Jin Pai Le Ting Big Drum Founder - Jin Wenran

Jin Wenran (1912-1964), known as Chengbin, was a Confucian character with a genealogical name. A native of Jinying Village, Luannan County, Hebei Province. Before his death, he served as a director of the China Qu Artists Association, a representative of the Third China Literary Congress, the deputy director of the Preparatory Committee of the Hebei Qu Artists Association, and the head of the Tangshan Qu Art Troupe. His life achievements are included in the first Encyclopedia of China (Opera and Quyi Volume) of the People's Republic of China, and he is among the 70 masters of quyi in China.

When Jin Wenran was young, he threw himself into a famous teacher, studied art hard, and became a sect of his own; relying on a leather drum and two iron plates, he started from Luannan and Tangshan, broke into the provincial city, entered Beijing, and became famous in the music and art circles. During the decline of the Big Drum in Leting, he was determined to reform, Rio Tinto New Road, revitalize the music scene, and was known as the "generation of heavenly pride" in the big drum industry of Lotting. Since the 1960s, the "Jin Pai" book passage has often been broadcast on the radio stations of the Central Committee, Beijing, Tianjin, Hebei Province and Tangshan City, and has been infused with records many times, which are loved by the people. In 1958, a passage of "Double Lock Mountain" was sung in Huairen Hall in Zhongnanhai and was received by Premier Zhou Enlai...

Jin Wenran was born in a peasant family in Jin Ying, poor since childhood, his father Jin Jurui could not bear the burden of a family of seven, and sifang loaned to open a shoe shop, and the family could barely make ends meet. In October 1921, Jin Wenran was sent by his parents to a private school to study, and took the academic name Chengbin, when he was ten years old. Cheng Bin reads, but he is also intelligent and is deeply loved by Mr. Cheng. Fang's two years, the family is in a difficult situation, helpless to drop out of school at the age of 12, with his father in his own shoe shop as an apprentice.

When Cheng Bin was young, he listened to books and read movies, and often pestered his father or uncle to take him to the city at night to listen to the big drum books. His father Jin Jurui and uncle Jin Ziban are happy for human nature, poor and happy, and like to make friends with jianghu artists. For example, the famous storyteller Ding Yunqing (also known as Ding Peicheng) and qi Yongwu, who were quite famous at that time, and Qi Yongwu, who were quite famous at that time, became brothers with Ju Rui. In the late 1930s, they were active in Laoting, Changli, Luanxian and other places, often passing by or living in the Jin family. Xiao Chengbin is intelligent and astute, naturally loved by Mr. Ding, between the ears and the eyes, that artistic talent, there are already three points, whenever Mr. Ding sings, Xiao Chengbin always follows closely behind. Once, Ding Yunqing said that Xiao Chengbin grabbed an opportunity to "vote" for a while, shocking the audience on the spot and delighting Mr. Ding. After that, Xiao Chengbin begged Ding Yun to teach him to write, and Mr. Ding began to hesitate, and gradually was moved by Xiao Chengbin's sincerity, so he copied several paragraphs of "Liu Gong's Case" to Yu Chengbin. Since then, when he lived in the Jin family again, he began to teach Cheng Bin to practice rap and singing.

Not long after, Ju Rui learned of Cheng Bin's teachings, so he angrily rebuked Cheng Bin and ordered him to stop learning art immediately. Although Mr. Ding tried his best to persuade and Xiao Chengbin begged for it, Ju Rui insisted on not allowing it because he regarded the book as "drifting" and did not want his son to eat "open-mouth rice". For this reason, Xiao Chengbin often wept behind his back and sighed: "I can't say books in this life." In the next life, people will still have to talk about books! After that, in front of his father, he did not say anything about learning art, but he lowered his heart, listened to the drum book, memorized the words, secretly copied the tune, and secretly practiced his body. It is true that "learning art is not as good as stealing art", in one year, Cheng Bin has made great progress in this.

