Yong Cheng
Abstract: Qilu culture, as a unique way of life and expression of people living in Qilu, belongs to the "orthodox school in China traditional culture". The humanistic vision of Shandong tourism is the orthodox cultural tour of China. Based on the general understanding of cultural tourism, this paper briefly discusses the significance of Qilu culture to Shandong tourism from three aspects: cultural relics, folk customs and artistic culture.
Keywords: Qilu culture, Shandong folk customs, cultural tourism
About the author: Yong Cheng, male, postdoctoral fellow, School of Humanities, Zhejiang University, associate professor, School of Literature, Qufu Normal University.
Shandong was originally a geographical name, but from the Han Dynasty, it was used to refer to the land of Qilu, and it was not until the Jin Dynasty that it was officially transformed into an independent administrative name. The Chief Secretary of Shandong Province in the Ming Dynasty was renamed Shandong Province in the Qing Dynasty, so he was fixed. This vast area is called Qilu State in the world because it once belonged to Qilu in history. Shandong not only has the natural scenery of Haidai Lake, but also has rich tourism resources of Tibetan culture due to the transformation of Qilu culture. Qilu culture is an independent regional cultural system, which is different from Central Plains culture, Qin Jin culture, Yanzhao culture, Wuyue culture, Jingchu culture and Bashu culture, that is, people living in Shandong have a unique way of life and expression. Like other cultural systems, Qilu culture is also a developing concept, which has both horizontal regional expansion and vertical historical evolution. If we take Qilu Square culture in the pre-Qin period as a yardstick, we can divide Shandong regional culture into pre-Qilu Square culture, pre-Qilu Square culture and post-Qilu Square culture from ancient times to the present, each with its own spiritual temperament. According to Mr. Yang Xiangkui, "In the history of China, Qilu culture is also the orthodox school of China traditional culture", and the humanistic vision presented by Shandong tourism is also the orthodox cultural journey of China. Based on the general understanding of cultural tourism, this paper briefly discusses the significance of Qilu culture to Shandong tourism from three aspects: cultural relics, folk customs and artistic culture.
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Cultural relics full of historical vicissitudes, as the concentration, carrier and symbol of specific cultural spirit, constitute the basic level of cultural tourism. In Shandong's vast territory, cultural relics, sites, historic sites and ancient buildings are scattered all over the place, showing the spiritual temperament, historical process and brilliant achievements of Qilu culture and becoming a cultural tourist attraction in China.
Qilu culture can be traced back to Yiyuan ape-man who was contemporary with Beijingers four or five hundred thousand years ago, and formed a complete prehistoric cultural pedigree from Yishu Paleolithic culture to Yueshi culture in Shandong, which is rare in China. Ancient cultural sites are all over the country. Archaeological excavations since the 1980s have shown us the glory of this ancient culture. A large number of ancient human fossils, paleolithic, microlithic and bronze relics silently tell the historical process. In the late Dawenkou culture, exquisite and breathtaking pottery, stone tools and jade articles, as well as the earliest invention of writing and tamping technology in Longshan culture period, all showed the wisdom of ancient Shandong people and influenced the middle reaches of the Yellow River, Jianghan and Handan. In Shandong, there are even more legendary ancient tribes, which mainly have two systems. First, the descendants of the legendary Yellow Emperor, Yan Di and Zhuan Xu living in southern Shandong and southwestern Shandong formed the Xia nationality; One is Dongyi people, who are descendants of Teti (also called Fu) and Shaoti (also called Fu). According to legend, Shun was born in Zhucheng and Qufu, and Dayu's water control activities were mainly concentrated in Shandong in the lower reaches of the Yellow River. The imagination and commemoration of these ancient legendary tribal leaders, heroes and holy kings is not only deeply rooted in the concept of Qilu culture, but also breeds many folk festivals and ceremonies, and their material performance also constitutes a theme of Shandong tourism, so Qilu scenery is full of sacred charm. Today, walking in museums and cultural sites, listening attentively to the historical pulse conveyed by those cultural relics, we seem to be able to transcend the barriers of time and space and meet the ancient figure of the Chinese nation. If you go to Wang Shun Temple in Qianfo Mountain, Jinan, and pay homage to Shao Hao's tomb in the east of Qufu, a sense of root existence based on the imaginative identity of the Chinese nation will emerge.
