Anshun Tunbao Culture is a cultural custom left over from the lifestyle of soldiers, merchants and their families who followed the army or did business from Jiangnan to Yunnan and Guizhou in the Ming Dynasty. Anshun City is located in the southwest of central Guizhou Province. It borders the provincial capital Guiyang City to the east, Liupanshui City and Qianxinan Prefecture to the west, Qiannan Prefecture to the south, and Bijie Prefecture to the north. Anshun City governs Xixiu, Pingba, Puding, Zhenning, Guanling, Ziyun District and five counties (autonomous counties) and three county-level dispatched agencies, namely Huangguoshu Scenic Area, Anshun Economic and Technological Development Zone, and Liyang High-tech Industrial Park, with a total area of 9,264 square kilometers and a total population of about 2.6 million. Since the Han Dynasty, Anshun City has become the intersection of all immigration migrations in history. The four major ethnic groups of ancient Miao, Yao, Di, Baiyue and Baipu met here, forming the first indigenous people of Guizhou except the Yelang tribe. Starting from the 14th year of Hongwu in the Ming Dynasty (1381 AD), Han soldiers and civilians from Jiangnan and the Central Plains moved to Anshun on a large scale, either "conquering the south" or "filling the south". Guards, posts, garrisons and forts were set up along the post roads and the throats of the main roads, and the military and civilian settlement system was implemented. The farming techniques, cultural traditions and living customs of the Central Plains and Jiangnan were brought to Anshun, and gradually merged with the local ethnic minorities, laying the foundation for today's Anshun Tunbao culture. After the Ming and Qing dynasties, Anshun became an important political, military, economic and cultural center in central and western Guizhou. The Xixiu District, Pingba County, Puding County, Zhenning County, Guanling County and Ziyun County under its jurisdiction are all areas of Tunbao culture, generally known as the Anshun Tunbao District. According to historical records, Anshun is called the ancient wasteland in history books. "Yu Gong Shuo" says "the southern city outside the river in Liangzhou"; "Zhi Fang Er Ya" says: "It belongs to Jingzhou. There was Ke State in the Spring and Autumn Period, and Yelang State in the Warring States Period. The Qin Dynasty established Li Nanzhong, with two counties, Qielan and Yelang; the Han Dynasty opened up the southwest and re-established Yelang and Qielan counties, which were under Niu Jian as a county." Anshun was first established as a prefecture in the Yuan Dynasty. According to the "Geographical Records of the History of the Yuan Dynasty", Puding Road was originally the Puli tribe, and was changed to Puding Prefecture after surrender. In the fifth year of Hongwu in the Ming Dynasty (1373), Shier, the female general manager of Puding Road, and her brother Aweng came to the court, so Shier was appointed as the prefect. In August of the 25th year of Hongwu in the Ming Dynasty (1392), Anshun Prefecture was affiliated to Puding Guard. In September of the 30th year of Wanli in the Ming Dynasty (1602), Anshun Prefecture was promoted to Anshun Military and Civil Prefecture, which governed two prefectures (Zhenning and Yongning) and two guards (Puding and Anzhuang). Since then, Anshun Prefecture was initially established. In the 15th year of Shunzhi in the Qing Dynasty (1658), Anshun and the three guards of Pingba, Weiqing and Zhenxi were all included in the territory. In the 24th year of the Republic of China (1935), the Second Administrative Inspectorate Commissioner's Office was established. On November 18, 1949, it was liberated and became the seat of the Anshun District Administrative Inspectorate Commissioner's Office and the Anshun County People's Government. In 2000, the prefecture was abolished and the city was established, and the new prefecture-level Anshun City administrative division was officially established. Tunbu culture originated from Zhu Yuanzhang's army's conquest of the south and the subsequent transfer of troops from the north to the south. After the Ming Dynasty conquered the south, in order to rule the south, the army was ordered to settle down on the spot. Some craftsmen, civilians and convicted officials were forcibly relocated from the Central Plains, Huguang and Liangjiang regions to live in Anshun, Guizhou. With the changes of history, these people thrived in the process of being both soldiers and civilians, constantly absorbing the local advanced production methods, adhering to their own cultural life customs passed down from generation to generation, and creating their own regional civilization in the long-term farming, fighting, farming and reading life. This culture has always been dominated by Jiangnan culture, not integrated into other cultures and exists independently in the land of Qianzhong, forming a unique cultural system, which people call "Tunbu culture". The plane layout of Tunbu villages is a main lane and multiple alleys, connecting each household into a piece, forming a castle-like structure. The residential houses follow the characteristics of the three-courtyard and four-courtyard in the south of the Yangtze River. The main house, wing room and wall are connected to form a courtyard with one door and one household, forming a fully enclosed pattern from the bird's nest style to the castle style. For the purpose of military defense, the Tunbu dwellings are built with walls. The entire dwelling is located within a solid and towering stone wall. The walls are mostly circular or