Intangible culture with Related Tags
Wood carving (rosewood carving)
Traditional red sandalwood carving techniques are mainly used in the production of traditional Ming and Qing Dynasty palace furniture. They represent the highest level of woodworking technology at that time and have special style characteristics. Red sandalwood carving is handmade, and its carving techniques are diverse, integrating various techniques such as line carving (positive carving, negative carving), shallow relief, deep relief, flat carving, round carving, hair carving, and openwork carving. The works are based on wood, carved instead of pen, and painted with knives. The composition is lush and full, the knife technique is vigorous and bold, and the picture is deep and far. The themes of the works are wide-ranging, mainly landscapes, flowers, birds and beasts, and antiques. Its patterns and patterns contain good wishes for good luck, many children and blessings, longevity, and a prosperous official career. The mortise and tenon structure carving used in red sandalwood furniture is even more precise and ingenious. No nails are used throughout the body, and it relies entirely on the mortise and tenon fit, and the parts are inseparable. Its precise craftsmanship and tight fit, without any room for error, give people a sense of seamlessness, which is beyond the reach of modern mechanical technology. The production of sandalwood carving artworks requires more than a dozen processes, including wood drying, cutting, sawing, assembly, manual pounding, carving, cleaning, polishing, waxing, etc. The production of a sandalwood carving work takes at least one year, and at most several years. With the changes of the times and the development of large-scale industrial processes, mechanical production has long penetrated into every link of traditional furniture manufacturing, and the traditional red sandalwood carving craft is facing the crisis of extinction.
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.
Lacquer carving technique
The Beijing lacquer carving technique is a technique of applying a certain thickness of natural lacquer on the base, and then using a knife to carve patterns on the piled-up flat lacquer base. The carved lacquerware products are simple in shape, exquisite in decoration, bright in color, elegant in form, and are moisture-proof, heat-resistant, acid-resistant, alkali-resistant, non-deformable, and non-deteriorating. It embodies the superb skills and wisdom of Chinese arts and crafts artists and is a treasure of the traditional crafts of the Chinese nation. The carved lacquerware technique originated in the Tang Dynasty. Due to Beijing's special political, economic and cultural background, it finally settled in Beijing after the development of the Yuan, Ming and Qing dynasties. In the process of hundreds of years of development, the Beijing carved lacquerware technique has integrated the culmination of the carved lacquerware techniques of the north and south of China, and is one of the outstanding representatives of Chinese lacquerware techniques. In the 30th year of the reign of Emperor Guangxu (1904), artists Xiao Le'an and Li Maolong opened the first modern folk carved lacquerware manufacturing workshop "Jiguzhai" in Beijing. After 1949, Beijing convened the descendants of Jiguzhai lacquerware scattered among the people to establish the Beijing Lacquerware Production Cooperative. In 1958, it was transformed into the Beijing Lacquerware Factory, which became the main base for the inheritance and development of Beijing lacquerware craft. Beijing lacquerware craft products are of various types and rich in themes. Its design and creation integrate carving, painting and craftsmanship, and have solemn and elegant artistry. It plays an irreplaceable role in improving people's aesthetic literacy and beautifying life in modern society. Beijing lacquerware craft concentrates on China's long-standing cultural tradition of lacquerware craftsmanship, and is an indispensable and important content for studying traditional Chinese arts and crafts. In the 1990s, due to market transformation, long production cycle, large investment and changes in management system, the lacquerware industry shrank. Beijing Lacquerware Factory is in name only, and there are fewer and fewer real hand-made lacquerware products. The technicians in the lacquerware industry are facing the cruel reality of aging age structure and no new successors. From the current situation, the Beijing lacquerware craft that has lasted for hundreds of years is on the verge of being lost.
