Cult Ov 1 Fin Exam 2024
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Comments for everybody
- Please add the sources in the form "(Wang 2020, 445)" behind each paragraph and with a long entry in the References section.
- In the References section, please add at least 1-2 Western sources.
- In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.
- Please also add free lines at places where you want to have a line break, e.g. after a header.
Please write here a textbook chapter about a Chinese cultural phenomenon until June 15 and start writing now, with unlimited revisions possible until June 15. When you find your topic listed here it means it has been approved by the teacher. It can be either in traditional culture or today. It cannot be a topic already published in the textbook.
Please do not forget to put it into context and relation in the beginning, e.g. where it emerged and how it spread, if it is unique to Chinese or Asian cultures, if it is well-known or exotic, when it occured and how it developed throughout history.
Please write 1000 English words, and on top of it write Terms and Expressions, Questions, References. The References should contain also paper books or papers and also at least one Western source. You also need to provide a Chinese version of the text and questions.
Li Jingyi | Traditional Cuisine：Breakfast Culture of Guangdong
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Chen Xinzhou | Telecast：Become a Farmer
Telecast: Become a Farmer
Program Introduction
iQIYI's (a film and television app)self-made reality show Become a Farmer is China's first interactive documentary reality show, featuring ten "new farmers" as the main characters, delving deep into rural areas, and documenting their farming life scenes of working from sunrise to sunset. The planning of the program for this show began after the Spring Festival in 2022, with the original intention of producing a program about farming. After investigation, the program team chose to set the filming location at No. 58 Houdoumen, Shanlian Village, Sandun Town, Hangzhou. Ten young people, Jiang Dunhao, Lu Zhuo, Li Gengyun, Li Hao, Zhao Yibo, Zhuo Yuan, Zhao Xiaotong, He Haonan, Chen Shaoxi, and Wang Yiheng, stood out in the audition and formed the" Farming Team". The program truthfully recorded their entire process of farming. (杨长岭Yang Changling,2023,(10):84-86)
Reasons for the creation of the program
China has been a major agricultural country since ancient times, with a long history of agricultural development. In 2022, China's total grain production reached 687 million tons, and the Chinese people used less than 9% of the world's arable land, producing about a quarter of the world's grain. However, China is also a major consumer, with a high degree of dependence on foreign food. Moreover, global climate change has led to frequent natural disasters, threatening food production security. The attack of the COVID-19 epidemic has increased the uncertainties in the production chain of international food trade and the market supply chain. This program aims to make the audience aware of the difficulties in food production and the importance of food security through the recording of the farming process.(《种地吧》先导片 teaser)
Program contents
Ten urban youths, carrying hope and dreams, have interpreted the value of "doing every task seriously, and there will always be a harvest if you put in the effort " personally. They immersed themselves in the field for over 200 days, completing the sowing, irrigation, and fertilization of 142 acres of farmland; planting and maintaining 4000 pots of roses; moving 30 tons of fertilizer in one go; learning to use various agricultural tools and create a "Shi Ge Qin Tian" agricultural company to sell their agricultural products. In addition to working in the fields, they also have to cook for themselves and decorate their own houses. In over 200 days, they transformed from novices who knew nothing about agriculture to agricultural “experts”; they adapted to each other, transitioning from a single person's "solo work" approach to an efficient team operation mode. （黄雯,李梦洁 Huang Wen, Li Mengjie,2023,(12):29-33）
In the second season, they shifted from traditional manual agriculture to digital agriculture, using digitalization to empower agricultural development, improve planting efficiency, and boost crop production and sales. In addition to helping the development of their agricultural products, "Shi Ge Qin Tian" also conducts live broadcasts to assist other farmers in solving the problem of unsold agricultural products; during their leisure time, they also planted 180000 Haloxylon ammodendron trees in the Tengger Desert, Gansu, hoping to raise public awareness of sand prevention and control. They convey the spiritual power of "no effort, no gain" to the audience through practical actions.
Innovative Aspects
- Become a Farmer truly reflects rural life, avoiding labeling and idealization, and narrowing the gap between "media reality" and "real reality ". Compared to the traditional rural reality shows that focus on expressing the "interest of labor" and "results of labor," the program pays more attention to portraying the "hardship of labor" and "process of labor," conveying real land harvest, growth experience, and emotions to the audience. (董钧君Dong Junjun,2023,44(21):135-138)
- Become a Farmer breaks through the traditional format dominated by long videos in reality shows, synchronizing a "dual-line development", and practicing a combination of "long video + short video + live broadcast", which allows viewers to have real-time communication and interaction with the farming team at different stages of the farming process. Long videos are the main episodes; short videos are behind-the-scenes footage and extended versions as well as single-line videos of ten members; live broadcasts are daily life broadcasts and farmer-assisting broadcasts, which provide viewers with a sense of immersion and companionship.(董钧君Dong Junjun,2023,44(21):135-138)
Social Influence
- Inherit Agricultural Culture and Support Rural Revitalization
With the development of urbanization in China, the younger generation mostly moves away from rural areas and settles in fast-paced cities filled with steel and cement, with diminishing contact with land. Become a Farmer brings the members back to the countryside, to engage in agricultural activities, and rebuild the connection between the younger generation and the land. Through beautiful rural scenery and labor scenes, it conveys emotions toward rural life and responds to people's primitive emotions toward the countryside.
In the program, the audience can directly feel the application of new technologies and concepts in agricultural production. At the same time, the identity of the ten young people as "new farmers" has given the audience a new definition of what it means to be a farmer. Become a Farmer also explores new models of rural revitalization through methods such as farmer-assisting live streaming and the establishment of farmer markets. It has also invited agricultural experts and new farmers to exchange and learn with young people multiple times, hoping to call on more young people to participate in agricultural production and boost rural revitalization.(黄雯Huang Weng,李梦洁Li Mengjie,2023,(12):29-33)
- Cultivate Spiritual Soil and Lead Emotional Resonance
The program showcases the growth process of ten young men, who went from being at a loss to being adept at handling farming, from being strangers to relying on each other, and from being unknown to becoming widely known. The transformation and growth of young people demonstrate the charm of labor to the audience, conveying the positive energy of exchanging sincerity for sincerity and giving the audience a warm sense of healing, allowing them to appreciate the wisdom of life and living.(黄雯Huang Weng,李梦洁Li Mengjie,2023,(12):29-33)
Terms
- Become a Farmer 《种地吧》
- extended versions 加更视频
- behind-the-scenes footage 幕后花絮
- Haloxylon ammodendron trees 梭梭树
Questions
- What is the name of the company that these ten young men established?
- What kind of broadcast format does this reality show use?
References
- 黄雯(Huang Weng),李梦洁(Li Mengjie).乡村综艺《种地吧》的节目创新与社会价值回归(Xiang Cun Zong Yi 《Zhong Di Ba》De Jie Mu Chuang Xin Yu She Hui Jia Zhi Hui Gui)(The innovation and social value's return of rural reality Show Become a Farmer)[J].当代电视(Dang Dai Dian Shi, the name of the journal),2023,(12):29-33.
- 董钧君(Dong Junjun).乡村振兴语境下《种地吧》破圈路径探析(Xiang Cun Zhen Xin Yu Jing Xia 《Zhong Di Ba》De Chuang Xin Ce Lue Yan Jiu)(Exploring how Become a Farmer gains popularity in the context of Rural Revitalization)[J].西部广播电视(Xin Bu Guang Bo Dian Shi, the name of the journal),2023,44(21):135-138.
- 张靖雁(Zhang Jingyan).受众需求视角下慢综艺节目《种地吧》的创新策略研究(Shou Zhong Xu Qiu Shi Jiao Xia Man Zong Yi Jie Mu 《Zhong Di Ba》De Chuang Xin Ce Lue Yan Jiu)( Research on innovative strategies of Become a Farmer from the perspective of audience needs)[J].声屏世界(Sheng Ping Shi Jie, the name of the journal),2024,(01):63-65.
- 杨长岭(Yang Changling).《种地吧》：在农耕图景中感受泥土的气息(《Zhong Di Ba》: Zai Nong Geng Tu Jing Li Gan Shou Ni Tu De Qi Xi)(Become a Farmer : experience the petrichor in the agricultural scenery)[J].中国电视(Zhong Guo Dian Shi, the name of the journal),2023,(10):84-86.
- 《种地吧》先导片 （Teaser of Become a Farmer）
种地吧
节目简介
爱奇艺自制综艺《种地吧》是中国首档劳作互动纪实综艺，以十位“新农人”为主体展开叙事，深入到乡村内部，记录他们日出而作日落而息的农耕生活场景。《种地吧》节目的策划始于2022年春节后，初衷是制作一档关于种地的节目。经过调研，节目组选择将拍摄地点设在杭州三墩镇山联村后陡门58号，蒋敦豪、鹭卓、李耕耘、李昊、赵一博、卓沅、赵小童、何浩楠、陈少熙、王一珩这10位少年在海选中脱颖而出，组成“种地小队”。节目真实记录了他们种地的全过程。
节目创作原因
中国自古以来就是农业大国，农业发展历史悠久。2022年，中国粮食总产量达到6.87亿吨，中国人用不足全球9%的耕地，生产出约占世界四分之一的粮食。但是中国也是消费大国，粮食对外依存度高，而且全球气候变化导致自然灾害频发，威胁粮食生产安全，新冠疫情的袭击使粮食国际贸易生产链和市场供应链的不确定因素增加。这档节目希望通过对种地过程的实录，让观众知道粮食生产的不易与粮食安全的重要性。
节目内容
十个城市少年，怀揣希望与梦想，用双手诠释了“认真做好每一件事，付出就总会有收获”的价值观。他们200天沉浸式扎根于田间地头，完成142亩农田的播种、灌溉、施肥；养护和种植4000 盆玫瑰花；一鼓作气搬30吨化肥；学会使用各种农业器具，并创建“十个勤天”农业公司，将自己的农产品进行销售。除了在田间的劳动，他们还要自己做饭，装修住的房子。200多天的时间，他们从对农耕知识一窍不通的“小白”转变为农业“专家”；他们相互磨合，从一个人的“单干”向团队作业的高效模式转变。
第二季中，他们从传统的手作农业向数字化农业转变，利用数字化赋能农业发展，提高种植效率，助推农作物产销。除了帮助自己的农产品发展，“十个勤天”还进行助农直播，帮助其他农户解决农产品滞销问题；在农闲时间，他们还去甘肃沙漠种植了18万棵梭梭树，希望引起群众对防沙治沙的重视。他们用实际行动向观众传递“一分耕耘，一分收获”的精神力量。
创新
《种地吧》真实地反映了乡村生活，避免了标签化、理想化，缩小了“媒介真实”与“现实真实”之间的差距。相比以往乡村综艺侧重表现的“劳动之趣”与“劳动之成果”，节目更注重表现“劳作之苦”与“劳作过程”，将真实的土地收成、成长经历与情感传达给观众。
《种地吧》突破传统综艺以长视频为主导的制播形式，同步“双线开发”，实践出了一条“长视频+短视频+直播”的组合方式，让观众在种地进程的不同阶段都能与种地小队进行实时的交流互动。长视频是正片，短视频是加更视频和幕后花絮，以及十位成员的单线视频，直播有生活直播和助农直播，这给观众提供了一种沉浸感与陪伴感。
社会影响
1.传承农耕文化，助力乡村振兴
随着中国城市化发展，年轻一代大都远离农村，在充满钢筋水泥的快节奏的城市里定居，与土地的接触越来越少。《种地吧》让成员们回到乡村，从事农业活动，重新建立年轻一代与土地的联系，通过美丽的乡村风景和劳作场景，传递了对乡村生活的情感，回应人们对于乡村的原始情感。
在节目里，观众可以直观地感受到新科技、新理念在农业生产上的运用。同时，十位少年的“新农人”身份也让观众对农民身份有了新的定义。《种地吧》还通过助农直播、创立农夫集市等方式探索乡村振兴的新模式，也多次邀请农业专家和新农人与少年们一起交流学习，希望号召更多的年轻人参与农业生产，助推乡村振兴。
2.培育心灵土壤，引领情绪共鸣
节目展现了十位少年的成长历程，他们从手无足措到游刃有余，他们从互不相识到相互依靠，他们从籍籍无名到广为人知。少年们的蜕变与成长，向观众展示了劳动的魅力，传递了真心换真心，有付出才有收获的正能量，给了观众温暖的治愈感，让观众感悟生活和人生的智慧。
术语
- 《种地吧》
- 加更视频
- 幕后花絮
- 梭梭树
问题：
- 这十个年轻人创建的公司叫什么名字？
- 这档真人秀采取什么样的播放模式？
参考文献：
- 黄雯,李梦洁.乡村综艺《种地吧》的节目创新与社会价值回归[J].当代电视,2023,(12):29-33.
- 董钧君.乡村振兴语境下《种地吧》破圈路径探析[J].西部广播电视,2023,44(21):135-138.
- 张靖雁.受众需求视角下慢综艺节目《种地吧》的创新策略研究[J].声屏世界,2024,(01):63-65.
- 杨长岭.《种地吧》：在农耕图景中感受泥土的气息[J].中国电视,2023,(10):84-86.
- 《种地吧》先导片
Chen Qian | Animals：Chinese rural dog
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Liang Chengzhi | Clothing：Hanfu
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Zhao Xinyu | Music and instruments：Chime 编钟
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Liu Xiaoyu | Garden Culture：Suzhou Gardens 苏州园林
Garden Culture：Suzhou Gardens
Chinese gardens, along with their European and West Asian counterparts, form the world's three major systems of garden design. Among them, the gardens of Suzhou stand as the quintessential representatives of Chinese garden art. The artistic achievements of Suzhou gardens are inextricably linked to China's brilliant architectural aesthetics and the ecological aesthetics. Enhancing the aesthetic literacy of the public, integrating modern technology, and cultivating architectural talent may well be the key to this endeavor.