In 1925, Mr. Ding Yunqing, Qi Yongwu and others found several good friends and persuaded Jin Jurui to learn art. The friends expressed their opinions and persuaded bitterly, until the night, and finally received permission, Xiao Chengbin could practice storytelling after receiving the work in the shoe shop. It was the year, Cheng Bin was 13 years old.

Since then, Cheng Bin has purchased record books, copied book segments, beat drums to learn to sing, and sometimes ticketed. When Mr. Ding took a break in singing, Cheng Bin played a short section, and the teacher took advantage of this to rest his breath and perform the main book again. It was the year, Cheng Bin was 14 years old.

Within a few years, the Jin family shoe shop closed. In the year of famine, a family of seven is difficult to sustain. At the beginning of 1929, the 17-year-old Jin Chengbin finally received his father's permission to officially start teaching art. Since then, he has begun his artistic career for several decades.

Jin Chengbin stepped into the world of books, his vision gradually broadened, measured himself and others, and began to feel that the road of books was narrow and shallow, and the foundation was insufficient, so he decided to learn from his teacher again. In the winter of farming, Cheng Bin worshiped Qi qi and used martial arts as a teacher.

Qi Yongwu (戚用武), also spelled Zongzhou, was a disciple of Feng Fuchang, one of the main founders of the Jidong Great Drum Book, Feng Tiepan( Feng Tiepan). He said that the book has a good voice and a crisp mouth, can break through the rigidity of the dead eye, and has taken a unique path, once transplanted the Peking Opera singing voice into the big drum singing cavity, pioneered the new tune of "Xipi Tail", and was good at performing the Three Kingdoms section. In a certain year, Zheng Zhen, Zhang Zhen and Xu Zhen, who were also known as the "Three Treasures" of Luan County, performed in one place, and their skills were superior, so they were called "Pressing Three Treasures". Qi Yongwu is Jin Jurui's kowtow brother, who has always liked Cheng Bin's talent and wisdom, and Cheng Bin worships his teacher, so he gladly accepts it under the door and stays by his side to teach carefully.

At that time, Master Feng Fuchang's Qi Yongwu accepted Jin Wenran as an apprentice, the master carefully preached, the apprentice immersed himself in hard study, created good causes in heaven, and cultivated good results, and finally achieved a generation of art masters. It also formed the jin wenran-Jia Youran-He Jianchun of the future shulin book circle... The long-standing genealogy of Jin art. This, since then.

After three years of leaving the school, Jin Wenran's art industry has made great progress. Ding Peicheng introduced his proud violinist He Lianqi to Jin Wenran, who was the best of the big drum string masters in The Pavilion at that time, and once had the saying that "Wang Baohe and He Lianqi, two golden chairs in Luan County" (referring to the technique of the string master). During the practice of Jin and He, they exchanged ideas with each other, explored the skillful use and skills of the singing cavity, reformed and innovated, and the two played and sang complementarily, laying the foundation for the establishment of the "Jin School" art. By the 1940s, the "Jin School" drum had begun to appear. Drawing on the strengths of many families, integrating many skills in one furnace, Jin Wenran's kung fu is becoming more and more exquisite.

At that time, the War of Resistance Against Japanese Aggression broke out, and the people of Jidong shared a vendetta against the enemy. Jin Wenran went to the anti-Japanese guerrilla area of Luan County to perform art, and had to cooperate with Gao Rongyuan, a brother of He Lianqi. Gao Rongyuan is a famous drummer in Leting and is known as "the first person in Jidong to publicize the anti-Japanese resistance with a big drum". Later, he taught at the Liaoning Provincial Art School. When Gao and Jin cooperated, Jin Wenran sang new songs composed and accompanied by Gao Rongyuan, such as "Burning Zhong Jiatan", "Revenge with the People", and "Scolding Jiang Pengfei", which were composed and accompanied by Gao Rongyuan. This period of time enabled Jin Wenran to have a preliminary contact with the revolutionary new qu art, and his understanding and practice of the role of revolutionary literature and art in the masses of the people began.

