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The ancestors of the Manchu people lived among the white mountains and black waters. In order to adapt to the cold climate for a long time, they chose robes with better warmth for their daily life. apparel. In the middle of the Ming Dynasty, the Manchus absorbed the coat-style clothing of the Han people in the Central Plains and improved it into "cheongsam" with their own national characteristics. After the establishment of the Qing Dynasty, due to the compulsory promotion of the Manchu aristocratic rulers, flag clothing became popular throughout the country, but it soon merged with the traditional clothing of the Han people. During the Republic of China, modern Western fashion elements were added, forming a modern cheongsam with Chinese national characteristics. Since the 20th century, the Manchurian economy and culture have undergone tremendous changes, and many traditional costumes have become very rare. The ancestors of the Manchu people were a nomadic people. In an era when hairdressing technology was not yet developed, in order to adapt to the life of long-term hunting and trekking, Manchu men chose braided hair as a hairstyle. The method is to shave the hair on the forehead first to avoid blocking the sight and facilitate archery or fighting. The hair at the back is not braided but braided to accommodate the bumps of riding. This hairstyle was enforced throughout the country by the rulers of the Qing Dynasty using political means.
Historically, Manchu men often wore robes with horseshoe sleeves and a belt around the waist, or wore robes over a double-breasted mandarin. They wore cool hats in summer and leather sloppy hats in winter. Clothes like to be made of cotton, silk, silk, satin and other materials of various textures such as green, blue and brown. The trouser legs are tied with green leg straps, and the feet are made of cotton boots or leather boots. In winter, they wear leather urala. Leave a braid on top and shave the surrounding hair.
Flag Costumes
Since the 20th century, the Manchu economy and culture have undergone tremendous changes, and many traditional costumes have become very rare. But from movies, TV and museums, we can often appreciate the style of flag costumes of the past. Among them, the headdress on women's heads is wide and long, looks like a fan but not a fan, and looks like a crown but not a crown - it is called "Qitou" in Chinese and "Dalachi" in Manchu. This kind of headdress is unique to Manchu women in the world. , thus becoming a typical national costume feature and very eye-catching.
In the past, Manchu women had to learn riding and shooting like boys when they were young, and their hair ornaments were similar to those of boys. They usually shaved off the hair around the top of their heads, leaving only part of the hair to be braided into two braids, hanging down on the temples. You cannot grow your hair until you reach adulthood at the age of 16. After marriage, people began to tie their hair into buns such as big basin buns, shelf buns, and double bun buns, of which two bun buns are more typical. The two-bundled hair is to tie the hair on the top of the head, divide it into two locks, tie each into a bun, and then tie the remaining hair at the back into a long flat bun in the "swallowtail style". Usually, a hairpin called "big flat square", which is 20 to 30 centimeters long and 2 to 3 centimeters wide, is inserted horizontally on the bun. It is worn on festive and auspicious days or when receiving distinguished guests.
Flag head
"Flag head" is called "Tala Chi" in Manchu. It is a headdress worn by Manchu women in general etiquette or wedding occasions. The specific method is to use iron wire or bamboo rattan as the hat frame, use blue satin, green velvet or green yarn as the surface, and wrap it into a fan-shaped headdress about 30 centimeters long and more than 10 centimeters wide. Just fix it on your bun when wearing it. It is often embroidered with patterns, inlaid with jewelry or decorated with various flowers, and hung with long tassels. This headdress is mostly used by upper-class Manchu women, and is worn by ordinary women during weddings, festivals, or when offering sacrifices to their ancestors. Wearing this kind of wide and long ornaments restrains the twisting of the neck and makes the body straight. Coupled with the long cheongsam and high-soled flag shoes, they make their walking steps slim and extraordinarily stable and elegant. .
Horse-soled shoes
In addition to "cheongsam" and "talachi", Manchu women's "flag shoes" are also very distinctive. In the old days, Manchu women were different from Han women. They advocated strong legs, mountain climbing and horseback riding. They rejected the bad habit of foot binding and regarded the beauty of their big feet. As a result, sufficient creative space was obtained in the decoration of shoes and socks, and "flag shoes" were born. This kind of flag shoes decorated with exquisite embroidery has a wooden base with the heel rising from the center. These shoes are commonly known as "flag shoes" or commonly known as "high-soled shoes". "High-soled shoes" are mainly divided into two types, one is called "flowerpot-soled" shoes; the other is called "horse-shoe-soled" shoes. The wooden sole heels are generally about 5-10 cm, some can reach 14-16 cm, and the highest ones can reach about 25 cm.
