涿州非遗知多少

门球狂人

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---刘会军

目录

序言

01、戏剧类 横岐调
02、曲艺类 十不闲
03、传统美术类 蛋雕

门球狂人

                                                                     涿州非遗知多少

河北省保定市涿州市，有着两千三百余年建制史、五千余年文明发展史，是一座历史文化名城。
清乾隆帝多次途径涿州，留有很多题词和诗句，后人整理归纳他的诗句凑了一副对联，可以高度概括涿州的地位。上联是：两千年古郡；下联是：十八省通衢；横批是：天下第一州。短短十五个字的对联，古为今用，悬挂于涿州城头和一些场所，是最好的、也是很贴切的广告。
非物质文化遗产，是近些年才有的。联合国设有相关机构，国家也设有相关部门管理。现今的涿州有着很多项非物质文化遗产项目，本书意在“一网打尽”，把所有通过审批的涿州非物质文化遗产项目登统成册。为实现“让世界认知涿州，让涿州走向世界”的企盼，在每项简介不超过千字的基础上，再有英文翻译，再配图片。全书将十余万字。
这是一项地方文化工作的系统工程，有涿州人去做，是“知涿州、爱涿州、建设美丽新涿州”的具体体现。
有一本留给当代人和后人的作品，能成为了解认识涿州的一种方式，就很好了。
文化自信，首先得有文化。而文化的范畴，很宽泛。如能研读此书，会从一个侧面认知涿州。如能有很多本这样的书籍，是认识中国和世界的一个窗口。
“秀才不出门，便知天下事”，你若走出门，更知天下事。本书，亦是走入涿州，领略涿州文化的一个索引和导航。
如上，为序。
（542字）
刘会军 2024年8月·涿州

门球狂人

    Zhuozhou Intangible Cultural Heritage: How Much Do You Know a history of over 2,300 years and a civilization development history of over 5,000 years in Baoding City,long of the Qing Dynasty passed through Zhuozhou several and poems. His poems were later compiled into a couplet that succinctly captures the status of Zhuozhou. The first line reads: "A city with a history of two years," and the second line reads: "A thoroughfare connecting eighteen provinces." The horizontal inscription reads: "The number one city in the world." This couplet, consisting of only fifteen words, is now prominently displayed on the walls of Zhuozhou and other locations, serving as an excellent and fitting advertisement for the city.

Intangible cultural heritage is a relatively recent concept. The United Nations has relevant agencies, and countries have established departments to manage it. Present-day Zhuozhou boasts numerous intangible cultural heritage projects. This book aims to comprehensively document all approved intangible cultural heritage projects in Zhuozhou. With the aspiration of "letting the world know Zhuozhou and letting Zhuozhou go global," each project will be accompanied by a brief introduction of no more than a thousand words, an English translation, and images. The entire book will span over one hundred thousand words.

This is a systematic cultural project undertaken by the peopleknowing Zhuozhou, loving Zhuozhou, and building a beautiful new Zhuozhou."

A work left for contemporary and future understanding and recognizing Zhuozhou. Cultural confidence begins with having a cultural foundation. The realm of culture is vast. Reading this book will provide a glimpse into Zhuozhou from one perspective understanding China and the world.

As the saying goes, "A scholar who does not leave his home knows all worldly affairs." If you step outside, you will know even more. This book is a guide and index for exploring Zhuozhou and experiencing its culture.

The above serves as the preface.

By Liu Huijun, August 2024 · Zhuozhou

(542 words)

