我国非物质文化遗产丛书介绍中英文对照

./"中国非物质文化遗产丛书"重点品种内容简介《中国口头和非物质文化遗产丛书》由XX人民出版社出版。丛书目前已经出版和即将出版的有32种,还有一些品种列入出版选题,计划出版50至100种。其中包括已经获得联合国教科文组织评审公布的和列入中国政府评审公布的人类口头与非物质文化遗产代表作,如太极拳、昆曲、古琴艺术,以及新疆木卡姆、年画、少林功夫、热贡艺术、藏戏、南音、客家山歌、泰山石敢当、蒙古长调、凉山毕摩、铜鼓文化、关中皮影、XX提线木偶戏、XX地戏、云锦、川剧等。丛书介绍了各种文化遗产的形成衍变、基本面貌、表现形态、美学或工艺上的主要特点、目前有代表性的主要传人,同时按照联合国教科文组织的申报惯例,也简要介绍了当地政府为保护这一文化遗产所做的工作和未来的计划。这是目前国内第一套专门介绍非物质文化遗产的丛书,它的正式出版,对于目前正在开展的非物质文化遗产保护与遗产代表作申报工作,将起到很大的鼓励与促进作用。丛书16开异形开本,全彩印刷,设计精美,具有极强的视觉冲击力。丛书的每册均包括数百幅图片,与文字混排,与目前坊间常见的图多文少的图文书相比,丛书对文字部分的要求更高。非物质文化遗产代表作的认定与保护是一项学术性、政策性很强的工作,相关材料都经过专家学者精心推敲,保证了丛书以高质量的面貌呈现在世人面前。因此,丛书一问世就引起社会强烈反响,深为业内外人士所瞩目,也引起了海外出版界的关注。在法兰克福书展上,来自世界各地,特别是欧美的出版社纷纷前来洽谈翻译合作项目；2007年,与俄罗斯科学出版集团合作出版的俄文版《少林功夫》在莫斯科书展上首发,受到俄罗斯梅德韦杰夫总统的关注和好评。本丛书由中国艺术研究院组织院内外专家学者撰写,中国艺术研究院院长王文章〔现任中国文化部副部长研究员担任主编。作者均为学术造诣深厚、对非物质文化遗产项目有深入研究的专家学者,丛书具有绝对可靠的权威性。文化部长孙家正专门为丛书撰写了总序,阐述了非物质文化遗产申报与保护工作以及编撰这套丛书的重大意义。中国有非常丰富的人类非物质文化遗产,随着中国经济和建设的发展,大量的非物质文化遗产面临消失。所以,近年来中国各级政府整理和保护非物质文化遗产的力度也在迅速加大,经中国政府公布的非物质文化遗产已经达500多项。2009年9月,联合国教科文组织保护非物质文化遗产政府间委员会第四次会议30日在阿布扎比审议并批准了列入《人类非物质文化遗产代表作名录》的76个项目,其中包括中国申报的22个项目。列入名录的22个中国项目是：中国蚕桑丝织技艺、XX南音、XX云锦、XX宣纸、XX侗族大歌、XX粤剧、《格萨尔》史诗、XX龙泉青瓷、XX热贡艺术、藏戏、新疆《玛纳斯》、蒙古族呼麦、XX花儿、XX鼓乐、朝鲜族农乐舞、书法、篆刻、剪纸、雕版印刷、传统木结构营造技艺、端午节、妈祖信俗。这些项目大部分已经出版或已列入我们这套丛书的选题计划。PublishedbyZhejiangPeople’sPublishingHouse,theseriesofHumanOralandImmaterialCulturalHeritageareprintedandwillbeprintedinto32varieties.Therearesomeothertopicsarestillinselecting,andtheseriesisplannedtopublish50to100varieties,whichincludethosehavebeenacceptedbytheUNESCOandtheChinesegovernment,suchasTaijiquan,Kunquopera,Guqinart,andMaqam,ChineseNewYearpaintings,ShaolinKongfu,artofRegong,Tibetanopera,Nanyin,Hakkafolksongs,TaishanStoneGod,MongoliaChangdiao,LiangshanBimo,Bronze&Drumculture,Guanzhongshadowplay,Quanzhoupuppets,Sichuanoperaandsoon.Theseriesofbooksintroducetheformation,evolution,basicappearance,performance,featuresinaestheticsandcrafts,aswellastherepresentativeheritorofvarietiesofcultureheritages.Meanwhile,accordingtothepracticeofUNESCO,thebooksalsogiveabriefintroductionoftheworkandplanthatthelocalgovernmentdidtoprotecttheculturalheritage.ThisseriesofbookstakestheleadinChinatointroduceChina’sOralandimmaterialheritage.Itsofficialpublicationplaysasignificantroleintheencouragementandpromotionoftheongoingapplication.Theseriesincludinghundredsofpictureswiththetextsare16KFolio,full-colorprinting,beautifullydesignedwithastrongvisualimpact.Comparedwiththegraphicbooksinthemarkets,theserieshasafarhigherdemandonthetext.Theprotectionandidentificationoftherepresentativeworksofimmaterialculturalheritageisanacademic,policy-strongjob.Therelatedmaterialwasstudiedbyexpertssoastoensurethehigh-qualityoftheseries.Thus,theseriesarousedastrongreactionintheindustryanddrawattentionoftheoverseaspublishingindustry.IntheFrankfurtBookFair,publishinghousesfromaroundtheworld