It is usually wrapped in white cloth and then set in the middle of the sole of the shoe. There are two styles that are generally distinguished due to different shapes of the bottom: one is open at the top and convergent at the bottom, with an oval base and an inverted trapezoidal shape that looks like a flower pot from a distance; the other is thin at the top and wide at the bottom, flat at the front and round at the back. , both its appearance and the marks on the ground resemble backward horse hoof prints. "Flower pot bottom" and "horse hoof bottom" are named after this, and they are also collectively known as "high-soled shoes". In addition to the uppers being decorated with embroidery patterns or decorative pieces such as cicadas and butterflies, the parts of the wooden heels that do not touch the ground are also often decorated with embroidery, gold, silver or beads. The tips of some shoes are also decorated with fluff balls or tassels made of silk threads. The longest tassel can reach the ground. The high-heeled wooden soles of these shoes are extremely strong. Often the uppers are broken but the soles are still intact and can be reused. High-soled flag shoes are mostly worn by Manchu youths and middle-aged women over the age of 16 on ceremonial occasions. The flag shoes of older women are mostly made of flat wood and are called "flat shoes". The front end is slightly tapered. in order to walk. Among the bureaucrats and nobles, young, middle-aged, or elderly women can wear high-soled shoes. In modern society, these shoes are no longer worn except for theatrical performances.
The Manchu people have had the custom of "cutting wood into shoes" since ancient times. There are many theories about the origin of this high-soled shoe.
One theory is that in the past, Manchu women often went to the mountains to collect wild fruits, mushrooms, etc. In order to prevent insect bites and snake bites, they tied wooden blocks to the soles of their shoes. Later, they became increasingly sophisticated and developed into high-soled shoes. There is also a legend that in order to cross a mud pond and recapture the city occupied by the enemy, the Manchu ancestors imitated the white crane and tied high tree branches to their shoes, and finally won the victory. The purpose of revenge and development was achieved. In order not to forget those suffering days and to commemorate the achievements of high wooden shoes, women put on these shoes and passed them down from generation to generation. The shoes became more and more exquisite and beautiful, and they became what they were today.
During the Qing Dynasty
Historically, Manchu men liked to wear long blue fashions, which were very different from the clothes worn by Manchu women in the past.
Manchu-style clothing was once popular throughout the country during the Qing Dynasty, and now it is the same as Han clothing. Manchu women do not bind their feet, and their shoes are embroidered with beautiful floral decorations. There is a 10 cm high wooden heel in the center of the sole. When walking in such shoes, Manchu women can keep their heads held high and their waists swaying. state. Manchu women's hairstyles vary greatly. When they were girls, they simply pulled their hair back. When you are about to get married, you should comb your hair into braids and into a single bun. There are many hairstyles after marriage, including double buns, single buns, etc. The double bun hairstyle separates the hair from the top of the head into front and back. part. The front bun is combed into a flat top shape for wearing a crown, and the back bun is combed into a swallowtail shape, stretching out behind the shins. It keeps the neck straight. Therefore, Manchu women look more noble and noble when walking. dignity.
The cheongsam is a garment worn by Manchu men, women and children all year round. It is simple in cut, with a garden collar, wide front and back, and narrow sleeves. It is cut in four pieces and has a longer slit, making it easier to get on and off the horse; Narrow sleeves for easy shooting. Because the sleeves are equipped with a horseshoe-shaped protective sleeve, they are also called horseshoe sleeves. After the Manchus gradually left their riding and shooting career, horseshoe sleeves have become a decoration, and putting down the horseshoe sleeves is still a ritual for the Manchus to pay tribute to their elders and venerables. Women's cheongsam is more decorative than men's cheongsam. The collar, front and cuffs are all embroidered. With the changes of the times, the style of cheongsam has also changed greatly, and the four-piece tailoring has been changed to two-piece tailoring. Cheongsam can well express a woman's figure and curves. The picture shows the vest worn by Manchu women over the cheongsam. Delicately embroidered. Manchu women wearing cheongsam and performing court dance. A man wearing a traditional Manchu cheongsam, including a robe with arrow sleeves and a vest, as well as a Manchu male hat.
