Traditional Culture Encyclopedia - Tourist attractions - Character introduction of Cai Wangbin
Character introduction of Cai Wangbin
Cai Wangbin
He is the chief editor and director of the Meizhou Mazu Temple Festival, one of the three major festivals in China. "Mazu Beliefs and Customs", which focuses on the Meizhou Mazu Ceremony created by Cai Wangbin as the chief editor and director, has been included in the Representative List of Human Intangible Cultural Heritage by UNESCO. "Quangang Beiguan" and "Quanzhou Shiyin" edited and printed by Cai Wangbin were announced as "the first batch of national intangible cultural heritage masterpieces", collectively referred to as "Quanzhou Beiguan". He is a member of the Chinese Musicians Association, an ethnomusicologist, an erhu performer, a connoisseur of cultural relics and a collector of folk dances.
Chinese name: Cai Wangbin
Alias: Puwei
Nationality: Chinese
Birthplace: Putian, Fujian
Date of birth: 1939
Date of death: 2007
Occupation: Director
Representative work: "Mazu Ceremony"
Characters Biography
Cai Wangbin, whose pen name is Puwei. 1939-2007, a native of Putian, Fujian. Former deputy director of Quanzhou Mass Art Museum and Putian Mass Art Museum, and a member of the Chinese Musicians Association. In 2009, "Mazu Beliefs and Customs", with "Mazu Ceremony" written and directed by Cai Wangbin as the main content, was included in the Representative List of Human Intangible Cultural Heritage by UNESCO. The Mazu Temple Festival has also become one of the three major festivals in China. In 2006, "Quangang Beiguan" and "Quanzhou Shiyin" compiled and printed by Cai Wangbin were announced as "the first batch of national intangible cultural heritage masterpieces" in 2006, collectively referred to as "Quanzhou Beiguan".
Main Achievements
The chief editor and director of the Meizhou Mazu Temple Festival, one of the three major festivals in China, and the "Mazu Letter" with the Meizhou Mazu Festival created by Cai Wangbin as the chief editor and director as the main content "Customs" is included in the Representative List of Human Intangible Cultural Heritage by UNESCO. In 2000, to commemorate the 1040th anniversary of Mazu’s birth, Meizhou Island held a grand Mazu ceremony. For this reason, Cai Wangbin went to Meizhou Island several times to collect folk customs, and inspected the reconstruction of the Yellow Crane Tower in Wuhan, the chimes of the tomb of Marquis Yi of Zeng, etc., and creatively introduced them into the Mazu ritual ceremony. In the end, the chief director Cai Wangbin choreographed and designed a spectacular reproduction of the royal ancient music scene. Xinhuanet reporter Zhu Linan interviewed Cai Wangbin, the chief director of the sacrificial ceremony, and explained the mystery: The musicians sat in front of retro musical instruments such as bells, drums, harps, and harps and did not play. It was for "show" because there are many instruments and playing methods. It has been lost and can only be replaced by modern synthetic music; but the musicians are not sitting in a "cluttered" manner at all. They all sit in an upright arrangement according to the word "palace". This is a restoration of the royal ancient music scene.
On April 29, 2000, the Mazu Temple Ceremony to commemorate the 1040th anniversary of Mazu’s birth, directed by Cai Wangbin, was grandly held at the 3rd Meizhou Mazu Cultural Tourism Festival. This event was an unprecedented success. The scale and precise arrangement have a strong impact. Since then, the program and content of the Meizhou Mazu Temple rituals have been basically finalized, and spring and autumn festivals are held every year. They are also invited to Hong Kong, Macau, Taiwan, Kinmen and other places to conduct demonstration ritual activities, which have had a huge impact at home and abroad. The 2000 version of the Meizhou Mazu Temple Ceremony was included in the first batch of national intangible cultural heritage by the State Council on May 20, 2006. On September 30, 2009, this version of the Meizhou Mazu Temple Ceremony was the main content. "Mazu Beliefs and Customs" has been included in the Representative List of Human Intangible Cultural Heritage by UNESCO.
