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==Final Paper==
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==Final Exam Paper==
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===Rucheng Incense Dragon===
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===Nuo Opera===
 
====Introduction====
 
====Introduction====
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Rucheng County is located in southern Hunan Province, at the confluence of Hunan, Guangdong, and Jiangxi provinces, and has long enjoyed the reputation of "the crow of a rooster heard in three provinces, waters flowing into three rivers." In November 2014, the China Division of the United Nations Group of Experts on Geographical Names conferred upon Rucheng the title of "Millennium-Old County." Rucheng County possesses profound historical and cultural heritage and abundant resources, making it a Famous Historical and Cultural City in Hunan Province. Rucheng Incense Dragon is a dragon dance performance activity held on nights around the Lantern Festival. It is practiced in 14 villages and townships within Rucheng County. It was included in the first batch of Hunan Provincial Intangible Cultural Heritage List in 2006 and designated as a national-level intangible cultural heritage protection project in the second batch in 2008. (Hu Ting et al., 2023)
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Nuo Opera, also known as Nuotang Opera or Duangong Opera, is a traditional dramatic form evolved from folk sacrificial rituals integrated with folk opera. Hailed as the "living fossil of Chinese opera", multiple branches of it have been included in the national intangible cultural heritage list since 2006. It is a synthesis of history, folk customs, folk religion and primitive drama, with the core functions of warding off plagues and disasters, and praying for blessings and good fortune. It is widely popular in Anhui, Jiangxi, Guizhou, Hunan and other provinces.
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====Origin and Customs====
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Nuo Opera originated from the ancient Nuo sacrificial rituals. Fixed sacrificial customs for driving away ghosts and plagues had taken shape in the Shang and Zhou dynasties, and witch songs and Nuo dances for entertaining gods and people emerged in the pre-Qin period. Around the Song Dynasty, Nuo rituals absorbed elements of folk songs and dances as well as drama and evolved into Nuo Opera. In the late Ming and early Qing dynasties, it integrated the characteristics of local operas in various regions and developed into forms such as Nuotang Opera and Duangong Opera.
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In terms of folk customs, Nuo Opera is mostly performed during festivals like the Spring Festival and autumn sacrifices, closely bound to folk activities such as praying for blessings, exorcising evil spirits and ancestor worship. In some areas, it is also combined with Nuo skills performances like climbing knife ladders and walking through fire troughs.
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====Types====
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According to regional and artistic characteristics, Nuo Opera is mainly divided into three categories:
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Nuotang Opera: Represented by Dejiang in Guizhou and Yuanling in Hunan, it integrates witchcraft rituals and opera performances, consisting of main plays and interludes.
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Di Opera (Ground Opera): Popular in the Tunpu areas of Yunnan and Guizhou, inherited by the descendants of Ming Dynasty border soldiers, it mainly features historical martial arts plays.
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Yang Opera: Focusing on folk life skits, its singing tunes absorb folk arts such as flower drum and flower lantern, and it mainly aims to entertain people.
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In addition, it can be divided into schools such as Guizhou Nuo Opera, Jiangxi Gan Nuo and Anhui Chizhou Nuo Opera according to regions.
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====Performance Techniques====
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Masks: The core performance props, carved and painted with camphor wood, poplar wood, etc., are divided into full-face and half-face masks, and categorized into civil officials, military generals, immortals and other roles. They are the most recognizable feature of Nuo Opera.
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Performance Forms: The role categories include sheng (male roles), dan (female roles), jing (painted-face roles) and chou (clown roles). The movements are simple and bold: male roles walk in regular steps and gang steps (ritual steps), while female roles take small quick steps. The accompaniment is mainly percussion instruments such as gongs, drums and cymbals, with suona used in a few areas.
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Nuo Skills: Including stunts like climbing knife ladders, fishing in boiling oil and stepping on plowshares, which are important links in sacrificial rituals.
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====Repertoires and Singing Tunes====
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Repertoires: Most are adapted from folk legends and historical stories, with representative works such as Meng Jiangnu, The Dragon King's Daughter and Lady Pang. There are also adaptations from Romance of the Three Kingdoms and Journey to the West.
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Singing Tunes: Divided into zhengqiang (rugged and simple) and xiaodiao (cheerful and smooth), integrating folk music such as folk songs and flower drum tunes. The singing is mostly in local dialects, presented in the form of "one person sings and the others join in".
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====Schools and Variations====
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Nuo Opera in different regions has formed unique styles:
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Dejiang Nuotang Opera in Guizhou: Preserves the most primitive sacrificial form, known as the "god of lifting bars", and the layout of the Nuo altar integrates a variety of folk arts.
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Chizhou Nuo Opera in Anhui: Characterized by family inheritance, it consists of three performance sections: Nuo rituals, Nuo dances and Nuo Opera.
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Nanfeng Nuo in Jiangxi: It is prominent for its Nuo dance art and is known as the "living fossil of Chinese dance".
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====Hunan Nuo Opera====
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Hunan Nuo Opera holds an important place in Chinese nuo culture. It has a long history and its inheritance has not been broken. From the rituals to the plays, it is relatively well-preserved. Due to its wide geographical distribution, it presents a rich and diverse situation.
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Nuo Opera is a ritual manifestation of witchcraft culture and is a very precious world primitive cultural heritage. Chinese Nuo is an important part of China's primitive culture and an indispensable part of the world's ancient culture. It is a rare and non-renewable resource for studying primitive thinking, ancient and primordial art and culture, and Chinese drama culture. It is an important supplement to archaeological excavations and literature research in the project of tracing the Origins of Chinese civilization. Hunan Nuo should be given more attention and protection.(Sun Wenhui 2023)
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===References===
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·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 傩戏（德江傩堂戏）. https://www.ihchina.cn/project_details/13380, 2025-10-02.
  
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·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 傩戏（池州傩戏）. https://www.ihchina.cn/project_details/13377.html, 2025-11-01.
  
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Within different localities of Rucheng, there exist varying artistic forms, and the inheritance and crafting techniques also differ from village to village. There are multiple narratives regarding the origin of "Rucheng Incense Dragon," mostly stemming from local folklore. One widely circulated legend states: In the first year of the Hongdao era of the Tang Dynasty (683 AD), Rucheng County suffered from flood disasters. Villagers "used fire dragons to subdue the flood," weaving dried rice straw, commonly found locally, into several straw dragons. They set these straw dragons alight and cast them into the floodwaters, eventually causing the floods to recede and allowing villagers to resume normal life. Thereafter, villagers in Rucheng, organized by village, began holding Xianghuolong dance rituals during the Lantern Festival period to pray for favorable weather, bountiful harvests, and peace in the coming year. (Qiu Haihong & Hu Jianzhong, 2019)
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·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 千年腔调 穿越古今——走近中国戏剧活化石德江傩戏.https://www.ihchina.cn/news_1_details/9598.html, 2018-05-25.
  
