The origin of Nüshu

There are different opinions about the origin of Nushu.

The "Nüshu" text records the women's group language based on Jiangyong dialect. Most people think that it is a Chinese variant. But there are differences as to whether it belongs to the "Chinese character cultural circle". Some people believe that nearly half of the characters in "Nvshu" are derived from Chinese characters, and believe that it is a "mutated" systematic regeneration of characters borrowed from square Chinese characters. Opponents believe that the similarities and differences in strokes and their combination structures are the direct basis for determining whether there is a relationship between different characters. Compared with regular Chinese script, "Nüshu" has different basic strokes, stroke structures and language functions. Moreover, the remaining pictographic characters and ideographic characters in "Nüshu" are very different from the oracle bone script. Therefore, the characters in "Nüshu" The origin of is by no means an ordinary Chinese character.

When and where "Nvshu" originated, the exploration of many scholars at home and abroad has evoked people's long-standing associations. Based on the fact that the Huashan Temple, a local women's temple, was established in the mid-Qing Dynasty, and the earliest physical "Nvshu" was discovered, some speculate that "Nvshu" originated in the late Ming and early Qing dynasties.

Some people believe that "the composition of the female character originated from the Baiyue recording symbols" based on the existence of characters in "Nvshu" that are similar to the woven symbols on the tapestry of the Zhuang and Yao ethnic groups. Based on the large number of characters in "Nu Shu" that are similar to the unearthed carved symbols and painted pottery patterns, some people believe that the time and space of its origin can be traced back to the Yangshao Culture of the Neolithic Age, which was formed after Qin Shihuang unified Chinese writing.

Some people believe that "Nüshu" was the official script of Emperor Shun's era based on the similarity of the basic strokes between the characters in "Nüshu" and the original ancient Yi characters. Some people use oracle bone inscriptions and bronze inscriptions to borrow characters in the vocabulary of "Nvshu". It is believed that Nushu is a variant of ancient Shang Dynasty writing that is closely related to oracle bone inscriptions.

Some people also believe that modern "Nüshu" is a relic and evolution of ancient Yue writing. This view holds that pictographs and ideographic characters are the earliest cultural phenomena in the writing system and are a direct reflection of the living environment and social culture of the creators of writing. Based on the tattoo customs reflected in the composition of "Nüshu" pictographs and ideographic characters, the architectural characteristics of "ganlan" residential buildings, rice farming culture and bird totem cultural phenomena.

In addition, some experts have examined the geography, history, population and ethnic composition and folk customs of the areas where "Nüshu" is popular, and believe that "Nüshu" is an ancient Yao script influenced by ethnic integration and immigration culture. The Yao people once had their own language, but whether they had their own writing is a question that has been discussed in the academic world. Scholars have different opinions on the origin of Nüshu, and there is not one kind of folklore. There are four types that are widely circulated in Jiangyong:

The first one

According to legend, Nüshu is the goddess of Yao Adapted from the Book of Heaven

Who is Yao Ji? Yao Ji is the youngest daughter of the Queen Mother, named Yao Ji. Later, when he went down to earth to visit the human world, he fell in love with the beautiful scenery of Jiangwei Pumei Village, so he lived there secretly. Because the Queen Mother's fairyland is called Yaochi, she told mortals that her name is Yaoji.

Yao Ji is not only beautiful, but also smart and well-loved by the Queen Mother. Yao Ji's words and deeds are usually lively and willful. No one dares to stop what she wants to do, even the Queen Mother has to give her three points. One morning, none of the palace maids got up, but Yao Ji had already finished dressing up. Open the curtain, open the windows, and you will see the clear mountains and clear water, the singing of birds and the fragrance of flowers, the pastoral streets, the beautiful springs and the beautiful forests, the curling smoke of cooking stoves, and the bustling crowds. It is much freer than the heavenly palace. Yao Ji had long wanted to leave the boring Heavenly Palace and find a quiet place to be at ease. Now that the beautiful scenery of the lower world was unfolding before her eyes, she was excited. She decided to go there to explore the novelty. So Yao Ji left the Heavenly Palace, stepped on the auspicious clouds, and floated down to a place. It turned out to be a vast and sparsely populated water town with beautiful scenery in the hinterland of Dupanling. This is Pumei Village. Yao Ji does not speak the same language as the people in the lower world, but mortals pay special attention to etiquette when treating guests. Especially the girls are all ingenious, smart and capable. Despite the language barrier, they all get along very well.