Since then, the libraries of universities such as National Taiwan University and Putian University where Mazu beliefs and customs are located have published the Meizhou Ancestral Temple Ceremony: Putian Music and Scenery Series, edited and directed by Cai Wangbin; Fujian Mazu Cultural Tourism Festival Literary Collection/ Chief Editor-in-Chief Cai Wangbin: Fujian Audio and Video Publishing House,
2. Commemorating the 1040th anniversary of Mazu’s birth - narration after the Meizhou Ancestral Temple Ceremony
Character interviews
1. The origin of the name
Cai Wangbin was adopted into the Cai family since he was a child. Cai Wangbin's biological father initially liked more boys. Therefore, the first one gave birth to a son, and the whole family was happy, so he named him Liang with the four-corner number 00 as the beginning, and below Liang were a few characters. The meaning is Dongfang Liang, how many men are there? The second child is also a boy, so he named him Ting. The bottom of Ting is a T, which means adding another child. The third child was named Hao, and under Hao was a pig, so there were piglets in the family. The old society was poor, so how could three boys manage a family? Then another boy came, and he was named Gao. There was a mouth under Gao. Look, there was another one to eat. Unexpectedly, Lao Wu appeared again, so he named him Heng and that was it, stop. Therefore, as the fourth child (named Gao) had an extra person to eat, he was given to the Cai family when he was young and named Cai Wangbin. In fact, this name was given by the teacher. The teacher taught me earnestly that three people should not be forgotten: adoptive parents and biological mother. The adoptive parents' surnames are Cai and Wang. Lin is the biological mother's surname. They can't forget the three people, so they added three apostrophes and the name came out, Cai Wangbin.
2. Academic setbacks
In the past, those who were so particular about their names were basically from scholarly families. In fact, this is indeed the case. Cai Wangbin, who was influenced by a traditional intellectual family, began to stand out when he was in high school. Reading is good, sports is good, and music is better. At that time, whenever there were cultural activities in Putian City, his shadow would definitely be seen. Dragon dance, lion dance, ten tones and eight music, he must have his share.
During the college entrance examination, in the first year, Cai Wangbin wanted to build the motherland through mathematics, physics and chemistry, so he applied for the University of Science. He got excellent results and thought he could go to university. However, the school recommended not to admit him, which disappointed Cai Wangbin for a while. In the second year of the college entrance examination, Cai Wangbin applied for a sports college. He also had excellent academic performance, but the school still recommended not to admit him. In the third year, Cai Wangbin applied for a music school, thinking that this time he would be able to do it. However, it was still recommended that he should not be admitted, leaving him nowhere on the list. Only then did the young and energetic Cai Wangbin realize that something must have gone wrong. So I consulted the dean of the school's academic affairs office, and found out that my adoptive father was the principal of the old society, and his family status was too high, so he couldn't go to college. The director of the Academic Affairs Office suggested that building a good motherland is the first priority. A poor family background does not mean that an individual cannot pursue progress. Teaching on the remote Nanri Island in Putian is a very good choice, and Nanri Island is short of Chinese teachers. . Cai Wangbin has his first job in life, as a Chinese teacher at Nanri Island Primary School.
3. Find another way out
After one year of teaching career, Cai Wangbin suffered day and night. This is not the life I need at all. What is it that I long for in my heart? If you can’t go to college, do you have to teach? After a year of hard thinking, the stubborn Cai Wangbin resolutely resigned from his teaching position, set off from Nanri Island and returned to Putian. He is willing to become a glorious working class person, come to the bicycle shop to become an apprentice, practice hard, and learn to repair bicycles. However, the adoptive father found this rebellious child and said to him worriedly: "My child, if you are so disobedient, you will bring trouble to the whole family!"
Cai Wangbin was in great pain. I can’t stay in Putian, so I’ll leave. With no money and two steamed buns in my arms, I set off towards southern Fujian. No matter where I go, there is no limit to the road. I just looked for work along the way to earn some food. When I was sleepy, I stayed at the host's house for the night because there was a place to protect me from the wind and rain. If there is no place to stay, just find a corner and make do for one night. Even if the conditions are so difficult, young Cai Wangbin will always find a water source, wash himself clean, and seriously consider what his heart needs.
