"Youth has no price, and I rode 52 kilometers at night to set off for soup dumplings, bucket chicken, and almond tea!" Since the beginning of summer, Zhengkai Avenue in the early hours of the morning has also been particularly lively, and the "special forces" college students have launched a new challenge - riding a shared bicycle to Kaifeng to experience what "Tokyo Menghua" is. In fact, whether it is snacks, woodblock New Year paintings, or Bian embroidery, what is popular is not only a "check-in list", but also a "new national trend in intangible cultural heritage".
On July 1st, the interview group of the "New National Tide in Intangible Cultural Heritage" online theme publicity activity walked into the intangible cultural heritage stories behind Zhuxian Town's woodblock New Year paintings, Song Feng Siya, Bian embroidery, and Northern Song Dynasty official porcelain, and felt the elegance of Song Yun.
Print and brush to engrave the cultural memory in the New Year's paintings
At the entrance of Kaifeng Museum, it is like a wooden city gate open to welcome guests, and the gate is also the same as ordinary people's homes, hanging a New Year's painting, Qin Qiong and Wei Chigong, two military generals, "standing" majestically.
The door god painting located in the woodblock New Year painting exhibition hall of the Kaifeng Museum
"Woodblock prints originated from the ancient 'door god paintings', and the themes are mostly based on folk tales, myths and legends, opera characters and heroes and heroes that people love and admire. During the Northern Song Dynasty, the development of economy and technology provided an ideal soil for the birth of Zhuxian Town's woodblock New Year paintings. Cai Ruiyong, director of the research and protection center of Zhu Xianzhen woodblock New Year paintings in Kaifeng Museum and representative inheritor of Zhu Xianzhen woodblock New Year paintings, told reporters that not only in Kaifeng Museum, woodblock New Year paintings can be seen everywhere in the streets and alleys of Kaifeng, in 2006, Zhu Xianzhen woodblock New Year paintings were included in the first batch of "national intangible cultural heritage list".
The production of Zhu Xianzhen's woodblock New Year paintings is divided into three processes: drafting, engraving and printing. In order to make high-quality carvings, craftsmen need to practice day after day, figure out the angle and strength of each knife, and see the effort in the smallest of millimeters. However, Cai Ruiyong always believes that the inheritance of intangible cultural heritage is not only in craftsmanship, but also in creation.
Zhu Xianzhen's woodblock New Year painting "Step by Step"
"In fact, Zhu Xianzhen's woodblock New Year paintings are very close to our lives, and they are an intangible cultural heritage full of life, and they can also be found in the "Qingming Riverside Picture". The common doll holding fish New Year painting every year is Zhu Xianzhen's woodblock New Year's painting, and we are now making a pattern design that is more in line with the aesthetics of modern people around the classic elements and stories in traditional culture. Cai Ruiyong has been committed to bringing this intangible cultural heritage from more than 1,000 years ago into the public eye in a new form, the team has not only designed more than 50 kinds of cultural and creative products including puzzles, pillows, clothing, etc., but also often goes to schools to give lectures, he hopes that more people can become disseminators of traditional culture from their teenage years.
"The content of Zhu Xianzhen's woodblock New Year paintings is all-encompassing, with fireworks and vigorous vitality." The knife rises and falls, and the cultural memory has been engraved on the wooden board.
"Song Feng Si Ya" tells the life aesthetics of "Tokyo Menghua".
"Fireworks" and "cultural flavor" are exactly the charm of "Tokyo Dream". This elegance is not only condensed in a New Year's painting, but also in the "four-in-one" life aesthetics of smell, taste, touch and vision.
One of the "Song Wind Four Elegances" flower arrangement
Walking into the exhibition hall, you can already smell the refreshing aroma, Deng Yanyue, the intangible inheritor of the ancient incense-making skills of Taihe Xiangtang, is burning incense, and there are also Yashi partners who order tea, arrange flowers, and play the guqin next to her.
"'Song Feng Siya' for tea, incense, flower arrangement, hanging paintings, Song Wu Zimu recorded in his notes "Dream Lianglu": Burning incense and tea, hanging pictures and flower arrangements, all kinds of idle things, should not be tired." Deng Yanyue's name and the industry she is engaged in seem to have a secret fate, she told reporters that the Song Dynasty was the peak of ancient Chinese civilization, and was called the "Renaissance of the East" by European and American scholars.
"The life aesthetics inherited by 'Song Feng Siya' is more about the harmony between man and nature." Deng Yanyue explained that in the process of ordering tea, we must be extremely focused, and flower arrangement is also an art that needs to be calmed down.