1 1 century BC, in order to control the headquarters of the pre-Yin and Shang dynasties, the King of Zhou set up a high position in Yingqiu, founded the state of Qi, and centered on Linzi, and its jurisdiction included eastern Shandong, central Shandong, northern Shandong and western Shandong. Named after the birthplace of Yin people, the country name is Lu, with Qufu as the center, and its jurisdiction includes Tai 'an, Xintai, Surabaya and Yanzhou. The two countries are bounded by Mount Tai, with different geography and customs. Therefore, although they all originated from Dongyi culture, Shang culture and Zhou culture, Qilu and China developed utilitarian and ethical regional cultures respectively, or they can be said to be wise and kind. Although there were still ancient countries such as Zhu, Teng and Xue in Shandong in the pre-Qin period, Qilu was actually the economic, political and cultural center of the East. Therefore, it can be said that with Mount Tai as the boundary, Qilu and China divided Shandong into two political plates, which formed two cultural regions, lingering in the wind and benefiting future generations.
The remains of the ancient capital of Qilu still exist, and the history of the two countries is as long as 8900 years, leaving very rich cultural relics. Archaeological excavations have proved. Qilu ancient city has a large scale, convenient transportation and complete functions. The remains of workshops for smelting copper and iron and making ceramics and bones still exist. The broken walls of the city wall is discernible, and the traces of the ancient temple are vague, so there are many tombs inside and outside the city. Visiting the ruins of the ancient capital, you can imagine Linzi's "car hub attack, people rubbing shoulders, combining to form curtains, holding curtains, sweating into rain, being well-off and aspiring" ("Historical Records? "Biography of Su Qin") is prosperous, and the interest follows Zhou Li's "Left ancestors and right houses, facing the market outlook" ("Zhou Li? Examination records? The solemn order, exquisite design and excellent construction symbolized by Lucheng's customized layout make people admire the wisdom of their ancestors. You can even think about the way of life of the ancients along the direction indicated by the Eastern Zhou martyrs Ma Hang, Han stone reliefs, pottery figurines and other cultural relics, and think about what a colorful life world their food, clothing, housing, transportation, illness and death constitute. You can also visit the ruins of the Great Wall of Qi in Muling Xiongguan, Jiaozhou, Maanshan and Huabu stations, the battlefield in the northern suburbs of Jinan, and the ancient battlefield of Malingdao in Shenxian. Tian Dan defeated the ancient city of Jimo, Pingdu, Yan Jun with a fire bull array, looking for the remains of those famous battles, and feeling the tragic and tragic process of history at sunset; You can also visit Mount Nishan and the stage in Qufu on a beautiful spring day, and pay a pious visit to Confucius' former residence in Que, as well as the incense shop where he led students to practice martial arts, the apricot altar where he taught poetry, the former residence where Yan Hui lived, and the three moves to Meng Mu in Zoucheng, so that you can enter the sacred area and explore the life course and cultural details of the Confucian sages in Yishan, Zoucheng. As a result, the voices and smiles of sages, the lives of ordinary people, the contention of a hundred schools of thought in Jixia Academy, the bonfire and smoke of ancient battlefields, and the iron horse of Jin Ge all emerged in the pursuit of knowledge meaning and emotional experience that crossed the gap between time and space.
Mr. Huang Song said: "In sharp contrast to the ethical culture in which Lu culture attaches importance to righteousness and morality, Qi culture attaches more importance to work and material interests. This utilitarianism of Qi culture has never made people feel solemn and restrained, but it has great openness and flexibility. The vastness reveals the ubiquitous ethereal spirit. " On the historical and cultural level of humanistic tourism, the existing Confucius Temple in Qufu and Penglai Pavilion in Yantai are mostly buildings in Ming and Qing Dynasties, but they clearly reflect the spiritual temperament of the two cultures.