In October 1947, Jin Wenran left Luanxian County, Changli, Qinhuangdao and other literary and artistic positions to sing at the Wanshun and Yufa Bookstore in Tangshan Hills. At that time, the Tangshan Xiaoshan Bookstore was lined with talents, the actors showed their talents, the famous artists appeared in a loop, the hourly charges, and each took the lead. The audience members Yao Huang Wei Zi had their own preferences, but every time Jin Wenran appeared, the whole library was crowded. Jin Wenran's singing, the voice is round and affectionate, gentle and feminine, and the tune is ever-changing. He is in love with the sound, the drama is on the face, and the voice is full of emotion, such as "Haunting the Heavenly Palace", "Mi Shi Tuo Lonely", "He Bowl", "Single Knife Society"... In the heavens and on the ground, there are literary and martial arts, there are voices and colors, and the audience of the hills sings directly. In October 1948, the Tangshan Daily published an article signed by Changfeng entitled "Candle Shadow Shakes Red, Pearls Fall on the Jade Plate" praising the wonders of Jin Wenran's big drum book: "... There is an artistic conception in the sound, the majestic place is like a thousand horses galloping; the poignant place is like a rain hitting the plantain, the euphemism is like a whisper, the lingering place is like a candle shadow shaking red, and the urgency is like a pearl falling on a jade plate... Therefore, his big drum has a unique value and is extraordinary. ”

Jin Wenran once risked the danger of fighting a "big drum guerrilla" with the police and secret agents in Tangshan, which had not yet been liberated. His program board wrote "Ten Questions and Ten Answers" and "Lanqiao Society" and other traditional programs, but he sang new book passages such as "Revenge with the People", "Burning ZhongJiatan", "Sending Husbands to Join the Army", and for a while, the audience spread all over Tangshan City. Jin Wenran introduced the book field and worked tirelessly until liberation.

On December 12, 1948, Tangshan City was liberated and the whole city rejoiced. On the day the army entered the city, the municipal government immediately sent personnel into the literary and art circles to organize progressive artists to establish a new organization for literary and artistic work. Tangshan's first new organization of literary and art workers quyi was established, named "Tangshan Xinsheng Quyi Improvement Society", and Jin Wenran was elected as the leader of the group. In order to cooperate with the new situation, new book sections such as "Liberation of Tangshan", "Glorious Return", "Four Seasons of Production", and "Labor Heroes" were staged in rotation to please the people, inspire the masses, and be welcomed.

In order to support the War to Resist US Aggression and Aid Korea and publicize the masses, he wrote a book section entitled "Victory Bonds" day and night, which was performed at the Second People's Congress of Tangshan City, arousing the infinite passion of the masses of the people and setting off a climax of the front line of subscription to public bonds. Mayor Li Yifu shook Jin Wenran's hand and even claimed praise, and wrote a banner for Jin Wenran on the spot: "Jin Wenran, the people's artist, you clearly explain the government's policies to the masses in the form of literature and art, this is your success and your future direction." The mayor's pen and ink are smooth and deep, and he expresses the government's praise and hope for the people's artists. This event was published on the eye-catching page of Tangshan Labor Daily.

Jin Wenran, a big drum artist who came from the old society, worked hard for art and the people in the rain and dead wood in the spring, and he accompanied the string master, Hui Tongren, the library, the street, the factory and mine, the barracks, the wind and rain, the performances did not stop, he celebrated the workers' brothers, he comforted the volunteers to go to the DPRK to participate in the charity performances, and carried out propaganda and mobilization for the War to Resist US Aggression and Aid Korea. He has been honored as a municipal model worker for consecutive years, and has successively served as the leader of the Tangshan Quyi Experimental Team, the leader of the Tangshan Quyi Rap Troupe, and has been elected as a member of the Provincial Committee of the Chinese People's Political Consultative Conference and a deputy to the Municipal People's Congress.