1. The History of Suzhou Gardens
The history of Suzhou gardens dates back to the Spring and Autumn and Warring States periods when the states of Wu and Yue engaged in gardening activities. However, it was during the Tang and Song dynasties that the true essence of Suzhou gardens began to take shape. The gardens of this era were predominantly imperial, characterized by grandeur and opulence. Among the most representative were the "Shoushan Gengyu"（寿山艮岳） of the Song dynasty and the "Huaqing Palace"（华清宫） of the Tang dynasty. The Ming and Qing dynasties witnessed the peek of Suzhou garden development. This period was marked by an abundance of private gardens, each with its own unique style. The most notable examples include the "Humble Administrator's Garden" of the Ming dynasty and the "Lingering Garden" of the Qing dynasty. These gardens not only innovated in terms of gardening techniques but also elevated the cultural connotations, setting the standard for Chinese garden art.
2. The Art of Construction in Suzhou Gardens
A. The Principle of "Unity of Heaven and Man" As early as the Western Zhou period, the concept of "Unity of Heaven and Man" had already taken root. According to the I Ching (Book of Changes), there is a harmonious resonance between humans and the heavens, with a mutual seeking of like qi. Among the most famous expressions of this concept is found in Zhuangzi's Qi Wu Lun(On the Equality of Things), where it is said, "Heaven and Earth and I were born together, and all things and I are one." This idea later flourished in the field of aesthetics and became one of the guiding principles in many artistic domains.
In Suzhou gardens, the concept of "Unity of Heaven and Man" is taken to its zenith by the garden creators and artisans. Suzhou gardens place great importance on integrating nature into artificially constructed landscapes, using mountains and water as the skeleton, and trees and flowers as the flesh and blood. Pavilions, terraces, towers, and bridges are arrayed around the water, with some extending directly over it, such as the "Small Flying Rainbow" and "Small Canglang." Looking north from Small Canglang, one can see the Small Flying Rainbow reflected in the water. Moreover, the pool surface mirrors the clouds in the sky and the surrounding trees, allowing visitors to view bridges, clear water, trees, sky, and clouds from a single perspective. This small space encapsulates the beauty of the entire natural world. （Mao Jiamian,2024,(08):46-48）
B.The construction technique of dynamic and static combination
The principle of "combining dynamic and static" is a common sight in garden design. For instance, the profoundness of mountains and the liveliness of water offer a striking contrast that complements each other. In terms of spatial arrangement, larger structures within the garden, such as pavilions, towers, and halls, are static. However, garden designers skillfully employ winding paths and corridors to create a sense of extension and meandering movement, crafting an artificial beauty in motion. This approach presents an aesthetic that blends dynamic and static elements. Take the Liu Yuan garden as an example, where a corridor over 670 meters long weaves through the garden, connecting all the landscapes into a cohesive whole. It achieves a perfect balance of twists and turns on the ground level and variations in height on the vertical plane, allowing visitors to enjoy the delight of changing scenery with each step in the confined space.
"Silence makes the fish leap, and stillness enhances the fragrance of the lotus." （人静鱼白跃，风定荷更香）The dynamic and static states of the garden scenery are intertwined. The philosopher Wang Fuzhi once pondered the dialectical relationship between dynamic and static: "Dynamic implies stillness," and "stillness implies dynamic." Therefore, stillness contains "motion," and "motion" does not abandon "stillness." The relationship between dynamic and static landscapes is precisely like this. In Chinese gardens, the scenery is never fragmented but emphasizes the intrinsic interaction between different elements. In this interaction, the elements blend with each other, combining dynamic and static elements and transforming each other, making the garden subtly unique in the eyes of different visitors in different seasons and at different times. It is not only a visual enjoyment but also a spiritual interest.
3.The Ecological Beauty of Suzhou Gardens
A. The Verdant Charm of Vegetation The enchantment of Suzhou gardens is inextricably linked to their diverse array of plants. These plants not only serve as visual focal points but also play a crucial role in the ecological cycle. Through photosynthesis, they absorb harmful carbon dioxide and release refreshing oxygen, creating a pleasant breathing environment for visitors. Moreover, the plants in Suzhou gardens not only beautify the surroundings but also provide essential elements for the survival of birds and insects, which plays a key role in maintaining ecological diversity and balance.
B. The Ecological Grace of Dynamic Water Features The element of water holds a significant place in the design of Suzhou gardens, existing in various forms, but the most captivating is the so-called "living water." This refers to water bodies that are continuously sourced and flow naturally. This type of water has the ability to self-purify due to its flowing nature, effectively maintaining water quality. Ensuring the vitality of water bodies is a top priority when designing water features in Suzhou gardens. In the past, without modern machinery, how did ancient craftsmen ingeniously keep the water in the gardens flowing? Drawing inspiration from the natural cycle, ancient craftsmen cleverly applied this principle to the construction of Suzhou gardens. They used techniques such as "diverting," "borrowing," and "excavating" to connect the garden's water bodies with Suzhou's extensive waterway network, creating a closed-loop system. In this system, water cycles continuously through processes like evaporation, condensation, precipitation, and absorption by plants and runoff. It mains the vitality of the water bodies while also serving to purify and oxygenate, offering visitors a water scenery that is both ecologically rich and aesthetically pleasing.（Zhao Yanxia,2023(12):50-53.） 4.The inheritance of traditional aesthetic art in modern times
Suzhou gardens, from their names to their layouts, and from their mountains, waters, flowers, and trees to their pavilions and towers, all exude an astonishing aura of cultural and artistic significance. Therefore, it is our unwavering duty to inherit and promote the art of classical gardens, merging it with modern times. Firstly, we must vigorously promote the aesthetics of gardens to inspire a deeper understanding of garden art among visitors. According to data from the Suzhou Culture, Radio, Television, and Tourism Bureau, Suzhou gardens, as a popular tourist destination, attract a large number of visitors during holidays. However, behind the bustling tours, most visitors only engage in superficial visits, taking photos at popular internet-famous spots. Secondly, integrating garden art with modern technology is another path to innovatively inheriting this art. In today's era of rapid development in the internet and artificial intelligence, we can utilize these technologies to preserve garden data, establishing comprehensive garden information databases for better protection of these cultural heritage sites. Through online platforms such as websites and applications, people can experience the charm of garden art without even stepping outside. Moreover, the maturity of virtual reality (VR) technology offers new possibilities for the dissemination of garden art, allowing the historical appearance of gardens to be recreated. （Xie Minmin,2023,42(09):77-79.） Finally, It is crucial to cultivate a group of architects who understand traditional aesthetics and possess modern architectural skills. As China undergoes reform, opening-up, and modernization, the landscape design are trending towards internationalization. However, we are also glad to see that traditional Chinese aesthetic elements are increasingly being integrated into modern architecture. China's construction industry should establish firm cultural confidence, strengthening the study and inheritance of traditional Chinese architectural aesthetics and technology in higher education and professional training. By combining traditional garden aesthetics with modern architecture, we can achieve innovative development in the art of gardens.
References： [1]Mao Jiamian毛嘉勉.中式审美下的苏州园林[J].大众文艺,2024,(08):46-48. [2]Yang Yunfeng杨云峰,熊瑶.意在笔先、情境交融——论中国古典园林中的意境营造[J].中国园林,2014,30(04):82-85. [3]Zhao Yanxia赵艳霞.虽由人作 宛自天开 苏州园林的科学之美[J].知识就是力量,2023(12):50-53. [4]Xie Minmin谢铭铭,印蝶.元宇宙视角下中国古典园林设计的美学研究[J].纺织报告,2023,42(09):77-79. Terms： Shoushan Gengyu: 寿山艮岳 Huaqing Palace: 华清宫 Unity Of Heaven And Man 天人合一 Small Flying Rainbow 小飞虹 Small Canglang 小沧浪 Dynamic and static combination 动静结合 Humble Administrator’s Garden: 拙政园 Liu Yuan garden 留园 Living water 活水 Virtual reality (VR) technology 虚拟现实技术
Questions： 1: When did Suzhou gardens begin to develop?
Suzhou gardens began to develop during the Tang and Song dynasties.
2: What is the guiding principle of “Unity of Heaven and Man” in Suzhou gardens? The guiding principle is the integration of nature into artificially constructed landscapes. 3.Question: How did ancient craftsmen keep the water in Suzhou gardens flowing? Ancient craftsmen kept the water in Suzhou gardens flowing by connecting the garden’s water bodies with Suzhou’s extensive waterway network, creating a closed-loop system. 4.What are some ways to inherit and promote the art of classical gardens in modern times? Some ways to inherit and promote the art of classical gardens in modern times include promoting garden aesthetics, integrating garden art with modern technology, and cultivating architects who understand traditional aesthetics and possess modern architectural skills.
Huang Wenli | Traditional crafts：Tuanshan团扇/Moon-shaped fans
Foreword
Chinese fan culture is an integral part of Han culture with profound heritages and foundations. Closely associated with bamboo culture and Confucian culture. Tuanshan, or Moon-shaped fans, are a significant component of Chinese fan culture with important practical, aesthetic, and literary value as a traditional Chinese handicraft and artwork.
Introduction
Tuanshan, also known as Gongshan(palace fans), Wanshan(silk fans), harmony fans, are circular fans with handles. Made from fine, thin silk fabrics, it is characterized by its clean white hue and round moon-like shape with the handle centered and symmetrically positioned, symbolizing reunion and boast the auspicious meanings of "moon-shaped fan bringing happiness and harmony.”
Development
- Origin
Fans first appeared in the Shang Dynasty, made from colorful feathers from pheasant and known as Zhangshan(barrier fans.) At that time, they were not used for cooling but rather as a shade and windbreak for emperors on their outings. The origin of Tuanshan can be traced back to the Western Han Dynasty.
- Development in ancient China
After the Western Han Dynasty, fans began to be used for cooling. Tuanshan flourished during the Tang Dynasty, with high demand among aristocratic women and affluent households, for which they were also known as palace fans. In the Song Dynasty, painted Tuanshan were prevalent influenced by the imperial family, fan painting reaching its peak. However, as the more portable folding fan gradually gained popularity, this trend declined from the Yuan Dynasty onward, and the phenomenon intensified during the Ming and Qing dynasties, when painted folding fans took the lead. (Li Ying, 2017)
- Development in modern China
During the Republic of China era, a period of blending with Western ideas, most fans were crudely made or incorporated modern materials, losing their original quaint charm. The political crisis and economic downturn during the war directly contributed to the decline of Tuanshan. After the foundation of People’s Republic of China, the "Four Olds" campaign in 60s and the nation's thirst for foreign cultures, along with the introduction of Japanese fans, inflicted significant losses on Tuanshan. (Li Ying, 2017)
- Overseas Development
Tuanshan were introduced to Japan from the Tang Dynasty during the Nara period (710 -784), initially used exclusively in the imperial court and served as a symbol of status. It was during the Heian period(794-1185) that Tuanshan became accessible to ordinary people. In the later Edo period(1603-1868), with the prevalence of summer festivals and the Obon Festival, Tuanshan gained widespread popularity. In terms of shape, Japanese Tuanshan retain the predominantly moon-shaped design, but have undergone significant changes in function. For example, Tuanshan are not only tools for cooling but also represent a religious and cultural belief. Structurally, the ribs of Japanese Tuanshan radiate to support the surface, but the frame material and shape are relatively uniform, with greater emphasis on decoration of the surface. (Liu Shenmiao, 2014)
Artistic Characteristics
- Artistic Features
A. Shape Over time, the structure of the Tuanshan has become increasingly diverse. Besides the most common shapes such as perfect circles, long ovals, rectangles, rounded ovals, and hexagons, there are also shapes modeled after flower petals, including sunflower, plum blossom, and lily shapes and other uniquely shaped fans as peach-shaped fans, each exhibiting various exquisite forms. Nevertheless, Tuanshan consistently maintained the smooth lines, lightweight texture, and the "elegant and upright" beauty of bilateral symmetry. (Zhou Meng, 2021).
B.Material In ancient times, the fan surfaces were initially made using colorful local pheasant feathers. As material craftsmanship advanced, the range of materials expanded, including textiles such as silk, gauze, and fine silk fabrics, allowing for intricate embroidery and painting. The handles of fans were crafted from materials like Xiangfei bamboo, ivory and boxwood, achieving an elegant yet refined aesthetic. Accessories such as fan pendants, tassels, and jade ornaments were also used. (Zhou Meng, 2021).
C.Patterns Tuanshan can be embroidered, painted, or inscribed with poetry and calligraphy, featuring various patterns such as landscapes, flowers and birds, auspicious clouds and mythical creatures, and court ladies, among others. Combined with poetry, calligraphy, and other artistic elements, the styles are diverse and captivating, through which Chinese arts are vividly reflected; within a square inch, it can encompass the vast world.
- Aesthetic Value
Tuanshan are generally well-made for the quaint charm, being a delight to watch. The overall design emphasizes symmetrical beauty, with its round shape mirroring the moon, creating a visually balanced and coordinated beauty. The handle serves as the central axis of the fan, adding to its unity and harmony. The diverse handles make it pleasing to the eye when paired with the fan; Most importantly, the patterns and designs are countless. In the combination of much possibilities, each Tuanshan has its own unique characteristics, thus forming the distinctive Tuanshan culture in China.
Cultural Values
- Literary Works
A. Poems about Tuanshan
In literary, the image of the Tuanshan is frequently presented in poems and classical writings with the a sense of joy or sorrow. For example, a typical example of using the Tuanshan to express loneliness and bitterness is found in the works of the famous poet Liu Yuxi. He had much ups and downs in career and failed to fulfill his ambitions in his later years. With strong resentment and helplessness, he composed the poem "Song of the Tuanshan". Through vividly depicting a worn-out Tuanshan, he metaphorically portrayed the unfortunate fate of the abandoned beauties in the palace after their youth faded; meanwhile, conveyed his dissatisfaction and loss regarding his own career path (Liu Fuge, Zhang Yibing & Zheng Wangcheng. 2015, 108-109+112)
《团扇歌》 唐 刘禹锡 团扇复团扇，奉君清暑殿。 秋风入庭树，从此不相见。 上有乘鸾女，苍苍虫网遍。 明年入怀袖，别是机中练。
Excerpts from other poems and verses:"： 裁为合欢扇，团团似明月。——班婕妤《团扇诗》 银烛秋光冷画屏，轻罗小扇扑流萤。——杜牧《秋夕》 奉帚平明秋殿开，且将团扇共徘徊。——王昌龄《长信愁》 人生若只如初见，何事西风悲画扇。——纳兰容若《木兰花·拟古决绝词柬友》
B.Dreams of The Red Chamber In the 27th chapter, "Yang Fei plays with colorful butterflies at the Dicui Pavilion, and the flying swallows in the incense burial mound cry and turn red", it depicts the scene of Baochai holding a fan and pouncing on butterflies.
