Difference between revisions of "Main Page"

From China Studies Wiki
Jump to navigation Jump to search
Line 1: Line 1:
−
==Final Paper==
+
My name is Liaoruting, I am from Guigang, Guangxi. I studied Korean language at Yanbian University for my undergraduate degree. Currently, I am a graduate student specializing in Korean translation at Hunan Normal University. I have a solid grasp of language theories and translation practices, and I am willing to contribute professional strength to the cultural exchanges between the two countries.
  
−
===Yulin Invitation===
+
==Final Exam Paper==
  
−
==== The Custom Theme: A Centerpiece Dish Carrying the History and Local Sentiments of Huxiang Culture ====
+
===Zhuang People's San Yue San (Third Day of the Third Lunar Month)===
  
−
The Hengyang "Tutouwan" (Earthen Head Bowl), elegantly named "Yulin Invitation," also known as "Pagoda Invitation" or "Seven-Story Tower," is the iconic first major course in the banquet culture of the Hengyang region in Hunan. It is not an ordinary home-style dish but an edible "pagoda" that condenses craftsmanship, history, and profound emotion. Magnificent in form and lavish in ingredients, it typically requires seven different types of ingredients to be individually cooked through multiple techniques such as deep-frying, steaming, and stir-frying. These are then meticulously layered in a specific order within a specially made large bowl, forming a pagoda shape that is wide at the bottom and pointed at the top; the finished product can weigh up to three kilograms. Its central status is evidenced by the folk proverb from Hengshan: "Without the head bowl, there is no banquet." It transcends mere sustenance to become a cultural symbol connecting local historical memory, familial ethical bonds, and social interaction rituals. It is a vivid key to interpreting Huxiang culture, particularly the regional character and customs of Hengyang.
+
====Introduction====
  
 +
The Shangsi Festival is one of China's ancient festivals. Commonly known as "San Yue San" (Third Day of the Third Lunar Month), it was historically called the Shangsi Festival and also known as the Spring Bathing Day. After the Wei and Jin Dynasties, the Shangsi Festival was changed to the third day of the third lunar month; later generations followed this custom, and it became a festival for feasting by the water and spring outings in the suburbs. After the Song Dynasty, the festival gradually vanished, but in regions like Guangxi, the tradition of celebrating "San Yue San" is still preserved today. Nowadays, "San Yue San" is a traditional festival of the Zhuang people and is listed in the National List of Intangible Cultural Heritage. In Guangxi, the Zhuang people affectionately call it the "Song Festival" or "Song Fair Festival" (Gexu Festival). On this day, the Zhuang people worship their ancestors, sing and dance, and look for their destined partners. "San Yue San" is not only a grand banquet in spring but also a brilliant blooming of Zhuang culture.
  
−
The cultural connotations of Yulin Invitation are extremely rich and can be analyzed from multiple dimensions such as its historical origins, meticulous craftsmanship, banquet etiquette, emotional significance, and contemporary inheritance.
+
====The Origin of the Festival: Animism and the Praise of Life====
  
 +
The embryonic form of the Zhuang people's San Yue San can be traced back to the Han people's Shangsi Festival, anciently called "Spring Bathing Day" or "Fuxi Festival" (Purification Festival). It was first recorded in the Rites of Zhou and was an ancient festival in the Central Plains for sacrificial purification and riverside banquets. After the Wei and Jin Dynasties, it was gradually fixed on the third day of the third lunar month, featuring customs like "Qu Shui Liu Shang" (floating wine cups along a winding stream) and "Ta Qing You Chun" (spring outings). After the Song Dynasty, the Shangsi Festival in the Central Plains gradually declined, though customs of dispelling disasters and warding off evil on the third day of the third month remained in various parts of China during the Republic of China era. Thereafter, the three festivals of "Cold Food," "Qingming," and "Shangsi" showed a tendency to merge, eventually resulting in "Shangsi" and "Cold Food" being incorporated into "Qingming." Today, the Shangsi Festival is little known in most parts of China, but for some ethnic minorities in Southwest China, it remains a solemn and grand festival.
 +
This festival custom spread to the Lingnan region with the migration of ethnic groups and merged deeply with the indigenous culture of the Zhuang people. The core cultural essence of the Zhuang San Yue San stems from the ethnic group's worship of Buluotuo (the creation ancestor) and Muluoja (the mother goddess). According to the Zhuang ancient text Buluotuo Scriptures, the third day of the third month is the birthday of Buluotuo. On this day, the Zhuang ancestors would worship the first ancestor, praying for favorable weather and the proliferation of the tribe. This belief transformed San Yue San from a simple seasonal folk custom into a cultural festival carrying the historical memory of the ethnic group. It can be said that the devout beliefs of the ancestors constructed a rich and profound cultural connotation and spiritual background for the formation and inheritance of San Yue San.
  
−
==== Historical Origins: From a Minister's Banquet to a Folk Feast ====
+
====The Core of the Festival: Conveying Feelings through Song====
  
−
The birth and dissemination of Yulin Invitation are closely linked to Peng Yulin, a famous general of the Hunan Army in the late Qing Dynasty, endowing the dish with profound historical depth. According to widely circulated accounts, when Peng Yulin returned to his hometown to banquet distinguished guests or reward naval troops, he specifically instructed his household chefs to create a "head bowl dish" with abundant, layered ingredients by combining various local Hengyang snacks, in order to express grand hospitality and display momentum. As the dish was created under Peng Yulin's direction and named after him, it is called "Yulin Invitation" (Yulin Xiangyao). Another account relates to another Hunan Army leader, Zeng Guofan, stating that this bowl was the first course served at a grand feast for soldiers before they marched east from Hengyang, hence the name "Head Bowl" (Touwan).
+
The Song Fair Festival (Gexu Festival): "Ge" refers to folk songs (mountain songs), and "Xu" refers to a market. People singing folk songs in antiphonal style at the market is the soul that makes this festival vivid and alive.
 +
Regarding the origin of the Song Fair, there are many interesting legends among the folk, among which the story of Liu Sanjie is widely circulated. Liu Sanjie, revered as the "Song God" or "Song Fairy," often used folk songs to praise labor and love while profoundly exposing the crimes of the rich landlords. On the third day of the third lunar month one year, while Liu Sanjie was cutting firewood on the mountain, a landlord sent men to cut the mountain vines, causing her to fall from the cliff to her death. To commemorate this Song Fairy, later generations gathered to sing on this day, and thus the Song Fair was formed.
 +
In local chronicles of the Ming and Qing Dynasties (such as the Guangxi General Chronicle), it is recorded that in the Zhuang areas of Guangxi, "On the third day of the third month, men and women gather to sing for pleasure." By this time, San Yue San had become a "Song Fair Festival" for conveying emotions and narrating events through song. After the Republic of China era, this custom continued to be passed down in Zhuang-inhabited areas. In 1984, Guangxi officially designated San Yue San as a traditional festival for the Zhuang people, and in 2014, its folk activities were included in the National List of Intangible Cultural Heritage.
 +
In the past, young Zhuang men and women often used the Song Fair on San Yue San as a social occasion to meet the opposite sex. Impromptu folk songs served as the bond and bridge for them to meet, inquire, praise, and pledge their love. In addition, the content of the antiphonal songs was not limited to love songs but also covered current politics, life, and other aspects. The content was all-encompassing: historical legends, life wisdom, and production knowledge; these contents tested the knowledge reserves and reaction capabilities of the singers. Nowadays, Song Fairs in areas like Wuming and Jingxi in Guangxi still retain the folk tradition of singing across mountains.
  
 +
====The Colors of the Festival: Delicacies on the Tongue, Brocade at the Fingertips====
  
−
This dish, originating from official households and military feasts, later flowed into folk society and quickly took root in banquets for weddings, funerals, and annual festivals in the Hengyang region, becoming an indispensable "headliner." This top-down transmission imbued the dish itself with the connotations of "grandeur" and "special courtesy." Its "pagoda" shape is bestowed with the auspicious meanings of "steady promotion" and "life thriving day by day," while the gathering of rich ingredients in one bowl symbolizes "reunion, completeness, and family happiness."
+
San Yue San features rhythmic and lively songs, as well as its own unique and distinct material cultural symbols.
 +
1.Five-colored Glutinous Rice: This is the traditional festive food of San Yue San. People use plants like maple leaves, red-blue grass, and yellow ginger to dye glutinous rice into five colors: black, yellow, red, purple, and white. Glutinous rice soaked in plant juices and steamed in this way is not only brightly colored and fragrant but also highly appetizing. The Zhuang people believe that five-colored glutinous rice symbolizes happiness, beauty, harmony, auspiciousness, and good luck, embodying people's simple pursuit of a happy life and abundant harvests. In addition, people use five-colored glutinous rice to entertain distinguished guests or as one of the offerings for ancestor worship.
 +
2.Painted Eggs: People dye boiled chicken or duck eggs into bright red or purple. Children play a game called "Egg Knocking" (Peng Caidan); the winner is the one whose eggshell remains unbroken after the collision. People regard this as a beautiful symbol of peace and good luck.
 +
3.Embroidered Balls (Xiuqiu): Beautiful Zhuang brocade is woven into exquisite embroidered balls; soft embroidered balls create destined matches. The embroidered ball is a token of love and a mascot for the Zhuang people. During San Yue San, girls throw their carefully made embroidered balls. If their beloved catches it steadily, a beautiful relationship begins. Amidst historical changes, the past activity of throwing embroidered balls for betrothal has evolved into an interesting sports activity within Guangxi today.
  
