In addition to Chinese characters, there are many traditional cultures of the Chinese nation worthy of praise. Such as Chinese painting, calligraphy, Chinese medicine, musical instruments, music, pape

In addition to Chinese characters, there are many traditional cultures of the Chinese nation worthy of praise. Such as Chinese painting, calligraphy, Chinese medicine, musical instruments, music, paper-cutting, traditional festivals and so on. I chose one that you didn't write. Do you think it's okay?

The Aesthetic Spirit of China's Opera

Traditional Chinese opera is a beautiful landscape nurtured by China's traditional aesthetic culture. As the only stage art category with thousands of years of prehistory, 800 years of prosperity, 300 vocal operas and 50,000 plays, covering the vast urban and rural areas and more than one billion people, it has grown into a modern society. He became the only survivor of three ancient drama styles (ancient Greek tragicomedy, Indian Brahma drama and China traditional opera). Guan Hanqing, a world cultural celebrity, and Tang Xianzu, a playwright as famous as Shakespeare, and The West Chamber (also known as Shagongdaruo and Romeo and Juliet), one of the three classic love dramas in the world, have developed to a pure stage in an all-round way. Its aesthetic principles make it a typical representative of human freehand brushwork art and stand on its own feet in the forest of world art with its own uniqueness and richness. China culture and human civilization are enriched, complete and proud by China traditional operas.

If there is any artistic style in China that is universal, embodies the widest aesthetic interest and appreciation interest, and becomes the object of unanimous interest from the court to the literary garden to the market to the countryside, it is opera.

Deep cultural connotation

In the long history of China's cultural development and evolution, China's traditional opera has been gestating, changing and growing. Especially in the late period of China's ancient history, opera activities became an important form of people's social life, and opera became a concentrated representative of the extremely prosperous scholar-bureaucrat culture and folk culture at that time, so it also became the most attractive art style. If there is any artistic style in China that is universal, embodies the widest aesthetic interest and appreciation interest, and becomes the object of unanimous interest from the court to the literary garden to the market to the countryside, it is opera. Therefore, the traditional Chinese opera itself carries the popular factors of China culture. To understand the culture of China, we must understand the traditional drama of China.

The extensive coverage of opera has formed a comprehensive report on the social life of China people since the Middle Ages. In the sense of space, many local operas formed after reproduction have covered the areas where Han and ethnic minorities live. There are Peking Opera, Shaanxi Opera, Shanxi Bangzi, Henan Opera, Sichuan Opera, Guangdong Opera, Yue Opera and Huangmei Opera in Han nationality areas, while there are Bai Opera, Tibetan Opera, Dong Opera and Dai Opera in minority areas. It can be said that there are operas everywhere in China, which is a great miracle of world culture. From the time point of view, the performances of stringed instruments and gongs and drums on the stage of Goulan Theater and Jietai Temple, which are spread all over urban and rural areas, have become the main landscape of folk cultural life. Judging from the depth of intervention, the traditional Chinese opera culture is almost all-encompassing. Folk Chinese New Year celebrations, weddings and funerals are monopolized by traditional Chinese opera, and almost all life crafts are made around the contents of traditional Chinese opera-architectural sculpture, room decoration, vessel decoration, painting, New Year pictures, clay sculpture, paper-cutting, embroidery, porcelain, lacquerware, gold and silver jade. Traditional Chinese opera has occupied people's cultural space, become the carrier of all folk arts and become an indispensable part of secular life. Coverage can also be understood from another level. For example, China's traditional themes are fully covered by traditional opera creation: the accumulated tens of thousands of plays, from uncovering ancient myths to almost perfunctory all the twenty-four histories, have been extended to modern and contemporary life. Different kinds of operas have their own tunes and performance characteristics, forming a diversified aesthetic style and coverage of different popular regions.

