Putting it all together, the term translates with remarkable precision: 非 (non-) 物质 (material) 文化 (culture) 遗产 (heritage). It's a direct and logical construction that mirrors the official UNESCO definition.
The concept of 非物质文化遗产 is a cornerstone of modern China's cultural preservation efforts. While the West has concepts like “folklore” or “traditional arts,” the Chinese approach is distinguished by its scale and the deep involvement of the state. China boasts the highest number of items inscribed on the UNESCO Intangible Cultural Heritage lists, a source of significant national pride. This is not just about nostalgia; it's a strategic effort to safeguard cultural identity in the face of rapid economic development and globalization. The government actively identifies, catalogues, and funds the protection of these traditions, from grand art forms like Kunqu Opera to regional crafts like paper-cutting. A useful comparison is the preservation of a specific craft in the US versus in China. In the US, preserving something like Shaker furniture making might be driven by private foundations, historical societies, or dedicated artisans. In China, protecting a similarly important craft, like Longquan celadon ceramics, is a state-supported project. Official “inheritors” (传承人 - chuánchéngrén) are designated and often receive government stipends to teach their skills to the next generation. This reflects a more collectivist value, where cultural continuity is seen as a national responsibility rather than just an individual or community interest.
This term is used across various levels of society, from official policy to casual conversation, often in its abbreviated form.