One day, Cai Wangbin passed by the Overseas Chinese Opera Troupe in Jinjiang area. This is a newly formed opera troupe, and some musicians are playing erhu, flute and other instruments. Cai Wangbin, who had not played a musical instrument for a long time, suddenly became excited. So Cai Wangbin walked in and asked, "Can I also play the erhu?" The troupe had just been formed and was short of people. Someone actually hit the gun, so the opera troupe staff gave the erhu to Cai Wangbin. Soon, the beautiful melody came out. At the beginning, it was the jumping "Horse Racing", and then, "Northern Henan Ballade" and "Sanmenxia Rhapsody", new songs flowed out from Cai Wangbin's fingertips. At that time, being able to play "Northern Henan" and "Sanmenxia" was an incredible achievement. After showing off his skills, "Two Springs Reflect the Moon" came next, and the miserable emotions surged out in the music. In this way, Cai Wangbin became a member of the Jinjiang Opera Troupe. Soon, the young Cai Wangbin not only distinguished himself in his skills, but also showed superb coordination and management skills. Finally, he became the band leader, deputy leader, and opera leader.
4. The accumulation of life
Soon after, Quanzhou Art School began to be established. Cai Wangbin was transferred to Quanzhou Art School as the principal. It was a crazy time. Many artistic people who come from poor families have no way to get into college. After Cai Wangbin became the principal, the first thing he did was to open a class. No matter how old you are, as long as you are capable, you will all be admitted. Therefore, there are many people in this class who are older than Cai Wangbin, who is the principal. My father, in that era, used this method to solve many people's diploma problems, and also solved their household registration and food problems. These problems were no small matter at that time.
There are several things that are very profound in the impression of Cai Wangbin’s son Cai Dingnan.
"The first thing is that in the early 1980s, my father had been promoted to the deputy director of the Quanzhou Art Museum. Once, Wang Dingnan and Ding Cong from Quanzhou City went to Putian on a business trip with their father. They stopped by my house. Wang Dingnan watched When I saw the holes in the bricks in my house, I was asked an idiom: a drop of water can penetrate a stone. I couldn't answer it on the spot. When the answer was revealed, I suddenly realized it. I was happy at first, and then I suddenly realized that I was being laughed at. I argued that bricks are not stones, and there is no way that a drop of water can penetrate a stone. When I grew up, I learned that after the incident, my father had increased his spare time work tasks and received more remuneration. What’s more, many students sent a lot of calligraphy and paintings to my father. “When I talked about this matter. , Cai Dingnan sighed, but soon he told a second story.
" Speaking of calligraphy and painting, the second thing that comes to my mind is a door couplet of our old house. This door couplet is very interesting. It is not about welcoming the spring and receiving blessings, but "the solitary smoke in the desert is straight." ", the sun sets on the Yellow River". These words are simple and vigorous, and very beautiful. When I was a child, I often stared at door couplets in a daze, imagining how I could write such artistic conception in fonts. Later I realized that it was a student of my father. This student was a famous calligrapher. Now that I think about it, he must have been a student when he was the principal of the art school."
It was at that time that he came into contact with Cai Wangbin. A large number of folk artists have protected a large number of people and have been deeply exposed to folk music, completing the accumulation of life.
5. The Excavation and Precipitation of Folk Music
Around 1984, Cai Wangbin went to Beijing to rescue and excavate the folk "Seven Star Lantern" program to participate in the Beijing performance. This time The performance won a first prize. Cai Dingnan said: "My impression is that my father won a bonus, and I set off the first fireworks in my life. After that, my father often talked about there being a Beiguan in the Quangang area. I don't know what it was specifically. It's not very clear, but I found that my father, who was often away from home, no longer played with us as he did in the past. Instead, he stayed up late at night and read, occasionally banging the table and humming. "
We are here. When I looked up Cai Wangbin's works, I realized that in 1989 he compiled and printed a book called "Quangang Beiguan", and many modern books on Beiguan music will list Cai Wangbin's article as a reference.
"In 2006, when my father was ill, someone called me and said: "Quangang Beiguan" and "Quanzhou Shiyin" were announced as "the first batch of national intangible cultural heritage masterpieces", collectively referred to as "Quanzhou" "Beiguan". I told my father, but my father just smiled and did not regard this as an important matter."
Cai Wangbin did not regard Quanzhou Beiguan as a very important job because he After retiring in 1999, he took on a more important job.
6. Getting to know Mazu
In 2000, Lin Jinbang from the Meizhou Island Ancestral Temple Management Committee came to visit and asked Cai Wangbin to add color to the Mazu memorial ceremony. "During those days, my father checked a lot of information every night and worked until late at night. Soon, he suddenly lost his home. He went to Meizhou Island to collect scenery for a week. When he came home, there was always a big basket of materials and photos. , and then stayed at home and wrote non-stop." When Cai Dingnan recalled these days, he always felt that his retired father was busier than when he was in power.
