[Tao Lifan] Research on Baojuan in the Context of "Intangible Cultural Heritage" Protection
The research on Baojuan in China began in the 1920s and has a history of nearly a hundred years.
Zheng Zhenduo (1898 - 1958) pioneered the study of Baojuan.
Zheng Zhenduo wrote Baojuan as a category of literature, that is, the object of popular literature, and wrote it into "The History of Popular Literature in China." Since then, popular literature has been regarded as a field of literary research and has appeared in the literary world of China.
Parallel to this in the 1920s was the study of folk literature, and Peking University's research on ballads was the beginning.
However, popular literature seems to be excluded from the study of folk literature.
It is believed that it is a literary phenomenon between literati creation and folk creation, and it does not touch the sky above and the ground below.
Therefore, today's research on China literature can be said to be divided into three parts of classic literature (writer's literature), popular literature (popular literature), and folk literature.
The world is divided into three parts, and popular literature and folk literature account for two parts, which shows the status of popular literature and folk literature in the history of China's literature.
Although some people refuse to admit it out of prejudice.
Popular literature is a very special literary phenomenon in China literature, and it contains a wide range of content.
Ballads, tunes, historical lectures, storytelling, northern and southern operas and local operas since the Song and Yuan Dynasties, Bianwen, Tanci, Guci, Baojuan and other storytelling and singing literature are all included.
When Zheng Zhenduo's "History of Popular Literature in China" introduced the meaning of "popular literature," it classified ancient ballads, folk songs from the Han Dynasty and the Six Dynasties, folk songs from the Tang Dynasty, Bianwen,"Zaju" poems from the Song and Jin Dynasties, Guzici and Zhugong Diao, Sanqu of the Yuan Dynasty, folk songs from the Ming Dynasty, Baojuan, Tanci, Guci and Zidishu, and folk songs from the Qing Dynasty into the category of popular literature.
It can be seen that the boundary between popular literature and folk literature was not very clear at that time.
This unclear boundary is mainly different from the different identities of creators and inheritors of popular literature and folk literature.
In terms of its literary tradition, the creation and inheritance of Baojuan have the characteristics of both popular literature and folk literature.
As far as treasure scrolls are concerned, whether they are treasure scrolls that promote religious teachings (Buddhism, Taoism, folk religion), or treasure scrolls such as singing historical stories, folk stories, and good books that are widely passed down among the people, although their authors are mostly anonymous, it can be seen that religious treasure scrolls are mostly created by people engaged in religious activities, while those that contain secular content (such as good books) are mostly created by folk singers and storytellers.
Therefore, in the textual research of the Baojuan version, the identity of the creator must be carefully considered.
This is also one of the important ways to distinguish religious scrolls from folk scrolls.
This paper takes the widely circulated and distributed "Parrot Treasure Scroll" as an example to discuss the dissemination, inheritance and research of folk treasure scrolls in the context of "intangible cultural heritage" protection.
My hometown is a remote rural area in Qinchuan Town, Yongdeng County, Gansu Province (currently built Lanzhou New District).
In my childhood, I heard villagers, especially middle-aged women, sing "Parrot Treasure Scroll".
I was very young at that time, and I only knew that what they were singing was a story of filial piety by a parrot, and the content was very touching.
The lingering sound of its tone is still in my ears and cannot be forgotten.
Later, I worked and was engaged in teaching and research on folk literature and folklore.
I often came into contact with Baojuan materials, but I felt that they were the object of popular literature research, so I didn't pay special attention to it.
According to Baojuan researchers,"Parrot Baojuan" has a wide inheritance area.
It is spread from the southeast coast to the northwest plateau.
There are also many versions.
I haven't studied that version carefully.
It's something I heard when I was a kid.
Searching on the Internet, I saw the full text of "Parrot Treasure Scroll" reprinted from Sina blog "Breeze Gently Breeze".
The author marked it as "Hidden Lake", probably meaning "Hidden Jianghu".
Because there is no indication of the area where it was circulated and the person who compiled the records, it cannot be concluded that he is the "Parrot Treasure Scroll" that I heard when I was a child.
This "Parrot Treasure Scroll" is a text with scattered rhymes and lines.
Among them, the verse part adopts the "334, 334" and seven-sentence patterns.
In the singing part of the Baojuan I heard when I was a child, each sentence ended with the sentence pattern of "334, 334", and when singing, each sentence ended with "Nano Amitabha".
The content of the story is very close to the story I heard.
So I think this "Parrot Treasure Roll" is a treasure roll popular in Yongdeng, Hexi, Gansu.
Of course, Baojuan is sung and circulated in different regions, and the content and form will change depending on the different folk believers.
