CC BY
1
УДК: 78
Yao Wei
Ph.d of Pedagogical Sciences, senior lecturer Taizhou University Taizhou, China
THE DEVELOPMENT AND EVOLUTION OF LAHUN AIR Аннотация
Lahun air is a kind of local singing in China, which comes from the performances of farmers in rural areas and has gradually developed into large cities.In the process of the development of soul-pulling cavity, combined with other local art forms, Liuqin opera has gradually formed, which is mainly popular in Jiangsu, Anhui, Shandong, Henan and other regions.Liuqin opera has also been valued by Chinese governments at all levels and has been selected for the National Intangible Cultural Heritage List.
Ключевые слова Lahun air, Liuqin opera, singing, performing arts
Opera music is one of the constituent elements of opera art and an important means of expression of opera art."The development and evolution of the vocal cavity of opera is an important symbol of the development process of Chinese opera.Starting from the ancient North-south qu, to the Ming Dynasty Nanqu, the evolution of the four major vocal cavities such as Haiyan, Yuyao, Yiyang, and Kunshan, and even the rise of clapper and Pihuang, as well as the widespread emergence of various local dramas in modern times, are directly related to the development of opera music."Although the distinction between dramas is different in terms of repertoire, costumes, performances, etc., the key to the difference lies in the differences between opera and music.
Lahun air is a kind of small folk opera performance.In the early days of the formation of the soul cavity, as a means for poor farmers to make a living, farmers walked alone or in groups of two, begging and singing along the door during the free time of farming and the year of famine.It mainly sings some words and simple "essays" that please the host's family, and uses the rhythm of tapping two bamboo boards or clapping as an accompaniment.The soul-pulling cavity of this period has more of the characteristics of Quyi rap than the art of opera in the true sense.First of all, in terms of the content of the singing, the artists mainly sing "essays". These essays are of the same nature as the "short paragraphs" and praise in Quyi, and they use a more specific singing mode to express specific characters or scenes.Second, from the point of view of the singing form, it is mainly based on one person singing by himself and two people singing by one. There are no roles and no costumes for the characters.In singing, "keep your mouth" and "continue singing" are retained, not in the first person, but in the third person.The early stage of Lahun air is still in the rap stage.
After a period of development, Lahun air gradually formed a fixed singing melody, and professional and semi-professional artists appeared. Most of the artists are composed of family relationships, with father, son, and husband and wife together, forming the earliest class organization.In the early years of Xianfeng, Lahun air had a form of "playing team" performance.Playing in a group refers to singing and acting together, which means forming a group. It can be seen from this that roughly in the Xianfeng Period of the Qing Dynasty, Lahun air had the organizational structure of the class society. In the composition relationship of the class members, there was a family blood relationship and a teacher-apprentice inheritance relationship.In order to make a living, as a last resort, these small class clubs in groups of three or five had to wander around, performing this form of performance while moving is called "running uphill."
In the process of mobile performances, the artists gradually changed the original way of singing along the
door, and the form of fixed-point singing appeared.Initially, this kind of performance was carried out in rural squares and open spaces. The artists used a bench to separate the performance area from the audience area, using towels, ribbons, top hats, long shirts, and short gowns as costumes. After the performance, they used gongs or top hats to raise food and money from the onlookers. As a reward for the performance, it is commonly known as a "plate stool."During this period, accompanists and actors have not been completely separated into independent occupations.When there is a shortage of manpower, the actors also play and sing. When there are many people, they play and sing exclusively. The original class of Lahun air was very small in number. Due to the instability of small class clubs, it is often in an unstable state of flow. For example, during the busy agricultural season, many class clubs will be disbanded to engage in agricultural activities.During the leisure season, they reorganized and carried out art-selling activities. Because they only perform in rural areas, the income of soul-pulling artists is very limited. If they encounter a year of famine and harvest failure, it will be even more difficult to make a living.As a result, some Lahun air artists consciously moved to large cities with large populations and good economies.Many Lahun air artists have performed in major cities such as Jinan, Xuzhou, Nanjing and even Shanghai.
On the basis of small class clubs, relatively large Lahun air classes have also appeared in individual regions.On the basis of the family blood transmission method, these large-scale class societies have extensive inheritance of teachers and apprentices, so their number has expanded rapidly, reaching a scale of about 20 people. With a large number of people and a class of people, Bai Ran can stage more plays. In addition to small dramas for two or three people, he can also stage human dramas with multiple roles. The quality of performance and accompaniment is relatively high, so that in the performance and entertainment market, it has a strong competitive ability. As a result, some human-type Lahun air classes gradually had the opportunity to sing in the city opera garden and obtain stable income.The Bujia Class in Teng County, Shandong Province is a typical one-type class.On the eve of liberation, this influential Bu family class performed in the famous Lu Family Opera Garden in the county seat. By the eve of the founding of New China, Lahun air had gradually developed from a simple form of Quyi to a small opera style.At this time, Lahun air sang "Bai You Tune", the accompaniment was mainly Liu Ye Qin, there was a simple band arrangement, and a certain number of traditional repertoire was accumulated.Since Lahun air has always been an art form that has been born and bred in Bima, there is little attention from intellectuals, let alone the opportunity to enter a certain upper-level official system, so we call it a folk drama.
