What is Anshan’s folk culture?

Anshan is a multi-ethnic area with Han as the main population. There are 32 ethnic groups including Han, Manchu, Hui, Korean, Mongolian, Xibe and Tibetan. Multi-ethnicity creates a diverse culture, and the integration of diversity creates a comprehensive culture that is rich in quality. Anshan has many folk cultures with many highlights, among which Qianshan Temple Music, Xiuyan Single Drum, Haicheng Stilts, Haicheng Shadow Puppetry, Xiuyan Shadow Puppetry, Haicheng Trumpet Opera, Anshan Pingshu, Xiuyan Paper-cutting, etc. have been listed as national-level or provincial intangible cultural heritage. Such diverse cultures complement each other and shine, making Anshan a modern tourist city with a strong cultural atmosphere.

An Overview of Anshan Folk Culture

Xiuyan Jade Carving

Xiuyan jade carving is a folk jade carving craft developed in Xiuyan area. Xiuyan jade carving flourished in the late Qing Dynasty and the early Republic of China, and is even more popular today. It belongs to the northern Chinese style. It has been nourished by the folk culture of northern ethnic groups for a long time, and has absorbed the essence of local folk woodcarving, stone carving, clay sculpture, embroidery, paper-cutting, shadow figures, and painting arts. It has been integrated and penetrated. It mainly focuses on three-dimensional round carvings and reliefs, supplemented by line carvings, Techniques such as engraving and openwork gradually formed an artistic style with strong local characteristics. Its shape is simple and simple, polished smooth, and its charm is vivid and expressive. It is known as the cultural heritage of Hongshan in ancient Liaohe River. Works such as "Huaxia Lingguang Xiu Jade Pagoda Smoke" and "Grasspod Basket" which won the National Arts and Crafts Hundred Flowers Award are representatives of Xiuyan jade carvings.

Xiuyan shadow puppet show

Like the simple folk customs of Xiuyan, the shadow puppetry introduced to Xiuyan during the Qing Dynasty still maintains a simple and unpretentious style. Whenever there is a festival or a harvest time, several groups of people will be active in mountain villages and markets across Xiuyan. They were a group of four or five people, and they only had a black suitcase, a bamboo pole, a few books, a few musical instruments, and a piece of white cloth. Wherever they go, these artists set up bamboo poles, hang white cloths, and take out various shadow puppets made of donkey skin from the box to perform. This is the shadow puppet show that is very popular in the rural areas of Xiuyan. Historically, the shadow puppetry in Xiuyan was divided into three groups: North, South and Middle. Zhao Lianxin from Shaozihe, Fang Tingdong from Jiucaigou and Zhao Dehuai from Shuiyaozi were the representatives. Their different styles greatly enriched the content of Xiuyan shadow puppetry.

Xiuyan single drum

Xiuyan single drum is an ancient sacrificial custom spread among the people of Xiuyan, commonly known as "burning incense". The Manchu people call it "Qixiang" and the Han people call it "Minxiang". Xiuyan single drum has a history of nearly 400 years since it entered Xiuyan in the late Ming Dynasty. The early Xiuyan single drum was born out of the "Shaman" sacrificial ceremony of the Jurchens, the ancestors of the Manchu people. Its popularity in Xiuyan was limited to the Manchu people. It has a history of repairing the old and was gradually adopted by the culture of the Han people. . In the past, Xiuyan Manchu and Han people "burned incense" mainly to worship gods, ancestors, and fulfill their wishes. It was a sacrificial activity. Later, it gradually developed into more entertainment programs.

Xiuyan paper-cutting

When it comes to Xiuyan paper-cutting, there are only a handful of them in the entire Liaoning region. Xiuyan paper-cutting has been successfully selected into the second batch of recommended projects on the national intangible cultural heritage list for its skillful craftsmanship and exquisite artistic modeling. Xiuyan paper-cutting is a paper-cutting art characterized by reflecting the lives of the Manchu people. It has a history of more than 300 years. The folk paper-cutting art of Xiuyan truly took shape in the late Ming and early Qing dynasties, and was most popular during the Qianlong period. Xiuyan paper-cutting takes Manchu peasant women as the main subjects of creation. Its greatest characteristics are the writing of form, freehand brushwork, spirit and heart. The expression techniques are mainly hollow and pieced, and the shapes are exaggerated and peculiar. Xiuyan's paper-cutting has participated in more than ten national and provincial exhibitions such as Chinese Manchu folk paper-cutting, and has won countless awards. Later, Xiuyan was named the "Hometown of Paper-cutting Art in Liaoning Province" by the Provincial Department of Culture.

Haicheng Shadow Puppet Show

Haicheng shadow puppetry is commonly known as donkey shadow puppetry. It is a drama in which characters are carved from donkey skin and illuminated with lights to express the storyline. The shadow puppet artists sing and manipulate the puppets with musical accompaniment. It was deeply loved by the people of Haicheng during a certain historical period in the past. Haicheng shadow puppetry belongs to the style of Luanzhou, Hebei Province. It was introduced to Niuzhuang, Haicheng during the Jiaqing period of the Qing Dynasty. During the Daoguang period, shadow puppetry artists such as Wu Laoxiu were very active, and their disciples were active in Dashiqiao, Gaixian and Fuxian areas. Liaonan film teasing was formed. In the early years of the Republic of China, Wu Zhidian from Shanxi came to Yantai Village in Nantai, Haicheng, and taught Liu Yuanbang, Su Letian and other six people to sing shadow puppetry, known as the "Six Generals". They learned from Shanxi Yangskin Opera and Luanzhou Shadow Puppet Opera and developed it, creating Haicheng Shadow Puppet Opera. The unique style of singing is derived from banqiang music, which has a complete range of banban styles, including original bancan, allegro, banded banquet, etc.

