札记.涿州非遗100项

门球狂人

                                 札记.涿州非遗100项

涿州，古为督亢膏腴之地，号天下第一州。两千余年文脉积淀，燕赵风骨浸润乡土，孕育出品类丰硕的非物质文化遗产资源 。历经普查梳理，截止目前，域内省、市、县三级非遗项目共计一百项，涵盖传统戏剧、曲艺、民间文学、传统美术、传统技艺、民俗、传统医药、传统体育多个门类，构筑起完整的本土活态文化体系。
横岐调作为河北省级地方小戏，自明代流传至今，板式丰富，乡音醇厚；涿州十不闲融说唱与花会表演，锣鼓一身兼备，俚趣盎然，二者同为河北省首批省级非物质文化遗产 。蒲氏蛋雕以蛋壳为笺，缕刻万象，巧夺天工。刘关张的传说、张飞的传说扎根乡土，把忠义精神代代播传，成为三国文化重要的民间载体。赵家笙、涿州鸟笼、花丝镶嵌等诸般技艺，匠人手作，各擅其妙，尽显民间工匠的智慧巧思。灯市，花会、武术、医药、编织技艺散布城乡，融于百姓岁时日用。
非遗者，活态之文脉，重在人传。诸多项目依托庙会展演、乡间口授世代延续，也曾经受老艺人凋零、旧俗渐淡的传承考验。近些年，本地坚持保护为主，建设传承基地，推动非遗进校园、进社区，开展展演采集归档，老艺人与后辈接续传习，让古老技艺走出乡野，重焕生机 。
一方水土孕育一方风物。涿州非遗，是督亢大地千百年来百姓生活、审美情志、价值追求的集中缩影。既有慷慨燕赵的精神底色，亦有京南乡土的烟火气息。辑录百项遗存，既是对乡土文明的梳理留存，亦望仰观前贤懿迹，启励后学，让本土文脉生生不息。

词条摘录：
涿州地处古督亢腹地，文脉绵长。现有省、市、县三级非物质文化遗产一百项，囊括戏曲曲艺、民间传说、传统技艺、民俗医药等门类，承载燕赵乡土记忆。通过挖掘保护、活态传承，让世代相传的乡土文明赓续不绝。（刘会军）


100 Items of Intangible Cultural Heritage in Zhuozhou

Ancient Zhuozhou lay in the fertile Dukang Basin, known as the No. 1 Preface Under Heaven. Boasting a cultural heritage spanning more than two thousand years and steeped in the spirit of Yan‑Zhao, this land has nurtured a rich array of intangible cultural heritage resources. Following surveys and documentation, Zhuozhou now totals 100 provincial‑, municipal‑ and county‑level ICH items. They cover traditional opera, folk storytelling, folk literature, traditional fine arts, traditional crafts, folk customs, traditional medicine and traditional sports, forming a complete local living cultural system.

Hengqi Tune, a Hebei provincial‑level folk opera passed down since the Ming Dynasty, features diverse rhythmic patterns and authentic local tones. Zhuozhou Shibuxian integrates storytelling and folk‑parade performance, with one artist operating multiple percussion instruments for lively, folksy entertainment. Both are among Hebei’s first batch of provincial‑level intangible cultural heritage items. u‑style Egg‑Shell Carving creates intricate artworks on fragile eggshells with superb craftsmanship. Legends of Liu‑Guan‑Zhang and Legends of Zhang Fei are deeply rooted among local communities, passing down the spirit of loyalty and righteousness as vital folk carriers of Three‑Kingdom culture. Other craftsmanship traditions such as Zhao‑family Sheng reed‑pipe making, Zhuozhou bird‑cage craftsmanship and filigree‑inlay art display folk artisans’ ingenuity. Lantern festivals, folk parades, martial‑arts practices, traditional medicine and weaving techniques permeate towns and villages, woven into ordinary people’s seasonal life.

Intangible cultural heritage represents living cultural lineage sustained by human transmission. Many traditions have been handed down through temple‑fair performances and oral storytelling, yet they have faced challenges from the passing‑away of senior artists and fading old customs. In recent years, local authorities have prioritized conservation by building inheritance bases, bringing ICH into schools and communities, organizing exhibitions and archiving materials. Veteran artisans and young successors carry on traditions, reviving these ancient arts beyond rural settings.

Each land shapes its own customs. Zhuozhou’s intangible cultural heritage encapsulates local people’s lifestyles, aesthetic pursuits and values forged over centuries on the Dukang Plain. It embodies the heroic ethos of Yan‑Zhao together with the earthly charm of southern‑Beijing rural life. Compiling these one‑hundred relics preserves local civilization. We hope to honor the virtues of past role‑models, inspire later generations, and ensure continuous vitality for native cultural roots.

Excerpt
Located in the ancient heartland of Dukang, Zhuozhou enjoys a long‑standing civilization. It hosts 100 provincial‑, municipal‑ and county‑level intangible cultural heritage items, including operas, folk tales, traditional crafts, folk customs and medicine, preserving the collective memory of Yan‑Zhao countryside. Through research, protection and living inheritance, time‑honored local civilization will endure.
(Liu Huijun)
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目录
涿州市100项非物质文化遗产

一、省级非遗（三项）
1. 横岐调（孙庄乡）
2. 涿州十不闲（东城坊镇）
3. 蛋雕（桃园街道）

二、保定市级非遗（二十九项）
4. 通会灯市（双塔街道）
5. 赵家笙制作技艺（豆庄镇）
6. 锦灰堆绘画（桃园街道）
7. 刘关张传说（双塔街道）
8. 上庄村音乐会（高官庄镇）
9. 玉雕（张氏玉雕）（孙庄乡）
10.指掌画（刘氏指掌画）（码头镇）

11. 烧饼制作技艺（干酥烧饼）（双塔街道）
12. 涿州鸟笼制作技艺（义和庄镇）
13. 诗赋弦（义和庄镇）
14. 武术（观仙营少林会）（百尺竿镇）
15. 大漆髹饰技艺（义和庄镇）
16. 锔瓷技艺（清凉寺街道）
17. 花丝镶嵌品制作技艺（林屯镇和义和庄镇）
18. 张村李氏正骨技艺（码头镇）
19. 华庄村吵子会（义和庄镇）
20. （竹马）南胡宁村竹马会（孙庄乡）

21. 霸王鞭舞（三城村霸王鞭舞）（东城坊镇）
22. 胡氏养蜂制蜜技艺（孙庄乡）
23. 烙画（高氏葫芦熔画）（清凉寺街道）
24. 时氏正骨术（涿州市）（清凉寺街道）
25. 武术（望海庄少林会）（刁窝镇）
26. 金石博古画（双塔街道）
27. 书法（郝氏龙凤花鸟字）（松林店镇）
28. 锡雕（清凉寺街道）
29. 绳结编织技艺（手工绳结编织技艺）（桃园街道）
30. 古琴斫制技艺（清凉寺街道）

31. 张氏谱牒编纂技艺（东仙坡镇）
32. 张氏中医指针疗法（松林店镇）

三、涿州市级非遗（六十八项）
33、创意剪纸（桃园街道）
34. 沙板鸡（桃园街道）
35. 涿州贡米（百尺竿镇）
36. 西茨村香肠（刁窝镇）
37. 上庄忠义战鼓（高官庄镇）
38. 大商剪纸（孙庄乡）
39. 风雨竹酒酿制工艺（东仙坡镇）
40. 泗各庄高跷盛会（百尺竿镇）

41. 刁窝子弟高跷会（刁窝镇）
42. 卢全香茗花茶技艺（清凉寺街道）
43. 张飞的传说（桃园街道）
44. 九嶷（管派）古琴演奏（清凉寺街道）
45. 传统杨氏太极拳（双塔街道）
46. 绳镖（双塔街道）
47. 张飞家酒酿造技艺（清凉寺街道）
48. 捏面人（码头镇）
49. 吹糖人（码头镇）
50. 楼桑春社（松林店镇）

51. 三城村八大扇（吵子会）（东城坊镇）
52. 长安城村文吵圣会（义和庄镇）
53. 长安城村秧歌会（义和庄镇）
54. 西茨村登云圣会（刁窝镇）
55. 陶营村高跷会（义和庄镇）
56. 南荒村子弟高跷会（义和庄镇）
57. 上庄村旱船会（高官庄镇）
58. 东韦坨村河北梆子（义和庄镇）
59. 义和庄村河北梆子（义和庄镇）
60. 袁派评书（林屯镇）

61. 形意拳（李文豹支）（清凉寺街道）
62. 形意拳（孙禄堂支）（双塔街道）
63. 祁家通臂拳（桃园街道）
64. 摔跤（双塔街道）
65. 戳脚（桃园街道）
66. 国家务戳脚翻子拳（林屯镇）
67. 三皇炮捶拳（码头镇）
68. 石家白猿通背拳（双塔街道）
69. 杨氏老六路内功太极拳（双塔街道）
70. 内画鼻烟壶（码头镇）

