Intangible culture with Related Tags
Costume and prop making skills
The production skills of Beijing costumes and props appeared in the middle of the Qing Dynasty. It was born with the rise of Peking Opera art. Costumes and props are divided into four categories: clothing, helmets, miscellaneous items, and handles. Clothes mainly refer to costumes, helmets mainly include helmets and hats, miscellaneous items mainly include beards, boots and shoes, and handles mainly refer to the handles of swords and guns. Among them, the production process of helmets, costumes and boots is relatively complicated. Beijing costumes pay the most attention to stage art effects. Its beautiful and exaggerated shapes, colors and patterns are conducive to setting off the artistic image of the characters in the play. The design and production of Beijing costumes involve all aspects of Peking Opera costumes and accessories. They pay attention to bright colors, grand shapes and rich patterns. They are characterized by sophisticated skills, meticulous and exquisite workmanship, high-end and luxurious materials, and elegant style, which adds brilliance to Peking Opera performances. Beijing costumes are suitable for viewing and collection, and have important reference value in the study of traditional Chinese opera costumes and ancient Chinese costumes. With the changes in society, there are not many craftsmen who can truly engage in theatrical costume production, and master-level figures are even rarer. Moreover, it is difficult for new forces to sustain. If it is not protected in time, this traditional skill that has been developed for a hundred years will face the risk of being lost.
Liulangzhuang Five Tiger Sticks
Liulangzhuang Wuhu Stick, a traditional martial arts in Haidian District, Beijing, was originally named Zhongxiao Tongzi Stick. It is said to have been established during the reign of Emperor Kangxi of the Qing Dynasty and is well-known for its exquisite martial arts. Liulangzhuang Village, Haidian Township, is located at the foot of Yuquan Mountain in the northwest of Beijing, close to the southeast corner of Kunming Lake. The village has Zhang Zhidong Garden, Ronglu Garden, Zhenwu Temple, and tea sheds (built by pilgrims who went to the Bixia Yuanjun Temple Fair in Miaofeng Mountain in the past). There is also a precious historical and cultural heritage that originated in Liulangzhuang Village, Liulangzhuang Wuhu Tongzi Stick Association (founded during the reign of Emperor Guangxu, and even half of the imperial carriage was awarded by Empress Dowager Cixi). Liulangzhuang Wuhu Tongzi Stick is based on the folk legend "Zhao Kuangyin fights the five tigers of the Dong family". On the basis of the original red-faced Zhao Kuangyin, black-faced Zheng Ziming, clean-faced Chai Wang, and the first, second, third, fourth, and fifth roots, two more roles, horse boy and cart puller, were added. The cast has been enriched, the difficulty of the performance has been increased, and the viewing experience has been improved. The weapons in the martial arts arena include the stick at the height of the eyebrows, the stick with a short tip, the long stick, the short stick, etc., as well as the unique rattan shield and the two crutches. During the performance, the martial arts actors are skilled, cooperate well, and fight fiercely. It is said that there are as many as 72 main routines, and more than 50 sets are preserved. When the martial arts are performed, the literary arena cooperates. Before 1948, the Liulangzhuang Five Tiger Boys Stick Club went to the Fengtai Yaowang Temple to offer incense and perform on the 28th day of the fourth lunar month every year. After liberation, they participated in the Beijing Art Festival, the Miaofengshan Temple Fair, and the parades and performances of enterprises and institutions.
