Intangible culture with Related Tags
Skybridge Wrestling
According to relevant cultural relics and historical records, wrestling was already a sport in China more than 2,000 years ago. In the Qing Dynasty, this sport was greatly developed. The Qing court established the Shanpu Camp, and wrestling was called "official wrestling", reaching a relatively high level. After the Qing Dynasty was overthrown, the "official legs" of the Shanpu Camp, Rui Wuye and Wan Baye (Wan Yongshun), opened a wrestling hall in Tianqiao Hongmiao (the lower courtyard of Jinzhong Temple), and accepted disciples such as Zhu Liu, Wei Dehai, Li Lianfeng, Shen Yousan, Man Guangtian, Bao Shanlin, Sun Baocai, and He Sheng. From then on, "official wrestling" was integrated into the folk, and was collectively called "throwing wrestling". In the 1920s, Bao Shanlin (1900-1965), Wan Baye's apprentice, set up a wrestling field in Beijing Tianqiao and created a unique wrestling model, which was characterized by flexibility, beautiful body shape, humorous commentary, and a combination of civil and martial arts with a central flag. The training method of wrestling emphasizes three plates, and the technique emphasizes thirty-six big trips and numerous small trips. The performances are varied, with live performances (live jokes), mouthpieces, and constant "burdens", and the speech is humorous. The rules of the competition are a best-of-three system, and each game must have three falls. As an excellent way of expressing national culture, Tianqiao wrestling has research value in many aspects such as folklore, art, sports, culture, society, and history. At present, with the passing of the old generation of wrestling masters, there is a lack of successors in the wrestling world. In addition, there is no fixed training and performance venue, and the market operation is difficult. This ancient skill is facing the risk of being lost, and strengthening its protection is an urgent task.
The Legend of the Yang Family Generals (The Legend of Mu Guiying)
The legend of the Yang Family Generals shows the collective image of a heroic family. At the moment of foreign invasion and national crisis, the Yang Family Generals stood up to the powerful enemy and fought bloody battles. Their strong, strong and heroic spirit of sacrifice demonstrated the indomitable national spirit of the Chinese people. As a part of the legend of the Yang Family Generals, the legend of Mu Guiying shows the joys and sorrows and loves and hates of a woman who has been on the battlefield for a long time, and conveys the deep love of the broad masses of people for the beautiful and brave heroine Mu Guiying. The legend of the Yang Family Generals (Mu Guiying) has important historical and cultural value, and is also very rich in ideological and educational significance. The legend of Mu Guiying in the Yanshan area of Fangshan District, Beijing, is based on the theme of mother-child affection, with vivid and prominent characters and concise, vivid and simple language. Among them, the legends with the theme of maternal love, such as "Naizi Stone", "Yanger Valley" and "Wangertai", are particularly precious, reflecting the true face of social life in the Liao and Song dynasties. They have a wide range of mass and folk inheritance, and are a prominent form of expression of local traditional folk culture. They have high academic research value in sociology and ethnology. With the acceleration of the modernization process, people's ideas and concepts are undergoing drastic changes, the number of inheritors is decreasing, and the cultural space for the spread of the legend is shrinking. The inheritance of the Mu Guiying legend is not optimistic, and protection must be strengthened in a timely manner.
Children's songs (Beijing children's songs)
Nursery rhymes refer to songs without musical scores that are sung by children. They are a type of folk song that is sung and spread by special groups throughout the country and have special significance. Nursery rhymes have a history of thousands of years in my country. There are many records of nursery rhymes in the official history, miscellaneous biographies, notes, and novels of all dynasties. Nursery rhymes are mainly passed down in two ways: written and oral. Their language is easy to understand and their content is simple and natural. They are excellent representatives of folk literature and art. Nursery rhymes have accumulated excellent national culture and contain rich educational content. Beijing nursery rhymes express the urban character of Beijing and the thoughts and feelings of Beijingers in different periods. They carry the history of my country for thousands of years and have strong infectious penetration. They are valuable educational resources that can be excavated and referenced. Beijing nursery rhymes can be divided into three categories according to their content: the first category is nursery rhymes composed and sung by elders and parents to educate children; the second category is nursery rhymes that describe the life, emotions, concepts, and opinions of adults; the third category is nursery rhymes processed based on idioms in ancient rituals or historical themes. Nursery rhymes have many forms, including top-stitch, crosstalk, tongue twister, proverb, lullaby, riddle, chain tune, counting song, question-answer song, parallelism, etc. In the creation process, rhyme should be followed, including double sentence rhyme, sentence rhyme, and rhyme every two sentences. For example, "Dongzhimen Hangs a Plaque", "Big Head", "A Garden of Green Vegetables Becomes a Spirit", "Crossing the Water", "Windy Granny", "Golden Hoop Stick", etc. Today, Beijing nursery rhymes, a literary style that reflects children's innocence and interest and has had an important impact on the growth of countless people, are gradually fading out of children's lives. The well-known nursery rhymes that have been sung by people for thousands of years have begun to be forgotten by today's children. We must immediately start to protect, inherit, and develop Beijing nursery rhymes, a national treasure, so that they can better serve the growth of children.