71. 砖雕（东仙坡镇）
72. 家堂祖谱画（京南经济开发区）
73. 动物标本制作技艺（双塔街道）
74. 卤煮火烧制作技艺（京南经济开发区）
75. 银器锻制技艺（双塔街道）
76. 房树村豆腐技艺（松林店镇）
77. 面茶制作技艺（双塔街道）
78. 古建油漆彩画技艺（东仙坡镇）
79. 传统银花纸制作技艺（豆庄镇）
80. 大庄村豆腐丝制作技艺（豆庄镇）

81. 西后村传统木工技艺（桃园街道）
82. 孙记焖子制作技艺（义和庄镇）
83. 传统盘扣制作技艺（清凉寺街道）
84. 涿绣（义和庄镇）
85. 传统中医筋脉针刺诊治（清凉寺街道）
86. 王字街按跷导引术（双塔街道）
87. 上庄村民俗仪式（高官庄镇）
88. 望海庄村放河灯（刁窝镇）
89. 刘凤春八卦掌（码头镇）
90. 涿州彩拓（清凉寺街道）

91.义和庄村玉雕.（刘氏）（义和庄镇）
92. 涿州桃园剪纸（刘氏）（桃园街道）
93. 烧饼制作技艺（油酥烧饼）（桃园街道）
94. 烧饼制作技艺（麻酱烧饼）（刁窝镇）
95. 南任村绿豆饹渣技艺（义和庄镇）
96. 传统手工书画装裱技艺（桃园街道）
97. 府酿香白酒酿造技艺（东仙坡镇）
98. “七碗茶”冲泡技艺（刁窝镇）
99. 吴氏飞针疗法（双塔街道）
100. 传统中药炮制“炙、熬”技艺（清凉寺街道）

门球狂人

001、涿州非遗｜横岐调

（河北省级非物质文化遗产，属地：孙庄乡）

横岐调，是诞生于涿州孙庄乡横岐村落的独有地方剧种 。相传明万历年间，刘氏流民逃荒至此，授唱乡曲，落地生根，因地得名横岐调，属弦索罗罗腔一脉，与高碑店上四调同出一源，流布涿州、涞水、定兴及京西房山一带 。
此剧为板腔、曲牌相融的民间小戏，分“调”“腔”两大声腔体系，有老调、平调、悲调、八腔等板式，唱腔质朴舒展，念白兼用京白、韵白，又融入冀中乡土俚语，乡韵浓郁。伴奏以四胡为主，辅以笙、笛、月琴，曲调抑扬悲欢皆可演绎。传统剧目丰厚，《小姑贤》《秦香莲》《摘星楼》《西岐》等古本传唱不绝；后世又创编《小二黑结婚》《杜鹃山》等现代剧目，新旧兼备，大小剧目两百余出。
2006年列入河北省第一批省级非物质文化遗产名录，保护单位为涿州市孙庄乡综合文化站。旧时逢年节庙会，村中戏班登台献艺，是乡闾重要文娱活动。岁月推移，老艺者日渐凋零，传承一度陷入困境。而今地方开展戏曲进校园，横岐小学设立传承基地，组建乡间戏班，老中青接续传习，让古老乡曲重续弦歌 。
横岐调，扎根督亢乡土，承载冀中乡村的审美与记忆，是燕赵民间戏曲珍贵的活态遗存。古调悠悠，于乡野之间，声声诉说故土人情。

词条摘录：
横岐调（孙庄乡），传统戏剧，河北省级非遗。2006年列入河北省第一批省级非物质文化遗产名录，保护单位为涿州市孙庄乡综合文化站。源自明代，属弦索罗罗腔，板式丰富，俚韵醇厚，是京南冀中极具代表性的民间地方小戏。

001. Zhuozhou Intangible Cultural Heritage｜Hengqi Tune

(Hebei Provincial‑level Intangible Cultural Heritage, Location: Sunzhuang Township)

Hengqi Tune is a unique local opera originating from Hengqi Village, Sunzhuang Township, Zhuozhou. According to legend, during the Wanli reign of the Ming Dynasty, a displaced family named Liu settled here and introduced folk melodies. The opera took root in the village and was named after its birthplace. Derived from the Xiansuo‑Luoluoqiang vocal tradition, it shares the same origin as Shangsi Tune of Gaobeidian. Its performing reach covers Zhuozhou, Laishui, Dingxing and Fangshan in western Beijing.

It is a folk opera that combines metrical modes and fixed tune patterns, consisting of two major vocal systems: Diao and Qiang. Its rhythmic forms include Laodiao, Pingdiao, Beidiao and Baqiang. The vocal music is simple and unconstrained. Spoken lines adopt both Beijing vernacular and rhymed speech, blended with local colloquialisms of central Hebei, delivering strong rural charm. The main accompanying instrument is the sihu four‑string fiddle, supported by sheng flute and yueqin moon‑lute. Its melodies are capable of expressing joy, sorrow and all kinds of human emotions.

A wealth of traditional repertoires have been passed down, including The Virtuous Sister‑in‑law, Qin Xianglian, The Star&#8209icking Tower and Western Qi. Modern pieces such as Xiao Erhei’s Marriage and Azalea Mountain were created in later periods. In total, more than 200 plays of varying lengths survive.

Hengqi Tune was inscribed on the First Batch of Hebei Provincial‑level Intangible Cultural Heritage List in 2006. The protecting institution is the Comprehensive Cultural Station of Sunzhuang Township, Zhuozhou. In old times, village opera troupes performed at temple fairs for major festivals, serving as key recreational events for local residents. As senior artists passed away over time, the art faced severe inheritance challenges. Today, local opera outreach programs are carried out in schools. A heritage base has been set up at Hengqi Primary School, and village opera groups have been formed. Artists of old, middle and young generations carry forward the art, reviving this ancient folk melody.

Rooted in the native land of Dukang, Hengqi Tune preserves the aesthetic tastes and collective memories of villages in central Hebei. It constitutes a precious living legacy of Yan‑Zhao folk opera. The time‑honored tunes echo across the countryside, narrating local customs and human affections from days gone by.

Catalogue Excerpt
Hengqi Tune (Sunzhuang Township), Traditional Opera, Hebei Provincial‑level ICH. Inscribed on the First Batch of Hebei Provincial‑level Intangible Cultural Heritage List in 2006. Protecting institution: Comprehensive Cultural Station of Sunzhuang Township, Zhuozhou. Dating back to the Ming Dynasty and belonging to the Xiansuo‑Luoluoqiang tradition, it boasts diverse rhythmic patterns and rich folk flavour. It stands as a highly representative local folk opera in southern Beijing and central Hebei.

门球狂人

002、涿州非遗｜十不闲

（河北省级非物质文化遗产，属地：东城坊镇）

涿州十不闲，源起明末清初，脱胎于凤阳花鼓，流传京南冀中，清代盛极一时，多随民间花会走会展演，是独具巧思的民间说唱曲艺。其名取自表演形态：特制木架之上悬锣、鼓、钹、镲诸般响器，表演者手打脚踩，手脚并用以绳索牵动乐器，一身兼顾演奏，终日不得闲暇，故称“十不闲”，亦写作什不闲 。
流传至涿州，与莲花落深度融合，演化为戏曲型十不闲。唱腔质朴通俗，唱词多采乡土俚语，诙谐活泼，表演穿插插科打诨，烟火气息浓郁。伴奏以打击木架为核心，遵循“唱不打家伙，打家伙不唱”的演出规制，不设繁复丝竹文场。传统剧目丰厚，《小姑贤》《王小赶脚》《摘棉花》《十女夸夫》代代传唱，既有家长里短的民间趣事，亦有劝善教化的世俗故事。
2006年列入河北省第一批省级非物质文化遗产名录，保护单位为涿州市东城坊镇综合文化站 。旧时年节庙会，花会巡游，十不闲登台，十里乡邻争相围观。上世纪六十年代之后，老艺人凋零，技艺一度沉寂。后经抢救挖掘，恢复民间演出队伍，老中青接续传习，重返庙会、乡村舞台，演绎旧篇，亦创编贴合时代的新曲目，让古老说唱重焕生机。
一付响架，锣鼓铿锵；一曲俚歌，叙尽乡情。十不闲承载京南百姓的喜乐悲欢，是燕赵大地上难得的说唱活态遗存。

词条摘录：
涿州十不闲（东城坊镇），曲艺，河北省级非遗。2006年列入河北省第一批省级非物质文化遗产名录，保护单位涿州市东城坊镇综合文化站。源自凤阳花鼓，手脚联动打击木架伴奏，融合莲花落，唱词诙谐通俗，是京南极具特色的民间说唱花会艺术。

002. Zhuozhou Intangible Cultural Heritage｜Shibuxian

(Hebei Provincial‑level Intangible Cultural Heritage, Location: Dongchengfang Town)

Zhuozhou Shibuxian originated in the late Ming and early Qing dynasties, evolving from Fengyang Flower‑Drum. It spread across southern Beijing and central Hebei and reached its golden age in the Qing Dynasty. Mostly performed alongside folk parade festivities, it is an ingenious folk storytelling‑and‑singing art form. Its name derives from its performance setup: gongs, drums, cymbals and other percussion instruments are hung on a specially‑built wooden frame. The performer manipulates these instruments with hands and feet via ropes, playing all of them single‑handedly with hardly a moment to rest — hence the name Shibuxian, which may also be transcribed as Shibuxian in alternative Chinese characters.