Drum dance (cymbals and drums)
Chinese drum dance is known for its rich drum music, passionate emotions and profound cultural heritage. It is spread all over the country and has an impact on the world. In the Book of Changes, there is a saying that "dance with drums to the fullest", which not only vividly reflects the long history of Chinese drum dance, but also summarizes its main functions. From the original "hitting stones and clapping stones, all beasts lead the dance" to the later popularization of the north and south of the Yangtze River, Chinese drum dance has always been in the same vein and has continued. Chinese drum dance has various forms and is widely distributed. The dance postures are different and the types vary greatly. Among them, the more typical forms are waist drum dance, lame drum dance, flower drum (lantern) dance, wooden drum dance, long drum dance, flat drum dance, bronze drum dance, dragon drum dance, fan drum dance, yellow mud drum dance, elephant foot drum dance, monkey drum dance, flower whip drum dance, bamboo drum dance, bell drum dance, sheepskin drum dance and many other forms. The flower cymbal drum is also known as the "flower cymbals of the children of the Leiyin Shenghui", commonly known as the "flower cymbal drum", which is popular in Houniufang Village, Xiaotangshan Town, Changping District, Beijing. Flower cymbals and drums originated during the Qianlong period of the Qing Dynasty. It is a folk children's dance variety with highly unified drums and cymbals dance. In flower cymbals and drums, drums, cymbals and dances are the same, and the sound, emotion and appearance are highly unified. The drum is used for both conducting and accompaniment; the cymbals are used for accompaniment and as dance props. In the performance, the drums carry the cymbals, and the cymbals chase the drum beats. The music rhythm is mainly three beats and changes. It is bright, lively, natural and agile. The dance is permeated with the rhythm of knee trembling, and the movements are smooth and one-shot, showing the characteristics of innocent and lively children. Flower cymbals and drums have flexible and diverse performance forms, rich dance vocabulary, and can be choreographed into a variety of performance routines; the performance lineup is very flexible, ranging from two people to thousands of people; the performance order is not eclectic, the time can be long or short, and the venue is not fixed. It can be performed on flat ground, on stage, or while marching. No matter how it changes, each performance routine can be closely connected to achieve natural flow, complete unity. Huagong Dagu is an indispensable and distinctive branch of folk drum art. It has research value in folk drum art and folk culture, and can provide a basis for the innovation of national art. Huagong Dagu has been passed down in Beijing for a long time. In the first year of Guangxu in the Qing Dynasty (1875), the five generations of leaders after the second association were Hao Wenliang, Gao Yi, Hao Chunfang, Hao Chunlin, Gao Ruchang and Hao Weidong. In recent years, due to the lack of organized skill scores, the advanced age of the leaders and old artists, the inheritance of Huagong Dagu in Houniufang Village is in crisis and needs to be rescued urgently.
Shadow Play (Beijing Shadow Play)
In the early days, Beijing shadow puppetry was divided into two schools, the Eastern and Western schools. The Eastern school died out very early, and the existing Western school of shadow puppetry was formed during the Zhengde period of the Ming Dynasty. In 1842, Lu Decheng, a Manchu, inherited the Western school of Beijing shadow puppetry art and established the Beijing Xiangshun shadow puppetry troupe. Since then, the Western school of shadow puppetry has been passed down in the Lu family. Lu Fuyuan, the son of Lu Decheng, established the Fushun shadow puppetry troupe, and Lu Yaofeng, the son of Lu Fuyuan, established the Deshun shadow puppetry troupe. It has been passed down to Lu Yaofeng's son Lu Jingda for four generations, and it has lasted for more than a hundred years. Beijing shadow puppetry has a long formation period and unique expression techniques. Its performance, vocal tunes, and modeling have artistic characteristics different from those of shadow puppets in other regions. Its vocal tunes absorb the vocal tunes and tunes of northern Kunqu Opera, Peking Opera, and Quyi, and it has its own style. The performance is delicate and exaggerated. There are some unique artistic processing techniques, such as the details of the shadow figures looking in the mirror, shedding tears, and dressing up are very real. With the retirement and death of the older generation of artists, Beijing shadow puppetry has no successors. The main inheritor of Beijing Shadow Play, Beijing Shadow Play Troupe, has not had its own troupe for a long time since 1979, and lacks a fixed performance venue. It has been operating in debt for a long time, and the income of performers and staff is low, making it extremely difficult to survive. Under this situation, Beijing Shadow Play has gradually fallen into an endangered situation, lacking people to inherit it, and has gradually faded out of the audience's field of vision. It is urgent for relevant departments to formulate measures to protect it.