Nei Liansheng thousand-layer cloth shoes production technology
Nei Liansheng Boots and Shoes Shop was founded in the third year of Emperor Xianfeng's reign in the Qing Dynasty (1853). At first, it was specialized in making court boots with thousand-layer soles for the royal family and officials at all levels. The earliest store was located in Mixiang, Dongjiang, Beijing (now Taijichang), and its founder was Zhao Ting. The "Nei" in the name of the store refers to the imperial palace, and "Liansheng" means that officials who wear the court boots made in the store can be promoted three levels in a row. After the fall of the Qing Dynasty, Nei Liansheng applied the skills of making official boots to the production of thousand-layer sole cloth shoes. The quality of the finished products is excellent and well-known, and it became famous in Beijing. Nei Liansheng's thousand-layer sole cloth shoes have always used traditional handmade methods, with strict craftsmanship, unique technology, exquisite material selection, and fine workmanship. Its craftsmanship characteristics can be summarized as "one high and four more". "One high" means high craftsmanship requirements, and "four more" means many production processes, many sole patterns, many shoe sewing methods, and many varieties of cloth shoes. It often takes four or five days to make a pair of thousand-layer cloth shoes, and it can only be completed after more than ninety processes. Each process has strict requirements, and it pays attention to accurate size, skilled techniques, appropriate strength, and meticulousness. Among them, there are three different techniques for shoemaking alone: positive sewing, reverse sewing, and open sewing. There are nearly forty kinds of tools used in the entire shoemaking process. In addition to the continuous improvement of production technology, Nei Liansheng also has high quality requirements for raw materials, auxiliary materials, and accessories. Nei Liansheng has created more than 1,500 varieties and styles of cloth shoes according to different seasons, ages, genders, customs, etc., and has comprehensively and effectively excavated and sorted out the traditional folk shoe culture in northern China. Its thousand-layer cloth shoes mainly include four series of products: men's shoes, women's shoes, children's shoes, and slippers. They have the advantages of nourishing feet and comfort, and are deeply welcomed by consumers. The craft of making Nei Liansheng thousand-layer cloth shoes is passed down in the traditional mode of master-apprentice relationship. However, since this skill is complicated and profound, it is difficult to learn and takes a long time to learn. It takes more than three years for an apprentice to become a master. Therefore, fewer and fewer people are learning this skill, and the inheritance is facing a great crisis, which needs to be taken seriously by relevant parties.
Traditional musical instrument making skills (Jinghu making skills)
National musical instrument making skills (Jinghu making skills), traditional skills. Jinghu, also known as Huqin. It is a traditional Chinese stringed instrument. At the end of the 18th century, with the formation of the traditional Chinese opera Peking Opera, it was modified on the basis of the stringed instrument Huqin. It has a history of more than 200 years and is the main accompaniment instrument of the traditional Chinese opera Peking Opera. In the early days, Jinghu had only one specification. After long-term practice by luthiers and performers, it developed into multiple specifications according to the different tunes of Peking Opera, and created several special Jinghu such as Xipi, Erhuang, Wawadiao and Plectrum. The size of the low-key Jinghu was enlarged to meet the needs of the development of Peking Opera music.
