Date: 2001
Kunqu is one of the oldest extant Chinese theater genres, originating in the Ming Dynasty (14th-17th centuries AD). The singing of Kunqu is highly artistic and has had a great influence on all modern Chinese theater genres, such as Sichuan Opera and Peking Opera. Kunqu performances include singing, reciting, acting, playing and dancing, which are also the basic subjects for training Peking Opera actors. The kunqu style and its dramatic structure (the roles of Dan, Chou, and Sheng) have also been borrowed by other styles of opera. The Peony Pavilion and The Palace of Eternal Youth have become traditional repertoire. Kunqu performances are accompanied by gongs and drums, strings and strings, and orchestral and percussion instruments such as flutes, xiao, sheng and pipa. The dance movements of kunqu are mainly divided into two categories with rich expressive power.
Guqin
Time: 2003
The guqin has always occupied an important position in the development of Chinese history, and has been the bearer of traditional Chinese culture along with Chinese painting, calligraphy, poetry and literature. The guqin is one of the most representative of Chinese solo instruments. People often play the guqin not only for the purpose of playing music, but also for self-indulgence, meditation, personal cultivation, and emotional exchanges between close friends.
From early literature and archaeological discoveries, it is known that the guqin has a history of more than 3,000 years in China. Its performance was a symbol of elegance and status, making it an elite art for the nobility and literati, rather than a performing art for the general public. In fact, the guqin has an inseparable connection with the history of the Chinese literati, as it is one of the qualities necessary for the cultivation of the Chinese literati, namely, the qin, chess, calligraphy, and painting, and it is at the top of the list. The art of the guqin has absorbed a large number of elegant and melodious tunes, and its playing techniques are complex and subtle, and it has a unique notation method, with a large number of music scores passed down orally by the people.
The guqin has seven strings and thirteen emblems, and through ten different ways of plucking the strings, the player can play four octaves. There are three basic techniques for playing the guqin: scattering, pressing, and panning. Scattering" is to pronounce the empty strings, the sound is strong and thick, and is often used as the backbone of a tune; "Pan" is to lightly touch the emblem with the left hand to emit a light and airy sound (overtone), and is often used to play colorful tunes; "Pressing" is to press the strings with the left hand to produce a light and airy sound; "Pressing" is to press the strings with the left hand to produce a light and airy sound. The "press" is to press the strings with the left hand to pronounce the sound. Moving the press finger can change the effective string length to change the pitch. The same pitch can be played in different strings, different emblems with different methods such as scattered, press, pan, etc., the tone is rich in change.
Muqam Art of Uyghur in Xinjiang, China
Time: 2005
On November 25, 2005, in the third batch of "Masterpieces of the Oral and Intangible Cultural Heritage of Humanity" announced by the UNESCO, the government of China declared the following "The Xinjiang Uyghur Mukam Art of China was unanimously approved as a "Masterpiece of the Oral and Intangible Cultural Heritage of Humanity".
"Mukam" is an Arabic word meaning "norm" and "gathering", which is also translated as "big song", and is a form of music for Muslims, integrating song, dance and music. "China Xinjiang Uyghur Mukam Art" is the general name of all kinds of Mukams circulating in Xinjiang Uyghur areas, represented by "Twelve Mukams", which are twelve sets of big tunes, which are: Lak, and Biyat, Muxiagolek, Chal, The twelve mukhams are: Lak, and Biyat, Mu Xia Gulaik, Chal Ga, Panj Ga, Utsikhaal, Ai and, Ushak, Bayati, Nawa, Si Ga, Yilak and other mukhams.
Mongolian Long-Tone Folk Songs
Mongolian Long-Tone Folk Songs existed as early as the formative years of the Mongols, and are closely related to the steppe and nomadic lifestyle, and are an iconic demonstration of the productive life and spiritual character of the Mongols. China's Inner Mongolia Autonomous Region and Mongolia are the most important cultural distribution areas of Mongolian long-tone folk songs.