Cai Wangbin said in his article: "Historical Records·Li" writes like this: "Observe the profits and losses of three generations." It can be seen that the ancients did not follow the ancient times and emphasized that making etiquette is in line with human feelings and human nature.
In order to respect the past but not ignore it, Cai Wangbin went to Wuhan to carefully study the arrangement of Zeng Yihou’s tomb and its bells, and inspected the reconstruction process of the Yellow Crane Tower. In this way, the Mazu Temple Ceremony to commemorate the 1040th anniversary of Mazu’s birth, directed by Cai Wangbin, was held grandly. Since then, Cai Wangbin has been invited to Hong Kong, Macau, Taiwan, Kinmen and other places to conduct demonstration ritual activities, which has had a huge impact at home and abroad. In the end, the Meizhou Mazu Temple Ceremony became one of the first batch of national intangible cultural heritage listed by the State Council. The "Mazu Beliefs and Customs" with this version of the Meizhou Mazu Temple Ceremony as the main content was listed as a human intangible cultural heritage by UNESCO. Representative List of Cultural Heritage.
7. Cai Wangbin outside of music
“My father is serious. We were afraid of him when we were children. But strangely enough, although we were afraid of him, we liked to stick to him, and "My father never hit us in my memory," Cai Dingnan, Cai Wangbin's son, recalled. "My uncle is upright and hard-working. Along with us juniors, he is absolutely amiable, has a good drinking capacity, and is generous!" Cai Wangbin's nephews Dai Jiansheng and Dai Jianren described it this way. In the eyes of Cai Wangbin's colleagues, he has a different image. "Cai Wangbin is very eloquent. He can get to the point of the problem in one sentence, and everyone is convinced, and he accepts criticism very happily." "Cai Wangbin is a very important leader. The performances he leads are basically Putian's big roles. Everyone will come out, and no one will resist him. Everyone will buy his account, old man, charisma, good person!"
Elaboration after the Meizhou Ancestral Temple Ceremony
— ——Original work: Cai Wangbin, a piece of cake
Meizhou Ancestral Temple has successfully held two large-scale festivals. This year marks the 1040th anniversary of Mazu’s birth, and the 2,000-Year-Old Fujian Mazu Cultural Tourism Festival will also be held during Mazu’s birthday. The Putian Municipal Party Committee and Municipal Government decided to entrust the Municipal Culture Bureau to form an expert group to be responsible for the design and organization of the Mazu Festival and make it a key project of this cultural tourism festival. It is required to create an impact, strive for practical results, and create a festival that can be passed by Mazu believers and non-Mazu believers, the government and the people. It is required to be combined with singing and dancing and to be more artistic. There are only two months left. It is indeed difficult to achieve such a high goal. Since I have to rush the duck to put it on the shelves, I have to try my best. Fortunately, Jiang Weizong and Zhou Changfu were always there to follow me and put ink for the ceremony, so that my heart that was already jumping into my throat could calm down a little bit.
As soon as the design of the festival started, many well-intentioned people suggested to us: Mazu belief and Mazu culture have such a wide coverage and rich connotations. We must standardize Mazu rituals and even require them to be held as a standard for future festivals. Blueprint, model.
The standards for rituals are beyond our ability, and the ancients did not seem to be demanding. "Historical Records: Rites" writes: "Looking at the gains and losses of three generations. It is based on understanding people's feelings and making rituals, and making rituals based on human nature. The origin of this is still there." It can be seen that the ancients did not follow the ancient times and emphasized that making etiquette is in line with human feelings and human nature. . They have a good theoretical basis: "The way of heaven is vast, the way of earth is great, and the way of humanity is ready. Although the way of heaven is broad, it cannot be obvious if it is not followed by humans. If the way of heaven is not followed by people, it will not be obvious. The Tao cannot be accomplished. Only the human Tao can govern the world, change everything, and determine the rise and fall of all things." (Volume 25 of "Tao Zang") It can be seen that our ancestors attach great importance to people. Ontological effect.
If we use modern language to describe it, can we say: heaven, earth, and man have three talents, and man is the center. Only man can make everything serve mankind by relying on the natural laws of heaven and earth. All changes, including ups and downs, must be made at any time. So our conclusion is that the ancients allowed to adapt to the time, place and people.
