我國非物質(zhì)文化遺產(chǎn)叢書介紹中英文對照

./"中國非物質(zhì)文化遺產(chǎn)叢書"重點(diǎn)品種內(nèi)容簡介《中國口頭和非物質(zhì)文化遺產(chǎn)叢書》由XX人民出版社出版。叢書目前已經(jīng)出版和即將出版的有32種,還有一些品種列入出版選題,計(jì)劃出版50至100種。其中包括已經(jīng)獲得聯(lián)合國教科文組織評審公布的和列入中國政府評審公布的人類口頭與非物質(zhì)文化遺產(chǎn)代表作,如太極拳、昆曲、古琴藝術(shù),以及新疆木卡姆、年畫、少林功夫、熱貢藝術(shù)、藏戲、南音、客家山歌、泰山石敢當(dāng)、蒙古長調(diào)、涼山畢摩、銅鼓文化、關(guān)中皮影、XX提線木偶戲、XX地戲、云錦、川劇等。叢書介紹了各種文化遺產(chǎn)的形成衍變、基本面貌、表現(xiàn)形態(tài)、美學(xué)或工藝上的主要特點(diǎn)、目前有代表性的主要傳人,同時按照聯(lián)合國教科文組織的申報慣例,也簡要介紹了當(dāng)?shù)卣疄楸Ｗo(hù)這一文化遺產(chǎn)所做的工作和未來的計(jì)劃。這是目前國內(nèi)第一套專門介紹非物質(zhì)文化遺產(chǎn)的叢書,它的正式出版,對于目前正在開展的非物質(zhì)文化遺產(chǎn)保護(hù)與遺產(chǎn)代表作申報工作,將起到很大的鼓勵與促進(jìn)作用。叢書16開異形開本,全彩印刷,設(shè)計(jì)精美,具有極強(qiáng)的視覺沖擊力。叢書的每冊均包括數(shù)百幅圖片,與文字混排,與目前坊間常見的圖多文少的圖文書相比,叢書對文字部分的要求更高。非物質(zhì)文化遺產(chǎn)代表作的認(rèn)定與保護(hù)是一項(xiàng)學(xué)術(shù)性、政策性很強(qiáng)的工作,相關(guān)材料都經(jīng)過專家學(xué)者精心推敲,保證了叢書以高質(zhì)量的面貌呈現(xiàn)在世人面前。因此,叢書一問世就引起社會強(qiáng)烈反響,深為業(yè)內(nèi)外人士所矚目,也引起了海外出版界的關(guān)注。在法蘭克福書展上,來自世界各地,特別是歐美的出版社紛紛前來洽談翻譯合作項(xiàng)目；2007年,與俄羅斯科學(xué)出版集團(tuán)合作出版的俄文版《少林功夫》在莫斯科書展上首發(fā),受到俄羅斯梅德韋杰夫總統(tǒng)的關(guān)注和好評。本叢書由中國藝術(shù)研究院組織院內(nèi)外專家學(xué)者撰寫,中國藝術(shù)研究院院長王文章〔現(xiàn)任中國文化部副部長研究員擔(dān)任主編。作者均為學(xué)術(shù)造詣深厚、對非物質(zhì)文化遺產(chǎn)項(xiàng)目有深入研究的專家學(xué)者,叢書具有絕對可靠的權(quán)威性。文化部長孫家正專門為叢書撰寫了總序,闡述了非物質(zhì)文化遺產(chǎn)申報與保護(hù)工作以及編撰這套叢書的重大意義。中國有非常豐富的人類非物質(zhì)文化遺產(chǎn),隨著中國經(jīng)濟(jì)和建設(shè)的發(fā)展,大量的非物質(zhì)文化遺產(chǎn)面臨消失。所以,近年來中國各級政府整理和保護(hù)非物質(zhì)文化遺產(chǎn)的力度也在迅速加大,經(jīng)中國政府公布的非物質(zhì)文化遺產(chǎn)已經(jīng)達(dá)500多項(xiàng)。2009年9月,聯(lián)合國教科文組織保護(hù)非物質(zhì)文化遺產(chǎn)政府間委員會第四次會議30日在阿布扎比審議并批準(zhǔn)了列入《人類非物質(zhì)文化遺產(chǎn)代表作名錄》的76個項(xiàng)目,其中包括中國申報的22個項(xiàng)目。列入名錄的22個中國項(xiàng)目是：中國蠶桑絲織技藝、XX南音、XX云錦、XX宣紙、XX侗族大歌、XX粵劇、《格薩爾》史詩、XX龍泉青瓷、XX熱貢藝術(shù)、藏戲、新疆《瑪納斯》、蒙古族呼麥、XX花兒、XX鼓樂、朝鮮族農(nóng)樂舞、書法、篆刻、剪紙、雕版印刷、傳統(tǒng)木結(jié)構(gòu)營造技藝、端午節(jié)、媽祖信俗。這些項(xiàng)目大部分已經(jīng)出版或已列入我們這套叢書的選題計(jì)劃。PublishedbyZhejiangPeople’sPublishingHouse,theseriesofHumanOralandImmaterialCulturalHeritageareprintedandwillbeprintedinto32varieties.Therearesomeothertopicsarestillinselecting,andtheseriesisplannedtopublish50to100varieties,whichincludethosehavebeenacceptedbytheUNESCOandtheChinesegovernment,suchasTaijiquan,Kunquopera,Guqinart,andMaqam,ChineseNewYearpaintings,ShaolinKongfu,artofRegong,Tibetanopera,Nanyin,Hakkafolksongs,TaishanStoneGod,MongoliaChangdiao,LiangshanBimo,Bronze&Drumculture,Guanzhongshadowplay,Quanzhoupuppets,Sichuanoperaandsoon.Theseriesofbooksintroducetheformation,evolution,basicappearance,performance,featuresinaestheticsandcrafts,aswellastherepresentativeheritorofvarietiesofcultureheritages.Meanwhile,accordingtothepracticeofUNESCO,thebooksalsogiveabriefintroductionoftheworkandplanthatthelocalgovernmentdidtoprotecttheculturalheritage.ThisseriesofbookstakestheleadinChinatointroduceChina’sOralandimmaterialheritage.Itsofficialpublicationplaysasignificantroleintheencouragementandpromotionoftheongoingapplication.Theseriesincludinghundredsofpictureswiththetextsare16KFolio,full-colorprinting,beautifullydesignedwithastrongvisualimpact.Comparedwiththegraphicbooksinthemarkets,theserieshasafarhigherdemandonthetext.Theprotectionandidentificationoftherepresentativeworksofimmaterialculturalheritageisanacademic,policy-strongjob.Therelatedmaterialwasstudiedbyexpertssoastoensurethehigh-qualityoftheseries.Thus,theseriesarousedastrongreactionintheindustryanddrawattentionoftheoverseaspublishingindustry.IntheFrankfurtBookFair,publishinghousesfromaroundtheworld,especiallypublishersfromEuropeandUnitedStatescametodiscusstheprojectoftranslationandcooperation.In2007,withthecooperationoftheRussianSciencePublishingGroup,theRussianversionShaolinKongfuwasfirstpublishedinMoscowBookFair,whichattractedtheconcernandpraiseofDmitriMedvedev,theRussianPresident.TheserieswaswrittenbyexpertsandscholarsorganizedbyChineseAcademyofArts,andWangWenzhang,thepresidentofChineseAcademyofArtisthechiefeditor,whoisthecurrentviceministerofCulture.Theauthorsoftheseriesallhavedeepstudyandscientificattainmentsinimmaterialculturalheritage,whichensurestheauthorityoftheseries.TheministerofCultureSunJiazhengwrotethegeneralprefacefortheseries,expoundedthedeclarationandprotectionofimmaterialculturalheritageaswellasthesignificanceoftheseries.TherearerichimmaterialculturalheritageofmankindinChina.WhilewiththedevelopmentofChina’seconomicsandconstruction,alargenumberofimmaterialculturalheritagearefacingthedangerofvanishing.Soinrecentyears,Chinesegovernmentsatalllevelsenhancetheprotection.Theimmaterialculturalheritageannouncedbythegovernmenthasalreadyreachedmorethan500.On30thSeptember2009,thefourthmeetingoftheIntergovernmentalCommitteefortheprotectionoftheimmaterialculturalheritageofUNESCOconsideredandapproved76projectsinAbuDhabi,including22projectsofChina:China’smulberrysilkart,FujianNanyin,Nanjingbrocade,AnhuiXuanpaper,TheDongChorus,Guangdongopera,GesarEpic,ZhejiangLongquanceladon,QinghaiRegongArt,Tibetanopera,XinjiangManas,theMongolianHumai,GansuHuaer,Xi'andrummusic,farmingdancingofChaoxiannationality,calligraphy,sealcutting,papercutting,engravingprinting,thetraditionalwoodenstructureskill,DragonBoatingFestival,MazuFolklore.Mostoftheseprojectshavebeenpublishedorincludedinourtopicsofthisprogram.目錄AnshunLocalDramaXX地戲4TibetanOpera藏戲6SichuanOpera川劇7Te-huaPorcelain德化瓷9Guanzhongshadowplay關(guān)中皮影12Sizhu-TraditionalStringedandWoodwindInstrumentsinSouthChina江南絲竹13hakkafolksong客家山歌15Kunqu昆曲16Muqam木卡姆17ChineseNewYearpaintings年畫18Taishanshi-gan-dang泰山石敢當(dāng)20CultureofBronzeDrum銅鼓文化21YunJin<cloud-likebrocade>云錦23CraftsmanshipofZisha<PurpleClay>紫砂工藝24Nanyin南音26Guqin古琴28Taijiquan太極拳30ShaolinKongfu少林功夫33Cai’sLacquerEngravings蔡氏漆線雕34MongolianLong-TuneSinging蒙古長調(diào)37QuanzhouPuppetsXX提線木偶戲38TheArtofRegong熱貢藝術(shù)40Zhengziopera正字戲42DongMinorityBigSong侗族大歌43AnshunLocalDrama〔XX地戲ContentsPrefaceChapter1TunbaoAnshunandTunbaoPeopleSection1GeneralSituationandHistoryofAnshunSection2Tunbao,TunMilitaryandTunLandSection3TunbaoPeopleandLocalCultureChapter2OriginofAnshunLocalDramaSection1EvolutionofNuoSection2NuodramainSouthChinaandAnshunLocalDramaSection3AnshunLocalDramaFeaturingYiYangTuneSection4AnshunLocalDramaandYiYangTheatricalTroupeChapter3DistributionandStyleofAnshunLocalDramaSection1DistributionSection2OrganizationSection3DressesandPropsSection4Time,PlaceaboutPerformingSection5VocalTune,GongsandDrumsSection6PerformingRoutinesandFormationSection7PlaysandFeatureSection8FeatureofmasksandSculpturalArtistsSection9ProceduresofPerformanceSection10EasternStyleandWesternStyleChapter4SacrificialRitualsinPerformanceSection1UnpackingSection2VisitingtheTempleSection3OpeningSection4EndingSection5PackingSection6Openthe"WealthDoor"Chapter5RegulationsforPerformanceoutsidetheVillageSection1SendingoutanInvitationCardSection2PickinganAuspiciousDaySection3TakingaLeaveSection4ReceptionSection5OfficialPlaysSection6CleaningSection7ReturningtotheVillageChapter6FunctionsandValueofAnshunLocalDramaSection1AnshunLocalDramaandTunbaopeople’sFamily-centerednessSection2AnshunLocalDramaandTunbaopeople’sReligiousConsciousnessSection3WorshiptoGuanYuandTunbaopeople’sLoyalConceptSection4ValueChapter7Inheritors,CurrentSituationandCountermeasuresSection1InheritorsofAnshunLocalDramaSection2CurrentSituationandCountermeasuresChapter8ExtractScriptsfromClassicPlaysSection1BaiBiGuanfromFourHorsestoTangSection2ThreeDaughterstoSongfromGotoEastSideofRiverforThreeTimesReferencesPostscriptXX地戲,俗稱"跳神",是流行于XX省XX市的地方戲。春節(jié)期間,在村前寨后,田間地頭,地戲演員們額頂面具,面蒙青紗,背扎靠旗,在高亢的唱腔和鑼鼓聲中揮動兵器,格斗起舞,表演自己喜歡的古代戰(zhàn)爭故事。地戲是屯堡人鐘愛的一種充滿人性和神性的古樸、原始的民間戲劇,是一個打造在屯堡人精神文化生活主體上的美麗烙印。在斗轉(zhuǎn)星移的漫長六百年中,它為豐富農(nóng)村文化,支撐屯堡人離鄉(xiāng)背井的懷舊心態(tài)和尋求生存的精神依托上起過積極的作用。而今天,地戲卻以民間藝術(shù)頑強(qiáng)的藝術(shù)內(nèi)聚力和板結(jié)性,為中國戲劇發(fā)展史提供了尋徑探幽的活材料,因而被譽(yù)為"中國戲劇活化石"。本書介紹了XX地戲的源流、風(fēng)格特征、表演中的祭祀儀式及赴外村演出的全套規(guī)儀,將地戲的精神價值和民俗文化價值展露無遺。大量原材料和圖片的引用,也將XX地戲的特殊性和文化性展示得栩栩如生,引人入勝。Anshunlocaldrama,alsoknownasTiaoshen<dancingtothegod>,ispopularinAnshun,AnhuiProvince.InChinesespringfestival,youcanseeplayersofAnshunlocaldramawearingmasksandmuslins,fighting,dancing,wavingweapons,performingtheirfavoriteancientwarstoriesinthehigh-pitchedsinginganddrummusiceverywhereinthelocalvillage.Anshunlocaldramaisakindoffolkprimitiveperformancefullofhumanityandworshipforgod,exertinggreatimpactonthespiritualaspectsofthelocalpeople.Duringthepast600years,ithasplayedasignificantroleinenrichingpeople'slifeandcomfortingandsupportingthelocalpeoplespiritually.Today,Theauthorexplainedtheorigin,style,characteristicsandperformanceonsacrificingceremoniesofAnshunlocaldrama,fullydemonstratingitsspiritualandculturalvalues.Abundantrawmaterialsincludingpictures,historicalrecordings,etcalsorendertheuniquenessandculturalcharacteristicsofthedramasvividly.TibetanOpera〔藏戲ContentsChapter1LongHistoryofTibetanOperaSection1OriginofTibetanCultureSection2FormationofTibetanOperaSection3MatureDevelopmentSection4TypesandSchoolsofTibetanOperaChapter2CulturalManifestationofTibetanOperaSection1SingingmusicSection2PerformingArtSection