At the fourth meeting of the UNESCO Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, held from September 28 to October 2, 2009, China declared the Dragon Boat Festival, Chinese Calligraphy, Chinese Seal Engraving, Chinese Paper Cutting, Chinese Engraving and Printing Technique, Chinese Traditional Wooden Structure Building Technique, Chinese Traditional Mulberry Silk Weaving Technique, Longquan Celadon Traditional Firing Technique, and the Faithfulness of A-Ma, Nanyin, Nanjing brocade weaving techniques, Xuan paper traditional production techniques, Dong opera, Cantonese opera, Gesar, Rhegong art, Tibetan opera, Manas, flower children, Xi'an drum music, China's Korean Nongle Dance, hu mai and other 22 items on the Representative List of the Intangible Cultural Heritage of Humanity, Qiang Nian, the traditional spinning, dyeing, weaving and embroidery techniques of the Li ethnic group, The Qiang Nian, the traditional spinning, dyeing, weaving and embroidery techniques of the Li people, and the traditional construction techniques of Chinese wooden arch bridges were selected as three items on the "List of Intangible Cultural Heritage in Need of Urgent Safeguarding".
Chinese Seal Engraving
Chinese Seal Engraving is a unique engraving art developed from the ancient Chinese seal making technique using stone as the main material, the carving knife as the tool, and Chinese characters as the representations, with a history of more than 3,000 years. It emphasizes not only the brushwork and structure of Chinese calligraphy, but also the free and unrestrained artistic expression of engraving, which is very popular among Chinese literati and the general public, as it allows them to display their skills and express their emotions in a square space. Seal engraving works of art can be appreciated independently, but also widely used in calligraphy and painting and other fields.
Chinese Engraving and Printing Technique
Engraving and printing technique is a special technique of using knives to engrave words or patterns on wooden boards, and then using ink, paper, silk and other materials to brush, print and bind books. It has a history of more than 1,300 years, more than 400 years earlier than movable type printing technology. It pioneered the human photocopying technology, carries immeasurable historical and cultural information, and plays an unparalleled important role in the history of cultural dissemination in the world.
Chinese Calligraphy
Chinese Calligraphy is a kind of art practice that uses pen, ink and paper as the main tools and materials, and through the writing of Chinese characters, it accomplishes the practical function of information exchange, and at the same time, it integrates people's thoughts on nature, society and life with its unique stylized symbols and ink and brush rhythms, so as to express the unique way of thinking, personality, spirit and temperament of the Chinese people. Chinese calligraphy has developed along with the creation and evolution of Chinese characters, and has become a representative symbol of Chinese culture after more than 3,000 years of development.
Chinese Paper Cutting
Chinese Paper Cutting is a folk art of using scissors or carving knives to cut out patterns on paper, which are used for decorating life or cooperating with other folk activities. In China, paper-cutting has the broadest mass base, it is intertwined in the social life of the people of all ethnic groups, is an important part of various folk activities, and its inherited visual image and modeling format, contains a wealth of cultural and historical information, expresses the general public's social awareness, moral concepts, practical experience, ideals of life, and aesthetic interests, with cognitive, edification, ideological, expressive, recreational, social value. It has multiple social values such as cognition, edification, expression, lyricism, entertainment and communication. Today, paper-cutting is still a way or form used by the Chinese people to express their will, thoughts and feelings, and it intervenes in contemporary folklore activities, showing interactive vitality and re-creation.
Traditional Chinese Wooden Structure Construction Technique
Traditional Chinese wooden structure construction technique is a technical system of building construction that uses wood as the main building material, mortise and tenon as the main method of combining wooden parts, and the modular system as the means of scale design and processing production. The building technique is passed down from generation to generation by "teaching by word and example" between masters and disciples. The buildings and spaces constructed by this technique embody the Chinese people's understanding of nature and the universe, reflect the traditional Chinese social hierarchy and interpersonal relationships, influence the Chinese people's behavioral norms and aesthetic intentions, condense ancient scientific and technological wisdom, and demonstrate the exquisite skills of Chinese craftsmen. This system of construction techniques has been carried on for seven thousand years, spreading throughout China and to Japan, Korea and other East Asian countries, and is a representative of the ancient construction techniques of the Orient.