When introduced to Zhuozhou, it merged deeply with Lianhualuo (Lotus Ballad) and developed into an operatic variant of Shibuxian. Its vocal style is plain and accessible, with lyrics drawn largely from local colloquial speech, humorous and lively. Comic ad‑libs are woven into performances, brimming with down‑to‑earth vitality. Centered on the percussion wooden frame, it follows the performance rule: “do not play percussion while singing; do not sing while playing percussion”, without elaborate string‑and‑wind accompaniment. It boasts a rich repository of traditional repertoires, including The Virtuous Sister‑in‑law, Wang Xiao Drives the Donkey, Picking Cotton and Ten Wives Praise Their Husbands. These works depict amusing daily folk episodes and deliver moral‑edifying worldly tales, passed down from generation to generation.

Shibuxian was inscribed on the First Batch of Hebei Provincial‑level Intangible Cultural Heritage List in 2006. The protecting institution is the Comprehensive Cultural Station of Dongchengfang Town, Zhuozhou. In old days, Shibuxian shows drew crowds of villagers during festival temple fairs and folk parades. After the 1960s, many veteran artists passed away and the art fell into obscurity. Later, through rescue‑type investigation and preservation, folk performing troupes were revived. Artists of older, middle‑aged and younger generations carry on the tradition. Shibuxian has returned to temple‑fair and rural stages, performing classic pieces as well as newly‑composed contemporary works, breathing new life into this ancient storytelling art.

One percussion frame resounds with vigorous drum‑and‑gong beats; one folk ballad narrates deep local sentiments. Shibuxian embodies the joys and sorrows of people in southern Beijing and stands as a rare living legacy of storytelling‑singing art on the land of Yan‑Zhao.

Catalogue Excerpt
Zhuozhou Shibuxian (Dongchengfang Town), Quyi (Folk Story‑Singing), Hebei Provincial‑level ICH. Inscribed on the First Batch of Hebei Provincial‑level Intangible Cultural Heritage List in 2006. Protecting institution: Comprehensive Cultural Station of Dongchengfang Town, Zhuozhou. Derived from Fengyang Flower‑Drum, it features hand‑and‑foot coordinated percussion on a wooden frame, integrated with Lianhualuo. With witty, plain lyrics, it is a highly distinctive folk singing‑parade art in southern Beijing.

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003、涿州非遗｜蛋雕

（河北省级非物质文化遗产，传统美术类）

督亢故土，匠艺纷呈。蒲氏蛋雕，是涿州独具特色的民间手工技艺，源起古代彩蛋习俗，历经百年家学传承，于薄脆蛋壳之上雕琢万象，刀尖运毫，化寻常禽卵为雅器。

蛋雕脱胎于旧时婚寿吉庆的彩蛋彩绘，明清由彩绘逐步演进为刻雕工艺。蒲氏蛋雕择鸡蛋、鹅蛋、鸸鹋蛋、鸵鸟蛋为材，蛋壳壁厚不过零点几毫米，质地脆薄，运刀分毫之间不容差池。技法集阴刻、阳刻、浮雕、透雕、影刻、套雕、拼雕于一体，作品大多不施染料，依托蛋壳本身肌理色泽呈现画面，讲究色、险、透、韵的艺术旨趣。题材广博，既有《风雨竹》《忠义千秋》《涿州八景》等扎根本土三国与督亢风物之作，亦有山水花鸟、瑞兽人物等传统主题，方寸蛋壳，容纳大千意境 。

2016年列入涿州市级非物质文化遗产；2019年列入河北省第七批省级非物质文化遗产名录，代表性传承人蒲德荣，为河北省民间工艺美术大师，创办德荣斋蛋雕艺术馆，常年开展展览、研学交流，作品多次赴海内外参展，被多家博物馆收藏 。

蛋壳易碎，技艺难成。一件繁复作品，往往历经反复起稿、雕琢，失败率颇高。为破解传承困境，依托非遗体验基地，开展蛋雕进校园、研学体验活动，拓展传习路径，家族后辈与爱好者接续学习，让刀尖上的技艺得以延续。

一壳藏天地，寸刀见匠心。蒲氏蛋雕，是督亢大地上巧思凝结的民间美术瑰宝，以脆弱载体承载厚重乡土文脉，尽显燕赵民间工匠的非凡智慧。


词条摘录：
蒲氏蛋雕，传统美术，河北省级非遗。2019年列入河北省第七批省级非物质文化遗产名录。以各类禽蛋壳为载体，融汇透雕、浮雕、套雕等多种手工技法，多不取颜料，借蛋壳本色呈现画面，题材兼顾本土历史风物与传统吉祥纹样，代表性传承人蒲德荣。


003. Zhuozhou Intangible Cultural Heritage｜ Eggshell Carving

(Hebei Provincial‑level Intangible Cultural Heritage, Traditional Fine Arts Category)

The ancient Dukang land boasts a wealth of folk craftsmanship.&#8239u‑style Eggshell Carving is a distinctive folk handcraft of Zhuozhou. Evolving from ancient painted‑egg customs and passed down within one family for over a century, it carves myriad scenes onto thin, fragile eggshells. With deft knife work, ordinary bird eggs are transformed into elegant art objects.

Eggshell carving grew out of festive painted‑egg decorations for weddings and birthdays. From the Ming to Qing dynasties, painted‑egg art gradually developed into carving craftsmanship. Pu‑style Eggshell Carving uses chicken, goose, emu and ostrich eggs as raw materials. The eggshell wall is merely a fraction of a millimetre thick and extremely brittle, so every cut demands extreme precision. Its techniques include intaglio, relief carving, open‑work carving, shadow carving, nested carving and assembled carving. Most works use no pigment, relying on the natural texture and tone of the shell to form images. It pursues artistic appeal embodied in colour, fragility, transparency and poetic charm. Subjects are wide‑ranging: local‑themed pieces such as Wind‑and‑Rain Bamboo, Eternal Loyalty and Righteousness and Eight Scenic Spots of Zhuozhou, rooted in Three‑Kingdom stories and Dukang local culture, together with landscapes, flowers‑and‑birds, auspicious beasts and human figures. A tiny eggshell holds boundless artistic conception.

It was inscribed on the Zhuozhou Municipal‑level Intangible Cultural Heritage List in 2016, and on the Seventh Batch of Hebei Provincial‑level Intangible Cultural Heritage List in 2019. The representative inheritor Pu Derong is a Master of Hebei Folk Arts and Crafts. He founded the Derongzhai Eggshell‑Carving Art Museum, which hosts regular exhibitions and study‑exchange activities. His works have been displayed at home and abroad and collected by multiple museums.

Eggshells break easily, and the craft is notoriously difficult. An elaborate piece requires repeated sketching and carving with a high failure rate. To tackle inheritance challenges, ICH experience bases carry out campus‑education programmes and study‑tour activities, broadening access to the craft. Family descendants and enthusiasts keep learning, sustaining this knife‑driven art.

Heaven and earth dwell within one shell; every tiny cut reveals craftsmen’s devotion. Pu‑style Eggshell Carving stands as an ingenious folk‑art treasure of the Dukang land. Carrying profound local cultural heritage on fragile carriers, it fully demonstrates the extraordinary wisdom of Yan‑Zhao folk artisans.

Catalogue Excerpt
Pu‑style Eggshell Carving, Traditional Fine Arts, Hebei Provincial‑level ICH. Inscribed on the Seventh Batch of Hebei Provincial‑level Intangible Cultural Heritage List in 2019. Using various bird‑egg shells as carriers, it integrates open‑work carving, relief carving, nested carving and other hand‑craft techniques. Mostly free of pigment, it presents images via the shell’s natural hue. Its subjects cover local historical scenery as well as traditional auspicious patterns. Representative inheritor: Pu Derong.