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====Production Process of Rucheng Incense Dragon====
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·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 傩戏（临武傩戏）. https://www.ihchina.cn/art/detail/id/13389.html, 2025-10-30.
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The materials used to make Rucheng Incense Dragon are all locally sourced, including rice straw, palm leaves, nan bamboo, sunflower stalks, etc. These seemingly ordinary materials are transformed by inheritors into breathtaking works of art. "Zhaogongbian" is the foundational material for making the Xianghuolong. It consists of strips hundreds of meters long and approximately 4 centimeters in diameter, serving as the base for all subsequent stages of the dragon's construction. Under the craftsmen's hands, the "Zhaogongbian" is sequentially shaped into the dragon's head, neck, body, and tail. The dragon head section features complex design, with every detail—from the horns, mouth, and whiskers to the eyes, ears, teeth, and nose—meticulously carved and layered, perfectly presenting the dragon's majesty. Each segment of the dragon body forms an arch. A key point in crafting the body is the insertion of dragon incense sticks. Artisans insert incense sticks, each about 60 cm long, into the "Zhaogongbian" at intervals of about 2 cm along both sides of the dragon body, connecting them with thin bamboo strips to form vivid scales. The entire dragon body requires approximately 40,000 incense sticks, creating a tremendous visual impact. After completing all components, each body segment is connected in front of the ancestral temple, fixed with bamboo poles and ropes, and fitted with carrying poles, forming a complete Xianghuolong ready for performance. The Xianghuolong can consist of 7 to 11 arches and reach a height of 2.5 to 4 meters. (Qiu Haihong et al., 2017)
 
  
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====Ritual Procedures====
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·中国民族博物馆. 傩戏木刻面具. https://www.cnmuseum.com/photo_show.aspx?id=747, 2025-07- 26.
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The Rucheng Incense Dragon ritual is a major annual folk event deeply cherished and valued by the local populace of Rucheng County. The activity is held during the Lantern Festival period. In villages hosting the event, everyone, young and old, actively participates, collectively witnessing the grand dragon dance ceremony.
 
  
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·网易. 千年傩韵:中国各地傩文化的活态传承与鲜活案例. http://m.163.com/dy/article/KF5U9R870552XEO6.html, 2025-11-25.
  
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As night falls, local villagers signal the start with three blasts from local cannons. Drums, gongs, wind and string instruments, and firecrackers sound in unison. Participants holding torches light all the incense inserted into the dragon's body. The entire dragon, now ablaze with fire, radiates and glitters in the night. Guided by a young man holding a fiery embroidered ball, dozens of young men lift and begin to dance the dragon. The Incense Dragon, glowing a radiant red, weaves through the streets and alleys of the villages and towns. When passing households, each family lights candles and sets off firecrackers to welcome the dragon's arrival, symbolizing good luck and a prosperous, auspicious year with favorable weather. (Xu Xiaoqin & Lei Junrong, 2010) During the Incense Dragon performance, two dragons (a mother dragon and a child dragon) and two lions (a mother lion and a child lion) accompany the dance. One lion leads in front of the dragon, and another follows at the tail. Dozens of "Three-Eyed Cannons" fire simultaneously during the performance. Over one hundred young and middle-aged farmers, dressed in old clothes, lift the dragon, which weighs approximately 1,500 kilograms. They first dance it around the ancestral temple and then parade it along the village paths. The performance includes a sequence of movements such as rolling, spraying water, submerging to the "sea floor," jumping, swallowing, and sleeping. The "submerging" and "swallowing" movements are particularly technically challenging. The leading and following lions perform their own rolls and jumps in addition to actions that guide and protect the dragon ("escorting the dragon").
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·维基百科. 傩戏. http://www.shturl.cc/f340ed2bef49057e7e5c6b9bb78f4841, 2025-10-26.
  
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·傩戏. http://www.shturl.cc/732f3e4fa97aab50850f2877a2738d91, 2025-11-25.
  
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The Rucheng Incense Dragon dance follows a complete, prescribed procedure: Before the dance, a ceremony worshipping ancestors is held in the ancestral temple, involving setting up an altar, burning incense, bowing with hands folded, and performing kowtows. During this time, villagers maintain an air of solemn reverence, with no noise. After the ceremony, the dragon is lifted and kowtows three times in front of the ancestral hall before the "dragon dance" commences. Households along the street set off firecrackers, a practice known as "receiving the dragon" (Jie Long). After following the prescribed route, the dragon returns to the front of the ancestral temple. The dragon's head is positioned centrally as the body coils into three circles. Villagers then pluck out the remaining incense sticks, and the dragon frame is burned in a ritual called "transforming the dragon" (Hua Long), signifying "the dragon returns to heaven." Early the next morning, the ashes are poured into a stream, symbolizing "the dragon returns to the great sea." (Xu Xiaoqin & Lei Junrong, 2010)
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·Sun Wenhui. 孙文辉.2023.湖南傩戏扫描[HuNan Nuo Opera Scan][J].艺海[Yihai],(05):3-11.
  
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====Contemporary Inheritance and Innovation====
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·Baidu Encyclopedia 百度百科.
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(I) Increasing Government Funding and Support: Providing financial assistance to inheritors of the Rucheng Incense Dragon for carrying out transmission activities can effectively stimulate their motivation for safeguarding and their capacity for innovation, thereby strongly promoting the sustainable development of Incense Dragon cultural activities. Especially during important festivals such as the Spring Festival and Lantern Festival, funding exhibition performances can increase its visibility, enhance local community enthusiasm for participation, and also effectively integrate resources to foster cross-regional and interdisciplinary cultural exchanges. (Yang Zhuangzhuang, 2024)
 
  
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===Terms===
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Nuo opera 傩戏
  
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(II) Digital Technology Assisting the Inheritance of the Rucheng Incense Dragon: For the digital preservation of Rucheng Incense Dragon craftsmanship, technologies such as 3D scanning and 3D modeling can be employed to capture the detailed structure and complex techniques with high precision. Subsequently, digital technology can transform this data into animated presentations. This approach can both preserve the traditional charm of the Incense Dragon and present it to the public in a more vivid and intuitive manner. Secondly, promoting Rucheng Incense Dragon culture through online platforms leverages the rapid dissemination power of the internet, enabling the artistic charm and cultural value of the Incense Dragon to transcend temporal and spatial boundaries, reach a wider audience, and expand its cultural influence. The key lies in conveying its cultural value to enhance public awareness and interest in Incense Dragon culture. Internet digital platforms, especially social media and short video platforms, represent new frontiers for disseminating this cultural heritage. (Yang Zhuangzhuang, 2024)
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Nuotang Opera 傩堂戏
  
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====Conclusion====
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Duangong Opera 端公戏
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In the arrangement order of the zodiac, the ancients’ understanding of the laws of nature is hidden. Judging from the living habits of animals, mice are active at night, which corresponds to the time of day; Cows will ruminate when they are ugly, which corresponds to ugliness; The tiger is the fiercest. This way of “matching time with animal habits” embodies the ancient idea of “harmony between man and nature”-human beings and nature are not antagonistic, but interdependent and harmonious. The zodiac signs bind time, animals and people’s lives together, reflecting the ancient people’s survival wisdom of adapting to and using nature.
 