The explosion of film and television dramas with the background of the Song Dynasty such as "Do You Know If You Should Be Green, Fat, Red and Thin" and "Tokyo Menghualu" has made more people see the interest of life in the Song Dynasty, and "Song Feng Siya" has also "gone out of the circle". Deng Yanyue hopes to take this "Song Yun" to the world stage, and she has also set a goal this year, "to let overseas people who are interested in our traditional Chinese culture see such an aesthetics of life." ”
The "needle" realm on the fingertips "embroidered" a thousand-year-old Song rhyme
Outside the capital of the Northern Song Dynasty, the Bianhe River is sparkling and beautiful, the boatman is paddling the oars, every household hangs New Year's pictures, and the scholars burn incense and drink tea...... This is not only the scene depicted in the "Riverside Scene at Qingming Festival", but also left in a Bian embroidery work.
"The older generation of Bian embroiderers 'moved' the grand scene in Zhang Zeduan's national treasure painting "Riverside Scene at Qingming Festival" in the Northern Song Dynasty to the embroidered cloth, and also moved the Song culture to life." Miao Wei, the inheritor of the intangible cultural heritage of Bianxiu, told reporters that Bianxiu was selected into the "National Intangible Cultural Heritage List" in 2008, and is famous for embroidering Chinese famous paintings and ancient paintings.
"This fan is so beautiful, the goldfish embroidered on it is vivid." The interview group did not move in front of the embroidery, and fell in love with the exquisite embroidery at first sight.
Miao Wei and her embroidery works
Bian embroidery "Da Rui Tu"
In fact, the protection and inheritance of Bian embroidery is inseparable from the unremitting efforts of generations of craftsmen. "Many people think that Bian embroidery is a restoration of the sketch, but in fact, it is not true." Miao Wei believes that embroidery is the language expression of needle and thread, and the stitch method should be just right, such as a thread, split into 238 threads, and each color has more than 10 color levels. When the painting is recreated with embroidery thread, the final work presented has both the artistry of the original painting and the unique language of Bian embroidery.
"In recent years, we have been carrying out the poverty alleviation project of embroidery technology, and carried out embroidery technology poverty alleviation work in poor villages and towns; Carry out public welfare teaching, train painting skills in Bianxiu embroidery, cultivate young people's interests and hobbies, and make Kaifeng Bianxiu more artistic connotation and vitality. Miao Wei said that only in inheritance and innovation can the skills show their vitality and the depth of history and culture.
A thorn, a hook, a pull, a nak, the flying needle line shows the delicate and elegant Song Yun, Bian embroidery is interpreting the strong humanistic history of Chinese Danqing wonderful pen with its unique silk and thready skills.
Picking up the "porcelain work" of inheriting culture with ingenuity
"Between the Xuanzheng and the government, the Beijing master built his own kiln for firing, and the name was the official kiln." The Southern Song Dynasty Gu Wenzhuan's "Negative Miscellaneous Records" records that Huizong of the Song Dynasty recruited porcelain artists, summarized the porcelain-making skills of the past dynasties, and fired exquisite official porcelain of the Northern Song Dynasty.
To solve the life code of the Song Dynasty, an official porcelain also has its own unique significance.
Chen Lianyi is polishing his works, courtesy of the interviewee
On February 6, 2007, the official porcelain firing technique of the Northern Song Dynasty was rated as the first batch of intangible cultural heritage in Henan Province. Like many traditional cultural workers, the art of Chen Lianyi, a master of Chinese ceramic arts and crafts, a senior technician and an inheritor of intangible cultural heritage, also originates from liking.
Official porcelain works of the Northern Song Dynasty, courtesy of the interviewee
In order to learn the official porcelain skills of the Northern Song Dynasty, Chen Lianyi once traveled all over the Qingshan and visited famous artists. He was in harmony with the mud embryo, accompanied by the kiln, changing the kiln, selecting the soil quality, and shaping the embryo type, failing again and again, and starting again and again. After repeated experiments, the simple and thick shape of the Northern Song Dynasty official porcelain was finally restored. "In the glaze slurry ratio, the dosage of each raw material must be strictly controlled, and the score is not bad, and only by testing again and again can we find the most stable ratio." Recalling the production process, Chen Lianyi was still full of emotion, he told reporters that the glaze of the Northern Song Dynasty official porcelain is the "Shangqing" that the Taoists say, representing the unity of heaven and man, and the harmonious coexistence of all things.
"Only by satisfying people's material and spiritual needs for a better life can we keep pace with the times, and such Northern Song Dynasty official porcelain is a fine product." Chen Lianyi believes that the official kiln of the Northern Song Dynasty should not only have a beautiful appearance, but also have a profound cultural connotation.
In addition to creation, another important work of Chen Lianyi is inheritance. He also believes that only when there are more young people who are willing to learn, can culture be passed on more profoundly.
In this thousand-year-old city where Song Yun flows, the street corner alleys recorded in "Tokyo Menghualu" are still there, and the bits and pieces full of fireworks are still there, which is the new national tide in the intangible cultural heritage. (Dong Lei)