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<p>Li Ting2: </p> <hr /> <div>==湘西赶尸==<br /> <br /> 李婷 202470081608<br /> <br /> ==摘要：==<br /> 本文主要介绍了湘西赶尸的起源与历史、“赶尸”原理揭秘、文化内涵、跨文化比较等方面，分析赶尸仪式中借助符咒、竹竿等工具实现尸体运送的民间智慧，探讨其背后反映的生死观、家族观念等文化意义，作者希望以此来提高大家对于湘西赶尸的了解，深刻体会其中的独特的文化内涵与价值。<br /> <br /> ==起源与历史==<br /> 湘西赶尸作为中国湘西地区独特的文化现象，反映了古代湘西人民对生死、乡土观念的深刻理解。事实上这一项历久以来备受外人关注的文化现象也一直引人想象，关于其起源，这里有以下三种说法可供参考： <br /> <br /> '''首先，神话传说'''。苗族传说赶尸最早可追溯到蚩尤时代，蚩尤大军在黄河边作战后，死伤无数，蚩尤命军师施巫术让战死士兵能够返回故乡，这一传说也被湘西苗族人代代口口相传，这是赶尸的神话起源。<br /> <br /> '''第二，地理环境限制'''。湘西地形险峻复杂，陆路交通极为不便，水路便利，中国自古有“落叶归根”的观念，即使客死他乡也想回归故里安葬，但是行至三峡水势极为汹涌危险，容易沉船，古人迷信，认为搭载尸体极为不吉利，不会轻易尝试。因而，为了让这些客死他乡的尸体能够返回故乡这就催生了“赶尸”这一特殊行业。<br /> <br /> '''第三，清朝“秋决”处罚'''，清朝时一些死囚被处决后，应死囚家人希望，可以让四人抬棺归故里，但是这一方法极为耗钱，并且尸体容易腐烂发臭，但请专门赶尸人将尸体处理后并带回既能避免尸体发臭腐烂又能省钱。<br /> <br /> ==湘西赶尸原理揭秘：技术与仪式的交融==<br /> <br /> 长久以来人们都很难理解湘西赶尸的奥秘，有些甚至会谈之色变，实际上赶尸的原理并不是超神话的，更多的是一项技术与仪式感的交融，营造了一种神秘感与心理威慑，是古代人民智慧的象征。以下从赶尸技术操作、仪式流程两个维度揭秘其核心逻辑。<br /> <br /> '''第一，赶尸技术操作上'''：'''1）''' 因为赶尸中的尸体是不能腐烂的，但是自然条件下尸体是会发烂发臭的，特别是夏季，这就要求赶尸人在赶尸之前就要对尸体进行防腐处理，学者认为湘西地区生长着一些特殊的草药（如朱砂），将尸体脱水后再进行草药的熏蒸就可以保障尸体长时间不腐，同时脱水后的尸体重量也减轻了，减少了赶尸难度。'''2）'''关于尸体搬运有两种说法，一种是在赶尸过程用到了竹竿，赶尸匠将尸体的双臂固定在竹竿，前后有两个人将竹竿抬起，由于竹竿的弹性，在移动过程中这就会产生尸体在“跳跃”的视觉假象，并且赶尸匠会对尸体做一些伪装如戴宽大的斗笠，穿宽大黑袍，贴黄符等；一种是一名赶尸匠背负肢解后藏于宽大黑袍的尸体，并由一名赶尸匠在前引路，撒纸钱，摇路铃等； '''3）'''赶尸技术是一项团队工作，赶尸匠面对遥远路途会进行分工合作，为了避免生人靠近及保密，大多是在晚上进行，一些长途赶尸会进行分段接力，在这过程中如遇天气恶劣，体力不济等赶尸匠会暂时停留在“死尸客店”。正因为这一系列的技艺实施，给湘西赶尸蒙上了神秘惊悚的面纱。<br /> <br /> '''第二，仪式揭秘'''。这里将从仪器工具、禁忌规则、技艺传承条件三方面阐述。'''1）'''除了前文提到的竹竿、黑袍以及防腐材料等，一些比较重要的工具还有摄魂铃（有“指引亡魂”的意义，并提示夜行人远离等）、辰州符（这种特制的符咒会被贴到尸体的一些关键部位起着“定魂安魄”的作用）、引魂锣（跟摄魂铃的作用很类似，也有指引亡灵的作用，路过村民听到该声音会把狗关起来，以免狗咬尸体）等；'''2）'''有关湘西赶尸的一些禁忌规则，查资料发现有：“三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感；'''3）'''赶尸行业在当时也是有一定门槛的，首要的一个就是胆子要大，命格要硬，身体素质好，赶尸匠不乱收徒，首先学徒父母得立字据同意加入赶尸行业，接着进行培训考核再进行技艺传承，一般来讲学徒得满 17 岁，身高一米七以上，相貌丑陋男性（不收女性，因为认为女性阴气重易招引邪物），并且从业者终身忌婚育避免“阴气染嗣”，也因为这些禁忌等，使得外人会对这个行业“妖魔化”、“神秘化”，认为赶尸匠“法力无边”。<br /> <br /> ==文化内涵==<br /> <br /> 湘西赶尸作为一种特殊的民俗丧葬文化现象，其文化内涵远超简单的“尸体搬运”技术，这是由湘西特殊的地理地质条件、历史文化背景以及“落叶归根”家庭观念等条件催生的，总的来说，从湘西赶尸这一文化现象我们可以从中解读出以下的文化内涵：<br /> <br /> '''第一，对“落叶归根”的终极信仰'''。湘西人认为死后只有回归故土安葬才能使得魂魄得以安定，否则会变成孤魂野鬼，这也与中国儒家“入土为安”的理念相契合，赶尸行业只是契合人们“落叶归根”的传统观念，并将其转化为赶尸匠的谋生手段。<br /> <br /> '''第二，生死界限模糊处理'''。将尸体进行防腐处理并利用各种工具招引引领亡魂归乡，安魂定魄，这些都反映了赶尸行业将生死界限模糊化，赶尸匠作为人与鬼交流的“信使”，超越“人鬼殊途”界限，即使死者生前客死他乡，但是通过赶尸，亡灵得以回归故里，避免死后成为“孤魂野鬼”。<br /> <br /> '''第三，山地文化生活困境应对'''。赶尸行业利用一系列的行业规则禁忌以及行业秘密等为赶尸行业蒙上了神秘的面纱，实际上不仅是提高了行业门槛，塑造了赶尸匠“法力无边”的形象，还保障了赶尸匠这类边缘群体的生活。不仅如此，赶尸行业的出现对于死者以及死者家属来说也是巨大的心理慰藉，因为湘西当地地形原因，地势崎岖，死者很难通过抬棺等手段回归，而赶尸行业经济花费不大，死者家属也能承受，在一定程度上缓解客死他乡死者以及其家人焦虑，带来精神抚慰，即使身死他乡，死后还可回归故土，可以说赶尸行业的产生不仅是人们对于回归故里的追求也是当地因地制宜的生存智慧。它如同一面棱镜，折射出中国传统社会在应对死亡、自然与伦理时的复杂心态，也提醒现代人重新审视边缘文化中蕴含的人文智慧。<br /> <br /> '''第四，现代转型的文化遗产。'''湘西赶尸作为一种特殊的中国文化现象，由此演绎了相关的影视、现代流行文学、流行符号等，这些都是湘西赶尸这一文化现象在现代重新焕发生机的表现。'''1）''' 在影视方面，林正英一系列僵尸电影如《僵尸先生》、《新僵尸先生》等，这些电影将湘西赶尸文化与茅山道士法术结合起来，这些电影中的僵尸形象也成为了标志性形象（穿着清朝官服，长獠牙，面部青白等），一些驱魔场景也特别经典，林正英的僵尸电影的情节不单单只是恐怖元素，一些喜剧效果也拉满，给影迷留下深刻印象；'''2）''' 在流行文学上，一些悬疑文学的爱好者借助湘西赶尸的历史背景并融入其他文学现象，如《湘西赶尸之落花圣女》、《湘西鬼事：赶尸传奇》等，将湘西的特殊的文化遗产运用到了网络流行文学中，这也显示了湘西赶尸文化在网络流行文学上得到创新与创造；'''3）''' 在流行符号上，譬如“跳跃行进”、“贴符咒”等等与西方丧尸文化形成鲜明对比，一些商业旅游也借用这一文化现象建造了如旅游民宿、赶尸表演等，并开发了一些旅游文创，成为吸引游客的噱头。但是不可否认的是，在对这一文化进行创造性发展的过程也存在着对该文化的误度与曲解，有些文学作品过分渲染其“恐怖邪性”特点，但是忽略了其背后的人文关怀与伦理边界（要尊重逝者对于“落叶归根”的追求）。<br /> <br /> ==跨文化比较==<br /> <br /> 埃及也利用防腐技术对尸体进行处理并结合其复杂的宗教咒语让尸体能够死后“复活”，而湘西赶尸则是为了尸体安息；印度则将尸体进行水葬，将尸体投入恒河，不同的是湘西赶尸强调的是地理归属，而印度则是强调宗教救赎；并且之前僵尸还被误译为&quot;Zombie&quot;，但其实两者本质是不同的，丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> ==结语==<br /> <br /> 湘西赶尸作为一种特殊地区文化现象，仅是单纯考虑其尸体保存或者搬运技巧是比较浅显的，唯有以科学精神解构赶尸的技术原理，以人文情怀体悟&quot;慎终追远&quot;的伦理内核，方能在现代性冲击下实现创造性传承——让“神秘”背后的生存韧性、竹竿间的协作智慧，继续照亮人类对生死尊严的永恒求索。<br /> <br /> ==参考文献==<br /> [1] 赶尸[EB/OL].搜狗. 网址 ：https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [2]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018,(13):212. （https://wap.cnki.net/touch/web/Journal/Article/QCSY201813195.html）<br /> <br /> <br /> [3]王亚男.湘西赶尸文化探秘[J].电脑迷,2018,(02):186.（https://wap.cnki.net/touch/web/Journal/Article/DNMI201802163.html）<br /> <br /> <br /> [4] 湘西赶尸[EB/OL].百度. 网址： https://bkso.baidu.com/item/%E6%B9%98%E8%A5%BF%E8%B5%B6%E5%B0%B8/667752?fromModule=lemma_inlink&amp;app_lang=zh-CN<br /> <br /> <br /> [5]湘西“赶尸” [EB/OL]. 搜狗.网址： https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [6] 葬礼.[EB/OL].百度. 网址 https://baike.baidu.com/item/%E8%91%AC%E7%A4%BC/1735897?app_lang=zh-CN<br /> <br /> <br /> ==术语==<br /> <br /> 湘西赶尸：corpse driving (Gan Shi) in Xiangxi ；The corpse of Xiangxi technique<br /> 落叶归根： fallen leaves returning to roots<br /> 死尸客店：corpse inns<br /> 摄魂铃：Soul-Bell <br /> 辰州符：Chenzhou Talismans <br /> 引魂锣Soul-Guiding Gong <br /> 入土为安：burial brings peace to the deceased<br /> 人鬼殊途：separation between the living and the dead<br /> 孤魂野鬼：wandering ghosts<br /> 法力无边：mystically omnipotent<br /> 贴符咒： affixing talismans<br /> <br /> <br /> ==问题==<br /> <br /> 1. 通过以上阅读，谈谈湘西赶尸行业有哪些行业禁忌与规则？<br /> <br /> 2. 湘西赶尸蕴含了哪些文化内涵？<br /> <br /> 3. 湘西赶尸文化与西方丧尸文化的不同显示了什么？<br /> <br /> <br /> <br /> ==答案==<br /> <br /> 1. “三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感。<br /> <br /> 2. 第一，对“落叶归根”的终极信仰。<br /> 第二，生死界限模糊处理。<br /> 第三，山地文化生活困境应对。<br /> 第四，现代转型的文化遗产。<br /> <br /> 3. 丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> <br /> ==The corpse of Xiangxi technique==<br /> <br /> ==Abstract==<br /> <br /> This paper examines the origins and history of Xiangxi corpse-driving（or The corpse of Xiangxi technique）, reveals the operational principles behind the practice (such as transporting corpses using talismans and bamboo poles), and analyzes its cultural connotations and cross-cultural comparisons. It explores the folk wisdom reflected in the ritual tools and techniques while delving into the underlying cultural values—including concepts of life and death and familial bonds—embedded within this tradition. Through this study, the author aims to enhance public understanding of Xiangxi corpse-driving and foster a deeper appreciation of its unique cultural significance and value.<br /> <br /> ==Origin and History==<br /> <br /> The practice of &quot;corpse driving&quot; (Gan Shi) in Xiangxi (Western Hunan) stands as a unique phenomenon deeply rooted in the region. It reflects the ancient people's profound understanding of life, death, and attachment to their native land. This enigmatic tradition has long captivated outside attention and fueled imaginations. Three theories regarding its origins are referenced below:<br /> <br /> '''First, mythological Legend'''. According to Miao folklore, the practice of corpse driving can trace back to the era of Chiyou. After Chiyou's army fought along the Yellow River, suffering countless casualties, Chiyou commanded his sorcerer to use Miao folk magic, enabling the fallen soldiers to return to their homeland. This legend has been passed down orally through generations among the Miao people in Xiangxi, representing the mythological origin of corpse driving.<br /> <br /> '''Second, geographical constraints'''. With its treacherous and complex terrain, Xiangxi posed extreme challenges for overland transportation, though waterways offered relative convenience. Rooted in the ancient Chinese belief of 'fallen leaves returning to roots' (落叶归根), even those who died far from home wished to be buried in their ancestral lands. However, traversing the Three Gorges involved navigating perilously turbulent rapids where shipwrecks were frequent. Superstitious ancients deemed transporting corpses highly inauspicious and thus avoided it at all costs. Consequently, to repatriate these deceased souls to their hometowns, the unique profession of 'corpse driving' emerged.<br /> <br /> Third, the Qing Dynasty's 'Autumn Executions.' After prisoners were executed, families who wished to repatriate the corpses could hire four bearers to carry the coffins back to their hometowns. However, this method proved extremely costly, and the bodies were prone to rot and emit foul odors. In contrast, engaging specialized corpse drivers to treat and transport the bodies prevented decomposition while saving costs.<br /> <br /> ==Demystifying the Mechanics of Corpse Driving in Xiangxi: The Fusion of Technology and Ritual==<br /> <br /> For centuries, the enigma of corpse driving in Xiangxi has eluded public understanding, with some even reacting in terror at its mention. In truth, its mechanics were never supernatural, but rather a fusion of technical operations and ritualistic elements—crafting an aura of mystique and psychological deterrence that epitomized the ingenuity of ancient laborers. Below, we unveil its core logic through two dimensions: the technical execution and ritual procedures of corpse driving.<br /> <br /> '''First, regarding the technical operations of corpse driving''':<br /> '''1）''' Corpse Preservation: Since corpses in transit must not decompose—yet naturally decay and emit foul odors, especially in summer—corpse handlers must perform preservation treatments beforehand. Scholars note that special herbs (e.g., cinnabar) native to Xiangxi were used. Corpses underwent dehydration followed by herbal fumigation, preventing decay over extended periods while reducing weight for easier transport; '''2)''' Corpse Transportation Methods: one is bamboo pole technique. Corpses’ arms were secured to long bamboo poles, lifted by two handles at each end. The poles’ elasticity created a visual illusion of corpses “hopping” during movement. handlers disguised corpses with broad-brimmed hats, loose black robes, and yellow talismans. One is body-carrying method. One handler carried dismembered corpse parts concealed under robes, while another preceded the group, scattering spirit money and ringing road bells; '''3)''' Corpse driving was a collaborative effort. Drivers divided tasks for long journeys, operating primarily at night to avoid onlookers and maintain secrecy. For multi-stage relays or adverse conditions (e.g., storms, fatigue), they paused at “corpse inns” (死尸客店) . These systematic techniques collectively shrouded Xiangxi corpse driving in an aura of macabre mystery.<br /> <br /> '''Second, Ritual Mechanics'''. This section elaborates on three dimensions: ritual tools, taboos, and apprenticeship conditions：<br /> '''1）'''Tools: Beyond the bamboo poles, black robes, and preservatives mentioned earlier, critical instruments include: Soul-Bell (摄魂铃): Guides spirits and signals night travelers to keep distance. Chenzhou Talismans (辰州符): Affixed to key body parts to ‘anchor the soul and stabilize the spirit’. Soul-Guiding Gong (引魂锣): Functions similarly to the bell; villagers hearing it would restrain dogs to prevent corpse mutilation； '''2）'''Taboos and Rules: Key prohibitions documented include: ‘Three Permitted and Three Forbidden’ (三赶三不赶), &quot;Three Permitted&quot; refers to beheaded (with head reattached), hanged, or war-dead—deemed ‘unresolved grievances requiring homebound rest’ and &quot;Three Forbidden&quot; refers to deaths by illness, suicide, or lightning—believed to have spirits reclaimed by the underworld, beyond control. Some linguistic taboos include replacing ‘赶尸’ (corpse driving) with ‘走脚’ (walking the feet) or ‘迎喜神’ (welcoming the joy-god) . And other avoidances include steering clear of pregnant women and the blind to prevent ‘spiritual clashes’, and operating exclusively at night via secluded paths to preserve secrecy and mystique； '''3）'''Apprenticeship System: Entry barriers were stringent: physical requirements are male apprentices aged ≥17, height ≥1.7m, with ‘unpleasant features’ (women excluded due to ‘excessive yin energy attracting evil’) . selection process is that parents signed contracts consenting to entry; candidates underwent trials (e.g., direction-finding after disorientation) . What's more, practitioners abstained from marriage and reproduction to avoid ‘yin contamination of descendants’ . These practices fueled external perceptions of corpse handlers as ‘demonic’, ‘mystical’, and ‘infinitely powerful’.&quot;<br /> <br /> ==Cultural Significance==<br /> <br /> As a unique folk funerary custom, Xiangxi corpse driving transcends mere 'corpse transportation' techniques. Born from the region’s distinctive geographical constraints, historical context, and the deeply rooted familial ethos of 'returning to one’s roots upon death,' this practice embodies profound cultural layers. In essence, we can decipher the following cultural significances from this phenomenon:<br /> <br /> '''First, the ultimate belief in &quot;fallen leaves returning to roots&quot; (落叶归根)'''. The people of Xiangxi believed that only by returning to their homeland for burial could the deceased's soul find peace; otherwise, they would become wandering spirits or homeless ghosts. This aligns with the Confucian concept that &quot;burial brings peace to the deceased&quot; (入土为安). The corpse-driving industry merely adapted this traditional belief in &quot;fallen leaves returning to roots&quot; into a means of livelihood for the corpse handlers.<br /> <br /> '''Second, the blurring of the boundary between life and death'''. By preserving corpses and using various tools to guide the souls of the deceased back to their homeland, thereby pacifying and settling the souls, the corpse-driving industry reflects a deliberate blurring of the distinction between life and death. The corpse handlers serve as &quot;messengers&quot; facilitating communication between the living and the dead, transcending the inherent &quot;separation between the living and the dead&quot; (人鬼殊途). Even if individuals die far from home during their lifetime, through corpse-driving, their souls can return to their native place, avoiding the fate of becoming &quot;wandering ghosts&quot; (孤魂野鬼) after death.<br /> <br /> '''Third, the response to livelihood challenges in mountainous culture'''. The corpse-driving industry shrouded itself in mystery through a series of industry rules, taboos, and secrets. While this ostensibly elevated professional thresholds and crafted an image of corpse drivers as &quot;mystically omnipotent&quot; (法力无边), it fundamentally secured livelihoods for these marginalized practitioners. Moreover, the emergence of this industry offered profound psychological solace to the deceased and their families. Given the rugged terrain of Western Hunan, conventional methods like coffin carriage were impractical for repatriating the dead. Corpse-driving, however, incurred minimal costs—affordable for bereaved families—thereby alleviating the anxiety of those who died far from home and their kin. Even in death, they could return to their homeland. Thus, the rise of corpse-driving not only fulfilled the pursuit of &quot;returning to one’s roots&quot; (落叶归根) but also embodied locally adapted wisdom of survival. It acts as a prism, refracting traditional Chinese society’s complex attitudes toward death, nature, and ethics, while urging modern society to re-examine the humanistic wisdom embedded in marginalized cultures.<br /> <br /> '''Fourth, the modern transformation of cultural heritage.''' As a unique cultural phenomenon in China, the Xiangxi corpse-driving tradition has inspired adaptations in film and television, modern popular literature, and contemporary symbols—all manifestations of its revitalized cultural relevance in the modern era. '''1）''' In film and television, a series of zombie movies by Lam Ching-ying, such as Mr. Jiangshi (《僵尸先生》) and New Mr. Jiangshi(《新僵尸先生》), integrated the Xiangxi corpse-driving culture with Taoist magic from Mount Mao (茅山法术). The iconic zombie imagery in these films—characterized by Qing Dynasty official robes, elongated fangs, and pallid, bluish faces—became emblematic of the genre. Exorcism scenes were crafted with classic precision, while the films' blend of horror and heightened comedic elements left a lasting impression on fans； '''2）'''In popular literature, suspense fiction enthusiasts leverage the historical backdrop of corpse-driving in Xiangxi and integrate other literary phenomena, such as Corpse-Handlers in Western Hunan: The Fallen Blossom Saint (《湘西赶尸之落花圣女》) and Mysteries of Western Hunan: Legends of Corpse-Driving (《湘西鬼事：赶尸传奇》). This demonstrates how the unique cultural heritage of Xiangxi corpse-driving has been innovatively and creatively reimagined within the realm of online popular literature; '''3)''' In popular symbols, practices such as &quot;hopping movement&quot; (跳跃行进) and &quot;affixing talismans&quot; (贴符咒) form a stark contrast to Western zombie culture. Commercial tourism has leveraged this cultural phenomenon to develop attractions like themed lodges, corpse-driving performances, and tourism-inspired cultural products, using it as a gimmick to attract visitors. However, it is undeniable that during the creative development of this culture, misinterpretations and distortions have emerged. Some literary works excessively exaggerate its &quot;horror and malevolence&quot; while overlooking the humanistic care and ethical boundaries at its core—specifically, the imperative to respect the deceased’s pursuit of &quot;fallen leaves returning to roots&quot; (落叶归根).<br /> <br /> ==Cross-Cultural Comparison==<br /> <br /> Egypt utilized preservation techniques to treat corpses, combined with complex religious incantations to enable posthumous &quot;resurrection.&quot; In contrast, Xiangxi corpse-driving aimed to ensure the deceased rest in peace. India practices water burials by depositing bodies into the Ganges River, emphasizing religious salvation rather than geographical belonging, as seen in Xiangxi corpse-driving. Additionally, the term &quot;zombie&quot; has been a mistranslation for &quot;僵尸&quot; (jiangshi). In essence, zombies (丧尸) are virus-driven &quot;living dead,&quot; reflecting distinct Eastern and Western sociocultural responses to death.<br /> <br /> ==Conclusion==<br /> <br /> As a unique regional cultural phenomenon, reducing Xiangxi corpse-driving merely to its corpse preservation or transportation techniques is superficial. Only by applying scientific spirit to deconstruct its technical principles and embracing humanistic sentiments to comprehend the ethical core of &quot;reverence for the dead and ancestral remembrance&quot; (慎终追远) can its creative inheritance be achieved amid modernity's impact—allowing the resilience behind mystery and the collaborative wisdom embedded in bamboo poles to continue illuminating humanity's eternal quest for dignity in death.<br /> <br /> ==References==<br /> <br /> [1] 赶尸[EB/OL].搜狗. 网址 ：https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [2]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018,(13):212. （https://wap.cnki.net/touch/web/Journal/Article/QCSY201813195.html）<br /> <br /> <br /> [3]王亚男.湘西赶尸文化探秘[J].电脑迷,2018,(02):186.（https://wap.cnki.net/touch/web/Journal/Article/DNMI201802163.html）<br /> <br /> <br /> [4] 湘西赶尸[EB/OL].百度. 网址： https://bkso.baidu.com/item/%E6%B9%98%E8%A5%BF%E8%B5%B6%E5%B0%B8/667752?fromModule=lemma_inlink&amp;app_lang=zh-CN<br /> <br /> <br /> [5]湘西“赶尸” [EB/OL]. 搜狗.网址： https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [6] 葬礼.[EB/OL].百度. 网址 https://baike.baidu.com/item/%E8%91%AC%E7%A4%BC/1735897?app_lang=zh-CN<br /> <br /> <br /> ==Terms and Expressions ==<br /> <br /> 湘西赶尸：corpse driving (Gan Shi) in Xiangxi ；The corpse of Xiangxi technique<br /> 落叶归根： fallen leaves returning to roots<br /> 死尸客店：corpse inns<br /> 摄魂铃：Soul-Bell <br /> 辰州符：Chenzhou Talismans <br /> 引魂锣Soul-Guiding Gong <br /> 入土为安：burial brings peace to the deceased<br /> 人鬼殊途：separation between the living and the dead<br /> 孤魂野鬼：wandering ghosts<br /> 法力无边：mystically omnipotent<br /> 贴符咒： affixing talismans<br /> <br /> ==Questions==<br /> <br /> 1. Based on the above readings, discuss what industry taboos and rules exist in the Xiangxi corpse-driving industry?<br /> <br /> 2. What cultural significance does Xiangxi corpse-driving embody?<br /> <br /> 3. What do these differences reveal considering the difference between corpse driving culture and Zombie culture?<br /> <br /> ==Answers==<br /> <br /> 1. Key prohibitions documented include: ‘Three Permitted and Three Forbidden’ (三赶三不赶), &quot;Three Permitted&quot; refers to beheaded (with head reattached), hanged, or war-dead—deemed ‘unresolved grievances requiring homebound rest’ and &quot;Three Forbidden&quot; refers to deaths by illness, suicide, or lightning—believed to have spirits reclaimed by the underworld, beyond control. Some linguistic taboos include replacing ‘赶尸’ (corpse driving) with ‘走脚’ (walking the feet) or ‘迎喜神’ (welcoming the joy-god) . And other avoidances include steering clear of pregnant women and the blind to prevent ‘spiritual clashes’, and operating exclusively at night via secluded paths to preserve secrecy and mystique.<br /> <br /> 2. First, the ultimate belief in &quot;fallen leaves returning to roots&quot;<br /> Second, the blurring of the boundary between life and death.<br /> Third, the response to livelihood challenges in mountainous culture.<br /> Fourth, the modern transformation of cultural heritage.<br /> <br /> 3. In essence, zombies (丧尸) are virus-driven &quot;living dead,&quot; reflecting distinct Eastern and Western sociocultural responses to death.<br /> <br /> <br /> <br /> <br /> <br /> <br /> ==AI Statement==<br /> <br /> The Chinese paper was written by me based on online materials (including papers, web pages, etc.). It should also be noted that for the source of web articles in the reference section, since I did not see the author and time, the format may not be clear. For English papers, the AI software (Tencent Yuanbao) was used for translation. This is because of the difficulty of Chinese papers (some terms need to be processed with tools) and time constraints. My general prompt when using AI software is: &quot;Please translate the above sentences into authentic English, maintaining the original content and form, without addition or omission.&quot; After the AI produces the result, I check and modify it against the original. However, in many cases, there is not much modification needed, and the translation accuracy is relatively high, except for the need to unify individual terms. My main role in the English paper is post-translation editing. For example, for the term &quot;巫术&quot;, the AI provided references such as &quot;witchcraft&quot;, but it contains a derogatory meaning and is not appropriate in context. Therefore, I searched for information and chose a neutral expression such as &quot;Miao folk magic&quot;. At the same time, in the process of post-translation editing, I also accumulated some translations of terms (such as &quot;落叶归根&quot;, &quot;孤魂野鬼&quot;, etc.), and to a certain extent, it also deepened my understanding of the cultural phenomenon of corpse driving in western Hunan.</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=169523 2025-06-19T14:21:03Z

<p>Li Ting2: </p> <hr /> <div>==湘西赶尸==<br /> <br /> 李婷 202470081608<br /> <br /> ==摘要：==<br /> 本文主要介绍了湘西赶尸的起源与历史、“赶尸”原理揭秘、文化内涵、跨文化比较等方面，分析赶尸仪式中借助符咒、竹竿等工具实现尸体运送的民间智慧，探讨其背后反映的生死观、家族观念等文化意义，作者希望以此来提高大家对于湘西赶尸的了解，深刻体会其中的独特的文化内涵与价值。<br /> <br /> ==起源与历史==<br /> 湘西赶尸作为中国湘西地区独特的文化现象，反映了古代湘西人民对生死、乡土观念的深刻理解。事实上这一项历久以来备受外人关注的文化现象也一直引人想象，关于其起源，这里有以下三种说法可供参考： <br /> <br /> '''首先，神话传说'''。苗族传说赶尸最早可追溯到蚩尤时代，蚩尤大军在黄河边作战后，死伤无数，蚩尤命军师施巫术让战死士兵能够返回故乡，这一传说也被湘西苗族人代代口口相传，这是赶尸的神话起源。<br /> <br /> '''第二，地理环境限制'''。湘西地形险峻复杂，陆路交通极为不便，水路便利，中国自古有“落叶归根”的观念，即使客死他乡也想回归故里安葬，但是行至三峡水势极为汹涌危险，容易沉船，古人迷信，认为搭载尸体极为不吉利，不会轻易尝试。因而，为了让这些客死他乡的尸体能够返回故乡这就催生了“赶尸”这一特殊行业。<br /> <br /> '''第三，清朝“秋决”处罚'''，清朝时一些死囚被处决后，应死囚家人希望，可以让四人抬棺归故里，但是这一方法极为耗钱，并且尸体容易腐烂发臭，但请专门赶尸人将尸体处理后并带回既能避免尸体发臭腐烂又能省钱。<br /> <br /> ==湘西赶尸原理揭秘：技术与仪式的交融==<br /> <br /> 长久以来人们都很难理解湘西赶尸的奥秘，有些甚至会谈之色变，实际上赶尸的原理并不是超神话的，更多的是一项技术与仪式感的交融，营造了一种神秘感与心理威慑，是古代人民智慧的象征。以下从赶尸技术操作、仪式流程两个维度揭秘其核心逻辑。<br /> <br /> '''第一，赶尸技术操作上'''：'''1）''' 因为赶尸中的尸体是不能腐烂的，但是自然条件下尸体是会发烂发臭的，特别是夏季，这就要求赶尸人在赶尸之前就要对尸体进行防腐处理，学者认为湘西地区生长着一些特殊的草药（如朱砂），将尸体脱水后再进行草药的熏蒸就可以保障尸体长时间不腐，同时脱水后的尸体重量也减轻了，减少了赶尸难度。'''2）'''关于尸体搬运有两种说法，一种是在赶尸过程用到了竹竿，赶尸匠将尸体的双臂固定在竹竿，前后有两个人将竹竿抬起，由于竹竿的弹性，在移动过程中这就会产生尸体在“跳跃”的视觉假象，并且赶尸匠会对尸体做一些伪装如戴宽大的斗笠，穿宽大黑袍，贴黄符等；一种是一名赶尸匠背负肢解后藏于宽大黑袍的尸体，并由一名赶尸匠在前引路，撒纸钱，摇路铃等； '''3）'''赶尸技术是一项团队工作，赶尸匠面对遥远路途会进行分工合作，为了避免生人靠近及保密，大多是在晚上进行，一些长途赶尸会进行分段接力，在这过程中如遇天气恶劣，体力不济等赶尸匠会暂时停留在“死尸客店”。正因为这一系列的技艺实施，给湘西赶尸蒙上了神秘惊悚的面纱。<br /> <br /> '''第二，仪式揭秘'''。这里将从仪器工具、禁忌规则、技艺传承条件三方面阐述。'''1）'''除了前文提到的竹竿、黑袍以及防腐材料等，一些比较重要的工具还有摄魂铃（有“指引亡魂”的意义，并提示夜行人远离等）、辰州符（这种特制的符咒会被贴到尸体的一些关键部位起着“定魂安魄”的作用）、引魂锣（跟摄魂铃的作用很类似，也有指引亡灵的作用，路过村民听到该声音会把狗关起来，以免狗咬尸体）等；'''2）'''有关湘西赶尸的一些禁忌规则，查资料发现有：“三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感；'''3）'''赶尸行业在当时也是有一定门槛的，首要的一个就是胆子要大，命格要硬，身体素质好，赶尸匠不乱收徒，首先学徒父母得立字据同意加入赶尸行业，接着进行培训考核再进行技艺传承，一般来讲学徒得满 17 岁，身高一米七以上，相貌丑陋男性（不收女性，因为认为女性阴气重易招引邪物），并且从业者终身忌婚育避免“阴气染嗣”，也因为这些禁忌等，使得外人会对这个行业“妖魔化”、“神秘化”，认为赶尸匠“法力无边”。<br /> <br /> ==文化内涵==<br /> <br /> 湘西赶尸作为一种特殊的民俗丧葬文化现象，其文化内涵远超简单的“尸体搬运”技术，这是由湘西特殊的地理地质条件、历史文化背景以及“落叶归根”家庭观念等条件催生的，总的来说，从湘西赶尸这一文化现象我们可以从中解读出以下的文化内涵：<br /> <br /> '''第一，对“落叶归根”的终极信仰'''。湘西人认为死后只有回归故土安葬才能使得魂魄得以安定，否则会变成孤魂野鬼，这也与中国儒家“入土为安”的理念相契合，赶尸行业只是契合人们“落叶归根”的传统观念，并将其转化为赶尸匠的谋生手段。<br /> <br /> '''第二，生死界限模糊处理'''。将尸体进行防腐处理并利用各种工具招引引领亡魂归乡，安魂定魄，这些都反映了赶尸行业将生死界限模糊化，赶尸匠作为人与鬼交流的“信使”，超越“人鬼殊途”界限，即使死者生前客死他乡，但是通过赶尸，亡灵得以回归故里，避免死后成为“孤魂野鬼”。<br /> <br /> '''第三，山地文化生活困境应对'''。赶尸行业利用一系列的行业规则禁忌以及行业秘密等为赶尸行业蒙上了神秘的面纱，实际上不仅是提高了行业门槛，塑造了赶尸匠“法力无边”的形象，还保障了赶尸匠这类边缘群体的生活。不仅如此，赶尸行业的出现对于死者以及死者家属来说也是巨大的心理慰藉，因为湘西当地地形原因，地势崎岖，死者很难通过抬棺等手段回归，而赶尸行业经济花费不大，死者家属也能承受，在一定程度上缓解客死他乡死者以及其家人焦虑，带来精神抚慰，即使身死他乡，死后还可回归故土，可以说赶尸行业的产生不仅是人们对于回归故里的追求也是当地因地制宜的生存智慧。它如同一面棱镜，折射出中国传统社会在应对死亡、自然与伦理时的复杂心态，也提醒现代人重新审视边缘文化中蕴含的人文智慧。<br /> <br /> '''第四，现代转型的文化遗产。'''湘西赶尸作为一种特殊的中国文化现象，由此演绎了相关的影视、现代流行文学、流行符号等，这些都是湘西赶尸这一文化现象在现代重新焕发生机的表现。'''1）''' 在影视方面，林正英一系列僵尸电影如《僵尸先生》、《新僵尸先生》等，这些电影将湘西赶尸文化与茅山道士法术结合起来，这些电影中的僵尸形象也成为了标志性形象（穿着清朝官服，长獠牙，面部青白等），一些驱魔场景也特别经典，林正英的僵尸电影的情节不单单只是恐怖元素，一些喜剧效果也拉满，给影迷留下深刻印象；'''2）''' 在流行文学上，一些悬疑文学的爱好者借助湘西赶尸的历史背景并融入其他文学现象，如《湘西赶尸之落花圣女》、《湘西鬼事：赶尸传奇》等，将湘西的特殊的文化遗产运用到了网络流行文学中，这也显示了湘西赶尸文化在网络流行文学上得到创新与创造；'''3）''' 在流行符号上，譬如“跳跃行进”、“贴符咒”等等与西方丧尸文化形成鲜明对比，一些商业旅游也借用这一文化现象建造了如旅游民宿、赶尸表演等，并开发了一些旅游文创，成为吸引游客的噱头。但是不可否认的是，在对这一文化进行创造性发展的过程也存在着对该文化的误度与曲解，有些文学作品过分渲染其“恐怖邪性”特点，但是忽略了其背后的人文关怀与伦理边界（要尊重逝者对于“落叶归根”的追求）。<br /> <br /> ==跨文化比较==<br /> <br /> 埃及也利用防腐技术对尸体进行处理并结合其复杂的宗教咒语让尸体能够死后“复活”，而湘西赶尸则是为了尸体安息；印度则将尸体进行水葬，将尸体投入恒河，不同的是湘西赶尸强调的是地理归属，而印度则是强调宗教救赎；并且之前僵尸还被误译为&quot;Zombie&quot;，但其实两者本质是不同的，丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> ==结语==<br /> <br /> 湘西赶尸作为一种特殊地区文化现象，仅是单纯考虑其尸体保存或者搬运技巧是比较浅显的，唯有以科学精神解构赶尸的技术原理，以人文情怀体悟&quot;慎终追远&quot;的伦理内核，方能在现代性冲击下实现创造性传承——让“神秘”背后的生存韧性、竹竿间的协作智慧，继续照亮人类对生死尊严的永恒求索。<br /> <br /> ==参考文献==<br /> [1] 赶尸[EB/OL].搜狗. 网址 ：https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [2]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018,(13):212. （https://wap.cnki.net/touch/web/Journal/Article/QCSY201813195.html）<br /> <br /> <br /> [3]王亚男.湘西赶尸文化探秘[J].电脑迷,2018,(02):186.（https://wap.cnki.net/touch/web/Journal/Article/DNMI201802163.html）<br /> <br /> <br /> [4] 湘西赶尸[EB/OL].百度. 网址： https://bkso.baidu.com/item/%E6%B9%98%E8%A5%BF%E8%B5%B6%E5%B0%B8/667752?fromModule=lemma_inlink&amp;app_lang=zh-CN<br /> <br /> <br /> [5]湘西“赶尸” [EB/OL]. 搜狗.网址： https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [6] 葬礼.[EB/OL].百度. 网址 https://baike.baidu.com/item/%E8%91%AC%E7%A4%BC/1735897?app_lang=zh-CN<br /> <br /> <br /> ==术语==<br /> <br /> 湘西赶尸：corpse driving (Gan Shi) in Xiangxi ；The corpse of Xiangxi technique<br /> 落叶归根： fallen leaves returning to roots<br /> 死尸客店：corpse inns<br /> 摄魂铃：Soul-Bell <br /> 辰州符：Chenzhou Talismans <br /> 引魂锣Soul-Guiding Gong <br /> 入土为安：burial brings peace to the deceased<br /> 人鬼殊途：separation between the living and the dead<br /> 孤魂野鬼：wandering ghosts<br /> 法力无边：mystically omnipotent<br /> 贴符咒： affixing talismans<br /> <br /> <br /> ==问题==<br /> <br /> 1. 通过以上阅读，谈谈湘西赶尸行业有哪些行业禁忌与规则？<br /> <br /> 2. 湘西赶尸蕴含了哪些文化内涵？<br /> <br /> 3. 湘西赶尸文化与西方丧尸文化的不同显示了什么？<br /> <br /> <br /> <br /> ==答案==<br /> <br /> 1. “三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感。<br /> <br /> 2. 第一，对“落叶归根”的终极信仰。<br /> 第二，生死界限模糊处理。<br /> 第三，山地文化生活困境应对。<br /> 第四，现代转型的文化遗产。<br /> <br /> 3. 丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> <br /> ==The corpse of Xiangxi technique==<br /> <br /> ==Abstract==<br /> <br /> This paper examines the origins and history of Xiangxi corpse-driving（or The corpse of Xiangxi technique）, reveals the operational principles behind the practice (such as transporting corpses using talismans and bamboo poles), and analyzes its cultural connotations and cross-cultural comparisons. It explores the folk wisdom reflected in the ritual tools and techniques while delving into the underlying cultural values—including concepts of life and death and familial bonds—embedded within this tradition. Through this study, the author aims to enhance public understanding of Xiangxi corpse-driving and foster a deeper appreciation of its unique cultural significance and value.<br /> <br /> ==Origin and History==<br /> <br /> The practice of &quot;corpse driving&quot; (Gan Shi) in Xiangxi (Western Hunan) stands as a unique phenomenon deeply rooted in the region. It reflects the ancient people's profound understanding of life, death, and attachment to their native land. This enigmatic tradition has long captivated outside attention and fueled imaginations. Three theories regarding its origins are referenced below:<br /> <br /> '''First, mythological Legend'''. According to Miao folklore, the practice of corpse driving can trace back to the era of Chiyou. After Chiyou's army fought along the Yellow River, suffering countless casualties, Chiyou commanded his sorcerer to use Miao folk magic, enabling the fallen soldiers to return to their homeland. This legend has been passed down orally through generations among the Miao people in Xiangxi, representing the mythological origin of corpse driving.<br /> <br /> '''Second, geographical constraints'''. With its treacherous and complex terrain, Xiangxi posed extreme challenges for overland transportation, though waterways offered relative convenience. Rooted in the ancient Chinese belief of 'fallen leaves returning to roots' (落叶归根), even those who died far from home wished to be buried in their ancestral lands. However, traversing the Three Gorges involved navigating perilously turbulent rapids where shipwrecks were frequent. Superstitious ancients deemed transporting corpses highly inauspicious and thus avoided it at all costs. Consequently, to repatriate these deceased souls to their hometowns, the unique profession of 'corpse driving' emerged.<br /> <br /> Third, the Qing Dynasty's 'Autumn Executions.' After prisoners were executed, families who wished to repatriate the corpses could hire four bearers to carry the coffins back to their hometowns. However, this method proved extremely costly, and the bodies were prone to rot and emit foul odors. In contrast, engaging specialized corpse drivers to treat and transport the bodies prevented decomposition while saving costs.<br /> <br /> ==Demystifying the Mechanics of Corpse Driving in Xiangxi: The Fusion of Technology and Ritual==<br /> For centuries, the enigma of corpse driving in Xiangxi has eluded public understanding, with some even reacting in terror at its mention. In truth, its mechanics were never supernatural, but rather a fusion of technical operations and ritualistic elements—crafting an aura of mystique and psychological deterrence that epitomized the ingenuity of ancient laborers. Below, we unveil its core logic through two dimensions: the technical execution and ritual procedures of corpse driving.<br /> <br /> '''First, regarding the technical operations of corpse driving''':<br /> '''1）''' Corpse Preservation: Since corpses in transit must not decompose—yet naturally decay and emit foul odors, especially in summer—corpse handlers must perform preservation treatments beforehand. Scholars note that special herbs (e.g., cinnabar) native to Xiangxi were used. Corpses underwent dehydration followed by herbal fumigation, preventing decay over extended periods while reducing weight for easier transport; '''2)''' Corpse Transportation Methods: one is bamboo pole technique. Corpses’ arms were secured to long bamboo poles, lifted by two handles at each end. The poles’ elasticity created a visual illusion of corpses “hopping” during movement. handlers disguised corpses with broad-brimmed hats, loose black robes, and yellow talismans. One is body-carrying method. One handler carried dismembered corpse parts concealed under robes, while another preceded the group, scattering spirit money and ringing road bells; '''3)''' Corpse driving was a collaborative effort. Drivers divided tasks for long journeys, operating primarily at night to avoid onlookers and maintain secrecy. For multi-stage relays or adverse conditions (e.g., storms, fatigue), they paused at “corpse inns” (死尸客店) . These systematic techniques collectively shrouded Xiangxi corpse driving in an aura of macabre mystery.<br /> <br /> '''Second, Ritual Mechanics'''. This section elaborates on three dimensions: ritual tools, taboos, and apprenticeship conditions：<br /> '''1）'''Tools: Beyond the bamboo poles, black robes, and preservatives mentioned earlier, critical instruments include: Soul-Bell (摄魂铃): Guides spirits and signals night travelers to keep distance. Chenzhou Talismans (辰州符): Affixed to key body parts to ‘anchor the soul and stabilize the spirit’. Soul-Guiding Gong (引魂锣): Functions similarly to the bell; villagers hearing it would restrain dogs to prevent corpse mutilation； '''2）'''Taboos and Rules: Key prohibitions documented include: ‘Three Permitted and Three Forbidden’ (三赶三不赶), &quot;Three Permitted&quot; refers to beheaded (with head reattached), hanged, or war-dead—deemed ‘unresolved grievances requiring homebound rest’ and &quot;Three Forbidden&quot; refers to deaths by illness, suicide, or lightning—believed to have spirits reclaimed by the underworld, beyond control. Some linguistic taboos include replacing ‘赶尸’ (corpse driving) with ‘走脚’ (walking the feet) or ‘迎喜神’ (welcoming the joy-god) . And other avoidances include steering clear of pregnant women and the blind to prevent ‘spiritual clashes’, and operating exclusively at night via secluded paths to preserve secrecy and mystique； '''3）'''Apprenticeship System: Entry barriers were stringent: physical requirements are male apprentices aged ≥17, height ≥1.7m, with ‘unpleasant features’ (women excluded due to ‘excessive yin energy attracting evil’) . selection process is that parents signed contracts consenting to entry; candidates underwent trials (e.g., direction-finding after disorientation) . What's more, practitioners abstained from marriage and reproduction to avoid ‘yin contamination of descendants’ . These practices fueled external perceptions of corpse handlers as ‘demonic’, ‘mystical’, and ‘infinitely powerful’.&quot;<br /> <br /> ==Cultural Significance==<br /> <br /> As a unique folk funerary custom, Xiangxi corpse driving transcends mere 'corpse transportation' techniques. Born from the region’s distinctive geographical constraints, historical context, and the deeply rooted familial ethos of 'returning to one’s roots upon death,' this practice embodies profound cultural layers. In essence, we can decipher the following cultural significances from this phenomenon:<br /> <br /> '''First, the ultimate belief in &quot;fallen leaves returning to roots&quot; (落叶归根)'''. The people of Xiangxi believed that only by returning to their homeland for burial could the deceased's soul find peace; otherwise, they would become wandering spirits or homeless ghosts. This aligns with the Confucian concept that &quot;burial brings peace to the deceased&quot; (入土为安). The corpse-driving industry merely adapted this traditional belief in &quot;fallen leaves returning to roots&quot; into a means of livelihood for the corpse handlers.<br /> <br /> '''Second, the blurring of the boundary between life and death'''. By preserving corpses and using various tools to guide the souls of the deceased back to their homeland, thereby pacifying and settling the souls, the corpse-driving industry reflects a deliberate blurring of the distinction between life and death. The corpse handlers serve as &quot;messengers&quot; facilitating communication between the living and the dead, transcending the inherent &quot;separation between the living and the dead&quot; (人鬼殊途). Even if individuals die far from home during their lifetime, through corpse-driving, their souls can return to their native place, avoiding the fate of becoming &quot;wandering ghosts&quot; (孤魂野鬼) after death.<br /> <br /> '''Third, the response to livelihood challenges in mountainous culture'''. The corpse-driving industry shrouded itself in mystery through a series of industry rules, taboos, and secrets. While this ostensibly elevated professional thresholds and crafted an image of corpse drivers as &quot;mystically omnipotent&quot; (法力无边), it fundamentally secured livelihoods for these marginalized practitioners. Moreover, the emergence of this industry offered profound psychological solace to the deceased and their families. Given the rugged terrain of Western Hunan, conventional methods like coffin carriage were impractical for repatriating the dead. Corpse-driving, however, incurred minimal costs—affordable for bereaved families—thereby alleviating the anxiety of those who died far from home and their kin. Even in death, they could return to their homeland. Thus, the rise of corpse-driving not only fulfilled the pursuit of &quot;returning to one’s roots&quot; (落叶归根) but also embodied locally adapted wisdom of survival. It acts as a prism, refracting traditional Chinese society’s complex attitudes toward death, nature, and ethics, while urging modern society to re-examine the humanistic wisdom embedded in marginalized cultures.<br /> <br /> '''Fourth, the modern transformation of cultural heritage.''' As a unique cultural phenomenon in China, the Xiangxi corpse-driving tradition has inspired adaptations in film and television, modern popular literature, and contemporary symbols—all manifestations of its revitalized cultural relevance in the modern era. '''1）''' In film and television, a series of zombie movies by Lam Ching-ying, such as Mr. Jiangshi (《僵尸先生》) and New Mr. Jiangshi(《新僵尸先生》), integrated the Xiangxi corpse-driving culture with Taoist magic from Mount Mao (茅山法术). The iconic zombie imagery in these films—characterized by Qing Dynasty official robes, elongated fangs, and pallid, bluish faces—became emblematic of the genre. Exorcism scenes were crafted with classic precision, while the films' blend of horror and heightened comedic elements left a lasting impression on fans； '''2）'''In popular literature, suspense fiction enthusiasts leverage the historical backdrop of corpse-driving in Xiangxi and integrate other literary phenomena, such as Corpse-Handlers in Western Hunan: The Fallen Blossom Saint (《湘西赶尸之落花圣女》) and Mysteries of Western Hunan: Legends of Corpse-Driving (《湘西鬼事：赶尸传奇》). This demonstrates how the unique cultural heritage of Xiangxi corpse-driving has been innovatively and creatively reimagined within the realm of online popular literature; '''3)''' In popular symbols, practices such as &quot;hopping movement&quot; (跳跃行进) and &quot;affixing talismans&quot; (贴符咒) form a stark contrast to Western zombie culture. Commercial tourism has leveraged this cultural phenomenon to develop attractions like themed lodges, corpse-driving performances, and tourism-inspired cultural products, using it as a gimmick to attract visitors. However, it is undeniable that during the creative development of this culture, misinterpretations and distortions have emerged. Some literary works excessively exaggerate its &quot;horror and malevolence&quot; while overlooking the humanistic care and ethical boundaries at its core—specifically, the imperative to respect the deceased’s pursuit of &quot;fallen leaves returning to roots&quot; (落叶归根).<br /> <br /> ==Cross-Cultural Comparison==<br /> <br /> Egypt utilized preservation techniques to treat corpses, combined with complex religious incantations to enable posthumous &quot;resurrection.&quot; In contrast, Xiangxi corpse-driving aimed to ensure the deceased rest in peace. India practices water burials by depositing bodies into the Ganges River, emphasizing religious salvation rather than geographical belonging, as seen in Xiangxi corpse-driving. Additionally, the term &quot;zombie&quot; has been a mistranslation for &quot;僵尸&quot; (jiangshi). In essence, zombies (丧尸) are virus-driven &quot;living dead,&quot; reflecting distinct Eastern and Western sociocultural responses to death.<br /> <br /> ==Conclusion==<br /> <br /> As a unique regional cultural phenomenon, reducing Xiangxi corpse-driving merely to its corpse preservation or transportation techniques is superficial. Only by applying scientific spirit to deconstruct its technical principles and embracing humanistic sentiments to comprehend the ethical core of &quot;reverence for the dead and ancestral remembrance&quot; (慎终追远) can its creative inheritance be achieved amid modernity's impact—allowing the resilience behind mystery and the collaborative wisdom embedded in bamboo poles to continue illuminating humanity's eternal quest for dignity in death.<br /> <br /> ==References==<br /> <br /> [1] 赶尸[EB/OL].搜狗. 网址 ：https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [2]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018,(13):212. （https://wap.cnki.net/touch/web/Journal/Article/QCSY201813195.html）<br /> <br /> <br /> [3]王亚男.湘西赶尸文化探秘[J].电脑迷,2018,(02):186.（https://wap.cnki.net/touch/web/Journal/Article/DNMI201802163.html）<br /> <br /> <br /> [4] 湘西赶尸[EB/OL].百度. 网址： https://bkso.baidu.com/item/%E6%B9%98%E8%A5%BF%E8%B5%B6%E5%B0%B8/667752?fromModule=lemma_inlink&amp;app_lang=zh-CN<br /> <br /> <br /> [5]湘西“赶尸” [EB/OL]. 搜狗.网址： https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [6] 葬礼.[EB/OL].百度. 网址 https://baike.baidu.com/item/%E8%91%AC%E7%A4%BC/1735897?app_lang=zh-CN<br /> <br /> <br /> ==Terms and Expressions ==<br /> <br /> 湘西赶尸：corpse driving (Gan Shi) in Xiangxi ；The corpse of Xiangxi technique<br /> 落叶归根： fallen leaves returning to roots<br /> 死尸客店：corpse inns<br /> 摄魂铃：Soul-Bell <br /> 辰州符：Chenzhou Talismans <br /> 引魂锣Soul-Guiding Gong <br /> 入土为安：burial brings peace to the deceased<br /> 人鬼殊途：separation between the living and the dead<br /> 孤魂野鬼：wandering ghosts<br /> 法力无边：mystically omnipotent<br /> 贴符咒： affixing talismans<br /> <br /> ==Questions==<br /> <br /> 1. Based on the above readings, discuss what industry taboos and rules exist in the Xiangxi corpse-driving industry?<br /> <br /> 2. What cultural significance does Xiangxi corpse-driving embody?<br /> <br /> 3. What do these differences reveal considering the difference between corpse driving culture and Zombie culture?<br /> <br /> ==Answers==<br /> <br /> 1. Key prohibitions documented include: ‘Three Permitted and Three Forbidden’ (三赶三不赶), &quot;Three Permitted&quot; refers to beheaded (with head reattached), hanged, or war-dead—deemed ‘unresolved grievances requiring homebound rest’ and &quot;Three Forbidden&quot; refers to deaths by illness, suicide, or lightning—believed to have spirits reclaimed by the underworld, beyond control. Some linguistic taboos include replacing ‘赶尸’ (corpse driving) with ‘走脚’ (walking the feet) or ‘迎喜神’ (welcoming the joy-god) . And other avoidances include steering clear of pregnant women and the blind to prevent ‘spiritual clashes’, and operating exclusively at night via secluded paths to preserve secrecy and mystique.<br /> <br /> 2. First, the ultimate belief in &quot;fallen leaves returning to roots&quot;<br /> Second, the blurring of the boundary between life and death.<br /> Third, the response to livelihood challenges in mountainous culture.<br /> Fourth, the modern transformation of cultural heritage.<br /> <br /> 3. In essence, zombies (丧尸) are virus-driven &quot;living dead,&quot; reflecting distinct Eastern and Western sociocultural responses to death.<br /> <br /> <br /> <br /> <br /> <br /> <br /> ==AI Statement==<br /> <br /> The Chinese paper was written by me based on online materials (including papers, web pages, etc.). It should also be noted that for the source of web articles in the reference section, since I did not see the author and time, the format may not be clear. For English papers, the AI software (Tencent Yuanbao) was used for translation. This is because of the difficulty of Chinese papers (some terms need to be processed with tools) and time constraints. My general prompt when using AI software is: &quot;Please translate the above sentences into authentic English, maintaining the original content and form, without addition or omission.&quot; After the AI produces the result, I check and modify it against the original. However, in many cases, there is not much modification needed, and the translation accuracy is relatively high, except for the need to unify individual terms. My main role in the English paper is post-translation editing. For example, for the term &quot;巫术&quot;, the AI provided references such as &quot;witchcraft&quot;, but it contains a derogatory meaning and is not appropriate in context. Therefore, I searched for information and chose a neutral expression such as &quot;Miao folk magic&quot;. At the same time, in the process of post-translation editing, I also accumulated some translations of terms (such as &quot;落叶归根&quot;, &quot;孤魂野鬼&quot;, etc.), and to a certain extent, it also deepened my understanding of the cultural phenomenon of corpse driving in western Hunan.</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=169518 2025-06-19T14:19:35Z

<p>Li Ting2: </p> <hr /> <div>==湘西赶尸==<br /> <br /> <br /> ==摘要：==<br /> 本文主要介绍了湘西赶尸的起源与历史、“赶尸”原理揭秘、文化内涵、跨文化比较等方面，分析赶尸仪式中借助符咒、竹竿等工具实现尸体运送的民间智慧，探讨其背后反映的生死观、家族观念等文化意义，作者希望以此来提高大家对于湘西赶尸的了解，深刻体会其中的独特的文化内涵与价值。<br /> <br /> ==起源与历史==<br /> 湘西赶尸作为中国湘西地区独特的文化现象，反映了古代湘西人民对生死、乡土观念的深刻理解。事实上这一项历久以来备受外人关注的文化现象也一直引人想象，关于其起源，这里有以下三种说法可供参考： <br /> <br /> '''首先，神话传说'''。苗族传说赶尸最早可追溯到蚩尤时代，蚩尤大军在黄河边作战后，死伤无数，蚩尤命军师施巫术让战死士兵能够返回故乡，这一传说也被湘西苗族人代代口口相传，这是赶尸的神话起源。<br /> <br /> '''第二，地理环境限制'''。湘西地形险峻复杂，陆路交通极为不便，水路便利，中国自古有“落叶归根”的观念，即使客死他乡也想回归故里安葬，但是行至三峡水势极为汹涌危险，容易沉船，古人迷信，认为搭载尸体极为不吉利，不会轻易尝试。因而，为了让这些客死他乡的尸体能够返回故乡这就催生了“赶尸”这一特殊行业。<br /> <br /> '''第三，清朝“秋决”处罚'''，清朝时一些死囚被处决后，应死囚家人希望，可以让四人抬棺归故里，但是这一方法极为耗钱，并且尸体容易腐烂发臭，但请专门赶尸人将尸体处理后并带回既能避免尸体发臭腐烂又能省钱。<br /> <br /> ==湘西赶尸原理揭秘：技术与仪式的交融==<br /> <br /> 长久以来人们都很难理解湘西赶尸的奥秘，有些甚至会谈之色变，实际上赶尸的原理并不是超神话的，更多的是一项技术与仪式感的交融，营造了一种神秘感与心理威慑，是古代人民智慧的象征。以下从赶尸技术操作、仪式流程两个维度揭秘其核心逻辑。<br /> <br /> '''第一，赶尸技术操作上'''：'''1）''' 因为赶尸中的尸体是不能腐烂的，但是自然条件下尸体是会发烂发臭的，特别是夏季，这就要求赶尸人在赶尸之前就要对尸体进行防腐处理，学者认为湘西地区生长着一些特殊的草药（如朱砂），将尸体脱水后再进行草药的熏蒸就可以保障尸体长时间不腐，同时脱水后的尸体重量也减轻了，减少了赶尸难度。'''2）'''关于尸体搬运有两种说法，一种是在赶尸过程用到了竹竿，赶尸匠将尸体的双臂固定在竹竿，前后有两个人将竹竿抬起，由于竹竿的弹性，在移动过程中这就会产生尸体在“跳跃”的视觉假象，并且赶尸匠会对尸体做一些伪装如戴宽大的斗笠，穿宽大黑袍，贴黄符等；一种是一名赶尸匠背负肢解后藏于宽大黑袍的尸体，并由一名赶尸匠在前引路，撒纸钱，摇路铃等； '''3）'''赶尸技术是一项团队工作，赶尸匠面对遥远路途会进行分工合作，为了避免生人靠近及保密，大多是在晚上进行，一些长途赶尸会进行分段接力，在这过程中如遇天气恶劣，体力不济等赶尸匠会暂时停留在“死尸客店”。正因为这一系列的技艺实施，给湘西赶尸蒙上了神秘惊悚的面纱。<br /> <br /> '''第二，仪式揭秘'''。这里将从仪器工具、禁忌规则、技艺传承条件三方面阐述。'''1）'''除了前文提到的竹竿、黑袍以及防腐材料等，一些比较重要的工具还有摄魂铃（有“指引亡魂”的意义，并提示夜行人远离等）、辰州符（这种特制的符咒会被贴到尸体的一些关键部位起着“定魂安魄”的作用）、引魂锣（跟摄魂铃的作用很类似，也有指引亡灵的作用，路过村民听到该声音会把狗关起来，以免狗咬尸体）等；'''2）'''有关湘西赶尸的一些禁忌规则，查资料发现有：“三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感；'''3）'''赶尸行业在当时也是有一定门槛的，首要的一个就是胆子要大，命格要硬，身体素质好，赶尸匠不乱收徒，首先学徒父母得立字据同意加入赶尸行业，接着进行培训考核再进行技艺传承，一般来讲学徒得满 17 岁，身高一米七以上，相貌丑陋男性（不收女性，因为认为女性阴气重易招引邪物），并且从业者终身忌婚育避免“阴气染嗣”，也因为这些禁忌等，使得外人会对这个行业“妖魔化”、“神秘化”，认为赶尸匠“法力无边”。<br /> <br /> ==文化内涵==<br /> <br /> 湘西赶尸作为一种特殊的民俗丧葬文化现象，其文化内涵远超简单的“尸体搬运”技术，这是由湘西特殊的地理地质条件、历史文化背景以及“落叶归根”家庭观念等条件催生的，总的来说，从湘西赶尸这一文化现象我们可以从中解读出以下的文化内涵：<br /> <br /> '''第一，对“落叶归根”的终极信仰'''。湘西人认为死后只有回归故土安葬才能使得魂魄得以安定，否则会变成孤魂野鬼，这也与中国儒家“入土为安”的理念相契合，赶尸行业只是契合人们“落叶归根”的传统观念，并将其转化为赶尸匠的谋生手段。<br /> <br /> '''第二，生死界限模糊处理'''。将尸体进行防腐处理并利用各种工具招引引领亡魂归乡，安魂定魄，这些都反映了赶尸行业将生死界限模糊化，赶尸匠作为人与鬼交流的“信使”，超越“人鬼殊途”界限，即使死者生前客死他乡，但是通过赶尸，亡灵得以回归故里，避免死后成为“孤魂野鬼”。<br /> <br /> '''第三，山地文化生活困境应对'''。赶尸行业利用一系列的行业规则禁忌以及行业秘密等为赶尸行业蒙上了神秘的面纱，实际上不仅是提高了行业门槛，塑造了赶尸匠“法力无边”的形象，还保障了赶尸匠这类边缘群体的生活。不仅如此，赶尸行业的出现对于死者以及死者家属来说也是巨大的心理慰藉，因为湘西当地地形原因，地势崎岖，死者很难通过抬棺等手段回归，而赶尸行业经济花费不大，死者家属也能承受，在一定程度上缓解客死他乡死者以及其家人焦虑，带来精神抚慰，即使身死他乡，死后还可回归故土，可以说赶尸行业的产生不仅是人们对于回归故里的追求也是当地因地制宜的生存智慧。它如同一面棱镜，折射出中国传统社会在应对死亡、自然与伦理时的复杂心态，也提醒现代人重新审视边缘文化中蕴含的人文智慧。<br /> <br /> '''第四，现代转型的文化遗产。'''湘西赶尸作为一种特殊的中国文化现象，由此演绎了相关的影视、现代流行文学、流行符号等，这些都是湘西赶尸这一文化现象在现代重新焕发生机的表现。'''1）''' 在影视方面，林正英一系列僵尸电影如《僵尸先生》、《新僵尸先生》等，这些电影将湘西赶尸文化与茅山道士法术结合起来，这些电影中的僵尸形象也成为了标志性形象（穿着清朝官服，长獠牙，面部青白等），一些驱魔场景也特别经典，林正英的僵尸电影的情节不单单只是恐怖元素，一些喜剧效果也拉满，给影迷留下深刻印象；'''2）''' 在流行文学上，一些悬疑文学的爱好者借助湘西赶尸的历史背景并融入其他文学现象，如《湘西赶尸之落花圣女》、《湘西鬼事：赶尸传奇》等，将湘西的特殊的文化遗产运用到了网络流行文学中，这也显示了湘西赶尸文化在网络流行文学上得到创新与创造；'''3）''' 在流行符号上，譬如“跳跃行进”、“贴符咒”等等与西方丧尸文化形成鲜明对比，一些商业旅游也借用这一文化现象建造了如旅游民宿、赶尸表演等，并开发了一些旅游文创，成为吸引游客的噱头。但是不可否认的是，在对这一文化进行创造性发展的过程也存在着对该文化的误度与曲解，有些文学作品过分渲染其“恐怖邪性”特点，但是忽略了其背后的人文关怀与伦理边界（要尊重逝者对于“落叶归根”的追求）。<br /> <br /> ==跨文化比较==<br /> <br /> 埃及也利用防腐技术对尸体进行处理并结合其复杂的宗教咒语让尸体能够死后“复活”，而湘西赶尸则是为了尸体安息；印度则将尸体进行水葬，将尸体投入恒河，不同的是湘西赶尸强调的是地理归属，而印度则是强调宗教救赎；并且之前僵尸还被误译为&quot;Zombie&quot;，但其实两者本质是不同的，丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> ==结语==<br /> <br /> 湘西赶尸作为一种特殊地区文化现象，仅是单纯考虑其尸体保存或者搬运技巧是比较浅显的，唯有以科学精神解构赶尸的技术原理，以人文情怀体悟&quot;慎终追远&quot;的伦理内核，方能在现代性冲击下实现创造性传承——让“神秘”背后的生存韧性、竹竿间的协作智慧，继续照亮人类对生死尊严的永恒求索。<br /> <br /> ==参考文献==<br /> [1] 赶尸[EB/OL].搜狗. 网址 ：https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [2]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018,(13):212. （https://wap.cnki.net/touch/web/Journal/Article/QCSY201813195.html）<br /> <br /> <br /> [3]王亚男.湘西赶尸文化探秘[J].电脑迷,2018,(02):186.（https://wap.cnki.net/touch/web/Journal/Article/DNMI201802163.html）<br /> <br /> <br /> [4] 湘西赶尸[EB/OL].百度. 网址： https://bkso.baidu.com/item/%E6%B9%98%E8%A5%BF%E8%B5%B6%E5%B0%B8/667752?fromModule=lemma_inlink&amp;app_lang=zh-CN<br /> <br /> <br /> [5]湘西“赶尸” [EB/OL]. 搜狗.网址： https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [6] 葬礼.[EB/OL].百度. 网址 https://baike.baidu.com/item/%E8%91%AC%E7%A4%BC/1735897?app_lang=zh-CN<br /> <br /> <br /> ==术语==<br /> <br /> 湘西赶尸：corpse driving (Gan Shi) in Xiangxi ；The corpse of Xiangxi technique<br /> 落叶归根： fallen leaves returning to roots<br /> 死尸客店：corpse inns<br /> 摄魂铃：Soul-Bell <br /> 辰州符：Chenzhou Talismans <br /> 引魂锣Soul-Guiding Gong <br /> 入土为安：burial brings peace to the deceased<br /> 人鬼殊途：separation between the living and the dead<br /> 孤魂野鬼：wandering ghosts<br /> 法力无边：mystically omnipotent<br /> 贴符咒： affixing talismans<br /> <br /> <br /> ==问题==<br /> <br /> 1. 通过以上阅读，谈谈湘西赶尸行业有哪些行业禁忌与规则？<br /> <br /> 2. 湘西赶尸蕴含了哪些文化内涵？<br /> <br /> 3. 湘西赶尸文化与西方丧尸文化的不同显示了什么？<br /> <br /> <br /> <br /> ==答案==<br /> <br /> 1. “三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感。<br /> <br /> 2. 第一，对“落叶归根”的终极信仰。<br /> 第二，生死界限模糊处理。<br /> 第三，山地文化生活困境应对。<br /> 第四，现代转型的文化遗产。<br /> <br /> 3. 丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> <br /> ==The corpse of Xiangxi technique==<br /> <br /> ==Abstract==<br /> <br /> This paper examines the origins and history of Xiangxi corpse-driving（or The corpse of Xiangxi technique）, reveals the operational principles behind the practice (such as transporting corpses using talismans and bamboo poles), and analyzes its cultural connotations and cross-cultural comparisons. It explores the folk wisdom reflected in the ritual tools and techniques while delving into the underlying cultural values—including concepts of life and death and familial bonds—embedded within this tradition. Through this study, the author aims to enhance public understanding of Xiangxi corpse-driving and foster a deeper appreciation of its unique cultural significance and value.<br /> <br /> ==Origin and History==<br /> <br /> The practice of &quot;corpse driving&quot; (Gan Shi) in Xiangxi (Western Hunan) stands as a unique phenomenon deeply rooted in the region. It reflects the ancient people's profound understanding of life, death, and attachment to their native land. This enigmatic tradition has long captivated outside attention and fueled imaginations. Three theories regarding its origins are referenced below:<br /> <br /> '''First, mythological Legend'''. According to Miao folklore, the practice of corpse driving can trace back to the era of Chiyou. After Chiyou's army fought along the Yellow River, suffering countless casualties, Chiyou commanded his sorcerer to use Miao folk magic, enabling the fallen soldiers to return to their homeland. This legend has been passed down orally through generations among the Miao people in Xiangxi, representing the mythological origin of corpse driving.<br /> <br /> '''Second, geographical constraints'''. With its treacherous and complex terrain, Xiangxi posed extreme challenges for overland transportation, though waterways offered relative convenience. Rooted in the ancient Chinese belief of 'fallen leaves returning to roots' (落叶归根), even those who died far from home wished to be buried in their ancestral lands. However, traversing the Three Gorges involved navigating perilously turbulent rapids where shipwrecks were frequent. Superstitious ancients deemed transporting corpses highly inauspicious and thus avoided it at all costs. Consequently, to repatriate these deceased souls to their hometowns, the unique profession of 'corpse driving' emerged.<br /> <br /> Third, the Qing Dynasty's 'Autumn Executions.' After prisoners were executed, families who wished to repatriate the corpses could hire four bearers to carry the coffins back to their hometowns. However, this method proved extremely costly, and the bodies were prone to rot and emit foul odors. In contrast, engaging specialized corpse drivers to treat and transport the bodies prevented decomposition while saving costs.<br /> <br /> ==Demystifying the Mechanics of Corpse Driving in Xiangxi: The Fusion of Technology and Ritual==<br /> For centuries, the enigma of corpse driving in Xiangxi has eluded public understanding, with some even reacting in terror at its mention. In truth, its mechanics were never supernatural, but rather a fusion of technical operations and ritualistic elements—crafting an aura of mystique and psychological deterrence that epitomized the ingenuity of ancient laborers. Below, we unveil its core logic through two dimensions: the technical execution and ritual procedures of corpse driving.<br /> <br /> '''First, regarding the technical operations of corpse driving''':<br /> '''1）''' Corpse Preservation: Since corpses in transit must not decompose—yet naturally decay and emit foul odors, especially in summer—corpse handlers must perform preservation treatments beforehand. Scholars note that special herbs (e.g., cinnabar) native to Xiangxi were used. Corpses underwent dehydration followed by herbal fumigation, preventing decay over extended periods while reducing weight for easier transport; '''2)''' Corpse Transportation Methods: one is bamboo pole technique. Corpses’ arms were secured to long bamboo poles, lifted by two handles at each end. The poles’ elasticity created a visual illusion of corpses “hopping” during movement. handlers disguised corpses with broad-brimmed hats, loose black robes, and yellow talismans. One is body-carrying method. One handler carried dismembered corpse parts concealed under robes, while another preceded the group, scattering spirit money and ringing road bells; '''3)''' Corpse driving was a collaborative effort. Drivers divided tasks for long journeys, operating primarily at night to avoid onlookers and maintain secrecy. For multi-stage relays or adverse conditions (e.g., storms, fatigue), they paused at “corpse inns” (死尸客店) . These systematic techniques collectively shrouded Xiangxi corpse driving in an aura of macabre mystery.<br /> <br /> '''Second, Ritual Mechanics'''. This section elaborates on three dimensions: ritual tools, taboos, and apprenticeship conditions：<br /> '''1）'''Tools: Beyond the bamboo poles, black robes, and preservatives mentioned earlier, critical instruments include: Soul-Bell (摄魂铃): Guides spirits and signals night travelers to keep distance. Chenzhou Talismans (辰州符): Affixed to key body parts to ‘anchor the soul and stabilize the spirit’. Soul-Guiding Gong (引魂锣): Functions similarly to the bell; villagers hearing it would restrain dogs to prevent corpse mutilation； '''2）'''Taboos and Rules: Key prohibitions documented include: ‘Three Permitted and Three Forbidden’ (三赶三不赶), &quot;Three Permitted&quot; refers to beheaded (with head reattached), hanged, or war-dead—deemed ‘unresolved grievances requiring homebound rest’ and &quot;Three Forbidden&quot; refers to deaths by illness, suicide, or lightning—believed to have spirits reclaimed by the underworld, beyond control. Some linguistic taboos include replacing ‘赶尸’ (corpse driving) with ‘走脚’ (walking the feet) or ‘迎喜神’ (welcoming the joy-god) . And other avoidances include steering clear of pregnant women and the blind to prevent ‘spiritual clashes’, and operating exclusively at night via secluded paths to preserve secrecy and mystique； '''3）'''Apprenticeship System: Entry barriers were stringent: physical requirements are male apprentices aged ≥17, height ≥1.7m, with ‘unpleasant features’ (women excluded due to ‘excessive yin energy attracting evil’) . selection process is that parents signed contracts consenting to entry; candidates underwent trials (e.g., direction-finding after disorientation) . What's more, practitioners abstained from marriage and reproduction to avoid ‘yin contamination of descendants’ . These practices fueled external perceptions of corpse handlers as ‘demonic’, ‘mystical’, and ‘infinitely powerful’.&quot;<br /> <br /> ==Cultural Significance==<br /> <br /> As a unique folk funerary custom, Xiangxi corpse driving transcends mere 'corpse transportation' techniques. Born from the region’s distinctive geographical constraints, historical context, and the deeply rooted familial ethos of 'returning to one’s roots upon death,' this practice embodies profound cultural layers. In essence, we can decipher the following cultural significances from this phenomenon:<br /> <br /> '''First, the ultimate belief in &quot;fallen leaves returning to roots&quot; (落叶归根)'''. The people of Xiangxi believed that only by returning to their homeland for burial could the deceased's soul find peace; otherwise, they would become wandering spirits or homeless ghosts. This aligns with the Confucian concept that &quot;burial brings peace to the deceased&quot; (入土为安). The corpse-driving industry merely adapted this traditional belief in &quot;fallen leaves returning to roots&quot; into a means of livelihood for the corpse handlers.<br /> <br /> '''Second, the blurring of the boundary between life and death'''. By preserving corpses and using various tools to guide the souls of the deceased back to their homeland, thereby pacifying and settling the souls, the corpse-driving industry reflects a deliberate blurring of the distinction between life and death. The corpse handlers serve as &quot;messengers&quot; facilitating communication between the living and the dead, transcending the inherent &quot;separation between the living and the dead&quot; (人鬼殊途). Even if individuals die far from home during their lifetime, through corpse-driving, their souls can return to their native place, avoiding the fate of becoming &quot;wandering ghosts&quot; (孤魂野鬼) after death.<br /> <br /> '''Third, the response to livelihood challenges in mountainous culture'''. The corpse-driving industry shrouded itself in mystery through a series of industry rules, taboos, and secrets. While this ostensibly elevated professional thresholds and crafted an image of corpse drivers as &quot;mystically omnipotent&quot; (法力无边), it fundamentally secured livelihoods for these marginalized practitioners. Moreover, the emergence of this industry offered profound psychological solace to the deceased and their families. Given the rugged terrain of Western Hunan, conventional methods like coffin carriage were impractical for repatriating the dead. Corpse-driving, however, incurred minimal costs—affordable for bereaved families—thereby alleviating the anxiety of those who died far from home and their kin. Even in death, they could return to their homeland. Thus, the rise of corpse-driving not only fulfilled the pursuit of &quot;returning to one’s roots&quot; (落叶归根) but also embodied locally adapted wisdom of survival. It acts as a prism, refracting traditional Chinese society’s complex attitudes toward death, nature, and ethics, while urging modern society to re-examine the humanistic wisdom embedded in marginalized cultures.<br /> <br /> '''Fourth, the modern transformation of cultural heritage.''' As a unique cultural phenomenon in China, the Xiangxi corpse-driving tradition has inspired adaptations in film and television, modern popular literature, and contemporary symbols—all manifestations of its revitalized cultural relevance in the modern era. '''1）''' In film and television, a series of zombie movies by Lam Ching-ying, such as Mr. Jiangshi (《僵尸先生》) and New Mr. Jiangshi(《新僵尸先生》), integrated the Xiangxi corpse-driving culture with Taoist magic from Mount Mao (茅山法术). The iconic zombie imagery in these films—characterized by Qing Dynasty official robes, elongated fangs, and pallid, bluish faces—became emblematic of the genre. Exorcism scenes were crafted with classic precision, while the films' blend of horror and heightened comedic elements left a lasting impression on fans； '''2）'''In popular literature, suspense fiction enthusiasts leverage the historical backdrop of corpse-driving in Xiangxi and integrate other literary phenomena, such as Corpse-Handlers in Western Hunan: The Fallen Blossom Saint (《湘西赶尸之落花圣女》) and Mysteries of Western Hunan: Legends of Corpse-Driving (《湘西鬼事：赶尸传奇》). This demonstrates how the unique cultural heritage of Xiangxi corpse-driving has been innovatively and creatively reimagined within the realm of online popular literature; '''3)''' In popular symbols, practices such as &quot;hopping movement&quot; (跳跃行进) and &quot;affixing talismans&quot; (贴符咒) form a stark contrast to Western zombie culture. Commercial tourism has leveraged this cultural phenomenon to develop attractions like themed lodges, corpse-driving performances, and tourism-inspired cultural products, using it as a gimmick to attract visitors. However, it is undeniable that during the creative development of this culture, misinterpretations and distortions have emerged. Some literary works excessively exaggerate its &quot;horror and malevolence&quot; while overlooking the humanistic care and ethical boundaries at its core—specifically, the imperative to respect the deceased’s pursuit of &quot;fallen leaves returning to roots&quot; (落叶归根).<br /> <br /> ==Cross-Cultural Comparison==<br /> <br /> Egypt utilized preservation techniques to treat corpses, combined with complex religious incantations to enable posthumous &quot;resurrection.&quot; In contrast, Xiangxi corpse-driving aimed to ensure the deceased rest in peace. India practices water burials by depositing bodies into the Ganges River, emphasizing religious salvation rather than geographical belonging, as seen in Xiangxi corpse-driving. Additionally, the term &quot;zombie&quot; has been a mistranslation for &quot;僵尸&quot; (jiangshi). In essence, zombies (丧尸) are virus-driven &quot;living dead,&quot; reflecting distinct Eastern and Western sociocultural responses to death.<br /> <br /> ==Conclusion==<br /> <br /> As a unique regional cultural phenomenon, reducing Xiangxi corpse-driving merely to its corpse preservation or transportation techniques is superficial. Only by applying scientific spirit to deconstruct its technical principles and embracing humanistic sentiments to comprehend the ethical core of &quot;reverence for the dead and ancestral remembrance&quot; (慎终追远) can its creative inheritance be achieved amid modernity's impact—allowing the resilience behind mystery and the collaborative wisdom embedded in bamboo poles to continue illuminating humanity's eternal quest for dignity in death.<br /> <br /> ==References==<br /> <br /> [1] 赶尸[EB/OL].搜狗. 网址 ：https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [2]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018,(13):212. （https://wap.cnki.net/touch/web/Journal/Article/QCSY201813195.html）<br /> <br /> <br /> [3]王亚男.湘西赶尸文化探秘[J].电脑迷,2018,(02):186.（https://wap.cnki.net/touch/web/Journal/Article/DNMI201802163.html）<br /> <br /> <br /> [4] 湘西赶尸[EB/OL].百度. 网址： https://bkso.baidu.com/item/%E6%B9%98%E8%A5%BF%E8%B5%B6%E5%B0%B8/667752?fromModule=lemma_inlink&amp;app_lang=zh-CN<br /> <br /> <br /> [5]湘西“赶尸” [EB/OL]. 搜狗.网址： https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [6] 葬礼.[EB/OL].百度. 网址 https://baike.baidu.com/item/%E8%91%AC%E7%A4%BC/1735897?app_lang=zh-CN<br /> <br /> <br /> ==Terms and Expressions ==<br /> <br /> 湘西赶尸：corpse driving (Gan Shi) in Xiangxi ；The corpse of Xiangxi technique<br /> 落叶归根： fallen leaves returning to roots<br /> 死尸客店：corpse inns<br /> 摄魂铃：Soul-Bell <br /> 辰州符：Chenzhou Talismans <br /> 引魂锣Soul-Guiding Gong <br /> 入土为安：burial brings peace to the deceased<br /> 人鬼殊途：separation between the living and the dead<br /> 孤魂野鬼：wandering ghosts<br /> 法力无边：mystically omnipotent<br /> 贴符咒： affixing talismans<br /> <br /> ==Questions==<br /> <br /> 1. Based on the above readings, discuss what industry taboos and rules exist in the Xiangxi corpse-driving industry?<br /> <br /> 2. What cultural significance does Xiangxi corpse-driving embody?<br /> <br /> 3. What do these differences reveal considering the difference between corpse driving culture and Zombie culture?<br /> <br /> ==Answers==<br /> <br /> 1. Key prohibitions documented include: ‘Three Permitted and Three Forbidden’ (三赶三不赶), &quot;Three Permitted&quot; refers to beheaded (with head reattached), hanged, or war-dead—deemed ‘unresolved grievances requiring homebound rest’ and &quot;Three Forbidden&quot; refers to deaths by illness, suicide, or lightning—believed to have spirits reclaimed by the underworld, beyond control. Some linguistic taboos include replacing ‘赶尸’ (corpse driving) with ‘走脚’ (walking the feet) or ‘迎喜神’ (welcoming the joy-god) . And other avoidances include steering clear of pregnant women and the blind to prevent ‘spiritual clashes’, and operating exclusively at night via secluded paths to preserve secrecy and mystique.<br /> <br /> 2. First, the ultimate belief in &quot;fallen leaves returning to roots&quot;<br /> Second, the blurring of the boundary between life and death.<br /> Third, the response to livelihood challenges in mountainous culture.<br /> Fourth, the modern transformation of cultural heritage.<br /> <br /> 3. In essence, zombies (丧尸) are virus-driven &quot;living dead,&quot; reflecting distinct Eastern and Western sociocultural responses to death.<br /> <br /> <br /> <br /> <br /> <br /> <br /> ==AI Statement==<br /> <br /> The Chinese paper was written by me based on online materials (including papers, web pages, etc.). It should also be noted that for the source of web articles in the reference section, since I did not see the author and time, the format may not be clear. For English papers, the AI software (Tencent Yuanbao) was used for translation. This is because of the difficulty of Chinese papers (some terms need to be processed with tools) and time constraints. My general prompt when using AI software is: &quot;Please translate the above sentences into authentic English, maintaining the original content and form, without addition or omission.&quot; After the AI produces the result, I check and modify it against the original. However, in many cases, there is not much modification needed, and the translation accuracy is relatively high, except for the need to unify individual terms. My main role in the English paper is post-translation editing. For example, for the term &quot;巫术&quot;, the AI provided references such as &quot;witchcraft&quot;, but it contains a derogatory meaning and is not appropriate in context. Therefore, I searched for information and chose a neutral expression such as &quot;Miao folk magic&quot;. At the same time, in the process of post-translation editing, I also accumulated some translations of terms (such as &quot;落叶归根&quot;, &quot;孤魂野鬼&quot;, etc.), and to a certain extent, it also deepened my understanding of the cultural phenomenon of corpse driving in western Hunan.</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=169471 2025-06-19T13:54:46Z