It is true that not following the past does not mean committing suicide and denying the predecessors. On the contrary, we should carefully study all good practices and useful experiences and learn from them. Based on these understandings, we carefully examined Mazu sacrifices in history. We also observed the video materials of the previous two festivals, determined that the 1994 festival was the basic framework, and made necessary supplements. After the general framework and guiding ideology of the festival were basically established, we entered into the specific design of each part of the activities and prepared a detailed agenda for the festival (attached). The details are as follows:
The setting of the altar. Mazu's title: "Mother of Heaven, Wuji Yuanjun." The title cannot be higher, which shows that historically, Mazu's merits are comparable to those of heaven, and her virtues are as profound as those of earth. It is understandable that we set up altars to offer sacrifices in the highest form of offering sacrifices to heaven. "The Rites of Zhou·Autumn Officials and Bandits" records: "When the princes are united, the altar will be made into three parts." The third volume of Hao Datong's "Taikou Collection" has a picture of three talents and three altars. The upper altar is round, representing heaven, the middle altar is eight-shaped, shaped like a human being, and the lower altar is square, shaped like earth. So we decided to set up an altar to offer sacrifices. Mr. Xue Guoping, who was responsible for the altar design, built a three-level altar on the platform in front of the Bell and Drum Tower based on the layout of the original building complex of the ancestral temple. The lower level is square, with a diameter of 8 meters and a height of 0.4 meters; the middle level is octagonal, with a diameter of 6.6 meters and a height of 0.4 meters. , and there are imitation white marble handrails, and four doors in the southeast and northwest can lead to the altar; the upper floor is round, with a diameter of 5 meters and a height of 0.3 meters. The three altar system embodies the philosophical concept of the three talents of heaven, earth, man and man in ancient my country. Since the altar is in the open air, it opens up the line of sight from the imperial edict gate to the central axis of Chaotian Pavilion. The festival venue has been expanded and the levels are brighter. The dance floor, band stage, alchemy, altar, bell and drum tower, main hall, and Chaotian Pavilion are all raised one after another, all appearing in front of the believers and spectators, making people feel vast and majestic as if they were directly in the sky. The momentum is more majestic, enhancing the solemn and solemn atmosphere of the festival.
The creation of music. In order to enrich the multi-faceted expressiveness of the festival music, praise Mazu Haotian's virtues, highlight the local characteristics of Mazu's hometown, and adapt to the appreciation requirements of modern people, Mr. Li Shangqing, the composer, boldly used the seven-tone Puxian opera music "Tiger Crossing the Mountain" be developed and changed. Among them are the relaxation, compression, variation and reorganization of rhythm and beats; there are also the contrast, superposition, interweaving and chasing of timbre and sound areas. In particular, the closing phrase of each offering always returns to (73276|5---|73276|1---‖), with pure ascending fourths and descending fifths forming a reflection that unifies the three offerings in one palace tune. In terms of accompaniment, in addition to the use of eight tones, local musical instruments are also added. The reformed Wenzhenqin (Zhaqin), Sihu, and Chihu were used to enrich the band's timbre. Some people say that ancient Chinese music is based on the pentatonic scale, but this is actually a prejudice. "He" and "Miao" in "Huainanzi Tianwen Xun" are "Bian Gong" and "Bian Zheng", which are seven tones. The ancient three-point profit and loss method already had twelve temperaments, but the twelve in the system at that time were not exactly equal to semitones. In the Ming Dynasty, the legal scholar Zhu Zai established the twelve equal laws through precise calculations. But it was not until the eighteenth century that Bach really put it into practice in the West. According to records, when Chinese Southern Song Dynasty musician Jiang Baishi (Jiang Kui) composed songs, he also liked to use techniques such as semitone changes, new voice changes, and fifth and sixth degree jumps.
As for "harmony", it is not an imported product, it has existed in our country since ancient times. The empty voice is commonly used in the corresponding parts of ancient music; the lyrics of "Bamboo Branches" and "Plucking Lotus Seeds" of the Tang Dynasty are alternately harmonized in the middle or at the end of the sentence, and the "winding sound" of the Song Dynasty orchestral music are all harmony techniques, but they are simpler and more immature. My current use of simpler ethnic harmonies for ritual music is completely a continuation of the ancient system. The use of local musical instruments is even more impeccable. We consider it based on emphasizing the folk characteristics of Mazu's hometown. Moreover, Huqin had already been nationalized (Han) during the Song Dynasty. Shen Kuo's "Mengxi Bi Tan" "horse-tail huqin followed the Han chariot", and the huqin stem in the Yuan Dynasty was already a "roll-necked dragon head" (see "Introduction to National Music"). These supplementary developments of ours are not only allowed but also necessary. Otherwise, how can it be said that it is the Putian Ancestral Temple Festival.