Excerpt from the original text: “...Just as I was about to find another sister, I suddenly saw a pair of jade colored butterflies in front of me, as big as a fan, fluttering up and down in the wind, very interesting. Baochai wanted to pounce and play, so she took out a fan from her sleeve and pounced down the grass. I saw a pair of butterflies rising and falling, coming and going, crossing flowers and willows, ready to cross the river. The inverted Baochai tiptoed all the way to the dripping green pavilion in the pond, sweating profusely and panting delicately.”
- Artistic Works
The renowned paintings such as "Adorning the Hair with Flowers" and "Palace Music" and Dunhuang murals depict numerous court ladies holding Tuanshan. During the Song Dynasty, the Tuanhsan reached its pinnacle. For instance, in the famous painting "Along the River During the Qingming Festival," there are over a hundred figures holding Tuanshan, vividly portraying the prosperity at that time.
- Cultural Significance
A. Harmony and Unity The ancient Chinese philosophy regarded the world as "heaven is round and the earth is square," which profoundly influenced various art forms. Therefore, the pattern of "roundness" is considered a symbol of completeness and harmony in traditional Chinese aesthetics, containing rich ethnic aesthetic connotations, also reflecting the simple belief and persistent pursuit of "harmony and perfection."
B. Female Culture In ancient paintings and literary works, Tuanshan are often associated with female imagery. They portray either court ladies with obedient countenance, showing a kind of misty and reserved beauty, or sorrowful and haggard women who become the carriers of poets' melancholy expressions. The depiction of shy and obedient female figures in association with Tuanshan fully satisfies the traditional male pursuit of the subtle and reserved beauty of women, representing a male-dominated aesthetic expression. Simultaneously, the depiction of tragic female figures associated with Tuanshan also reflects the oppression women under teh shackles of feudal society, such as Ban Jieyu, who, feeling neglected by Emperor Han Cheng, composed the "Poem of Tuanshan," resigned to her fate and willing to devote herself to filial piety in Changxin Palace, only able to console herself with her Tuanhsan. (Liu Shenmiao, 2014, 16)
Reflection
With the recent resurgence of Hanfu, the Tuanshan is also gaining popularity due to its aesthetic appeal, practicality, and affordability. The resurgence of the Tuanshan not only protects traditional culture but also prompts reflection on how to preserve and inherit this exquisite craft.
From the perspective of craftsmanship inheritance, although traditional Tuanshan are exquisite, the process is complex, and even with many skilled craftsmen today, inheritance remains mostly within families. The development of Tuanshan can now leverage new materials and technologies, eliminating many cumbersome steps. Simultaneously, Tuanshan culture and memories can be promoted through the mass media. Various practical activities can be organized, such as bringing them to schools to boost students’ interest and allow them to gain hands-on experience and truly feel the charm of Tuanshan.
From the perspective of cultural inheritance, it is evident that the cultural value of Tuanshan is being lost, with many people only treating it as a tool. Mass-produced fans often lack diversity in design and vary in quality, losing the unique charm and aesthetic. To address this, new patterns can be introduced, combining traditional designs with contemporary aesthetics, creating styles that appeal to young people. Additionally, lectures and promotional videos on the stories and culture behind Tuanshan can be organized to bring the profound cultural heritage behind Tuanshan to the world.
Yi Qifang | Minority cultures：The culture of Miao silver jewelry
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Zhao Mengjiao | Mysterious culture：Physiognomy
Physiognomy, is a part of ancient Chinese traditional culture and is often used to infer the fate and future of characters in ancient times. It mainly judges a person's character and health through the characteristics of the person's face or body, behavior, etc., and then speculates the fate. Physiognomy was first recorded in Li Ji in China. Physiognomy is not unique in China. In the West, the history of physiognomy can be traced back to the ancient Greek period, and it is widely popular among the folk and intellectuals.
Liu Chunxiu | Games：Chinese chess
Shi Yao | Music and instruments：Guqin
Ding Xinyi | Music and instruments：The Spring Snow
The Spring Snow (Yangchunbaixue) is a classical piece, one of the ten most famous ancient Chinese pieces. It expresses the beauty of the early spring when winter is over and spring is coming, the earth is recovering and everything is thriving. The melody is fresh and smooth, and the rhythm is easy and bright.
According to legend, it is an ancient piece of music composed by Shikuang of Jin or Liu Juanzi of Qi during the Spring and Autumn Period. Yangchun and White Snow in existing ancient qin sheet music are two instrumental music, Magical Secret Sheet in the explanation of the title: “Yangchun to take all things to know spring, and the wind of the meaning of light swing; White Snow to take the austere and clean, the sound of the snow and bamboo Linlang.”
Introduction
The Spring Snow is a pipa suite consisting of several variants of the Chinese folk instrumental Eight Panels (or Six Panels). The cyclical reproduction of the Eight Panels variations, the combination of the individual Eight Panels variations to form a variant relationship, and the insertion of new material from the Hundred Birds Toward the Phoenix make it a variant structure with a cyclical element.
Origin
The allusion to The Spring Snow comes from the article Song Yu's Answer to the Question of the King of Chu in the Chu Rhetoric.
King Xiang of Chu asked Song Yu, “Do you have any hidden virtues? Why don't the public praise you?” Song Yu said, “There was a singer who came to Ying, Chu, and at first he sang Lower Class (Xialibaren), and there were thousands of people in the country who sang along with him. When the singer sang Yanga Allium dew(Yangaxielu), there were only a few hundred people in the country. When the singer sang The Spring Snow, there were only a few dozen people in the country. When the singer added some more difficult techniques to the song, i.e., ‘Yin Shang Ke Yu, Za Yi Liu Zheng’, there were only a few people in the country.” Song Yu concludes, “The songs are more difficult to sing, but the harmonies are fewer in number.” The more elegant and complex the songs such as The Spring Snow became, the fewer and fewer people were able to harmonize with them, i.e., songs of a highbrow type will find very few people to join in the chorus.
Composition
The Spring Snow can be divided into four parts, namely, the beginning, the beginning, the beginning, the beginning, the beginning, the beginning, and the end, and it is a variant piece with a cyclical element:
- Rising: The seventeen-beat-long “eight-panel head” variant Monopolize the Turtle Head appears at the beginning of the piece, and it is reproduced cyclically at the beginning of the next three parts. The melody of the original Eight Panels is embellished with techniques such as the “spacer” and the “added flower”, and the use of the “half-wheel”, the “pinch”, and the “push”. Using techniques such as “half-wheel”, “pinch play” and “push and pull”, the sound effect is unique and interesting, making the melody of the flower clusters full of vitality.
- Falling: Wind Swinging Lotus Flower and A Round of Bright Moon are two variations of the Eight Panels. After reproducing the Eight Panels Head in a loop on the head, the melody rises twice and moves up in the treble clef, showing a more enthusiastic mood.
- Turning: The Jade Plate Zen, the Sound of the Tieze Pan, and the Sound of the Zither in the Taoist Courtyard, several unfolding elements appear in these three passages. Firstly, the structure of the piece is divided and inverted, and new beats and strong syncopated rhythms appear. The second is the use of fingerings such as “Picking up”, “plate”, and “overtones”, which make the music light and smooth at times, and powerful at others. Especially in “The Sound of the Zither in the Taoist Courtyard”, the whole section highlights the overtones, just as “When mingling loud and soft notes were together played, You heard orioles warble in a flowery land.”, crystalline and full of vitality.
- Merging: Donggao Crane Song is a dynamic reproduction of this section, expanded at the end, taking a sudden slow and then gradually faster speed treatment, using powerful sweeping techniques, the music atmosphere is exceptionally warm.
Comments
The whole piece of The Spring Snow is based on the vitality of spring and the purity and flawlessness of winter snow and creates a vivid and poetic picture through the pipa's unique playing technique and rich and varied timbral expression. The music is well-structured and rhythmically smooth, with the warm and cheerful melody of spring and the light and melodious fragments like snowflakes, which complement each other and show a harmonious and rich musical connotation.
The artistic expression of the piece is deeply rooted in the essence of traditional Chinese aesthetic sensibilities, utilizing various techniques of the pipa, such as finger-rotation, rolling, overtones, etc., which not only reflect the delicate expression of emotions but also demonstrate superior playing skills. The Spring Snow has a high degree of abstraction and symbolism in its musical construction, which expresses feelings through the scenery and symbolizes emotions in objects, achieving a high degree of integration between man and nature, music, and emotions.
At the same time, as an important part of Chinese classical music culture, The Spring Snow has witnessed the development of pipa art from ancient times to the present day and embodies the deep cultural heritage and outstanding artistic creativity of the Chinese nation. It has not only been regarded as a classic teaching material by many pipa players but also maintains its vitality on the modern stage, constantly attracting new groups of listeners and leading them into the picturesque world of music.
With its far-reaching artistic influence and immortal musical value, The Spring Snow has played an irreplaceable role in the inheritance and development of the excellent traditional Chinese culture and is a monument in the history of Chinese pipa art and even in the history of national music as a whole.
Terms
The Spring Snow 《阳春白雪》
Magical Secret Sheet 《神奇秘谱》
Eight Panels 《八板》
Yanga Allium dew(Yangaxielu) 阳阿薤露
Highbrow 曲高和寡
Spacer 隔凡
Added flower 加花
half-wheel 半轮
pinch play 夹弹
push and pull 推拉
Picking up 摭分
Plate 板
Overtones 泛音
When mingling loud and soft notes were together played, You heard orioles warble in a flowery land. 嘈嘈切切错杂弹，大珠小珠落玉盘
Questions
- Where does The Spring Snow originate from?
- How many parts does The Spring Snow include?
- What is the meaning of The Spring Snow in Chinese traditional pipa music?
References
- https://baike.baidu.com/item/%E9%98%B3%E6%98%A5%E7%99%BD%E9%9B%AA/9881526
- https://sou-yun.cn/QueryAllusion.aspx
- https://www.kuwo.cn/play_detail/4272110
- https://tv.cctv.com/2011/02/10/VIDERCjB80UYnM0O8em9G5Lk110210.shtml
- Wang Peiguo.Appreciation of Chinese Classical Songs The Spring Snow.CNKI,2008
- Wang Yan.Yangchunbaixue and Xialibaren.VIP,2015
音乐和乐器：《阳春白雪》
《阳春白雪》是古典名曲，为中国著名十大古曲之一。表现的是冬去春来，大地复苏，万物欣欣向荣的初春美景。旋律清新流畅，节奏轻松明快。相传这是春秋时期晋国的师旷或齐国的刘涓子所作的古曲。现存古琴谱中的《阳春》和《白雪》是两首器乐曲，《神奇秘谱》在解题中说：“《阳春》取万物知春，和风淡荡之意；《白雪》取凛然清洁，雪竹琳琅之音。”
简介
《阳春白雪》是由中国民间器乐曲牌仪《八板》（或《六板》）的多个变体组成的琵琶套曲。“八板头”变体的循环再现，各个《八板》变体组合在一起形成变奏的关系，后又插入了《百鸟朝凤》的新材料，因此它是一首具有循环因素的变奏体结构。
典故
“阳春白雪”的典故来自《楚辞》中的《宋玉答楚王问》一文。
楚襄王问宋玉，先生有什么隐藏的德行么？为何士民众庶不怎么称誉你啊？宋玉说，有歌者客于楚国郢中，起初吟唱“下里巴人”，国中和者有数千人。当歌者唱“阳阿薤露”时，国中和者只有数百人。当歌者唱“阳春白雪”时，国中和者不过数十人。当歌曲再增加一些高难度的技巧，即“引商刻羽，杂以流徵”的时候，国中和者不过三数人而已。宋玉的结论是，“是其曲弥高，其和弥寡。”、“阳春白雪”等歌曲越高雅、越复杂，能唱和的人自然越来越少，即曲高和寡。
编曲
《阳春白雪》可分成起、承、转、合四个组成部分，是一首具有循环因素的变奏体乐曲：
起部：《独占鳌头》曲首出现长达十七拍的“八板头”变体，它在以后三个部分的部首循环再现。原《八板》的旋律以“隔凡”和“加花”等技法加以润饰，运用“半轮”、“夹弹”、“推拉”等演奏技巧，音响效果独特有趣，使花簇的旋律充满活力。 承部：《风摆荷花》、《一轮明月》这两个《八板》变体，在头上循环再现《八板头》之后，旋律两次上扬，在高音区上活动，表现情绪较为热烈。 转部：《玉版参禅》、《铁策板声》、《道院琴声》在这三个段落中出现了不少展开性的因素。首先是乐曲结构的分割和倒装，并出现新的节拍和强烈的切分节奏。其二是运用“摭分”、“板”和“泛音”等演奏指法，使音乐时而轻盈流畅，时而铿锵有力。特别是《道院琴声》，整段突出泛音，恰如“大珠小珠落玉盘”，晶莹四射，充满生命活力。 合部：《东皋鹤鸣》是本部的动力性再现，在尾部作了扩大，采取突慢后渐快的速度处理，采用强劲有力的扫弦技巧，音乐气氛异常热烈。 评价 《阳春白雪》全曲以春天的生机盎然和冬雪的纯净无暇为基调，通过琵琶独特的演奏技法和丰富多变的音色表现，营造出一幅生动而富有诗意的画面。乐曲结构精巧，节奏流畅，既有春日温暖明媚的欢快旋律，又有如雪花般轻盈飘洒的悠扬片段，两者相辅相成，展现出和谐统一又层次丰富的音乐内涵。 该曲在艺术表现上深得中国传统审美情趣之精髓，运用了琵琶的各种技巧如轮指、滚拂、泛音等，既体现出细腻的情感表达，也展示了高超的演奏技艺。《阳春白雪》在音乐构造上具有极高的抽象性和象征性，借景抒怀，寓情于物，达到了人与自然、音乐与情感的高度交融。 同时，《阳春白雪》作为中国古典音乐文化的重要组成部分，见证了琵琶艺术从古至今的发展脉络，体现了中华民族深厚的文化底蕴和卓越的艺术创造力。它不仅被众多琵琶演奏家奉为必修的经典教材，而且在现代舞台上依然保持着鲜活的生命力，不断吸引着新的听众群体，引领他们步入那如诗如画的音乐世界。 《阳春白雪》以其深远的艺术影响和不朽的音乐价值，在传承和发展中华优秀传统文化方面起到了不可替代的作用，是中国琵琶艺术乃至整个民族音乐史上的一座丰碑。
术语： The Spring Snow 《阳春白雪》 Magical Secret Sheet 《神奇秘谱》 Eight Panels 《八板》 Yanga Allium dew(Yangaxielu) 阳阿薤露 Highbrow 曲高和寡 Spacer 隔凡 Added flower 加花 half-wheel 半轮 pinch play 夹弹 push and pull 推拉 Picking up 摭分 Plate 板 Overtones 泛音 When mingling loud and soft notes were together played, You heard orioles warble in a flowery land. 嘈嘈切切错杂弹，大珠小珠落玉盘
问题： 1.《阳春白雪》源自什么？ 2.《阳春白雪》包括多少个曲段？ 3.《阳春白雪》在中国传统琵琶乐中的意义是什么？
参考： 1.https://baike.baidu.com/item/%E9%98%B3%E6%98%A5%E7%99%BD%E9%9B%AA/9881526 2.https://sou-yun.cn/QueryAllusion.aspx 3.https://www.kuwo.cn/play_detail/4272110 4.https://tv.cctv.com/2011/02/10/VIDERCjB80UYnM0O8em9G5Lk110210.shtml 5.王培国.中国古典名曲赏析《阳春白雪》篇．《CNKI》，2008 6.王燕.“阳春白雪”与“下里巴人”．《vip》，2015
Xiao Loujun | Aesthetic ideals and social customs：The Four Gentlemen: Plum, Orchid, Bamboo, and Chrysanthemum
Wang Chen | Traditional festivals：The Flower Fairy Festival
Xu Shuopei | Architecture：Shigu Academy
Huang Xinnuo | cuisine：Changde spicy salted duck
Liao Qiaoran | Beverages： Sexy Tea
Introduction
Sexy Tea(茶颜悦色）, belonging to Hunan Cha Yue Culture Industry Development Group Company, was registered in March 2015. It is a creative milk tea shop mainly focusing on tea drink and desserts, which adopts the concept of “new Chinese tea”, and has been down in the segmentation of "new Chinese fresh tea". In the overall design of the brand, Sexy Tea uses lots of Chinese traditional elements. The slogan “The more Chinese, the more fashionable” is on the shop sign. And the logo of Sexy Tea is also a woman in ancient costume holding a fan, which is distinctive and memorable. In December 2013, Sexy Tea’s first shop opened in a space of less than 30 square metres in Changsha's Huang Xing Square, Hunan province, and the number of shops has increased to around 500 by October 2023, all of which are directly operated by the company. Focusing on the local market, Sexy Tea’s shops are mainly concentrated in Hunan, with about 300 shops, in addition to shops in Hubei, Chongqing and Jiangsu.
