Day 2 Inner Mongolia Museum - Suiyuancheng General Office - Five Pagoda Temple
1. Inner Mongolia Museum
Inner Mongolia Museum, located in the center of Hohhot, the exhibition hall building of the museum is unique in shape and has great national characteristics. The roof of the building is carved with a galloping horse, symbolizing the auspiciousness and take-off of Inner Mongolia, and is one of the landmark buildings of the autonomous region. The museum's exhibition hall building has four floors, of which the second, third and fourth floors are used for exhibition services. At present, there are four basic exhibitions in the courtyard, namely "Inner Mongolia Paleontological Fossil Exhibition", "Inner Mongolia Historical Relics Exhibition", "Inner Mongolia Ethnic Cultural Relics Exhibition", and "Inner Mongolia Revolutionary Cultural Relics Exhibition".
On the second floor of the exhibition hall building, visitors can understand the ecological environment of Inner Mongolia in ancient times. There are many specimens of animals and plants and specimens of geology and minerals in Inner Mongolia, among which the huge fossil skeletons of prehistoric animals such as Chagan Nol Dragon, Mammoth and Woolly Rhinoceros will surely amaze you.
The exhibition on the third floor is the highlight of the entire museum, with a distinct grassland ethnic atmosphere. You can see the eagle-shaped golden crown of the Xiongnu king in the Warring States period, which is the only golden crown ornament of the Xiongnu nobles found in China; the same gold ornament of the Xiongnu in the Warring States period; the golden saddle of the Yuan Dynasty "Lying Deer Tangled Branch Peony Pattern Golden Saddle"; the Liao Dynasty "Silver Lantern Tray" and so on. The cultural relics on display here are from ethnic minorities such as the Xiongnu, Xianbei, Turkic, Khitan and Mongolian.
In the general history exhibition of the Mongols on the third floor, you can learn about the complete context of the Mongols from the origin to the Mongolian Yuan Era to the Ming and Qing Dynasties for nearly a thousand years. Here, through the display of cultural relics, you can also feel the production and life, customs, etiquette, religious beliefs and other customs of the eight ethnic groups living in Inner Mongolia, such as Mongolia, Daur, Evenk, Orenchun, Manchu, Hui, Joseon, and Han.
When you come to the fourth floor of the museum, the display here will give you a clear understanding of Mongolian costumes, Mongolian songs and dances and Mongolian saddle culture. The museum's four basic exhibitions are divided into 15 exhibition halls, and you can selectively select the exhibition halls according to your own preferences and hire docents.
2. Suiyuancheng General Office
Suiyuancheng General's Office is located on the west side of the Drum Tower in Xincheng, Hohhot.
During the Reign of Qing Yongzheng (1723-1735), the Qing Dynasty, in order to consolidate the northwestern border defense, held a 2.5 km northeast of the old city of Hohhot. Another new city was built 5 kilometers away, and officers and men of the Eight Banners of Manchuria were stationed in Tun. Construction began in the thirteenth year of Yongzheng (1735) and was completed in the fourth year of Qianlong (1739), named Suiyuan City, commanded by General Suiyuan, and in charge of the mongol princes of southern Mo and the garrisons of Datong and Xuanhua.
Suiyuancheng General's Office is built in the format of the Yipin Fengjiang Grand Official's Office, covering an area of 15,000 square meters. There is a tall shadow wall in front of the door, and there is a pair of stone lions standing on the side of the door. The hall in the courtyard is 3 entrances, the front is the hall, the two sides are the east and west halls, the back hall is the public hall, and the backyard is the private residence of the general. The office has undergone several repairs to roughly maintain its original layout.
3. Five Pagoda Temple
Wuta Temple, formerly known as Cideng Temple, is located in the southeast of the old city of Hohhot, and the Five Pagodas are just a stupa inside Cideng Temple. Once all the temple buildings collapsed and only this stupa remained, so only later generations learned that there was a temple here, and when it was rebuilt, it was named Five Pagoda Temple. Wuta Monastery is a Tibetan Buddhist monastery and the birthplace of Tibetan Buddhism in Mongolia.
The south side of the Five Pagoda Temple faces the Five Pagodas Square, and the entrance is also here. The layout of the Five Pagoda Temple is typical of the Han Chinese central axis, the central axis runs north-south, and the two sides are strictly symmetrical. The temple is divided into three courtyards, namely the Three Buddha Halls in the south, the Cultural Exhibition Hall in the middle, and the Cideng Temple in the north. The area of the Five Pagoda Temple is not large, and the depth is only about 150 meters.