Confucius Temple is the place where the feudal dynasty offered sacrifices to Confucius since the Western Han Dynasty. It is also called the three ancient buildings in China together with the Forbidden City in Beijing and chengde mountain resort in Hebei. Its composition is the pattern of temples in China, with the main hall and cloisters as the accessories; Take the pavilion as the change, the gate square as the central axis, the city wall as the division, and Dachengmen and Dachengdian as the center of the whole building complex. The whole building complex runs through the north-south vertical central axis, which is symmetrical left and right, with regular structure and rigorous layout. Yellow tiles and red walls, carved beams and painted buildings, forest of steles and towering ancient trees give people a solemn, grand and profound feeling. After careful consideration, the Confucius Temple complex is actually an ethics written by Civil Engineering, which emphasizes the harmony of ceremony and music. As far as the basic pattern is concerned, the Confucius Temple has a strong sense of the central axis, and the octal sequence makes the whole building complex have a strong sense of depth and strengthens the significance of worship. Dacheng Hall is the largest. Worshipers in past dynasties lived in two halls, and Confucius' wife condescended to sleep in the hall, all of which showed a clear etiquette order. On the other hand, the whole building complex presents an absolutely symmetrical layout, which makes it have both the characteristics of ceremony and the meaning of music, and it is a Chinese-style ritual and music harmony based on ceremony. This is a typical embodiment of ethical culture that attaches importance to rationality and morality. It is full of introverted anxiety and rational reflection. It is quiet, magnificent and great.
Penglai Pavilion complex is located on the Ya Dan in the north of Penglai City. It consists of six single buildings, such as Lvzu Hall and Penglai Main Pavilion. There are many pavilions with unique styles around each single building, which are layered and patchwork. Although the architectural technology is extremely ingenious, and there are couplets and calligraphy of celebrities in the past dynasties between the corridors of pavilions, it can be called a gathering of people and literature, but the cultural basis of Penglai Pavilion tourism is the fairy world built by the ethereal characteristics of Qi culture. When you board Penglai Pavilion, you may be lucky enough to see the wonders of the immortal city, as described in Su Shi's "Ascending to Haizhou Haicheng": "The east clouds are empty, and the immortals are out of time. Wandering around the world, how can there be a hidden pearl palace in Beique? " The natural illusion of a mirage has become an endless imagination of magnificent mountains and rivers; Strolling through Lvzu Temple and Xianren Bridge is a beautiful legend of the Eight Immortals crossing the sea. If you stand on the porch of the main pavilion in foggy days, lean against the railing and look around, and see the towers and halls looming in the fog, you can't help but feel like you are in a fairyland and out of the dust. Therefore, Penglai is considered as another name of the fairy mountain, and the fairy world of "the water and fog are hidden in inaccessible places" (Li Bai's Tianmu Mountain rises in his dream) seems within reach. The legend of overseas sacred mountains and the cultural accumulation of Penglai fairy tales make Penglai Pavilion complex full of light and elegant atmosphere, while the formation of fairyland on earth reflects the wonderful integration of Qi cultural spirit and behavioral utility, which is magical, dignified and magnificent.
After the Qin and Han Dynasties, Qilu culture and China culture merged into a traditional culture of benevolence and wisdom, which no longer had independent regional cultural significance. Although the areas under Qilu's jurisdiction and China still retain some local cultural characteristics, there are still differences in thoughts, psychology, behavior and customs. Moreover, although the cultural relics left on the land of Shandong today follow the overall pattern and development trend of traditional culture, the unique features of Shandong tourism are of course the charm created by the integration of Qilu culture with Confucian culture as the main body. Here, I will briefly talk about the significance of the integration of Qi culture and Lu culture in Taishan humanistic tourism.