门球狂人

004、涿州非遗｜通会灯市

（保定市级非物质文化遗产，民俗类）

通会灯市，位列古“涿州八景”之一，因古城通会楼（鼓楼）得名，是京南传承千年的元宵民俗盛会 。灯俗溯源可上溯汉代，兴于盛唐，明清走向鼎盛，旧时素有“南有扬州，北有涿州”的说法，清末民初已是北方极具影响力的民间灯会 。

古时每至正月十五元宵之夜，自通会楼向南直至南门，沿街布设七十二座灯牌楼、七处灯棚。全城街巷张灯结彩，万家灯火彻夜不熄。舞龙、耍狮、踩高跷、民间花会轮番上演，锣鼓喧天，管弦盈耳。登通会楼远眺，满城灯火与双塔光影交相辉映，火树银花，观者如潮，是古城百姓新春祈福、游乐欢聚的盛大民俗场景 。“春风初到月初圆，不夜城中沸管弦，万盏灯光双塔影，一时辉映鼓楼前”，正是古时灯市的生动写照 。

岁月更迭，老城通会楼早已湮没，而闹灯的民俗记忆代代留存。通会灯市列入保定市级非物质文化遗产，保护单位为涿州市文化馆。传统灯会曾一度中断，后世挖掘复原这一千年民俗，依托永济公园复现灯市盛景。将本土历史典故、三国忠义文化、督亢风物融入灯组，同时搭配打铁花、杂技、传统花会展演，融合美食市集与文创展销，古老民俗对接当代文旅，让消失多年的灯火重新点亮古城夜空 。

一城灯火，万般乡愁。通会灯市，承载着冀中百姓祈福纳祥、阖家团圆的美好祈愿，镌刻涿州世代民众的年节记忆，是燕赵大地珍贵的岁时民俗遗存。


词条摘录：
通会灯市，民俗，保定市级非遗。古涿州八景之一，源自汉代，盛于明清，因古城通会楼得名，为北方知名元宵灯会。旧时上元佳节满城张灯，花会巡游，万家观灯。历经挖掘复原，以灯组、民俗展演形式重现千年灯俗，承载古城年节乡愁记忆。

004、Zhuozhou Intangible Cultural Heritage｜Tonghui Lantern Fair

(Baoding Municipal‑level Intangible Cultural Heritage, Folk Custom Category)

Ranked among the ancient “Eight Scenic Spots of Zhuozhou”, the Tonghui Lantern Fair derives its name from Tonghui Tower (Drum Tower) in the old city. It is a thousand‑year‑old folk festival for the Lantern Festival in southern Beijing. The lantern custom can be traced back to the Han Dynasty, flourished in the Tang Dynasty, and reached its heyday in the Ming and Qing dynasties. An old saying goes, “In the south there is Yangzhou; in the north there is Zhuozhou”. By the late Qing and early Republican period, it had become an influential folk lantern gathering in northern China.

In ancient times, on the night of the 15th day of the first lunar month, seventy‑two lantern archways and seven lantern sheds were arranged along the street stretching southward from Tonghui Tower to the South City Gate. Lanterns decorated streets and alleys across the city, with countless lights burning all night long. Dragon dances, lion dances, stilt‑walking and folk recreational parades were staged one after another, accompanied by resounding gongs‑and‑drums and melodic wind‑and‑string music. Standing atop Tonghui Tower, visitors could overlook the dazzling sea of city lights interwoven with silhouettes of the Twin Pagodas. Spectators thronged the scene, forming a grand folk occasion for local people to pray for blessings and celebrate the Lunar New Year.
The ancient verse gives a vivid depiction of the fair:
Spring breezes arrive, the moon hangs full on high;
Music echoes through the sleepless town.
Ten thousand lanterns glow beside Twin Pagodas,
Radiance shimmers before the Drum Tower all around.

As time passed, the original Tonghui Tower of the old city has long vanished, yet the folk memory of lantern celebrations has been passed down through generations. Tonghui Lantern Fair is inscribed on the Baoding Municipal‑level Intangible Cultural Heritage List, with Zhuozhou Cultural Center as its protecting institution. The traditional lantern fair was once interrupted. Later, this millennia‑old folk custom was researched and restored. Grand lantern‑fair scenes are re‑created at Yongji Park. Lantern installations incorporate local historical tales, the loyalty‑and‑righteousness culture of the Three‑Kingdom period, and cultural elements of ancient Dukang Land. Performances such as iron‑flower firework shows, acrobatics and folk parades are presented, together with food stalls and cultural‑and‑creative product markets. The age‑old folk custom connects with modern cultural tourism, bringing long‑lost lantern brilliance back to the ancient city’s night sky.

One city lit by lanterns carries countless homesick sentiments. Bearing local people’s wishes for blessings, good fortune and family reunion, Tonghui Lantern Fair engraves the festival memories of generations of Zhuozhou residents. It is a precious seasonal folk heritage of the Yan‑Zhao region.

Catalogue Excerpt
Tonghui Lantern Fair, Folk Custom, Baoding Municipal‑level ICH. One of the ancient Eight Scenic Spots of Zhuozhou. Originating in the Han Dynasty and thriving in the Ming‑Qing period, it takes its name from the ancient Tonghui Tower and stands as a well‑known northern Lantern‑Festival fair. In old times, the whole city was adorned with lanterns for the Shangyuan Festival, with folk parades and crowds of viewers. After research and restoration, the millennia‑old lantern tradition is revived through lantern installations and folk performances, preserving the ancient city’s festival nostalgia.

门球狂人

005、涿州非遗｜赵家笙制作技艺

（保定市级非物质文化遗产，传统技艺类，属地：豆庄镇南寺村）

笙，为华夏古老簧管吹奏乐器，距今已有数千年历史。赵家笙制作技艺，扎根督亢故地涿州豆庄镇南寺村，历经赵氏家族数代薪火相传，是北方极具代表性的民族乐器手工技艺。

技艺源流可追溯至清末，先祖赵东笙师从清圣寺乐班习得制笙、修笙手艺，开启家族传承。其子赵伯纯深耕民族乐器改革，曾供职北京民族乐器厂，钻研键笙改良；退休归乡，将全套制笙技艺悉数传授后人。第三代传承人赵宏亮接续家学，守古法而求新变，完整承袭选料、制簧、校音、装配等数十道繁复工序，一把成品笙，全凭手工打磨调校，簧片厚薄、管苗长短、笙斗开合，分毫皆需考究，讲究材、工、音三者合一。

在坚守传统形制同时，赵家笙大胆革新：将传统死斗笙改为活斗笙；拓展簧管规格，在三十六簧基础之上研发三十八簧、四十二簧系列，补齐中音、低音、倍低音笙品类，丰富民族管乐音域。还融合蛋雕、大漆、花丝镶嵌等本土非遗工艺，赋予乐器文创审美价值。赵家笙音质清越通透，被国内众多专业乐团选用，产品远销海内外，部分精品曾作为国礼馈赠国际友人，还建成国内首家笙主题乐器博物馆，普及笙乐文化 。

2011年，赵家笙制作技艺列入保定市级非物质文化遗产名录，保护单位为涿州市文化馆。传承工坊坚持传习授课，开展研学、乐器公益普及，老匠人带徒授艺，让古老制笙手艺代代延续。

一管笙箫，承载匠人心血；声声雅乐，接续千年国风。赵家笙制作技艺，是督亢大地民间工匠智慧的结晶，见证北方民族乐器手工技艺的传承与创新。


词条摘录：
赵家笙制作技艺（豆庄镇南寺村），传统技艺，保定市级非遗。2011年列入保定市级非物质文化遗产名录。始于清末赵氏家族世代家传，完整掌握制簧、配管、校音全套手工工序；既恪守古法，又改良革新笙的形制音域，产品服务国内专业乐团并远销海外，建有笙主题博物馆，为北方重要民族乐器制作技艺。

005、Zhuozhou Intangible Cultural Heritage｜Zhao‑family Sheng‑making Craftsmanship

(Baoding Municipal‑level Intangible Cultural Heritage, Traditional Craft Category, Location: Nansi Village, Douzhuang Town)

The sheng is an ancient Chinese free‑reed wind instrument with a history spanning several thousand years. Rooted in Nansi Village, Douzhuang Town of Zhuozhou within the ancient Dukang land, Zhao‑family sheng‑making craftsmanship has been passed down through multiple generations of the Zhao clan. It stands as a highly representative hand‑craft skill for ethnic musical instruments in northern China.

The craft traces back to the late Qing Dynasty. Ancestor Zhao Dongsheng learned sheng‑making and sheng‑repair techniques from the music troupe of Qingsheng Temple, initiating the family inheritance. His son Zhao Bochun devoted himself to the innovation of ethnic musical instruments. He once worked at the Beijing National Musical Instrument Factory, conducting research on key‑sheng improvement. After retiring to his hometown, he passed on the complete set of sheng‑making skills to descendants. The third‑generation inheritor Zhao Hongliang carried forward the family heritage, preserving ancient techniques while pursuing innovations. He masters dozens of elaborate procedures including material selection, reed‑making, pitch tuning and assembly. A finished sheng is entirely hand‑polished and calibrated. Every detail — reed thickness, pipe length and the fit of the sheng wind‑chest — demands precise workmanship, pursuing the perfect integration of material, craft and sound.