 +
====The Activities of the Festival: Rich Activities, Dynamic Inheritance====
  
−
==== Production Craft: Ingenuity and Wisdom Between the Layers ====
+
During the San Yue San festival, besides antiphonal singing and throwing embroidered balls, there are other lively and interesting folk activities.
 +
1.Snatching Firecrackers (Qiang Huapao): This is one of the important traditional festival activities of the Zhuang people. In the activity, people place a firecracker ring (Huapao) containing colorful confetti and small gifts. When the cannon sounds, people compete to snatch it. The person who snatches it receives rewards and blessings from the crowd.
 +
2.Beating the Shoulder Pole / Bamboo Pole Dance: This is a traditional dance of the Zhuang people. The crowd holds shoulder poles and strikes them against each other, or opens and closes bamboo poles. Dancers jump and weave through the rhythm. The scene is extremely lively, and the atmosphere is cheerful and enthusiastic.
 +
3.Displaying Zhuang Costumes: Zhuang women wear their most gorgeous and exquisite traditional Zhuang costumes on this day, wearing shining silver ornaments on their heads, proudly displaying exquisite Zhuang brocade and excellent craftsmanship.
  
−
The making of Yulin Invitation can be described as a complex and precise systematic project, rich in ritual sense, centrally reflecting the diversity of Hunan cuisine cooking techniques (steaming, boiling, deep-frying, stir-frying, etc.) and the ingenuity of Hengyang chefs.
+
====The Evolution of the Festival: From a Single Ethnic Celebration to a Regional Shared Gala====
  
 +
With the passage of time, the "San Yue San" festival has undergone many changes that conform to the trends of the times.
 +
1.Statutory Holiday: Since 2014, Guangxi has designated "Zhuang San Yue San" as a public holiday for the entire region, usually arranging a two-day compensatory leave, allowing people to devote themselves wholeheartedly to this grand festival.
 +
2.Diversification of Content: Festival activities have expanded from traditional rural Song Fairs to city squares, scenic spots, and campuses. The content of activities has also been greatly enriched, forming a comprehensive cultural gathering integrating ethnic song and dance performances, intangible cultural heritage displays, sports competitions, food markets, and tourism promotion.
 +
3.Sharing and Fusion: Today's "San Yue San" is not a festival exclusive to the Zhuang people, but a festive occasion celebrated jointly by the Han, Yao, Miao, Dong, and other ethnic groups in Guangxi.
  
−
Its most prominent feature is the unique "pagoda" shape, typically consisting of seven layers, hence the alternative name "Seven-Story Tower." This seven-layer structure is not randomly piled; each layer has its fixed ingredients, shape, and flavor role, together forming a harmonious whole. The structure of a classic, complete Yulin Invitation is as follows:
+
====Conclusion====
−
 
 
−
 
 
−
· Layer 1 (Foundation): Deep-fried Taro Slices. Taro is cut into diamond-shaped thin slices and deep-fried until golden. This layer is the base of the pagoda, symbolizing a solid foundation and stability.
 
−
 
 
−
· Layer 2: Steamed Sliced Pork Belly. Skin-on pork belly is marinated, steamed until cooked, and arranged on top of the taro. Its fats moisten the lower layers during subsequent steaming, adding aroma and richness.
 
−
 
 
−
· Layer 3: Water Chestnut Meatballs. Made from minced water chestnuts mixed with fatty pork paste and deep-fried, offering a crispy exterior, tender and crunchy interior, with a sweet freshness that cuts through grease.
 
−
 
 
−
· Layer 4: 'Yellow Sparrow' Meat. This is a local Hengyang term, actually referring to triangular meat slices coated in batter and deep-fried until golden. It is key to supporting the bowl's "façade," being fragrant and crispy.
 
−
 
 
−
· Layer 5: Egg Rolls. Thin egg crepes are wrapped around meat paste, rolled, steamed, and then sliced. They are visually appealing with yellow and white hues and have a savory taste.
 
−
 
 
−
· Layer 6: Olive-Shaped Fish Balls. Made from fresh fish meat minced into a paste, shaped like olives. Achieving an extremely tender, springy, and bouncy texture is one of the technical challenges.
 
−
 
 
−
· Layer 7 (The Crown): Phoenix-Tail Kidney Flowers. This is the "crown" of the entire dish. Pork kidneys must be meticulously cleaned, rid of any unpleasant odor, and cut into delicate phoenix-tail patterns. They are then quick-fried over high heat with ingredients like sliced daylily buds and mushrooms, finally placed atop the six steamed layers. The kidneys are tender, crisp, and aromatic, providing the finishing touch.
 
−
 
 
−
 
 
−
All these separately prepared ingredients are neatly arranged in a specially made large bowl up to 400 millimeters in diameter. After adding a rich broth, the final step involves at least one hour of intense steam-basket steaming, allowing the flavors of each layer to meld completely. It is worth mentioning that, contrary to the stereotypical impression that Hunan cuisine must be spicy, authentic Yulin Invitation does not include chili peppers, aiming to highlight the rich, layered original flavors and complex aroma of the ingredients themselves.
 
−
 
 
−
 
 
−
==== Cultural Significance: The Core of the Banquet and an Emotional Bond ====
 
−
 
 
−
In the social life of Hengyang, the cultural significance of Yulin Invitation far surpasses mere sustenance. First, it is the absolute ceremonial core of the banquet. As the first course, its arrival marks the official start of the feast, encapsulated in the saying, "Only when the head bowl steams with heat is the banquet truly complete." Placed at the center of the table, its majestic shape and rising steam immediately create a collective atmosphere of grandeur, celebration, and abundance. Whether for weddings, birthdays, New Year celebrations, or homecoming feasts for returning natives, the presence of the "head bowl" serves as the most direct testament to the banquet's standard and the host's sincerity. Secondly, it is a vessel for family memory and local sentiment. For many Hengyang people, the taste of the "Tutouwan" is synonymous with childhood, family, and the flavor of the New Year. In times of less material abundance, this substantial, labor-intensive dish was typically only prepared by elders for the most important family gatherings. The act of the whole family sitting together to share the "head bowl" imbues it with the joyful meaning of reunion. For those who have left their hometown, this bowl of food carries their nostalgia; tasting it feels like reconnecting with their native land and loved ones.
 
−
 
 
−
 
 
−
==== Conclusion ====
 
−
 
 
−
As times change, the inheritance of Yulin Invitation faces new circumstances. On one hand, its value has gained official recognition and protection. In 2021, related production techniques represented by "Hengdong Local Cuisine" were included in the extended list of Hunan Provincial Intangible Cultural Heritage representative projects. As its soul dish, the core techniques of Yulin Invitation (Tutouwan)—"local ingredients, local methods, local charm"—have been systematically documented and passed down.
 
−
 
 
−
 
 
−
On the other hand, its form of existence is also undergoing adaptive changes. In the fast-paced modern life, the scene of families making the entire "Tutouwan" from scratch is less common, but its demand in restaurants and the pre-made food market is growing. Many local restaurants feature it as their signature dish, and some food companies have developed pre-made versions for easy home reheating, allowing this traditional grand dish to more conveniently enter modern dining tables and continue its function of emotional connection. Although some lament that the taste of pre-made products is "barely satisfactory," the form of families gathering around the table to share the "head bowl" and its emotional core are still tenaciously preserved.
 
−
 
 
−
 
 
−
From the ingenuity of Peng Yulin's hospitality, to the grand headliner of folk banquets, and now to a cultural landmark on the intangible cultural heritage dining table, the vitality of Yulin Invitation (Hengyang Tutouwan) lies in its enduring nature as a bowl of "warm" food. Its warmth comes not only from the rush of steam when the lid is lifted but, more importantly, from the profound historical memory, family ethics, and inextricable local affection carried between its层层 layers.
 
  
 +
In short, the Zhuang "San Yue San" is a festival rich in connotation and full of vitality. It is like a folk song that can never be finished; within the ancient main melody, new notes of the era are constantly integrated, radiating vigorous vitality year after year on the land of Guangxi.
  