<p>Li Ting2: </p> <hr /> <div>==湘西赶尸==<br /> <br /> <br /> ==摘要：==<br /> 本文主要介绍了湘西赶尸的起源与历史、“赶尸”原理揭秘、文化内涵、跨文化比较等方面，分析赶尸仪式中借助符咒、竹竿等工具实现尸体运送的民间智慧，探讨其背后反映的生死观、家族观念等文化意义，作者希望以此来提高大家对于湘西赶尸的了解，深刻体会其中的独特的文化内涵与价值。<br /> <br /> ==起源与历史==<br /> 湘西赶尸作为中国湘西地区独特的文化现象，反映了古代湘西人民对生死、乡土观念的深刻理解。事实上这一项历久以来备受外人关注的文化现象也一直引人想象，关于其起源，这里有以下三种说法可供参考： <br /> <br /> '''首先，神话传说'''。苗族传说赶尸最早可追溯到蚩尤时代，蚩尤大军在黄河边作战后，死伤无数，蚩尤命军师施巫术让战死士兵能够返回故乡，这一传说也被湘西苗族人代代口口相传，这是赶尸的神话起源。<br /> <br /> '''第二，地理环境限制'''。湘西地形险峻复杂，陆路交通极为不便，水路便利，中国自古有“落叶归根”的观念，即使客死他乡也想回归故里安葬，但是行至三峡水势极为汹涌危险，容易沉船，古人迷信，认为搭载尸体极为不吉利，不会轻易尝试。因而，为了让这些客死他乡的尸体能够返回故乡这就催生了“赶尸”这一特殊行业。<br /> <br /> '''第三，清朝“秋决”处罚'''，清朝时一些死囚被处决后，应死囚家人希望，可以让四人抬棺归故里，但是这一方法极为耗钱，并且尸体容易腐烂发臭，但请专门赶尸人将尸体处理后并带回既能避免尸体发臭腐烂又能省钱。<br /> <br /> ==湘西赶尸原理揭秘：技术与仪式的交融==<br /> <br /> 长久以来人们都很难理解湘西赶尸的奥秘，有些甚至会谈之色变，实际上赶尸的原理并不是超神话的，更多的是一项技术与仪式感的交融，营造了一种神秘感与心理威慑，是古代人民智慧的象征。以下从赶尸技术操作、仪式流程两个维度揭秘其核心逻辑。<br /> <br /> '''第一，赶尸技术操作上'''：'''1）''' 因为赶尸中的尸体是不能腐烂的，但是自然条件下尸体是会发烂发臭的，特别是夏季，这就要求赶尸人在赶尸之前就要对尸体进行防腐处理，学者认为湘西地区生长着一些特殊的草药（如朱砂），将尸体脱水后再进行草药的熏蒸就可以保障尸体长时间不腐，同时脱水后的尸体重量也减轻了，减少了赶尸难度。'''2）'''关于尸体搬运有两种说法，一种是在赶尸过程用到了竹竿，赶尸匠将尸体的双臂固定在竹竿，前后有两个人将竹竿抬起，由于竹竿的弹性，在移动过程中这就会产生尸体在“跳跃”的视觉假象，并且赶尸匠会对尸体做一些伪装如戴宽大的斗笠，穿宽大黑袍，贴黄符等；一种是一名赶尸匠背负肢解后藏于宽大黑袍的尸体，并由一名赶尸匠在前引路，撒纸钱，摇路铃等； '''3）'''赶尸技术是一项团队工作，赶尸匠面对遥远路途会进行分工合作，为了避免生人靠近及保密，大多是在晚上进行，一些长途赶尸会进行分段接力，在这过程中如遇天气恶劣，体力不济等赶尸匠会暂时停留在“死尸客店”。正因为这一系列的技艺实施，给湘西赶尸蒙上了神秘惊悚的面纱。<br /> <br /> '''第二，仪式揭秘'''。这里将从仪器工具、禁忌规则、技艺传承条件三方面阐述。'''1）'''除了前文提到的竹竿、黑袍以及防腐材料等，一些比较重要的工具还有摄魂铃（有“指引亡魂”的意义，并提示夜行人远离等）、辰州符（这种特制的符咒会被贴到尸体的一些关键部位起着“定魂安魄”的作用）、引魂锣（跟摄魂铃的作用很类似，也有指引亡灵的作用，路过村民听到该声音会把狗关起来，以免狗咬尸体）等；'''2）'''有关湘西赶尸的一些禁忌规则，查资料发现有：“三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感；'''3）'''赶尸行业在当时也是有一定门槛的，首要的一个就是胆子要大，命格要硬，身体素质好，赶尸匠不乱收徒，首先学徒父母得立字据同意加入赶尸行业，接着进行培训考核再进行技艺传承，一般来讲学徒得满 17 岁，身高一米七以上，相貌丑陋男性（不收女性，因为认为女性阴气重易招引邪物），并且从业者终身忌婚育避免“阴气染嗣”，也因为这些禁忌等，使得外人会对这个行业“妖魔化”、“神秘化”，认为赶尸匠“法力无边”。<br /> <br /> ==文化内涵==<br /> <br /> 湘西赶尸作为一种特殊的民俗丧葬文化现象，其文化内涵远超简单的“尸体搬运”技术，这是由湘西特殊的地理地质条件、历史文化背景以及“落叶归根”家庭观念等条件催生的，总的来说，从湘西赶尸这一文化现象我们可以从中解读出以下的文化内涵：<br /> <br /> '''第一，对“落叶归根”的终极信仰'''。湘西人认为死后只有回归故土安葬才能使得魂魄得以安定，否则会变成孤魂野鬼，这也与中国儒家“入土为安”的理念相契合，赶尸行业只是契合人们“落叶归根”的传统观念，并将其转化为赶尸匠的谋生手段。<br /> <br /> '''第二，生死界限模糊处理'''。将尸体进行防腐处理并利用各种工具招引引领亡魂归乡，安魂定魄，这些都反映了赶尸行业将生死界限模糊化，赶尸匠作为人与鬼交流的“信使”，超越“人鬼殊途”界限，即使死者生前客死他乡，但是通过赶尸，亡灵得以回归故里，避免死后成为“孤魂野鬼”。<br /> <br /> '''第三，山地文化生活困境应对'''。赶尸行业利用一系列的行业规则禁忌以及行业秘密等为赶尸行业蒙上了神秘的面纱，实际上不仅是提高了行业门槛，塑造了赶尸匠“法力无边”的形象，还保障了赶尸匠这类边缘群体的生活。不仅如此，赶尸行业的出现对于死者以及死者家属来说也是巨大的心理慰藉，因为湘西当地地形原因，地势崎岖，死者很难通过抬棺等手段回归，而赶尸行业经济花费不大，死者家属也能承受，在一定程度上缓解客死他乡死者以及其家人焦虑，带来精神抚慰，即使身死他乡，死后还可回归故土，可以说赶尸行业的产生不仅是人们对于回归故里的追求也是当地因地制宜的生存智慧。它如同一面棱镜，折射出中国传统社会在应对死亡、自然与伦理时的复杂心态，也提醒现代人重新审视边缘文化中蕴含的人文智慧。<br /> <br /> '''第四，现代转型的文化遗产。'''湘西赶尸作为一种特殊的中国文化现象，由此演绎了相关的影视、现代流行文学、流行符号等，这些都是湘西赶尸这一文化现象在现代重新焕发生机的表现。'''1）''' 在影视方面，林正英一系列僵尸电影如《僵尸先生》、《新僵尸先生》等，这些电影将湘西赶尸文化与茅山道士法术结合起来，这些电影中的僵尸形象也成为了标志性形象（穿着清朝官服，长獠牙，面部青白等），一些驱魔场景也特别经典，林正英的僵尸电影的情节不单单只是恐怖元素，一些喜剧效果也拉满，给影迷留下深刻印象；'''2）''' 在流行文学上，一些悬疑文学的爱好者借助湘西赶尸的历史背景并融入其他文学现象，如《湘西赶尸之落花圣女》、《湘西鬼事：赶尸传奇》等，将湘西的特殊的文化遗产运用到了网络流行文学中，这也显示了湘西赶尸文化在网络流行文学上得到创新与创造；'''3）''' 在流行符号上，譬如“跳跃行进”、“贴符咒”等等与西方丧尸文化形成鲜明对比，一些商业旅游也借用这一文化现象建造了如旅游民宿、赶尸表演等，并开发了一些旅游文创，成为吸引游客的噱头。但是不可否认的是，在对这一文化进行创造性发展的过程也存在着对该文化的误度与曲解，有些文学作品过分渲染其“恐怖邪性”特点，但是忽略了其背后的人文关怀与伦理边界（要尊重逝者对于“落叶归根”的追求）。<br /> <br /> ==跨文化比较==<br /> <br /> 埃及也利用防腐技术对尸体进行处理并结合其复杂的宗教咒语让尸体能够死后“复活”，而湘西赶尸则是为了尸体安息；印度则将尸体进行水葬，将尸体投入恒河，不同的是湘西赶尸强调的是地理归属，而印度则是强调宗教救赎；并且之前僵尸还被误译为&quot;Zombie&quot;，但其实两者本质是不同的，丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> ==结语==<br /> <br /> 湘西赶尸作为一种特殊地区文化现象，仅是单纯考虑其尸体保存或者搬运技巧是比较浅显的，唯有以科学精神解构赶尸的技术原理，以人文情怀体悟&quot;慎终追远&quot;的伦理内核，方能在现代性冲击下实现创造性传承——让“神秘”背后的生存韧性、竹竿间的协作智慧，继续照亮人类对生死尊严的永恒求索。<br /> <br /> ==参考文献==<br /> [1] 赶尸[EB/OL].搜狗. 网址 ：https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [2]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018,(13):212. （https://wap.cnki.net/touch/web/Journal/Article/QCSY201813195.html）<br /> <br /> <br /> [3]王亚男.湘西赶尸文化探秘[J].电脑迷,2018,(02):186.（https://wap.cnki.net/touch/web/Journal/Article/DNMI201802163.html）<br /> <br /> <br /> [4] 湘西赶尸[EB/OL].百度. 网址： https://bkso.baidu.com/item/%E6%B9%98%E8%A5%BF%E8%B5%B6%E5%B0%B8/667752?fromModule=lemma_inlink&amp;app_lang=zh-CN<br /> <br /> <br /> [5]湘西“赶尸” [EB/OL]. 搜狗.网址： https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [6] 葬礼.[EB/OL].百度. 网址 https://baike.baidu.com/item/%E8%91%AC%E7%A4%BC/1735897?app_lang=zh-CN<br /> <br /> <br /> 术语：<br /> <br /> 湘西赶尸：corpse driving (Gan Shi) in Xiangxi ；The corpse of Xiangxi technique<br /> 落叶归根： fallen leaves returning to roots<br /> 死尸客店：corpse inns<br /> 摄魂铃：Soul-Bell <br /> 辰州符：Chenzhou Talismans <br /> 引魂锣Soul-Guiding Gong <br /> 入土为安：burial brings peace to the deceased<br /> 人鬼殊途：separation between the living and the dead<br /> 孤魂野鬼：wandering ghosts<br /> 法力无边：mystically omnipotent<br /> 贴符咒： affixing talismans<br /> <br /> <br /> <br /> 1. 通过以上阅读，谈谈湘西赶尸行业有哪些行业禁忌与规则？<br /> <br /> (答案：“三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感。）<br /> <br /> 2. 湘西赶尸蕴含了哪些文化内涵？<br /> <br /> （答案：第一，对“落叶归根”的终极信仰。<br /> 第二，生死界限模糊处理。<br /> 第三，山地文化生活困境应对。<br /> 第四，现代转型的文化遗产。）<br /> <br /> 3. 湘西赶尸文化与西方丧尸文化有哪些不同，这些不同显示了什么？<br /> <br /> （答案：丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。）<br /> <br /> <br /> <br /> <br /> ==The corpse of Xiangxi technique==<br /> <br /> ==Abstract==<br /> <br /> This paper examines the origins and history of Xiangxi corpse-driving（or The corpse of Xiangxi technique）, reveals the operational principles behind the practice (such as transporting corpses using talismans and bamboo poles), and analyzes its cultural connotations and cross-cultural comparisons. It explores the folk wisdom reflected in the ritual tools and techniques while delving into the underlying cultural values—including concepts of life and death and familial bonds—embedded within this tradition. Through this study, the author aims to enhance public understanding of Xiangxi corpse-driving and foster a deeper appreciation of its unique cultural significance and value.<br /> <br /> ==Origin and History==<br /> <br /> The practice of &quot;corpse driving&quot; (Gan Shi) in Xiangxi (Western Hunan) stands as a unique phenomenon deeply rooted in the region. It reflects the ancient people's profound understanding of life, death, and attachment to their native land. This enigmatic tradition has long captivated outside attention and fueled imaginations. Three theories regarding its origins are referenced below:<br /> <br /> '''First, mythological Legend'''. According to Miao folklore, the practice of corpse driving can trace back to the era of Chiyou. After Chiyou's army fought along the Yellow River, suffering countless casualties, Chiyou commanded his sorcerer to use Miao folk magic, enabling the fallen soldiers to return to their homeland. This legend has been passed down orally through generations among the Miao people in Xiangxi, representing the mythological origin of corpse driving.<br /> <br /> '''Second, geographical constraints'''. With its treacherous and complex terrain, Xiangxi posed extreme challenges for overland transportation, though waterways offered relative convenience. Rooted in the ancient Chinese belief of 'fallen leaves returning to roots' (落叶归根), even those who died far from home wished to be buried in their ancestral lands. However, traversing the Three Gorges involved navigating perilously turbulent rapids where shipwrecks were frequent. Superstitious ancients deemed transporting corpses highly inauspicious and thus avoided it at all costs. Consequently, to repatriate these deceased souls to their hometowns, the unique profession of 'corpse driving' emerged.<br /> <br /> Third, the Qing Dynasty's 'Autumn Executions.' After prisoners were executed, families who wished to repatriate the corpses could hire four bearers to carry the coffins back to their hometowns. However, this method proved extremely costly, and the bodies were prone to rot and emit foul odors. In contrast, engaging specialized corpse drivers to treat and transport the bodies prevented decomposition while saving costs.<br /> <br /> ==Demystifying the Mechanics of Corpse Driving in Xiangxi: The Fusion of Technology and Ritual==<br /> For centuries, the enigma of corpse driving in Xiangxi has eluded public understanding, with some even reacting in terror at its mention. In truth, its mechanics were never supernatural, but rather a fusion of technical operations and ritualistic elements—crafting an aura of mystique and psychological deterrence that epitomized the ingenuity of ancient laborers. Below, we unveil its core logic through two dimensions: the technical execution and ritual procedures of corpse driving.<br /> <br /> '''First, regarding the technical operations of corpse driving''':<br /> '''1）''' Corpse Preservation: Since corpses in transit must not decompose—yet naturally decay and emit foul odors, especially in summer—corpse handlers must perform preservation treatments beforehand. Scholars note that special herbs (e.g., cinnabar) native to Xiangxi were used. Corpses underwent dehydration followed by herbal fumigation, preventing decay over extended periods while reducing weight for easier transport; '''2)''' Corpse Transportation Methods: one is bamboo pole technique. Corpses’ arms were secured to long bamboo poles, lifted by two handles at each end. The poles’ elasticity created a visual illusion of corpses “hopping” during movement. handlers disguised corpses with broad-brimmed hats, loose black robes, and yellow talismans. One is body-carrying method. One handler carried dismembered corpse parts concealed under robes, while another preceded the group, scattering spirit money and ringing road bells; '''3)''' Corpse driving was a collaborative effort. Drivers divided tasks for long journeys, operating primarily at night to avoid onlookers and maintain secrecy. For multi-stage relays or adverse conditions (e.g., storms, fatigue), they paused at “corpse inns” (死尸客店) . These systematic techniques collectively shrouded Xiangxi corpse driving in an aura of macabre mystery.<br /> <br /> '''Second, Ritual Mechanics'''. This section elaborates on three dimensions: ritual tools, taboos, and apprenticeship conditions：<br /> '''1）'''Tools: Beyond the bamboo poles, black robes, and preservatives mentioned earlier, critical instruments include: Soul-Bell (摄魂铃): Guides spirits and signals night travelers to keep distance. Chenzhou Talismans (辰州符): Affixed to key body parts to ‘anchor the soul and stabilize the spirit’. Soul-Guiding Gong (引魂锣): Functions similarly to the bell; villagers hearing it would restrain dogs to prevent corpse mutilation； '''2）'''Taboos and Rules: Key prohibitions documented include: ‘Three Permitted and Three Forbidden’ (三赶三不赶), &quot;Three Permitted&quot; refers to beheaded (with head reattached), hanged, or war-dead—deemed ‘unresolved grievances requiring homebound rest’ and &quot;Three Forbidden&quot; refers to deaths by illness, suicide, or lightning—believed to have spirits reclaimed by the underworld, beyond control. Some linguistic taboos include replacing ‘赶尸’ (corpse driving) with ‘走脚’ (walking the feet) or ‘迎喜神’ (welcoming the joy-god) . And other avoidances include steering clear of pregnant women and the blind to prevent ‘spiritual clashes’, and operating exclusively at night via secluded paths to preserve secrecy and mystique； '''3）'''Apprenticeship System: Entry barriers were stringent: physical requirements are male apprentices aged ≥17, height ≥1.7m, with ‘unpleasant features’ (women excluded due to ‘excessive yin energy attracting evil’) . selection process is that parents signed contracts consenting to entry; candidates underwent trials (e.g., direction-finding after disorientation) . What's more, practitioners abstained from marriage and reproduction to avoid ‘yin contamination of descendants’ . These practices fueled external perceptions of corpse handlers as ‘demonic’, ‘mystical’, and ‘infinitely powerful’.&quot;<br /> <br /> ==Cultural Significance==<br /> <br /> As a unique folk funerary custom, Xiangxi corpse driving transcends mere 'corpse transportation' techniques. Born from the region’s distinctive geographical constraints, historical context, and the deeply rooted familial ethos of 'returning to one’s roots upon death,' this practice embodies profound cultural layers. In essence, we can decipher the following cultural significances from this phenomenon:<br /> <br /> '''First, the ultimate belief in &quot;fallen leaves returning to roots&quot; (落叶归根)'''. The people of Xiangxi believed that only by returning to their homeland for burial could the deceased's soul find peace; otherwise, they would become wandering spirits or homeless ghosts. This aligns with the Confucian concept that &quot;burial brings peace to the deceased&quot; (入土为安). The corpse-driving industry merely adapted this traditional belief in &quot;fallen leaves returning to roots&quot; into a means of livelihood for the corpse handlers.<br /> <br /> '''Second, the blurring of the boundary between life and death'''. By preserving corpses and using various tools to guide the souls of the deceased back to their homeland, thereby pacifying and settling the souls, the corpse-driving industry reflects a deliberate blurring of the distinction between life and death. The corpse handlers serve as &quot;messengers&quot; facilitating communication between the living and the dead, transcending the inherent &quot;separation between the living and the dead&quot; (人鬼殊途). Even if individuals die far from home during their lifetime, through corpse-driving, their souls can return to their native place, avoiding the fate of becoming &quot;wandering ghosts&quot; (孤魂野鬼) after death.<br /> <br /> '''Third, the response to livelihood challenges in mountainous culture'''. The corpse-driving industry shrouded itself in mystery through a series of industry rules, taboos, and secrets. While this ostensibly elevated professional thresholds and crafted an image of corpse drivers as &quot;mystically omnipotent&quot; (法力无边), it fundamentally secured livelihoods for these marginalized practitioners. Moreover, the emergence of this industry offered profound psychological solace to the deceased and their families. Given the rugged terrain of Western Hunan, conventional methods like coffin carriage were impractical for repatriating the dead. Corpse-driving, however, incurred minimal costs—affordable for bereaved families—thereby alleviating the anxiety of those who died far from home and their kin. Even in death, they could return to their homeland. Thus, the rise of corpse-driving not only fulfilled the pursuit of &quot;returning to one’s roots&quot; (落叶归根) but also embodied locally adapted wisdom of survival. It acts as a prism, refracting traditional Chinese society’s complex attitudes toward death, nature, and ethics, while urging modern society to re-examine the humanistic wisdom embedded in marginalized cultures.<br /> <br /> '''Fourth, the modern transformation of cultural heritage.''' As a unique cultural phenomenon in China, the Xiangxi corpse-driving tradition has inspired adaptations in film and television, modern popular literature, and contemporary symbols—all manifestations of its revitalized cultural relevance in the modern era. '''1）''' In film and television, a series of zombie movies by Lam Ching-ying, such as Mr. Jiangshi (《僵尸先生》) and New Mr. Jiangshi(《新僵尸先生》), integrated the Xiangxi corpse-driving culture with Taoist magic from Mount Mao (茅山法术). The iconic zombie imagery in these films—characterized by Qing Dynasty official robes, elongated fangs, and pallid, bluish faces—became emblematic of the genre. Exorcism scenes were crafted with classic precision, while the films' blend of horror and heightened comedic elements left a lasting impression on fans； '''2）'''In popular literature, suspense fiction enthusiasts leverage the historical backdrop of corpse-driving in Xiangxi and integrate other literary phenomena, such as Corpse-Handlers in Western Hunan: The Fallen Blossom Saint (《湘西赶尸之落花圣女》) and Mysteries of Western Hunan: Legends of Corpse-Driving (《湘西鬼事：赶尸传奇》). This demonstrates how the unique cultural heritage of Xiangxi corpse-driving has been innovatively and creatively reimagined within the realm of online popular literature; '''3)''' In popular symbols, practices such as &quot;hopping movement&quot; (跳跃行进) and &quot;affixing talismans&quot; (贴符咒) form a stark contrast to Western zombie culture. Commercial tourism has leveraged this cultural phenomenon to develop attractions like themed lodges, corpse-driving performances, and tourism-inspired cultural products, using it as a gimmick to attract visitors. However, it is undeniable that during the creative development of this culture, misinterpretations and distortions have emerged. Some literary works excessively exaggerate its &quot;horror and malevolence&quot; while overlooking the humanistic care and ethical boundaries at its core—specifically, the imperative to respect the deceased’s pursuit of &quot;fallen leaves returning to roots&quot; (落叶归根).<br /> <br /> ==Cross-Cultural Comparison==<br /> <br /> Egypt utilized preservation techniques to treat corpses, combined with complex religious incantations to enable posthumous &quot;resurrection.&quot; In contrast, Xiangxi corpse-driving aimed to ensure the deceased rest in peace. India practices water burials by depositing bodies into the Ganges River, emphasizing religious salvation rather than geographical belonging, as seen in Xiangxi corpse-driving. Additionally, the term &quot;zombie&quot; has been a mistranslation for &quot;僵尸&quot; (jiangshi). In essence, zombies (丧尸) are virus-driven &quot;living dead,&quot; reflecting distinct Eastern and Western sociocultural responses to death.<br /> <br /> ==Conclusion==<br /> <br /> As a unique regional cultural phenomenon, reducing Xiangxi corpse-driving merely to its corpse preservation or transportation techniques is superficial. Only by applying scientific spirit to deconstruct its technical principles and embracing humanistic sentiments to comprehend the ethical core of &quot;reverence for the dead and ancestral remembrance&quot; (慎终追远) can its creative inheritance be achieved amid modernity's impact—allowing the resilience behind mystery and the collaborative wisdom embedded in bamboo poles to continue illuminating humanity's eternal quest for dignity in death.<br /> <br /> ==References==<br /> [1] 赶尸[EB/OL].搜狗. 网址 ：https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [2]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018,(13):212. （https://wap.cnki.net/touch/web/Journal/Article/QCSY201813195.html）<br /> <br /> <br /> [3]王亚男.湘西赶尸文化探秘[J].电脑迷,2018,(02):186.（https://wap.cnki.net/touch/web/Journal/Article/DNMI201802163.html）<br /> <br /> <br /> [4] 湘西赶尸[EB/OL].百度. 网址： https://bkso.baidu.com/item/%E6%B9%98%E8%A5%BF%E8%B5%B6%E5%B0%B8/667752?fromModule=lemma_inlink&amp;app_lang=zh-CN<br /> <br /> <br /> [5]湘西“赶尸” [EB/OL]. 搜狗.网址： https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [6] 葬礼.[EB/OL].百度. 网址 https://baike.baidu.com/item/%E8%91%AC%E7%A4%BC/1735897?app_lang=zh-CN<br /> <br /> <br /> <br /> 湘西赶尸：corpse driving (Gan Shi) in Xiangxi ；The corpse of Xiangxi technique<br /> 落叶归根： fallen leaves returning to roots<br /> 死尸客店：corpse inns<br /> 摄魂铃：Soul-Bell <br /> 辰州符：Chenzhou Talismans <br /> 引魂锣Soul-Guiding Gong <br /> 入土为安：burial brings peace to the deceased<br /> 人鬼殊途：separation between the living and the dead<br /> 孤魂野鬼：wandering ghosts<br /> 法力无边：mystically omnipotent<br /> 贴符咒： affixing talismans<br /> <br /> ==Questions==<br /> <br /> 1. Based on the above readings, discuss what industry taboos and rules exist in the Xiangxi corpse-driving industry?<br /> <br /> (Key prohibitions documented include: ‘Three Permitted and Three Forbidden’ (三赶三不赶), &quot;Three Permitted&quot; refers to beheaded (with head reattached), hanged, or war-dead—deemed ‘unresolved grievances requiring homebound rest’ and &quot;Three Forbidden&quot; refers to deaths by illness, suicide, or lightning—believed to have spirits reclaimed by the underworld, beyond control. Some linguistic taboos include replacing ‘赶尸’ (corpse driving) with ‘走脚’ (walking the feet) or ‘迎喜神’ (welcoming the joy-god) . And other avoidances include steering clear of pregnant women and the blind to prevent ‘spiritual clashes’, and operating exclusively at night via secluded paths to preserve secrecy and mystique；)<br /> <br /> <br /> 2. What cultural significance does Xiangxi corpse-driving embody?<br /> <br /> (First, the ultimate belief in &quot;fallen leaves returning to roots&quot;<br /> Second, the blurring of the boundary between life and death.<br /> Third, the response to livelihood challenges in mountainous culture.<br /> Fourth, the modern transformation of cultural heritage)<br /> <br /> <br /> 3. What are the differences between Xiangxi corpse-driving culture and Western zombie culture, and what do these differences reveal?<br /> <br /> (In essence, zombies (丧尸) are virus-driven &quot;living dead,&quot; reflecting distinct Eastern and Western sociocultural responses to death.)<br /> <br /> <br /> <br /> <br /> (AI Statement: The Chinese paper was written by me based on online materials (including papers, web pages, etc.). It should also be noted that for the source of web articles in the reference section, since I did not see the author and time, the format may not be clear. For English papers, the AI software (Tencent Yuanbao) was used for translation. This is because of the difficulty of Chinese papers (some terms need to be processed with tools) and time constraints. My general prompt when using AI software is: &quot;Please translate the above sentences into authentic English, maintaining the original content and form, without addition or omission.&quot; After the AI produces the result, I check and modify it against the original. However, in many cases, there is not much modification needed, and the translation accuracy is relatively high, except for the need to unify individual terms. My main role in the English paper is post-translation editing. For example, for the term &quot;巫术&quot;, the AI provided references such as &quot;witchcraft&quot;, but it contains a derogatory meaning and is not appropriate in context. Therefore, I searched for information and chose a neutral expression such as &quot;Miao folk magic&quot;. At the same time, in the process of post-translation editing, I also accumulated some translations of terms (such as &quot;落叶归根&quot;, &quot;孤魂野鬼&quot;, etc.), and to a certain extent, it also deepened my understanding of the cultural phenomenon of corpse driving in western Hunan.)</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=169446 2025-06-19T13:34:47Z

<p>Li Ting2: </p> <hr /> <div>==湘西赶尸==<br /> <br /> <br /> ==摘要：==<br /> 本文主要介绍了湘西赶尸的起源与历史、“赶尸”原理揭秘、文化内涵、跨文化比较等方面，分析赶尸仪式中借助符咒、竹竿等工具实现尸体运送的民间智慧，探讨其背后反映的生死观、家族观念等文化意义，作者希望以此来提高大家对于湘西赶尸的了解，深刻体会其中的独特的文化内涵与价值。<br /> <br /> ==起源与历史==<br /> 湘西赶尸作为中国湘西地区独特的文化现象，反映了古代湘西人民对生死、乡土观念的深刻理解。事实上这一项历久以来备受外人关注的文化现象也一直引人想象，关于其起源，这里有以下三种说法可供参考： <br /> <br /> '''首先，神话传说'''。苗族传说赶尸最早可追溯到蚩尤时代，蚩尤大军在黄河边作战后，死伤无数，蚩尤命军师施巫术让战死士兵能够返回故乡，这一传说也被湘西苗族人代代口口相传，这是赶尸的神话起源。<br /> <br /> '''第二，地理环境限制'''。湘西地形险峻复杂，陆路交通极为不便，水路便利，中国自古有“落叶归根”的观念，即使客死他乡也想回归故里安葬，但是行至三峡水势极为汹涌危险，容易沉船，古人迷信，认为搭载尸体极为不吉利，不会轻易尝试。因而，为了让这些客死他乡的尸体能够返回故乡这就催生了“赶尸”这一特殊行业。<br /> <br /> '''第三，清朝“秋决”处罚'''，清朝时一些死囚被处决后，应死囚家人希望，可以让四人抬棺归故里，但是这一方法极为耗钱，并且尸体容易腐烂发臭，但请专门赶尸人将尸体处理后并带回既能避免尸体发臭腐烂又能省钱。<br /> <br /> ==湘西赶尸原理揭秘：技术与仪式的交融==<br /> <br /> 长久以来人们都很难理解湘西赶尸的奥秘，有些甚至会谈之色变，实际上赶尸的原理并不是超神话的，更多的是一项技术与仪式感的交融，营造了一种神秘感与心理威慑，是古代人民智慧的象征。以下从赶尸技术操作、仪式流程两个维度揭秘其核心逻辑。<br /> <br /> '''第一，赶尸技术操作上'''：'''1）''' 因为赶尸中的尸体是不能腐烂的，但是自然条件下尸体是会发烂发臭的，特别是夏季，这就要求赶尸人在赶尸之前就要对尸体进行防腐处理，学者认为湘西地区生长着一些特殊的草药（如朱砂），将尸体脱水后再进行草药的熏蒸就可以保障尸体长时间不腐，同时脱水后的尸体重量也减轻了，减少了赶尸难度。'''2）'''关于尸体搬运有两种说法，一种是在赶尸过程用到了竹竿，赶尸匠将尸体的双臂固定在竹竿，前后有两个人将竹竿抬起，由于竹竿的弹性，在移动过程中这就会产生尸体在“跳跃”的视觉假象，并且赶尸匠会对尸体做一些伪装如戴宽大的斗笠，穿宽大黑袍，贴黄符等；一种是一名赶尸匠背负肢解后藏于宽大黑袍的尸体，并由一名赶尸匠在前引路，撒纸钱，摇路铃等； '''3）'''赶尸技术是一项团队工作，赶尸匠面对遥远路途会进行分工合作，为了避免生人靠近及保密，大多是在晚上进行，一些长途赶尸会进行分段接力，在这过程中如遇天气恶劣，体力不济等赶尸匠会暂时停留在“死尸客店”。正因为这一系列的技艺实施，给湘西赶尸蒙上了神秘惊悚的面纱。<br /> <br /> '''第二，仪式揭秘'''。这里将从仪器工具、禁忌规则、技艺传承条件三方面阐述。'''1）'''除了前文提到的竹竿、黑袍以及防腐材料等，一些比较重要的工具还有摄魂铃（有“指引亡魂”的意义，并提示夜行人远离等）、辰州符（这种特制的符咒会被贴到尸体的一些关键部位起着“定魂安魄”的作用）、引魂锣（跟摄魂铃的作用很类似，也有指引亡灵的作用，路过村民听到该声音会把狗关起来，以免狗咬尸体）等；'''2）'''有关湘西赶尸的一些禁忌规则，查资料发现有：“三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感；'''3）'''赶尸行业在当时也是有一定门槛的，首要的一个就是胆子要大，命格要硬，身体素质好，赶尸匠不乱收徒，首先学徒父母得立字据同意加入赶尸行业，接着进行培训考核再进行技艺传承，一般来讲学徒得满 17 岁，身高一米七以上，相貌丑陋男性（不收女性，因为认为女性阴气重易招引邪物），并且从业者终身忌婚育避免“阴气染嗣”，也因为这些禁忌等，使得外人会对这个行业“妖魔化”、“神秘化”，认为赶尸匠“法力无边”。<br /> <br /> ==文化内涵==<br /> <br /> 湘西赶尸作为一种特殊的民俗丧葬文化现象，其文化内涵远超简单的“尸体搬运”技术，这是由湘西特殊的地理地质条件、历史文化背景以及“落叶归根”家庭观念等条件催生的，总的来说，从湘西赶尸这一文化现象我们可以从中解读出以下的文化内涵：<br /> <br /> '''第一，对“落叶归根”的终极信仰'''。湘西人认为死后只有回归故土安葬才能使得魂魄得以安定，否则会变成孤魂野鬼，这也与中国儒家“入土为安”的理念相契合，赶尸行业只是契合人们“落叶归根”的传统观念，并将其转化为赶尸匠的谋生手段。<br /> <br /> '''第二，生死界限模糊处理'''。将尸体进行防腐处理并利用各种工具招引引领亡魂归乡，安魂定魄，这些都反映了赶尸行业将生死界限模糊化，赶尸匠作为人与鬼交流的“信使”，超越“人鬼殊途”界限，即使死者生前客死他乡，但是通过赶尸，亡灵得以回归故里，避免死后成为“孤魂野鬼”。<br /> <br /> '''第三，山地文化生活困境应对'''。赶尸行业利用一系列的行业规则禁忌以及行业秘密等为赶尸行业蒙上了神秘的面纱，实际上不仅是提高了行业门槛，塑造了赶尸匠“法力无边”的形象，还保障了赶尸匠这类边缘群体的生活。不仅如此，赶尸行业的出现对于死者以及死者家属来说也是巨大的心理慰藉，因为湘西当地地形原因，地势崎岖，死者很难通过抬棺等手段回归，而赶尸行业经济花费不大，死者家属也能承受，在一定程度上缓解客死他乡死者以及其家人焦虑，带来精神抚慰，即使身死他乡，死后还可回归故土，可以说赶尸行业的产生不仅是人们对于回归故里的追求也是当地因地制宜的生存智慧。它如同一面棱镜，折射出中国传统社会在应对死亡、自然与伦理时的复杂心态，也提醒现代人重新审视边缘文化中蕴含的人文智慧。<br /> <br /> '''第四，现代转型的文化遗产。'''湘西赶尸作为一种特殊的中国文化现象，由此演绎了相关的影视、现代流行文学、流行符号等，这些都是湘西赶尸这一文化现象在现代重新焕发生机的表现。'''1）''' 在影视方面，林正英一系列僵尸电影如《僵尸先生》、《新僵尸先生》等，这些电影将湘西赶尸文化与茅山道士法术结合起来，这些电影中的僵尸形象也成为了标志性形象（穿着清朝官服，长獠牙，面部青白等），一些驱魔场景也特别经典，林正英的僵尸电影的情节不单单只是恐怖元素，一些喜剧效果也拉满，给影迷留下深刻印象；'''2）''' 在流行文学上，一些悬疑文学的爱好者借助湘西赶尸的历史背景并融入其他文学现象，如《湘西赶尸之落花圣女》、《湘西鬼事：赶尸传奇》等，将湘西的特殊的文化遗产运用到了网络流行文学中，这也显示了湘西赶尸文化在网络流行文学上得到创新与创造；'''3）''' 在流行符号上，譬如“跳跃行进”、“贴符咒”等等与西方丧尸文化形成鲜明对比，一些商业旅游也借用这一文化现象建造了如旅游民宿、赶尸表演等，并开发了一些旅游文创，成为吸引游客的噱头。但是不可否认的是，在对这一文化进行创造性发展的过程也存在着对该文化的误度与曲解，有些文学作品过分渲染其“恐怖邪性”特点，但是忽略了其背后的人文关怀与伦理边界（要尊重逝者对于“落叶归根”的追求）。<br /> <br /> ==跨文化比较==<br /> <br /> 埃及也利用防腐技术对尸体进行处理并结合其复杂的宗教咒语让尸体能够死后“复活”，而湘西赶尸则是为了尸体安息；印度则将尸体进行水葬，将尸体投入恒河，不同的是湘西赶尸强调的是地理归属，而印度则是强调宗教救赎；并且之前僵尸还被误译为&quot;Zombie&quot;，但其实两者本质是不同的，丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> ==结语==<br /> <br /> 湘西赶尸作为一种特殊地区文化现象，仅是单纯考虑其尸体保存或者搬运技巧是比较浅显的，唯有以科学精神解构赶尸的技术原理，以人文情怀体悟&quot;慎终追远&quot;的伦理内核，方能在现代性冲击下实现创造性传承——让“神秘”背后的生存韧性、竹竿间的协作智慧，继续照亮人类对生死尊严的永恒求索。<br /> <br /> ==参考文献==<br /> [1] 赶尸[EB/OL].搜狗. 网址 ：https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [2]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018,(13):212. （https://wap.cnki.net/touch/web/Journal/Article/QCSY201813195.html）<br /> <br /> <br /> [3]王亚男.湘西赶尸文化探秘[J].电脑迷,2018,(02):186.（https://wap.cnki.net/touch/web/Journal/Article/DNMI201802163.html）<br /> <br /> <br /> [4] 湘西赶尸[EB/OL].百度. 网址： https://bkso.baidu.com/item/%E6%B9%98%E8%A5%BF%E8%B5%B6%E5%B0%B8/667752?fromModule=lemma_inlink&amp;app_lang=zh-CN<br /> <br /> <br /> [5]湘西“赶尸” [EB/OL]. 搜狗.网址： https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [6] 葬礼.[EB/OL].百度. 网址 https://baike.baidu.com/item/%E8%91%AC%E7%A4%BC/1735897?app_lang=zh-CN<br /> <br /> <br /> 术语：<br /> <br /> 湘西赶尸：corpse driving (Gan Shi) in Xiangxi ；The corpse of Xiangxi technique<br /> 落叶归根： fallen leaves returning to roots<br /> 死尸客店：corpse inns<br /> 摄魂铃：Soul-Bell <br /> 辰州符：Chenzhou Talismans <br /> 引魂锣Soul-Guiding Gong <br /> 入土为安：burial brings peace to the deceased<br /> 人鬼殊途：separation between the living and the dead<br /> 孤魂野鬼：wandering ghosts<br /> 法力无边：mystically omnipotent<br /> 贴符咒： affixing talismans<br /> <br /> <br /> <br /> 1. 通过以上阅读，谈谈湘西赶尸行业有哪些行业禁忌与规则？<br /> <br /> (答案：“三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感。）<br /> <br /> 2. 湘西赶尸蕴含了哪些文化内涵？<br /> <br /> （答案：第一，对“落叶归根”的终极信仰。<br /> 第二，生死界限模糊处理。<br /> 第三，山地文化生活困境应对。<br /> 第四，现代转型的文化遗产。）<br /> <br /> 3. 湘西赶尸文化与西方丧尸文化有哪些不同，这些不同显示了什么？<br /> <br /> （答案：丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。）<br /> <br /> <br /> <br /> <br /> ==The corpse of Xiangxi technique==<br /> <br /> ==Abstract==<br /> <br /> This paper examines the origins and history of Xiangxi corpse-driving（or The corpse of Xiangxi technique）, reveals the operational principles behind the practice (such as transporting corpses using talismans and bamboo poles), and analyzes its cultural connotations and cross-cultural comparisons. It explores the folk wisdom reflected in the ritual tools and techniques while delving into the underlying cultural values—including concepts of life and death and familial bonds—embedded within this tradition. Through this study, the author aims to enhance public understanding of Xiangxi corpse-driving and foster a deeper appreciation of its unique cultural significance and value.<br /> <br /> ==Origin and History==<br /> <br /> The practice of &quot;corpse driving&quot; (Gan Shi) in Xiangxi (Western Hunan) stands as a unique phenomenon deeply rooted in the region. It reflects the ancient people's profound understanding of life, death, and attachment to their native land. This enigmatic tradition has long captivated outside attention and fueled imaginations. Three theories regarding its origins are referenced below:<br /> <br /> '''First, mythological Legend'''. According to Miao folklore, the practice of corpse driving can trace back to the era of Chiyou. After Chiyou's army fought along the Yellow River, suffering countless casualties, Chiyou commanded his sorcerer to use Miao folk magic, enabling the fallen soldiers to return to their homeland. This legend has been passed down orally through generations among the Miao people in Xiangxi, representing the mythological origin of corpse driving.<br /> <br /> '''Second, geographical constraints'''. With its treacherous and complex terrain, Xiangxi posed extreme challenges for overland transportation, though waterways offered relative convenience. Rooted in the ancient Chinese belief of 'fallen leaves returning to roots' (落叶归根), even those who died far from home wished to be buried in their ancestral lands. However, traversing the Three Gorges involved navigating perilously turbulent rapids where shipwrecks were frequent. Superstitious ancients deemed transporting corpses highly inauspicious and thus avoided it at all costs. Consequently, to repatriate these deceased souls to their hometowns, the unique profession of 'corpse driving' emerged.<br /> <br /> Third, the Qing Dynasty's 'Autumn Executions.' After prisoners were executed, families who wished to repatriate the corpses could hire four bearers to carry the coffins back to their hometowns. However, this method proved extremely costly, and the bodies were prone to rot and emit foul odors. In contrast, engaging specialized corpse drivers to treat and transport the bodies prevented decomposition while saving costs.<br /> <br /> ==Demystifying the Mechanics of Corpse Driving in Xiangxi: The Fusion of Technology and Ritual==<br /> For centuries, the enigma of corpse driving in Xiangxi has eluded public understanding, with some even reacting in terror at its mention. In truth, its mechanics were never supernatural, but rather a fusion of technical operations and ritualistic elements—crafting an aura of mystique and psychological deterrence that epitomized the ingenuity of ancient laborers. Below, we unveil its core logic through two dimensions: the technical execution and ritual procedures of corpse driving.<br /> <br /> '''First, regarding the technical operations of corpse driving''':<br /> '''1）''' Corpse Preservation: Since corpses in transit must not decompose—yet naturally decay and emit foul odors, especially in summer—corpse handlers must perform preservation treatments beforehand. Scholars note that special herbs (e.g., cinnabar) native to Xiangxi were used. Corpses underwent dehydration followed by herbal fumigation, preventing decay over extended periods while reducing weight for easier transport; '''2)''' Corpse Transportation Methods: one is bamboo pole technique. Corpses’ arms were secured to long bamboo poles, lifted by two handles at each end. The poles’ elasticity created a visual illusion of corpses “hopping” during movement. handlers disguised corpses with broad-brimmed hats, loose black robes, and yellow talismans. One is body-carrying method. One handler carried dismembered corpse parts concealed under robes, while another preceded the group, scattering spirit money and ringing road bells; '''3)''' Corpse driving was a collaborative effort. Drivers divided tasks for long journeys, operating primarily at night to avoid onlookers and maintain secrecy. For multi-stage relays or adverse conditions (e.g., storms, fatigue), they paused at “corpse inns” (死尸客店) . These systematic techniques collectively shrouded Xiangxi corpse driving in an aura of macabre mystery.<br /> <br /> '''Second, Ritual Mechanics'''. This section elaborates on three dimensions: ritual tools, taboos, and apprenticeship conditions：<br /> '''1）'''Tools: Beyond the bamboo poles, black robes, and preservatives mentioned earlier, critical instruments include: Soul-Bell (摄魂铃): Guides spirits and signals night travelers to keep distance. Chenzhou Talismans (辰州符): Affixed to key body parts to ‘anchor the soul and stabilize the spirit’. Soul-Guiding Gong (引魂锣): Functions similarly to the bell; villagers hearing it would restrain dogs to prevent corpse mutilation； '''2）'''Taboos and Rules: Key prohibitions documented include: ‘Three Permitted and Three Forbidden’ (三赶三不赶), &quot;Three Permitted&quot; refers to beheaded (with head reattached), hanged, or war-dead—deemed ‘unresolved grievances requiring homebound rest’ and &quot;Three Forbidden&quot; refers to deaths by illness, suicide, or lightning—believed to have spirits reclaimed by the underworld, beyond control. Some linguistic taboos include replacing ‘赶尸’ (corpse driving) with ‘走脚’ (walking the feet) or ‘迎喜神’ (welcoming the joy-god) . And other avoidances include steering clear of pregnant women and the blind to prevent ‘spiritual clashes’, and operating exclusively at night via secluded paths to preserve secrecy and mystique； '''3）'''Apprenticeship System: Entry barriers were stringent: physical requirements are male apprentices aged ≥17, height ≥1.7m, with ‘unpleasant features’ (women excluded due to ‘excessive yin energy attracting evil’) . selection process is that parents signed contracts consenting to entry; candidates underwent trials (e.g., direction-finding after disorientation) . What's more, practitioners abstained from marriage and reproduction to avoid ‘yin contamination of descendants’ . These practices fueled external perceptions of corpse handlers as ‘demonic’, ‘mystical’, and ‘infinitely powerful’.&quot;<br /> <br /> ==Cultural Significance==<br /> <br /> As a unique folk funerary custom, Xiangxi corpse driving transcends mere 'corpse transportation' techniques. Born from the region’s distinctive geographical constraints, historical context, and the deeply rooted familial ethos of 'returning to one’s roots upon death,' this practice embodies profound cultural layers. In essence, we can decipher the following cultural significances from this phenomenon:<br /> <br /> '''First, the ultimate belief in &quot;fallen leaves returning to roots&quot; (落叶归根)'''. The people of Xiangxi believed that only by returning to their homeland for burial could the deceased's soul find peace; otherwise, they would become wandering spirits or homeless ghosts. This aligns with the Confucian concept that &quot;burial brings peace to the deceased&quot; (入土为安). The corpse-driving industry merely adapted this traditional belief in &quot;fallen leaves returning to roots&quot; into a means of livelihood for the corpse handlers.<br /> <br /> '''Second, the blurring of the boundary between life and death'''. By preserving corpses and using various tools to guide the souls of the deceased back to their homeland, thereby pacifying and settling the souls, the corpse-driving industry reflects a deliberate blurring of the distinction between life and death. The corpse handlers serve as &quot;messengers&quot; facilitating communication between the living and the dead, transcending the inherent &quot;separation between the living and the dead&quot; (人鬼殊途). Even if individuals die far from home during their lifetime, through corpse-driving, their souls can return to their native place, avoiding the fate of becoming &quot;wandering ghosts&quot; (孤魂野鬼) after death.<br /> <br /> '''Third, the response to livelihood challenges in mountainous culture'''. The corpse-driving industry shrouded itself in mystery through a series of industry rules, taboos, and secrets. While this ostensibly elevated professional thresholds and crafted an image of corpse drivers as &quot;mystically omnipotent&quot; (法力无边), it fundamentally secured livelihoods for these marginalized practitioners. Moreover, the emergence of this industry offered profound psychological solace to the deceased and their families. Given the rugged terrain of Western Hunan, conventional methods like coffin carriage were impractical for repatriating the dead. Corpse-driving, however, incurred minimal costs—affordable for bereaved families—thereby alleviating the anxiety of those who died far from home and their kin. Even in death, they could return to their homeland. Thus, the rise of corpse-driving not only fulfilled the pursuit of &quot;returning to one’s roots&quot; (落叶归根) but also embodied locally adapted wisdom of survival. It acts as a prism, refracting traditional Chinese society’s complex attitudes toward death, nature, and ethics, while urging modern society to re-examine the humanistic wisdom embedded in marginalized cultures.<br /> <br /> '''Fourth, the modern transformation of cultural heritage.''' As a unique cultural phenomenon in China, the Xiangxi corpse-driving tradition has inspired adaptations in film and television, modern popular literature, and contemporary symbols—all manifestations of its revitalized cultural relevance in the modern era. '''1）''' In film and television, a series of zombie movies by Lam Ching-ying, such as Mr. Jiangshi (《僵尸先生》) and New Mr. Jiangshi(《新僵尸先生》), integrated the Xiangxi corpse-driving culture with Taoist magic from Mount Mao (茅山法术). The iconic zombie imagery in these films—characterized by Qing Dynasty official robes, elongated fangs, and pallid, bluish faces—became emblematic of the genre. Exorcism scenes were crafted with classic precision, while the films' blend of horror and heightened comedic elements left a lasting impression on fans； '''2）'''In popular literature, suspense fiction enthusiasts leverage the historical backdrop of corpse-driving in Xiangxi and integrate other literary phenomena, such as Corpse-Handlers in Western Hunan: The Fallen Blossom Saint (《湘西赶尸之落花圣女》) and Mysteries of Western Hunan: Legends of Corpse-Driving (《湘西鬼事：赶尸传奇》). This demonstrates how the unique cultural heritage of Xiangxi corpse-driving has been innovatively and creatively reimagined within the realm of online popular literature; '''3)''' In popular symbols, practices such as &quot;hopping movement&quot; (跳跃行进) and &quot;affixing talismans&quot; (贴符咒) form a stark contrast to Western zombie culture. Commercial tourism has leveraged this cultural phenomenon to develop attractions like themed lodges, corpse-driving performances, and tourism-inspired cultural products, using it as a gimmick to attract visitors. However, it is undeniable that during the creative development of this culture, misinterpretations and distortions have emerged. Some literary works excessively exaggerate its &quot;horror and malevolence&quot; while overlooking the humanistic care and ethical boundaries at its core—specifically, the imperative to respect the deceased’s pursuit of &quot;fallen leaves returning to roots&quot; (落叶归根).<br /> <br /> ==Cross-Cultural Comparison==<br /> <br /> Egypt utilized preservation techniques to treat corpses, combined with complex religious incantations to enable posthumous &quot;resurrection.&quot; In contrast, Xiangxi corpse-driving aimed to ensure the deceased rest in peace. India practices water burials by depositing bodies into the Ganges River, emphasizing religious salvation rather than geographical belonging, as seen in Xiangxi corpse-driving. Additionally, the term &quot;zombie&quot; has been a mistranslation for &quot;僵尸&quot; (jiangshi). In essence, zombies (丧尸) are virus-driven &quot;living dead,&quot; reflecting distinct Eastern and Western sociocultural responses to death.<br /> <br /> ==Conclusion==<br /> <br /> As a unique regional cultural phenomenon, reducing Xiangxi corpse-driving merely to its corpse preservation or transportation techniques is superficial. Only by applying scientific spirit to deconstruct its technical principles and embracing humanistic sentiments to comprehend the ethical core of &quot;reverence for the dead and ancestral remembrance&quot; (慎终追远) can its creative inheritance be achieved amid modernity's impact—allowing the resilience behind mystery and the collaborative wisdom embedded in bamboo poles to continue illuminating humanity's eternal quest for dignity in death.<br /> <br /> ==References==<br /> [1] 赶尸[EB/OL].搜狗. 网址 ：https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [2]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018,(13):212. （https://wap.cnki.net/touch/web/Journal/Article/QCSY201813195.html）<br /> <br /> <br /> [3]王亚男.湘西赶尸文化探秘[J].电脑迷,2018,(02):186.（https://wap.cnki.net/touch/web/Journal/Article/DNMI201802163.html）<br /> <br /> <br /> [4] 湘西赶尸[EB/OL].百度. 网址： https://bkso.baidu.com/item/%E6%B9%98%E8%A5%BF%E8%B5%B6%E5%B0%B8/667752?fromModule=lemma_inlink&amp;app_lang=zh-CN<br /> <br /> <br /> [5]湘西“赶尸” [EB/OL]. 搜狗.网址： https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [6] 葬礼.[EB/OL].百度. 网址 https://baike.baidu.com/item/%E8%91%AC%E7%A4%BC/1735897?app_lang=zh-CN<br /> <br /> <br /> <br /> 湘西赶尸：corpse driving (Gan Shi) in Xiangxi ；The corpse of Xiangxi technique<br /> 落叶归根： fallen leaves returning to roots<br /> 死尸客店：corpse inns<br /> 摄魂铃：Soul-Bell <br /> 辰州符：Chenzhou Talismans <br /> 引魂锣Soul-Guiding Gong <br /> 入土为安：burial brings peace to the deceased<br /> 人鬼殊途：separation between the living and the dead<br /> 孤魂野鬼：wandering ghosts<br /> 法力无边：mystically omnipotent<br /> 贴符咒： affixing talismans<br /> <br /> ==Questions==<br /> <br /> 1. Based on the above readings, discuss what industry taboos and rules exist in the Xiangxi corpse-driving industry?<br /> (Key prohibitions documented include: ‘Three Permitted and Three Forbidden’ (三赶三不赶), &quot;Three Permitted&quot; refers to beheaded (with head reattached), hanged, or war-dead—deemed ‘unresolved grievances requiring homebound rest’ and &quot;Three Forbidden&quot; refers to deaths by illness, suicide, or lightning—believed to have spirits reclaimed by the underworld, beyond control. Some linguistic taboos include replacing ‘赶尸’ (corpse driving) with ‘走脚’ (walking the feet) or ‘迎喜神’ (welcoming the joy-god) . And other avoidances include steering clear of pregnant women and the blind to prevent ‘spiritual clashes’, and operating exclusively at night via secluded paths to preserve secrecy and mystique；)<br /> <br /> <br /> 2. What cultural significance does Xiangxi corpse-driving embody?<br /> (First, the ultimate belief in &quot;fallen leaves returning to roots&quot;<br /> Second, the blurring of the boundary between life and death.<br /> Third, the response to livelihood challenges in mountainous culture.<br /> Fourth, the modern transformation of cultural heritage)<br /> <br /> <br /> 3. What are the differences between Xiangxi corpse-driving culture and Western zombie culture, and what do these differences reveal?<br /> (In essence, zombies (丧尸) are virus-driven &quot;living dead,&quot; reflecting distinct Eastern and Western sociocultural responses to death.)</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=169378 2025-06-19T11:01:52Z

