A new batch of provincial-level intangible cultural heritage lists were announced, and a total of 27 projects in our city were selected
Tongwentang brush production, linen velvet embroidery, incense burning painting... A few days ago, the provincial government announced the fifth batch of shandong province intangible cultural heritage representative project list, the city has a total of 27 projects selected, the number of selected ranked second in the province. So far, the city has 2 items on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity, 17 items of national intangible cultural heritage, 99 items at the provincial level, 427 items at the municipal level and 1746 items at the county level. What are the unique craft characteristics and production techniques of the newly selected projects in our city that have been selected for the provincial intangible cultural heritage list? Let's take a look at it today.
Changyi Tongwentang brush making skills
It has a history of more than 150 years
It is a typical representative of the Northern School brush
At present, the distribution area of domestic brush making skills is relatively widespread, but more than 80% are concentrated in the south, and there are relatively few in the north. The Changyi Tongwentang brush making technique is a typical Brush production technique of the Northern Chinese School, which has a history of more than 150 years.
During the Reign of the Qing Dynasty, the Zhu family, represented by Zhu Zhounan in The Guojia Daokou Village of Changyi, had a good reputation for its excellent production of brushes. During the Republic of China period, the Zhu family established the "Tongwentang" pen house, and the brushes such as "Pig Mane Goat Wool Lifting Pen", "Six Pure Sheep Milli", and "Net Tail Big Wolf Milli" were famous in Changyi, Pingdu, Zhucheng and Gaomi.
The traditional production of Tongwentang brush is divided into pen head, pen bucket, pen holder and pen top production. The pen head is made of weasel tail hair, goat wool, etc. as the main raw materials. The pen shaft is mainly made of green bamboo, phoenix bamboo, spotted bamboo, cloisonné, rosewood, and colt as raw materials, and the lower end of the pen shaft is glued to the pen bucket, and the upper end is glued to the top of the pen. After the pen head is made, glue the tip into the pen bucket and then repair the pen repeatedly. Finally, a pattern or text is engraved in the middle of the pen holder, and a complete brush is made.
The key process of brush making is the production of the pen head. "In the brush industry, there is a saying called The Southern Sheep North Milli, which means that the south mainly does sheep milli, the north mainly does wolf milli, we have always used the traditional craft, characterized by the use of alfalfa as a lining. Amaranth belongs to a kind of plant fiber, which absorbs more ink, is resistant to corrosion, has strong toughness, good gathering ability, and is the upper raw material for making brushes. Zhu Fengxiang, the fourth generation of Tongwentang brush inheritors, said.
In 2013, Zhu Fengxiang accidentally found a chicken pen at a domestic exhibition. Chicken pitch pen is a kind of brush that flourished in the Tang Dynasty, and the paper wrapping method used to make the pen can fix the pen root, making the pen head short and sharp, which is easy to write. However, the chicken pitch pen has certain drawbacks: short life, easy to fork, can only write small print. To this end, he supplemented the Northern School of amaranth pen making technology, and improved and reproduced the lost Tang Dynasty winding pen making process in Changyi, and extended the service life of the chicken distance pen. Subsequently, on the basis of improving the chicken distance pen, Zhu Fengxiang launched a high-end brush brand with better coat color and more durable Jinxiu Chapter series.
In recent decades, with the emergence of various types of writing instruments, the number of people using brushes has decreased significantly, coupled with the fact that brushes are purely handmade, there are many processes, and the production process has been passed down by word of mouth for generations, and there is no atlas text to refer to, resulting in a crisis in the inheritance of brush making skills. "Brush production is pure handmade technology, can not be streamlined production, it is not easy to make a sophisticated brush, after multiple processes of production, each process must be meticulous, and finally can make a good brush." Zhu Fengxiang said that it is particularly important to cultivate talents, master the core skills of pen making, and expand the inheritance team.
Linen velvet embroidery
"Oriental oil painting" on linen
Fill the gap in Weifang velvet embroidery skills
Linen velvet embroidery, also known as "oriental oil painting" on linen, is a rich color wool velvet (colored velvet), hand-embroidered on a special cotton mesh cloth, by tens of millions of particles arranged in the order of color dots combined into a given pattern.
Speaking of linen velvet embroidery, I have to say that Ding Peiling, the first batch of "outstanding inheritors of folk culture" in Shandong Province, the master of arts and crafts in Shandong Province, the chief technician of Weifang City, and the representative inheritor of Weifang embroidery of the provincial intangible cultural heritage project. Ding Peiling, born in 1949, has been influenced by her family since childhood, likes embroidery, and later studied with Hao Guijun and Tian Xiangqian and other embroidery masters of the older generation, studying various stitching techniques and techniques of Wei embroidery, embroidery works are delicate, rich in color, rich in concise and straightforward beauty.