3CultureofFestivalCustomsandDisseminationofTibetanOperaChapter3ArtisticCharacteristicofTibetanOperaSection1MagicalandMagnificentMaskArtSection2EthicCustomsandMake-upSection3Drum,CymbalsandotherInstrumentandTroupesChapter4PlaysandtheirHumanValueSection1TypicalImagesSetbyRealismSection2LingeringCharmofRomanceSection3StyleMixedwithTragedyandComedySection4DelicateandUniqueLanguageSection5IdeologicalSourcesofTibetanOperaPlaysChapter5ArtistsandTalentsofTibetanOperaSection1FounderofTibetanOperaSection2OutstandingReformistsduringtheDevelopmentofTibetanOperaSection3ProfessionalSuccessorsofTibetanOperaSection4OtherActivistsofTibetanOperaChapter6Influence,ResearchandProtectionofTibetanOperaSection1InfluenceatHomeandAbroadSection2ResearchandActivitiesonTibetanOperaSection3PromotionandProtectionbyGovernmentsatAllLevelAppendixPostscript藏戲的產(chǎn)生早于京劇,至今已有六百多年的歷史。藏戲不僅僅流行于XX地區(qū),而且同樣為居住在XX、XX、XX、XX的藏族人所喜愛。據(jù)說藏戲源于"跳神"這種講述神鬼故事的宗教舞蹈。作為藏族節(jié)日的一個部分,藏戲經(jīng)常在雪頓節(jié)、藏歷新年、望果節(jié)演出。因而,大團(tuán)圓、雅俗共賞是藏戲的特點(diǎn)。鑒于藏戲悠久的歷史,至今仍戴著面具演出使其變得非常奇特,同時面具也擁有它自身獨(dú)特的藝術(shù)價值。這些奇特的面具是用來塑造人物形象,表現(xiàn)人物性格的。藏戲已經(jīng)在日本、美國、意大利、西班牙、葡萄牙等國演出過,獲得了"中國戲劇藝術(shù)瑰寶"的美譽(yù)。本書包含了六個部分的內(nèi)容,主要介紹了藏戲的歷史、文化表現(xiàn)、藝術(shù)特色、人文價值、藏戲表演藝術(shù)家、藏戲的影響及保護(hù),全面展現(xiàn)了藏戲的風(fēng)貌。TibetanOperahasover600-year-history.ThatislongerthanthehistoryofPekingOpera.TibetanOperaisnotjustpopularinTibetbutalsoinGansu,Qinghai,Sichuan,YunnanprovinceswherepeoplespeakTibetan.TibetanOpera,akindofdanceusedtoexpressstoriesofGodsandghosts,wasoriginatedfromTiaoshen.AsanimportantpartofTibetanfestivals,TibetanOperaisoftenperformedduringtheShotonFestival,TibetanNewYearandtheOngkorFestival.Itcouldsuitbothrefinedandpopulartasteswithahappyending.Traditionsofwearingmasksarestilladoptedtoday,addingmysteryanduniquenessinartvaluetoTibetanOpera.Thesemasksareusedtocreateartimagesandrepresentindividualityamongpeople.TibetanOperahasbeenplayedinJapan,America,Italy,SpainandPortugal,earningthereputationastreasureofChineseOperas.ThisbookcoverssixaspectsofTibetanOpera,namely,history,culturalmanifestation,artisticcharacteristic,humanvalue,artists,influenceandprotectionwork,renderingreadersagoodviewofTibetanOpera.SichuanOpera〔川劇ContentsPrefaceChapter1AnExoticFlowerinOperaticFieldSection1GeologicalConditionsandEnvironmentSection2HistoryandSpreadingregionsSection3Open-structureandArtisticFeaturesSection4CulturalImplicationandValueofProtectionChapter2HistoricalEvolutionSection1BashuOperaduringTangandYuanDynastiesSection2HuguangintoSichuanandVariousVocalTunesintoSichuanSection3LocalizationoftheHighVocalTuneandFormationofSichuanOperaSection4OperaReformationandRiseofFashionOperaChapter3StageandTroupeSection1TempleStageSection2PlayParkSection3FamousTroupesSection4TheatricalTroupesandOrganizationinNewChinaChapter4FeaturesofPlaysSection1MultisourceofPerformingSystemSection2AhistoricalPictureFoldingfromthePasttoPresentSection3LocalFlavorSection4HumorousLanguageSkillsSection5UniqueArtofComedySection6