**1. Introduction**

With the modernization of China and the increasing trend of globalization, the environment in which people live is constantly changing. The disappearance of heritage sites, the ageing of traditional artists, the hollowing out of villages and the impact of multiculturalism have put the cultural environment on which intangible cultural heritage depends in crisis. In recent years, China has paid great attention to protecting intangible cultural heritage and has made remarkable developments [1–4]. However, the protection process ultimately aims to achieve heritage conservation and development, which still needs to be studied from several perspectives for its sustainable development.

**Citation:** Zhuang, Q.; Wan, M.; Zheng, G. Presentation and Elaboration of the Folk Intangible Cultural Heritage from the Perspective of the Landscape. *Buildings* **2022**, *12*, 1388. https:// doi.org/10.3390/buildings12091388

Academic Editors: Lucia Della Spina, Paola Pellegrini, Antonia Russo, Maria Rosa Valluzzi and Angela Viglianisi

Received: 18 July 2022 Accepted: 1 September 2022 Published: 5 September 2022

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World cultural heritage comprises two categories: tangible cultural heritage and intangible cultural heritage. The first one is tangible, while the other is a cultural heritage in the intangible non-material form that depends on physical terms to express [5]. It originated in UNESCO's protection of natural and cultural heritage and the gradual realization that the dual natural and cultural heritage is essential [1]. In 2003, UNESCO adopted the Convention for the Safeguarding of the Intangible Cultural Heritage [6], which defines the concept and scope of intangible cultural heritage as the social practices, representations of ideas, expressions, knowledge, skills and related tools, objects, handicrafts and cultural spaces that are considered by communities and sometimes individuals as part of their cultural heritage [5]. In order to build on the actual situation of cultural heritage protection in China, the concept of intangible cultural heritage is clearly defined as all kinds of traditional cultural expressions (such as folklore activities, performing arts and traditional knowledge and skills) and cultural spaces that have been passed down from generation to generation by people of all ethnic groups and are closely related to the lives of the masses [7]. Specifically, the scope of intangible cultural heritage includes oral traditions, traditional performing arts, customary activities, rituals, festivals, traditional folk knowledge and practices concerning nature and the universe, traditional handicraft skills, and cultural spaces related to the above-mentioned expressions [8,9].

As a relatively comprehensive category of intangible cultural heritage in China, the folklore intangible cultural heritage (FICH) is mainly expressed by folkloric activities which contain several items including traditional festivals [10,11], living customs, production practices, folk beliefs, life rituals and folk costumes [12,13]. These activities were held by the people of a particular region as commemorative celebration for ancestor worship, festival celebrations, harvest celebrations and live entertainment [6,14]. FICH embodies the iconic local culture and is passed on with the group as the primary bearer in a specific cultural field [6]. Given its rich forms of expression and unique space for cultural expression, it fully reflects the local regional culture, religious beliefs and folk customs and has important diversified values. It is, therefore, necessary to deepen and strengthen the protection and transmission of the folklore intangible cultural heritage, and how to use more reasonable and effective methods to achieve the protection and transmission of the folklore intangible cultural heritage has become an urgent problem to be solved [15]. At the same time, the increasing quality of social and economic development and the people's higher requirements for a better life have made it possible to preserve intangible cultural heritage through landscape presentation. It can better show the cultural connotation, be close to people's lives and enrich the living landscape uniquely. It will also enhance people's passion for learning about intangible cultural heritage and their awareness of its preservation and preserve local cultural memory.

The landscape presentation of intangible cultural heritage is a combination of intangible cultural heritage and landscape that by excavating and analysing the landscape characteristics of intangible cultural heritage, and then presenting the landscape as the cultural carrier of intangible cultural heritage [16–19] In this way, it not only allows the concrete things to be felt visually but also the cultural atmosphere to be felt abstractly through the other senses, bringing about an infectious effect [20,21]. In the formation and development of intangible cultural heritage, facilitated by the human and natural elements of the landscape, spiritual culture is formed that has been passed down from generation to generation. With the development of history, spiritual culture can be expressed through new material forms and ways of expressing spiritual connotations. The intangible cultural heritage landscape combines humanity and nature, linking intangible cultural heritage and having aesthetic and cultural value [22].

The landscape presentation of intangible cultural heritage involves the theory of landscape genes and semiotics. Landscape genes are the different cultural elements on the landscape, which are the core factors that make up the cultural landscape. The cultural landscape is compared to an organism, and the genes of the landscape are similar to the cultural genes of the organism [23]. The most characteristic intangible cultural heritage

landscape elements are excavated and deconstructed into fundamental landscape genes that cannot be further decomposed [24]. In turn, the cultural content of intangible cultural heritage can be expressed more comprehensively and logically. By analysing the decomposed landscape genes one by one, the causes, characteristics and influences of the culture can be more clearly understood, and the landscape design elements can be extracted for use in landscape expression. Symbols are signs that represent or explain what is being referred to and are divided into pictorial, indexical and symbolic symbols. People can communicate through the connection of these symbols, and the message of the symbols will continue to spread and develop [1]. The study of semiotics is broad and has applications in many fields. Intangible cultural heritage such as language are cultural symbols that are recorded and transmitted. Applying semiotic theory, intangible cultural heritage is used as a carrier in the landscape, and the various landscape elements of intangible cultural heritage are presented in terms of colour, form and material, and ultimately, the cultural connotations are presented in the form of a landscape.

Therefore, in this context, this study aims to explore the cultural connotation of the FICH and extract the elements of landscape design, thus presenting and expressing the FICH using landscape as a carrier, to achieve the conservation and inheritance of the FICH. This study takes the FICH of Taishun's Hundred-family Feast as the study case and investigates its in-depth connotation and development history, so as to extract design elements and apply them to the landscape planning and design of Sankui Town, Taishun County, to present the Hundred-family Feast culture in the form of landscape, and thus promote the protection, inheritance and development of Hundred-family Feast intangible cultural heritage.

This paper attempts to explore a feasible means of landscape presentation of the FICH, which can promote the exchange and progress of research in multiple disciplines and expand the academic research perspectives on intangible cultural heritage conservation and landscape planning and design. This paper enriches the theoretical system of intangible cultural heritage protection and its landscape presentation methods for folklore activities. This paper also innovatively analyses the FICH from the perspective of the characteristics and constituent elements of the landscape and establishes a more reasonable framework system for the method of landscape presentation of the FICH in a structured and comprehensive manner.