Products’ features and innovations
The brand positioning of Sexy Tea is “healthy, fresh, and delicious” . It mainly targets the younger generation of consumers, emphasizes quality and taste, insists on using fresh milk instead of creamer, and brews tea with whole tea leaves. Its products are priced roughly between 13 to 20 yuan, including five series: Creamy Series, Frothy Series, Creative Whole Leaf Series, Trickle Hill Series, and Light Milk Cap Series. Among them, the Creamy Series uses a combination of nut crumbs or other small ingredients, light cream, milk foam, pure milk and tea, with a strong milk flavor; the Frothy Series uses a combination of wheat germ or matcha powder, milk foam, pure milk and tea, with a strong tea flavor. Desserts are also available for sale. In the early stages of Sexy Tea's establishment, its founder, Lv Liang, faced tremendous cost pressure but still chose Anchor light cream as the raw material for the drinks. Using such expensive ingredients in a street tea shop can be said to be pioneering in the industry.
Distinctive Shop Types
Sub-brands
Service concept
Sexy Tea promises customers a unique service: everyone has the “permanent right to claim a cup of fresh tea”. If they don't like the taste, they can ask for a remake anytime. In addition, caring services such as a small medicine box in the store and umbrella delivery on rainy days also demonstrate the warm brand image of Sexy Tea. In order to provide customers with the most suitable drinks and experience, Sexy Tea specially has winter and summer limited drinks and corresponding tea lists depending on the tea base and temperature. On Sexy Tea's public account, there are not only monthly self-inspection reports—openly communicating with customers about issues, informing them of the results, and continuously improving—but also stories of genuine feelings and daily topics presented in comic form. By delving into the scenes where customers are located, finding common topics, and achieving empathy and interaction, Sexy Tea has successfully created a brand image with warmth and friendliness, while also enhancing user stickiness and loyalty.
Terms and Expressions
Sexy Tea 茶颜悦色
Creamy Series 忌廉篇
Frothy Series 沫泡篇
Creative Whole Leaf Series 创意原叶篇
Trickle Hill Series 涓滴山丘篇
Light Milk Cap Series 清浅奶盖篇
Questions
1. When was Sexy Tea registered?
2. Where is Sexy Tea’s first shop?
3. What’s Sexy Tea’s brand positioning?
4. Who is Sexy Tea’s founder?
5. How many shop types does Sexy Tea have? What are they?
6. Do you think Sexy Tea is delicious? If yes, what’ your favorite one?
References
Aimee，FoodTalks, What is Tea beauty? It did not go out of Hunan for 7 years and made the milk tea shop into a national art museum https://www.foodtalks.cn/news/50865
Sexy Tea's official website http://www.the-alleytea.cn/about/
Dai Zhen | Opera：Flower-drum Opera
Opera： Flower-drum Opera
Introduction
The Flower-Drum Opera, known as "花鼓戏" (Huāgǔ xì) in Chinese, is a traditional Chinese opera form that combines singing, dancing, and acting. Originating from rural areas in China, particularly in the provinces of Hunan, Jiangxi, and Anhui, it has evolved over centuries to become a significant cultural heritage. This essay delves into the origins, development, cultural significance, and modern adaptations of the Flower-Drum Opera, highlighting its role in preserving Chinese cultural traditions and its influence on contemporary performing arts.
Origins and Historical Development
1.Early Beginnings Flower-Drum Opera can trace its roots back to the Song Dynasty (960-1279 AD), but it gained significant popularity during the Ming (1368-1644) and Qing (1644-1912) Dynasties. Initially, it was a form of folk entertainment performed during festivals and agricultural celebrations. The opera's name derives from the flower-drum, a simple percussion instrument used by performers to set the rhythm and accompany their singing and dancing.
2.Evolution Through Dynasties Throughout the Ming and Qing Dynasties, Flower-Drum Opera underwent significant changes. It evolved from a purely vocal and dance performance into a more structured form of theater, incorporating elements of drama and storytelling. This period also saw the introduction of more sophisticated musical instruments and elaborate costumes, enhancing the overall performance quality.
3.Regional Variations Different regions in China developed their own unique styles of Flower-Drum Opera, reflecting local dialects, customs, and cultural influences. For instance, the Anhui Flower-Drum Opera is known for its humorous and lively performances, while the Hunan style is characterized by its emotional depth and intricate musical compositions. These regional variations enriched the art form, making it a diverse and vibrant component of Chinese cultural heritage.
Cultural Significance
1.Reflection of Rural Life Flower-Drum Opera has always been closely tied to the lives of rural communities. Its themes often revolve around agricultural activities, rural love stories, and social issues faced by villagers. Through its performances, the opera provides a glimpse into the everyday lives, struggles, and joys of rural China, preserving a valuable cultural narrative that might otherwise be lost in the rapidly modernizing society.
2.Medium of Social Commentary Beyond entertainment, Flower-Drum Opera has served as a medium for social commentary. Historically, it has been used to address social injustices, critique corrupt officials, and promote moral values. By presenting these themes in a relatable and engaging manner, the opera has played a crucial role in educating and influencing public opinion, particularly in rural areas where literacy rates were traditionally low.
3.Preservation of Language and Tradition The use of local dialects and traditional folk tunes in Flower-Drum Opera helps preserve linguistic diversity and cultural traditions. As China becomes more urbanized and standardized, these regional characteristics face the risk of fading away. Flower-Drum Opera acts as a cultural repository, keeping these elements alive for future generations.
Artistic Elements
1.Music and Instruments The musical component of Flower-Drum Opera is integral to its appeal. Traditional instruments such as the flower-drum, erhu (a two-stringed fiddle), and dizi (a bamboo flute) create a distinctive soundscape. The melodies are often simple yet evocative, designed to complement the vocal performance and convey the emotional tone of the story.
2.Dance and Movement Dance and movement are essential components of Flower-Drum Opera. The choreography is typically based on traditional folk dances, incorporating elements such as rhythmic footwork, expressive hand gestures, and coordinated group movements. These dances not only enhance the visual appeal of the performance but also help to tell the story and express the emotions of the characters.
3.Costumes and Makeup Costumes in Flower-Drum Opera are often colorful and elaborate, reflecting the characters' roles and social status. Traditional clothing styles, such as hanfu (ancient Chinese dress), are commonly used, with added embellishments to create a dramatic effect. Makeup is also an important aspect, with performers using bold colors and patterns to highlight their facial features and convey their characters' personalities.
Modern Adaptations and Influence
1.Revival Efforts In recent years, there have been concerted efforts to revive and promote Flower-Drum Opera. Cultural organizations and local governments have launched initiatives to document and preserve traditional performances, train new performers, and organize festivals and competitions. These efforts have helped to bring Flower-Drum Opera back into the public eye and ensure its continued relevance.
2.Integration with Contemporary Arts Flower-drum opera has also influenced contemporary performing arts in China. Elements of its music, dance, and storytelling techniques have been incorporated into modern theater, film, and television productions. This fusion of traditional and contemporary elements has created new artistic expressions and expanded the audience for Flower-Drum Opera.
3.Global Recognition The cultural significance of the Flower-Drum Opera has been recognized globally, with performances staged in various countries and international cultural exchanges. This global exposure has not only introduced the art form to new audiences but also fostered cross-cultural understanding and appreciation of Chinese heritage.
Challenges and Future Prospects
1.Decline in Popularity Despite the efforts to revive Flower-Drum Opera, it faces challenges in attracting younger audiences. The fast-paced, technology-driven lifestyle of modern society contrasts sharply with the slow, deliberate pace of traditional opera. As a result, younger generations may find it difficult to relate to or appreciate the art form.
2.Adaptation to Modern Tastes To remain relevant, Flower-Drum Opera must adapt to contemporary tastes while preserving its core elements. This could involve incorporating modern themes, experimenting with new musical styles, or using multimedia technology to enhance performances. Balancing tradition with innovation will be key to the future success of Flower-Drum Opera.
3.Role of Education Education plays a crucial role in preserving and promoting Flower-Drum Opera. Integrating the art form into school curriculums, offering workshops and training programs, and creating educational materials can help raise awareness and interest among young people. By fostering an appreciation for traditional arts from a young age, we can ensure that Flower-Drum Opera continues to thrive.
Conclusion
Flower-Drum Opera is a testament to the rich cultural heritage of China. Its origins in rural communities, its evolution through centuries, and its role in reflecting and shaping social values highlight its significance as both an artistic and cultural phenomenon. While it faces challenges in the modern era, efforts to preserve and adapt Flower-Drum Opera offer hope for its continued relevance. By embracing both tradition and innovation, Flower-Drum Opera can continue to enchant audiences and preserve a vital piece of Chinese cultural history for future generations.
References
·Zhang, X. (2008). Traditional Chinese Opera: History and Performance. Beijing: Foreign Language Press.
·Sun, J. (2015). The Role of Flower-Drum Opera in Rural Chinese Society. Journal of Chinese Cultural Studies, 22(3), 45-59.
·Wang, H. (2012). The Evolution of Chinese Folk Music. University of California Press.
·China Daily. (2021, May 11). Reviving Traditional Flower-Drum Opera in Modern Times. Retrieved from https://www.chinadaily.com.cn/a/202105/11/WS609aef65a31024ad0babde42.html
·Asia Society. (2020). The Significance of Flower-Drum Opera in Chinese Performing Arts. Retrieved from https://asiasociety.org/china/flower-drum-opera
·The New York Times. (2019, May 18). Keeping the Beat of Flower-Drum Opera Alive. Retrieved from https://www.nytimes.com/2019/05/18/arts/flower-drum-opera.html
Questions
1.What is the historical origin of Flower-Drum Opera? 2.How does Flower-Drum Opera reflect rural Chinese life? 3.What efforts are being made to revive Flower-Drum Opera today? 4.What are the key artistic elements of Flower-Drum Opera?
