[Tian Qing] China and South Korea jointly protect human intangible cultural heritage

In 2005, the Gangneung Dragon Boat Festival in South Korea was declared by UNESCO as a masterpiece of oral and intangible heritage of mankind.

Due to its historical and cultural origin with the Dragon Boat Festival in China, there was a fierce controversy between academic circles and civil opinion in China and South Korea on this issue.

From the 7th to the 8th of this month, the 2nd China-South Korea High-Level Academic Forum on Culture and Art Circles co-sponsored by the China Academy of Art and the Korea-China Culture and Art Forum was held in Seoul, South Korea.

China Intangible Cultural Heritage Research and Protection Center who attended the forum Tian Qing, deputy director of the Center, gave a positive response to the application for the Gangneung Dragon Boat Festival that year.

His text was objective and fair, showing the truth-seeking spirit and open-minded of a Chinese scholar and manager of intangible cultural heritage work.

From conflict to cooperation

Intangible cultural heritage is the common wealth of mankind and an important symbol of national spiritual culture.

It contains the unique way of thinking, imagination and cultural consciousness of the nation, and is the DNA of the cultural life of a country and a nation.

It not only demonstrates the infinitely rich creativity of people around the world, but also reflects the diversity of world cultures.

In the process of globalization and modernization, the world's cultural ecology is undergoing tremendous changes.

Intangible cultural heritage containing the national spiritual home has been violently impacted, and some are facing extinction.

Therefore, the protection of intangible cultural heritage is extremely important and urgent.

■ As early as the 1960s, South Korea began to focus on the collection and collation of traditional ethnic and folk culture.

South Korea's intangible cultural heritage protection measures have very valuable experience that can be used for reference.

South Korea's intangible cultural heritage protection work started early and has always been at the forefront of the world.

As early as the 1960s, South Korea began to focus on the collection and collation of traditional ethnic and folk culture, and enacted the "Korean Cultural Property Protection Law" in 1962.

Over the past half century, South Korea has successively announced more than 100 intangible cultural heritage items, and divided the intangible cultural heritage into different levels based on its value, with funding from countries, provinces, cities and regions where they are located.

In addition, the South Korean government has also formulated a pyramid system of cultural heritage inheritors.

For the most outstanding cultural heritage inheritors at the top level who have been awarded the title of "holders", the state provides them with various activities such as public performances and exhibitions, as well as for research, expansion of skills, and artistic skills.

At the same time, the government also provides a monthly living allowance of 1 million won per person and a series of medical security systems to ensure that they have no worries about food and clothing.

These intangible cultural heritage protection measures in South Korea are very valuable experiences that can be learned from for the protection of intangible cultural heritage in China.

In recent years, the China government has paid more and more attention to the protection of intangible cultural heritage.

In August 2004, the Standing Committee of the National People's Congress approved the United Nations Convention for the Protection of Intangible Cultural Heritage.

The China government and social organizations at all levels have actively carried out a series of intangible cultural heritage protection work and publicity activities.

Four intangible cultural heritages of China, including Kunqu opera art, Guqin art, Xinjiang Uyghur Muqam art and Mongolian long-tune folk songs, have been selected as UNESCO's representative works of human oral and intangible heritage.

China has also established a protection system for intangible cultural heritage projects at the national, provincial, municipal and county levels.

Currently, two batches of national intangible cultural heritage projects have been announced, with a total of 1175 items, and the third batch of national intangible cultural heritage application and review work will be launched soon.

Intangible cultural heritage projects selected at the national level will be protected by central financial allocation, while intangible cultural heritage at provinces, cities and counties will be protected by funds raised by the provinces, cities and counties themselves.

At the same time, China has also established a representative inheritor system for intangible cultural heritage projects, and has announced the first batch of 777 national-level intangible cultural heritage inheritors.

The government provides certain financial subsidies to representative inheritors of intangible cultural heritage projects.

Since 2006, initiated by the cultural department, various intangible cultural heritage performances, exhibitions, folk festivals and academic seminars have been held in Beijing and across the country to promote the value and protection of intangible cultural heritage to the people across the country through various media.

significance.

The China government has also stipulated that the second Saturday of June every year be designated as "Cultural Heritage Day," during which various related activities are held across the country.

