quan zhou fei yi ti yan guan

Quanzhou, formerly known as "Zitong" and also known as "Wenling", is located on the southeast coast of China. It is a port city full of marine memories and has a history of more than 1,300 years. From the 10th to the 14th century, Quanzhou flourished in the prosperous international marine trade and became the "largest port in the East" where merchants and travelers from all over the world gathered and diverse cultures blended. Diversity, openness and tolerance are the traditions and characteristics of this city, and are also the spiritual source that inspires the hardworking, enterprising and pioneering Quanzhou people to write history, create today and create the future.

Quanzhou is the birthplace of Minnan culture, an important starting point of the ancient "Maritime Silk Road", one of the first batch of Chinese historical and cultural cities, the cultural capital of East Asia, and the core area of ​​the National Cultural Ecological Protection Area-Minnan Cultural Ecological Protection Area. It has a long history and splendid culture. On July 25, 2021, "Quanzhou: World Ocean Trade Center of Song and Yuan China" was successfully included in the World Heritage List.

Quanzhou is a rich area of ​​intangible cultural heritage in my country. It has 5 items on the UNESCO Intangible Cultural Heritage List (List). It is the only city in the country that has items on the three major categories of UNESCO Intangible Cultural Heritage List; 36 items have been selected into the National Intangible Cultural Heritage Representative List, which ranks among the top in the country's cities with districts, 128 provincial intangible cultural heritage representative projects, and 262 municipal intangible cultural heritage representative projects. Quanzhou's intangible cultural heritage is colorful, covering folk literature, traditional music, traditional dance, traditional drama, folk art, traditional sports, entertainment and acrobatics, traditional fine arts, traditional skills, traditional medicine, folklore and other categories. There are many projects, rich connotations, unique characteristics, and colorful.

The Quanzhou Intangible Cultural Heritage Experience Hall is located in Wudian City, which has a thousand-year history and is the origin of Jinjiang City. The red brick buildings with southern Fujian characteristics span the Ming, Qing and Republic of China periods. Wudian City has produced 11 champions in history. During the Wanli period, Zhuang Jichang was the champion of the same subject as Yuan Chonghuan. The champion Wang Zeng, a descendant of the King of Fujian who lived in Quanzhou for generations, won three consecutive championships (first place in the first, provincial and palace examinations), and has produced more than 1,400 Jinshi, making it an outstanding representative of the humanities, history, art, architecture and customs of southern Fujian.

In-house projects:

The Quanzhou Intangible Cultural Heritage Experience Hall mainly offers more than 30 intangible cultural heritage and folk experience items in three categories: interactive experience, scene check-in, and viewing and appreciation.

Interactive experience: jumping over fire (electronic flame), betting on the top prize (Mid-Autumn Festival cake betting), throwing the Holy Grail to bet on the turtle head (to take the lead), puppet experience, puppet handicraft, string puppet performance, palm puppet performance, hairpin flower circle, dress-up photography, video and follow-up shooting, etc.

Scene check-in categories: Tiangongsheng, counting palace lanterns, dragon boat racing, Anping Bridge miniature landscape, duck catching on the water, roasting tower, wood stove, cooking cakes, filial piety, etc.

Viewing and appreciation categories: Why Quanzhou, Beautiful Jinjiang, Wudian City, Wudian City Aerial Photography, Anping Bridge, Raiding Ducks, Suolao, etc.

Things to see in the museum:

1: Simulation scene of the ancestors of Quanzhou in Chinese civilization offering sacrifices to heaven and ancestors

Among the four ancient civilizations, only my country has a continuous civilization. This is largely due to the Chinese nation's culture of ancestor worship and gratitude, as well as the result of the working people's worship of nature and continuous conquest of nature from ancient times to the present. Therefore, in the Quanzhou Intangible Cultural Heritage Museum, you can see the simulated scenes of worshiping nature and offering sacrifices to the sky on the first and ninth days of the lunar month in Quanzhou, as well as the simulated scenes of the inheritance of the custom of ancestor worship on the winter solstice.

2: Quanzhou "Quanzhou: World Ocean Trade Center of Song and Yuan China" The coherent story of the lanterns at 22 World Heritage sites

There are 22 round ceiling lamps in the Quanzhou Intangible Cultural Heritage Experience Hall. Each ceiling lamp is designed with national fashion elements and combined with 22 world heritage sites. They are arranged and combined to form a unique story with Wudian City as the starting point and connecting the 22 world heritage sites. This story tells a true portrayal of the ancestors of southern Fujian going out to sea to make a living.

3: Quanzhou’s 8 intangible cultural heritage square ornamental lanterns and other round folk ornamental lanterns.

