·Editor's Note·
The development of digital information technology has fundamentally changed the library industry. On the basis of the protection and inheritance of paper documents, the implementation of digital resource collections has become a trend. In the field of digitization, the state has given more local public libraries the function of digital preservation and inheritance of cultural resources with local characteristics.
The 8-episode feature film "Kun Tong Shan Xia Hai Ying" came into being in such a policy background, and the main subjects of the shooting were: Pingliang Paper Weaving, Pingliang Paper Cutting, Kun Tong Martial Arts, Kun Tong Joke Talk, Lingtai Huangfu Mo Acupuncture, Lingtai Gong Na, Lingtai Lantern Head Play, Lingtai Puppet Show, Chongxin Mountain Liang Walking Singing, Chongxin County String Cavity, Huating Quzi Opera, Ankou Ceramics Production Technique, Zhuanglang Horsetail Weaving Bag, Nanhu Quzi Opera. It aims to provide materials for further inheritance, research and publicity of cultural heritage through comprehensive, true and systematic recording through digital multimedia means, build a cultural inheritance system, and carry forward excellent traditional culture.
The judges believe that this series of feature films expounds the past and present lives of 13 intangible cultural heritage items from the perspective of culture and history, with a grand narrative, beautiful pictures and excellent production, and systematically introduces 13 intangible cultural heritage items through images, which has strong visibility and knowledge.
From now on, Pingliang City Library will simultaneously display and broadcast 8 episodes of feature films through WeChat public account, video number, B station, website, douyin and Kuaishou to show the wisdom and warmth of the inheritors' fingertip temperature, artists' ingenuity and traditional culture.
Episode 8: "Porcelain Heart Splendid Embroidery"
Throughout the five thousand years of Chinese civilization, two kinds of objects have endured for a long time.
One piece is a gorgeous and colorful embroidery; one piece is a magnificent mountain and river ceramics.
Porcelain, born in China more than 3,000 years ago, with its crystal clear and warm jade characteristics, wanders in all corners of the world, is the artistic crystallization jointly created by countless working people, and is also one of the great contributions made by China to world culture.
In the hilly and gully area of the Loess Plateau in the eastern part of Gansu Province and in the eastern foothills of Longshan Mountain, stands Ankou Town, a thousand-year-old town famous for its ceramics industry. Ankou ceramics began in the Zhou Dynasty, flourished in the Tang and Song Dynasties, especially in the Ming Dynasty known as one of the three major kilns in northern China "Longshang Kiln" and famous in the world, in the history of Chinese ceramics once famous, prominent status. However, with the passage of time, this 3,000-year-old Chinese kiln has undergone several ups and downs, leaving the world with perhaps only these ancient kiln sites and evocative stories in front of them.
Ankou Town, Huating City is a rare coal and clay two high-quality resources in one place of the industrial town of Ankou Town is located in Pingliang City, Huating City, geological exploration shows that in the Jurassic period, clay and coal in this land accompanied, clay covered on the coal seam, known as jurassic Huating Formation. Ceramics production is inseparable from clay and fuel, and Ankou can be said to have taken advantage of it.
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A large number of pottery has been unearthed in the seven Neolithic sites found in Huating so far, indicating that there were traces of human reproduction here as early as the Neolithic period.
Ankou's pottery industry originated at the end of the primitive society, after more than 2,000 years of evolution in the Xia, Shang and Three Dynasties, at the end of the Warring States period and even the Qin and Han Dynasties, ushered in the first rare opportunity for development - the promotion and promotion of imperial sacrifice activities.
The Qin and Han dynasties rose successively in the Guanlong region, and the economy and culture around Longshan were well developed due to their proximity to the core of the dynasty. After Qin Shi Huang unified the Six Kingdoms, he built wuqi in the Longshan area to thank the gods of the five emperors, of which "Shangpi" was sacrificed to the Yellow Emperor and "Xiaqi" was sacrificed to The Yan Emperor.
In 220 BC, Yingzheng Jingjing, who had just achieved unification and hegemony, returned to the Middle Way and personally visited the "Shangpi" and "Xiaqi". Since it was a sacrifice, it required a large number of sacrificial vessels, and Qin Shi Huang and a large number of his entourage all the way to Kurama Lawton, it was impossible to bring all the sacrificial vessels, especially fragile pottery, from the capital. At that time, Ankou's pottery craftsmanship was already becoming more and more mature, so local craftsmen were ordered to burn it on the spot for sacrifice.