The joint protection mechanism adopted by China by the government, experts, scholars and the general public has effectively promoted the protection of intangible cultural heritage, creating an unprecedented upsurge in protecting intangible cultural heritage across the country.

■ South Korea's "Gangneung Dragon Boat Festival" has a complete set of folk activities that are both related and different from the Dragon Boat Festival in China.

In November 2005, the "Gangneung Danoje Festival" declared by South Korea was declared by UNESCO as a masterpiece of the oral and intangible heritage of mankind.

We are happy about this.

However, due to misguidance by some media, some different voices have been aroused among the people in China and South Korea.

The Dragon Boat Festival is an ancient and important festival in China.

It originated in China and has been passed down to this day, forming a series of rich festival cultures and valuable intangible cultural heritage.

However, South Korea's "Gangneung Dragon Boat Festival" has a complete set of folk activities that are both related and different from the Dragon Boat Festival in China.

The Dragon Boat Festival in China mainly commemorates the great poet Qu Yuan and has very rich and diverse contents and forms across the country.

There is also a phenomenon of universality and local specificity; South Korea's "Jiangling Dragon Boat Festival" starts with the brewing of divine wine, and its main contents include a series of sacrificial ceremonies such as shaman sacrifices held in Daguanling, worshiping mountain gods, and Daguanling's national teacher city god and female city god.

Folk activities on the Dragon Boat Festival in China include eating rice dumplings, racing dragon boats, hanging calamus and mugwort leaves, smoking atractylodes rhizome and angelica root, drinking realgar wine, children wearing purses and five poison doudou, etc., intended to drive away poison and evil spirits; South Korea's "Jiangling Dragon Boat Festival" folk activities include official slave masks, agricultural music competitions, Heshan Olympic Road wearing songs, tug-of-war, wrestling, swinging, Chinese poetry creation competitions, archery, pot throwing, etc., most of which are recreational activities for the public.

■ Historically, China traditional culture represented by Confucianism and the Chinese character system was once the official culture of South Korea.

Indeed, as neighbors separated by a narrow strip of water, China and South Korea have a history of friendly exchanges for more than a thousand years.

The two countries have exchanged and integrated political systems, law, philosophy, religion, education, literature, language, art, science and technology, etiquette and customs, etc., so that they are inseparable in some aspects.

It should be pointed out that cultural exchanges have always been two-way.

Confucius once said: "When three people walk together, there must be a teacher." Han Yu once said: "A disciple does not have to be inferior to a teacher, and a teacher does not have to be better than a disciple." Historically, China's traditional culture, represented by Confucianism and the Chinese character system, was once the official culture of South Korea.

Many South Korean university scholars are proficient in Chinese culture and once used Chinese characters to accurately express their outstanding thoughts and great creations.

With Cui Zhiyuan (857 AD ~?) The poet of Silla, represented by him, once created the glory of Tang poetry together with the great poets of the Tang Dynasty.

He entered the Tang Dynasty at the age of 12 and entered the Jinshi at the age of 18.

His poems were included in the "Complete Tang Poetry", his "Ban on the Yellow Emperor" was sung for a while, and his biography was included in the "New Tang Book·Yi Wenzhi".

Li Kuibao (1168-1241 AD), a famous poet of the Koryo Dynasty in South Korea, wrote 53 volumes of "The Collection of Li Xiangguo in Dongguo", which contains more than 2000 Chinese poems.

He was once respected as "Li Taibai in Koryo" by people at that time.

However, he regarded Li Du as the "sun and moon" and expressed his sincere respect for Li Bai in many of his poems ①.

The philosophical thoughts he expressed in his articles such as "Ask Creation" and "Rule of the House" were deeply influenced by China's Confucianism and Taoism.

■ In the eyes of Buddhists in China, Ksitigarbha Bodhisattva, one of the four great Bodhisattva Bodhisattva, is Jin Qiaojue, the Prince of Silla State.

In the eyes of Buddhists in China, Ksitigarbha Bodhisattva, one of the four great Bodhisattva Bodhisattva, is Jin Qiaojue, Prince of Silla State (696-794 AD).

In the seventh year of Kaiyuan of the Tang Dynasty (719), Jin Qiaojue came to China to study and come into contact with Buddhism.

