The long river of time flows slowly
Many things have gradually faded from people's sight to complete their mission
But there are some more
Original old objects of ancestors
We are right about them
Often turn a blind eye
But they are always together
They have been baptized over thousands of years
It's still timeless
It is as if time and wisdom have condensed
Cultural amber
Written by: One Party / Broadcaster: Han Fang
The spring equinox is a good time to play kites. People write hope into the sky with their dancing kites, and spring becomes more and more colorful. China is the homeland of kites, which have appeared in China more than 2,000 years ago.
Unlike the pottery and bronze artifacts excavated by archaeology, the kites are mostly made of bamboo, silk or paper, so they are not easy to survive. Therefore, there are many opinions about the origin of the kite.
Among them, "wooden kite" is said to be the earliest recorded in history and more agreed with by the academic community. Zheng originated in the pre-Qin Dynasty, and the "Han Feizi Wai chu upper left" records: "Mozi was a wooden kite, formed in three years, and defeated in one day." Meaning, it took Mozi three years to finally make a piece of wood from a wooden board, but it broke in only one day. This wooden kite, made by Mozi, is the earliest kite in China.
The second theory is that zheng originated in the Han Dynasty and was invented by Han Xin. In the Song Dynasty Gao Cheng's "Chronicle of Things, Volume Eight Paper Kites," he said: "Commonly known as the kite, according to ancient and modern traditions, the cloud was written by Han Xin, and Gao Zu's conquest of Chen Fengye, and the letter plot began from it, so he made a paper kite, and put it away, so that the distance of weiyang Palace was so far and near, and he wanted to tunnel into the palace with the ground.
Some scholars believe that the kite was invented during the Southern and Northern Dynasties. The "Zither Notation" says: "This object was first named Paper Kite, and its creation was far away when Emperor Wu of Liang was born." The "Biography of Hou Jing of Nanshi" also records that in the third year of Liang Taiqing, Hou Jing rebelled, and Emperor Jianwen asked for reinforcements.
The last theory is that the kite was invented in five generations. According to the "Qing Barnyard Copy", "The fifth generation of Li Yi made paper kites in the palace, and the lead was multiplied as a play." Later, in the head of the kite, bamboo is used as a flute, so that the bamboo is sounded like a kite, so it is called a kite. ”
Before the Tang Dynasty, kites were mainly used in the military. There are many records in history, such as Han Xin making kites to test the distance of Weiyang Palace, singing Chu songs to disintegrate the enemy army, and Emperor Jianwen of Liang in the Southern Dynasty using kites to transmit messages. At that time, the kite, as a military tool, was huge.
After the Tang and Song dynasties, the production skills of kites were gradually improved, and paper kites and silk kites came into being. The subject matter of kites is also becoming more and more abundant, and various kites that simulate the shape of birds are realistic and vivid. Both the court and the court showed a keen interest in playing kites. According to legend, Emperor Huizong of Song also presided over the compilation of the book "Xuanhe Zheng Spectrum", which recorded in detail the production and decoration techniques of various kites at that time.
The Southern Song Dynasty's meticulous "Past Events of Wulin" recorded the grand situation of the lake kite, "The young man on the bridge, racing to indulge in paper kites, seducing each other, cutting and cutting each other, and taking the line as a negative, although this is a small skill, there are also special explosions to take the wheel to take the line as a play, mostly set up here, until the shadow of the flowers is dark and the bright Watson begins to disperse." After the kite is placed in the air, the kites are intertwined and pulled on each other, and the one who breaks the line first loses. Kite-playing became a competitive activity.
The Ming and Qing dynasties were the heyday of the development of kites on the mainland, and there were considerable advances in the style, production, decoration, and technology of the kites. Many literati and inkers are keen on painting kites, and the famous literary scholar Cao Xueqin wrote a book entitled "The Chronicle of the Examination of the Southern Harrier and the Northern Irises," which details more than 40 kinds of techniques and techniques for the process of tying, pasting, and painting kites, and describes the plot of playing kites in many places in "Dream of the Red Chamber."