,especiallypublishersfromEuropeandUnitedStatescametodiscusstheprojectoftranslationandcooperation.In2007,withthecooperationoftheRussianSciencePublishingGroup,theRussianversionShaolinKongfuwasfirstpublishedinMoscowBookFair,whichattractedtheconcernandpraiseofDmitriMedvedev,theRussianPresident.TheserieswaswrittenbyexpertsandscholarsorganizedbyChineseAcademyofArts,andWangWenzhang,thepresidentofChineseAcademyofArtisthechiefeditor,whoisthecurrentviceministerofCulture.Theauthorsoftheseriesallhavedeepstudyandscientificattainmentsinimmaterialculturalheritage,whichensurestheauthorityoftheseries.TheministerofCultureSunJiazhengwrotethegeneralprefacefortheseries,expoundedthedeclarationandprotectionofimmaterialculturalheritageaswellasthesignificanceoftheseries.TherearerichimmaterialculturalheritageofmankindinChina.WhilewiththedevelopmentofChina’seconomicsandconstruction,alargenumberofimmaterialculturalheritagearefacingthedangerofvanishing.Soinrecentyears,Chinesegovernmentsatalllevelsenhancetheprotection.Theimmaterialculturalheritageannouncedbythegovernmenthasalreadyreachedmorethan500.On30thSeptember2009,thefourthmeetingoftheIntergovernmentalCommitteefortheprotectionoftheimmaterialculturalheritageofUNESCOconsideredandapproved76projectsinAbuDhabi,including22projectsofChina:China’smulberrysilkart,FujianNanyin,Nanjingbrocade,AnhuiXuanpaper,TheDongChorus,Guangdongopera,GesarEpic,ZhejiangLongquanceladon,QinghaiRegongArt,Tibetanopera,XinjiangManas,theMongolianHumai,GansuHuaer,Xi'andrummusic,farmingdancingofChaoxiannationality,calligraphy,sealcutting,papercutting,engravingprinting,thetraditionalwoodenstructureskill,DragonBoatingFestival,MazuFolklore.Mostoftheseprojectshavebeenpublishedorincludedinourtopicsofthisprogram.目录AnshunLocalDramaXX地戏4TibetanOpera藏戏6SichuanOpera川剧7Te-huaPorcelain德化瓷9Guanzhongshadowplay关中皮影12Sizhu-TraditionalStringedandWoodwindInstrumentsinSouthChina江南丝竹13hakkafolksong客家山歌15Kunqu昆曲16Muqam木卡姆17ChineseNewYearpaintings年画18Taishanshi-gan-dang泰山石敢当20CultureofBronzeDrum铜鼓文化21YunJin<cloud-likebrocade>云锦23CraftsmanshipofZisha<PurpleClay>紫砂工艺24Nanyin南音26Guqin古琴28Taijiquan太极拳30ShaolinKongfu少林功夫33Cai’sLacquerEngravings蔡氏漆线雕34MongolianLong-TuneSinging蒙古长调37QuanzhouPuppetsXX提线木偶戏38TheArtofRegong热贡艺术40Zhengziopera正字戏42DongMinorityBigSong侗族大歌43AnshunLocalDrama〔XX地戏ContentsPrefaceChapter1TunbaoAnshunandTunbaoPeopleSection1GeneralSituationandHistoryofAnshunSection2Tunbao,TunMilitaryandTunLandSection3TunbaoPeopleandLocalCultureChapter2OriginofAnshunLocalDramaSection1EvolutionofNuoSection2NuodramainSouthChinaandAnshunLocalDramaSection3AnshunLocalDramaFeaturingYiYangTuneSection4AnshunLocalDramaandYiYangTheatricalTroupeChapter3DistributionandStyleofAnshunLocalDramaSection1DistributionSection2OrganizationSection3DressesandPropsSection4Time,PlaceaboutPerformingSection5VocalTune