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In addition, the zodiac animals include mammals, reptiles, birds and even imaginary animal dragons, but they can coexist harmoniously, which shows that the ancients have a tolerant and respectful attitude towards all kinds of creatures; In the zodiac, the dragon, as the only deity, represents heaven and earth, and it is the ancient people’s worship of nature and the condensation of imagination. Fuxi Nuwa’s snake-face, which is often seen in Han portraits, and the snake, as one of the zodiac animals, are often connected with the spirit of creation, which is also full of worship for nature.
 
  
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===Terms and Expressions===
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living fossil of Chinese opera 中国戏剧活化石
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Rucheng Incense Dragon 汝城香火龙
 
  
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Dragon Dance 舞龙
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national intangible cultural heritage 国家级非物质文化遗产
  
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Lantern Festival 元宵节
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folk sacrifical rituals 民间祭祀仪式
  
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Ancestral Temple / Clan Hall 祠堂
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Nuo sacrifices 傩祭
  
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Ancestor Worship Ceremony 祭祖仪式
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exorcism 驱邪
  
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Receiving the Dragon (Jie Long) 接龙
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blessing-praying 祈福
  
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Transforming the Dragon (Hua Long) 化龙
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Nuo skill 傩技
  
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Hakka Communities 客家人
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knife ladder climbing 上刀梯
  
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Agrarian Culture 农耕文化
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fire trough walking 过火槽
  
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Zhaogongbian 赵公鞭
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Di opera(Ground Opera) 地戏
  
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Dragon Incense Sticks (Long Xiang) 龙香
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flower drum/lantern 花鼓/花灯
  
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To Pray for Blessings and Ward Off Disasters 祈福消灾
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civil/military/immortal roles 文臣/武将/神仙角色
  
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===Questions===
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percussion accompaniment 打击乐伴奏
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1.What disaster is the widely circulated origin of the Rucheng Incense Dragon associated with?
 
  
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gongs/drums/cymbals 锣/鼓/钹
  
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2.What is the foundational material for making the Rucheng Incense Dragon?
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one sings, all join in 一唱众和
  
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===Questions===
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1. What reputation is Nuo Opera known for, and when was it included in the national intangible cultural heritage list?
  
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3.During which festival is the Rucheng Incense Dragon primarily performed?
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2. What is the origin of Nuo Opera, and how did it evolve around the Song Dynasty?
  
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3. What are the three main types of Nuo Opera, and what are their respective characteristics?
  
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4.In contemporary inheritance and innovation, in which aspects is digital technology primarily applied to assist the inheritance of the Rucheng Incense Dragon?
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4. What are the materials and role classifications of the masks in Nuo Opera performances?
  
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5. What are the two types of singing tunes in Nuo Opera, and what are the characteristics of the singing form?
  
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5.As a National-level Intangible Cultural Heritage, what are the core characteristics of the Rucheng Incense Dragon?
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6. What are the characteristics of Dejiang Nuotang Opera in Guizhou, Chizhou Nuo Opera in Anhui and Nanfeng Nuo in Jiangxi?
  
 
===Answers===
 
===Answers===
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1. Nuo Opera is hailed as the "living fossil of Chinese opera", and multiple branches of it have been included in the national intangible cultural heritage list since 2006.
  
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1.The widely circulated origin of the Rucheng Incense Dragon is associated with flood disasters. Legend has it that during the Tang Dynasty, Rucheng suffered severe floods. Local residents adopted the suggestion to "subdue the flood with fire dragons," crafting straw dragons and casting them into the water. This practice later evolved into a folk ritual for praying for safety and peace.
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2. Nuo Opera originated from ancient Nuo sacrificial rituals. Fixed sacrificial customs for driving away ghosts and plagues took shape in the Shang and Zhou dynasties; around the Song Dynasty, Nuo rituals absorbed elements of folk songs, dances and dramas and evolved into Nuo Opera.
  
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3. They are mainly divided into Nuotang Opera, Di Opera (Ground Opera) and Yang Opera. Nuotang Opera integrates witchcraft rituals and opera performances; Di Opera is popular in the Tunpu areas of Yunnan and Guizhou, focusing on historical martial arts plays; Yang Opera focuses on folk life skits, with singing tunes absorbing folk arts such as flower drum and flower lantern.
  
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2.The foundational materials for making the Incense Dragon are rice straw, along with other local produce such as palm leaves, mao bamboo (nan bamboo), and sunflower stalks. During construction, rice straw is first braided into a thick rope hundreds of meters long, known as the "Zhaogongbian", which serves as the base framework for the dragon's body.
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4. The masks of Nuo Opera are mostly carved and painted with camphor wood, poplar wood, etc., divided into full-face and half-face masks, and categorized into civil officials, military generals, immortals and other roles.
  
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5. The singing tunes are divided into Zhengqiang (rugged and simple) and Xiaodiao (cheerful and smooth). The singing is mostly in local dialects, presented in the form of "one person sings and the others join in".
  
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3.The Incense Dragon dance is primarily held at night around the Lantern Festival (the 15th day of the first lunar month).
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6. Dejiang Nuotang Opera in Guizhou preserves the most primitive sacrificial form, known as the "god of lifting bars"; Chizhou Nuo Opera in Anhui is characterized by family inheritance, consisting of three performance sections: Nuo rituals, Nuo dances and Nuo Opera; Nanfeng Nuo in Jiangxi is prominent for its Nuo dance art and is known as the "living fossil of Chinese dance".
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4.The application of digital technology in contemporary inheritance is mainly reflected in two aspects: digital preservation and online dissemination. Specific measures include: utilizing three-dimensional scanning and modeling technologies to permanently record the crafting techniques and forms; creating immersive experience projects through VR (Virtual Reality) technology; and promoting the tradition via internet platforms such as short video apps and social media.
 
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5.As a National-level Intangible Cultural Heritage, its core characteristics are: a framework constructed from rice straw and bamboo, the dragon's body being entirely covered with specially made incense sticks, and its performance occurring at night with the incense ignited. This creates a distinctive visual spectacle—a radiant, soaring fiery dragon—which significantly distinguishes it from more common cloth or colored dragon dance forms.
 
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===References===
 
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[1] Hu Ting, Xiao Yi, & Li Xianxiong. (2023). Exploring the cultural connotation and social functions of "Xianghuolong" from the perspective of folk sports—Based on an investigation in Rucheng, Hunan. Contemporary Sports Technology, 13(06), 113-116.
 