The kite has been given more metaphors by people: "Pure as a trust, the end of the white clouds" "The kite is like life, and the rise is not up to people." There is a philosophy of life that is retracted and relaxed, there is joy and excitement after success, and there is also thinking and contemplation after hovering and falling to the ground...
For more than two thousand years, the kite", "all over China, also" to the world. In the world of kites, people look up at the vast and lofty sky, forget the worries of the world, and experience the leisure of "spiritual exchanges with heaven and earth alone."
Reward the | Handmade kite craft
Video Production: Gu Yu
Reward the | kite
Reward the | equinox
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An all-media platform focused on visual communication
In 2015, Gu Yu ventured into the field of traditional handicrafts, creating a traditional handicraft transformation platform integrating communication, design transformation and sales, linking social forces such as design, brand, sales channels, media platforms, and colleges, empowering traditional handicrafts, building an ecosystem for the activation of traditional handicrafts, focusing on the regeneration of traditional handicrafts, and returning them to current life. It lasted 5 years, traveled 120,000 kilometers, traveled to 17 provinces across the country, and photographed more than 500 traditional craftsmen free of charge.
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Creative Participation:
CDS China Designer Salon, China Female Designer Salon WDS, Zhengzhou Graphic Art Design Association, Xi'an Graphic Design Association, Nanjing Graphic Designers Alliance, Wuhan Jiuyi Creation Association, Visual Alliance, Dalian Graphic Designers Association, Heilongjiang Guanwai Design Alliance, Jilin Provincial Graphic Design Association, Shanxi Designers Club outside the city, Hangzhou Designer Salon, Chenzhou Designer Salon, Sino-Korean Designers Association, Taiwan Poster Design Association, Emblem Graphic Designers Alliance, Absolute Guizhou Creative Design Alliance, Inner Mongolia Designer Salon, Zhejiang Sea Graphic Designers Alliance, Parallel Ji Hebei Graphic Design Alliance, Shanghai Designers Club, Suzhou Graphic Designers Association, Fujian Graphic Design Association FGDA-Fuzhou, Fujian Graphic Design Association, Foshan Designers Club, Shanxi Graphic Design Society, Shenyang Creative Design Center, Asia-China-Korea Design Association, Guangzhou Graphic Designers Alliance, Shantou Graphic Design Club, Founder Font Library, Hanyi Font Library, 869 Design School, Dalian Graphic Design Alliance, Fengtian Designer Salon HGDA Hunan Graphic Designers Alliance
Participating Institutions:
Shandong Academy of Arts and Crafts, Lingnan Normal University School of Fine Arts and Design, Shijiazhuang University School of Fine Arts Visual Communication Design, Zhengzhou Institute of Light Industry Easton College of Fine Arts, Inner Mongolia Normal University International Design Art College, South China University of Technology School of Architecture, Xi'an University of Posts and Telecommunications Digital Art College, Jilin Art College, Dalian Polytechnic University School of Art and Design, Northeast Normal University School of Humanities, Shanxi Media College, 869 Dalian Design School, Whale Art Design College, Jiangxi Yichun College, Langfang Normal University, Changzhou Textile and Garment Vocational and Technical College Creative College, School of Architecture, Beijing Jianzhu University
Academic Collaboration:
Peking University School of Archaeology and Archaeology "Source Flow Movement" platform
Supporting Organizations:
School of Visual Communication Design, Shandong Academy of Arts and Crafts, Character Magic Camp, COLORPLAN + Zhengdu Paper, MOOYEE, Mengku Tea, International College of Design and Art of Inner Mongolia Normal University, Corner Tower Library, Modern Paper-cutting Art Research Institute, China Cultural Tourism Product Innovation Industry Alliance, Chenzhou Cultural Tourism Product Innovation R&D Center, HGDA Hunan Graphic Designers Alliance
Support media:
No. 9 Gutian Road, Design Search, Brand Design Research Center, Blank Set, International Art Space, International Packaging Design, Anecdote, Extraordinary Designer Network, Jianhe, Hi Design, Sauce Explosion, Gu Yu, Design Empire, Yixin Yiyi, Design Perspective, Chief Visual Officer, Logo Design Bureau, D9 Design, Pure Design, Brand Design Perspective, Cultural Tourism Product Innovation Center, Design Competition, Design Chen
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