 
===References===
 
===References===
  
−
[1]杨兴东.故乡的味道，就在年夜饭里[N].湖南日报,2024-02-10(002). DOI:10.28360/n.cnki.nhnbr.2024.001076.
+
[1]黄秋红.基于教育视角的壮族歌圩文化家庭传承研究[D].云南师范大学,2021.DOI:10.27459/d.cnki.gynfc.2021.000241.  
−
 
 
−
[2]王楠.湖南省衡阳市：发力农特美食拓展产业市场[N].中国城市报,2023-01-30(A08). DOI:10.28056/n.cnki.nccsb.2023.000038.  
 
  
−
[3]李茁,徐德荣,唐曦,等.“衡阳菜”，最是人间滋味长[N].湖南日报,2022-08-22(001). DOI:10.28360/n.cnki.nhnbr.2022.004629.  
+
[2]闫雪梅. 广西少数民族地区植物染研学旅行课程设计与开发[J].歌海,2021,(03):80-84.
  
−
[4]百度百科. 宝塔香腰[EB/OL]. https://baike.baidu.com/item/宝塔香腰.
+
[3]李雨濛.布依族“三月三”音乐文化传承研究[D].贵州师范大学,2020.DOI:10.27048/d.cnki.ggzsu.2020.000504.  
  
−
[5]人民网. 寻味三湘·衡美味 | “土头碗” 一碗盛满衡阳情！[EB/OL]. http://hn.people.com.cn/n2/2025/0723/c356888-41300045.html?_refluxos=a10
+
[4]张萍,王溯,杨海晨. 少数民族民间体育节事的发展——以广西马山县壮族会鼓文化节为例[J].社会科学家,2018,(11):156-160.
  
 +
[5]王曼.中国传统节日与祖先崇拜论析[D].中南民族大学,2018.
  
−
===Terms and Expressions===
+
[6]阮茉莉. 广西民族传统节日文化传承与发展研究——以“壮族三月三”为例[J].广西教育,2017,(11):44-45.
  
−
Yulin Invitation 玉麟香腰
+
[7]吴建飞. 龙胜“三月三”民俗文化的考察研究[J].视听,2015,(12):36-37.
  
−
Tutouwan (Earthen Head Bowl)  土头碗
+
===Terminology===
  
−
Pagoda Invitation 宝塔香腰
+
1.Fuxi (Purification Rituals)
  
−
Seven-Story Tower 七层楼
+
2.Sacrifice / Worship
  
−
‘Yellow Sparrow’ Meat 黄雀肉
+
3.Glutinous Rice
  
−
Phoenix-Tail Kidney Flowers 凤尾腰花
+
4.Embroidered Ball (Xiuqiu)
  
 +
5.Firecracker (Huapao)
  
 
===Questions===
 
===Questions===
  
−
1. Why is Yulin Invitation called "Tutouwan"? What are its main alternative names, and how did each get its name?
+
1.Why has Guangxi's "San Yue San" become a National Intangible Cultural Heritage?
−
 
 
−
2. What are the main cooking processes required to make an authentic Yulin Invitation? What ingredients typically constitute its classic "seven-layer" structure?
 
−
 
 
−
3. In the traditional customs of the Hengyang region, on what occasions does Yulin Invitation (Tutouwan) typically appear? What important cultural meanings and social functions does it carry?
 
−
 
 
−
 
 
−
===Answer===
 
−
1. The dish Yulin Invitation is called "Tutouwan" for two reasons. First, "Touwan" (Head Bowl) refers to its status as the first major course presented at a banquet. Second, the character "Tu" (Earthen) is not derogatory; instead, it emphasizes the local, authentic, and native characteristics of Hengyang, indicating the use of local ingredients and adherence to traditional "earthen" methods of preparation.
 
−
 
 
−
Its main alternative names and their origins are as follows:
 
−
 
 
−
· Yulin Invitation (Yulin Xiangyao): Named after Peng Yulin, a famous general of the Hunan Army in the late Qing Dynasty. Legend has it that he directed his household chefs to create or refine this dish, which uses pork kidney flowers ("Xiangyao") as its crowning layer, hence this elegant name.
 
−
 
 
−
· Pagoda Invitation / Seven-Story Tower (Baota Xiangyao / Qicenglou): Named for its unique shape, where ingredients are stacked layer upon layer, resembling a pagoda. "Seven-Story Tower" is a specific description of its common number of layers.
 
−
· Duizi Xiangyao (Heap Invitation): Also named for its stacked appearance, this is a more figurative folk name.
 
−
 
 
−
 
 
−
2. The process of making Yulin Invitation is extremely complex, akin to mobilizing all "eighteen martial arts" of a chef. The main procedures include separately handling various ingredients through washing, cutting, mincing, marinating, deep-frying, steaming, and stir-frying. Among these, components like fish balls, egg rolls, "Yellow Sparrow" Meat, and water chestnut meatballs all require individual pre-making. Only afterwards are they assembled and layered, covered with rich broth, and steamed through uniformly—a very time-consuming process.
 
−
 
 
−
Its classic "seven-layer" structure, from bottom to top, is typically as follows:
 
−
 
 
−
1. Foundation layer: Golden, deep-fried diamond-shaped taro slices, establishing the base.
 
  
−
2. Second layer: Steamed slices of marinated, skin-on pork belly.
+
2.Why do people make Five-colored Glutinous Rice during the "San Yue San" festival?
  
−
3. Third layer: Water chestnut meatballs, deep-fried from a mixture of minced water chestnuts and meat paste.
+
3.What does "Song Fair" (Ge Xu) mean?
  
−
4. Fourth layer: Triangular "Yellow Sparrow" Meat, coated in batter and deep-fried.
+
4.What interesting activities are there during "San Yue San"?
  
−
5. Fifth layer: Sliced egg rolls, made from egg crepes wrapped around meat paste.
+
5.What are the differences between the current "San Yue San" and the past?
  
−
6. Sixth layer: Olive-shaped steamed fish balls.
+
===Answers===
  
−
7. Top layer (The Crown): Phoenix-Tail Kidney Flowers, stir-fried quickly over high heat with exquisite knife work, accompanied by ingredients like sliced daylily buds and mushrooms.
+
1.Because the "San Yue San" festival includes unique Zhuang traditions such as antiphonal singing, making five-colored glutinous rice, and throwing embroidered balls. These customs have been passed down for hundreds of years, reflecting the life wisdom and ethnic cultural characteristics of the Zhuang people. In order to protect these precious traditional cultures, the state listed them in the Intangible Cultural Heritage directory.
  
 +
2.Five-colored glutinous rice is not only beautiful and delicious but also holds beautiful meanings. The five colors symbolize happiness, beauty, harmony, auspiciousness, and good luck respectively. By making and sharing five-colored glutinous rice, the Zhuang people express their expectations for a harvest and their yearning for a better life. At the same time, it is also an important food for worshipping ancestors and entertaining guests.
  
−
3. Yulin Invitation is the absolute protagonist at banquets for major celebrations and life rituals in the Hengyang region. It is commonly seen during festive and joyous occasions such as the Spring Festival, weddings, and birthday celebrations, and is also an essential dish for welcome-home feasts for returning natives.
+
3."Song Fair" (Ge Xu) means "Market for Singing." "Xu" means market in the local dialect. On the day of "San Yue San," people gather together to sing folk songs in antiphonal style, so it is called a "Song Fair."
  
−
It carries multiple layers of cultural meaning and social functions:
+
4.Besides antiphonal singing, there are:
 +
① Egg Knocking: Children knock dyed eggs against each other to see whose egg doesn't break.
 +
② Snatching Firecrackers: Like a sports competition, everyone competes for the firecracker ring; the person who snatches it gets good luck.
 +
③ Bamboo Pole Dance: Dancing within the rhythm of opening and closing bamboo poles, which tests reaction ability.
 +
④ Wearing Ethnic Clothing: Many people put on beautiful traditional Zhuang costumes.
  
−
· Symbolic Meaning: Its pagoda shape signifies "steady promotion" and "life thriving day by day." The gathering of abundant ingredients in one bowl symbolizes "reunion, completeness, and family happiness."
+
5.① Time off: Since 2014, the whole region of Guangxi has had a holiday during "San Yue San," allowing more people to participate in the celebration.  
−
 
+
② More locations: Expanded from original mountain villages and fields to city squares, schools, and scenic spots.
−
· Ceremonial Function: It is the marker for the start of a banquet ("Only when the head bowl steams with heat is the banquet truly complete"), determining the event's standard and atmosphere.
+
③ More participants: It is not only celebrated by Zhuang people; friends from other ethnic groups also participate, turning it into a festival shared by everyone.
−
 
 
−
· Emotional Bond: It serves as a vessel for family memory and local identity. The process of making and sharing it strengthens family cohesion, and it is also a taste symbol of nostalgia in the hearts of those away from home.
 