<p>Li Ting2: </p> <hr /> <div>==湘西赶尸==<br /> <br /> <br /> ==摘要：==<br /> 本文主要介绍了湘西赶尸的起源与历史、“赶尸”原理揭秘、文化内涵、跨文化比较等方面，分析赶尸仪式中借助符咒、竹竿等工具实现尸体运送的民间智慧，探讨其背后反映的生死观、家族观念等文化意义，作者希望以此来提高大家对于湘西赶尸的了解，深刻体会其中的独特的文化内涵与价值。<br /> <br /> ==起源与历史==<br /> 湘西赶尸作为中国湘西地区独特的文化现象，反映了古代湘西人民对生死、乡土观念的深刻理解。事实上这一项历久以来备受外人关注的文化现象也一直引人想象，关于其起源，这里有以下三种说法可供参考： <br /> <br /> '''首先，神话传说'''。苗族传说赶尸最早可追溯到蚩尤时代，蚩尤大军在黄河边作战后，死伤无数，蚩尤命军师施巫术让战死士兵能够返回故乡，这一传说也被湘西苗族人代代口口相传，这是赶尸的神话起源。<br /> <br /> '''第二，地理环境限制'''。湘西地形险峻复杂，陆路交通极为不便，水路便利，中国自古有“落叶归根”的观念，即使客死他乡也想回归故里安葬，但是行至三峡水势极为汹涌危险，容易沉船，古人迷信，认为搭载尸体极为不吉利，不会轻易尝试。因而，为了让这些客死他乡的尸体能够返回故乡这就催生了“赶尸”这一特殊行业。<br /> <br /> '''第三，清朝“秋决”处罚'''，清朝时一些死囚被处决后，应死囚家人希望，可以让四人抬棺归故里，但是这一方法极为耗钱，并且尸体容易腐烂发臭，但请专门赶尸人将尸体处理后并带回既能避免尸体发臭腐烂又能省钱。<br /> <br /> ==湘西赶尸原理揭秘：技术与仪式的交融==<br /> <br /> 长久以来人们都很难理解湘西赶尸的奥秘，有些甚至会谈之色变，实际上赶尸的原理并不是超神话的，更多的是一项技术与仪式感的交融，营造了一种神秘感与心理威慑，是古代人民智慧的象征。以下从赶尸技术操作、仪式流程两个维度揭秘其核心逻辑。<br /> <br /> '''第一，赶尸技术操作上'''：'''1）''' 因为赶尸中的尸体是不能腐烂的，但是自然条件下尸体是会发烂发臭的，特别是夏季，这就要求赶尸人在赶尸之前就要对尸体进行防腐处理，学者认为湘西地区生长着一些特殊的草药（如朱砂），将尸体脱水后再进行草药的熏蒸就可以保障尸体长时间不腐，同时脱水后的尸体重量也减轻了，减少了赶尸难度。'''2）'''关于尸体搬运有两种说法，一种是在赶尸过程用到了竹竿，赶尸匠将尸体的双臂固定在竹竿，前后有两个人将竹竿抬起，由于竹竿的弹性，在移动过程中这就会产生尸体在“跳跃”的视觉假象，并且赶尸匠会对尸体做一些伪装如戴宽大的斗笠，穿宽大黑袍，贴黄符等；一种是一名赶尸匠背负肢解后藏于宽大黑袍的尸体，并由一名赶尸匠在前引路，撒纸钱，摇路铃等； '''3）'''赶尸技术是一项团队工作，赶尸匠面对遥远路途会进行分工合作，为了避免生人靠近及保密，大多是在晚上进行，一些长途赶尸会进行分段接力，在这过程中如遇天气恶劣，体力不济等赶尸匠会暂时停留在“死尸客店”。正因为这一系列的技艺实施，给湘西赶尸蒙上了神秘惊悚的面纱。<br /> <br /> '''第二，仪式揭秘'''。这里将从仪器工具、禁忌规则、技艺传承条件三方面阐述。'''1）'''除了前文提到的竹竿、黑袍以及防腐材料等，一些比较重要的工具还有摄魂铃（有“指引亡魂”的意义，并提示夜行人远离等）、辰州符（这种特制的符咒会被贴到尸体的一些关键部位起着“定魂安魄”的作用）、引魂锣（跟摄魂铃的作用很类似，也有指引亡灵的作用，路过村民听到该声音会把狗关起来，以免狗咬尸体）等；'''2）'''有关湘西赶尸的一些禁忌规则，查资料发现有：“三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感；'''3）'''赶尸行业在当时也是有一定门槛的，首要的一个就是胆子要大，命格要硬，身体素质好，赶尸匠不乱收徒，首先学徒父母得立字据同意加入赶尸行业，接着进行培训考核再进行技艺传承，一般来讲学徒得满 17 岁，身高一米七以上，相貌丑陋男性（不收女性，因为认为女性阴气重易招引邪物），并且从业者终身忌婚育避免“阴气染嗣”，也因为这些禁忌等，使得外人会对这个行业“妖魔化”、“神秘化”，认为赶尸匠“法力无边”。<br /> <br /> ==文化内涵==<br /> <br /> 湘西赶尸作为一种特殊的民俗丧葬文化现象，其文化内涵远超简单的“尸体搬运”技术，这是由湘西特殊的地理地质条件、历史文化背景以及“落叶归根”家庭观念等条件催生的，总的来说，从湘西赶尸这一文化现象我们可以从中解读出以下的文化内涵：<br /> <br /> '''第一，对“落叶归根”的终极信仰'''。湘西人认为死后只有回归故土安葬才能使得魂魄得以安定，否则会变成孤魂野鬼，这也与中国儒家“入土为安”的理念相契合，赶尸行业只是契合人们“落叶归根”的传统观念，并将其转化为赶尸匠的谋生手段。<br /> <br /> '''第二，生死界限模糊处理'''。将尸体进行防腐处理并利用各种工具招引引领亡魂归乡，安魂定魄，这些都反映了赶尸行业将生死界限模糊化，赶尸匠作为人与鬼交流的“信使”，超越“人鬼殊途”界限，即使死者生前客死他乡，但是通过赶尸，亡灵得以回归故里，避免死后成为“孤魂野鬼”。<br /> <br /> '''第三，山地文化生活困境应对'''。赶尸行业利用一系列的行业规则禁忌以及行业秘密等为赶尸行业蒙上了神秘的面纱，实际上不仅是提高了行业门槛，塑造了赶尸匠“法力无边”的形象，还保障了赶尸匠这类边缘群体的生活。不仅如此，赶尸行业的出现对于死者以及死者家属来说也是巨大的心理慰藉，因为湘西当地地形原因，地势崎岖，死者很难通过抬棺等手段回归，而赶尸行业经济花费不大，死者家属也能承受，在一定程度上缓解客死他乡死者以及其家人焦虑，带来精神抚慰，即使身死他乡，死后还可回归故土，可以说赶尸行业的产生不仅是人们对于回归故里的追求也是当地因地制宜的生存智慧。它如同一面棱镜，折射出中国传统社会在应对死亡、自然与伦理时的复杂心态，也提醒现代人重新审视边缘文化中蕴含的人文智慧。<br /> <br /> '''第四，现代转型的文化遗产。'''湘西赶尸作为一种特殊的中国文化现象，由此演绎了相关的影视、现代流行文学、流行符号等，这些都是湘西赶尸这一文化现象在现代重新焕发生机的表现。'''1）''' 在影视方面，林正英一系列僵尸电影如《僵尸先生》、《新僵尸先生》等，这些电影将湘西赶尸文化与茅山道士法术结合起来，这些电影中的僵尸形象也成为了标志性形象（穿着清朝官服，长獠牙，面部青白等），一些驱魔场景也特别经典，林正英的僵尸电影的情节不单单只是恐怖元素，一些喜剧效果也拉满，给影迷留下深刻印象；'''2）''' 在流行文学上，一些悬疑文学的爱好者借助湘西赶尸的历史背景并融入其他文学现象，如《湘西赶尸之落花圣女》、《湘西鬼事：赶尸传奇》等，将湘西的特殊的文化遗产运用到了网络流行文学中，这也显示了湘西赶尸文化在网络流行文学上得到创新与创造；'''3）''' 在流行符号上，譬如“跳跃行进”、“贴符咒”等等与西方丧尸文化形成鲜明对比，一些商业旅游也借用这一文化现象建造了如旅游民宿、赶尸表演等，并开发了一些旅游文创，成为吸引游客的噱头。但是不可否认的是，在对这一文化进行创造性发展的过程也存在着对该文化的误度与曲解，有些文学作品过分渲染其“恐怖邪性”特点，但是忽略了其背后的人文关怀与伦理边界（要尊重逝者对于“落叶归根”的追求）。<br /> <br /> ==跨文化比较==<br /> <br /> 埃及也利用防腐技术对尸体进行处理并结合其复杂的宗教咒语让尸体能够死后“复活”，而湘西赶尸则是为了尸体安息；印度则将尸体进行水葬，将尸体投入恒河，不同的是湘西赶尸强调的是地理归属，而印度则是强调宗教救赎；并且之前僵尸还被误译为&quot;Zombie&quot;，但其实两者本质是不同的，丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> ==结语==<br /> <br /> 湘西赶尸作为一种特殊地区文化现象，仅是单纯考虑其尸体保存或者搬运技巧是比较浅显的，唯有以科学精神解构赶尸的技术原理，以人文情怀体悟&quot;慎终追远&quot;的伦理内核，方能在现代性冲击下实现创造性传承——让“神秘”背后的生存韧性、竹竿间的协作智慧，继续照亮人类对生死尊严的永恒求索。<br /> <br /> ==参考文献==<br /> [1] 赶尸[EB/OL].搜狗. 网址 ：https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [2]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018,(13):212. （https://wap.cnki.net/touch/web/Journal/Article/QCSY201813195.html）<br /> <br /> <br /> [3]王亚男.湘西赶尸文化探秘[J].电脑迷,2018,(02):186.（https://wap.cnki.net/touch/web/Journal/Article/DNMI201802163.html）<br /> <br /> <br /> [4] 湘西赶尸[EB/OL].百度. 网址： https://bkso.baidu.com/item/%E6%B9%98%E8%A5%BF%E8%B5%B6%E5%B0%B8/667752?fromModule=lemma_inlink&amp;app_lang=zh-CN<br /> <br /> <br /> [5]湘西“赶尸” [EB/OL]. 搜狗.网址： https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [6] 葬礼.[EB/OL].百度. 网址 https://baike.baidu.com/item/%E8%91%AC%E7%A4%BC/1735897?app_lang=zh-CN<br /> <br /> <br /> 术语：<br /> <br /> <br /> <br /> <br /> 1. 通过以上阅读，谈谈湘西赶尸行业有哪些行业禁忌与规则？<br /> “三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感。<br /> <br /> 2. 湘西赶尸蕴含了哪些文化内涵？<br /> 第一，对“落叶归根”的终极信仰。<br /> 第二，生死界限模糊处理。<br /> 第三，山地文化生活困境应对。<br /> 第四，现代转型的文化遗产。<br /> <br /> 3. 湘西赶尸文化与西方丧尸文化有哪些不同，这些不同显示了什么？<br /> 丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> <br /> <br /> <br /> ==The corpse of Xiangxi technique==<br /> <br /> ==Abstract==<br /> <br /> This paper examines the origins and history of Xiangxi corpse-driving（or The corpse of Xiangxi technique）, reveals the operational principles behind the practice (such as transporting corpses using talismans and bamboo poles), and analyzes its cultural connotations and cross-cultural comparisons. It explores the folk wisdom reflected in the ritual tools and techniques while delving into the underlying cultural values—including concepts of life and death and familial bonds—embedded within this tradition. Through this study, the author aims to enhance public understanding of Xiangxi corpse-driving and foster a deeper appreciation of its unique cultural significance and value.<br /> <br /> ==Origin and History==<br /> <br /> The practice of &quot;corpse driving&quot; (Gan Shi) in Xiangxi (Western Hunan) stands as a unique phenomenon deeply rooted in the region. It reflects the ancient people's profound understanding of life, death, and attachment to their native land. This enigmatic tradition has long captivated outside attention and fueled imaginations. Three theories regarding its origins are referenced below:<br /> <br /> '''First, mythological Legend'''. According to Miao folklore, the practice of corpse driving can trace back to the era of Chiyou. After Chiyou's army fought along the Yellow River, suffering countless casualties, Chiyou commanded his sorcerer to use Miao folk magic, enabling the fallen soldiers to return to their homeland. This legend has been passed down orally through generations among the Miao people in Xiangxi, representing the mythological origin of corpse driving.<br /> <br /> '''Second, geographical constraints'''. With its treacherous and complex terrain, Xiangxi posed extreme challenges for overland transportation, though waterways offered relative convenience. Rooted in the ancient Chinese belief of 'fallen leaves returning to roots' (落叶归根), even those who died far from home wished to be buried in their ancestral lands. However, traversing the Three Gorges involved navigating perilously turbulent rapids where shipwrecks were frequent. Superstitious ancients deemed transporting corpses highly inauspicious and thus avoided it at all costs. Consequently, to repatriate these deceased souls to their hometowns, the unique profession of 'corpse driving' emerged.<br /> <br /> Third, the Qing Dynasty's 'Autumn Executions.' After prisoners were executed, families who wished to repatriate the corpses could hire four bearers to carry the coffins back to their hometowns. However, this method proved extremely costly, and the bodies were prone to rot and emit foul odors. In contrast, engaging specialized corpse drivers to treat and transport the bodies prevented decomposition while saving costs.<br /> <br /> ==Demystifying the Mechanics of Corpse Driving in Xiangxi: The Fusion of Technology and Ritual==<br /> For centuries, the enigma of corpse driving in Xiangxi has eluded public understanding, with some even reacting in terror at its mention. In truth, its mechanics were never supernatural, but rather a fusion of technical operations and ritualistic elements—crafting an aura of mystique and psychological deterrence that epitomized the ingenuity of ancient laborers. Below, we unveil its core logic through two dimensions: the technical execution and ritual procedures of corpse driving.<br /> <br /> '''First, regarding the technical operations of corpse driving''':<br /> '''1）''' Corpse Preservation: Since corpses in transit must not decompose—yet naturally decay and emit foul odors, especially in summer—corpse handlers must perform preservation treatments beforehand. Scholars note that special herbs (e.g., cinnabar) native to Xiangxi were used. Corpses underwent dehydration followed by herbal fumigation, preventing decay over extended periods while reducing weight for easier transport; '''2)''' Corpse Transportation Methods: one is bamboo pole technique. Corpses’ arms were secured to long bamboo poles, lifted by two handles at each end. The poles’ elasticity created a visual illusion of corpses “hopping” during movement. handlers disguised corpses with broad-brimmed hats, loose black robes, and yellow talismans. One is body-carrying method. One handler carried dismembered corpse parts concealed under robes, while another preceded the group, scattering spirit money and ringing road bells; '''3)''' Corpse driving was a collaborative effort. Drivers divided tasks for long journeys, operating primarily at night to avoid onlookers and maintain secrecy. For multi-stage relays or adverse conditions (e.g., storms, fatigue), they paused at “corpse inns” (死尸客店) . These systematic techniques collectively shrouded Xiangxi corpse driving in an aura of macabre mystery.<br /> <br /> '''Second, Ritual Mechanics'''. This section elaborates on three dimensions: ritual tools, taboos, and apprenticeship conditions：<br /> '''1）'''Tools: Beyond the bamboo poles, black robes, and preservatives mentioned earlier, critical instruments include: Soul-Bell (摄魂铃): Guides spirits and signals night travelers to keep distance. Chenzhou Talismans (辰州符): Affixed to key body parts to ‘anchor the soul and stabilize the spirit’. Soul-Guiding Gong (引魂锣): Functions similarly to the bell; villagers hearing it would restrain dogs to prevent corpse mutilation； '''2）'''Taboos and Rules: Key prohibitions documented include: ‘Three Permitted and Three Forbidden’ (三赶三不赶), &quot;Three Permitted&quot; refers to beheaded (with head reattached), hanged, or war-dead—deemed ‘unresolved grievances requiring homebound rest’ and &quot;Three Forbidden&quot; refers to deaths by illness, suicide, or lightning—believed to have spirits reclaimed by the underworld, beyond control. Some linguistic taboos include replacing ‘赶尸’ (corpse driving) with ‘走脚’ (walking the feet) or ‘迎喜神’ (welcoming the joy-god) . And other avoidances include steering clear of pregnant women and the blind to prevent ‘spiritual clashes’, and operating exclusively at night via secluded paths to preserve secrecy and mystique； '''3）'''Apprenticeship System: Entry barriers were stringent: physical requirements are male apprentices aged ≥17, height ≥1.7m, with ‘unpleasant features’ (women excluded due to ‘excessive yin energy attracting evil’) . selection process is that parents signed contracts consenting to entry; candidates underwent trials (e.g., direction-finding after disorientation) . What's more, practitioners abstained from marriage and reproduction to avoid ‘yin contamination of descendants’ . These practices fueled external perceptions of corpse handlers as ‘demonic’, ‘mystical’, and ‘infinitely powerful’.&quot;<br /> <br /> ==Cultural Significance==<br /> <br /> As a unique folk funerary custom, Xiangxi corpse driving transcends mere 'corpse transportation' techniques. Born from the region’s distinctive geographical constraints, historical context, and the deeply rooted familial ethos of 'returning to one’s roots upon death,' this practice embodies profound cultural layers. In essence, we can decipher the following cultural significances from this phenomenon:<br /> <br /> '''First, the ultimate belief in &quot;fallen leaves returning to roots&quot; (落叶归根)'''. The people of Xiangxi believed that only by returning to their homeland for burial could the deceased's soul find peace; otherwise, they would become wandering spirits or homeless ghosts. This aligns with the Confucian concept that &quot;burial brings peace to the deceased&quot; (入土为安). The corpse-driving industry merely adapted this traditional belief in &quot;fallen leaves returning to roots&quot; into a means of livelihood for the corpse handlers.<br /> <br /> '''Second, the blurring of the boundary between life and death'''. By preserving corpses and using various tools to guide the souls of the deceased back to their homeland, thereby pacifying and settling the souls, the corpse-driving industry reflects a deliberate blurring of the distinction between life and death. The corpse handlers serve as &quot;messengers&quot; facilitating communication between the living and the dead, transcending the inherent &quot;separation between the living and the dead&quot; (人鬼殊途). Even if individuals die far from home during their lifetime, through corpse-driving, their souls can return to their native place, avoiding the fate of becoming &quot;wandering ghosts&quot; (孤魂野鬼) after death.<br /> <br /> '''Third, the response to livelihood challenges in mountainous culture'''. The corpse-driving industry shrouded itself in mystery through a series of industry rules, taboos, and secrets. While this ostensibly elevated professional thresholds and crafted an image of corpse drivers as &quot;mystically omnipotent&quot; (法力无边), it fundamentally secured livelihoods for these marginalized practitioners. Moreover, the emergence of this industry offered profound psychological solace to the deceased and their families. Given the rugged terrain of Western Hunan, conventional methods like coffin carriage were impractical for repatriating the dead. Corpse-driving, however, incurred minimal costs—affordable for bereaved families—thereby alleviating the anxiety of those who died far from home and their kin. Even in death, they could return to their homeland. Thus, the rise of corpse-driving not only fulfilled the pursuit of &quot;returning to one’s roots&quot; (落叶归根) but also embodied locally adapted wisdom of survival. It acts as a prism, refracting traditional Chinese society’s complex attitudes toward death, nature, and ethics, while urging modern society to re-examine the humanistic wisdom embedded in marginalized cultures.<br /> <br /> '''Fourth, the modern transformation of cultural heritage.''' As a unique cultural phenomenon in China, the Xiangxi corpse-driving tradition has inspired adaptations in film and television, modern popular literature, and contemporary symbols—all manifestations of its revitalized cultural relevance in the modern era. '''1）''' In film and television, a series of zombie movies by Lam Ching-ying, such as Mr. Jiangshi (《僵尸先生》) and New Mr. Jiangshi(《新僵尸先生》), integrated the Xiangxi corpse-driving culture with Taoist magic from Mount Mao (茅山法术). The iconic zombie imagery in these films—characterized by Qing Dynasty official robes, elongated fangs, and pallid, bluish faces—became emblematic of the genre. Exorcism scenes were crafted with classic precision, while the films' blend of horror and heightened comedic elements left a lasting impression on fans； '''2）'''In popular literature, suspense fiction enthusiasts leverage the historical backdrop of corpse-driving in Xiangxi and integrate other literary phenomena, such as Corpse-Handlers in Western Hunan: The Fallen Blossom Saint (《湘西赶尸之落花圣女》) and Mysteries of Western Hunan: Legends of Corpse-Driving (《湘西鬼事：赶尸传奇》). This demonstrates how the unique cultural heritage of Xiangxi corpse-driving has been innovatively and creatively reimagined within the realm of online popular literature; '''3)''' In popular symbols, practices such as &quot;hopping movement&quot; (跳跃行进) and &quot;affixing talismans&quot; (贴符咒) form a stark contrast to Western zombie culture. Commercial tourism has leveraged this cultural phenomenon to develop attractions like themed lodges, corpse-driving performances, and tourism-inspired cultural products, using it as a gimmick to attract visitors. However, it is undeniable that during the creative development of this culture, misinterpretations and distortions have emerged. Some literary works excessively exaggerate its &quot;horror and malevolence&quot; while overlooking the humanistic care and ethical boundaries at its core—specifically, the imperative to respect the deceased’s pursuit of &quot;fallen leaves returning to roots&quot; (落叶归根).<br /> <br /> ==Cross-Cultural Comparison==<br /> <br /> Egypt utilized preservation techniques to treat corpses, combined with complex religious incantations to enable posthumous &quot;resurrection.&quot; In contrast, Xiangxi corpse-driving aimed to ensure the deceased rest in peace. India practices water burials by depositing bodies into the Ganges River, emphasizing religious salvation rather than geographical belonging, as seen in Xiangxi corpse-driving. Additionally, the term &quot;zombie&quot; has been a mistranslation for &quot;僵尸&quot; (jiangshi). In essence, zombies (丧尸) are virus-driven &quot;living dead,&quot; reflecting distinct Eastern and Western sociocultural responses to death.<br /> <br /> ==Conclusion==<br /> <br /> As a unique regional cultural phenomenon, reducing Xiangxi corpse-driving merely to its corpse preservation or transportation techniques is superficial. Only by applying scientific spirit to deconstruct its technical principles and embracing humanistic sentiments to comprehend the ethical core of &quot;reverence for the dead and ancestral remembrance&quot; (慎终追远) can its creative inheritance be achieved amid modernity's impact—allowing the resilience behind mystery and the collaborative wisdom embedded in bamboo poles to continue illuminating humanity's eternal quest for dignity in death.</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=169368 2025-06-19T10:42:43Z

<p>Li Ting2: </p> <hr /> <div>==湘西赶尸==<br /> <br /> <br /> ==摘要：==<br /> 本文主要介绍了湘西赶尸的起源与历史、“赶尸”原理揭秘、文化内涵、跨文化比较等方面，分析赶尸仪式中借助符咒、竹竿等工具实现尸体运送的民间智慧，探讨其背后反映的生死观、家族观念等文化意义，作者希望以此来提高大家对于湘西赶尸的了解，深刻体会其中的独特的文化内涵与价值。<br /> <br /> ==起源与历史==<br /> 湘西赶尸作为中国湘西地区独特的文化现象，反映了古代湘西人民对生死、乡土观念的深刻理解。事实上这一项历久以来备受外人关注的文化现象也一直引人想象，关于其起源，这里有以下三种说法可供参考： <br /> <br /> '''首先，神话传说'''。苗族传说赶尸最早可追溯到蚩尤时代，蚩尤大军在黄河边作战后，死伤无数，蚩尤命军师施巫术让战死士兵能够返回故乡，这一传说也被湘西苗族人代代口口相传，这是赶尸的神话起源。<br /> <br /> 第二，地理环境限制。湘西地形险峻复杂，陆路交通极为不便，水路便利，中国自古有“落叶归根”的观念，即使客死他乡也想回归故里安葬，但是行至三峡水势极为汹涌危险，容易沉船，古人迷信，认为搭载尸体极为不吉利，不会轻易尝试。因而，为了让这些客死他乡的尸体能够返回故乡这就催生了“赶尸”这一特殊行业。<br /> <br /> 第三，清朝“秋决”处罚，清朝时一些死囚被处决后，应死囚家人希望，可以让四人抬棺归故里，但是这一方法极为耗钱，并且尸体容易腐烂发臭，但请专门赶尸人将尸体处理后并带回既能避免尸体发臭腐烂又能省钱。<br /> <br /> ==湘西赶尸原理揭秘：技术与仪式的交融==<br /> 长久以来人们都很难理解湘西赶尸的奥秘，有些甚至会谈之色变，实际上赶尸的原理并不是超神话的，更多的是一项技术与仪式感的交融，营造了一种神秘感与心理威慑，是古代人民智慧的象征。以下从赶尸技术操作、仪式流程两个维度揭秘其核心逻辑。<br /> <br /> 第一，赶尸技术操作上：1） 因为赶尸中的尸体是不能腐烂的，但是自然条件下尸体是会发烂发臭的，特别是夏季，这就要求赶尸人在赶尸之前就要对尸体进行防腐处理，学者认为湘西地区生长着一些特殊的草药（如朱砂），将尸体脱水后再进行草药的熏蒸就可以保障尸体长时间不腐，同时脱水后的尸体重量也减轻了，减少了赶尸难度。2）关于尸体搬运有两种说法，一种是在赶尸过程用到了竹竿，赶尸匠将尸体的双臂固定在竹竿，前后有两个人将竹竿抬起，由于竹竿的弹性，在移动过程中这就会产生尸体在“跳跃”的视觉假象，并且赶尸匠会对尸体做一些伪装如戴宽大的斗笠，穿宽大黑袍，贴黄符等；一种是一名赶尸匠背负肢解后藏于宽大黑袍的尸体，并由一名赶尸匠在前引路，撒纸钱，摇路铃等； 3）赶尸技术是一项团队工作，赶尸匠面对遥远路途会进行分工合作，为了避免生人靠近及保密，大多是在晚上进行，一些长途赶尸会进行分段接力，在这过程中如遇天气恶劣，体力不济等赶尸匠会暂时停留在“死尸客店”。正因为这一系列的技艺实施，给湘西赶尸蒙上了神秘惊悚的面纱。<br /> <br /> 第二，仪式揭秘。这里将从仪器工具、禁忌规则、技艺传承条件三方面阐述。1）除了前文提到的竹竿、黑袍以及防腐材料等，一些比较重要的工具还有摄魂铃（有“指引亡魂”的意义，并提示夜行人远离等）、辰州符（这种特制的符咒会被贴到尸体的一些关键部位起着“定魂安魄”的作用）、引魂锣（跟摄魂铃的作用很类似，也有指引亡灵的作用，路过村民听到该声音会把狗关起来，以免狗咬尸体）等；2）有关湘西赶尸的一些禁忌规则，查资料发现有：“三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感；3）赶尸行业在当时也是有一定门槛的，首要的一个就是胆子要大，命格要硬，身体素质好，赶尸匠不乱收徒，首先学徒父母得立字据同意加入赶尸行业，接着进行培训考核再进行技艺传承，一般来讲学徒得满 17 岁，身高一米七以上，相貌丑陋男性（不收女性，因为认为女性阴气重易招引邪物），并且从业者终身忌婚育避免“阴气染嗣”，也因为这些禁忌等，使得外人会对这个行业“妖魔化”、“神秘化”，认为赶尸匠“法力无边”。<br /> <br /> ==文化内涵==<br /> 湘西赶尸作为一种特殊的民俗丧葬文化现象，其文化内涵远超简单的“尸体搬运”技术，这是由湘西特殊的地理地质条件、历史文化背景以及“落叶归根”家庭观念等条件催生的，总的来说，从湘西赶尸这一文化现象我们可以从中解读出以下的文化内涵：<br /> <br /> 第一，对“落叶归根”的终极信仰。湘西人认为死后只有回归故土安葬才能使得魂魄得以安定，否则会变成孤魂野鬼，这也与中国儒家“入土为安”的理念相契合，赶尸行业只是契合人们“落叶归根”的传统观念，并将其转化为赶尸匠的谋生手段。<br /> <br /> 第二，生死界限模糊处理。将尸体进行防腐处理并利用各种工具招引引领亡魂归乡，安魂定魄，这些都反映了赶尸行业将生死界限模糊化，赶尸匠作为人与鬼交流的“信使”，超越“人鬼殊途”界限，即使死者生前客死他乡，但是通过赶尸，亡灵得以回归故里，避免死后成为“孤魂野鬼”。<br /> <br /> 第三，山地文化生活困境应对。赶尸行业利用一系列的行业规则禁忌以及行业秘密等为赶尸行业蒙上了神秘的面纱，实际上不仅是提高了行业门槛，塑造了赶尸匠“法力无边”的形象，还保障了赶尸匠这类边缘群体的生活。不仅如此，赶尸行业的出现对于死者以及死者家属来说也是巨大的心理慰藉，因为湘西当地地形原因，地势崎岖，死者很难通过抬棺等手段回归，而赶尸行业经济花费不大，死者家属也能承受，在一定程度上缓解客死他乡死者以及其家人焦虑，带来精神抚慰，即使身死他乡，死后还可回归故土，可以说赶尸行业的产生不仅是人们对于回归故里的追求也是当地因地制宜的生存智慧。它如同一面棱镜，折射出中国传统社会在应对死亡、自然与伦理时的复杂心态，也提醒现代人重新审视边缘文化中蕴含的人文智慧。<br /> <br /> 第四，现代转型的文化遗产。湘西赶尸作为一种特殊的中国文化现象，由此演绎了相关的影视、现代流行文学、流行符号等，这些都是湘西赶尸这一文化现象在现代重新焕发生机的表现。1） 在影视方面，林正英一系列僵尸电影如《僵尸先生》、《新僵尸先生》等，这些电影将湘西赶尸文化与茅山道士法术结合起来，这些电影中的僵尸形象也成为了标志性形象（穿着清朝官服，长獠牙，面部青白等），一些驱魔场景也特别经典，林正英的僵尸电影的情节不单单只是恐怖元素，一些喜剧效果也拉满，给影迷留下深刻印象；2） 在流行文学上，一些悬疑文学的爱好者借助湘西赶尸的历史背景并融入其他文学现象，如《湘西赶尸之落花圣女》、《湘西鬼事：赶尸传奇》等，将湘西的特殊的文化遗产运用到了网络流行文学中，这也显示了湘西赶尸文化在网络流行文学上得到创新与创造；3） 在流行符号上，譬如“跳跃行进”、“贴符咒”等等与西方丧尸文化形成鲜明对比，一些商业旅游也借用这一文化现象建造了如旅游民宿、赶尸表演等，并开发了一些旅游文创，成为吸引游客的噱头。但是不可否认的是，在对这一文化进行创造性发展的过程也存在着对该文化的误度与曲解，有些文学作品过分渲染其“恐怖邪性”特点，但是忽略了其背后的人文关怀与伦理边界（要尊重逝者对于“落叶归根”的追求）。<br /> <br /> ==跨文化比较==<br /> 埃及也利用防腐技术对尸体进行处理并结合其复杂的宗教咒语让尸体能够死后“复活”，而湘西赶尸则是为了尸体安息；印度则将尸体进行水葬，将尸体投入恒河，不同的是湘西赶尸强调的是地理归属，而印度则是强调宗教救赎；并且之前僵尸还被误译为&quot;Zombie&quot;，但其实两者本质是不同的，丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> ==结语==<br /> 湘西赶尸作为一种特殊地区文化现象，仅是单纯考虑其尸体保存或者搬运技巧是比较浅显的，唯有以科学精神解构赶尸的技术原理，以人文情怀体悟&quot;慎终追远&quot;的伦理内核，方能在现代性冲击下实现创造性传承——让“神秘”背后的生存韧性、竹竿间的协作智慧，继续照亮人类对生死尊严的永恒求索。<br /> <br /> ==参考文献==<br /> [1] 赶尸[EB/OL].搜狗. 网址 ：https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [2]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018,(13):212. （https://wap.cnki.net/touch/web/Journal/Article/QCSY201813195.html）<br /> <br /> <br /> [3]王亚男.湘西赶尸文化探秘[J].电脑迷,2018,(02):186.（https://wap.cnki.net/touch/web/Journal/Article/DNMI201802163.html）<br /> <br /> <br /> [4] 湘西赶尸[EB/OL].百度. 网址： https://bkso.baidu.com/item/%E6%B9%98%E8%A5%BF%E8%B5%B6%E5%B0%B8/667752?fromModule=lemma_inlink&amp;app_lang=zh-CN<br /> <br /> <br /> [5]湘西“赶尸” [EB/OL]. 搜狗.网址： https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [6] 葬礼.[EB/OL].百度. 网址 https://baike.baidu.com/item/%E8%91%AC%E7%A4%BC/1735897?app_lang=zh-CN<br /> <br /> <br /> 术语：<br /> <br /> <br /> <br /> <br /> 1. 通过以上阅读，谈谈湘西赶尸行业有哪些行业禁忌与规则？<br /> “三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感。<br /> <br /> 2. 湘西赶尸蕴含了哪些文化内涵？<br /> 第一，对“落叶归根”的终极信仰。<br /> 第二，生死界限模糊处理。<br /> 第三，山地文化生活困境应对。<br /> 第四，现代转型的文化遗产。<br /> <br /> 3. 湘西赶尸文化与西方丧尸文化有哪些不同，这些不同显示了什么？<br /> 丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> <br /> <br /> ==Abstract==<br /> This paper examines the origins and history of Xiangxi corpse-driving（or The corpse of Xiangxi technique）, reveals the operational principles behind the practice (such as transporting corpses using talismans and bamboo poles), and analyzes its cultural connotations and cross-cultural comparisons. It explores the folk wisdom reflected in the ritual tools and techniques while delving into the underlying cultural values—including concepts of life and death and familial bonds—embedded within this tradition. Through this study, the author aims to enhance public understanding of Xiangxi corpse-driving and foster a deeper appreciation of its unique cultural significance and value.<br /> <br /> ==Origin and History==<br /> The practice of &quot;corpse driving&quot; (Gan Shi) in Xiangxi (Western Hunan) stands as a unique phenomenon deeply rooted in the region. It reflects the ancient people's profound understanding of life, death, and attachment to their native land. This enigmatic tradition has long captivated outside attention and fueled imaginations. Three theories regarding its origins are referenced below:<br /> <br /> First, mythological Legend. According to Miao folklore, the practice of corpse driving can trace back to the era of Chiyou. After Chiyou's army fought along the Yellow River, suffering countless casualties, Chiyou commanded his sorcerer to use witchcraft, enabling the fallen soldiers to return to their homeland. This legend has been passed down orally through generations among the Miao people in Xiangxi, representing the mythological origin of corpse driving.<br /> <br /> Second, geographical constraints. With its treacherous and complex terrain, Xiangxi posed extreme challenges for overland transportation, though waterways offered relative convenience. Rooted in the ancient Chinese belief of 'fallen leaves returning to roots' (落叶归根), even those who died far from home wished to be buried in their ancestral lands. However, traversing the Three Gorges involved navigating perilously turbulent rapids where shipwrecks were frequent. Superstitious ancients deemed transporting corpses highly inauspicious and thus avoided it at all costs. Consequently, to repatriate these deceased souls to their hometowns, the unique profession of 'corpse driving' emerged.<br /> <br /> Third, the Qing Dynasty's 'Autumn Executions.' After prisoners were executed, families who wished to repatriate the corpses could hire four bearers to carry the coffins back to their hometowns. However, this method proved extremely costly, and the bodies were prone to rot and emit foul odors. In contrast, engaging specialized corpse drivers to treat and transport the bodies prevented decomposition while saving costs.<br /> <br /> ==Demystifying the Mechanics of Corpse Driving in Xiangxi: The Fusion of Technology and Ritual==<br /> For centuries, the enigma of corpse driving in Xiangxi has eluded public understanding, with some even reacting in terror at its mention. In truth, its mechanics were never supernatural, but rather a fusion of technical operations and ritualistic elements—crafting an aura of mystique and psychological deterrence that epitomized the ingenuity of ancient laborers. Below, we unveil its core logic through two dimensions: the technical execution and ritual procedures of corpse driving.<br /> <br /> First, regarding the technical operations of corpse driving: 1） Corpse Preservation: Since corpses in transit must not decompose—yet naturally decay and emit foul odors, especially in summer—corpse handlers must perform preservation treatments beforehand. Scholars note that special herbs (e.g., cinnabar) native to Xiangxi were used. Corpses underwent dehydration followed by herbal fumigation, preventing decay over extended periods while reducing weight for easier transport; 2) Corpse Transportation Methods: one is bamboo pole technique. Corpses’ arms were secured to long bamboo poles, lifted by two handles at each end. The poles’ elasticity created a visual illusion of corpses “hopping” during movement. handlers disguised corpses with broad-brimmed hats, loose black robes, and yellow talismans. One is body-carrying method. One handler carried dismembered corpse parts concealed under robes, while another preceded the group, scattering spirit money and ringing road bells; 3) Corpse driving was a collaborative effort. Drivers divided tasks for long journeys, operating primarily at night to avoid onlookers and maintain secrecy. For multi-stage relays or adverse conditions (e.g., storms, fatigue), they paused at “corpse inns” (死尸客店) . These systematic techniques collectively shrouded Xiangxi corpse driving in an aura of macabre mystery.<br /> <br /> Second, Ritual Mechanics. This section elaborates on three dimensions: ritual tools, taboos, and apprenticeship conditions：<br /> 1）Tools: Beyond the bamboo poles, black robes, and preservatives mentioned earlier, critical instruments include: Soul-Bell (摄魂铃): Guides spirits and signals night travelers to keep distance. Chenzhou Talismans (辰州符): Affixed to key body parts to ‘anchor the soul and stabilize the spirit’. Soul-Guiding Gong (引魂锣): Functions similarly to the bell; villagers hearing it would restrain dogs to prevent corpse mutilation； 2）Taboos and Rules: Key prohibitions documented include: ‘Three Permitted and Three Forbidden’ (三赶三不赶), &quot;Three Permitted&quot; refers to beheaded (with head reattached), hanged, or war-dead—deemed ‘unresolved grievances requiring homebound rest’ and &quot;Three Forbidden&quot; refers to deaths by illness, suicide, or lightning—believed to have spirits reclaimed by the underworld, beyond control. Some linguistic taboos include replacing ‘赶尸’ (corpse driving) with ‘走脚’ (walking the feet) or ‘迎喜神’ (welcoming the joy-god) . And other avoidances include steering clear of pregnant women and the blind to prevent ‘spiritual clashes’, and operating exclusively at night via secluded paths to preserve secrecy and mystique； 3）Apprenticeship System: Entry barriers were stringent: physical requirements are male apprentices aged ≥17, height ≥1.7m, with ‘unpleasant features’ (women excluded due to ‘excessive yin energy attracting evil’) . selection process is that parents signed contracts consenting to entry; candidates underwent trials (e.g., direction-finding after disorientation) . What's more, practitioners abstained from marriage and reproduction to avoid ‘yin contamination of descendants’ . These practices fueled external perceptions of corpse handlers as ‘demonic’, ‘mystical’, and ‘infinitely powerful’.&quot;<br /> <br /> ==Cultural Significance==<br /> As a unique folk funerary custom, Xiangxi corpse driving transcends mere 'corpse transportation' techniques. Born from the region’s distinctive geographical constraints, historical context, and the deeply rooted familial ethos of 'returning to one’s roots upon death,' this practice embodies profound cultural layers. In essence, we can decipher the following cultural significances from this phenomenon:<br /> <br /> First, the ultimate belief in &quot;fallen leaves returning to roots&quot; (落叶归根). The people of Xiangxi believed that only by returning to their homeland for burial could the deceased's soul find peace; otherwise, they would become wandering spirits or homeless ghosts. This aligns with the Confucian concept that &quot;burial brings peace to the deceased&quot; (入土为安). The corpse-driving industry merely adapted this traditional belief in &quot;fallen leaves returning to roots&quot; into a means of livelihood for the corpse handlers.<br /> <br /> Second, the blurring of the boundary between life and death. By preserving corpses and using various tools to guide the souls of the deceased back to their homeland, thereby pacifying and settling the souls, the corpse-driving industry reflects a deliberate blurring of the distinction between life and death. The corpse handlers serve as &quot;messengers&quot; facilitating communication between the living and the dead, transcending the inherent &quot;separation between the living and the dead&quot; (人鬼殊途). Even if individuals die far from home during their lifetime, through corpse-driving, their souls can return to their native place, avoiding the fate of becoming &quot;wandering ghosts&quot; (孤魂野鬼) after death.<br /> <br /> Third, the response to livelihood challenges in mountainous culture. The corpse-driving industry shrouded itself in mystery through a series of industry rules, taboos, and secrets. While this ostensibly elevated professional thresholds and crafted an image of corpse drivers as &quot;mystically omnipotent&quot; (法力无边), it fundamentally secured livelihoods for these marginalized practitioners. Moreover, the emergence of this industry offered profound psychological solace to the deceased and their families. Given the rugged terrain of Western Hunan, conventional methods like coffin carriage were impractical for repatriating the dead. Corpse-driving, however, incurred minimal costs—affordable for bereaved families—thereby alleviating the anxiety of those who died far from home and their kin. Even in death, they could return to their homeland. Thus, the rise of corpse-driving not only fulfilled the pursuit of &quot;returning to one’s roots&quot; (落叶归根) but also embodied locally adapted wisdom of survival. It acts as a prism, refracting traditional Chinese society’s complex attitudes toward death, nature, and ethics, while urging modern society to re-examine the humanistic wisdom embedded in marginalized cultures.<br /> <br /> Fourth, the modern transformation of cultural heritage. As a unique cultural phenomenon in China, the Xiangxi corpse-driving tradition has inspired adaptations in film and television, modern popular literature, and contemporary symbols—all manifestations of its revitalized cultural relevance in the modern era. 1）In film and television, a series of zombie movies by Lam Ching-ying, such as Mr. Jiangshi (《僵尸先生》) and New Mr. Jiangshi(《新僵尸先生》), integrated the Xiangxi corpse-driving culture with Taoist magic from Mount Mao (茅山法术). The iconic zombie imagery in these films—characterized by Qing Dynasty official robes, elongated fangs, and pallid, bluish faces—became emblematic of the genre. Exorcism scenes were crafted with classic precision, while the films' blend of horror and heightened comedic elements left a lasting impression on fans； 2）In popular literature, suspense fiction enthusiasts leverage the historical backdrop of corpse-driving in Xiangxi and integrate other literary phenomena, such as Corpse-Handlers in Western Hunan: The Fallen Blossom Saint (《湘西赶尸之落花圣女》) and Mysteries of Western Hunan: Legends of Corpse-Driving (《湘西鬼事：赶尸传奇》). This demonstrates how the unique cultural heritage of Xiangxi corpse-driving has been innovatively and creatively reimagined within the realm of online popular literature; 3) In popular symbols, practices such as &quot;hopping movement&quot; (跳跃行进) and &quot;affixing talismans&quot; (贴符咒) form a stark contrast to Western zombie culture. Commercial tourism has leveraged this cultural phenomenon to develop attractions like themed lodges, corpse-driving performances, and tourism-inspired cultural products, using it as a gimmick to attract visitors. However, it is undeniable that during the creative development of this culture, misinterpretations and distortions have emerged. Some literary works excessively exaggerate its &quot;horror and malevolence&quot; while overlooking the humanistic care and ethical boundaries at its core—specifically, the imperative to respect the deceased’s pursuit of &quot;fallen leaves returning to roots&quot; (落叶归根).<br /> <br /> ==Cross-Cultural Comparison==<br /> Egypt utilized preservation techniques to treat corpses, combined with complex religious incantations to enable posthumous &quot;resurrection.&quot; In contrast, Xiangxi corpse-driving aimed to ensure the deceased rest in peace. India practices water burials by depositing bodies into the Ganges River, emphasizing religious salvation rather than geographical belonging, as seen in Xiangxi corpse-driving. Additionally, the term &quot;zombie&quot; has been a mistranslation for &quot;僵尸&quot; (jiangshi). In essence, zombies (丧尸) are virus-driven &quot;living dead,&quot; reflecting distinct Eastern and Western sociocultural responses to death.<br /> <br /> ==Conclusion==<br /> As a unique regional cultural phenomenon, reducing Xiangxi corpse-driving merely to its corpse preservation or transportation techniques is superficial. Only by applying scientific spirit to deconstruct its technical principles and embracing humanistic sentiments to comprehend the ethical core of &quot;reverence for the dead and ancestral remembrance&quot; (慎终追远) can its creative inheritance be achieved amid modernity's impact—allowing the resilience behind mystery and the collaborative wisdom embedded in bamboo poles to continue illuminating humanity's eternal quest for dignity in death.</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=169327 2025-06-19T09:49:17Z

<p>Li Ting2: </p> <hr /> <div>==湘西赶尸==<br /> <br /> <br /> ==摘要：==<br /> 本文主要介绍了湘西赶尸的起源与历史、“赶尸”原理揭秘、文化内涵、跨文化比较等方面，分析赶尸仪式中借助符咒、竹竿等工具实现尸体运送的民间智慧，探讨其背后反映的生死观、家族观念等文化意义，作者希望以此来提高大家对于湘西赶尸的了解，深刻体会其中的独特的文化内涵与价值。<br /> <br /> ==起源与历史==<br /> 湘西赶尸作为中国湘西地区独特的文化现象，反映了古代湘西人民对生死、乡土观念的深刻理解。事实上这一项历久以来备受外人关注的文化现象也一直引人想象，关于其起源，这里有以下三种说法可供参考： <br /> 首先，神话传说。苗族传说赶尸最早可追溯到蚩尤时代，蚩尤大军在黄河边作战后，死伤无数，蚩尤命军师施巫术让战死士兵能够返回故乡，这一传说也被湘西苗族人代代口口相传，这是赶尸的神话起源。<br /> 第二，地理环境限制。湘西地形险峻复杂，陆路交通极为不便，水路便利，中国自古有“落叶归根”的观念，即使客死他乡也想回归故里安葬，但是行至三峡水势极为汹涌危险，容易沉船，古人迷信，认为搭载尸体极为不吉利，不会轻易尝试。因而，为了让这些客死他乡的尸体能够返回故乡这就催生了“赶尸”这一特殊行业。<br /> 第三，清朝“秋决”处罚，清朝时一些死囚被处决后，应死囚家人希望，可以让四人抬棺归故里，但是这一方法极为耗钱，并且尸体容易腐烂发臭，但请专门赶尸人将尸体处理后并带回既能避免尸体发臭腐烂又能省钱。<br /> <br /> ==湘西赶尸原理揭秘：技术与仪式的交融==<br /> 长久以来人们都很难理解湘西赶尸的奥秘，有些甚至会谈之色变，实际上赶尸的原理并不是超神话的，更多的是一项技术与仪式感的交融，营造了一种神秘感与心理威慑，是古代人民智慧的象征。以下从赶尸技术操作、仪式流程两个维度揭秘其核心逻辑。<br /> 第一，赶尸技术操作上：1） 因为赶尸中的尸体是不能腐烂的，但是自然条件下尸体是会发烂发臭的，特别是夏季，这就要求赶尸人在赶尸之前就要对尸体进行防腐处理，学者认为湘西地区生长着一些特殊的草药（如朱砂），将尸体脱水后再进行草药的熏蒸就可以保障尸体长时间不腐，同时脱水后的尸体重量也减轻了，减少了赶尸难度。2）关于尸体搬运有两种说法，一种是在赶尸过程用到了竹竿，赶尸匠将尸体的双臂固定在竹竿，前后有两个人将竹竿抬起，由于竹竿的弹性，在移动过程中这就会产生尸体在“跳跃”的视觉假象，并且赶尸匠会对尸体做一些伪装如戴宽大的斗笠，穿宽大黑袍，贴黄符等；一种是一名赶尸匠背负肢解后藏于宽大黑袍的尸体，并由一名赶尸匠在前引路，撒纸钱，摇路铃等； 3）赶尸技术是一项团队工作，赶尸匠面对遥远路途会进行分工合作，为了避免生人靠近及保密，大多是在晚上进行，一些长途赶尸会进行分段接力，在这过程中如遇天气恶劣，体力不济等赶尸匠会暂时停留在“死尸客店”。正因为这一系列的技艺实施，给湘西赶尸蒙上了神秘惊悚的面纱。<br /> 第二，仪式揭秘。这里将从仪器工具、禁忌规则、技艺传承条件三方面阐述。1）除了前文提到的竹竿、黑袍以及防腐材料等，一些比较重要的工具还有摄魂铃（有“指引亡魂”的意义，并提示夜行人远离等）、辰州符（这种特制的符咒会被贴到尸体的一些关键部位起着“定魂安魄”的作用）、引魂锣（跟摄魂铃的作用很类似，也有指引亡灵的作用，路过村民听到该声音会把狗关起来，以免狗咬尸体）等；2）有关湘西赶尸的一些禁忌规则，查资料发现有：“三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感；3）赶尸行业在当时也是有一定门槛的，首要的一个就是胆子要大，命格要硬，身体素质好，赶尸匠不乱收徒，首先学徒父母得立字据同意加入赶尸行业，接着进行培训考核再进行技艺传承，一般来讲学徒得满 17 岁，身高一米七以上，相貌丑陋男性（不收女性，因为认为女性阴气重易招引邪物），并且从业者终身忌婚育避免“阴气染嗣”，也因为这些禁忌等，使得外人会对这个行业“妖魔化”、“神秘化”，认为赶尸匠“法力无边”。<br /> <br /> ==文化内涵==<br /> 湘西赶尸作为一种特殊的民俗丧葬文化现象，其文化内涵远超简单的“尸体搬运”技术，这是由湘西特殊的地理地质条件、历史文化背景以及“落叶归根”家庭观念等条件催生的，总的来说，从湘西赶尸这一文化现象我们可以从中解读出以下的文化内涵：<br /> 第一，对“落叶归根”的终极信仰。湘西人认为死后只有回归故土安葬才能使得魂魄得以安定，否则会变成孤魂野鬼，这也与中国儒家“入土为安”的理念相契合，赶尸行业只是契合人们“落叶归根”的传统观念，并将其转化为赶尸匠的谋生手段。<br /> 第二，生死界限模糊处理。将尸体进行防腐处理并利用各种工具招引引领亡魂归乡，安魂定魄，这些都反映了赶尸行业将生死界限模糊化，赶尸匠作为人与鬼交流的“信使”，超越“人鬼殊途”界限，即使死者生前客死他乡，但是通过赶尸，亡灵得以回归故里，避免死后成为“孤魂野鬼”。<br /> 第三，山地文化生活困境应对。赶尸行业利用一系列的行业规则禁忌以及行业秘密等为赶尸行业蒙上了神秘的面纱，实际上不仅是提高了行业门槛，塑造了赶尸匠“法力无边”的形象，还保障了赶尸匠这类边缘群体的生活。不仅如此，赶尸行业的出现对于死者以及死者家属来说也是巨大的心理慰藉，因为湘西当地地形原因，地势崎岖，死者很难通过抬棺等手段回归，而赶尸行业经济花费不大，死者家属也能承受，在一定程度上缓解客死他乡死者以及其家人焦虑，带来精神抚慰，即使身死他乡，死后还可回归故土，可以说赶尸行业的产生不仅是人们对于回归故里的追求也是当地因地制宜的生存智慧。它如同一面棱镜，折射出中国传统社会在应对死亡、自然与伦理时的复杂心态，也提醒现代人重新审视边缘文化中蕴含的人文智慧<br /> 第四，现代转型的文化遗产。湘西赶尸作为一种特殊的中国文化现象，由此演绎了相关的影视、现代流行文学、流行符号等，这些都是湘西赶尸这一文化现象在现代重新焕发生机的表现。1） 在影视方面，林正英一系列僵尸电影如《僵尸先生》、《新僵尸先生》等，这些电影将湘西赶尸文化与茅山道士法术结合起来，这些电影中的僵尸形象也成为了标志性形象（穿着清朝官服，长獠牙，面部青白等），一些驱魔场景也特别经典，林正英的僵尸电影的情节不单单只是恐怖元素，一些喜剧效果也拉满，给影迷留下深刻印象；2） 在流行文学上，一些悬疑文学的爱好者借助湘西赶尸的历史背景并融入其他文学现象，如《湘西赶尸之落花圣女》、《湘西鬼事：赶尸传奇》等，将湘西的特殊的文化遗产运用到了网络流行文学中，这也显示了湘西赶尸文化在网络流行文学上得到创新与创造；3） 在流行符号上，譬如“跳跃行进”、“贴符咒”等等与西方丧尸文化形成鲜明对比，一些商业旅游也借用这一文化现象建造了如旅游民宿、赶尸表演等，并开发了一些旅游文创，成为吸引游客的噱头。但是不可否认的是，在对这一文化进行创造性发展的过程也存在着对该文化的误度与曲解，有些文学作品过分渲染其“恐怖邪性”特点，但是忽略了其背后的人文关怀与伦理边界（要尊重逝者对于“落叶归根”的追求）。<br /> <br /> ==跨文化比较==<br /> 埃及也利用防腐技术对尸体进行处理并结合其复杂的宗教咒语让尸体能够死后“复活”，而湘西赶尸则是为了尸体安息；印度则将尸体进行水葬，将尸体投入恒河，不同的是湘西赶尸强调的是地理归属，而印度则是强调宗教救赎；并且之前僵尸还被误译为&quot;Zombie&quot;，但其实两者本质是不同的，丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> ==结语==<br /> 湘西赶尸作为一种特殊地区文化现象，仅是单纯考虑其尸体保存或者搬运技巧是比较浅显的，唯有以科学精神解构赶尸的技术原理，以人文情怀体悟&quot;慎终追远&quot;的伦理内核，方能在现代性冲击下实现创造性传承——让“神秘”背后的生存韧性、竹竿间的协作智慧，继续照亮人类对生死尊严的永恒求索。<br /> <br /> ==参考文献==<br /> [1] 赶尸[EB/OL].搜狗. 网址 ：https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [2]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018,(13):212. （https://wap.cnki.net/touch/web/Journal/Article/QCSY201813195.html）<br /> <br /> <br /> [3]王亚男.湘西赶尸文化探秘[J].电脑迷,2018,(02):186.（https://wap.cnki.net/touch/web/Journal/Article/DNMI201802163.html）<br /> <br /> <br /> [4] 湘西赶尸[EB/OL].百度. 网址： https://bkso.baidu.com/item/%E6%B9%98%E8%A5%BF%E8%B5%B6%E5%B0%B8/667752?fromModule=lemma_inlink&amp;app_lang=zh-CN<br /> <br /> <br /> [5]湘西“赶尸” [EB/OL]. 搜狗.网址： https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [6] 葬礼.[EB/OL].百度. 网址 https://baike.baidu.com/item/%E8%91%AC%E7%A4%BC/1735897?app_lang=zh-CN<br /> <br /> <br /> 术语：<br /> <br /> <br /> <br /> <br /> 1. 通过以上阅读，谈谈湘西赶尸行业有哪些行业禁忌与规则？<br /> “三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感。<br /> <br /> 2. 湘西赶尸蕴含了哪些文化内涵？<br /> 第一，对“落叶归根”的终极信仰。<br /> 第二，生死界限模糊处理。<br /> 第三，山地文化生活困境应对。<br /> 第四，现代转型的文化遗产。<br /> <br /> 3. 湘西赶尸文化与西方丧尸文化有哪些不同，这些不同显示了什么？<br /> 丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> <br /> <br /> ==Abstract==<br /> This paper examines the origins and history of Xiangxi corpse-driving（or The corpse of Xiangxi technique）, reveals the operational principles behind the practice (such as transporting corpses using talismans and bamboo poles), and analyzes its cultural connotations and cross-cultural comparisons. It explores the folk wisdom reflected in the ritual tools and techniques while delving into the underlying cultural values—including concepts of life and death and familial bonds—embedded within this tradition. Through this study, the author aims to enhance public understanding of Xiangxi corpse-driving and foster a deeper appreciation of its unique cultural significance and value.<br /> <br /> ==Origin and History==<br /> The practice of &quot;corpse driving&quot; (Gan Shi) in Xiangxi (Western Hunan) stands as a unique phenomenon deeply rooted in the region. It reflects the ancient people's profound understanding of life, death, and attachment to their native land. This enigmatic tradition has long captivated outside attention and fueled imaginations. Three theories regarding its origins are referenced below:<br /> First, mythological Legend. According to Miao folklore, the practice of corpse driving can trace back to the era of Chiyou. After Chiyou's army fought along the Yellow River, suffering countless casualties, Chiyou commanded his sorcerer to use witchcraft, enabling the fallen soldiers to return to their homeland. This legend has been passed down orally through generations among the Miao people in Xiangxi, representing the mythological origin of corpse driving.<br /> Second, geographical constraints. With its treacherous and complex terrain, Xiangxi posed extreme challenges for overland transportation, though waterways offered relative convenience. Rooted in the ancient Chinese belief of 'fallen leaves returning to roots' (落叶归根), even those who died far from home wished to be buried in their ancestral lands. However, traversing the Three Gorges involved navigating perilously turbulent rapids where shipwrecks were frequent. Superstitious ancients deemed transporting corpses highly inauspicious and thus avoided it at all costs. Consequently, to repatriate these deceased souls to their hometowns, the unique profession of 'corpse driving' emerged.<br /> Third, the Qing Dynasty's 'Autumn Executions.' After prisoners were executed, families who wished to repatriate the corpses could hire four bearers to carry the coffins back to their hometowns. However, this method proved extremely costly, and the bodies were prone to rot and emit foul odors. In contrast, engaging specialized corpse drivers to treat and transport the bodies prevented decomposition while saving costs.<br /> <br /> ==Demystifying the Mechanics of Corpse Driving in Xiangxi: The Fusion of Technology and Ritual==<br /> For centuries, the enigma of corpse driving in Xiangxi has eluded public understanding, with some even reacting in terror at its mention. In truth, its mechanics were never supernatural, but rather a fusion of technical operations and ritualistic elements—crafting an aura of mystique and psychological deterrence that epitomized the ingenuity of ancient laborers. Below, we unveil its core logic through two dimensions: the technical execution and ritual procedures of corpse driving.<br /> First, regarding the technical operations of corpse driving: 1） Corpse Preservation: Since corpses in transit must not decompose—yet naturally decay and emit foul odors, especially in summer—corpse handlers must perform preservation treatments beforehand. Scholars note that special herbs (e.g., cinnabar) native to Xiangxi were used. Corpses underwent dehydration followed by herbal fumigation, preventing decay over extended periods while reducing weight for easier transport; 2) Corpse Transportation Methods: one is bamboo pole technique. Corpses’ arms were secured to long bamboo poles, lifted by two handles at each end. The poles’ elasticity created a visual illusion of corpses “hopping” during movement. handlers disguised corpses with broad-brimmed hats, loose black robes, and yellow talismans. One is body-carrying method. One handler carried dismembered corpse parts concealed under robes, while another preceded the group, scattering spirit money and ringing road bells; 3) Corpse driving was a collaborative effort. Drivers divided tasks for long journeys, operating primarily at night to avoid onlookers and maintain secrecy. For multi-stage relays or adverse conditions (e.g., storms, fatigue), they paused at “corpse inns” (死尸客店) . These systematic techniques collectively shrouded Xiangxi corpse driving in an aura of macabre mystery.<br /> Second, Ritual Mechanics. This section elaborates on three dimensions: ritual tools, taboos, and apprenticeship conditions：<br /> 1）Tools: Beyond the bamboo poles, black robes, and preservatives mentioned earlier, critical instruments include: Soul-Bell (摄魂铃): Guides spirits and signals night travelers to keep distance. Chenzhou Talismans (辰州符): Affixed to key body parts to ‘anchor the soul and stabilize the spirit’. Soul-Guiding Gong (引魂锣): Functions similarly to the bell; villagers hearing it would restrain dogs to prevent corpse mutilation； 2）Taboos and Rules: Key prohibitions documented include: ‘Three Permitted and Three Forbidden’ (三赶三不赶), &quot;Three Permitted&quot; refers to beheaded (with head reattached), hanged, or war-dead—deemed ‘unresolved grievances requiring homebound rest’ and &quot;Three Forbidden&quot; refers to deaths by illness, suicide, or lightning—believed to have spirits reclaimed by the underworld, beyond control. Some linguistic taboos include replacing ‘赶尸’ (corpse driving) with ‘走脚’ (walking the feet) or ‘迎喜神’ (welcoming the joy-god) . And other avoidances include steering clear of pregnant women and the blind to prevent ‘spiritual clashes’, and operating exclusively at night via secluded paths to preserve secrecy and mystique； 3）Apprenticeship System: Entry barriers were stringent: physical requirements are male apprentices aged ≥17, height ≥1.7m, with ‘unpleasant features’ (women excluded due to ‘excessive yin energy attracting evil’) . selection process is that parents signed contracts consenting to entry; candidates underwent trials (e.g., direction-finding after disorientation) . What's more, practitioners abstained from marriage and reproduction to avoid ‘yin contamination of descendants’ . These practices fueled external perceptions of corpse handlers as ‘demonic’, ‘mystical’, and ‘infinitely powerful’.&quot;<br /> <br /> ==Cultural Significance==<br /> As a unique folk funerary custom, Xiangxi corpse driving transcends mere 'corpse transportation' techniques. Born from the region’s distinctive geographical constraints, historical context, and the deeply rooted familial ethos of 'returning to one’s roots upon death,' this practice embodies profound cultural layers. In essence, we can decipher the following cultural significances from this phenomenon:<br /> First, the ultimate belief in &quot;fallen leaves returning to roots&quot; (落叶归根). The people of Xiangxi believed that only by returning to their homeland for burial could the deceased's soul find peace; otherwise, they would become wandering spirits or homeless ghosts. This aligns with the Confucian concept that &quot;burial brings peace to the deceased&quot; (入土为安). The corpse-driving industry merely adapted this traditional belief in &quot;fallen leaves returning to roots&quot; into a means of livelihood for the corpse handlers.<br /> Second, the blurring of the boundary between life and death. By preserving corpses and using various tools to guide the souls of the deceased back to their homeland, thereby pacifying and settling the souls, the corpse-driving industry reflects a deliberate blurring of the distinction between life and death. The corpse handlers serve as &quot;messengers&quot; facilitating communication between the living and the dead, transcending the inherent &quot;separation between the living and the dead&quot; (人鬼殊途). Even if individuals die far from home during their lifetime, through corpse-driving, their souls can return to their native place, avoiding the fate of becoming &quot;wandering ghosts&quot; (孤魂野鬼) after death.<br /> Third, the response to livelihood challenges in mountainous culture. The corpse-driving industry shrouded itself in mystery through a series of industry rules, taboos, and secrets. While this ostensibly elevated professional thresholds and crafted an image of corpse drivers as &quot;mystically omnipotent&quot; (法力无边), it fundamentally secured livelihoods for these marginalized practitioners. Moreover, the emergence of this industry offered profound psychological solace to the deceased and their families. Given the rugged terrain of Western Hunan, conventional methods like coffin carriage were impractical for repatriating the dead. Corpse-driving, however, incurred minimal costs—affordable for bereaved families—thereby alleviating the anxiety of those who died far from home and their kin. Even in death, they could return to their homeland. Thus, the rise of corpse-driving not only fulfilled the pursuit of &quot;returning to one’s roots&quot; (落叶归根) but also embodied locally adapted wisdom of survival. It acts as a prism, refracting traditional Chinese society’s complex attitudes toward death, nature, and ethics, while urging modern society to re-examine the humanistic wisdom embedded in marginalized cultures.<br /> Fourth, the modern transformation of cultural heritage. As a unique cultural phenomenon in China, the Xiangxi corpse-driving tradition has inspired adaptations in film and television, modern popular literature, and contemporary symbols—all manifestations of its revitalized cultural relevance in the modern era. 1）In film and television, a series of zombie movies by Lam Ching-ying, such as Mr. Jiangshi (《僵尸先生》) and New Mr. Jiangshi(《新僵尸先生》), integrated the Xiangxi corpse-driving culture with Taoist magic from Mount Mao (茅山法术). The iconic zombie imagery in these films—characterized by Qing Dynasty official robes, elongated fangs, and pallid, bluish faces—became emblematic of the genre. Exorcism scenes were crafted with classic precision, while the films' blend of horror and heightened comedic elements left a lasting impression on fans； 2）In popular literature, suspense fiction enthusiasts leverage the historical backdrop of corpse-driving in Xiangxi and integrate other literary phenomena, such as Corpse-Handlers in Western Hunan: The Fallen Blossom Saint (《湘西赶尸之落花圣女》) and Mysteries of Western Hunan: Legends of Corpse-Driving (《湘西鬼事：赶尸传奇》). This demonstrates how the unique cultural heritage of Xiangxi corpse-driving has been innovatively and creatively reimagined within the realm of online popular literature; 3) In popular symbols, practices such as &quot;hopping movement&quot; (跳跃行进) and &quot;affixing talismans&quot; (贴符咒) form a stark contrast to Western zombie culture. Commercial tourism has leveraged this cultural phenomenon to develop attractions like themed lodges, corpse-driving performances, and tourism-inspired cultural products, using it as a gimmick to attract visitors. However, it is undeniable that during the creative development of this culture, misinterpretations and distortions have emerged. Some literary works excessively exaggerate its &quot;horror and malevolence&quot; while overlooking the humanistic care and ethical boundaries at its core—specifically, the imperative to respect the deceased’s pursuit of &quot;fallen leaves returning to roots&quot; (落叶归根).<br /> <br /> ==Cross-Cultural Comparison==<br /> Egypt utilized preservation techniques to treat corpses, combined with complex religious incantations to enable posthumous &quot;resurrection.&quot; In contrast, Xiangxi corpse-driving aimed to ensure the deceased rest in peace. India practices water burials by depositing bodies into the Ganges River, emphasizing religious salvation rather than geographical belonging, as seen in Xiangxi corpse-driving. Additionally, the term &quot;zombie&quot; has been a mistranslation for &quot;僵尸&quot; (jiangshi). In essence, zombies (丧尸) are virus-driven &quot;living dead,&quot; reflecting distinct Eastern and Western sociocultural responses to death.<br /> <br /> ==Conclusion==<br /> As a unique regional cultural phenomenon, reducing Xiangxi corpse-driving merely to its corpse preservation or transportation techniques is superficial. Only by applying scientific spirit to deconstruct its technical principles and embracing humanistic sentiments to comprehend the ethical core of &quot;reverence for the dead and ancestral remembrance&quot; (慎终追远) can its creative inheritance be achieved amid modernity's impact—allowing the resilience behind mystery and the collaborative wisdom embedded in bamboo poles to continue illuminating humanity's eternal quest for dignity in death.</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=169321 2025-06-19T09:44:53Z

<p>Li Ting2: </p> <hr /> <div>==湘西赶尸==<br /> <br /> <br /> ==摘要：==<br /> 本文主要介绍了湘西赶尸的起源与历史、“赶尸”原理揭秘、文化内涵、跨文化比较等方面，分析赶尸仪式中借助符咒、竹竿等工具实现尸体运送的民间智慧，探讨其背后反映的生死观、家族观念等文化意义，作者希望以此来提高大家对于湘西赶尸的了解，深刻体会其中的独特的文化内涵与价值。<br /> <br /> ==起源与历史==<br /> 湘西赶尸作为中国湘西地区独特的文化现象，反映了古代湘西人民对生死、乡土观念的深刻理解。事实上这一项历久以来备受外人关注的文化现象也一直引人想象，关于其起源，这里有以下三种说法可供参考： <br /> 首先，神话传说。苗族传说赶尸最早可追溯到蚩尤时代，蚩尤大军在黄河边作战后，死伤无数，蚩尤命军师施巫术让战死士兵能够返回故乡，这一传说也被湘西苗族人代代口口相传，这是赶尸的神话起源。<br /> 第二，地理环境限制。湘西地形险峻复杂，陆路交通极为不便，水路便利，中国自古有“落叶归根”的观念，即使客死他乡也想回归故里安葬，但是行至三峡水势极为汹涌危险，容易沉船，古人迷信，认为搭载尸体极为不吉利，不会轻易尝试。因而，为了让这些客死他乡的尸体能够返回故乡这就催生了“赶尸”这一特殊行业。<br /> 第三，清朝“秋决”处罚，清朝时一些死囚被处决后，应死囚家人希望，可以让四人抬棺归故里，但是这一方法极为耗钱，并且尸体容易腐烂发臭，但请专门赶尸人将尸体处理后并带回既能避免尸体发臭腐烂又能省钱。<br /> <br /> ==湘西赶尸原理揭秘：技术与仪式的交融==<br /> 长久以来人们都很难理解湘西赶尸的奥秘，有些甚至会谈之色变，实际上赶尸的原理并不是超神话的，更多的是一项技术与仪式感的交融，营造了一种神秘感与心理威慑，是古代人民智慧的象征。以下从赶尸技术操作、仪式流程两个维度揭秘其核心逻辑。<br /> 第一，赶尸技术操作上：1） 因为赶尸中的尸体是不能腐烂的，但是自然条件下尸体是会发烂发臭的，特别是夏季，这就要求赶尸人在赶尸之前就要对尸体进行防腐处理，学者认为湘西地区生长着一些特殊的草药（如朱砂），将尸体脱水后再进行草药的熏蒸就可以保障尸体长时间不腐，同时脱水后的尸体重量也减轻了，减少了赶尸难度。2）关于尸体搬运有两种说法，一种是在赶尸过程用到了竹竿，赶尸匠将尸体的双臂固定在竹竿，前后有两个人将竹竿抬起，由于竹竿的弹性，在移动过程中这就会产生尸体在“跳跃”的视觉假象，并且赶尸匠会对尸体做一些伪装如戴宽大的斗笠，穿宽大黑袍，贴黄符等；一种是一名赶尸匠背负肢解后藏于宽大黑袍的尸体，并由一名赶尸匠在前引路，撒纸钱，摇路铃等； 3）赶尸技术是一项团队工作，赶尸匠面对遥远路途会进行分工合作，为了避免生人靠近及保密，大多是在晚上进行，一些长途赶尸会进行分段接力，在这过程中如遇天气恶劣，体力不济等赶尸匠会暂时停留在“死尸客店”。正因为这一系列的技艺实施，给湘西赶尸蒙上了神秘惊悚的面纱。<br /> 第二，仪式揭秘。这里将从仪器工具、禁忌规则、技艺传承条件三方面阐述。1）除了前文提到的竹竿、黑袍以及防腐材料等，一些比较重要的工具还有摄魂铃（有“指引亡魂”的意义，并提示夜行人远离等）、辰州符（这种特制的符咒会被贴到尸体的一些关键部位起着“定魂安魄”的作用）、引魂锣（跟摄魂铃的作用很类似，也有指引亡灵的作用，路过村民听到该声音会把狗关起来，以免狗咬尸体）等；2）有关湘西赶尸的一些禁忌规则，查资料发现有：“三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感；3）赶尸行业在当时也是有一定门槛的，首要的一个就是胆子要大，命格要硬，身体素质好，赶尸匠不乱收徒，首先学徒父母得立字据同意加入赶尸行业，接着进行培训考核再进行技艺传承，一般来讲学徒得满 17 岁，身高一米七以上，相貌丑陋男性（不收女性，因为认为女性阴气重易招引邪物），并且从业者终身忌婚育避免“阴气染嗣”，也因为这些禁忌等，使得外人会对这个行业“妖魔化”、“神秘化”，认为赶尸匠“法力无边”。<br /> <br /> ==文化内涵==<br /> 湘西赶尸作为一种特殊的民俗丧葬文化现象，其文化内涵远超简单的“尸体搬运”技术，这是由湘西特殊的地理地质条件、历史文化背景以及“落叶归根”家庭观念等条件催生的，总的来说，从湘西赶尸这一文化现象我们可以从中解读出以下的文化内涵：<br /> 第一，对“落叶归根”的终极信仰。湘西人认为死后只有回归故土安葬才能使得魂魄得以安定，否则会变成孤魂野鬼，这也与中国儒家“入土为安”的理念相契合，赶尸行业只是契合人们“落叶归根”的传统观念，并将其转化为赶尸匠的谋生手段。<br /> 第二，生死界限模糊处理。将尸体进行防腐处理并利用各种工具招引引领亡魂归乡，安魂定魄，这些都反映了赶尸行业将生死界限模糊化，赶尸匠作为人与鬼交流的“信使”，超越“人鬼殊途”界限，即使死者生前客死他乡，但是通过赶尸，亡灵得以回归故里，避免死后成为“孤魂野鬼”。<br /> 第三，山地文化生活困境应对。赶尸行业利用一系列的行业规则禁忌以及行业秘密等为赶尸行业蒙上了神秘的面纱，实际上不仅是提高了行业门槛，塑造了赶尸匠“法力无边”的形象，还保障了赶尸匠这类边缘群体的生活。不仅如此，赶尸行业的出现对于死者以及死者家属来说也是巨大的心理慰藉，因为湘西当地地形原因，地势崎岖，死者很难通过抬棺等手段回归，而赶尸行业经济花费不大，死者家属也能承受，在一定程度上缓解客死他乡死者以及其家人焦虑，带来精神抚慰，即使身死他乡，死后还可回归故土，可以说赶尸行业的产生不仅是人们对于回归故里的追求也是当地因地制宜的生存智慧。它如同一面棱镜，折射出中国传统社会在应对死亡、自然与伦理时的复杂心态，也提醒现代人重新审视边缘文化中蕴含的人文智慧<br /> 第四，现代转型的文化遗产。湘西赶尸作为一种特殊的中国文化现象，由此演绎了相关的影视、现代流行文学、流行符号等，这些都是湘西赶尸这一文化现象在现代重新焕发生机的表现。1） 在影视方面，林正英一系列僵尸电影如《僵尸先生》、《新僵尸先生》等，这些电影将湘西赶尸文化与茅山道士法术结合起来，这些电影中的僵尸形象也成为了标志性形象（穿着清朝官服，长獠牙，面部青白等），一些驱魔场景也特别经典，林正英的僵尸电影的情节不单单只是恐怖元素，一些喜剧效果也拉满，给影迷留下深刻印象；2） 在流行文学上，一些悬疑文学的爱好者借助湘西赶尸的历史背景并融入其他文学现象，如《湘西赶尸之落花圣女》、《湘西鬼事：赶尸传奇》等，将湘西的特殊的文化遗产运用到了网络流行文学中，这也显示了湘西赶尸文化在网络流行文学上得到创新与创造；3） 在流行符号上，譬如“跳跃行进”、“贴符咒”等等与西方丧尸文化形成鲜明对比，一些商业旅游也借用这一文化现象建造了如旅游民宿、赶尸表演等，并开发了一些旅游文创，成为吸引游客的噱头。但是不可否认的是，在对这一文化进行创造性发展的过程也存在着对该文化的误度与曲解，有些文学作品过分渲染其“恐怖邪性”特点，但是忽略了其背后的人文关怀与伦理边界（要尊重逝者对于“落叶归根”的追求）。<br /> <br /> ==跨文化比较==<br /> 埃及也利用防腐技术对尸体进行处理并结合其复杂的宗教咒语让尸体能够死后“复活”，而湘西赶尸则是为了尸体安息；印度则将尸体进行水葬，将尸体投入恒河，不同的是湘西赶尸强调的是地理归属，而印度则是强调宗教救赎；并且之前僵尸还被误译为&quot;Zombie&quot;，但其实两者本质是不同的，丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> ==结语==<br /> 湘西赶尸作为一种特殊地区文化现象，仅是单纯考虑其尸体保存或者搬运技巧是比较浅显的，唯有以科学精神解构赶尸的技术原理，以人文情怀体悟&quot;慎终追远&quot;的伦理内核，方能在现代性冲击下实现创造性传承——让“神秘”背后的生存韧性、竹竿间的协作智慧，继续照亮人类对生死尊严的永恒求索。<br /> <br /> ==参考文献==<br /> [1] 赶尸[EB/OL].搜狗. 网址 ：https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [2]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018,(13):212. （https://wap.cnki.net/touch/web/Journal/Article/QCSY201813195.html）<br /> <br /> <br /> [3]王亚男.湘西赶尸文化探秘[J].电脑迷,2018,(02):186.（https://wap.cnki.net/touch/web/Journal/Article/DNMI201802163.html）<br /> <br /> <br /> [4] 湘西赶尸[EB/OL].百度. 网址： https://bkso.baidu.com/item/%E6%B9%98%E8%A5%BF%E8%B5%B6%E5%B0%B8/667752?fromModule=lemma_inlink&amp;app_lang=zh-CN<br /> <br /> <br /> [5]湘西“赶尸” [EB/OL]. 搜狗.网址： https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> <br /> <br /> [6] 葬礼.[EB/OL].百度. 网址 https://baike.baidu.com/item/%E8%91%AC%E7%A4%BC/1735897?app_lang=zh-CN</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=169315 2025-06-19T09:40:28Z