Mount Tai has magnificent natural landscapes, such as sunrise, sea of clouds and Songtao Waterfall. The reason why Mount Tai stands at the top of the Five Mountains is called Daizong, and then it becomes a symbol of the Chinese national spirit, which depends more on its profound cultural connotation. As early as ancient times, Mount Tai has been worshipped by Dongyi tribes: Mount Tai is the master of the earth-the landlord, and all souls are under the jurisdiction of Mount Tai after death, so it is a sacred mountain. Qi State and Lu State were both founded by the old country of Dongyi, and they both offered sacrifices to Mount Tai, but their cultural orientations were different. Qi was greatly influenced by the legacy of primitive nature worship in Dongyi, and the worship of natural gods prevailed. Lu paid more attention to the influence of Zhou etiquette culture and paid attention to the title in the sacrifice of mountain gods The integration of the two cultures has created two images of Mount Tai, one is a mountain of religion and the other is a mountain of ethics. This formed the belief foundation of Mount Tai meditation in the future, and the compatibility of Qi culture led to the diversification and integration of meditation ceremony. The reverence and love of Lu culture constructed the symbolic meaning of meditation ceremony, while the people-oriented consciousness of Qilu culture created the theme of meditation for the country and the people. Therefore, the feudal emperors' meditation and sacrifice around the above beliefs and meanings, the chanting of literati and celebrities, and the tour of ordinary Lebanese people have left a lot of historical sites and monuments for Mount Tai. The mountains are full of religious buildings and stone carvings everywhere. Magnificent natural scenery has gathered such rich cultural heritage, and Mount Tai, the only one among the five mountains, has naturally become the first batch of world natural cultural heritage.
Located at the foot of Mount Tai, Dai Temple, as a typical representative of ancient buildings in Mount Tai, also clearly embodies the integration of Qilu culture. Although emperors lived here when they went to Mount Tai to meditate, it was actually a religious building dedicated to the God of Mount Tai-Dongyue the Great. The huge mural "The Return of Mount Tai to the Tomb" handed down from the main building in the Song Dynasty points out the theme, echoing the Bi Xia Temple dedicated to Bi Xia Yuan Jun, the goddess of Mount Tai, on the top of Mount Tai. However, the expression of this folk belief theme originated from Dongyiqi culture follows the ethical norms of Lu culture: the whole building complex runs through the central axis perpendicular to the north and south, with halls and pavilions on the east and west sides balanced and symmetrical, and even the placement of stone tablets and the planting of trees pay great attention to symmetry and harmony; The scale of main buildings is large, and the grade of secondary buildings is reduced. Tiangong is like an emperor, overlooking all other buildings. Red walls and yellow tiles show dignity, and everything is so orderly. Isn't this the architectural model of Confucius Temple with harmonious rites and music? The belief in god and Confucian norms are so harmoniously integrated.
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People-oriented folk tourism is an important aspect of cultural tourism and a cultural life space for tourists to experience and participate. Folklorists point out that folklore is a complex concept, which has both the inherent characteristics of folklore itself and the external characteristics of folklore in time and space and its development. The embodiment of Shandong tourism in folk culture is naturally the local characteristics of its folk customs, and what is relevant to this paper is the Qilu cultural heritage gathered in various folk customs in Shandong.