While maintaining traditional structures, the Zhao family boldly introduced innovations: transforming fixed‑chamber sheng into movable‑chamber sheng; expanding reed‑pipe specifications, developing 38‑reed and 42‑reed models based on the 36‑reed sheng, supplementing alto, bass and contrabass sheng types to enrich the tonal range of Chinese wind music. Local intangible‑heritage arts such as egg‑shell carving, lacquerware and filigree‑inlay are also integrated into instruments, endowing them with cultural‑and‑creative aesthetic value. Zhao‑family sheng delivers clear, resonant timbre, adopted by numerous professional Chinese orchestras. Its products sell well at home and abroad. Selected fine pieces have been presented as state gifts to foreign guests. China’s first sheng‑themed musical‑instrument museum has also been built to popularize sheng music culture.

In 2011, Zhao‑family sheng‑making craftsmanship was inscribed on the Baoding Municipal‑level Intangible Cultural Heritage List. The protecting institution is Zhuozhou Cultural Center. The inheritance workshop offers regular training sessions, study‑tour programs and public‑welfare music popularization activities. Senior artisans take apprentices, keeping the ancient sheng‑making craft alive for generations.

Each sheng carries craftsmen’s painstaking efforts; its elegant melodies perpetuate millennia‑old Chinese musical traditions. Zhao‑family sheng‑making craftsmanship embodies folk artisans’ wisdom from the Dukang land, witnessing the inheritance and innovation of northern Chinese ethnic‑instrument handcrafts.

Catalogue Excerpt
Zhao‑family Sheng‑making Craftsmanship (Nansi Village, Douzhuang Town), Traditional Craft, Baoding Municipal‑level ICH. Inscribed on the Baoding Municipal‑level Intangible Cultural Heritage List in 2011. A family‑handed craft originating from the late Qing Dynasty. It covers the full manual workflow of reed fabrication, pipe matching and pitch tuning. Upholding ancient techniques while innovating instrument structures and tonal ranges, its products serve domestic professional orchestras and are exported worldwide. A sheng‑themed museum has been established. It constitutes a vital northern craft for producing Chinese ethnic musical instruments.

门球狂人

006、涿州非遗｜锦灰堆绘画

（保定市级非物质文化遗产，传统美术类）

锦灰堆绘画，别名八破图、集珍图，是中国独有的传统绘画门类，相传肇始于元代，兴盛于明清，清末民初达于鼎盛，涿州为北方重要传承地之一。画面摹写残卷断简、碑帖拓片、古币瓦当、旧信残笺，刻意表现撕裂、卷边、烟熏、斑驳的残破形态，于破碎零落之间生发古雅意趣，讲究“以残藏珍，于碎见韵”，并不使用实物粘贴，全凭笔墨手绘堆叠而成，对画师书法、金石、绘画、鉴赏综合素养要求极高。

涿州锦灰堆绘画文脉，自民国时期刘葆筠开启本地传承，传至宋翼青等前辈。当代代表性传承人高金才，少年受宋翼青熏陶，又得王恨庚指点，数十年潜心研习此艺，恪守古法，坚持所有物象皆要有史料实物依据，拒绝凭空臆造，纯以笔墨描摹，不做实物拼贴。题材既摹绘金石碑拓、古书画残片等传统内容，又开拓当代题材，把粮票、契约、老证件等时代物证入画，创作《民生见证集珍图》《历史记忆图》等作品，赋予古老画种新的时代内涵，先后出版多部书画专集，拓展锦灰堆的表达边界。

2013年，锦灰堆绘画列入保定市第四批市级非物质文化遗产名录，保护单位为涿州市文化馆。该画种学习门槛高，历史上传承十分艰难。如今传承人开门收徒，开展讲座、展览、公益普及，传习后继学子，延续这门濒临式微的传统美术。

残笺断楮入丹青，碎物零落见古今。锦灰堆绘画，是督亢大地上珍贵的传统美术遗存，以笔墨留住旧物风华，寄寓国人惜古怀远的文化情怀。


词条摘录：
锦灰堆绘画，传统美术，保定市级非遗，2013年列入保定市第四批市级非物质文化遗产名录。又名八破图，元代发源，以笔墨手绘残卷、碑拓、古笺等残破物象，不使用实物拼贴，追求残缺古朴之美。涿州为北方重要传承地，当代拓展时代题材，是国内小众而珍贵的传统绘画技艺。


006、Zhuozhou Intangible Cultural Heritage｜Jinhuidui Painting

(Baoding Municipal‑level Intangible Cultural Heritage, Traditional Fine Arts Category)

Also known as Eight‑Broken Painting or Treasure‑Collection Painting, Jinhuidui is a unique traditional Chinese painting genre. Said to originate in the Yuan Dynasty, it flourished through the Ming and Qing dynasties and reached its peak around the late‑Qing and early‑Republican era. Zhuozhou stands as one of its major inheritance hubs in northern China.

Works depict fragmentary scrolls, stele rubbings, ancient coins, tile‑end ornaments and tattered old letters. Artists deliberately render torn edges, curled margins, smoke‑stains and weathered patina, deriving elegant antique charm from fragmented motifs. Its aesthetic philosophy lies in “hiding treasures within fragments, discovering grace amid broken pieces”. No real artefacts are pasted onto the painting; every detail is built purely by brush‑and‑ink hand‑painting. It demands comprehensive accomplishment in calligraphy, epigraphy, painting and art connoisseurship.

Local Jinhuidui inheritance in Zhuozhou began with Liu Baojun in the Republican period and was passed down to predecessors such as Song Yiqing. The contemporary representative inheritor Gao Jincai received early influence from Song Yiqing and further guidance from Wang Hengeng. He has devoted decades to this art, faithfully following ancient principles. All depicted motifs are grounded in historical relics rather than imaginary invention. He paints entirely with brush and ink without collage.

His subjects cover traditional themes including epigraphic rubbings and fragments of ancient paintings and calligraphy. He also develops modern motifs, incorporating historical artefacts such as food coupons, contracts and vintage documents. Works such as Treasure‑Collection: Witnesses of People’s Livelihood and Images of Historical Memory endow this ancient genre with contemporary meaning. Several monographs on painting and calligraphy have been published, expanding the expressive scope of Jinhuidui.

In 2013, Jinhuidui Painting was inscribed on the Fourth Batch of Baoding Municipal‑level Intangible Cultural Heritage List. The protecting institution is Zhuozhou Cultural Center. This art form has a steep learning curve and historically faced great inheritance difficulties. Today the inheritor accepts apprentices, delivers lectures, holds exhibitions and runs public‑education programs to cultivate young successors and sustain this fading traditional fine art.

Tattered slips and fragments become brush‑and‑ink art; scattered remnants reveal past and present. Jinhuidui Painting is a precious traditional fine‑art legacy of the ancient Dukang land. It preserves the glamour of bygone objects through painting, embodying Chinese people’s cultural sentiment of cherishing antiquity and remembering the past.

Catalogue Excerpt
Jinhuidui Painting, Traditional Fine Arts, Baoding Municipal‑level ICH. Inscribed on the Fourth Batch of Baoding Municipal‑level Intangible Cultural Heritage List in 2013. Also named Eight‑Broken Painting. Originating in the Yuan Dynasty, it hand‑paints fragmented motifs such as partial scrolls, stele rubbings and old paper slips without physical collage, pursuing the aesthetic of weathered antiquity. Zhuozhou is an important inheritance site in northern China. Contemporary creators expand modern‑themed content for this rare, refined traditional painting skill.

门球狂人

007、涿州非遗｜刘关张的传说

（保定市级非物质文化遗产，民间文学类）

古督亢涿州，为刘备、张飞桑梓故土。刘关张的传说，植根于这片三国文化原发地，千百年来口耳相传，是流传最为广泛的民间文学瑰宝。故事脱胎于汉末真实历史，又经过历代百姓不断演绎加工，与本地楼桑庙、忠义店、三义宫、张飞古井等风物遗迹深度绑定，在乡野口头讲述之中不断丰富情节，区别于正史记载与小说《三国演义》文本，拥有鲜活的乡土叙事底色。

民间传说内容丰富：有桃园结义焚香盟誓、张飞古井试豪杰、刘备楼桑避祸、三兄弟起兵聚义等本土母题。既有英雄豪杰的侠肝义胆，也融入市井烟火的趣味桥段。民间讲述不拘泥史书，把百姓推崇的忠义守信、患难同心的价值寄托于三位人物身上。千百年间，依托庙会说书、乡间讲故事、戏曲传唱，代代播传，深刻塑造国人心中“忠义”精神的民间范式。

相关传说大量留存于涿州本地，楼桑庙村、忠义店村为核心流传地，乡民口传故事版本繁多。2019年，刘关张的传说列入涿州市级非物质文化遗产名录，保护单位为涿州市文化馆，后晋为保定市级。长久以来依靠乡民口头传承，部分老故事随着老一辈讲述者老去面临流失。而今通过民间故事采集整理、进校园宣讲、民俗展演、文史书籍汇编等方式，对口头故事进行归档留存，让乡土版本的三国故事得以保护延续。

一地风物，千古忠义。刘关张的传说，扎根督亢乡土，不只是三国历史的民间回响，更是燕赵大地百姓世代崇尚信义与家国情怀的生动载体。


词条摘录：
刘关张的传说，民间文学，保定市级非遗。2019年列入涿州市级非物质文化遗产名录，后晋为保定市级。流传于涿州楼桑庙、忠义店一带，依托本地古迹风物口头传承。融合历史与民间演绎，以桃园结义等故事为核心，承载民间忠义信义价值观，是三国文化重要的乡土口头遗存。


007. Zhuozhou Intangible Cultural Heritage｜Legends of Liu‑Guan‑Zhang

(Baoding Municipal‑level Intangible Cultural Heritage, Folk Literature Category)

Ancient Zhuozhou in the Dukang land is the hometown of Liu Bei and Zhang Fei. Rooted in this birthplace of Three‑Kingdom culture, the Legends of Liu‑Guan‑Zhang have been passed down orally for thousands of years as one of the most widely‑treasured gems of folk literature. Derived from real‑life figures of the late Han Dynasty, the tales have been continuously adapted and enriched by generations of local people. Closely linked to local relics such as Lousang Temple, Zhongyi Village, Sanyi Palace and Zhang Fei’s Ancient Well, these orally‑narrated stories keep gaining new plot details in rural storytelling. Different from official historical records and the novel Romance of the Three Kingdoms, they bear a vivid down‑to‑earth local‑narrative flavour.