,GongsandDrumsSection6PerformingRoutinesandFormationSection7PlaysandFeatureSection8FeatureofmasksandSculpturalArtistsSection9ProceduresofPerformanceSection10EasternStyleandWesternStyleChapter4SacrificialRitualsinPerformanceSection1UnpackingSection2VisitingtheTempleSection3OpeningSection4EndingSection5PackingSection6Openthe"WealthDoor"Chapter5RegulationsforPerformanceoutsidetheVillageSection1SendingoutanInvitationCardSection2PickinganAuspiciousDaySection3TakingaLeaveSection4ReceptionSection5OfficialPlaysSection6CleaningSection7ReturningtotheVillageChapter6FunctionsandValueofAnshunLocalDramaSection1AnshunLocalDramaandTunbaopeople’sFamily-centerednessSection2AnshunLocalDramaandTunbaopeople’sReligiousConsciousnessSection3WorshiptoGuanYuandTunbaopeople’sLoyalConceptSection4ValueChapter7Inheritors,CurrentSituationandCountermeasuresSection1InheritorsofAnshunLocalDramaSection2CurrentSituationandCountermeasuresChapter8ExtractScriptsfromClassicPlaysSection1BaiBiGuanfromFourHorsestoTangSection2ThreeDaughterstoSongfromGotoEastSideofRiverforThreeTimesReferencesPostscriptXX地戏,俗称"跳神",是流行于XX省XX市的地方戏。春节期间,在村前寨后,田间地头,地戏演员们额顶面具,面蒙青纱,背扎靠旗,在高亢的唱腔和锣鼓声中挥动兵器,格斗起舞,表演自己喜欢的古代战争故事。地戏是屯堡人钟爱的一种充满人性和神性的古朴、原始的民间戏剧,是一个打造在屯堡人精神文化生活主体上的美丽烙印。在斗转星移的漫长六百年中,它为丰富农村文化,支撑屯堡人离乡背井的怀旧心态和寻求生存的精神依托上起过积极的作用。而今天,地戏却以民间艺术顽强的艺术内聚力和板结性,为中国戏剧发展史提供了寻径探幽的活材料,因而被誉为"中国戏剧活化石"。本书介绍了XX地戏的源流、风格特征、表演中的祭祀仪式及赴外村演出的全套规仪,将地戏的精神价值和民俗文化价值展露无遗。大量原材料和图片的引用,也将XX地戏的特殊性和文化性展示得栩栩如生,引人入胜。Anshunlocaldrama,alsoknownasTiaoshen<dancingtothegod>,ispopularinAnshun,AnhuiProvince.InChinesespringfestival,youcanseeplayersofAnshunlocaldramawearingmasksandmuslins,fighting,dancing,wavingweapons,performingtheirfavoriteancientwarstoriesinthehigh-pitchedsinginganddrummusiceverywhereinthelocalvillage.Anshunlocaldramaisakindoffolkprimitiveperformancefullofhumanityandworshipforgod,exertinggreatimpactonthespiritualaspectsofthelocalpeople.Duringthepast600years,ithasplayedasignificantroleinenrichingpeople'slifeandcomfortingandsupportingthelocalpeoplespiritually.Today,Theauthorexplainedtheorigin,style,characteristicsandperformanceonsacrificingceremoniesofAnshunlocaldrama,fullydemonstratingitsspiritualandculturalvalues.Abundantrawmaterialsincludingpictures,historicalrecordings,etcalsorendertheuniquenessandculturalcharacteristicsofthedramasvividly.TibetanOpera〔藏戏ContentsChapter1LongHistoryofTibetanOperaSection1OriginofTibetanCultureSection2FormationofTibetanOperaSection3MatureDevelopmentSection4TypesandSchoolsofTibetanOperaChapter2CulturalManifestationofTibetanOperaSection1SingingmusicSection2PerformingArtSection3CultureofFestivalCustomsandDisseminationofTibetanOperaChapter3ArtisticCharacteristicofTibetanOperaSection1MagicalandMagnificentMaskArtSection2EthicCustomsandMake-upSection3Drum,CymbalsandotherInstrumentandTroupesChapter4PlaysandtheirHumanValueSection1TypicalImagesSetbyRealismSection2LingeringCharmofRomanceSection3StyleMixedwithTragedyandComedySection4DelicateandUniqueLanguageSection5IdeologicalSourcesofTibetanOperaPlaysChapter5ArtistsandTalentsofTibetanOperaSection1FounderofTibetanOperaSection2OutstandingReformistsduringtheDevelopmentofTibetanOperaSection3ProfessionalSuccessorsofTibetanOperaSection4OtherActivistsofTibetanOperaChapter6Influence,ResearchandProtectionofTibetanOperaSection1InfluenceatHomeandAbroadSection2ResearchandActivitiesonTibetanOperaSection3PromotionandProtectionbyGovernmentsatAllLevelAppendixPostscript藏戏的产生早于京剧,至今已有六百多年的历史。藏戏不仅仅流行于XX地区,而且同样为居住在XX、XX、XX、XX的藏族人所喜爱。据说藏戏源于"跳神"这种讲述神鬼故事的宗教舞蹈。作为藏族节日的一个部分,藏戏经常在雪顿节、藏历新年、望果节演出。因而,大团圆、雅俗共赏是藏戏的特点。鉴于藏戏悠久的历史,至今仍戴着面具演出使其变得非常奇特,同时面具也拥有它自身独特的艺术价值。这些奇特的面具是用来塑造人物形象,表现人物性格的。藏戏已经在日本、美国、意大利、西班牙、葡萄牙等国演出过,获得了"中国戏剧艺术瑰宝"的美誉。本书包含了六个部分的内容,主要介绍了藏戏的历史、文化表现、艺术特色、人文价值、藏戏表演艺术家、藏戏的影响及保护,全面展现了藏戏的风貌。TibetanOperahasover600-year-history.ThatislongerthanthehistoryofPekingOpera.TibetanOperaisnotjustpopularinTibetbutalsoinGansu,Qinghai,Sichuan,YunnanprovinceswherepeoplespeakTibetan.TibetanOpera,akindofdanceusedtoexpressstoriesofGodsandghosts,wasoriginatedfromTiaoshen.AsanimportantpartofTibetanfestivals,TibetanOperaisoftenperformedduringtheShotonFestival,TibetanNewYearandtheOngkorFestival.Itcouldsuitbothrefinedandpopulartasteswithahappyending.Traditionsofwearingmasksarestilladoptedtoday,addingmysteryanduniquenessinartvaluetoTibetanOpera.Thesemasksareusedtocreateartimagesandrepresentindividualityamongpeople.TibetanOperahasbeenplayedinJapan,America,Italy,SpainandPortugal,earningthereputationastreasureofChineseOperas.ThisbookcoverssixaspectsofTibetanOpera,namely,history,culturalmanifestation,artisticcharacteristic,humanvalue,artists,influenceandprotectionwork,renderingreadersagoodviewofTibetanOpera.SichuanOpera〔川剧ContentsPrefaceChapter1AnExoticFlowerinOperaticFieldSection1GeologicalConditionsandEnvironmentSection2HistoryandSpreadingregionsSection3Open-structureandArtisticFeaturesSection4CulturalImplicationandValueofProtectionChapter2HistoricalEvolutionSection1BashuOperaduringTangandYuanDynastiesSection2HuguangintoSichuanandVariousVocalTunesintoSichuanSection3LocalizationoftheHighVocalTuneandFormationofSichuanOperaSection4OperaReformationandRiseofFashionOperaChapter3StageandTroupeSection1TempleStageSection2PlayParkSection3FamousTroupesSection4TheatricalTroupesandOrganizationinNewChinaChapter4FeaturesofPlaysSection1MultisourceofPerformingSystemSection2AhistoricalPictureFoldingfromthePasttoPresentSection3LocalFlavorSection4HumorousLanguageSkillsSection5UniqueArtofComedySection6StyleSuitingbothRefinedandPopularTastesChapter5CreatorsandtheirWorksSection1CreatorsduringlateQingDynastyandtheRepublicofChinaSection2CreatorsduringtheEarlyPeriodsofNewChinaSection3FamousCreatorsduringReformandOpeningPeriodsChapter6PerformingArtsSection1CompleteandMatureCharacterSection2EnrichedandSystematicPerformingRuntimesSection3FancyTechniqueofExpressionSection4DedicatedPerformanceSkillsChapter7ArtistsandFamousPlaysSection1ArtistsandFamousPlaysduringQingDynastySection2ArtistsandFamousPlaysduringtheRepublicofChinaSection3ArtistsandFamousPlaysintheEarlyPeriodsofNewChinaSection4ArtistsandFamousPlaysduringReformandOpeningPeriodsChapter8SingingTunesSection1FiveSingingTunesonOneStageSection2MusicandOperaofKunTuneinSichuanOperaSection3HighTuneinSichuanOperaSection4UrheeninSichuanOperaSection5TanxiinSichuanOperaSection6DengdiaoinSichuanOperaSection7So-nainSichuanOperaSection8GongandDruminSichuanOperaChapter9StageArtsSection1FormationandOpennessSection2ImplicationandDecorationofFacialMakeupSection3ConsistencyandOriginalityoftheclothesSection4SymbolismsandPolysemySection5CharacterImagesSection6ModernDevelopmentofSichuanOperaChapter10ContemporaryDevelopmentSection1CreationandGoldenPeriodofSichuanOperaSection2PromotingSichuanOperaandExploringModernizationSection3ListedamongtheNationalNonmaterialCulturalHeritageSection4BrightProspectBroughtbyExpandedMarketPostscript大约在清代的康雍年间,一个以高腔为标志性声腔的地方剧种,随着XX人口和文化结构的变化,在巴蜀大地上应用而生,并逐步融昆腔、胡琴、弹戏及灯调于一体,覆盖XX、XX全境及XX、XX、XX部分地区。这种剧种,就是被列为国家级非物质文化遗产的川剧。数百年间,这一剧种承中华戏曲之传统,融巴蜀艺术之精华,自成一格,以南北一体、五腔兼备、文野交融、雅俗共赏的文化特征,在戏曲史上被誉为集戏曲文化之大成的地方剧种,成为中华梨园中一枝别具异彩的艺术奇葩。川剧源远流长,海纳百川,传统深厚,具有丰富而深邃的文化意蕴。她不仅是传统文化思想的传承载体,而且是历代社会生活的艺术再现,更是巴蜀民俗风情的生动写照,因而川剧具有多方面的保护价值。本书作者不仅从历史角度考察了川剧的流变,而且从艺术角度对川剧艺术做了多方面的解读。WiththetransformationofSichuanpopulationandculturalstructure,alocaloperafeaturinghightunecameintobeinginSichuanProvinceduringtheregimeofKangxiandQianlongemperorsinQingDynasty.ThislocaloperaincludingKuntune,urheen,TanxiandDengdiaograduallygainedpopularitythroughoutSichuan,Chongqing,Yunnan,GuizhouandHubeiprovinces.ThislocaloperaisSichuanopera,whichislistedamongnationalnonmaterialculturalheritage.Duringthepasthundredsofyears,SichuanoperaembracedChineseoperatraditionandtheessenceofBashuarts.Sichuanoperacontainsbothcrudenessandrefinement,suitingbothrefinedandpopulartastes,andisnotedforitsfusionofsouthandnorthstylesaswellasembracementoffivesingingtunes.SichuanoperahasabsorbedthegreatachievementsofotheroperasandbecameanoutstandingandextraordinarytreasureofChineseoperas.Sichuanoperahasarichandprofoundculturalimplicationwithitslonghistoryandinclusivedevelopment.ItnotonlyconveysChineseculture,butalsoreproducessociallifeandfolkcustomsofancestors.Asaconsequence,SichuanoperaisworthTheauthorintroducesthereformationofSichuanoperafromtheviewofhistoryanddescribesartsofSichuanoperafromdiverseaspects.Te-huaPorcelain〔德化瓷ContentsPrefaceChapter1CeramicCapitalforThousandYears-originofTe-huaPorcelainSection1TheGeneralSituationonResourcesSection2HistoricalOriginSection3TheOriginofTe-huaPorcelainSection4ArcheologyandResearchChapter2TheProductionTechniquesofTe-huaPorcelainSection1ThePorcelainClaySection2ManufacturingClaySection3FormingObjectsSection4ConstructingGlazeSection5DecorationChapter3TheCeramicFiringTechniqueofTe-huaPorcelainSection1FurnaceSection2PuttingPorcelainintotheFurnaceSection3KilningSection4ComingouttheFurnaceandSelectingPorcelainsSection5PackingChapter4TheDisseminationofTe-huaPorcelainCultureSection1TheBackgroundofExportSection2TheExportandCulturalInteractionofTe-huaPorcelainduringSongandYuanDynastiesSection3ASurprisetotheWSection4Te-huaPorcelaininHomeMarketSection5TermsofTradeSection6TypesofConveyanceChapter5AppreciationofTe-huaPorcelainSection1SortofPorcelainsSection2CharacterofTimesSection3ArtisticAppreciationSection4KeyPointsofAppreciationChapter6FolkTraditionofTe-huaPorcelainCultureSection1TheKilnGodandtheLordofKilnSection2WorshipoftheKilnGodSection3TheCeremonyofLightingaFireSection4ThePositionforSalutingSection5FolktaleSection6PoetrySection7ProverbandVulgarismSection8PorcelainFestivalSection9WritingsofTe-huaPorcelainChapter7CultureHandeddownfromOneGenerationtoOneGenerationSection1HandeddownfromtheOlderGenerationsoftheFamilySection2TheSuccessionofTeachingfromaMastertoHisDisciplesSection3SchoolEducationSection4TransmissionSection5SchoolsofSculptureSection6HistoricalFiguresChapter8TheHistoricalSitesofTe-huaPorcelainSection1KilnSitesSection2ArtifactsSection3Te-huaPorcelainintheAncientShipwrecksSection4CollectiblesChapter9TheProtectionandSuccessionSection1TheFormingofPillarIndustrySection2NewGenerationofPorcelainMakerisThrivingSection3InheritorsSection4TheProtectionbyGovernmentSection5CarryingouttheProtectionSection6TheContentsandAimsofFive-yearPlanningProgramSection7UrbanConstructionandtheProtectionofIntangibleCulturalHeritageBibliographyPostscript德化位于XX省中部,是XX市西南部的一个山区小县。这里丰茂的山林和质地优良的瓷土矿藏造就了享誉世界的德化瓷。据民间传说德化瓷于宋朝开始烧制。近年来考古发现,德化窑始烧年代为商周时期。德化瓷以烧制白釉瓷器闻名于世,白瓷洁白如玉,透光度好,釉面晶莹光亮,被誉为"中国白"。唐代之前,德化陶瓷以生产日用器具为主,产品供本地民众日常所需。宋元时期,凭借XX港日益兴盛的海外贸易,德化瓷开始大量销往"海上丝绸之路"沿途各个国家和地区。德化瓷作为古代中国南方外销瓷生产的大窑场之一,在古代中国与世界各国的文化互动中起到过很大的作用。2006年"德化瓷烧制工艺"被国务院公布为第一批国家级非物质文化遗产。本书主要讲解了德化瓷制作工艺、德化瓷艺术鉴赏、德化瓷文化的传播、德化瓷文化的民情风俗及德化瓷烧制技艺的传承与保护,是一本既适合普通阅读,又具有学术价值的书。LocatedinthemiddleofFujianprovince,Te-huaisasmallcountyinthesouthwestofQuanzhou.ThelushforestandfinequalityporcelainclaymakeTe-huaporcelainveryfamous.ItissaidthatTe-huaporcelainbeganinSongdynasty,butitwasfoundtobestartedinShangandZhouperiodsbasedonthenewarcheologicalfindings.ThemostfamoustypeofTe-huaporcelainisitsceramicwhiteware.Theceramicwhitewareisaswhiteaspolishedjade,anditsappearanceiscrystal.Ithaswonthegoodreputationas"Chinesewhite".BeforeTangDynasty,Te-huaporcelainwasmainlyforlocalpeopleofeverydayuse.WiththedevelopmentofPortofQuanzhouduringSongandYuanDynasties,Te-huaporcelainstartedtobesoldtothecountriesalongthefamous"MaritimeSilkRoad".AsoneofthelargestexportingkilnsinSouthChina,Te-huaporcelainhadalargesignificanceinculturalinteractionbetweenancientChinaandothercountries.Thisbookmainlyintroducescraftsmanship,artisticappreciation,culturaldissemination,folktradition,protectionandthesuccessionofTe-huaporcelain,suitingforgeneralreadingandacademicstudy.GuanzhongShadowPlay〔关中皮影ContentsPrefaceChapter1LivingSpaceofGuanzhongShadowPlaySection1Geographical,CulturalEnvironmentandTraditionofFolkCustomOperainGuanzhongSection2OriginandtheStatusQuoofGuanzhongShadowPlayChapter2OperasandVocalTunesofGuanzhongShadowPlaySection1LaoTuneSection2Wan-wanTuneSection3A-gongTSection4Xuan-banTuneSection5Deng-zhan-touwan-wanTuneSection6QinTuneChapter3TheTroupesandOrganizationofGuanzhongShadowPlaySection1TypesofOrganizationSection2TheInheritingFormsSection3TheMainTroupesandthePerformingArtistsChapter4PerformanceofGuanzhongShadowPlaySection1FormsofPerformanceSection2BusinessOperationSection3RoutinesandJargonsSection4InterrelatedCustomsChapter5CulptureArtofGuanzhongShadowPlaySection1ProductionProcessofShadowFiguresSection2RelevantKnowledgeofShadowFiguresSculptureSection3InheritingofSculptureandtheOutstandingArtistsSection4ProductionOperationofShadowFiguresEpiloguePostscript中国皮影戏作为一种民间艺术,拥有悠久的历史,曾在中国29个省市流行。皮影戏有点像电影,因为它也需要屏幕、演员。但是皮影戏又有它的独特性。皮影所需要的演员是用牛皮制作的皮影人形,这些人形由一个人控制着,并用光将它们反射到幕布上,观众坐在另一侧欣赏演出。在这些皮影表演的同时,会加入乐器的演奏和戏剧的唱腔。据说中国的皮影戏是世界电影最早的雏形,同时也是现代电影的基础。毫无疑问关中皮影是中国皮影的代表。关中皮影流行于XX、XX地区,经常在庙会、婚礼、生日、葬礼等场合演出。皮影是用来娱神驱邪的,人们希望通过皮影戏的演出来获得神的保佑。尽管皮影戏是演给神看的,实际上人才是真正享受这种艺术的。皮影戏一般在农闲时节演出,农民在皮影戏的演出中获得休息与丰收的希望。一般皮影戏的剧目是中国历史故事和神话故事,因而皮影戏是非常热闹的,一开场就能吸引大量观众。这些年,皮影人形以其的精致与逼真成为了收藏品。皮影戏与皮影人形都是中国文化的一部分,深受国外人的喜爱。AsaformofFolkart,Chineseshadowplayhasalonghistoryandwasoncepopularin29provinces.Chineseshadowplayissomewhatlikefilmwhichalsoneedsscreen,"actor","actress",butshadowplayhasitsownuniquefeaturethatmakesitdifferentfromfilm.The"actors","actresses"inashadowplayarenotrealpersonsbutfiguresmadeofcowleather.Beingcontrolledbysomeonethesefiguresarereflectedonthescreen.Audienceswatchtheplayontheothersideofthescreen.Whentheplaygoeson,someoneplaystheinstrumentandsomeonesingstheopera.ItissaidthatChineseshadowplayistheearliestformoffilmandisthebasisoftheoriginalfilm.ThereisnodoubtthatGuanzhongshadowplayistheveryrepresentativeofChineseshadowplay.PopularwiththepeopleintheShanxiprovinceandGansuprovince,Guanzhongshadowplayisstillperformedduringthetemplefairs,weddingceremony,birthandfuneralceremonies,etc.Entertaininggodsisthepurposeofshadowplaywhichwillmakegodspleasedwiththepeoplewhopayfortheplayandwillblessthemforpeace,wealth,healthandhappiness.Althoughtheplayisforgods,therealonewhoenjoystheplayisactuallytheaudience.Theplaysareusuallyperformedduringtheslackseason,whilepeasantsareinabreakandwishingfortheharvest.ThecontentoftheplayisusuallyaboutChinesehistoricalstoriesandmyths,sotheshadowplayisverylivelyandoncestarteditwillattractlotsofpeople.Theseyearsshadowfiguresisbecomingakindofdelicateandvividcollection.BothshadowplayandshadowfiguresareapartofChinesecultureandarealsolovedbyforeignersSizhu-TraditionalStringedandWoodwindInstrumentsinSouthChina〔江南丝竹ContentsPrefaceImpressionofSouthernChinaChapter1SizhuandSouthChinaSection1SizhuMusicSection2CulturalSouthChinaSection3AlternativeNamesofSizhuSection4SizhuArtistsSection5OriginsofSizhuChapter2SizhuandRhymesinSouthChinaSection1Multi-sourceTrackintheScoreSection2SizhuandDramaMusicSection3SizhuandDialectMusicSection4SizhuandVariousKindsofMusicSection5SizhuandOtherMusicalInstrumentsChapter3SizhuandStylesinSouthChinaSection1ComplexandSimpleCombinationofInstrumentsSection2FlexibleInstantaneousPerformanceSection3DistinguishedTopEightSongsChapter4SizhuandtheSocietyinSouthChinaSection1TraceofLeisureinBusyStreetLifeSection2BustlinginthePeacefulCountrysideChapter5SizhuandEtiquette&CustomsinSouthChinaSection1FestiveAtmosphereamongtheBustlingSection2SpiritualSolaceamidConfrontationwithLifeandDeathPostscript江南丝竹是指流行于中国XX南部、上海、XX西部一带的器乐曲。由于乐队以丝弦和竹管乐器为主,所以称为丝竹乐,至少在清代1860年以前已流行于民间。在这些地区的城市和农村都很流行丝竹乐,但风格完全不同。城市丝竹乐的风格典雅华丽,加花较多,流传很广；而农村则常用锣鼓,气氛热烈,风格简朴。江南丝竹的最大特点之一,就是演奏风格精细,乐曲多来自于民间婚丧喜庆和庙会活动的风俗音乐,有的是长期流传于民间的古典曲牌。其中著名的江南丝竹八大曲显尽江南秀美柔婉之风,富有情韵。江南丝竹音乐的产生和延续,对民族音乐史的研究及戏曲、民俗文化、群众文化的发展都有重要的作用。江南丝竹是江南水乡文化杰出的代表之一。本书把江南的风俗民情、文化底蕴与丝竹的音韵之美、艺术风韵结合在一起,让读者如同置身于烟雨朦胧的江南水乡,听着悠长深远的丝竹乐,细细地品味江南特有的风情。Sizhu,thetraditionalstringedandwoodwindinstruments,enjoyedagreatpopularityinsouthernJiangsuprovince,ShanghaiandeasternZhejiangprovinceinChina.StylesofSizhumusicvariedinruralareaandurbanarea.ThestyleofSizhumusicintheurbanareawaselegantandgorgeouswhilethatintheruralwassimpleandenthusiastic.Sizhumusicwasnotedforitsexquisiteperformancestyle.Itsmusicmainlyoriginatedfromfolkmusicplayedinthetemplefairperformanceortraditionalactivitiessuchaswedding,funeralceremonies,andsomesongstransformedfromclassicalfolktunes.Withuniquevitality,thefamoustopeightsongsofSizhuvividlyembodiedthetemperateandgentlebeautyofSouthChina.TheSizhumusicisanexcellentrepresentativeofcultureofancienttowninthesouthernYangtzeRiverarea.TheoriginandspreadofSizhumusicinSouthChinacontributesgreatlytotheresearchanddevelopmentofdrama,theatreandfolkcultureTheauthorcombinedthefolkcustoms,culturalbackgroundofSouthChinawiththeartisticbeautyandmusicalcharmofSizhu,renderingidyllicsceneryofwaterytownwithmistyraininSouthChina.OnecanlistentotheexquisiteSizhumusicandinthemeanwhileappreciatetheuniquecharmofSouthChina.HakkaFolkSong〔客家山歌ContentsPrefaceChapter1TheHakkaFolkSongChapter2TypesofHakkaFolkSongChapter3AffectionandtheLoveforHakkasChapter4PoeticWisdomofHakkasChapter5InheritanceofHakkaFolkSongChapter6Outstandin