Nanjing Yunjin Weaving Technique
Nanjing Yunjin Weaving Technique survives the tradition of Chinese royal weaving and represents the highest level of Chinese brocade weaving technique. It adopts the core technology of "through the warp and break the weft" and other complex construction of large looms, operated manually by the upper and lower two people, with silk threads, gold threads and peacock feather threads and other materials to weave luxurious fabrics, such as dragon robes. Nanjing Yunjin weaving techniques have a complete system, is a witness to the extraordinary creativity of mankind. Today, Nanjing Yunjin, named for its brilliant cloud-like haze, remains a classic of traditional Chinese weaving techniques, used in high-end fabrics and loved by the public.
Duanwu Festival
Duanwu Festival is a traditional Chinese festival that falls on the fifth day of the fifth lunar month. It has a history of more than 2,500 years. The festival custom of driving away poison and avoiding evil spirits has given rise to a rich and colorful variety of rituals, amusements, health care and other folk activities in various places, mainly including: worshipping Qu Yuan, commemorating Wu Zixu, inserting moxa, hanging calamus, drinking xionghuang wine, eating rice dumplings, dragon boat races, and getting rid of the five poisons, etc. The various activities vary slightly from place to place. Various activities vary slightly from place to place, "Qu Yuan hometown of Dragon Boat Festival Customs" in Zigui County, Hubei Province, Huangshi City, "Xisai Shenzhou will", Miluo City, Hunan Province, "Miluo River Dragon Boat Festival Customs "The Dragon Boat Festival is a unique festival with a unique flavor, and it is also a unique event in many parts of the country, such as Suzhou City, Jiangsu Province and Zhejiang Province. The Dragon Boat Festival is a traditional festival that contains a unique national spirit and rich cultural connotations, and has a significant impact on Chinese folk life.
China's Korean Nongle Dance
China's Korean Nongle Dance is a folk performing art that combines playing, singing and dancing, reflecting the traditional farming life of rituals and praying for blessings and celebrating the harvest. The dance is characterized by ecology, simplicity, roughness and harmony. Before the dance, the dancers step on the god of the earth to offer sacrifices, which expresses the primitive belief of respecting nature and relying on nature. The dancers sing and dance to the beats of suona, Dongxiao and gongs and drums, expressing their good wishes for good luck and happiness. The scene is enthusiastic and unrestrained, with distinctive ethnic characteristics. The Nongle Dance has been integrated into the bloodline of the Korean people in China and has become an artistic treasure in the social and cultural life.
"Gesar(s)er"
"Gesar(s)er" is a grand narrative about the sacred performance of Gesar, the ancient hero of the Tibetan people. The epic recounts the heroic story of King Gesar who plunged into the lower realm to rescue living beings, led the people of Ling country to subdue demons, suppress the strong and help the weak, resettle the three realms, fulfill his mission on earth, and finally returned to the heavenly realm. With the rap of outstanding artists, the epic has been passed down for thousands of years, mainly in the pastoral areas and rural villages in the highland area of western China. The epics fully reflect the experience and knowledge of the Tibetans and other related ethnic groups about all things natural, and have become a spiritual treasure enjoyed by the ordinary people of Tibetans and other ethnic groups***.
The Dong Da Song
The Dong Da Song is a general term for unaccompanied and uninstructed multi-voice folk songs of the Dong ethnic minority. It includes voice songs, narrative songs, children's songs, stamping songs, and road blocking songs. The traditional principle of combining voices is "all low and one high", beautiful harmony is its distinctive artistic character, and song masters teach songs and song classes sing in a universal way. It carries and transmits vital cultural information about a nation's way of life, social structure, human customs and wisdom.