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[2] Qiu Haihong, & Hu Jianzhong. (2019). Analyzing the evolution of rural ritual sports from the perspective of "state-society" relationship theory: A study on the "Rucheng Xianghuolong" activity in Chenzhou, Hunan. Journal of Capital University of Physical Education and Sports, 31(05), 428-431+442.
 
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[3] Qiu Haihong, Hu Jianzhong, & Wang Junyun. (2017). The overall form of village ritual sports: Taking Rucheng "Xianghuolong" as an example. Journal of Hengyang Normal University, 38(03), 129-133.
 
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[4] Xu Xiaoqin, & Lei Junrong. (2010). Inheritance models of intangible cultural heritage of village folk sports: Based on an investigation of Rucheng Xianghuolong in Chenzhou. Combat (Martial Arts Science), 7(12), 96-98.
 
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[5] Yang Zhuangzhuang. (2024). Practical dilemmas and normative pathways for the inheritance and development of Rucheng Xianghuolong from the perspective of rural revitalization. Journal of Xiangnan University, 45(04), 5-9.
 
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==期末论文==
 
==期末论文==
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===汝城香火龙===
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===傩戏===
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====介绍====
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====引言====
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傩戏又称傩堂戏、端公戏，是在民间祭祀仪式基础上融合民间戏曲形成的传统戏剧形式，被称为“中国戏剧活化石”，2006年起多个分支入选国家级非物质文化遗产名录。它是历史、民俗、民间宗教与原始戏剧的综合体，核心功能为驱瘟避疫、酬神纳吉，广泛流行于安徽、江西、贵州、湖南等省。
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====起源与习俗====
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傩戏源于远古的傩祭仪式，商周时期已形成固定的驱鬼逐疫祭祀礼俗，先秦时期出现娱神娱人的巫歌傩舞；宋代前后，傩仪吸收民间歌舞、戏剧元素演变为傩戏；明末清初，融合各地地方戏曲特色，发展出傩堂戏、端公戏等形态。
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民俗层面，傩戏多在春节、秋祭等时节演出，与祈福、驱邪、祭祖等民俗活动深度绑定，部分地区还会结合上刀梯、过火槽等傩技表演。
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====类型====
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根据地域与艺术特征，傩戏主要分为三类：
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傩堂戏：以贵州德江、湖南沅陵为代表，融合巫教仪式与戏曲表演，有正戏、插戏之分。
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地戏：流行于云南、贵州屯堡，由明代戍边将士后裔传承，以历史武打戏为主。
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阳戏：侧重民间生活小戏，唱腔吸收花鼓、花灯等民间艺术，以娱人为主。
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此外，按地域还可分为贵州傩戏、江西赣傩、安徽池州傩等流派。
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====表演技艺====
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面具：核心表演道具，用樟木、白杨木等雕刻彩绘，分整脸、半脸，按角色分为文臣、武将、神仙等，是傩戏最具辨识度的特征。
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表演形式：脚色行当分生、旦、净、丑，动作古朴粗犷，男角走正步、罡步，女角走碎步；伴奏以锣、鼓、钹等打击乐为主，少数地区用唢呐。
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傩技：包含上刀梯、捞油锅、踩犁头等绝技，是祭祀仪式中的重要环节。
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====剧目与唱腔====
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剧目：多取材于民间传说、历史故事，代表有《孟姜女》《龙王女》《庞氏女》，也有改编自《三国演义》《西游记》的内容。
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唱腔：分正腔（粗犷朴实）与小调（欢快流畅），融合山歌、花鼓腔等民间音乐，演唱多用本地方言，以“一唱众和”形式呈现。
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====流派与变体====
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不同地域的傩戏形成独特风格：
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贵州德江傩堂戏：保留最原始的祭祀形态，有“杠神”之称，傩坛布置融合多种民间艺术。
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安徽池州傩戏：以家族传承为特色，分傩仪、傩舞、傩戏三段表演。
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江西南丰傩：傩舞艺术突出，被称为“中国舞蹈活化石”。
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====湖南傩戏====
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湖南傩戏，在中国傩文化中占有重要一席。它历史悠久，传承未断，从仪式到剧目保存相对完整 ；因分布的地域广泛，又呈现出丰富多彩的局面。
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傩是巫文化的仪式呈现，是一种非常珍贵的世界性的原始文化遗产。中国傩，是中国原始文化重要的组成部分，也是世界远古文化中不可或缺的部分。它是研究原始思维，远古、上古文化艺术，中国戏剧文化，不可多得、不可再生的资源。它在中华文明探源工程中，是考古发掘、文献研究的一个重要的补充。湖南傩，应当引起更进一步的重视与保护。
 +
===参考资料===
 +
·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 傩戏（德江傩堂戏）. https://www.ihchina.cn/project_details/13380, 2025-10-02.
  
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  汝城香火龙的起源汝城县位于湖南省南部，是湘、粤、赣三省交会之地，自古便享有“鸡鸣三省，水注三江”之盛誉。2014年11月联合国地名专家组中国分部授予汝城“千年古县”称号，汝城县历史文化底蕴深厚，资源丰富，是湖南省历史文化名城。汝城“香火龙”是定于元宵节前后夜晚举行的舞龙展演活动，传布于汝城县14个乡村部落里，并于2006年列入湖南省第一批非遗名录，2008年被列入第二批国家级非遗保护项目。（胡婷 等，2023）
+
·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 傩戏（池州傩戏）. https://www.ihchina.cn/project_details/13377.html, 2025-11-01.
−
 
−
  在汝城的各地方，有其各不相同的艺术类型，每个村落的传承及制作工艺也各不相同关于“汝城香火龙”的起源有多种说法，多来源于当地的民间传说，其中流传较广的是：唐弘道元年（683年），汝城县遭遇洪涝灾害，村民“以火龙降水患”，用当地常见的干稻草编扎成数条稻草龙，把点燃的草龙投入洪水之中，最终使得洪水退去，村民们得以恢复正常的生活。在此之后，汝城的村民以村落为单位，在元宵节期间举行舞“香火龙”仪式，以祈求来年的生活风调雨顺、五谷丰登。（邱海洪，胡建忠，2019）
 
  
−
====汝城香火龙的制作流程====
+
·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 千年腔调 穿越古今——走近中国戏剧活化石德江傩戏.https://www.ihchina.cn/news_1_details/9598.html, 2018-05-25.
  
−
  制作汝城香火龙的材料均产自当地，包括稻草、棕榈叶、楠竹、向日葵秆等， 这些看似平常的材料，在传承人的手下却转化为令人叹为观止的艺术品。“赵公鞭”是香火龙制作的基础材料，长达数百米，直径约4厘米，是后续制作香火龙各环节的基础。
+
·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 傩戏（临武傩戏）. https://www.ihchina.cn/art/detail/id/13389.html, 2025-10-30.
  