Illusion (Fu's Illusion)
Illusion is the ancient Chinese name for magic, and it is called "magic tricks" in folk culture. Illusion had already appeared in my country during the Western Zhou Dynasty; by the Han Dynasty, magic performances had become very mature. The idea of "Planting Pears", a famous article in "Strange Stories from a Chinese Studio", came from illusion. "Fu's Illusion" is a magic (illusion) performance that combines ancient illusions with foreign magic. It is a representative of Chinese folk magic and was rated as a national intangible cultural heritage in 2014. Fu's Illusion originated in the early 20th century. The founder Fu Zhiqing once learned foreign magic techniques from Japan and combined them with traditional illusions to create the prototype of Fu's Illusion. "Fu's Illusion" insists on giving equal importance to innovation and inheritance, and each generation of inheritors has their own original characteristics; at the same time, it insists on giving equal importance to theory and practice. Over the past few decades, more than 70 professional books such as "History of Chinese Acrobatics" and "Magic in China" have been published.
Guqin Art
In November 2003, it was selected into the second batch of the Representative List of the Intangible Heritage of Humanity. In 2008, it was automatically included in the Representative List of the Intangible Cultural Heritage of Humanity. In the long history of China, the guqin has always occupied an important position, and together with Chinese calligraphy, painting, poetry and literature, it has become the carrier of Chinese traditional culture. The guqin is the most representative of China's solo instruments. People often play the guqin not only for music, but also for self-entertainment, meditation, personal cultivation and emotional communication between close friends. From early literary works and archaeological discoveries, we can know that the guqin has a history of more than 3,000 years in China. Its performance is a symbol of elegance and status, so it has become an elite art of aristocrats and literati, rather than a performing art for the masses. In fact, the guqin has an inseparable origin with the history of Chinese literati, because it is one of the qualities and cultivations required by Chinese literati, "qin, chess, calligraphy, and painting", and it ranks first. The art of guqin has absorbed a large number of elegant and beautiful tunes, with complex and exquisite playing techniques and unique musical notation. A large number of musical scores have been handed down orally. The guqin has seven strings and thirteen frets. Through ten different ways of plucking the strings, the performer can play four octaves. There are three basic techniques for playing the guqin: san, an, and pan. "San" is the sound of the open string, which is strong and thick, and is often used for the backbone of the tune; "pan" is to lightly touch the frets with the left hand to produce light and floating music (overtones), and is often used to play colorful tunes; "an" is to press the string with the left hand to produce sound, and moving the pressing finger can change the effective string length to achieve the purpose of changing the pitch. The same pitch can be played on different strings and different frets using different methods such as san, an, pan, etc., and the timbre is rich in changes.
Peking Opera
Peking opera is a performing art that combines singing, reciting, acting and fighting. It is performed widely across China, but Beijing, Tianjin and Shanghai remain the main performance centers. The singing and reciting of Peking opera are mainly in the Beijing dialect, and the scripts are written according to a series of strict rules that focus on form and rhythm. Each repertoire tells stories about history, politics, society and life, and conveys information while entertaining. Music plays a key role in Peking opera, not only setting the rhythm of the performance and creating a special atmosphere, but also shaping the characters and guiding the development of the story. For example, the "civil scene" uses orchestral instruments such as the high-pitched jinghu and flute, while the "martial scene" uses percussion instruments such as ban drums and gongs to set off. The performance is characterized by the actors' formulaic and symbolic style of performance, which is achieved through the choreography of predetermined hand, eye, body and foot movements. Traditionally, stage settings and props are kept to a minimum, but the costumes are gorgeous, the facial makeup is exaggerated, and simple symbols, colors and patterns are used to depict the personality and social identity of the characters. Peking opera is mainly passed down from master to apprentice, with apprentices learning basic performance skills through verbal instruction, observation and imitation. Peking opera is regarded as the epitome of the aesthetic ideals of traditional Chinese opera and is widely recognized as a Chinese cultural heritage.