文化資產是人類生活所留下來的歷史軌跡與精神象徵，身為文化創意設計師，對於專屬於自己國家的歷史記憶、文化資產，應不斷的專研與梳理，藉以深化設計的文化厚度。然而無論是有形或無形文化資產的保存消逝速度很快，政府、學術研究單位、團體乃至於所有民眾，都應對於文化資產議題的正視，為文化資產的傳承與活化而努力。文化資產不僅應從保存的角度來思考，更應為文化資產的傳承、活化、再利用規劃積極作為。

為探討我國目前對於無形文化資產教育的實際發展與相關政策狀況，本研究針對臺灣對於無形文化資產的推廣與保存方式，以個案研究法進行，並以深度訪談以及紮根理論進行解析為主要研究方法，探討我國無形文化資產學習與傳承教育的政策與實施現況。
為此，本研究之研究目的為：
1.以深度訪談法，探討目前臺灣無形文化資產保存之策略與現況。
2.基於布魯姆（Bloom）教學目標理論，探討臺灣文資保存者之教育傳承方式。
3.依據研究結論提供臺灣推動文化資產傳承教育政策推動之建議。

本研究將選擇以（一）文化創意產業發展；（二）文化資產保存；（三）文化資產傳承與教育；（四）教育理論，這四大觀點來做文獻探討並從中選擇布魯姆（Bloom）教學目標理論規劃出訪綱內容，邀請深度訪談文化部登錄之兩位傳統表演藝術、八位傳統工藝、兩位重要保存技術及保存者，共以十二位國寶藝師為研究個案，試圖釐清國寶藝師在進行無形文化資產的教育時，所採用之教育策略、程序、目標，及面臨問題。

研究結果可知：1.藝師及藝生雙方計畫上都需調整補助費用。2.傳統技藝學習的時間讓藝師與藝生雙方可以達到平衡的時間情況下進行。3.建立更完善的教學體制方式。4.傳習計畫結束後讓藝生可以有未來出路的鋪陳。5.建議未來研究可以持續選擇其他位國寶藝師為研究對象，持續將針對無形文化資產以研究方式記錄。

本研究看到國寶藝師對於傳習的期望，普遍認為無形文化資產的快速消逝是值得憂慮的現況，期待能呼籲文化保存的重要性，提倡多元面向的推廣，使無形文化資產的價值得以普遍被認同，引起學習共鳴，希望藉此也提高民眾對無形文化資產的印象有所活化及改變對於產業文化資產的認知。

Cultural assets are historical traces and spiritual symbols left behind by human activity. As cultural creative designers, we should continue to research and sort out the historical memory and cultural assets that belong to our own country, so as to deepen the cultural richness of our design. However, both tangible or intangible cultural Heritage are rapidly disappearing, therefore, the government, academic research units, groups and even the public should face up to the issues of preserving cultural assets and work hard for the inheritance and activation of cultural assets. Cultural assets should not only be considered for preservation, but should also be actively planned for inheritance, activation and reuse. For the purpose of exploring the existing educational policies on intangible heritage and their implementation statuses in Taiwan, the current case study utilizes in-depth interviews and grounded theory to discuss Taiwan’s intangible cultural asset preservation and their inheritance education.

To this end, the research objectives of this study are:
1. Using in-depth interviews to discuss the current strategies and situation of Taiwan's intangible cultural asset preservation.
2. Discussing the educational inheritance methods of Taiwanese cultural heritage preservers based on Bloom's theory of teaching objectives.
3. Providing suggestions for the promotion of cultural heritage education policies in Taiwan based on the results of the current study.

This study reviews literature on (1) the development of cultural and creative industries; (2) the preservation of cultural assets; (3) the inheritance and education of cultural assets; and (4) education theories. The questions for the in-depth interviews in the current study are designed based on the literature review, especially that of Blooms educational objective theory. To investigate the educational strategies, procedures, goals, and problems faced by National treasure artists in the education of intangible heritage, two registered preservers in traditional performing arts, eight preservers in traditional crafts, and two cultural preservation technicians were invited to participate in the in-depth interviews.

The results of the current study shows that: 1. Both artists and students need adjustments to the subsidies in their projects. 2. The time it takes for traditional skill learning should be balanced between both artists and students. 3. Establishing a better teaching system is in need. 4. There should be opportunities for students to continue working in related fields after the end of the apprenticeship program. 5. It is suggested that other national treasure artists can be invited as participants in future research, which might want to follow the methods of the current study to continue recording intangible cultural assets through research.

This study sees the expectations of national treasure artists for the inheritance.It is agreed among the National treasure artists that the rapid disappearance of intangible heritage in Taiwan is a worrying issue. Hence, the National treasure artists call for recognition of the importance of cultural perseverance, and endorse a multifaceted promotion of cultural assets, which they hope could help achieve the goal of activating, changing, and enhancing the public’s impression of intangible heritage.