−
  在传承人的制作下，“赵公鞭”依次变为龙头、龙颈、龙身及龙尾，龙头部分设计复杂，从龙角、龙嘴到龙须、龙眼，再到龙耳、龙牙、龙鼻等，每一处细节都精雕细琢，层层递进，完美呈现出龙的威严。每一节龙身都是一段拱形。龙身的制作要点是龙香的插入，匠人们沿着龙身的两侧，每隔2厘米便在“赵公鞭”上插入一支长约60厘米的龙香，用细篾片连接，形成一片片生动的龙鳞。整个龙身大约需要4万支龙香，给人带来极大的视觉冲击。在完成所有部件后，每一节龙身都将在祠堂前进行连接，用竹竿和绳索固定，再装上抬杆，使之成为可供表演使用的完整香火龙。香火龙从7拱至11拱不等，高度可达2.5~4米。（邱海洪 等，2017）
+
·中国民族博物馆. 傩戏木刻面具. https://www.cnmuseum.com/photo_show.aspx?id=747, 2025-07- 26.
  
−
====仪式环节====
+
·网易. 千年傩韵:中国各地傩文化的活态传承与鲜活案例. http://m.163.com/dy/article/KF5U9R870552XEO6.html, 2025-11-25.
  
−
  香火龙仪式是汝城县一年一度的重大民俗活动，深受当地民众的喜爱与重视，活动在元宵节期间举行。举办活动的村子，全村上下，男女老少，都会积极参与到这一活动中来，共同见证盛大的舞火龙仪式。
+
·维基百科. 傩戏. http://www.shturl.cc/f340ed2bef49057e7e5c6b9bb78f4841, 2025-10-26.
  
−
当夜幕降临时，当地村民以土炮三响为号，鼓输管弦乐器、花炮齐鸣，众人手持火把点燃龙身全部香火，整个龙体在夜幕中火光四射，熠熠生辉，在手提火绣球的小伙子的指引下，由数十个年轻人一起将它舞起。全身红光闪闪的香火龙在村镇的大街小巷来回穿梭，经过村民家时，每家每户都会点燃蜡烛、燃放鞭炮，以示迎接龙的到来，象征着好运和一年的日子红红火火，风调雨顺。（徐晓琴 ，雷军蓉，2010）
+
·傩戏. http://www.shturl.cc/732f3e4fa97aab50850f2877a2738d91, 2025-11-25.
  
−
表演香火龙时，有两龙（母龙和子龙）、两狮（母狮和子狮）陪随而舞，一狮在龙前引路，一狮在龙尾跟随。香火龙表演时，数十支三眼铳齐鸣，一百多名青壮年农民，身穿旧衣，将1500公斤的龙抬起来，绕祠堂舞动，然后沿村游走。香火龙的表演程序上有：翻滚、喷水、沉海底、跳跃、吞食、睡眠等动作。“沉海底”和“吞食”表演技巧上难度较高。引路和尾随的两头狮子，除各自作翻滚跳跃的动作外，还作些引龙和随龙“护驾”动作。
+
·Sun Wenhui孙文辉.2023.湖南傩戏扫描[HuNan Nuo Opera Scan][J].艺海[Yihai],(05):3-11.
  
−
汝城舞香火龙有一套完整的程序：舞之前要到祠堂举行祭祖仪式，设案、焚香、作揖、施叩礼，这时村民一脸虔诚郑重，绝无一点嘈杂嬉闹声，仪式过后将龙抬起在祖祠前叩首三次，方可“舞龙”，沿街的人家要燃放爆竹谓之“接龙”，按规定的路线舞过后，又回到祖祠前，龙首居中，盘成三圈，村民扯香后，即烧龙谓“化龙”，“龙归天”。第二天清晨将龙灰倒入溪流中，寓“龙归大海”之意。（（徐晓琴 ，雷军蓉，2010））
+
·Baidu Encyclopedia 百度百科.
  
−
====当代传承与创新====
+
===术语===
 +
Nuo opera 傩戏
  
−
  （一）加大政府资助和支持：资助汝城香火龙传承人开展传承活动对汝城香火龙的传承人提供资金支持，能够有效激发他们的传承动力和创新能力，有力促进香火龙文化活动的持续开展。尤其是在春节、元宵节等重要节日期间，资助香火龙的展演活动，能增加其“曝光度”，加强当地民众参与香火龙活动的热情，同时也能够有效整合资源，促进跨区域、跨领域的文化交流。（杨壮壮，2024）
+
Nuotang Opera 傩堂戏
  
−
  （二）数字技术助力汝城香火龙传承：数字化存储汝城香火龙技艺对汝城香火龙的数字化储存，可以采取三维扫描和三维建模技术，高精度地捕捉香火龙的详细结构和复杂工艺，进而通过数字技术将其转化为动画展示，这样既能保留香火龙的传统魅力，又能使其以更加生动直观的方式呈现给公众。其次，网络化推广汝城香火龙文化互联网平台的快速传播能力能够使香火龙的艺术魅力和文化价值跨越时空界限，触达更广泛的受众群体，扩大香火龙文化的影响范围。最后关键在于传递文化价值，提升公众对香火龙文化的认知和兴趣。互联网数字平台，尤其是社交媒体和短视频平台，是香火龙文化传播的新阵地。（杨壮壮，2024）
+
Duangong Opera 端公戏
  
−
====结语====
+
living fossil of Chinese opera 中国戏剧活化石
  
−
  汝城香火龙是流传于湖南省郴州市汝城县的传统民俗活动，被誉为“华夏第一香火龙”。作为国家级非物质文化遗产，它起源于唐代，是当地客家民众为祈福消灾而创造的独特龙舞形式。其核心特征在于以稻草、竹材为骨，通体插满特制龙香，夜间点燃舞动时宛如火龙腾飞，气势恢宏。这项活动深度融合了当地的自然崇拜、农耕文化与宗族社会结构，是研究湘南地域文化的重要活态样本。
+
national intangible cultural heritage 国家级非物质文化遗产
  
−
===术语与表达===
+
folk sacrifical rituals 民间祭祀仪式
  
−
Rucheng Incense Dragon 汝城香火龙
+
Nuo sacrifices 傩祭
  
−
Dragon Dance 舞龙
+
exorcism 驱邪
  
−
Lantern Festival 元宵节
+
blessing-praying 祈福
  
−
Ancestral Temple / Clan Hall 祠堂
+
Nuo skill 傩技
  
−
Ancestor Worship Ceremony 祭祖仪式
+
knife ladder climbing 上刀梯
  
−
Receiving the Dragon (Jie Long) 接龙
+
fire trough walking 过火槽
  
−
Transforming the Dragon (Hua Long) 化龙
+
Di opera(Ground Opera) 地戏
  
−
Hakka Communities 客家人
+
flower drum/lantern 花鼓/花灯
  
−
Agrarian Culture 农耕文化
+
civil/military/immortal roles 文臣/武将/神仙角色
  
−
Zhaogongbian 赵公鞭
+
percussion accompaniment 打击乐伴奏
  
−
Dragon Incense Sticks (Long Xiang) 龙香
+
gongs/drums/cymbals 锣/鼓/钹
  
−
To Pray for Blessings and Ward Off Disasters 祈福消灾
+
one sings, all join in 一唱众和
  