Terms and expressions
Flower-Drum Opera - 花鼓戏 Folk Entertainment - 民间娱乐 Percussion Instrument - 打击乐器 Erhu (Two-stringed fiddle) - 二胡 Dizi (Bamboo flute) - 笛子 Vocal Techniques - 声乐技巧 Revival Efforts - 复兴努力 Cultural Heritage - 文化遗产 Social Commentary - 社会评论 Rural Community - 农村社区 Traditional Folk Tunes - 传统民间曲调
花鼓戏
介绍
花鼓戏在中文中被称为“花鼓戏”，是一种结合了歌唱、舞蹈和表演的中国传统戏剧形式。起源于中国农村地区，特别是在湖南、江西和安徽等省份，它经过几个世纪的发展，成为一种重要的文化遗产。本文探讨了花鼓戏的起源、发展、文化意义和现代改编，强调了它在保护中国文化传统中的作用及其对当代表演艺术的影响。
起源与历史发展
1.早期起源 花鼓戏可以追溯到宋代（960-1279年），但在明（1368-1644年）和清（1644-1912年）朝代期间获得了显著的流行。最初，它是一种在节日和农业庆祝活动期间表演的民间娱乐形式。戏剧的名称来源于花鼓，这是一种简单的打击乐器，表演者用它来设定节奏，并伴随着他们的歌唱和舞蹈。 2.朝代演变 在明清两代期间，花鼓戏经历了显著的变化。它从一种纯粹的声乐和舞蹈表演演变为一种更有结构的戏剧形式，融入了戏剧和讲故事的元素。这一时期还引入了更复杂的乐器和精美的服装，提高了整体表演质量。 3.地区变种 中国不同地区发展出了各自独特的花鼓戏风格，反映了当地的方言、习俗和文化影响。例如，安徽花鼓戏以其幽默和生动的表演而闻名，而湖南风格则以其情感深度和复杂的音乐作曲而著称。这些地方变种丰富了艺术形式，使其成为中国文化遗产的多样化和充满活力的组成部分。
文化意义
1.反映农村生活 花鼓戏一直与农村社区的生活紧密相关。其主题通常围绕农业活动、农村爱情故事和村民面临的社会问题展开。通过其表演，戏剧展示了中国农村的日常生活、挣扎和欢乐，保存了一种在快速现代化的社会中可能丧失的宝贵文化叙事。 2.社会评论的媒介 除了娱乐之外，花鼓戏还充当了社会评论的媒介。在历史上，它被用来解决社会不公，批评腐败官员，并提倡道德价值观。通过以一种易于理解和引人入胜的方式呈现这些主题，戏剧在教育和影响公众舆论方面发挥了重要作用，特别是在识字率传统上较低的农村地区。 3.语言和传统的保护 花鼓戏中使用的地方方言和传统民间曲调有助于保护语言多样性和文化传统。随着中国变得更加城市化和标准化，这些地方特色面临着消失的风险。花鼓戏作为文化储存库，保留了这些元素，以供后代使用。
艺术元素
1.音乐和乐器 花鼓戏的音乐成分是其吸引力的重要部分。传统乐器如花鼓、二胡（一种两弦提琴）和笛子（竹笛）创造出独特的音景。旋律通常简单而富有感染力，旨在补充声乐表演并传达故事的情感基调。 2.舞蹈和动作 舞蹈和动作是花鼓戏的重要组成部分。编舞通常基于传统民间舞蹈，融合了节奏脚步、富有表现力的手势和协调的群体动作。这些舞蹈不仅增强了表演的视觉吸引力，还帮助讲述故事和表达角色的情感。 3.服装和化妆 花鼓戏的服装通常色彩鲜艳且复杂，反映了角色的身份和社会地位。常用的传统服装样式如汉服（古代中国服饰）通常会有额外的装饰，以创造戏剧效果。化妆也是一个重要方面，表演者使用大胆的颜色和图案来突出他们的面部特征并传达角色的个性。 现代改编与影响
1.复兴努力 近年来，已经进行了有组织的努力来复兴和推广花鼓戏。文化组织和地方政府已经启动了记录和保存传统表演、培训新表演者并组织节日和比赛的项目。这些努力帮助花鼓戏重新进入公众视野，确保其持续的相关性。 2.与当代艺术的融合 花鼓戏也影响了中国当代表演艺术。其音乐、舞蹈和讲故事技巧的元素已被融入现代戏剧、电影和电视制作中。这种传统与当代元素的融合创造了新的艺术表现形式，扩展了花鼓戏的观众群体。 3.全球认可 花鼓戏的文化意义在全球范围内得到了认可，各种国家都举办了演出和国际文化交流。这种全球曝光不仅将这种艺术形式介绍给了新观众，还促进了跨文化理解和对中国遗产的欣赏。
挑战与未来展望
1.人气下降 尽管有努力复兴花鼓戏，但它在吸引年轻观众方面面临挑战。现代社会的快节奏、技术驱动的生活方式与传统戏剧的缓慢、深思熟虑的节奏形成鲜明对比。因此，年轻一代可能难以理解或欣赏这种艺术形式。 2.适应现代口味 为了保持相关性，花鼓戏必须在保留其核心元素的同时适应现代口味。这可能包括融入现代主题，尝试新的音乐风格，或使用多媒体技术来增强表演。在传统与创新之间取得平衡将是花鼓戏未来成功的关键。 3.教育的角色 教育在保护和推广花鼓戏方面发挥着至关重要的作用。将这种艺术形式融入学校课程，提供工作坊和培训项目，并创建教育材料，可以帮助提高年轻人对花鼓戏的认识和兴趣。通过从小培养对传统艺术的欣赏，我们可以确保花鼓戏继续繁荣。
结论
花鼓戏是中国丰富文化遗产的见证。其在农村社区的起源，几个世纪的发展以及在反映和塑造社会价值观中的作用，突显了其作为艺术和文化现象的意义。尽管在现代社会面临挑战，但保护和改编花鼓戏的努力为其持续的相关性提供了希望。通过拥抱传统与创新，花鼓戏可以继续吸引观众，并为后代保留中国文化历史中的重要一部分。
问题
1.花鼓戏的历史渊源是什么？ 2.花鼓戏是如何反映中国农村生活的？ 3.今天花鼓戏的复兴，有哪些努力？ 4.花鼓戏的主要艺术元素是什么？
Liu Xinyu | traditional festivals：Shangsi Festival
Zhou Jingyi | Ancient Chinese Women's Culture：Ji Sor (Self-combing female)
A brief introduction
As a unique custom and ancient phenomenon in the Pearl River Delta, the self-combing women have always received great attention from all walks of life. In the Pearl River Delta, an important birthplace of the self-combing women, it is not only a long-standing local folk custom, but also a special form of expression of modern Chinese women seeking physical and mental freedom and independence.
In the historical process of modern China's development, they almost exhausted their youth, wisdom, and hard work, and used their hands to support a piece of sky for their hometown and the region. Although combing up their hair is a farewell to the bondage of marriage, and using freedom to exchange for the changes of the times and the injustice of the system, they have never complained about the world. On the contrary, the self-esteem, self-respect, self-reliance, and self-reliance of the self-combing women have always influenced their descendants.
Zhou Li | Cuisine：Dong'an chicken
Jin Chuanyv | Ancient Chinese Women's Culture：Nüshu（Women's Script）
Introduction
Nüshu, also known as Jiangyong woman's script, is a unique Chinese writing system. It originated in Jiangyong County, Yongzhou, southern Hunan Province, China, and is generally used to write the Jiangyong Chengguan dialect, which belongs to the Yongquan section of the Xiang language. It is a Chinese dialect syllabic script specialized for Jiangyong Nüshu (Women's Script) in Hunan Province, and was popularly passed down in the early days among women in Jiangyong County and its adjoining Dao County, the Dajao Mountains of Jianghua Yao Autonomous County, and in some parts of Guangxi Province. Due to the fact that it was severely damaged during the Cultural Revolution, coupled with the development of the times and the exodus of the population, it is now on the verge of being lost.
Nüshu works are written on refined cloth handwritten books (wedding gifts), fans, cloth handkerchiefs, and pieces of paper, which are called "Sanzhaoshu", "Geshan", "Pashu", and "Zhiwen". Some of them embroidered on handkerchiefs are called "Embroidered Characters". The women here have the habit of singing and often get together to sing and teach women's script while doing needlework. Their activities of singing and learning women's script are called "Duzhi", "Dushan" and "Dupa", forming a distinctive culture of women's script.
On September 20, 2004, Yang Huanyi, the last 100-year-old natural heir of the Women's Script (the person who was immersed in the culture of the women's script and used the script in daily life exchanges for her whole life), passed away, which marked the entry of the Women's Script into the "post-Women's Script era".
In 2002, the Women's Script was included in the Chinese Archives and Documentary Heritage List.
In 2003, Jiangyong County set up a Women's Script school to train the inheritors.
In 2005, Women's Script was included in the Guinness Book of World Records as "the most gender-specific writing in the world".
In 2006, the practice of Women's Script was included in the first batch of China's National Intangible Cultural Heritage List.
In May 2007, the local government established the "Jiangyong Women's Script Ecological Museum" on Puwei Island in Jiangyong County.
In 2015, a project to protect China's language resources was launched, attempting to pilot Jiangyong County, an area where Women's Script pass through, as one of China's first dialect and cultural eco-regions.
Form and content
Most of the works in the Women's Script are sung in seven-character poems, and their carriers are divided into four categories: paper, books, fans and scarves; most of the contents are descriptions of local Han women's marriages and families, social interactions, personal feelings, countryside anecdotes, and ballads and riddles, etc. The Women's Script is not original to women, but through oral transmission into the Women's Script, it becomes a reflection of the world of women's minds.
The works use a completely realistic approach to narrate their own sadness and lamentation of how their heart is loftier than the sky, but their life is thinner than paper, of having their good intentions turn into a shadow in the darkness, and of invoking the help of folklore spirits to turn misfortune into good fortune. The heroines of these works are not only “strong women” with strong personalities, who strongly demand equal status with men, but also extremely dislike and despise the fame and wealth that men are so keen on.
The content of women's works can be categorized into the following types:
1. Joyful works, such as "Sanzhaoshu" and "Kujia Song";
2. Ritual works, including memorials to recently deceased relatives and prayers to the gods;
3. Communicative works, involving letters of engagement, thanks, condolences, scolding, etc;
4. Memory works, including diaries and biographies;
5. Educational and entertainment works, including ethical works, historical stories , legends, songs and riddles, etc.;
6. Songs, such as "Chinese Women's Script".
Characteristics of Women's Script
Nüshu is essentially a syllabary, with one character essentially recording one syllable. Nüshu is a textual miracle in the history of Chinese recording, and can be considered as the earliest Hanyu Pinyin that is simpler than antiphonetic.
The appearance of Women's Script is characterized by the rhomboid-shaped outline of the characters, the beautiful and delicate handwriting, and the unique shape of the characters, which is why they are also called "mosquitoes with long feet". Nearly 2,000 characters have been collected, but only about 600 characters are actually used, excluding variant characters and misspelled words. The words are recorded in the local dialect, which means that they are read aloud or sung in the local dialect. The Jiangyong dialect is very diverse, with four, five, six and seven different tones. In the town of Shangjiangxu, where Women's Script are popular, there are 6 tones, and in the county town, there are 7 tones. Because of the differences of the dialect, it is only popular in local villages, and the local official language introduced from Guangxi is also in use. The official language of the whole county of Jiangyong is very consistent, and the official language has only 4 tones.
The characters of the Women's Script come from some of the simpler Chinese characters and have been simplified and remodeled in many ways. The strokes are simplified into 3 types: dots, straight lines and arcs.
Origin
Women's Script exists mainly because of the old Chinese mentality that local women were not allowed to read and write: what they called "men's script", so local women invented Women's Script as a way of communication between sisters and sisters-in-law. Men, on the other hand, would disdain the Women's Script as an ordinary pattern. Women's writing has existed for more than hundreds of years.
There are roughly three views on whether Women's Script is self-originated or originated from others:
1)It originated from Chinese characters;
2)It originated from Xixiawen;
3)It is a unique female writing system of the Yao people.
There are also three views on the era of the creation of Women's Script: the prehistoric engraved symbols, not earlier than the Ming Dynasty, and the Ming and Qing dynasties.
The first viewpoint testifies the origin of Women's Script from the characteristics of its font structure, pronunciation and grammatical planning, and believes that Women's Script is a relic of the evolution of ancient people's writing of the Shang Dynasty in the pre-Qin period; the second viewpoint believes that Women's Script, as a system of writing that can record language in its entirety, was produced in the Middle Ages, or even before and after the Ming Dynasty; the third viewpoint, through the study of Women's Script in terms of its history, literature, relics, content and inheritance, proposes that it originated in the Ming and Qing dynasties. Although several views have been discussed and debated many times, they are inconclusive.
There are several local legends about the origins of Women's Script that are much the same.
The first type
According to women's legend around Shangjiang Xu, in ancient times, a girl named Hu Yüxiu (or Hu Xiuying) from Jingtian Village was so talented and beautiful that she was chosen to be an imperial concubine in the palace. Being neglected in the palace, she wanted to write letters to her families. Afraid of being find out, she created Women's Script. She wrote this character on a handkerchief, telling the sufferings to her mother and close sisters. She asked someone to bring the handkerchief back to her hometown and told her relatives the secret to read the letter : firstly they should read it diagonally, and then understand the meaning according to the pronunciation of the vernacular. From then on this kind of writing became popular among local women. In Jingtian Village, there is the ruins of the "Imperial House of Letters" with carved beams and painted pillars. It is said that there was a plaque written by the emperor himself, "Yuxianglou", which was still there until the early 1960s, and many people in the village remember it clearly.
The second type
Legend has it that a long time ago, a farmer's wife gave birth to a baby girl, weighing nine catties, so she was named nine catty girl. Nine catty girl was talented since childhood, and she could do all kinds of housework. She also whimsically created Women's Script.
The third type
According to an elderly woman in He Yuan village of Tong Shan Ling farm, the Women's Script was passed down from Dao County. It is said that a long time ago, there was a father and two daughters gathering herbs passed by , two daughters couldn’t walk and collapsed, and the old man died here of grief. Later, people came here to pray for the disasters and illnesses, and a temple was built for the father and his daughters. Women came here to make wishes and most of them came true.There were books written by Women's Script on the shrine. After burning incense and paper, you can take a book back to read it (called "paying for a book"), and after reading it, you can exchange it for another one. The earliest Shrine women's books were not written with a pen, but were embroidered with silk threads on rolls of silk. Girls, especially those aged 15 or 16, would take a copy of the women's book and learn to recognize, sing, and write it from older women. Later they could use the book to express their heart, quietly sent to the shrine shrine, so others could read and write.
These legends about Women's Script suggest that:
1)The Women's Script glyphs are related to the needlework patterns;
2)The Women's Script glyphs are related to the square Chinese characters and may have been mutated to hide them from view;
3)The Women's Script records the local Chinese dialect;
4)The creation of Women's Script is an urgent need for women to safeguard their own interests;
5)The contents of Women's Script works are mainly complaints and are used for emotional exchanges within women. The word-of-mouth legends of the masses provide important information and reference basis for examining the origin and creation of women's books.