The stars shifted to 1956. During this period, New China became increasingly prosperous, the people lived and worked in peace and contentment, and culture and art blossomed like a hundred flowers. At this time, the neon lights of Tangshan flashed up and down, and the Peking opera and drama of the theater, the acrobatics and shadow puppetry of the big world, and more cinema movies were screened every day. In the competition with various drama genres, genres, especially with contemporary scientific film and television art, the drum and string, and the two plates of the pavilion drum are increasingly dwarfed. The bookstores lined up on the hill are becoming more and more sparse, and there is a great tendency to be replaced, and the art of the big drum for hundreds of years is declining day by day, and the situation is precarious.

Jin Wenran has been in the art for decades, regards art as life, and is anxious in the decline of the Big Drum Book. After careful consideration, he was determined to reform the monotony, old books, and stereotypes, and break new roads. At the beginning of the reform, the art was immature, the audience was not used to it, the box office plummeted, and the revenue fell. In the middle of the constraints, Jin Wenran clothed coarse food, the road is blue, but poverty is not moving, and the determination to innovate is as strong as iron. Jin Wenran and his old string master exchanged ideas with each other artistically, studied reforms together, encouraged each other, and repeatedly honed them, but they also matched each other. After more than a year, the Louding Drum has completed a major innovation from the joint body to the plate cavity. On this basis, he carefully studied, and broke through the traditional format of the board up and down, skillfully used new singing methods such as flashing boards and grabbing boards, and at the same time boldly integrated the essence of Peking Opera, commentary, shadow puppetry, and Beijing rhyme tunes, drew the strengths of the families, and pushed the "Jin School" big drum book to a new peak again. Jin Wenran spent two years in private school, learning Chinese, learning rhymes, reading poetry, reading books, and assiduously compiling new book passages. For example, "Red Heart", "Happy Harvest", "Visiting Mother", "Dung Zhuangyuan", "Celebration Meeting", "Unforgettable Day", "Planting Red Flag" and other book passages are unique, and the bibliographies such as "Double Lock Mountain", "Khao Hong", "Haunting Heavenly Palace" and other books have been sung for many years, which is tireless to hear.

Jin Wenran reformed the big drum, became a family of his own, the new book and new style, poured the audience, impressed his peers, and finally broke a new path for the Big Drum of Leting. After the reform, the big drums in the Music Pavilion were refreshing and pleasing to the people, and the Tangshan People's Radio began to broadcast Jin Wenran's long drum books continuously every day. Artists in the big drum industry have followed suit, and for a while, new book sections, new tunes, and new styles have reborn the fading Big Drum of Le Ting and reinvigorated in the altar of music and art. The qu art circle saw the resurgence of the Big Drum of Le Ting, felt the innovative spirit and contribution of Jin Wenran, and was impressed by Jin Wenran's artistic achievements, so he called Jin Wenran the "generation of heavenly pride" of the Big Drum of Le Ting. At that time, Jin Wenran of Tangshan was with Luo Yusheng, a famous jingyun drummer in Tianjin, Li Runjie, an allegro book performance artist, and Hou Baolin, a cross-talk master in Beijing... The group of masters stood side by side, forming a lineup, and the prosperity of quyi entered a period of unprecedented prosperity after liberation.

In 1958, in the "Hundred Flowers Blooming, A Hundred Schools Singing in Unison", the Big Drum of The Pavilion was even more brilliant. In the same year, Hebei Province held the first provincial qu art show. Jin Wenran's "Double Lock Mountain" was awarded the first prize; Han Xiangpu's "Water Man Jinshan Temple" was awarded the second prize. When Jin Wenran sings, he often breaks the traditional plate style of the big drum of the Pavilion and uses a new tone that is listened to in the ear. Shen Shen, then deputy director of the Hebei Provincial Bureau of Culture and director of the Organizing Committee of the First Hebei Provincial Quyi Festival, concluded at the summary meeting of the performance: "Jin Wenran's big drum is a big drum that has been innovated and improved. In the end, the assembly held that both kinds of singing were loud drums, and the only difference was the "faction". By the way, the Jin Pai Pavilion drum takes tradition as the foundation and innovation as the vitality, and the tree music altar and the pipe lead the group.