 
===问题===
 
===问题===
−
1.汝城香火龙流传较广的起源和什么灾害有关？
+
1. 傩戏被称为什么美誉，何时入选国家级非物质文化遗产名录？
−
 
 
−
 
 
−
2.制作汝城香火龙的基础材料是什么？
 
  
 +
2. 傩戏的起源是什么，宋代前后发生了怎样的演变？
  
−
3.汝城舞香火龙主要在哪个节日举行？
+
3. 傩戏主要分为哪三类，各自的特点是什么？
  
 +
4. 傩戏表演中面具的材质和角色分类是怎样的？
  
−
4.在当代传承与创新中，数字技术助力汝城香火龙传承主要体现在哪些方面？
+
5. 傩戏的唱腔分为哪两类，演唱形式有何特点？
  
 +
6. 贵州德江傩堂戏、安徽池州傩戏、江西南丰傩各有什么特色？
  
−
5.汝城香火龙作为国家级非物质文化遗产，其核心特征是什么？
 
 
===答案===
 
===答案===
−
1.汝城香火龙流传较广的起源与洪涝灾害有关。相传唐朝时汝城洪水泛滥，当地民众采纳“以火龙降水患”的建议，扎制草龙投入水中，后逐渐演变为祈求平安的民俗活动。
+
1. 傩戏被称为“中国戏剧活化石”，2006年起多个分支入选国家级非物质文化遗产名录。
−
 
 
−
 
 
−
2.制作香火龙的基础材料是稻草以及棕叶、毛竹（楠竹）、向日葵秆等当地物产。制作时，首先会用稻草扎成数百米长的粗绳，称为 “赵公鞭” ，作为龙身骨架的基础。
 
−
 
 
−
 
 
−
3.舞香火龙的活动主要在每年农历正月十五的元宵节前后夜间举行。
 
−
 
 
−
 
 
−
4.数字技术在当代传承中的应用主要体现在数字化保存和网络化传播两个方面。具体包括：利用三维扫描和建模技术永久性记录制作工艺与造型；通过VR技术制作沉浸式体验项目；以及借助短视频、社交媒体等互联网平台进行推广。
 
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−
 
 
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5.作为国家级非物质文化遗产，其核心特征是：以稻草、竹材扎制龙骨，在龙身通体插满特制的龙香，于夜间点燃舞动，从而形成一条火光四射、宛如真龙腾飞的壮观景象。这使其与常见的布龙、彩龙等舞龙形式显著区别开来。
 
−
 
 
−
===参考文献===
 
−
[1]胡婷,肖钛 & 李先雄.(2023).民俗体育视野下“香火龙”的文化内涵及社会功能探析——基于湖南汝城调查.当代体育科技,13(06),113-116.
 
−
 
 
−
 
 
−
[2]邱海洪 & 胡建忠.(2019).从“国家——社会”关系理论视角分析乡村仪式性体育的变迁:湖南郴州“汝城香火龙”活动研究.首都体育学院学报,31(05),428-431+442.
 
−
 
 
  
−
[3]邱海洪,胡建忠 & 王俊云.(2017).村落仪式性体育的整体形制——以汝城“香火龙”为例.衡阳师范学院学报,38(03),129-133.
+
2. 傩戏源于远古的傩祭仪式，商周时期形成驱鬼逐疫的祭祀礼俗；宋代前后，傩仪吸收民间歌舞、戏剧元素演变为傩戏。
  
 +
3. 主要分为傩堂戏、地戏、阳戏。傩堂戏融合巫教仪式与戏曲表演；地戏流行于云贵屯堡，以历史武打戏为主；阳戏侧重民间生活小戏，唱腔吸收花鼓、花灯等民间艺术。
  
−
[4]徐晓琴 & 雷军蓉.(2010).村落民俗体育非物质文化遗产的传承模式——以郴州汝城香火龙考察为例.搏击(武术科学),7(12),96-98.
+
4. 傩戏面具多用樟木、白杨木等雕刻彩绘，分整脸、半脸，按角色分为文臣、武将、神仙等。
  
 +
5. 唱腔分正腔（粗犷朴实）与小调（欢快流畅），演唱多用本地方言，以“一唱众和”的形式呈现。
  
−
[5]杨壮壮.(2024).乡村振兴视域下汝城香火龙传承发展的实然困境与应然路径.湘南学院学报,45(04),5-9.
+
6. 贵州德江傩堂戏保留最原始的祭祀形态，有“杠神”之称；安徽池州傩戏以家族传承为特色，分傩仪、傩舞、傩戏三段表演；江西南丰傩的傩舞艺术突出，被称为“中国舞蹈活化石”。

Revision as of 17:12, 4 February 2026

Final Exam Paper

Nuo Opera

Introduction

Nuo Opera, also known as Nuotang Opera or Duangong Opera, is a traditional dramatic form evolved from folk sacrificial rituals integrated with folk opera. Hailed as the "living fossil of Chinese opera", multiple branches of it have been included in the national intangible cultural heritage list since 2006. It is a synthesis of history, folk customs, folk religion and primitive drama, with the core functions of warding off plagues and disasters, and praying for blessings and good fortune. It is widely popular in Anhui, Jiangxi, Guizhou, Hunan and other provinces.

Origin and Customs

Nuo Opera originated from the ancient Nuo sacrificial rituals. Fixed sacrificial customs for driving away ghosts and plagues had taken shape in the Shang and Zhou dynasties, and witch songs and Nuo dances for entertaining gods and people emerged in the pre-Qin period. Around the Song Dynasty, Nuo rituals absorbed elements of folk songs and dances as well as drama and evolved into Nuo Opera. In the late Ming and early Qing dynasties, it integrated the characteristics of local operas in various regions and developed into forms such as Nuotang Opera and Duangong Opera. In terms of folk customs, Nuo Opera is mostly performed during festivals like the Spring Festival and autumn sacrifices, closely bound to folk activities such as praying for blessings, exorcising evil spirits and ancestor worship. In some areas, it is also combined with Nuo skills performances like climbing knife ladders and walking through fire troughs.

Types

According to regional and artistic characteristics, Nuo Opera is mainly divided into three categories: Nuotang Opera: Represented by Dejiang in Guizhou and Yuanling in Hunan, it integrates witchcraft rituals and opera performances, consisting of main plays and interludes. Di Opera (Ground Opera): Popular in the Tunpu areas of Yunnan and Guizhou, inherited by the descendants of Ming Dynasty border soldiers, it mainly features historical martial arts plays. Yang Opera: Focusing on folk life skits, its singing tunes absorb folk arts such as flower drum and flower lantern, and it mainly aims to entertain people. In addition, it can be divided into schools such as Guizhou Nuo Opera, Jiangxi Gan Nuo and Anhui Chizhou Nuo Opera according to regions.