Girls in the human world are good at tracing flowers and weaving flower ribbons and quilts. The embroidered shoes, clothes and scarves they weave are more beautiful than the colorful clouds in the sky. The girls put on the colorful clothes spun by themselves, and they were as bright as the bright clouds and like gods. Yao Ji was so impressed that she worshiped them as her teachers. Yao Ji thinks that the sisters here are good in everything, but they are uneducated, illiterate, unable to express their ideas in words, and unable to write their ideas in writing. Yao Ji wanted to help them improve their ability to remember romance and events, so she returned to the Heavenly Court and brought down a complex set of heavenly books. Although the sisters wanted to learn, they were all illiterate. Yao Ji simplified this profound heavenly book one by one, combined it with Nvhong embroidery, and read and sang it in the local dialect, so that each of these beautiful sisters could read and sing well, write poems and paintings, and read and sing freely. Since then, this changed heavenly book has been passed among women, but men have dismissed it and did not know how to use it, so it was named "Nvshu".

The second type

It is said that a long time ago, a peasant woman in Shangjiangwei gave birth to a baby girl who weighed nine kilograms, so she was named Jiujin Girl. Girl Jiujin has been talented and intelligent since she was a child. She is good at spinning, weaving and embroidering. She also whimsically created female characters for writing in native dialects. Therefore, when Yi Nianhua answered the visitor, he said: "I just heard the old saying from our predecessors that girl Jiujin is the smartest. It is girls who make Nüshu, and those who make Nüshu are passed down to the world.

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The third type

It is said that during the Song Dynasty, a talented and beautiful woman named Hu Yuxiu (some said she was named Hu Xiuying) came out of Jingtian Village, and she was later elected as a concubine in the palace. Not long after entering the palace, she was treated coldly and felt extremely depressed. She wanted to write a letter home to express her sorrow, but she was afraid that the eunuch would find out. He also told his relatives to look sideways and read it in the dialect. So this kind of writing spread among women.

But according to local records, Hu Yuxiu did not enter the palace as a concubine. Her name is mentioned in the local chronicles as her younger brother's sister. Hu Yuxiu's younger brother entered the court and became an official, but later returned to his old age and retired. There is a rumor that the court gave him a house, which was confirmed by his local chronicles. Look, there is no basis for this theory.

The fourth legend was created by Pan Qiao. A long time ago, there was a clever girl named Pan Qiao from Tongkou. She could sing at the age of three and embroider at the age of seven. The songs she sang were intoxicating and the flowers she embroidered could be fake. Later, she was taken to Daozhou by the government to report the news to her family. She took great pains to create characters based on the female red patterns. He wrote a letter for his beloved dog to take home. It took a long time for his girlfriend in the same village to decipher the letter. From then on, this kind of writing was passed down from generation to generation. No wonder Yi Nianhua said: "A man has ambitions for thousands of miles, my dear mother." How can we let men go? ”

Jiang Yong’s female calligraphy works are generally written on homemade handwritten books, fans, and cloth handkerchiefs. They are used for self-entertainment, antiphonal singing in singing halls, correspondence, religious sacrifices, sworn sisters, and complaints. As personal and private items of women, Jiangyong's Nüshu are often burned or buried with them after death. Therefore, it is still impossible to find works that have been passed down for more than three generations or earlier. Therefore, when did Nüshu come into being? There are different opinions on the real origin, the relationship between Nüshu and oracle bone inscriptions, the relationship between Nüshu and the Yao people, etc., and there is no conclusion, which has become an unsolved mystery.

