Curator of the China Traditional Crafts Revitalization Theme Exhibition, proposed the concept of "bringing modern design into traditional crafts and traditional crafts into modern life.". He listed clothing that integrates multiple intangible cultural heritage and artistic installations that utilize various traditional crafts, hoping to showcase the aesthetic image of traditional crafts in the new era through comprehensive innovation. It is understood that this cross-border traditional craftsmanship not only opens a new window for many artists to create, but also opens a door for people to enter traditional craftsmanship. "Folk art is a broad concept, and storytelling is also a folk art. I am not a theorist, but based on my personal experience, I believe that the so-called 'folk' is a posture that is close to the people and a sentiment that is rooted in life." Liu Lanfang, Honorary Chairman of the China Quyi Artists Association, National Intangible Cultural Heritage Inheritor, and National First Class Actor, bluntly stated, "From the perspective of inheritance, when discussing folk art, I have two sentences - to take root deeper in life and explore higher in art." "" Only by continuously learning can we continuously improve our innovation ability. "This is the Vice Chairman of the Chinese People's Association. The experience of Wu Yuanxin, a national inheritor of intangible cultural heritage and a master of Chinese arts and crafts. He entered the dyeing workshop at the age of 16 and became an apprentice of blue printed fabrics. He was the first to arrive every day and the last to leave, quickly becoming a skilled dyeing worker. Faced with foreign orders, because he didn't know how to design, at the beginning, he went to the folk to collect blue printed fabrics and learn from old patterns to make new ones. Later, he was admitted to a ceramic school and studied ceramic art, so he began to try to combine patterns in ceramics and bronze with blue printed fabrics. The result not only brought new brilliance to the blue printed fabric, but also brought business opportunities and received bulk orders from foreign investors. In recent years, Wu Yuanxin has frequently traveled between dyeing factories and universities, to different universities for further education and learning, and then applied the learning results to explore new products. He said, "As professionals in folk arts, we need to have a wide range of learning areas to feed back our profession. Inheritors only need to constantly learn, continuously improve their innovation ability, and protect and inherit intangible cultural heritage." (Le Xin She)