What are the intangible cultural heritages in China?

Time: 200 1

Kunqu Opera is one of the oldest existing operas in China, which originated in the Ming Dynasty (14-17th century). The singing of Kunqu Opera has a strong artistic quality, which has a great influence on all modern dramas in China, such as Sichuan Opera and Beijing Opera. Kunqu opera performance includes singing, reading, doing, playing and dancing, and it is also a basic subject for training Peking Opera actors. Kunqu opera and its dramatic structure (Dan, Ugly, Sheng and other roles) are also used for reference by other operas. Peony Pavilion and Palace of Eternal Life have become traditional plays. Kunqu opera performances are accompanied by percussion instruments such as gongs, drums, strings and flutes, flutes, sheng and pipa. The dance movements of Kunqu Opera are mainly divided into two categories, which are rich in expressive force.

guqin

Time: 2003

In the long history of China, guqin has always occupied an important position. Together with China's paintings, poems and literature, it has become the carrier of China's traditional culture. Guqin is one of the most representative solo instruments in China. People often play guqin not only for playing music, but also for self-entertainment, meditation and emotional communication between close friends.

From the early literary works and archaeological discoveries, we can know that Guqin has a history of more than 3,000 years in China. Its performance is a symbol of elegance and status, so it has become an elite art of nobles and literati, rather than a performing art for the public. In fact, guqin is closely related to the history of China literati, because it is one of the qualities of "piano, chess, calligraphy and painting" that China literati need, and ranks first among them. Guqin art has absorbed a large number of elegant and beautiful tunes, and its playing techniques are complex and delicate, with a unique notation. A large number of music scores have been handed down orally by people.

Guqin has seven strings and thirteen emblems. Players can play four octaves by ten different plucking methods. There are three basic skills in playing guqin: scattered, pressed and played. "San" is pronounced as an empty string, and its sound is rich and powerful, which is often used as the backbone sound in tunes; "Disc" is to touch the emblem with your left hand, making light and illusory music (overtones) and playing more colorful tunes; "Pressing" is pronounced by pressing the strings with the left hand. Moving your fingers can change the effective string length and achieve the purpose of changing the pitch. The same pitch can be played in different ways in different strings and emblem positions, such as scattered, pressed and pan, and the timbre is full of changes.

China Xinjiang Uygur Muqam Art

Time: 2005

On June 25th, 2005, 165438+ In the third list of representative works of human oral and intangible cultural heritage published by UNESCO, "Muqam Art in Xinjiang, China" declared by the government of China was unanimously adopted and became "representative works of human oral and intangible cultural heritage".

"Muqam" is Arabic, which means standardization, gathering, etc. Daqu, here, is a musical form of Muslim people, which combines singing, dancing and being happy. "China Xinjiang Uyghur Muqam Art" is the general name of all kinds of Muqam that spread in various Uyghur inhabited areas in Xinjiang. Twelve Muqams are the representatives, that is, twelve sets of Daqu, namely: Laker, Zibyat, Muxia ulak, Chaga, Panjiga, Uzihale, Aiqi, Wushjak and Bache.

Mongolian long-tune folk songs

Mongolian long-tune folk songs existed as early as the formation of Mongolians. It is closely related to grassland and nomadic lifestyle, and it is a symbolic display of Mongolian production, life and spiritual character. China Inner Mongolia Autonomous Region and Mongolia are the main cultural distribution areas of Mongolian long-tune folk songs.

At the fourth meeting of the Intergovernmental Committee for the Protection of Intangible Cultural Heritage of UNESCO held from 28 September to 2 June 2009, China declared the Dragon Boat Festival, China calligraphy, China seal cutting, Chinese paper-cutting, China block printing technology, China traditional wood structure construction technology, China traditional mulberry silk weaving technology, Longquan celadon traditional firing technology, Mazu belief custom, Nanyin, Nanjing brocade technology, traditional rice paper making technology, Dong folk songs, Cantonese opera, Gesar, Regong art, Tibetan opera, Manas, and Humai, and other 22 projects were selected for the "The Book of Songs".

China seal cutting

China seal cutting is a unique carving art with stone as the main material, carving knife as the tool and Chinese characters as the expression form, which developed from the ancient seal making technique in China. It has a history of more than 3000 years. It not only emphasizes the brushwork and structure of China's calligraphy, but also highlights the one-inch square seal cutting, exhibition skills and free artistic expression in expressing emotions, which is deeply loved by China literati and ordinary people. Seal cutting works can be appreciated independently and widely used in calligraphy and painting.