After deeply influencing the Song Dynasty, China's traditional society entered the folk custom stage, and the orthodox consciousness cultivated by thousands of years of ritual and music culture gradually turned into folk custom, forming a cultural life tradition. Among them, opera, as the most important bridge between elite culture and popular culture, has become the concentrated carrier of traditional culture. The unity of ceremony and music expressed by it has entered and firmly occupied the spiritual space of the village community, in which children have been exposed to the traditional ink color of China culture since childhood, such as the vivid situation described in Lu Xun's novel "Social Opera". People in ancient times, especially women, had no conditions to study. Most of their historical knowledge and cultural concepts come from watching plays, and they also get entertainment from opera performances. Lvyuan Li's novel Qi Lu Deng in Qing Dynasty has a very detailed description in this respect. Many people who haven't read books have increased their knowledge and knowledge from watching plays. Ling Mengchu, a scholar in the Ming Dynasty, once lamented that his maids and domestic slaves were "destined to learn from each other" after watching too many plays. Zhao Yi, a poet in the Qing Dynasty, wrote a quatrain, lamenting that domestic servants who often go to the theatre actually know more about historical anecdotes than they do, saying that "thousands of books in the old lady's chest has made children rich in ancient and modern times". Even some scholars add up the functions of watching a play and reading, thinking that they can complement each other. According to the article "Liang Zhangju's Roaming" (Volume 6) and "Going to the Theatre" in Qing Dynasty, Gong Haifeng, a magistrate in Pingliang, Gansu Province, once asked his four sons whether it was better to study or go to the theatre. The younger son said that going to the theatre was good and was scolded. The eldest son said that reading is good, and Gong said it was a cliche; The second son tells stories and reads plays. Gong said he was tactful and ambiguous. Finally, the third son said, "reading is watching a play, and watching a play is reading." Gong laughed and said, "It's really rewarding". Of course, the history of Chinese drama is subjective and artistic, and it can't be regarded as a history of faith. Sometimes it will lead to the distorted teaching of historical knowledge to ordinary people.

The embodiment of traditional cultural character Due to the ubiquitous coverage and influence of opera, China people's moral concepts, aesthetic tastes and even cultural character are subtly influenced and shaped by opera. There are many vivid scenes in "Qi Lu Deng" in which Wu learned the truth of being a man from the play and argued repeatedly with her husband Tan Shaowen. For example, women should be virtuous: Wu claimed to watch Ji An deliver meals, and sang "Mother is an only child, mother is cold in three children", "Singing to a sore spot, crying all over Taiwan", and knew to be kind to his ex-wife's children: "I don't watch Ji An, so I can't live with my husband (Tan's ex-wife)." Sister Wu also quoted operas and accused Tan Shaowen of not studying well, saying that "if I had known" Broken Dragon ",I wouldn't have reached this point". Ordinary people, especially women, learn ethics from opera in this way. Therefore, the preface to "Flower Field Tan" in the Qing Dynasty said that performing local operas "is full of loyalty and filial piety, and its words are straightforward. Although women and children can understand it, its voice is generous and its blood is surging." China's traditional operas condensed the political history and spiritual history of ancient society, provided the experience and lessons of predecessors, and showed human suffering and warmth. It distinguishes between good and evil, punishes evil and promotes good, praises loyalty, belittles traitors, and conveys the ideals and aspirations of the general public. Therefore, it has become the carrier of traditional morality and values-China people's concept of good and evil comes from this, the concept of loyalty, filial piety, benevolence and righteousness comes from this, and aesthetic ability and interest also come from this. China's traditional operas embody a positive moral orientation, which takes the traditional moral consciousness accumulated in past dynasties as the starting point of creation, selects the theme and determines the value evaluation standard on this basis, and transforms it into a stage image, so as to declare and spread traditional ethics. Traditional ethics has the core values of the Chinese nation, and its lofty spirit, patriotic feelings, good humanity, excellent character and traditional virtues are the precious spiritual wealth of the Chinese nation. In the traditional culture of China, if Laozi, Zhuangzi, Confucius and Mencius and Du Li express the personality of intellectuals, then Confucianism, Buddhism and Taoism embody the light of spirit, and drama presents the value and significance of secular life. China traditional opera bears many cultures, so it has become an integral part of China people's character, the core of China people's cultural character and the gene of our life today. Of course, traditional opera also carries the dross of traditional culture. For example, there are many contents in traditional operas, such as loyalty, servility, marriage results and murder pornography, but these have long been naturally regulated and resisted by society.

China's traditional operas do have the same on-the-spot stimulation function as realistic dramas, which is based on a higher tacit understanding with the audience. . . . . Space is limited, please see the source.

Source:

The Aesthetic Spirit of China's Opera

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