According to relevant research, "Nüshu" originated from Prehistoric pottery inscriptions should have originated in the middle and upper reaches of the Yellow River Basin, especially the Guanzhong area or Shang County in Shaanxi Province. It is more likely that the "Nvshu" was brought to the south by the Cangwu people who lived in Shang County, Shaanxi Province. Ancient writing in Jiangyong Mountain, Hunan. So, the history of Chinese writing should at least start from the Yangshao cultural stage of the Neolithic Age, which is about six to seven thousand years old, and is more than 3,000 years earlier than oracle bone inscriptions. It can be said that Chinese prehistoric pottery inscriptions. It is the earliest ancient writing in the world. The age of pottery archeology proves the origin of "Nüshu". Therefore, it can also be said that "Nüshu" is also an ancient writing in the world, and it is a writing that survives today. This cannot be said. Not to mention it is a miracle in the history of writing. Although there are different opinions, one thing is the same: Jiangyong Nushu was created by women and reflects the mentality of women.

Other opinions are that women. The script is a deformation of Chinese characters and Yao characters. Since most of the Nüshu were burned or buried with the writers, the existence of the Nüshu is mainly due to the old thinking in China. Local women are not allowed to read and write: what they call "men's books", so local women invented nüshu as a means of communication between sisters and sisters, and most men regard nüshu as an ordinary pattern. And dismiss it.

Form and content

In the old days, many talented local women used this kind of nushu, which was unknown to men, to communicate with each other. Most of the "Nvshu" works of nearly 200,000 words collected are in the form of songs, and the carriers are divided into paper, books and fans. There are four categories: Nüshu calligraphy, engraving, laser micro-engraving, stone carving, wood carving, bamboo carving, postcards, Nüshu handbags, nüshu handbags, etc.

Nüshu works are vast. Some of them are in the form of songs, and their carriers are divided into four categories: paper, books, fans, and towels. No matter which way they are carried, they pay great attention to the beauty of form. For example, the four corners written on the paper are mostly decorated with patterns, and the pictures written on the paper fans are often decorated with illustrations. Flower and bird patterns are woven and embroidered on handkerchiefs, ribbons and clothing. Although the carriers are different, the fonts are beautiful and thin, with unique shapes and full of ancient meaning. There are four types: dot, vertical, oblique and arc. The strokes are written in the shape of a long rhombus.

The content mostly describes the lives of local women, and is also used for correspondence, remembering events, making friends, and congratulations on the bride's return. The style is mostly seven-character rhymes. During festivals, women gather together to recite Nüshu works. There are no standardized teaching materials, no formal teachers and schools, everything is copied by hand from generation to generation, and there is a folk custom of burying them in sacrifices.

The main content of Nushu works is about marriage and family, social interactions, grievances and private affairs, rural anecdotes, songs and riddles, etc. There are also some songs compiled into Chinese characters. The content of the narrative works recorded in Nüshu is not unique to women, but after entering Nüshu through oral inheritance, it becomes a projection of women’s spiritual world. The work uses a realistic approach to narrate and lament the tragic situation of having a heart as high as the sky, a life as thin as paper, and good intentions vanishing into thin air in the darkness, and invites the gods in folklore to help turn the misfortune into good. The heroines in these works are not only "strong women" with flamboyant personalities and strongly demand equality with men, but they also extremely dislike and despise the fame and wealth that men are passionate about. "The Legend of Nüshu" was edited by Ouyang Hongyan and edited by Dong Shigui, member of the Standing Committee of the Yongzhou Municipal Party Committee and Minister of Propaganda of the Municipal Party Committee. It was published by Shandong Provincial People's Publishing House in May 2008. It is one of the books in the "Yongzhou Book" series. Limited edition sold by Yongzhou Federation of Literary and Art Circles.