semicircular, undecorated, and built along the undulations of the terrain. The walls are built with solid gates. As a component of Tunbu dwellings. The roofs of all houses are covered with slate, which has become grayish white due to weathering. Small green tiles are laid on the ridges. The green lines separate the grayish white roofs, giving the roofs a distinct sense of black and white. In terms of group structure, the Tunbu dwellings in Anshun are not like other ethnic minority dwellings, where only a few families are located between the mountains and forests. Instead, hundreds of families live in one place. The entire village is surrounded by walls to form a whole. After passing the gate, a main street leads to the depths, and alleys connect the households in series. The structures of Tunbu dwellings are all through-beam wooden structures, with clear division of labor between load-bearing and enclosure. The wooden roof frame bears the load, and the wall only serves as enclosure. The internal partitions and door and window decorations are all made of wooden boards, but the walls and roofs are very local, and the stones that are both cheap and solid are chosen to build the walls. When stacking, the materials should be used from large to small, and the flat masonry method is used. The gable roof is used to make the wall present obvious layers, and the stone slabs on the roof give a sense of relaxation. The clothing materials of Tunbu people are mainly blue, blue and white cloth for men, while women are rich and colorful. In addition to blue, blue and white cloth, there are also light red, golden yellow, dark green, tile gray, etc. Men mainly wear short front-opening and long gowns with large fronts. The short front-opening shirts are buttoned in the middle, and the buttons are cloth buttons sewn with cloth strips, generally 5 to 7, and there are two visible cloth bags at the hem of the front. The long gown with large fronts is split along the right side, with cloth buttons, and a hidden bag on the small front. The hem is wide and long below the knee, and a cloth belt is tied around the waist. They wear wide-waisted and wide-legged trousers. They wear round hats or headscarves. They wear cloth shoes or thin-eared straw shoes. The characteristics of Tunbu people's clothing that are different from those of ordinary Han people are mainly reflected in women's clothing and appearance. Other Han women (who came from the south to fill the north) mostly wear wide robes with narrow sleeves without lace, and the colors are mostly blue and blue. Before marriage, they wear long braids that hang down to their hips. After marriage, they wear hairpins but no headscarves. Tunbu women always keep the long sleeves and lace of long robes from the Ming and Qing dynasties. As the Tunbu people always take Confucianism, Buddhism and Taoism as the foundation of their lives, there are temples everywhere in Tunbu villages, such as Jiangjunshan Temple in Baiqitun, Shizishan Temple in Xiaotun, Xinglong Temple in Yaobao, Shifo Temple in Shijiatun, Yongfeng Temple in Leitun, Wenfeng Pavilion in Zhengjiatun, Longfo Temple in Lvguantun, Fangsheng Temple in Dongtun, Guanyinshan Temple in Wuguantun, Zhengguo Temple in Zhouguantun, Peifeng Temple in Zhanjiatun, Yongfeng Temple in Guojiatun, Qianfengshan Temple in Tiaodengchang, Longquan Temple in Ninggu, Yuntaishan Temple in Yangjiaqiao, Longhua Temple in Jinguantun, Guandi Temple in Fuqitun, Qinglong Temple in Benzhai, Yunfeng Temple in Xiaguantun, Da'an Temple in Yuguantun, Wuxian Temple in Tangguantun, Caiguantun, Xiaozhangguantun, Yanqitun, Nanshan Xiaotun, Datunguan, etc. Some villages also built two or even three temples, such as Xiaguantun built Yunfeng Temple and Liangcangdong (Temple), Jiuxi has three temples: Qinglong Temple, Longquan Temple, and Wanggong Temple. In addition to Wuxian Temple, Yanqitun also has Yangsheng Temple, and Yunshantun has Yunjiushan Temple and God of Wealth Temple. In addition, each village has built more than one land temple. The gods enshrined in the temples include Guan Yu, Yue Fei, Yang Si, and Wenchang Emperor in Confucianism; Sakyamuni, Wenshu, Samantabhadra, Guanyin, etc. in Buddhism; Lü Zu, God of Wealth, Taishang Laojun, etc. in Taoism. Some temples enshrine the statues of three religions at the same time. For example, the Yongfeng Temple in Leitun has Guan Yu in the front hall, Wenchang Emperor in the second courtyard, Tathagata and Guanyin in the second hall, and Jade Emperor in the back hall. It is a typical temple that integrates Buddhism, Taoism and Confucianism. Among the festivals of the Tunbu people, the most eye-catching is the Dixi performed during the Spring Festival. Dixi, also known as "dancing gods", is a collective entertainment activity organized by Tunbu villages. Generally, one or two performance groups are organized in each village. During the Spring Festival, they perform in front of the village, behind the village, and at the end of the dam. The actors wear masks on their foreheads, green gauze on their faces, and flags on their backs. They wave weapons, fight and dance in the high-pitched singing and the sound of gongs and drums, and perform their favorite ancient war stories, which are full of mysterious and joyful atmosphere. The performances of Dixi are mostly performed in open-air venues, without the need to build a high platform. In the middle of the open space in front of and behind the house, or at the edge of the field, a table and two chairs are placed, and a flag with the word "Shuai" is inserted next to it, which is the "stage". The audience stands on high places around to watch. Dixi