In recent years, Ding Peiling has focused more energy on linen velvet embroidery. Velvet embroidery is actually an imported product from Europe, she combines traditional embroidery and velvet embroidery in Weifang, the vicissitudes of pine trees, bamboo leaves that "sway with the wind", gorgeous plum blossoms... The embroidery and velvet embroidery works with delicate stitches and vigorous patterns make people shine. In particular, the work "Nameless Girl" is amazing, not only the girl's face is beautiful, but also the yarn texture of the yarn worn by the woman, the plush feeling of the coat, etc., are vividly expressed through embroidery and velvet embroidery, reflecting the unique art of combining Chinese and Western. Not only that, many of her velvet embroidery works use Weifang elements, and she has embroidered Shiwat Garden, Shimenfang, Laolongwan, Yishan, Yunmen mountain, etc. into her works.
Although velvet embroidery does not look as fine as embroidery, it is actually a lot of work to do. A relatively simple velvet embroidery work, from the design of large samples, color matching, dyeing thread to embroidery success, it takes four or five months. "For example, to embroider a flower with velvet thread, the general outline of the flower must first be drawn on the bottom, and then embroidered with the corresponding color of plush thread overlapping each other. The color of a petal must be changed to seven or eight times the line, so as to achieve the effect of thick and light and layered like Chinese painting. "Ding Peiling said that there are very few velvet embroidery works in the Weifang market now, so she has put more energy into velvet embroidery." These ink landscapes, human animals, etc. that I embroidered not only use embroidery processes such as pads, floating, hooking, lele, and tong, but also change the stitching method at any time according to the structure and color of the object, filling the gap in Weifang's velvet embroidery technology. She said.
The above picture is Ding Peiling's linen velvet embroidery work
Changyi Lechun pasta
Inherit the 100-year-old wheat flavor
It is an indispensable delicacy for local life and folklore
"Using old noodles to ferment, not only the wheat flavor is strong, the taste is strong, but also the layers are clear, and when eating, it is better to eat layer by layer." Lechun pasta is made from wheat flour, hand-kneaded, with shapes, patterns, red dots and small dates embellished, steamed in a large pot. At present, the main noodle food species are old noodle dumplings, happy dumplings, noodle fish, shou peach, flags, lotus rolls, flower bumps, etc., especially the old noodles are the most famous. Lechun old noodles are rounded and smooth in shape, and the inner noodles are multi-layered by kneading, and the taste of the food is unique.
Lechun's traditional pasta-making techniques have a long history. Changyi is one of the sources of the Maritime Silk Road in modern times, and the prosperity of the silk trade has spawned the survival and development of the traditional noodle industry. In the middle and late Qing Dynasty, the northern area of Changyi began to appear specializing in wedding and funeral noodles, then called "Rao Bao Shop", focusing on the production and research and development of traditional pasta, with many tricks and good products, and when the New Year festival or birthday celebrations, the people like to buy food or offerings here. Among these shops, the Sun's Le Chun Rao Shop is the most famous. After 1949, Sun Huachen, a descendant of the Sun clan, inherited the traditional skills and opened a rao shop in Liu yan street. Every year, when the Spring Festival comes, every household in Changyi village will steam large dumplings for folk sacrifices and entertain relatives and friends.
In 1976, the Changyi County Government Guest House (the predecessor of changyi hotel) added a traditional pasta making project, and hired Sun Huachen as a teacher to teach traditional pasta making skills. In 1995, after the reform of the county guest house system, Sun Huachen was further encouraged and supported to inherit his craftsmanship, and the time-honored brand of Lechun was registered as a well-known trademark in Shandong Province. Li Fengquan began to learn traditional pasta skills with Sun Huachen in 1999 and is the fourth generation of inheritors. "Changyi Dabao carries many beautiful pursuits and aspirations of the people, and contains profound folk cultural connotations." Li Fengquan said that dabao has become an indispensable gift, tribute and delicacy for the lives and folk activities of the ordinary people in Changyi.
High-density big red paper
"Huaxia Red Paper First Village"
Products are sold to more than 20 provinces and cities across the country
Big red paper, a symbol of festive and auspicious, is mainly used for couplets and paper cutting. 300 years ago, the high-density red paper industry developed with the rise of the Ash Painting, and the brush paper industry in Xiazhuang North Village gradually became a scale, driving more than a thousand households in the entire North Village to brush big red paper.
High-density big red paper, selected from high-grade white paper, dyes, special brushes, through a unique traditional process. Brushing big red paper, blending pigment is the key: rinse the alkali with hot water, pour pink crystals, persimmon yellow, big red, alkali water, etc. in the cylinder in turn, stir well and then add paste and cool water to make pigments. Then select the best white paper as the base paper for brushing paper. After brushing, use a small bamboo pole to pick and dry.