The content is as follows:

1. The Hometown of “Nvshu”

(1) Jiangyong County and its “Three Thousand Cultures”

(2) “Nvshu” Distribution and excavation of "Nvshu"

2. Exploration of "Nvshu"

(1) The emergence and essential characteristics of "Nvshu"

(2) ) Unique female writing in the world

3. Nüshu customs

(1) Being a female celebrity

(2) Sitting in the singing hall

4. The art of "Nvshu"

(1) The literary characteristics of "Nvshu"

(2) "Nvshu" The art of calligraphy of "Nvshu"

5. Inheritance of "Nvshu"

(1) The inheritance method of "Nvshu"

(2) "Nvshu" Successor

6. Protection of "Nüshu"

7. Original "Nüshu"

"The World's Only Female Writing - Nüshu", written by Zhou Yetao, Compiled by Gong Butan, published by Minghua Press in February 2009, this book records in detail the discovery of Nüshu in 1982, the emotions, beliefs and art in Nüshu, the inheritance and protection of Nüshu, and everything related to Nüshu It also introduces famous Nüshu inheritors, famous Nüshu research experts and famous Nüshu calligraphers in chapters. It also introduces several unidentified characters newly discovered in Hubei.

Nüshu is an unregulated writing created by folk women. "Nüshu Tong - A Reference Book for Women's Writing" was published in 2007, using Nüshu standard characters as the standard plan. "Nüshu Tong" has the function of translating Chinese characters from Nüshu and translating Chinese characters from Nüshu: through the Nüshu standard character syllable index, you can find out: Which syllables and tones of Jiangyong dialect correspond to each other? Nüshu characters, which one of them is the standard character, and what is the standard writing method of this Nüshu standard character? Through the Nüshu standard character stroke index, you can find out the various Chinese character meanings that a standard character can represent, and also You can find its many homophones, and you can also find how it is written in 7 other Nüshu dictionaries or vocabulary; through the Chinese Character Translation Nüshu Index, you can find out how to write the Nüshu standard character corresponding to a Chinese character. , how to pronounce it, and what are the homophones of the standard Nüshu characters that correspond to this Chinese character.

"Chinese Nüshu Collection" is edited by Zhao Liming of Zhonghua Book Company, and the materials collected account for more than 90% of the original Nvshu materials available. Another monograph on Nüshu, "The Collection of Chinese Nüshu - A Unique Collection of Women's Written Materials" is composed of ten volumes, edited by Zhao Liming, translated and annotated by Zhou Shuoyi, and translated and annotated by Chen Qiguang. Including: 82 kinds of songs congratulating the three dynasties, 36 kinds of autobiographical songs of complaint, 22 kinds of songs about making friends with old friends, 32 kinds of legendary narrative songs, 7 kinds of sacrificial songs, 56 kinds of wedding songs, and 80 kinds of folk songs. Seven types, forty-seven types of riddles, twenty-nine types of translated works, and thirty types of letters

Peng Zerun's book "Research on the Characters of Jiang Yong's Nüshu" was published by Yuelu Publishing House in 2011. Content introduction: The author has long been paying attention to the language and writing in ethnic minority areas, and has done a lot of research in the field. This research result focuses on the female-specific scripts in Jiangyong, Jianghua and other areas inhabited by the Yao people in southern Hunan. After statistical analysis, the author believes that this script is an immature syllabic script and a phonetic script. In the past, the research results on Nüshu were mainly based on women's studies and sociology. Even the research on characters was mostly data-based, and few researchers were majoring in linguistics. Therefore, this is the most professional result on the theoretical research on Nüshu characters. It was discovered in Jiangyong County, Hunan Province in 1982 by Professor Gong Zhebing of Wuhan University. Gong Zhebing then published the world's first academic paper introducing Nüshu, "A Survey Report on a Special Kind of Writing", in the 3rd issue of "Journal of Central South University for Nationalities (Philosophy and Social Sciences Edition)" in 1983. At the 16th International Sino-Tibetan Linguistics Conference (USA), he published the paper "Analysis of Di Yao Characters in Jiangyongping, Hunan", which introduced Nüshu to the world. In 1986, Gong Zhebing published the world's first research work on Nüshu. "Women's Writing and Yao Qianjiadong".