Engraving printing technology in China

Block printing technology is a special technology that engraves words or patterns on wooden boards with a knife, and then prints and binds them with ink, paper, silk and other materials. Up to now, it has a history of 1300 years, which is more than 400 years earlier than movable type printing technology. It pioneered human reproduction technology, carried inestimable historical and cultural information, and played an unparalleled and important role in the history of world cultural exchange.

Chinese calligraphy

China's calligraphy takes pen, ink and paper as the main tools and materials. By writing Chinese characters, it not only completes the practical function of information exchange, but also integrates people's thinking about nature, society and life with unique modeling symbols and pen and ink rhythm, thus showing China people's unique way of thinking, personality spirit and temperament. China's calligraphy developed with the emergence and evolution of Chinese characters. After more than 3000 years of development, it has become a representative symbol of China culture.

Chinese paper cutting

Chinese paper-cutting is a folk art, which uses scissors or carving knives to cut and carve patterns on paper to decorate life or cooperate with other folk activities. In China, paper-cutting has the widest mass base, which is integrated into the social life of people of all ethnic groups and is an important part of various folk activities. It inherits the continuous visual image and modeling format, contains rich cultural and historical information, and expresses the social cognition, moral concept, practical experience, life ideal and aesthetic taste of the general public, and has multiple social values such as cognition, education, expression, lyricism, entertainment and communication. Today, paper-cutting is still a way or form used by China people to express their wishes, thoughts and feelings. It is involved in contemporary folk activities, showing an interactive vitality and re-creation face.

Traditional building technology of wood structure in China

The traditional wood structure building technology in China is a building construction technology system with wood as the main building material, tenon and mortise as the main combination of wood components, and modular system as the means of scale design and processing production. Architectural skills are passed down from generation to generation in the way of "teaching by example" between master and apprentice. The buildings and spaces built in this way reflect China people's understanding of nature and the universe, China's traditional social hierarchy and interpersonal relationship, and influence China people's code of conduct and aesthetic intention, which embodies ancient scientific and technological wisdom and shows the exquisite skills of China craftsmen. This architectural technology system lasted for 7000 years, spread all over China, and spread to Japan, South Korea and other East Asian countries. It is the representative of ancient oriental architectural technology.

Nanjing Jinyun Brocade Craft

Nanjing Jinyun Brocade Craft has the tradition of China Royal Weaving, and it is the highest level representative of China Brocade Craft. It uses core technologies such as "warping and weft breaking" to weave luxurious fabrics, such as robes, with materials such as silk thread, gold thread and peacock feather thread on a large loom with complex structure, which is manually operated by two people. Nanjing Jinyun Brocade has a complete technological system, which is a witness to the extraordinary creativity of human beings. Nowadays, Nanjing Yunjin, named after splendid clouds, is still a classic of China's traditional weaving skills, which is used to weave high-grade fabrics and is deeply loved by the people.

Dragon Boat Festival

Dragon Boat Festival is a traditional festival in China, which falls on the fifth day of the fifth lunar month. It has a history of more than 2500 years. Various folk activities, such as sacrifice, entertainment and health care, are derived from the seasonal custom of exorcising poison and evil spirits, mainly including: offering sacrifices to Qu Yuan, commemorating Wu Zixu, inserting mugwort leaves, hanging calamus, drinking realgar wine, eating zongzi, dragon boat racing, eliminating five poisons and so on. Various activities in different places are slightly different, such as the Dragon Boat Festival in Qu Yuan's hometown in Zigui County, Hubei Province, the Cisse Shenzhou Festival in Huangshi City, the Dragon Boat Festival along the Miluo River in Miluo City, Hunan Province, and the Dragon Boat Festival in Suzhou City, Jiangsu Province and Suzhou City, Zhejiang Province. Dragon Boat Festival is a traditional festival with unique national spirit and rich cultural connotation, which has a great influence on China folk life.

Korean farmers in China dance and dance.