Manchu men and women are very particular about headwear, especially women’s headwear. After adulthood, they wear their hair in buns. The styles of buns include shelf head, fork head and two-head bun, and are also decorated with gold and silver hairpins and various colorful hairpins. flowers. Manchu women wear flat-top hats every day. The hats are made of velvet or leather, embroidered with cloud patterns, and have a brim with a large ribbon trailing behind. Young women like to wear fan-shaped crowns, which are black and made of green velvet or plain satin. Or made of yarn, also called "flag head". Manchu men usually wear small hats and felt hats: small hats are also called skull caps, commonly known as "melon-skin hats". They are made of six-petal black satin. The top of the hat is decorated with a knot or beads, and the six petals are seamed together, symbolizing the unification of the six-in-one and auspicious. meaning. [Edit this paragraph] Folk houses Manchu houses used to have a screen wall in the courtyard and a "Saulun pole" for the gods. Traditional Manchu houses generally have three rooms: west, middle and east, with the door opening to the south. The west room is called the west upper house, the middle room is called the main room, and the east room is called the east lower house. The west house is equipped with Kangs on three sides: south, west and north.
Manchu residences are also unique. In the past, they all lived in "pocket houses" with thatched roofs and earthen walls. "The house was more than ten feet high and had a unique south door." The one at the east end with a south door is an outhouse; the two or three rooms at the west end are bedrooms and are called inner rooms. This "unique south door" structure is like a pocket, which is convenient for keeping warm. Manchu people also like to sleep on the fire kang. Every household has a large kang in the north and south, and there is a row of narrow kangs along the gable in the west of the house, connecting the north and south kangs, commonly known as the "Wanzi kang".
They regard the western Kang as the most respected, the southern Kang as the larger one, and the northern Kang as the smaller one. The elders live in the South Kang, and the younger live in the North Kang. The West Kang is the ancestral shrine, with ancestral tablets on the wall, and incense tables on the Kang. Generally, no one lives in the Kang, and it is most taboo for the younger generation to sit with women. Only the elderly and their uncles can sit there. sit. On the north, south and west sides of the Manchu houses, "all have large windows" and are divided into upper and lower floors. The window edges are patterned with ten thousand characters or I characters. The windows are papered with paper and the switches face outwards, "for fear of tigers coming at night and easy intrusion." There is no floor table in the living room, only the Kang table, which is used for eating and writing. In addition, carriages are often hung from the beams of the house, made of birch bark (muwei) in a rectangular or oval shape. The newborn baby is placed in it to sleep, and the mother hums a lullaby while riding the carriage. Therefore, there is a folk saying: "There are three strange things in the Northeast: the windows are papered out, the eldest girl smokes a pipe, and the child is hung up after giving birth." [Edit this paragraph] Traditional festivals Many festivals of the Manchu people are the same as those of the Han people. The main ones are Spring Festival, Lantern Festival, February 2, Dragon Boat Festival and Mid-Autumn Festival. Traditional sports activities such as pearl ball, horse vaulting, camel jumping and skating are usually held during the festival.
Gold Awarding Festival: It is a day of "ethnic celebration" for the Manchu people. On October 13 of the lunar calendar in 1635, Huang Taiji issued an edict to officially change the clan name "Jurchen" to "Manchu", which marked the formation of a new national unity. In October 1989, at the "First Academic Seminar on Manchu Culture" in Dandong, December 3 of each year was officially designated as the "Gold Awarding Day". Manchu compatriots from all over the country spontaneously held commemorative activities on the Manchu name day, the 13th day of the 10th lunar month, to commemorate the birth of the Manchu people.
However, the names used during the event are different, sometimes called "name day", sometimes called "birth day", sometimes called "anniversary day", etc.
Shangyuan Festival: the fifteenth day of the first lunar month, commonly known as the "Lantern Festival". Like the Han people, the Manchu people also have the custom of hanging lanterns and eating Yuanxiao.
Walk away from all diseases: a festival for Manchu women. Usually on the 16th day of the first lunar month. That night, women gathered in small groups and traveled far away, either walking on sand and rolling ice, or playing and having fun, which was called "walking on all kinds of diseases".
Tiancang Festival: On the twenty-fifth day of the first lunar month every year, every Manchu rural family boils sticky sorghum rice, puts it in the warehouse, and weaves a pony with straw sticks and inserts it on the rice bowl, which means the horse goes home. Carry grain, have plenty of food and clothing. On the first day, add new rice, three times in a row. Some people also use sorghum straw to make two hoes and stick them on the rice. This festival is still preserved in the rural areas of Northeast China.
February 2: Commonly known as "Dragon Raise Its Head Day". That morning, Manchu people scattered stove ashes in the courtyard. The ashes curved like a dragon, so it was called "Yinlong". Then a ceremony is held in the courtyard to pray for good weather. The whole family also eats "Dragon Beard Noodles" and "Dragon Scale Cake". Women cannot do needlework on this day.