Entering the temple from the south gate of the Five Pagoda Temple, there is a small white pagoda on each side of the south side of the garden, which has the characteristics of Tibetan Buddhism. Directly opposite is the Three Buddha Halls, which architecturally have the characteristics of Han Palaces, as well as ethnic minorities and Tibetan traditions, which is also the general style of the entire temple architecture.
After passing through the Third Buddha Hall to the middle courtyard, the building opposite is clearly written in large characters "HoshiZhao Temple Cultural Exhibition". Inside the Zhao Temple Cultural Exhibition Building, the wall on the left hangs the portraits of the historical Tsongkhapa and others, and on the right side lists the existing Vajra Pagoda Zhao Temple in China, reflecting the long history of Hohhot's Zhao Temple culture.
Then come to the north courtyard, in the middle of the courtyard is the main hall of Cideng Temple, and behind the main hall is the relic pagoda. Built during the Qing Yongzheng Period, this stupa is about 16 meters high and is made of glazed bricks. When visiting the Five Pagoda Temple, you can not only watch it outside, but also go up to the top of the pagoda and look down on the whole temple, with a good view.
On the north wall behind the stupa there is a Stone Inscription of an Astronomical Map in Mongolian with a diameter of 144.5 centimeters, depicting the meridians of the Twenty-Eight Red Sutras, as well as five concentric circles.
Next, I will tell you about the customs and folk customs of Hohhot
Two-seat table
Duorentai is a folk drama popular in central and western Inner Mongolia and northern Jin, northern Shaanxi, And Zhangjiakou, Hebei. Its original tune is local folk songs, such as the singing cavity [hitting cherry], "pressing cake noodles", "playing the back set" evolved from the Han folk songs in central and western Inner Mongolia, the singing cavity "Walking West Mouth", "Five Brothers Herding Sheep", "Pearl Rolling Curtains", etc. evolved from the folk songs of northern Shaanxi, the singing voices evolved from the northern Shaanxi folk songs [Send big brother], "Ten Mile Dun", "Embroidered Lotus Bag", etc., the singing voices evolved from Mongolian folk songs [Ala BenHua], [Wang Aizhao], etc., the Jibei folk songs [Ten Pairs of Flowers], jianghuai folk songs such as "Jasmine", "Yu Meiren" and so on. The brand music absorbed many Jin opera songs, folk blowing music and religious music.
Bounded by Hohhot, the style of the duo is divided into west road and east road. Originally called Mongolian Qu, the West Road Duorentai was mainly popular in Hohhot, Baotou, Bayannaoer League, Yikezhao League, Yulin Area, and Xinzhou Area; the East Road Duorentai was originally named "Bungee Jump" or Duorentai, which was mainly popular in Ulanchabu League, Yanbei Region, and Zhangjiakou Area. Most of the traditional dramas of Duotai are mainly based on depicting labor production, exposing the darkness of the old society, singing about marriage and love, and some mythological stories and historical stories. The West Road Duo stage has plays such as "Playing Money", "Playing Cherry", "Playing Back Set", "Turning the Mountain", "Ala BenHua" and so on, and the East Road Duo stage has "Back to Guannan", "Pulling Donkeys", "Picking Peppercorns", "Selling Hemp Sugar", "Lanzhou City" and so on.
The singing form of the duo is divided into three categories: hard code play, whip play and duet singing. Hard code plays focus on singing, reading, and doing, requiring performers to have better voice conditions; whipping plays focus on dance performances; duets are sung alternately by two people.
Duorentai is mostly popular on both sides of the middle reaches of the Yellow River and in the agricultural areas inside and outside the Great Wall, because of the remoteness of the region and the inconvenience of transportation, it has brought many difficulties to excavation, sorting and protection. In recent years, with the death of old artists, many repertoire and repertoire are on the verge of being lost, and they are in urgent need of rescue and protection.
Climb the mountain tune
Mountain climbing tune, also known as mountain climbing song and mountain song, is a traditional short-tone folk song popular in the agricultural areas and semi-agricultural and semi-pastoral areas in central and western Inner Mongolia, and there are houshan tones, front mountain tones, and hetao tones. The houshan tune is popular in the northern foothills of the Yin Mountains, the melody is high-pitched and long, and the interval is large; the Hetao tune is popular in the Bayannaoer League Hetao area, the melody is beautiful, the feelings are delicate; the qianshan tune is mainly popular in the Tumut Plain, which is characterized by the length of both the Houshan tune and the Hetao tune. The structure of the mountain climbing tune is similar to that of Xintianyou and Mountain Qu, mostly a single section of two musical sentences, and the tune has the factor of the fusion of Han and Mongolian.