<p>Li Ting2: </p> <hr /> <div>==湘西赶尸==<br /> <br /> <br /> ==摘要：==<br /> 本文主要介绍了湘西赶尸的起源与历史、“赶尸”原理揭秘、文化内涵、跨文化比较等方面，分析赶尸仪式中借助符咒、竹竿等工具实现尸体运送的民间智慧，探讨其背后反映的生死观、家族观念等文化意义，作者希望以此来提高大家对于湘西赶尸的了解，深刻体会其中的独特的文化内涵与价值。<br /> <br /> ==起源与历史==<br /> 湘西赶尸作为中国湘西地区独特的文化现象，反映了古代湘西人民对生死、乡土观念的深刻理解。事实上这一项历久以来备受外人关注的文化现象也一直引人想象，关于其起源，这里有以下三种说法可供参考： <br /> 首先，神话传说。苗族传说赶尸最早可追溯到蚩尤时代，蚩尤大军在黄河边作战后，死伤无数，蚩尤命军师施巫术让战死士兵能够返回故乡，这一传说也被湘西苗族人代代口口相传，这是赶尸的神话起源。<br /> 第二，地理环境限制。湘西地形险峻复杂，陆路交通极为不便，水路便利，中国自古有“落叶归根”的观念，即使客死他乡也想回归故里安葬，但是行至三峡水势极为汹涌危险，容易沉船，古人迷信，认为搭载尸体极为不吉利，不会轻易尝试。因而，为了让这些客死他乡的尸体能够返回故乡这就催生了“赶尸”这一特殊行业。<br /> 第三，清朝“秋决”处罚，清朝时一些死囚被处决后，应死囚家人希望，可以让四人抬棺归故里，但是这一方法极为耗钱，并且尸体容易腐烂发臭，但请专门赶尸人将尸体处理后并带回既能避免尸体发臭腐烂又能省钱。<br /> <br /> ==湘西赶尸原理揭秘：技术与仪式的交融==<br /> 长久以来人们都很难理解湘西赶尸的奥秘，有些甚至会谈之色变，实际上赶尸的原理并不是超神话的，更多的是一项技术与仪式感的交融，营造了一种神秘感与心理威慑，是古代人民智慧的象征。以下从赶尸技术操作、仪式流程两个维度揭秘其核心逻辑。<br /> 第一，赶尸技术操作上：1） 因为赶尸中的尸体是不能腐烂的，但是自然条件下尸体是会发烂发臭的，特别是夏季，这就要求赶尸人在赶尸之前就要对尸体进行防腐处理，学者认为湘西地区生长着一些特殊的草药（如朱砂），将尸体脱水后再进行草药的熏蒸就可以保障尸体长时间不腐，同时脱水后的尸体重量也减轻了，减少了赶尸难度。2）关于尸体搬运有两种说法，一种是在赶尸过程用到了竹竿，赶尸匠将尸体的双臂固定在竹竿，前后有两个人将竹竿抬起，由于竹竿的弹性，在移动过程中这就会产生尸体在“跳跃”的视觉假象，并且赶尸匠会对尸体做一些伪装如戴宽大的斗笠，穿宽大黑袍，贴黄符等；一种是一名赶尸匠背负肢解后藏于宽大黑袍的尸体，并由一名赶尸匠在前引路，撒纸钱，摇路铃等； 3）赶尸技术是一项团队工作，赶尸匠面对遥远路途会进行分工合作，为了避免生人靠近及保密，大多是在晚上进行，一些长途赶尸会进行分段接力，在这过程中如遇天气恶劣，体力不济等赶尸匠会暂时停留在“死尸客店”。正因为这一系列的技艺实施，给湘西赶尸蒙上了神秘惊悚的面纱。<br /> 第二，仪式揭秘。这里将从仪器工具、禁忌规则、技艺传承条件三方面阐述。1）除了前文提到的竹竿、黑袍以及防腐材料等，一些比较重要的工具还有摄魂铃（有“指引亡魂”的意义，并提示夜行人远离等）、辰州符（这种特制的符咒会被贴到尸体的一些关键部位起着“定魂安魄”的作用）、引魂锣（跟摄魂铃的作用很类似，也有指引亡灵的作用，路过村民听到该声音会把狗关起来，以免狗咬尸体）等；2）有关湘西赶尸的一些禁忌规则，查资料发现有：“三赶三不赶”，其中“三赶”指的是被斩首（需缝头）、绞刑、战死者，因为他们“怨气未散”需归乡安魂。 “三不赶”指的是病逝、自杀、雷击死者，因为赶尸匠认为其魂魄已归地府，无法驱使。语言上的禁忌规则则是避免使用“赶尸”这样的字眼，而是说“走脚”以及“迎喜神”等。一些特殊人群要避开赶尸队伍如孕妇、盲人以免冲撞亡灵等。环境避讳如选择黑夜出行避免白天赶尸，远离人多处，选择偏僻小路，既保守了行业秘密又增加了行业神秘感；3）赶尸行业在当时也是有一定门槛的，首要的一个就是胆子要大，命格要硬，身体素质好，赶尸匠不乱收徒，首先学徒父母得立字据同意加入赶尸行业，接着进行培训考核再进行技艺传承，一般来讲学徒得满 17 岁，身高一米七以上，相貌丑陋男性（不收女性，因为认为女性阴气重易招引邪物），并且从业者终身忌婚育避免“阴气染嗣”，也因为这些禁忌等，使得外人会对这个行业“妖魔化”、“神秘化”，认为赶尸匠“法力无边”。<br /> <br /> ==文化内涵==<br /> 湘西赶尸作为一种特殊的民俗丧葬文化现象，其文化内涵远超简单的“尸体搬运”技术，这是由湘西特殊的地理地质条件、历史文化背景以及“落叶归根”家庭观念等条件催生的，总的来说，从湘西赶尸这一文化现象我们可以从中解读出以下的文化内涵：<br /> 第一，对“落叶归根”的终极信仰。湘西人认为死后只有回归故土安葬才能使得魂魄得以安定，否则会变成孤魂野鬼，这也与中国儒家“入土为安”的理念相契合，赶尸行业只是契合人们“落叶归根”的传统观念，并将其转化为赶尸匠的谋生手段。<br /> 第二，生死界限模糊处理。将尸体进行防腐处理并利用各种工具招引引领亡魂归乡，安魂定魄，这些都反映了赶尸行业将生死界限模糊化，赶尸匠作为人与鬼交流的“信使”，超越“人鬼殊途”界限，即使死者生前客死他乡，但是通过赶尸，亡灵得以回归故里，避免死后成为“孤魂野鬼”。<br /> 第三，山地文化生活困境应对。赶尸行业利用一系列的行业规则禁忌以及行业秘密等为赶尸行业蒙上了神秘的面纱，实际上不仅是提高了行业门槛，塑造了赶尸匠“法力无边”的形象，还保障了赶尸匠这类边缘群体的生活。不仅如此，赶尸行业的出现对于死者以及死者家属来说也是巨大的心理慰藉，因为湘西当地地形原因，地势崎岖，死者很难通过抬棺等手段回归，而赶尸行业经济花费不大，死者家属也能承受，在一定程度上缓解客死他乡死者以及其家人焦虑，带来精神抚慰，即使身死他乡，死后还可回归故土，可以说赶尸行业的产生不仅是人们对于回归故里的追求也是当地因地制宜的生存智慧。它如同一面棱镜，折射出中国传统社会在应对死亡、自然与伦理时的复杂心态，也提醒现代人重新审视边缘文化中蕴含的人文智慧<br /> 第四，现代转型的文化遗产。湘西赶尸作为一种特殊的中国文化现象，由此演绎了相关的影视、现代流行文学、流行符号等，这些都是湘西赶尸这一文化现象在现代重新焕发生机的表现。1） 在影视方面，林正英一系列僵尸电影如《僵尸先生》、《新僵尸先生》等，这些电影将湘西赶尸文化与茅山道士法术结合起来，这些电影中的僵尸形象也成为了标志性形象（穿着清朝官服，长獠牙，面部青白等），一些驱魔场景也特别经典，林正英的僵尸电影的情节不单单只是恐怖元素，一些喜剧效果也拉满，给影迷留下深刻印象；2） 在流行文学上，一些悬疑文学的爱好者借助湘西赶尸的历史背景并融入其他文学现象，如《湘西赶尸之落花圣女》、《湘西鬼事：赶尸传奇》等，将湘西的特殊的文化遗产运用到了网络流行文学中，这也显示了湘西赶尸文化在网络流行文学上得到创新与创造；3） 在流行符号上，譬如“跳跃行进”、“贴符咒”等等与西方丧尸文化形成鲜明对比，一些商业旅游也借用这一文化现象建造了如旅游民宿、赶尸表演等，并开发了一些旅游文创，成为吸引游客的噱头。但是不可否认的是，在对这一文化进行创造性发展的过程也存在着对该文化的误度与曲解，有些文学作品过分渲染其“恐怖邪性”特点，但是忽略了其背后的人文关怀与伦理边界（要尊重逝者对于“落叶归根”的追求）。<br /> <br /> ==跨文化比较==<br /> 埃及也利用防腐技术对尸体进行处理并结合其复杂的宗教咒语让尸体能够死后“复活”，而湘西赶尸则是为了尸体安息；印度则将尸体进行水葬，将尸体投入恒河，不同的是湘西赶尸强调的是地理归属，而印度则是强调宗教救赎；并且之前僵尸还被误译为&quot;Zombie&quot;，但其实两者本质是不同的，丧尸是由病毒驱使的“活死人”，反映了东西方社会面对死亡时的差异化表现。<br /> <br /> ==结语==<br /> 湘西赶尸作为一种特殊地区文化现象，仅是单纯考虑其尸体保存或者搬运技巧是比较浅显的，唯有以科学精神解构赶尸的技术原理，以人文情怀体悟&quot;慎终追远&quot;的伦理内核，方能在现代性冲击下实现创造性传承——让“神秘”背后的生存韧性、竹竿间的协作智慧，继续照亮人类对生死尊严的永恒求索。<br /> <br /> ==参考文献==<br /> [1] 赶尸[EB/OL].搜狗. 网址 ：https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> [2]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018,(13):212. （https://wap.cnki.net/touch/web/Journal/Article/QCSY201813195.html）<br /> [3]王亚男.湘西赶尸文化探秘[J].电脑迷,2018,(02):186.（https://wap.cnki.net/touch/web/Journal/Article/DNMI201802163.html）<br /> [4] 湘西赶尸[EB/OL].百度. 网址： https://bkso.baidu.com/item/%E6%B9%98%E8%A5%BF%E8%B5%B6%E5%B0%B8/667752?fromModule=lemma_inlink&amp;app_lang=zh-CN<br /> [5]湘西“赶尸” [EB/OL]. 搜狗.网址： https://baike.sogou.com/v8788194.htm?fromTitle=%E6%B9%98%E8%A5%BF%E2%80%9C%E8%B5%B6%E5%B0%B8%E2%80%9D%EF%BC%88%E4%B8%AD%E5%9B%BD%E6%B9%98%E8%A5%BF%E5%9C%B0%E5%8C%BA%E5%9C%B0%E5%9F%9F%E6%96%87%E5%8C%96%EF%BC%89&amp;app_lang=zh-CN<br /> [6] 葬礼.[EB/OL].百度. 网址 https://baike.baidu.com/item/%E8%91%AC%E7%A4%BC/1735897?app_lang=zh-CN</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=167283 2025-06-02T03:54:57Z

<p>Li Ting2: </p> <hr /> <div>'''The Corpse of Xiangxi Technique'''<br /> <br /> <br /> '''Abstract''':<br /> <br /> This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi, or The corpse of Xiangxi technique), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.<br /> <br /> The Xiangxi corpse procession, a unique folk cultural phenomenon in China's Xiangxi region, reflects the profound understanding of life, death, and ancestral homeland among ancient Xiangxi people. Below is an introduction to the origins and historical context of this practice from perspectives of mythology and history, practical needs, and social circumstances.<br /> <br /> <br /> '''1.Mythology and History'''<br /> <br /> '''1.1 Mythological Origins'''<br /> <br /> According to Miao ethnic legends, the corpse procession tradition traces its roots to the Chiyou era. Legend holds that after battling enemies along the Yellow River, Chiyou commanded his sorcerer-general to conduct soul-binding rituals, which would ritualistically guide the corpses back to their ancestral homes. This narrative, perpetuated through Miao oral traditions across generations, constitutes the symbolic genesis of the corpse precession culture.<br /> <br /> '''1.2 Historical Case'''<br /> <br /> During the Wanli period(1573-1620) of the Ming Dynasty, Peng Xiangqian, the Tusi chieftain of Baojing in Xiangxi, led 8000 local militianmen to resist the Later Jin invasion in support of Liaodong, but suffered a devasting defeat with the entire army perished. Surving Tusi leaders and Miao ritual specialists sealed the deceased solders' seven orifices with cinnabar, then performed ghunb pro(soul-summoning rites) to guide the corpses. This historical event stands as a documented case of the corpse procession being put into practical application.<br /> <br /> <br /> '''2.Practical Necessities and Sociocultural Context'''<br /> <br /> '''2.1 Geomorphological Constraints and Transportation Challenges'''<br /> <br /> Xiangxi, situated within the Wuling Mountain Range, featured rugged terrain that made overland transportation extremely challenging in ancient times. The corpses of those who died far from home(such as merchants, migrant laborers, and soldiers) could not be transported via conventional means, ultimately giving rise to the specialized funerary practice of corpse procession.<br /> <br /> '''2.2 Migration and Conflict Dynamics'''<br /> <br /> Qing-era Migration Waves: During the mid-Qing period, mass migrations of Xiangxi migrants to Sichuan created demand for posthumous repatriation of those who died far from ancestral lands. Hazardous waterborne transport through the Three Gorges region (hidden reefs, frequent shipwrecks), coupled with popular taboos against transporting corpses on commercial vessels, promoted the emergence of corpse procession as a ritually-sanctioned alternative.<br /> <br /> Judicial-Corpse Logistics: The Qing legal practice of Autumn Executions saw families of non-native commended prisoners burdened with exorbitant fees for bureaucratic corpse repatriation. Corpse handlers circumvented this by developing cost-effective, discreet method----utilizing herbal preservation techniques and nocturnal processions--- to return remains, thereby establishing processional protocols for the practice.<br /> <br /> <br /> '''3. Mechanics of the Corpse Procession: Decoding Ritual Protocols and Technical Artistry'''<br /> <br /> The practice fundamentally combines biomechanical ingenuity with witchcraft ---harnessing ancient labor wisdom for physical corpse manipulation while deploying mystical rituals to establish psychological deterrence. Below we decode its core mechanisms through technical operations, ritual choreography these two analytical dimensions:<br /> <br /> '''3.1 Technical Protocols: Biomechanical Solutions in Mortuary Logistics'''<br /> <br /> The operational framework compromises three codified subsystems:<br /> <br /> '''3.1.1 Ethnobotanical Preservation'''<br /> <br /> The mortuary conservation system employed two primary methodologies:<br /> Ethnobotanical Preservation: Corpse handlers applied locally sourced substances from Xiangxi (including cinnabar mercuric sulfide, HgS, realgar arsenic sulfide, and so on) to corpses. Cinnabar's mercury content inhibited bacterial growth, while realgar repelled insects, slowed decomposition, and masked odors through its sulfur compounds.<br /> <br /> Desiccation Method: Historical accounts describe soaking corpses in herbal decoctions to remove bodily fluids, thereby reducing weight for easier transportation.<br /> <br /> '''3.1.2 Corpse Immobilization and Transportation'''<br /> <br /> Corpse handlers primarily used bamboo poles to secure the corpses. Due to the specific requirements of this profession, coverings and disguises were employed to avoid detection by bystanders.<br /> <br /> Bamboo Pole Support Method: The corpse's arms were bound to two long bamboo poles, carried by two handlers positioned front and rear(typically cloaked in black). The poles' natural flexibility allowed controlled flexing, creating the visual illusion of the corpse &quot;hopping forward&quot;. The legs remained suspended mid-air. The poles' adjustable length accommodated corpses of varying heights.<br /> <br /> Concealment Techniques: The corpses wore large straw hats with talisman paper affixed to their faces. They were shrouded in black robes or palm-leaf raincoats to cover both the bamboo poles and handlers' bodies. These disguises proved particularly effective under low-light nighttime conditions, especially with limited torch illumination. Corpse handlers typically wore straw sandals, deliberately mimicking the rigid walking patterns of corpses to maintain synchronized movement rhythms.<br /> <br /> '''3.1.3 Routes and Teamwork'''<br /> <br /> Corpse procession was a team effort, conducted at night while avoiding populated areas via mountain forest paths to minimize witnesses. Longer routes often required section-based transport:<br /> <br /> Section-based transport: Extended journeys utilized relay stations or covert route relays, divided into segments handled by separate teams to prevent physical exhaustion.<br /> <br /> Night operations: moonlight or lantern illumination was employed. Low-light conditions amplified visual misperception, reducing detection risks.<br /> <br /> '''3.2 Ritual Protocols: Psychological Constructs in Miao Animist Praxis'''<br /> <br /> The following sections will elaborate on the ritual protocols through three key aspects: talismans and ritual implements, industry taboos and operational codes, cultivation of ritual authority among the ordinary people.<br /> <br /> '''3.2.1 Talismans and ritual implements'''<br /> <br /> Chenzhou Talisman: Paper charms(typically bearing Taoist apotropaic symbols) affixed to corpses' foreheads and chests pre-procession. While purporting to &quot;anchor souls and stabilize spirits&quot;, their primary function was to reinforce bystander trust in ritual authority.<br /> <br /> Soul-summoning Belling: The bronze bell's rhythmic patterns served as coded signals directing pallbearers to adjust gaits or alert to hazards. It chimes were simultaneously mythologized as auditory cues for spirit navigation.<br /> <br /> Yin Gong Path-Clearing: The corpse handlers strikes a specially crafted small gong(emitting a low, resonant tone) to warn the living to yield way while establishing an ominous atmosphere.<br /> <br /> '''3.2.2 Taboos and operational codes'''<br /> <br /> The necromantic practice adheres to strict prohibitions summarized as follows:<br /> <br /> First, the &quot; Three Permitted/ Prohibited Corpses Rule. Three Permitted Corpses are behaved(requires head reattachment), hanged, or fallen soldiers--those with &quot;unresolved grievances&quot; requiring homebound rites. Three Prohibited Corpses are deaths by illness, suicide, or lighting strike-- believed to have souls already returned to the underworld, thus unresponsive to guidance.<br /> <br /> Second, living person taboos. Civilians must avoid proximity, ostensibly to prevent &quot;disturbing the corpses&quot;, though primarily to conceal operational secrets from outsiders.<br /> <br /> Third, cockcrow and canine curfew. All processions must terminate before dawn's harbingers(rooster crows/ dog barks), retreating to covert &quot;corpse lodges&quot; to avoid daylight exposure.<br /> <br /> '''3.2.3 Cultivation of Ritual Authority Among the Ordinary People'''<br /> <br /> The corpse-handling profession fostered perceptions of &quot;supernatural prowess&quot; through systematic mystification, achieved via four institutionalized mechanisms: <br /> <br /> First, self-mythologization. Practitioners claimed requisite &quot;pure Yin birth charts&quot; and &quot;karmic resilience&quot;. Deliberate disfigurements(e.g. facial lesions) enhanced their &quot;spirit-medium&quot; persona.<br /> <br /> Second, initiation rites. Apprentices underwent psychological conditioning through trials like nocturnal vigils in unmarked graves and barehanded coffin exhumation, selecting candidates with nerve and precision. Successful initiates swore oath-bound adherence to operational codes.<br /> <br /> Third, Monopolized transmission. Skilled were transmitted orally within master-disciple lineages under trade secrecy protocols, preserving esoteric exclusivity and economic monopoly.<br /> <br /> Fourth, psychological deterrence. Circulated horror narratives(e.g. postmortem reanimation, corpse toxins) functioned as deterrent narratives against technical inquiries, safeguarding operational secrecy.<br /> <br /> <br /> '''4. Cultural Semiotics'''<br /> <br /> Xiangxi's Corpse Procession, as a unique folk custom, embodies cultural significance far beyond mere mortuary logistics. Its essence is deeply rooted in geo-environmental context, ethnic belief systems, traditional Chinese ethical frameworks. It functions both as a pragmatic product and a vessel for spiritual beliefs, embodying the interwoven nature of multidimensional cultural aspects.<br /> <br /> '''4.1 Concepts of Life and Death: Philosophical Interpretations'''<br /> <br /> Xiangxi's Corpse Procession, as a unique folk custom, embodies cultural significance far beyond mere mortuary logistics. Its essence is deeply rooted in geo-environmental context, ethnic belief systems, traditional Chinese ethical frameworks. It functions both as a pragmatic product and a vessel for spiritual beliefs, embodying the interwoven nature of multidimensional cultural aspects.<br /> <br /> '''4.1.1 The Ultimate Belief in &quot; Falling Leaves Returning to Roots&quot;'''<br /> <br /> Xiangxi locals firmly believe corpses must be buried in ancestral lands to allow souls to rest peacefully; otherwise, spirits become &quot;wandering ghosts&quot; due to displacement. The corpse procession fundamentally constitutes a ritual of &quot;sending souls home&quot;, manifesting the pursuit of life's integral completion.<br /> This worldview aligns with the Central Plains Han Chinese concept of &quot;resting peacefully through burial&quot;, but Xiangxi's geographical isolation fostered ritual practices infused with Miao soulway engineering(ghob xid).<br /> <br /> '''4.1.2 Blurring of Life-Death Boundaries'''<br /> <br /> The corpse procession ritual ambiguates the existential boundary between life and death through talismanic &quot;reanimation&quot; of corpses and bronze bell &quot;guidance&quot; for souls, reflecting primal religious beliefs in the &quot;indestructibility of the soul&quot;.<br /> <br /> Corpses are imbued with a &quot;semi-human, semi-spectral&quot; symbolism, functioning both as material remains and transient soul vessels, epitomizing a processual comprehension of mortality.<br /> <br /> '''4.2 Miao Animist Ritual Systems: Tripartite Communion Across Human, Divine, and Spectral Realms'''<br /> <br /> '''4.2.1 Fusion of Miao Animist Ritual and Taoist Liturgical Practices'''<br /> <br /> The &quot;Chenzhou Talisman&quot; used in corpse procession rituals embodies a synthesis of Miao Animist practices and Taoist sigil system. Operations like cinnabar-based soul stabilization and bronze bell exorcism functionally construct a bridge for tripartite communication (human-ghost-deity) through ritual implements.<br /> <br /> Corpse handlers(Laosi) operate with dual identity, technical executors(mortuary biomechanics) and ritual officiants (cosmological mediation).<br /> <br /> '''4.2.2 Secular Adaption of Nuo Ritual Theater'''<br /> <br /> In Xiangxi Nuo ritual theater, the thematic focus on &quot;exorcism and epidemic expulsion&quot; shares ontological roots with the corpse procession's &quot;soul anchoring and repatriation&quot; logic. Both practices operationalize human-specter interactions through masks, ritual dances, and incantations. The corpse procession constitutes a concretized implementation of Nuo culture within mortuary practices.<br /> <br /> '''4.3 Social Functions: Survival Strategies of Marginalized Cultures''' <br /> <br /> '''4.3.1 Survival Ingenuity Confronting Geographic Constrains'''<br /> <br /> In Xiangxi's rugged mountains with scare roads, traditional coffin transportation proved prohibitively costly. The corpse procession method circumvented these natural constraints through minimalist and covert adaptations, exemplifying the mountain communities' context-specific survival wisdom.<br /> <br /> Industry secrecy and taboos(e.g. 'the living must not approach') functionally served to maintain technical monopolies, ensuring socioeconomic viability for marginalized groups(corpse handlers).<br /> <br /> '''4.3.2 Psychological Solace and Social Control'''<br /> <br /> It provided families with ritualistic assurance of &quot;intact corpse repatriation&quot;, alleviating moral anxieties stemming from dying away from ancestral lands. Through Miao ritual authority (e.g. the Three Permitted/ Prohibited Corpses Rule), standardized mortuary protocols were enforced, safeguarding communal stability.<br /> <br /> Functioning as a cultural prism, this practice refracts the intricate psyche of traditional Chinese society confronting mortality, nature and ethics--while compelling modernity to reexamine the humanistic wisdom encoded within marginalized cultural systems.<br /> <br /> <br /> '''5 Semiotic Encoding in Screen Literature'''<br /> <br /> Xiangxi Corpse Procession, as one of the most mystique-laden icons in Chinese folk culture, has been extensively reimagined across film, literature, and pop culture. This practice has transitioned from a regional mortuary practice into a globally recognized supernatural trope through the following representational evolution and semiotic codification within cinematic and literary contexts:<br /> <br /> '''5.1 Corpse Procession Depictions in Cinematic Works'''<br /> <br /> '''5.1.1 Archetypal Portrayals in Hongkong Jiangshi cinema'''<br /> <br /> Lam Ching-ying's Jiangshi Film Cycle(1980s-1990s): Lam's films Mr. Vampire and Exorcist Master systematically visually codified corpse procession rituals, crystallizing the jiangshi archetype with &quot;Qing officials robes and talisman-controlled hopping locomotion&quot;. There are also signature ritual props such as bronze bells, yellow talismans, and peach wood swords.<br /> <br /> The combination of comedy and horror: Films such as Mr. Vampire and The Corpse Escorting Master preserve the eerie ambiance of nocturnal corpse escorting while incorporating humorous elements, forging a distinctive &quot;fantasy kungfu film&quot; sub-genre.<br /> <br /> '''5.1.2 Modern Reinterpretations in Screen Media'''<br /> <br /> The web series Nu Qing Xiangxi(Struggles in Western Hunan) authentically reconstructs corpse procession inns(cuanguan, temporary corpse repositories), and Miao Nuo rituals. Through character dialogues, it explicates the practice's cultural core &quot;Falling Leaves Returning to Roots&quot; as posthumous homecoming imperative.<br /> <br /> '''5.2 Cultural Reimagining in Literary Works'''<br /> <br /> '''5.2.1 Shen congwen's Local Culture Narratives'''<br /> <br /> In Notes on Xiangxi, Shen codified corpse processions within the Miao Nuo ritual framework through mentions of &quot;Chenzhou Talismans&quot;, deliberately demystifying horror elements while foregrounding the ethnographic validity of mortuary customs.<br /> <br /> '''5.2.2 Web Novels and Zhiguai Literary Traditions'''<br /> <br /> Contemporary Fiction: Works like ''Yuan Qi Zhuang Ling'' (Resentment Bell) and ''Long Gu Fen Xiang'' (Burning the Dragon Bone Casket) reimagine corpse handlers as inheritors of esoteric arts, amplifying supernatural attributes with resurrection capabilities.<br /> <br /> Classical Zhiguai Texts: Qing Dynasty collections like ''Zi Bu Yu'' and ''Yuewei Caotang Notes'' systematized jiangshi taxonomy (e.g. purple jiangshi and flying jiangshi and so on), providing archetypes for modern adaptations.<br /> <br /> '''5.3 Semiotic Codification and Cultural Impact'''<br /> <br /> '''5.3.1 From Folk Custom to Pop Culture Icon'''<br /> <br /> Horror Aesthetics: Elements of the corpse procession like nocturnal corpse processions, jerky cadaver locomotion, and talismanic control have been codified into quintessential Oriental Gothic Symbols. This system forms an ethno-cultural antithesis to Western zombie lore(virus-driven reanimation vs. soul repatriation metaphysics).<br /> <br /> Commercial Consumption: In Xiangxi tourism, corpse driving performances, themed homestays, and jiangshi props have become gimmicks to attract tourists, even spawning cultural and creative products (such as talisman stickers and dolls).<br /> <br /> '''5.3.2 Cultural Misinterpretations and Contentions'''<br /> <br /> Scientific Demystification Impact: Programs like CCTV's Approaching Science revealed corpse processions as bamboo pole corpse transport(two handlers carrying bodies via horizontal poles), eroding its mystique while sparking authenticity debates regarding traditional praxis.<br /> <br /> Ethical Boundaries: Certain creative works amplify occult attributes over the original mortuary ethics(e.g. respect for the deceased), causing the original cultural essence to become distorted.<br /> <br /> <br /> '''6. Cross-Cultural Comparisons'''<br /> <br /> Unlike the Xiangxi practice, the Toraja people of Indonesia regard the exhumation, grooming, and procession of ancestral remains as a &quot;rebirth ritual&quot;, emphasizing the emotional bond between the living and the deceased rather than focusing on logistical transportation. The mistranslation of Xiangxi Jiangshi as &quot;Zombie&quot; obscures their fundamental differences-- Jiangshi refers to corpses reanimated through talismanic control, rooted in the Daoist concept of soul anchoring, while Zombie is &quot;living dead&quot; infected by viruses, reflecting differential expressions of fear of death between Eastern and Western cultures.<br /> <br /> The cinematic and literary adaptations of Xiangxi's corpse procession practice embody both the global dissemination of regional culture and the continuous semiotic reconstruction of traditional symbols. Its conceptual core has evolved from mortuary logistics to mystic narratives, serving as an interface between folk beliefs and modern entertainment industries. Moving forward, preserving ethnographic authenticity amidst commercial exploitation will determine the sustained cultural vitality of this symbolic system.<br /> <br /> <br /> '''Conclusion'''<br /> <br /> The practice of corpse procession in Xiangxi embodies the crystallization of wisdom through which mountain civilization confronts the existential dilemma of life and death. Only by deconstructing its technical principles with scientific rigor and contemplating the ethical core of &quot;revering ancestors and cherishing roots&quot; with humanistic compassion can we achieve creative preservation amid modern challenges allowing the survival resilience behind talismanic symbols and the collaborative ingenuity within bamboo poles to continue illuminating humanity's eternal quest for dignity in life and death.<br /> <br /> <br /> '''References'''<br /> <br /> [1]刘继平.湘西赶尸探秘[J].寻根,2009(01):134-140.<br /> <br /> [2]梁谞.解密湘西赶尸[C]//广东省民俗文化研究会.2014年07月民俗非遗研讨会论文集.《神州民俗》杂志社,2014:20-21.<br /> <br /> [3]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018(13):212.<br /> <br /> [4]王亚男.湘西赶尸文化探秘[J].电脑迷,2018(02):186.<br /> <br /> [5]张达玮.湘西赶尸的宗教与伦理意蕴——兼论原始信仰作为人的存在方式[J].黔南民族师范学院学报,2016,36(04):18-22.<br /> <br /> <br /> <br /> Terms and Expressions<br /> <br /> 武陵山脉 Wuling Mountain Range<br /> <br /> 朱砂 cinnabar<br /> <br /> 符纸 talisman paper<br /> <br /> 蓑衣 palm-leaf raincoats<br /> <br /> 生辰八字纯阴 pure Yin birth charts <br /> <br /> 徒手挖棺 barehanded coffin exhumation <br /> <br /> 命硬克亲 karmic resilience <br /> <br /> &quot;落叶归根&quot; &quot;Falling Leaves Returning to Roots&quot;<br /> <br /> 孤魂野鬼 wandering ghosts<br /> <br /> 入土为安 resting peacefully through burial<br /> <br /> 半人半鬼 semi-human, semi-spectral<br /> <br /> 超自然意象 supernatural trope<br /> <br /> 表现与符号化过程 representational evolution and semiotic codification<br /> <br /> 黄符 yellow talismans <br /> <br /> 桃木剑 peach wood swords <br /> <br /> 邪术 occult attributes<br /> <br /> 符号重构 semiotic reconstruction<br /> <br /> <br /> '''Questions'''<br /> <br /> 1.Based on the above readings, discuss the industry taboos and operational rules of the corpse procession in Xiangxi.<br /> <br /> 2. What cultural connotations are embedded in the Xiangxi corpse procession tradition?<br /> <br /> 3. Why do outsiders tend to mystify and even &quot;demonize&quot; the corpse procession industry?<br /> <br /> 4. Share your cognition regarding Xiangxi corpse procession versus Western zombie culture.<br /> <br /> <br /> <br /> <br /> '''湘西赶尸'''<br /> <br /> <br /> '''摘要'''<br /> <br /> 本文全面概述了湘西赶尸传统（即赶尸，或湘西赶尸术），探讨了其起源、仪式技巧、文化意义和现代象征表征。研究追溯了这一习俗在湘西多民族聚居区的历史渊源，探究了使用符咒和竹竿运尸的民间智慧，探讨了其对生死观和家庭价值观的深刻文化反思。研究还进一步分析了电影和文学作品如何塑造其神秘形象，最终旨在增进公众对这一独特文化现象的了解，并促进对其独特精神遗产的鉴赏。<br /> <br /> 湘西赶尸是中国湘西地区独特的民俗文化现象，反映了古代湘西人对生死和祖先故土的深刻理解。下面将从神话历史、现实需求和社会环境等角度，介绍这一习俗的起源和历史背景。<br /> <br /> '''1.神话与历史'''<br /> <br /> '''1.1神话起源'''<br /> <br /> 根据苗族传说，赶尸习俗起源于蚩尤时代。传说蚩尤在黄河边与敌军交战后，命令手下的巫师将领举行缚魂仪式，以仪式引导尸体返回祖居地。苗族世代口口相传的这一传说构成了赶尸文化的象征性起源。<br /> <br /> '''1.2历史案例'''<br /> <br /> 明朝万历年间（1573-1620年），湘西保靖土司首领彭象乾率领8000名土兵抵抗后金入侵，支援辽东，结果惨败，全军覆没。幸存的土司首领和苗族祭祀专家用朱砂封住阵亡将士的七窍，然后举行招魂仪式，为尸体引路。这一历史事件是尸体游行在实际应用中的一个有据可查的案例。<br /> <br /> <br /> '''2. 实际需求和社会文化背景'''<br /> <br /> '''2.1 地貌限制与交通挑战'''<br /> <br /> 湘西地处武陵山脉，地形崎岖，古代陆路交通极为不便。远离家乡的死者（如商人、民工和士兵）的尸体无法通过传统方式运输，最终产生了专门的殡葬习俗--赶尸。<br /> <br /> '''2.2 移民与战争因素'''<br /> <br /> 清代移民浪潮：在清中期，湘西移民大规模迁移到四川，这产生了对那些远离祖先土地的死者进行追授遣返的需求。穿越三峡地区的危险水上运输（隐藏的礁石、频繁的沉船等），加上流行禁止用商船运输尸体的禁忌，促使赶尸作为一种仪式认可的替代方案的出现。<br /> <br /> 司法-尸体物流：清朝秋决客籍死囚后，家属需支付高昂费用运尸。赶尸匠以更低成本、更隐蔽的方式（如防腐处理，夜间赶尸等）完成运输，并逐渐形成行业规范。<br /> <br /> <br /> '''3.“赶尸”原理（即仪式与技艺的揭秘）'''<br /> <br /> 湘西赶尸的“原理”是技术与巫术的结合，既包含古代劳动智慧的物理手段，也依托神秘仪式营造心理威慑。以下从技术操作、仪式流程两个维度揭秘其核心逻辑：<br /> <br /> '''3.1 技术操作：尸体运输的生物物理手段'''<br /> <br /> 技术层面的操作主要包括以下三个层面：<br /> <br /> '''3.1.1尸体防腐处理'''<br /> <br /> 尸体防腐处理主要有草药防腐以及脱水处理两种方式：<br /> <br /> 草药防腐：赶尸匠使用湘西本地药材（如朱砂、辰砂、雄黄）涂抹尸体，朱砂含硫化汞可抑制细菌滋生，雄黄驱虫防腐，延缓腐烂并掩盖异味。<br /> <br /> 脱水处理：部分记载提到将尸体浸泡于草药液中脱水，减轻重量便于运输。<br /> <br /> '''3.1.2尸体固定和运输'''<br /> <br /> 尸体搬运工主要使用竹竿固定尸体。由于该职业的特殊要求，采用了遮盖物和伪装以避免被旁观者发现。<br /> <br /> 竹竿支撑法：尸体双臂被绑在两根长竹竿上，由前后两名赶尸匠（通常穿黑袍伪装）抬运，通过竹竿弹性晃动制造尸体“跳跃前进”的视觉假象。并且尸体双腿悬空，竹竿长度可调节，适应不同身高遗体。<br /> <br /> 遮蔽伪装：尸体头戴宽大斗笠，面部贴符纸，全身裹黑袍或蓑衣，遮挡竹竿和赶尸匠身体，夜间火光昏暗时更易迷惑旁观者。并且赶尸匠一般穿草鞋，模仿尸体僵硬步伐，保持节奏统一。<br /> <br /> 事实证明，这些伪装在低光夜间条件下特别有效，尤其是在手电筒照明有限的情况下。尸体搬运工通常穿着草鞋，故意模仿尸体僵硬的行走模式，以保持同步的运动节奏。<br /> <br /> '''3.1.3 路线和团队合作'''<br /> <br /> 赶尸是一项团队工作，一般在夜间进行，避开人群密集处，选择山林小路，减少目击者，且路线长的往往会进行分段运输：<br /> <br /> 分段运输：长途赶尸可能通过驿站或秘密路线接力，由不同团队分段完成，避免体力透支。 <br /> <br /> 夜间行动：利用月光或灯笼照明，光线不足时视觉误差更显著，降低被识破风险。 <br /> <br /> '''3.2 仪式流程：苗族万物有灵论实践术的心理建构'''<br /> <br /> 以下将从符咒与法器、行业禁忌与规则、赶尸匠的“法力”塑造等方面介绍该行业的仪式流程：<br /> <br /> '''3.2.1 符咒与法器'''<br /> <br /> 辰州符：赶尸前在尸体额头、胸口贴符纸（多为道教镇煞符文），宣称可“镇魂定魄”，实则强化旁观者对巫术权威的信任。 <br /> <br /> 摄魂铃：铜铃摇动节奏实为暗号，指挥抬尸人调整步伐或警示危险，铃声也被赋予“指引亡魂”的象征意义。 <br /> <br /> 阴锣开道：赶尸人敲打特制小锣（声音低沉），提醒活人避让，同时营造阴森氛围。<br /> <br /> '''3.2.2 禁忌与规则'''<br /> <br /> 该行业禁忌或行规总结起来有以下几点：<br /> <br /> “三赶三不赶”：“可赶”：被斩首（需缝头）、绞刑、战死者，因“怨气未散”需归乡安魂;“不赶”：病逝、自杀、雷击死者，认为其魂魄已归地府，无法驱使。 <br /> <br /> 活人避讳：宣称活人靠近会“冲撞尸体”，实为防止外人发现团队操作秘密。 <br /> <br /> 忌鸡鸣狗吠：天亮后光线充足易暴露，需在鸡鸣狗叫前入住“死尸客店”歇息。<br /> <br /> '''3.2.3 赶尸匠的“法力”塑造'''<br /> <br /> 赶尸这个行业由于种种原因，外人会对其“妖魔化”、“神秘化”，认为赶尸匠“法力无边”，这与从事该行业种种规定要求等有关。<br /> <br /> 首先，自我神化。赶尸匠自称需“生辰八字纯阴”“命硬克亲”，通过外貌（如面部生疮）强化“通灵者”形象；第二，入行仪式。学徒需通过“夜宿乱坟岗”“徒手挖棺”等考验，筛选胆大心细者，并宣誓严守行规。第三，该行业垄断性传承。技艺仅限师徒口传，禁止外泄，维持行业神秘性与经济收益；最后，心理威慑，通过恐怖传说（如“诈尸”、“尸毒”）阻止外人探究，保护技术秘密。<br /> <br /> <br /> '''4. 文化内涵'''<br /> <br /> 湘西赶尸作为一项独特的民俗现象，其文化内涵远超出单纯的“运尸技术”，而是深深根植于湘西的地理环境、少数民族信仰以及中国传统伦理观念之中。它既是实用主义的产物，也是精神信仰的载体，体现了多重文化维度的交织：<br /> <br /> '''4.1 生死观：对生命与死亡的哲学诠释'''<br /> <br /> '''4.1.1 “落叶归根”的终极信仰'''<br /> <br /> 湘西人坚信，遗体必须归葬故土才能让灵魂安息，否则亡灵会因漂泊异乡而化作“孤魂野鬼”。赶尸本质上是一种“送魂归乡”的仪式，体现了对生命完整性的追求。 <br /> 这种观念与中原汉族的“入土为安”思想相通，但湘西因地理阻隔，发展出更具苗族巫术色彩的实践形式。<br /> <br /> '''4.1.2 生死界限的模糊化'''<br /> <br /> 通过符咒“唤醒”尸体、铜铃“指引”亡魂，赶尸模糊了生与死的绝对界限，反映了原始宗教中“灵魂不灭”的信仰。<br /> <br /> 尸体被赋予“半人半鬼”的象征性，既是物质遗骸，也是魂魄的临时载体，体现了对死亡过程的动态理解。<br /> <br /> '''4.2 苗族万物有灵论仪式系统：人、神、灵界三方共融'''<br /> <br /> '''4.2.1 万物有灵仪式与道法的融合'''<br /> <br /> 赶尸仪式中使用的“辰州符”融合了苗族有灵仪式与道教符箓体系，朱砂镇魂、铜铃驱邪等操作，实为通过法器构建“人—鬼—神”三界沟通的桥梁。<br /> <br /> 赶尸匠（“老司”）兼具巫师与匠人双重身份，既是技术执行者，也是宗教仪式的操演者。<br /> <br /> '''4.2.2 傩戏的世俗化延伸'''<br /> <br /> 湘西傩戏中“驱鬼逐疫”的主题与赶尸的“镇魂归乡”逻辑同源，均通过面具、舞蹈、咒语等实现人鬼互动。赶尸可视为傩文化在丧葬领域的具象化应用。<br /> <br /> '''4.3 社会功能：边缘文化的生存策略'''<br /> <br /> '''4.3.1 应对地理困境的智慧'''<br /> <br /> 湘西多山少路，传统棺木运输成本高昂，赶尸以轻量化、隐蔽化的方式突破自然限制，是山区人民因地制宜的生存智慧。 <br /> <br /> 行业保密与禁忌（如“活人勿近”）实为维护技术垄断，确保边缘群体（赶尸匠）的社会生存空间。<br /> <br /> '''4.3.2 心理慰藉与社会控制'''<br /> <br /> 为家属提供“遗体完整归乡”的仪式感，缓解因客死异乡带来的道德焦虑。通过巫术权威（如“三赶三不赶”规则）规范死亡处理方式，维护社会秩序。<br /> <br /> 它如同一面棱镜，折射出中国传统社会在应对死亡、自然与伦理时的复杂心态，也提醒现代人重新审视边缘文化中蕴含的人文智慧。<br /> <br /> <br /> '''5. 影视文学与符号化'''<br /> <br /> 湘西赶尸作为中国民俗文化中最具神秘色彩的符号之一，在影视、文学及流行文化中被广泛演绎，逐渐从地方丧葬习俗演变为全球观众熟知的超自然意象。以下是其在影视文学中的表现与符号化过程：<br /> <br /> '''5.1 影视作品中的赶尸形象'''<br /> <br /> '''5.1.1 香港僵尸电影的经典塑造'''<br /> <br /> 林正英系列：1980-1990年代，林正英主演的《僵尸先生》《驱魔道长》等电影将赶尸仪式视觉化，塑造了“清朝官服、贴符跳跃”的僵尸形象，铜铃、黄符、桃木剑成为标配道具。 <br /> <br /> 喜剧化与恐怖结合：如《僵尸叔叔》《赶尸先生》等片，既保留夜间赶尸的阴森氛围，又加入幽默元素，形成独特的“灵幻功夫片”亚类型。 <br /> <br /> '''5.1.2 现代影视的再创作'''<br /> <br /> 网剧《怒晴湘西》：还原赶尸客栈（“攒馆”）、巫傩仪式，并借角色之口点明赶尸的“落叶归根”文化内核。<br /> <br /> '''5.2 文学作品中的文化重构'''<br /> <br /> '''5.2.1 沈从文的乡土书写'''<br /> <br /> 在《湘西散记》中提及“辰州符”，将赶尸纳入湘西巫傩文化体系，淡化恐怖色彩，强调其作为民俗的合理性。<br /> <br /> '''5.2.2 网络小说与志怪文学'''<br /> <br /> 《怨气撞铃》《龙骨焚箱》等小说将赶尸匠设定为秘术传承者，甚至衍生出“起死回生”的奇幻情节，赋予其更多超自然属性。<br /> <br /> 《子不语》《阅微草堂笔记》等古籍中的“僵尸”分类（如紫僵、飞僵）为现代创作提供了原型。 <br /> <br /> '''5.3 符号化过程与文化影响'''<br /> <br /> '''5.3.1 从民俗到流行符号'''<br /> <br /> 恐怖美学：赶尸的夜间行进、尸体跳跃、符咒控制等元素被抽象为“东方恐怖”的典型符号，与西方丧尸（Zombie）形成文化对比。<br /> <br /> 商业消费：湘西旅游中，赶尸表演、主题民宿、“僵尸道具”成为吸引游客的噱头，甚至衍生出文创产品（如符咒贴纸、玩偶）。<br /> <br /> '''5.3.2 文化误解与争议'''<br /> <br /> 科学解构的冲击：央视《走近科学》等节目揭秘赶尸实为“竹竿抬尸”，削弱其神秘性，但也引发对传统文化真实性的讨论。 <br /> <br /> 伦理边界：部分作品过度渲染赶尸的“邪术”属性，模糊其原本的伦理意义（如对逝者的尊重），导致文化本貌被扭曲。 <br /> <br /> <br /> '''6. 跨文化比较'''<br /> <br /> 与湘西不同，印度托拉雅人将挖出亲人遗骸梳妆、游行视为“新生仪式”，强调生者与逝者的情感联结，而非运输功能。 此前湘西僵尸被误译为“Zombie”，但本质不同——僵尸是符咒控制的尸体，而丧尸是病毒感染的活死人，反映东西方对死亡恐惧的差异化表达。<br /> <br /> 湘西赶尸的影视文学演绎，既是地方文化的全球化传播，也是传统符号被不断重构的过程。其核心从“运尸技术”逐渐转向“神秘叙事”，成为连接民俗信仰与现代娱乐的桥梁。未来，如何在商业开发中保留文化本真，将是这一符号持续生命力的关键。<br /> <br /> <br /> '''结语'''<br /> <br /> 湘西赶尸是湘西地区文明应对生死命题的智慧结晶。唯有以科学精神解构其技术原理，以人文情怀体悟&quot;慎终追远&quot;的伦理内核，方能在现代性冲击下实现创造性传承——让符咒背后的生存韧性、竹竿间的协作智慧，继续照亮人类对生死尊严的永恒求索 。<br /> <br /> <br /> '''参考文献'''<br /> <br /> [1]刘继平.湘西赶尸探秘[J].寻根,2009(01):134-140.<br /> <br /> [2]梁谞.解密湘西赶尸[C]//广东省民俗文化研究会.2014年07月民俗非遗研讨会论文集.《神州民俗》杂志社,2014:20-21.<br /> <br /> [3]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018(13):212.<br /> <br /> [4]王亚男.湘西赶尸文化探秘[J].电脑迷,2018(02):186.<br /> <br /> [5]张达玮.湘西赶尸的宗教与伦理意蕴——兼论原始信仰作为人的存在方式[J].黔南民族师范学院学报,2016,36(04):18-22.<br /> <br /> <br /> 术语表达：<br /> <br /> 武陵山脉 Wuling Mountain Range<br /> <br /> 朱砂 cinnabar<br /> <br /> 符纸 talisman paper<br /> <br /> 蓑衣 palm-leaf raincoats<br /> <br /> 生辰八字纯阴 pure Yin birth charts <br /> <br /> 徒手挖棺 barehanded coffin exhumation <br /> <br /> 命硬克亲 karmic resilience <br /> <br /> &quot;落叶归根&quot; &quot;Falling Leaves Returning to Roots&quot;<br /> <br /> 孤魂野鬼 wandering ghosts<br /> <br /> 入土为安 resting peacefully through burial<br /> <br /> 半人半鬼 semi-human, semi-spectral<br /> <br /> 超自然意象 supernatural trope<br /> <br /> 表现与符号化过程 representational evolution and semiotic codification<br /> <br /> 黄符 yellow talismans <br /> <br /> 桃木剑 peach wood swords <br /> <br /> 邪术 occult attributes<br /> <br /> 符号重构 semiotic reconstruction<br /> <br /> <br /> 问题<br /> <br /> 1. 通过以上阅读，谈谈湘西赶尸行业有哪些行业禁忌与规则？<br /> <br /> 2. 湘西赶尸蕴含了哪些文化内行？<br /> <br /> 3. 为什么外人会对赶尸行业“神秘化”甚至“妖魔化”？<br /> <br /> 4. 谈谈你对湘西赶尸与西方丧尸的认识</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=167279 2025-06-02T03:48:43Z

<p>Li Ting2: </p> <hr /> <div><br /> '''Abstract''':<br /> <br /> This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi, or The corpse of Xiangxi technique), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.<br /> <br /> The Xiangxi corpse procession, a unique folk cultural phenomenon in China's Xiangxi region, reflects the profound understanding of life, death, and ancestral homeland among ancient Xiangxi people. Below is an introduction to the origins and historical context of this practice from perspectives of mythology and history, practical needs, and social circumstances.<br /> <br /> <br /> '''1.Mythology and History'''<br /> <br /> '''1.1 Mythological Origins'''<br /> <br /> According to Miao ethnic legends, the corpse procession tradition traces its roots to the Chiyou era. Legend holds that after battling enemies along the Yellow River, Chiyou commanded his sorcerer-general to conduct soul-binding rituals, which would ritualistically guide the corpses back to their ancestral homes. This narrative, perpetuated through Miao oral traditions across generations, constitutes the symbolic genesis of the corpse precession culture.<br /> <br /> '''1.2 Historical Case'''<br /> <br /> During the Wanli period(1573-1620) of the Ming Dynasty, Peng Xiangqian, the Tusi chieftain of Baojing in Xiangxi, led 8000 local militianmen to resist the Later Jin invasion in support of Liaodong, but suffered a devasting defeat with the entire army perished. Surving Tusi leaders and Miao ritual specialists sealed the deceased solders' seven orifices with cinnabar, then performed ghunb pro(soul-summoning rites) to guide the corpses. This historical event stands as a documented case of the corpse procession being put into practical application.<br /> <br /> <br /> '''2.Practical Necessities and Sociocultural Context'''<br /> <br /> '''2.1 Geomorphological Constraints and Transportation Challenges'''<br /> <br /> Xiangxi, situated within the Wuling Mountain Range, featured rugged terrain that made overland transportation extremely challenging in ancient times. The corpses of those who died far from home(such as merchants, migrant laborers, and soldiers) could not be transported via conventional means, ultimately giving rise to the specialized funerary practice of corpse procession.<br /> <br /> '''2.2 Migration and Conflict Dynamics'''<br /> <br /> Qing-era Migration Waves: During the mid-Qing period, mass migrations of Xiangxi migrants to Sichuan created demand for posthumous repatriation of those who died far from ancestral lands. Hazardous waterborne transport through the Three Gorges region (hidden reefs, frequent shipwrecks), coupled with popular taboos against transporting corpses on commercial vessels, promoted the emergence of corpse procession as a ritually-sanctioned alternative.<br /> <br /> Judicial-Corpse Logistics: The Qing legal practice of Autumn Executions saw families of non-native commended prisoners burdened with exorbitant fees for bureaucratic corpse repatriation. Corpse handlers circumvented this by developing cost-effective, discreet method----utilizing herbal preservation techniques and nocturnal processions--- to return remains, thereby establishing processional protocols for the practice.<br /> <br /> <br /> '''3. Mechanics of the Corpse Procession: Decoding Ritual Protocols and Technical Artistry'''<br /> <br /> The practice fundamentally combines biomechanical ingenuity with witchcraft ---harnessing ancient labor wisdom for physical corpse manipulation while deploying mystical rituals to establish psychological deterrence. Below we decode its core mechanisms through technical operations, ritual choreography these two analytical dimensions:<br /> <br /> '''3.1 Technical Protocols: Biomechanical Solutions in Mortuary Logistics'''<br /> <br /> The operational framework compromises three codified subsystems:<br /> <br /> '''3.1.1 Ethnobotanical Preservation'''<br /> <br /> The mortuary conservation system employed two primary methodologies:<br /> Ethnobotanical Preservation: Corpse handlers applied locally sourced substances from Xiangxi (including cinnabar mercuric sulfide, HgS, realgar arsenic sulfide, and so on) to corpses. Cinnabar's mercury content inhibited bacterial growth, while realgar repelled insects, slowed decomposition, and masked odors through its sulfur compounds.<br /> <br /> Desiccation Method: Historical accounts describe soaking corpses in herbal decoctions to remove bodily fluids, thereby reducing weight for easier transportation.<br /> <br /> '''3.1.2 Corpse Immobilization and Transportation'''<br /> <br /> Corpse handlers primarily used bamboo poles to secure the corpses. Due to the specific requirements of this profession, coverings and disguises were employed to avoid detection by bystanders.<br /> <br /> Bamboo Pole Support Method: The corpse's arms were bound to two long bamboo poles, carried by two handlers positioned front and rear(typically cloaked in black). The poles' natural flexibility allowed controlled flexing, creating the visual illusion of the corpse &quot;hopping forward&quot;. The legs remained suspended mid-air. The poles' adjustable length accommodated corpses of varying heights.<br /> <br /> Concealment Techniques: The corpses wore large straw hats with talisman paper affixed to their faces. They were shrouded in black robes or palm-leaf raincoats to cover both the bamboo poles and handlers' bodies. These disguises proved particularly effective under low-light nighttime conditions, especially with limited torch illumination. Corpse handlers typically wore straw sandals, deliberately mimicking the rigid walking patterns of corpses to maintain synchronized movement rhythms.<br /> <br /> '''3.1.3 Routes and Teamwork'''<br /> <br /> Corpse procession was a team effort, conducted at night while avoiding populated areas via mountain forest paths to minimize witnesses. Longer routes often required section-based transport:<br /> <br /> Section-based transport: Extended journeys utilized relay stations or covert route relays, divided into segments handled by separate teams to prevent physical exhaustion.<br /> <br /> Night operations: moonlight or lantern illumination was employed. Low-light conditions amplified visual misperception, reducing detection risks.<br /> <br /> '''3.2 Ritual Protocols: Psychological Constructs in Miao Animist Praxis'''<br /> <br /> The following sections will elaborate on the ritual protocols through three key aspects: talismans and ritual implements, industry taboos and operational codes, cultivation of ritual authority among the ordinary people.<br /> <br /> '''3.2.1 Talismans and ritual implements'''<br /> <br /> Chenzhou Talisman: Paper charms(typically bearing Taoist apotropaic symbols) affixed to corpses' foreheads and chests pre-procession. While purporting to &quot;anchor souls and stabilize spirits&quot;, their primary function was to reinforce bystander trust in ritual authority.<br /> <br /> Soul-summoning Belling: The bronze bell's rhythmic patterns served as coded signals directing pallbearers to adjust gaits or alert to hazards. It chimes were simultaneously mythologized as auditory cues for spirit navigation.<br /> <br /> Yin Gong Path-Clearing: The corpse handlers strikes a specially crafted small gong(emitting a low, resonant tone) to warn the living to yield way while establishing an ominous atmosphere.<br /> <br /> '''3.2.2 Taboos and operational codes'''<br /> <br /> The necromantic practice adheres to strict prohibitions summarized as follows:<br /> <br /> First, the &quot; Three Permitted/ Prohibited Corpses Rule. Three Permitted Corpses are behaved(requires head reattachment), hanged, or fallen soldiers--those with &quot;unresolved grievances&quot; requiring homebound rites. Three Prohibited Corpses are deaths by illness, suicide, or lighting strike-- believed to have souls already returned to the underworld, thus unresponsive to guidance.<br /> <br /> Second, living person taboos. Civilians must avoid proximity, ostensibly to prevent &quot;disturbing the corpses&quot;, though primarily to conceal operational secrets from outsiders.<br /> <br /> Third, cockcrow and canine curfew. All processions must terminate before dawn's harbingers(rooster crows/ dog barks), retreating to covert &quot;corpse lodges&quot; to avoid daylight exposure.<br /> <br /> '''3.2.3 Cultivation of Ritual Authority Among the Ordinary People'''<br /> <br /> The corpse-handling profession fostered perceptions of &quot;supernatural prowess&quot; through systematic mystification, achieved via four institutionalized mechanisms: <br /> <br /> First, self-mythologization. Practitioners claimed requisite &quot;pure Yin birth charts&quot; and &quot;karmic resilience&quot;. Deliberate disfigurements(e.g. facial lesions) enhanced their &quot;spirit-medium&quot; persona.<br /> <br /> Second, initiation rites. Apprentices underwent psychological conditioning through trials like nocturnal vigils in unmarked graves and barehanded coffin exhumation, selecting candidates with nerve and precision. Successful initiates swore oath-bound adherence to operational codes.<br /> <br /> Third, Monopolized transmission. Skilled were transmitted orally within master-disciple lineages under trade secrecy protocols, preserving esoteric exclusivity and economic monopoly.<br /> <br /> Fourth, psychological deterrence. Circulated horror narratives(e.g. postmortem reanimation, corpse toxins) functioned as deterrent narratives against technical inquiries, safeguarding operational secrecy.<br /> <br /> <br /> '''4. Cultural Semiotics'''<br /> <br /> Xiangxi's Corpse Procession, as a unique folk custom, embodies cultural significance far beyond mere mortuary logistics. Its essence is deeply rooted in geo-environmental context, ethnic belief systems, traditional Chinese ethical frameworks. It functions both as a pragmatic product and a vessel for spiritual beliefs, embodying the interwoven nature of multidimensional cultural aspects.<br /> <br /> '''4.1 Concepts of Life and Death: Philosophical Interpretations'''<br /> <br /> Xiangxi's Corpse Procession, as a unique folk custom, embodies cultural significance far beyond mere mortuary logistics. Its essence is deeply rooted in geo-environmental context, ethnic belief systems, traditional Chinese ethical frameworks. It functions both as a pragmatic product and a vessel for spiritual beliefs, embodying the interwoven nature of multidimensional cultural aspects.<br /> <br /> '''4.1.1 The Ultimate Belief in &quot; Falling Leaves Returning to Roots&quot;'''<br /> <br /> Xiangxi locals firmly believe corpses must be buried in ancestral lands to allow souls to rest peacefully; otherwise, spirits become &quot;wandering ghosts&quot; due to displacement. The corpse procession fundamentally constitutes a ritual of &quot;sending souls home&quot;, manifesting the pursuit of life's integral completion.<br /> This worldview aligns with the Central Plains Han Chinese concept of &quot;resting peacefully through burial&quot;, but Xiangxi's geographical isolation fostered ritual practices infused with Miao soulway engineering(ghob xid).<br /> <br /> '''4.1.2 Blurring of Life-Death Boundaries'''<br /> <br /> The corpse procession ritual ambiguates the existential boundary between life and death through talismanic &quot;reanimation&quot; of corpses and bronze bell &quot;guidance&quot; for souls, reflecting primal religious beliefs in the &quot;indestructibility of the soul&quot;.<br /> <br /> Corpses are imbued with a &quot;semi-human, semi-spectral&quot; symbolism, functioning both as material remains and transient soul vessels, epitomizing a processual comprehension of mortality.<br /> <br /> '''4.2 Miao Animist Ritual Systems: Tripartite Communion Across Human, Divine, and Spectral Realms'''<br /> <br /> '''4.2.1 Fusion of Miao Animist Ritual and Taoist Liturgical Practices'''<br /> <br /> The &quot;Chenzhou Talisman&quot; used in corpse procession rituals embodies a synthesis of Miao Animist practices and Taoist sigil system. Operations like cinnabar-based soul stabilization and bronze bell exorcism functionally construct a bridge for tripartite communication (human-ghost-deity) through ritual implements.<br /> <br /> Corpse handlers(Laosi) operate with dual identity, technical executors(mortuary biomechanics) and ritual officiants (cosmological mediation).<br /> <br /> '''4.2.2 Secular Adaption of Nuo Ritual Theater'''<br /> <br /> In Xiangxi Nuo ritual theater, the thematic focus on &quot;exorcism and epidemic expulsion&quot; shares ontological roots with the corpse procession's &quot;soul anchoring and repatriation&quot; logic. Both practices operationalize human-specter interactions through masks, ritual dances, and incantations. The corpse procession constitutes a concretized implementation of Nuo culture within mortuary practices.<br /> <br /> '''4.3 Social Functions: Survival Strategies of Marginalized Cultures''' <br /> <br /> '''4.3.1 Survival Ingenuity Confronting Geographic Constrains'''<br /> <br /> In Xiangxi's rugged mountains with scare roads, traditional coffin transportation proved prohibitively costly. The corpse procession method circumvented these natural constraints through minimalist and covert adaptations, exemplifying the mountain communities' context-specific survival wisdom.<br /> <br /> Industry secrecy and taboos(e.g. 'the living must not approach') functionally served to maintain technical monopolies, ensuring socioeconomic viability for marginalized groups(corpse handlers).<br /> <br /> '''4.3.2 Psychological Solace and Social Control'''<br /> <br /> It provided families with ritualistic assurance of &quot;intact corpse repatriation&quot;, alleviating moral anxieties stemming from dying away from ancestral lands. Through Miao ritual authority (e.g. the Three Permitted/ Prohibited Corpses Rule), standardized mortuary protocols were enforced, safeguarding communal stability.<br /> <br /> Functioning as a cultural prism, this practice refracts the intricate psyche of traditional Chinese society confronting mortality, nature and ethics--while compelling modernity to reexamine the humanistic wisdom encoded within marginalized cultural systems.<br /> <br /> <br /> '''5 Semiotic Encoding in Screen Literature'''<br /> <br /> Xiangxi Corpse Procession, as one of the most mystique-laden icons in Chinese folk culture, has been extensively reimagined across film, literature, and pop culture. This practice has transitioned from a regional mortuary practice into a globally recognized supernatural trope through the following representational evolution and semiotic codification within cinematic and literary contexts:<br /> <br /> '''5.1 Corpse Procession Depictions in Cinematic Works'''<br /> <br /> '''5.1.1 Archetypal Portrayals in Hongkong Jiangshi cinema'''<br /> <br /> Lam Ching-ying's Jiangshi Film Cycle(1980s-1990s): Lam's films Mr. Vampire and Exorcist Master systematically visually codified corpse procession rituals, crystallizing the jiangshi archetype with &quot;Qing officials robes and talisman-controlled hopping locomotion&quot;. There are also signature ritual props such as bronze bells, yellow talismans, and peach wood swords.<br /> <br /> The combination of comedy and horror: Films such as Mr. Vampire and The Corpse Escorting Master preserve the eerie ambiance of nocturnal corpse escorting while incorporating humorous elements, forging a distinctive &quot;fantasy kungfu film&quot; sub-genre.<br /> <br /> '''5.1.2 Modern Reinterpretations in Screen Media'''<br /> <br /> The web series Nu Qing Xiangxi(Struggles in Western Hunan) authentically reconstructs corpse procession inns(cuanguan, temporary corpse repositories), and Miao Nuo rituals. Through character dialogues, it explicates the practice's cultural core &quot;Falling Leaves Returning to Roots&quot; as posthumous homecoming imperative.<br /> <br /> '''5.2 Cultural Reimagining in Literary Works'''<br /> <br /> '''5.2.1 Shen congwen's Local Culture Narratives'''<br /> <br /> In Notes on Xiangxi, Shen codified corpse processions within the Miao Nuo ritual framework through mentions of &quot;Chenzhou Talismans&quot;, deliberately demystifying horror elements while foregrounding the ethnographic validity of mortuary customs.<br /> <br /> '''5.2.2 Web Novels and Zhiguai Literary Traditions'''<br /> <br /> Contemporary Fiction: Works like ''Yuan Qi Zhuang Ling'' (Resentment Bell) and ''Long Gu Fen Xiang'' (Burning the Dragon Bone Casket) reimagine corpse handlers as inheritors of esoteric arts, amplifying supernatural attributes with resurrection capabilities.<br /> <br /> Classical Zhiguai Texts: Qing Dynasty collections like ''Zi Bu Yu'' and ''Yuewei Caotang Notes'' systematized jiangshi taxonomy (e.g. purple jiangshi and flying jiangshi and so on), providing archetypes for modern adaptations.<br /> <br /> '''5.3 Semiotic Codification and Cultural Impact'''<br /> <br /> '''5.3.1 From Folk Custom to Pop Culture Icon'''<br /> <br /> Horror Aesthetics: Elements of the corpse procession like nocturnal corpse processions, jerky cadaver locomotion, and talismanic control have been codified into quintessential Oriental Gothic Symbols. This system forms an ethno-cultural antithesis to Western zombie lore(virus-driven reanimation vs. soul repatriation metaphysics).<br /> <br /> Commercial Consumption: In Xiangxi tourism, corpse driving performances, themed homestays, and jiangshi props have become gimmicks to attract tourists, even spawning cultural and creative products (such as talisman stickers and dolls).<br /> <br /> '''5.3.2 Cultural Misinterpretations and Contentions'''<br /> <br /> Scientific Demystification Impact: Programs like CCTV's Approaching Science revealed corpse processions as bamboo pole corpse transport(two handlers carrying bodies via horizontal poles), eroding its mystique while sparking authenticity debates regarding traditional praxis.<br /> <br /> Ethical Boundaries: Certain creative works amplify occult attributes over the original mortuary ethics(e.g. respect for the deceased), causing the original cultural essence to become distorted.<br /> <br /> <br /> '''6. Cross-Cultural Comparisons'''<br /> <br /> Unlike the Xiangxi practice, the Toraja people of Indonesia regard the exhumation, grooming, and procession of ancestral remains as a &quot;rebirth ritual&quot;, emphasizing the emotional bond between the living and the deceased rather than focusing on logistical transportation. The mistranslation of Xiangxi Jiangshi as &quot;Zombie&quot; obscures their fundamental differences-- Jiangshi refers to corpses reanimated through talismanic control, rooted in the Daoist concept of soul anchoring, while Zombie is &quot;living dead&quot; infected by viruses, reflecting differential expressions of fear of death between Eastern and Western cultures.<br /> <br /> The cinematic and literary adaptations of Xiangxi's corpse procession practice embody both the global dissemination of regional culture and the continuous semiotic reconstruction of traditional symbols. Its conceptual core has evolved from mortuary logistics to mystic narratives, serving as an interface between folk beliefs and modern entertainment industries. Moving forward, preserving ethnographic authenticity amidst commercial exploitation will determine the sustained cultural vitality of this symbolic system.<br /> <br /> <br /> '''Conclusion'''<br /> <br /> The practice of corpse procession in Xiangxi embodies the crystallization of wisdom through which mountain civilization confronts the existential dilemma of life and death. Only by deconstructing its technical principles with scientific rigor and contemplating the ethical core of &quot;revering ancestors and cherishing roots&quot; with humanistic compassion can we achieve creative preservation amid modern challenges allowing the survival resilience behind talismanic symbols and the collaborative ingenuity within bamboo poles to continue illuminating humanity's eternal quest for dignity in life and death.<br /> <br /> <br /> '''References'''<br /> <br /> [1]刘继平.湘西赶尸探秘[J].寻根,2009(01):134-140.<br /> <br /> [2]梁谞.解密湘西赶尸[C]//广东省民俗文化研究会.2014年07月民俗非遗研讨会论文集.《神州民俗》杂志社,2014:20-21.<br /> <br /> [3]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018(13):212.<br /> <br /> [4]王亚男.湘西赶尸文化探秘[J].电脑迷,2018(02):186.<br /> <br /> [5]张达玮.湘西赶尸的宗教与伦理意蕴——兼论原始信仰作为人的存在方式[J].黔南民族师范学院学报,2016,36(04):18-22.<br /> <br /> <br /> <br /> Terms and Expressions<br /> <br /> 武陵山脉 Wuling Mountain Range<br /> <br /> 朱砂 cinnabar<br /> <br /> 符纸 talisman paper<br /> <br /> 蓑衣 palm-leaf raincoats<br /> <br /> 生辰八字纯阴 pure Yin birth charts <br /> <br /> 徒手挖棺 barehanded coffin exhumation <br /> <br /> 命硬克亲 karmic resilience <br /> <br /> &quot;落叶归根&quot; &quot;Falling Leaves Returning to Roots&quot;<br /> <br /> 孤魂野鬼 wandering ghosts<br /> <br /> 入土为安 resting peacefully through burial<br /> <br /> 半人半鬼 semi-human, semi-spectral<br /> <br /> 超自然意象 supernatural trope<br /> <br /> 表现与符号化过程 representational evolution and semiotic codification<br /> <br /> 黄符 yellow talismans <br /> <br /> 桃木剑 peach wood swords <br /> <br /> 邪术 occult attributes<br /> <br /> 符号重构 semiotic reconstruction<br /> <br /> <br /> '''Questions'''<br /> <br /> 1.Based on the above readings, discuss the industry taboos and operational rules of the corpse procession in Xiangxi.<br /> <br /> 2. What cultural connotations are embedded in the Xiangxi corpse procession tradition?<br /> <br /> 3. Why do outsiders tend to mystify and even &quot;demonize&quot; the corpse procession industry?<br /> <br /> 4. Share your cognition regarding Xiangxi corpse procession versus Western zombie culture.<br /> <br /> <br /> <br /> <br /> <br /> <br /> '''摘要'''<br /> <br /> 本文全面概述了湘西赶尸传统（即赶尸，或湘西赶尸术），探讨了其起源、仪式技巧、文化意义和现代象征表征。研究追溯了这一习俗在湘西多民族聚居区的历史渊源，探究了使用符咒和竹竿运尸的民间智慧，探讨了其对生死观和家庭价值观的深刻文化反思。研究还进一步分析了电影和文学作品如何塑造其神秘形象，最终旨在增进公众对这一独特文化现象的了解，并促进对其独特精神遗产的鉴赏。<br /> <br /> 湘西赶尸是中国湘西地区独特的民俗文化现象，反映了古代湘西人对生死和祖先故土的深刻理解。下面将从神话历史、现实需求和社会环境等角度，介绍这一习俗的起源和历史背景。<br /> <br /> '''1.神话与历史'''<br /> <br /> '''1.1神话起源'''<br /> <br /> 根据苗族传说，赶尸习俗起源于蚩尤时代。传说蚩尤在黄河边与敌军交战后，命令手下的巫师将领举行缚魂仪式，以仪式引导尸体返回祖居地。苗族世代口口相传的这一传说构成了赶尸文化的象征性起源。<br /> <br /> '''1.2历史案例'''<br /> <br /> 明朝万历年间（1573-1620年），湘西保靖土司首领彭象乾率领8000名土兵抵抗后金入侵，支援辽东，结果惨败，全军覆没。幸存的土司首领和苗族祭祀专家用朱砂封住阵亡将士的七窍，然后举行招魂仪式，为尸体引路。这一历史事件是尸体游行在实际应用中的一个有据可查的案例。<br /> <br /> <br /> '''2. 实际需求和社会文化背景'''<br /> <br /> '''2.1 地貌限制与交通挑战'''<br /> <br /> 湘西地处武陵山脉，地形崎岖，古代陆路交通极为不便。远离家乡的死者（如商人、民工和士兵）的尸体无法通过传统方式运输，最终产生了专门的殡葬习俗--赶尸。<br /> <br /> '''2.2 移民与战争因素'''<br /> <br /> 清代移民浪潮：在清中期，湘西移民大规模迁移到四川，这产生了对那些远离祖先土地的死者进行追授遣返的需求。穿越三峡地区的危险水上运输（隐藏的礁石、频繁的沉船等），加上流行禁止用商船运输尸体的禁忌，促使赶尸作为一种仪式认可的替代方案的出现。<br /> <br /> 司法-尸体物流：清朝秋决客籍死囚后，家属需支付高昂费用运尸。赶尸匠以更低成本、更隐蔽的方式（如防腐处理，夜间赶尸等）完成运输，并逐渐形成行业规范。<br /> <br /> <br /> '''3.“赶尸”原理（即仪式与技艺的揭秘）'''<br /> <br /> 湘西赶尸的“原理”是技术与巫术的结合，既包含古代劳动智慧的物理手段，也依托神秘仪式营造心理威慑。以下从技术操作、仪式流程两个维度揭秘其核心逻辑：<br /> <br /> '''3.1 技术操作：尸体运输的生物物理手段'''<br /> <br /> 技术层面的操作主要包括以下三个层面：<br /> <br /> '''3.1.1尸体防腐处理'''<br /> <br /> 尸体防腐处理主要有草药防腐以及脱水处理两种方式：<br /> <br /> 草药防腐：赶尸匠使用湘西本地药材（如朱砂、辰砂、雄黄）涂抹尸体，朱砂含硫化汞可抑制细菌滋生，雄黄驱虫防腐，延缓腐烂并掩盖异味。<br /> <br /> 脱水处理：部分记载提到将尸体浸泡于草药液中脱水，减轻重量便于运输。<br /> <br /> '''3.1.2尸体固定和运输'''<br /> <br /> 尸体搬运工主要使用竹竿固定尸体。由于该职业的特殊要求，采用了遮盖物和伪装以避免被旁观者发现。<br /> <br /> 竹竿支撑法：尸体双臂被绑在两根长竹竿上，由前后两名赶尸匠（通常穿黑袍伪装）抬运，通过竹竿弹性晃动制造尸体“跳跃前进”的视觉假象。并且尸体双腿悬空，竹竿长度可调节，适应不同身高遗体。<br /> <br /> 遮蔽伪装：尸体头戴宽大斗笠，面部贴符纸，全身裹黑袍或蓑衣，遮挡竹竿和赶尸匠身体，夜间火光昏暗时更易迷惑旁观者。并且赶尸匠一般穿草鞋，模仿尸体僵硬步伐，保持节奏统一。<br /> <br /> 事实证明，这些伪装在低光夜间条件下特别有效，尤其是在手电筒照明有限的情况下。尸体搬运工通常穿着草鞋，故意模仿尸体僵硬的行走模式，以保持同步的运动节奏。<br /> <br /> '''3.1.3 路线和团队合作'''<br /> <br /> 赶尸是一项团队工作，一般在夜间进行，避开人群密集处，选择山林小路，减少目击者，且路线长的往往会进行分段运输：<br /> <br /> 分段运输：长途赶尸可能通过驿站或秘密路线接力，由不同团队分段完成，避免体力透支。 <br /> <br /> 夜间行动：利用月光或灯笼照明，光线不足时视觉误差更显著，降低被识破风险。 <br /> <br /> '''3.2 仪式流程：苗族万物有灵论实践术的心理建构'''<br /> <br /> 以下将从符咒与法器、行业禁忌与规则、赶尸匠的“法力”塑造等方面介绍该行业的仪式流程：<br /> <br /> '''3.2.1 符咒与法器'''<br /> <br /> 辰州符：赶尸前在尸体额头、胸口贴符纸（多为道教镇煞符文），宣称可“镇魂定魄”，实则强化旁观者对巫术权威的信任。 <br /> <br /> 摄魂铃：铜铃摇动节奏实为暗号，指挥抬尸人调整步伐或警示危险，铃声也被赋予“指引亡魂”的象征意义。 <br /> <br /> 阴锣开道：赶尸人敲打特制小锣（声音低沉），提醒活人避让，同时营造阴森氛围。<br /> <br /> '''3.2.2 禁忌与规则'''<br /> <br /> 该行业禁忌或行规总结起来有以下几点：<br /> <br /> “三赶三不赶”：“可赶”：被斩首（需缝头）、绞刑、战死者，因“怨气未散”需归乡安魂;“不赶”：病逝、自杀、雷击死者，认为其魂魄已归地府，无法驱使。 <br /> <br /> 活人避讳：宣称活人靠近会“冲撞尸体”，实为防止外人发现团队操作秘密。 <br /> <br /> 忌鸡鸣狗吠：天亮后光线充足易暴露，需在鸡鸣狗叫前入住“死尸客店”歇息。<br /> <br /> '''3.2.3 赶尸匠的“法力”塑造'''<br /> <br /> 赶尸这个行业由于种种原因，外人会对其“妖魔化”、“神秘化”，认为赶尸匠“法力无边”，这与从事该行业种种规定要求等有关。<br /> <br /> 首先，自我神化。赶尸匠自称需“生辰八字纯阴”“命硬克亲”，通过外貌（如面部生疮）强化“通灵者”形象；第二，入行仪式。学徒需通过“夜宿乱坟岗”“徒手挖棺”等考验，筛选胆大心细者，并宣誓严守行规。第三，该行业垄断性传承。技艺仅限师徒口传，禁止外泄，维持行业神秘性与经济收益；最后，心理威慑，通过恐怖传说（如“诈尸”、“尸毒”）阻止外人探究，保护技术秘密。<br /> <br /> <br /> '''4. 文化内涵'''<br /> <br /> 湘西赶尸作为一项独特的民俗现象，其文化内涵远超出单纯的“运尸技术”，而是深深根植于湘西的地理环境、少数民族信仰以及中国传统伦理观念之中。它既是实用主义的产物，也是精神信仰的载体，体现了多重文化维度的交织：<br /> <br /> '''4.1 生死观：对生命与死亡的哲学诠释'''<br /> <br /> '''4.1.1 “落叶归根”的终极信仰'''<br /> <br /> 湘西人坚信，遗体必须归葬故土才能让灵魂安息，否则亡灵会因漂泊异乡而化作“孤魂野鬼”。赶尸本质上是一种“送魂归乡”的仪式，体现了对生命完整性的追求。 <br /> 这种观念与中原汉族的“入土为安”思想相通，但湘西因地理阻隔，发展出更具苗族巫术色彩的实践形式。<br /> <br /> '''4.1.2 生死界限的模糊化'''<br /> <br /> 通过符咒“唤醒”尸体、铜铃“指引”亡魂，赶尸模糊了生与死的绝对界限，反映了原始宗教中“灵魂不灭”的信仰。<br /> <br /> 尸体被赋予“半人半鬼”的象征性，既是物质遗骸，也是魂魄的临时载体，体现了对死亡过程的动态理解。<br /> <br /> '''4.2 苗族万物有灵论仪式系统：人、神、灵界三方共融'''<br /> <br /> '''4.2.1 万物有灵仪式与道法的融合'''<br /> <br /> 赶尸仪式中使用的“辰州符”融合了苗族有灵仪式与道教符箓体系，朱砂镇魂、铜铃驱邪等操作，实为通过法器构建“人—鬼—神”三界沟通的桥梁。<br /> <br /> 赶尸匠（“老司”）兼具巫师与匠人双重身份，既是技术执行者，也是宗教仪式的操演者。<br /> <br /> '''4.2.2 傩戏的世俗化延伸'''<br /> <br /> 湘西傩戏中“驱鬼逐疫”的主题与赶尸的“镇魂归乡”逻辑同源，均通过面具、舞蹈、咒语等实现人鬼互动。赶尸可视为傩文化在丧葬领域的具象化应用。<br /> <br /> '''4.3 社会功能：边缘文化的生存策略'''<br /> <br /> '''4.3.1 应对地理困境的智慧'''<br /> <br /> 湘西多山少路，传统棺木运输成本高昂，赶尸以轻量化、隐蔽化的方式突破自然限制，是山区人民因地制宜的生存智慧。 <br /> <br /> 行业保密与禁忌（如“活人勿近”）实为维护技术垄断，确保边缘群体（赶尸匠）的社会生存空间。<br /> <br /> '''4.3.2 心理慰藉与社会控制'''<br /> <br /> 为家属提供“遗体完整归乡”的仪式感，缓解因客死异乡带来的道德焦虑。通过巫术权威（如“三赶三不赶”规则）规范死亡处理方式，维护社会秩序。<br /> <br /> 它如同一面棱镜，折射出中国传统社会在应对死亡、自然与伦理时的复杂心态，也提醒现代人重新审视边缘文化中蕴含的人文智慧。<br /> <br /> <br /> '''5. 影视文学与符号化'''<br /> <br /> 湘西赶尸作为中国民俗文化中最具神秘色彩的符号之一，在影视、文学及流行文化中被广泛演绎，逐渐从地方丧葬习俗演变为全球观众熟知的超自然意象。以下是其在影视文学中的表现与符号化过程：<br /> <br /> '''5.1 影视作品中的赶尸形象'''<br /> <br /> '''5.1.1 香港僵尸电影的经典塑造'''<br /> <br /> 林正英系列：1980-1990年代，林正英主演的《僵尸先生》《驱魔道长》等电影将赶尸仪式视觉化，塑造了“清朝官服、贴符跳跃”的僵尸形象，铜铃、黄符、桃木剑成为标配道具。 <br /> <br /> 喜剧化与恐怖结合：如《僵尸叔叔》《赶尸先生》等片，既保留夜间赶尸的阴森氛围，又加入幽默元素，形成独特的“灵幻功夫片”亚类型。 <br /> <br /> '''5.1.2 现代影视的再创作'''<br /> <br /> 网剧《怒晴湘西》：还原赶尸客栈（“攒馆”）、巫傩仪式，并借角色之口点明赶尸的“落叶归根”文化内核。<br /> <br /> '''5.2 文学作品中的文化重构'''<br /> <br /> '''5.2.1 沈从文的乡土书写'''<br /> <br /> 在《湘西散记》中提及“辰州符”，将赶尸纳入湘西巫傩文化体系，淡化恐怖色彩，强调其作为民俗的合理性。<br /> <br /> '''5.2.2 网络小说与志怪文学'''<br /> <br /> 《怨气撞铃》《龙骨焚箱》等小说将赶尸匠设定为秘术传承者，甚至衍生出“起死回生”的奇幻情节，赋予其更多超自然属性。<br /> <br /> 《子不语》《阅微草堂笔记》等古籍中的“僵尸”分类（如紫僵、飞僵）为现代创作提供了原型。 <br /> <br /> '''5.3 符号化过程与文化影响'''<br /> <br /> '''5.3.1 从民俗到流行符号'''<br /> <br /> 恐怖美学：赶尸的夜间行进、尸体跳跃、符咒控制等元素被抽象为“东方恐怖”的典型符号，与西方丧尸（Zombie）形成文化对比。<br /> <br /> 商业消费：湘西旅游中，赶尸表演、主题民宿、“僵尸道具”成为吸引游客的噱头，甚至衍生出文创产品（如符咒贴纸、玩偶）。<br /> <br /> '''5.3.2 文化误解与争议'''<br /> <br /> 科学解构的冲击：央视《走近科学》等节目揭秘赶尸实为“竹竿抬尸”，削弱其神秘性，但也引发对传统文化真实性的讨论。 <br /> <br /> 伦理边界：部分作品过度渲染赶尸的“邪术”属性，模糊其原本的伦理意义（如对逝者的尊重），导致文化本貌被扭曲。 <br /> <br /> <br /> '''6. 跨文化比较'''<br /> <br /> 与湘西不同，印度托拉雅人将挖出亲人遗骸梳妆、游行视为“新生仪式”，强调生者与逝者的情感联结，而非运输功能。 此前湘西僵尸被误译为“Zombie”，但本质不同——僵尸是符咒控制的尸体，而丧尸是病毒感染的活死人，反映东西方对死亡恐惧的差异化表达。<br /> <br /> 湘西赶尸的影视文学演绎，既是地方文化的全球化传播，也是传统符号被不断重构的过程。其核心从“运尸技术”逐渐转向“神秘叙事”，成为连接民俗信仰与现代娱乐的桥梁。未来，如何在商业开发中保留文化本真，将是这一符号持续生命力的关键。<br /> <br /> <br /> '''结语'''<br /> <br /> 湘西赶尸是湘西地区文明应对生死命题的智慧结晶。唯有以科学精神解构其技术原理，以人文情怀体悟&quot;慎终追远&quot;的伦理内核，方能在现代性冲击下实现创造性传承——让符咒背后的生存韧性、竹竿间的协作智慧，继续照亮人类对生死尊严的永恒求索 。<br /> <br /> <br /> '''参考文献'''<br /> <br /> [1]刘继平.湘西赶尸探秘[J].寻根,2009(01):134-140.<br /> <br /> [2]梁谞.解密湘西赶尸[C]//广东省民俗文化研究会.2014年07月民俗非遗研讨会论文集.《神州民俗》杂志社,2014:20-21.<br /> <br /> [3]宋泽欣.浅谈湘西“赶尸”民俗[J].青春岁月,2018(13):212.<br /> <br /> [4]王亚男.湘西赶尸文化探秘[J].电脑迷,2018(02):186.<br /> <br /> [5]张达玮.湘西赶尸的宗教与伦理意蕴——兼论原始信仰作为人的存在方式[J].黔南民族师范学院学报,2016,36(04):18-22.<br /> <br /> <br /> 术语表达：<br /> <br /> 武陵山脉 Wuling Mountain Range<br /> <br /> 朱砂 cinnabar<br /> <br /> 符纸 talisman paper<br /> <br /> 蓑衣 palm-leaf raincoats<br /> <br /> 生辰八字纯阴 pure Yin birth charts <br /> <br /> 徒手挖棺 barehanded coffin exhumation <br /> <br /> 命硬克亲 karmic resilience <br /> <br /> &quot;落叶归根&quot; &quot;Falling Leaves Returning to Roots&quot;<br /> <br /> 孤魂野鬼 wandering ghosts<br /> <br /> 入土为安 resting peacefully through burial<br /> <br /> 半人半鬼 semi-human, semi-spectral<br /> <br /> 超自然意象 supernatural trope<br /> <br /> 表现与符号化过程 representational evolution and semiotic codification<br /> <br /> 黄符 yellow talismans <br /> <br /> 桃木剑 peach wood swords <br /> <br /> 邪术 occult attributes<br /> <br /> 符号重构 semiotic reconstruction<br /> <br /> <br /> 问题<br /> <br /> 1. 通过以上阅读，谈谈湘西赶尸行业有哪些行业禁忌与规则？<br /> <br /> 2. 湘西赶尸蕴含了哪些文化内行？<br /> <br /> 3. 为什么外人会对赶尸行业“神秘化”甚至“妖魔化”？<br /> <br /> 4. 谈谈你对湘西赶尸与西方丧尸的认识</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=167275 2025-06-02T03:39:37Z