Filigree inlay making technique
Filigree inlay is a traditional palace handicraft, which mainly uses gold, silver and other materials, and is made into handicrafts through processes such as inlaying gems, pearls or weaving. The filigree inlay process is complicated, and can be roughly divided into eight techniques: pinching, filling, accumulating, welding, piling, stacking, weaving and braiding. It has exquisite skills, beautiful shapes, and various patterns, and has traditional artistic characteristics. Filigree inlay products are generally divided into two categories: one is filigree, that is, gold and silver are drawn into thin wires, and handicrafts are made by stacking, weaving and other techniques; the other is inlay, that is, gold and silver thin sheets are hammered into utensils, and then engraved with patterns and inlaid with gems and pearls. Filigree inlay has a long history. It appeared as early as the Spring and Autumn Period and reached a superb level in the Ming Dynasty. After the Qing Dynasty, filigree inlay has developed further, and fine products have continued to emerge, which is famous at home and abroad. The filigree inlay techniques of Beijing and Dachang Hui Autonomous County, Hebei Province are remarkable and the most famous in the industry. Beijing filigree inlay is known for its weaving and stacking, and often uses the kingfisher feather technique, that is, the blue-green feathers of the kingfisher are attached to gold and silver products to enhance the artistic effect. Most of the filigree inlay craftsmen in old Beijing live in Tongzhou. The Beijing Filigree Inlay Factory, established in 1958, is the main manufacturer of Beijing filigree inlay handicrafts, and its products are mostly exported. In the late 1980s, the factory's export volume dropped sharply and it showed a decline. In 2002, the Beijing Filigree Inlay Factory declared bankruptcy. Now, Beijing filigree inlay skills have no successors, and many unique skills have been lost and urgently need to be rescued. The filigree inlay production skills of Dachang Hui Autonomous County, Hebei Province, have already begun to show signs in the Han Dynasty. During the Yongle period of the Ming Dynasty, Emperor Chengzu of the Ming Dynasty moved the capital to Beijing, and the gold and silver craftsmen from the Western Regions moved north with him and settled in the Hui-populated areas of Dachang. They brought traditional Persian patterns and handicrafts, raising the filigree inlay skills to a new level. In the Ming and Qing Dynasties, Dachang filigree inlay developed rapidly, and its products were designated as tribute by the court. The filigree inlay craftsmanship in Dachang is complex. The entire production process includes design, cutting, making tires, tracing, marking, making wires, gluing wires, welding wires, acid (strong acid) work, washing work, stone selection, gluing, combination, gold plating, silver plating and other processes. The products have diverse shapes, rich patterns, and are well-made, with high artistic value. In the past, the filigree inlay production skills in Dachang were mostly taught by fathers and sons, and later the master-apprentice inheritance method appeared. The late Mongolian stone inlay master Ma Zuowen once brought his disciples to produce filigree inlay crafts such as "Potala Palace" and "Golden Seal of the 12th Panchen Lama", which became famous for a while. In recent years, affected by the impact of the market economy, many filigree craft factories have closed down, causing craftsmen to lose confidence and enthusiasm for traditional crafts. The filigree inlay production skills are in danger of being lost, and it has become an urgent task to discover, rescue and protect this precious traditional handicraft.
Yidege ink making technique
Beijing Yidege ink has a production history of more than 100 years. During the Tongzhi period of the Qing Dynasty, a scholar named Xie Songdai from Anhui went to Beijing to take the imperial examination, but failed. He felt that it took too much time to grind ink and delayed his exams. He thought at the time that if he could make an ink that could be used directly for writing, it would save time and effort. Wouldn't it be possible to "use one skill to serve the world"? So after many experiments, he finally used lampblack and other auxiliary materials to make ink with the same effect as the ink block. Once it was launched on the market, it was welcomed by literati and poets. In the fourth year of Tongzhi, Xie Songdai opened the first shop for the production and sale of ink at No. 44, Liulichang, Beijing. The name of the shop was "Yidege", and he wrote a plaque by hand and hung it in front of the door. This is the origin of "Yidege" ink. Xie had no children. After his death, the shop was passed on to apprentices. Later, the reputation of "Yidege" grew day by day, and the scale of production and operation continued to expand. Branches were opened in major cities such as Tianjin, Shanghai, Xi'an, and Zhengzhou, and the business became more prosperous. Features: It has the characteristics of high concentration, deep color, bright ink, easy to dry after writing, and suitable for rubbing. It has been tested by famous painters and calligraphers and the effect is very good. Technology: "Yidege" ink is made of Sichuan high-pigment carbon black, bone glue, borneol, musk, and phenol as raw materials, and is finely processed using traditional technology. Sichuan high-pigment carbon black is deep and bright; bone glue has buoyancy, so that the ink is attached to the paper without being buried; borneol and musk are both spices, with a refreshing fragrance; phenol is a preservative, which makes the ink not rotten or smelly during long-term storage and can be used all year round.
