Intangible culture with Related Tags
Prince Wuwu quarrels
Taiziwu Wuchaozi, a traditional dance in Daxing District, Beijing, integrates entertainment, fitness and performance. Wuchaozi is strong, rough and generous. Participating in Wuchaozi activities can make people happy, enhance understanding and live in harmony. It has high social, folk and cultural values and is representative in Beijing. During the Qianlong period of the Qing Dynasty, Zhang Hongru, a villager of Taiziwu Village, returned to the village to open an escort agency and founded the Shaolin Association after learning martial arts. The tradition of martial arts gradually developed in the village. Zhang Hong used the palace music score brought back by a eunuch as the accompaniment of the Shaolin Association performance, and continuously improved and innovated to form the Wuchaozi dance with cymbals. The predecessor of Tianziwu Wuchaozi was the form of Wenchaozi. Later, it gradually combined the original Wenchaozi with the unique local martial arts background, strengthened the original martial arts elements, and formed the Wuchaozi we see today. The finalized Wuchaozi movements are mainly composed of martial arts and Yangko. The members of Wuchaozihui are basically members of Shaolinhui. The martial arts routines are accompanied by music. The cymbals in their hands are both instruments for instrumental performances and props for action performances. This kind of action performance is mainly based on martial arts movements. The main function of martial arts in the early days was to be used for fighting, and it has a very strong practical nature. Therefore, when performing, the members hold cymbals in their hands, whether attacking or defending, with sturdy and vigorous movements, forming a unique performance style.
Cloisonné production techniques
Beijing cloisonné technique is also known as "copper-based cloisonné enamel". It was named "cloisonné" because it matured during the reign of Emperor Jingtai of the Ming Dynasty. The technique is to use copper as the base, flatten the thin copper wire and make various patterns by hand, pinch, weld and stick it on the body, and then apply enamel glaze. After firing, polishing, gilding and other processes, the finished product is finally made. Cloisonné technique is the product of the combination of foreign enamel technique and local metal enamel technique. In the Ming and Qing dynasties, the Imperial Household Supervision and the Imperial Household Department both set up enamel workshops in Beijing dedicated to the royal family, and the technique went from maturity to glory. In modern times, due to social unrest, Beijing cloisonné technique once declined. After 1949, due to the active protection and support policies adopted by the state, this ancient technique was rapidly restored and developed. Beijing cloisonné technique is complex and has many processes. It combines bronze and enamel techniques, inherits traditional painting and metal engraving techniques, and reflects the tradition of mutual learning and reference between traditional Chinese crafts. Cloisonné products are elegant in shape, elaborate in patterns, and colorful in color. They have the characteristics of court art, giving people an artistic feeling of "roundness, firmness, and golden splendor". They have high artistic value and have participated in many important exhibitions at home and abroad, winning honors for the motherland. They are also often presented as state gifts to foreign guests. Under the impact of the market economy, due to the poor operation of some practitioners, the artistic quality and skill level of Beijing cloisonné have declined, and a large number of inferior products have flooded the market, which has a bad impact. The authentic cloisonné production factories are either bankrupt or endangered, and there are only a few cloisonné production masters and successors with superb skills. If they are not rescued and protected, this excellent skill will decline or even be lost.
Jingxi Taiping Drum (Strange Village Taiping Drum)
Taiping drum, also known as "fan drum", "single drum" and "sheepskin drum", is a unique folk festival dance in Beijing. It appeared in Beijing in the Ming Dynasty and became increasingly popular after the Qing Dynasty, with a broad mass base. In the early days, the Jingxi Taiping drum was a collective dance from Manchu women, and it was not until the early 20th century that men joined. Taiping drum activities are held from the first day of the twelfth lunar month to the beginning of February of the following year, so it is also called "New Year's Drum" in Beijing. Beating the Taiping drum symbolizes peace and happiness in the world, and has a special meaning of praying for blessings and welcoming the new year. Taiping drum has been circulated in Beijing since the Ming Dynasty, and it has been extremely popular inside and outside the capital since the Qing Dynasty. The Qing Dynasty court would also beat the Taiping drum on the New Year's Eve of the lunar calendar to represent peace and stability, so the Taiping drum is also known as the "New Year's Drum" in Beijing. The Taiping drum in the strange village of Wangzuo Town, Fengtai District, originated from the Qing Dynasty court and has a history of more than 200 years. According to the old people in the strange village, Taiping drum is very popular in the local area. Every family has a drum and everyone can play it. In the early years, the villagers were invited to perform in Liangxiang, Tongxian and Hebei in Beijing, and they are well-known. The strange village Taiping drum has small movements, implicit emotions, and brisk rhythms. It has a high technical level and artistic value. Its content is mostly taken from the daily life of the villagers, and the performance exudes a strong breath of life; the performance movements are simple and easy to learn, and the formation changes are rich and varied. It is a performance form that local residents love to see. The drum used as a dance prop in the strange village Taiping drum is made of mulberry paper. It has a unique production process, is strong and durable, and has a crisp and pleasant sound. There are many routines of the strange village Taiping drum, which can reach dozens of types at most. At present, there are still 13 sets of "round drum", "round drum instead of pushing the mill", "four-sided bucket", "six-sided bucket", "eight-sided bucket", "lying baby", "three people busy at both ends", etc., and "three people busy at both ends" and "lying baby" are the most distinctive. The music of the strange village Taiping drum is composed of two parts: the tune and the lyrics. The tune is also called "drum beat", which is both the name of the routine and the music tune. Most of the Taiping drum tunes are in 2/4 time; the lyrics are sung while beating the drums during the performance. It mainly includes "rope songs", "ancient names of December", "Taiping lyrics" and other contents. At present, only "ancient names of December" and "rope songs" can be collected. The strange village Taiping drum is a contemporary relic of the traditional drum culture in northern China, and can provide a reference for the study of Beijing's local history and culture. In recent years, due to changes in the living environment, the strange village Taiping drum has lacked successors and is in urgent need of rescue and protection. At present, the villagers of the strange village are committed to cultivating the reserve force of Taiping drum performances, excavating and sorting out precious materials that are about to be lost, drawing action maps, and passing on the Taiping drum, a folk art form that is deeply loved by the masses.
