[Chen Qinjian] Protection of scenery in folklore

How to implement the protection of intangible cultural heritage and folklore that has been included in the national list? I think an important part of this is to protect such legendary festivities.

Generally speaking, the inheritance form of folklore is oral.

However, when we go back to reality and look at it as a whole, we find that it is often adhered to specific wind objects.

The protection of folklore is inseparable from the protection of the scenery, which is an important connotation of the protection of folklore heritage.

However, in the current era of modernization, we must pay attention to maintaining the authenticity of historical regional scenes corresponding to folklore.

In the appropriate development and utilization of them, we must adhere to the protective concepts and measures in cultural creativity to promote the deepening of protection.

Why do you say that? Our country's traditional folk literature generalizes that China folklore: "consists of stories related to historical events, historical figures, and local customs." Among them,"one is the legend of characters.

Such legends focus on the characters, narrate their deeds and encounters, and also express the people's evaluations and wishes.

Legendary figures also include emperors and generals, leaders of farmers, celebrities in cultural creation, revolutionary leaders and heroic figures.

In addition, there are legends of characters whose names are not found in historical records, such as the legend of Liang Zhu, the legend of Meng Jiangnu, the legend of Dong Yong selling his body to bury his father, and the legend of Song Fairy Liu Sanjie.

The second is historical events and legends.

Such legends mainly describe historical events.

Such as the legend of Liangshanpo, the legend of the Yang family generals, the legend of the Boxer Rebellion, the legend of the Zhang Xiumei Uprising of the Miao nationality in Guizhou, the legend of the Long March of the Red Army, the legend of the Eighth Route Army's Anti-Japanese War, etc.

The third is the legends of local customs.

Such legends describe the origin and naming of local mountains, rivers, birds, insects and fish, customs and local specialties.

The object of the narrative is often given meaningful or interesting explanations, which express people's love for the countryside and their ideals and beliefs in life.

The legends about the Baoji Tower, Chu Balcony, and Laifeng Pavilion in the West Lake, the legend of the Sun Moon Lake of the Gaoshan ethnic group in Taiwan, the legend of the Mongolian horse-head qin, and the legend of the Dai water-splashing festival all explain their origins in legends.

These statements provide beginners with superficial knowledge to identify folklore, but they are obviously not accurate enough as a theoretical understanding of folklore as a whole.

In folklore, in addition to legends of scenery, legends of characters and legends of historical events also more or less have the adhesion of scenery.

Because the activities of characters and historical events are performed in certain scenery.

In particular, folklore with profound influence is combined with specific scenery during circulation.

Since the legend of Liang Zhu was formed in the Jin Dynasty 1600 years ago, it has mainly spread in Ningbo, Shangyu, Hangzhou, Yixing, Jining, Runan and other places, and has spread to various regions and ethnic groups in China.

In the process of spreading it, people from all over the country continued to enrich and develop the content of the legend, and even built many tombstones, temples and other buildings with the theme of the legend of Liang Zhu.

This kind of specific scenery is often the center of this type of legend.

For example, the Liang Zhu Tomb in the legend of Liang Zhu in Ningbo, the reading table in the legend of Liang Zhu in Yixing, the Leifeng Pagoda in the legend of the White Snake in Hangzhou, and the Jinshan Temple in the legend of the White Snake in Zhenjiang.

Mr.

Kunio Yanagida, a master of Japanese folklore, has long discovered this feature.

He said in the monograph "On Legends":"There must be monuments at the center of legends.

Nature, shrines, temples, ancient tombs, and other spiritual sites and family tombs were originally related to beliefs, so they each occupied the status of legendary flower beds.

The village has become one of the centers because it serves as the outer outline of the place where it occurred: every thing such as strange rocks, old trees, clear springs, bridges, slopes, etc.

may have originally been similar to a pattern in a large textile, but now most of them are independent.

Come out and become a memorial to legend." Without the natural scenery reading desk supported by Shanjuan Cave, it would be unreliable for Zhu Yingtai to dress up as a man and study with Liang Shanbo for three years; without the thousand-year-old ancient pagoda of Leifeng Pagoda by the West Lake, how could it arouse people's admiration for the White Lady's image and sympathy! This shows.

In folklore, customs and objects are not unnecessary external objects.

It is the key to the development of a legendary plot.

Article 2 of the United Nations Convention for the Protection of Intangible Cultural Heritage states: "'Intangible cultural heritage 'refers to various social practices, conceptual expressions, forms of expression, knowledge that are regarded by community groups, sometimes individuals, as part of the organization of their cultural heritage.

Skills and related tools, objects, handicrafts and cultural venues." The performance of intangible cultural heritage in folklore is not only an expression of the concept of oral language inheritance and writing, but also exists, displayed and circulated together with related monuments such as scenery.

The folklore of Dong Yong and the Seven Fairy Fairies cleverly integrates the love connotation of magical fantasy with the reality of the world.

It conforms to the inner feelings of China people in pursuing happiness in marriage and is deeply loved by the people.

In the long process of being passed down by word of mouth for more than 2,000 years, this legend has continued to evolve according to place, time, and people, and has been continuously integrated with people's lives in various places.

Wanrong County, Shanxi Province, Dongtai City, Jiangsu Province, Wuzhi County, Henan Province, Xiaogan City, Hubei Province and other places not only have relics related to Dong Yong, but there are also many records in local annals that all claim that Dong Yong was a local.

For example, Boxing, Shandong Province has Dong Jia Village and Dong Yong's tomb; Xiaohuai Village, Wanrong, Shanxi Province has a plaque titled "Dong Yong's Hometown", and people also weave "marriage cloth"; Wuzhi County, Henan Province holds grand temple fairs to pay homage to filial sons every year.

These relics have become an integral part of the folklore of Dong Yong and the Seven Fairy Fairies.

It is self-evident that to protect the intangible cultural heritage of folklore, in addition to working hard to protect the story groups and inheritors of the legends, we must also protect the central scene on which the legends rely-the scenery.

The author is a tenured professor at East China Normal University)