China Korean agricultural music and dance is a kind of folk performing art which integrates performance, singing and dancing, reflecting traditional farming production and life, offering sacrifices and praying for blessings, and celebrating the harvest. Dance has the characteristics of ecology, simplicity, roughness and harmony. Sacrificing to the gods before the dance expresses the original belief of respecting and relying on nature. Dancers sang and danced to the beat of suona, flute and gongs and drums to express their good wishes for luck and happiness. The scene is warm and unrestrained, with distinctive national characteristics. Agricultural music and dance have been integrated into the blood of Korean people in China and become artistic treasures in social and cultural life.

Gesa (Sier)

Gesar is a grand narrative about the sacred achievements of Gesar, an ancient Tibetan hero. The epic tells the heroic story of King Gelsall's dedication to the underworld to save all beings, leading the people of Guo Ling to exorcise demons, restrain the strong and help the weak, resettle the three realms, complete the human mission, and finally return to heaven. Under the rap of outstanding artists, the epic has been spread for thousands of years, mainly distributed in the vast pastoral areas and rural areas in the western plateau of China. Epic comprehensively reflects the experience and knowledge of Tibetans and other related ethnic groups about natural things, and becomes the spiritual wealth enjoyed by ordinary people of Tibetans and other ethnic groups.

Dong people's big songs

Dong folk songs are the general name of Dong folk multi-voice folk songs without accompaniment and command. Including voice songs, narrative songs, children's songs, stepping on the hall songs and blocking the road songs. "Superior to others" is its traditional voice combination principle, and its distinctive artistic character is beauty and harmony. Singers teach songs, and choirs sing in a national way. It carries and conveys vital cultural information such as a nation's lifestyle, social structure, ethical customs and wisdom essence.

hua'er

Hua 'er is a folk song spread among the Han, Hui, Tibetan, Dongxiang, Baoan, Salar, Tu, Yugur and Mongolian in the three provinces (regions) in northwest China. Named for comparing women to flowers in lyrics. It is sung in Chinese and influenced by the traditional music of Qiang, Tibetan, Han, Tu and Muslim nationalities. Huaer was born in the early Ming Dynasty (AD 1368). Due to the differences in music characteristics, lyrics and spread regions, it can be divided into three categories: Hehuang Flower, Taomin Flower and Liupanshan Flower. In addition to working in the fields, grazing in Shan Ye and singing on the road, people will spontaneously hold a large-scale folk song contest-"Flower Festival" at a specific time and place every year, which has the special value of multi-ethnic cultural exchange and emotional blending.

Manas

Manas, the Kirgiz epic, has been sung for thousands of years and is one of the three great epics in China. It has a large number of different songs, the most famous of which is the legendary genealogy narrative of Manas and his later heroes, which is 236,000 lines long, reflecting the rich traditional life of the Kirgiz people. It is an outstanding creation and oral "encyclopedia" of Kirgiz people. Traditional festivals and folk activities in related communities are its main cultural space.

Mazu belief custom.

Mazu is the most influential patron saint of navigation in China. In 987 AD, Mazu in Meizhou Island, Putian City, Fujian Province devoted himself to saving the sunken ship, and was worshipped by the people on the island and became a sea god. With the development of navigation industry and the expansion of Mazu's influence. Mazu custom belief is a folk culture with the worship and praise of Mazu's virtue, kindness and benevolence as its core, Mazu Palace and Temple as its main activity place, and customs and temple fairs as its manifestations. This belief and custom has spread to more than 20 countries and regions in the world, and has been worshipped by more than 200 million people. Meizhou Island is the seat of Mazu Tempel.

Humai

Humai is a magical singing art created by Mongolians: a singer sings two voices at the same time with his own vocal organs. Among the folk songs of all ethnic groups in China, it is unique. Humai is mainly distributed in Xilin Gol, Hulunbeier, Hohhot in Inner Mongolia Autonomous Region and Altai Mountain Mongolian inhabited area in Xinjiang Autonomous Region. This kind of singing can also be heard in Mongolia, Russia, Tuvalu and the United States. Humai, as a special national singing method, is an outstanding creation of Mongolians. It conveys the Mongolian people's profound philosophical thinking and understanding of the natural universe and everything in the world, and expresses the Mongolian people's pursuit of harmonious survival and development and healthy and upward aesthetic taste.