Beijing Pingshu
Beijing Pingshu originated in the Tang and Song Dynasties and flourished in the Ming and Qing Dynasties. It is a far-reaching form of folk art in the northern region, mainly spread in Beijing, Tianjin, Hebei, Liaoning, Jilin, Heilongjiang and other places. The prosperity of the art of "speaking" after the Song Dynasty promoted the formation of long vernacular novels to a certain extent, laying a solid foundation for the final appearance of Beijing Pingshu. When performing Beijing Pingshu, one person sits behind a table, uses folding fans and wake-up sticks as props, and uses gestures and expressions to explain the plot and portray characters. It also often uses ventriloquism to simulate the sounds of wind, rain, cannons, horses, etc. to enhance the rhythm and create an atmosphere. Pingshu has formed a unique set of program specifications in the long-term development process, showing artistic characteristics such as "bold", "tight", "dynamic", and "hot". It uses organizational structures such as "book beams", "return heads", "guanzi", and "bokou", and uses "fu" and "zan" to describe people and things, which is appropriate and precise, and the levels are well-organized. Its performance is full of spoken language, the style is bold and simple, warm and bright, and it is very pleasant and fascinating. The traditional bibliography of Beijing Pingshu mainly includes "Romance of the Eastern Han Dynasty", "Romance of the Western Han Dynasty", "Romance of the Three Kingdoms", "Biography of Yue Fei", "Three Heroes and Five Gallants", etc. These works have played an educational function of popularizing historical knowledge and highlighting traditional virtues in the process of dissemination, and have cultural value that cannot be underestimated. Since modern times, a large number of performing artists with high artistic standards have emerged in the Beijing Pingshu industry, such as Yuan Kuocheng, Tian Lianyuan, Lian Liru, etc. At present, the increase in literary and artistic forms and the development of mass media have caused unprecedented prosperity in social and cultural life. Against this background, people's interest and enthusiasm in the art of Pingshu has been greatly weakened. This situation has affected the development of Beijing Pingshu, resulting in a decrease in Pingshu practitioners, and the lack of successors to the once glorious excellent folk art. The inheritance is facing great difficulties. It is urgent for relevant parties to take measures as soon as possible to start protection and support.
Kite making skills (Beijing kite making skills)
The Cao family kite craft is a traditional folk handicraft that has been passed down in Beijing to this day based on the kite atlas and rhymes recorded in the "Nan Yao Bei Yuan Kao Gong Zhi" of the Qing Dynasty. The book "Nan Yao Bei Yuan Kao Gong Zhi" summarizes 43 kite-making and pasting techniques, and summarizes the process into four arts: making, pasting, painting, and releasing. It uses kites as a carrier to reflect China's profound cultural connotations, and uses image aesthetics, anthropomorphism, and patterned expressions to reflect the high traditional cultural value. Cao family kites are made of bamboo, paper, silk, satin and other materials through processes such as making, pasting, and painting. This production technique has the characteristics of excellent material selection, delicate craftsmanship, bright colors, and beautiful shapes. It uses the principle of bionics and adopts a unique "rebirth" technique to make kites such as birds and animals, which are lifelike and reduce the weight of the kite. Cao's kite works are novel in style and diverse in variety, expressing contents such as historical allusions, customs and legends, folk customs, simulation and realism, etc., with distinct cultural characteristics of the ancient capital.
Gold lacquer inlay and decoration technique
Gold lacquer inlay is an important category of traditional Chinese lacquerware craftsmanship, with a history of more than 7,000 years. Beijing is an important lacquerware production area in my country's history. The rise of official handicraft workshops such as the Paint Bureau of the Yuan Dynasty, the Orchard Factory of the Ming Dynasty and the Imperial Household Department of the Qing Dynasty laid the foundation for the development of Beijing lacquerware. Now Beijing's gold lacquer inlay has directly inherited and developed the lacquerware manufacturing art of the Ming and Qing courts in many aspects, from craftsmanship and techniques to artistic style. Beijing's gold lacquer inlay lacquer decoration crafts are diverse, with a wide range of themes and rich and colorful artistic expression techniques. Among them, the inlay products have clear layers and are exquisite; the painted products are colorful and brilliant; the carved and filled products have smooth lines and are magnificent; the carved gray products have sharp blades and vivid charm; the broken pattern products are simple and generous, elegant and graceful; the tiger skin lacquer products are colorful and close to natural. According to the purpose, Beijing's gold lacquer inlay products include utensils, furniture, screens, plaques, wall decorations and other types. This ancient handicraft has a high artistic research value. Its products are convenient, practical, and collectible, and are deeply loved by consumers. After the founding of New China, especially since the reform and opening up, Beijing's gold lacquer inlay has made great progress, but it is also not without worries. There used to be more than a thousand workers engaged in gold lacquer inlay. Now the old workers have retired one after another. At the same time, due to the difficult working conditions and low wages, most young people are unwilling to choose this profession. Currently, only 160 people continue to engage in gold lacquer inlay. This ancient skill is facing the crisis of being lost and needs to be protected and inherited.
Chinese Paper Cutting
Chinese paper-cutting is a folk art that uses scissors or carving knives to cut patterns on paper, which is used to decorate life or cooperate with other folk activities. In China, paper-cutting has the broadest mass base. It is integrated into the social life of people of all ethnic groups and is an important part of various folk activities. Its inherited visual images and modeling formats contain rich cultural and historical information, express the social cognition, moral concepts, practical experience, life ideals and aesthetic tastes of the general public, and have multiple social values such as cognition, education, expression, lyricism, entertainment, and communication.
Heritage with Related Tags
Tiberias Palace
<p>The Tiébélé Palace is a complex of earthen buildings built since the 16th century that embodies the social organization and cultural values of the Kasena people. The palace is surrounded by a protective wall, with walls and corridors that divide the inner complex into different areas and lead to ceremonial and gathering places outside the wall. The palace was built by the men of the palace, and then painted with symbolic elements by the women members of the palace. Women are the only keepers of the relevant knowledge and they ensure the continuation of this tradition. </p>
Central University City Campus of the Universidad Nacional Autónoma de México (UNAM)
The complex of buildings, sports facilities and open spaces that make up the Ciudad Universidad Central campus of the National Autonomous University of Mexico (UNAM) was created between 1949 and 1952 by more than 60 architects, engineers and artists. As a result, the campus is a unique example of 20th-century modernism, integrating urban planning, architecture, engineering, landscape design and the fine arts, with reference to local traditions, especially Mexico's pre-Hispanic history. The complex embodies universal social and cultural values and is one of the most important symbols of modernity in Latin America.
Bordeaux, Port of the Moon
Porte-de-Marne is a port city in southwestern France, Bordeaux, classified as an inhabited historic city, an outstanding urban and architectural complex built during the Age of Enlightenment, whose value survived until the first half of the 20th century, with more protected buildings than any other French city except Paris. It is also known for its historical role in the exchange of cultural values for more than 2,000 years, especially since the 12th century, due to commercial links with England and the Low Countries. The urban planning and architectural complex since the early 18th century make the city an outstanding example of innovative classical and neoclassical trends and give it an extraordinary urban and architectural unity and coherence. Its urban morphology represents the success of philosophers who wanted to make the city a melting pot of humanism, universalism and culture.
Petroglyphs of Lake Onega and the White Sea
The site contains 4,500 rock carvings from the Neolithic period (6-7 thousand years ago) and is located in the Republic of Karelia, Russian Federation. It is one of the largest rock art sites in Europe and documents the Neolithic culture of Fennoscandia. The property group includes 33 sites in two parts 300 km apart: 22 rock art sites on Lake Onega in the Podolsky District with more than 1,200 figures and 11 rock art sites on the White Sea in the White Sea District with 3,411 figures. The rock art figures on Lake Onega are mostly birds, animals, half-human and half-animal figures, and geometric shapes that may be symbols of the moon and the sun. The rock art on the White Sea mostly consists of carvings depicting hunting and sailing scenes, including related equipment and animal and human footprints. They show important artistic qualities and testify to the creativity of the Stone Age. The rock paintings are associated with sites such as settlements and cemeteries.