There are 8 square ceiling lights in the Quanzhou Intangible Cultural Heritage Experience Hall, which are mainly designed with elements such as national trends, Quanzhou World Intangible Cultural Heritage, Quanzhou National Intangible Cultural Heritage, and Quanzhou Folk Customs. It is easy to understand Quanzhou’s main intangible cultural heritage and folk customs.

Performances in the museum:

1: Marionette show, Quanzhou Marionette Show (National Intangible Cultural Heritage)

Quanzhou string puppetry was formerly known as "suspended silk puppets", "string puppetry", "wooden puppetry", etc. In Quanzhou and the Minnan dialect area, it is commonly known as "puppetry" and "ritualistic puppetry". Some scholars call it "Quanzhou opera puppetry". Its origin is closely related to the ancient witch culture. It was originally a "funeral music" and became a unique performing art in weddings and banquets in the Han Dynasty. During the Jin and Tang Dynasties, it migrated south to Fujian with the Central Plains gentry. According to the "Hua Shu" written by Quanzhou Taoist Tan Qiao in the late Tang and Five Dynasties, it was popular in Quanzhou at the latest in the late Tang and Five Dynasties.

During the Song and Yuan dynasties, Quanzhou's social economy was very prosperous, and multiple cultures intersected and prospered. Temples were everywhere, and folk beliefs and folk customs such as praying for blessings and warding off disasters, repaying gods and fulfilling vows, and performing rituals to ward off evil spirits were extremely prosperous. Quanzhou puppetry gave full play to its witch culture potential and its unique function of "communicating between people and gods", and was closely integrated with religious rituals such as Taoism, becoming an indispensable part of people's life rituals such as birth, aging, illness, and death.

In the Ming Dynasty, Quanzhou puppetry had long-term exchanges and integration with the various types of Southern Opera in the Song and Yuan Dynasties. The performance repertoire, music and singing, performance skills, and idol modeling techniques have become mature and complete, becoming a part of the "Quanqiang Opera" of Southern Opera in the Song and Yuan Dynasties, which is recorded in historical books. During the Ming and Qing Dynasties, Quanzhou puppetry troupes were everywhere, and performances flourished, which was a grand spectacle. A professional training system had been formed, and even professional workshops such as "Xilaiyi" and "Zhoumianhao" that specialized in making puppet heads, costumes, helmets, and props appeared. Since the middle of the Qing Dynasty, Quanzhou puppetry has spread to Guangdong, Zhejiang, Taiwan, and the Minnan people and overseas Chinese communities in Southeast Asia with the footsteps of immigrants. In particular, it played an important role in the formation of folk culture and the main dialect (Minnan dialect, also known as "Heluo dialect" and "Fukuo dialect") in Taiwan.

Quanzhou puppetry has experienced thousands of years of uninterrupted inheritance and has accumulated a wealth of traditional repertoires. It has a unique musical genre called "puppet tune" and more than 300 traditional tunes and singing styles, including ancient musical instruments such as "foot-pressing drum" and "gongs" and a complete set of corresponding playing techniques; it has formed a complete set of unique string management skills - line gauges, as well as rich and exquisite performance techniques and complete performance regulations; at the same time, it has a unique puppet head shape with "Tang style and Song style" and exquisite carving, pastel, idol structure, costumes, helmets and other production techniques. Quanzhou puppetry has become an outstanding representative of contemporary Chinese string puppet art.

2: Hand puppet show, Jinjiang glove puppet show (national intangible cultural heritage)

Puppet show was called "puppet show" or "puppet show" in ancient times. It is a form of opera in which artists operate puppets to perform stories.

Puppetry in China originated in the Han Dynasty. It developed and improved in the Tang Dynasty, and puppets could be used to perform singing and dancing. The Song Dynasty was an important period for the development of puppetry in my country, and the production technology and manipulation skills of puppets became more mature. With the development of social economy, puppetry has become popular all over the country in the Ming Dynasty, and puppetry in the economically developed southern provinces and regions is more prosperous, so there is a saying that "the south is good at puppetry". After the Qing Dynasty, puppetry entered its heyday. It was not only popular in a wide range, but also the performance of the voice is increasing. There are branches such as Liaoxi puppetry, Zhangzhou glove puppetry, Quanzhou string puppetry, Jinjiang glove puppetry, Shaoyang glove puppetry, Gaozhou puppetry, Chaozhou iron rod puppetry, northern Sichuan puppetry, Shiqian puppetry, Yang string puppetry, Taishun medicine puppetry, and Lingao puppetry. In terms of performance form, it can be summarized into five types: string puppetry, rod puppetry, glove puppetry, iron rod puppetry, and medicine puppetry.

Puppet art is exquisite and breathtaking. In addition to the wonderful performances of the artists, the perfect puppet modeling art and operating equipment are also an important aspect to attract the audience. Modeling art focuses on the carving and design of the puppets. Generally speaking, the shape of the string puppet is taller, mostly around 2.2 feet. The rod puppet is taller than the string puppet, and the puppet is generally about 3 feet tall. The glove puppet is small, only about 7 inches, and is performed by the artist's hands. The operating skills are special, which is different from the string and rod puppets.