"The rare sound of great music" and "the great ceremony must be easy" are relative. The Master heard the "rare sound" of "Shao" and praised its "Su Yong Harmony", which is relative to "Zheng Yin's obscene ambition", In terms of "Song Yin's drowning ambition", "Weiyin's troubled ambition" and "Qi Yin's arrogant ambition". Today's society has developed into the electronic and digital age. For multi-material and large-volume electroacoustic music, symphony, and jazz, our major-style "Three Xian Music" simply compares a small amount of ethnic harmony with timbre and tone area, which is completely different. It can be called "rare sound" and "easy music".
The design of music and dance. In 1994, all the dance and music performances in the "Eight-Yuan Dance" were performed by women. This time we added male dancers, and the 64-person dance team was evenly divided between men and women. The male dancer is Bing Zhai, who is known as Yuzhongjingzhao, showing masculinity; the female dancer is holding the hut, which is said to be the accompaniment instrument of Yu Shi's music and dance "Da Xia". The dance always imitates the sound of a flute, expressing the beauty of femininity. Music and dance combine strength and softness to praise Mazu's martial arts and virtues.
In order to create the mystery of Mazu’s arrival, when we welcome the gods, we let the whole audience chant "Welcome the gods" accompanied by the music to welcome the gods. The sonorous reverberation sound seems to be in the sky, and the smoke rises and fills the altar. , eight fairies carried flower baskets, descended from the height of the main hall, circled the venue, and sprinkled flowers all over the venue. Then disappear into the smoke.
With this as the preface, the formal sacrificial activities begin.
In addition to the actual sacrifices, offerings, offerings, chants, blessings, burnings and kneeling by the main priest according to religious rituals, the focus of the ceremony is of course the most important thing is the "three dances" of music and dance. Ms. Yu Qin, who is the choreographer, is really racking her brains. We should not only consider maintaining the solemnity of the sacrifice, but also consider the artistry and visibility; not only consider the independence of the music and dance itself; but also consider integrating it with the actual sacrificial activities. After careful discussion, we determined that the basic dance postures of the "Three Presentations Dance" should be used throughout, that is, the male dancers are upright with their hands in front of Zhai, and the female dancers are squatting half sideways and blowing in front of them. Combined with the "car shoulder" and "butterfly step" of Puxian Opera to ensure the unity of dance style and distinctive local characteristics.
In order to integrate music, dance and sacrifice, we asked the priest to enter the dance team with the offering plate respectfully held in both hands. The dancers danced around the offerings. After that, the priest was surrounded by the dance team and walked slowly. Your Majesty ascended the elixir and presented it to the altar, which was presented by the chief priest himself. This overcomes the shortcomings of the sacrificers returning to offer sacrifices and the dancers dancing on their own, and truly achieves the unity of dance and sacrifice.
In addition, we also determined the respective tone and basic creativity of the three dances. Chuxian (The Joy of Sea Peace) uses broad, affectionate four beats and pious and solemn external forms and inner emotions to praise Mazu's arrival so that "the eight gods will be at peace and all directions will return to virtue"; Yaxian (The Joy of Peace) uses beautiful and joyful three beats As well as the lively and lyrical dance song "Southern Wind Smells", the peaceful and happy life of the people and the prosperity of Yinfu; the final performance (Xianping Joy) is a warm and magnificent four-beat mixed male and female singing. The dancers held the celebrant and the sacrifice high on their heads. Slowly walk towards Danbi and pray for "the goddess descends" to bless the nine states, pushing the music and dance to a climax. Finally, all the gods were sent to perform a grand ceremony of kneeling three times and kowtowing nine times to complete the ceremony.