1 nanyin

Nanyin is a performing art combining singing and playing, and it is one of the oldest existing music types in China. Nanyin is sung in Quanzhou dialect, mainly played with pipa, flute, erhan, sanxian, clapper and other musical instruments, and the music is written in five Chinese characters of "six thoughts and one thought". There are more than 3,000 ancient music scores, with different categories of music from the Jin Dynasty (AD 265-420) to the Qing Dynasty (AD1644-1911year). The music style is elegant and delicate, and its vocal form, musical instrument shape, court melody, score and notation are unique, which provides rich historical materials for the study of ancient music in China. Nanyin is a precious cultural heritage of the general public in the relevant communities.

Regong art

Regong art mainly refers to Thangka, murals, pile embroidery, sculpture and other Buddhist plastic arts, and is an important art school of Tibetan Buddhism. Regong art, which began in the 3rd century/kloc, is mainly distributed in Wutun, Nianduhu, Gomari, Gazari and other villages in Longwuhe River Basin, Tongren County, Huangnan Tibetan Autonomous Prefecture, Qinghai Province, with Buddhist stories, historical figures, myths and legends as the main contents. Regong art is loved by monks and nuns of all ethnic groups who believe in Tibetan Buddhism because of its distinctive regional characteristics. It bears the historical development of Regong culture and is an important part of the production and life of the general public in the relevant communities.

Traditional sericulture and silk weaving skills in China

Silkworm rearing is a great invention of China and a cultural symbol of Chinese national identity. This heritage includes the whole process of mulberry planting, sericulture, silk reeling, dyeing and silk weaving, all kinds of exquisite tools and looms used in the process, and the colorful silk products such as silk, yarn, brocade and silk reeling, as well as related folk activities derived from this process. For 5,000 years, it has made great contributions to the history of China and exerted a far-reaching influence on human civilization through the Silk Road. This traditional handicraft and folk custom activity is still preserved in Taihu Lake Basin in northern Zhejiang Province and southern Jiangsu Province (including Hangzhou, Jiaxing, Huzhou and Suzhou) and Chengdu, Sichuan Province, which is an inseparable part of China's heritage.

Zang/Tibetan opera

Tibetan opera is a kind of Tibetan opera with masks and songs and dances, which was formed in the14th century and spread on the Qinghai-Tibet Plateau. The repertoire consists of eight Tibetan operas, most of which are myths and legends in Buddhist scriptures to persuade good and punish evil. Tibetan opera was first spread among the people, taught by artists and performed in squares or temples. Later, a professional troupe was established, and a form of stage performance appeared, which was recognized and loved by the Tibetan people. Tibetan opera bears the blood of Tibetan culture, reflects the life, thoughts and feelings of Tibetan people, and is an important part of Tibetan cultural life.

Traditional firing technology of Longquan celadon

The traditional firing technology of Longquan celadon is a traditional handicraft with the characteristics of production, skill and artistry, which has a history of 1700 years. The traditional firing technology of Longquan celadon includes raw material crushing, elutriation, stale and mud refining; Forming, air drying, blank cutting, decoration, plain firing, glazing, box loading and kiln loading; Finally, it was burned with firewood in the dragon kiln. Longquan celadon has unique skills in raw material selection, glaze preparation, modeling and kiln temperature control. Longquan celadon firing technology serves human life, and its finished products have unique aesthetic value. Display porcelain, decorative porcelain, tea set and tableware are the perfect combination of firing technology and artistic expression. The "pink green" and "plum green" thick glazed porcelain fired in Longquan kiln is elegant, subtle, simple and quiet, which is the expression of the aesthetic taste of China's classical works.

Traditional production technology of Xuan paper

Papermaking is one of the four great inventions in ancient China. Xuan paper is an outstanding representative of traditional handmade paper, which has the characteristics of soft texture and non-decay. Since the Tang Dynasty (early 8th century AD), it has been the best carrier of calligraphy, painting and printing of ancient books, which is irreplaceable by machine-made paper. The traditional production technology of Xuan paper has 108 process, which has strict requirements on water quality, raw material preparation, equipment production and process control. This skill has been passed down from generation to generation by word of mouth, constantly improved, and combined with various cultural elements, which has had a far-reaching impact on the inheritance of Chinese national culture and played an important role in promoting national identity and maintaining cultural diversity.

Xi angu music

Xi 'an drum music is a kind of drum music that spreads in Xi 'an and its surrounding areas. Band organization is divided into percussion instruments and melody instruments, and the playing forms are divided into sitting and playing. Up to now, the writing methods of folk character spectrum in Tang Dynasty (AD 6 18-907) and Song Dynasty (AD 960- 1279) have been used. With its huge structure and elegant style, this piece is a typical representative of traditional instrumental music culture in China, which is of great academic value to the study of ancient music in China.