Jinjiang glove puppet show is the southern style glove puppet show, which refers to the hand puppet show in Quanzhou area. In July 1951, the southern Fujian glove puppet show was named hand puppet show, which is a rare type of puppet show in my country.

Southern-style glove puppetry is popular in southern Fujian. Its origins can be traced back to the historical records in the "Records of Lost Things" of the Jin Dynasty, the "Book of Changes" of the Five Dynasties, and the "Si Mo Yuan Ri" of the Southern Song Dynasty. From the middle of the Ming Dynasty to the end of the Qing Dynasty, it was the period of the rise and development of the southern-style glove puppetry. According to folk legends and the "Taiwan General History", glove puppetry emerged during the Jiajing period of the Ming Dynasty, and its founder was Liang Binglin, who was later known as the "number one scholar in drama". In the middle of the Qing Dynasty, glove puppetry performances in Jinjiang and other places flourished and spread to Taiwan. At the same time, famous artists such as Li Kecha appeared. In the late Qing Dynasty and the early Republic of China, some famous glove puppetry troupes in various counties of Quanzhou emerged, such as the "Five Tigers" in southern Fujian during the Tongzhi and Guangxu periods of the Qing Dynasty. During the Republic of China period, glove puppetry troupes in Anxi, Hui'an and other places were almost everywhere in the county. But on the eve of the founding of the People's Republic of China, due to the economic recession, the glove puppetry troupes in various counties of Quanzhou were in a difficult situation.

Southern style puppetry is characterized by its eclecticism and the distinct regional cultural characteristics. It has a unique artistic style, detailed division of roles, and the carving of puppet heads is both realistic and vivid. It is also characterized by delicate performances and vivid movements, and is deeply loved by the audience.

3: The custom of picking lotus in Anhai during the Dragon Boat Festival (national intangible cultural heritage)

"Suo La", also known as "Picking Lotus", is a folk custom of the people of Anhai Town, Jinjiang City, Fujian Province, to ward off disasters and pray for health. Anhai's "Suo La Guan" originated from the ancient folk customs of the Central Plains and was very popular in the early Qing Dynasty. In the middle and late Qing Dynasty, this activity was closely combined with the dragon totem worship of the Chinese nation, and the time was changed to the fifth day of May every year. Today, "Suo La Guan" is well preserved in Anhai Town and still plays an important role in folk life.

When "Suo La" is held, people carry out the statue of the Dragon King's head for worship, burn incense and kowtow, and walk through the streets. The whole team is led by a drunken man wearing a Qing soldier's hat and holding a long pole of mugwort flag. On both sides of the team that beats gongs and drums and plays orchestral music are "pu soldiers" carrying raw pig feet, straw sandals and urinal wine on their shoulders, breaking gongs in their hands, and men dressed as flower ladies wearing black cloth on their heads, red clothes and red pants, carrying flower baskets and wearing embroidered shoes. At each house, the flag bearer rushes into the hall like a drunk, waving the mugwort flag between the beams, and chanting prayers such as "Dragon God Picks Lotus, Prosperity and Fortune". After the man dressed as the flower lady walks and dances with the flag bearer, he presents flowers to the owner of the house, indicating that the Dragon King God has left blessings and good fortune. The owner of the house receives the flowers and gives a red envelope in return to express his gratitude. In addition, on this day, people in Anhai Town also hold activities such as "frying buns to mend the sky", making rice dumplings, and inserting pine and mugwort on the door.

The "Suola" custom has positive practical significance in enlivening the cultural life of the people and promoting cultural exchanges across the Taiwan Straits.

4: VR mixed reality imaging technology, Jinjiang Dragon Boat Festival custom Anhai Floating Duck (Quanzhou City-level Intangible Cultural Heritage)

Water "duck catching" is a competitive water sport during the Dragon Boat Festival that is popular in the ancient town of Anhai. It has a history of more than 300 years. It is said to have evolved from the historical custom of Zheng Chenggong's training of the navy. It is a sporting activity that tests the physical strength, perseverance and skills of the participants, and is full of challenges and fun.

The record of "catching ducks" on the water can be traced back to the Tang Dynasty, when it was called "shooting ducks" and was a court game. According to the "History of the Five Dynasties·Tang Ji", "In the third year of Tongguang (i.e., 923-925 of Emperor Zhuangzong Cunxu), ducks were shot at Guobo", and in the "Jin Ji", it is also recorded that "in the third year of Kaiyun (944-946), ducks were shot at Banqiao". There is also a seven-character poem by Wang Jian included in the "Complete Tang Poems·Imperial Hunting", which says: "Green mountains go straight around the top of Fengcheng, and the Chan River diagonally flows into the Imperial Canal. The newly taught wife only shoots ducks, and she always follows the emperor to the east of the garden." Zheng Chenggong was well-read. Inspired by the "shooting ducks" of his predecessors, he applied it flexibly and trained the navy by catching ducks, thereby training the blood and courage of the soldiers.