<p>Li Ting2: </p> <hr /> <div><br /> '''Abstract''':<br /> <br /> This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi, or The corpse of Xiangxi technique), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.<br /> <br /> The Xiangxi corpse procession, a unique folk cultural phenomenon in China's Xiangxi region, reflects the profound understanding of life, death, and ancestral homeland among ancient Xiangxi people. Below is an introduction to the origins and historical context of this practice from perspectives of mythology and history, practical needs, and social circumstances.<br /> <br /> <br /> '''1.Mythology and History'''<br /> <br /> '''1.1 Mythological Origins'''<br /> <br /> According to Miao ethnic legends, the corpse procession tradition traces its roots to the Chiyou era. Legend holds that after battling enemies along the Yellow River, Chiyou commanded his sorcerer-general to conduct soul-binding rituals, which would ritualistically guide the corpses back to their ancestral homes. This narrative, perpetuated through Miao oral traditions across generations, constitutes the symbolic genesis of the corpse precession culture.<br /> <br /> '''1.2 Historical Case'''<br /> <br /> During the Wanli period(1573-1620) of the Ming Dynasty, Peng Xiangqian, the Tusi chieftain of Baojing in Xiangxi, led 8000 local militianmen to resist the Later Jin invasion in support of Liaodong, but suffered a devasting defeat with the entire army perished. Surving Tusi leaders and Miao ritual specialists sealed the deceased solders' seven orifices with cinnabar, then performed ghunb pro(soul-summoning rites) to guide the corpses. This historical event stands as a documented case of the corpse procession being put into practical application.<br /> <br /> <br /> '''2.Practical Necessities and Sociocultural Context'''<br /> <br /> '''2.1 Geomorphological Constraints and Transportation Challenges'''<br /> <br /> Xiangxi, situated within the Wuling Mountain Range, featured rugged terrain that made overland transportation extremely challenging in ancient times. The corpses of those who died far from home(such as merchants, migrant laborers, and soldiers) could not be transported via conventional means, ultimately giving rise to the specialized funerary practice of corpse procession.<br /> <br /> '''2.2 Migration and Conflict Dynamics'''<br /> <br /> Qing-era Migration Waves: During the mid-Qing period, mass migrations of Xiangxi migrants to Sichuan created demand for posthumous repatriation of those who died far from ancestral lands. Hazardous waterborne transport through the Three Gorges region (hidden reefs, frequent shipwrecks), coupled with popular taboos against transporting corpses on commercial vessels, promoted the emergence of corpse procession as a ritually-sanctioned alternative.<br /> <br /> Judicial-Corpse Logistics: The Qing legal practice of Autumn Executions saw families of non-native commended prisoners burdened with exorbitant fees for bureaucratic corpse repatriation. Corpse handlers circumvented this by developing cost-effective, discreet method----utilizing herbal preservation techniques and nocturnal processions--- to return remains, thereby establishing processional protocols for the practice.<br /> <br /> <br /> '''3. Mechanics of the Corpse Procession: Decoding Ritual Protocols and Technical Artistry'''<br /> <br /> The practice fundamentally combines biomechanical ingenuity with witchcraft ---harnessing ancient labor wisdom for physical corpse manipulation while deploying mystical rituals to establish psychological deterrence. Below we decode its core mechanisms through technical operations, ritual choreography these two analytical dimensions:<br /> <br /> '''3.1 Technical Protocols: Biomechanical Solutions in Mortuary Logistics'''<br /> <br /> The operational framework compromises three codified subsystems:<br /> <br /> '''3.1.1 Ethnobotanical Preservation'''<br /> <br /> The mortuary conservation system employed two primary methodologies:<br /> Ethnobotanical Preservation: Corpse handlers applied locally sourced substances from Xiangxi (including cinnabar mercuric sulfide, HgS, realgar arsenic sulfide, and so on) to corpses. Cinnabar's mercury content inhibited bacterial growth, while realgar repelled insects, slowed decomposition, and masked odors through its sulfur compounds.<br /> <br /> Desiccation Method: Historical accounts describe soaking corpses in herbal decoctions to remove bodily fluids, thereby reducing weight for easier transportation.<br /> <br /> '''3.1.2 Corpse Immobilization and Transportation'''<br /> <br /> Corpse handlers primarily used bamboo poles to secure the corpses. Due to the specific requirements of this profession, coverings and disguises were employed to avoid detection by bystanders.<br /> <br /> Bamboo Pole Support Method: The corpse's arms were bound to two long bamboo poles, carried by two handlers positioned front and rear(typically cloaked in black). The poles' natural flexibility allowed controlled flexing, creating the visual illusion of the corpse &quot;hopping forward&quot;. The legs remained suspended mid-air. The poles' adjustable length accommodated corpses of varying heights.<br /> <br /> Concealment Techniques: The corpses wore large straw hats with talisman paper affixed to their faces. They were shrouded in black robes or palm-leaf raincoats to cover both the bamboo poles and handlers' bodies. These disguises proved particularly effective under low-light nighttime conditions, especially with limited torch illumination. Corpse handlers typically wore straw sandals, deliberately mimicking the rigid walking patterns of corpses to maintain synchronized movement rhythms.<br /> <br /> '''3.1.3 Routes and Teamwork'''<br /> <br /> Corpse procession was a team effort, conducted at night while avoiding populated areas via mountain forest paths to minimize witnesses. Longer routes often required section-based transport:<br /> <br /> Section-based transport: Extended journeys utilized relay stations or covert route relays, divided into segments handled by separate teams to prevent physical exhaustion.<br /> <br /> Night operations: moonlight or lantern illumination was employed. Low-light conditions amplified visual misperception, reducing detection risks.<br /> <br /> '''3.2 Ritual Protocols: Psychological Constructs in Miao Animist Praxis'''<br /> <br /> The following sections will elaborate on the ritual protocols through three key aspects: talismans and ritual implements, industry taboos and operational codes, cultivation of ritual authority among the ordinary people.<br /> <br /> '''3.2.1 Talismans and ritual implements'''<br /> <br /> Chenzhou Talisman: Paper charms(typically bearing Taoist apotropaic symbols) affixed to corpses' foreheads and chests pre-procession. While purporting to &quot;anchor souls and stabilize spirits&quot;, their primary function was to reinforce bystander trust in ritual authority.<br /> <br /> Soul-summoning Belling: The bronze bell's rhythmic patterns served as coded signals directing pallbearers to adjust gaits or alert to hazards. It chimes were simultaneously mythologized as auditory cues for spirit navigation.<br /> <br /> Yin Gong Path-Clearing: The corpse handlers strikes a specially crafted small gong(emitting a low, resonant tone) to warn the living to yield way while establishing an ominous atmosphere.<br /> <br /> '''3.2.2 Taboos and operational codes'''<br /> <br /> The necromantic practice adheres to strict prohibitions summarized as follows:<br /> <br /> First, the &quot; Three Permitted/ Prohibited Corpses Rule. Three Permitted Corpses are behaved(requires head reattachment), hanged, or fallen soldiers--those with &quot;unresolved grievances&quot; requiring homebound rites. Three Prohibited Corpses are deaths by illness, suicide, or lighting strike-- believed to have souls already returned to the underworld, thus unresponsive to guidance.<br /> <br /> Second, living person taboos. Civilians must avoid proximity, ostensibly to prevent &quot;disturbing the corpses&quot;, though primarily to conceal operational secrets from outsiders.<br /> <br /> Third, cockcrow and canine curfew. All processions must terminate before dawn's harbingers(rooster crows/ dog barks), retreating to covert &quot;corpse lodges&quot; to avoid daylight exposure.<br /> <br /> '''3.2.3 Cultivation of Ritual Authority Among the Ordinary People'''<br /> <br /> The corpse-handling profession fostered perceptions of &quot;supernatural prowess&quot; through systematic mystification, achieved via four institutionalized mechanisms: <br /> <br /> First, self-mythologization. Practitioners claimed requisite &quot;pure Yin birth charts&quot; and &quot;karmic resilience&quot;. Deliberate disfigurements(e.g. facial lesions) enhanced their &quot;spirit-medium&quot; persona.<br /> <br /> Second, initiation rites. Apprentices underwent psychological conditioning through trials like nocturnal vigils in unmarked graves and barehanded coffin exhumation, selecting candidates with nerve and precision. Successful initiates swore oath-bound adherence to operational codes.<br /> <br /> Third, Monopolized transmission. Skilled were transmitted orally within master-disciple lineages under trade secrecy protocols, preserving esoteric exclusivity and economic monopoly.<br /> <br /> Fourth, psychological deterrence. Circulated horror narratives(e.g. postmortem reanimation, corpse toxins) functioned as deterrent narratives against technical inquiries, safeguarding operational secrecy.<br /> <br /> <br /> '''4. Cultural Semiotics'''<br /> <br /> Xiangxi's Corpse Procession, as a unique folk custom, embodies cultural significance far beyond mere mortuary logistics. Its essence is deeply rooted in geo-environmental context, ethnic belief systems, traditional Chinese ethical frameworks. It functions both as a pragmatic product and a vessel for spiritual beliefs, embodying the interwoven nature of multidimensional cultural aspects.<br /> <br /> '''4.1 Concepts of Life and Death: Philosophical Interpretations'''<br /> <br /> Xiangxi's Corpse Procession, as a unique folk custom, embodies cultural significance far beyond mere mortuary logistics. Its essence is deeply rooted in geo-environmental context, ethnic belief systems, traditional Chinese ethical frameworks. It functions both as a pragmatic product and a vessel for spiritual beliefs, embodying the interwoven nature of multidimensional cultural aspects.<br /> <br /> '''4.1.1 The Ultimate Belief in &quot; Falling Leaves Returning to Roots&quot;'''<br /> <br /> Xiangxi locals firmly believe corpses must be buried in ancestral lands to allow souls to rest peacefully; otherwise, spirits become &quot;wandering ghosts&quot; due to displacement. The corpse procession fundamentally constitutes a ritual of &quot;sending souls home&quot;, manifesting the pursuit of life's integral completion.<br /> This worldview aligns with the Central Plains Han Chinese concept of &quot;resting peacefully through burial&quot;, but Xiangxi's geographical isolation fostered ritual practices infused with Miao soulway engineering(ghob xid).<br /> <br /> '''4.1.2 Blurring of Life-Death Boundaries'''<br /> <br /> The corpse procession ritual ambiguates the existential boundary between life and death through talismanic &quot;reanimation&quot; of corpses and bronze bell &quot;guidance&quot; for souls, reflecting primal religious beliefs in the &quot;indestructibility of the soul&quot;.<br /> <br /> Corpses are imbued with a &quot;semi-human, semi-spectral&quot; symbolism, functioning both as material remains and transient soul vessels, epitomizing a processual comprehension of mortality.<br /> <br /> '''4.2 Miao Animist Ritual Systems: Tripartite Communion Across Human, Divine, and Spectral Realms'''<br /> <br /> '''4.2.1 Fusion of Miao Animist Ritual and Taoist Liturgical Practices'''<br /> <br /> The &quot;Chenzhou Talisman&quot; used in corpse procession rituals embodies a synthesis of Miao Animist practices and Taoist sigil system. Operations like cinnabar-based soul stabilization and bronze bell exorcism functionally construct a bridge for tripartite communication (human-ghost-deity) through ritual implements.<br /> <br /> Corpse handlers(Laosi) operate with dual identity, technical executors(mortuary biomechanics) and ritual officiants (cosmological mediation).<br /> <br /> '''4.2.2 Secular Adaption of Nuo Ritual Theater'''<br /> <br /> In Xiangxi Nuo ritual theater, the thematic focus on &quot;exorcism and epidemic expulsion&quot; shares ontological roots with the corpse procession's &quot;soul anchoring and repatriation&quot; logic. Both practices operationalize human-specter interactions through masks, ritual dances, and incantations. The corpse procession constitutes a concretized implementation of Nuo culture within mortuary practices.<br /> <br /> '''4.3 Social Functions: Survival Strategies of Marginalized Cultures''' <br /> <br /> '''4.3.1 Survival Ingenuity Confronting Geographic Constrains'''<br /> <br /> In Xiangxi's rugged mountains with scare roads, traditional coffin transportation proved prohibitively costly. The corpse procession method circumvented these natural constraints through minimalist and covert adaptations, exemplifying the mountain communities' context-specific survival wisdom.<br /> <br /> Industry secrecy and taboos(e.g. 'the living must not approach') functionally served to maintain technical monopolies, ensuring socioeconomic viability for marginalized groups(corpse handlers).<br /> <br /> '''4.3.2 Psychological Solace and Social Control'''<br /> <br /> It provided families with ritualistic assurance of &quot;intact corpse repatriation&quot;, alleviating moral anxieties stemming from dying away from ancestral lands. Through Miao ritual authority (e.g. the Three Permitted/ Prohibited Corpses Rule), standardized mortuary protocols were enforced, safeguarding communal stability.<br /> <br /> Functioning as a cultural prism, this practice refracts the intricate psyche of traditional Chinese society confronting mortality, nature and ethics--while compelling modernity to reexamine the humanistic wisdom encoded within marginalized cultural systems.<br /> <br /> <br /> '''5 Semiotic Encoding in Screen Literature'''<br /> <br /> Xiangxi Corpse Procession, as one of the most mystique-laden icons in Chinese folk culture, has been extensively reimagined across film, literature, and pop culture. This practice has transitioned from a regional mortuary practice into a globally recognized supernatural trope through the following representational evolution and semiotic codification within cinematic and literary contexts:<br /> <br /> '''5.1 Corpse Procession Depictions in Cinematic Works'''<br /> <br /> '''5.1.1 Archetypal Portrayals in Hongkong Jiangshi cinema'''<br /> <br /> Lam Ching-ying's Jiangshi Film Cycle(1980s-1990s): Lam's films Mr. Vampire and Exorcist Master systematically visually codified corpse procession rituals, crystallizing the jiangshi archetype with &quot;Qing officials robes and talisman-controlled hopping locomotion&quot;. There are also signature ritual props such as bronze bells, yellow talismans, and peach wood swords.<br /> <br /> The combination of comedy and horror: Films such as Mr. Vampire and The Corpse Escorting Master preserve the eerie ambiance of nocturnal corpse escorting while incorporating humorous elements, forging a distinctive &quot;fantasy kungfu film&quot; sub-genre.<br /> <br /> '''5.1.2 Modern Reinterpretations in Screen Media'''<br /> <br /> The web series Nu Qing Xiangxi(Struggles in Western Hunan) authentically reconstructs corpse procession inns(cuanguan, temporary corpse repositories), and Miao Nuo rituals. Through character dialogues, it explicates the practice's cultural core &quot;Falling Leaves Returning to Roots&quot; as posthumous homecoming imperative.<br /> <br /> '''5.2 Cultural Reimagining in Literary Works'''<br /> <br /> '''5.2.1 Shen congwen's Local Culture Narratives'''<br /> <br /> In Notes on Xiangxi, Shen codified corpse processions within the Miao Nuo ritual framework through mentions of &quot;Chenzhou Talismans&quot;, deliberately demystifying horror elements while foregrounding the ethnographic validity of mortuary customs.<br /> <br /> '''5.2.2 Web Novels and Zhiguai Literary Traditions'''<br /> <br /> Contemporary Fiction: Works like ''Yuan Qi Zhuang Ling'' (Resentment Bell) and ''Long Gu Fen Xiang'' (Burning the Dragon Bone Casket) reimagine corpse handlers as inheritors of esoteric arts, amplifying supernatural attributes with resurrection capabilities.<br /> <br /> Classical Zhiguai Texts: Qing Dynasty collections like ''Zi Bu Yu'' and ''Yuewei Caotang Notes'' systematized jiangshi taxonomy (e.g. purple jiangshi and flying jiangshi and so on), providing archetypes for modern adaptations.<br /> <br /> '''5.3 Semiotic Codification and Cultural Impact'''<br /> <br /> '''5.3.1 From Folk Custom to Pop Culture Icon'''<br /> <br /> Horror Aesthetics: Elements of the corpse procession like nocturnal corpse processions, jerky cadaver locomotion, and talismanic control have been codified into quintessential Oriental Gothic Symbols. This system forms an ethno-cultural antithesis to Western zombie lore(virus-driven reanimation vs. soul repatriation metaphysics).<br /> <br /> Commercial Consumption: In Xiangxi tourism, corpse driving performances, themed homestays, and jiangshi props have become gimmicks to attract tourists, even spawning cultural and creative products (such as talisman stickers and dolls).<br /> <br /> '''5.3.2 Cultural Misinterpretations and Contentions'''<br /> <br /> Scientific Demystification Impact: Programs like CCTV's Approaching Science revealed corpse processions as bamboo pole corpse transport(two handlers carrying bodies via horizontal poles), eroding its mystique while sparking authenticity debates regarding traditional praxis.<br /> <br /> Ethical Boundaries: Certain creative works amplify occult attributes over the original mortuary ethics(e.g. respect for the deceased), causing the original cultural essence to become distorted.<br /> <br /> <br /> '''6. Cross-Cultural Comparisons'''<br /> <br /> Unlike the Xiangxi practice, the Toraja people of Indonesia regard the exhumation, grooming, and procession of ancestral remains as a &quot;rebirth ritual&quot;, emphasizing the emotional bond between the living and the deceased rather than focusing on logistical transportation. The mistranslation of Xiangxi Jiangshi as &quot;Zombie&quot; obscures their fundamental differences-- Jiangshi refers to corpses reanimated through talismanic control, rooted in the Daoist concept of soul anchoring, while Zombie is &quot;living dead&quot; infected by viruses, reflecting differential expressions of fear of death between Eastern and Western cultures.<br /> <br /> The cinematic and literary adaptations of Xiangxi's corpse procession practice embody both the global dissemination of regional culture and the continuous semiotic reconstruction of traditional symbols. Its conceptual core has evolved from mortuary logistics to mystic narratives, serving as an interface between folk beliefs and modern entertainment industries. Moving forward, preserving ethnographic authenticity amidst commercial exploitation will determine the sustained cultural vitality of this symbolic system.<br /> <br /> <br /> '''Conclusion'''<br /> <br /> The practice of corpse procession in Xiangxi embodies the crystallization of wisdom through which mountain civilization confronts the existential dilemma of life and death. Only by deconstructing its technical principles with scientific rigor and contemplating the ethical core of &quot;revering ancestors and cherishing roots&quot; with humanistic compassion can we achieve creative preservation amid modern challenges allowing the survival resilience behind talismanic symbols and the collaborative ingenuity within bamboo poles to continue illuminating humanity's eternal quest for dignity in life and death.<br /> <br /> <br /> '''References'''<br /> <br /> <br /> <br /> Terms and Expressions<br /> <br /> 武陵山脉 Wuling Mountain Range<br /> <br /> 朱砂 cinnabar<br /> <br /> 符纸 talisman paper<br /> <br /> 蓑衣 palm-leaf raincoats<br /> <br /> 生辰八字纯阴 pure Yin birth charts <br /> <br /> 徒手挖棺 barehanded coffin exhumation <br /> <br /> 命硬克亲 karmic resilience <br /> <br /> &quot;落叶归根&quot; &quot;Falling Leaves Returning to Roots&quot;<br /> <br /> 孤魂野鬼 wandering ghosts<br /> <br /> 入土为安 resting peacefully through burial<br /> <br /> 半人半鬼 semi-human, semi-spectral<br /> <br /> 超自然意象 supernatural trope<br /> <br /> 表现与符号化过程 representational evolution and semiotic codification<br /> <br /> 黄符 yellow talismans <br /> <br /> 桃木剑 peach wood swords <br /> <br /> 邪术 occult attributes<br /> <br /> 符号重构 semiotic reconstruction<br /> <br /> <br /> '''Questions'''<br /> <br /> 1.Based on the above readings, discuss the industry taboos and operational rules of the corpse procession in Xiangxi.<br /> <br /> 2. What cultural connotations are embedded in the Xiangxi corpse procession tradition?<br /> <br /> 3. Why do outsiders tend to mystify and even &quot;demonize&quot; the corpse procession industry?<br /> <br /> 4. Share your cognition regarding Xiangxi corpse procession versus Western zombie culture.<br /> <br /> <br /> <br /> '''摘要'''<br /> <br /> 本文全面概述了湘西赶尸传统（即赶尸，或湘西赶尸术），探讨了其起源、仪式技巧、文化意义和现代象征表征。研究追溯了这一习俗在湘西多民族聚居区的历史渊源，探究了使用符咒和竹竿运尸的民间智慧，探讨了其对生死观和家庭价值观的深刻文化反思。研究还进一步分析了电影和文学作品如何塑造其神秘形象，最终旨在增进公众对这一独特文化现象的了解，并促进对其独特精神遗产的鉴赏。<br /> <br /> 湘西赶尸是中国湘西地区独特的民俗文化现象，反映了古代湘西人对生死和祖先故土的深刻理解。下面将从神话历史、现实需求和社会环境等角度，介绍这一习俗的起源和历史背景。<br /> <br /> '''1.神话与历史'''<br /> <br /> '''1.1神话起源'''<br /> <br /> 根据苗族传说，赶尸习俗起源于蚩尤时代。传说蚩尤在黄河边与敌军交战后，命令手下的巫师将领举行缚魂仪式，以仪式引导尸体返回祖居地。苗族世代口口相传的这一传说构成了赶尸文化的象征性起源。<br /> <br /> '''1.2历史案例'''<br /> <br /> 明朝万历年间（1573-1620年），湘西保靖土司首领彭象乾率领8000名土兵抵抗后金入侵，支援辽东，结果惨败，全军覆没。幸存的土司首领和苗族祭祀专家用朱砂封住阵亡将士的七窍，然后举行招魂仪式，为尸体引路。这一历史事件是尸体游行在实际应用中的一个有据可查的案例。<br /> <br /> <br /> '''2. 实际需求和社会文化背景'''<br /> <br /> '''2.1 地貌限制与交通挑战'''<br /> <br /> 湘西地处武陵山脉，地形崎岖，古代陆路交通极为不便。远离家乡的死者（如商人、民工和士兵）的尸体无法通过传统方式运输，最终产生了专门的殡葬习俗--赶尸。<br /> <br /> '''2.2 移民与战争因素'''<br /> <br /> 清代移民浪潮：在清中期，湘西移民大规模迁移到四川，这产生了对那些远离祖先土地的死者进行追授遣返的需求。穿越三峡地区的危险水上运输（隐藏的礁石、频繁的沉船等），加上流行禁止用商船运输尸体的禁忌，促使赶尸作为一种仪式认可的替代方案的出现。<br /> <br /> 司法-尸体物流：清朝秋决客籍死囚后，家属需支付高昂费用运尸。赶尸匠以更低成本、更隐蔽的方式（如防腐处理，夜间赶尸等）完成运输，并逐渐形成行业规范。<br /> <br /> <br /> '''3.“赶尸”原理（即仪式与技艺的揭秘）'''<br /> <br /> 湘西赶尸的“原理”是技术与巫术的结合，既包含古代劳动智慧的物理手段，也依托神秘仪式营造心理威慑。以下从技术操作、仪式流程两个维度揭秘其核心逻辑：<br /> <br /> '''3.1 技术操作：尸体运输的生物物理手段'''<br /> <br /> 技术层面的操作主要包括以下三个层面：<br /> <br /> '''3.1.1尸体防腐处理'''<br /> <br /> 尸体防腐处理主要有草药防腐以及脱水处理两种方式：<br /> <br /> 草药防腐：赶尸匠使用湘西本地药材（如朱砂、辰砂、雄黄）涂抹尸体，朱砂含硫化汞可抑制细菌滋生，雄黄驱虫防腐，延缓腐烂并掩盖异味。<br /> <br /> 脱水处理：部分记载提到将尸体浸泡于草药液中脱水，减轻重量便于运输。<br /> <br /> '''3.1.2尸体固定和运输'''<br /> <br /> 尸体搬运工主要使用竹竿固定尸体。由于该职业的特殊要求，采用了遮盖物和伪装以避免被旁观者发现。<br /> <br /> 竹竿支撑法：尸体双臂被绑在两根长竹竿上，由前后两名赶尸匠（通常穿黑袍伪装）抬运，通过竹竿弹性晃动制造尸体“跳跃前进”的视觉假象。并且尸体双腿悬空，竹竿长度可调节，适应不同身高遗体。<br /> <br /> 遮蔽伪装：尸体头戴宽大斗笠，面部贴符纸，全身裹黑袍或蓑衣，遮挡竹竿和赶尸匠身体，夜间火光昏暗时更易迷惑旁观者。并且赶尸匠一般穿草鞋，模仿尸体僵硬步伐，保持节奏统一。<br /> <br /> 事实证明，这些伪装在低光夜间条件下特别有效，尤其是在手电筒照明有限的情况下。尸体搬运工通常穿着草鞋，故意模仿尸体僵硬的行走模式，以保持同步的运动节奏。<br /> <br /> '''3.1.3 路线和团队合作'''<br /> <br /> 赶尸是一项团队工作，一般在夜间进行，避开人群密集处，选择山林小路，减少目击者，且路线长的往往会进行分段运输：<br /> <br /> 分段运输：长途赶尸可能通过驿站或秘密路线接力，由不同团队分段完成，避免体力透支。 <br /> <br /> 夜间行动：利用月光或灯笼照明，光线不足时视觉误差更显著，降低被识破风险。 <br /> <br /> '''3.2 仪式流程：苗族万物有灵论实践术的心理建构'''<br /> <br /> 以下将从符咒与法器、行业禁忌与规则、赶尸匠的“法力”塑造等方面介绍该行业的仪式流程：<br /> <br /> 3.2.1 符咒与法器<br /> <br /> 辰州符：赶尸前在尸体额头、胸口贴符纸（多为道教镇煞符文），宣称可“镇魂定魄”，实则强化旁观者对巫术权威的信任。 <br /> <br /> 摄魂铃：铜铃摇动节奏实为暗号，指挥抬尸人调整步伐或警示危险，铃声也被赋予“指引亡魂”的象征意义。 <br /> <br /> 阴锣开道：赶尸人敲打特制小锣（声音低沉），提醒活人避让，同时营造阴森氛围。<br /> <br /> 3.2.2 禁忌与规则<br /> <br /> 该行业禁忌或行规总结起来有以下几点：<br /> <br /> “三赶三不赶”：“可赶”：被斩首（需缝头）、绞刑、战死者，因“怨气未散”需归乡安魂;“不赶”：病逝、自杀、雷击死者，认为其魂魄已归地府，无法驱使。 <br /> <br /> 活人避讳：宣称活人靠近会“冲撞尸体”，实为防止外人发现团队操作秘密。 <br /> <br /> 忌鸡鸣狗吠：天亮后光线充足易暴露，需在鸡鸣狗叫前入住“死尸客店”歇息。<br /> <br /> 3.2.3 赶尸匠的“法力”塑造<br /> <br /> 赶尸这个行业由于种种原因，外人会对其“妖魔化”、“神秘化”，认为赶尸匠“法力无边”，这与从事该行业种种规定要求等有关。<br /> <br /> 首先，自我神化。赶尸匠自称需“生辰八字纯阴”“命硬克亲”，通过外貌（如面部生疮）强化“通灵者”形象；第二，入行仪式。学徒需通过“夜宿乱坟岗”“徒手挖棺”等考验，筛选胆大心细者，并宣誓严守行规。第三，该行业垄断性传承。技艺仅限师徒口传，禁止外泄，维持行业神秘性与经济收益；最后，心理威慑，通过恐怖传说（如“诈尸”、“尸毒”）阻止外人探究，保护技术秘密。<br /> <br /> <br /> 4. 文化内涵<br /> <br /> 湘西赶尸作为一项独特的民俗现象，其文化内涵远超出单纯的“运尸技术”，而是深深根植于湘西的地理环境、少数民族信仰以及中国传统伦理观念之中。它既是实用主义的产物，也是精神信仰的载体，体现了多重文化维度的交织：<br /> <br /> 4.1 生死观：对生命与死亡的哲学诠释<br /> <br /> 4.1.1 “落叶归根”的终极信仰<br /> <br /> 湘西人坚信，遗体必须归葬故土才能让灵魂安息，否则亡灵会因漂泊异乡而化作“孤魂野鬼”。赶尸本质上是一种“送魂归乡”的仪式，体现了对生命完整性的追求。 <br /> 这种观念与中原汉族的“入土为安”思想相通，但湘西因地理阻隔，发展出更具苗族巫术色彩的实践形式。<br /> <br /> 4.1.2 生死界限的模糊化<br /> <br /> 通过符咒“唤醒”尸体、铜铃“指引”亡魂，赶尸模糊了生与死的绝对界限，反映了原始宗教中“灵魂不灭”的信仰。<br /> <br /> 尸体被赋予“半人半鬼”的象征性，既是物质遗骸，也是魂魄的临时载体，体现了对死亡过程的动态理解。<br /> <br /> 4.2 苗族万物有灵论仪式系统：人、神、灵界三方共融<br /> <br /> 4.2.1 万物有灵仪式与道法的融合<br /> <br /> 赶尸仪式中使用的“辰州符”融合了苗族有灵仪式与道教符箓体系，朱砂镇魂、铜铃驱邪等操作，实为通过法器构建“人—鬼—神”三界沟通的桥梁。<br /> <br /> 赶尸匠（“老司”）兼具巫师与匠人双重身份，既是技术执行者，也是宗教仪式的操演者。<br /> <br /> 4.2.2 傩戏的世俗化延伸<br /> <br /> 湘西傩戏中“驱鬼逐疫”的主题与赶尸的“镇魂归乡”逻辑同源，均通过面具、舞蹈、咒语等实现人鬼互动。赶尸可视为傩文化在丧葬领域的具象化应用。<br /> <br /> 4.3 社会功能：边缘文化的生存策略<br /> <br /> 4.3.1 应对地理困境的智慧<br /> <br /> 湘西多山少路，传统棺木运输成本高昂，赶尸以轻量化、隐蔽化的方式突破自然限制，是山区人民因地制宜的生存智慧。 <br /> <br /> 行业保密与禁忌（如“活人勿近”）实为维护技术垄断，确保边缘群体（赶尸匠）的社会生存空间。<br /> <br /> 4.3.2 心理慰藉与社会控制<br /> <br /> 为家属提供“遗体完整归乡”的仪式感，缓解因客死异乡带来的道德焦虑。通过巫术权威（如“三赶三不赶”规则）规范死亡处理方式，维护社会秩序。<br /> <br /> 它如同一面棱镜，折射出中国传统社会在应对死亡、自然与伦理时的复杂心态，也提醒现代人重新审视边缘文化中蕴含的人文智慧。<br /> <br /> <br /> 5. 影视文学与符号化<br /> <br /> 湘西赶尸作为中国民俗文化中最具神秘色彩的符号之一，在影视、文学及流行文化中被广泛演绎，逐渐从地方丧葬习俗演变为全球观众熟知的超自然意象。以下是其在影视文学中的表现与符号化过程：<br /> <br /> 5.1 影视作品中的赶尸形象<br /> <br /> 5.1.1 香港僵尸电影的经典塑造<br /> <br /> 林正英系列：1980-1990年代，林正英主演的《僵尸先生》《驱魔道长》等电影将赶尸仪式视觉化，塑造了“清朝官服、贴符跳跃”的僵尸形象，铜铃、黄符、桃木剑成为标配道具。 <br /> <br /> 喜剧化与恐怖结合：如《僵尸叔叔》《赶尸先生》等片，既保留夜间赶尸的阴森氛围，又加入幽默元素，形成独特的“灵幻功夫片”亚类型。 <br /> <br /> 5.1.2 现代影视的再创作<br /> <br /> 网剧《怒晴湘西》：还原赶尸客栈（“攒馆”）、巫傩仪式，并借角色之口点明赶尸的“落叶归根”文化内核。<br /> <br /> 5.2 文学作品中的文化重构<br /> <br /> 5.2.1 沈从文的乡土书写<br /> <br /> 在《湘西散记》中提及“辰州符”，将赶尸纳入湘西巫傩文化体系，淡化恐怖色彩，强调其作为民俗的合理性。<br /> <br /> 5.2.2 网络小说与志怪文学<br /> <br /> 《怨气撞铃》《龙骨焚箱》等小说将赶尸匠设定为秘术传承者，甚至衍生出“起死回生”的奇幻情节，赋予其更多超自然属性。<br /> <br /> 《子不语》《阅微草堂笔记》等古籍中的“僵尸”分类（如紫僵、飞僵）为现代创作提供了原型。 <br /> <br /> 5.3 符号化过程与文化影响<br /> <br /> 5.3.1 从民俗到流行符号<br /> <br /> 恐怖美学：赶尸的夜间行进、尸体跳跃、符咒控制等元素被抽象为“东方恐怖”的典型符号，与西方丧尸（Zombie）形成文化对比。<br /> <br /> 商业消费：湘西旅游中，赶尸表演、主题民宿、“僵尸道具”成为吸引游客的噱头，甚至衍生出文创产品（如符咒贴纸、玩偶）。<br /> <br /> 5.3.2 文化误解与争议<br /> <br /> 科学解构的冲击：央视《走近科学》等节目揭秘赶尸实为“竹竿抬尸”，削弱其神秘性，但也引发对传统文化真实性的讨论。 <br /> <br /> 伦理边界：部分作品过度渲染赶尸的“邪术”属性，模糊其原本的伦理意义（如对逝者的尊重），导致文化本貌被扭曲。 <br /> <br /> <br /> 6. 跨文化比较<br /> <br /> 与湘西不同，印度托拉雅人将挖出亲人遗骸梳妆、游行视为“新生仪式”，强调生者与逝者的情感联结，而非运输功能。 此前湘西僵尸被误译为“Zombie”，但本质不同——僵尸是符咒控制的尸体，而丧尸是病毒感染的活死人，反映东西方对死亡恐惧的差异化表达。<br /> <br /> 湘西赶尸的影视文学演绎，既是地方文化的全球化传播，也是传统符号被不断重构的过程。其核心从“运尸技术”逐渐转向“神秘叙事”，成为连接民俗信仰与现代娱乐的桥梁。未来，如何在商业开发中保留文化本真，将是这一符号持续生命力的关键。<br /> <br /> <br /> '''结语'''<br /> <br /> 湘西赶尸是湘西地区文明应对生死命题的智慧结晶。唯有以科学精神解构其技术原理，以人文情怀体悟&quot;慎终追远&quot;的伦理内核，方能在现代性冲击下实现创造性传承——让符咒背后的生存韧性、竹竿间的协作智慧，继续照亮人类对生死尊严的永恒求索 。<br /> <br /> <br /> <br /> 术语表达：<br /> <br /> 武陵山脉 Wuling Mountain Range<br /> <br /> 朱砂 cinnabar<br /> <br /> 符纸 talisman paper<br /> <br /> 蓑衣 palm-leaf raincoats<br /> <br /> 生辰八字纯阴 pure Yin birth charts <br /> <br /> 徒手挖棺 barehanded coffin exhumation <br /> <br /> 命硬克亲 karmic resilience <br /> <br /> &quot;落叶归根&quot; &quot;Falling Leaves Returning to Roots&quot;<br /> <br /> 孤魂野鬼 wandering ghosts<br /> <br /> 入土为安 resting peacefully through burial<br /> <br /> 半人半鬼 semi-human, semi-spectral<br /> <br /> 超自然意象 supernatural trope<br /> <br /> 表现与符号化过程 representational evolution and semiotic codification<br /> <br /> 黄符 yellow talismans <br /> <br /> 桃木剑 peach wood swords <br /> <br /> 邪术 occult attributes<br /> <br /> 符号重构 semiotic reconstruction<br /> <br /> <br /> 问题<br /> <br /> 1. 通过以上阅读，谈谈湘西赶尸行业有哪些行业禁忌与规则？<br /> <br /> 2. 湘西赶尸蕴含了哪些文化内行？<br /> <br /> 3. 为什么外人会对赶尸行业“神秘化”甚至“妖魔化”？<br /> <br /> 4. 谈谈你对湘西赶尸与西方丧尸的认识</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=167272 2025-06-02T03:17:43Z

<p>Li Ting2: </p> <hr /> <div><br /> '''Abstract''':<br /> <br /> This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi, or The corpse of Xiangxi technique), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.<br /> <br /> The Xiangxi corpse procession, a unique folk cultural phenomenon in China's Xiangxi region, reflects the profound understanding of life, death, and ancestral homeland among ancient Xiangxi people. Below is an introduction to the origins and historical context of this practice from perspectives of mythology and history, practical needs, and social circumstances.<br /> <br /> <br /> '''1.Mythology and History'''<br /> <br /> '''1.1 Mythological Origins'''<br /> <br /> According to Miao ethnic legends, the corpse procession tradition traces its roots to the Chiyou era. Legend holds that after battling enemies along the Yellow River, Chiyou commanded his sorcerer-general to conduct soul-binding rituals, which would ritualistically guide the corpses back to their ancestral homes. This narrative, perpetuated through Miao oral traditions across generations, constitutes the symbolic genesis of the corpse precession culture.<br /> <br /> '''1.2 Historical Case'''<br /> <br /> During the Wanli period(1573-1620) of the Ming Dynasty, Peng Xiangqian, the Tusi chieftain of Baojing in Xiangxi, led 8000 local militianmen to resist the Later Jin invasion in support of Liaodong, but suffered a devasting defeat with the entire army perished. Surving Tusi leaders and Miao ritual specialists sealed the deceased solders' seven orifices with cinnabar, then performed ghunb pro(soul-summoning rites) to guide the corpses. This historical event stands as a documented case of the corpse procession being put into practical application.<br /> <br /> <br /> '''2.Practical Necessities and Sociocultural Context'''<br /> <br /> '''2.1 Geomorphological Constraints and Transportation Challenges'''<br /> <br /> Xiangxi, situated within the Wuling Mountain Range, featured rugged terrain that made overland transportation extremely challenging in ancient times. The corpses of those who died far from home(such as merchants, migrant laborers, and soldiers) could not be transported via conventional means, ultimately giving rise to the specialized funerary practice of corpse procession.<br /> <br /> '''2.2 Migration and Conflict Dynamics'''<br /> <br /> Qing-era Migration Waves: During the mid-Qing period, mass migrations of Xiangxi migrants to Sichuan created demand for posthumous repatriation of those who died far from ancestral lands. Hazardous waterborne transport through the Three Gorges region (hidden reefs, frequent shipwrecks), coupled with popular taboos against transporting corpses on commercial vessels, promoted the emergence of corpse procession as a ritually-sanctioned alternative.<br /> <br /> Judicial-Corpse Logistics: The Qing legal practice of Autumn Executions saw families of non-native commended prisoners burdened with exorbitant fees for bureaucratic corpse repatriation. Corpse handlers circumvented this by developing cost-effective, discreet method----utilizing herbal preservation techniques and nocturnal processions--- to return remains, thereby establishing processional protocols for the practice.<br /> <br /> <br /> '''3. Mechanics of the Corpse Procession: Decoding Ritual Protocols and Technical Artistry'''<br /> <br /> The practice fundamentally combines biomechanical ingenuity with witchcraft ---harnessing ancient labor wisdom for physical corpse manipulation while deploying mystical rituals to establish psychological deterrence. Below we decode its core mechanisms through technical operations, ritual choreography these two analytical dimensions:<br /> <br /> '''3.1 Technical Protocols: Biomechanical Solutions in Mortuary Logistics'''<br /> <br /> The operational framework compromises three codified subsystems:<br /> <br /> '''3.1.1 Ethnobotanical Preservation'''<br /> <br /> The mortuary conservation system employed two primary methodologies:<br /> Ethnobotanical Preservation: Corpse handlers applied locally sourced substances from Xiangxi (including cinnabar mercuric sulfide, HgS, realgar arsenic sulfide, and so on) to corpses. Cinnabar's mercury content inhibited bacterial growth, while realgar repelled insects, slowed decomposition, and masked odors through its sulfur compounds.<br /> <br /> Desiccation Method: Historical accounts describe soaking corpses in herbal decoctions to remove bodily fluids, thereby reducing weight for easier transportation.<br /> <br /> '''3.1.2 Corpse Immobilization and Transportation'''<br /> <br /> Corpse handlers primarily used bamboo poles to secure the corpses. Due to the specific requirements of this profession, coverings and disguises were employed to avoid detection by bystanders.<br /> <br /> Bamboo Pole Support Method: The corpse's arms were bound to two long bamboo poles, carried by two handlers positioned front and rear(typically cloaked in black). The poles' natural flexibility allowed controlled flexing, creating the visual illusion of the corpse &quot;hopping forward&quot;. The legs remained suspended mid-air. The poles' adjustable length accommodated corpses of varying heights.<br /> <br /> Concealment Techniques: The corpses wore large straw hats with talisman paper affixed to their faces. They were shrouded in black robes or palm-leaf raincoats to cover both the bamboo poles and handlers' bodies. These disguises proved particularly effective under low-light nighttime conditions, especially with limited torch illumination. Corpse handlers typically wore straw sandals, deliberately mimicking the rigid walking patterns of corpses to maintain synchronized movement rhythms.<br /> <br /> '''3.1.3 Routes and Teamwork'''<br /> <br /> Corpse procession was a team effort, conducted at night while avoiding populated areas via mountain forest paths to minimize witnesses. Longer routes often required section-based transport:<br /> <br /> Section-based transport: Extended journeys utilized relay stations or covert route relays, divided into segments handled by separate teams to prevent physical exhaustion.<br /> <br /> Night operations: moonlight or lantern illumination was employed. Low-light conditions amplified visual misperception, reducing detection risks.<br /> <br /> '''3.2 Ritual Protocols: Psychological Constructs in Miao Animist Praxis'''<br /> <br /> The following sections will elaborate on the ritual protocols through three key aspects: talismans and ritual implements, industry taboos and operational codes, cultivation of ritual authority among the ordinary people.<br /> <br /> '''3.2.1 Talismans and ritual implements'''<br /> <br /> Chenzhou Talisman: Paper charms(typically bearing Taoist apotropaic symbols) affixed to corpses' foreheads and chests pre-procession. While purporting to &quot;anchor souls and stabilize spirits&quot;, their primary function was to reinforce bystander trust in ritual authority.<br /> <br /> Soul-summoning Belling: The bronze bell's rhythmic patterns served as coded signals directing pallbearers to adjust gaits or alert to hazards. It chimes were simultaneously mythologized as auditory cues for spirit navigation.<br /> <br /> Yin Gong Path-Clearing: The corpse handlers strikes a specially crafted small gong(emitting a low, resonant tone) to warn the living to yield way while establishing an ominous atmosphere.<br /> <br /> '''3.2.2 Taboos and operational codes'''<br /> <br /> The necromantic practice adheres to strict prohibitions summarized as follows:<br /> <br /> First, the &quot; Three Permitted/ Prohibited Corpses Rule. Three Permitted Corpses are behaved(requires head reattachment), hanged, or fallen soldiers--those with &quot;unresolved grievances&quot; requiring homebound rites. Three Prohibited Corpses are deaths by illness, suicide, or lighting strike-- believed to have souls already returned to the underworld, thus unresponsive to guidance.<br /> <br /> Second, living person taboos. Civilians must avoid proximity, ostensibly to prevent &quot;disturbing the corpses&quot;, though primarily to conceal operational secrets from outsiders.<br /> <br /> Third, cockcrow and canine curfew. All processions must terminate before dawn's harbingers(rooster crows/ dog barks), retreating to covert &quot;corpse lodges&quot; to avoid daylight exposure.<br /> <br /> '''3.2.3 Cultivation of Ritual Authority Among the Ordinary People'''<br /> <br /> The corpse-handling profession fostered perceptions of &quot;supernatural prowess&quot; through systematic mystification, achieved via four institutionalized mechanisms: <br /> <br /> First, self-mythologization. Practitioners claimed requisite &quot;pure Yin birth charts&quot; and &quot;karmic resilience&quot;. Deliberate disfigurements(e.g. facial lesions) enhanced their &quot;spirit-medium&quot; persona.<br /> <br /> Second, initiation rites. Apprentices underwent psychological conditioning through trials like nocturnal vigils in unmarked graves and barehanded coffin exhumation, selecting candidates with nerve and precision. Successful initiates swore oath-bound adherence to operational codes.<br /> <br /> Third, Monopolized transmission. Skilled were transmitted orally within master-disciple lineages under trade secrecy protocols, preserving esoteric exclusivity and economic monopoly.<br /> <br /> Fourth, psychological deterrence. Circulated horror narratives(e.g. postmortem reanimation, corpse toxins) functioned as deterrent narratives against technical inquiries, safeguarding operational secrecy.<br /> <br /> <br /> '''4. Cultural Semiotics'''<br /> <br /> Xiangxi's Corpse Procession, as a unique folk custom, embodies cultural significance far beyond mere mortuary logistics. Its essence is deeply rooted in geo-environmental context, ethnic belief systems, traditional Chinese ethical frameworks. It functions both as a pragmatic product and a vessel for spiritual beliefs, embodying the interwoven nature of multidimensional cultural aspects.<br /> <br /> '''4.1 Concepts of Life and Death: Philosophical Interpretations'''<br /> <br /> Xiangxi's Corpse Procession, as a unique folk custom, embodies cultural significance far beyond mere mortuary logistics. Its essence is deeply rooted in geo-environmental context, ethnic belief systems, traditional Chinese ethical frameworks. It functions both as a pragmatic product and a vessel for spiritual beliefs, embodying the interwoven nature of multidimensional cultural aspects.<br /> <br /> '''4.1.1 The Ultimate Belief in &quot; Falling Leaves Returning to Roots&quot;'''<br /> <br /> Xiangxi locals firmly believe corpses must be buried in ancestral lands to allow souls to rest peacefully; otherwise, spirits become &quot;wandering ghosts&quot; due to displacement. The corpse procession fundamentally constitutes a ritual of &quot;sending souls home&quot;, manifesting the pursuit of life's integral completion.<br /> This worldview aligns with the Central Plains Han Chinese concept of &quot;resting peacefully through burial&quot;, but Xiangxi's geographical isolation fostered ritual practices infused with Miao soulway engineering(ghob xid).<br /> <br /> '''4.1.2 Blurring of Life-Death Boundaries'''<br /> <br /> The corpse procession ritual ambiguates the existential boundary between life and death through talismanic &quot;reanimation&quot; of corpses and bronze bell &quot;guidance&quot; for souls, reflecting primal religious beliefs in the &quot;indestructibility of the soul&quot;.<br /> <br /> Corpses are imbued with a &quot;semi-human, semi-spectral&quot; symbolism, functioning both as material remains and transient soul vessels, epitomizing a processual comprehension of mortality.<br /> <br /> '''4.2 Miao Animist Ritual Systems: Tripartite Communion Across Human, Divine, and Spectral Realms'''<br /> <br /> '''4.2.1 Fusion of Miao Animist Ritual and Taoist Liturgical Practices'''<br /> <br /> The &quot;Chenzhou Talisman&quot; used in corpse procession rituals embodies a synthesis of Miao Animist practices and Taoist sigil system. Operations like cinnabar-based soul stabilization and bronze bell exorcism functionally construct a bridge for tripartite communication (human-ghost-deity) through ritual implements.<br /> <br /> Corpse handlers(Laosi) operate with dual identity, technical executors(mortuary biomechanics) and ritual officiants (cosmological mediation).<br /> <br /> '''4.2.2 Secular Adaption of Nuo Ritual Theater'''<br /> <br /> In Xiangxi Nuo ritual theater, the thematic focus on &quot;exorcism and epidemic expulsion&quot; shares ontological roots with the corpse procession's &quot;soul anchoring and repatriation&quot; logic. Both practices operationalize human-specter interactions through masks, ritual dances, and incantations. The corpse procession constitutes a concretized implementation of Nuo culture within mortuary practices.<br /> <br /> '''4.3 Social Functions: Survival Strategies of Marginalized Cultures''' <br /> <br /> '''4.3.1 Survival Ingenuity Confronting Geographic Constrains'''<br /> <br /> In Xiangxi's rugged mountains with scare roads, traditional coffin transportation proved prohibitively costly. The corpse procession method circumvented these natural constraints through minimalist and covert adaptations, exemplifying the mountain communities' context-specific survival wisdom.<br /> <br /> Industry secrecy and taboos(e.g. 'the living must not approach') functionally served to maintain technical monopolies, ensuring socioeconomic viability for marginalized groups(corpse handlers).<br /> <br /> '''4.3.2 Psychological Solace and Social Control'''<br /> <br /> It provided families with ritualistic assurance of &quot;intact corpse repatriation&quot;, alleviating moral anxieties stemming from dying away from ancestral lands. Through Miao ritual authority (e.g. the Three Permitted/ Prohibited Corpses Rule), standardized mortuary protocols were enforced, safeguarding communal stability.<br /> <br /> Functioning as a cultural prism, this practice refracts the intricate psyche of traditional Chinese society confronting mortality, nature and ethics--while compelling modernity to reexamine the humanistic wisdom encoded within marginalized cultural systems.<br /> <br /> <br /> '''5 Semiotic Encoding in Screen Literature'''<br /> <br /> Xiangxi Corpse Procession, as one of the most mystique-laden icons in Chinese folk culture, has been extensively reimagined across film, literature, and pop culture. This practice has transitioned from a regional mortuary practice into a globally recognized supernatural trope through the following representational evolution and semiotic codification within cinematic and literary contexts:<br /> <br /> '''5.1 Corpse Procession Depictions in Cinematic Works'''<br /> <br /> '''5.1.1 Archetypal Portrayals in Hongkong Jiangshi cinema'''<br /> <br /> Lam Ching-ying's Jiangshi Film Cycle(1980s-1990s): Lam's films Mr. Vampire and Exorcist Master systematically visually codified corpse procession rituals, crystallizing the jiangshi archetype with &quot;Qing officials robes and talisman-controlled hopping locomotion&quot;. There are also signature ritual props such as bronze bells, yellow talismans, and peach wood swords.<br /> <br /> The combination of comedy and horror: Films such as Mr. Vampire and The Corpse Escorting Master preserve the eerie ambiance of nocturnal corpse escorting while incorporating humorous elements, forging a distinctive &quot;fantasy kungfu film&quot; sub-genre.<br /> <br /> <br /> '''5.1.2 Modern Reinterpretations in Screen Media'''<br /> <br /> The web series Nu Qing Xiangxi(Struggles in Western Hunan) authentically reconstructs corpse procession inns(cuanguan, temporary corpse repositories), and Miao Nuo rituals. Through character dialogues, it explicates the practice's cultural core &quot;Falling Leaves Returning to Roots&quot; as posthumous homecoming imperative.<br /> <br /> '''5.2 Cultural Reimagining in Literary Works'''<br /> <br /> '''5.2.1 Shen congwen's Local Culture Narratives'''<br /> <br /> In Notes on Xiangxi, Shen codified corpse processions within the Miao Nuo ritual framework through mentions of &quot;Chenzhou Talismans&quot;, deliberately demystifying horror elements while foregrounding the ethnographic validity of mortuary customs.<br /> <br /> '''5.2.2 Web Novels and Zhiguai Literary Traditions'''<br /> <br /> Contemporary Fiction: Works like ''Yuan Qi Zhuang Ling'' (Resentment Bell) and ''Long Gu Fen Xiang'' (Burning the Dragon Bone Casket) reimagine corpse handlers as inheritors of esoteric arts, amplifying supernatural attributes with resurrection capabilities.<br /> <br /> Classical Zhiguai Texts: Qing Dynasty collections like ''Zi Bu Yu'' and ''Yuewei Caotang Notes'' systematized jiangshi taxonomy (e.g. purple jiangshi and flying jiangshi and so on), providing archetypes for modern adaptations.<br /> <br /> '''5.3 Semiotic Codification and Cultural Impact'''<br /> <br /> '''5.3.1 From Folk Custom to Pop Culture Icon'''<br /> <br /> Horror Aesthetics: Elements of the corpse procession like nocturnal corpse processions, jerky cadaver locomotion, and talismanic control have been codified into quintessential Oriental Gothic Symbols. This system forms an ethno-cultural antithesis to Western zombie lore(virus-driven reanimation vs. soul repatriation metaphysics).<br /> <br /> Commercial Consumption: In Xiangxi tourism, corpse driving performances, themed homestays, and jiangshi props have become gimmicks to attract tourists, even spawning cultural and creative products (such as talisman stickers and dolls).<br /> <br /> '''5.3.2 Cultural Misinterpretations and Contentions'''<br /> <br /> Scientific Demystification Impact: Programs like CCTV's Approaching Science revealed corpse processions as bamboo pole corpse transport(two handlers carrying bodies via horizontal poles), eroding its mystique while sparking authenticity debates regarding traditional praxis.<br /> <br /> Ethical Boundaries: Certain creative works amplify occult attributes over the original mortuary ethics(e.g. respect for the deceased), causing the original cultural essence to become distorted.<br /> <br /> <br /> '''6. Cross-Cultural Comparisons'''<br /> <br /> Unlike the Xiangxi practice, the Toraja people of Indonesia regard the exhumation, grooming, and procession of ancestral remains as a &quot;rebirth ritual&quot;, emphasizing the emotional bond between the living and the deceased rather than focusing on logistical transportation. The mistranslation of Xiangxi Jiangshi as &quot;Zombie&quot; obscures their fundamental differences-- Jiangshi refers to corpses reanimated through talismanic control, rooted in the Daoist concept of soul anchoring, while Zombie is &quot;living dead&quot; infected by viruses, reflecting differential expressions of fear of death between Eastern and Western cultures.<br /> <br /> The cinematic and literary adaptations of Xiangxi's corpse procession practice embody both the global dissemination of regional culture and the continuous semiotic reconstruction of traditional symbols. Its conceptual core has evolved from mortuary logistics to mystic narratives, serving as an interface between folk beliefs and modern entertainment industries. Moving forward, preserving ethnographic authenticity amidst commercial exploitation will determine the sustained cultural vitality of this symbolic system.<br /> <br /> <br /> <br /> Terms and Expressions<br /> <br /> <br /> <br /> <br /> '''摘要'''<br /> 本文全面概述了湘西赶尸传统（即赶尸，或湘西赶尸术），探讨了其起源、仪式技巧、文化意义和现代象征表征。研究追溯了这一习俗在湘西多民族聚居区的历史渊源，探究了使用符咒和竹竿运尸的民间智慧，探讨了其对生死观和家庭价值观的深刻文化反思。研究还进一步分析了电影和文学作品如何塑造其神秘形象，最终旨在增进公众对这一独特文化现象的了解，并促进对其独特精神遗产的鉴赏。<br /> 湘西赶尸是中国湘西地区独特的民俗文化现象，反映了古代湘西人对生死和祖先故土的深刻理解。下面将从神话历史、现实需求和社会环境等角度，介绍这一习俗的起源和历史背景。<br /> <br /> <br /> '''1.神话与历史'''<br /> <br /> '''1.1神话起源'''<br /> 根据苗族传说，赶尸习俗起源于蚩尤时代。传说蚩尤在黄河边与敌军交战后，命令手下的巫师将领举行缚魂仪式，以仪式引导尸体返回祖居地。苗族世代口口相传的这一传说构成了赶尸文化的象征性起源。<br /> <br /> '''1.2历史案例'''<br /> 明朝万历年间（1573-1620年），湘西保靖土司首领彭象乾率领8000名土兵抵抗后金入侵，支援辽东，结果惨败，全军覆没。幸存的土司首领和苗族祭祀专家用朱砂封住阵亡将士的七窍，然后举行招魂仪式，为尸体引路。这一历史事件是尸体游行在实际应用中的一个有据可查的案例。<br /> <br /> <br /> '''2. 实际需求和社会文化背景'''<br /> <br /> '''2.1 地貌限制与交通挑战'''<br /> <br /> 湘西地处武陵山脉，地形崎岖，古代陆路交通极为不便。远离家乡的死者（如商人、民工和士兵）的尸体无法通过传统方式运输，最终产生了专门的殡葬习俗--赶尸。<br /> <br /> '''2.2 移民与战争因素'''<br /> <br /> 清代移民浪潮：在清中期，湘西移民大规模迁移到四川，这产生了对那些远离祖先土地的死者进行追授遣返的需求。穿越三峡地区的危险水上运输（隐藏的礁石、频繁的沉船等），加上流行禁止用商船运输尸体的禁忌，促使赶尸作为一种仪式认可的替代方案的出现。<br /> <br /> 司法-尸体物流：清朝秋决客籍死囚后，家属需支付高昂费用运尸。赶尸匠以更低成本、更隐蔽的方式（如防腐处理，夜间赶尸等）完成运输，并逐渐形成行业规范。<br /> <br /> <br /> '''3.“赶尸”原理（即仪式与技艺的揭秘）'''<br /> 湘西赶尸的“原理”是技术与巫术的结合，既包含古代劳动智慧的物理手段，也依托神秘仪式营造心理威慑。以下从技术操作、仪式流程两个维度揭秘其核心逻辑：<br /> <br /> '''3.1 技术操作：尸体运输的生物物理手段'''<br /> <br /> 技术层面的操作主要包括以下三个层面：<br /> <br /> '''3.1.1尸体防腐处理'''<br /> <br /> 尸体防腐处理主要有草药防腐以及脱水处理两种方式：<br /> <br /> 草药防腐：赶尸匠使用湘西本地药材（如朱砂、辰砂、雄黄）涂抹尸体，朱砂含硫化汞可抑制细菌滋生，雄黄驱虫防腐，延缓腐烂并掩盖异味。<br /> <br /> 脱水处理：部分记载提到将尸体浸泡于草药液中脱水，减轻重量便于运输。<br /> <br /> '''3.1.2尸体固定和运输'''<br /> <br /> 尸体搬运工主要使用竹竿固定尸体。由于该职业的特殊要求，采用了遮盖物和伪装以避免被旁观者发现。<br /> <br /> 竹竿支撑法：尸体双臂被绑在两根长竹竿上，由前后两名赶尸匠（通常穿黑袍伪装）抬运，通过竹竿弹性晃动制造尸体“跳跃前进”的视觉假象。并且尸体双腿悬空，竹竿长度可调节，适应不同身高遗体。<br /> <br /> 遮蔽伪装：尸体头戴宽大斗笠，面部贴符纸，全身裹黑袍或蓑衣，遮挡竹竿和赶尸匠身体，夜间火光昏暗时更易迷惑旁观者。并且赶尸匠一般穿草鞋，模仿尸体僵硬步伐，保持节奏统一。<br /> <br /> 事实证明，这些伪装在低光夜间条件下特别有效，尤其是在手电筒照明有限的情况下。尸体搬运工通常穿着草鞋，故意模仿尸体僵硬的行走模式，以保持同步的运动节奏。<br /> <br /> '''3.1.3 路线和团队合作'''<br /> <br /> 赶尸是一项团队工作，一般在夜间进行，避开人群密集处，选择山林小路，减少目击者，且路线长的往往会进行分段运输：<br /> <br /> 分段运输：长途赶尸可能通过驿站或秘密路线接力，由不同团队分段完成，避免体力透支。 <br /> <br /> 夜间行动：利用月光或灯笼照明，光线不足时视觉误差更显著，降低被识破风险。 <br /> <br /> '''3.2 仪式流程：苗族万物有灵论实践术的心理建构'''<br /> <br /> 以下将从符咒与法器、行业禁忌与规则、赶尸匠的“法力”塑造等方面介绍该行业的仪式流程：<br /> <br /> 3.2.1 符咒与法器<br /> <br /> 辰州符：赶尸前在尸体额头、胸口贴符纸（多为道教镇煞符文），宣称可“镇魂定魄”，实则强化旁观者对巫术权威的信任。 <br /> <br /> 摄魂铃：铜铃摇动节奏实为暗号，指挥抬尸人调整步伐或警示危险，铃声也被赋予“指引亡魂”的象征意义。 <br /> <br /> 阴锣开道：赶尸人敲打特制小锣（声音低沉），提醒活人避让，同时营造阴森氛围。<br /> <br /> 3.2.2 禁忌与规则<br /> <br /> 该行业禁忌或行规总结起来有以下几点：<br /> <br /> “三赶三不赶”：“可赶”：被斩首（需缝头）、绞刑、战死者，因“怨气未散”需归乡安魂;“不赶”：病逝、自杀、雷击死者，认为其魂魄已归地府，无法驱使。 <br /> <br /> 活人避讳：宣称活人靠近会“冲撞尸体”，实为防止外人发现团队操作秘密。 <br /> <br /> 忌鸡鸣狗吠：天亮后光线充足易暴露，需在鸡鸣狗叫前入住“死尸客店”歇息。<br /> <br /> 3.2.3 赶尸匠的“法力”塑造<br /> <br /> 赶尸这个行业由于种种原因，外人会对其“妖魔化”、“神秘化”，认为赶尸匠“法力无边”，这与从事该行业种种规定要求等有关。<br /> <br /> 首先，自我神化。赶尸匠自称需“生辰八字纯阴”“命硬克亲”，通过外貌（如面部生疮）强化“通灵者”形象；第二，入行仪式。学徒需通过“夜宿乱坟岗”“徒手挖棺”等考验，筛选胆大心细者，并宣誓严守行规。第三，该行业垄断性传承。技艺仅限师徒口传，禁止外泄，维持行业神秘性与经济收益；最后，心理威慑，通过恐怖传说（如“诈尸”、“尸毒”）阻止外人探究，保护技术秘密。<br /> <br /> <br /> 4. 文化内涵<br /> <br /> 湘西赶尸作为一项独特的民俗现象，其文化内涵远超出单纯的“运尸技术”，而是深深根植于湘西的地理环境、少数民族信仰以及中国传统伦理观念之中。它既是实用主义的产物，也是精神信仰的载体，体现了多重文化维度的交织：<br /> <br /> 4.1 生死观：对生命与死亡的哲学诠释<br /> <br /> 4.1.1 “落叶归根”的终极信仰<br /> <br /> 湘西人坚信，遗体必须归葬故土才能让灵魂安息，否则亡灵会因漂泊异乡而化作“孤魂野鬼”。赶尸本质上是一种“送魂归乡”的仪式，体现了对生命完整性的追求。 <br /> 这种观念与中原汉族的“入土为安”思想相通，但湘西因地理阻隔，发展出更具苗族巫术色彩的实践形式。<br /> <br /> 4.1.2 生死界限的模糊化<br /> <br /> 通过符咒“唤醒”尸体、铜铃“指引”亡魂，赶尸模糊了生与死的绝对界限，反映了原始宗教中“灵魂不灭”的信仰。<br /> <br /> 尸体被赋予“半人半鬼”的象征性，既是物质遗骸，也是魂魄的临时载体，体现了对死亡过程的动态理解。<br /> <br /> 4.2 苗族万物有灵论仪式系统：人、神、灵界三方共融<br /> <br /> 4.2.1 万物有灵仪式与道法的融合<br /> <br /> 赶尸仪式中使用的“辰州符”融合了苗族有灵仪式与道教符箓体系，朱砂镇魂、铜铃驱邪等操作，实为通过法器构建“人—鬼—神”三界沟通的桥梁。<br /> <br /> 赶尸匠（“老司”）兼具巫师与匠人双重身份，既是技术执行者，也是宗教仪式的操演者。<br /> <br /> 4.2.2 傩戏的世俗化延伸<br /> <br /> 湘西傩戏中“驱鬼逐疫”的主题与赶尸的“镇魂归乡”逻辑同源，均通过面具、舞蹈、咒语等实现人鬼互动。赶尸可视为傩文化在丧葬领域的具象化应用。<br /> <br /> 4.3 社会功能：边缘文化的生存策略<br /> <br /> 4.3.1 应对地理困境的智慧<br /> <br /> 湘西多山少路，传统棺木运输成本高昂，赶尸以轻量化、隐蔽化的方式突破自然限制，是山区人民因地制宜的生存智慧。 <br /> <br /> 行业保密与禁忌（如“活人勿近”）实为维护技术垄断，确保边缘群体（赶尸匠）的社会生存空间。<br /> <br /> 4.3.2 心理慰藉与社会控制<br /> <br /> 为家属提供“遗体完整归乡”的仪式感，缓解因客死异乡带来的道德焦虑。通过巫术权威（如“三赶三不赶”规则）规范死亡处理方式，维护社会秩序。<br /> <br /> 它如同一面棱镜，折射出中国传统社会在应对死亡、自然与伦理时的复杂心态，也提醒现代人重新审视边缘文化中蕴含的人文智慧。<br /> <br /> <br /> 5. 影视文学与符号化<br /> <br /> 湘西赶尸作为中国民俗文化中最具神秘色彩的符号之一，在影视、文学及流行文化中被广泛演绎，逐渐从地方丧葬习俗演变为全球观众熟知的超自然意象。以下是其在影视文学中的表现与符号化过程：<br /> <br /> 5.1 影视作品中的赶尸形象<br /> <br /> 5.1.1 香港僵尸电影的经典塑造<br /> <br /> 林正英系列：1980-1990年代，林正英主演的《僵尸先生》《驱魔道长》等电影将赶尸仪式视觉化，塑造了“清朝官服、贴符跳跃”的僵尸形象，铜铃、黄符、桃木剑成为标配道具。 <br /> <br /> 喜剧化与恐怖结合：如《僵尸叔叔》《赶尸先生》等片，既保留夜间赶尸的阴森氛围，又加入幽默元素，形成独特的“灵幻功夫片”亚类型。 <br /> <br /> 5.1.2 现代影视的再创作<br /> <br /> 网剧《怒晴湘西》：还原赶尸客栈（“攒馆”）、巫傩仪式，并借角色之口点明赶尸的“落叶归根”文化内核。<br /> <br /> 5.2 文学作品中的文化重构<br /> <br /> 5.2.1 沈从文的乡土书写<br /> <br /> 在《湘西散记》中提及“辰州符”，将赶尸纳入湘西巫傩文化体系，淡化恐怖色彩，强调其作为民俗的合理性。<br /> <br /> 5.2.2 网络小说与志怪文学<br /> <br /> 《怨气撞铃》《龙骨焚箱》等小说将赶尸匠设定为秘术传承者，甚至衍生出“起死回生”的奇幻情节，赋予其更多超自然属性。<br /> <br /> 《子不语》《阅微草堂笔记》等古籍中的“僵尸”分类（如紫僵、飞僵）为现代创作提供了原型。 <br /> <br /> 5.3 符号化过程与文化影响<br /> <br /> 5.3.1 从民俗到流行符号<br /> <br /> 恐怖美学：赶尸的夜间行进、尸体跳跃、符咒控制等元素被抽象为“东方恐怖”的典型符号，与西方丧尸（Zombie）形成文化对比。<br /> <br /> 商业消费：湘西旅游中，赶尸表演、主题民宿、“僵尸道具”成为吸引游客的噱头，甚至衍生出文创产品（如符咒贴纸、玩偶）。<br /> <br /> 5.3.2 文化误解与争议<br /> <br /> 科学解构的冲击：央视《走近科学》等节目揭秘赶尸实为“竹竿抬尸”，削弱其神秘性，但也引发对传统文化真实性的讨论。 <br /> <br /> 伦理边界：部分作品过度渲染赶尸的“邪术”属性，模糊其原本的伦理意义（如对逝者的尊重），导致文化本貌被扭曲。 <br /> <br /> <br /> 6. 跨文化比较<br /> <br /> 与湘西不同，印度托拉雅人将挖出亲人遗骸梳妆、游行视为“新生仪式”，强调生者与逝者的情感联结，而非运输功能。 此前湘西僵尸被误译为“Zombie”，但本质不同——僵尸是符咒控制的尸体，而丧尸是病毒感染的活死人，反映东西方对死亡恐惧的差异化表达。<br /> <br /> 湘西赶尸的影视文学演绎，既是地方文化的全球化传播，也是传统符号被不断重构的过程。其核心从“运尸技术”逐渐转向“神秘叙事”，成为连接民俗信仰与现代娱乐的桥梁。未来，如何在商业开发中保留文化本真，将是这一符号持续生命力的关键。<br /> <br /> <br /> 术语表达：<br /> <br /> 武陵山脉 Wuling Mountain Range<br /> <br /> 朱砂 cinnabar<br /> <br /> 符纸 talisman paper<br /> <br /> 蓑衣 palm-leaf raincoats<br /> <br /> 生辰八字纯阴 pure Yin birth charts <br /> <br /> 徒手挖棺 barehanded coffin exhumation <br /> <br /> 命硬克亲 karmic resilience <br /> <br /> &quot;落叶归根&quot; &quot;Falling Leaves Returning to Roots&quot;<br /> <br /> 孤魂野鬼 wandering ghosts<br /> <br /> 入土为安 resting peacefully through burial<br /> <br /> 半人半鬼 semi-human, semi-spectral<br /> <br /> 超自然意象 supernatural trope<br /> <br /> 表现与符号化过程 representational evolution and semiotic codification<br /> <br /> 黄符 yellow talismans <br /> <br /> 桃木剑 peach wood swords <br /> <br /> 邪术 occult attributes<br /> <br /> 符号重构 semiotic reconstruction<br /> <br /> <br /> 问题：<br /> <br /> 1. 通过以上阅读，谈谈湘西赶尸行业有哪些行业禁忌与规则？<br /> <br /> 2. 湘西赶尸蕴含了哪些文化内行？<br /> <br /> 3. 为什么外人会对赶尸行业“神秘化”甚至“妖魔化”？<br /> <br /> 4. 谈谈你对湘西赶尸与西方丧尸的认识</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=167266 2025-06-02T03:08:32Z