Fa'er
Fa'er is a folk song that has been passed down among the Han, Hui, Tibetan, Dongxiang, Bao'an, Sala, Tu, Yugu, and Meng ethnic groups in the Gansu, Qinghai, and Ningxia Provinces and Districts of northwestern China***Created***Honored by the Chinese people, it is a folk song in which women are likened to women in the lyrics. It is named because the lyrics compare women to flowers. It is sung in Chinese and musically influenced by the traditional music of Qiang, Tibetan, Han, Tu and Muslim peoples. Flowers arose in the early years of the Ming Dynasty (around 1368 AD). Due to the music characteristics, lyrics and metrical and circulating areas of different, and is divided into "Huangshui Huaer", "Tao Min Huaer" and "Liu Pan Mountain Huaer" three categories. People in addition to the usual field labor, mountain grazing and journey in the improvisation of singing, but also in a specific time and place each year, spontaneously held a large-scale folk song singing activities - "flower will", has a multi-ethnic cultural exchanges and emotional mingling of the special The "Huaer Hui" has a special value of multi-ethnic cultural exchanges and emotional mingling.
Manas
The Kyrgyz epic Manas, which has been sung for thousands of years, is one of the three major epics in China, with a wide variety of different texts and a grand length, the most famous of which is the genealogical legendary narrative of Manas and his descendants***8 generations of heroes, which is as long as 236,000 lines, reflecting the rich traditional life of the Kyrgyz people, and is the outstanding creation of the Kyrgyz people and the "encyclopedia" of the oral tradition. "Encyclopedia". Traditional festivals and folklore activities of related communities are its main cultural space.
Mazu Faith and Customs
Mazu is the most influential god of seafaring protection in China. In 987 A.D., A-Ma Zu of Meizhou Island in Putian City, Fujian Province, sacrificed her life to save a shipwreck and was worshipped by the people of that island in a temple and became the god of the sea. With the development of the maritime industry and the expansion of A-Ma's influence. A-Mazu is a folk culture that centers on worshiping and celebrating A-Mazu's spirit of virtue, goodness, and love, with A-Mazu temples as the main activity sites and customs and temple fairs as the forms of expression. This belief has spread to more than 20 countries and regions around the world, and is worshipped by more than 200 million people and passed down to this day. Meizhou Island is the site of the ancestral temple of A-Ma.
Humai
Humai is a magical art of singing created by the Mongolian people: a singer sings two parts of a song at the same time purely using his or her own vocal organs. It is unique among the folk songs of all ethnic groups in China. The huomei is mainly found in the Mongolian settlements around Xilingol, Hulunbeier, Hohhot in the Inner Mongolia Autonomous Region and Altay Mountains in the Xinjiang Autonomous Region. This way of singing can also be heard in regions and countries such as Mongolia, Russia's Tuva*** and the State. As a special form of folk singing, the huomai is an outstanding creation of the Mongolian people. It conveys the Mongolian people's deep philosophical thinking and realization of the natural universe and all things in the world, and expresses the Mongolian people's concept of pursuing harmonious survival and development and their healthy aesthetic interests.
1Nanyin
Nanyin is a performing art that integrates singing and playing, and it is one of the oldest existing musical genres in China. It is sung in the Quanzhou dialect and played mainly on instruments such as the pipa, the dongxiao, the two-stringed instrument, the three-stringed instrument, and the clapperboard, and the music is written in the five Chinese character notation "乂工六思一" (mow, work, six, think, one). There are more than 3,000 ancient music scores in existence, preserving the repertoire of different types of music from the Jin Dynasty (265-420 A.D.) to the Qing Dynasty (1644-1911 A.D.). The music style is elegant and delicate, and its singing form, instrumental form, gong melody, repertoire and notation are unique, providing a wealth of historical information for the study of ancient Chinese music. Nanyin is a cultural heritage cherished by the general public in the communities concerned.
Regon Art
Regon art mainly refers to Buddhist plastic arts such as thangka, mural painting, pile embroidery, sculpture and so on, and is an important art school of Tibetan Buddhism. Beginning in the 13th century, Rhegong art is mainly distributed in the Huangnan Tibetan Autonomous Prefecture, Qinghai Province, Tongren County, Longwu River Valley, Wu Tun, Nianduhu, GuoMaRi, GaShaRi and other villages, the content of the Buddhist story of this life, historical figures and myths and legends and other main. With its distinctive regional characteristics, Ragong art is loved by monks and lay people of all ethnic groups who believe in Tibetan Buddhism. It carries the historical development lineage of Rhegong culture and is an important part of the production life of the general public in the relevant communities.