Development
1. Discovery
In 1954, Zhou Shuoyi, a cadre at the Cultural Center of Jiangyong County, met Hu Cizhu, a creator of Nüshu (women's script), in Geqin Village, Shangjiangxu Town. He obtained several original Nüshu works and named them "Mosquito Script," translating and including them in the mimeographed Ten-Year Chronicle of Jiangyong County's Liberation. This was the first documented Nüshu work.
In 1956, during a provincial literary and artistic performance in Changsha, Li Zhengguang, a photographer at the Hunan Provincial Museum, saw a Nüshu couplet at Zhou Shuoyi's residence and recognized its academic value. He reported this to his superiors.
In early 1957, Zhou Shuoyi accompanied Li Zhengguang to investigate Shangjiangxu in Jiangyong County, collecting several Nüshu originals. Zhou translated some into Chinese characters. Li Zhengguang wrote an article and named the script "Women's Script," submitting it to the Chinese Language Journal, but it was not published.
In 1958, a woman from Jiangyong went to Beijing to seek her relatives, using her local dialect and Nüshu to communicate. Since no one could understand her, she attracted the attention of the police, and her writing was sent to language experts, who also couldn't recognize it.
In 1968, the Public Security Department of Hunan Province found another Yao woman’s unrecognizable writing and took it to Beijing, seeking help from teachers at Department of Chinese, Central University for Nationalities, who also couldn't identify it.
In 1979, Zhou Shuoyi returned to work at the Jiangyong County Cultural Center and was tasked with compiling the Jiangyong County Cultural Relics Chronicle. He included and revised the "Mosquito Script" article, discussing the characteristics of Nüshu.
In 1982, Zhang Guoquan and Tang Shanjun, cadres from the Publicity Department of the Jiangyong County Committee, discovered Nüshu used by local women. Tang Shanjun wrote an article named Discovery of Women's Script in Jiangyong, which was published in the Hunan Daily.
In 1983, Professor Gong Zhebing of Wuhan University, while collecting folklore in Jianghua Yao Autonomous County, read the news and went to Jiangyong for research. With Zhou Shuoyi's help, he wrote Investigation Report on a Special Script that was published in Journal of South-Central Institute for Nationalities. That year, Gong also presented a paper, Analysis of the Script of the Pingdi Yao in Jiangyong, Hunan, at the 16th International Conference on Sino-Tibetan Languages and Linguistics, introducing Nüshu to the international academic community.
In October 1984, Digest Newspaper published reported the discovery of Nüshu. Hubei TV filmed and aired a news segment on Nüshu.
In June 1985, CCTV's evening news reported the discovery of Nüshu.
In September-October 1985, The South-Central Institute for Nationalities organized a research team led by Professor Peng Yingming to investigate Nüshu and the Qianjiadong area in Jiangyong, collecting many original Nüshu pieces.
In 1986, Professor Gong Zhebing published the world's first Nüshu research monograph -- Women's Script and the Yao People of Qianjiadong. In May, CCTV broadcasted a special program -- The Unique Women's Script. The Central Newsreel and Documentary Film Studio produced the Jiangyong Nüshu film, distributed domestically and internationally. Xinhua News Agency and China News Service reported on the discovery of Nüshu, causing a significant international impact.
2. Declining
During the Cultural Revolution, a large number of works in Women's Script were destroyed. On the one hand, the authors were worried that their secret of writing in women's script would be discovered; on the other hand, many Red Guards destroyed these mysterious writings on the basis of "Breaking the Four Olds". After the Cultural Revolution, only a few works of women's writing were preserved. On the other hand, after the Cultural Revolution, as the cultural level of women improved, women did not need to use women's script to communicate with each other, so few women learned women's script, and women's script began to be on the verge of extinction.
3. Protection
It was only through the efforts of a group of scholars at the end of the twentieth century that this rare female character came to be known and recognized by the world and aroused great interest and widespread concern at home and abroad. As a unique and rare cultural heritage, the Chinese government has also begun to pay attention to the protection of women's writing. The Chinese Women's Script Village, which combines a research base with tourism, was established in Jiangyong at the end of 2003.
On May 18, 2001, the symposium on Chinese Women's Script Culture Rescue Project and the National Academic Seminar on Women's Script held at the Central South University for Nationalities put forward the "Chinese Women's Script Culture Rescue Project".
Research significance
The Women's Script is a unique cultural fossil, which is of great value to the study of the origin of human writing and civilization, the origin of women's culture and nationality, and the development of civilization in various fields, such as anthropology, ethnology, sociology, linguistics, philology, folklore, archaeology, and so on.
China attaches great importance to the protection of intangible cultural heritage, and on May 20, 2006, the folklore was approved by the State Council to be included in the first batch of National Intangible Cultural Heritage List.
Functionality
Women's Script have a customary function and a ritual function. Rituals are the standardization, programming and institutionalization of social values. The solidification of this ritualization makes the culture of Women's Script from a woman's need to a community-wide necessity.
Women's Script have the function of indoctrination and transmission. The social and historical knowledge, production and life skills as well as moral cultivation of the working people of the lower class can only be acquired through the oral tradition of the elders, their own experience as well as the appreciation of folk literature and art. The richness of the contents of women's works not only sublimated and cultivated women's intelligence. At the same time, it also passes on knowledge and ethics.
Heirs
Gao Yinxian (deceased)
Yi Nianhua (deceased)
Yang Huan Yi (deceased)
He Yanxin
He Jinghua
Hu Mei Yue
Ouyang Hongyan
Pu Lijuan
Lin Ying (He Jinghua, Pu Lijuan, and Lin Ying are three generations of natural heirs of women's writing)
Publications
The Legend of Women's Script
Women's Script, the World's Only Female Script
Women's Script Passage - A Toolkit for Women's Script
The Chinese Women's Book Collection
Chinese women's book integration - a peculiar women's text data collection
Related Movies and Songs
Snow Flower and the Secret Fan
Terms and expressions
syllabary 音节文字
Jianghua Yao Autonomous County 江华瑶族自治县
The Cultural Revolution 文化大革命
Refined cloth handwritten books 精制布面手写本
Needlework 女工
Their heart is loftier than the sky, but their life is thinner than paper 心比天高，命比纸薄
Sisters-in-law 妯娌
Imperial concubine 皇妃
Catty 斤（中国和一些东南亚国家使用的重量单位）
Four Olds 四旧
References
https://zh.wikipedia.org/wiki/女书
https://baike.baidu.com/item/女书/608945
https://courier.unesco.org/zh/articles/nushuzhuizhuyangguangdeyanleizhishu
Huang Xiangmei, Chinese Nv Shu, NetMusic
http://www.jiangyong.gov.cn/jiangyong/sqwh/201511/7199cc776bfb438e84345f82d7601e7a.shtml
https://www.gmw.cn/01gmrb/2005-09/26/content_309677.htm
Yang Renli, A summary of studies on Nv Shu[J], Minzu Tribune,1998,Page 32
Nv Shu. xinhuanet．
CCTV 4 will broadcast“Nüshu”(photo) . Jiangyong news．
介绍
女书，又名江永女书，是一种独特的汉语书写系统。女书是一种专门由女性使用的文字，起源于中国湖南省南部永州的江永县，一般用于书写属于湘语永全片的江永城关方言，是湖南江永女书专用的汉语方言音节表音文字，早期在江永县及其毗邻的道县、江华瑶族自治县的大瑶山、以及广西部分地区的妇女之间流行、传承。由于女书在文化大革命期间被严重破坏，再加上随着时代的发展及人口外流，现在女书正濒临失传。
女书作品书写在精制布面手写本（婚嫁礼物）、扇面、布帕、纸片上，分别叫作“三朝书”“歌扇”“帕书”“纸文”。有的绣在帕子上，叫“绣字”。 这里妇女有唱歌堂的习惯，常常聚在一起，一边做女红，一边唱读、传授女书。妇女们唱习女书的活动被称作“读纸”“读扇”“读帕”，形成一种别具特色的女书文化。
2004年9月20日，江永最后一个百岁女书自然传人（这里指浸润于女书文化，并一生在日常生活交流中运用女书的人）阳焕宜逝世，这标志着女书进入了“后女书时代”。
2002年，女书被列入中国档案文献遗产名录。
2003年，江永县开办女书学堂，培养传承人。
2005年，女书以“全世界最具性别特征文字”被收入《世界吉尼斯记录大全》。
2006年，女书习俗被列入第一批中国国家级非物质文化遗产名录。
2007年5月，当地政府在江永县的浦尾岛上，建立“江永女书生态博物馆”。
2015年，启动中国语言资源保护工程，尝试以女书通行的区域——江永县为试点，将其建设成为中国第一批方言文化生态区。
形式和内容
女书作品绝大部分为七言诗体唱本，其载体分纸、书、扇、巾四大类；内容大多是描写当地汉族妇女的婚姻家庭、社会交往、幽怨私情、乡里逸闻、歌谣谜语等。
女书记载的叙事作品就内容而言，并非女性所独创，但通过口头传承进入女书后，便成了女性心灵世界的投影。作品完全用写实手法自叙自叹心比天高、命如纸薄，美好意愿在黑暗中化作泡影的悲苦境遇，并请出民间传说中的神灵帮助逢凶化吉。这些作品的女主人公不仅都是个性张扬的“女强人”，强烈要求和男性地位平等，而且她们极端厌弃鄙视男性所热衷的功名富贵。
女书作品内容可以分成以下类型：
1．喜庆作品，例如《三朝书》《哭嫁歌》等；
2．祭祀作品，包括追悼刚刚去世的亲人和祈祷神灵；
3．交际作品，涉及交往、感谢、慰问、责骂等信件；
4．记忆作品，包括日记和传记；
5．教育娱乐作品，包括伦理作品、历史故事、传说故事、歌谣、谜语等；
6．歌曲作品，例如《中国女书》等。
文字特点
女书的本质上属于音节表音文字，一个字基本上记录一个音节。
女书的外表特点是字的整体轮廓呈现长菱形，笔迹秀丽娟细，造型独特，所以也被叫作“长脚蚊”。搜集到的字将近2000个，但是去掉异体字和错别字，实际使用的字只有大约600个。记录的是当地方言的“土话”，也就是用“土话”朗读或者吟唱。江永土话又五花八门，从声调就有4个、5个、6个、7个的不同。女书流行的上江圩镇是6个声调，县城是7个声调。因为由于湘语永全片难懂，分歧大，只在局部乡村流行，当地还通行从广西引进的官话。江永全县的官话就非常一致，官话只有4个声调。
女书的字来自部分简单的汉字，而且做了许多简化和改造。笔画简化成点、直线和弧线3种。根据湖南师范大学语言学者彭泽润教授研究，女书改造汉字的目标和方式如下：
起源
女书的存在，主要是由于中国过去的旧思想使当地女性不可以读书识字：即她们所谓的“男书”，所以当地的女性发明了女书，以作为姊妹妯娌之间交流的通讯方式。而一般男子亦会把女书当成是普通的花纹而不屑一顾。女书的存在已经超过数百年。
女书究竟是自源，还是他源，大致有三种看法：即源自汉字说、源自西夏文说和独特的瑶族女性文字体系说。
女书的产生时代，也有三种看法：即史前刻划符号说、不早于明代说和明清时代说。
第一种观点从女书的字体结构、发音、语法规划等特点入手考证女书起源时代，认为女书是先秦时期商代古人文字的孑遗演变；第二种观点认为女书作为一套能完整记录语言的文字系统产生于中古以后，甚至是明代前后；第三种观点通过女书的史志文献、遗存及内容、传承等方面研究，提出女书起源于明清时期。几种观点虽经多次探讨争论，乃无定论。
关于女书的来历在当地有几种大同小异的传说。
第一种
据上江圩一带传说，古时候荆田村胡家姑娘叫胡玉秀（一说叫胡秀英），才貌出众，被选入宫中作皇妃。她在宫中受到冷遇，想给家人写信，又怕太监发现，便创造了女书字。她把这种字写在手帕上，向母亲和要好的姊妹诉说在宫中的苦楚。她托人把手帕带回家乡，并告诉亲人看信的秘诀：第一要斜着看，第二按土话读音去理解意思。从此这种文字便在家乡妇女中流传开来。荆田村有“御书楼”遗址，雕梁画柱。据说有皇帝亲笔书匾“育香楼”，直到六十年代初还在，村里许多人清楚地记得。
第二种
传说很久以前，上江圩一农妇生下一个女婴，体重九斤，故取名为九斤姑娘。九斤姑娘自幼天资聪敏，纺纱绩麻，织布绣花，无所不会，无所不精。她还异想天开地造出了写土话的女字。
第三种
据铜山岭农场河渊村的老年妇女讲，女书是从道县传过来的。据说很早以前，有一家父女三人采药路过此地，两个女儿走不动了，倒地不起，老人也因悲伤死在这儿。后来这里人杰地灵，来此地祈拜可消灾去病，人们便为他们父女起座庙。女人们来此许愿，大多都能实现。神台上有女书。烧过香，化过纸就可以拿一本回去看读（叫“花钱买书”），读过后可以拿来换。最早的神台女书不是用笔写的，而是用丝线绣在绸子上，一卷一卷的。特别是十五、六岁的女孩子，拿了女书回去要照抄一份，跟年纪大的妇女学认学唱学写。以后可以用女书把自己的心里话写出来，悄悄送到神台神龛上，让别人去读、去写。
这些关于女书的传说表明：
一、女书字形体与女红图案有关；
二、女书字形与方块汉字有关，可能是为遮人耳目而进行了变异；
三、女书记录的是当地汉语方言土语；
四、女书的创制是妇女维护自身利益的迫切需要；
五、女书作品内容主要是诉苦，用于女性内部的情感交流。群众的口碑传说为考察女书的起源、创制提供了重要信息和参考依据。
发展
1.发现
1954年: 江永县文化馆干部周硕沂在上江圩镇葛覃村结识女书创作人胡慈珠，获得一批女书作品，并以《蚊形字》命名、翻译收入油印本《江永县解放十周年志》。这是载入史册的第一篇女书作品。
1956年冬: 湖南省在长沙举行全省文艺调演，省博物馆摄影干部李正光在周硕沂住处见到女书对联，意识到其学术价值，并向领导汇报。
1957年初: 周硕沂陪同李正光到江永县上江圩一带考察，搜集了一批女书原件，周硕沂将部分翻译成汉字。李正光整理文章并将女书命名为“妇女字”，投寄《中国语文》杂志，但未发表。
1958年: 一位江永妇女到北京寻亲，用土话和女书文字交流，因无人能识引起公安机关注意，将其所写文字送请文字专家辨认，亦无人能识。
1968年: 湖南省公安厅发现另一位瑶族妇女的文字无人识别，将这些文字带到北京，请中央民族学院语文系教师辨认，亦无人能识。
1979年: 周硕沂重新回到江永县文化馆工作，受委托编写《江永县文物志》，收录并修改《蝇形字》一文，初步谈及女书的特点。
1982年: 江永县委宣传部干部张国权、唐善军发现当地妇女使用女书字，唐善军写成新闻稿《江永发现妇女文字》在《湖南日报》发表。
1983年: 武汉大学宫哲兵教授在江华瑶族自治县采风，见报后赶往江永考察，在周硕沂的帮助下，写出《关于一种特殊文字的调查报告》，发表于《中南民族学院学报》。同年，宫哲兵在国际汉藏语言学会议上发表论文《湖南江永平地瑶文字辨析》。
1984年10月: 《文摘报》报道了女书的发现。湖北电视台拍摄并播出女书新闻片。
1985年6月: 中央电视台晚间新闻报道女书发现。
1985年9-10月: 中南民族学院组织调查队到江永调查女书和千家峒情况，收集到大量女书原件。
1986年: 宫哲兵教授出版全世界第一部女书研究著作——《妇女文字与瑶族千家峒》。5月，中央电视台播出专题片《奇特的女书》。中央新闻电影制片厂制作了《江永女书》影视专题片，在国内外发行。中国新闻社和新华社发布了“湖南发现女书”的新闻，国际反响强烈。多国学者到江永参观考察、研究女书。
2.低谷
在文化大革命期间，有大量女书作品被销毁。一方面，作者担心自己用女书书写的秘密会被识破；不少红卫兵基于“破四旧”的缘故，把这些神秘的文字当作“四旧”来破坏。文化大革命之后，只有少量女书作品得以保留下来。另一方面，文化大革命之后，由于女性的文化水平提高了，女性之间不需要使用女书亦可交流，很少有妇女学习女书，女书开始濒临灭亡。
3.保护
从20世纪末开始，通过一批学者努力，这种罕见的女性字符才被世界所了解和认识，并引起了海内外的浓厚兴趣和广泛关注。作为一种独特罕见的文化遗存，中国政府也开始重视保护女书。集研究基地与旅游于一体的“中国女书”村已于2003年底落户江永。
2001年5月18日在中南民族大学召开的"中国女书文化抢救工程"座谈会暨全国女书学术研讨会提出“中国女书文化抢救工程”。
研究意义
“女书”是一种独特的文化“化石”，对研究人类文字和文明的起源、女性文化和民族的起源以及文明的发展历程等方面，在人类学、民族学、社会学、语言学、文字学、民俗学、考古学等各个领域，都有重要价值。
国家非常重视非物质文化遗产的保护，2006年5月20日，该民俗经国务院批准列入第一批国家级非物质文化遗产名录。
功能
坐歌堂、女红、婚礼贺、三朝书等说明，女书具有习俗功能、礼仪功能。礼仪是社会价值观的规范化、程式化、制度化。这种礼俗化的凝固，使女书文化由女性的需要成为全社区的必要。
农事歌、儿歌等说明，作为母亲文化，女书具有教化功能、传授功能。底层劳动人民的社会历史知识、生产生活技能以及道德培养，只能通过长辈的口耳相传、自己的体验以及民间文艺的欣赏来获取。女书作品内容的丰富，不仅使妇女的聪明才智得以升华、陶冶。同时，也传承了知识、伦理。
传人
高银仙（已去世）
义年华（已去世）
阳焕宜（已去世）
何艳新
何静华
胡美月
欧阳红艳
蒲丽娟
林莹 （何静华、蒲丽娟、林莹是三代女书自然传人）
出版物
《女书传奇》
《世界唯一的女性文字——女书》
《女书通——女性文字工具书》
《中国女书合集》
《中国女书集成——一种奇特的女性文字资料总汇》
相关电影、歌曲
《雪花秘扇》
参考文献
https://zh.wikipedia.org/wiki/女书
https://baike.baidu.com/item/女书/608945