Performance Techniques

Masks: The core performance props, carved and painted with camphor wood, poplar wood, etc., are divided into full-face and half-face masks, and categorized into civil officials, military generals, immortals and other roles. They are the most recognizable feature of Nuo Opera. Performance Forms: The role categories include sheng (male roles), dan (female roles), jing (painted-face roles) and chou (clown roles). The movements are simple and bold: male roles walk in regular steps and gang steps (ritual steps), while female roles take small quick steps. The accompaniment is mainly percussion instruments such as gongs, drums and cymbals, with suona used in a few areas. Nuo Skills: Including stunts like climbing knife ladders, fishing in boiling oil and stepping on plowshares, which are important links in sacrificial rituals.

Repertoires and Singing Tunes

Repertoires: Most are adapted from folk legends and historical stories, with representative works such as Meng Jiangnu, The Dragon King's Daughter and Lady Pang. There are also adaptations from Romance of the Three Kingdoms and Journey to the West. Singing Tunes: Divided into zhengqiang (rugged and simple) and xiaodiao (cheerful and smooth), integrating folk music such as folk songs and flower drum tunes. The singing is mostly in local dialects, presented in the form of "one person sings and the others join in".

Schools and Variations

Nuo Opera in different regions has formed unique styles: Dejiang Nuotang Opera in Guizhou: Preserves the most primitive sacrificial form, known as the "god of lifting bars", and the layout of the Nuo altar integrates a variety of folk arts. Chizhou Nuo Opera in Anhui: Characterized by family inheritance, it consists of three performance sections: Nuo rituals, Nuo dances and Nuo Opera. Nanfeng Nuo in Jiangxi: It is prominent for its Nuo dance art and is known as the "living fossil of Chinese dance".

Hunan Nuo Opera

Hunan Nuo Opera holds an important place in Chinese nuo culture. It has a long history and its inheritance has not been broken. From the rituals to the plays, it is relatively well-preserved. Due to its wide geographical distribution, it presents a rich and diverse situation. Nuo Opera is a ritual manifestation of witchcraft culture and is a very precious world primitive cultural heritage. Chinese Nuo is an important part of China's primitive culture and an indispensable part of the world's ancient culture. It is a rare and non-renewable resource for studying primitive thinking, ancient and primordial art and culture, and Chinese drama culture. It is an important supplement to archaeological excavations and literature research in the project of tracing the Origins of Chinese civilization. Hunan Nuo should be given more attention and protection.(Sun Wenhui 2023)

References

·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 傩戏（德江傩堂戏）. https://www.ihchina.cn/project_details/13380, 2025-10-02.

·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 傩戏（池州傩戏）. https://www.ihchina.cn/project_details/13377.html, 2025-11-01.

·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 千年腔调 穿越古今——走近中国戏剧活化石德江傩戏.https://www.ihchina.cn/news_1_details/9598.html, 2018-05-25.

·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 傩戏（临武傩戏）. https://www.ihchina.cn/art/detail/id/13389.html, 2025-10-30.

·中国民族博物馆. 傩戏木刻面具. https://www.cnmuseum.com/photo_show.aspx?id=747, 2025-07- 26.

·网易. 千年傩韵:中国各地傩文化的活态传承与鲜活案例. http://m.163.com/dy/article/KF5U9R870552XEO6.html, 2025-11-25.

·维基百科. 傩戏. http://www.shturl.cc/f340ed2bef49057e7e5c6b9bb78f4841, 2025-10-26.

·傩戏. http://www.shturl.cc/732f3e4fa97aab50850f2877a2738d91, 2025-11-25.

·Sun Wenhui. 孙文辉.2023.湖南傩戏扫描[HuNan Nuo Opera Scan][J].艺海[Yihai],(05):3-11.

·Baidu Encyclopedia 百度百科.

Terms

Nuo opera 傩戏

Nuotang Opera 傩堂戏

Duangong Opera 端公戏

living fossil of Chinese opera 中国戏剧活化石

national intangible cultural heritage 国家级非物质文化遗产

folk sacrifical rituals 民间祭祀仪式

Nuo sacrifices 傩祭

exorcism 驱邪

blessing-praying 祈福

Nuo skill 傩技

knife ladder climbing 上刀梯

fire trough walking 过火槽

Di opera(Ground Opera) 地戏

flower drum/lantern 花鼓/花灯

civil/military/immortal roles 文臣/武将/神仙角色

percussion accompaniment 打击乐伴奏

gongs/drums/cymbals 锣/鼓/钹

one sings, all join in 一唱众和

Questions

1. What reputation is Nuo Opera known for, and when was it included in the national intangible cultural heritage list?

2. What is the origin of Nuo Opera, and how did it evolve around the Song Dynasty?

3. What are the three main types of Nuo Opera, and what are their respective characteristics?

4. What are the materials and role classifications of the masks in Nuo Opera performances?

5. What are the two types of singing tunes in Nuo Opera, and what are the characteristics of the singing form?

6. What are the characteristics of Dejiang Nuotang Opera in Guizhou, Chizhou Nuo Opera in Anhui and Nanfeng Nuo in Jiangxi?

Answers

1. Nuo Opera is hailed as the "living fossil of Chinese opera", and multiple branches of it have been included in the national intangible cultural heritage list since 2006.

2. Nuo Opera originated from ancient Nuo sacrificial rituals. Fixed sacrificial customs for driving away ghosts and plagues took shape in the Shang and Zhou dynasties; around the Song Dynasty, Nuo rituals absorbed elements of folk songs, dances and dramas and evolved into Nuo Opera.

3. They are mainly divided into Nuotang Opera, Di Opera (Ground Opera) and Yang Opera. Nuotang Opera integrates witchcraft rituals and opera performances; Di Opera is popular in the Tunpu areas of Yunnan and Guizhou, focusing on historical martial arts plays; Yang Opera focuses on folk life skits, with singing tunes absorbing folk arts such as flower drum and flower lantern.

4. The masks of Nuo Opera are mostly carved and painted with camphor wood, poplar wood, etc., divided into full-face and half-face masks, and categorized into civil officials, military generals, immortals and other roles.

5. The singing tunes are divided into Zhengqiang (rugged and simple) and Xiaodiao (cheerful and smooth). The singing is mostly in local dialects, presented in the form of "one person sings and the others join in".

6. Dejiang Nuotang Opera in Guizhou preserves the most primitive sacrificial form, known as the "god of lifting bars"; Chizhou Nuo Opera in Anhui is characterized by family inheritance, consisting of three performance sections: Nuo rituals, Nuo dances and Nuo Opera; Nanfeng Nuo in Jiangxi is prominent for its Nuo dance art and is known as the "living fossil of Chinese dance".