Traditional Chinese Sericulture and Silk Weaving
Sericulture and silk weaving is a great invention of China, and a cultural identity of the Chinese nation. This heritage includes the production techniques of mulberry planting, sericulture, reeling, dyeing and weaving, the ingenious and sophisticated tools and looms used in the process, as well as the colorful silk products such as damask, gauze, brocade and woof, etc., and the related folklore activities derived from this process. Over the past 5,000 years, it has made a significant contribution to the history of China and had a profound impact on human civilization through the Silk Road. This traditional production craftsmanship and folklore is still preserved in the Taihu Lake basin in northern Zhejiang and southern Jiangsu provinces (including the cities of Hangzhou, Jiaxing, Huzhou, and Suzhou), as well as in Chengdu in Sichuan province, and is an integral part of China's cultural heritage.
Tibetan Opera
Tibetan Opera is a Tibetan drama with masks and storytelling through songs and dances, which was formed in the 14th century and spread on the Tibetan Plateau. The eight traditional Tibetan operas are often performed, and their contents are mostly myths and legends in the Buddhist scriptures that advise good and punish evil. Tibetan opera was originally handed down in folklore, taught orally by artists, and performed in squares or monasteries. Later, professional troupes were established, and stage performances appeared, and both styles of performances were recognized and loved by the Tibetan masses. Tibetan opera carries the bloodline of Tibetan culture, reflects the life and thoughts and feelings of the Tibetan people, and is an important part of their cultural life.
Longquan Celadon Traditional Firing Technique
Longquan Celadon Traditional Firing Technique is a kind of traditional handicraft with production, skill and art, which has a history of more than 1,700 years. Longquan celadon traditional firing technology includes crushing, washing, aging and practicing clay of raw materials; molding, drying, billeting, decorating, plain firing, glazing, casing, and loading the kiln of wares; and finally firing with firewood in the dragon kiln. Longquan celadon has unique techniques in the selection of raw materials, glaze preparation, modeling production, and kiln temperature control. Longquan celadon firing technology serves human life, and its finished products have unique aesthetic value. Display porcelain, decorative porcelain, tea sets, tableware, etc., is the perfect combination of firing technology and artistic expression. Longquan kiln fired "powder green", "plum green" thick glaze porcelain, elegant, subtle, thick, serene, is the expression of the classical Chinese aesthetic taste.
The Traditional Production Technique of Xuanpaper
Papermaking is one of the four great inventions of ancient China. Xuan paper is an outstanding representative of traditional handmade paper, which is characterized by its tough texture, non-moth-eaten and non-corrosive. Since the Tang Dynasty (early 8th century A.D.), it has been the best carrier for calligraphy, painting and canonical printing, and still cannot be replaced by machine-made paper. The traditional production technique of Xuan paper has 108 procedures, with strict requirements for water quality, preparation of raw materials, production of utensils, and grasp of the process. This technique has been passed down from generation to generation through oral and mental teaching, and has been continuously improved and combined with various cultural elements, which has had a profound impact on the inheritance of Chinese national culture and has played an important role in promoting national identity and maintaining cultural diversity.
Xi'an Drum Music
Xi'an Drum Music is a kind of drumming and blowing music that has been passed down in Xi'an and its neighboring areas. The orchestra is divided into two categories: percussion instruments and melodic instruments, and the form of performance is divided into sitting music and traveling music. The music is still written in the common character notation of the Tang (618-907 A.D.) and Song (960-1279 A.D.) periods. With its large structure and elegant style, the music is a typical representative of traditional Chinese instrumental music culture, and has great academic value for the study of ancient Chinese music.