In 1983, Jiang Yong caused a sensation after the news of his discovery of "Nvshu" was announced to the world. Experts and scholars at home and abroad have gone deep into Jiangyong to inspect, study and discover. At the beginning of the 21st century, Yongzhou actively implemented a project to rescue and protect Nüshu culture. By building Nüshu Cultural Village, establishing Nüshu Museum, organizing the development of Nüshu handicrafts, and developing Nüshu cultural industry, the Nüshu culture was passed on and carried forward. Just when "Nvshu" was written in the end, only a few elderly women could read and write it. Starting from the end of the 20th century, through the efforts of a group of scholars, this rare female character was understood and recognized by the world, and aroused strong interest at home and abroad. and widespread attention. As a unique and rare cultural relic, the Chinese government has also begun to pay attention to the protection of Nüshu. The "Chinese Nushu" Village, which integrates research base and tourism, settled in Jiangyong at the end of 2003.

On May 18, 2001, the Chinese Nüshu Culture Rescue Project Symposium and the National Nüshu Academic Symposium held at South Central University for Nationalities proposed the "Chinese Nüshu Culture Rescue Project."

On September 20, 2004, Yang Huanyi, the last old man who wrote Nüshu, passed away. The origin of culture and nation and the development process of civilization are of great value in various fields such as anthropology, ethnology, sociology, linguistics, philology, folklore, and archaeology.

The state attaches great importance to the protection of intangible cultural heritage. On May 20, 2006, this folk custom was approved by the State Council to be included in the first batch of national intangible cultural heritage lists. Sitting in the singing hall, Nühong, wedding congratulations, and Three Dynasties Scripts etc. illustrate that Nüshu has customary and ceremonial functions. Etiquette is the standardization, stylization and institutionalization of social values. This solidification of etiquette and customs made Nushu culture from the needs of women to the needs of the entire community.

Farming songs, children's songs, etc. illustrate that, as maternal culture, Nüshu has the function of teaching and imparting. The social and historical knowledge, production and life skills, and moral cultivation of the working people at the bottom can only be obtained through word of mouth from their elders, their own experience, and the appreciation of folk literature and art. The rich content of Nüshu works not only sublimates and cultivates women's intelligence. At the same time, knowledge and ethics are also passed down. Gao Yinxian (deceased)

Yi Nianhua (deceased)

Yang Huanyi (deceased)

He Yanxin

He Jinghua

Hu Meiyue

Ouyang Hongyan

Pu Lijuan

Lin Ying (currently He Jinghua, Pu Lijuan and Lin Ying are the natural successors of three generations of Nüshu)

Related movies and songs

"Snowflake and the Secret Fan" is adapted from the English novel of the same name by Chinese-American female writer Lisa Kuang. It tells a poignant emotional story between two women in the late Qing Dynasty and contemporary times. In the modern drama, Nina and Sophie are very good friends. By chance, Sophie heard a story from her aunt. A long time ago in Jiangyong, Hunan, women had to bind their feet and lived almost isolated from the outside world. However, they had a unique communication code with each other: Nushu. Some girls form "old brothers" and write female letters embroidered on fans or handkerchiefs to communicate with each other. They are like a spiritual marriage, and their friendship can last a lifetime. Under the organization of her aunt, Sophie and Nina became "comrades". Time goes back to Jiangyong in 1800. Lily and Xuehua became "comrades" when they were only 7 years old. After experiencing famine and rebellion, they reflected on the matchmaker's words about marriage and the joys and sorrows of motherhood. Find comfort in each other. However, a misunderstanding occurred and their lifelong friendship was threatened by collapse...

Co-produced by Shanghai Film Group and Fox Searchlight, etc., Wendi Deng, the wife of media tycoon Rupert Murdoch, and MGM Chairman Produced by his wife Florence Sloan and directed by the famous Chinese director Wang Ying, the film "The Secret Fan" is scheduled to be released in the summer of 2011. The film has been kept secret until now, and only foreign media have exposed a few stills of Li Bingbing and Jun Ji-hyun in the modern drama.