门球狂人

01、横岐调

地方戏曲剧种横岐调，河北省级非物质文化遗产。
横岐调是涿州市南横歧村的一种民间小调，属地方戏曲。相传是明万历年间，由河北省中部大清河以南的刘姓逃荒者，流落至横岐村所授，后以村名命名为横岐调。横歧调诞生于涿州市南横歧村，并且只流传于该村，这在中国的戏剧史是罕见的。
“麻雀虽小，五脏俱全”，尽管横歧调只是流传于一个村落的小剧种，但它同样具备生旦净末丑各个角色；腔调十分丰富，调式多样，曲风独特。在当地，有“九腔十八调”之称。横歧调有悲调、平调、老调、尖调、反调各四种；还有头板、二板、反倒板、快板等调式。总共算来，远超出了“九腔十八调”。
横歧调和其他的剧种相比，原本没有女演员，戏台上都是男扮女装，念白和唱腔都用二音假嗓来代替女声；解放后有了女演员，都用了本功嗓，但也多用二音。现在的横歧剧团，女演员已多于男演员。
现如今，南横歧村百分之九十以上的村民都会唱横歧调。横歧调在南横歧村民的心中已不只是一个简单的剧种，唱戏也不仅是一种娱乐的方式了，已是人们生活中的一部分，它已变成村民生活的一种态度：积极向上、永不服输。
在演唱的题材方面，横歧调以历史剧为多，其中，又以长篇历史剧为重。
它的音乐结构属板腔与曲牌混合体，但以板腔为主，唱腔结构比较简单。唱腔音乐分为“调”与“腔”两大系统。
横岐调管弦乐以四根弦为主，有三弦、二胡、板胡、笙、墨笛，打击乐器有底鼓、钹、璈和大广锣，伴奏曲借用河北梆子的“万年花、愁红娘、工尺上、小开门”等。念白为京白与韵白并用，常杂以方言俚语。
南横歧人对横歧调的沉醉，让我们感受到了当地人对自己文化的一种认同和自豪。

680字
   
The local opera genre Hengqi Diao, a provincial intangible cultural heritage of Hebei Province.

Hengqi Diao is a folk tune from Nan Hengqi Village in Zhuozhou City, belonging to the local opera genre. It is said to have been taught by a Liu family refugee from the south of Daqing River in the central part of Hebei Province during the Wanli period of the Ming Dynasty, who later settled in Hengqi Village and named it Hengqi Diao after the village. Hengqi Diao was born in Nan Hengqi Village of Zhuozhou City and is only passed down in that village, which is rare in Chinese theatrical history.

"Though small, it is complete in all aspects." Despite being a small opera genre passed down in a village, Hengqi Diao also features roles of sheng, dan, jing, mo, and chou; with a rich variety of tunes and unique melodies. Locally, it is known as the "nine tunes and eighteen melodies." Hengqi Diao has four types of sad tunes, flat tunes, old tunes, sharp tunes, and reverse tunes; as well as headboard, second board, reverse upside-down board, fast board tunes. In total, it far exceeds the "nine tunes and eighteen melodies."

Compared to other opera genres, Hengqi Diao originally did not have female performers, with men playing female roles on stage, using falsetto for female voices in dialogue and singing; after liberation, female performers were introduced, using their natural voices but still often using falsetto. Nowadays, there are more female performers than male performers in Hengqi opera troupes.

Today, over ninety percent of the villagers in Nan Hengqi Village can sing Hengqi Diao. Hengqi Diao is no longer just a simple opera genre in the hearts of the villagers, and singing opera is not just a form of entertainment; it has become a part of their lives, embodying a positive and never-give-up attitude.

In terms of performance themes, Hengqi Diao mainly focuses on historical dramas, especially long historical dramas.

Its musical structure is a combination of board tunes and tune plates, with board tunes as the main component and relatively simple vocal structures. The vocal music is divided into "tune" and "tune" systems.

The Hengqi Diao orchestra mainly consists of four-stringed instruments, including sanxian, erhu, banghu, sheng, and modi, with percussion instruments such as bass drum, cymbals, a, and big gong. The accompaniment music borrows from Hebei Bangzi's "Wannianhua, Chouhongniang, Gongchishang, Xiaokaimen," etc. Dialogue is performed in both Beijing dialect and rhyme, often mixed with local slang.

The deep passion of the people of Nan Hengqi for Hengqi Diao allows us to feel their sense of identity and pride in their culture.