Carpet Weaving Techniques (Beijing Palace Carpet Weaving Techniques)
The handmade wool-tufted carpet weaving technique is a handmade technique with ethnic characteristics in my country. It coils the wool thread into knots and plants it on the carpet base made of warp and weft cotton threads to form a raised velvet surface. my country began to weave carpets with wool thread in the Neolithic Age. Judging from the double-strand wool-tufted carpets unearthed from the Han tombs in Lop Nur and Minfeng County, Xinjiang Uygur Autonomous Region, carpet weaving had reached a very high level in the Eastern Han Dynasty. Carpets were laid in the palace and the mansions of the rich in the Tang Dynasty. In the Yuan Dynasty, influenced by the Mongolian lifestyle, the palace set up workshops for shearing carpets. In the Ming and Qing Dynasties, carpet weaving in Gansu, Xinjiang, Ningxia, Inner Mongolia, Beijing and other places developed rapidly. The weaving techniques of carpets include design, weaving, flat work, cutting (cutting the flat pattern into a three-dimensional shape with scissors), carpet washing, and finishing. Some of the wool threads for carpet weaving are still printed and dyed with ancient plant dyes. my country's carpets are not only a necessity for the lives of ethnic minorities, but also exported in large quantities overseas. The patterns of carpets absorb the characteristics of ancient bronze, embroidery, brocade, porcelain and other patterns. The carpets of ethnic minorities in Xinjiang, Inner Mongolia, Qinghai, Ningxia, Tibet and other places show their own unique artistic characteristics. Beijing handmade carpets were formerly known as "official carpets" or "palace carpets". Carpet weaving technology was introduced to my country from the Western Regions during the Western Han Dynasty. By the Tang Dynasty, carpet weaving in the Central Plains had been roughly mature. The carpet weaving industry flourished in the Yuan Dynasty, and large-scale carpet weaving workshops emerged. In the Ming Dynasty, official carpet weaving institutions began to weave high-quality official carpets. After the Qing Dynasty, the patterns of Beijing official carpets gradually formed an artistic style that integrated multi-ethnic colors and patterns. Since the 20th century, Beijing palace carpets have been further developed. In 1900, Beijing palace carpets won the gold medal at the Paris World Expo in France. In 1920, there were 354 Beijing palace carpet workshops, making it one of the main production areas of Chinese carpets. In 1956, the first public-private Beijing carpet factory was established. It was later merged with the carpet company and renamed "Xicheng Carpet Factory". In 1965, it was renamed "Beijing Carpet Factory No. 5". From the late 1970s to the early 1990s, Beijing's palace carpet exports were at their peak and gained wide international reputation. Beijing's handmade carpet weaving skills mainly include three aspects: first, the use of professional equipment for carpet weaving, namely the machine beam; second, special tools and measuring tools for carpet weaving; third, carpet weaving can be divided into two types of skills according to tradition: twisted carpet weaving and twisted carpet weaving. The production process of Beijing's palace carpets mainly consists of three processes: preliminary preparation, carpet shaping, and beautification and finishing. Its characteristics are: first, the pattern design is exquisite and the conception is perfect; second, the material selection is careful and the wiring is accurate; third, the processing is meticulous and strives for perfection. Beijing's handmade carpets fully reflect the characteristics of Chinese traditional culture and Beijing's palace art. The industry calls it "Beijing-style carpets", and on this basis, it is expanded to the folk, making it both royal and folk. The art of weaving Beijing palace carpets has always been passed down through oral transmission. However, due to the impact of the modern carpet industry, carpet weaving companies are struggling and lack successors. The weaving art is in danger of being lost and needs to be actively rescued and protected.