As a tool for communication between "Lao Tong", "Nvshu" is only written on folding fans and handkerchiefs. It is only circulated among women and is not known to men. It is understood that both Li Bingbing and Jun Ji-hyun have many scenes of writing Nüshu in the film. Because the Nüshu font has a peculiar shape, both of them did a lot of homework and practiced calligraphy all night long before the actual shooting. Li Bingbing revealed that she had practiced for several nights just to write beautiful and delicate Nüshu. "I also like to practice calligraphy, but Nüshu is different from Chinese calligraphy. It is a kind of 'fossil' level writing." , looks a bit like Oracle, it takes a lot of time just to memorize the glyphs. I practiced it all night, and I had to hold it with my hands all the time. Every time I finished practicing, my hands were sore and shaking.” >The "Nüshu" cheongsam designed by college girls won a national patent

On November 15, 2012, five students from Hunan Women's College appeared on campus wearing "Nüshu" cheongsam. According to Zhou Jingjing, the designer of these five sets of cheongsam, the "Nvshu" cheongsam is divided into five different colors: red, yellow, green, blue and purple. There are "Nvshu" of different sizes on the cheongsam, which form a delicate and beautiful combination. pattern. After approval by the State Intellectual Property Office, five pieces of Nüshu cheongsam were awarded design patent certificates. "Nvshu" is a mysterious writing that has appeared in Jiangyong County, Yongzhou City, Hunan Province and its adjacent Dao County and parts of Jianghua in history and is only used among women. It is called "Nvshu" locally. The picture shows the "Nüshu" cheongsam in five different colors being unveiled. On May 20, 2006, this folk custom was approved by the State Council to be included in the first batch of national intangible cultural heritage lists.

"Nvshu" was performed by Tan Dun and the Philadelphia Orchestra. It premiered in Shenzhen on May 29.

The sound interpretation of the ancient culture of southern Hunan

The Philadelphia Orchestra premiered in Shenzhen on May 29, which coincided with the retaliatory rebound of the temperature after the rain, and went with the audience's high emotions. . The road outside the Shenzhen Concert Hall was severely congested due to the large number of spectators driving there. The two parking lots on the ground and underground of the concert hall and a temporary parking lot were full. Many people were forced to go around to the library's underground garage opposite and queue slowly, causing at least hundreds of people to be late. More than half of them missed "Nvshu".

Whether you like it or not, like it or not, "Nvshu: The Mysterious Song of Women" has been included as the top priority of Feijiao's first Shenzhen concert.

This is a new work by Tan Dun, the most creative Chinese composer. He sublimated an ancient and incredible female script in the Jiangyong Mountain area at the junction of Hunan and Guangxi into a cultural phenomenon, and then used epic musical language to create a A large-scale symphony performed entirely by Western instruments. The world premiere performer with whom it collaborated was actually the prestigious Philadelphia Orchestra in the United States.

After playing the national anthems of China and the United States, the young and energetic music director Yannick Nézet-Séguin quickly jumped onto the podium again. To his left, in the soloist's seat, sits harpist Elizabeth Henon. This tall blonde girl wearing a bright red tube top dress, holding an antique amber harp in her arms, is like a dazzling and agile statue. The following music shows that whether it is stage vision or musical composition, she and the harp in her hand are an important symbol that the composer wants to emphasize.

The music starts. With the ethereal portamento of the violin's high register as the background, the harp tinkled, as if an ancient legend was slowly drifting from a distance. The music is avant-garde, modern, and the melody is elusive. But soon the harp leaned into the Chinese tradition, with pentatonic scales and ancient Chinese rhymes ringing in my ears, as well as "strumming" and pizzicato like the guzheng. This sound is accompanied by the singing of the old woman and the crying of the woman, and runs through the entire scene. Sometimes it is beautiful and beautiful, and sometimes it is just a sound element. I can't help but guess that Tan Dun leads the whole work with this plucked instrument that rarely appears in the foreground. Is it because he wants to use grainy and incoherent notes to trace the dots of ink in the ancient women's book? And does the strengthened identity of female performers also hint at the modern inheritance of female culture? After all, Nüshu is the only text in the world that bears a gender imprint and is written and used by women. Perhaps, she is the symbol of "Nvshu"?