After the reform and opening up, a large number of professional brush paper households and workshop factories have emerged in Gaomi, and Gaomi hand-dyed paper has begun to go out of Shandong and be sold throughout the country. During this period, through the improvement of pigments and processes by the old brush paper artists, the high-density big red paper showed the characteristics of bright red, bright and flat. In recent years, scientific and technological elements have been added to the pigment blending, commonly known as "year-round red", although it is blown by the wind and the sun, all year round, the high-density big red paper does not fade, unchanged.
High-density big red paper skills, now the main place of learning is Xiazhuang East Lijia Village, West Lijia Village and the surrounding dozen villages, especially after winter, into the East Lijia Village, every household brushes red paper, the courtyard is full of red paper, the wall is red, the door is red, the tables, benches, pots, teacups in the house are red, even people's clothes and hands are red, and the village has a "joyful" atmosphere.
(Photographed by Sun Yongjie)
(Photo by Li Haitao)
Today's high-density large red paper is mostly used for red paper couplets. The red paper couplet is made of high-density large red paper, water-based resins, pigments, solvents and auxiliaries, and special inks as raw materials, and is printed by the traditional screen printing process. The couplets produced are not easy to fade and fade, and the font retains the original characteristics of calligraphy to the greatest extent, reflecting the original beauty of calligraphy art.
In recent years, Gaomi has more than 10 villages and more than 4,000 people engaged in the brushing of big red paper, the products are sold to more than 20 provinces, municipalities and autonomous regions across the country, becoming the largest red paper couplet production base in Jiangbei, Xiazhuang Town East Lijia Village is known as "the first village of red paper in China".
Incense burning paintings
Originated in the Western Han Dynasty
Ancestral secret incense shows exquisite craftsmanship
With a lit incense candle, on the rice paper as thin as a cicada's wing, slowly point out the "Qingming Upper River Map", "Magu Xianshou", "Twenty-four Filial Piety Diagram", "Zhao Bingzhong zhuangyuan scroll"... Between the changes of black and white and gray, smooth character lines, delicate and rich expressions, and vivid various color images jump on the paper, which is the creative process of Yang Zuqian, the inheritor of Qingzhou incense branding painting, excavating the ancestral intangible cultural heritage
"Incense burning painting", also known as incense burning painting and aromatherapy painting, is to use secret incense to burn on rice paper, using the method of "accumulating points into lines and accumulating lines into surfaces". When creating incense burning painting works, while grasping the temperature and strength of incense, more attention is paid to "intending to incense first, falling incense into shape". Incense burning painting not only has the techniques of Chinese painting such as outline, lecturing, dotting, dyeing, rubbing, white painting, etc., but also can smoke out rich layers and tones, so that the picture lines are simple, natural, bright, smooth, delicate and do not fade. The freehand technique is vivid and the subject matter is rich, which is unique. Therefore, incense burning painting can not only maintain the style of traditional Chinese painting, but also achieve the artistic conception of Chinese painting, coupled with the use of techniques, showing the unique artistic charm.
According to Yang Zuqian, incense burning painting originated in the Western Han Dynasty, and it was very difficult to create it on rice paper as thin as a cicada's wing with a lit incense candle flame with a high temperature of nearly a thousand degrees. If the heat is not controlled accurately, too far, it is difficult to have colorful black and white gray changes, the picture is sluggish and energetic and has no spirit; too close, a little careless, the rice paper fibers are baked off or gelatinized, it is difficult to preserve for a long time, which means that the painting has failed. For more than a decade, he has tried to restore this ancestral art, develop innovative incense-making techniques, diversify spice formulations, reduce the damage of smoke to the body, and try to make the lines of the works more delicate and smooth, and try to produce finer and more flexible incense.
The art of burning incense was learned by Yang Zuqian's father from his mother-in-law, and Yang Zuqian learned this craft from his father since he was a child. Nowadays, Yang Zuqian's incense burning paintings not only include Buddhist paintings, but also gradually expand to brand great portraits, landscape paintings, handmaidens and huge comic strips. He used incense to burn "Stepping through the Qingshan People Are Not Old", "Qingming On the River", "Zhao Bingzhong Zhuangyuan Scroll", "Grateful Twenty-four Filial Piety", "Eight Immortals Crossing the Sea", "Heart Sutra", "Songhe Longevity Map" and other works with rich variety and superb skills.
Some of the pictures come from the Internet, and the copyright belongs to the original author
Weifang Radio and Television Station
Weifang Radio and Television News
Reporter: Cao Xiaolei
Edited by: Wang Agile