<p>Li Ting2: </p> <hr /> <div><br /> '''Abstract''':<br /> This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi, or The corpse of Xiangxi technique), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.<br /> <br /> The Xiangxi corpse procession, a unique folk cultural phenomenon in China's Xiangxi region, reflects the profound understanding of life, death, and ancestral homeland among ancient Xiangxi people. Below is an introduction to the origins and historical context of this practice from perspectives of mythology and history, practical needs, and social circumstances.<br /> <br /> <br /> '''1.Mythology and History'''<br /> <br /> '''1.1 Mythological Origins'''<br /> <br /> According to Miao ethnic legends, the corpse procession tradition traces its roots to the Chiyou era. Legend holds that after battling enemies along the Yellow River, Chiyou commanded his sorcerer-general to conduct soul-binding rituals, which would ritualistically guide the corpses back to their ancestral homes. This narrative, perpetuated through Miao oral traditions across generations, constitutes the symbolic genesis of the corpse precession culture.<br /> <br /> '''1.2 Historical Case'''<br /> <br /> During the Wanli period(1573-1620) of the Ming Dynasty, Peng Xiangqian, the Tusi chieftain of Baojing in Xiangxi, led 8000 local militianmen to resist the Later Jin invasion in support of Liaodong, but suffered a devasting defeat with the entire army perished. Surving Tusi leaders and Miao ritual specialists sealed the deceased solders' seven orifices with cinnabar, then performed ghunb pro(soul-summoning rites) to guide the corpses. This historical event stands as a documented case of the corpse procession being put into practical application.<br /> <br /> <br /> '''2.Practical Necessities and Sociocultural Context'''<br /> <br /> '''2.1 Geomorphological Constraints and Transportation Challenges'''<br /> <br /> Xiangxi, situated within the Wuling Mountain Range, featured rugged terrain that made overland transportation extremely challenging in ancient times. The corpses of those who died far from home(such as merchants, migrant laborers, and soldiers) could not be transported via conventional means, ultimately giving rise to the specialized funerary practice of corpse procession.<br /> <br /> '''2.2 Migration and Conflict Dynamics'''<br /> <br /> Qing-era Migration Waves: During the mid-Qing period, mass migrations of Xiangxi migrants to Sichuan created demand for posthumous repatriation of those who died far from ancestral lands. Hazardous waterborne transport through the Three Gorges region (hidden reefs, frequent shipwrecks), coupled with popular taboos against transporting corpses on commercial vessels, promoted the emergence of corpse procession as a ritually-sanctioned alternative.<br /> <br /> Judicial-Corpse Logistics: The Qing legal practice of Autumn Executions saw families of non-native commended prisoners burdened with exorbitant fees for bureaucratic corpse repatriation. Corpse handlers circumvented this by developing cost-effective, discreet method----utilizing herbal preservation techniques and nocturnal processions--- to return remains, thereby establishing processional protocols for the practice.<br /> <br /> <br /> '''3. Mechanics of the Corpse Procession: Decoding Ritual Protocols and Technical Artistry'''<br /> <br /> The practice fundamentally combines biomechanical ingenuity with witchcraft ---harnessing ancient labor wisdom for physical corpse manipulation while deploying mystical rituals to establish psychological deterrence. Below we decode its core mechanisms through technical operations, ritual choreography these two analytical dimensions:<br /> <br /> '''3.1 Technical Protocols: Biomechanical Solutions in Mortuary Logistics'''<br /> <br /> The operational framework compromises three codified subsystems:<br /> <br /> '''3.1.1 Ethnobotanical Preservation'''<br /> <br /> The mortuary conservation system employed two primary methodologies:<br /> Ethnobotanical Preservation: Corpse handlers applied locally sourced substances from Xiangxi (including cinnabar mercuric sulfide, HgS, realgar arsenic sulfide, and so on) to corpses. Cinnabar's mercury content inhibited bacterial growth, while realgar repelled insects, slowed decomposition, and masked odors through its sulfur compounds.<br /> <br /> Desiccation Method: Historical accounts describe soaking corpses in herbal decoctions to remove bodily fluids, thereby reducing weight for easier transportation.<br /> <br /> '''3.1.2 Corpse Immobilization and Transportation'''<br /> <br /> Corpse handlers primarily used bamboo poles to secure the corpses. Due to the specific requirements of this profession, coverings and disguises were employed to avoid detection by bystanders.<br /> Bamboo Pole Support Method: The corpse's arms were bound to two long bamboo poles, carried by two handlers positioned front and rear(typically cloaked in black). The poles' natural flexibility allowed controlled flexing, creating the visual illusion of the corpse &quot;hopping forward&quot;. The legs remained suspended mid-air. The poles' adjustable length accommodated corpses of varying heights.<br /> <br /> Concealment Techniques: The corpses wore large straw hats with talisman paper affixed to their faces. They were shrouded in black robes or palm-leaf raincoats to cover both the bamboo poles and handlers' bodies. These disguises proved particularly effective under low-light nighttime conditions, especially with limited torch illumination. Corpse handlers typically wore straw sandals, deliberately mimicking the rigid walking patterns of corpses to maintain synchronized movement rhythms.<br /> <br /> '''3.1.3 Routes and Teamwork'''<br /> <br /> Corpse procession was a team effort, conducted at night while avoiding populated areas via mountain forest paths to minimize witnesses. Longer routes often required section-based transport:<br /> <br /> Section-based transport: Extended journeys utilized relay stations or covert route relays, divided into segments handled by separate teams to prevent physical exhaustion.<br /> <br /> Night operations: moonlight or lantern illumination was employed. Low-light conditions amplified visual misperception, reducing detection risks.<br /> <br /> '''3.2 Ritual Protocols: Psychological Constructs in Miao Animist Praxis'''<br /> <br /> The following sections will elaborate on the ritual protocols through three key aspects: talismans and ritual implements, industry taboos and operational codes, cultivation of ritual authority among the ordinary people.<br /> <br /> '''3.2.1 Talismans and ritual implements'''<br /> <br /> Chenzhou Talisman: Paper charms(typically bearing Taoist apotropaic symbols) affixed to corpses' foreheads and chests pre-procession. While purporting to &quot;anchor souls and stabilize spirits&quot;, their primary function was to reinforce bystander trust in ritual authority.<br /> <br /> Soul-summoning Belling: The bronze bell's rhythmic patterns served as coded signals directing pallbearers to adjust gaits or alert to hazards. It chimes were simultaneously mythologized as auditory cues for spirit navigation.<br /> <br /> Yin Gong Path-Clearing: The corpse handlers strikes a specially crafted small gong(emitting a low, resonant tone) to warn the living to yield way while establishing an ominous atmosphere.<br /> <br /> '''3.2.2 Taboos and operational codes'''<br /> <br /> The necromantic practice adheres to strict prohibitions summarized as follows:<br /> <br /> First, the &quot; Three Permitted/ Prohibited Corpses Rule. Three Permitted Corpses are behaved(requires head reattachment), hanged, or fallen soldiers--those with &quot;unresolved grievances&quot; requiring homebound rites. Three Prohibited Corpses are deaths by illness, suicide, or lighting strike-- believed to have souls already returned to the underworld, thus unresponsive to guidance.<br /> <br /> Second, living person taboos. Civilians must avoid proximity, ostensibly to prevent &quot;disturbing the corpses&quot;, though primarily to conceal operational secrets from outsiders.<br /> <br /> Third, cockcrow and canine curfew. All processions must terminate before dawn's harbingers(rooster crows/ dog barks), retreating to covert &quot;corpse lodges&quot; to avoid daylight exposure.<br /> <br /> '''3.2.3 Cultivation of Ritual Authority Among the Ordinary People'''<br /> <br /> The corpse-handling profession fostered perceptions of &quot;supernatural prowess&quot; through systematic mystification, achieved via four institutionalized mechanisms: <br /> <br /> First, self-mythologization. Practitioners claimed requisite &quot;pure Yin birth charts&quot; and &quot;karmic resilience&quot;. Deliberate disfigurements(e.g. facial lesions) enhanced their &quot;spirit-medium&quot; persona.<br /> <br /> Second, initiation rites. Apprentices underwent psychological conditioning through trials like nocturnal vigils in unmarked graves and barehanded coffin exhumation, selecting candidates with nerve and precision. Successful initiates swore oath-bound adherence to operational codes.<br /> <br /> Third, Monopolized transmission. Skilled were transmitted orally within master-disciple lineages under trade secrecy protocols, preserving esoteric exclusivity and economic monopoly.<br /> <br /> Fourth, psychological deterrence. Circulated horror narratives(e.g. postmortem reanimation, corpse toxins) functioned as deterrent narratives against technical inquiries, safeguarding operational secrecy.<br /> <br /> <br /> '''4. Cultural Semiotics'''<br /> <br /> Xiangxi's Corpse Procession, as a unique folk custom, embodies cultural significance far beyond mere mortuary logistics. Its essence is deeply rooted in geo-environmental context, ethnic belief systems, traditional Chinese ethical frameworks. It functions both as a pragmatic product and a vessel for spiritual beliefs, embodying the interwoven nature of multidimensional cultural aspects.<br /> <br /> '''4.1 Concepts of Life and Death: Philosophical Interpretations'''<br /> <br /> Xiangxi's Corpse Procession, as a unique folk custom, embodies cultural significance far beyond mere mortuary logistics. Its essence is deeply rooted in geo-environmental context, ethnic belief systems, traditional Chinese ethical frameworks. It functions both as a pragmatic product and a vessel for spiritual beliefs, embodying the interwoven nature of multidimensional cultural aspects.<br /> <br /> '''4.1.1 The Ultimate Belief in &quot; Falling Leaves Returning to Roots&quot;'''<br /> <br /> Xiangxi locals firmly believe corpses must be buried in ancestral lands to allow souls to rest peacefully; otherwise, spirits become &quot;wandering ghosts&quot; due to displacement. The corpse procession fundamentally constitutes a ritual of &quot;sending souls home&quot;, manifesting the pursuit of life's integral completion.<br /> This worldview aligns with the Central Plains Han Chinese concept of &quot;resting peacefully through burial&quot;, but Xiangxi's geographical isolation fostered ritual practices infused with Miao soulway engineering(ghob xid).<br /> <br /> '''4.1.2 Blurring of Life-Death Boundaries'''<br /> <br /> The corpse procession ritual ambiguates the existential boundary between life and death through talismanic &quot;reanimation&quot; of corpses and bronze bell &quot;guidance&quot; for souls, reflecting primal religious beliefs in the &quot;indestructibility of the soul&quot;.<br /> Corpses are imbued with a &quot;semi-human, semi-spectral&quot; symbolism, functioning both as material remains and transient soul vessels, epitomizing a processual comprehension of mortality.<br /> <br /> '''4.2 Miao Animist Ritual Systems: Tripartite Communion Across Human, Divine, and Spectral Realms'''<br /> <br /> '''4.2.1 Fusion of Miao Animist Ritual and Taoist Liturgical Practices'''<br /> <br /> The &quot;Chenzhou Talisman&quot; used in corpse procession rituals embodies a synthesis of Miao Animist practices and Taoist sigil system. Operations like cinnabar-based soul stabilization and bronze bell exorcism functionally construct a bridge for tripartite communication (human-ghost-deity) through ritual implements.<br /> <br /> Corpse handlers(Laosi) operate with dual identity, technical executors(mortuary biomechanics) and ritual officiants (cosmological mediation).<br /> <br /> '''4.2.2 Secular Adaption of Nuo Ritual Theater'''<br /> <br /> In Xiangxi Nuo ritual theater, the thematic focus on &quot;exorcism and epidemic expulsion&quot; shares ontological roots with the corpse procession's &quot;soul anchoring and repatriation&quot; logic. Both practices operationalize human-specter interactions through masks, ritual dances, and incantations. The corpse procession constitutes a concretized implementation of Nuo culture within mortuary practices.<br /> <br /> '''4.3 Social Functions: Survival Strategies of Marginalized Cultures''' <br /> <br /> '''4.3.1 Survival Ingenuity Confronting Geographic Constrains'''<br /> <br /> In Xiangxi's rugged mountains with scare roads, traditional coffin transportation proved prohibitively costly. The corpse procession method circumvented these natural constraints through minimalist and covert adaptations, exemplifying the mountain communities' context-specific survival wisdom.<br /> <br /> Industry secrecy and taboos(e.g. 'the living must not approach') functionally served to maintain technical monopolies, ensuring socioeconomic viability for marginalized groups(corpse handlers).<br /> <br /> '''4.3.2 Psychological Solace and Social Control'''<br /> <br /> It provided families with ritualistic assurance of &quot;intact corpse repatriation&quot;, alleviating moral anxieties stemming from dying away from ancestral lands. Through Miao ritual authority (e.g. the Three Permitted/ Prohibited Corpses Rule), standardized mortuary protocols were enforced, safeguarding communal stability.<br /> <br /> Functioning as a cultural prism, this practice refracts the intricate psyche of traditional Chinese society confronting mortality, nature and ethics--while compelling modernity to reexamine the humanistic wisdom encoded within marginalized cultural systems.<br /> <br /> <br /> '''5 Semiotic Encoding in Screen Literature'''<br /> <br /> Xiangxi Corpse Procession, as one of the most mystique-laden icons in Chinese folk culture, has been extensively reimagined across film, literature, and pop culture. This practice has transitioned from a regional mortuary practice into a globally recognized supernatural trope through the following representational evolution and semiotic codification within cinematic and literary contexts:<br /> <br /> '''5.1 Corpse Procession Depictions in Cinematic Works'''<br /> <br /> '''5.1.1 Archetypal Portrayals in Hongkong Jiangshi cinema'''<br /> <br /> Lam Ching-ying's Jiangshi Film Cycle(1980s-1990s): Lam's films Mr. Vampire and Exorcist Master systematically visually codified corpse procession rituals, crystallizing the jiangshi archetype with &quot;Qing officials robes and talisman-controlled hopping locomotion&quot;. There are also signature ritual props such as bronze bells, yellow talismans, and peach wood swords.<br /> <br /> The combination of comedy and horror: Films such as Mr. Vampire and The Corpse Escorting Master preserve the eerie ambiance of nocturnal corpse escorting while incorporating humorous elements, forging a distinctive &quot;fantasy kungfu film&quot; sub-genre.<br /> <br /> <br /> '''5.1.2 Modern Reinterpretations in Screen Media'''<br /> <br /> The web series Nu Qing Xiangxi(Struggles in Western Hunan) authentically reconstructs corpse procession inns(cuanguan, temporary corpse repositories), and Miao Nuo rituals. Through character dialogues, it explicates the practice's cultural core &quot;Falling Leaves Returning to Roots&quot; as posthumous homecoming imperative.<br /> <br /> '''5.2 Cultural Reimagining in Literary Works'''<br /> <br /> '''5.2.1 Shen congwen's Local Culture Narratives'''<br /> <br /> In Notes on Xiangxi, Shen codified corpse processions within the Miao Nuo ritual framework through mentions of &quot;Chenzhou Talismans&quot;, deliberately demystifying horror elements while foregrounding the ethnographic validity of mortuary customs.<br /> <br /> '''5.2.2 Web Novels and Zhiguai Literary Traditions'''<br /> <br /> Contemporary Fiction: Works like ''Yuan Qi Zhuang Ling'' (Resentment Bell) and ''Long Gu Fen Xiang'' (Burning the Dragon Bone Casket) reimagine corpse handlers as inheritors of esoteric arts, amplifying supernatural attributes with resurrection capabilities.<br /> <br /> Classical Zhiguai Texts: Qing Dynasty collections like ''Zi Bu Yu'' and ''Yuewei Caotang Notes'' systematized jiangshi taxonomy (e.g. purple jiangshi and flying jiangshi and so on), providing archetypes for modern adaptations.<br /> <br /> '''5.3 Semiotic Codification and Cultural Impact'''<br /> <br /> '''5.3.1 From Folk Custom to Pop Culture Icon'''<br /> <br /> Horror Aesthetics: Elements of the corpse procession like nocturnal corpse processions, jerky cadaver locomotion, and talismanic control have been codified into quintessential Oriental Gothic Symbols. This system forms an ethno-cultural antithesis to Western zombie lore(virus-driven reanimation vs. soul repatriation metaphysics).<br /> <br /> Commercial Consumption: In Xiangxi tourism, corpse driving performances, themed homestays, and jiangshi props have become gimmicks to attract tourists, even spawning cultural and creative products (such as talisman stickers and dolls).<br /> <br /> '''5.3.2 Cultural Misinterpretations and Contentions'''<br /> <br /> Scientific Demystification Impact: Programs like CCTV's Approaching Science revealed corpse processions as bamboo pole corpse transport(two handlers carrying bodies via horizontal poles), eroding its mystique while sparking authenticity debates regarding traditional praxis.<br /> <br /> Ethical Boundaries: Certain creative works amplify occult attributes over the original mortuary ethics(e.g. respect for the deceased), causing the original cultural essence to become distorted.<br /> <br /> <br /> '''6. Cross-Cultural Comparisons'''<br /> <br /> Unlike the Xiangxi practice, the Toraja people of Indonesia regard the exhumation, grooming, and procession of ancestral remains as a &quot;rebirth ritual&quot;, emphasizing the emotional bond between the living and the deceased rather than focusing on logistical transportation. The mistranslation of Xiangxi Jiangshi as &quot;Zombie&quot; obscures their fundamental differences-- Jiangshi refers to corpses reanimated through talismanic control, rooted in the Daoist concept of soul anchoring, while Zombie is &quot;living dead&quot; infected by viruses, reflecting differential expressions of fear of death between Eastern and Western cultures.<br /> <br /> The cinematic and literary adaptations of Xiangxi's corpse procession practice embody both the global dissemination of regional culture and the continuous semiotic reconstruction of traditional symbols. Its conceptual core has evolved from mortuary logistics to mystic narratives, serving as an interface between folk beliefs and modern entertainment industries. Moving forward, preserving ethnographic authenticity amidst commercial exploitation will determine the sustained cultural vitality of this symbolic system.<br /> <br /> <br /> <br /> Terms and Expressions<br /> <br /> <br /> <br /> <br /> '''摘要'''<br /> 本文全面概述了湘西赶尸传统（即赶尸，或湘西赶尸术），探讨了其起源、仪式技巧、文化意义和现代象征表征。研究追溯了这一习俗在湘西多民族聚居区的历史渊源，探究了使用符咒和竹竿运尸的民间智慧，探讨了其对生死观和家庭价值观的深刻文化反思。研究还进一步分析了电影和文学作品如何塑造其神秘形象，最终旨在增进公众对这一独特文化现象的了解，并促进对其独特精神遗产的鉴赏。<br /> 湘西赶尸是中国湘西地区独特的民俗文化现象，反映了古代湘西人对生死和祖先故土的深刻理解。下面将从神话历史、现实需求和社会环境等角度，介绍这一习俗的起源和历史背景。<br /> <br /> <br /> '''1.神话与历史'''<br /> <br /> '''1.1神话起源'''<br /> 根据苗族传说，赶尸习俗起源于蚩尤时代。传说蚩尤在黄河边与敌军交战后，命令手下的巫师将领举行缚魂仪式，以仪式引导尸体返回祖居地。苗族世代口口相传的这一传说构成了赶尸文化的象征性起源。<br /> <br /> '''1.2历史案例'''<br /> 明朝万历年间（1573-1620年），湘西保靖土司首领彭象乾率领8000名土兵抵抗后金入侵，支援辽东，结果惨败，全军覆没。幸存的土司首领和苗族祭祀专家用朱砂封住阵亡将士的七窍，然后举行招魂仪式，为尸体引路。这一历史事件是尸体游行在实际应用中的一个有据可查的案例。<br /> <br /> <br /> '''2. 实际需求和社会文化背景'''<br /> <br /> '''2.1 地貌限制与交通挑战'''<br /> <br /> 湘西地处武陵山脉，地形崎岖，古代陆路交通极为不便。远离家乡的死者（如商人、民工和士兵）的尸体无法通过传统方式运输，最终产生了专门的殡葬习俗--赶尸。<br /> <br /> '''2.2 移民与战争因素'''<br /> <br /> 清代移民浪潮：在清中期，湘西移民大规模迁移到四川，这产生了对那些远离祖先土地的死者进行追授遣返的需求。穿越三峡地区的危险水上运输（隐藏的礁石、频繁的沉船等），加上流行禁止用商船运输尸体的禁忌，促使赶尸作为一种仪式认可的替代方案的出现。<br /> <br /> 司法-尸体物流：清朝秋决客籍死囚后，家属需支付高昂费用运尸。赶尸匠以更低成本、更隐蔽的方式（如防腐处理，夜间赶尸等）完成运输，并逐渐形成行业规范。<br /> <br /> <br /> '''3.“赶尸”原理（即仪式与技艺的揭秘）'''<br /> 湘西赶尸的“原理”是技术与巫术的结合，既包含古代劳动智慧的物理手段，也依托神秘仪式营造心理威慑。以下从技术操作、仪式流程两个维度揭秘其核心逻辑：<br /> <br /> '''3.1 技术操作：尸体运输的生物物理手段'''<br /> <br /> 技术层面的操作主要包括以下三个层面：<br /> <br /> '''3.1.1尸体防腐处理'''<br /> <br /> 尸体防腐处理主要有草药防腐以及脱水处理两种方式：<br /> <br /> 草药防腐：赶尸匠使用湘西本地药材（如朱砂、辰砂、雄黄）涂抹尸体，朱砂含硫化汞可抑制细菌滋生，雄黄驱虫防腐，延缓腐烂并掩盖异味。<br /> <br /> 脱水处理：部分记载提到将尸体浸泡于草药液中脱水，减轻重量便于运输。<br /> <br /> '''3.1.2尸体固定和运输'''<br /> <br /> 尸体搬运工主要使用竹竿固定尸体。由于该职业的特殊要求，采用了遮盖物和伪装以避免被旁观者发现。<br /> <br /> 竹竿支撑法：尸体双臂被绑在两根长竹竿上，由前后两名赶尸匠（通常穿黑袍伪装）抬运，通过竹竿弹性晃动制造尸体“跳跃前进”的视觉假象。并且尸体双腿悬空，竹竿长度可调节，适应不同身高遗体。<br /> <br /> 遮蔽伪装：尸体头戴宽大斗笠，面部贴符纸，全身裹黑袍或蓑衣，遮挡竹竿和赶尸匠身体，夜间火光昏暗时更易迷惑旁观者。并且赶尸匠一般穿草鞋，模仿尸体僵硬步伐，保持节奏统一。<br /> <br /> 事实证明，这些伪装在低光夜间条件下特别有效，尤其是在手电筒照明有限的情况下。尸体搬运工通常穿着草鞋，故意模仿尸体僵硬的行走模式，以保持同步的运动节奏。<br /> <br /> '''3.1.3 路线和团队合作'''<br /> <br /> 赶尸是一项团队工作，一般在夜间进行，避开人群密集处，选择山林小路，减少目击者，且路线长的往往会进行分段运输：<br /> <br /> 分段运输：长途赶尸可能通过驿站或秘密路线接力，由不同团队分段完成，避免体力透支。 <br /> <br /> 夜间行动：利用月光或灯笼照明，光线不足时视觉误差更显著，降低被识破风险。 <br /> <br /> '''3.2 仪式流程：苗族万物有灵论实践术的心理建构'''<br /> <br /> 以下将从符咒与法器、行业禁忌与规则、赶尸匠的“法力”塑造等方面介绍该行业的仪式流程：<br /> <br /> 3.2.1 符咒与法器<br /> 辰州符：赶尸前在尸体额头、胸口贴符纸（多为道教镇煞符文），宣称可“镇魂定魄”，实则强化旁观者对巫术权威的信任。 <br /> <br /> 摄魂铃：铜铃摇动节奏实为暗号，指挥抬尸人调整步伐或警示危险，铃声也被赋予“指引亡魂”的象征意义。 <br /> <br /> 阴锣开道：赶尸人敲打特制小锣（声音低沉），提醒活人避让，同时营造阴森氛围。<br /> <br /> 3.2.2 禁忌与规则<br /> <br /> 该行业禁忌或行规总结起来有以下几点：<br /> <br /> “三赶三不赶”：“可赶”：被斩首（需缝头）、绞刑、战死者，因“怨气未散”需归乡安魂;“不赶”：病逝、自杀、雷击死者，认为其魂魄已归地府，无法驱使。 <br /> <br /> 活人避讳：宣称活人靠近会“冲撞尸体”，实为防止外人发现团队操作秘密。 <br /> <br /> 忌鸡鸣狗吠：天亮后光线充足易暴露，需在鸡鸣狗叫前入住“死尸客店”歇息。<br /> <br /> 3.2.3 赶尸匠的“法力”塑造<br /> <br /> 赶尸这个行业由于种种原因，外人会对其“妖魔化”、“神秘化”，认为赶尸匠“法力无边”，这与从事该行业种种规定要求等有关。<br /> <br /> 首先，自我神化。赶尸匠自称需“生辰八字纯阴”“命硬克亲”，通过外貌（如面部生疮）强化“通灵者”形象；第二，入行仪式。学徒需通过“夜宿乱坟岗”“徒手挖棺”等考验，筛选胆大心细者，并宣誓严守行规。第三，该行业垄断性传承。技艺仅限师徒口传，禁止外泄，维持行业神秘性与经济收益；最后，心理威慑，通过恐怖传说（如“诈尸”、“尸毒”）阻止外人探究，保护技术秘密。<br /> <br /> <br /> 4. 文化内涵<br /> 湘西赶尸作为一项独特的民俗现象，其文化内涵远超出单纯的“运尸技术”，而是深深根植于湘西的地理环境、少数民族信仰以及中国传统伦理观念之中。它既是实用主义的产物，也是精神信仰的载体，体现了多重文化维度的交织：<br /> <br /> 4.1 生死观：对生命与死亡的哲学诠释<br /> <br /> 4.1.1 “落叶归根”的终极信仰<br /> <br /> 湘西人坚信，遗体必须归葬故土才能让灵魂安息，否则亡灵会因漂泊异乡而化作“孤魂野鬼”。赶尸本质上是一种“送魂归乡”的仪式，体现了对生命完整性的追求。 <br /> 这种观念与中原汉族的“入土为安”思想相通，但湘西因地理阻隔，发展出更具苗族巫术色彩的实践形式。<br /> <br /> 4.1.2 生死界限的模糊化<br /> <br /> 通过符咒“唤醒”尸体、铜铃“指引”亡魂，赶尸模糊了生与死的绝对界限，反映了原始宗教中“灵魂不灭”的信仰。<br /> <br /> 尸体被赋予“半人半鬼”的象征性，既是物质遗骸，也是魂魄的临时载体，体现了对死亡过程的动态理解。<br /> <br /> 4.2 苗族万物有灵论仪式系统：人、神、灵界三方共融<br /> <br /> 4.2.1 万物有灵仪式与道法的融合<br /> 赶尸仪式中使用的“辰州符”融合了苗族有灵仪式与道教符箓体系，朱砂镇魂、铜铃驱邪等操作，实为通过法器构建“人—鬼—神”三界沟通的桥梁。 <br /> 赶尸匠（“老司”）兼具巫师与匠人双重身份，既是技术执行者，也是宗教仪式的操演者。<br /> <br /> 4.2.2 傩戏的世俗化延伸<br /> <br /> 湘西傩戏中“驱鬼逐疫”的主题与赶尸的“镇魂归乡”逻辑同源，均通过面具、舞蹈、咒语等实现人鬼互动。赶尸可视为傩文化在丧葬领域的具象化应用。<br /> <br /> 4.3 社会功能：边缘文化的生存策略<br /> <br /> 4.3.1 应对地理困境的智慧<br /> <br /> 湘西多山少路，传统棺木运输成本高昂，赶尸以轻量化、隐蔽化的方式突破自然限制，是山区人民因地制宜的生存智慧。 <br /> <br /> 行业保密与禁忌（如“活人勿近”）实为维护技术垄断，确保边缘群体（赶尸匠）的社会生存空间。<br /> <br /> 4.3.2 心理慰藉与社会控制<br /> <br /> 为家属提供“遗体完整归乡”的仪式感，缓解因客死异乡带来的道德焦虑。通过巫术权威（如“三赶三不赶”规则）规范死亡处理方式，维护社会秩序。<br /> <br /> 它如同一面棱镜，折射出中国传统社会在应对死亡、自然与伦理时的复杂心态，也提醒现代人重新审视边缘文化中蕴含的人文智慧。<br /> <br /> <br /> 5. 影视文学与符号化<br /> 湘西赶尸作为中国民俗文化中最具神秘色彩的符号之一，在影视、文学及流行文化中被广泛演绎，逐渐从地方丧葬习俗演变为全球观众熟知的超自然意象。以下是其在影视文学中的表现与符号化过程：<br /> <br /> 5.1 影视作品中的赶尸形象<br /> <br /> 5.1.1 香港僵尸电影的经典塑造<br /> <br /> 林正英系列：1980-1990年代，林正英主演的《僵尸先生》《驱魔道长》等电影将赶尸仪式视觉化，塑造了“清朝官服、贴符跳跃”的僵尸形象，铜铃、黄符、桃木剑成为标配道具。 <br /> 喜剧化与恐怖结合：如《僵尸叔叔》《赶尸先生》等片，既保留夜间赶尸的阴森氛围，又加入幽默元素，形成独特的“灵幻功夫片”亚类型。 <br /> <br /> 5.1.2 现代影视的再创作<br /> <br /> 网剧《怒晴湘西》：还原赶尸客栈（“攒馆”）、巫傩仪式，并借角色之口点明赶尸的“落叶归根”文化内核。<br /> <br /> 5.2 文学作品中的文化重构<br /> <br /> 5.2.1 沈从文的乡土书写<br /> <br /> 在《湘西散记》中提及“辰州符”，将赶尸纳入湘西巫傩文化体系，淡化恐怖色彩，强调其作为民俗的合理性。<br /> <br /> 5.2.2 网络小说与志怪文学<br /> <br /> 《怨气撞铃》《龙骨焚箱》等小说将赶尸匠设定为秘术传承者，甚至衍生出“起死回生”的奇幻情节，赋予其更多超自然属性。<br /> <br /> 《子不语》《阅微草堂笔记》等古籍中的“僵尸”分类（如紫僵、飞僵）为现代创作提供了原型。 <br /> <br /> 5.3 符号化过程与文化影响<br /> <br /> 5.3.1 从民俗到流行符号<br /> <br /> 恐怖美学：赶尸的夜间行进、尸体跳跃、符咒控制等元素被抽象为“东方恐怖”的典型符号，与西方丧尸（Zombie）形成文化对比。<br /> <br /> 商业消费：湘西旅游中，赶尸表演、主题民宿、“僵尸道具”成为吸引游客的噱头，甚至衍生出文创产品（如符咒贴纸、玩偶）。<br /> <br /> 5.3.2 文化误解与争议<br /> <br /> 科学解构的冲击：央视《走近科学》等节目揭秘赶尸实为“竹竿抬尸”，削弱其神秘性，但也引发对传统文化真实性的讨论。 <br /> 伦理边界：部分作品过度渲染赶尸的“邪术”属性，模糊其原本的伦理意义（如对逝者的尊重），导致文化本貌被扭曲。 <br /> <br /> <br /> 6. 跨文化比较<br /> 与湘西不同，印度托拉雅人将挖出亲人遗骸梳妆、游行视为“新生仪式”，强调生者与逝者的情感联结，而非运输功能。 此前湘西僵尸被误译为“Zombie”，但本质不同——僵尸是符咒控制的尸体，而丧尸是病毒感染的活死人，反映东西方对死亡恐惧的差异化表达。<br /> <br /> 湘西赶尸的影视文学演绎，既是地方文化的全球化传播，也是传统符号被不断重构的过程。其核心从“运尸技术”逐渐转向“神秘叙事”，成为连接民俗信仰与现代娱乐的桥梁。未来，如何在商业开发中保留文化本真，将是这一符号持续生命力的关键。</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=167259 2025-06-02T02:15:09Z

<p>Li Ting2: </p> <hr /> <div><br /> '''Abstract''':<br /> This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi, or The corpse of Xiangxi technique), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.<br /> <br /> The Xiangxi corpse procession, a unique folk cultural phenomenon in China's Xiangxi region, reflects the profound understanding of life, death, and ancestral homeland among ancient Xiangxi people. Below is an introduction to the origins and historical context of this practice from perspectives of mythology and history, practical needs, and social circumstances.<br /> <br /> '''1.Mythology and History'''<br /> <br /> '''1.1 Mythological Origins'''<br /> <br /> According to Miao ethnic legends, the corpse procession tradition traces its roots to the Chiyou era. Legend holds that after battling enemies along the Yellow River, Chiyou commanded his sorcerer-general to conduct soul-binding rituals, which would ritualistically guide the corpses back to their ancestral homes. This narrative, perpetuated through Miao oral traditions across generations, constitutes the symbolic genesis of the corpse precession culture.<br /> <br /> '''1.2 Historical Case'''<br /> <br /> During the Wanli period(1573-1620) of the Ming Dynasty, Peng Xiangqian, the Tusi chieftain of Baojing in Xiangxi, led 8000 local militianmen to resist the Later Jin invasion in support of Liaodong, but suffered a devasting defeat with the entire army perished. Surving Tusi leaders and Miao ritual specialists sealed the deceased solders' seven orifices with cinnabar, then performed ghunb pro(soul-summoning rites) to guide the corpses. This historical event stands as a documented case of the corpse procession being put into practical application.<br /> <br /> <br /> '''2.Practical Necessities and Sociocultural Context'''<br /> <br /> '''2.1 Geomorphological Constraints and Transportation Challenges'''<br /> <br /> Xiangxi, situated within the Wuling Mountain Range, featured rugged terrain that made overland transportation extremely challenging in ancient times. The corpses of those who died far from home(such as merchants, migrant laborers, and soldiers) could not be transported via conventional means, ultimately giving rise to the specialized funerary practice of corpse procession.<br /> <br /> '''2.2 Migration and Conflict Dynamics'''<br /> <br /> Qing-era Migration Waves: During the mid-Qing period, mass migrations of Xiangxi migrants to Sichuan created demand for posthumous repatriation of those who died far from ancestral lands. Hazardous waterborne transport through the Three Gorges region (hidden reefs, frequent shipwrecks), coupled with popular taboos against transporting corpses on commercial vessels, promoted the emergence of corpse procession as a ritually-sanctioned alternative.<br /> <br /> Judicial-Corpse Logistics: The Qing legal practice of Autumn Executions saw families of non-native commended prisoners burdened with exorbitant fees for bureaucratic corpse repatriation. Corpse handlers circumvented this by developing cost-effective, discreet method----utilizing herbal preservation techniques and nocturnal processions--- to return remains, thereby establishing processional protocols for the practice.<br /> <br /> '''3. Mechanics of the Corpse Procession: Decoding Ritual Protocols and Technical Artistry'''<br /> <br /> The practice fundamentally combines biomechanical ingenuity with witchcraft ---harnessing ancient labor wisdom for physical corpse manipulation while deploying mystical rituals to establish psychological deterrence. Below we decode its core mechanisms through technical operations, ritual choreography these two analytical dimensions:<br /> <br /> '''3.1 Technical Protocols: Biomechanical Solutions in Mortuary Logistics'''<br /> <br /> The operational framework compromises three codified subsystems:<br /> <br /> '''3.1.1 Ethnobotanical Preservation'''<br /> <br /> The mortuary conservation system employed two primary methodologies:<br /> Ethnobotanical Preservation: Corpse handlers applied locally sourced substances from Xiangxi (including cinnabar mercuric sulfide, HgS, realgar arsenic sulfide, and so on) to corpses. Cinnabar's mercury content inhibited bacterial growth, while realgar repelled insects, slowed decomposition, and masked odors through its sulfur compounds.<br /> <br /> Desiccation Method: Historical accounts describe soaking corpses in herbal decoctions to remove bodily fluids, thereby reducing weight for easier transportation.<br /> <br /> '''3.2 Corpse Immobilization and Transportation'''<br /> <br /> Corpse handlers primarily used bamboo poles to secure the corpses. Due to the specific requirements of this profession, coverings and disguises were employed to avoid detection by bystanders.<br /> Bamboo Pole Support Method: The corpse's arms were bound to two long bamboo poles, carried by two handlers positioned front and rear(typically cloaked in black). The poles' natural flexibility allowed controlled flexing, creating the visual illusion of the corpse &quot;hopping forward&quot;. The legs remained suspended mid-air. The poles' adjustable length accommodated corpses of varying heights.<br /> <br /> Concealment Techniques: The corpses wore large straw hats with talisman paper affixed to their faces. They were shrouded in black robes or palm-leaf raincoats to cover both the bamboo poles and handlers' bodies. These disguises proved particularly effective under low-light nighttime conditions, especially with limited torch illumination. Corpse handlers typically wore straw sandals, deliberately mimicking the rigid walking patterns of corpses to maintain synchronized movement rhythms.<br /> <br /> '''3.3 Routes and Teamwork'''<br /> <br /> Corpse procession was a team effort, conducted at night while avoiding populated areas via mountain forest paths to minimize witnesses. Longer routes often required section-based transport:<br /> <br /> Section-based transport: Extended journeys utilized relay stations or covert route relays, divided into segments handled by separate teams to prevent physical exhaustion.<br /> <br /> Night operations: moonlight or lantern illumination was employed. Low-light conditions amplified visual misperception, reducing detection risks.<br /> <br /> <br /> '''4. Ritual Protocols: Psychological Constructs in Miao Animist Praxis'''<br /> <br /> The following sections will elaborate on the ritual protocols through three key aspects: talismans and ritual implements, industry taboos and operational codes, cultivation of ritual authority among the ordinary people.<br /> <br /> '''4.1 Talismans and ritual implements'''<br /> <br /> Chenzhou Talisman: Paper charms(typically bearing Taoist apotropaic symbols) affixed to corpses' foreheads and chests pre-procession. While purporting to &quot;anchor souls and stabilize spirits&quot;, their primary function was to reinforce bystander trust in ritual authority.<br /> <br /> Soul-summoning Belling: The bronze bell's rhythmic patterns served as coded signals directing pallbearers to adjust gaits or alert to hazards. It chimes were simultaneously mythologized as auditory cues for spirit navigation.<br /> <br /> Yin Gong Path-Clearing: The corpse handlers strikes a specially crafted small gong(emitting a low, resonant tone) to warn the living to yield way while establishing an ominous atmosphere.<br /> <br /> '''4.2 Taboos and operational codes'''<br /> <br /> The necromantic practice adheres to strict prohibitions summarized as follows:<br /> <br /> First, the &quot; Three Permitted/ Prohibited Corpses Rule. Three Permitted Corpses are behaved(requires head reattachment), hanged, or fallen soldiers--those with &quot;unresolved grievances&quot; requiring homebound rites. Three Prohibited Corpses are deaths by illness, suicide, or lighting strike-- believed to have souls already returned to the underworld, thus unresponsive to guidance.<br /> <br /> Second, living person taboos. Civilians must avoid proximity, ostensibly to prevent &quot;disturbing the corpses&quot;, though primarily to conceal operational secrets from outsiders.<br /> <br /> Third, cockcrow and canine curfew. All processions must terminate before dawn's harbingers(rooster crows/ dog barks), retreating to covert &quot;corpse lodges&quot; to avoid daylight exposure.<br /> <br /> '''4.3 Cultivation of Ritual Authority Among the Ordinary People'''<br /> <br /> The corpse-handling profession fostered perceptions of &quot;supernatural prowess&quot; through systematic mystification, achieved via four institutionalized mechanisms: <br /> <br /> First, self-mythologization. Practitioners claimed requisite &quot;pure Yin birth charts&quot; and &quot;karmic resilience&quot;. Deliberate disfigurements(e.g. facial lesions) enhanced their &quot;spirit-medium&quot; persona.<br /> <br /> Second, initiation rites. Apprentices underwent psychological conditioning through trials like nocturnal vigils in unmarked graves and barehanded coffin exhumation, selecting candidates with nerve and precision. Successful initiates swore oath-bound adherence to operational codes.<br /> <br /> Third, Monopolized transmission. Skilled were transmitted orally within master-disciple lineages under trade secrecy protocols, preserving esoteric exclusivity and economic monopoly.<br /> <br /> Fourth, psychological deterrence. Circulated horror narratives(e.g. postmortem reanimation, corpse toxins) functioned as deterrent narratives against technical inquiries, safeguarding operational secrecy.<br /> <br /> <br /> '''5. Cultural Semiotics'''<br /> <br /> Xiangxi's Corpse Procession, as a unique folk custom, embodies cultural significance far beyond mere mortuary logistics. Its essence is deeply rooted in geo-environmental context, ethnic belief systems, traditional Chinese ethical frameworks. It functions both as a pragmatic product and a vessel for spiritual beliefs, embodying the interwoven nature of multidimensional cultural aspects.<br /> <br /> '''5.1 Concepts of Life and Death: Philosophical Interpretations'''<br /> <br /> '''5.1.1 The Ultimate Belief in &quot; Falling Leaves Returning to Roots&quot;'''<br /> <br /> Xiangxi locals firmly believe corpses must be buried in ancestral lands to allow souls to rest peacefully; otherwise, spirits become &quot;wandering ghosts&quot; due to displacement. The corpse procession fundamentally constitutes a ritual of &quot;sending souls home&quot;, manifesting the pursuit of life's integral completion.<br /> This worldview aligns with the Central Plains Han Chinese concept of &quot;resting peacefully through burial&quot;, but Xiangxi's geographical isolation fostered ritual practices infused with Miao soulway engineering(ghob xid).<br /> <br /> '''5.1.2 Blurring of Life-Death Boundaries'''<br /> <br /> The corpse procession ritual ambiguates the existential boundary between life and death through talismanic &quot;reanimation&quot; of corpses and bronze bell &quot;guidance&quot; for souls, reflecting primal religious beliefs in the &quot;indestructibility of the soul&quot;.<br /> Corpses are imbued with a &quot;semi-human, semi-spectral&quot; symbolism, functioning both as material remains and transient soul vessels, epitomizing a processual comprehension of mortality.<br /> <br /> '''5.2 Miao Animist Ritual Systems: Tripartite Communion Across Human, Divine, and Spectral Realms'''<br /> <br /> '''5.2.1 Fusion of Miao Animist Ritual and Taoist Liturgical Practices'''<br /> <br /> The &quot;Chenzhou Talisman&quot; used in corpse procession rituals embodies a synthesis of Miao Animist practices and Taoist sigil system. Operations like cinnabar-based soul stabilization and bronze bell exorcism functionally construct a bridge for tripartite communication (human-ghost-deity) through ritual implements.<br /> <br /> Corpse handlers(Laosi) operate with dual identity, technical executors(mortuary biomechanics) and ritual officiants (cosmological mediation).<br /> <br /> '''5.2.2 Secular Adaption of Nuo Ritual Theater'''<br /> <br /> In Xiangxi Nuo ritual theater, the thematic focus on &quot;exorcism and epidemic expulsion&quot; shares ontological roots with the corpse procession's &quot;soul anchoring and repatriation&quot; logic. Both practices operationalize human-specter interactions through masks, ritual dances, and incantations. The corpse procession constitutes a concretized implementation of Nuo culture within mortuary practices.<br /> <br /> '''5.3 Social Functions: Survival Strategies of Marginalized Cultures''' <br /> <br /> '''5.3.1 Survival Ingenuity Confronting Geographic Constrains'''<br /> <br /> In Xiangxi's rugged mountains with scare roads, traditional coffin transportation proved prohibitively costly. The corpse procession method circumvented these natural constraints through minimalist and covert adaptations, exemplifying the mountain communities' context-specific survival wisdom.<br /> <br /> Industry secrecy and taboos(e.g. 'the living must not approach') functionally served to maintain technical monopolies, ensuring socioeconomic viability for marginalized groups(corpse handlers).<br /> <br /> '''5.3.2 Psychological Solace and Social Control'''<br /> <br /> It provided families with ritualistic assurance of &quot;intact corpse repatriation&quot;, alleviating moral anxieties stemming from dying away from ancestral lands. Through Miao ritual authority (e.g. the Three Permitted/ Prohibited Corpses Rule), standardized mortuary protocols were enforced, safeguarding communal stability.<br /> <br /> Functioning as a cultural prism, this practice refracts the intricate psyche of traditional Chinese society confronting mortality, nature and ethics--while compelling modernity to reexamine the humanistic wisdom encoded within marginalized cultural systems.<br /> <br /> <br /> '''6 Semiotic Encoding in Screen Literature'''<br /> <br /> Xiangxi Corpse Procession, as one of the most mystique-laden icons in Chinese folk culture, has been extensively reimagined across film, literature, and pop culture. This practice has transitioned from a regional mortuary practice into a globally recognized supernatural trope through the following representational evolution and semiotic codification within cinematic and literary contexts:<br /> <br /> '''6.1 Corpse Procession Depictions in Cinematic Works'''<br /> <br /> '''6.1.1 Archetypal Portrayals in Hongkong Jiangshi cinema'''<br /> <br /> Lam Ching-ying's Jiangshi Film Cycle(1980s-1990s): Lam's films Mr. Vampire and Exorcist Master systematically visually codified corpse procession rituals, crystallizing the jiangshi archetype with &quot;Qing officials robes and talisman-controlled hopping locomotion&quot;. There are also signature ritual props such as bronze bells, yellow talismans, and peach wood swords.<br /> <br /> '''6.1.2 Modern Reinterpretations in Screen Media'''<br /> <br /> The web series Nu Qing Xiangxi(Struggles in Western Hunan) authentically reconstructs corpse procession inns(cuanguan, temporary corpse repositories), and Miao Nuo rituals. Through character dialogues, it explicates the practice's cultural core &quot;Falling Leaves Returning to Roots&quot; as posthumous homecoming imperative.<br /> <br /> '''6.2 Cultural Reimagining in Literary Works'''<br /> <br /> '''6.2.1 Shen congwen's Local Culture Narratives'''<br /> <br /> In Notes on Xiangxi, Shen codified corpse processions within the Miao Nuo ritual framework through mentions of &quot;Chenzhou Talismans&quot;, deliberately demystifying horror elements while foregrounding the ethnographic validity of mortuary customs.<br /> <br /> '''6.2.2 Web Novels and Zhiguai Literary Traditions'''<br /> <br /> Contemporary Fiction: Works like ''Yuan Qi Zhuang Ling'' (Resentment Bell) and ''Long Gu Fen Xiang'' (Burning the Dragon Bone Casket) reimagine corpse handlers as inheritors of esoteric arts, amplifying supernatural attributes with resurrection capabilities.<br /> <br /> Classical Zhiguai Texts: Qing Dynasty collections like ''Zi Bu Yu'' and ''Yuewei Caotang Notes'' systematized jiangshi taxonomy (e.g. purple jiangshi and flying jiangshi and so on), providing archetypes for modern adaptations.<br /> <br /> '''6.3 Semiotic Codification and Cultural Impact'''<br /> <br /> '''6.3.1 From Folk Custom to Pop Culture Icon'''<br /> <br /> Horror Aesthetics: Elements of the corpse procession like nocturnal corpse processions, jerky cadaver locomotion, and talismanic control have been codified into quintessential Oriental Gothic Symbols. This system forms an ethno-cultural antithesis to Western zombie lore(virus-driven reanimation vs. soul repatriation metaphysics).<br /> <br /> Commercial Consumption: In Xiangxi tourism, corpse driving performances, themed homestays, and jiangshi props have become gimmicks to attract tourists, even spawning cultural and creative products (such as talisman stickers and dolls).<br /> <br /> '''6.3.2 Cultural Misinterpretations and Contentions'''<br /> <br /> Scientific Demystification Impact: Programs like CCTV's Approaching Science revealed corpse processions as bamboo pole corpse transport(two handlers carrying bodies via horizontal poles), eroding its mystique while sparking authenticity debates regarding traditional praxis.<br /> Ethical Boundaries: Certain creative works amplify occult attributes over the original mortuary ethics(e.g. respect for the deceased), causing the original cultural essence to become distorted through sensationalist semiotics.<br /> <br /> <br /> '''7. Cross-Cultural Comparisons'''<br /> <br /> Unlike the Xiangxi practice, the Toraja people of Indonesia regard the exhumation, grooming, and procession of ancestral remains as a &quot;rebirth ritual&quot;, emphasizing the emotional bond between the living and the deceased rather than focusing on logistical transportation. The mistranslation of Xiangxi Jiangshi as &quot;Zombie&quot; obscures their fundamental differences-- Jiangshi refers to corpses reanimated through talismanic control, rooted in the Daoist concept of soul anchoring, while Zombie is &quot;living dead&quot; infected by viruses, reflecting Western anxieties about epidemiological collapse.<br /> <br /> The cinematic and literary adaptations of Xiangxi's corpse procession practice embody both the global dissemination of regional culture and the continuous semiotic reconstruction of traditional symbols. Its conceptual core has evolved from mortuary logistics to mystic narratives, serving as an interface between folk beliefs and modern entertainment industries. Moving forward, preserving ethnographic authenticity amidst commercial exploitation will determine the sustained cultural vitality of this symbolic system.<br /> <br /> <br /> 摘要：本文全面概述了湘西赶尸传统（即赶尸，或湘西赶尸术），探讨了其起源、仪式技巧、文化意义和现代象征表征。研究追溯了这一习俗在湘西多民族聚居区的历史渊源，探究了使用符咒和竹竿运尸的民间智慧，探讨了其对生死观和家庭价值观的深刻文化反思。研究还进一步分析了电影和文学作品如何塑造其神秘形象，最终旨在增进公众对这一独特文化现象的了解，并促进对其独特精神遗产的鉴赏。<br /> 湘西赶尸是中国湘西地区独特的民俗文化现象，反映了古代湘西人对生死和祖先故土的深刻理解。下面将从神话历史、现实需求和社会环境等角度，介绍这一习俗的起源和历史背景。<br /> <br /> 神话与历史<br /> 神话起源<br /> 根据苗族传说，赶尸习俗起源于蚩尤时代。传说蚩尤在黄河边与敌军交战后，命令手下的巫师将领举行缚魂仪式，以仪式引导尸体返回祖居地。苗族世代口口相传的这一传说构成了赶尸文化的象征性起源。<br /> <br /> 历史案例<br /> 明朝万历年间（1573-1620年），湘西保靖土司首领彭象乾率领8000名土兵抵抗后金入侵，支援辽东，结果惨败，全军覆没。幸存的土司首领和苗族祭祀专家用朱砂封住阵亡将士的七窍，然后举行招魂仪式，为尸体引路。这一历史事件是尸体游行在实际应用中的一个有据可查的案例。<br /> <br /> 实际需求和社会文化背景<br /> <br /> 地貌限制与交通挑战<br /> 湘西地处武陵山脉，地形崎岖，古代陆路交通极为不便。远离家乡的死者（如商人、民工和士兵）的尸体无法通过传统方式运输，最终产生了专门的殡葬习俗--赶尸。<br /> <br /> 移民与战争因素<br /> 清代移民浪潮：在清中期，湘西移民大规模迁移到四川，这产生了对那些远离祖先土地的死者进行追授遣返的需求。穿越三峡地区的危险水上运输（隐藏的礁石、频繁的沉船等），加上流行禁止用商船运输尸体的禁忌，促使赶尸作为一种仪式认可的替代方案的出现。<br /> 司法-尸体物流：清朝秋决客籍死囚后，家属需支付高昂费用运尸。赶尸匠以更低成本、更隐蔽的方式（如防腐处理，夜间赶尸等）完成运输，并逐渐形成行业规范。<br /> <br /> “赶尸”原理（即仪式与技艺的揭秘）<br /> 湘西赶尸的“原理”是技术与巫术的结合，既包含古代劳动智慧的物理手段，也依托神秘仪式营造心理威慑。以下从技术操作、仪式流程两个维度揭秘其核心逻辑：<br /> <br /> 一、技术操作：尸体运输的生物物理手段<br /> 技术层面的操作主要包括以下三个层面：<br /> 1. 尸体防腐处理<br /> 尸体防腐处理主要有草药防腐以及脱水处理两种方式：<br /> 草药防腐：赶尸匠使用湘西本地药材（如朱砂、辰砂、雄黄）涂抹尸体，朱砂含硫化汞可抑制细菌滋生，雄黄驱虫防腐，延缓腐烂并掩盖异味。<br /> 脱水处理：部分记载提到将尸体浸泡于草药液中脱水，减轻重量便于运输。<br /> 2.尸体固定和运输<br /> 尸体搬运工主要使用竹竿固定尸体。由于该职业的特殊要求，采用了遮盖物和伪装以避免被旁观者发现。<br /> 竹竿支撑法： <br /> 尸体双臂被绑在两根长竹竿上，由前后两名赶尸匠（通常穿黑袍伪装）抬运，通过竹竿弹性晃动制造尸体“跳跃前进”的视觉假象。并且尸体双腿悬空，竹竿长度可调节，适应不同身高遗体。 <br /> 遮蔽伪装： <br /> 尸体头戴宽大斗笠，面部贴符纸，全身裹黑袍或蓑衣，遮挡竹竿和赶尸匠身体，夜间火光昏暗时更易迷惑旁观者。并且赶尸匠一般穿草鞋，模仿尸体僵硬步伐，保持节奏统一。<br /> 事实证明，这些伪装在低光夜间条件下特别有效，尤其是在手电筒照明有限的情况下。尸体搬运工通常穿着草鞋，故意模仿尸体僵硬的行走模式，以保持同步的运动节奏。<br /> <br /> 3 路线和团队合作<br /> 赶尸是一项团队工作，一般在夜间进行，避开人群密集处，选择山林小路，减少目击者，且路线长的往往会进行分段运输：<br /> 分段运输：长途赶尸可能通过驿站或秘密路线接力，由不同团队分段完成，避免体力透支。 <br /> 夜间行动：利用月光或灯笼照明，光线不足时视觉误差更显著，降低被识破风险。 <br /> <br /> 仪式协议：苗族万物有灵论实践术的心理建构<br /> 以下将从符咒与法器、行业禁忌与规则、赶尸匠的“法力”塑造等方面介绍该行业的仪式流程：<br /> 1. 符咒与法器<br /> 辰州符：赶尸前在尸体额头、胸口贴符纸（多为道教镇煞符文），宣称可“镇魂定魄”，实则强化旁观者对巫术权威的信任。 <br /> 摄魂铃：铜铃摇动节奏实为暗号，指挥抬尸人调整步伐或警示危险，铃声也被赋予“指引亡魂”的象征意义。 <br /> 阴锣开道：赶尸人敲打特制小锣（声音低沉），提醒活人避让，同时营造阴森氛围。<br /> <br /> 2. 禁忌与规则<br /> 该行业禁忌或行规总结起来有以下几点：<br /> “三赶三不赶”：“可赶”：被斩首（需缝头）、绞刑、战死者，因“怨气未散”需归乡安魂。 <br /> “不赶”：病逝、自杀、雷击死者，认为其魂魄已归地府，无法驱使。 <br /> 活人避讳：宣称活人靠近会“冲撞尸体”，实为防止外人发现团队操作秘密。 <br /> 忌鸡鸣狗吠：天亮后光线充足易暴露，需在鸡鸣狗叫前入住“死尸客店”歇息。</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=167258 2025-06-01T15:53:24Z

<p>Li Ting2: </p> <hr /> <div><br /> '''Abstract''':<br /> This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi, or The corpse of Xiangxi technique), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.<br /> <br /> The Xiangxi corpse procession, a unique folk cultural phenomenon in China's Xiangxi region, reflects the profound understanding of life, death, and ancestral homeland among ancient Xiangxi people. Below is an introduction to the origins and historical context of this practice from perspectives of mythology and history, practical needs, and social circumstances.<br /> <br /> '''1.Mythology and history'''<br /> <br /> '''1.1 Mythological Origins'''<br /> <br /> According to Miao ethnic legends, the corpse procession tradition traces its roots to the Chiyou era. Legend holds that after battling enemies along the Yellow River, Chiyou commanded his sorcerer-general to conduct soul-binding rituals, which would ritualistically guide the corpses back to their ancestral homes. This narrative, perpetuated through Miao oral traditions across generations, constitutes the symbolic genesis of the corpse precession culture.<br /> <br /> '''1.2 Historical Case'''<br /> <br /> During the Wanli period(1573-1620) of the Ming Dynasty, Peng Xiangqian, the Tusi chieftain of Baojing in Xiangxi, led 8000 local militianmen to resist the Later Jin invasion in support of Liaodong, but suffered a devasting defeat with the entire army perished. Surving Tusi leaders and Miao ritual specialists sealed the deceased solders' seven orifices with cinnabar, then performed ghunb pro(soul-summoning rites) to guide the corpses. This historical event stands as a documented case of the corpse procession being put into practical application.<br /> <br /> <br /> '''2.Practical Necessities and Sociocultural Context'''<br /> <br /> '''2.1 Geomorphological Constraints and Transportation Challenges'''<br /> <br /> Xiangxi, situated within the Wuling Mountain Range, featured rugged terrain that made overland transportation extremely challenging in ancient times. The corpses of those who died far from home(such as merchants, migrant laborers, and soldiers) could not be transported via conventional means, ultimately giving rise to the specialized funerary practice of corpse procession.<br /> <br /> '''2.2 Migration and Conflict Dynamics'''<br /> <br /> Qing-era Migration Waves: During the mid-Qing period, mass migrations of Xiangxi migrants to Sichuan created demand for posthumous repatriation of those who died far from ancestral lands. Hazardous waterborne transport through the Three Gorges region (hidden reefs, frequent shipwrecks), coupled with popular taboos against transporting corpses on commercial vessels, promoted the emergence of corpse procession as a ritually-sanctioned alternative.<br /> <br /> Judicial-Corpse Logistics: The Qing legal practice of Autumn Executions saw families of non-native commended prisoners burdened with exorbitant fees for bureaucratic corpse repatriation. Corpse handlers circumvented this by developing cost-effective, discreet method----utilizing herbal preservation techniques and nocturnal processions--- to return remains, thereby establishing processional protocols for the practice.<br /> <br /> '''3. Mechanics of the Corpse Procession: Decoding Ritual Protocols and Technical Artistry'''<br /> <br /> The practice fundamentally combines biomechanical ingenuity with witchcraft ---harnessing ancient labor wisdom for physical corpse manipulation while deploying mystical rituals to establish psychological deterrence. Below we decode its core mechanisms through technical operations, ritual choreography these two analytical dimensions:<br /> <br /> '''3.1 Technical Protocols: Biomechanical Solutions in Mortuary Logistics'''<br /> <br /> The operational framework compromises three codified subsystems:<br /> <br /> '''3.1.1 Ethnobotanical Preservation'''<br /> <br /> The mortuary conservation system employed two primary methodologies:<br /> Ethnobotanical Preservation: Corpse handlers applied locally sourced substances from Xiangxi (including cinnabar mercuric sulfide, HgS, realgar arsenic sulfide, and so on) to corpses. Cinnabar's mercury content inhibited bacterial growth, while realgar repelled insects, slowed decomposition, and masked odors through its sulfur compounds.<br /> <br /> Desiccation Method: Historical accounts describe soaking corpses in herbal decoctions to remove bodily fluids, thereby reducing weight for easier transportation.<br /> <br /> '''3.2 Corpse Immobilization and Transportation'''<br /> <br /> Corpse handlers primarily used bamboo poles to secure the corpses. Due to the specific requirements of this profession, coverings and disguises were employed to avoid detection by bystanders.<br /> Bamboo Pole Support Method: The corpse's arms were bound to two long bamboo poles, carried by two handlers positioned front and rear(typically cloaked in black). The poles' natural flexibility allowed controlled flexing, creating the visual illusion of the corpse &quot;hopping forward&quot;. The legs remained suspended mid-air. The poles' adjustable length accommodated corpses of varying heights.<br /> <br /> Concealment Techniques: The corpses wore large straw hats with talisman paper affixed to their faces. They were shrouded in black robes or palm-leaf raincoats to cover both the bamboo poles and handlers' bodies. These disguises proved particularly effective under low-light nighttime conditions, especially with limited torch illumination. Corpse handlers typically wore straw sandals, deliberately mimicking the rigid walking patterns of corpses to maintain synchronized movement rhythms.<br /> <br /> '''3.3 Routes and Teamwork'''<br /> <br /> Corpse procession was a team effort, conducted at night while avoiding populated areas via mountain forest paths to minimize witnesses. Longer routes often required section-based transport:<br /> <br /> Section-based transport: Extended journeys utilized relay stations or covert route relays, divided into segments handled by separate teams to prevent physical exhaustion.<br /> <br /> Night operations: moonlight or lantern illumination was employed. Low-light conditions amplified visual misperception, reducing detection risks.<br /> <br /> '''4. Ritual Protocols: Psychological Constructs in Miao Animist Praxis'''<br /> <br /> The following sections will elaborate on the ritual protocols through three key aspects: talismans and ritual implements, industry taboos and operational codes, cultivation of ritual authority among the ordinary people.<br /> <br /> '''4.1 Talismans and ritual implements'''<br /> <br /> Chenzhou Talisman: Paper charms(typically bearing Taoist apotropaic symbols) affixed to corpses' foreheads and chests pre-procession. While purporting to &quot;anchor souls and stabilize spirits&quot;, their primary function was to reinforce bystander trust in ritual authority.<br /> <br /> Soul-summoning Belling: The bronze bell's rhythmic patterns served as coded signals directing pallbearers to adjust gaits or alert to hazards. It chimes were simultaneously mythologized as auditory cues for spirit navigation.<br /> <br /> Yin Gong Path-Clearing: The corpse handlers strikes a specially crafted small gong(emitting a low, resonant tone) to warn the living to yield way while establishing an ominous atmosphere.<br /> <br /> '''4.2 Taboos and operational codes'''<br /> <br /> The necromantic practice adheres to strict prohibitions summarized as follows:<br /> <br /> First, the &quot; Three Permitted/ Prohibited Corpses Rule. Three Permitted Corpses are behaved(requires head reattachment), hanged, or fallen soldiers--those with &quot;unresolved grievances&quot; requiring homebound rites. Three Prohibited Corpses are deaths by illness, suicide, or lighting strike-- believed to have souls already returned to the underworld, thus unresponsive to guidance.<br /> <br /> Second, living person taboos. Civilians must avoid proximity, ostensibly to prevent &quot;disturbing the corpses&quot;, though primarily to conceal operational secrets from outsiders.<br /> <br /> Third, cockcrow and canine curfew. All processions must terminate before dawn's harbingers(rooster crows/ dog barks), retreating to covert &quot;corpse lodges&quot; to avoid daylight exposure.<br /> <br /> '''4.3 Cultivation of Ritual Authority Among the Ordinary People'''<br /> <br /> The corpse-handling profession fostered perceptions of &quot;supernatural prowess&quot; through systematic mystification, achieved via four institutionalized mechanisms: <br /> <br /> First, self-mythologization. Practitioners claimed requisite &quot;pure Yin birth charts&quot; and &quot;karmic resilience&quot;. Deliberate disfigurements(e.g. facial lesions) enhanced their &quot;spirit-medium&quot; persona.<br /> <br /> Second, initiation rites. Apprentices underwent psychological conditioning through trials like nocturnal vigils in unmarked graves and barehanded coffin exhumation, selecting candidates with nerve and precision. Successful initiates swore oath-bound adherence to operational codes.<br /> <br /> Third, Monopolized transmission. Skilled were transmitted orally within master-disciple lineages under trade secrecy protocols, preserving esoteric exclusivity and economic monopoly.<br /> <br /> Fourth, psychological deterrence. Circulated horror narratives(e.g. postmortem reanimation, corpse toxins) functioned as deterrent narratives against technical inquiries, safeguarding operational secrecy.<br /> <br /> <br /> '''5. Cultural Semiotics'''<br /> <br /> '''5.1 Concepts of Life and Death: Philosophical Interpretations'''<br /> <br /> '''5.1.1 The Ultimate Belief in &quot; Falling Leaves Returning to Roots&quot;'''<br /> <br /> Xiangxi locals firmly believe corpses must be buried in ancestral lands to allow souls to rest peacefully; otherwise, spirits become &quot;wandering ghosts&quot; due to displacement. The corpse procession fundamentally constitutes a ritual of &quot;sending souls home&quot;, manifesting the pursuit of life's integral completion.<br /> This worldview aligns with the Central Plains Han Chinese concept of &quot;resting peacefully through burial&quot;, but Xiangxi's geographical isolation fostered ritual practices infused with Miao soulway engineering(ghob xid).<br /> <br /> '''5.1.2 Blurring of Life-Death Boundaries'''<br /> <br /> The corpse procession ritual ambiguates the existential boundary between life and death through talismanic &quot;reanimation&quot; of corpses and bronze bell &quot;guidance&quot; for souls, reflecting primal religious beliefs in the &quot;indestructibility of the soul&quot;.<br /> Corpses are imbued with a &quot;semi-human, semi-spectral&quot; symbolism, functioning both as material remains and transient soul vessels, epitomizing a processual comprehension of mortality.<br /> <br /> '''5.2 Miao Animist Ritual Systems: Tripartite Communion Across Human, Divine, and Spectral Realms'''<br /> <br /> '''5.2.1 Fusion of Miao Animist Ritual and Taoist Liturgical Practices'''<br /> <br /> The &quot;Chenzhou Talisman&quot; used in corpse procession rituals embodies a synthesis of Miao Animist practices and Taoist sigil system. Operations like cinnabar-based soul stabilization and bronze bell exorcism functionally construct a bridge for tripartite communication (human-ghost-deity) through ritual implements.<br /> <br /> Corpse handlers(Laosi) operate with dual identity, technical executors(mortuary biomechanics) and ritual officiants (cosmological mediation).<br /> <br /> '''5.2.2 Secular Adaption of Nuo Ritual Theater'''<br /> <br /> In Xiangxi Nuo ritual theater, the thematic focus on &quot;exorcism and epidemic expulsion&quot; shares ontological roots with the corpse procession's &quot;soul anchoring and repatriation&quot; logic. Both practices operationalize human-specter interactions through masks, ritual dances, and incantations. The corpse procession constitutes a concretized implementation of Nuo culture within mortuary practices.<br /> <br /> '''5.3 Social Functions: Survival Strategies of Marginalized Cultures''' <br /> <br /> '''5.3.1 Survival Ingenuity Confronting Geographic Constrains'''<br /> <br /> In Xiangxi's rugged mountains with scare roads, traditional coffin transportation proved prohibitively costly. The corpse procession method circumvented these natural constraints through minimalist and covert adaptations, exemplifying the mountain communities' context-specific survival wisdom.<br /> <br /> Industry secrecy and taboos(e.g. 'the living must not approach') functionally served to maintain technical monopolies, ensuring socioeconomic viability for marginalized groups(corpse handlers).<br /> <br /> '''5.3.2 Psychological Solace and Social Control'''<br /> <br /> It provided families with ritualistic assurance of &quot;intact corpse repatriation&quot;, alleviating moral anxieties stemming from dying away from ancestral lands. Through Miao ritual authority (e.g. the Three Permitted/ Prohibited Corpses Rule), standardized mortuary protocols were enforced, safeguarding communal stability.<br /> <br /> Functioning as a cultural prism, this practice refracts the intricate psyche of traditional Chinese society confronting mortality, nature and ethics--while compelling modernity to reexamine the humanistic wisdom encoded within marginalized cultural systems.<br /> <br /> '''6 Semiotic Encoding in Screen Literature'''<br /> <br /> Xiangxi Corpse Procession, as one of the most mystique-laden icons in Chinese folk culture, has been extensively reimagined across film, literature, and pop culture. This practice has transitioned from a regional mortuary practice into a globally recognized supernatural trope through the following representational evolution and semiotic codification within cinematic and literary contexts:<br /> <br /> '''6.1 Corpse Procession Depictions in Cinematic Works'''<br /> <br /> '''6.1.1 Archetypal Portrayals in Hongkong Jiangshi cinema'''<br /> <br /> Lam Ching-ying's Jiangshi Film Cycle(1980s-1990s): Lam's films Mr. Vampire and Exorcist Master systematically visually codified corpse procession rituals, crystallizing the jiangshi archetype with &quot;Qing officials robes and talisman-controlled hopping locomotion&quot;. There are also signature ritual props such as bronze bells, yellow talismans, and peach wood swords.<br /> <br /> '''6.1.2 Modern Reinterpretations in Screen Media'''<br /> <br /> The web series Nu Qing Xiangxi(Struggles in Western Hunan) authentically reconstructs corpse procession inns(cuanguan, temporary corpse repositories), and Miao Nuo rituals. Through character dialogues, it explicates the practice's cultural core &quot;Falling Leaves Returning to Roots&quot; as posthumous homecoming imperative.<br /> <br /> '''6.2 Cultural Reimagining in Literary Works'''<br /> <br /> '''6.2.1 Shen congwen's Local Culture Narratives'''<br /> <br /> In Notes on Xiangxi, Shen codified corpse processions within the Miao Nuo ritual framework through mentions of &quot;Chenzhou Talismans&quot;, deliberately demystifying horror elements while foregrounding the ethnographic validity of mortuary customs.<br /> <br /> '''6.2.2 Web Novels and Zhiguai Literary Traditions'''<br /> <br /> Contemporary Fiction: Works like ''Yuan Qi Zhuang Ling'' (Resentment Bell) and ''Long Gu Fen Xiang'' (Burning the Dragon Bone Casket) reimagine corpse handlers as inheritors of esoteric arts, amplifying supernatural attributes with resurrection capabilities.<br /> <br /> Classical Zhiguai Texts: Qing Dynasty collections like ''Zi Bu Yu'' and ''Yuewei Caotang Notes'' systematized jiangshi taxonomy (e.g. purple jiangshi and flying jiangshi and so on), providing archetypes for modern adaptations.<br /> <br /> '''6.3 Semiotic Codification and Cultural Impact'''<br /> <br /> '''6.3.1 From Folk Custom to Pop Culture Icon'''<br /> <br /> Horror Aesthetics: Elements of the corpse procession like nocturnal corpse processions, jerky cadaver locomotion, and talismanic control have been codified into quintessential Oriental Gothic Symbols. This system forms an ethno-cultural antithesis to Western zombie lore(virus-driven reanimation vs. soul repatriation metaphysics).<br /> <br /> Commercial Consumption: In Xiangxi tourism, corpse driving performances, themed homestays, and jiangshi props have become gimmicks to attract tourists, even spawning cultural and creative products (such as talisman stickers and dolls).<br /> <br /> '''6.3.2 Cultural Misinterpretations and Contentions'''<br /> <br /> Scientific Demystification Impact: Programs like CCTV's Approaching Science revealed corpse processions as bamboo pole corpse transport(two handlers carrying bodies via horizontal poles), eroding its mystique while sparking authenticity debates regarding traditional praxis.<br /> Ethical Boundaries: Certain creative works amplify occult attributes over the original mortuary ethics(e.g. respect for the deceased), causing the original cultural essence to become distorted through sensationalist semiotics.<br /> <br /> '''7. Cross-Cultural Comparisons'''<br /> <br /> Unlike the Xiangxi practice, the Toraja people of Indonesia regard the exhumation, grooming, and procession of ancestral remains as a &quot;rebirth ritual&quot;, emphasizing the emotional bond between the living and the deceased rather than focusing on logistical transportation. The mistranslation of Xiangxi Jiangshi as &quot;Zombie&quot; obscures their fundamental differences-- Jiangshi refers to corpses reanimated through talismanic control, rooted in the Daoist concept of soul anchoring, while Zombie is &quot;living dead&quot; infected by viruses, reflecting Western anxieties about epidemiological collapse.<br /> <br /> The cinematic and literary adaptations of Xiangxi's corpse procession practice embody both the global dissemination of regional culture and the continuous semiotic reconstruction of traditional symbols. Its conceptual core has evolved from mortuary logistics to mystic narratives, serving as an interface between folk beliefs and modern entertainment industries. Moving forward, preserving ethnographic authenticity amidst commercial exploitation will determine the sustained cultural vitality of this symbolic system.<br /> <br /> <br /> 摘要：本文全面概述了湘西赶尸传统（即赶尸，或湘西赶尸术），探讨了其起源、仪式技巧、文化意义和现代象征表征。研究追溯了这一习俗在湘西多民族聚居区的历史渊源，探究了使用符咒和竹竿运尸的民间智慧，探讨了其对生死观和家庭价值观的深刻文化反思。研究还进一步分析了电影和文学作品如何塑造其神秘形象，最终旨在增进公众对这一独特文化现象的了解，并促进对其独特精神遗产的欣赏。<br /> 湘西赶尸是中国湘西地区独特的民俗文化现象，反映了古代湘西人对生死和祖先故土的深刻理解。下面将从神话历史、现实需求和社会环境等角度，介绍这一习俗的起源和历史背景。<br /> <br /> 神话与历史<br /> 神话起源<br /> 根据苗族传说，赶尸习俗起源于蚩尤时代。传说蚩尤在黄河边与敌军交战后，命令手下的巫师将领举行缚魂仪式，以仪式引导尸体返回祖居地。苗族世代口口相传的这一传说构成了赶尸文化的象征性起源。<br /> <br /> 历史案例<br /> 明朝万历年间（1573-1620年），湘西保靖土司首领彭象乾率领8000名土兵抵抗后金入侵，支援辽东，结果惨败，全军覆没。幸存的土司首领和苗族祭祀专家用朱砂封住阵亡将士的七窍，然后举行招魂仪式，为尸体引路。这一历史事件是尸体游行在实际应用中的一个有据可查的案例。<br /> <br /> 实际需求和社会文化背景<br /> <br /> 地貌限制与交通挑战<br /> 湘西地处武陵山脉，地形崎岖，古代陆路交通极为不便。远离家乡的死者（如商人、民工和士兵）的尸体无法通过传统方式运输，最终产生了专门的殡葬习俗--赶尸。<br /> <br /> 移民与战争因素<br /> 清代移民浪潮：在清中期，湘西移民大规模迁移到四川，这产生了对那些远离祖先土地的死者进行追授遣返的需求。穿越三峡地区的危险水上运输（隐藏的礁石、频繁的沉船等），加上流行禁止用商船运输尸体的禁忌，促使赶尸作为一种仪式认可的替代方案的出现。<br /> 司法-尸体物流：清朝秋决客籍死囚后，家属需支付高昂费用运尸。赶尸匠以更低成本、更隐蔽的方式（如防腐处理，夜间赶尸等）完成运输，并逐渐形成行业规范。<br /> <br /> “赶尸”原理（即仪式与技艺的揭秘）<br /> 湘西赶尸的“原理”是技术与巫术的结合，既包含古代劳动智慧的物理手段，也依托神秘仪式营造心理威慑。以下从技术操作、仪式流程两个维度揭秘其核心逻辑：<br /> <br /> 一、技术操作：尸体运输的生物物理手段<br /> 技术层面的操作主要包括以下三个层面：<br /> 1. 尸体防腐处理<br /> 尸体防腐处理主要有草药防腐以及脱水处理两种方式：<br /> 草药防腐：赶尸匠使用湘西本地药材（如朱砂、辰砂、雄黄）涂抹尸体，朱砂含硫化汞可抑制细菌滋生，雄黄驱虫防腐，延缓腐烂并掩盖异味。<br /> 脱水处理：部分记载提到将尸体浸泡于草药液中脱水，减轻重量便于运输。<br /> 2.尸体固定和运输<br /> 尸体搬运工主要使用竹竿固定尸体。由于该职业的特殊要求，采用了遮盖物和伪装以避免被旁观者发现。<br /> 竹竿支撑法： <br /> 尸体双臂被绑在两根长竹竿上，由前后两名赶尸匠（通常穿黑袍伪装）抬运，通过竹竿弹性晃动制造尸体“跳跃前进”的视觉假象。并且尸体双腿悬空，竹竿长度可调节，适应不同身高遗体。 <br /> 遮蔽伪装： <br /> 尸体头戴宽大斗笠，面部贴符纸，全身裹黑袍或蓑衣，遮挡竹竿和赶尸匠身体，夜间火光昏暗时更易迷惑旁观者。并且赶尸匠一般穿草鞋，模仿尸体僵硬步伐，保持节奏统一。<br /> 事实证明，这些伪装在低光夜间条件下特别有效，尤其是在手电筒照明有限的情况下。尸体搬运工通常穿着草鞋，故意模仿尸体僵硬的行走模式，以保持同步的运动节奏。<br /> <br /> 3 路线和团队合作<br /> 赶尸是一项团队工作，一般在夜间进行，避开人群密集处，选择山林小路，减少目击者，且路线长的往往会进行分段运输：<br /> 分段运输：长途赶尸可能通过驿站或秘密路线接力，由不同团队分段完成，避免体力透支。 <br /> 夜间行动：利用月光或灯笼照明，光线不足时视觉误差更显著，降低被识破风险。 <br /> <br /> 仪式协议：苗族万物有灵论实践术的心理建构<br /> 以下将从符咒与法器、行业禁忌与规则、赶尸匠的“法力”塑造等方面介绍该行业的仪式流程：<br /> 1. 符咒与法器<br /> 辰州符：赶尸前在尸体额头、胸口贴符纸（多为道教镇煞符文），宣称可“镇魂定魄”，实则强化旁观者对巫术权威的信任。 <br /> 摄魂铃：铜铃摇动节奏实为暗号，指挥抬尸人调整步伐或警示危险，铃声也被赋予“指引亡魂”的象征意义。 <br /> 阴锣开道：赶尸人敲打特制小锣（声音低沉），提醒活人避让，同时营造阴森氛围。<br /> <br /> 2. 禁忌与规则<br /> 该行业禁忌或行规总结起来有以下几点：<br /> “三赶三不赶”：“可赶”：被斩首（需缝头）、绞刑、战死者，因“怨气未散”需归乡安魂。 <br /> “不赶”：病逝、自杀、雷击死者，认为其魂魄已归地府，无法驱使。 <br /> 活人避讳：宣称活人靠近会“冲撞尸体”，实为防止外人发现团队操作秘密。 <br /> 忌鸡鸣狗吠：天亮后光线充足易暴露，需在鸡鸣狗叫前入住“死尸客店”歇息。</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=167255 2025-06-01T15:44:04Z