门球狂人

02、十不闲

曲艺十不闲，河北省级非物质文化遗产。
十不闲，清代开始流传于河北涿州一带的传统曲艺曲种之一，是一种河北省的传统民间曲艺形式，它常以花会面目出现，主要道具是一个架子，上面拴着锣底鼓、钹等打击乐器，表演时由一人操作，演员手打脚踩，可谓手脚不什闲（一齐忙），故名十不闲，又称什不闲。又另一种说法是最早十不闲架子上拴着十种乐器所以得名十不闲。
《中国戏曲曲艺词典》对十不闲的解释是：清代曲艺种，清康熙时在北京等地流行，原为凤阳花鼓。
涿州“十不闲”已被列入河北省非物质文化遗产名录。涿州“十不闲”与莲花落相结合，演出注重插科打诨，唱词具有浓郁的乡土气息，演出活动一直持续到上世纪60年代，后来逐渐衰落。
河北的十不闲艺人又有清门、浑门之分。浑门指民间的职业演出艺人，他们的架子是单梁式，唱腔讲究韵味，声情并茂，表演时常有插科打诨之处；清门指旗人子弟的自娱演出，他们的架子是双梁，据说是依照清朝户部的天平形式做的，通常在高门宅第演出，曲词趋于文雅。此外还有一种小架子十不闲乐器，高三尺，艺人常背着走街串巷，撂地演出则放在桌上。十不闲的表演形式比较灵活，有坐唱也有站唱。
涿州三城老艺人郭德先（已故）说：十不闲只有一个架子和竹板进行伴奏，没有丝竹等文场乐器，没有“琴弦”与“弦”字不贴边儿。十不闲的伴奏乐器组成的架子，约一丈高，组装有锣、鼓、铙、钹等乐器，拉架子的人，两手分执锣、鼓槌各一个，架子两边拴着铙钹，用线牵至脚上，演出时手脚配合，用锣、鼓、钹击打出不同音响套数。
（638字）

The traditional folk art form of "Ten Busy" is a provincial-level intangible cultural heritage in Hebei Province. Originating in the Qing Dynasty and spread in the area around Zhuozhou in Hebei, "Ten Busy" is a traditional folk art form in Hebei, often appearing in the form of a flower gathering. The main prop is a frame, on which are tied drums, gongs, and other percussion instruments. During the performance, one person operates the frame, using hands and feet simultaneously, hence the name "Ten Busy." Another explanation for the name is that the original frame of "Ten Busy" was tied with ten different musical instruments.

According to the "Dictionary of Chinese Opera and Folk Art," "Ten Busy" is a traditional opera form from the Qing Dynasty, popular in Beijing and other places, originally known as Fengyang Huagu.

The "Ten Busy" of Zhuozhou has been included in the list of intangible cultural heritage in Hebei Province. The performance of "Ten Busy" in Zhuozhou is combined with Lotus Falling, focusing on humorous jokes and lyrics with a strong rural flavor. The performance tradition lasted until the 1960s, after which it gradually declined.

In Hebei, the artists of Busy" are divided into Qingmen and Hunmen. Hunmen refers to folk professional performers, whose frames are single-beam style, with emphasis on the charm of the singing and vivid emotions, often incorporating humorous elements in the performance. Qingmen refers to the self-entertainment performances of the children of the banner people, whose frames are double-beam, said to be made in the form of the balance of the Qing Dynasty's Ministry of Households, usually performed in high-class mansions, with lyrics tending towards elegance. In addition, there is also a small frame "Ten Busy" instrument, three feet high, often carried by artists to perform in the streets, placed on a table for performances. The performance of "Ten Busy" is quite flexible, with both sitting and standing singing.

Guo Dexian, a veteran artist from the three cities of Zhuozhou (deceased), said: "Ten Busy" only uses one frame and bamboo boards for accompaniment, without the silk and bamboo instruments commonly found in literary performances, and the words "qin" and "string" do not match. The frame of "Ten Busy" is about one zhang high, assembled with gongs, drums, cymbals person operating the frame holds a drumstick in each hand, with cymbals tied to the feet with strings. During the performance, the hands and feet coordinate to produce different sounds by striking the drums, gongs, and cymbals.