It remains to be verified how many different versions of "Parrot Treasure Scroll" are available in the Hexi Corridor.
The currently published "Jiuquan Baojuan"(Ancient Books of Northwest Normal University, Gansu People's Publishing House, 1991),"Selected Hexi Baojuan"(edited by Duan Ping, Lanzhou University Press, 1988),"Shandan Baojuan"(edited by Zhang Xu, Gansu Culture Press, 2007),"Research on Qinghai Baojuan"(Liu Yongjiang, China Social Sciences Press, 2013), etc., all include "Parrot Treasure Scroll".
If my inference is correct, these "Parrot Treasure Scroll" circulated in different regions happened to be along the ancient Silk Road, and naturally include versions circulated in my hometown.
The biggest feature of the inheritance of Hexi Baojuan is its origin relationship with Dunhuang Bianwen.
Many of the Baojuan come from the story of Buddha's native birth.
"Parrot Treasure Scroll" is a fable that conveys the theme of encouraging filial piety.
The online version of "Parrot Treasure Roll" I saw started like this:
When the Parrot's Treasure Scroll was just unfolding, all the villagers heard it.
Birds with filial piety are respected by others, and people without filial piety eat fasting in vain.
It is said that during the Song Dynasty, there is a story on Xianguo Mountain.
There was a big sand willow tree on the mountain.
A pair of yellow parrots lived on the tree and gave birth to three sons.
One day, my husband and brother took the eldest and second brother out to find food, but they didn't come back after dark.
Who would have expected:
Husband and brother, take brother and find food together.
Two brothers, and older brother, were caught together (Namo Amitabha).
The young man, the second brother, broke the net and escaped.
I left it behind, old parrot, and died here (Namo Amitabha).
Brother, we have flown over the Tongguan boundary.
Be clever with your mouth, sing eight notes, and have endless joy (Namo Amitabha).
Second Brother, we have flown outside Yanmen Pass.
The sycamore tree, married, never leaves its shadow (Namo Amitabha).
Only stay, little brother, to show filial piety to your mother.
When you are hungry, pick fruits and feed them to your mother (Namo Amitabha).
On the dog day, spread your wings and build a pergola.
The west wind blows, busy building a nest and preparing for the winter (Nnamo Amitabha).
My old mother and brother miss my relatives and become seriously ill.
Every day, I lament and sigh, but I don't use water and food "(Namo Amitabha).
The treasure scroll begins with a clear meaning, using the filial piety of parrot Ge to show that "birds have filial piety and are respected by others, and people without filial piety eat fasting in vain." Then the story takes place in the "Song Dynasty"; the story takes place on the Shaliu in Xianguo Mountain (the Shaliu is a unique tree species in the Hexi area); the protagonist of the story is a pair of yellow parrot brothers and his three sons.
The plot of the story is that the eldest brother took the eldest brother and the second brother out to find food, only to fall into the hunter's net.
The old parrot died, and the second brother escaped and flew outside Tongguan and Yanmen Pass.
Only the little parrot was left at home to serve his sick mother.
The story of filial piety begins here.
If we summarize the plot units of "Parrot Treasure Scroll", the following motif will arise:
1.
My old mother and brother miss her relatives and become seriously ill.
Want to eat fresh pears from Beijing;
2.
The little parrot flew to Zhang San Garden in the capital and sang and praised the beautiful scenery.
He was occupied by Zhang Sanwang and sold in the city;
3.
Encounter Bao Gong to rescue him in the downtown area;
4.
The old parrot waited at home for seven days and seven nights, but did not see his brother coming back.
He went out to search and fell to his death under the old elm tree;
5.
Parrot Ge's poems were praised by Bao Gong;
6.
Prince Song (Emperor) learned that Lord Bao bought a divine bird and asked it to be sent to the palace for viewing.
7, parrot Ge request Song Wangye put its home, cure mother disease, mother and son came together to thank the emperor;
8.
Little parrot returned home, looking for the mother's corpse, crying and moving;
9.
The parrot's filial piety moved all birds and came to attend the funeral of the parrot's mother.
Finally, the treasure scroll ends with a seven-character poem verse: "Good and evil have been distinguished, and the parrot's treasure scroll ends here.
If a person does not respect the elderly, it is better to have a parrot among the birds."
"Parrot Treasure Scroll" is widely circulated, especially in the northwest and southeastern coastal areas.
Many versions appeared during the Ming and Qing Dynasties, including block editions, lithographs, and manuscripts.