Preserved fruit making techniques (Beijing traditional preserved fruit making techniques)
The art of making preserved fruits in Beijing originated from the imperial kitchen. During the Ming and Qing dynasties, in order to ensure that the emperor could eat fresh fruits all year round, the chefs in the imperial kitchen classified the fruits produced in each season and soaked them in honey, and gradually added cooking and other production processes. After improvement and upgrading, the production techniques were gradually fixed and passed down. During the Qing Dynasty, the art of making preserved fruits in Beijing was introduced from the palace to the people. The people used peaches, pears, apricots, and dates that are unique to the north as the main ingredients to make preserved fruits, including peach preserves, apricot preserves, pear preserves, apple preserves, and golden candied dates. After removing the pits, pine nuts and walnuts were added. At this time, the production of preserved fruits in Beijing reached its peak.
Traditional Chinese Medicine Culture (Heniantang Chinese Medicine Health Culture)
Traditional Chinese medicine is the study of human life and human health formed in ancient Chinese society. It is not just a simple accumulation of prescriptions, medicines, skills and tricks, but a knowledge system related to human life and health. This knowledge system has a profound traditional cultural background. It stands tall in the world of medicine with its unique philosophical thinking, systematic basic theory, rich scientific connotations and distinctive humanistic colors. It is both one of the activated forms of traditional Chinese culture and a huge development space for traditional culture. For example, the way of keeping in good health, the treatment principle of harmony and moderation, the concept of life and death of pure heart, the medical principle of people-oriented, and the industry norms of honesty and integrity are always implemented in all aspects of traditional Chinese medicine theory and practice, becoming the soul of all traditional Chinese medicine figures, works, cultural relics and careers, and also becoming the fine tradition and professionalism that today's traditional Chinese medicine enterprises and institutions are proud of. Heniantang was founded during the Jiajing period of the Ming Dynasty. It was successively inherited by the world-renowned medical families such as Cao Sasa, Wang Shengyi and Liu Yifeng. It is the oldest existing time-honored brand in the Beijing pharmaceutical industry. Heniantang is the inheritor and promoter of traditional Chinese medicine. For hundreds of years, it has adhered to the concept of "longevity comes first, and curing diseases is the most urgent for health care", and formed the Heniantang Chinese medicine health culture with the cultural connotation of "regulating vital energy and nourishing harmony". It includes the natural longevity concept of "harmony leads to longevity", the cognitive concept of "the law of yin and yang is the basis of life", the holistic concept of "lifelong health care and overall balance", the "natural longevity concept of "life without nourishment, against the body", the "human longevity concept of "life without regulation, the body will naturally weaken", the "regular regulation before illness, regulation before illness, and medical regulation after illness", the "seeking harmony through regulation" method of "regulating before illness, regulating before illness, and regulating after illness", the "seeking harmony through spirit" method of the four-character formula of "temperance, rhythm, spirit, and harmony", and the body nourishment technique, spirit nourishment technique, medicine protection technique, food nourishment technique, massage technique, etc. The traditional preparation technology of Heniantang's medicinal pieces is well-known in Beijing. The "Western Heniantang Shenrong Laoli Pills, Powders, Pastes and Pills Price List" records 694 kinds of medicines. The unique skills have been passed down to this day and can be called a treasure trove of Chinese medicine and health preservation. Heniantang's Chinese medicine and health preservation culture fully reflects the outstanding creativity and vigorous vitality of the traditional culture of the Chinese nation. It is also a historical epitome of the tortuous development of Chinese medicine in the motherland for hundreds of years. Heniantang's Chinese medicine and health preservation culture has a practical foundation of hundreds of years. It is an effective means for people to achieve health and longevity in modern lifestyles. It has important practical significance for improving the health level of the whole people and building a harmonious society. In recent years, the development of Chinese medicine has been impacted by Western medicine and Western medicine. Protecting and developing Heniantang's traditional Chinese medicine and health preservation culture is an urgent task for promoting Chinese medicine culture.