Folk motifs are abundant: the incense‑burning oath of the Peach‑Garden Brotherhood, Zhang Fei testing heroes beside the ancient well, Liu Bei taking refuge at Lousang, and the three brothers raising troops for a common cause. Besides portraying the heroes’ chivalrous loyalty, the legends also incorporate entertaining episodes of ordinary‑life humour. Free from rigid historical constraints, folk storytelling projects people’s admired virtues‑‑loyalty, trustworthiness and unity through hardship‑‑onto the three heroes. For centuries, passed on through temple‑fair story‑telling, rural oral narration and opera performances, these legends have shaped the popular folk paradigm of “loyalty and righteousness” among Chinese people.

Numerous oral variants survive locally, mainly circulated in Lousangmiao Village and Zhongyi Village. In 2019, Legends of Liu‑Guan‑Zhang was inscribed on the Zhuozhou Municipal‑level Intangible Cultural Heritage List, with Zhuozhou Cultural Center as its protecting institution. It was later elevated to Baoding Municipal‑level ICH. Long sustained by folk oral transmission, some old stories risk being lost as elderly narrators pass away. Now efforts including folk‑story collection and archiving, campus lectures, folk‑custom performances and compilation of literary‑historical books preserve these oral narratives and safeguard the local folk versions of Three‑Kingdom tales.

One land nurtures eternal loyalty and righteousness. Rooted in the Dukang countryside, the Legends of Liu‑Guan‑Zhang are more than folk echoes of Three‑Kingdom history. They serve as a vivid cultural carrier embodying Yan‑Zhao people’s age‑old reverence for integrity and devotion to homeland.

Catalogue Excerpt
Legends of Liu‑Guan‑Zhang, Folk Literature, Baoding Municipal‑level ICH. First inscribed on the Zhuozhou Municipal‑level Intangible Cultural Heritage List in 2019 and later promoted to Baoding Municipal‑level. Circulated around Lousangmiao and Zhongyi villages in Zhuozhou and handed down orally alongside local historic sites. Blending real history with folk interpretations, centred on tales such as the Peach‑Garden Oath, it carries folk values of loyalty and good faith. It constitutes a precious vernacular oral heritage of Three‑Kingdom culture.

门球狂人

008、涿州非遗｜上庄村音乐会

（保定市级非物质文化遗产，传统音乐类，属地：高官庄镇上庄村）

上庄村音乐会，属于冀中笙管乐之北乐会，发轫于明末清初，至今已有三百余年历史，是扎根乡村、依附民俗存续的古老民间乐社 。乐会为僧传乐脉，世代依靠老乐师口传心授传承，无严苛固定师徒规制，历经七代乐师接续守护，民国闫永贵、史克亭等老一辈艺人接续传艺；上世纪六七十年代活动一度中断，乐器被乐人悉心保存，1988年由闫和增、史克启等人重整复会，乐社重获生机 。

乐队编制以笙、管、笛、云锣为主，搭配鼓、镲、铙、钣、铛子等打击乐器，演奏风格古朴端庄，节奏舒缓典雅。乐谱沿用古老工尺谱，完整留存四十余首传统曲牌，既有《普庵咒》《哭皇天》《孔子探颜回》《张飞祭枪》《放驴》等吹奏大曲，也有《开坛》《长三板》等成套打击乐小曲，不少曲目保留明清古乐风貌，是研究北方民间古乐的珍贵实物资料 。

旧时乐会义务服务乡里，逢年节祈祥、祭祀礼俗、民间民俗活动开展演奏，分排街巡游与坐棚集会两种演出形式。如今乐社现有老中青三代乐手三十余人，既服务本村民俗，也走出村落参与花会展演、非遗公共展示活动 。

2016年，上庄村音乐会列入保定市第五批市级非物质文化遗产名录，保护单位为涿州市文化馆 。民间乐社依托村史馆保存古谱与旧乐器，开展非遗进校园、公益展演，整理抄录工尺谱，培育青年爱好者，守护这份乡土古乐活态遗存。

笙管声声，叙说乡俗旧事；古曲悠悠，承载世代乡愁。上庄村音乐会，是督亢大地上流传不息的民间音乐瑰宝，见证冀中平原乡土礼俗与民间乐艺的交融共生。


词条摘录：
上庄村音乐会，传统音乐，保定市级非遗。2016年列入保定市第五批市级非物质文化遗产名录。属冀中笙管乐北乐会，明末清初起源，工尺谱记谱，留存大量明清曲牌；以笙管笛锣打击乐合奏，依靠口传心授世代传承，服务乡村祭祀、年节民俗，为冀中珍贵民间古乐乐社。


008. Zhuozhou Intangible Cultural Heritage｜Shangzhuang‑Village Music Society

(Baoding Municipal‑level Intangible Cultural Heritage, Traditional Music Category, Location: Shangzhuang Village, Gaoguanzhuang Town)

Belonging to the Northern Music Association of Central‑Hebei Sheng‑Guan Wind‑and‑Reed Music, Shangzhuang‑Village Music Society dates back to the late‑Ming and early‑Qing dynasties, with a history of more than 300 years. It is an ancient folk music troupe rooted in rural communities and sustained by local folk customs. Its musical lineage derives from monastic music traditions. Skills have been passed down orally and through personal demonstration by senior musicians across generations, without rigid formal apprenticeship rules. Seven generations of performers have safeguarded this heritage, among them veteran artists such as Yan Yonggui and Shi Keting of the Republican era. Activities were temporarily suspended in the 1960s‑1970s, yet musical instruments were carefully preserved by musicians. In 1988, Yan Hezeng, Shi Keqi and others reorganised and revived the society.

The ensemble is dominated by sheng, guan (oboe‑type wind instrument), di (flute) and yunluo (cloud gongs), supplemented by percussion including drums, cymbals, nao bronze cymbals, ban metal plates and dangzi small hand‑gongs. Its performing style is simple, dignified, slow and elegant. Music is recorded in the ancient gong‑che musical notation system, with more than forty traditional tunes fully preserved. Repertoire includes major wind pieces such as Pu’an Incantation, Weeping for the Heavenly Lord, Confucius Visits Yan Hui, Zhang Fei’s Gun‑Sacrifice and Driving the Donkey, as well as suite‑style percussion miniatures like Altar Opening and Long Three‑Beat Rhythm. Many pieces retain Ming‑Qing musical features, constituting precious source material for the study of northern Chinese folk ancient music.

In old times, the society performed voluntarily for local communities at festive blessing ceremonies, sacrificial rites and folk events. Two performing formats were adopted: street parade processions and seated‑tent gatherings. Today the troupe consists of over thirty musicians spanning old, middle‑aged and young generations. It serves local folk rituals and also takes part in folk‑parade shows and public ICH exhibitions outside the village.

In 2016, Shangzhuang‑Village Music Society was inscribed on the Fifth Batch of Baoding Municipal‑level Intangible Cultural Heritage List. The protecting institution is Zhuozhou Cultural Center. Ancient scores and historic instruments are preserved at the village‑history museum. Activities including ICH campus outreach, public performances and transcription of gong‑che notation nurture young enthusiasts, protecting this living rural musical legacy.

Sheng‑guan melodies narrate old rural customs; time‑honoured tunes carry generational nostalgia. Shangzhuang‑Village Music Society is an enduring folk‑music treasure of the ancient Dukang land, witnessing the integration of rural rituals and folk performing arts across the Central Hebei Plain.