Insect King Festival: It falls in June, which is prone to insect disasters. The Manchus living in the Xiuyan and Fengcheng areas of Liaoning Province used to go to the Chongwang Temple to worship the Chongwang Temple on the sixth day of June. They killed pigs as sacrifices to pray to the Chongwang to avoid disasters and ensure good harvests. Nowadays, there are no sacrificial and sweeping activities for the Insect King's Day, but every family has to dry their clothes on this day to prevent insects.
Hungry Ghost Festival: The Manchu people regard July 15th as the Ghost Festival, which is also regarded as the "Ghost Festival" to save the dead. At that time, various temples will set up dojos, light lanterns, chant sutras, and hold various salvation ceremonies. A wooden screen is placed on the west side of the courtyard facing east, with cockscombs, edamame branches, fresh lotus roots, etc. hanging on the screen for the moon rabbit. An Eight Immortals table is placed in front of the screen, and a large moon cake is served on the table. During the sacrifice, incense is burned and kowtow is performed. Women worship first, followed by men.
Kaishan Festival: A blessing activity carried out by the Manchu people every autumn after the Mid-Autumn Festival or in mid-September of the lunar calendar (the specific time is uncertain) to collect herbs and obtain a good harvest. In the past, Manchu villages in Northeast China would face Changbai Mountain every year during the Mountain Opening Festival, perform blessings and prayers, and thank the mountain god for the rich gifts given to the herb collectors. The ginseng collected during this period would be enshrined in their own shrines.
Laba Festival: On the eighth day of the twelfth lunar month, Manchu people soak in "Laba vinegar" and cook "Laba meat". In addition to eating it for the whole family, it is also distributed to relatives and friends.
Little New Year: The Manchu custom of celebrating the Little New Year is the same as that of the Han people. The 23rd day of the twelfth lunar month is the "Little New Year". At that time, every household will offer sacrifices to the Kitchen God, which is commonly known as "sending the Kitchen God".
Manchu people: Hanging flags to celebrate the New Year
Manchu people are divided into eight banners: red, bordered with red, yellow, bordered with yellow, blue, bordered with blue, white, bordered with white. During the Spring Festival, each flag bearer hangs his or her own flag on the door. These hanging flags have beautiful patterns and bright colors, symbolizing the auspicious beginning of the year. [Edit this paragraph] Manchu culture In terms of culture, the Manchus have made important contributions to Chinese national culture. Books such as "Phonetic Interpretation", "Mathematical Essence", "Lixiang Kaocheng", and "Imperial Map of the Imperial Palace" compiled by Xuanye, the saint ancestor of the Qing Dynasty, all have high scientific value. Early Manchu works, in addition to "Manchu Old Documents", "Manzhou Shilu" and Tu Lichen's "Foreign Land Records", there are also a large number of essential books for learning Manchu, such as "Qingwen Enlightenment" and "Qingwen Dianyao" Even "Qing Wenjian" and so on. "Qing Wenjian" has been updated many times and compiled into a Manchu dictionary in five different ethnic languages ??- "Imperial Five-Title Qing Wenjian". Cultural exchange is an important reference material. Translation of books is also common, mainly Chinese classics, most of which have Manchu translations. In addition to official books, folk tales such as "The Romance of the Three Kingdoms", "The Romance of the West Chamber", "The Plum in the Golden Vase", "Strange Stories from a Chinese Studio", etc. all have Manchu translations. Among them, "Strange Stories from a Chinese Studio" translated by Zak Dan is the best, with a very high level of writing. At the same time, a group of Manchu writers emerged. The "Side Hat Collection" and "Drinking Water Collection" written by Nalan Xingde, a famous early poet, are fresh, graceful, vivid and natural. They are comparable to Zhu Yizun and Chen Weisong, the famous Han Chinese poets at that time, and were collectively known as the "Three Great Masters". "A Dream of Red Mansions" written by Cao Xueqin in the mid-Qianlong period is a great realist work that pushed the art of Chinese classical novel creation to an unprecedented peak and became one of the world's literary masterpieces. A Manchu nationality, Mr. Lao She is not only a famous novelist and dramatist, but also an outstanding folk artist. His works are numerous and popular. He deserves to be called a contemporary "people's artist".