Later, he practiced hard work on Jiuhua Mountain in Anhui Province for 75 years, and finally achieved positive results.

He died on the night of the 30th month of the seventh lunar month in the tenth year of Zhenyuan of the Tang Dynasty (794).

When the letter was opened three years later,"the color is like life, the douluo is soft, and the sound of the joints is like a golden lock." According to relevant records such as the "Mahayana Daji Ksitigarbha Ten Wheels Sutra", Buddhists identified him as the Ksitigarbha Bodhisattva and respected him as the "Golden Ksitigarbha Bodhisattva." He is regarded as the incarnation of Ksitigarbha Bodhisattva in the world and has an infinitely lofty status in the hearts of Buddhists in China.

Because of Jin Qiaojue, Jiuhua Mountain became the ashram of Ksitigarbha Bodhisattva.

Together with Mount Emei, Mount Wutai, and Mount Putuo, it is called the "Four Holy Places" and "Four Famous Mountains" of Buddhism in China.

More importantly, Ksitigarbha Bodhisattva's great thought that "only when all living beings are exhausted can they prove Bodhi.

Hell is not empty, and I swear not to become a Buddha" has transcended nations, countries, and religions and has become the highest realm of human thought.

The religious records of a monk from the Korean royal family who became Buddha in China and the oral history of mankind over a thousand years are sufficient to confirm the special relationship between China and South Korea's cultures.

Taking Buddhist culture as an example, in his Journey to the Tang Dynasty in the 5th year of Chenghe in Japan (AD 838) and his return to China in the 14th year of Chenghe (AD 847), the third ancestor of the Tiantai sect of Japan, Yuanren, recorded that the Silla monks in the "Lecture Ceremony of Chishan Temple" he saw in Shandong Province, China, sang both the "Han style" of "music according to Silla, not like Tang music" and the Chinese Sanskrit "cloud in this scripture" according to Tang style.

② This shows that the Silla monks in China at that time Not only master and use the Chinese-style China Fanbai, but also use Korean-style Fanbai.

■ During the Ming and Qing Dynasties, Korean cultural people regarded it as their own responsibility to continue the "Han family dress" and preserve Han culture, and became excellent successors of Han culture in East Asia.

In the long development process of Confucian culture, there is also a phenomenon of cultural radiation such as "cultural circle" or "cultural ripple".

Respect for Confucian culture is a long-standing historical and cultural phenomenon in South Korea.

Not only was Seoul long known as "Seoul" in history, but the four gates of ancient Seoul were named after the Confucian "benevolence","righteousness","etiquette","wisdom" and "faith".

In the east, they were Xingren Gate, in the west, Dunyi Gate, in the south, Chongli Gate, in the north, Hongzhi Pavilion, in the middle, fully embodying the orthodox Confucian thoughts, and the entire city also showed a complete eight diagrams.

The "Xinluofang" and "Xinluokuan", which were widely established in Chang 'an and some coastal cities in the Tang Dynasty, also became windows to display and promote the culture and customs of the Korean Peninsula.

Confucius's so-called situation of "missing etiquette and seeking to go to the countryside" also happened from time to time.

During the Ming and Qing Dynasties, at a time when there was great cultural turmoil and great exchanges in China, Korean cultural figures believed that "Chinese cultural relics had disappeared." They bravely regarded themselves as "little China" and regarded it as their own responsibility to continue the "Han family dress" and preserve Han culture.

In the east of the Central Plains, which was forced to "cut hair and grow pigtails," the Korean Peninsula adhered to Confucian etiquette and the culture of the Ming generation, becoming an excellent successor of Han culture in East Asia.

■ The spirit and style of ancient China etiquette culture from Confucianism are relatively completely preserved in the court temple ritual music successfully declared by South Korea.

In China, such royal ancestral ceremonies have been suspended.

The "Royal Ancestral Rite and Ritual Music in Jongmyo", a representative work of the United Nations 'oral and intangible heritage of mankind successfully declared by South Korea, relatively completely retains the spirit and style of ancient China etiquette culture from Confucianism.

It is not only a reflection of Confucianism's thoughts of pursuing the future carefully and respecting ancestors and filial piety, but also a continuation and inheritance of the ritual and music form of "Eight Yi Dance in the Court".