This symphony, which is about 50 minutes long, consists of 13 title movements. There are dramatic logical connections between the movements. As always, it uses sound, light and electricity to form a set of three-dimensional spaces. It is intended to pass through multiple movements. A kind of sensory stimulation, stimulating and mobilizing the audience's rich associations. The biggest difference from Tan Dun's previous works is that this work introduces original rural singing, which forms a sharp contrast and interesting blend with the modern music style of the large band. Thanks to Tan Dun's imagination, he used three small screens above the stage to play the original audio and video songs of country ladies and women, and let the conductor lead the orchestra to follow, respond, complement and blend with each other. For this purpose, two small speakers were specially placed in front of the conductor. The ravaged faces of women in southern Hunan, their tearful expressions, their simple and natural singing, their desolation filled with joy, and their loneliness revealed in the noise, form a special cultural appeal. Tan Dun said on Weibo more than a month ago that "Nvshu" caused a sensation when it premiered in the United States. He had previously said that some of Feijiao's musicians shed tears during rehearsals. I believe this. Such a gorgeous work is both novel and touching in itself.

Among the 13 movements, I personally prefer the movements such as "Deep Alley", "Nuer River", "Peiyuan Bridge", and "Living in a Dream". In my opinion, there are many reasons. For example, they are more musical and sparkle with wisdom. Their harmony, orchestration and melody are more pleasing to the ears. They mainly rely on the appeal of the music itself to move people. Of course, there is also the water in the "Daughter River". On the screen, the Nüshu village is surrounded by water, and Tan Dun's unique musical instrument "water" comes into play again. The two American percussionists concentrated on following the rhythm on the score. Their hands moved, slapped, and dripped in the water basin neatly, and the sound of gurgling water and music merged into one.

Tan Dun is smart and strategic. Two years ago, he decided to promote Nüshu's inscription on the UNESCO World Heritage List and conceived and completed the work. It was subsequently commissioned by the Philadelphia Orchestra in the United States, the Concertgebouw Orchestra in the Netherlands, and the NHK Symphony Orchestra in Japan, and was presented at some international art festivals. Using music, the most universal language without borders, we will gradually promote Nüshu culture to the world.

The second half is Tchaikovsky's "Sixth Symphony" (Pathétique), which music fans are eagerly anticipating. This is a free classic that best embodies the "Sound of Philadelphia". If, in "Nüshu", conductor Yannick was still a little reserved (for a considerable amount of time, he could only passively follow the screen), "Chai Liu" instantly brought him into the realm of freedom and freedom. . This shrewd, strong and energetic little man, with his strong control and incitement, brings the tension of Lao Chai's music to the extreme, especially in the third movement. The solo clarinet in the first movement left a deep impression on me. The subtle changes in timbre and precise control of the breath gave this woodwind instrument a breathtaking power.

Perhaps my expectations were a little too high, and I felt a little under-capable of the orchestra’s delicate layers, especially the famous cello unison in the second movement. I couldn’t help but think of Seiji Ozawa conducting Berlin. Fragments of Philharmonic. Comparing the two, I prefer Ozawa's version. Despite this, this "Chai Liu" still gave the Shenzhen audience an addiction to the classics of top bands. During the intermission, several friends from the cultural circles discussed that it was Fei Jiao's first time in Shenzhen and he should perform more such classics. This was people's biggest expectation for it. I believe this idea is quite representative.

The encore was still Lao Chai’s work, and the “Bolonaise” from the opera “Eugene Onegin” was chosen. This is one of the most commonly heard repertoires in concerts. Its lightness and grace are in sharp contrast with "Pathétique", which brings a successful conclusion to the music feast that night.

◎ Gu Xiaojin