The Manchus advocated Neo-Confucianism. The Manchu great Confucians once translated books such as "Great Learning", "The Doctrine of the Mean", "The Analects of Confucius" and "The Classic of Filial Piety" into Manchu to teach the banner people. Their art of calligraphy has also reached a very high level. . A large number of people, from emperors and princes to ordinary Manchu literati, were interested in painting, and many famous painters emerged. The Duke of Zhenguo, Gao Sai, called himself "Jing Taoist" and was good at poetry and painting. "Chibei Ou Tan" commented on his small scenes that "the pen and ink are sparse, and they are free from the border scriptures, although the scholar-bureaucrats have no way to do it." Yunxi, the king of Shenjun County, "made landscapes and flowers, which can be combined with Shigu and Nantian, and he is the best in this dynasty." In addition, Yaohua Taoist, Tang Dai, Buyan Tu, Lin Qing's wife, etc. were all famous painters at that time. Tiebao and Yongli are famous Manchu calligraphers. They are as famous as Weng Fanggang and Liu Yong, and are also known as the Four Great Calligraphers. The calligraphy of Emperors Kangxi, Yongzheng and Qianlong is still praised by calligraphers. Qi Gong, a great contemporary calligrapher, is also Manchu. Pu Jie, a member of the Standing Committee of the National People's Congress, also has a unique style of calligraphy.
Manchu culture is very developed.
A large number of myths and legends are rich in content and unique in style. They are the spiritual core and general display of shamanism. There are both oral traditions and scriptures. According to content, Manchu myths can be divided into: ① Origin myths. Including the origin of human beings, the origin of all things, the origin of cultural things, etc. ②Myth of cosmic relationship. In shaman mythology, the universe is a noisy multi-layered three-dimensional world, which is the so-called "clouds ascending to the sky, nine or nine layers, and several gods live in each layer." In each layer of the sky, there are people, animals, plants, and demons. The god of peace and kindness communicates with each other on all levels. ③The myth of the soul. The characteristics of Manchu mythology are the perfect integration of animal and plant myths, ancestor myths, and natural myths, as well as the remains of totem worship.
"Manwen Old Archives": An official history book (archives) written in Manchu during the Huangtaiji period of the Qing Dynasty. It is a chronological history book and a literary masterpiece, with 180 volumes. . It mainly describes the politics, economy, military, diplomacy, ethnic relations, palace life, customs, astronomy, geography, etc. of the Nurhachi and Huangtaiji dynasties. "Manwen Laodang" has original historical materials, extensive records, and rich content. It is of great significance as a revision and supplement to "Qing Shi Lu" and other books. It provides more systematic and detailed information for the study of Qing history, Manchu history, Northeastern local history and the evolution history of Manchu language and characters.
"Tongzhi of the Eight Banners": written by Ertai and others on orders. In the fifth year of Yongzheng (1727), Ertai and others were ordered to compile the first collection of "Tongzhi of the Eight Banners", with 250 volumes. In the fifty-first year of Qianlong's reign (1786), Tie Bao and others were pardoned and continued to practice. It took 12 years to complete in the fourth year of Jiaqing (1799). The book is divided into eight annals, eight tables, and eight columns to describe the history of the Eight Banners, social and military organizations, biographies, etc. from Nurhaci, the founder of the Qing Dynasty, to Shizong of the Qing Dynasty. It is very valuable for studying the Eight Banners system.
"Yu Zhi Wu Ti Qing Wen Jian": A comparative dictionary compiled by officials in the Qing Dynasty in five languages: Manchu, Tibetan, Mongolian, Han and Uyghur. It was written in the last years of Qianlong's reign. It is rich in content and is a masterpiece among Chinese ethnic minority dictionaries.
"Nishan Shaman": The epic "Nishan Shaman" is also called "Yinjiang Shanman". A famous Manchu epic. Spread in the Heilongjiang Basin. It tells the story of a female shaman who went through many difficulties in order to save the soul of a young man from the underworld. There are various manuscripts circulating.
Manchu Paper-cutting: Twelve Zodiac Signs Manchu Paper-cutting Art Paper-cutting: Manchu people like to stick window grilles. Cut out various birds, animals, flowers, ancient and modern figures from various colored papers and paste them on the windows, making them lifelike and full of vitality. There is another kind of paper-cut art, which is hanging notes, or hanging money. During the Spring Festival, every household uses five-color paper, cut it into pieces about 40 cm long and 25 cm wide, and inscribes cloud pattern calligraphy and paintings in the middle, such as the characters "feng", "longevity" and "blessing". The lower end is cut into a canine tassel and hung on the Banners on doors, windows, and indoor beams are all colorful and joyful. The earliest hanging notes were decorations in places where ancestors were worshipped, and they were usually in odd numbers. It is said that the ancestors of my family came from several ditches in Changbai Mountain. The paper-cutting art in Ning'an, Hailun and other places in Heilongjiang enjoys a high reputation in the national art world.