<p>Li Ting2: </p> <hr /> <div><br /> '''Abstract''':<br /> This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi, or The corpse of Xiangxi technique), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.<br /> <br /> The Xiangxi corpse procession, a unique folk cultural phenomenon in China's Xiangxi region, reflects the profound understanding of life, death, and ancestral homeland among ancient Xiangxi people. Below is an introduction to the origins and historical context of this practice from perspectives of mythology and history, practical needs, and social circumstances.<br /> <br /> '''1.Mythology and history'''<br /> <br /> '''1.1 Mythological Origins'''<br /> <br /> According to Miao ethnic legends, the corpse procession tradition traces its roots to the Chiyou era. Legend holds that after battling enemies along the Yellow River, Chiyou commanded his sorcerer-general to conduct soul-binding rituals, which would ritualistically guide the corpses back to their ancestral homes. This narrative, perpetuated through Miao oral traditions across generations, constitutes the symbolic genesis of the corpse precession culture.<br /> <br /> '''1.2 Historical Case'''<br /> <br /> During the Wanli period(1573-1620) of the Ming Dynasty, Peng Xiangqian, the Tusi chieftain of Baojing in Xiangxi, led 8000 local militianmen to resist the Later Jin invasion in support of Liaodong, but suffered a devasting defeat with the entire army perished. Surving Tusi leaders and Miao ritual specialists sealed the deceased solders' seven orifices with cinnabar, then performed ghunb pro(soul-summoning rites) to guide the corpses. This historical event stands as a documented case of the corpse procession being put into practical application.<br /> <br /> <br /> '''2.Practical Necessities and Sociocultural Context'''<br /> <br /> '''2.1 Geomorphological Constraints and Transportation Challenges'''<br /> <br /> Xiangxi, situated within the Wuling Mountain Range, featured rugged terrain that made overland transportation extremely challenging in ancient times. The corpses of those who died far from home(such as merchants, migrant laborers, and soldiers) could not be transported via conventional means, ultimately giving rise to the specialized funerary practice of corpse procession.<br /> <br /> '''2.2 Migration and Conflict Dynamics'''<br /> <br /> Qing-era Migration Waves: During the mid-Qing period, mass migrations of Xiangxi migrants to Sichuan created demand for posthumous repatriation of those who died far from ancestral lands. Hazardous waterborne transport through the Three Gorges region (hidden reefs, frequent shipwrecks), coupled with popular taboos against transporting corpses on commercial vessels, promoted the emergence of corpse procession as a ritually-sanctioned alternative.<br /> <br /> Judicial-Corpse Logistics: The Qing legal practice of Autumn Executions saw families of non-native commended prisoners burdened with exorbitant fees for bureaucratic corpse repatriation. Corpse handlers circumvented this by developing cost-effective, discreet method----utilizing herbal preservation techniques and nocturnal processions--- to return remains, thereby establishing processional protocols for the practice.<br /> <br /> '''3. Mechanics of the Corpse Procession: Decoding Ritual Protocols and Technical Artistry'''<br /> <br /> The practice fundamentally combines biomechanical ingenuity with witchcraft ---harnessing ancient labor wisdom for physical corpse manipulation while deploying mystical rituals to establish psychological deterrence. Below we decode its core mechanisms through technical operations, ritual choreography these two analytical dimensions:<br /> <br /> '''3.1 Technical Protocols: Biomechanical Solutions in Mortuary Logistics'''<br /> <br /> The operational framework compromises three codified subsystems:<br /> <br /> '''3.1.1 Ethnobotanical Preservation'''<br /> <br /> The mortuary conservation system employed two primary methodologies:<br /> Ethnobotanical Preservation: Corpse handlers applied locally sourced substances from Xiangxi (including cinnabar mercuric sulfide, HgS, realgar arsenic sulfide, and so on) to corpses. Cinnabar's mercury content inhibited bacterial growth, while realgar repelled insects, slowed decomposition, and masked odors through its sulfur compounds.<br /> <br /> Desiccation Method: Historical accounts describe soaking corpses in herbal decoctions to remove bodily fluids, thereby reducing weight for easier transportation.<br /> <br /> '''3.2 Corpse Immobilization and Transportation'''<br /> <br /> Corpse handlers primarily used bamboo poles to secure the corpses. Due to the specific requirements of this profession, coverings and disguises were employed to avoid detection by bystanders.<br /> Bamboo Pole Support Method: The corpse's arms were bound to two long bamboo poles, carried by two handlers positioned front and rear(typically cloaked in black). The poles' natural flexibility allowed controlled flexing, creating the visual illusion of the corpse &quot;hopping forward&quot;. The legs remained suspended mid-air. The poles' adjustable length accommodated corpses of varying heights.<br /> <br /> Concealment Techniques: The corpses wore large straw hats with talisman paper affixed to their faces. They were shrouded in black robes or palm-leaf raincoats to cover both the bamboo poles and handlers' bodies. These disguises proved particularly effective under low-light nighttime conditions, especially with limited torch illumination. Corpse handlers typically wore straw sandals, deliberately mimicking the rigid walking patterns of corpses to maintain synchronized movement rhythms.<br /> <br /> '''3.3 Routes and Teamwork'''<br /> <br /> Corpse procession was a team effort, conducted at night while avoiding populated areas via mountain forest paths to minimize witnesses. Longer routes often required section-based transport:<br /> <br /> Section-based transport: Extended journeys utilized relay stations or covert route relays, divided into segments handled by separate teams to prevent physical exhaustion.<br /> <br /> Night operations: moonlight or lantern illumination was employed. Low-light conditions amplified visual misperception, reducing detection risks.<br /> <br /> '''4. Ritual Protocols: Psychological Constructs in Miao Animist Praxis'''<br /> <br /> The following sections will elaborate on the ritual protocols through three key aspects: talismans and ritual implements, industry taboos and operational codes, cultivation of ritual authority among the ordinary people.<br /> <br /> '''4.1 Talismans and ritual implements'''<br /> <br /> Chenzhou Talisman: Paper charms(typically bearing Taoist apotropaic symbols) affixed to corpses' foreheads and chests pre-procession. While purporting to &quot;anchor souls and stabilize spirits&quot;, their primary function was to reinforce bystander trust in ritual authority.<br /> <br /> Soul-summoning Belling: The bronze bell's rhythmic patterns served as coded signals directing pallbearers to adjust gaits or alert to hazards. It chimes were simultaneously mythologized as auditory cues for spirit navigation.<br /> <br /> Yin Gong Path-Clearing: The corpse handlers strikes a specially crafted small gong(emitting a low, resonant tone) to warn the living to yield way while establishing an ominous atmosphere.<br /> <br /> '''4.2 Taboos and operational codes'''<br /> <br /> The necromantic practice adheres to strict prohibitions summarized as follows:<br /> <br /> First, the &quot; Three Permitted/ Prohibited Corpses Rule. Three Permitted Corpses are behaved(requires head reattachment), hanged, or fallen soldiers--those with &quot;unresolved grievances&quot; requiring homebound rites. Three Prohibited Corpses are deaths by illness, suicide, or lighting strike-- believed to have souls already returned to the underworld, thus unresponsive to guidance.<br /> <br /> Second, living person taboos. Civilians must avoid proximity, ostensibly to prevent &quot;disturbing the corpses&quot;, though primarily to conceal operational secrets from outsiders.<br /> <br /> Third, cockcrow and canine curfew. All processions must terminate before dawn's harbingers(rooster crows/ dog barks), retreating to covert &quot;corpse lodges&quot; to avoid daylight exposure.<br /> <br /> '''4.3 Cultivation of Ritual Authority Among the Ordinary People'''<br /> <br /> The corpse-handling profession fostered perceptions of &quot;supernatural prowess&quot; through systematic mystification, achieved via four institutionalized mechanisms: <br /> <br /> First, self-mythologization. Practitioners claimed requisite &quot;pure Yin birth charts&quot; and &quot;karmic resilience&quot;. Deliberate disfigurements(e.g. facial lesions) enhanced their &quot;spirit-medium&quot; persona.<br /> <br /> Second, initiation rites. Apprentices underwent psychological conditioning through trials like nocturnal vigils in unmarked graves and barehanded coffin exhumation, selecting candidates with nerve and precision. Successful initiates swore oath-bound adherence to operational codes.<br /> <br /> Third, Monopolized transmission. Skilled were transmitted orally within master-disciple lineages under trade secrecy protocols, preserving esoteric exclusivity and economic monopoly.<br /> <br /> Fourth, psychological deterrence. Circulated horror narratives(e.g. postmortem reanimation, corpse toxins) functioned as deterrent narratives against technical inquiries, safeguarding operational secrecy.<br /> <br /> <br /> '''5. Cultural Semiotics'''<br /> <br /> '''5.1 Concepts of Life and Death: Philosophical Interpretations'''<br /> <br /> '''5.1.1 The Ultimate Belief in &quot; Falling Leaves Returning to Roots&quot;'''<br /> <br /> Xiangxi locals firmly believe corpses must be buried in ancestral lands to allow souls to rest peacefully; otherwise, spirits become &quot;wandering ghosts&quot; due to displacement. The corpse procession fundamentally constitutes a ritual of &quot;sending souls home&quot;, manifesting the pursuit of life's integral completion.<br /> This worldview aligns with the Central Plains Han Chinese concept of &quot;resting peacefully through burial&quot;, but Xiangxi's geographical isolation fostered ritual practices infused with Miao soulway engineering(ghob xid).<br /> <br /> '''5.1.2 Blurring of Life-Death Boundaries'''<br /> <br /> The corpse procession ritual ambiguates the existential boundary between life and death through talismanic &quot;reanimation&quot; of corpses and bronze bell &quot;guidance&quot; for souls, reflecting primal religious beliefs in the &quot;indestructibility of the soul&quot;.<br /> Corpses are imbued with a &quot;semi-human, semi-spectral&quot; symbolism, functioning both as material remains and transient soul vessels, epitomizing a processual comprehension of mortality.<br /> <br /> Miao Animist Ritual Systems: Tripartite Communion Across Human, Divine, and Spectral Realms<br /> Fusion of Miao Animist Ritual and Taoist Liturgical Practices<br /> The &quot;Chenzhou Talisman&quot; used in corpse procession rituals embodies a synthesis of Miao Animist practices and Taoist sigil system. Operations like cinnabar-based soul stabilization and bronze bell exorcism functionally construct a bridge for tripartite communication (human-ghost-deity) through ritual implements.<br /> Corpse handlers(Laosi) operate with dual identity, technical executors(mortuary biomechanics) and ritual officiants ( cosmological mediation).<br /> <br /> Secular Adaption of Nuo Ritual Theater<br /> In Xiangxi Nuo ritual theater, the thematic focus on &quot;exorcism and epidemic expulsion&quot; shares ontological roots with the corpse procession's &quot;soul anchoring and repatriation&quot; logic. Both practices operationalize human-specter interactions through masks, ritual dances, and incantations. The corpse procession constitutes a concretized implementation of Nuo culture within mortuary practices.<br /> <br /> Social Functions: Survival Strategies of Marginalized Cultures <br /> Survival Ingenuity Confronting Geographic Constrains<br /> In Xiangxi's rugged mountains with scare roads, traditional coffin transportation proved prohibitively costly. The corpse procession method circumvented these natural constraints through minimalist and covert adaptations, exemplifying the mountain communities' context-specific survival wisdom.<br /> Industry secrecy and taboos(e.g. 'the living must not approach') functionally served to maintain technical monopolies, ensuring socioeconomic viability for marginalized groups(corpse handlers).<br /> <br /> Psychological Solace and Social Control<br /> It provided families with ritualistic assurance of &quot;intact corpse repatriation&quot;, alleviating moral anxieties stemming from dying away from ancestral lands. Through Miao ritual authority (e.g. the Three Permitted/ Prohibited Corpses Rule), standardized mortuary protocols were enforced, safeguarding communal stability.<br /> Functioning as a cultural prism, this practice refracts the intricate psyche of traditional Chinese society confronting mortality, nature and ethics--while compelling modernity to reexamine the humanistic wisdom encoded within marginalized cultural systems.<br /> <br /> Semiotic Encoding in Screen Literature<br /> Xiangxi Corpse Procession, as one of the most mystique-laden icons in Chinese folk culture, has been extensively reimagined across film, literature, and pop culture. This practice has transitioned from a regional mortuary practice into a globally recognized supernatural trope through the following representational evolution and semiotic codification within cinematic and literary contexts:<br /> <br /> Corpse Procession Depictions in Cinematic Works<br /> Archetypal Portrayals in Hongkong Jiangshi cinema<br /> Lam Ching-ying's Jiangshi Film Cycle(1980s-1990s): Lam's films Mr. Vampire and Exorcist Master systematically visually codified corpse procession rituals, crystallizing the jiangshi archetype with &quot;Qing officials robes and talisman-controlled hopping locomotion&quot;. There are also signature ritual props such as bronze bells, yellow talismans, and peach wood swords.<br /> <br /> Modern Reinterpretations in Screen Media<br /> The web series Nu Qing Xiangxi(Struggles in Western Hunan) authentically reconstructs corpse procession inns(cuanguan, temporary corpse repositories), and Miao Nuo rituals. Through character dialogues, it explicates the practice's cultural core &quot;Falling Leaves Returning to Roots&quot; as posthumous homecoming imperative.<br /> <br /> Cultural Reimagining in Literary Works<br /> Shen congwen's Local Culture Narratives<br /> In Notes on Xiangxi, Shen codified corpse processions within the Miao Nuo ritual framework through mentions of &quot;Chenzhou Talismans&quot;, deliberately demystifying horror elements while foregrounding the ethnographic validity of mortuary customs.<br /> <br /> Web Novels and Zhiguai Literary Traditions<br /> Contemporary Fiction: Works like ''Yuan Qi Zhuang Ling'' (Resentment Bell) and ''Long Gu Fen Xiang'' (Burning the Dragon Bone Casket) reimagine corpse handlers as inheritors of esoteric arts, amplifying supernatural attributes with resurrection capabilities.<br /> Classical Zhiguai Texts: Qing Dynasty collections like ''Zi Bu Yu'' and ''Yuewei Caotang Notes'' systematized jiangshi taxonomy (e.g. purple jiangshi and flying jiangshi and so on), providing archetypes for modern adaptations.<br /> <br /> Semiotic Codification and Cultural Impact<br /> From Folk Custom to Pop Culture Icon<br /> Horror Aesthetics: Elements of the corpse procession like nocturnal corpse processions, jerky cadaver locomotion, and talismanic control have been codified into quintessential Oriental Gothic Symbols. This system forms an ethno-cultural antithesis to Western zombie lore(virus-driven reanimation vs. soul repatriation metaphysics).<br /> Commercial Consumption: In Xiangxi tourism, corpse driving performances, themed homestays, and jiangshi props have become gimmicks to attract tourists, even spawning cultural and creative products (such as talisman stickers and dolls).<br /> <br /> Cultural Misinterpretations and Contentions<br /> Scientific Demystification Impact: Programs like CCTV's Approaching Science revealed corpse processions as bamboo pole corpse transport(two handlers carrying <br /> bodies via horizontal poles), eroding its mystique while sparking authenticity debates regarding traditional praxis.<br /> Ethical Boundaries: Certain creative works amplify occult attributes over the original mortuary ethics(e.g. respect for the deceased), causing the original cultural essence to become distorted through sensationalist semiotics.<br /> <br /> Cross-Cultural Comparisons<br /> Unlike the Xiangxi practice, the Toraja people of Indonesia regard the exhumation, grooming, and procession of ancestral remains as a &quot;rebirth ritual&quot;, emphasizing the emotional bond between the living and the deceased rather than focusing on logistical transportation. The mistranslation of Xiangxi Jiangshi as &quot;Zombie&quot; obscures their fundamental differences-- Jiangshi refers to corpses reanimated through talismanic control, rooted in the Daoist concept of soul anchoring, while Zombie is &quot;living dead&quot; infected by viruses, reflecting Western anxieties about epidemiological collapse.<br /> The cinematic and literary adaptations of Xiangxi's corpse procession practice embody both the global dissemination of regional culture and the continuous semiotic reconstruction of traditional symbols. Its conceptual core has evolved from mortuary logistics to mystic narratives, serving as an interface between folk beliefs and modern entertainment industries. Moving forward, preserving ethnographic authenticity amidst commercial exploitation will determine the sustained cultural vitality of this symbolic system.<br /> <br /> <br /> 摘要：本文全面概述了湘西赶尸传统（即赶尸，或湘西赶尸术），探讨了其起源、仪式技巧、文化意义和现代象征表征。研究追溯了这一习俗在湘西多民族聚居区的历史渊源，探究了使用符咒和竹竿运尸的民间智慧，探讨了其对生死观和家庭价值观的深刻文化反思。研究还进一步分析了电影和文学作品如何塑造其神秘形象，最终旨在增进公众对这一独特文化现象的了解，并促进对其独特精神遗产的欣赏。<br /> 湘西赶尸是中国湘西地区独特的民俗文化现象，反映了古代湘西人对生死和祖先故土的深刻理解。下面将从神话历史、现实需求和社会环境等角度，介绍这一习俗的起源和历史背景。<br /> <br /> 神话与历史<br /> 神话起源<br /> 根据苗族传说，赶尸习俗起源于蚩尤时代。传说蚩尤在黄河边与敌军交战后，命令手下的巫师将领举行缚魂仪式，以仪式引导尸体返回祖居地。苗族世代口口相传的这一传说构成了赶尸文化的象征性起源。<br /> <br /> 历史案例<br /> 明朝万历年间（1573-1620年），湘西保靖土司首领彭象乾率领8000名土兵抵抗后金入侵，支援辽东，结果惨败，全军覆没。幸存的土司首领和苗族祭祀专家用朱砂封住阵亡将士的七窍，然后举行招魂仪式，为尸体引路。这一历史事件是尸体游行在实际应用中的一个有据可查的案例。<br /> <br /> 实际需求和社会文化背景<br /> <br /> 地貌限制与交通挑战<br /> 湘西地处武陵山脉，地形崎岖，古代陆路交通极为不便。远离家乡的死者（如商人、民工和士兵）的尸体无法通过传统方式运输，最终产生了专门的殡葬习俗--赶尸。<br /> <br /> 移民与战争因素<br /> 清代移民浪潮：在清中期，湘西移民大规模迁移到四川，这产生了对那些远离祖先土地的死者进行追授遣返的需求。穿越三峡地区的危险水上运输（隐藏的礁石、频繁的沉船等），加上流行禁止用商船运输尸体的禁忌，促使赶尸作为一种仪式认可的替代方案的出现。<br /> 司法-尸体物流：清朝秋决客籍死囚后，家属需支付高昂费用运尸。赶尸匠以更低成本、更隐蔽的方式（如防腐处理，夜间赶尸等）完成运输，并逐渐形成行业规范。<br /> <br /> “赶尸”原理（即仪式与技艺的揭秘）<br /> 湘西赶尸的“原理”是技术与巫术的结合，既包含古代劳动智慧的物理手段，也依托神秘仪式营造心理威慑。以下从技术操作、仪式流程两个维度揭秘其核心逻辑：<br /> <br /> 一、技术操作：尸体运输的生物物理手段<br /> 技术层面的操作主要包括以下三个层面：<br /> 1. 尸体防腐处理<br /> 尸体防腐处理主要有草药防腐以及脱水处理两种方式：<br /> 草药防腐：赶尸匠使用湘西本地药材（如朱砂、辰砂、雄黄）涂抹尸体，朱砂含硫化汞可抑制细菌滋生，雄黄驱虫防腐，延缓腐烂并掩盖异味。<br /> 脱水处理：部分记载提到将尸体浸泡于草药液中脱水，减轻重量便于运输。<br /> 2.尸体固定和运输<br /> 尸体搬运工主要使用竹竿固定尸体。由于该职业的特殊要求，采用了遮盖物和伪装以避免被旁观者发现。<br /> 竹竿支撑法： <br /> 尸体双臂被绑在两根长竹竿上，由前后两名赶尸匠（通常穿黑袍伪装）抬运，通过竹竿弹性晃动制造尸体“跳跃前进”的视觉假象。并且尸体双腿悬空，竹竿长度可调节，适应不同身高遗体。 <br /> 遮蔽伪装： <br /> 尸体头戴宽大斗笠，面部贴符纸，全身裹黑袍或蓑衣，遮挡竹竿和赶尸匠身体，夜间火光昏暗时更易迷惑旁观者。并且赶尸匠一般穿草鞋，模仿尸体僵硬步伐，保持节奏统一。<br /> 事实证明，这些伪装在低光夜间条件下特别有效，尤其是在手电筒照明有限的情况下。尸体搬运工通常穿着草鞋，故意模仿尸体僵硬的行走模式，以保持同步的运动节奏。<br /> <br /> 3 路线和团队合作<br /> 赶尸是一项团队工作，一般在夜间进行，避开人群密集处，选择山林小路，减少目击者，且路线长的往往会进行分段运输：<br /> 分段运输：长途赶尸可能通过驿站或秘密路线接力，由不同团队分段完成，避免体力透支。 <br /> 夜间行动：利用月光或灯笼照明，光线不足时视觉误差更显著，降低被识破风险。 <br /> <br /> 仪式协议：苗族万物有灵论实践术的心理建构<br /> 以下将从符咒与法器、行业禁忌与规则、赶尸匠的“法力”塑造等方面介绍该行业的仪式流程：<br /> 1. 符咒与法器<br /> 辰州符：赶尸前在尸体额头、胸口贴符纸（多为道教镇煞符文），宣称可“镇魂定魄”，实则强化旁观者对巫术权威的信任。 <br /> 摄魂铃：铜铃摇动节奏实为暗号，指挥抬尸人调整步伐或警示危险，铃声也被赋予“指引亡魂”的象征意义。 <br /> 阴锣开道：赶尸人敲打特制小锣（声音低沉），提醒活人避让，同时营造阴森氛围。<br /> <br /> 2. 禁忌与规则<br /> 该行业禁忌或行规总结起来有以下几点：<br /> “三赶三不赶”：“可赶”：被斩首（需缝头）、绞刑、战死者，因“怨气未散”需归乡安魂。 <br /> “不赶”：病逝、自杀、雷击死者，认为其魂魄已归地府，无法驱使。 <br /> 活人避讳：宣称活人靠近会“冲撞尸体”，实为防止外人发现团队操作秘密。 <br /> 忌鸡鸣狗吠：天亮后光线充足易暴露，需在鸡鸣狗叫前入住“死尸客店”歇息。</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=167237 2025-06-01T14:46:57Z

<p>Li Ting2: </p> <hr /> <div><br /> Abstract:<br /> This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi, or The corpse of Xiangxi technique), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.<br /> <br /> The Xiangxi corpse procession, a unique folk cultural phenomenon in China's Xiangxi region, reflects the profound understanding of life, death, and ancestral homeland among ancient Xiangxi people. Below is an introduction to the origins and historical context of this practice from perspectives of mythology and history, practical needs, and social circumstances.<br /> <br /> <br /> Mythology and history<br /> <br /> Mythological Origins<br /> <br /> According to Miao ethnic legends, the corpse procession tradition traces its roots to the Chiyou era. Legend holds that after battling enemies along the Yellow River, Chiyou commanded his sorcerer-general to conduct soul-binding rituals, which would ritualistically guide the corpses back to their ancestral homes. This narrative, perpetuated through Miao oral traditions across generations, constitutes the symbolic genesis of the corpse precession culture.<br /> <br /> Historical Case<br /> <br /> During the Wanli period(1573-1620) of the Ming Dynasty, Peng Xiangqian, the Tusi chieftain of Baojing in Xiangxi, led 8000 local militianmen to resist the Later Jin invasion in support of Liaodong, but suffered a devasting defeat with the entire army perished. Surving Tusi leaders and Miao ritual specialists sealed the deceased solders' seven orifices with cinnabar, then performed ghunb pro(soul-summoning rites) to guide the corpses. This historical event stands as a documented case of the corpse procession being put into practical application.<br /> <br /> <br /> Practical Necessities and Sociocultural Context<br /> <br /> Geomorphological Constraints and Transportation Challenges<br /> <br /> Xiangxi, situated within the Wuling Mountain Range, featured rugged terrain that made overland transportation extremely challenging in ancient times. The corpses of those who died far from home(such as merchants, migrant laborers, and soldiers) could not be transported via conventional means, ultimately giving rise to the specialized funerary practice of corpse procession.<br /> <br /> Migration and Conflict Dynamics<br /> <br /> Qing-era Migration Waves: During the mid-Qing period, mass migrations of Xiangxi migrants to Sichuan created demand for posthumous repatriation of those who died far from ancestral lands. Hazardous waterborne transport through the Three Gorges region (hidden reefs, frequent shipwrecks), coupled with popular taboos against transporting corpses on commercial vessels, promoted the emergence of corpse procession as a ritually-sanctioned alternative.<br /> <br /> Judicial-Corpse Logistics: The Qing legal practice of Autumn Executions saw families of non-native commended prisoners burdened with exorbitant fees for bureaucratic corpse repatriation. Corpse handlers circumvented this by developing cost-effective, discreet method----utilizing herbal preservation techniques and nocturnal processions--- to return remains, thereby establishing processional protocols for the practice.<br /> <br /> Mechanics of the Corpse Procession: Decoding Ritual Protocols and Technical Artistry<br /> <br /> The practice fundamentally combines biomechanical ingenuity with witchcraft ---harnessing ancient labor wisdom for physical corpse manipulation while deploying mystical rituals to establish psychological deterrence. Below we decode its core mechanisms through technical operations, ritual choreography these two analytical dimensions:<br /> <br /> Technical Protocols: Biomechanical Solutions in Mortuary Logistics<br /> <br /> The operational framework compromises three codified subsystems:<br /> <br /> 1. Ethnobotanical Preservation<br /> The mortuary conservation system employed two primary methodologies:<br /> Ethnobotanical Preservation: Corpse handlers applied locally sourced substances from Xiangxi (including cinnabar mercuric sulfide, HgS, realgar arsenic sulfide, and so on) to corpses. Cinnabar's mercury content inhibited bacterial growth, while realgar repelled insects, slowed decomposition, and masked odors through its sulfur compounds.<br /> <br /> Desiccation Method: Historical accounts describe soaking corpses in herbal decoctions to remove bodily fluids, thereby reducing weight for easier transportation.<br /> <br /> 2.Corpse Immobilization and Transportation<br /> <br /> Corpse handlers primarily used bamboo poles to secure the corpses. Due to the specific requirements of this profession, coverings and disguises were employed to avoid detection by bystanders.<br /> Bamboo Pole Support Method: The corpse's arms were bound to two long bamboo poles, carried by two handlers positioned front and rear(typically cloaked in black). The poles' natural flexibility allowed controlled flexing, creating the visual illusion of the corpse &quot;hopping forward&quot;. The legs remained suspended mid-air. The poles' adjustable length accommodated corpses of varying heights.<br /> Concealment Techniques: The corpses wore large straw hats with talisman paper affixed to their faces. They were shrouded in black robes or palm-leaf raincoats to cover both the bamboo poles and handlers' bodies. These disguises proved particularly effective under low-light nighttime conditions, especially with limited torch illumination. Corpse handlers typically wore straw sandals, deliberately mimicking the rigid walking patterns of corpses to maintain synchronized movement rhythms.<br /> 3. Routes and Teamwork<br /> Corpse procession was a team effort, conducted at night while avoiding populated areas via mountain forest paths to minimize witnesses. Longer routes often required section-based transport:<br /> Section-based transport: Extended journeys utilized relay stations or covert route relays, divided into segments handled by separate teams to prevent physical exhaustion.<br /> Night operations: moonlight or lantern illumination was employed. Low-light conditions amplified visual misperception, reducing detection risks.<br /> <br /> Ritual Protocols: Psychological Constructs in Miao Animist Praxis<br /> <br /> The following sections will elaborate on the ritual protocols through three key aspects: talismans and ritual implements, industry taboos and operational codes, cultivation of ritual authority among the ordinary people.<br /> <br /> Talismans and ritual implements<br /> Chenzhou Talisman: Paper charms(typically bearing Taoist apotropaic symbols) affixed to corpses' foreheads and chests pre-procession. While purporting to &quot;anchor souls and stabilize spirits&quot;, their primary function was to reinforce bystander trust in ritual authority.<br /> Soul-summoning Belling: The bronze bell's rhythmic patterns served as coded signals directing pallbearers to adjust gaits or alert to hazards. It chimes were simultaneously mythologized as auditory cues for spirit navigation.<br /> Yin Gong Path-Clearing: The corpse handlers strikes a specially crafted small gong(emitting a low, resonant tone) to warn the living to yield way while establishing an ominous atmosphere.<br /> <br /> Taboos and operational codes<br /> The necromantic practice adheres to strict prohibitions summarized as follows:<br /> First, the &quot; Three Permitted/ Prohibited Corpses Rule. Three Permitted Corpses are behaved(requires head reattachment), hanged, or fallen soldiers--those with &quot;unresolved grievances&quot; requiring homebound rites. Three Prohibited Corpses are deaths by illness, suicide, or lighting strike-- believed to have souls already returned to the underworld, thus unresponsive to guidance.<br /> Second, living person taboos. Civilians must avoid proximity, ostensibly to prevent &quot;disturbing the corpses&quot;, though primarily to conceal operational secrets from outsiders.<br /> Third, cockcrow and canine curfew. All processions must terminate before dawn's harbingers(rooster crows/ dog barks), retreating to covert &quot;corpse lodges&quot; to avoid daylight exposure.<br /> <br /> Cultivation of Ritual Authority Among the Ordinary People<br /> The corpse-handling profession fostered perceptions of &quot;supernatural prowess&quot; through systematic mystification, achieved via four institutionalized mechanisms: <br /> First, self-mythologization. Practitioners claimed requisite &quot;pure Yin birth charts&quot; and &quot;karmic resilience&quot;. Deliberate disfigurements(e.g. facial lesions) enhanced their &quot;spirit-medium&quot; persona.<br /> Second, initiation rites. Apprentices underwent psychological conditioning through trials like nocturnal vigils in unmarked graves and barehanded coffin exhumation, selecting candidates with nerve and precision. Successful initiates swore oath-bound adherence to operational codes.<br /> Third, Monopolized transmission. Skilled were transmitted orally within master-disciple lineages under trade secrecy protocols, preserving esoteric exclusivity and economic monopoly.<br /> Fourth, psychological deterrence. Circulated horror narratives(e.g. postmortem reanimation, corpse toxins) functioned as deterrent narratives against technical inquiries, safeguarding operational secrecy.<br /> <br /> <br /> Cultural Semiotics<br /> Concepts of Life and Death: Philosophical Interpretations<br /> The Ultimate Belief in &quot; Falling Leaves Returning to Roots&quot;<br /> Xiangxi locals firmly believe corpses must be buried in ancestral lands to allow souls to rest peacefully; otherwise, spirits become &quot;wandering ghosts&quot; due to displacement. The corpse procession fundamentally constitutes a ritual of &quot;sending souls home&quot;, manifesting the pursuit of life's integral completion.<br /> This worldview aligns with the Central Plains Han Chinese concept of &quot;resting peacefully through burial&quot;, but Xiangxi's geographical isolation fostered ritual practices infused with Miao soulway engineering(ghob xid).<br /> <br /> Blurring of Life-Death Boundaries<br /> The corpse procession ritual ambiguates the existential boundary between life and death through talismanic &quot;reanimation&quot; of corpses and bronze bell &quot;guidance&quot; for souls, reflecting primal religious beliefs in the &quot;indestructibility of the soul&quot;.<br /> Corpses are imbued with a &quot;semi-human, semi-spectral&quot; symbolism, functioning both as material remains and transient soul vessels, epitomizing a processual comprehension of mortality.<br /> <br /> Miao Animist Ritual Systems: Tripartite Communion Across Human, Divine, and Spectral Realms<br /> Fusion of Miao Animist Ritual and Taoist Liturgical Practices<br /> The &quot;Chenzhou Talisman&quot; used in corpse procession rituals embodies a synthesis of Miao Animist practices and Taoist sigil system. Operations like cinnabar-based soul stabilization and bronze bell exorcism functionally construct a bridge for tripartite communication (human-ghost-deity) through ritual implements.<br /> Corpse handlers(Laosi) operate with dual identity, technical executors(mortuary biomechanics) and ritual officiants ( cosmological mediation).<br /> <br /> Secular Adaption of Nuo Ritual Theater<br /> In Xiangxi Nuo ritual theater, the thematic focus on &quot;exorcism and epidemic expulsion&quot; shares ontological roots with the corpse procession's &quot;soul anchoring and repatriation&quot; logic. Both practices operationalize human-specter interactions through masks, ritual dances, and incantations. The corpse procession constitutes a concretized implementation of Nuo culture within mortuary practices.<br /> <br /> Social Functions: Survival Strategies of Marginalized Cultures <br /> Survival Ingenuity Confronting Geographic Constrains<br /> In Xiangxi's rugged mountains with scare roads, traditional coffin transportation proved prohibitively costly. The corpse procession method circumvented these natural constraints through minimalist and covert adaptations, exemplifying the mountain communities' context-specific survival wisdom.<br /> Industry secrecy and taboos(e.g. 'the living must not approach') functionally served to maintain technical monopolies, ensuring socioeconomic viability for marginalized groups(corpse handlers).<br /> <br /> Psychological Solace and Social Control<br /> It provided families with ritualistic assurance of &quot;intact corpse repatriation&quot;, alleviating moral anxieties stemming from dying away from ancestral lands. Through Miao ritual authority (e.g. the Three Permitted/ Prohibited Corpses Rule), standardized mortuary protocols were enforced, safeguarding communal stability.<br /> Functioning as a cultural prism, this practice refracts the intricate psyche of traditional Chinese society confronting mortality, nature and ethics--while compelling modernity to reexamine the humanistic wisdom encoded within marginalized cultural systems.<br /> <br /> Semiotic Encoding in Screen Literature<br /> Xiangxi Corpse Procession, as one of the most mystique-laden icons in Chinese folk culture, has been extensively reimagined across film, literature, and pop culture. This practice has transitioned from a regional mortuary practice into a globally recognized supernatural trope through the following representational evolution and semiotic codification within cinematic and literary contexts:<br /> <br /> Corpse Procession Depictions in Cinematic Works<br /> Archetypal Portrayals in Hongkong Jiangshi cinema<br /> Lam Ching-ying's Jiangshi Film Cycle(1980s-1990s): Lam's films Mr. Vampire and Exorcist Master systematically visually codified corpse procession rituals, crystallizing the jiangshi archetype with &quot;Qing officials robes and talisman-controlled hopping locomotion&quot;. There are also signature ritual props such as bronze bells, yellow talismans, and peach wood swords.<br /> <br /> Modern Reinterpretations in Screen Media<br /> The web series Nu Qing Xiangxi(Struggles in Western Hunan) authentically reconstructs corpse procession inns(cuanguan, temporary corpse repositories), and Miao Nuo rituals. Through character dialogues, it explicates the practice's cultural core &quot;Falling Leaves Returning to Roots&quot; as posthumous homecoming imperative.<br /> <br /> Cultural Reimagining in Literary Works<br /> Shen congwen's Local Culture Narratives<br /> In Notes on Xiangxi, Shen codified corpse processions within the Miao Nuo ritual framework through mentions of &quot;Chenzhou Talismans&quot;, deliberately demystifying horror elements while foregrounding the ethnographic validity of mortuary customs.<br /> <br /> Web Novels and Zhiguai Literary Traditions<br /> Contemporary Fiction: Works like ''Yuan Qi Zhuang Ling'' (Resentment Bell) and ''Long Gu Fen Xiang'' (Burning the Dragon Bone Casket) reimagine corpse handlers as inheritors of esoteric arts, amplifying supernatural attributes with resurrection capabilities.<br /> Classical Zhiguai Texts: Qing Dynasty collections like ''Zi Bu Yu'' and ''Yuewei Caotang Notes'' systematized jiangshi taxonomy (e.g. purple jiangshi and flying jiangshi and so on), providing archetypes for modern adaptations.<br /> <br /> Semiotic Codification and Cultural Impact<br /> From Folk Custom to Pop Culture Icon<br /> Horror Aesthetics: Elements of the corpse procession like nocturnal corpse processions, jerky cadaver locomotion, and talismanic control have been codified into quintessential Oriental Gothic Symbols. This system forms an ethno-cultural antithesis to Western zombie lore(virus-driven reanimation vs. soul repatriation metaphysics).<br /> Commercial Consumption: In Xiangxi tourism, corpse driving performances, themed homestays, and jiangshi props have become gimmicks to attract tourists, even spawning cultural and creative products (such as talisman stickers and dolls).<br /> <br /> Cultural Misinterpretations and Contentions<br /> Scientific Demystification Impact: Programs like CCTV's Approaching Science revealed corpse processions as bamboo pole corpse transport(two handlers carrying <br /> bodies via horizontal poles), eroding its mystique while sparking authenticity debates regarding traditional praxis.<br /> Ethical Boundaries: Certain creative works amplify occult attributes over the original mortuary ethics(e.g. respect for the deceased), causing the original cultural essence to become distorted through sensationalist semiotics.<br /> <br /> Cross-Cultural Comparisons<br /> Unlike the Xiangxi practice, the Toraja people of Indonesia regard the exhumation, grooming, and procession of ancestral remains as a &quot;rebirth ritual&quot;, emphasizing the emotional bond between the living and the deceased rather than focusing on logistical transportation. The mistranslation of Xiangxi Jiangshi as &quot;Zombie&quot; obscures their fundamental differences-- Jiangshi refers to corpses reanimated through talismanic control, rooted in the Daoist concept of soul anchoring, while Zombie is &quot;living dead&quot; infected by viruses, reflecting Western anxieties about epidemiological collapse.<br /> The cinematic and literary adaptations of Xiangxi's corpse procession practice embody both the global dissemination of regional culture and the continuous semiotic reconstruction of traditional symbols. Its conceptual core has evolved from mortuary logistics to mystic narratives, serving as an interface between folk beliefs and modern entertainment industries. Moving forward, preserving ethnographic authenticity amidst commercial exploitation will determine the sustained cultural vitality of this symbolic system.<br /> <br /> <br /> 摘要：本文全面概述了湘西赶尸传统（即赶尸，或湘西赶尸术），探讨了其起源、仪式技巧、文化意义和现代象征表征。研究追溯了这一习俗在湘西多民族聚居区的历史渊源，探究了使用符咒和竹竿运尸的民间智慧，探讨了其对生死观和家庭价值观的深刻文化反思。研究还进一步分析了电影和文学作品如何塑造其神秘形象，最终旨在增进公众对这一独特文化现象的了解，并促进对其独特精神遗产的欣赏。<br /> 湘西赶尸是中国湘西地区独特的民俗文化现象，反映了古代湘西人对生死和祖先故土的深刻理解。下面将从神话历史、现实需求和社会环境等角度，介绍这一习俗的起源和历史背景。<br /> <br /> 神话与历史<br /> 神话起源<br /> 根据苗族传说，赶尸习俗起源于蚩尤时代。传说蚩尤在黄河边与敌军交战后，命令手下的巫师将领举行缚魂仪式，以仪式引导尸体返回祖居地。苗族世代口口相传的这一传说构成了赶尸文化的象征性起源。<br /> <br /> 历史案例<br /> 明朝万历年间（1573-1620年），湘西保靖土司首领彭象乾率领8000名土兵抵抗后金入侵，支援辽东，结果惨败，全军覆没。幸存的土司首领和苗族祭祀专家用朱砂封住阵亡将士的七窍，然后举行招魂仪式，为尸体引路。这一历史事件是尸体游行在实际应用中的一个有据可查的案例。<br /> <br /> 实际需求和社会文化背景<br /> <br /> 地貌限制与交通挑战<br /> 湘西地处武陵山脉，地形崎岖，古代陆路交通极为不便。远离家乡的死者（如商人、民工和士兵）的尸体无法通过传统方式运输，最终产生了专门的殡葬习俗--赶尸。<br /> <br /> 移民与战争因素<br /> 清代移民浪潮：在清中期，湘西移民大规模迁移到四川，这产生了对那些远离祖先土地的死者进行追授遣返的需求。穿越三峡地区的危险水上运输（隐藏的礁石、频繁的沉船等），加上流行禁止用商船运输尸体的禁忌，促使赶尸作为一种仪式认可的替代方案的出现。<br /> 司法-尸体物流：清朝秋决客籍死囚后，家属需支付高昂费用运尸。赶尸匠以更低成本、更隐蔽的方式（如防腐处理，夜间赶尸等）完成运输，并逐渐形成行业规范。<br /> <br /> “赶尸”原理（即仪式与技艺的揭秘）<br /> 湘西赶尸的“原理”是技术与巫术的结合，既包含古代劳动智慧的物理手段，也依托神秘仪式营造心理威慑。以下从技术操作、仪式流程两个维度揭秘其核心逻辑：</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=167235 2025-06-01T14:18:17Z

<p>Li Ting2: </p> <hr /> <div><br /> Abstract:<br /> This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi, or The corpse of Xiangxi technique), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.<br /> <br /> The Xiangxi corpse procession, a unique folk cultural phenomenon in China's Xiangxi region, reflects the profound understanding of life, death, and ancestral homeland among ancient Xiangxi people. Below is an introduction to the origins and historical context of this practice from perspectives of mythology and history, practical needs, and social circumstances.<br /> <br /> <br /> Mythology and history<br /> <br /> Mythological Origins<br /> <br /> According to Miao ethnic legends, the corpse procession tradition traces its roots to the Chiyou era. Legend holds that after battling enemies along the Yellow River, Chiyou commanded his sorcerer-general to conduct soul-binding rituals, which would ritualistically guide the corpses back to their ancestral homes. This narrative, perpetuated through Miao oral traditions across generations, constitutes the symbolic genesis of the corpse precession culture.<br /> <br /> Historical Case<br /> <br /> During the Wanli period(1573-1620) of the Ming Dynasty, Peng Xiangqian, the Tusi chieftain of Baojing in Xiangxi, led 8000 local militianmen to resist the Later Jin invasion in support of Liaodong, but suffered a devasting defeat with the entire army perished. Surving Tusi leaders and Miao ritual specialists sealed the deceased solders' seven orifices with cinnabar, then performed ghunb pro(soul-summoning rites) to guide the corpses. This historical event stands as a documented case of the corpse procession being put into practical application.<br /> <br /> <br /> Practical Necessities and Sociocultural Context<br /> <br /> Geomorphological Constraints and Transportation Challenges<br /> <br /> Xiangxi, situated within the Wuling Mountain Range, featured rugged terrain that made overland transportation extremely challenging in ancient times. The corpses of those who died far from home(such as merchants, migrant laborers, and soldiers) could not be transported via conventional means, ultimately giving rise to the specialized funerary practice of corpse procession.<br /> <br /> Migration and Conflict Dynamics<br /> <br /> Qing-era Migration Waves: During the mid-Qing period, mass migrations of Xiangxi migrants to Sichuan created demand for posthumous repatriation of those who died far from ancestral lands. Hazardous waterborne transport through the Three Gorges region (hidden reefs, frequent shipwrecks), coupled with popular taboos against transporting corpses on commercial vessels, promoted the emergence of corpse procession as a ritually-sanctioned alternative.<br /> <br /> Judicial-Corpse Logistics: The Qing legal practice of Autumn Executions saw families of non-native commended prisoners burdened with exorbitant fees for bureaucratic corpse repatriation. Corpse handlers circumvented this by developing cost-effective, discreet method----utilizing herbal preservation techniques and nocturnal processions--- to return remains, thereby establishing processional protocols for the practice.<br /> <br /> Mechanics of the Corpse Procession: Decoding Ritual Protocols and Technical Artistry<br /> <br /> The practice fundamentally combines biomechanical ingenuity with witchcraft ---harnessing ancient labor wisdom for physical corpse manipulation while deploying mystical rituals to establish psychological deterrence. Below we decode its core mechanisms through technical operations, ritual choreography these two analytical dimensions:<br /> <br /> Technical Protocols: Biomechanical Solutions in Mortuary Logistics<br /> <br /> The operational framework compromises three codified subsystems:<br /> <br /> 1. Ethnobotanical Preservation<br /> The mortuary conservation system employed two primary methodologies:<br /> Ethnobotanical Preservation: Corpse handlers applied locally sourced substances from Xiangxi (including cinnabar mercuric sulfide, HgS, realgar arsenic sulfide, and so on) to corpses. Cinnabar's mercury content inhibited bacterial growth, while realgar repelled insects, slowed decomposition, and masked odors through its sulfur compounds.<br /> <br /> Desiccation Method: Historical accounts describe soaking corpses in herbal decoctions to remove bodily fluids, thereby reducing weight for easier transportation.<br /> <br /> 2.Corpse Immobilization and Transportation<br /> <br /> Corpse handlers primarily used bamboo poles to secure the corpses. Due to the specific requirements of this profession, coverings and disguises were employed to avoid detection by bystanders.<br /> Bamboo Pole Support Method: The corpse's arms were bound to two long bamboo poles, carried by two handlers positioned front and rear(typically cloaked in black). The poles' natural flexibility allowed controlled flexing, creating the visual illusion of the corpse &quot;hopping forward&quot;. The legs remained suspended mid-air. The poles' adjustable length accommodated corpses of varying heights.<br /> Concealment Techniques: The corpses wore large straw hats with talisman paper affixed to their faces. They were shrouded in black robes or palm-leaf raincoats to cover both the bamboo poles and handlers' bodies. These disguises proved particularly effective under low-light nighttime conditions, especially with limited torch illumination. Corpse handlers typically wore straw sandals, deliberately mimicking the rigid walking patterns of corpses to maintain synchronized movement rhythms.<br /> 3. Routes and Teamwork<br /> Corpse procession was a team effort, conducted at night while avoiding populated areas via mountain forest paths to minimize witnesses. Longer routes often required section-based transport:<br /> Section-based transport: Extended journeys utilized relay stations or covert route relays, divided into segments handled by separate teams to prevent physical exhaustion.<br /> Night operations: moonlight or lantern illumination was employed. Low-light conditions amplified visual misperception, reducing detection risks.<br /> <br /> Ritual Protocols: Psychological Constructs in Miao Animist Praxis<br /> <br /> The following sections will elaborate on the ritual protocols through three key aspects: talismans and ritual implements, industry taboos and operational codes, cultivation of ritual authority among the ordinary people.<br /> <br /> Talismans and ritual implements<br /> Chenzhou Talisman: Paper charms(typically bearing Taoist apotropaic symbols) affixed to corpses' foreheads and chests pre-procession. While purporting to &quot;anchor souls and stabilize spirits&quot;, their primary function was to reinforce bystander trust in ritual authority.<br /> Soul-summoning Belling: The bronze bell's rhythmic patterns served as coded signals directing pallbearers to adjust gaits or alert to hazards. It chimes were simultaneously mythologized as auditory cues for spirit navigation.<br /> Yin Gong Path-Clearing: The corpse handlers strikes a specially crafted small gong(emitting a low, resonant tone) to warn the living to yield way while establishing an ominous atmosphere.<br /> <br /> Taboos and operational codes<br /> The necromantic practice adheres to strict prohibitions summarized as follows:<br /> First, the &quot; Three Permitted/ Prohibited Corpses Rule. Three Permitted Corpses are behaved(requires head reattachment), hanged, or fallen soldiers--those with &quot;unresolved grievances&quot; requiring homebound rites. Three Prohibited Corpses are deaths by illness, suicide, or lighting strike-- believed to have souls already returned to the underworld, thus unresponsive to guidance.<br /> Second, living person taboos. Civilians must avoid proximity, ostensibly to prevent &quot;disturbing the corpses&quot;, though primarily to conceal operational secrets from outsiders.<br /> Third, cockcrow and canine curfew. All processions must terminate before dawn's harbingers(rooster crows/ dog barks), retreating to covert &quot;corpse lodges&quot; to avoid daylight exposure.<br /> <br /> Cultivation of Ritual Authority Among the Ordinary People<br /> The corpse-handling profession fostered perceptions of &quot;supernatural prowess&quot; through systematic mystification, achieved via four institutionalized mechanisms: <br /> First, self-mythologization. Practitioners claimed requisite &quot;pure Yin birth charts&quot; and &quot;karmic resilience&quot;. Deliberate disfigurements(e.g. facial lesions) enhanced their &quot;spirit-medium&quot; persona.<br /> Second, initiation rites. Apprentices underwent psychological conditioning through trials like nocturnal vigils in unmarked graves and barehanded coffin exhumation, selecting candidates with nerve and precision. Successful initiates swore oath-bound adherence to operational codes.<br /> Third, Monopolized transmission. Skilled were transmitted orally within master-disciple lineages under trade secrecy protocols, preserving esoteric exclusivity and economic monopoly.<br /> Fourth, psychological deterrence. Circulated horror narratives(e.g. postmortem reanimation, corpse toxins) functioned as deterrent narratives against technical inquiries, safeguarding operational secrecy.<br /> <br /> <br /> Cultural Semiotics<br /> Concepts of Life and Death: Philosophical Interpretations<br /> The Ultimate Belief in &quot; Falling Leaves Returning to Roots&quot;<br /> Xiangxi locals firmly believe corpses must be buried in ancestral lands to allow souls to rest peacefully; otherwise, spirits become &quot;wandering ghosts&quot; due to displacement. The corpse procession fundamentally constitutes a ritual of &quot;sending souls home&quot;, manifesting the pursuit of life's integral completion.<br /> This worldview aligns with the Central Plains Han Chinese concept of &quot;resting peacefully through burial&quot;, but Xiangxi's geographical isolation fostered ritual practices infused with Miao soulway engineering(ghob xid).<br /> <br /> Blurring of Life-Death Boundaries<br /> The corpse procession ritual ambiguates the existential boundary between life and death through talismanic &quot;reanimation&quot; of corpses and bronze bell &quot;guidance&quot; for souls, reflecting primal religious beliefs in the &quot;indestructibility of the soul&quot;.<br /> Corpses are imbued with a &quot;semi-human, semi-spectral&quot; symbolism, functioning both as material remains and transient soul vessels, epitomizing a processual comprehension of mortality.<br /> <br /> Miao Animist Ritual Systems: Tripartite Communion Across Human, Divine, and Spectral Realms<br /> Fusion of Miao Animist Ritual and Taoist Liturgical Practices<br /> The &quot;Chenzhou Talisman&quot; used in corpse procession rituals embodies a synthesis of Miao Animist practices and Taoist sigil system. Operations like cinnabar-based soul stabilization and bronze bell exorcism functionally construct a bridge for tripartite communication (human-ghost-deity) through ritual implements.<br /> Corpse handlers(Laosi) operate with dual identity, technical executors(mortuary biomechanics) and ritual officiants ( cosmological mediation).<br /> <br /> Secular Adaption of Nuo Ritual Theater<br /> In Xiangxi Nuo ritual theater, the thematic focus on &quot;exorcism and epidemic expulsion&quot; shares ontological roots with the corpse procession's &quot;soul anchoring and repatriation&quot; logic. Both practices operationalize human-specter interactions through masks, ritual dances, and incantations. The corpse procession constitutes a concretized implementation of Nuo culture within mortuary practices.<br /> <br /> Social Functions: Survival Strategies of Marginalized Cultures <br /> Survival Ingenuity Confronting Geographic Constrains<br /> In Xiangxi's rugged mountains with scare roads, traditional coffin transportation proved prohibitively costly. The corpse procession method circumvented these natural constraints through minimalist and covert adaptations, exemplifying the mountain communities' context-specific survival wisdom.<br /> Industry secrecy and taboos(e.g. 'the living must not approach') functionally served to maintain technical monopolies, ensuring socioeconomic viability for marginalized groups(corpse handlers).<br /> <br /> Psychological Solace and Social Control<br /> It provided families with ritualistic assurance of &quot;intact corpse repatriation&quot;, alleviating moral anxieties stemming from dying away from ancestral lands. Through Miao ritual authority (e.g. the Three Permitted/ Prohibited Corpses Rule), standardized mortuary protocols were enforced, safeguarding communal stability.<br /> Functioning as a cultural prism, this practice refracts the intricate psyche of traditional Chinese society confronting mortality, nature and ethics--while compelling modernity to reexamine the humanistic wisdom encoded within marginalized cultural systems.<br /> <br /> Semiotic Encoding in Screen Literature<br /> Xiangxi Corpse Procession, as one of the most mystique-laden icons in Chinese folk culture, has been extensively reimagined across film, literature, and pop culture. This practice has transitioned from a regional mortuary practice into a globally recognized supernatural trope through the following representational evolution and semiotic codification within cinematic and literary contexts:<br /> <br /> Corpse Procession Depictions in Cinematic Works<br /> Archetypal Portrayals in Hongkong Jiangshi cinema<br /> Lam Ching-ying's Jiangshi Film Cycle(1980s-1990s): Lam's films Mr. Vampire and Exorcist Master systematically visually codified corpse procession rituals, crystallizing the jiangshi archetype with &quot;Qing officials robes and talisman-controlled hopping locomotion&quot;. There are also signature ritual props such as bronze bells, yellow talismans, and peach wood swords.<br /> <br /> Modern Reinterpretations in Screen Media<br /> The web series Nu Qing Xiangxi(Struggles in Western Hunan) authentically reconstructs corpse procession inns(cuanguan, temporary corpse repositories), and Miao Nuo rituals. Through character dialogues, it explicates the practice's cultural core &quot;Falling Leaves Returning to Roots&quot; as posthumous homecoming imperative.<br /> <br /> Cultural Reimagining in Literary Works<br /> Shen congwen's Local Culture Narratives<br /> In Notes on Xiangxi, Shen codified corpse processions within the Miao Nuo ritual framework through mentions of &quot;Chenzhou Talismans&quot;, deliberately demystifying horror elements while foregrounding the ethnographic validity of mortuary customs.<br /> <br /> Web Novels and Zhiguai Literary Traditions<br /> Contemporary Fiction: Works like ''Yuan Qi Zhuang Ling'' (Resentment Bell) and ''Long Gu Fen Xiang'' (Burning the Dragon Bone Casket) reimagine corpse handlers as inheritors of esoteric arts, amplifying supernatural attributes with resurrection capabilities.<br /> Classical Zhiguai Texts: Qing Dynasty collections like ''Zi Bu Yu'' and ''Yuewei Caotang Notes'' systematized jiangshi taxonomy (e.g. purple jiangshi and flying jiangshi and so on), providing archetypes for modern adaptations.<br /> <br /> Semiotic Codification and Cultural Impact<br /> From Folk Custom to Pop Culture Icon<br /> Horror Aesthetics: Elements of the corpse procession like nocturnal corpse processions, jerky cadaver locomotion, and talismanic control have been codified into quintessential Oriental Gothic Symbols. This system forms an ethno-cultural antithesis to Western zombie lore(virus-driven reanimation vs. soul repatriation metaphysics).<br /> Commercial Consumption: In Xiangxi tourism, corpse driving performances, themed homestays, and jiangshi props have become gimmicks to attract tourists, even spawning cultural and creative products (such as talisman stickers and dolls).<br /> <br /> Cultural Misinterpretations and Contentions<br /> Scientific Demystification Impact: Programs like CCTV's Approaching Science revealed corpse processions as bamboo pole corpse transport(two handlers carrying <br /> bodies via horizontal poles), eroding its mystique while sparking authenticity debates regarding traditional praxis.<br /> Ethical Boundaries: Certain creative works amplify occult attributes over the original mortuary ethics(e.g. respect for the deceased), causing the original cultural essence to become distorted through sensationalist semiotics.<br /> <br /> Cross-Cultural Comparisons<br /> Unlike the Xiangxi practice, the Toraja people of Indonesia regard the exhumation, grooming, and procession of ancestral remains as a &quot;rebirth ritual&quot;, emphasizing the emotional bond between the living and the deceased rather than focusing on logistical transportation. The mistranslation of Xiangxi Jiangshi as &quot;Zombie&quot; obscures their fundamental differences-- Jiangshi refers to corpses reanimated through talismanic control, rooted in the Daoist concept of soul anchoring, while Zombie is &quot;living dead&quot; infected by viruses, reflecting Western anxieties about epidemiological collapse.<br /> The cinematic and literary adaptations of Xiangxi's corpse procession practice embody both the global dissemination of regional culture and the continuous semiotic reconstruction of traditional symbols. Its conceptual core has evolved from mortuary logistics to mystic narratives, serving as an interface between folk beliefs and modern entertainment industries. Moving forward, preserving ethnographic authenticity amidst commercial exploitation will determine the sustained cultural vitality of this symbolic system.<br /> <br /> <br /> 摘要：本文全面概述了湘西赶尸传统（即赶尸，或湘西赶尸术），探讨了其起源、仪式技巧、文化意义和现代象征表征。研究追溯了这一习俗在湘西多民族聚居区的历史渊源，探究了使用符咒和竹竿运尸的民间智慧，探讨了其对生死观和家庭价值观的深刻文化反思。研究还进一步分析了电影和文学作品如何塑造其神秘形象，最终旨在增进公众对这一独特文化现象的了解，并促进对其独特精神遗产的欣赏。<br /> 湘西赶尸是中国湘西地区独特的民俗文化现象，反映了古代湘西人对生死和祖先故土的深刻理解。下面将从神话历史、现实需求和社会环境等角度，介绍这一习俗的起源和历史背景。</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=167120 2025-05-31T04:36:47Z