https://courier.unesco.org/zh/articles/nushuzhuizhuyangguangdeyanleizhishu
黄香媚《中国女书》．网易云音乐
千古之谜--女书_三千文化_．永州市人民政府网
湖南东安发现珍贵碑刻女书．光明日报网
杨仁里.女书研究综述[J].民族论坛,1998(3):30-32, 第32页
女书．新华网．2005-4-20
央视四套将播出“神奇女书”节目（图）．江永新闻网．2014-05-12
Chen Sisi | Opera：Shaoxing opera
Gong Xingyue | Traditional Crafts：jade carving arts
Wen Yining | Chinese snack：spicy gluten
Chen Jian | Social Phenomenon：Marriage: Girls Being Urged to Get Married
What kind of marriage are girls looking for? Jane Austen would say it should be full of love as well as calm. It is well accepted by the youth nowadays that marriage is the product of love, a crowning event of later adulthood.
Introduction: Youth Being Urged to Get Marrried
However, in China, there is a unique social phenomenon that a large number of people are being urged to get married by their parents and the whole society. When the young people are around thirty years old, most parents and even their relatives will show great concern over the issue and push them to get married harshly, taking marriage as the incomparable thing of their children’s, much more important than jobs or education or everything else. The most common method parents use is The Blind Date, where one man and one woman never met each other before will be paired by an intermediary agent called the matchmaker. The two in The Blind Date have the right to refuse the other person but without the right to stop their parents’ push until they finally get married.
At the same time, the worried parents tend to brainwash their kids of the necessity and tremendous urgency of the marriage. For sons, there are words like “ You should marry someone to take care of you and have a baby quickly”, while for girls, “You are becoming a leftover lady”, “ You will have little choice with age”, and the common words for both like, “it’s unfilial for you to not marry”.
Situation: From a Female Point of View
Worried parents and brainwash are ready for both male and female, yet female is more likely to be pushed more fiercely. From a female point of view, a girl has been taught how to take care of her husband and kids as a good wife from childhood,and at the marriageable age, she is expected to be a good wife quickly by everyone around her. If she decides to be single, then there will be guesses that she may be with the defect. Oceanic news describes single female as the gold digger or picky people while no male is blamed with such words. And if she remains unmarried she will be called as the leftover lady as if she is a terrible dish that is meaningless.
Reasons: Why girls are being urged to get married
There are a few reasons why girls are being urged to get married which can be classified as two parts, social pressure and female opposition.
Luo Bin | Chinese mythology：Chinese Dragon Culture
Chinese Mythology——Chinese Dragon Culture
1. The source of Chinese dragon culture The Chinese dragon is a mythical animal composed of the parts of nine animals: a deer's antlers, a camel's head, a rabbit's eyes, a clam's belly, fish's scales, an eagle's claws, a tiger's paws and an ox's ears. Its entire body is often depicted using winding curves and painted in golden color. Legend goes that the Chinese dragon can fly and has the magical power to control wind and rain, so can spurt water from its mouth to provide timely rainfall to ensure a good harvest. Over the 5,000 years of Chinese history, the Chinese dragon used to be a totem. Gradually, it has evolved into a Chinese icon representing the spirit of the Chinese nation.
Historically, the Chinese dragon has ancient roots dating back thousands of years. Archeological evidence and ancient scriptures reveal that dragons were central to Chinese myths and legends long before the common era. The earliest depictions can be traced back to the Neolithic period, where dragon-like motifs were discovered on pottery and jade artifacts. In Chinese mythology, dragons are often associated with water and weather phenomena. They are believed to have control over rain, rivers, lakes, and seas. This belief is vital to agrarian societies where timely rains are crucial for the prosperity of crops. Consequently, Chinese farmers would often conduct dragon dances and other rituals to invoke rain and ensure a bountiful harvest.
Shi Muyu | Minority cultures ：Laosicheng
Introduction
Laosicheng cultural site, embedded in the green mountains of Yongshun County, Xiangxi Tujia and Miao Autonomous Prefecture, is located in Lingxi Town, more than 20 kilometers east of Yongshun County. Laosicheng site is like a bright pearl, witnessing the glory and reform of the native chieftain system from the Southern Song Dynasty to the Qing Dynasty for more than 600 years. It was once the political, economic and cultural center of Peng's Chieftain in Yongshun, leaving a wealth of historical relics and cultural marks. From the magnificent palace area to the busy street layout, from the unique architectural style to the precious cultural relics, Laosicheng has shown us the prosperity and charm of an ancient city. As a living specimen of the development of the regional ethnic autonomy system in ancient China, Laosicheng not only has high historical value, but also is a treasure house that embodies the wisdom of the Tujia, Miao and other ethnic minorities.
Historical Background
The site of Laosicheng, whose autonym is Fushi City, has been the location of Yongshun Peng's chieftain since the fifth year of Shaoxing in the Southern Song Dynasty (1135). According to ancient books such as the History of Yuan Dynasty, Peng's chieftain rallied people's hearts with favors in Xizhou and was supported by the local people, thus inheriting the position of chieftain. In the fifth year of Shaoxing in the Southern Song Dynasty, Peng Fu Shi Peong (Peng Fu Shi Chong) served as the chieftain. In order to get rid of the constraints of the forces of Chenzhou, he moved the Stewards to Fushi County in Lingxi, and built a city here, that is, the old Chieftain. today. Under the rule of Peng's chieftain, Laosicheng quickly developed into the political, economic, military and cultural center of Xiangxi. The city is divided into inner Luo City and outer Luo City, forming a criss-crossing eight streets and ten alleys. Laosicheng is densely populated and prosperous in business. The historical books have records of "three thousand households in the city and eight hundred households outside the city", which shows its prosperity.(Yin Zhong 2019,12.01)
In the Yuan Dynasty, in order to strengthen the rule over the minority areas, the Central Dynasty implemented the chieftain system and allowed the minority areas to govern themselves. Laosicheng, as one of the largest chiefdoms in Southwest China, enjoyed a more stable position. However, with the change of history, the native chieftain system gradually declined, and Laosicheng was forced to move to Kesha Town in the second year of Yongzheng in the Qing Dynasty (1724). Its prosperous scene of more than 600 years came to an end and became a relic.(Qin Luhui 2009,08.01)
Geographical environment and natural environment
Laosicheng site is located in the eastern side of the Yunnan-Guizhou Plateau in the northwest Wuling mountain and western Hubei mountain border, belongs to the middle and low mountain area.The rocks in this area are mainly composed of carbonate rocks and sand shale, and some are sand conglomerate rocks and metamorphic rocks. The terrain is rich and diverse, with both high mountains, valleys and gentle platforms. Laosicheng site is located in Lingxi River, the terrain is easy to defend and difficult to attack, which provides a natural barrier for the military defense of Laosicheng.(Liu Meng 2018,01.01)
Laosicheng and its surrounding areas have a high vegetation coverage rate, the main vegetation types are cypress forest, evergreen broad-leaved forest, shrub, orange orchard, crop vegetation and so on. In addition, there are more than 10 species of key wild protected plants such as taxus chinensis and more than 100 ancient trees, which add a touch of ecological greenery to the site. Laosicheng village is distributed in the Niu Lu River basin of the Youshui tributary. Its upper section is named Lingxi River, the middle section is named Shi (Si) River, and the lower section is named Niulu River, which flows to the Liangsha River and Mengdong River main stream and infuses into the Youshui River. The area belongs to the subtropical humid monsoon climate, abundant rainfall, the air is humid all the year round, not hot in summer, little cold in winter, the vertical difference is great, three-dimensional climate characteristics are obvious. Such climate conditions provide superior natural environment for agricultural production and residents' life in Laosicheng.(Liu Xuemei 2016,01.01)(Liu Yuan 2013,05.01)
Layout and distribution
The overall layout of Laosicheng site is rigorous, and it has been carefully planned according to the terrain and functional requirements. The ruins of the city is divided according to the topography of the three steps, forming a unique layout of three areas, including residential areas, government offices and leaders' living areas. This layout not only reflects the hierarchy, but also fully considers the convenience of actual life.(Gu Chenxi 2015,07-01)
the street layout
The street layout of Laosicheng is "three vertical and five horizontal" checkerboard, criss-crossing streets constitute the skeleton of the city. Specifically, there are eight main streets: River Street, Left Street, Right Street, Zheng Street, Banpo Street, Wutun Street, Fish Stomach Street and Dongmen Street. These streets not only divide the functional areas of the city, but also facilitate the flow of traffic within the city.(He Hui 2019,11.05)
the diversion of functional areas
Palace area and Government Office area: It is located in the core area of the city, and is the place where the chieftain conducts political activities and administrative management. The architecture in these areas is magnificent, reflecting the authority and status of the chiefdom. Residential area: Distributed in every corner of the city, they were the places where the people under the chieftain lived. These areas were relatively simple, but well equipped, reflecting the living conditions of the people at that time. Religious area: There are temples and other religious buildings, which are important places for people to carry out spiritual sustenance and religious activities. Education area: It is dedicated to the training and education of talents, reflecting the importance of education. Workshop area and burial area: It is responsible for handicraft production and the tombs of the chiefdoms and important figures, and are an important part of the city's functions.
Architectural features and cultural heritage
Laosicheng site is divided into Inner Luo city and Outer Luo City, with eight streets and ten lanes crisscrossing, densely populated, and thriving city shops. The historical books have records of "three thousand households inside the city, eight hundred households outside the city","the great town of five rivers, the border city of ten thousand miles". Its architectural style is unique, integrating the architectural characteristics of the Tujia, Miao and other ethnic minorities, and it has extremely high historical and cultural value.(Shi Jinbo 2021,09.01)
As the materialized carrier of chieftain system, laosicheng site fully embodies the political, economic, military, cultural and other aspects of native chieftain system. The unearthed cultural relics are rich and diverse, including pottery, jade, bronze, iron and so on, many of which are treasures.These cultural relics not only provide a unique witness for the study of chieftain culture, but also provide important materials for us to understand the social life, economic development and cultural exchanges in ancient Xiangxi and provide a unique witness for the study of Tusi culture.