The setting up and rehearsal of the halogen book. "The armor is the main one, so there are successive ranks to defend the enemy armor, and all the books are written to guide them in order, so it is called the armor. Since the Han Dynasty, empresses, concubines, princes, princes, and ministers all have (See "Cihai·Volume") "The halogen book is basically based on the 1994 system, in order: Qingdao Banner (2 sides), Kaidao Dajin (2 sides), Jingzhi Pai (1 each), Title Pai ( 1 pair), rising dragon banners (1 pair), horns (4 pieces), golden melons, golden axes, upward stirrups, banner dragon sticks, crescent shovels, square halberds, broadswords, scratch seals, scratch pens, sun and moon tablets, concave and convex Staff (one pair of each of the above and all changed to bronze), title flags (16), lanterns (8), stoves (4), pheasant tail fans (1 pair), nine-curved yellow umbrella (1) , Yi guards holding guns and halberds (20 each). In order to achieve the majesty of the guard ceremony and the solemn appearance of the guard, Ms. He Lixian, who is in charge of the rehearsal, leads the honor guard members to practice carefully under the blazing sun every day. The angles of the marching implements are neat and unified, and the walking posture is accurate and powerful. Every day of these more than 100 people One move after another, I don’t know how much effort Ms. He spent and how much blood and sweat the team members spent! During the pre-sacrifice, the title flag, lanterns, stoves, and officiants guided the chief priest and accompanying priests to worship Mazu's sacred book. Under the protection of the sun and moon fan and the nine-curved yellow umbrella, they slowly passed through the imperial edict gate. When Danbi stepped up the stairs and walked towards the altar, all the spectators present were impressed by the solemn and solemn atmosphere of the ceremonial guards and ceremonial guards standing majestically around the altar. To truly achieve the goal of "defending the enemy because of armor."
The 1040th anniversary of the birth of Mazu in the ancestral temple has been announced, but the traditional cultural spirit of Mazu is constantly being deepened and expanded. Historically, it was the traditional cultural spirit of Mazu that united the vast number of believers and became a spiritual pillar and infinite force to fight disasters, help people, resist shipwrecks, help fight against barbarism, and conquer monsters. Mazu's great virtues prompted Confucianism, Buddhism, and Taoism to incorporate this folk belief into their religious systems. The so-called "spiritual and virtuous women", the so-called "hundred billion incarnations of Master Putuo", the so-called "Peering into the Well and Obtaining Talisman", as well as the praises and titles from the past dynasties, all play a role in promoting Mazu belief and Mazu culture that cannot be ignored. Today, Taiwanese compatriots and overseas Chinese devoutly believe in Mazu and recite the beautiful stories of Mazu helping those in distress and those in need. This is undoubtedly passing on the excellent cultural traditions of our nation. We hold festivals, which undoubtedly play a positive role in communicating the thoughts and feelings of compatriots on both sides of the Taiwan Strait and overseas Chinese, and add new era content to Mazu belief and culture. We say: Mazu deserves to be the goddess of peace across the Taiwan Straits and the goddess of world peace.
2000.05.26
Meizhou Ancestral Temple Ceremony Schedule
Original work: Cai Wangbin 2000.4
Serial No. 1 Tong Praise and Singing Bai (5′)
Activities and requirements for various personnel
1. The Mazu statue on the altar is stable, the dragon table and the offering table are clearly placed, and the incense table, sacrificial vessels, offerings, etc. are all in place (by The board of directors of the ancestral temple is responsible, and the above items should be prepared one day before the ceremony rehearsal)
2. All types of personnel should be prepared before the ceremony and wait at the designated location (for the ceremony) in advance
3. On the Bell and Drum Tower, there are three strict drums and the golden bells ring together. Each link is struck 36 times in a row from wide to tight.
4. Amidst the sound of bells and drums, Tongzan led 16 celebrants to form a 4-man column, and 14 musketeers formed a horizontal line from the imperial edict gate through Danqi to His Majesty Dan. The people standing in front of the altar of Shengsheng Danbida stood in awe at the prescribed positions; the cannon shooters turned back and quickly ran back to the imperial edict gate to the prescribed cannon firing positions to prepare for the salute.
(The cannon firing position will be determined separately)
Music
Serial No. 2 Meizhou Ancestral Temple’s ceremony to commemorate the 1040th anniversary of Mazu’s birth begins!
(10′)
1. The gunman fires 81 shots of four guns at the specified position (it is required to be able to count 81 shots clearly)
2. The honor guard marched from the mountain gate to the altar in sequence according to the "Orientation Map of Ceremony Activities". After ascending to the altar, they stood solemnly on both sides of the altar and the altar.