In April 1953, the Propaganda Department of the Xuzhou Municipal Party Committee of the Communist Party of China, in conjunction with the Municipal Government's Cultural and Educational Bureau, after consultation with the artists of "Lahun air", based on the main accompaniment instrument Liu Yeqin, named the genre Liu Qin Opera. Subsequently, at the East China Opera Observation Performers' Meeting held in September 1954, Jiangsu Liuqin Opera participated in the three traditional repertoire of "Drinking Noodles and Leaves", "Blocking Horses", and "Mi Jianyou Palace", and wrote "Liuqin Opera Materials". Since then, the name of Liuqin Opera has been formally established and widely used. After Lahun air was introduced to Anhui Province, it absorbed the local folk singing art and formed Lahun air of Anhui, also known as Sizhou Opera. The singing voice of Sizhou Opera has the passion and generosity of northern opera and the gentleness and soothing of southern opera; there are extremely difficult flower voices and flower tongues, and the plainness and simplicity of folk Qinshu.On May 20, 2006, Sizhou Opera was approved by the State Council of the People's Republic of China to be included in the first batch of national intangible cultural heritage lists. The source of Shandong Liuqin Opera is based on the Lunan folk minor "Lahun air" and developed under the influence of local Liuzi Opera.Shandong Liuqin opera has a smooth and lively tone, a bright rhythm, and a variety of flower tones. On May 20, 2006, Shandong Liuqin Opera was approved by the State Council of the People's Republic of China to be included in the first batch of national intangible cultural heritage lists.In March 2007, Jiangsu Liuqin Opera was selected as the first batch of intangible cultural heritage in Jiangsu Province.The influence of Liuqin opera is in addition to northern Jiangsu, southern Shandong, southern Anhui and southern Henan.Liu Chang, a
master's student at Harbin Conservatory of Music, once conducted a systematic study on the development of Liuqin opera in Yongcheng City, Henan Province.
After Lahun air developed into a modern Liuqin opera, it was mainly distributed in the vast areas of the four provinces of Jiangsu, Shandong, Henan and Anhui. Its history has been more than 200 years.In the entire process of evolution and development, it has integrated local folk music and drama music from neighboring regions, and gradually formed its own complete singing system, which is rich in content and colorful, with high-pitched and gorgeous singing. References:
1. Kong Peipei. From pulling the soul cavity to Liuqin opera [D]. Beijing: Chinese Academy of Arts, 2007.
2. Liu Chang. Research on Music of Yongcheng Liuqin Opera [D]. Harbin: Harbin Conservatory of Music, 2022.
© Yao Wei, 2024
УДК 7
Балтаева Дж. О.
преподаватель Государственной академии художеств Туркменистана
г. Ашхабад, Туркменистан Шукурова М. Ш.
студентка Государственной академии художеств Туркменистана
г. Ашхабад, Туркменистан
ОТОБРАЖЕНИЕ ТЕМЫ РУКОДЕЛИЯ В ЖИВОПИСИ ТУРКМЕНИСТАНА
Аннотация
В данной статье проводится искусствоведческий анализ картин туркменских живописцев XX-XXI веков, отображающих рукодельный труд. При изучении живописных полотен определяется их идейно-художественное содержание, способность художника раскрыть идею произведения. Рассмотрены вопросы стилистических особенностей в творчестве живописцев Туркменистана. Отмечено, что туркменские художники стремятся расширить и углубить содержание композиций, изображающих ремесленников и художников-прикладников.
Ключевые слова
Туркменское искусство, живопись, портрет, бытовой жанр, образ, ремесло, декоративно-прикладное искусство.
Baltayeva J. O.
teacher of the State Academy of Arts of Turkmenistan
Ashgabat, Turkmenistan Shukurova M.Sh.
fourth year student of State Academy of Arts of Turkmenistan
Ashgabat, Turkmenistan
DISPLAYING THE THEME OF HANDCRAFTS IN THE PAINTING OF TURKMENISTAN
Abstract
This article provides an art historical analysis of paintings by Turkmen painters of the XX-XXI centuries,