Shandong folk customs have a long history and have been handed down from generation to generation. As early as the Neolithic Age, there were a large number of folk customs reflecting Dongyi culture in Shandong, such as eating utensils, costumes, production tools, adult etiquette, marriage forms, tomb types, totem worship, and mountain people's beliefs, all of which showed the characteristics of Shandong folk customs in prehistoric times. After the feudalism in Qilu, the State of Qi well integrated the culture of Dongyi and the cultural tradition of Shang and Zhou Dynasties. "Because of its customs, it is simple and courteous" (Historical Records? Qi Taigong's aristocratic family), less bound by the patriarchal etiquette system, has a distinct commodity economy color; Lu has retained the tradition of clan culture more, but it is "changing customs" to the cultural tradition of Dongyi? On the basis of restraining the end, worshiping ceremony and emphasizing education, the Duke of Lu Zhou continued and strengthened the form of small-scale peasant economy. The people of Qi, whose business is booming, "all beat the harp, play the piano and attack the building, fight cocks and stooges, bow and scrape" ("Historical Records? Biography of Su Qin "), and the Lu people who founded the country by agriculture are" vulgar and good at Confucianism, prepared with courtesy "("Historical Records? "Biography of Huo Zhi"), "He is eager to learn, and he is polite" (Han Shu? Geography "). The differences of Qilu folk customs have a great influence on the regional differences and complexity of Shandong folk customs, such as the generosity and wisdom of Qi people and the frugality and comity of Lu people, which are still imprinted today. However, with the Confucianism of Confucius and Mencius becoming the mainstream of China traditional culture after the mid-Western Han Dynasty, the overall image of Qilu was gradually established, and Qi people were famous for their loyalty and righteousness at least in the middle and late Tang Dynasty. The so-called "clearing the air for Zou Lu" and "the wind is close to Zou Lu" have long been held high as the criteria for evaluating local folk customs.
As the saying goes, a hundred miles is different from the wind, and ten miles is different from the customs. Shandong has a vast territory, and the differences in geographical environment and lifestyle have created various ornamental folk cultural events. You can go to the fishing villages and islands in Qingdao, Yantai, Weihai and Rizhao to feel the magic and magnificence of coastal culture. You can go to Dongying and Huimin's Yellow River Delta and feel the rich gift of the mother river. You can take a cruise along the Shandong section of the Beijing-Hangzhou Canal, appreciate the charming customs of the canal folk customs, lament the cultural exchange and collision between the north and the south from the customs of water transport, business management, shipbuilding, towns and cities, and halls, and feel the unique charm of the north and the south on fishing boats in Weishan Lake and Dongping Lake. You can enjoy the pictures of folk mountain culture at the temple fairs in Mount Tai and Qianfo Mountain, and experience the folk belief world deeply wedged into people's daily life. You can enjoy wonderful martial arts performances in Liangshan, Yanggu, Yuncheng and other places, drink in Jingyanggang, Huangnigang and Lion Building Bowl, eat meat in chunks, and miss the heroic spirits in Liangshan, Shui Bo ... These dazzling folk customs are isomorphic.
Mr. Liu Dezeng pointed out: "Rough, bold, resolute, frugal, hospitable, hardworking, frank, loyal and filial, etc., together, are' Shandong people'." In cultural tourism at all levels, the moral and ethical cultural layer characterized by interpersonal communication most directly reflects the spiritual temperament and personality characteristics of Shandong people, and the Confucian ethical thoughts passed down from generation to generation have condensed into the core of Shandong folk customs.
Shandong people have a long history of frankness, honesty, loyalty and filial piety. The legendary stories of Liangshan heroes and Wagangzhai heroes, and the touching legend of Shandong dutiful son in Twenty-four Filial Pieties fully show the historical image of Shandong people's character. And if you personally participate in the life world of Shandong people and make a friend of Shandong people, you can feel the way of life of Shandong people more deeply: being called "second brother" when meeting can not only make people feel the general heroism of Song Wu, but also reveal a much more cordial feeling than "brothers all over the world"; You can't help but believe the proverb "You don't know how bold you are until you get to Shandong", because you have a rough voice and are not good at words. Even Shandong women are strong and heroic, and the lullaby they hum makes people sigh: "This lullaby seems to be sung only by the mothers of Shandong children, with a little manly flavor"; Open-minded, emotional, like to come straight to the point, but you can rest assured to associate with Shandong people, because "Shandong people's straightforwardness is extremely pure, without willfulness, arrogance and rudeness." This is a just and solemn motive from the depths of conscience. Therefore, such frankness is a virtue, and it is "going straight by the way" and "being outspoken"; People who make friends, are especially filial, and are not filial to their parents will be despised everywhere, but once they fall in love with each other, they can do anything for their friends, and they all carry the word loyalty in their gestures, which makes you feel that Shandong people are really reliable people-this character, coupled with their strong physique and typical northerners' faces, is by no means a hollow reputation.