Manchu embroidery: Manchu folk craft. Also known as "nail thread", it is mainly popular in rural areas of Northeast China. It is made of home-woven fabrics and cotton threads and is made of cut and sewn materials. The main color is black and white, with other colors used occasionally. The decorations are mainly auspicious patterns such as durians blooming with hundreds of seeds, auspicious celebrations, long gourds, good fortune and longevity, eight treasures and other auspicious patterns. They are often decorated with thick black borders and are often embroidered on pillow tops, purses, curtains and cushions. [Edit this paragraph] Dance Manchu people are good at singing and dancing. The dance of the brown people of their ancestors has a fighting style. It is the custom of the Jurchens to "sing songs on the road based on a girl's age and haircut. The songs are about describing her family background, women's work, and appearance, in order to express her desire for a lover." (Volume 39 of "Da Jin Guo Zhi") Jurchens in the Ming Dynasty danced in the air, accompanied by pipa, and everyone clapped their hands and sang. Especially at festival banquets, the host and guest, men and women, took turns dancing in a harmonious rhythm. One person led the singing, and everyone shouted: "The sky is clear." "Xianhe. After entering the Liao and Shen Dynasties, they absorbed more song and dance forms from other ethnic groups. The Manchu people who have lived in the Northeast for a long time often hold mass singing and dancing activities. The "Zi Di Shu", which was once popular in Beijing and spread to the Northeast, was originated from the children of the Eight Banners and is a literary and artistic form favored by the Manchu people. Since the late Qing Dynasty, many Manchu folk performing artists have emerged. Famous people in the art world include Zhao Xingyuan, Shuang Houping, Jin Wanchang, Xie Ruizhi, Pin Zhengsan, Chang Shutian, Cheng Shutang, Rong Jianchen, Chang Baofu, Lian Kuoru, Hou Baolin, Guan Xuezeng, etc. These folk performers have reached a very high level in their performing arts and have a great influence on future generations.
Longxing dance and the 18-fold dance are the traditional dances of this nation. The characteristics of the dance mostly evolved from hunting and fighting movements. For example, in the Longxing Dance, some strong people should be selected to wear leopard skins and sing Manchu songs, accompanied by flutes and drums. Half of the dancers dress up as tigers, leopards and other animals, and half ride on fake horses to chase and shoot. It is called "Longqing Dance". During festive banquets, the host and guests take turns dancing, holding one sleeve on the forehead and the other sleeve on the back. Circling forward and retreating, one person sings, and everyone joins in by shouting "empty together". There are many postures in the nine-fold and eighteen postures, including fishing postures, threading needles and weaving nets, celebrating postures, single galloping horses, hunting postures, double galloping postures, expedition postures, large and small coiled dragons, The posture of the dragon playing in the water, the strange python coming out of the hole, and the posture of the dragon squirming. Eighteen forms, that is, eighteen dance movements.
Manchu Yangko and Yangko dance: also known as "Tatar Yangko". More than Shangyuan Night performances. There are dozens or dozens of dancers. Each performer holds two long logs on the handle of a ruler and dances against each other while striking. There are usually three or four people pretending to be women, three or four people pretending to be soldiers and holding umbrellas and lanterns, and a person selling plasters as the leader. With the accompaniment of gongs and drums, "the dance ends with singing, and the song ends with dancing."
It’s a cabaret show with makeup. There are hiking and stilt hiking. If two yangko teams meet on the road, they will perform a shoulder-to-shoulder salute and respect each other.
Mang style dance: a Manchu dance performed at palace banquets in the Qing Dynasty in China. The Mang style is divided into male Mang style and female Mang style. There must be singing and harmony in dancing the Mang style. One person will lead the singing, and everyone will harmonize with the sound of "empty Qi" to strengthen the rhythm, so some people also call it the Mang style empty Qi dance. The dance is rough and powerful, with large movements and mostly knight steps, which is related to the martial arts of the Manchu ancestors.
Waist bell dance: Manchu folk dance. It is performed by several men with brass bells tied around their waists. During the performance, the castanets are played and the waist bells are twisted to harmonize the sound of the castanets and the bells. It originated from the early riding and shooting life of the Manchus.