On June 7, 2008, the mountain climb was approved by the State Council to be included in the second batch of national intangible cultural heritage list.
It is understood that since the Ming and Qing dynasties, a large number of immigrants have moved from Shanxi, Hebei, Shandong, Shaanxi and other regions, and have also brought the culture and art of the homeland, and on the basis of integrating Hebei folk songs, Shanxi Dayang songs, Shandong Allegro books, and Northern Shaanxi Xintianyou vocabulary and forms, some elements of the Mongolian patriarchal tune have been absorbed, thus producing a mountain climbing tune with local artistic styles. The mountain climbing tune popular in Wuchuan County is characterized by a high-pitched and long melody, a large beat range, and a singing method that is divided into indoor and outdoor. [1]
Artistic features
The music of mountain climbing is mostly high-pitched and rough. Its tunes are often named after their popular areas, such as "Hetao Tune", "HouTao Tune", "Tumo Chuan Tune", "Daqingshan Tune", "Yimeng Tune", "River Road Tune" and so on. The structure of the song is short and varied, and the 8 bars of the above and lower two phrases are its basic structural form. Most of the two phrases are changing and repetitive relationships, and some are even completely unchanging repetitions. In order to strengthen the performance, it often uses lining, stacking or slowing down the speed and broadening the rhythm, so that the sentence width of the phrase is extended and the structure is expanded. Some tunes are more than a dozen bars long, and some turn one sentence into two sentences, developing into a changing structure with the nature of a compound music section.
The most popular tune of the climbing tune is the five- or six-tone sign mode, followed by the quotient mode and the feather mode. The tune and rhythm of the song vary depending on the popular region. Generally speaking, the climbing tune popular in the plain area (such as the Hetao tune and the Tumochuan tune) has a relatively well-proportioned and regular rhythm, the melody's ups and downs are relatively small, the vocal range is relatively narrow, and the tone is flat and soft; while the popular mountain climbing tune (such as the back mountain tune) rhythm is free and changeable, the melody jumps in more, the undulations are large, the range is wide, the tone is high-pitched and straight, and the enthusiasm is unrestrained.
Its rhythm is more regular, the beat is more fixed, the sentence pattern is a typical upper and lower sentence structure, and the number of words in each sentence is not equal, which constitutes the characteristics of this short-key folk song that is simple and not rigid, sonorous and frustrated. Rhythmically, the free extension of the treble is used, and the melody is more in major key, and the first half of the upper and lower sentences are the same tune, only the second half of the sentence changes.
Its melody is often named after its popular region, the structure of the song is short and varied, and the 8 bars of the above and lower two phrases are its basic structural form. Most of the two phrases are changing and repetitive relationships, and some are even completely unchanging repetitions. In order to strengthen the performance, it often uses lining, stacking or slowing down the speed and broadening the rhythm, so that the sentence width of the phrase is extended and the structure is expanded. Some tunes are more than a dozen bars long, and some turn one sentence into two sentences, developing into a changing structure with the nature of a compound music section. The most popular tune of the climbing tune is the five- or six-tone sign mode, followed by the mode and feather mode. The ups and downs of the melody are more free and varied than the climbing tune (such as the back mountain tune), the melody jumps in more, the undulations are large, the range is wide, and the tone is high-pitched and upright, open and unrestrained.
Since the western part of Inner Mongolia and the northwest of Shanxi are neighbors, the mountain climbing tune popular in western Inner Mongolia and the mountain song popular in northwestErn Shanxi are closely related. In the mountain climbing tune of the Mongolian and Han mixed areas in this area, the tone of Mongolian folk songs is often contained.
Climbing tune often uses techniques such as excitement and exaggeration, and the most commendable thing is the improvisation of the singer, singing what he thinks, singing what he sees, singing wherever he goes, and the content of the singing is symmetrical and catchy. The lyrics and language mostly use local overlapping words, which are particularly intimate and vivid, with a dexterous and humorous artistic style, moving people's hearts, and a strong mountain flavor.
The simple and unpretentious style of climbing the mountain is not only a natural expression of the voice of the working people in the northern part of The country, but also a mirror of the social history, the life of the times and the customs and customs of the region. The words are filled with the love of the people and the love of the people, and have its strong vitality with its strong local flavor and earthy atmosphere.
Today I will introduce you to this Oh, everyone remember to pay attention to me