A large number of historical buildings, cultural sites and cultural relics have been preserved in Laosicheng, such as the Ancestral Hall, Guanyin Pavilion, and the Five Valley Temple. These buildings and sites not only reflect the religious beliefs and cultural life of the Tujia people, but also demonstrate the uniqueness and diversity of Tujia culture. In addition,Laosicheng also preserves a large number of historical documents and folklore, which record the history and culture of Tujia society and are important materials for the study of Tujia culture. The site of Laosicheng is distributed in the palace area, the government office area, the judicial area, the education area, the residential area, the religious area, the workshop area, the burial area and other functional areas, which together constitute the complete historical and cultural space of Laosicheng.
Social and cultural value
As a living specimen of the development of regional ethnic autonomy system in ancient China, the site of Laosicheng has important historical value. It has witnessed the rise and fall of the native chieftain system in Southwest China, reflecting the evolution of the relationship between the central dynasty and minority areas. At the same time, Laosicheng site is also an important carrier of Tujia, Miao and other minority cultures, providing precious materials for us to understand and study the history, culture and customs of these ethnic groups.
In addition, Laosicheng site also has important cultural value. Its unique architectural style, rich cultural relics and profound historical deposits make it an important research object in the fields of ancient Chinese urban history, architectural history and cultural history. At the same time, Laosicheng site also provides a window for contemporary people to understand ancient culture and feel the historical charm.(Zhang Min 2018,08.01)
Tourism development
With the development of tourism, Laosicheng have gradually become an important tourist destination. Since its official opening to the public as a scenic spot in May 2016, Laosicheng Scenic Spot has attracted many tourists to come for sightseeing its unique historical and cultural charm. In December 2016, Laosicheng Scenic Spot was listed as a national AAAA tourist attraction, further enhancing its popularity and influence.(Gao Wenxiang 2018,02.01)
In terms of tourism development, Laosicheng Site makes full use of its unique historical and cultural resources and launches a variety of tourism products. For example, visitors can visit the Laosicheng Site Museum to learn about the history and culture of Laosicheng; You can visit the old city walls, ancient streets and other scenic spots, feel the charm of the ancient city; You can also take part in the local folk culture activities and have a deep understanding of the cultural customs of the Tujia, Miao and other ethnic minorities. In addition, Laosicheng Site also actively carries out research and tourism activities, providing a practical platform for primary and secondary school students to understand ancient culture and cultivate historical literacy.(Chen Yanli 2019,06.01)
Conclusion
Laosicheng is not only a relic of a city, but also a microcosm of the thousand-year-old civilization of the Chinese nation, and an immortal memory in the flow of time. Here, every brick, every wall, as if it is telling the past glory and vicissitudes. These silent narration, let us more deeply understand that cultural heritage is not only material retention, but also spiritual inheritance.
Terms and Expressions
Laosicheng Cultural Site 老司城文化遗址
Yongshun County, Xiangxi Tujia and Miao Autonomous Prefecture 湘西土家族苗族自治州永顺县
autonym 本名
Yongshun Peng's chieftain 永顺彭氏土司
chiefdom 土司（古代官署名）
Yunnan-Guizhou Plateau 云贵高原
Wuling Mountain 武陵山脉
Western Hubei Mountain 鄂西山
carbonate rock 碳酸盐岩
sand shale 页岩
sand conglomerate 砂砾岩
metamorphic rock 变质岩
cypress forest 柏木林
evergreen broad-leaved forest 常绿阔叶林
shrub grass 灌草丛
Taxus chinensis 红豆杉
subtropical humid monsoon climate 亚热带湿润季风气候
Inner Luo City 内罗城
Outer Luo City 外罗城
pottery 陶器
jade 玉器
bronze 铜器
Ancestral Hall 祖师殿
Guanyin Pavilion 观音阁
Five Valley Temple 五谷祠
Question
1.What are the ancient architectural sites and cultural relics preserved in Laosicheng?
2.As the political, economic, military and cultural center from the Southern Song Dynasty to the Yongzheng period of the Qing Dynasty, how did its historical position affect the local minority areas and the whole southern China?
3.What is the architectural layout of Laosicheng?
4.How does Laosicheng embody the characteristic culture of Tujia?
5.What are the social and cultural values of Laosicheng?
References
Yin Zhong尹忠(2019).湘西古城 遗落在沅水边[The ancient city of Xiangxi was lost beside the Yuanshui River] DOI:CNKI:SUN:LVZZ.0.2019-12-012.
Qin Luhui覃录辉(2009).广西忻城土司文化对发展地方旅游经济的意义[The significance of the chieftain culture in Xincheng, Guangxi to the development of local tourism economy].DOI:CNKI:SUN:ZYMD.0.2009-04-006.
Liu Meng刘梦(2018).湖南省大遗址保护现状调查报告[Investigation report on the status quo of protection of great ruins in Hunan Province].DOI:CNKI:CDMD:2.1018.103628.
Liu Xuemei刘雪梅(2016).永顺老司城民间故事研究[The folk story study of laosicheng].DOI:10.7666/d.D01024390.
Liu Yuan刘源(2013).中国传统园林空间防御特性分析[D].河南农业大学,2013.DOI:10.7666/d.Y2432238.
Gu Chenxi顾晨曦(2015)世界文化遗产——走进老司城遗址[World Cultural Heritage - Enter Laosicheng site].DOI:CNKI:SUN:QCQJ.0.2015-18-016.
He Hui何辉（2019）基于织补理论的长沙历史步道空间设计研究[Research on space design of Changsha historical footpath based on darning theory]
Shi Jinbo史金波(2021).中国少数民族地区城市文化遗产刍议[Discussion on Urban Cultural Heritage in Ethnic Minority Areas of China]
Zhang Min张敏(2018).湖南大遗址利用模式研究[Study on the utilization model of Hunan Great Ruins].DOI:CNKI:CDMD:2.1018.164125.
Gao Wenxiang高文香(2018).内外部公众对旅游目的地形象评价差异及成因分析[.Internal and external public evaluation of tourist destination image differences and causes analysis].DOI:10.3969/j.issn.1009- 6922.2018.01.14
Chen Yanli陈艳丽(2019).移动短视频的传播特性和媒体机遇[Communication characteristics and media opportunities of mobile short video].DOI:10.3969/j.issn.1672-9579.2016.02.031.
引言
老司城文化遗址，镶嵌在湘西土家族苗族自治州永顺县的青葱山水之间，位于永顺县城东20余公里处的灵溪镇。老司城遗址如同一颗璀璨的明珠，见证了南宋至清代六百余年土司制度的辉煌与变革。这里曾是永顺彭氏土司的政治、经济、文化中心，留下了丰富的历史遗迹和文化印记。从宏伟的宫殿区到繁忙的街道布局，从独特的建筑风格到珍贵的文物遗存，老司城都为我们展现了一个古代城市的繁华与韵味。作为中国古代民族区域自治制度发展的活标本，老司城不仅具有极高的历史价值，更是一座凝聚了土家族、苗族等少数民族智慧的宝库。
历史背景
老司城遗址，本名福石城，自南宋绍兴五年（1135年）起，便成为永顺彭氏土司的司治所在。据《元史》等古籍记载，彭氏土司在溪州以恩惠凝聚人心，受到当地人民的拥戴，从而世袭土司之位。南宋绍兴五年，彭福石宠（彭福石冲）担任土司后，为摆脱辰州势力的约束，将司治迁到了灵溪的福石郡，并在此筑城，即今老司城。在彭氏土司的统治下，老司城迅速发展成为湘西地区的政治、经济、军事和文化中心。城内分内罗城、外罗城，形成了纵横交错的八街十巷，人口稠密，商业兴隆，史书有“城内三千户，城外八百家”的记载，足见其繁荣景象。（尹忠 2019，12.01）
元代，中央王朝为加强对少数民族地区的统治，实行了土司制度，允许少数民族地区自治自管。老司城作为西南地区最大的土司之一，其地位更加稳固。然而，随着历史的变迁，土司制度逐渐衰落，老司城也于清雍正二年（1724年）被迫迁至颗砂乡，其600余年的繁华景象就此结束，成为遗址。(覃录辉 2009,08.01）
地理环境与自然环境
老司城遗址位于云贵高原东侧武陵山西北与鄂西山地交界之处，属于山地中的中低山地区。该地区岩石组成以碳酸盐岩和砂页岩为主，部分为砂砾岩和变质岩，地形丰富多样，既有高山峡谷，也有平缓的台地。老司城遗址地处灵溪河畔，地势险要，易守难攻，为老司城的军事防御提供了天然屏障。（刘梦，2018 ,01.01）
老司城及其周边地区植被覆盖率高，主要植被类型有柏木林、常绿阔叶林、灌草丛、橘园、农作物植被等。此外，还有红豆杉等重点野生保护植物十余种，古树百余株，为遗址增添了一抹生态绿意。老司城村分布在酉水支流的牛路河流域，其上段名灵溪河，中段名施（司）河，下段名牛路河，流至两岔河与猛峒河干流相接并注入酉水。该地区属于亚热带湿润季风气候，雨量充沛，空气常年湿润，夏无酷暑，冬少严寒，垂直差异悬殊，立体气候特征明显。这样的气候条件为老司城的农业生产和居民生活提供了优越的自然环境。（刘雪梅 2016,01.01）(刘源 2013 ,05.01）
布局分布
一、整体布局
老司城遗址整体布局严谨，按照地形和功能需求进行了精心规划。城池遗址依三级台阶地形而分，形成了独特的三区布局，包括居民区、衙署区和首领生活区。这种布局既体现了等级制度，又充分考虑了实际生活的便利性。（顾晨曦 2015,07.01）
二、街道布局
老司城的街道布局呈“三纵五横”的棋盘式，纵横交错的街道构成了城市的骨架。具体来说，有八条主要街道：河街、左街、右街、正街、半坡街、五屯街、鱼肚街和东门街。这些街道不仅划分了城市的功能区域，也促进了城市内部的交通流动。（何辉 2019,11.05）
三、功能区域划分
宫殿区与衙署区：位于城市的核心地带，是土司进行政治活动和行政管理的场所。这些区域建筑宏伟，体现了土司的权威与地位。 居民区：分布在城市的各个角落，是土司辖下民众居住的地方。这些区域相对朴素，但生活设施完备，反映了当时民众的生活状态。 宗教区：设有寺庙等宗教建筑，是民众进行精神寄托和宗教活动的重要场所。 教育区：专门用于培养和教育人才，体现了土司对教育的重视。 作坊区和墓葬区：分别负责手工艺制作和土司家族及重要人物的墓葬，是城市功能的重要组成部分。
建筑特色与文化遗产
老司城遗址分内罗城、外罗城，有纵横交错的八街十巷，人户稠密，市店兴隆。史书有“城内三千户，城外八百家”，“五溪之巨镇，万里之边城”的记载。其建筑风格独特，融合了土家族、苗族等少数民族的建筑特色，具有极高的历史价值和文化价值。（史金波 2021,09.01）
作为土司制度的物化载体，老司城遗址完整地体现了土司制度的政治、经济、军事、文化等方面。其出土的文物丰富多样，包括陶器、玉器、铜器、铁器等，其中不乏珍品。这些文物不仅为研究土司文化提供了独特见证，也为我们了解古代湘西地区的社会生活、经济发展和文化交流提供了重要资料。老司城遗址出土了丰富的文物，包括陶器、玉器、铜器、铁器等，这些文物为研究土司文化提供了独特见证。
老司城内保存了大量的历史建筑、文化遗址和文物，如祖师殿、观音阁、五谷祠等。这些建筑和遗址不仅体现了土家族人的宗教信仰和文化生活，也展示了土家族文化的独特性和多样性。此外，老司城还保存了大量的历史文献和民间传说，这些文献和传说记录了土家族社会的历史和文化，是研究土家族文化的重要资料。老司城遗址分布着宫殿区、衙署区、司法区、教育区、居民区、宗教区、作坊区、墓葬区等功能区，这些区域共同构成了老司城完整的历史文化空间。
社会与文化价值
老司城遗址作为中国古代民族区域自治制度发展的活标本，具有重要的历史价值。它见证了土司制度在西南地区的兴衰历程，反映了中央王朝与少数民族地区的关系演变。同时，老司城遗址也是土家族、苗族等少数民族文化的重要载体，为我们了解和研究这些民族的历史、文化、风俗等提供了珍贵资料。
此外，老司城遗址还具有重要的文化价值。其独特的建筑风格、丰富的文物遗存以及深厚的历史底蕴，使其成为研究中国古代城市史、建筑史、文化史等领域的重要研究对象。同时，老司城遗址也为当代人提供了一个了解古代文化、感受历史韵味的窗口。（张敏 2018,01.01）
旅游开发
随着旅游业的发展，老司城遗址逐渐成为了一个重要的旅游目的地。自2016年5月作为风景区正式对外开放以来，老司城景区凭借其独特的历史文化魅力，吸引了众多游客前来观光游览。2016年12月，老司城景区又列为国家AAAA级旅游景区，进一步提升了其知名度和影响力。（高文香 2018,02.01）
在旅游开发方面，老司城遗址充分利用其独特的历史文化资源，推出了多种旅游产品。例如，游客可以参观老司城遗址博物馆，了解老司城的历史文化；可以游览老司城古城墙、古街道等景点，感受古代城市的韵味；还可以参加当地的民俗文化活动，深入了解土家族、苗族等少数民族的文化风情。此外，老司城遗址还积极开展研学旅游活动，为中小学生提供了一个了解古代文化、培养历史素养的实践平台。（陈艳丽 2019,06.01）
老司城，不仅是一座城市的遗迹，更是中华民族千年文明的缩影，是时光流转中不朽的记忆。在这里，每一块砖石、每一道城墙，都仿佛在诉说着过往的辉煌与沧桑。这些无声的讲述，让我们更加深刻地理解到，文化遗产不仅仅是物质的留存，更是精神的传承。