Qinglong Dance: Qinglong Dance is a scene dance performed in harvest years and celebrations. It is the dance with the most Manchu characteristics among the court dances of the Qing Dynasty, leaving profound traces of folk dance. . Qinglong dance, Xiqiqi dance and Yanglie dance are derived from Mangshi dance. This name was given during the Qianlong period. It was used at the grand banquets held in the palace on New Year's Day, Wanshou Festival, New Year's Eve and the emperor's wedding. It was often performed by princes, ministers and dancers. The dance is quite large, with as many as a hundred people including musical accompaniment.
Da Wukui Dance: Also known as "Wukui Dance", it is a celebratory dance among the Manchu people. It originated from the early hunting life of the Manchus, and was performed more often during harvest and when returning from hunting. This dance consists of five people wearing masks of a tiger, a leopard, a bear, a deer, and a roe deer respectively, performing animal-like running and jumping movements, which is cheerful and interesting.
Single drum waist bell: Dangu waist bell is the oral name of artists, also known as "dangu waist bell" or "playing waist bell". It is a sacrificial dance performed with many small bells wrapped around the waist and a "single drum" (or "grabbing drum") in hand. The Manchus believe in shamanism and worship the "Eagle God", "Python God", "Crow God", etc. During festivals and festivals, on the day of ancestor worship, the "Buddha Head Mother" is first invited to the altar, and then the "Chama" starts to dance. They wear hats on their heads, tie bells on their waists, and hold drums while dancing and singing sacred songs. They danced inside the house first, and then outside the courtyard. The first content of ancestor worship is to commemorate the merits of ancestors, the second is to bless the world for peace, the third is to wish for good weather, and the fourth is to pray for illness and disaster to be eliminated. [Edit this paragraph] Manchu musical instrument octagonal drum: The octagonal drum is octagonal in shape and covered with python skin. There are copper rings on each side of the seven sides, and a long spike is tied under the other side. It can be played, rubbed, shaken, and used as a song. accompaniment instruments.
Manchu opera: Manchu opera type. Also known as "Octagonal Drum Opera". It was developed from the Manchu folk art octagonal drum. The Manchu ancestors gathered around the campfire during their free time while riding, shooting, fishing and hunting, talking, singing and dancing, and beating the homemade octagonal drums to entertain their emotions, gradually forming an art form that combined speaking, singing and dancing. After the Qing troops entered the Pass, the octagonal drum, dulcimer, pipa, four-stringed instrument, gongs and drums, etc. were combined to absorb various palace tunes, dramas and folk songs and ditties from various places to form a brand of opera. Sing more history and folk tales.
Erxian: Manchu plucked instrument. It is made of wood. The headstock is decorated with a dragon's head. There are two pegs on the left and right. The speaker is rectangular with holes at the bottom. The speaker is covered with hands and the frame is painted with dragon patterns. The palace of the Qing Dynasty used it to perform banquets.
Sanxian: Manchu plucked instrument. Made of sandalwood, with square grooves, the headstock is carved with a large top flower, and the tail end is carved with patterns. The front of the piano rod is the fingerboard, and the tail end of the string guard is covered with animal skin. The left hand holds the piano, and the thumb and index finger of the right hand wear bone nails to pluck the strings, with skills such as playing, picking, dividing, sweeping, smashing, and rubbing. It was used in the Qing court to play banquet music, and among the people it was used to accompany drums, single strings, etc. [Edit this paragraph] Manchu folk songs Manchu folk songs are rich in content. Compared with Han folk songs, they include more songs about fishing, hunting, animal husbandry, the expedition of the Eight Banners soldiers, and missing relatives. The language of its lyrics is popular and lively, and its melody is simple and concise. This feature is even more obvious in Manchu folk songs in rural areas. Singing is inseparable from the daily life of the Manchu people. The lively and emotional singing almost involves the entire life etiquette and customs of the Manchu people, singing their wishes and aspirations. I have listened to "You Yao Car" since I was born, and when I was a little older, I learned to sing "Little Bench" and "Riverside", childhood "Zhao Galaha Song", young people's herding folk songs, youth love songs, wedding songs, and military expeditions. There are songs for war songs, hunting songs, harvest celebrations, annual festivals, blessings and birthdays, triumphal celebrations, joys and sorrows. The music style is colorful, but the tone is bold and bright. Even the music that expresses sad emotions is not Lose its strong and strong inner quality.
Manchu folk songs include lullabies, children's songs, love songs, labor songs, custom songs, folk songs, minor tunes, joyful songs, war songs, narrative songs, etc., in various forms, and their content covers almost all aspects of their national life. The music also has its own characteristics.
Lullaby, also known as "Lullaby". It is the most widely circulated among the Manchu people. Almost every Manchu child grew up in this kind of graceful and steady tune. The "Lullabies" currently circulating are in Manchu and Chinese, and at most they are in both Manchu and Chinese.