Catalogue Excerpt
Shangzhuang‑Village Music Society, Traditional Music, Baoding Municipal‑level ICH. Inscribed on the Fifth Batch of Baoding Municipal‑level Intangible Cultural Heritage List in 2016. A Northern Music Association of Central‑Hebei Sheng‑Guan Music originating in the late‑Ming‑early‑Qing period. Notated in gong‑che system, it preserves numerous Ming‑Qing tunes. Performed by an ensemble of sheng, guan, flute, cloud‑gongs and percussion, it is transmitted orally‑by‑demonstration. Serving rural sacrificial and festival customs, it represents a valuable folk‑music troupe in central Hebei.

门球狂人

009、涿州非遗｜玉雕（张氏玉雕）

（保定市级非物质文化遗产，传统美术类，属地：孙庄乡）

张氏玉雕，俗称“玉雕张”，源自清宫玉石盆景技艺，扎根孙家庄镇前铺村，历经张氏家族五代薪火相传，是北方颇具代表性的民间玉雕手工技艺。

技艺源头可追溯至晚清，始祖张汉臣开启家族玉雕传承，世代承袭宫廷玉石盆景制作工艺。第三代传承人张祝接续家学；第四代传承人张俊忠，既受教于家族长辈，又曾在涿州市玉器厂学艺，拜北京玉器厂玉雕大师马春利为师，博采北派玉雕之长，完善清宫玉石盆景整套制作流程，兼顾摆件、佩饰、山子等多元品类创作 。第五代传承人张达自幼耳濡目染，熟稔全套雕刻流程，恪守“因材施艺”准则，依据玉石原料的色泽、纹理构思造型，兼顾传统范式与当代审美创新 。

张氏玉雕选材广泛，岫玉、东陵玉、粉水晶、玛瑙、墨玉皆可入作。整套技艺包含选料、开料、切割、雕琢、打孔、打磨、抛光、组装等十余道繁复工序。其标志性作品玉石盆景，以各色玉石雕琢花叶果实，搭配景泰蓝盆座、木质枝干，繁花硕果玲珑剔透，还原宫廷玉作风貌。题材涵盖梅兰竹菊、瑞果祥卉、山水人物、吉祥佩饰，既有仿古器物，也创作贴合本土风物的新作，一件复杂盆景耗时可达数月乃至两年，工序繁复，耗工甚巨 。

2015年，张氏玉雕列入保定市第五批市级非物质文化遗产名录，保护单位为涿州市文化馆。金雅玉器厂获批保定市级非遗生产性保护基地，创办“玉雕张”展览馆，陈列历代作品，常年开展展览研学。传承人面向社会开班授课，招收学徒，破解技艺传承难题，推动玉雕技艺活态延续 。

璞玉经琢磨而成器，寸刀凝匠人之初心。张氏玉雕，是督亢大地传承百年的民间美术瑰宝，承袭宫廷玉作余韵，融汇北方民间匠心，承载国人崇玉尚礼的文化情怀。


词条摘录：
张氏玉雕（玉雕张，孙家庄镇前铺村），传统美术，保定市级非遗。2015年列入保定市第五批市级非物质文化遗产名录。源自晚清清宫玉石盆景技艺，五代家族传承，掌握选料、雕琢、抛光、组装全套工序。擅长玉石盆景，兼做摆件佩饰，因材施艺，建有专题展览馆与生产性保护基地，为北方重要民间玉雕技艺。


009. Zhuozhou Intangible Cultural Heritage｜Zhang‑family Jade‑Carving

(Baoding Municipal‑level Intangible Cultural Heritage, Traditional Fine Arts Category, Location: Qianpu Village, Sunjiazhuang Town)

Popularly known as “Jade‑Carving Zhang”, Zhang‑family Jade‑Carving derives from the jade‑rock bonsai craftsmanship of the Qing imperial court. Rooted in Qianpu Village, Sunjiazhuang Town, it has been handed down across five generations of the Zhang clan and stands as a representative folk jade‑carving handcraft in northern China.

The craft traces back to the late Qing Dynasty. The founding ancestor Zhang Hanchen initiated the family jade‑carving heritage, and successive generations inherited the imperial‑court jade‑bonsai production techniques. The third‑generation inheritor Zhang Zhu carried forward the family craft. The fourth‑generation inheritor Zhang Junzhong received guidance from senior family members, trained at the Zhuozhou Jade Factory, and studied under master jade‑carver Ma Chunli from the Beijing Jade‑ware Factory. Absorbing the strengths of the northern jade‑carving school, he perfected the complete workflow for Qing‑court‑style jade bonsais and created diverse works including ornamental displays, personal pendants and mountain‑shaped jade carvings. Raised immersed in the craft, the fifth‑generation inheritor Zhang Da masters the full carving procedure. He adheres to the principle of “designing art according to material properties”, conceiving forms based on the colour and texture of raw jade, and balances traditional norms with contemporary aesthetic innovation.

Zhang‑family Jade‑Carving utilises a wide range of materials, including serpentine, aventurine quartz, rose quartz, agate and black jade. The full craft comprises more than ten elaborate procedures: material selection, rough‑cutting, slicing, carving, drilling, grinding, polishing and assembly. Its signature works are jade bonsais: jade pieces of various colours are carved into flowers, leaves and fruits, matched with cloisonné bases and wooden branches. Delicate blossoms and fruits reproduce the elegant style of imperial jade‑ware. Subjects include plum, orchid, bamboo and chrysanthemum, auspicious fruits and flowers, landscapes, human figures and lucky pendants. Works cover both archaistic pieces and new creations inspired by local scenery. An intricate bonsai may take months or even two years to finish, requiring tremendous labour‑intensive work.

In 2015, Zhang‑family Jade‑Carving was inscribed on the Fifth Batch of Baoding Municipal‑level Intangible Cultural Heritage List. The protecting institution is Zhuozhou Cultural Center. Jinya Jade‑ware Factory has been accredited as a Baoding municipal‑level productive‑protection base for intangible cultural heritage. It runs the “Jade‑Carving Zhang” Exhibition Hall displaying works from successive generations and holding regular exhibitions and study‑exchange activities. The inheritor offers public courses and takes apprentices to address inheritance challenges and sustain this living jade‑carving craft.

Rough jade becomes fine ware through chiselling; every cut embodies the craftsman’s original aspiration. Zhang‑family Jade‑Carving is a century‑old folk‑art treasure of the ancient Dukang land. Carrying remnants of imperial‑court jade craftsmanship and integrating northern folk ingenuity, it reflects Chinese people’s cultural sentiment of revering jade and observing rituals.

Catalogue Excerpt
Zhang‑family Jade‑Carving (“Jade‑Carving Zhang”, Qianpu Village, Sunjiazhuang Town), Traditional Fine Arts, Baoding Municipal‑level ICH. Inscribed on the Fifth Batch of Baoding Municipal‑level Intangible Cultural Heritage List in 2015. Originating from late‑Qing imperial‑court jade‑bonsai craft and passed down through five family generations. It masters the full workflow of material selection, carving, polishing and assembly. Specialised in jade bonsais while also producing ornaments and pendants, it creates works adapted to raw‑material features. A thematic exhibition hall and productive‑protection base have been established. It constitutes a vital northern folk jade‑carving skill.

门球狂人

010、涿州非遗｜指掌画（刘氏指掌画）

（保定市级非物质文化遗产，传统美术类）

刘氏指掌画，亦称指墨画，是中国一门奇特的传统绘画技艺，相传肇始于唐代，兴盛于清代，不用毛笔，以手指、手掌、手背蘸墨施色，直接在宣纸之上创作，依靠指掌肌理形成毛笔难以达成的独特笔触与墨韵，自成一派艺术风貌。

刘氏指掌画源自宫廷指画脉络，家族世代传承。第三代代表性传承人刘学怀，笔名苍鸿，土生土长的涿州人，自幼承袭家学，后进修国画与西画，博采传统指画各家之长，守古法而求新变，将传统水墨山水与彩墨技法相融，拓展指掌画的艺术边界。作画之时，指尖勾勒细劲线条，手掌泼染山川块面，指甲、掌根、手背交替运用，勾、点、按、抹、推、染诸法并用，依托宣纸晕化，生成苍劲朴拙、雄浑大气的画面肌理。

创作题材丰富，既有华夏山河、松林飞瀑等传统山水，也有花鸟瑞兽，同时融入涿州本土风物，把督亢山水、古郡名胜纳入画面。作品既有传统文人画意境，又兼具雄浑开阔的当代审美。其作品多次参加国内外展览，曾登上央视展示技艺，多幅佳作被海内外机构与个人收藏。

刘氏指掌画列入保定市级非物质文化遗产名录，保护单位为涿州市文化馆。该技艺学习门槛极高，既要有扎实国画功底，又要熟练掌握手部运墨的分寸，传承不易。如今传承人开展展览、公益讲座、非遗进校园活动，开门收徒授课，扩大传播途径，守护这份独树一帜的传统美术。

弃笔以手抒丘壑，指掌挥墨写山河。刘氏指掌画，是督亢大地上别具一格的非遗瑰宝，以手为笔，以墨传情，延续中华古老指墨艺术的生生文脉。


词条摘录：
刘氏指掌画，传统美术，保定市级非遗。源自传统指画艺术，家族世代传承，以手指、手掌代替毛笔蘸墨作画，技法丰富，擅山水，兼涉花鸟，融合彩墨创新表达。代表性传承人刘学怀。多次参展海内外，开展公益普及教学，为国内极具特色的指墨绘画技艺。


010. Zhuozhou Intangible Cultural Heritage｜Liu‑family Finger‑and&#8209alm Painting

(Baoding Municipal‑level Intangible Cultural Heritage, Traditional Fine Arts Category)

Also known as finger‑ink painting, Liu‑family Finger‑and‑Palm Painting is a distinctive traditional Chinese pictorial craft. Reputed to originate in the Tang Dynasty and flourish in the Qing Dynasty, it requires no writing brush. Artists dip fingers, palms and the back of hands in ink and pigments to paint directly on rice paper. The natural texture of hands yields unique brush‑strokes and ink effects unattainable by conventional brushes, forming an independent artistic style.