Back then, as the father of the state, the national hero Zheng Chenggong shouldered the heavy responsibility of overthrowing the Qing Dynasty and restoring the Ming Dynasty. Faced with the crisis that his relatives and some of his favorite generals defected to the Qing court, he retreated to the coastal areas of Anhai, Dongshi and Shijing where he was raised since childhood, stationed troops and trained soldiers in an attempt to make a comeback. Zheng Chenggong's troops built a solid wall in Baisha, Dongshi. The soldiers and civilians fought bloody battles, but they were still defeated by the powerful offensive of the Qing army, so they decided to recover Taiwan and establish a long-term anti-Qing base.

Most of Zheng Chenggong's troops were from the north, who were unfamiliar with sea warfare and water. Once on board, they could not even take care of themselves, let alone fight. In order to train soldiers for sea warfare and strengthen their combat capabilities on water, Zheng Chenggong created a set of effective training methods, one of which was a good way to combine education with entertainment, which was to hold a competition called "Water Duck Hunting" every year during the Dragon Boat Festival. Over time, it became a folk custom of the Dragon Boat Festival in Anhai Ancient Town.

The wide waters of Anping Bridge are an ideal natural venue for duck-catching activities. Organizers place a bamboo pole or fir wood about 8 meters long on the piers or boats of Anping Bridge. The bamboo pole is about 3 meters above the water surface. A cage with a white duck is hung at the end. Grease is applied to the bamboo pole to increase the difficulty. At the beginning of the competition, the contestants carefully step over the smooth bamboo pole barefoot amid the encouragement of the crowd. Whoever can reach the end and reach the cage to take the duck wins the challenge, and the duck he gets will be the prize. This activity tests the participants' water ability and balance, and combines fitness, adventure and entertainment, and is very popular among people.

The duck-catching activity preserves the authentic Dragon Boat Festival customs of ancient folk relatively completely. It is a folk activity jointly created by the people of southern Fujian and passed down and developed from generation to generation. It has a unique character and rich connotations, and reflects the distinctive characteristics of cultural exchanges between the north and south regions of the Chinese nation.

5: Anhai Mid-Autumn Festival Custom of Burning Towers (Jinjiang City-level Intangible Cultural Heritage)

Burning the tower, according to legend, in the Yuan Dynasty, Quannan built a general camp of Yuan soldiers in Jiudu Gutingpu (now Anhai), which governed the soldiers stationed in various villages. At that time, three households were required to support one Yuan soldier, and they could only share one knife, and there was one well every five miles, which made the people extremely miserable. In order to resist the brutality of the Yuan soldiers, the people agreed to build a tower on the ancient pavilion on the night of the Mid-Autumn Festival to command Quannan. Seeing the fire was a signal, all of them started to kill the Yuan soldiers at the same time, and finally killed all the Yuan soldiers overnight. In order to commemorate this historical event, people hold the burning tower activity every Mid-Autumn Festival, and it has become a custom passed down from generation to generation. Before the Mid-Autumn Festival, children would make an appointment to pick up bricks, tiles, and dry firewood, and then stack "towers" of different sizes in the wilderness in front of and behind the house. On the night of the Mid-Autumn Festival, people lit the firewood put in the tower, and the fire shot out from the gaps in the tiles. The fire burned until the bricks were hot and the tiles were red, which was very spectacular and the festive atmosphere was extremely strong. The above content is a legend. Quanzhou's top Guide Wang Zhan believes that the 15th day of the eighth lunar month before the Mid-Autumn Festival is the harvest season. In the agricultural society, burning towers carries people's good wishes. No matter what the harvest is this year, they hope that there will be a good harvest next year to feed their families. At the same time, on the Mid-Autumn Festival, families gather together to enjoy the moon, which is the time to reward yourself. After a good dinner, I believe that burning towers at night can also drive away evil spirits and burn away the previous bad luck. This is purely Wang Zhan's personal opinion.

Activities in the museum:

1: Study and research activities. The museum can host study and research activities. You can choose the following study and research topics: Quanzhou culture study and research (special topic study and research), Quanzhou intangible cultural heritage study and research (puppet making, bead embroidery, Jincang embroidery, etc.), Jinjiang experience study and research, Wudianshi history and culture study and research, etc. The museum is equipped with professional study and research lecturers and tutors.

2: Cultural team-building lectures and other activities. The museum can plan and host various group activities throughout the process, and can provide a package solution including Dining, accommodation, car use, travel, inspection, etc.