In 1959, at the first National Quyi Festival held in Beijing, at Huairen Hall in Beijing, Jin Wenran's "Double Lock Mountain" sang Zhongnanhai, praising the capital, and the central leaders warmly applauded in the front row. At the end of the performance, Premier Zhou Enlai received Jin Wenran and other artists and took a group photo with them.

Since then, jin Wenran, a people's artist, has struggled unceasingly and devoted himself to the cause of people's art. He went deep into Jianming Commune, experienced life, created "Splitting Mountains and Diverting Water", and sang special praises to the entrepreneurial spirit of the "poor sticks" of the people of Xipu; he went to the construction site of the Ming Tombs Reservoir to give condolence performances and praise the workers who fought day and night in the world-renowned projects; he enthusiastically cultivated young actors, and accepted apprentices Jia Youran, Liu Shaoran, Zhao Fenglan, Gao Xiaoran, Xiao Yunxia...

Day after day, year after year, the drums don't stop, the singing goes on, the creation never stops...

Spring silkworms spit out silk, non-human grinding ink grinding people. Decades of ups and downs, energetic singing, and the creation of Anointing Ji Zhao, Jin Wenran has accumulated fatigue and become ill. When this people's artist persisted in forging ahead, he unfortunately fell ill and was abused, but he did not know it.

On September 8, 1964, Jin Wenran, who went to other places to create performances, returned to Tangshan. Jin Wenran boarded the familiar desk.

A piece of "Pick a Son-in-Law" book ended twice, still applauding. At this time, Jin Wenran was already sweating, and he was dressed and wanted to return to the scene. The panicked disciples rushed to stop them: "Master, you can't return to the scene, your body can't do it!" "No, the audience loves to hear my books, and I'm so happy that our big drums are so popular." Jin Wenran thanked the dissuasion, sipped water to wipe the sweat, and then took the stage, performing a new passage "DafangRen" for the audience, which satirized the indignation of the Public Family. After singing, in the applause, Jin Wenran walked off the stage, and suddenly he stumbled, and the disciples hurriedly supported him. Looking at Mr. Jin again, his eyes were straight, his expression was abnormal, and the throat that had been singing the big drum book for more than forty years grunted but could not spit out a clear word. Jin Wenran was exhausted, his brain hemorrhage suddenly, and finally fell on the stage he loved...

Bai Yun, the mayor of Tangshan City, personally instructed the hospital to do its best to rescue Mr. Jin Wenran, an artist who was making every effort to save the people, no matter what the price was. Experts invited by Beijing and Tianjin have repeatedly consulted to formulate treatment plans. Jin Wenran's relatives, friends, disciples, colleagues, artists who were ordered by him, as well as old listeners and fellow villagers who came from the countryside and hometown, flocked to the hospital to pray that Mr. Jin could open his throat again and return to the stage. However, due to the limited medical level at that time, after 90 days and nights of hard work, he was unable to return to heaven. On December 31, 1964, the peasant-turned-people ququ performance artist Jin Wenran died at the age of 52.

Human life is limited, and artistic life is endless. Although the Si people have passed away, the achievements of Jin Wenran and Jin Pai Le Ting big drums have been recorded in the "Encyclopedia of China" in the history of music and art; although the Si people have passed away, Jin Wenran's recordings of the big drums of the Music Pavilion such as "Double Lock Mountain" and "Haunting Heavenly Palace" are still broadcast for a long time in Tangshan, in Jidong, and throughout the country; although the Si people have passed away, the pearl of the music world, the Jin Pai Le Ting big drums radiate the strange brilliance of national culture; although the Si people have passed away, now the Jin school art is long and the inheritance is long. Mr. Jin's disciples Jia Youran, Liu Shaoran, Zhao Fenglan, etc. have long become the pillars of the Jin School's drum art. In Mr. Jin's hometown of Luannan County, He Jianchun, the third generation of Jin school art, stood out...