In China, such royal ancestral ceremonies have been suspended.

Just as Li Kuipao is grateful to China poets represented by Li Bai, so are China's cultural people.

■ The Korean "Nongyue Dance", its elephant hat dance and long drum dance, which have been rated as a national intangible cultural heritage protection project in China, are all preserved in South Korea.

These historical phenomena are historical proof of the friendly exchanges and mutual influence between the peoples of China and South Korea.

It is precisely because of this that many intangible cultural heritage projects in China and South Korea have homology, similarities and even identity, and belong to the intangible cultural heritage shared by the two countries.

For example, the Korean "agricultural music dance", elephant hat dance, and long drum dance that have been rated as China's national intangible cultural heritage protection project are all preserved in South Korea.

There are also some projects that have influenced each other for a long time in history and have become inseparable from each other to a large extent, and can even be called "harmonious integration".

For example, traditional Chinese medicine and Korean medicine.

On the one hand, in 692 AD, King Xiaozhao of the Silla Dynasty established a doctor of medicine and opened a medical hall, using China classic medical books such as Materia Medica, Needle Sutra, Mai Sutra, Mingtang Sutra, and Nan Sutra as teaching materials; on the other hand, Koguryo's Teacher Fang and Silla's Master Fang were also introduced to China.

Another example is music and dance.

On the one hand, Gaoli and Baiji music and dance have been introduced to China from the Liu Song Dynasty in the Northern and Southern Dynasties and have been loved by the aristocratic families of China.

During the Sui and Tang Dynasties,"Gaoli Jiyu (Music)" became an important part of the "Seven Parts Music","Nine Parts Music" and "Ten Parts Music" of Yan Music.

It was sung by Li Bai as "golden flowers folded into the hood, white horses returned slowly.

Dancing gracefully and broadly, like a bird coming from the sea."③; On the other hand, China's ritual and music system, music studies, law studies and their court music were also introduced to the Korean Peninsula.

The" elegant music "and" Tang music "from China and their local" rural music "each accounted for half, together constituting traditional Korean music.

Some of these specific projects, such as the relationship between China guqin (seven-string) and guzheng and Korean Xuanqin and Gaye, the relationship between China traditional music rules and Korean traditional music rules, and even the relationship between South Korea's important music theory work "Music Studies Norms" and related China works, are of great academic significance.

Today's scholars should pay more attention and conduct more in-depth and objective research.

■ Disputes over inheritance are shameful to our ancestors.

More importantly, whether it is the intangible cultural heritage declared by China or the intangible cultural heritage declared by South Korea, they are both "human" heritage that belongs not only to China or South Korea, but also to the world and to all mankind.

Among the people of China, people who fight over the heritage of their predecessors are often despised.

Similarly, disputes over the protection of the intangible cultural heritage of mankind not only violate the original intention of protecting human cultural heritage, but also are ashamed of our ancestors., the creators and inheritors of these great civilizations.

In protecting intangible cultural heritage, we should also learn from each other and respect each other like our ancestors.

In the process of applying for United Nations intangible cultural heritage protection projects, scholars from the two countries must treat history objectively, fairly and scientifically, respect history, clarify the changes in the origin and origin of ancient and modern times, lead the public with the attitude of scholars, and oppose narrow nationalism.

Doctrine advocates cultural inclusiveness and diversity.

For projects shared by the two countries, the two governments can strive to jointly declare with the participation of scholars.

For some major academic issues, scholars from the two countries can also be organized to jointly study and seriously discuss them in the spirit of being responsible for history and human civilization.

Geographically, we cannot change the geographical location of our two countries; culturally, we cannot divide the closely connected history and culture of our two countries.

Only by joining hands, abandoning prejudices, and striving to do a good job in this matter that concerns the people of China and South Korea and the whole of mankind can we be worthy of our ancestors and nations for generations.

① (South Korea) Yu Shanglie,"Comparative Study of Li Kuipao and Li Bai," Huangshan Bookstore,"Research on Li Bai in China", pp.

346-360, 2008.

② See the author's "The Chineseization of Buddhist Music", published in "World Religion Research", No.

3, 1985.

③ "The Complete Works of Li Bai's Poems·Volume 5·38 Yuefu·Goguryeo".