As the saying goes, "Food is the most important thing for the people", and dietary customs can indeed clearly reflect the personality characteristics of people in a certain area. Because of climate, geography, products and other reasons, there are many differences in Shandong's food customs, such as the seating and pattern of banquets, the placement of meals and the order of serving. There are great differences between eastern Shandong and southwestern Shandong, but the characters and temperament of Shandong people reflected from them are basically the same. Shandong is rich in delicacies and delicacies, but foreign tourists are deeply impressed by the pancakes with scallions in southwestern Shandong and the scallions dipped in tortillas in eastern Shandong. You can't help but admire the rudeness of Shandong people. Shandong people are born thrifty. From an early age, she was taught to be frugal, that is, to be virtuous. She takes greed and luxury as a warning, but she is extremely generous to her guests. She would rather her family didn't have enough to eat and even borrow money to entertain her guests. Moreover, getting drunk is the hospitality of Shandong people. Although it may always embarrass foreign guests, after the banquet, it is also a mess, which can reflect the honesty of Shandong people in drinking heavily. Not to mention the arrogance and rubbing their hands when they are drunk and hot, even if they look at the big bowls and plates used by Shandong people, they can deeply appreciate the bold and unrestrained atmosphere that comes to their faces, which can be in sharp contrast with the exquisite and elegant Jiangnan food customs. Shandong people who are deeply influenced by Confucian ethics also attach great importance to etiquette in their diet. They pay attention to being seated, toasting and persuading dishes, which shows that Shandong people attach importance to the etiquette embodied in the relationship between men and women, seniority and seniority.
Folklore scholars believe that the folklore inheritance of Jinan, Qingzhou, Tai 'an and Yanzhou in the hinterland of Shandong Province is of typical significance to the surrounding areas and can be regarded as the representatives of Shandong folklore, among which the folklore characteristics of Qufu, Zoucheng and Tai 'an are particularly remarkable. All family styles, ancestor worship, wedding and funeral customs, holiday etiquette, food, clothing, housing and transportation are of exemplary significance in embodying the overall image of Qilu etiquette country. There are many problems worth discussing, the most important of which is the allocation, standardization and recasting of Shandong folk customs by Confucian ethics, which is a direct inheritance of Zhou Zong culture. If you are interested, you will find that many forms of etiquette and customs of wedding and funeral sacrifices can be found in the Confucian classics "The Book of Rites", "The Book of Rites", and the Confucian ethics of loyalty, filial piety, benevolence and righteousness are the core ideas of those folk customs, among which you can also find that the family (respecting the elderly and loving the young, inheriting the eldest son, respecting men and women, and obeying women) has given some customs new meaning and fixed them as Confucianism. For example, in Qufu, watching lanterns on Lantern Festival is not only an entertaining folk entertainment. When women who have been infertile for many years steal lanterns made of bean flour and radish to pray for pregnancy and have children, or go to their ancestral graves to "put lanterns" and "send lanterns", it embodies a ritual metaphor based on the homophonic symbol of "lanterns" and "ding". You can also find that these ideas even gave birth to distinctive folk beliefs. For example, there are folk customs to worship the god of wealth all over China, but in other places, especially in the south, Marshal Zhao Gong is the most popular incense. It is said that this Taoist god of plague can drive away thunder and electricity, call the wind and rain, eliminate plagues and disasters, and make money into treasure. However, in Shandong, there are two gods of wealth among the people. The god of wealth is a match and Guan Yu. They become the god of wealth because of them.
Of course, in other folk culture circles, it is not difficult to see the mark of Confucian ethics on the standardization and recasting of local folk customs, but we can't help but admit that Shandong folk customs are exemplary in this respect, so please go to the land of saints in Zou Lu and find the echo of orthodox culture in colorful folk customs! Mr. Qian Mu said: "If the representative of China's orthodox culture is like the Greek in the west, let's push the Shandong people in China first. Since ancient times, Shandong people are most qualified to be China standard people. While being impressed by Shandong people's respect for ceremony and righteousness, can't you quietly develop a very kind cultural identity?