  
  
 
==期末论文==
 
==期末论文==
  
−
===玉麟相邀（衡阳土头碗）===
+
===壮族三月三===
−
 
 
−
==== 习俗主题：一道承载湖湘历史与乡情的宴席头牌 ====
 
−
 
 
−
衡阳“土头碗”，雅称“玉麟香腰”，亦称“宝塔香腰”、“七层楼”，是湖南衡阳地区宴席文化中具有标志性意义的第一道大菜。它并非普通的家常菜肴，而是一座可以食用的、凝聚了匠心、历史与深厚情感的“宝塔”。其形制雄伟，用料丰腴，通常需将七种不同食材经过炸、蒸、煸等多重工艺分别烹制，再按严格顺序层层堆叠于特制大碗中，形成下宽上尖的宝塔形状，成品可重达六市斤。这道菜的核心地位，通过衡山民间“无头碗，不成席”的谚语便可见一斑。它超越了食物本身，成为连接地方历史记忆、家族伦理情感与社会交往礼仪的文化符号，是解读湖湘文化，特别是衡阳地域性格与习俗的一把鲜活钥匙。
 
−
 
 
−
 
 
−
玉麟香腰的文化内涵极为丰富，可以从其历史源流、精工制作、宴席礼仪、情感寄托以及当代传承等多个维度进行剖析。
 
−
 
 
−
 
 
−
==== 历史渊源：从名臣宴席到民间盛宴 ====
 
−
 
 
−
玉麟香腰的诞生与流传，与晚清湘军名将彭玉麟紧密相连，赋予了这道菜浓厚的历史底蕴。据广泛流传的说法，彭玉麟在回乡宴请贵宾或犒劳水师将士时，为表达盛情并彰显气势，特授意家厨融合衡阳本地多种特色小吃，创制出一道食材丰富、层层堆叠的“头碗菜”。由于此菜经彭玉麟授意创制并因其得名，故称“玉麟香腰”。另一种说法则与另一位湘军领袖曾国藩相关，称其在衡阳出兵东进前大宴士兵时，首道菜便是此碗，因而得名“头碗”。
 
−
 
 
−
 
 
−
这道源自官宦之家、军营盛宴的菜肴，其后便流入民间，并迅速在衡阳地区的红白喜事、年节庆典宴席中扎根，成为不可或缺的“头牌”。这一自上而下的流传继承，使得菜肴本身携带了“隆重”、“礼遇”的意义。其“宝塔”造型，被赋予“步步高升”、“生活蒸蒸日上”的美好寓意；而丰富的食材汇聚一碗，则象征着“团圆美满”、“阖家幸福”。
 
−
 
 
−
 
 
−
==== 制作工艺：层叠之间的匠心与智慧 ====
 
−
 
 
−
玉麟香腰的制作，堪称一场复杂而精细的系统工程，极富仪式感，集中体现了湘菜烹饪技法的多样性（蒸、煮、炸、煸等）和衡阳厨师的匠心。
 
−
 
 
−
其最外显的特征是独特的“宝塔”造型，通常为七层，因此又有“七层楼”的别称。这七层结构并非随意堆砌，每一层都有其固定的食材、形状和风味作用，共同构成和谐的整体。一套经典而完整的玉麟香腰结构如下：
 
−
 
 
−
· 第一层（垫底）：炸芋艿片。将芋头切成菱形薄片，炸至金黄。此层是宝塔之基，寓意根基稳固，四平八稳。
 
−
 
 
−
· 第二层：蒸五花肉片。带皮五花肉腌后蒸熟，排列于芋艿之上，其油脂在复蒸时可浸润下层，增添香气与油润。
 
−
 
 
−
· 第三层：荸荠丸子。由荸荠末与肥肉泥混合炸制而成，口感外酥内脆，清甜解腻。
 
−
 
 
−
· 第四层：黄雀肉。这是衡阳地区的特色叫法，实为挂糊油炸的三角形肉片，色泽金黄，是支撑碗面“门面”的关键，香酥可口。
 
−
 
 
−
· 第五层：蛋卷。用摊薄的蛋皮包裹肉泥卷制蒸熟后切片，色泽黄白相间，造型美观，味道鲜香。
 
−
 
 
−
· 第六层：橄榄形鱼丸。选用新鲜鱼肉剁茸制成，形似橄榄，追求极致的鲜嫩弹牙口感，是制作工艺的难点之一。
 
  
−
· 第七层（顶子）：凤尾腰花。此为整道菜的“冠冕”。猪腰需剔臊后切出精美的凤尾花刀，配以玉兰片、香菇等急火快炒，最后盖在蒸好的六层之上。腰花鲜嫩爽脆，香气扑鼻，画龙点睛。
+
====引言====
  
−
所有这些分层制作的食材，被整齐码放入一个直径可达400毫米的特制大碗中，加入高汤，最终还需经过长达一小时的旺火笼蒸，让各层风味在蒸汽中彻底交融，方告完成。值得一提的是，与许多人印象中湘菜必辣的刻板印象不同，正宗的玉麟香腰并不放辣椒，旨在突出食材本身层次丰富的本味与复合鲜香。
+
  上巳节，为中华古老节日之一。俗称三月三，古称上巳节，又叫三月三、春浴日。魏晋以后，上巳节改为三月三，后代沿袭，遂成水边饮宴、郊外游春的节日。到了宋代以后，该节日逐渐销声匿迹，但在我国广西等地区，至今仍然保留着过“三月三”的传统。现如今“三月三”是壮族人民的传统节日，更是国家级非物质文化遗产名录之一。在广西，壮族人民亲切地称呼其为“歌节”或者是“歌圩节”。每到这一天，壮族人民都会祭祀祖先，载歌载舞，并寻找属于自己的命定伴侣。“三月三”不仅是春日里的一场盛大宴会，更是壮乡文化之花的灿烂绽放。
  
 +
====节日的起源: 万物有灵，礼赞生命====
  
−
==== 文化意义：宴席核心与情感纽带 ====
+
  壮族三月三的雏形可追溯至汉族的上巳节，古称“春浴日”“祓禊节”，最早载于《周礼》，是中原地区祭祀祓禊、水边宴饮的古老节日，魏晋后逐渐固定在三月初三，有“曲水流觞”“踏青游春”等习俗。宋代后中原上巳节逐渐式微，而到民国时期，中国各地还留有三月三消灾除凶的风俗。此后，“寒食”“清明”“上巳”三节呈现合并趋向，最终“上巳”“寒食”两节并入“清明”。如今，在中国大部分地区上巳节已经鲜为人知，但对于中国西南地区的一些少数民族的人们来说上巳节仍是一个隆重而盛大的节日。
 +
  这一节日习俗随民族迁徙传入岭南，与壮族本土文化深度融合。壮族三月三的核心文化内核，源于本民族对布洛陀（创世始祖）和姆洛甲（母神）的崇拜。据壮族古籍《布洛陀经诗》记载，三月三是布洛陀诞辰之日，壮族先民会在这一天祭祀始祖，祈求风调雨顺、族群繁衍，这一信仰使三月三从单纯的节气民俗，演变为承载民族历史记忆的文化节日。可以说先民们的忠诚信仰为三月三的形成与传承构筑了丰富深厚的文化内涵与精神底色。
  
−
在衡阳的社会生活中，玉麟香腰的文化意义远远超越了果腹。首先，它是宴席仪式性的绝对核心。作为宴席的第一道菜，它的登场标志着宴会的正式开始，所谓“头碗冒热气，宴席才算齐”。它被摆放在餐桌中央，其雄伟的造型和蒸腾的热气，立即营造出隆重、喜庆、丰盛的集体氛围。无论是婚嫁、寿诞、新年，还是游子归乡的接风宴，只要有了“头碗”，宴席的规格与主人的诚意便得到了最直观的体现。其次，它是家族记忆与乡土情感的载体。对于许多衡阳人而言，“土头碗”的味道就是童年、家族和年味的代名词。在物质不甚丰裕的年代，这道工序繁复、用料扎实的大菜，通常只在最重要的家族聚会上由长辈亲手制作。全家人围坐分享“头碗”的过程，为其赋予了团圆的幸福含义。对于离乡的游子，这碗菜更是乡愁的承载，吃到它，便仿佛找回了与故土和亲人的连接。
+
====节日的核心: 以歌为媒，传送心意====
 +
   