Labor songs, when the Manchu ancestors were fishing and hunting, they often blew horns or conches as trumpets and beat gongs and drums with great force. After the hunting, they sang, danced and feasted in the wild. The rhythmic labor chants developed into labor songs with smooth melodies, which accommodated a wide range of life scenes.
Folk songs, the Manchu people use passionate and unrestrained folk songs to express their love for their hometown and labor, some of which are labor songs. Among them, the folk songs that praise the rich and magnificent rivers and mountains are called "Kuaishan Diao", and the Manchu folk song "Bayin Boluo" singing about the harvest belongs to this kind of folk song. The other type is called "climbing tune" that is shouted and sung to each other, and is usually sung during grazing. This kind of folk song often involves you shouting and singing one sentence at a time, commonly known as "sawing" and "carrying".
The lyrics are improvised and often sung when the scene strikes a chord. The rhythm is free and strong, the melody is high and open, and the mood is unrestrained and smooth. Melodies such as "Guoshan Tune" and "Climbing Mountain Tune" have been widely absorbed by octagonal drum, single string and other folk arts.
Manchu folk songs are also very distinctive. For example, the "official blowing" on the way to welcome the bride, the happy song "Lakongqi" sung during the wedding ceremony, the mourning melody and a large number of sacrificial songs in the funeral ceremony are all touching and beautiful. Most Manchu folk songs are in pentatonic scale, with simple structure, smooth melody and sincere emotions.
In the vast rural areas of Northeast China, there are rich and colorful folk songs and children's songs that reflect the labor, sacrifices, games, expeditions and daily life of the Manchu people. Among them are the fishermen's chant "Running to the South China Sea", the folk song "Kaishan Tune", the pastoral songs "Sliding Whip", "Digging Ginseng", "Silkworm Aunt", etc.; those reflecting folk life include "Bayin Boluo", "诱辘冰", "Happy Song", etc.; those reflecting love include "Ilhamuk", "Red Velvet Thread", "Smoke Purse", "December", etc.; game songs include "Catching Galaha" and "Clapping Song"; Those that reflect the content of the expedition include "Song of Expedition" and "Octagonal Drum Dong Dong"; those that reflect women's life are "Dancharami" and "Jujube Tree"; children's songs include "Golden Knife in the Haystack", "The Wind is Coming", etc. . [Edit this paragraph] Etiquette Before the Manchus entered Liao and Shen, they were good at riding and shooting. Children around the age of 7 practice shooting swans with wooden bows and arrows, and women hold whips as well as men. In Manchu clothing, men shave their surrounding hair, tie it in braids and hang it on the back of their heads, wear horseshoe-sleeved robes, slits on both sides, and a girdle around the waist to facilitate riding and shooting. The woman wears a bun on her head, earrings, a large straight cheongsam, and high-soled floral shoes. After entering the customs, Manchu and Han costumes gradually became consistent. There was a time when it was very popular for women everywhere to wear cheongsam. Manchu houses used to have a screen wall in the courtyard and a "Solo pole" for gods. The house generally has two main rooms, with the door opening to the south, a stove in the outer room, and a kang on the north, west and south sides of the inner room.
Manchus attach great importance to etiquette. In the past, when elders were seen performing the "Da Qian" salute, men would bend their right knees and hang their right hands along the knees; women would squat with their hands on their knees. When relatives and friends of the same generation meet, regardless of gender, they hug each other and greet each other as a gift. The Manchu people put the west as the top priority, and no one is allowed to sit casually or pile up debris on the Western Kang indoors. The most important taboos are not to beat or kill dogs, not to eat dog meat, and not to use dog skin products; guests wearing dog skin hats or dog skin sleeves are taboo. It is said that the main reason is that dogs played a helping role in the long-term fishing and hunting life of the Manchu ancestors. People could not bear to eat their meat or use their skins, so this custom gradually formed.
For more than 300 years since the Qing Dynasty, Manchus and Han people have lived together in various places for a long time. The Manchus in the Pass have no differences from the Han in terms of language, clothing, customs, etc.; the Manchu people living in various places outside the Pass are just In remote villages where Manchus live together, some Manchu residents still speak Manchu and maintain some inherent Manchu customs. At the same time, some elements of Manchu customs can also be found in Han customs (including Chinese vocabulary), but Manchu people imitate Han customs more than Han people imitate Manchu customs.
The Manchus are a nation that is both good at learning and creating, and they have contributed to the development of the motherland's culture