期末论文

傩戏

引言

傩戏又称傩堂戏、端公戏，是在民间祭祀仪式基础上融合民间戏曲形成的传统戏剧形式，被称为“中国戏剧活化石”，2006年起多个分支入选国家级非物质文化遗产名录。它是历史、民俗、民间宗教与原始戏剧的综合体，核心功能为驱瘟避疫、酬神纳吉，广泛流行于安徽、江西、贵州、湖南等省。

起源与习俗

傩戏源于远古的傩祭仪式，商周时期已形成固定的驱鬼逐疫祭祀礼俗，先秦时期出现娱神娱人的巫歌傩舞；宋代前后，傩仪吸收民间歌舞、戏剧元素演变为傩戏；明末清初，融合各地地方戏曲特色，发展出傩堂戏、端公戏等形态。 民俗层面，傩戏多在春节、秋祭等时节演出，与祈福、驱邪、祭祖等民俗活动深度绑定，部分地区还会结合上刀梯、过火槽等傩技表演。

类型

根据地域与艺术特征，傩戏主要分为三类： 傩堂戏：以贵州德江、湖南沅陵为代表，融合巫教仪式与戏曲表演，有正戏、插戏之分。 地戏：流行于云南、贵州屯堡，由明代戍边将士后裔传承，以历史武打戏为主。 阳戏：侧重民间生活小戏，唱腔吸收花鼓、花灯等民间艺术，以娱人为主。 此外，按地域还可分为贵州傩戏、江西赣傩、安徽池州傩等流派。

表演技艺

面具：核心表演道具，用樟木、白杨木等雕刻彩绘，分整脸、半脸，按角色分为文臣、武将、神仙等，是傩戏最具辨识度的特征。 表演形式：脚色行当分生、旦、净、丑，动作古朴粗犷，男角走正步、罡步，女角走碎步；伴奏以锣、鼓、钹等打击乐为主，少数地区用唢呐。 傩技：包含上刀梯、捞油锅、踩犁头等绝技，是祭祀仪式中的重要环节。

剧目与唱腔

剧目：多取材于民间传说、历史故事，代表有《孟姜女》《龙王女》《庞氏女》，也有改编自《三国演义》《西游记》的内容。 唱腔：分正腔（粗犷朴实）与小调（欢快流畅），融合山歌、花鼓腔等民间音乐，演唱多用本地方言，以“一唱众和”形式呈现。

流派与变体

不同地域的傩戏形成独特风格： 贵州德江傩堂戏：保留最原始的祭祀形态，有“杠神”之称，傩坛布置融合多种民间艺术。 安徽池州傩戏：以家族传承为特色，分傩仪、傩舞、傩戏三段表演。 江西南丰傩：傩舞艺术突出，被称为“中国舞蹈活化石”。

湖南傩戏

湖南傩戏，在中国傩文化中占有重要一席。它历史悠久，传承未断，从仪式到剧目保存相对完整 ；因分布的地域广泛，又呈现出丰富多彩的局面。 傩是巫文化的仪式呈现，是一种非常珍贵的世界性的原始文化遗产。中国傩，是中国原始文化重要的组成部分，也是世界远古文化中不可或缺的部分。它是研究原始思维，远古、上古文化艺术，中国戏剧文化，不可多得、不可再生的资源。它在中华文明探源工程中，是考古发掘、文献研究的一个重要的补充。湖南傩，应当引起更进一步的重视与保护。

参考资料

·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 傩戏（德江傩堂戏）. https://www.ihchina.cn/project_details/13380, 2025-10-02.

·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 傩戏（池州傩戏）. https://www.ihchina.cn/project_details/13377.html, 2025-11-01.

·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 千年腔调 穿越古今——走近中国戏剧活化石德江傩戏.https://www.ihchina.cn/news_1_details/9598.html, 2018-05-25.

·中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 傩戏（临武傩戏）. https://www.ihchina.cn/art/detail/id/13389.html, 2025-10-30.

·中国民族博物馆. 傩戏木刻面具. https://www.cnmuseum.com/photo_show.aspx?id=747, 2025-07- 26.

·网易. 千年傩韵:中国各地傩文化的活态传承与鲜活案例. http://m.163.com/dy/article/KF5U9R870552XEO6.html, 2025-11-25.

·维基百科. 傩戏. http://www.shturl.cc/f340ed2bef49057e7e5c6b9bb78f4841, 2025-10-26.

·傩戏. http://www.shturl.cc/732f3e4fa97aab50850f2877a2738d91, 2025-11-25.

·Sun Wenhui孙文辉.2023.湖南傩戏扫描[HuNan Nuo Opera Scan][J].艺海[Yihai],(05):3-11.

·Baidu Encyclopedia 百度百科.

术语

Nuo opera 傩戏

Nuotang Opera 傩堂戏

Duangong Opera 端公戏

living fossil of Chinese opera 中国戏剧活化石

national intangible cultural heritage 国家级非物质文化遗产

folk sacrifical rituals 民间祭祀仪式

Nuo sacrifices 傩祭

exorcism 驱邪

blessing-praying 祈福

Nuo skill 傩技

knife ladder climbing 上刀梯

fire trough walking 过火槽

Di opera(Ground Opera) 地戏

flower drum/lantern 花鼓/花灯

civil/military/immortal roles 文臣/武将/神仙角色

percussion accompaniment 打击乐伴奏

gongs/drums/cymbals 锣/鼓/钹

one sings, all join in 一唱众和

问题

1. 傩戏被称为什么美誉，何时入选国家级非物质文化遗产名录？

2. 傩戏的起源是什么，宋代前后发生了怎样的演变？

3. 傩戏主要分为哪三类，各自的特点是什么？

4. 傩戏表演中面具的材质和角色分类是怎样的？

5. 傩戏的唱腔分为哪两类，演唱形式有何特点？

6. 贵州德江傩堂戏、安徽池州傩戏、江西南丰傩各有什么特色？

答案

1. 傩戏被称为“中国戏剧活化石”，2006年起多个分支入选国家级非物质文化遗产名录。

2. 傩戏源于远古的傩祭仪式，商周时期形成驱鬼逐疫的祭祀礼俗；宋代前后，傩仪吸收民间歌舞、戏剧元素演变为傩戏。

3. 主要分为傩堂戏、地戏、阳戏。傩堂戏融合巫教仪式与戏曲表演；地戏流行于云贵屯堡，以历史武打戏为主；阳戏侧重民间生活小戏，唱腔吸收花鼓、花灯等民间艺术。

4. 傩戏面具多用樟木、白杨木等雕刻彩绘，分整脸、半脸，按角色分为文臣、武将、神仙等。

5. 唱腔分正腔（粗犷朴实）与小调（欢快流畅），演唱多用本地方言，以“一唱众和”的形式呈现。

6. 贵州德江傩堂戏保留最原始的祭祀形态，有“杠神”之称；安徽池州傩戏以家族传承为特色，分傩仪、傩舞、傩戏三段表演；江西南丰傩的傩舞艺术突出，被称为“中国舞蹈活化石”。

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