Based on this traditional experience, as well as the mining and use of the shallow surface layer of Huating coal from the Warring States period, it undoubtedly facilitated the sacrifice of later emperors. The "Shangpi" and "Xiaqi" sacrifices that lasted until the Western Han Dynasty prompted the transformation of Ankou folk pottery to imitation court pottery, thus forming the first leap in Ankou pottery craftsmanship. On the "Silk Road" opened up in the Western Han Dynasty, Longshan was the first natural barrier for Chang'an to travel west. Huating, located in the eastern foothills of Longshan Mountain, with its unique geographical advantages, makes this world-famous four roads in the transportation network pass through its hinterland or surroundings. Merchants from all over the world passed through Huating or its surrounding areas with famous porcelain purchased by the capital Chang'an, bringing a large amount of cultural information from the Central Plains and various places, thus building a bridge of communication and exchange between Ankou ceramics and famous kiln porcelain in various places. Starting from the Sui and Tang dynasties, the Ankou ceramic industry quickly matured due to the continuous absorption of a large number of advanced technologies in the interior. By the Song and Yuan dynasties, Ankou ceramics had a considerable influence in the country.
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Nowadays, we can only experience the exquisite skills of the ceramic artists more than a thousand years ago through these exquisite porcelain fragments and the ruins of the Song Dynasty pottery kilns found in the 1970s, and feel the artistic fire that has not been extinguished in the ancient kilns for a long time.
The Ming Dynasty was a period of prosperity for the Ankou ceramics industry. As Miyato gradually paid attention to the development of the ceramic industry, Ankou became one of the few bases in the northwest that could produce fine porcelain. According to the Tao Qiao chapter of the "Tiangong Kaiwu", "Where the white earth is chalked, it is used for the exquisite utensils of the pottery family, and there are only five or six places in China, and the north is true Dingzhou and Pingliang Huating." ”
In the second year of Ming Hongwu, that is, in 1369 AD, the general Xu Daxi marched to Huating, and he asked the local Yang Sidao to act as the county affairs, and recruited more than 1,000 people who fled abroad due to war in the early years of the Yuan Dynasty, so that the Ankou ceramic industry was revitalized. By 1564, Zhao Shichun, one of the eight talents of Jiajing, one of the most prominent figures in the history of Pingliang, a local villager, advocated the residents to burn ceramics, excavate coal, and build a pottery temple, personally writing inscriptions.
At this time, Ankou pottery industry, the production of porcelain once as many as 6 categories of 225 varieties, in addition to firing red, yellow, black glazed ceramics, as well as bowls, pots, pots, altars and other miscellaneous parts for the characteristics of the bowl kiln series products, but also fired a well-known blue and white porcelain, to achieve technological innovation, so far, Ankou not only became one of the country's six major pottery soil production areas, but also leapt to become the famous national "Longshang kiln".
Unfortunately, by the end of the Ming Dynasty, Li Zicheng had sent his troops to capture Huating City five times, and the production of ceramics was greatly affected. Under the devastation of the war, the kiln workers and squires who opened the Longshang kiln scattered and fled for their lives, and the brilliant "Longshang Kiln" could not escape this catastrophe after all, and since then it has been in a slump and disappeared into the smoke and dust of history.
Entering the Qing Dynasty, although Ankou porcelain was in production, a large number of skilled craftsmen were lost, and only simple rough porcelain could be produced here, and it was ultimately impossible to achieve the desire to enter the famous Chinese kilns.
By the time of the War of Resistance Against Japan, the Ankou ceramics industry and other industries ushered in another important development opportunity. At that time, many refugees from Henan, Shanxi and other places were exiled to Huating, bringing new technologies and competing with each other, accelerating the pace of development of the ceramic industry. By the end of the Republic of China, it has formed coarse porcelain, pu porcelain, Liuliu porcelain, purple ceramics, and electric porcelain products with local characteristics of Huating, and correspondingly appeared white glaze, porcelain red, porcelain green glaze and painting, grouting and other processes, which has promoted Huating's ceramic industry by a big step, and also laid the foundation for later development.
Soon after the founding of New China, the government accepted and transformed three local private porcelain factories on the basis of the Huating County Xinhua Porcelain Factory, and established the state-owned Huating Xinhua Porcelain Factory, which mainly produced fine porcelain products such as bowls and plates. In the 1990s, Ankou ceramics began to introduce new technologies and new processes, and the ceramic crafts produced were beautiful in shape and colorful, and they could be seen everywhere in ordinary people's homes. Among them, "Dripping Water Guanyin" and "Rebound Pipa" are representative works of this period, especially "Rebound Pipa" also won the Gansu Provincial Arts and Crafts Hundred Flowers Award.