StyleSuitingbothRefinedandPopularTastesChapter5CreatorsandtheirWorksSection1CreatorsduringlateQingDynastyandtheRepublicofChinaSection2CreatorsduringtheEarlyPeriodsofNewChinaSection3FamousCreatorsduringReformandOpeningPeriodsChapter6PerformingArtsSection1CompleteandMatureCharacterSection2EnrichedandSystematicPerformingRuntimesSection3FancyTechniqueofExpressionSection4DedicatedPerformanceSkillsChapter7ArtistsandFamousPlaysSection1ArtistsandFamousPlaysduringQingDynastySection2ArtistsandFamousPlaysduringtheRepublicofChinaSection3ArtistsandFamousPlaysintheEarlyPeriodsofNewChinaSection4ArtistsandFamousPlaysduringReformandOpeningPeriodsChapter8SingingTunesSection1FiveSingingTunesonOneStageSection2MusicandOperaofKunTuneinSichuanOperaSection3HighTuneinSichuanOperaSection4UrheeninSichuanOperaSection5TanxiinSichuanOperaSection6DengdiaoinSichuanOperaSection7So-nainSichuanOperaSection8GongandDruminSichuanOperaChapter9StageArtsSection1FormationandOpennessSection2ImplicationandDecorationofFacialMakeupSection3ConsistencyandOriginalityoftheclothesSection4SymbolismsandPolysemySection5CharacterImagesSection6ModernDevelopmentofSichuanOperaChapter10ContemporaryDevelopmentSection1CreationandGoldenPeriodofSichuanOperaSection2PromotingSichuanOperaandExploringModernizationSection3ListedamongtheNationalNonmaterialCulturalHeritageSection4BrightProspectBroughtbyExpandedMarketPostscript大約在清代的康雍年間,一個以高腔為標(biāo)志性聲腔的地方劇種,隨著XX人口和文化結(jié)構(gòu)的變化,在巴蜀大地上應(yīng)用而生,并逐步融昆腔、胡琴、彈戲及燈調(diào)于一體,覆蓋XX、XX全境及XX、XX、XX部分地區(qū)。這種劇種,就是被列為國家級非物質(zhì)文化遺產(chǎn)的川劇。數(shù)百年間,這一劇種承中華戲曲之傳統(tǒng),融巴蜀藝術(shù)之精華,自成一格,以南北一體、五腔兼?zhèn)?、文野交融、雅俗共賞的文化特征,在戲曲史上被譽(yù)為集戲曲文化之大成的地方劇種,成為中華梨園中一枝別具異彩的藝術(shù)奇葩。川劇源遠(yuǎn)流長,海納百川,傳統(tǒng)深厚,具有豐富而深邃的文化意蘊(yùn)。她不僅是傳統(tǒng)文化思想的傳承載體,而且是歷代社會生活的藝術(shù)再現(xiàn),更是巴蜀民俗風(fēng)情的生動寫照,因而川劇具有多方面的保護(hù)價值。本書作者不僅從歷史角度考察了川劇的流變,而且從藝術(shù)角度對川劇藝術(shù)做了多方面的解讀。WiththetransformationofSichuanpopulationandculturalstructure,alocaloperafeaturinghightunecameintobeinginSichuanProvinceduringtheregimeofKangxiandQianlongemperorsinQingDynasty.ThislocaloperaincludingKuntune,urheen,TanxiandDengdiaograduallygainedpopularitythroughoutSichuan,Chongqing,Yunnan,GuizhouandHubeiprovinces.ThislocaloperaisSichuanopera,whichislistedamongnationalnonmaterialculturalheritage.Duringthepasthundredsofyears,SichuanoperaembracedChineseoperatraditionandtheessenceofBashuarts.Sichuanoperacontainsbothcrudenessandrefinement,suitingbothrefinedandpopulartastes,andisnotedforitsfusionofsouthandnorthstylesaswellasembracementoffivesingingtunes.SichuanoperahasabsorbedthegreatachievementsofotheroperasandbecameanoutstandingandextraordinarytreasureofChineseoperas.Sichuanoperahasarichandprofoundculturalimplicationwithitslonghistoryandinclusivedevelopment.ItnotonlyconveysChineseculture,butalsoreproducessociallifeandfolkcustomsofancestors.Asaconsequence,SichuanoperaisworthTheauthorintroducesthereformationofSichuanoperafromtheviewofhistoryanddescribesartsofSichuanoperafromdiverseaspects.Te-huaPorcelain〔德化瓷ContentsPrefaceChapter1CeramicCapitalforThousandYears-originofTe-huaPorcelainSection1TheGeneralSituationonResourcesSection2HistoricalOriginSection3TheOriginofTe-huaPorcelainSection4ArcheologyandResearchChapter2TheProductionTechniquesofTe-huaPorcelainSection1ThePorcelainClaySection2ManufacturingClaySection3FormingObjectsSection4ConstructingGlazeSection5DecorationChapter3TheCeramicFiringTechniqueofTe-huaPorcelainSection1FurnaceSection2PuttingPorcelainintotheFurnaceSection3KilningSection4ComingouttheFurnaceandSelectingPorcelainsSection5PackingChapter4TheDisseminationofTe-huaPorcelainCultureSection1TheBackgroundofExportSection2TheExportandCulturalInteractionofTe-huaPorcelainduringSongandYuanDynastiesSection3ASurprisetotheWSection4Te-huaPorcelaininHomeMarketSection5TermsofTradeSection6TypesofConveyanceChapter5AppreciationofTe-huaPorcelainSection1SortofPorcelainsSection2CharacterofTimesSection3ArtisticAppreciationSection4KeyPointsofAppreciationChapter6FolkTraditionofTe-huaPorcelainCultureSection1TheKilnGodandtheLordofKilnSection2WorshipoftheKilnGodSection3TheCeremonyofLightingaFireSection4ThePositionforSalutingSection5FolktaleSection6PoetrySection7ProverbandVulgarismSection8PorcelainFestivalSection9WritingsofTe-huaPorcelainChapter7CultureHandeddownfromOneGenerationtoOneGenerationSection1HandeddownfromtheOlderGenerationsoftheFamilySection2TheSuccessionofTeachingfromaMastertoHisDisciplesSection3SchoolEducationSection4TransmissionSection5SchoolsofSculptureSection6HistoricalFiguresChapter8TheHistoricalSitesofTe-huaPorcelainSection1KilnSitesSection2ArtifactsSection3Te-huaPorcelainintheAncientShipwrecksSection4CollectiblesChapter9TheProtectionandSuccessionSection1TheFormingofPillarIndustrySection2NewGenerationofPorcelainMakerisThrivingSection3InheritorsSection4TheProtectionbyGovernmentSection5CarryingouttheProtectionSection6TheContentsandAimsofFive-yearPlanningProgramSection7UrbanConstructionandtheProtectionofIntangibleCulturalHeritageBibliographyPostscript德化位于XX省中部,是XX市西南部的一個山區(qū)小縣。這里豐茂的山林和質(zhì)地優(yōu)良的瓷土礦藏造就了享譽(yù)世界的德化瓷。據(jù)民間傳說德化瓷于宋朝開始燒制。近年來考古發(fā)現(xiàn),德化窯始燒年代為商周時期。德化瓷以燒制白釉瓷器聞名于世,白瓷潔白如玉,透光度好,釉面晶瑩光亮,被譽(yù)為"中國白"。唐代之前,德化陶瓷以生產(chǎn)日用器具為主,產(chǎn)品供本地民眾日常所需。宋元時期,憑借XX港日益興盛的海外貿(mào)易,德化瓷開始大量銷往"海上絲綢之路"沿途各個國家和地區(qū)。德化瓷作為古代中國南方外銷瓷生產(chǎn)的大窯場之一,在古代中國與世界各國的文化互動中起到過很大的作用。2006年"德化瓷燒制工藝"被國務(wù)院公布為第一批國家級非物質(zhì)文化遺產(chǎn)。本書主要講解了德化瓷制作工藝、德化瓷藝術(shù)鑒賞、德化瓷文化的傳播、德化瓷文化的民情風(fēng)俗及德化瓷燒制技藝的傳承與保護(hù),是一本既適合普通閱讀,又具有學(xué)術(shù)價值的書。LocatedinthemiddleofFujianprovince,Te-huaisasmallcountyinthesouthwestofQuanzhou.ThelushforestandfinequalityporcelainclaymakeTe-huaporcelainveryfamous.ItissaidthatTe-huaporcelainbeganinSongdynasty,butitwasfoundtobestartedinShangandZhouperiodsbasedonthenewarcheologicalfindings.ThemostfamoustypeofTe-huaporcelainisitsceramicwhiteware.Theceramicwhitewareisaswhiteaspolishedjade,anditsappearanceiscrystal.Ithaswonthegoodreputationas"Chinesewhite".BeforeTangDynasty,Te-huaporcelainwasmainlyforlocalpeopleofeverydayuse.WiththedevelopmentofPortofQuanzhouduringSongandYuanDynasties,Te-huaporcelainstartedtobesoldtothecountriesalongthefamous"MaritimeSilkRoad".AsoneofthelargestexportingkilnsinSouthChina,Te-huaporcelainhadalargesignificanceinculturalinteractionbetweenancientChinaandothercountries.Thisbookmainlyintroducescraftsmanship,artisticappreciation,culturaldissemination,folktradition,protectionandthesuccessionofTe-huaporcelain,suitingforgeneralreadingandacademicstudy.GuanzhongShadowPlay〔關(guān)中皮影ContentsPrefaceChapter1LivingSpaceofGuanzhongShadowPlaySection1Geographical,CulturalEnvironmentandTraditionofFolkCustomOperainGuanzhongSection2OriginandtheStatusQuoofGuanzhongShadowPlayChapter2OperasandVocalTunesofGuanzhongShadowPlaySection1LaoTuneSection2Wan-wanTuneSection3A-gongTSection4Xuan-banTuneSection5Deng-zhan-touwan-wanTuneSection6QinTuneChapter3TheTroupesandOrganizationofGuanzhongShadowPlaySection1TypesofOrganizationSection2TheInheritingFormsSection3TheMainTroupesandthePerformingArtistsChapter4PerformanceofGuanzhongShadowPlaySection1FormsofPerformanceSection2BusinessOperationSection3RoutinesandJargonsSection4InterrelatedCustomsChapter5CulptureArtofGuanzhongShadowPlaySection1ProductionProcessofShadowFiguresSection2RelevantKnowledgeofShadowFiguresSculptureSection3InheritingofSculptureandtheOutstandingArtistsSection4ProductionOperationofShadowFiguresEpiloguePostscript中國皮影戲作為一種民間藝術(shù),擁有悠久的歷史,曾在中國29個省市流行。皮影戲有點(diǎn)像電影,因?yàn)樗残枰聊?、演員。但是皮影戲又有它的獨(dú)特性。皮影所需要的演員是用牛皮制作的皮影人形,這些人形由一個人控制著,并用光將它們反射到幕布上,觀眾坐在另一側(cè)欣賞演出。在這些皮影表演的同時,會加入樂器的演奏和戲劇的唱腔。據(jù)說中國的皮影戲是世界電影最早的雛形,同時也是現(xiàn)代電影的基礎(chǔ)。毫無疑問關(guān)中皮影是中國皮影的代表。關(guān)中皮影流行于XX、XX地區(qū),經(jīng)常在廟會、婚禮、生日、葬禮等場合演出。皮影是用來娛神驅(qū)邪的,人們希望通過皮影戲的演出來獲得神的保佑。盡管皮影戲是演給神看的,實(shí)際上人才是真正享受這種藝術(shù)的。皮影戲一般在農(nóng)閑時節(jié)演出,農(nóng)民在皮影戲的演出中獲得休息與豐收的希望。一般皮影戲的劇目是中國歷史故事和神話故事,因而皮影戲是非常熱鬧的,一開場就能吸引大量觀眾。這些年,皮影人形以其的精致與逼真成為了收藏品。皮影戲與皮影人形都是中國文化的一部分,深受國外人的喜愛。AsaformofFolkart,Chineseshadowplayhasalonghistoryandwasoncepopularin29provinces.Chineseshadowplayissomewhatlikefilmwhichalsoneedsscreen,"actor","actress",butshadowplayhasitsownuniquefeaturethatmakesitdifferentfromfilm.The"actors","actresses"inashadowplayarenotrealpersonsbutfiguresmadeofcowleather.Beingcontrolledbysomeonethesefiguresarereflectedonthescreen.Audienceswatchtheplayontheothersideofthescreen.Whentheplaygoeson,someoneplaystheinstrumentandsomeonesingstheopera.ItissaidthatChineseshadowplayistheearliestformoffilmandisthebasisoftheoriginalfilm.ThereisnodoubtthatGuanzhongshadowplayistheveryrepresentativeofChineseshadowplay.PopularwiththepeopleintheShanxiprovinceandGansuprovince,Guanzhongshadowplayisstillperformedduringthetemplefairs,weddingceremony,birthandfuneralceremonies,etc.Entertaininggodsisthepurposeofshadowplaywhichwillmakegodspleasedwiththepeoplewhopayfortheplayandwillblessthemforpeace,wealth,healthandhappiness.Althoughtheplayisforgods,therealonewhoenjoystheplayisactuallytheaudience.Theplaysareusuallyperformedduringtheslackseason,whilepeasantsareinabreakandwishingfortheharvest.ThecontentoftheplayisusuallyaboutChinesehistoricalstoriesandmyths,sotheshadowplayisverylivelyandoncestarteditwillattractlotsofpeople.Theseyearsshadowfiguresisbecomingakindofdelicateandvividcollection.BothshadowplayandshadowfiguresareapartofChinesecultureandarealsolovedbyforeignersSizhu-TraditionalStringedandWoodwindInstrumentsinSouthChina〔江南絲竹ContentsPrefaceImpressionofSouthernChinaChapter1SizhuandSouthChinaSection1SizhuMusicSection2CulturalSouthChinaSection3AlternativeNamesofSizhuSection4SizhuArtistsSection5OriginsofSizhuChapter2SizhuandRhymesinSouthChinaSection1Multi-sourceTrackintheScoreSection2SizhuandDramaMusicSection3SizhuandDialectMusicSection4SizhuandVariousKindsofMusicSection5SizhuandOtherMusicalInstrumentsChapter3SizhuandStylesinSouthChinaSection1ComplexandSimpleCombinationofInstrumentsSection2FlexibleInstantaneousPerformanceSection3DistinguishedTopEightSongsChapter4SizhuandtheSocietyinSouthChinaSection1TraceofLeisureinBusyStreetLifeSection2BustlinginthePeacefulCountrysideChapter5SizhuandEtiquette&CustomsinSouthChinaSection1FestiveAtmosphereamongtheBustlingSection2SpiritualSolaceamidConfrontationwithLifeandDeathPostscript江南絲竹是指流行于中國XX南部、上海、XX西部一帶的器樂曲。由于樂隊(duì)以絲弦和竹管樂器為主,所以稱為絲竹樂,至少在清代1860年以前已流行于民間。在這些地區(qū)的城市和農(nóng)村都很流行絲竹樂,但風(fēng)格完全不同。城市絲竹樂的風(fēng)格典雅華麗,加花較多,流傳很廣；而農(nóng)村則常用鑼鼓,氣氛熱烈,風(fēng)格簡樸。江南絲竹的最大特點(diǎn)之一,就是演奏風(fēng)格精細(xì),樂曲多來自于民間婚喪喜慶和廟會活動的風(fēng)俗音樂,有的是長期流傳于民間的古典曲牌。其中著名的江南絲竹八大曲顯盡江南秀美柔婉之風(fēng),富有情韻。江南絲竹音樂的產(chǎn)生和延續(xù),對民族音樂史的研究及戲曲、民俗文化、群眾文化的發(fā)展都有重要的作用。江南絲竹是江南水鄉(xiāng)文化杰出的代表之一。本書把江南的風(fēng)俗民情、文化底蘊(yùn)與絲竹的音韻之美、藝術(shù)風(fēng)韻結(jié)合在一起,讓讀者如同置身于煙雨朦朧的江南水鄉(xiāng),聽著悠長深遠(yuǎn)的絲竹樂,細(xì)細(xì)地品味江南特有的風(fēng)情。Sizhu,thetraditionalstringedandwoodwindinstruments,enjoyedagreatpopularityinsouthernJiangsuprovince,ShanghaiandeasternZhejiangprovinceinChina.StylesofSizhumusicvariedinruralareaandurbanarea.ThestyleofSizhumusicintheurbanareawaselegantandgorgeouswhilethatintheruralwassimpleandenthusiastic.Sizhumusicwasnotedforitsexquisiteperformancestyle.Itsmusicmainlyoriginatedfromfolkmusicplayedinthetemplefairperformanceortraditionalactivitiessuchaswedding,funeralceremonies,andsomesongstransformedfromclassicalfolktunes.Withuniquevitality,thefamoustopeightsongsofSizhuvividlyembodiedthetemperateandgentlebeautyofSouthChina.TheSizhumusicisanexcellentrepresentativeofcultureofancienttowninthesouthernYangtzeRiverarea.TheoriginandspreadofSizhumusicinSouthChinacontributesgreatlytotheresearchanddevelopmentofdrama,theatreandfolkcultureTheauthorcombinedthefolkcustoms,culturalbackgroundofSouthChinawiththeartisticbeautyandmusicalcharmofSizhu,renderingidyllicsceneryofwaterytownwithmistyraininSouthChina.OnecanlistentotheexquisiteSizhumusicandinthemeanwhileappreciatetheuniquecharmofSouthChina.HakkaFolkSong〔客家山歌ContentsPrefaceChapter1TheHakkaFolkSongChapter2TypesofHakkaFolkSongChapter3AffectionandtheLoveforHakkasChapter4PoeticWisdomofHakkasChapter5InheritanceofHakkaFolkSongChapter6Outstandin