·Related links·

China-South Korea Cultural Forum held in Seoul

The two-day Second China-South Korea High-Level Academic Forum on Culture and Art Circles was held in Seoul, South Korea on May 7 and 8.

The forum was co-sponsored by China Art Academy and South Korea-China Culture and Art FORUM.

Veterans from the fields of literature, drama, music, painting, film, dance and cultural industry research from the two countries discussed relevant topics at the forum.

The China-South Korea Cultural Forum was established last year and the first forum was held in Beijing.

The Gangneung Dragon Boat Festival in South Korea opens on the 24th of this month and will invite China experts to participate in relevant academic conferences

According to Yonhap News Agency, the controversial Gangneung Dragon Boat Festival in South Korea will open on May 24.

The eight-day Jiangling Dragon Boat Festival will hold activities such as welcoming the Dragon Boat Festival God, a court sacrifice, Jiangling masquerade, and a god sacrifice.

During the event, South Korea will invite China experts, non-governmental organizations, media people, etc.

to hold academic meetings, and will also set up a China Dragon Boat Festival Cultural Publicity and Experience Hall to let people understand the differences between the Jiangling Dragon Boat Festival and the China Dragon Boat Festival.

Relevant sources in South Korea said that the Dragon Boat Festival is a common cultural heritage of Asian countries such as South Korea, China, and Japan.

Most of the disputes surrounding the Dragon Boat Festival among countries stem from misunderstandings.

Gangneung Dragon Boat Festival

The Gangneung Dragon Boat Festival in South Korea was declared by UNESCO in 2005 as a masterpiece of human oral and intangible heritage.

It belongs to the category of social practice and festival activities.

The Gangneung Dragon Boat Festival is popular in Gangneung City and its surrounding areas east of the Taibai Mountains on the Korean Peninsula.

The sacrificial ceremony was held in Daguanling, paying homage to the mountain god of Daguanling, the city god of Daguanling and the female city god of Daguanling.

The sacrificial ceremony includes traditional music, Heshan Olympic songs, mask operas for official slaves, Chinese poetry creation competitions and various folk entertainment activities.

Every year, the four-week festival begins with the brewing of divine wine on the fifth day of the fourth lunar month and the performance of the Dragon Boat Festival Witch Hall.

This activity was first recorded in a China document dating from the 3rd century AD.

The coexistence of Confucius worship ceremonies, witchcraft halls and Buddhist rituals is one of the characteristics of the Jiangling Dragon Boat Festival.

Every year, a large number of tourists come to watch various ceremonies and ceremonies and actively participate in various activities, such as making Dragon Boat Festival fans, brewing divine wine, painting official slave masks, making rice dumplings and eating rice dumplings, and washing their hair with calamus water.

In the past, the main function of the Dragon Boat Festival was to break the social hierarchy and allow people from all walks of life to participate in activities.

The Jiangling Dragon Boat Festival has a set of folk activities that are both related and different from the Dragon Boat Festival in China.

Palace Temple Sacrifice Music

The Korean Court Temple Sacrifice was declared by UNESCO in 2001 as a representative work of human oral and intangible heritage and belongs to the category of etiquette and festival activities.

The Royal Palace Temple is a royal Confucian Temple dedicated to ancestors in the Joseon Dynasty.

It is located in Seoul and is a place for sacrificial celebrations that combines singing, dancing, rituals and music.

On the first Sunday of May every year, descendants of the royal family organize annual ancestral worship activities here.

This unique Confucian sacrificial activity no longer exists even in China.

It comes from the idea of honoring ancestors and filial piety in the classic ancient precepts of China-praying for eternal peace for the souls of our ancestors where they rest.

Today's sacrificial forms still follow the procedures set out in 15th-century classics: the chief priest wears a formal dress and a crown to represent the king, while the rest of the people wear a crown and hold sacrificial vessels containing food and wine.

Music (gongs, bells, poetry and piano, harp, flute) and dance (64 dancers are arranged in 8 rows) demonstrate the alternating corresponding formation of "yin" and "yang" forces as shown in the Confucian scriptures.

the sacrificial music of the Korean court temple relatively completely retains the spirit and style of ancient China etiquette culture from Confucianism.