After the condensation of soil and water, the glaze and the fire are perfectly blended and sublimated, the fine nib is gently outlined on the embryo, and the peak circuit on the grain road turns, so that the mediocre soil has a fresh life. When the incense burner rises thousands of wisps of white smoke, when the red fire light burns through half of the sky, a pair of thick or light splashed ink landscape paintings or fish, insects, birds and beasts, immediately have the aura and style, look at the light, you will find as thin as cicada wings, bright as glass, floating like floating clouds on the powerful objects, it seems to hide the infinite scenery of the veil with fog, people will believe that the ingenious work is not a natural gift, but a superb "divine skill".
No matter how rough the external factors are, the hand of the skilled craftsman immediately shows a crystal clear and exquisite posture, which is also the biggest charm of ceramics.
Ankou kiln ceramic inheritors in the purple sand into the unique loess of Huating County, fired into a tea set purple sand pot, this special fusion, so that the production of utensils simple and elegant color, unique shape, easy to use, praised by the local people, of which the best-selling plum blossom wine utensils, pagoda wine utensils, because of its gorgeous lustrous, chic and stylish, and popular throughout the country, become people to visit relatives and friends of the gift of good.
The middle-aged man who is pulling the blank in front of him is the old man's apprentice Huang Jianfu, who also experienced the decline of the Ankou kiln decades ago, when he had a deep respect for the millennium Longshang kiln, from laying hands to the master to independently completing the process of selecting materials, mixing, pulling blanks, shaping, drawing, firing, etc., the ups and downs of the past few decades have made it full of deep feelings for this craft.
With the inheritance and protection of the country's intangible cultural heritage, Ankou ceramic production technology has also been included in the list of intangible cultural heritage of Gansu Province, in the rolling torrent of history, Ankou kiln has completed its special mission, that period of joy or sorrow of the smoke years, finally become an eternal memory, as a local cultural symbol of intangible cultural heritage protection, the meaning and value it carries has been remembered by everyone, ceramic craftsmanship, has also become a beautiful business card of Huating City.
Countless ceramic enthusiasts have left and returned, in the hot soil of Ankou, continue the dream of ceramics, in their hearts, ceramics, not only the beautiful vision of regional development, but also the original heart and inheritance, tough soil, colorful glaze, flowing kiln fire, gradually become freewheeling, very artistic.
In the Huating City Museum, there is a special exhibition of Ankou kiln ceramics, where nearly 200 pieces of civilian, technological and industrial fine ceramics from the Song Dynasty and the Jin Dynasty to the early days of reform and opening up have been selected, reproducing a more complete and systematic history of the development of Ankou kiln ceramics for people.
Looking at the colorful and unique art treasures through the glass cabinet, we seem to step through the yellow sand of the golden iron horse, see the distant ancestors practicing in the firelight, sublimating in wisdom, condensing into rare treasures with sweat and tears, and depicting the historical changes of ancient civilization to us with different feelings.
Ankou ceramics is not only a label of the times, but also a witness to the prosperity of Huating culture from the beginning to the prosperity, which brings us, in addition to the glory of fame, there are also traditional virtues of hard work, bravery, simplicity and kindness, as well as a rich and irreplaceable ceramic culture.
Choose one thing and be loyal for a lifetime. The ingenuity of ceramic people is the perfect overlap of labor and art, the inevitable collision of dreams and reality, and for the handiworkers, it is the aesthetic transformation of pupae into butterflies and nirvana rebirth.
Lotus bag, commonly known in Zhuanglang or "rubbing", "Erya Shiqi" said: "The woman's weft, called 'silk', also known as 'incense'", this multi-colored decoration represents the style of folk handicraft art.
Zhuanglang County, located in the border of the Central Plains, adjacent to Ningxia, unique geographical location, so that Zhuanglang people have the hard work and resentment of the Central Plains people, simple and ordinary, but also absorbed the gorgeous and diverse ethnic minority culture, when the atmosphere of the Yellow River is heroic, integrated into the artistic style of other ethnic groups, it has formed the unique local characteristics of Zhuanglang, the purse, is a bloom in the Zhuanglang folk art flowers.
The pattern of the purse is mixed with Jane, insects, fish, birds and animals, landscapes and flowers, characters or animals, poetry and songs, everything, its decorative mood is strong, very life color, that is, practical and beautiful, but also has artistic value, deeply loved by the people.