Traditional musical instrument making skills (Hongyinzhai Shengguan making skills)
The Hongyinzhai Sheng and pipe making technique is the traditional handicraft technique of producing Chinese folk wind instruments in "Hongyinzhai" founded by the Wu family in Beijing. It is the only musical instrument making technique in China that has been passed down from the Qing Dynasty court. In the late Qing Dynasty, Beileye Wu Qirui made musical instruments and passed on the court skills, which have been passed down for five generations in the Wu family. The Wu family followed the traditional skills and maintained the court style. They domesticated the wood and bamboo, hollowed out, drilled, and tuned them for artists, and innovated the folk wind instruments to make Chinese folk wind instruments into a series, which contributed to the cause of Chinese folk music and has high folk music value, art collection value and historical research value. In the 1980s, Chinese art masters named the Hongyinzhai Sheng and pipe instruments "Wu's Wind Instruments". This skill has high technical content and talents are hard to find, so it needs to be further protected.
Xinjiang Uyghur Muqam Art
"Xinjiang Uyghur Muqam" is a general term for various Muqams spread in various Uyghur settlements in Xinjiang, China. It is a large-scale comprehensive art form that integrates singing, dancing and music. In the specific cultural context of the Uyghurs, "Mukam" has become a term that encompasses various artistic elements and cultural significance such as literature, music, dance, rap, drama, and even national identity and religious beliefs. Xinjiang has been a place where many ethnic groups have lived since ancient times. It is located in the center of the ancient Silk Road. Various religions coexist and spread, and Eastern and Western cultures collide and blend. It has a rich national cultural accumulation. Xinjiang Uyghur Muqam has a long history of formation and development. The singing content in Xinjiang Uyghur Muqam art includes philosophers' aphorisms, literati poems, prophetic warnings, folk stories, etc. It is an encyclopedia reflecting the life and social outlook of the Uyghur people. The song genres include both narrative songs and narrative songs; the singing methods include chorus, unison and solo; the lyrics rhythm and rhyme methods are complex and diverse. Singing and dancing are the most important features of Uyghur Muqam. The dance techniques are rich and varied, and the formations and steps of group dances are varied. In addition to the main representative of Uyghur Muqam, "Twelve Muqam", there are also "Daolang Muqam", "Turpan Muqam" and "Hami Muqam". In the 1940s, there were only a handful of artists who could sing it completely. In the 1950s, the government rushed to record "Twelve Muqam" sung by Uyghur Muqam masters such as Turdi Ahong. After 1978, the Xinjiang Uyghur Autonomous Region Government and other social organizations resumed the work of large-scale collection, sorting and folk culture. In recent years, various popular cultures that have flourished with urbanization and industrialization have swept across Uyghur communities, causing a strong impact on Xinjiang Uyghur Muqam and other traditional cultures.
Chinese Korean Farmer Dance
The agricultural music and dance of the Korean ethnic group in China is a folk performing art that combines performance, singing and dancing, reflecting the traditional agricultural production life of worshipping and praying for blessings and celebrating the harvest. The dance is characterized by ecology, simplicity, ruggedness and harmony. Before the dance, the dancers step on the earth to worship the gods, expressing the primitive belief of respecting and relying on nature. The dancers sing and dance to the beat of suona, dongxiao, gongs and drums, expressing the good wishes of pursuing auspiciousness and happiness. The scene is warm and unrestrained, with distinct ethnic characteristics. Agricultural music and dance have been integrated into the blood of the Korean ethnic group in China, becoming an artistic treasure in social and cultural life, reflecting the diversity of world culture and human creativity.
Heritage with Related Tags
Boxer Rebellion Memorial Hall
The Xingtai Weixian Boxer Memorial Hall was built with an investment of more than 8 million yuan to commemorate the 100th anniversary of the Boxer Movement. It is located at the southern end of the Yihe Square in Weixian County, Xingtai City, covering an area of 40 mu and a construction area of 5,447 square meters. It is a large building that integrates local characteristics, national style, and modern architectural style. The hall systematically displays large-scale exhibitions that fully reflect the Boxer Movement.