门球狂人

03、蛋雕

蛋雕是一种民间手工艺品。河北省省级非物质文化遗产项目——蛋雕（蒲氏蛋雕）代表性传承人蒲德荣。
蛋雕工艺品有多种，一种是用雕刀在表面颜色较深的蛋壳上雕刻出各种人物、山水、花鸟等图案；另一种是选用质地较厚的蛋壳作为材料，以浅浮雕或镂空的手法进行雕刻；还有一种是将上述两种方法结合在一起完成的作品。随着时代的变迁，蛋雕刀也发生了变化。
蛋雕以其独特的制作方式和独具匠心的艺术特点成为非物质文化遗产的标志之一，蒲氏蛋雕传承人——蒲德荣，作为非物质文化遗产的重要承载者、创造者和传递者，对蛋雕文化的传承和发展具有重要作用。蛋雕是如履薄冰的“指尖芭蕾”，是一门“脆弱的艺术”，又是一门“耐心的艺术”，千百个细节精雕细琢成浑圆一体的绝美图案，蕴含着独特的人文魅力，让方寸之间尽显乾坤。
蒲德荣，男，汉族，生于1968年，河北保定涿州人，中国民间文艺家协会会员，河北省民间工艺美术大师，世界蛋艺术家联盟（WEAA）特邀会员，河北省民间文艺家协会会员，河北省工艺美术协会会员，河北省工艺美术学会理事，河北省金融学院艺术教育指导专家，德荣斋蛋雕艺术馆馆长。曾在北京自然博物馆进行了为期一年的个人专项展，在香港举办了个人蛋雕艺术作品巡展。黑龙江省蛋雕艺术专委会顾问兼专家评委。蒲德荣曾多次应邀出国以及港澳台参加展览和艺术交流，荣获各类荣誉称号，经常接受中央电视台、凤凰卫视、台湾中视以及美国、欧洲、韩国等多家新闻媒体的采访和报道。其作品广受社会各界赞誉，先后被中国体育博物馆、北京自然博物馆、中国农业博物馆、中国航海博物馆等多家博物馆收藏，多次荣获各类奖项，社会大众反响热烈，堪称“民间艺术，蛋雕一绝”。

Egg carving is a traditional folk art. Pu Derong, the representative inheritor of the provincial-level intangible cultural heritage project of egg carving (Pu's egg egg carving crafts. One is to use a carving knife to carve various figures, landscapes, flowers, and birds on the surface of the darker-colored eggshell; another is to use thicker eggshells as materials and carve them in a shallow relief or hollow manner; there is also a combination of the two methods to complete the work. With the changing times, the tools for egg carving have also evolved.
Egg carving, with its unique production method and artistic characteristics, has become a symbol of intangible cultural heritage. Pu Derong, the inheritor of Pu's egg carving, plays an important role in the inheritance and development of egg carving culture as a key carrier, creator, and transmitter of intangible cultural heritage. Egg carving is like a delicate "ballet on fingertips," a "fragile art," and a "patient art." Thousands of details meticulously carved into a seamless and beautiful pattern, embodying unique humanistic charm, showcasing the vast universe within inches.
Pu Derong, a Han Chinese male born in 1968 in Zhuozhou, Baoding, Hebei Province, is a member of the Chinese Folk Literature and Art Association, a master of folk art in Hebei Province, a specially invited member of the World Egg Artists Alliance (WEAA), a member of the Hebei Folk Literature and Art Association, a member of the Hebei Arts and Crafts Association, a director of the Hebei Arts and Crafts Society, an art education guidance expert at Hebei Finance College, and the curator of the Derong Studio Egg Carving Art Museum. He has held a one-year personal exhibition at the Beijing Natural Museum and a solo egg carving art exhibition in Hong Kong. He serves as a consultant and expert judge in the Heilongjiang Egg Carving Art Special Committee. Pu Derong has been invited to participate in exhibitions and artistic exchanges abroad, in Hong Kong, Macau, and Taiwan, and has received various honorary titles. He is frequently interviewed and reported by news media such as CCTV, Phoenix TV, Taiwan TV, as well as American, European, and Korean media. His works are widely praised by various sectors of society, collected by museums such as the China Sports Museum, Beijing Natural Museum, China Agricultural Museum, China Maritime Museum, and have won numerous awards. The public's response has been enthusiastic, making him a "master of folk art, a unique figure in egg carving."