Cantonese Opera
Cantonese Opera is a style of theater sung in Cantonese with a history of more than 300 years. Cantonese opera has absorbed diverse musical and dramatic elements, combining the sound of clappers and erhu with the rhythms of the Cantonese dialect, creatively expanding the artistic expression of Chinese opera, and becoming a masterpiece of the art of northern and southern Chinese opera, which is very different from other Chinese opera genres. As the most influential Chinese opera genre in the Cantonese-speaking region and the most representative of overseas Chinese opera, Cantonese opera has penetrated into the traditional and modern life of Lingnan with various and unique forms of performance, and has become an important medium of ethnic identity and cultural exchange.
3 Items on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding
The Year of the Qiang
The Year of the Qiang is a traditional festival of the Qiang ethnic group in China's Sichuan Province, celebrated on the first day of the tenth month of the lunar calendar every year. During the festival, the Qiang people worship the gods of heaven, pray for prosperity, demonstrate harmony with and respect for nature, and promote social harmony and family concord. Under the careful guidance of the Shibi (priest), the villagers, dressed in their festive attire, hold a solemn ceremony of sacrificing the mountain and killing sheep for the gods. Then the villagers will dance the skin drum and Sarang dance under the guidance of the Shibi. During the event, Shibi chants traditional Qiang epics while people sing, drink and have fun. On New Year's night, the head of the family in each household will lead a worship ceremony, offering sacrifices and offerings. Through the celebration of the New Year, the traditions, historical deposits and cultural information of the Qiang people are inherited and spread, the social habits of the people are consolidated, and the Qiang people express their respect and worship for all living beings, the motherland and the ancestors. However, in recent years, fewer and fewer people have celebrated the Qiang New Year due to the increasing frequency of migration, the waning interest of young people in traditional Qiang culture, and the impact of foreign cultures; the Wenchuan earthquake of 2008 destroyed many Qiang villages, and the gathering areas of the Qiang people were seriously damaged, so the Qiang New Year is in a precarious state.
The traditional building technique of Chinese wooden arch bridges
The traditional building technique of Chinese wooden arch bridges is based on the inheritor's knowledge of the environment and structural mechanics, the use of logs, the use of traditional wood construction tools and manual techniques, the use of "weaving beams" and other core technologies, mortise and tenon joints and constructed into an extremely stable arch bridge technology system. The wooden arch bridge is constructed by a single person. The construction of a wooden arch bridge is directed by a master carpenter and operated by other carpenters. Carpentry skills are passed down through oral instruction and personal demonstration according to strict procedures, either through the master's teaching of apprentices or as a family craft, from one generation to the next. As carriers of traditional craftsmanship, wooden arch bridges are both tools and places of transmission. They are important gathering places for local residents, where people exchange information, carry out recreational activities and hold worship ceremonies, thus deepening their feelings and highlighting their cultural identity. The cultural space created by traditional Chinese wooden arch bridges provides an environment that promotes communication, understanding and mutual respect between people. However, in recent years, factors such as accelerated urbanization, scarcity of timber and lack of available building space have threatened the heritage and survival of the wooden arch bridge craft, and the tradition has passed away.
Li Traditional Spinning, Dyeing, Weaving and Embroidery Technique
Li Traditional Spinning, Dyeing, Weaving and Embroidery Technique is a kind of textile technique created by Li women in China's Hainan Province, combining spinning, dyeing, weaving and embroidery to make clothes and other daily necessities out of materials such as cotton threads, linen threads and other fibers. From an early age, Li women learn from their mothers textile techniques such as tie-dyeing warp cloth, double-sided embroidery, and one-sided jacquard weaving. Mothers pass on their skills by word and example. Li women design their textile patterns solely on the basis of their own fertile imagination and knowledge of traditional styles. In the absence of a written language, these patterns then become recorders of Li history, cultural legends, religious ceremonies, taboos, beliefs, traditions and folklore. Li brocade is an integral part of important social and cultural occasions for the Li, such as some religious ceremonies and various festivals, especially wedding occasions. On these important occasions, Li women design costumes for themselves. As a carrier of Li culture, the traditional weaving technique of Li brocade is an essential part of the Li cultural heritage. However, in recent decades, the number of women mastering the skills of weaving and embroidery has drastically decreased, and the traditional textile skills of Li brocade are on the verge of extinction and urgently need to be protected.