Haicheng stilts

Haicheng Stilts, also known as Haicheng Yangko, has a history of more than 300 years. At first, it was called Di Yangge with two feet on the ground. Later, during the Xianfeng period of the Qing Dynasty, it was changed from Di Yangge to stilts. After long-term exploration by folk artists, they have continuously innovated in performance forms and gradually formed their own unique performance style. After the founding of the People's Republic of China, the party and the government attached great importance to the excavation, arrangement and reform of folk art. Through the joint study and improvement of stilt artists and professional literary and art workers, Haicheng stilts entered a new period of development. It is both popular, rigorous and delicate, and full of strong local characteristics. It has long been famous in southern Liaoning, Northeast China and even the whole country, and has conquered the international art world with its unique national style.

Haicheng Trumpet Opera

Haicheng Trumpet Opera is based on local folk songs, absorbing foreign tunes such as Jiangxi Yiyang Tune and Shandong Liu Tune, and incorporates them into an eclectic system of folk trumpet opera tunes. The music is cheerful and beautiful, fresh and smooth, ups and downs, hot and high-pitched, and has strong rhythm, suitable for singing and dancing. The roles of Haicheng trumpet opera are divided into three lines: Sheng, Dan and Chou. Among these three lines, the "Three Xiao" (Xiaosheng, Xiaodan and Clown) plays are the main ones. The performance of Haicheng Trumpet Opera was initially associated with Yangko and later combined with stilts, thus integrating the two arts into one. Among them, "Stilts Kung Fu", "Handkerchief Kung Fu", "Fan Kung Fu", etc. were cleverly integrated into the Haicheng Trumpet Opera. During the performance, a unique artistic performance form combined with traditional Chinese traditional dance and opera was formed, which is rich in local style and rustic flavor.

Anshan storytelling

There are many storytelling artists in Anshan, and celebrities have emerged in large numbers. Liu Lanfang and Shan Tianfang are household names across the country. Anshan is also known as the "Hometown of Storytelling". Anshan storytelling is based on Mandarin and has the artistic characteristics of bold, tight, dynamic and warm. The language is colloquial, the style is bold, simple, warm and bright, and it is closely integrated with the living language of the local people. It is melodious, fascinating and imaginative. It has one person, one table, one chair, one fan, one piece of wood and one square handkerchief. It has strong expressive power and high educational, literary and entertainment value. Liu Lanfang, Shan Tianfang, and Zhang Hefang have successively recorded and broadcast many commentaries on radio and television stations, such as "The Biography of Yue Fei", "The Heroes of the Ming Dynasty", and "The Romance of the Sui and Tang Dynasties". Over the past 50 years, Anshan storytelling actors have performed in teahouses and theaters, recorded and broadcast more than 000 storytelling pieces on radio and television stations, and published more than 80 short stories, novellas, and records of traditional and modern commentary.

Qianshan Temple Music

Qianshan is a resort for both Buddhism and Taoism, and Qianshan temple music is divided into two types: Buddhist music and Taoist music. Qianshan's Buddhist music was gradually formed and developed through various Buddhist activities held in temples. Qianshan's Buddhist music is divided into two parts: chanting and instrumental music. Qianshan Taoist music was introduced to Wuliangguan from Liu Zu of Tiesha Mountain during the Kangxi period. Before the advent of the "Northeast New Rhyme", the "Laoshan Rhyme" that was mainly spread in Taoism in the Northeast was said to have been introduced from Shandong. After the new rhyme came into being, it quickly spread among the Taoism in the Northeast. Now the Northeast Taoism is complete The sect's temples all adopt "new rhyme". On May 20, 2006, Qianshan Temple Music was approved by the State Council to be included in the first batch of national intangible cultural heritage lists.

Lantern dance

In the unique Manchu folk culture, Manchu folk dance has more profound connotation and interest. Dengguan dance is a colorful and unique flower in the garden of Manchu folk art. It is based on the traditional Manchu festival - the Lantern Festival, and is adapted into the modern Manchu folk dance "Nao Lantern Festival".

The "Lamp Official" dance involves one person dressing up as a lamp official. Wearing official uniforms and tasseled hats, another person is dressed as a lantern official lady, wearing a red coat, with red peppers hanging on her ears. Six Manchu girls are dressed in Manchu festival costumes, holding lanterns, dancing and playing. The lantern official. The Dengguan rides on a sedan chair. To facilitate performance, the sedan is carried on a pole by a bearer. The Dengguan stands or sits on the sedan pole to perform a humorous and vivid performance. The dance has a tacit understanding, the tune has strong Manchu characteristics, and the performance is lyrical and smooth. It is the most flavorful, energetic and beautiful dance among the Manchu folk dances so far.

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