At the turn of the century, mr. Luannan County, the county seat of Mr. Luannan County, opened a cultural square and cast a statue for the "Three Branches of Luannan Literature and Art" - commentaries, shadow puppets, big drum books and the founders of "Three Branches of Flowers", the leaders Cheng Zhaocai, Zhang Shengwu and Jin Wenran. The author was invited to write an inscription of Mr. Jin Wenran to summarize his life:

Mr. Jin Wenran (1912~1964), Jin Chengbin, also known as Jin Qianru, was a jin camper in the region. When he was young, he was in a hut with sand, bran quail clothes, and barely made ends meet. However, the teenager does not know the taste of sorrow, diligently, happy and worried. At that time, there was a big drum book artist Ding Yunqing, who often toured Luan Le and lived in the Jin family. The gentleman has been hearing about it since childhood; the young child is inspired by the water tower.

Initially, with lips and teeth as strings, knocking on things as drums, humming and singing. Imitation of enlightenment, imitation of the tone. Slightly longer, away from home to practice art, worship the teacher qi to use martial arts, study hard for three years, out of the teacher singing, emerged. Mr. Zhi learned endlessly, reintroduced in famous places, asked for skills, learned from the strengths of the people, and made great progress in the art industry, and his reputation rose.

After the founding of New China, he was the backbone of Tangshan's "New Life Qu art Improvement Society". Violinist, book club, factory mine, military camp, wind and rain, tour. He compiled and performed new sections of the new book, encouraged production and construction, and publicized the War to Resist US Aggression and Aid Korea. The newspaper tasted a special article, Mr. Zan used "Pearls Falling on the Jade Plate"; the mayor once wrote a banner in person, praising Wenran as a "people's artist". Times move forward, art develops. In the 1950s, shadow puppetry, cross-talk, and acrobatics flourished; film, drama, and song and dance led the way. And the big drum of Le Ting, the monotony of one drum, two plates, and three strings, and the decay of "Eastern Zhou", "West Chamber" and "Spirited Girl", between competition, are gradually declining. At that time, the audience is decreasing, the prospect is precarious, like the sunset; the people in the music world are worried and unable to return to the sky.

He has been worried about the songs of hundreds of years, and is in danger; he knows the road to revitalize art, aiming at reform. Sui Zhenjian shouted: Break the old style, change the old books; open up new ways in the path, save the big drum from dying. It is to practice what he preaches, work hard, innovate the old ways, change the complex into a plate cavity, and finally create the "Jin School" drum in the world. The big drum is fortunate to be revived in decline; Mr. Que Gong, history does not forget.

Mr. Performance, free and free, only wonderful portrait; Mr. Singing, beautiful rhythm, flowing water. People praise his art: the majestic place is like a waterfall, the euphemism is like a trickle; the miserable place is like rain hitting the plantain, and the lingering place is like a candle shadow shaking red. With the drum of reform, he stood in Tangshan, started in the east of Hebei, went to the provincial capital, entered Beijing, was received by the prime minister, and won the honor of the art world. At that time, the passages of mr. Books were broadcast by the radio stations of the central and provincial governments; today, the art of the Jin School is widely circulated by the masses in the cities and villages.

In the fifty-second year, Mr. Fu sick sang in Tangshan, fainted on the stage, and died without salvation. Looking at the ancient and modern Chinese and foreign countries, from the art of life, those who fall on the stage, only Molière of the Law, only Jin Wenran of me.

(Contributed by Zhu Yong)