The production of purses has different shapes, exquisite forms, beautiful colors, strong decorative and collecting value, from the court generals to the people of the city, the purse, are everyone's favorite small objects.
The Zhuanglang purse clearly bears the legacy of female worship in matriarchal clan society. The skillful Zhuanglang women regard fish, frogs, snakes, and geckos as gods, and during the Dragon Boat Festival, they are made into sachets and hung on the chest, shoulders, and backs of children, praying for the safety of children. The purse is embroidered and sewn with silk, usually simulating the shape of the zodiac, flowers, birds, insects, and daily necessities, hanging colorful ornaments, containing vanilla and lavender, and its fragrance is said to repel snakes and insects.
Among the many types of purses, Zhuanglang horsetail purses can be described as unique.
As the name suggests, the so-called horsetail purse is to put on the outer layer of the ordinary purse, a layer of mesh pattern woven with horsetail hair, so that the purse has strong toughness, firmer and firmer.
Its patterns often use pisces, dragons, and butterflies to symbolize the love and marriage of men and women, lotus flowers, plum blossoms, peonies, chrysanthemums to symbolize women, carp to wear lotuses, magpies to climb plums, butterflies to collect honey metaphors for men, and pine cranes to symbolize longevity, peonies to symbolize wealth, roosters to symbolize auspiciousness, and multi-seeded gourds, pomegranates, and golden melons to symbolize "multi-son wealth". There are also fish and frogs, because of their strong reproductive power, folk sachets symbolize human reproduction with "fish drill lotus" and "lotus birth guizi". Its style is warm and full, peaceful and atmospheric, with a simple and festive atmosphere.
Zhudian Town, Zhuanglang County, generally makes horsetail purses on the eve of the Dragon Boat Festival, and during the festival, women and children wear them, and constantly integrate innovative technologies, so that the purses have been unprecedentedly prosperous.
In the courtyard surrounded by green trees, the autumn corn is filled with the joy of harvest. The heir chen Yixiang carefully fiddled with her ponytail purse.
The production process of horsetail purse is complex, the process is exquisite, the shape is exquisite, the forms are different, and it is interesting and has strong decorative and collectible value. First embroidered the purse, and then put on a ponytail mesh cover for it. Its rigorous process, exquisite craftsmanship, is indeed a folk art wonder on the land of Longyuan.
In the 1990s, ZhuangLang Purse has enjoyed a prestigious reputation and is exported to domestic and foreign countries.
As a long-standing regional culture with strong heritage, Zhuanglang Lotus Bag has attracted more people who love money to join the creative ranks with the advantages of large demand, low cost, flexibility and convenience, and has become a good way for traditional women to stay at home and find employment, to achieve personality freedom and economic independence, and has also made a qualitative leap in technology.
In September 2006, The Mawei Lotus Bag in Zhuanglang County was identified as the first batch of intangible cultural heritage protection projects in Gansu Province.
In order to protect and inherit the culture of the purse, Zhuanglang's horsetail purse was designated by the Pingliang Municipal Government as the first batch of tourist souvenirs in the city, and the county set up corresponding institutions, designated projects, key training, and ancient purse culture, and began to go out of the farm yard and go to the outside world.
This small weaving industry, which has achieved success in the palm of the hand, contains the customs and human feelings of a place, and has also led to many similar handicraft industries. Nowadays, under the guidance of the lotus bag culture, Zhuanglang hand-woven products have developed from three categories of horsetail purse, straw weaving and bamboo weaving to wheat straw painting, illuminated paper painting, carpet, paper-cutting, embroidery, embroidery, beading, bamboo weaving, straw weaving, root carving, clay sculpture and other dozens of types of products, which not only enliven local tourism culture, but also spread regional customs in all directions.
The fast-paced life of modern people has made traditional handicrafts lose their original charm, fortunately, there are still some craftsmen who love traditional culture and are obsessed with folk crafts, adhere to their original intentions, inherit classics, and work hard at the Xiongguan Mandao, so that more and more modern people can relive the mystery and romance of primitive culture.
The ancient crushed soil turned into mud, still stirring the clear stream; the sonorous sound of tamping still echoed on the empty longtian.
Colorful and colorful purses are still ringing in time; a needle and a thread of delicate prayers are still the truest desires of Longshang people.
Time has passed, and the skills of the past to make a living have become a rich and refined cultural heritage. Through the long river of history and across the Loess Plateau, the porcelain heart wisdom and splendid flowers written by Pingliang people are still endless.
Source: Municipal Library
Editor: Information and Statistics Section, Municipal Bureau of Culture and Tourism
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