costumes: Generally, they wear long shirts and trousers with blue, blue, white, and brown earth cloth with slanting collars, tied with a blue cloth belt, cloth shoes, and a flag tied on the back (similar to the flags in Peking Opera), and two pieces of red, green (or other colors) cloth embroidered with various laces are tied around the waist to symbolize a battle robe. Props generally use eighteen kinds of weapons such as knives, guns, swords, and axes. In addition to knives and guns, female generals hold handkerchiefs in their left hands, while male generals hold folding fans. Regardless of the role, they all wear green gauze on their faces and masks on their foreheads. There are more than 200 Dixi troupes in Anshun, and most of them have sets of masks, with more than 100 or 200 masks, and as few as 60 or 70 masks. These masks are mainly carved from poplar wood, and are about the same size as human faces, with helmets for decoration. The masks are divided into four categories: civil, martial, old, and young. They are carefully carved and painted in bright colors according to the character traits of the characters in the play. The old generals have thick wrinkles on their foreheads, with beards of various colors, such as blue, white, brown, and red. The female generals have charming shapes, with slightly open phoenix eyes. The young generals have wide eyes and handsome faces. The fierce generals have bulging eyes, flared noses, buck teeth, and some even have fangs carved out, which makes them look extremely fierce. The coloring is similar to the Peking Opera masks, usually red for loyalty and bravery, chalk for treachery, pink for gentleness, black and blue for fierceness, yellow for maturity, and green for weirdness. The carvings on the helmets vary according to the characters. The female generals have phoenixes on their helmets, and the male generals have dragons on their helmets. The entire mask is meticulously carved and symmetrical, with exquisite and gorgeous colors and uniformity. The shapes are exaggerated and the expressions are realistic, fully showing the character traits of the characters in the play. For more than 600 years, the Tunbu people have persistently inherited the Confucian values of loyalty, filial piety, benevolence, righteousness, wisdom, trustworthiness, courtesy and courage since the Ming and Qing Dynasties, and reflected them in their daily lives; the selection of village locations is permeated with the spiritual concept of "harmony between man and nature", and the dwellings not only retain a large number of cultural symbols of the Jianghuai area in the Ming Dynasty, but also have strong military defense functions; local operas, lanterns, folk songs and other entertainment forms are rich and diverse, and unique; "Baoziyin", "Yanzhihua" and women's clothing with ancient styles are obvious. The culture of Anshun Tunbu helps people understand the implementation of the military and political systems in the Ming Dynasty in the local area, which provides reliable information for understanding the Tuntian system, especially the activities of the Ming army in Anshun, the level of production development in Anshun after the Ming Dynasty, social organizational structure, social system, lifestyle, moral customs, ideological taboos and other aspects. Similarly, the social customs of Tunbu retain many characteristics of Jianghuai culture and Central Plains culture, such as architecture, dialect, clothing, drama, belief, production method, lifestyle, etc., which provides a historical perspective for us to understand the Tunbu ethnic group and its Tunbu culture. Anshun Tunbu culture contains the essence of traditional Han culture. Works such as wood carving, stone carving, brick carving and paper-cutting art not only carry profound cultural symbolic connotations, but also reflect their love and pursuit of beauty. They are the crystallization of Tunbu people's labor and wisdom, and reflect the ethnic identity and characteristics of Tunbu people in an original way. It reflects the unique historical and cultural development of Tunbu. In today's world that emphasizes the coexistence of multiple cultures, it shows a distinct cultural value. Anshun Tunbu culture is a cultural space that inherits group culture. The language of the Tunbu people has not been assimilated by the surrounding languages after hundreds of years of changes; the clothing of Tunbu women follows the characteristics of the Han clothing in the south of the Yangtze River in the Ming and Qing Dynasties; Tunbu food is easy to store and collect for a long time, which reflects the characteristics of being convenient for long-term war supplies; the religious beliefs of the Tunbu people are in line with the polytheistic beliefs of the Han Chinese in China; the lantern tunes of the Tunbu people also have the charm of Jiangnan folk songs; the local operas of the Tunbu people are primitive and rough, and the representation of war is vivid, and they are known as "living fossils of drama"; the residential buildings of the Tunbu people, which are mainly built of stone and wood, are both elegant and beautiful and have unique defensive features, which constitute the unique local residential style of Anshun. After the reform and opening up, people's lives have become increasingly affluent, and the rapid development of modernization has caused the Tunbu people's hope for modern life to be separated from their original living conditions, and the Tunbu culture that has been passed down for hundreds of years has been unprecedentedly impacted. (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)