In addition to the Zhenjiang Baoshan Tang publication published by Xinsi of Guangxu in the Qing Dynasty mentioned by Zheng Zhenduo, and the Changzhou Leshan Tang publication, according to Che Xilun's "China Baojuan Catalog", there are also "Yingge Filial Mother Bao Juan","Yingge Bao Juan"(also known as "Little Yingge Diao Filial Piao ")," Buddha Said Yingge Jing ", etc.
If we adopt the folk story genre index (AT classification) method to summarize the motifs or plot units of various versions, we can clearly see the spread and variation of "Parrot Treasure Scroll" among various regions and ethnic groups.
It is also possible to accurately find the causes and elements of the variation.
This is helpful for the research of different versions of Baojuan.
For example, the differences in the open-book passages of "Parrot Treasure Scroll" in various places reflect the differences in the purpose of the propaganda.
Take the "Parrot Treasure Scroll" circulated in Jiuquan area as an example.
The opening words of the volume read,"The parrot dove treasure scroll was just unfolded, and the Buddhas and Bodhisattva came; the eight parts of the dragon were born in the heaven, and there will be no disaster after listening to the treasure scroll." The opening words of the online version of "Parrot Treasure Scroll" are "The Parrot Treasure Scroll is just unfolding, and all the villagers have heard it." Birds who have filial piety are respected by others, but people who have no filial piety eat fasting in vain." It can be seen that the purpose of the former's propaganda is to "eliminate disasters", while the purpose of the latter's propaganda is to "encourage good deeds." The ending is also different.
The former ends with "The parrot doves fulfill their filial piety to heaven and earth, touching the Yin of the South China Sea; the birds in the mountains are filial piety, and the spirit of the immortal world is restored." Expresses the Buddhist concept of causal reincarnation.
The latter is that "right and wrong have been distinguished, and the parrot's treasure scroll ends here." If a person does not respect the elderly, it is better to have a parrot among the birds." It can be seen that the former preaches a strong religious connotation, while the latter is more secular and only encourages good deeds.
As for the specific plot variations, only by comparing plot units can we clarify the differences in content, form, region, ethnicity, religion, and version of "Parrot Treasure Scroll" and the reasons for various variations.
Baojuan is an encyclopedia containing religion and ethics.
It has a long history and is a rich intangible cultural heritage that has been circulated in the land of China.
The Gansu and Qinghai region in northwest China is also an important town where various treasure scrolls are spread.
From its source, Dunhuang Bianwen originated in this area.
Bianwen originated in the Tang Dynasty and can be roughly divided into two categories: one is to tell Buddhist stories and promote Buddhist scriptures; the other is to tell historical legends or folk stories.
The creation and inheritance of treasure scrolls in later generations cannot surpass these two categories.
Whether it is Buddhism, Taoism or folk religion, religious scrolls mainly promote religious teachings; while secular scrolls mainly tell historical stories or folk stories, with a wide range of themes.
Mainly for intellectual and ethical education, and sometimes for entertainment purposes.
Various art forms such as Cihua, Guci, Pinghua, and folk rap inherited from the people provide a broad stage for the inheritance and dissemination of Baojuan.
Baojuan is one of the important intangible cultural heritages of the ancient Silk Road and is still passed down among the people.
The preaching of Baojuan in history is a ritual culture.
Before reading the scroll, the reader must burn incense and take a bath.
Copying is considered a merit.
You can't borrow a treasure scroll, you have to ask for it.
Treasure scrolls should not be placed indiscriminately.
They should be wrapped in red or yellow cloth for worship.
These rituals are still passed down in Baojuan singing to this day.
In short, treasure scrolls are considered sacred objects and are preached in certain rituals.
However, times are different now, and the cultural and ecological environment for Baojuan inheritance has undergone earth-shaking changes.
How to carry out Baojuan inheritance and research in the context of "intangible cultural heritage" protection is an issue worth discussing.
First of all, it should be noted that the inheritance of Baojuan has long passed its golden period.
The preaching of Baojuan has also gradually faded out of the people's belief life.
Preaching treasure scrolls is no longer part of people's spiritual life, but has become written texts and entered the treasure house of literature.
Therefore, the documentary research of Baojuan will inevitably replace the propaganda of Baojuan and become one of the objects of academic research.
Scholars are working hard to build a "Baojuan Study" in China, determine the historical status and function of Baojuan in the history of religion and literature, and determine the cultural and historical value of Baojuan.
The study of Baojuan was originally a branch of "Dunhuang Studies" and is also inextricably related to the study of religious studies.
As the study of popular literature, it is an important aspect of the study of literary history.
In the context of "intangible cultural heritage" protection, the inheritance of Baojuan has once again received attention, and the inheritance and inheritors have been protected.
This has created a good opportunity for Baojuan research and built a broad platform for document research and inheritance research.