<p>Li Ting2: </p> <hr /> <div><br /> Abstract:<br /> This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi, or The corpse of Xiangxi technique), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.<br /> <br /> The Xiangxi corpse procession, a unique folk cultural phenomenon in China's Xiangxi region, reflects the profound understanding of life, death, and ancestral homeland among ancient Xiangxi people. Below is an introduction to the origins and historical context of this practice from perspectives of mythology and history, practical needs, and social circumstances.<br /> <br /> <br /> Mythology and history<br /> <br /> Mythological Origins<br /> <br /> According to Miao ethnic legends, the corpse procession tradition traces its roots to the Chiyou era. Legend holds that after battling enemies along the Yellow River, Chiyou commanded his sorcerer-general to conduct soul-binding rituals, which would ritualistically guide the corpses back to their ancestral homes. This narrative, perpetuated through Miao oral traditions across generations, constitutes the symbolic genesis of the corpse precession culture.<br /> <br /> Historical Case<br /> <br /> During the Wanli period(1573-1620) of the Ming Dynasty, Peng Xiangqian, the Tusi chieftain of Baojing in Xiangxi, led 8000 local militianmen to resist the Later Jin invasion in support of Liaodong, but suffered a devasting defeat with the entire army perished. Surving Tusi leaders and Miao ritual specialists sealed the deceased solders' seven orifices with cinnabar, then performed ghunb pro(soul-summoning rites) to guide the corpses. This historical event stands as a documented case of the corpse procession being put into practical application.<br /> <br /> <br /> Practical Necessities and Sociocultural Context<br /> <br /> Geomorphological Constraints and Transportation Challenges<br /> <br /> Xiangxi, situated within the Wuling Mountain Range, featured rugged terrain that made overland transportation extremely challenging in ancient times. The corpses of those who died far from home(such as merchants, migrant laborers, and soldiers) could not be transported via conventional means, ultimately giving rise to the specialized funerary practice of corpse procession.<br /> <br /> Migration and Conflict Dynamics<br /> <br /> Qing-era Migration Waves: During the mid-Qing period, mass migrations of Xiangxi migrants to Sichuan created demand for posthumous repatriation of those who died far from ancestral lands. Hazardous waterborne transport through the Three Gorges region (hidden reefs, frequent shipwrecks), coupled with popular taboos against transporting corpses on commercial vessels, promoted the emergence of corpse procession as a ritually-sanctioned alternative.<br /> <br /> Judicial-Corpse Logistics: The Qing legal practice of Autumn Executions saw families of non-native commended prisoners burdened with exorbitant fees for bureaucratic corpse repatriation. Corpse handlers circumvented this by developing cost-effective, discreet method----utilizing herbal preservation techniques and nocturnal processions--- to return remains, thereby establishing processional protocols for the practice.<br /> <br /> Mechanics of the Corpse Procession: Decoding Ritual Protocols and Technical Artistry<br /> <br /> The practice fundamentally combines biomechanical ingenuity with witchcraft ---harnessing ancient labor wisdom for physical corpse manipulation while deploying mystical rituals to establish psychological deterrence. Below we decode its core mechanisms through technical operations, ritual choreography these two analytical dimensions:<br /> <br /> Technical Protocols: Biomechanical Solutions in Mortuary Logistics<br /> <br /> The operational framework compromises three codified subsystems:<br /> <br /> 1. Ethnobotanical Preservation<br /> The mortuary conservation system employed two primary methodologies:<br /> Ethnobotanical Preservation: Corpse handlers applied locally sourced substances from Xiangxi (including cinnabar mercuric sulfide, HgS, realgar arsenic sulfide, and so on) to corpses. Cinnabar's mercury content inhibited bacterial growth, while realgar repelled insects, slowed decomposition, and masked odors through its sulfur compounds.<br /> <br /> Desiccation Method: Historical accounts describe soaking corpses in herbal decoctions to remove bodily fluids, thereby reducing weight for easier transportation.<br /> <br /> 2.Corpse Immobilization and Transportation<br /> <br /> Corpse handlers primarily used bamboo poles to secure the corpses. Due to the specific requirements of this profession, coverings and disguises were employed to avoid detection by bystanders.<br /> Bamboo Pole Support Method: The corpse's arms were bound to two long bamboo poles, carried by two handlers positioned front and rear(typically cloaked in black). The poles' natural flexibility allowed controlled flexing, creating the visual illusion of the corpse &quot;hopping forward&quot;. The legs remained suspended mid-air. The poles' adjustable length accommodated corpses of varying heights.<br /> Concealment Techniques: The corpses wore large straw hats with talisman paper affixed to their faces. They were shrouded in black robes or palm-leaf raincoats to cover both the bamboo poles and handlers' bodies. These disguises proved particularly effective under low-light nighttime conditions, especially with limited torch illumination. Corpse handlers typically wore straw sandals, deliberately mimicking the rigid walking patterns of corpses to maintain synchronized movement rhythms.<br /> 3. Routes and Teamwork<br /> Corpse procession was a team effort, conducted at night while avoiding populated areas via mountain forest paths to minimize witnesses. Longer routes often required section-based transport:<br /> Section-based transport: Extended journeys utilized relay stations or covert route relays, divided into segments handled by separate teams to prevent physical exhaustion.<br /> Night operations: moonlight or lantern illumination was employed. Low-light conditions amplified visual misperception, reducing detection risks.<br /> <br /> Ritual Protocols: Psychological Constructs in Miao Animist Praxis<br /> <br /> The following sections will elaborate on the ritual protocols through three key aspects: talismans and ritual implements, industry taboos and operational codes, cultivation of ritual authority among the ordinary people.<br /> <br /> Talismans and ritual implements<br /> Chenzhou Talisman: Paper charms(typically bearing Taoist apotropaic symbols) affixed to corpses' foreheads and chests pre-procession. While purporting to &quot;anchor souls and stabilize spirits&quot;, their primary function was to reinforce bystander trust in ritual authority.<br /> Soul-summoning Belling: The bronze bell's rhythmic patterns served as coded signals directing pallbearers to adjust gaits or alert to hazards. It chimes were simultaneously mythologized as auditory cues for spirit navigation.<br /> Yin Gong Path-Clearing: The corpse handlers strikes a specially crafted small gong(emitting a low, resonant tone) to warn the living to yield way while establishing an ominous atmosphere.<br /> <br /> Taboos and operational codes<br /> The necromantic practice adheres to strict prohibitions summarized as follows:<br /> First, the &quot; Three Permitted/ Prohibited Corpses Rule. Three Permitted Corpses are behaved(requires head reattachment), hanged, or fallen soldiers--those with &quot;unresolved grievances&quot; requiring homebound rites. Three Prohibited Corpses are deaths by illness, suicide, or lighting strike-- believed to have souls already returned to the underworld, thus unresponsive to guidance.<br /> Second, living person taboos. Civilians must avoid proximity, ostensibly to prevent &quot;disturbing the corpses&quot;, though primarily to conceal operational secrets from outsiders.<br /> Third, cockcrow and canine curfew. All processions must terminate before dawn's harbingers(rooster crows/ dog barks), retreating to covert &quot;corpse lodges&quot; to avoid daylight exposure.<br /> <br /> Cultivation of Ritual Authority Among the Ordinary People<br /> The corpse-handling profession fostered perceptions of &quot;supernatural prowess&quot; through systematic mystification, achieved via four institutionalized mechanisms: <br /> First, self-mythologization. Practitioners claimed requisite &quot;pure Yin birth charts&quot; and &quot;karmic resilience&quot;. Deliberate disfigurements(e.g. facial lesions) enhanced their &quot;spirit-medium&quot; persona.<br /> Second, initiation rites. Apprentices underwent psychological conditioning through trials like nocturnal vigils in unmarked graves and barehanded coffin exhumation, selecting candidates with nerve and precision. Successful initiates swore oath-bound adherence to operational codes.<br /> Third, Monopolized transmission. Skilled were transmitted orally within master-disciple lineages under trade secrecy protocols, preserving esoteric exclusivity and economic monopoly.<br /> Fourth, psychological deterrence. Circulated horror narratives(e.g. postmortem reanimation, corpse toxins) functioned as deterrent narratives against technical inquiries, safeguarding operational secrecy.<br /> <br /> <br /> Cultural Semiotics<br /> Concepts of Life and Death: Philosophical Interpretations<br /> The Ultimate Belief in &quot; Falling Leaves Returning to Roots&quot;<br /> Xiangxi locals firmly believe corpses must be buried in ancestral lands to allow souls to rest peacefully; otherwise, spirits become &quot;wandering ghosts&quot; due to displacement. The corpse procession fundamentally constitutes a ritual of &quot;sending souls home&quot;, manifesting the pursuit of life's integral completion.<br /> This worldview aligns with the Central Plains Han Chinese concept of &quot;resting peacefully through burial&quot;, but Xiangxi's geographical isolation fostered ritual practices infused with Miao soulway engineering(ghob xid).<br /> <br /> Blurring of Life-Death Boundaries<br /> The corpse procession ritual ambiguates the existential boundary between life and death through talismanic &quot;reanimation&quot; of corpses and bronze bell &quot;guidance&quot; for souls, reflecting primal religious beliefs in the &quot;indestructibility of the soul&quot;.<br /> Corpses are imbued with a &quot;semi-human, semi-spectral&quot; symbolism, functioning both as material remains and transient soul vessels, epitomizing a processual comprehension of mortality.<br /> <br /> Miao Animist Ritual Systems: Tripartite Communion Across Human, Divine, and Spectral Realms<br /> Fusion of Miao Animist Ritual and Taoist Liturgical Practices<br /> The &quot;Chenzhou Talisman&quot; used in corpse procession rituals embodies a synthesis of Miao Animist practices and Taoist sigil system. Operations like cinnabar-based soul stabilization and bronze bell exorcism functionally construct a bridge for tripartite communication (human-ghost-deity) through ritual implements.<br /> Corpse handlers(Laosi) operate with dual identity, technical executors(mortuary biomechanics) and ritual officiants ( cosmological mediation).<br /> <br /> Secular Adaption of Nuo Ritual Theater<br /> In Xiangxi Nuo ritual theater, the thematic focus on &quot;exorcism and epidemic expulsion&quot; shares ontological roots with the corpse procession's &quot;soul anchoring and repatriation&quot; logic. Both practices operationalize human-specter interactions through masks, ritual dances, and incantations. The corpse procession constitutes a concretized implementation of Nuo culture within mortuary practices.<br /> <br /> Social Functions: Survival Strategies of Marginalized Cultures <br /> Survival Ingenuity Confronting Geographic Constrains<br /> In Xiangxi's rugged mountains with scare roads, traditional coffin transportation proved prohibitively costly. The corpse procession method circumvented these natural constraints through minimalist and covert adaptations, exemplifying the mountain communities' context-specific survival wisdom.<br /> Industry secrecy and taboos(e.g. 'the living must not approach') functionally served to maintain technical monopolies, ensuring socioeconomic viability for marginalized groups(corpse handlers).<br /> <br /> Psychological Solace and Social Control<br /> It provided families with ritualistic assurance of &quot;intact corpse repatriation&quot;, alleviating moral anxieties stemming from dying away from ancestral lands. Through Miao ritual authority (e.g. the Three Permitted/ Prohibited Corpses Rule), standardized mortuary protocols were enforced, safeguarding communal stability.<br /> Functioning as a cultural prism, this practice refracts the intricate psyche of traditional Chinese society confronting mortality, nature and ethics--while compelling modernity to reexamine the humanistic wisdom encoded within marginalized cultural systems.<br /> <br /> Semiotic Encoding in Screen Literature<br /> Xiangxi Corpse Procession, as one of the most mystique-laden icons in Chinese folk culture, has been extensively reimagined across film, literature, and pop culture. This practice has transitioned from a regional mortuary practice into a globally recognized supernatural trope through the following representational evolution and semiotic codification within cinematic and literary contexts:<br /> <br /> Corpse Procession Depictions in Cinematic Works<br /> Archetypal Portrayals in Hongkong Jiangshi cinema<br /> Lam Ching-ying's Jiangshi Film Cycle(1980s-1990s): Lam's films Mr. Vampire and Exorcist Master systematically visually codified corpse procession rituals, crystallizing the jiangshi archetype with &quot;Qing officials robes and talisman-controlled hopping locomotion&quot;. There are also signature ritual props such as bronze bells, yellow talismans, and peach wood swords.<br /> <br /> Modern Reinterpretations in Screen Media<br /> The web series Nu Qing Xiangxi(Struggles in Western Hunan) authentically reconstructs corpse procession inns(cuanguan, temporary corpse repositories), and Miao Nuo rituals. Through character dialogues, it explicates the practice's cultural core &quot;Falling Leaves Returning to Roots&quot; as posthumous homecoming imperative.<br /> <br /> Cultural Reimagining in Literary Works<br /> Shen congwen's Local Culture Narratives<br /> In Notes on Xiangxi, Shen codified corpse processions within the Miao Nuo ritual framework through mentions of &quot;Chenzhou Talismans&quot;, deliberately demystifying horror elements while foregrounding the ethnographic validity of mortuary customs.<br /> <br /> Web Novels and Zhiguai Literary Traditions<br /> Contemporary Fiction: Works like ''Yuan Qi Zhuang Ling'' (Resentment Bell) and ''Long Gu Fen Xiang'' (Burning the Dragon Bone Casket) reimagine corpse handlers as inheritors of esoteric arts, amplifying supernatural attributes with resurrection capabilities.<br /> Classical Zhiguai Texts: Qing Dynasty collections like ''Zi Bu Yu'' and ''Yuewei Caotang Notes'' systematized jiangshi taxonomy (e.g. purple jiangshi and flying jiangshi and so on), providing archetypes for modern adaptations.<br /> <br /> Semiotic Codification and Cultural Impact<br /> From Folk Custom to Pop Culture Icon<br /> Horror Aesthetics: Elements of the corpse procession like nocturnal corpse processions, jerky cadaver locomotion, and talismanic control have been codified into quintessential Oriental Gothic Symbols. This system forms an ethno-cultural antithesis to Western zombie lore(virus-driven reanimation vs. soul repatriation metaphysics).<br /> Commercial Consumption: In Xiangxi tourism, corpse driving performances, themed homestays, and jiangshi props have become gimmicks to attract tourists, even spawning cultural and creative products (such as talisman stickers and dolls).<br /> <br /> Cultural Misinterpretations and Contentions<br /> Scientific Demystification Impact: Programs like CCTV's Approaching Science revealed corpse processions as bamboo pole corpse transport(two handlers carrying <br /> bodies via horizontal poles), eroding its mystique while sparking authenticity debates regarding traditional praxis.<br /> Ethical Boundaries: Certain creative works amplify occult attributes over the original mortuary ethics(e.g. respect for the deceased), causing the original cultural essence to become distorted through sensationalist semiotics.<br /> <br /> Cross-Cultural Comparisons<br /> Unlike the Xiangxi practice, the Toraja people of Indonesia regard the exhumation, grooming, and procession of ancestral remains as a &quot;rebirth ritual&quot;, emphasizing the emotional bond between the living and the deceased rather than focusing on logistical transportation. The mistranslation of Xiangxi Jiangshi as &quot;Zombie&quot; obscures their fundamental differences-- Jiangshi refers to corpses reanimated through talismanic control, rooted in the Daoist concept of soul anchoring, while Zombie is &quot;living dead&quot; infected by viruses, reflecting Western anxieties about epidemiological collapse.<br /> The cinematic and literary adaptations of Xiangxi's corpse procession practice embody both the global dissemination of regional culture and the continuous semiotic reconstruction of traditional symbols. Its conceptual core has evolved from mortuary logistics to mystic narratives, serving as an interface between folk beliefs and modern entertainment industries. Moving forward, preserving ethnographic authenticity amidst commercial exploitation will determine the sustained cultural vitality of this symbolic system.</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=167067 2025-05-30T13:05:18Z

<p>Li Ting2: </p> <hr /> <div><br /> Abstract:<br /> This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi, or The corpse of Xiangxi technique), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.<br /> <br /> The Xiangxi corpse procession, a unique folk cultural phenomenon in China's Xiangxi region, reflects the profound understanding of life, death, and ancestral homeland among ancient Xiangxi people. Below is an introduction to the origins and historical context of this practice from perspectives of mythology and history, practical needs, and social circumstances.<br /> <br /> <br /> Mythology and history<br /> <br /> Mythological Origins<br /> <br /> According to Miao ethnic legends, the corpse procession tradition traces its roots to the Chiyou era. Legend holds that after battling enemies along the Yellow River, Chiyou commanded his sorcerer-general to conduct soul-binding rituals, which would ritualistically guide the corpses back to their ancestral homes. This narrative, perpetuated through Miao oral traditions across generations, constitutes the symbolic genesis of the corpse precession culture.<br /> <br /> Historical Case<br /> <br /> During the Wanli period(1573-1620) of the Ming Dynasty, Peng Xiangqian, the Tusi chieftain of Baojing in Xiangxi, led 8000 local militianmen to resist the Later Jin invasion in support of Liaodong, but suffered a devasting defeat with the entire army perished. Surving Tusi leaders and Miao ritual specialists sealed the deceased solders' seven orifices with cinnabar, then performed ghunb pro(soul-summoning rites) to guide the corpses. This historical event stands as a documented case of the corpse procession being put into practical application.<br /> <br /> <br /> Practical Necessities and Sociocultural Context<br /> <br /> Geomorphological Constraints and Transportation Challenges<br /> <br /> Xiangxi, situated within the Wuling Mountain Range, featured rugged terrain that made overland transportation extremely challenging in ancient times. The corpses of those who died far from home(such as merchants, migrant laborers, and soldiers) could not be transported via conventional means, ultimately giving rise to the specialized funerary practice of corpse procession.<br /> <br /> Migration and Conflict Dynamics<br /> <br /> Qing-era Migration Waves: During the mid-Qing period, mass migrations of Xiangxi migrants to Sichuan created demand for posthumous repatriation of those who died far from ancestral lands. Hazardous waterborne transport through the Three Gorges region (hidden reefs, frequent shipwrecks), coupled with popular taboos against transporting corpses on commercial vessels, promoted the emergence of corpse procession as a ritually-sanctioned alternative.<br /> <br /> Judicial-Corpse Logistics: The Qing legal practice of Autumn Executions saw families of non-native commended prisoners burdened with exorbitant fees for bureaucratic corpse repatriation. Corpse handlers circumvented this by developing cost-effective, discreet method----utilizing herbal preservation techniques and nocturnal processions--- to return remains, thereby establishing processional protocols for the practice.<br /> <br /> Mechanics of the Corpse Procession: Decoding Ritual Protocols and Technical Artistry<br /> <br /> The practice fundamentally combines biomechanical ingenuity with witchcraft ---harnessing ancient labor wisdom for physical corpse manipulation while deploying mystical rituals to establish psychological deterrence. Below we decode its core mechanisms through technical operations, ritual choreography these two analytical dimensions:<br /> <br /> Technical Protocols: Biomechanical Solutions in Mortuary Logistics<br /> <br /> The operational framework compromises three codified subsystems:<br /> <br /> 1. Ethnobotanical Preservation<br /> The mortuary conservation system employed two primary methodologies:<br /> Ethnobotanical Preservation: Corpse handlers applied locally sourced substances from Xiangxi (including cinnabar mercuric sulfide, HgS, realgar arsenic sulfide, and so on) to corpses. Cinnabar's mercury content inhibited bacterial growth, while realgar repelled insects, slowed decomposition, and masked odors through its sulfur compounds.<br /> <br /> Desiccation Method: Historical accounts describe soaking corpses in herbal decoctions to remove bodily fluids, thereby reducing weight for easier transportation.<br /> <br /> 2.Corpse Immobilization and Transportation<br /> <br /> Corpse handlers primarily used bamboo poles to secure the corpses. Due to the specific requirements of this profession, coverings and disguises were employed to avoid detection by bystanders.<br /> Bamboo Pole Support Method: The corpse's arms were bound to two long bamboo poles, carried by two handlers positioned front and rear(typically cloaked in black). The poles' natural flexibility allowed controlled flexing, creating the visual illusion of the corpse &quot;hopping forward&quot;. The legs remained suspended mid-air. The poles' adjustable length accommodated corpses of varying heights.<br /> Concealment Techniques: The corpses wore large straw hats with talisman paper affixed to their faces. They were shrouded in black robes or palm-leaf raincoats to cover both the bamboo poles and handlers' bodies. These disguises proved particularly effective under low-light nighttime conditions, especially with limited torch illumination. Corpse handlers typically wore straw sandals, deliberately mimicking the rigid walking patterns of corpses to maintain synchronized movement rhythms.<br /> 3. Routes and Teamwork<br /> Corpse procession was a team effort, conducted at night while avoiding populated areas via mountain forest paths to minimize witnesses. Longer routes often required section-based transport:<br /> Section-based transport: Extended journeys utilized relay stations or covert route relays, divided into segments handled by separate teams to prevent physical exhaustion.<br /> Night operations: moonlight or lantern illumination was employed. Low-light conditions amplified visual misperception, reducing detection risks.<br /> <br /> Ritual Protocols: Psychological Constructs in Miao Animist Praxis<br /> <br /> The following sections will elaborate on the ritual protocols through three key aspects: talismans and ritual implements, industry taboos and operational codes, cultivation of ritual authority among the ordinary people.<br /> <br /> Talismans and ritual implements<br /> Chenzhou Talisman: Paper charms(typically bearing Taoist apotropaic symbols) affixed to corpses' foreheads and chests pre-procession. While purporting to &quot;anchor souls and stabilize spirits&quot;, their primary function was to reinforce bystander trust in ritual authority.<br /> Soul-summoning Belling: The bronze bell's rhythmic patterns served as coded signals directing pallbearers to adjust gaits or alert to hazards. It chimes were simultaneously mythologized as auditory cues for spirit navigation.<br /> Yin Gong Path-Clearing: The corpse handlers strikes a specially crafted small gong(emitting a low, resonant tone) to warn the living to yield way while establishing an ominous atmosphere.<br /> <br /> Taboos and operational codes<br /> The necromantic practice adheres to strict prohibitions summarized as follows:<br /> First, the &quot; Three Permitted/ Prohibited Corpses Rule. Three Permitted Corpses are behaved(requires head reattachment), hanged, or fallen soldiers--those with &quot;unresolved grievances&quot; requiring homebound rites. Three Prohibited Corpses are deaths by illness, suicide, or lighting strike-- believed to have souls already returned to the underworld, thus unresponsive to guidance.<br /> Second, living person taboos. Civilians must avoid proximity, ostensibly to prevent &quot;disturbing the corpses&quot;, though primarily to conceal operational secrets from outsiders.<br /> Third, cockcrow and canine curfew. All processions must terminate before dawn's harbingers(rooster crows/ dog barks), retreating to covert &quot;corpse lodges&quot; to avoid daylight exposure.<br /> <br /> Cultivation of Ritual Authority Among the Ordinary People<br /> The corpse-handling profession fostered perceptions of &quot;supernatural prowess&quot; through systematic mystification, achieved via four institutionalized mechanisms: <br /> First, self-mythologization. Practitioners claimed requisite &quot;pure Yin birth charts&quot; and &quot;karmic resilience&quot;. Deliberate disfigurements(e.g. facial lesions) enhanced their &quot;spirit-medium&quot; persona.<br /> Second, initiation rites. Apprentices underwent psychological conditioning through trials like nocturnal vigils in unmarked graves and barehanded coffin exhumation, selecting candidates with nerve and precision. Successful initiates swore oath-bound adherence to operational codes.<br /> Third, Monopolized transmission. Skilled were transmitted orally within master-disciple lineages under trade secrecy protocols, preserving esoteric exclusivity and economic monopoly.<br /> Fourth, psychological deterrence. Circulated horror narratives(e.g. postmortem reanimation, corpse toxins) functioned as deterrent narratives against technical inquiries, safeguarding operational secrecy.<br /> <br /> <br /> Cultural Semiotics<br /> Concepts of Life and Death: Philosophical Interpretations<br /> The Ultimate Belief in &quot; Falling Leaves Returning to Roots&quot;<br /> Xiangxi locals firmly believe corpses must be buried in ancestral lands to allow souls to rest peacefully; otherwise, spirits become &quot;wandering ghosts&quot; due to displacement. The corpse procession fundamentally constitutes a ritual of &quot;sending souls home&quot;, manifesting the pursuit of life's integral completion.<br /> This worldview aligns with the Central Plains Han Chinese concept of &quot;resting peacefully through burial&quot;, but Xiangxi's geographical isolation fostered ritual practices infused with Miao soulway engineering(ghob xid).<br /> <br /> Blurring of Life-Death Boundaries<br /> The corpse procession ritual ambiguates the existential boundary between life and death through talismanic &quot;reanimation&quot; of corpses and bronze bell &quot;guidance&quot; for souls, reflecting primal religious beliefs in the &quot;indestructibility of the soul&quot;.<br /> Corpses are imbued with a &quot;semi-human, semi-spectral&quot; symbolism, functioning both as material remains and transient soul vessels, epitomizing a processual comprehension of mortality.<br /> <br /> Miao Animist Ritual Systems: Tripartite Communion Across Human, Divine, and Spectral Realms<br /> Fusion of Miao Animist Ritual and Taoist Liturgical Practices<br /> The &quot;Chenzhou Talisman&quot; used in corpse procession rituals embodies a synthesis of Miao Animist practices and Taoist sigil system. Operations like cinnabar-based soul stabilization and bronze bell exorcism functionally construct a bridge for tripartite communication (human-ghost-deity) through ritual implements.<br /> Corpse handlers(Laosi) operate with dual identity, technical executors(mortuary biomechanics) and ritual officiants ( cosmological mediation).<br /> <br /> Secular Adaption of Nuo Ritual Theater<br /> In Xiangxi Nuo ritual theater, the thematic focus on &quot;exorcism and epidemic expulsion&quot; shares ontological roots with the corpse procession's &quot;soul anchoring and repatriation&quot; logic. Both practices operationalize human-specter interactions through masks, ritual dances, and incantations. The corpse procession constitutes a concretized implementation of Nuo culture within mortuary practices.<br /> <br /> Social Functions: Survival Strategies of Marginalized Cultures <br /> Survival Ingenuity Confronting Geographic Constrains<br /> In Xiangxi's rugged mountains with scare roads, traditional coffin transportation proved prohibitively costly. The corpse procession method circumvented these natural constraints through minimalist and covert adaptations, exemplifying the mountain communities' context-specific survival wisdom.<br /> Industry secrecy and taboos(e.g. 'the living must not approach') functionally served to maintain technical monopolies, ensuring socioeconomic viability for marginalized groups(corpse handlers).<br /> <br /> Psychological Solace and Social Control<br /> It provided families with ritualistic assurance of &quot;intact corpse repatriation&quot;, alleviating moral anxieties stemming from dying away from ancestral lands. Through Miao ritual authority (e.g. the Three Permitted/ Prohibited Corpses Rule), standardized mortuary protocols were enforced, safeguarding communal stability.<br /> Functioning as a cultural prism, this practice refracts the intricate psyche of traditional Chinese society confronting mortality, nature and ethics--while compelling modernity to reexamine the humanistic wisdom encoded within marginalized cultural systems.<br /> <br /> Semiotic Encoding in Screen Literature<br /> Xiangxi Corpse Procession, as one of the most mystique-laden icons in Chinese folk culture, has been extensively reimagined across film, literature, and pop culture. This practice has transitioned from a regional mortuary practice into a globally recognized supernatural trope through the following representational evolution and semiotic codification within cinematic and literary contexts:<br /> <br /> Corpse Procession Depictions in Cinematic Works<br /> Archetypal Portrayals in Hongkong Jiangshi cinema<br /> Lam Ching-ying's Jiangshi Film Cycle(1980s-1990s): Lam's films Mr. Vampire and Exorcist Master systematically visually codified corpse procession rituals, crystallizing the jiangshi archetype with &quot;Qing officials robes and talisman-controlled hopping locomotion&quot;. There are also signature ritual props such as bronze bells, yellow talismans, and peach wood swords.</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=167030 2025-05-30T09:43:48Z

<p>Li Ting2: </p> <hr /> <div><br /> Abstract:<br /> This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.<br /> <br /> The Xiangxi corpse procession (or the corpse of Xiangxi technique), a unique folk cultural phenomenon in China's Xiangxi region, reflects the profound understanding of life, death, and ancestral homeland among ancient Xiangxi people. Below is an introduction to the origins and historical context of this practice from perspectives of mythology and history, practical needs, and social circumstances.<br /> <br /> <br /> Mythology and history<br /> <br /> Mythological Origins<br /> <br /> According to Miao ethnic legends, the corpse procession tradition traces its roots to the Chiyou era. Legend holds that after battling enemies along the Yellow River, Chiyou commanded his sorcerer-general to conduct soul-binding rituals, which would ritualistically guide the corpses back to their ancestral homes. This narrative, perpetuated through Miao oral traditions across generations, constitutes the symbolic genesis of the corpse precession culture.<br /> <br /> Historical Case<br /> <br /> During the Wanli period(1573-1620) of the Ming Dynasty, Peng Xiangqian, the Tusi chieftain of Baojing in Xiangxi, led 8000 local militianmen to resist the Later Jin invasion in support of Liaodong, but suffered a devasting defeat with the entire army perished. Surving Tusi leaders and Miao ritual specialists sealed the deceased solders' seven orifices with cinnabar, then performed ghunb pro(soul-summoning rites) to guide the corpses. This historical event stands as a documented case of the corpse procession being put into practical application.<br /> <br /> <br /> Practical Necessities and Sociocultural Context<br /> <br /> Geomorphological Constraints and Transportation Challenges<br /> <br /> Xiangxi, situated within the Wuling Mountain Range, featured rugged terrain that made overland transportation extremely challenging in ancient times. The corpses of those who died far from home(such as merchants, migrant laborers, and soldiers) could not be transported via conventional means, ultimately giving rise to the specialized funerary practice of corpse procession.<br /> <br /> Migration and Conflict Dynamics<br /> <br /> Qing-era Migration Waves: During the mid-Qing period, mass migrations of Xiangxi migrants to Sichuan created demand for posthumous repatriation of those who died far from ancestral lands. Hazardous waterborne transport through the Three Gorges region (hidden reefs, frequent shipwrecks), coupled with popular taboos against transporting corpses on commercial vessels, promoted the emergence of corpse procession as a ritually-sanctioned alternative.<br /> <br /> Judicial-Corpse Logistics: The Qing legal practice of Autumn Executions saw families of non-native commended prisoners burdened with exorbitant fees for bureaucratic corpse repatriation. Corpse handlers circumvented this by developing cost-effective, discreet method----utilizing herbal preservation techniques and nocturnal processions--- to return remains, thereby establishing processional protocols for the practice.<br /> <br /> Mechanics of the Corpse Procession: Decoding Ritual Protocols and Technical Artistry<br /> <br /> The practice fundamentally combines biomechanical ingenuity with witchcraft ---harnessing ancient labor wisdom for physical corpse manipulation while deploying mystical rituals to establish psychological deterrence. Below we decode its core mechanisms through technical operations, ritual choreography these two analytical dimensions:<br /> <br /> Technical Protocols: Biomechanical Solutions in Mortuary Logistics<br /> <br /> The operational framework compromises three codified subsystems:<br /> <br /> 1. Ethnobotanical Preservation<br /> The mortuary conservation system employed two primary methodologies:<br /> Ethnobotanical Preservation: Corpse handlers applied locally sourced substances from Xiangxi (including cinnabar mercuric sulfide, HgS, realgar arsenic sulfide, and so on) to corpses. Cinnabar's mercury content inhibited bacterial growth, while realgar repelled insects, slowed decomposition, and masked odors through its sulfur compounds.<br /> <br /> Desiccation Method: Historical accounts describe soaking corpses in herbal decoctions to remove bodily fluids, thereby reducing weight for easier transportation.<br /> <br /> 2.Corpse Immobilization and Transportation<br /> <br /> Corpse handlers primarily used bamboo poles to secure the corpses. Due to the specific requirements of this profession, coverings and disguises were employed to avoid detection by bystanders.<br /> Bamboo Pole Support Method: The corpse's arms were bound to two long bamboo poles, carried by two handlers positioned front and rear(typically cloaked in black). The poles' natural flexibility allowed controlled flexing, creating the visual illusion of the corpse &quot;hopping forward&quot;. The legs remained suspended mid-air. The poles' adjustable length accommodated corpses of varying heights.<br /> Concealment Techniques: The corpses wore large straw hats with talisman paper affixed to their faces. They were shrouded in black robes or palm-leaf raincoats to cover both the bamboo poles and handlers' bodies. These disguises proved particularly effective under low-light nighttime conditions, especially with limited torch illumination. Corpse handlers typically wore straw sandals, deliberately mimicking the rigid walking patterns of corpses to maintain synchronized movement rhythms.<br /> 3. Routes and Teamwork<br /> Corpse procession was a team effort, conducted at night while avoiding populated areas via mountain forest paths to minimize witnesses. Longer routes often required section-based transport:<br /> Section-based transport: Extended journeys utilized relay stations or covert route relays, divided into segments handled by separate teams to prevent physical exhaustion.<br /> Night operations: moonlight or lantern illumination was employed. Low-light conditions amplified visual misperception, reducing detection risks.<br /> <br /> Ritual Protocols: Psychological Constructs in Miao Animist Praxis<br /> <br /> The following sections will elaborate on the ritual protocols through three key aspects: talismans and ritual implements, industry taboos and operational codes, cultivation of ritual authority among the ordinary people.<br /> <br /> Talismans and ritual implements<br /> Chenzhou Talisman: Paper charms(typically bearing Taoist apotropaic symbols) affixed to corpses' foreheads and chests pre-procession. While purporting to &quot;anchor souls and stabilize spirits&quot;, their primary function was to reinforce bystander trust in ritual authority.<br /> Soul-summoning Belling: The bronze bell's rhythmic patterns served as coded signals directing pallbearers to adjust gaits or alert to hazards. It chimes were simultaneously mythologized as auditory cues for spirit navigation.</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=166896 2025-05-27T10:06:32Z

<p>Li Ting2: </p> <hr /> <div><br /> Abstract:<br /> This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.<br /> <br /> The Xiangxi corpse procession (or the corpse of Xiangxi technique), a unique folk cultural phenomenon in China's Xiangxi region, reflects the profound understanding of life, death, and ancestral homeland among ancient Xiangxi people. Below is an introduction to the origins and historical context of this practice from perspectives of mythology and history, practical needs, and social circumstances.<br /> <br /> <br /> Mythology and history<br /> <br /> Mythological Origins<br /> <br /> According to Miao ethnic legends, the corpse procession tradition traces its roots to the Chiyou era. Legend holds that after battling enemies along the Yellow River, Chiyou commanded his sorcerer-general to conduct soul-binding rituals, which would ritualistically guide the corpses back to their ancestral homes. This narrative, perpetuated through Miao oral traditions across generations, constitutes the symbolic genesis of the corpse precession culture.<br /> <br /> Historical Case<br /> <br /> During the Wanli period(1573-1620) of the Ming Dynasty, Peng Xiangqian, the Tusi chieftain of Baojing in Xiangxi, led 8000 local militianmen to resist the Later Jin invasion in support of Liaodong, but suffered a devasting defeat with the entire army perished. Surving Tusi leaders and Miao ritual specialists sealed the deceased solders' seven orifices with cinnabar, then performed ghunb pro(soul-summoning rites) to guide the corpses. This historical event stands as a documented case of the corpse procession being put into practical application.<br /> <br /> <br /> Practical Necessities and Sociocultural Context<br /> <br /> Geomorphological Constraints and Transportation Challenges<br /> <br /> Xiangxi, situated within the Wuling Mountain Range, featured rugged terrain that made overland transportation extremely challenging in ancient times. The corpses of those who died far from home(such as merchants, migrant laborers, and soldiers) could not be transported via conventional means, ultimately giving rise to the specialized funerary practice of corpse procession.<br /> <br /> Migration and Conflict Dynamics<br /> <br /> Qing-era Migration Waves: During the mid-Qing period, mass migrations of Xiangxi migrants to Sichuan created demand for posthumous repatriation of those who died far from ancestral lands. Hazardous waterborne transport through the Three Gorges region (hidden reefs, frequent shipwrecks), coupled with popular taboos against transporting corpses on commercial vessels, promoted the emergence of corpse procession as a ritually-sanctioned alternative.<br /> <br /> Judicial-Corpse Logistics: The Qing legal practice of Autumn Executions saw families of non-native commended prisoners burdened with exorbitant fees for bureaucratic corpse repatriation. Corpse handlers circumvented this by developing cost-effective, discreet method----utilizing herbal preservation techniques and nocturnal processions--- to return remains, thereby establishing processional protocols for the practice.<br /> <br /> Mechanics of the Corpse Procession: Decoding Ritual Protocols and Technical Artistry<br /> <br /> The practice fundamentally combines biomechanical ingenuity with witchcraft ---harnessing ancient labor wisdom for physical corpse manipulation while deploying mystical rituals to establish psychological deterrence. Below we decode its core mechanisms through technical operations, ritual choreography these two analytical dimensions:<br /> <br /> Technical Protocols: Biomechanical Solutions in Mortuary Logistics<br /> <br /> The operational framework compromises three codified subsystems:<br /> <br /> 1. Ethnobotanical Preservation<br /> The mortuary conservation system employed two primary methodologies:<br /> Ethnobotanical Preservation: Corpse handlers applied locally sourced substances from Xiangxi (including cinnabar mercuric sulfide, HgS, realgar arsenic sulfide, and so on) to corpses. Cinnabar's mercury content inhibited bacterial growth, while realgar repelled insects, slowed decomposition, and masked odors through its sulfur compounds.<br /> <br /> Desiccation Method: Historical accounts describe soaking corpses in herbal decoctions to remove bodily fluids, thereby reducing weight for easier transportation.<br /> <br /> 2.Corpse Immobilization and Transportation<br /> <br /> Corpse handlers primarily used bamboo poles to secure the corpses. Due to the specific requirements of this profession, coverings and disguises were employed to avoid detection by bystanders.<br /> Bamboo Pole Support Method: The corpse's arms were bound to two long bamboo poles, carried by two handlers positioned front and rear(typically cloaked in black). The poles' natural flexibility allowed controlled flexing, creating the visual illusion of the corpse &quot;hopping forward&quot;. The legs remained suspended mid-air. The poles' adjustable length accommodated corpses of varying heights.<br /> Concealment Techniques: The corpses wore large straw hats with talisman paper affixed to their faces. They were shrouded in black robes or palm-leaf raincoats to cover both the bamboo poles and handlers' bodies. These disguises proved particularly effective under low-light nighttime conditions, especially with limited torch illumination. Corpse handlers typically wore straw sandals, deliberately mimicking the rigid walking patterns of corpses to maintain synchronized movement rhythms.</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=166887 2025-05-27T08:23:10Z

<p>Li Ting2: </p> <hr /> <div><br /> Abstract:<br /> This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.<br /> <br /> The Xiangxi corpse procession (or the corpse of Xiangxi technique), a unique folk cultural phenomenon in China's Xiangxi region, reflects the profound understanding of life, death, and ancestral homeland among ancient Xiangxi people. Below is an introduction to the origins and historical context of this practice from perspectives of mythology and history, practical needs, and social circumstances.<br /> <br /> <br /> Mythology and history<br /> <br /> Mythological Origins<br /> <br /> According to Miao ethnic legends, the corpse procession tradition traces its roots to the Chiyou era. Legend holds that after battling enemies along the Yellow River, Chiyou commanded his sorcerer-general to conduct soul-binding rituals, which would ritualistically guide the corpses back to their ancestral homes. This narrative, perpetuated through Miao oral traditions across generations, constitutes the symbolic genesis of the corpse precession culture.<br /> <br /> Historical Case<br /> <br /> During the Wanli period(1573-1620) of the Ming Dynasty, Peng Xiangqian, the Tusi chieftain of Baojing in Xiangxi, led 8000 local militianmen to resist the Later Jin invasion in support of Liaodong, but suffered a devasting defeat with the entire army perished. Surving Tusi leaders and Miao ritual specialists sealed the deceased solders' seven orifices with cinnabar, then performed ghunb pro(soul-summoning rites) to guide the corpses. This historical event stands as a documented case of the corpse procession being put into practical application.<br /> <br /> <br /> Practical Necessities and Sociocultural Context<br /> <br /> Geomorphological Constraints and Transportation Challenges<br /> <br /> Xiangxi, situated within the Wuling Mountain Range, featured rugged terrain that made overland transportation extremely challenging in ancient times. The corpses of those who died far from home(such as merchants, migrant laborers, and soldiers) could not be transported via conventional means, ultimately giving rise to the specialized funerary practice of corpse procession.<br /> <br /> Migration and Conflict Dynamics<br /> <br /> Qing-era Migration Waves: During the mid-Qing period, mass migrations of Xiangxi migrants to Sichuan created demand for posthumous repatriation of those who died far from ancestral lands. Hazardous waterborne transport through the Three Gorges region (hidden reefs, frequent shipwrecks), coupled with popular taboos against transporting corpses on commercial vessels, promoted the emergence of corpse procession as a ritually-sanctioned alternative.<br /> Judicial-Corpse Logistics: The Qing legal practice of Autumn Executions saw families of non-native commended prisoners burdened with exorbitant fees for bureaucratic corpse repatriation. Corpse handlers circumvented this by developing cost-effective, discreet method----utilizing herbal preservation techniques and nocturnal processions--- to return remains, thereby establishing processional protocols for the practice.</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=166796 2025-05-23T12:39:19Z

<p>Li Ting2: </p> <hr /> <div>This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi), exploring its origins, ritual techniques, cultural significance, and modern symbolic representations. It traces the historical roots of this practice within Western Hunan's multi-ethnic communities, examines the folk wisdom behind corpse transportation methods involving spells and bamboo poles, and discusses its profound cultural reflections on concepts of life/death and family values. The study further analyzes how films and literature have shaped its mysterious image, ultimately aiming to enhance public understanding of this unique cultural phenomenon and foster appreciation for its distinctive spiritual heritage.</div>

Li Ting2 https://bou.de/u/index.php?title=User:Li_Ting2&diff=166795 2025-05-23T12:31:27Z

<p>Li Ting2: </p> <hr /> <div>This article provides a comprehensive overview of the Xiangxi corpse procession tradition(Gan Shi)</div>

Li Ting2 https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=166293 2025-04-18T09:36:03Z

<p>Li Ting2: </p> <hr /> <div>Final Exam Paper Titles<br /> #Liu Chao 簪花 ok<br /> #Tao Yao 拔罐<br /> #Zeng Zhi 手串文化<br /> #Zhang Jiaxin 哪吒精神的时代变化<br /> #Li Ting2 湘西赶尸</div>

Li Ting2 https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=166204 2025-04-11T12:12:56Z

<p>Li Ting2: /* Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations */</p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203 (Zhang Mai)<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309 <br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462（Zhao Qi）<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900 <br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317 (Wu Jiating)<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> <br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> <br /> 143. Traditional Crafts: Cloisonne 1363 <br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br /> <br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> <br /> 157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558 (She Xiao)<br /> <br /> 166. Economy: Chinese Currency Changes 1569<br /> <br /> 167. History: Wang Shouren 1573 Lv Jiahao<br /> <br /> 168. Martial Arts: Chinese Swordsman Spirit 1582<br /> <br /> 169. Cuisine: Luosifen 1593 （Chen Sisi)<br /> <br /> 170. Fine Arts: Chinese Paper Cutting 1601 <br /> <br /> 171. Science and Technology: Taobao(淘宝) 1611<br /> <br /> 172. Traditional Craft: Bronze 1623<br /> <br /> 173. Entertainment: Deyunshe 德云社 1631<br /> <br /> 174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br /> <br /> 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br /> <br /> 176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br /> <br /> 177. stage entertainment:Yuan drama 1676<br /> <br /> 178. Music and instruments: Erhu 1685<br /> <br /> 179. Traditional and Modern Views on Marriage and Love 1694 (Liu Yunxi)<br /> <br /> 180. Traditional Cuisine: Tangyuan 1701<br /> <br /> 181. Animals：Golden Monkey 1712（Xiao Yawen）<br /> <br /> 182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br /> <br /> 183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br /> <br /> 184. The Chinese tradition of ancestor worship 1740<br /> <br /> 185. Opera: Huangmei opera 1752 （Chu Hanqi）<br /> <br /> 186. The “reference” of Chinese Music 1759<br /> <br /> 187. Chinese Folk Art:Lion Dance 1767<br /> <br /> 188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br /> <br /> 189. Clothing: Vintage Clothing 1790<br /> <br /> 190. Fine arts:Kunqu Opera 1798<br /> <br /> 191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br /> <br /> 192. National Belief: the Chinese Dream 1818<br /> <br /> 193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br /> <br /> 194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br /> <br /> 195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br /> <br /> 196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> <br /> 197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br /> <br /> 198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br /> <br /> 199. Traditional Crafts: Dough Sculpture 面塑 1845<br /> <br /> 200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br /> <br /> 201. The culture of Grass cloth 夏布 1845 <br /> <br /> 202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br /> <br /> 203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br /> <br /> 204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> <br /> 205. Bride-price（彩礼） 1845 <br /> <br /> 206. Chinese science fiction movies 中国科幻片 1845<br /> <br /> 207. Shandong cuisine鲁菜 1845(Lu Wei)<br /> <br /> 208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)<br /> <br /> 209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br /> <br /> 210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br /> <br /> 211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br /> <br /> 212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br /> <br /> 213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br /> <br /> 214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br /> <br /> 215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br /> <br /> 216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br /> <br /> 217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br /> <br /> 218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br /> <br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> 220. Rice cake (年糕) 1845 （Dong Jiating）<br /> <br /> 221. Zhongyuan festival 1845 （Ou Huang）<br /> <br /> 222. Dulong: Facial tattoo (独龙族：纹面) 1845<br /> <br /> 223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br /> <br /> 224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br /> <br /> 225. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845(Li Linyao) <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845 （Liu Qi）<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br /> <br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br /> <br /> 274. God of Wealth(财神) 1845 <br /> <br /> 275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br /> <br /> 276. Nail art（美甲） 1845 （Luo Jiaxin）<br /> 277. Mirror (镜子) 1845 (Cheng Sixiang) <br /> <br /> 278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br /> <br /> 279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br /> <br /> 280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br /> <br /> 281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br /> <br /> 282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br /> <br /> 283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br /> <br /> =Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Topics for today==<br /> Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br /> <br /> You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br /> <br /> Please remember that you have to indicate the 10 topics for Friday on the course website under &quot;Session 2&quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br /> <br /> 27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br /> <br /> Tea Latte Art (Xiang Jianning)<br /> <br /> Topic 7<br /> <br /> Topic 8<br /> <br /> Topic 9<br /> <br /> Topic 10<br /> <br /> =Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br /> ==Presentations==<br /> 1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br /> <br /> 2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br /> <br /> 3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br /> <br /> 4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br /> <br /> 5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br /> <br /> 6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br /> <br /> 7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br /> <br /> ==Notes on presentations==<br /> Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br /> <br /> 1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &quot;Black tea&quot; (in English all &quot;hong cha&quot; is called &quot;black tea&quot;), British tea culture (add milk)<br /> <br /> 2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br /> <br /> 3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br /> <br /> 4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br /> <br /> 5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br /> <br /> 6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br /> <br /> 7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br /> <br /> ==Student grades: 平时成绩/签到==<br /> <br /> <br /> 75/103 students, 23级 MA翻译, class representative: Zhang Jiaxin<br /> # Jin Yichen <br /> # lu jiahui <br /> # li yuan<br /> # cao yuan<br /> # xiao luyu<br /> # zhang jiaxin +5<br /> # ye sitong<br /> # zhao yashi<br /> # jiang xinyue<br /> # yan xiang<br /> # fei xinyu <br /> # zhang qi<br /> # dai shiru<br /> # zhang zixi<br /> # zheng kaiwu<br /> # cai yichun<br /> # yang jing<br /> # liao dan<br /> # luo yan<br /> # qin yi<br /> # shao keyuan<br /> # cao chunyang<br /> # xu yangyang<br /> # liao zuoyun<br /> # cheng sixiang<br /> # du jiangping<br /> # liu qi<br /> # miao yunlong<br /> # huang qiaoqiao<br /> # chen lin<br /> # duan binyao<br /> # li ting<br /> # zeng zhi<br /> # xing xueqing<br /> # luo jingyan<br /> # liu shutian<br /> # gao xiaoqing<br /> # chen zhen<br /> # luo guoqiang -1<br /> # she xiao <br /> # he yunfeng <br /> # liu ying<br /> # du yuan <br /> # li jiayi <br /> # tao yao <br /> # xu xinwen <br /> # ou huang <br /> # liu peini<br /> # jiang ziqiang<br /> # zhang huifang<br /> # liu chao<br /> # liu yunxi <br /> # luo jiaxin<br /> # li mei<br /> # zeng xiaohui<br /> # huang yixuan<br /> # chen anqi<br /> # chen ting<br /> # zhang mai<br /> # yuan xiaolin -1-1<br /> # li mingfeng<br /> # dai yexun-1<br /> # yang pei -1<br /> # tang yan<br /> # xiang jianning<br /> # liu chang -1<br /> # wang yuxin<br /> # lv jiahao-1<br /> # dong jiating<br /> # lu wei<br /> # yang yue<br /> # guo cili<br /> # shen shuai<br /> # Ouyang yihong<br /> # li zihan -1<br /> # zuo fang<br /> # fu sihui<br /> # xiao zixin -1<br /> # zhou tianyi -1<br /> # qi zhiyang -1<br /> # liu pei <br /> # gong wei<br /> # chen sisi<br /> # huang sinan<br /> # xiao yikang<br /> # yu jingfang<br /> # luo sicheng<br /> # yang jiahong<br /> # yan jidong<br /> # xiao yawen<br /> # geng hongmei<br /> # zhou le<br /> # qiu ping<br /> # wang huaixing<br /> # wang xinyu<br /> # chu hanqi<br /> # wu jiating<br /> # zhang meiling<br /> # liu jianan<br /> # song xin<br /> # zhao qi<br /> # zheng jinlian<br /> # li linyao<br /> <br /> =Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br /> #Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]<br /> #Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]<br /> #Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br /> #Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br /> #Topic 182: Chinese Economy: rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]<br /> #Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin) [[Media:Tanghulu_Spring_2025.pptx]]<br /> #Topic 138: Social: Round Table Culture 1317 (Wu Jiating) [[Media:Round_Table_Culture_Spring_2025.pptx]]<br /> #Topic 174: Jiaozi (Liu Pei) [[Media:Dumplings_Spring_2025.pptx]]<br /> #133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)<br /> <br /> =Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br /> #Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]<br /> #Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]<br /> # Topic 131: Silk and porcelain: Silk (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]<br /> # Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]<br /> # Topic 169: Cuisine: Luosifen 1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]<br /> # Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]<br /> # Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]<br /> # Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]<br /> #133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]<br /> <br /> =Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br /> <br /> #Topic 188:Mobile Games 手游 1783 （Du Jiangping）<br /> #Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br /> #Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br /> #Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]<br /> #Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]<br /> #Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]<br /> #Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）<br /> #Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）<br /> #Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> <br /> =HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br /> 清明节4月4日——4月6日<br /> =Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=<br /> #Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）<br /> #Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]<br /> #Topic 181:Animals：Golden Monkey(Xiao Yawen)<br /> #Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> #Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> #Topic 220:Rice cake 年糕 (Dong Jiating)<br /> #Topic 208:Chinese traditional ornament: Buyao(Yang Jing)<br /> #Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]<br /> #Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]<br /> <br /> =Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br /> 242. Hunan Rice Noodles (湖南米粉） 1845 (Gong Wei)<br /> 167. History: Wang Shouren 1573 (Lv Jiahao)<br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> =HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br /> 劳动节5月1日——5月5日<br /> =Session 12 Fri May 09 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 13 Fri May 16 14:30-16:10 room 613 - Student presentations=<br /> 231. The plaque and couplet in Chinese garden（园林匾额对联）Wang Yuxin<br /> <br /> =Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 15 Fri May 30 14:30-16:10 room 613 - Student presentations=<br /> 279. Huo Qubing （霍去病） Luo Jingyan<br /> 端午节5月31日——6月2日<br /> <br /> =Session 16 Fri Jun 28 14:30-16:10 room 613 - Final Exam=<br /> Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Li Ting2 https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=166203 2025-04-11T12:10:12Z

<p>Li Ting2: /* Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations */</p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203 (Zhang Mai)<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309 <br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462（Zhao Qi）<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900 <br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317 (Wu Jiating)<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> <br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> <br /> 143. Traditional Crafts: Cloisonne 1363 <br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br /> <br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> <br /> 157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558 (She Xiao)<br /> <br /> 166. Economy: Chinese Currency Changes 1569<br /> <br /> 167. History: Wang Shouren 1573 Lv Jiahao<br /> <br /> 168. Martial Arts: Chinese Swordsman Spirit 1582<br /> <br /> 169. Cuisine: Luosifen 1593 （Chen Sisi)<br /> <br /> 170. Fine Arts: Chinese Paper Cutting 1601 <br /> <br /> 171. Science and Technology: Taobao(淘宝) 1611<br /> <br /> 172. Traditional Craft: Bronze 1623<br /> <br /> 173. Entertainment: Deyunshe 德云社 1631<br /> <br /> 174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br /> <br /> 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br /> <br /> 176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br /> <br /> 177. stage entertainment:Yuan drama 1676<br /> <br /> 178. Music and instruments: Erhu 1685<br /> <br /> 179. Traditional and Modern Views on Marriage and Love 1694 (Liu Yunxi)<br /> <br /> 180. Traditional Cuisine: Tangyuan 1701<br /> <br /> 181. Animals：Golden Monkey 1712（Xiao Yawen）<br /> <br /> 182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br /> <br /> 183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br /> <br /> 184. The Chinese tradition of ancestor worship 1740<br /> <br /> 185. Opera: Huangmei opera 1752 （Chu Hanqi）<br /> <br /> 186. The “reference” of Chinese Music 1759<br /> <br /> 187. Chinese Folk Art:Lion Dance 1767<br /> <br /> 188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br /> <br /> 189. Clothing: Vintage Clothing 1790<br /> <br /> 190. Fine arts:Kunqu Opera 1798<br /> <br /> 191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br /> <br /> 192. National Belief: the Chinese Dream 1818<br /> <br /> 193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br /> <br /> 194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br /> <br /> 195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br /> <br /> 196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> <br /> 197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br /> <br /> 198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br /> <br /> 199. Traditional Crafts: Dough Sculpture 面塑 1845<br /> <br /> 200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br /> <br /> 201. The culture of Grass cloth 夏布 1845 <br /> <br /> 202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br /> <br /> 203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br /> <br /> 204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> <br /> 205. Bride-price（彩礼） 1845 <br /> <br /> 206. Chinese science fiction movies 中国科幻片 1845<br /> <br /> 207. Shandong cuisine鲁菜 1845(Lu Wei)<br /> <br /> 208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)<br /> <br /> 209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br /> <br /> 210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br /> <br /> 211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br /> <br /> 212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br /> <br /> 213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br /> <br /> 214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br /> <br /> 215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br /> <br /> 216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br /> <br /> 217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br /> <br /> 218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br /> <br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> 220. Rice cake (年糕) 1845 （Dong Jiating）<br /> <br /> 221. Zhongyuan festival 1845 （Ou Huang）<br /> <br /> 222. Dulong: Facial tattoo (独龙族：纹面) 1845<br /> <br /> 223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br /> <br /> 224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br /> <br /> 225. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845(Li Linyao) <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845 （Liu Qi）<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br /> <br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br /> <br /> 274. God of Wealth(财神) 1845 <br /> <br /> 275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br /> <br /> 276. Nail art（美甲） 1845 （Luo Jiaxin）<br /> 277. Mirror (镜子) 1845 (Cheng Sixiang) <br /> <br /> 278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br /> <br /> 279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br /> <br /> 280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br /> <br /> 281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br /> <br /> 282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br /> <br /> 283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br /> <br /> =Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Topics for today==<br /> Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br /> <br /> You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br /> <br /> Please remember that you have to indicate the 10 topics for Friday on the course website under &quot;Session 2&quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br /> <br /> 27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br /> <br /> Tea Latte Art (Xiang Jianning)<br /> <br /> Topic 7<br /> <br /> Topic 8<br /> <br /> Topic 9<br /> <br /> Topic 10<br /> <br /> =Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br /> ==Presentations==<br /> 1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br /> <br /> 2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br /> <br /> 3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br /> <br /> 4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br /> <br /> 5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br /> <br /> 6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br /> <br /> 7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br /> <br /> ==Notes on presentations==<br /> Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br /> <br /> 1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &quot;Black tea&quot; (in English all &quot;hong cha&quot; is called &quot;black tea&quot;), British tea culture (add milk)<br /> <br /> 2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br /> <br /> 3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br /> <br /> 4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br /> <br /> 5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br /> <br /> 6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br /> <br /> 7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br /> <br /> ==Student grades: 平时成绩/签到==<br /> <br /> <br /> 75/103 students, 23级 MA翻译, class representative: Zhang Jiaxin<br /> # Jin Yichen <br /> # lu jiahui <br /> # li yuan<br /> # cao yuan<br /> # xiao luyu<br /> # zhang jiaxin +5<br /> # ye sitong<br /> # zhao yashi<br /> # jiang xinyue<br /> # yan xiang<br /> # fei xinyu <br /> # zhang qi<br /> # dai shiru<br /> # zhang zixi<br /> # zheng kaiwu<br /> # cai yichun<br /> # yang jing<br /> # liao dan<br /> # luo yan<br /> # qin yi<br /> # shao keyuan<br /> # cao chunyang<br /> # xu yangyang<br /> # liao zuoyun<br /> # cheng sixiang<br /> # du jiangping<br /> # liu qi<br /> # miao yunlong<br /> # huang qiaoqiao<br /> # chen lin<br /> # duan binyao<br /> # li ting<br /> # zeng zhi<br /> # xing xueqing<br /> # luo jingyan<br /> # liu shutian<br /> # gao xiaoqing<br /> # chen zhen<br /> # luo guoqiang -1<br /> # she xiao <br /> # he yunfeng <br /> # liu ying<br /> # du yuan <br /> # li jiayi <br /> # tao yao <br /> # xu xinwen <br /> # ou huang <br /> # liu peini<br /> # jiang ziqiang<br /> # zhang huifang<br /> # liu chao<br /> # liu yunxi <br /> # luo jiaxin<br /> # li mei<br /> # zeng xiaohui<br /> # huang yixuan<br /> # chen anqi<br /> # chen ting<br /> # zhang mai<br /> # yuan xiaolin -1-1<br /> # li mingfeng<br /> # dai yexun-1<br /> # yang pei -1<br /> # tang yan<br /> # xiang jianning<br /> # liu chang -1<br /> # wang yuxin<br /> # lv jiahao-1<br /> # dong jiating<br /> # lu wei<br /> # yang yue<br /> # guo cili<br /> # shen shuai<br /> # Ouyang yihong<br /> # li zihan -1<br /> # zuo fang<br /> # fu sihui<br /> # xiao zixin -1<br /> # zhou tianyi -1<br /> # qi zhiyang -1<br /> # liu pei <br /> # gong wei<br /> # chen sisi<br /> # huang sinan<br /> # xiao yikang<br /> # yu jingfang<br /> # luo sicheng<br /> # yang jiahong<br /> # yan jidong<br /> # xiao yawen<br /> # geng hongmei<br /> # zhou le<br /> # qiu ping<br /> # wang huaixing<br /> # wang xinyu<br /> # chu hanqi<br /> # wu jiating<br /> # zhang meiling<br /> # liu jianan<br /> # song xin<br /> # zhao qi<br /> # zheng jinlian<br /> # li linyao<br /> <br /> =Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br /> #Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]<br /> #Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]<br /> #Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br /> #Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br /> #Topic 182: Chinese Economy: rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]<br /> #Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin) [[Media:Tanghulu_Spring_2025.pptx]]<br /> #Topic 138: Social: Round Table Culture 1317 (Wu Jiating) [[Media:Round_Table_Culture_Spring_2025.pptx]]<br /> #Topic 174: Jiaozi (Liu Pei) [[Media:Dumplings_Spring_2025.pptx]]<br /> #133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)<br /> <br /> =Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br /> #Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]<br /> #Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]<br /> # Topic 131: Silk and porcelain: Silk (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]<br /> # Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]<br /> # Topic 169: Cuisine: Luosifen 1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]<br /> # Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]<br /> # Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]<br /> # Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]<br /> #133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]<br /> <br /> =Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br /> <br /> #Topic 188:Mobile Games 手游 1783 （Du Jiangping）<br /> #Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br /> #Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br /> #Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]<br /> #Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]<br /> #Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]<br /> #Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）<br /> #Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）<br /> #Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> <br /> =HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br /> 清明节4月4日——4月6日<br /> =Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=<br /> #Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）<br /> #Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]<br /> #Topic 181:Animals：Golden Monkey(Xiao Yawen)<br /> #Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> #Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> #Topic 220:Rice cake 年糕 (Dong Jiating)<br /> #Topic 208:Chinese traditional ornament: Buyao(Yang Jing)<br /> #Topic 209:Tofu meatball with nia blood(Li Ting)[[Media:Pig_Blood_Balls.pptx]]<br /> #Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]<br /> <br /> =Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br /> 242. Hunan Rice Noodles (湖南米粉） 1845 (Gong Wei)<br /> 167. History: Wang Shouren 1573 (Lv Jiahao)<br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> =HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br /> 劳动节5月1日——5月5日<br /> =Session 12 Fri May 09 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 13 Fri May 16 14:30-16:10 room 613 - Student presentations=<br /> 231. The plaque and couplet in Chinese garden（园林匾额对联）Wang Yuxin<br /> <br /> =Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 15 Fri May 30 14:30-16:10 room 613 - Student presentations=<br /> 279. Huo Qubing （霍去病） Luo Jingyan<br /> 端午节5月31日——6月2日<br /> <br /> =Session 16 Fri Jun 28 14:30-16:10 room 613 - Final Exam=<br /> Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Li Ting2 https://bou.de/u/index.php?title=File:Pig_Blood_Balls.pptx&diff=166202 2025-04-11T12:08:37Z

<p>Li Ting2: </p> <hr /> <div></div>

Li Ting2 https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=166201 2025-04-11T12:08:20Z

<p>Li Ting2: /* Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations */</p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203 (Zhang Mai)<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309 <br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462（Zhao Qi）<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900 <br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317 (Wu Jiating)<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> <br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> <br /> 143. Traditional Crafts: Cloisonne 1363 <br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br /> <br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> <br /> 157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558 (She Xiao)<br /> <br /> 166. Economy: Chinese Currency Changes 1569<br /> <br /> 167. History: Wang Shouren 1573 Lv Jiahao<br /> <br /> 168. Martial Arts: Chinese Swordsman Spirit 1582<br /> <br /> 169. Cuisine: Luosifen 1593 （Chen Sisi)<br /> <br /> 170. Fine Arts: Chinese Paper Cutting 1601 <br /> <br /> 171. Science and Technology: Taobao(淘宝) 1611<br /> <br /> 172. Traditional Craft: Bronze 1623<br /> <br /> 173. Entertainment: Deyunshe 德云社 1631<br /> <br /> 174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br /> <br /> 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br /> <br /> 176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br /> <br /> 177. stage entertainment:Yuan drama 1676<br /> <br /> 178. Music and instruments: Erhu 1685<br /> <br /> 179. Traditional and Modern Views on Marriage and Love 1694 (Liu Yunxi)<br /> <br /> 180. Traditional Cuisine: Tangyuan 1701<br /> <br /> 181. Animals：Golden Monkey 1712（Xiao Yawen）<br /> <br /> 182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br /> <br /> 183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br /> <br /> 184. The Chinese tradition of ancestor worship 1740<br /> <br /> 185. Opera: Huangmei opera 1752 （Chu Hanqi）<br /> <br /> 186. The “reference” of Chinese Music 1759<br /> <br /> 187. Chinese Folk Art:Lion Dance 1767<br /> <br /> 188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br /> <br /> 189. Clothing: Vintage Clothing 1790<br /> <br /> 190. Fine arts:Kunqu Opera 1798<br /> <br /> 191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br /> <br /> 192. National Belief: the Chinese Dream 1818<br /> <br /> 193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br /> <br /> 194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br /> <br /> 195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br /> <br /> 196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> <br /> 197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br /> <br /> 198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br /> <br /> 199. Traditional Crafts: Dough Sculpture 面塑 1845<br /> <br /> 200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br /> <br /> 201. The culture of Grass cloth 夏布 1845 <br /> <br /> 202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br /> <br /> 203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br /> <br /> 204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> <br /> 205. Bride-price（彩礼） 1845 <br /> <br /> 206. Chinese science fiction movies 中国科幻片 1845<br /> <br /> 207. Shandong cuisine鲁菜 1845(Lu Wei)<br /> <br /> 208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)<br /> <br /> 209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br /> <br /> 210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br /> <br /> 211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br /> <br /> 212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br /> <br /> 213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br /> <br /> 214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br /> <br /> 215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br /> <br /> 216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br /> <br /> 217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br /> <br /> 218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br /> <br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> 220. Rice cake (年糕) 1845 （Dong Jiating）<br /> <br /> 221. Zhongyuan festival 1845 （Ou Huang）<br /> <br /> 222. Dulong: Facial tattoo (独龙族：纹面) 1845<br /> <br /> 223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br /> <br /> 224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br /> <br /> 225. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845(Li Linyao) <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845 （Liu Qi）<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br /> <br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br /> <br /> 274. God of Wealth(财神) 1845 <br /> <br /> 275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br /> <br /> 276. Nail art（美甲） 1845 （Luo Jiaxin）<br /> 277. Mirror (镜子) 1845 (Cheng Sixiang) <br /> <br /> 278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br /> <br /> 279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br /> <br /> 280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br /> <br /> 281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br /> <br /> 282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br /> <br /> 283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br /> <br /> =Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Topics for today==<br /> Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br /> <br /> You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br /> <br /> Please remember that you have to indicate the 10 topics for Friday on the course website under &quot;Session 2&quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br /> <br /> 27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br /> <br /> Tea Latte Art (Xiang Jianning)<br /> <br /> Topic 7<br /> <br /> Topic 8<br /> <br /> Topic 9<br /> <br /> Topic 10<br /> <br /> =Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br /> ==Presentations==<br /> 1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br /> <br /> 2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br /> <br /> 3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br /> <br /> 4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br /> <br /> 5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br /> <br /> 6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br /> <br /> 7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br /> <br /> ==Notes on presentations==<br /> Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br /> <br /> 1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &quot;Black tea&quot; (in English all &quot;hong cha&quot; is called &quot;black tea&quot;), British tea culture (add milk)<br /> <br /> 2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br /> <br /> 3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br /> <br /> 4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br /> <br /> 5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br /> <br /> 6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br /> <br /> 7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br /> <br /> ==Student grades: 平时成绩/签到==<br /> <br /> <br /> 75/103 students, 23级 MA翻译, class representative: Zhang Jiaxin<br /> # Jin Yichen <br /> # lu jiahui <br /> # li yuan<br /> # cao yuan<br /> # xiao luyu<br /> # zhang jiaxin +5<br /> # ye sitong<br /> # zhao yashi<br /> # jiang xinyue<br /> # yan xiang<br /> # fei xinyu <br /> # zhang qi<br /> # dai shiru<br /> # zhang zixi<br /> # zheng kaiwu<br /> # cai yichun<br /> # yang jing<br /> # liao dan<br /> # luo yan<br /> # qin yi<br /> # shao keyuan<br /> # cao chunyang<br /> # xu yangyang<br /> # liao zuoyun<br /> # cheng sixiang<br /> # du jiangping<br /> # liu qi<br /> # miao yunlong<br /> # huang qiaoqiao<br /> # chen lin<br /> # duan binyao<br /> # li ting<br /> # zeng zhi<br /> # xing xueqing<br /> # luo jingyan<br /> # liu shutian<br /> # gao xiaoqing<br /> # chen zhen<br /> # luo guoqiang -1<br /> # she xiao <br /> # he yunfeng <br /> # liu ying<br /> # du yuan <br /> # li jiayi <br /> # tao yao <br /> # xu xinwen <br /> # ou huang <br /> # liu peini<br /> # jiang ziqiang<br /> # zhang huifang<br /> # liu chao<br /> # liu yunxi <br /> # luo jiaxin<br /> # li mei<br /> # zeng xiaohui<br /> # huang yixuan<br /> # chen anqi<br /> # chen ting<br /> # zhang mai<br /> # yuan xiaolin -1-1<br /> # li mingfeng<br /> # dai yexun-1<br /> # yang pei -1<br /> # tang yan<br /> # xiang jianning<br /> # liu chang -1<br /> # wang yuxin<br /> # lv jiahao-1<br /> # dong jiating<br /> # lu wei<br /> # yang yue<br /> # guo cili<br /> # shen shuai<br /> # Ouyang yihong<br /> # li zihan -1<br /> # zuo fang<br /> # fu sihui<br /> # xiao zixin -1<br /> # zhou tianyi -1<br /> # qi zhiyang -1<br /> # liu pei <br /> # gong wei<br /> # chen sisi<br /> # huang sinan<br /> # xiao yikang<br /> # yu jingfang<br /> # luo sicheng<br /> # yang jiahong<br /> # yan jidong<br /> # xiao yawen<br /> # geng hongmei<br /> # zhou le<br /> # qiu ping<br /> # wang huaixing<br /> # wang xinyu<br /> # chu hanqi<br /> # wu jiating<br /> # zhang meiling<br /> # liu jianan<br /> # song xin<br /> # zhao qi<br /> # zheng jinlian<br /> # li linyao<br /> <br /> =Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br /> #Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]<br /> #Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]<br /> #Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br /> #Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br /> #Topic 182: Chinese Economy: rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]<br /> #Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin) [[Media:Tanghulu_Spring_2025.pptx]]<br /> #Topic 138: Social: Round Table Culture 1317 (Wu Jiating) [[Media:Round_Table_Culture_Spring_2025.pptx]]<br /> #Topic 174: Jiaozi (Liu Pei) [[Media:Dumplings_Spring_2025.pptx]]<br /> #133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)<br /> <br /> =Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br /> #Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]<br /> #Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]<br /> # Topic 131: Silk and porcelain: Silk (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]<br /> # Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]<br /> # Topic 169: Cuisine: Luosifen 1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]<br /> # Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]<br /> # Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]<br /> # Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]<br /> #133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]<br /> <br /> =Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br /> <br /> #Topic 188:Mobile Games 手游 1783 （Du Jiangping）<br /> #Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br /> #Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br /> #Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]<br /> #Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]<br /> #Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]<br /> #Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）<br /> #Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）<br /> #Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> <br /> =HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br /> 清明节4月4日——4月6日<br /> =Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=<br /> #Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）<br /> #Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]<br /> #Topic 181:Animals：Golden Monkey(Xiao Yawen)<br /> #Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> #Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> #Topic 220:Rice cake 年糕 (Dong Jiating)<br /> #Topic 208:Chinese traditional ornament: Buyao(Yang Jing)<br /> #Topic 209:Tofu meatball with nia blood(Li Ting)[[Media:Pig Blood Balls.pptx]]<br /> #Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]<br /> <br /> =Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br /> 242. Hunan Rice Noodles (湖南米粉） 1845 (Gong Wei)<br /> 167. History: Wang Shouren 1573 (Lv Jiahao)<br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> =HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br /> 劳动节5月1日——5月5日<br /> =Session 12 Fri May 09 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 13 Fri May 16 14:30-16:10 room 613 - Student presentations=<br /> 231. The plaque and couplet in Chinese garden（园林匾额对联）Wang Yuxin<br /> <br /> =Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 15 Fri May 30 14:30-16:10 room 613 - Student presentations=<br /> 279. Huo Qubing （霍去病） Luo Jingyan<br /> 端午节5月31日——6月2日<br /> <br /> =Session 16 Fri Jun 28 14:30-16:10 room 613 - Final Exam=<br /> Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Li Ting2 https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=165241 2025-02-22T06:00:18Z

<p>Li Ting2: /* Homework for Session 2 */</p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71<br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145<br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301<br /> <br /> 34. Confucianism: Confucian Culture 309<br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 (Duan Binyao)<br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 (Duan Binyao)<br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900<br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> 143. Traditional Crafts: Cloisonne 1363<br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373<br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423（Chen Lin）<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480<br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491<br /> 157. Traditional Cuisine: Hotpot 1501<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558<br /> <br /> 166. Economy: Chinese Currency Changes 1569<br /> <br /> 167. History: Wang Shouren 1573<br /> <br /> 168. Martial Arts: Chinese Swordsman Spirit 1582<br /> <br /> 169. Cuisine: Luosifen 1593 （Zeng Zhi）<br /> <br /> 170. Fine Arts: Chinese Paper Cutting 1601<br /> <br /> 171. Science and Technology: Taobao(淘宝) 1611<br /> <br /> 172. Traditional Craft: Bronze 1623<br /> <br /> 173. Entertainment: Deyunshe 德云社 1631<br /> <br /> 174. Traditional Cuisine: Jiaozi 1644<br /> <br /> 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br /> <br /> 176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664<br /> <br /> 177. stage entertainment:Yuan drama 1676<br /> <br /> 178. Music and instruments: Erhu 1685<br /> <br /> 179. Traditional and Modern Views on Marriage and Love 1694<br /> <br /> 180. Traditional Cuisine: Tangyuan 1701<br /> <br /> 181. Animals：Golden Monkey 1712<br /> <br /> 182. Chinese Economy: rich businessmen 1719<br /> <br /> 183. Opera: Chinese Local Operas 1727<br /> <br /> 184. The Chinese tradition of ancestor worship 1740<br /> <br /> 185. Opera: Huangmei opera 1752<br /> <br /> 186. The “reference” of Chinese Music 1759<br /> <br /> 187. Chinese Folk Art:Lion Dance 1767<br /> <br /> 188. Science and Technology: Mobile Games（手游） 1783<br /> <br /> 189. Clothing: Vintage Clothing 1790<br /> <br /> 190. Fine arts:Kunqu Opera 1798<br /> <br /> 191. Aesthetic ideals and social customs: The Culture of Flowers 1807<br /> <br /> 192. National Belief: the Chinese Dream 1818<br /> <br /> 193. Science and Technology: Buytogether（PDD) 1825<br /> <br /> 194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br /> <br /> 195. Sports: Cuju (蹴鞠) 1845<br /> <br /> 196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845<br /> <br /> 197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845<br /> <br /> 198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br /> <br /> 199. Traditional Crafts: Dough Sculpture 面塑 1845<br /> <br /> 200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845<br /> <br /> 201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)<br /> <br /> 202. The Legend of Zhen Huan 《甄嬛传》 1845 （Xing Xueqing）<br /> <br /> 203. Chinese horror movies 中式恐怖片 1845<br /> <br /> 204. Stand-up comedy 单口喜剧 1845<br /> <br /> 205. Bride-price（彩礼） 1845<br /> <br /> 206. Chinese science fiction movies 中国科幻片 1845<br /> <br /> 207. Shandong cuisine鲁菜 1845<br /> <br /> 208. Chinese traditional ornament: Buyao （步摇） 1845<br /> <br /> 209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br /> <br /> 210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br /> <br /> 211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br /> <br /> 212. Education：training Schools （教育：补习班） 1845<br /> <br /> 213. Chinese Dreamcore (中式梦核) 1845<br /> <br /> 214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br /> <br /> 215. Live Streaming E-commerce（直播电商） 1845<br /> <br /> 216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845<br /> <br /> 217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845<br /> <br /> 218. Guangdong Herbal tea（广东凉茶） 1845<br /> <br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> 220. Rice cake (年糕) 1845<br /> <br /> 221. Zhongyuan festival 1845<br /> <br /> 222. Dulong: Facial tattoo (独龙族：纹面) 1845<br /> <br /> 223. The Return of the Pearl Princess（还珠格格） 1845<br /> <br /> 224. Chinese Food：Jiangxi Cuisine（赣菜） 1845<br /> <br /> 225. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845<br /> <br /> 230. Gayageum（伽倻琴） 1845<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845<br /> <br /> 232. Sun Wukong（孙悟空） 1845<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845<br /> <br /> 235. Bamboo Weaving (竹编） 1845<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845<br /> <br /> 239. Female Emperor---Wu Zetian 1845<br /> <br /> 240. Clay sculpture (泥塑） 1845<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 <br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845<br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845<br /> <br /> 247. Carved lacquer（雕漆） 1845<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845<br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) 1845<br /> <br /> 263. Shaolin Temple (少林寺) 1845<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845<br /> <br /> 271. Palace Lantern（宫灯） 1845<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br /> <br /> 274. God of Wealth(财神) 1845 （Zeng Zhi）<br /> <br /> 275. Zhuazhou（抓周） 1845<br /> <br /> 276. Nail art（美甲） 1845<br /> <br /> 277. Mirror (镜子) 1845<br /> <br /> 278. The Beef Board Noodle (牛肉板面) 1845<br /> <br /> 279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br /> <br /> 280. Chinese Courtyard Houses（中国四合院） 1845<br /> <br /> 281. Music and instruments: Yangqin（扬琴） 1845<br /> <br /> 282. Black Myth: Wukong（黑神话 悟空） 1845<br /> <br /> 283. Guangdong Morning Tea Culture （广东早茶文化） 1845<br /> <br /> =Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=<br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Topics for today==<br /> Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br /> <br /> =Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=<br /> =Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=<br /> =Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=<br /> =Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=<br /> =HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=<br /> 清明节4月4日——4月6日<br /> =Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=<br /> =Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=<br /> =Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=<br /> =HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=<br /> 劳动节5月1日——5月5日<br /> =Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=<br /> =Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=<br /> =Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=<br /> =Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=<br /> 端午节5月31日——6月2日<br /> =Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=<br /> Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Li Ting2