我國(guó)非物質(zhì)文化遺產(chǎn)叢書介紹中英文對(duì)照

./"中國(guó)非物質(zhì)文化遺產(chǎn)叢書"重點(diǎn)品種內(nèi)容簡(jiǎn)介《中國(guó)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(guó)教科文組織評(píng)審公布的和列入中國(guó)政府評(píng)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(zhǎng)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(shí)按照聯(lián)合國(guó)教科文組織的申報(bào)慣例,也簡(jiǎn)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(guó)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(duì)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(bào)工作,將起到很大的鼓勵(lì)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?jī)?cè)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(duì)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(huì)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(píng)。本叢書由中國(guó)藝術(shù)研究院組織院內(nèi)外專家學(xué)者撰寫,中國(guó)藝術(shù)研究院院長(zhǎng)王文章〔現(xiàn)任中國(guó)文化部副部長(zhǎng)研究員擔(dān)任主編。作者均為學(xué)術(shù)造詣深厚、對(duì)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(duì)可靠的權(quán)威性。文化部長(zhǎng)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(bào)與保護(hù)工作以及編撰這套叢書的重大意義。中國(guó)有非常豐富的人類非物質(zhì)文化遺產(chǎn),隨著中國(guó)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(guó)各級(jí)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(guó)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(guó)教科文組織保護(hù)非物質(zhì)文化遺產(chǎn)政府間委員會(huì)第四次會(huì)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(gè)項(xiàng)目,其中包括中國(guó)申報(bào)的22個(gè)項(xiàng)目。列入名錄的22個(gè)中國(guó)項(xiàng)目是：中國(guó)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(yíng)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(zhǎng)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(dòng)兵器,格斗起舞,表演自己喜歡的古代戰(zhàn)爭(zhēng)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(gè)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(zhǎng)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(guó)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(guó)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(jià)值和民俗文化價(jià)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(gè)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(shí)面具也擁有它自身獨(dú)特的藝術(shù)價(jià)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(guó)、意大利、西班牙、葡萄牙等國(guó)演出過,獲得了"中國(guó)戲劇藝術(shù)瑰寶"的美譽(yù)。本書包含了六個(gè)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(jià)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(gè)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(guó)家級(jí)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(zhǎng),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(huì)生活的藝術(shù)再現(xiàn),更是巴蜀民俗風(fēng)情的生動(dòng)寫照,因而川劇具有多方面的保護(hù)價(jià)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(duì)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(gè)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(shí)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(guó)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(shí)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(gè)國(guó)家和地區(qū)。德化瓷作為古代中國(guó)南方外銷瓷生產(chǎn)的大窯場(chǎng)之一,在古代中國(guó)與世界各國(guó)的文化互動(dòng)中起到過很大的作用。2006年"德化瓷燒制工藝"被國(guó)務(wù)院公布為第一批國(guó)家級(jí)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(jià)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(guó)皮影戲作為一種民間藝術(shù),擁有悠久的歷史,曾在中國(guó)29個(gè)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(gè)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(shí),會(huì)加入樂器的演奏和戲劇的唱腔。據(jù)說中國(guó)的皮影戲是世界電影最早的雛形,同時(shí)也是現(xiàn)代電影的基礎(chǔ)。毫無疑問關(guān)中皮影是中國(guó)皮影的代表。關(guān)中皮影流行于XX、XX地區(qū),經(jīng)常在廟會(huì)、婚禮、生日、葬禮等場(chǎng)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(shí)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(guó)歷史故事和神話故事,因而皮影戲是非常熱鬧的,一開場(chǎng)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(guó)文化的一部分,深受國(guó)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(guó)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(jiǎn)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(huì)活動(dòng)的風(fēng)俗音樂,有的是長(zhǎng)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(duì)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(zhǎng)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