Secondly, China's Baojuan has a long history of inheritance and has a wide area of inheritance and dissemination.
The northwest and southeast regions are the main inheritance places of Baojuan.
In this area, relatively complete propaganda ceremonies are still preserved among the people, and many inheritors are active.
Baojuan research should seize this last opportunity.
In the protection of intangible cultural heritage, the cultural ecology of Baojuan inheritance will be re-demonstrated; in the inheritance and protection of Baojuan, the recognition of Baojuan culture by government departments, experts, scholars and inheritors will be further enhanced.
In order to achieve this goal, field visits to Baojuan inheritance are indispensable.
For example, the pedigree of the inheritors (religious professionals, folk artists, etc.) who are still active; the areas and paths of circulation of the treasure scrolls; the examination and revision of the versions of the treasure scrolls circulated in various places; and the inspection of the audience of the treasure scrolls, etc.
must be meticulous and carefully collected.
Due to the changes of the times, history has left us a large number of treasure scroll texts and documents, which rarely tell us about inheritance.
Today, by investigating the inheritors of Baojuan, the inheritance context, and cultural ecology, we fill in the shortcomings of historical documents.
Only in this way can we show the historical and realistic appearance of Baojuan inheriting.
Third, the source of the treasure scroll is Dunhuang Bianwen.
Bianwen originally preached religious teachings.
In the late Qing Dynasty, a batch of popular literature manuscripts from the Tang and Five Dynasties were discovered in the Dunhuang stone chambers, which scholars generally called "Bianwen".
It was originally the base of the rap story.
These Bianwen determines the documentary age of the Baojuan, and the actual singing activities may be earlier than the Tang and Five Dynasties.
Bianwen later gradually evolved into a genre of popular literature, called "Baojuan", which was widely circulated among the people and formed numerous versions.
The textual revision of the edition is of great significance to the circulation, dissemination and presentation of the content of the treasure scroll.
It is also a compulsory course for Baojuan Research.
Although this is the knowledge of the study.
Fourth, how to study treasure scrolls.
The first problem encountered was the classification and cataloging of precious scrolls.
In this regard, Mr.
Che Xilun's research from Yangzhou University has established a good platform for Baojuan researchers.
Mr.
Che is the author of "Research on China Baojuan", which can be used for researchers 'reference.
As a regional study of Baojuan, popular literature researchers in the Northwest region have a great responsibility.
As for how to study? The primary problem encountered here is the construction of the Baojuan database.
The compilation of the treasure scroll catalog is important, but the catalog alone is not enough.
Works such as Baojuan Integration should also be edited.
Such as "Integration of Religious Treasures","Integration of Historical Treasures","Integration of Story Treasures" and so on.
If conditions permit, a China Baojuan database must be established.
Only with these basic constructions can we provide a solid foundation for the construction of "China Baojuan Studies." There are many methods to study the treasure scroll, including anthropology, sociology, religion, linguistics, folklore, popular literature, and folk literature.
In terms of specific research methods, the story treasure scroll can either adopt the comparative research method of folklore or borrow the type index method in the study of folk stories.
For example, the motif index is made for different versions of different texts, the plot units are summarized, and then they are compared.
In this way, we can explain the variations and causes of the same story content in different spreading areas that are consistent with the historical spread.
If necessary, you can also draw a map of the same treasure scroll passed down in different regions.
Use folk maps to show the majestic picture of China's treasure scrolls.
China's Baojuan has a long history of inheritance, but it has been more than 30 years to study the full picture of Baojuan.In the protection of intangible cultural heritage, in 2006, Hexi Baojuan was approved by the State Council to be included in the first batch of national intangible cultural heritage lists.
In 2007, Qiao Yu 'an from Suzhou District, Jiuquan City, Gansu Province was recognized as the representative inheritor of Hexi Baojuan.
In 2008, the "Wudi Baojuan" in Suzhou, Jiangsu Province was included in the expanded list of national intangible cultural heritage representative works.
The inheritance of Baojuan has received the attention of the country, which is a blessing for Baojuan research.
The Hexi region of Gansu Province plays a very important role in the inheritance of Baojuan in China.
In the context of "intangible cultural heritage" protection, a group of treasure scroll researchers have emerged in both the northwest and southeast regions.
Among them are professors and doctors, who are a new force in Baojuan research.
The inheritance, protection and research of China's treasure scrolls will surely produce numerous results, and we look forward to it.
(Note: This is a paper written for the "Academic Seminar on Folk Treasure Scrolls from the Perspective of the Silk Road" held in Linze, Zhangye, Gansu Province from July 24 to 25, 2017)