Traditional construction techniques of Chinese wooden arch bridges
The Chinese craft of building wooden arch bridges with braided beams uses logs, traditional wood construction tools and manual techniques, and core technologies such as "braided beams" to connect and build extremely stable arch bridges with mortise and tenon joints. The construction of wooden arch bridges is directed by a master carpenter and completed by other carpenters. The construction process of carpenters follows strict procedures and is passed down from generation to generation through oral instruction from the master to the apprentice or as a family craft. These families play an irreplaceable role in the construction, maintenance and protection of wooden arch bridges. As a carrier of traditional crafts, wooden arch bridges are both a communication tool and a communication venue. They are important gathering places for local residents. People exchange information, carry out entertainment activities, and hold worship ceremonies on wooden arch bridges, which deepens their feelings and highlights cultural characteristics. In recent years, factors such as accelerated urbanization, scarcity of wood, and insufficient available building space have threatened the inheritance and survival of wooden arch bridge craftsmanship, causing the loss of this traditional craft.
Traditional Firing Techniques of Longquan Celadon
The traditional firing technique of Longquan celadon is a traditional handicraft with production, skills and artistry. It has a history of more than 1,700 years. The traditional firing technique of Longquan celadon includes the crushing, washing, aging and mud training of raw materials; the molding, drying, blank repairing, decoration, bisque firing, glazing, box loading and kiln loading of objects; and finally firing with firewood in the dragon kiln. In terms of raw material selection, glaze preparation, modeling and kiln temperature control, Longquan celadon has unique skills. The firing technique of Longquan celadon serves human life, and its finished products have unique aesthetic value. Furnishing porcelain, decorative porcelain, tea sets, tableware, etc. are the perfect combination of firing technology and artistic expression. The "powder green" and "plum green" thick glaze porcelain fired in Longquan kiln are elegant, implicit, honest and quiet, which is the expression of Chinese classical aesthetic taste.
Traditional Xuan paper making techniques
Papermaking is one of the four great inventions of ancient China. Xuan paper is an outstanding representative of traditional handmade paper, with the characteristics of being tough and resistant to moths and rots. Since the Tang Dynasty (early 8th century AD), it has been the best carrier for calligraphy, painting and classic printing, and it has not been replaced by machine-made paper to this day. The traditional Xuan paper making technique has 108 steps, with strict requirements on water quality, raw material preparation, utensil making, and process control. This technique has been passed down from generation to generation through oral transmission and continuous improvement, combined with a variety of cultural elements, which has had a profound impact on the inheritance of Chinese national culture and played an important role in promoting national identity and maintaining cultural diversity.
Heritage with Related Tags
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.
Zhoujiazhuang Township Sightseeing Picking Garden
The sightseeing picking garden in Zhoujiazhuang Township is located in the ninth team of Zhoujiazhuang Township, Jinzhou City. The sightseeing picking garden is adjacent to National Highway 307, 3 kilometers from the Jinzhou exit of Shihuang Expressway, 5 kilometers from Jinzhou Railway Station, and 60 kilometers from Shijiazhuang Airport. The sightseeing picking garden covers an area of more than 8,300 acres. It is both a picking base and a colorful botanical garden. There are pear trees, grapes, peach trees, cherries, etc., which mature from mid-May to early October, and strawberries mature from early January to the end of May. The colorful botanical garden has more than 80 species such as magnolia, cherry blossoms, and five-seven fragrant flowers. The main focus is on flower and leaf viewing. The flowering period is from late March to mid-July. Small exhibition halls have been set up along the walking path of the picking garden to display traditional labor tools; there is a wired broadcasting system in the picking garden to play traditional revolutionary songs such as "The East is Red"; a display window is set up to paste propaganda posters reflecting Mao Zedong Thought; and activities such as renting fruit trees and renting land are carried out.