3. The music students and singers, led by the assistant students, marched in a column of four to His Majesty Dan and entered the left and right orchestra seats (orchestra) on both sides.
4. The dancers, led by Jiesheng, arrived at Danqi (stage) and arranged into an 8x8 square formation, spread out and stood up.
5. Yiwei marched in a column of four people. After entering the imperial edict gate, they divided into two lines and ran around Danqi (dance floor). They stood on both sides.
6. The praises were introduced from the imperial edict gate. The main priest and the accompanying priests enter the middle altar and the lower altar respectively to worship and stand in awe.
7. The ceremony leader and the sacrificer led the priests from the Zuoxiang Hall to the altar and stood in obeisance.
(Note: The above seven items are all carried out at the same time after Tongzan announces "the start of the festival")
After the announcement of "the start of the festival", gongs and drums are loud and firecrackers are blasting:
As the honor guard marches, the gong is beaten continuously with two tight and two wide strokes; the horn blows long and the big blower continues to play (you can use the "opening" music of Puxian Opera). The above sounds will stop until all festival personnel are in place.
Serial number 3 praises and sings about various personnel activities and music requirements
Welcome God!
The ceremonial students and the singing students responded to the call
“Welcome God!”
(2′)
1. The ceremonial students and the singing students After receiving the praise, the students shouted "Welcome God!"
2. Everyone in the audience looked up at the sky, spread their hands and stretched forward diagonally along the line of sight and shouted "Welcome God!" along with the sound of music and the altar Smoke started to rise, and all eyes focused on the statue of Mazu on the altar (seemingly seeing the Holy Spirit coming from the sky). Then put your hands down. Eight fairies' jacquard baskets descended from the height of the main hall and circled around the venue, scattering flowers all over the place and then disappeared into the smoke.
3. The students raised banners and flags to make the music play and the singers sang.
4. 1-4 people at the ceremony will light the incense and distribute one incense stick to each of the chief priest, accompanying sacrificer, and other sacrificers. After the chief priest receives the incense, he will hold it above his forehead, put it down for a moment, and hold it on his chest. Stand in front.
Music: Play and sing the movement "Welcoming God".
Serial number 4 lays silk!
Read the congratulations!
Kneel down! Kowtow, kowtow again, kowtow three times! Xing
(2′)
1. Lead the officiant to the position of reading the blessings, and the ceremony student will take the silk. The student who reads the blessings will take the blessing board and half-kneel to the left of the officiant to recite. Congratulations, after reading the article, return it to its original place.
2. The officiant offers silk offerings to the deceased.
3. The officiant and others perform three kowtows in response to the Tongzan command.
No. 5, the first offering of the ceremony plays the music of sea level
(3′33′′)
1. Yin Zan Yin Yin, the chief sacrificer, went to wash the toilet , 4 people from the ceremony were in charge of the washroom (2 people were in charge of the basin, 1 person was in charge of the toilet, and 1 person was in charge of the towel). The officiant resets.
2. The disciples raised flags for musicians to play music and singers to sing. The disciples raised the festival ball for dancers to dance. A number of ceremony disciples came up the steps from His Majesty Dan with honor plates, and the rest of the ceremony disciples surrounded him. Those who serve the honor plate may dance or dance to form a pious and active dynamic scene until the main priest receives the honor on the festival day.
3. After the officiant receives the ceremonial tribute and presents it respectfully, he hands over the gift and places the confession record.
4. The dancer is finalized.
5. Everyone puts their hands in front of their foreheads and bows or kowtows three times.
Music plays and sings the movement "Sea Level"
Serial number 6 sings the praises of various personnel activities and music requirements
A gift to Asia! Playing the Music of Peace
(4′)
The activities are as before, but the dance requirements have changed and the rhythm is slightly faster. Second, offer longevity peaches.
Play and sing the movement "Peace".
Serial number 7 is the final gift! Playing the Music of Xianping
(4′)
The activities are as before, the music and dance must be magnificent and the atmosphere of praise is strong. The position of the honor guard's sealing flag pushed the ceremony to a climax.
Three offerings, longevity noodles.
Play and sing the movement "Xianping".
Serial number 8: Burning blessings, writings and silk! Send God! (Kneel down three times and kowtow nine times), kneel down! Kowtow, kowtow again
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