Illustration: Wei: I remember your home is always new Austin in the two street. Qi: start is the street at two Street West, and later moved to the new survey to. The new meadow where the house is spacious and well, my younger brother, my brother was born there. My father called Qi Dianxiang, Byung Hun, said, "all the old law". My uncle called Qi Dianliang, No. Bi Chen, also known as "Qi 老璧", they are well-known local shadow artist. Because of my father's time spent 6 years to a private school, like calligraphy, calligraphy to write well. I milk maiden have my father's uncle, he in the Northeast Anton, in what is now Dandong, having two pawnshops, are called "and smoothly" and"Sanhe when". My grandfather put my father move there, can cultivate my father ran the Kanto trade what. The two two part is to start, or some part of it, later when the two pawn shop manager, said that was good, and so is every year to do, when to do business is not the northeast. Later, when my father back home to visit relatives, catch up with our hometown Geng Zhuang is a shadow box, the village is also a lot of people will sing. A look at my father came back, thought this was good, is to catch up with him and sang "son", voice, my father had sung very red black, voice, voice is also very good, he say what also don't go back, from the beginning to sing shadow, also sing well. W: what year is this? Qi: I don't know, my father was in his twenties. Wei: can you remember his date of birth? Qi: cattle. My father said he was 30 years old I. Wei: is he who learn with? Qi: I don't know who is his teacher, in a village inside, my father's memory is very strong, what books inside, which article which article he remember all together, may have friends or old artist's guidance, so slowly more and more thorough. My father singing video good outside, to the autumn cold milk, I let my uncle to my father to send clothes, he went there at this life, very good very beautiful, my uncle is not back, also joined in the singing. My uncle is "singing bearded" voice, he sang the old very nicely, the audience: "Qi 老璧 voice and organ a taste!" An actor is not good voice how the famous man. Since my father and my uncle began to engage in the shadow, in order to maintain the family of 6 life, everywhere singing shadow. My father played for Funing County, Taoyuan Martha shadow box Yue Xinhua and Changli county's "dry Lee hall" shadow class took shadow, around singing shadow, is quite popular with the masses. My uncle went to the northeast to sing, after his fame in the northeast of the larger. My father's hometown in the northeast and the segment fame is relatively high.
Wang Wenzhang, male, born in March 1951, Yamato Hisakohito. Professor, tutor of doctoral students. Vice Minister of the Ministry of culture, Dean of faculty, Chinese art institute director of China intangible cultural heritage protection center. Has published more than 60 words of art theory, review articles, editor of "Chinese scholars in the eyes of the science and the humanities", "the Peking Opera master Cheng Yanqiu", "Mei Lanfang's visit to Beijing Opera", "Atlas of intangible cultural
At the beginning of twenty-first Century, the social public to the heritage protection China intangible cultural attention, to participate in the protection of enthusiasm, and promote the China non-material cultural heritage protection work, become an important event China cultural circles and even Chinese society. About the connotation of "intangible cultural heritage" is a word from the majority of the people, to the "intangible cultural heritage" become make known to every family of vocabulary, it is generally the representational form a certain cognitive, and support or to actively participate in the protection work, shows that people have seen in the modernization process in the background,, because of the change of the improvement of living standards and way of life are disappearing rapidly, as the traditional social environment people's way of life and production of the intangible cultural heritage of the reality, and the reality, will the human society sustainable development prospect irreparable. Therefore, the comprehensive protection of intangible cultural heritage has become the consensus of the whole society. However, the protection of intangible cultural heritage that the subject of the times should be how to answer, the answer is not the same. The reason of the inconsistent, mainly is the contradiction between economic development and from the protection of intangible cultural heritage. The intangible cultural heritage as simple economic resources, over exploitation of distorting its essential characteristics in the protection under the name, such as the original ecology dance folk change for superficial fashion stereotype performance service to tourist sites, or the traditional handicrafts as does not have the economic potential of the project and its type, etc.. In recent years, a phenomenon we are common in the city especially in rural construction, with the new building or new environment form will be carrying a specific area of the people from generation to generation material carrier of culture and art (such as certain cultural space) completely change. This can not correctly grasp and deal with the social development and the protection of intangible cultural heritage relation, has been and still the protection of intangible cultural heritage harm. We should face up to and change the phenomenon. No doubt, the protection of intangible cultural heritage is a dynamic process. The right protection is not it solidified and stop the development. In October 17, 2003 UNESCO by the "protection of Intangible Cultural Heritage Convention" pointed out: "this intangible cultural heritage from generation to generation, adapt to the surrounding environment and interaction with nature and their history is constantly re creation in various communities and groups, provide ongoing sense of identity for the community and the community, so as to enhance the cultural diversity and creative human respect." Effective protection of intangible cultural heritage, fundamentally speaking, is to guarantee its own rules of natural evolution, phase parallel in sustainable development of natural evolution and human society, we can not artificially to interrupt the natural evolution process, also not to artificially make it mutation. I think, this should be the most fundamental significance of protection work, but also protect the most difficult, the most core force.