Guangdong opera

Cantonese opera is a kind of opera sung in Cantonese with a history of more than 300 years. Cantonese opera absorbs a variety of musical and dramatic elements, perfectly combines the melodies of Bangzi and Huanger with the phonology of Cantonese, creatively expands the artistic expression of China opera, and becomes a master of China's northern and southern operas, which is different from other operas in China. As the most influential and representative China opera in Cantonese, Cantonese opera, with its diverse and unique performance forms, permeates Lingnan tradition and modern life and becomes an important medium for ethnic identity and cultural exchange.

Three projects of "List of Intangible Cultural Heritage in Urgent Need of Protection"

Strong year

The Year of Qiang is a traditional festival of the Qiang people in Sichuan Province, China, which is celebrated on the first day of the tenth lunar month every year. During the festival, Qiang people worship gods, pray for prosperity, show their harmony and respect with nature, and promote social harmony and family harmony. Under the careful guidance of Shi Bi (the priest), the villagers dressed in festive costumes held a grand ceremony to sacrifice the mountain and slaughter the sheep. Then, under the guidance of the stone wall, the villagers will dance skin drum dance and Salang dance. During the activity, Shibi sang the traditional epic of Qiang people, and people enjoyed themselves while singing and drinking. On New Year's Eve, the head of each family will preside over worship ceremonies, sacrifices and offerings. Through the Chinese New Year, the tradition, historical accumulation and cultural information of the Qiang people can be passed down and spread, the social habits of the people can be consolidated, and the Qiang people can also express their respect and worship for all living things, the motherland and their ancestors. However, in recent years, due to more and more frequent migration activities, young people's interest in the traditional culture of the Qiang people is getting lower and lower, and the influence of foreign cultures, fewer and fewer people celebrate the Qiang New Year. In 2008, the Wenchuan earthquake destroyed many Qiang villages, and the Qiang people's concentrated areas were seriously damaged, and the Qiang people's Lunar New Year was in jeopardy.

Construction Technology of Traditional Wooden Arch Bridge in China

The traditional construction technology of China wooden arch bridge is based on the inheritor's cognitive system of environment and structural mechanics. It uses log materials, traditional wooden building tools and manual technology, and uses core technologies such as "beam making" to connect with tenons and mortises to construct an extremely stable arch bridge technical system. The construction of the wooden arch bridge was directed by a carpenter and completed by other carpenters. Carpenter craft is passed down through oral teaching and personal demonstration according to strict procedures, or passed down from generation to generation through master teaching disciples or as a family craft. As the carrier of traditional craft, wooden arch bridge is not only a communication tool, but also a communication place. They are important gathering places for local residents. People exchange information, engage in entertainment activities and hold sacrificial ceremonies on wooden arch bridges, thus deepening their feelings and highlighting their cultural characteristics. The cultural space created by the traditional wooden arch bridge in China provides an environment for promoting communication, understanding and mutual respect between people. However, in recent years, the acceleration of urbanization, the scarcity of wood and the lack of available building space have threatened the inheritance and survival of wooden arch bridge technology, and this tradition has passed away.

Traditional spinning, dyeing, weaving and embroidery skills of Li nationality

The traditional spinning, dyeing, weaving and embroidery skills of Li nationality are a kind of textile skills created by Li nationality women in Hainan, China. It integrates spinning, dyeing, weaving and embroidery, and makes clothes and other daily necessities with fibers such as cotton thread and hemp thread. Li women learned tie-dyed yarn, Shuang Mianxiu and single-sided jacquard from their mothers at an early age. Mother teaches skills through words and deeds. Li women only design textile patterns with rich imagination and understanding of traditional styles. In the absence of words, these patterns become the recorders of Li history, cultural legends, religious ceremonies, taboos, beliefs, traditions and folk customs. Li Jin is an indispensable part of important social and cultural occasions of Li nationality, such as some religious ceremonies and various festivals, especially wedding occasions. On these important days, Li women will design their own clothes. As the carrier of Li culture, Li Jin's traditional textile skills are an indispensable part of Li cultural heritage. However, in recent decades, the number of women who have mastered weaving and embroidery skills has decreased sharply, and Li Jin's traditional textile skills are on the verge of extinction, which needs urgent protection.