Chairman Mao Memorial Hall
Chairman Mao Memorial Hall is a memorial hall for the first generation of Chinese revolutionary leaders with Chairman Mao Zedong as the core. It was completed in 1977. There are many halls and rooms in the building for the public to hold commemorative activities and remember the leader's thoughts, spirit and great achievements. Chairman Mao Memorial Hall is located at the southern end of Tiananmen Square and is square in plan. The main building of the memorial hall consists of three parts: the base, the colonnade and the roof. The base part is a double-layer red granite base inlaid with white marble railings. 44 square granite columns surround the outer corridor. The distance between the columns decreases in sequence according to the ancient Chinese architectural techniques of Ming, Ci and Shao, with a unique national style. The roof is a double-eaved roof decorated with brown-yellow glazed panels, with sunflower reliefs inlaid between the eaves. The overall color tone of the building is elegant. The main entrance faces north, facing the Monument to the People's Heroes. The architectural decoration of the memorial hall adopts a large number of traditional Chinese decorative patterns, which echoes the overall environment and atmosphere of Tiananmen Square.
Beijing Lao She Teahouse
Lao She Teahouse is named after the people's artist Mr. Lao She and his famous opera. It was built in 1988 and now has a business area of more than 2,600 square meters. It is a multifunctional comprehensive teahouse that integrates book teahouse, dining teahouse and tea art gallery. In this ancient and Beijing-style environment, you can enjoy a wonderful performance of excellent national arts such as Peking opera, folk art, acrobatics, magic, face-changing, etc. every day. At the same time, you can taste all kinds of famous teas, palace snacks, traditional Beijing snacks and Beijing-style tea banquets. Since its opening, Lao She Teahouse has received nearly 47 foreign heads of state, many celebrities and more than 2 million Chinese and foreign tourists, becoming a special "window" to display the fine products of national culture and a "bridge" to connect domestic and foreign friendship. Qianmen Sihe Teahouse is another new move of Lao She Teahouse to promote Beijing-style culture and tea culture. It takes the ancient classic Beijing traditional building Siheyuan as its shape, takes the profound tea art as its spirit, and integrates the graceful and noble charm of the capital city to create a tea house of your dreams. Here, there is only leisure and tranquility, only relaxation and freedom, listening to the melodious zither, watching the exquisite tea art performance, tasting the fragrant good tea, and enjoying the half-day leisure stolen from tea. The teahouse is divided into three floors with a business area of more than 2,600 square meters. The "Qianmen Sihe Tea House" on the second floor takes the ancient classic Beijing traditional building Siheyuan as its shape; while retaining the original appearance of the main house of the old Beijing Siheyuan, it also reflects the characteristics of "solemnity in the north and elegance in the south". The wing rooms are staggered and varied, which is a combination of traditional art and modern technology. The lush grass and the melodious birdsong add to the elegance and agility of the tea house. In the performance hall on the third floor, you can enjoy wonderful performances of excellent national arts such as Peking Opera, Quyi, acrobatics, magic, and face-changing every day. While watching the performance, you can also taste various famous teas, palace delicacies, local snacks and Beijing-style tea banquets. The Big Bowl Tea Restaurant on the east side of the third floor is a restaurant that mainly serves old Beijing-style dishes, special tea dishes and tea banquets.
Cizhou Kiln Futian Site Museum
The Futian site of Cizhou Kiln is a demonstration base for popular science education for young people in the whole district, a creation base for the writers' association in the whole district, and a collection of popular science education (demonstration) for youth education, local education, and extracurricular activities in more than a dozen urban primary and secondary schools. It has widely carried out publicity and education on the culture of Cizhou Kiln, promoted national culture, local folk culture, and hosted exchange activities between young people from Taiwan and Hong Kong many times. It has continuously carried out exchanges between Cizhou Kiln and other places, and actively carried out activities to promote national intangible cultural heritage. It uses ancient kiln sites, ancient workshops, and traditional crafts to promote the culture and art of Cizhou Kiln.