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Art and cultural tourism is an important aspect of Shandong humanistic tourism. Qilu culture gave birth to dazzling artistic wonders in its long development process, and reflected the orthodox Shandong cultural psychological structure of "soup like running water" and "towering like Mount Tai" in Qilu art. Travel to Shandong, appreciate those artistic expressions with regional characteristics, and feel their elegant and gorgeous aesthetic character. When you are intoxicated with Yiran, you can also feel the pulse of Qilu culture.
Shandong has a long history of art and culture. As early as 8,000 or 4,000 years ago, in the Dongyi cultural era, the budding of art appeared on the land of Shandong. Musical instruments unearthed from Dawenkou culture and Longshan culture sites, such as ceramic horns, cup-shaped flutes and ceramic urns, are loud and beautiful, and can play scales and music. According to legend, the life musician who invented the flute created the music and dance Shao, in which dancers dressed as beautiful birds sang and danced leisurely with the accompaniment of the phoenix-winged flute, which typically reflected the primitive dance characterized by the phoenix totem of Dongyi people. Thin-walled high-handle cups of Longshan culture, jasper shovels in the late Dawenkou culture, ivory combs engraved with petals, carved symbols on pottery and rammed house foundations are the sources of art forms such as sculpture, calligraphy, painting and architecture. Since then, marked by the establishment of Qilu, Shandong's artistic culture has not only shown the general trend of layered development of elegance and vulgarity, but also presented different regional styles that are in line with the cultural temperament of the two countries. Qi, full of strong winds, pays more attention to entertainment, while Lu, full of courtesy, pays more attention to education. Unearthed musical instruments, such as stone chimes, chimes and pottery cymbals, are all preserved in the Book of Songs? The poems of Qi Feng, Cao Feng and Truffle, as well as the records of music and dance performances and comments in Zuozhuan, Guoyu, Warring States Policy and other ancient books, it is not difficult for us to imagine the prosperity and skills of music and dance at that time, and we can also appreciate the differences in artistic spirit between Qilu and China. Among them, Confucian aesthetic thought, which is based on the cultural tradition of rites and music and the artistic spirit of Lu, has had a far-reaching influence on the artistic and cultural creation of Shandong in later generations.
Shandong is rich in artistic and cultural tourism resources. You can go to Jinan, where the scenery is the best in Qilu and the spring water is the best in the world. Visit Baotu Spring and other four famous springs, Daming Lake and Wanzhu Park. While lamenting the unparalleled magic of heaven and earth, we can feel the unique charm of poetic garden art in the south of the Yangtze River in the north. You can go to Mount Tai, Yi Mountain, Lingyan Temple, Confucius Temple, Mencius Temple and Dai Temple. While enjoying the natural scenery, admiring the sages and feeling the religious spirit, we can observe the vigorous or light stone carving art, appreciate the vigorous or elegant calligraphy art, appreciate the architectural art with harmonious ceremony and music and the sculpture art with both form and spirit. You can go to museums, art galleries and even handicraft markets at all levels in various provinces and cities, and try to appreciate those exquisite ancient jade, pottery and bronze sculptures. You can stay in Jiaodong, Weifang, Gaomi, Zibo and other places to enjoy the folk-custom paper-cuts, prints, New Year pictures and kites. Cheerful and enthusiastic color matching, full and symmetrical modeling composition, energetic image depiction and ingenious production technology will not fascinate you, too? While feasting your eyes, isn't it a precious experience to print several editions of New Year pictures, cut some window grilles and burn some porcelain?