 +
  歌圩节，其中歌指的是山歌，而圩指的是集市。人们在集市上山歌对唱，便是让这节日生动鲜活起来的灵魂。
 +
  关于歌圩的来历,在民间有许多有趣的传说，而其中关于刘三姐的故事流传甚广。被奉为“歌神”或“歌仙”的刘三姐经常用山歌颂劳动和爱情，同时也深刻揭露财主们的罪恶。有一年的农历三月初三，刘三姐在山上砍柴时，财主派人砍断了山藤,造成她坠崖身亡。后人为了纪念这位歌仙,便在这天聚会唱歌，歌圩就此形成。
 +
  而在明清时期的地方志（如《广西通志》）中记载，广西壮族地区“三月初三，男女聚会，歌唱为乐”，此时三月三已成为以歌传情、以歌叙事的“歌圩节”。民国后，这一习俗在壮族聚居区持续传承，1984年广西正式将三月三定为壮族传统节日，2014年其民俗活动列入国家级非物质文化遗产名录。
 +
  在过去，壮族的青年男女们常常将三月三那一天的歌圩作为认识异性的社交场合，即兴编唱的山歌是他们相识、探问、赞美、定情的纽带和桥梁。此外，对唱的山歌内容不仅仅局限于情歌，还有关于时政、生活等各方面的。其内容包罗万象：历史传说，生活智慧、生产知识，这些内容无一不考验着对唱者的知识储备和反应能力。现如今，广西武鸣、靖西等一带的歌圩，仍旧保留着隔山对唱的民俗传统。
 +
 
 +
====节日的色彩：舌尖美味，指尖锦绣====
  
 +
    三月三有节奏灵动的歌曲，也有属于自己的独特鲜明的物质文化符号。
 +
    1.五色糯米饭：这是三月三的传统节庆食物，人们会用枫叶、红蓝草、黄姜等植物将糯米饭染成黑、黄、红、紫、白五种颜色，这样用植物汁液浸泡和蒸熟的糯米饭不仅色泽艳丽，清香扑鼻，还会让人食指大动。‘壮族人民认为五色糯米饭象征着幸福、美好、和谐、吉祥、如意，包含着人们对于幸福生活和五谷丰登的朴实追求。此外，人们还会用五色糯米饭用来招待尊贵的客人、或者用其作为祭扫先祖的供品之一。
 +
    2.彩蛋：人们会将煮熟的鸡鸭蛋染成鲜亮的红色或是紫色，小孩子们会玩一种叫做“碰彩蛋”的游戏，相碰情况下蛋壳完整不破者为胜者，人们将其视作平安好运的美好象征。
 +
    3.绣球：秀丽的壮锦编织成精致的绣球，柔软的绣球成就一段段天定良缘。绣球是壮族的定情信物和吉祥物。在三月三期间，女孩子们会抛出自己精心制作的绣球，若意中人稳稳接住，一段美好的缘分将就此开启。而在历史的不断变迁中，以往的抛绣球定亲活动演变为了如今广西区内一项有趣的体育活动。
  
−
==== 结语 ====
+
====节日的活动：丰富活动，动态传承====
  
−
随着时代变迁，玉麟香腰的传承也面临着新的境况。一方面，其价值得到了官方认定与保护：2021年，以“衡东土菜”为代表的相关制作技艺被列入湖南省省级非物质文化遗产代表性项目名录扩展项目，玉麟香腰（土头碗）作为其灵魂之作，其“土材、土法、土韵”的技艺核心得到了系统性记录与传承。
+
    在三月三节日期间，除了山歌对唱，抛绣球，还有一些热闹有趣的民俗活动。
 +
    1.抢花炮：这是壮族重要的传统节日活动之一。活动中，人们会放置装有五彩纸屑和小礼物的花炮，当炮声响起，人们会争相抢夺，抢到的人能获得奖励和众人的祝福。
 +
    2.打扁担/竹竿舞：这是壮族的传统舞蹈。众人手持扁担互相敲击，或者分合竹竿，伴随着节奏跳跃穿梭，长眠热闹非凡，气氛欢快热烈。
 +
    3.展示壮族服饰：壮族的女性们会在这一天穿上最为华丽精美的壮族传统服饰，头戴闪亮的银饰，骄傲地展示着精致的壮锦和优秀的制作工艺。
  
−
另一方面，它的存在形式也在发生适应性的变化。在快节奏的现代生活中，家庭自制全套“土头碗”的场景已不常见，但其在餐厅酒楼、预制菜市场的需求却日益旺盛。许多本地餐馆将其作为镇店名菜，一些食品企业也开发了便于家庭复热的预制版本，让这道传统大菜能够更便捷地进入现代人的餐桌，继续履行其情感连接的职能。尽管有人感慨预制品的味道“差强人意”，但家人围坐、共享“头碗”的形式与情感内核，依然被顽强地保留了下来。
+
====节日的演变：从单一民族节庆到区域共享盛典 ====
 +
 
 +
    随着时间的变化，“三月三”节日发生了诸多顺应时代潮流的转变。
 +
    1. 法定假日：2014年起，广西将“壮族三月三”设为全区公众假日，并通常安排为期两天的调休，人们因此能全身心地投入到这场盛大的节日中。
 +
    2. 内容多元化：节日活动从传统的乡村歌圩，大规模扩展到城市广场、景区、校园。活动内容也极大丰富，形成了集民族歌舞汇演、非遗展示、体育竞赛、美食集市、旅游推广于一体的综合性文化盛会。
 +
    3. 共享与融合：如今的“三月三”不是独属于壮族的节日，更是广西汉、瑶、苗、侗等各个民族共同庆祝的佳节。
  
 +
====结语====
  
−
从彭玉麟的宴客匠心，到民间宴席的隆重头牌，再到当代非遗餐桌上的文化地标，玉麟香腰（衡阳土头碗）的生命力在于，它始终是一碗“有温度”的菜。它的温度，既来自蒸笼揭开时扑面而来的热气，更来自其层层叠叠之间所承载的那份厚重的历史记忆、家族伦理与难以割舍的乡土深情。
+
    总之，壮族“三月三”是一个内涵丰富、充满活力的节日。它就像一首永远唱不完的山歌，古老的主旋律中，不断融入新时代的音符，在八桂大地上，年年岁岁，焕发着蓬勃的生命力。
  
  
 
===参考文献===
 
===参考文献===
  
−
[1]杨兴东.故乡的味道，就在年夜饭里[N].湖南日报,2024-02-10(002). DOI:10.28360/n.cnki.nhnbr.2024.001076.
+
[1]黄秋红.基于教育视角的壮族歌圩文化家庭传承研究[D].云南师范大学,2021.DOI:10.27459/d.cnki.gynfc.2021.000241.  
−
 
 
−
[2]王楠.湖南省衡阳市：发力农特美食拓展产业市场[N].中国城市报,2023-01-30(A08). DOI:10.28056/n.cnki.nccsb.2023.000038.  
 
  
−
[3]李茁,徐德荣,唐曦,等.“衡阳菜”，最是人间滋味长[N].湖南日报,2022-08-22(001). DOI:10.28360/n.cnki.nhnbr.2022.004629.  
+
[2]闫雪梅. 广西少数民族地区植物染研学旅行课程设计与开发[J].歌海,2021,(03):80-84.
  
−
[4]百度百科. 宝塔香腰[EB/OL]. https://baike.baidu.com/item/宝塔香腰.
+
[3]李雨濛.布依族“三月三”音乐文化传承研究[D].贵州师范大学,2020.DOI:10.27048/d.cnki.ggzsu.2020.000504.  
  
−
[5]人民网. 寻味三湘·衡美味 | “土头碗” 一碗盛满衡阳情！[EB/OL]. http://hn.people.com.cn/n2/2025/0723/c356888-41300045.html?_refluxos=a10
+
[4]张萍,王溯,杨海晨. 少数民族民间体育节事的发展——以广西马山县壮族会鼓文化节为例[J].社会科学家,2018,(11):156-160.
  
 +
[5]王曼.中国传统节日与祖先崇拜论析[D].中南民族大学,2018.
  
−
===术语和表达===
+
[6]阮茉莉. 广西民族传统节日文化传承与发展研究——以“壮族三月三”为例[J].广西教育,2017,(11):44-45.
  
−
Yulin Invitation 玉麟香腰
+
[7]吴建飞. 龙胜“三月三”民俗文化的考察研究[J].视听,2015,(12):36-37.
  