The general ordered
from oral Qi Yongheng interviews ordered
the first chapter film family and teacher teach
second chapter film class society career
third chapter recalls: class custom
fourth chapter shadow carving craft
fifth chapter of traditional singing technique evolution
sixth chapter the operation technology of
seventh chapters after the earthquake.
eighth chapter out of the country "箭秆 king"
ninth chapters on the inheritance of thinking
tenth chapter relatives eyes Qi Yongheng
postscript @##@ chronicle of Qi Yongheng Non material cultural heritage in the natural evolution pattern is various, which determines the protection we take should also be diversified. But for the traditional handicraft items, take the productive protection should be an appropriate way. In this way, can make the Intangible Cultural Heritage Inheritance person, these technology holders will own skills as a means of production and life, not only can get the reward of labor, also can therefore cause the craftsmanship, and the corresponding to their works and the user, the skill to continue with the creative wisdom of foundation and innovation. This set of "Chinese folk art heritage Oral History Series", recorded the inheritors of art history, how to consummate their skills, and their thoughts on art; show them how to produce protective way, so that these different skills in traditional infiltration into the new art elements, and loved by the people, and they have the economic basis for inheritance.
continues to accelerate, the rapid development of science and technology and the era of global economic integration in the process of human society modernization, more and more national, regional and population were incorporated into the overall pattern of the world changes. To maintain the diversity of human culture, is the sustainable development of human society and is closely linked with the. And the protection of each nation has a unique personality and vigorous vitality of the folk art, is the human culture diversity form do not become Museum and sample different appearance, and the permanent vitality of an important guarantee for life and growth in nature. I think, the reader will from the "series" China folk art heritage of the people feel the oral history.
Because he and "箭秆 king" Qi Yongheng is very familiar with, because his shadow play performances reach the acme of perfection, because of his precious intangible cultural heritage is not recorded, because there are many find work shadow friend want to see about his introduction, also because I am doing research work Chinese shadow play, perhaps as many as, so I always wanted to write a Book of his art, or to help his disciples took him to manipulate images and associated text into a complete data. In short, a master of art experience and experience the world left is your precious. As the preservation of traditional skills it is not hard to do, but the basic skills training, artistic skills, but can only sense to say. In the words of Mr. Qi: "the basics plus perception, thought to where, where hand do. Your hand to, the heart can not, heart, hands can not." Remember a few years ago, a project I planned Tangshan traditional shadow play classical repertoire, rescue the shooting, but also personally do editor, proofreading and back camera, was also once together with brother to discuss a about his performance. The album, but he takes the program is still not mature for rejected. Looking at many other shadow artist's voice gradually aging have once can't sing, I felt very anxious, hope in the Qi's physical condition is still good, can give the society kept his "lightning, magic skills". In July 5, 2004, I worked with Zhang Hongqi again to Tangshan to discuss the film "Tangshan shadow famous artists singing" and "the essence of art masters shadow Qi Yongheng performing arts album" things, the invitation to the shadow puppet performance artists have Qi Yongheng, Ding Zhenyao, Qiu Lian he, Wuyi mountain, Shen Fenglan, Qi Yongqing, Peng Zuochen, and Kailuan mine Art Troupe shadow play rookie Zhang Guifeng et al. The main objective is to rescue photograph taken of the old artists artistic materials, these year in the shadow play arena eminent artists, some people have been 风烛之年: was already 85 years old (born in 1920) Wuyi mountain is Tangshan shadow play male character actor very famous; 84 years old (born in 1921) Qiu Lianhe was a descendant of Leting veteran artist Sun Pinqing, has a unique artistic achievement in sitting business; Ding Zhenyao (born in 1938) is a famous shadow play actors as required, known as the film "Qiu Shengrong"; and the shadow show art master Qi Yongheng was already 72 years old. We can put their artistic performance record preserved now, also is the protection of Folk Shadow Play Basic work. During filming, I had the opportunity to once again behind the Qi brother carefully watched his performance art, this is in the manipulation of performing "Five Front" the assassination of Qiao Buqing will be a blue Yan Tibetan sword details.
"The movie king: its shadow play performances:" master Qi Yongheng oral history books China folk art heritage of oral history
Culture @ 2017