If regional characteristics, aesthetic types and cultural spirit are comprehensively considered, Qilu art and culture can be divided into two categories: folk and temples. Folk art and culture include folk art, folk quyi, folk dance, folk crafts and folk songs. Each category breeds a variety because of geographical conditions, production and lifestyle, and even different pronunciations, such as operas. There are more than 30 kinds of operas popular in Shandong, such as Liu Zi Opera, Shandong Bangzi Opera, Liuqin Opera, Wuyin Opera and Shandong Opera. Although they have their own characteristics in subject matter and artistic expression, various types and forms of folk art and culture are consistent in reflecting the lives of ordinary people, expressing the emotional demands of workers, and embodying the personality and temperament of Shandong people. The characters in folk New Year pictures are generally plump, optimistic and proud, regardless of the size of the scenery, the pictures are even and full, and the colors are mainly red, yellow, green and purple. This tone, image and artistic conception, which are quite different from literati painting, reflect the aesthetic consciousness and emotional appeal of workers; Drum yangko and JIAOZHOU yangko are often attended by all members. Colorful costume props, vigorous dance movements and earth-shattering drums show the tenacious vitality and high-spirited spirit of the workers, and the clown improvisation interspersed in the dance team highlights the humor of the workers. Shandong Bangzi, popular in southwest Shandong, has rough movements, exaggerated posture and high singing voice. Black-faced horns, when expressing anger and impatience, can show the strong character of Shandong people by blowing their beards and staring at their feet. The Story of Song Wu, published by Shandong Express Press, is relaxed, enthusiastic, bold and vivid. The beginning is like this: "Needless to say, gossip only shows the frankness of Shandong people. As for the exaggerated and interesting details and language, it reflects the humorous and lively side of Shandong people's character.
These colorful works of art bring people more exotic aesthetic enjoyment based on regional characteristics. However, although these art forms are rooted in the fertile soil of folk culture with the ideal of rich life, they are more or less regulated by Confucianism in terms of ideological and aesthetic orientation, that is, the content of "benevolence" is expressed in the form of "harmony" and the beauty of neutralization is reflected in elegance and simplicity. For example, Shandong Quyi, which also expresses reproductive content, rarely sees "catching buns and dolls" that directly express sex and fertility in Shanxi and Shaanxi. Instead, symbolic patterns such as lotus flowers, unicorn flowers and fish wearing lotus flowers are used to express the theme implicitly. The color is bright, lively, steady and honest, the shape is strong and delicate, and the composition is full and balanced. Compared with local folk art, these features are more prominent, which embodies the Confucian aesthetic ideal of neutralization.
Temple art culture also includes architecture, music, dance, poetry and other forms, which embodies Confucian ethical spirit and aesthetic thought. In front of us, we have analyzed the architectural art of harmony between rites and music. Here, taking Qufu's music and dance offering sacrifices to Confucius as an example, let's briefly discuss music and dance and poetry. You know, traveling to Shandong can't be ignored anyway.
Sacrificial music and dance in Confucius Temple is the music and dance used in the sacrificial ceremony of Confucius Temple, and it is an authentic music and dance that integrates poetry, music and dance. The main content of the movement is to praise the merits of Confucius. From the perspective of meter, it is an inheritance of the poetic style of elegant poems in Zhou Dynasty in China. The musical image of offering sacrifices to Confucius is dignified and solemn, with simple melody and slow rhythm, which is basically a word-by-word, belonging to the most square sacrificial music. The dance form of offering sacrifices to Confucius moves its dance capacity according to the scale of each word in the poem, from its dance forms such as giving, accepting, resigning, yielding, bowing, worshiping, kneeling, nodding, and its balance, falling, arching and presenting,
These two kinds of music and dance both embody the Confucian ethical norms, the artistic spirit of the unity of beauty and goodness, and the simple and elegant artistic ideal, which are in sharp contrast with those folk art cultures full of vitality and primitive vitality. Accustomed to modern art and culture, you may feel that the dance is a little too dull, the rhythm is a little too slow, and the melody is a little too monotonous, but you can't help but be moved by this extremely simple and magnificent art of "connecting man and god". This is not a strong emotion aroused instantly, but a subtle sublimation and spiritual infection, in which ethical rationality directed at yourself is injected-this is the most orthodox art in China.
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