−
Tutouwan (Earthen Head Bowl)  土头碗
+
===术语===
  
−
Pagoda Invitation 宝塔香腰
+
1.祓禊
  
−
Seven-Story Tower 七层楼
+
2.祭祀
  
−
‘Yellow Sparrow’ Meat 黄雀肉
+
3.糯米饭
  
−
Phoenix-Tail Kidney Flowers 凤尾腰花
+
4.绣球
  
 +
5.花炮
  
 
===问题===
 
===问题===
  
−
1. 玉麟香腰为什么被称为“土头碗”？它有哪几个主要的别名？各自因何得名？
+
1.为什么广西的“三月三”能成为国家级非物质文化遗产？
−
 
 
−
2. 制作一道正宗的玉麟香腰，大致需要经历哪些主要的烹饪工序？其经典的“七层”结构通常包括哪些食材？
 
  
−
3. 在衡阳地区的传统习俗中，玉麟香腰（土头碗）通常在哪些场合出现？它承载了哪些重要的文化寓意与社会功能？
+
2.在“三月三”节日里，人们为什么要做五色糯米饭？
  
 +
3.“歌圩”是什么意思？
  
−
===答案===
+
4.“三月三”有哪些有趣的活动？
  
−
1. 玉麟香腰被称为“土头碗”，原因有二：其一，“头碗”指它在宴席中作为第一道主菜呈现的地位；其二，“土”字并非贬义，而是强调其本土、本味、本色的衡阳地方特色，指选用本地食材、沿用传统土法制作。
+
5.现在的“三月三”和过去的有什么不同？
  
−
其主要别名及得名缘由如下：
 
  
−
· 玉麟香腰：得名于晚清湘军名将彭玉麟。相传此菜由其授意家厨创制或改良，并以猪腰花（香腰）为顶盖，故得此雅称。
+
===答案===
−
 
 
−
· 宝塔香腰/七层楼：因其食材层层堆叠，形如宝塔的独特造型而得名。“七层楼”是对其常见层数的具体描述。
 
−
 
 
−
· 堆子香腰：同样因其堆叠的造型而得名，是较为形象化的民间叫法。
 
−
 
 
−
 
 
−
2. 制作玉麟香腰工序极为繁复，堪称汇集了厨师的“十八般武艺”。主要工序包括：对多种食材分别进行洗、切、剁、腌、炸、蒸、煸（炒） 等。其中，鱼丸、蛋卷、黄雀肉、荸荠丸等都需要单独预制，最后再组合码放，加入高汤统一蒸透，耗时很长。
 
−
 
 
−
其经典的“七层”结构自下而上通常为：
 
−
 
 
−
1. 底层：炸至金黄的菱形芋艿片，奠定基础。
 
−
 
 
−
2. 第二层：腌制后蒸熟的带皮五花肉片。
 
−
 
 
−
3. 第三层：由荸荠末和肉泥炸制的荸荠丸。
 
  
−
4. 第四层：挂糊炸制的三角形“黄雀肉”。
+
1.因为“三月三”节日包含了壮族独特的山歌对唱、五色糯米饭制作、抛绣球等传统习俗，这些习俗传承了几百年，体现了壮族人民的生活智慧和民族文化特色。国家为了保护这些宝贵的传统文化，所以将其列入非物质文化遗产名录。
  
−
5. 第五层：蛋皮包裹肉泥制成的蛋卷切片。
+
2.五色糯米饭不仅好看好吃，还有美好寓意。五种颜色分别象征着幸福、美好、和谐、吉祥和如意。壮族人民通过制作和分享五色糯米饭，表达对丰收的期盼和对美好生活的向往。同时，它也是祭祀祖先和招待客人的重要食物。
  
−
6. 第六层：橄榄形状的蒸鱼丸。
+
3.“歌圩”就是“唱歌的集市”。“圩”在当地方言里就是集市的意思。在“三月三”这天，人们聚在一起对唱山歌，所以叫“歌圩”。
  
−
7. 顶层（顶子） ：急火快炒、刀工精美的凤尾腰花，配以玉兰片、香菇等。
+
4.除了对唱山歌外，还有：
 +
① 碰彩蛋：小朋友把染色的鸡蛋互相碰撞，看谁的鸡蛋不破
  
 +
②抢花炮：像体育比赛一样，大家争夺花炮，抢到的人有好运
  
−
3. 玉麟香腰是衡阳地区重大庆典和人生仪礼宴席上的绝对主角。它常见于春节、婚嫁、寿诞等节庆喜日，也是游子归乡接风宴上的必备菜。
+
③跳竹竿舞：在竹竿分合的节奏中跳舞，很考验反应能力
  
−
它承载了多重文化寓意与社会功能：
+
④穿民族服装：很多人会穿上漂亮的壮族传统服装
  
−
· 象征寓意：其宝塔造型寓意“步步高升”、“生活蒸蒸日上”；丰富食材汇聚一碗，象征“团圆美满”、“阖家幸福”。
+
5.①放假了：2014年开始，广西全区在“三月三”期间放假，让更多人能参与庆祝。
  
−
· 仪式功能：它是宴席开始的标志（“头碗冒热气，宴席才算齐”），决定了宴会的规格与氛围。
+
②地点多了：从原来的山村田野，扩展到了城市广场、学校、景区。
  
−
· 情感纽带：它是家族记忆与乡土认同的载体，制作与共享的过程强化了家族凝聚力，也是游子心中乡愁的味觉符号。
+
③参与人多了：不仅是壮族人民庆祝，其他民族的朋友也一起参加，变成了大家共同的节日。

Revision as of 14:41, 31 December 2025

My name is Liaoruting, I am from Guigang, Guangxi. I studied Korean language at Yanbian University for my undergraduate degree. Currently, I am a graduate student specializing in Korean translation at Hunan Normal University. I have a solid grasp of language theories and translation practices, and I am willing to contribute professional strength to the cultural exchanges between the two countries.

Final Exam Paper

Zhuang People's San Yue San (Third Day of the Third Lunar Month)

Introduction

The Shangsi Festival is one of China's ancient festivals. Commonly known as "San Yue San" (Third Day of the Third Lunar Month), it was historically called the Shangsi Festival and also known as the Spring Bathing Day. After the Wei and Jin Dynasties, the Shangsi Festival was changed to the third day of the third lunar month; later generations followed this custom, and it became a festival for feasting by the water and spring outings in the suburbs. After the Song Dynasty, the festival gradually vanished, but in regions like Guangxi, the tradition of celebrating "San Yue San" is still preserved today. Nowadays, "San Yue San" is a traditional festival of the Zhuang people and is listed in the National List of Intangible Cultural Heritage. In Guangxi, the Zhuang people affectionately call it the "Song Festival" or "Song Fair Festival" (Gexu Festival). On this day, the Zhuang people worship their ancestors, sing and dance, and look for their destined partners. "San Yue San" is not only a grand banquet in spring but also a brilliant blooming of Zhuang culture.

The Origin of the Festival: Animism and the Praise of Life

The embryonic form of the Zhuang people's San Yue San can be traced back to the Han people's Shangsi Festival, anciently called "Spring Bathing Day" or "Fuxi Festival" (Purification Festival). It was first recorded in the Rites of Zhou and was an ancient festival in the Central Plains for sacrificial purification and riverside banquets. After the Wei and Jin Dynasties, it was gradually fixed on the third day of the third lunar month, featuring customs like "Qu Shui Liu Shang" (floating wine cups along a winding stream) and "Ta Qing You Chun" (spring outings). After the Song Dynasty, the Shangsi Festival in the Central Plains gradually declined, though customs of dispelling disasters and warding off evil on the third day of the third month remained in various parts of China during the Republic of China era. Thereafter, the three festivals of "Cold Food," "Qingming," and "Shangsi" showed a tendency to merge, eventually resulting in "Shangsi" and "Cold Food" being incorporated into "Qingming." Today, the Shangsi Festival is little known in most parts of China, but for some ethnic minorities in Southwest China, it remains a solemn and grand festival. This festival custom spread to the Lingnan region with the migration of ethnic groups and merged deeply with the indigenous culture of the Zhuang people. The core cultural essence of the Zhuang San Yue San stems from the ethnic group's worship of Buluotuo (the creation ancestor) and Muluoja (the mother goddess). According to the Zhuang ancient text Buluotuo Scriptures, the third day of the third month is the birthday of Buluotuo. On this day, the Zhuang ancestors would worship the first ancestor, praying for favorable weather and the proliferation of the tribe. This belief transformed San Yue San from a simple seasonal folk custom into a cultural festival carrying the historical memory of the ethnic group. It can be said that the devout beliefs of the ancestors constructed a rich and profound cultural connotation and spiritual background for the formation and inheritance of San Yue San.

The Core of the Festival: Conveying Feelings through Song

The Song Fair Festival (Gexu Festival): "Ge" refers to folk songs (mountain songs), and "Xu" refers to a market. People singing folk songs in antiphonal style at the market is the soul that makes this festival vivid and alive. Regarding the origin of the Song Fair, there are many interesting legends among the folk, among which the story of Liu Sanjie is widely circulated. Liu Sanjie, revered as the "Song God" or "Song Fairy," often used folk songs to praise labor and love while profoundly exposing the crimes of the rich landlords. On the third day of the third lunar month one year, while Liu Sanjie was cutting firewood on the mountain, a landlord sent men to cut the mountain vines, causing her to fall from the cliff to her death. To commemorate this Song Fairy, later generations gathered to sing on this day, and thus the Song Fair was formed. In local chronicles of the Ming and Qing Dynasties (such as the Guangxi General Chronicle), it is recorded that in the Zhuang areas of Guangxi, "On the third day of the third month, men and women gather to sing for pleasure." By this time, San Yue San had become a "Song Fair Festival" for conveying emotions and narrating events through song. After the Republic of China era, this custom continued to be passed down in Zhuang-inhabited areas. In 1984, Guangxi officially designated San Yue San as a traditional festival for the Zhuang people, and in 2014, its folk activities were included in the National List of Intangible Cultural Heritage. In the past, young Zhuang men and women often used the Song Fair on San Yue San as a social occasion to meet the opposite sex. Impromptu folk songs served as the bond and bridge for them to meet, inquire, praise, and pledge their love. In addition, the content of the antiphonal songs was not limited to love songs but also covered current politics, life, and other aspects. The content was all-encompassing: historical legends, life wisdom, and production knowledge; these contents tested the knowledge reserves and reaction capabilities of the singers. Nowadays, Song Fairs in areas like Wuming and Jingxi in Guangxi still retain the folk tradition of singing across mountains.

The Colors of the Festival: Delicacies on the Tongue, Brocade at the Fingertips

San Yue San features rhythmic and lively songs, as well as its own unique and distinct material cultural symbols. 1.Five-colored Glutinous Rice: This is the traditional festive food of San Yue San. People use plants like maple leaves, red-blue grass, and yellow ginger to dye glutinous rice into five colors: black, yellow, red, purple, and white. Glutinous rice soaked in plant juices and steamed in this way is not only brightly colored and fragrant but also highly appetizing. The Zhuang people believe that five-colored glutinous rice symbolizes happiness, beauty, harmony, auspiciousness, and good luck, embodying people's simple pursuit of a happy life and abundant harvests. In addition, people use five-colored glutinous rice to entertain distinguished guests or as one of the offerings for ancestor worship. 2.Painted Eggs: People dye boiled chicken or duck eggs into bright red or purple. Children play a game called "Egg Knocking" (Peng Caidan); the winner is the one whose eggshell remains unbroken after the collision. People regard this as a beautiful symbol of peace and good luck. 3.Embroidered Balls (Xiuqiu): Beautiful Zhuang brocade is woven into exquisite embroidered balls; soft embroidered balls create destined matches. The embroidered ball is a token of love and a mascot for the Zhuang people. During San Yue San, girls throw their carefully made embroidered balls. If their beloved catches it steadily, a beautiful relationship begins. Amidst historical changes, the past activity of throwing embroidered balls for betrothal has evolved into an interesting sports activity within Guangxi today.

The Activities of the Festival: Rich Activities, Dynamic Inheritance

During the San Yue San festival, besides antiphonal singing and throwing embroidered balls, there are other lively and interesting folk activities. 1.Snatching Firecrackers (Qiang Huapao): This is one of the important traditional festival activities of the Zhuang people. In the activity, people place a firecracker ring (Huapao) containing colorful confetti and small gifts. When the cannon sounds, people compete to snatch it. The person who snatches it receives rewards and blessings from the crowd. 2.Beating the Shoulder Pole / Bamboo Pole Dance: This is a traditional dance of the Zhuang people. The crowd holds shoulder poles and strikes them against each other, or opens and closes bamboo poles. Dancers jump and weave through the rhythm. The scene is extremely lively, and the atmosphere is cheerful and enthusiastic. 3.Displaying Zhuang Costumes: Zhuang women wear their most gorgeous and exquisite traditional Zhuang costumes on this day, wearing shining silver ornaments on their heads, proudly displaying exquisite Zhuang brocade and excellent craftsmanship.

The Evolution of the Festival: From a Single Ethnic Celebration to a Regional Shared Gala

With the passage of time, the "San Yue San" festival has undergone many changes that conform to the trends of the times. 1.Statutory Holiday: Since 2014, Guangxi has designated "Zhuang San Yue San" as a public holiday for the entire region, usually arranging a two-day compensatory leave, allowing people to devote themselves wholeheartedly to this grand festival. 2.Diversification of Content: Festival activities have expanded from traditional rural Song Fairs to city squares, scenic spots, and campuses. The content of activities has also been greatly enriched, forming a comprehensive cultural gathering integrating ethnic song and dance performances, intangible cultural heritage displays, sports competitions, food markets, and tourism promotion. 3.Sharing and Fusion: Today's "San Yue San" is not a festival exclusive to the Zhuang people, but a festive occasion celebrated jointly by the Han, Yao, Miao, Dong, and other ethnic groups in Guangxi.

Conclusion

In short, the Zhuang "San Yue San" is a festival rich in connotation and full of vitality. It is like a folk song that can never be finished; within the ancient main melody, new notes of the era are constantly integrated, radiating vigorous vitality year after year on the land of Guangxi.

References

[1]黄秋红.基于教育视角的壮族歌圩文化家庭传承研究[D].云南师范大学,2021.DOI:10.27459/d.cnki.gynfc.2021.000241.

[2]闫雪梅. 广西少数民族地区植物染研学旅行课程设计与开发[J].歌海,2021,(03):80-84.

[3]李雨濛.布依族“三月三”音乐文化传承研究[D].贵州师范大学,2020.DOI:10.27048/d.cnki.ggzsu.2020.000504.

[4]张萍,王溯,杨海晨. 少数民族民间体育节事的发展——以广西马山县壮族会鼓文化节为例[J].社会科学家,2018,(11):156-160.

[5]王曼.中国传统节日与祖先崇拜论析[D].中南民族大学,2018.

[6]阮茉莉. 广西民族传统节日文化传承与发展研究——以“壮族三月三”为例[J].广西教育,2017,(11):44-45.

[7]吴建飞. 龙胜“三月三”民俗文化的考察研究[J].视听,2015,(12):36-37.

Terminology

1.Fuxi (Purification Rituals)

2.Sacrifice / Worship

3.Glutinous Rice

4.Embroidered Ball (Xiuqiu)

5.Firecracker (Huapao)

Questions

1.Why has Guangxi's "San Yue San" become a National Intangible Cultural Heritage?

2.Why do people make Five-colored Glutinous Rice during the "San Yue San" festival?

3.What does "Song Fair" (Ge Xu) mean?

4.What interesting activities are there during "San Yue San"?

5.What are the differences between the current "San Yue San" and the past?

Answers

1.Because the "San Yue San" festival includes unique Zhuang traditions such as antiphonal singing, making five-colored glutinous rice, and throwing embroidered balls. These customs have been passed down for hundreds of years, reflecting the life wisdom and ethnic cultural characteristics of the Zhuang people. In order to protect these precious traditional cultures, the state listed them in the Intangible Cultural Heritage directory.

2.Five-colored glutinous rice is not only beautiful and delicious but also holds beautiful meanings. The five colors symbolize happiness, beauty, harmony, auspiciousness, and good luck respectively. By making and sharing five-colored glutinous rice, the Zhuang people express their expectations for a harvest and their yearning for a better life. At the same time, it is also an important food for worshipping ancestors and entertaining guests.

3."Song Fair" (Ge Xu) means "Market for Singing." "Xu" means market in the local dialect. On the day of "San Yue San," people gather together to sing folk songs in antiphonal style, so it is called a "Song Fair."

4.Besides antiphonal singing, there are: ① Egg Knocking: Children knock dyed eggs against each other to see whose egg doesn't break. ② Snatching Firecrackers: Like a sports competition, everyone competes for the firecracker ring; the person who snatches it gets good luck. ③ Bamboo Pole Dance: Dancing within the rhythm of opening and closing bamboo poles, which tests reaction ability. ④ Wearing Ethnic Clothing: Many people put on beautiful traditional Zhuang costumes.

5.① Time off: Since 2014, the whole region of Guangxi has had a holiday during "San Yue San," allowing more people to participate in the celebration. ② More locations: Expanded from original mountain villages and fields to city squares, schools, and scenic spots. ③ More participants: It is not only celebrated by Zhuang people; friends from other ethnic groups also participate, turning it into a festival shared by everyone.


期末论文

壮族三月三

引言

  上巳节，为中华古老节日之一。俗称三月三，古称上巳节，又叫三月三、春浴日。魏晋以后，上巳节改为三月三，后代沿袭，遂成水边饮宴、郊外游春的节日。到了宋代以后，该节日逐渐销声匿迹，但在我国广西等地区，至今仍然保留着过“三月三”的传统。现如今“三月三”是壮族人民的传统节日，更是国家级非物质文化遗产名录之一。在广西，壮族人民亲切地称呼其为“歌节”或者是“歌圩节”。每到这一天，壮族人民都会祭祀祖先，载歌载舞，并寻找属于自己的命定伴侣。“三月三”不仅是春日里的一场盛大宴会，更是壮乡文化之花的灿烂绽放。

节日的起源: 万物有灵，礼赞生命

  壮族三月三的雏形可追溯至汉族的上巳节，古称“春浴日”“祓禊节”，最早载于《周礼》，是中原地区祭祀祓禊、水边宴饮的古老节日，魏晋后逐渐固定在三月初三，有“曲水流觞”“踏青游春”等习俗。宋代后中原上巳节逐渐式微，而到民国时期，中国各地还留有三月三消灾除凶的风俗。此后，“寒食”“清明”“上巳”三节呈现合并趋向，最终“上巳”“寒食”两节并入“清明”。如今，在中国大部分地区上巳节已经鲜为人知，但对于中国西南地区的一些少数民族的人们来说上巳节仍是一个隆重而盛大的节日。
  这一节日习俗随民族迁徙传入岭南，与壮族本土文化深度融合。壮族三月三的核心文化内核，源于本民族对布洛陀（创世始祖）和姆洛甲（母神）的崇拜。据壮族古籍《布洛陀经诗》记载，三月三是布洛陀诞辰之日，壮族先民会在这一天祭祀始祖，祈求风调雨顺、族群繁衍，这一信仰使三月三从单纯的节气民俗，演变为承载民族历史记忆的文化节日。可以说先民们的忠诚信仰为三月三的形成与传承构筑了丰富深厚的文化内涵与精神底色。

节日的核心: 以歌为媒，传送心意

  歌圩节，其中歌指的是山歌，而圩指的是集市。人们在集市上山歌对唱，便是让这节日生动鲜活起来的灵魂。
  关于歌圩的来历,在民间有许多有趣的传说，而其中关于刘三姐的故事流传甚广。被奉为“歌神”或“歌仙”的刘三姐经常用山歌颂劳动和爱情，同时也深刻揭露财主们的罪恶。有一年的农历三月初三，刘三姐在山上砍柴时，财主派人砍断了山藤,造成她坠崖身亡。后人为了纪念这位歌仙,便在这天聚会唱歌，歌圩就此形成。
  而在明清时期的地方志（如《广西通志》）中记载，广西壮族地区“三月初三，男女聚会，歌唱为乐”，此时三月三已成为以歌传情、以歌叙事的“歌圩节”。民国后，这一习俗在壮族聚居区持续传承，1984年广西正式将三月三定为壮族传统节日，2014年其民俗活动列入国家级非物质文化遗产名录。
  在过去，壮族的青年男女们常常将三月三那一天的歌圩作为认识异性的社交场合，即兴编唱的山歌是他们相识、探问、赞美、定情的纽带和桥梁。此外，对唱的山歌内容不仅仅局限于情歌，还有关于时政、生活等各方面的。其内容包罗万象：历史传说，生活智慧、生产知识，这些内容无一不考验着对唱者的知识储备和反应能力。现如今，广西武鸣、靖西等一带的歌圩，仍旧保留着隔山对唱的民俗传统。

节日的色彩：舌尖美味，指尖锦绣

   三月三有节奏灵动的歌曲，也有属于自己的独特鲜明的物质文化符号。
   1.五色糯米饭：这是三月三的传统节庆食物，人们会用枫叶、红蓝草、黄姜等植物将糯米饭染成黑、黄、红、紫、白五种颜色，这样用植物汁液浸泡和蒸熟的糯米饭不仅色泽艳丽，清香扑鼻，还会让人食指大动。‘壮族人民认为五色糯米饭象征着幸福、美好、和谐、吉祥、如意，包含着人们对于幸福生活和五谷丰登的朴实追求。此外，人们还会用五色糯米饭用来招待尊贵的客人、或者用其作为祭扫先祖的供品之一。
   2.彩蛋：人们会将煮熟的鸡鸭蛋染成鲜亮的红色或是紫色，小孩子们会玩一种叫做“碰彩蛋”的游戏，相碰情况下蛋壳完整不破者为胜者，人们将其视作平安好运的美好象征。
   3.绣球：秀丽的壮锦编织成精致的绣球，柔软的绣球成就一段段天定良缘。绣球是壮族的定情信物和吉祥物。在三月三期间，女孩子们会抛出自己精心制作的绣球，若意中人稳稳接住，一段美好的缘分将就此开启。而在历史的不断变迁中，以往的抛绣球定亲活动演变为了如今广西区内一项有趣的体育活动。

节日的活动：丰富活动，动态传承

   在三月三节日期间，除了山歌对唱，抛绣球，还有一些热闹有趣的民俗活动。
   1.抢花炮：这是壮族重要的传统节日活动之一。活动中，人们会放置装有五彩纸屑和小礼物的花炮，当炮声响起，人们会争相抢夺，抢到的人能获得奖励和众人的祝福。
   2.打扁担/竹竿舞：这是壮族的传统舞蹈。众人手持扁担互相敲击，或者分合竹竿，伴随着节奏跳跃穿梭，长眠热闹非凡，气氛欢快热烈。
   3.展示壮族服饰：壮族的女性们会在这一天穿上最为华丽精美的壮族传统服饰，头戴闪亮的银饰，骄傲地展示着精致的壮锦和优秀的制作工艺。

节日的演变：从单一民族节庆到区域共享盛典

   随着时间的变化，“三月三”节日发生了诸多顺应时代潮流的转变。
   1. 法定假日：2014年起，广西将“壮族三月三”设为全区公众假日，并通常安排为期两天的调休，人们因此能全身心地投入到这场盛大的节日中。
   2. 内容多元化：节日活动从传统的乡村歌圩，大规模扩展到城市广场、景区、校园。活动内容也极大丰富，形成了集民族歌舞汇演、非遗展示、体育竞赛、美食集市、旅游推广于一体的综合性文化盛会。
   3. 共享与融合：如今的“三月三”不是独属于壮族的节日，更是广西汉、瑶、苗、侗等各个民族共同庆祝的佳节。

结语

   总之，壮族“三月三”是一个内涵丰富、充满活力的节日。它就像一首永远唱不完的山歌，古老的主旋律中，不断融入新时代的音符，在八桂大地上，年年岁岁，焕发着蓬勃的生命力。


参考文献

[1]黄秋红.基于教育视角的壮族歌圩文化家庭传承研究[D].云南师范大学,2021.DOI:10.27459/d.cnki.gynfc.2021.000241.

[2]闫雪梅. 广西少数民族地区植物染研学旅行课程设计与开发[J].歌海,2021,(03):80-84.

[3]李雨濛.布依族“三月三”音乐文化传承研究[D].贵州师范大学,2020.DOI:10.27048/d.cnki.ggzsu.2020.000504.

[4]张萍,王溯,杨海晨. 少数民族民间体育节事的发展——以广西马山县壮族会鼓文化节为例[J].社会科学家,2018,(11):156-160.

[5]王曼.中国传统节日与祖先崇拜论析[D].中南民族大学,2018.

[6]阮茉莉. 广西民族传统节日文化传承与发展研究——以“壮族三月三”为例[J].广西教育,2017,(11):44-45.

[7]吴建飞. 龙胜“三月三”民俗文化的考察研究[J].视听,2015,(12):36-37.

术语

1.祓禊

2.祭祀

3.糯米饭

4.绣球

5.花炮

问题

1.为什么广西的“三月三”能成为国家级非物质文化遗产？

2.在“三月三”节日里，人们为什么要做五色糯米饭？

3.“歌圩”是什么意思？

4.“三月三”有哪些有趣的活动？

5.现在的“三月三”和过去的有什么不同？


答案

1.因为“三月三”节日包含了壮族独特的山歌对唱、五色糯米饭制作、抛绣球等传统习俗，这些习俗传承了几百年，体现了壮族人民的生活智慧和民族文化特色。国家为了保护这些宝贵的传统文化，所以将其列入非物质文化遗产名录。

2.五色糯米饭不仅好看好吃，还有美好寓意。五种颜色分别象征着幸福、美好、和谐、吉祥和如意。壮族人民通过制作和分享五色糯米饭，表达对丰收的期盼和对美好生活的向往。同时，它也是祭祀祖先和招待客人的重要食物。

3.“歌圩”就是“唱歌的集市”。“圩”在当地方言里就是集市的意思。在“三月三”这天，人们聚在一起对唱山歌，所以叫“歌圩”。

4.除了对唱山歌外，还有： ① 碰彩蛋：小朋友把染色的鸡蛋互相碰撞，看谁的鸡蛋不破

②抢花炮：像体育比赛一样，大家争夺花炮，抢到的人有好运

③跳竹竿舞：在竹竿分合的节奏中跳舞，很考验反应能力

④穿民族服装：很多人会穿上漂亮的壮族传统服装

5.①放假了：2014年开始，广西全区在“三月三”期间放假，让更多人能参与庆祝。

②地点多了：从原来的山村田野，扩展到了城市广场、学校、景区。

③参与人多了：不仅是壮族人民庆祝，其他民族的朋友也一起参加，变成了大家共同的节日。

Retrieved from "https://bou.de/u/index.php?title=Main_Page&oldid=171524"