Liu‑family Finger‑and‑Palm Painting stems from court‑originated finger‑painting traditions and has been inherited within the family for generations. The third‑generation representative inheritor Liu Xuehuai, art pseudonym Canghong, is a native of Zhuozhou. He absorbed family craft from childhood and later studied both Chinese and Western painting. Drawing strengths from diverse traditional finger‑painting schools, he preserves ancient principles while pursuing innovations. He integrates traditional ink‑wash landscape with colour‑ink techniques to expand the artistic scope of finger‑and‑palm painting. While creating, fingertips trace sharp fine lines, palms splash‑render mountain‑and‑mass motifs. Nails, palm heels and the back of hands are used alternately, deploying techniques of outlining, dotting, pressing, smearing, pushing and washing. Leveraging ink diffusion on rice paper, the work achieves a forceful, plain‑spoken and grand visual texture.

Its subject range is broad: traditional landscapes such as Chinese mountains‑and‑rivers, pine‑forests and waterfalls, as well as flowers‑and‑birds and auspicious beasts. Local Zhuozhou scenery is also incorporated, including landscapes of ancient Dukang and historic sites of the old prefecture. Works embody the poetic conception of traditional literati painting together with broad‑minded contemporary aesthetics. His artworks have been exhibited at home and abroad, demonstrated on China Central Television, and many fine pieces are collected by institutions and private collectors worldwide.

Liu‑family Finger‑and‑Palm Painting is inscribed on the Baoding Municipal‑level Intangible Cultural Heritage List. The protecting institution is Zhuozhou Cultural Center. The craft has an extremely high learning threshold: it demands solid Chinese‑painting fundamentals plus precise command of ink application with hands, making inheritance challenging. Today the inheritor holds exhibitions, delivers public lectures and campus‑popularization programmes, and accepts apprentices to broaden dissemination channels and preserve this unique traditional fine art.

Abandoning brushes, hands depict nature’s grandeur; fingers and palms wield ink to paint mountains and rivers. Liu‑family Finger‑and‑Palm Painting stands as a distinctive ICH treasure of the ancient Dukang land. Using hands as brushes and ink to convey sentiment, it perpetuates the enduring lineage of ancient Chinese finger‑ink art.

Catalogue Excerpt
Liu‑family Finger‑and‑Palm Painting, Traditional Fine Arts, Baoding Municipal‑level ICH. Derived from traditional finger‑painting art and passed down within one family. Artists paint with fingers and palms instead of writing brushes, employing versatile techniques. It excels at landscape while also covering flowers‑and‑birds, with innovative colour‑ink expressions. Representative inheritor: Liu Xuehuai. His works are exhibited domestically and overseas; public‑welfare teaching is provided. It represents a highly distinctive Chinese finger‑ink painting craft.

门球狂人

011、涿州非遗｜烧饼制作技艺（干酥烧饼）

（保定市级非物质文化遗产，传统技艺类）

古督亢涿州，市井烟火绵长。干酥烧饼制作技艺，俗称油酥烧饼，相传肇始于清代乾隆年间，距今已有两百余年历史，是京南冀中一带极具代表性的传统面食手工技艺 。技艺源自北京民间面点谱系，后传入涿州落地生根，历经七代家族传承，世代依靠师徒口传心授，以缸炉贴烤为核心特色，是镌刻一方乡土味觉记忆的美食非遗。

整套工艺工序繁复严谨：选用优质中筋面粉为原料，经温水和面、揉面醒发、擀制面皮、调制油酥、卷坯掐剂、塑形压饼、蘸裹芝麻，最后将饼坯贴于缸炉内壁高温烘烤而成。缸炉烤制极考功力，炉内火候全凭老师傅经验把控，温度过高易焦，温度不足则酥香难出。成品色泽金黄圆润，表层芝麻密布，外皮干酥分层，内里筋道，酥香不腻，久存不易回软，兼具干粮与面点特质，旧时便于出行携带，深受民间喜爱。

这门技艺在涿州传承脉络清晰，家族先辈早年在北京经营烧饼作坊，新中国成立后回迁涿州刁窝开设集市摊位，扎根本地接续传承 。当代代表性传承人王金舵，为第七代传人，恪守传统缸炉古法，完整承袭全套手工流程，同时适度改良生产条件，在守住本味的前提下拓展品类，结合涿州三义文化推出特色主题烧饼，让传统小吃赋予本土文化内涵。产品既保留传统市井售卖模式，也拓展文旅展销，走进各类非遗展示活动。

2016年，干酥烧饼制作技艺列入保定市第五批市级非物质文化遗产名录，保护单位为涿州市文化馆。面食技艺入门看似简单，想要达到酥香稳定的水准却十分不易。如今传承人开门收徒，开展非遗美食体验、进校园科普活动，记录整理传统制作流程，守护这份烟火非遗。

一炉缸火烘岁月，半块酥饼忆乡愁。干酥烧饼制作技艺，是督亢大地上珍贵的饮食文化遗存，炉火生生不息，揉烤之间沉淀冀中民间质朴的生活智慧。


词条摘录（直接嵌入百项非遗总目录）：
干酥烧饼制作技艺，传统技艺，保定市级非遗。2016年列入保定市第五批市级非物质文化遗产名录。清代发源，七代家族传承，以面粉油酥为原料，缸炉贴烤，成品干酥分层、芝麻香浓。植根涿州市井，兼顾传统与文旅创新，是京南冀中代表性传统面食技艺。


011. Zhuozhou Intangible Cultural Heritage｜Dry‑Crisp Sesame Cake‑Making Craft

(Baoding Municipal‑level Intangible Cultural Heritage, Traditional Craft Category)

Zhuozhou, the ancient Dukang land, boasts a long‑standing folk food culture. Commonly known as oil‑crisp sesame cake, the Dry‑Crisp Sesame Cake‑Making Craft is said to have originated in the Qianlong reign of the Qing Dynasty, with a history of more than two hundred years. It is a highly representative traditional hand‑made pasta craft in southern Beijing and central Hebei. Deriving from Beijing’s folk pastry tradition, it was introduced to Zhuozhou and took root here.&#8239assed down through seven generations of a family, the craft is transmitted orally and through hands‑on guidance between masters and apprentices. Its core feature is baking cakes by sticking them to the inner wall of a jar‑oven. It is a food‑related intangible cultural heritage embedded in local people’s taste memories.

The whole production process is elaborate and rigorous. High‑quality medium‑gluten flour is selected as raw material. Procedures include mixing dough with warm water, kneading and proofing the dough, rolling out pastry sheets, preparing oil‑crisp filling, rolling dough strips and dividing into portions, shaping and pressing cakes, coating with sesame seeds. Finally, cake blanks are stuck to the inner wall of a jar‑oven and baked at high temperature. Jar‑oven baking demands great skill. The oven heat is entirely controlled by veteran bakers’ experience: excessive heat causes burning, while insufficient heat fails to bring out the crisp aroma. The finished cakes are golden‑yellow and round, densely covered with sesame seeds. Their outer crust is dry‑crisp with distinct layers, and the inner part chewy. They are fragrant and crisp yet not greasy, and do not soften easily when stored for long. Combining features of dry rations and pastries, they were convenient for travellers in old times and widely loved by local people.

This craft has a clear inheritance lineage in Zhuozhou. The family ancestors ran sesame‑cake workshops in Beijing in early years. After the founding of the People’s Republic of China, they moved back to Diaowo Town in Zhuozhou and set up market stalls to carry on the craft locally. Wang Jinduo, the contemporary representative inheritor, is the seventh‑generation successor. He adheres to the ancient jar‑oven baking method and preserves the full manual production workflow. Meanwhile, he makes moderate improvements to production conditions. While keeping the original flavour, he expands product varieties and launches themed specialty cakes inspired by Zhuozhou’s Sanyi culture, endowing this traditional snack with local cultural connotations. The products retain traditional street‑vending modes and also appear in cultural‑tourism fairs and various ICH exhibitions.

In 2016, Dry‑Crisp Sesame Cake‑Making Craft was inscribed on the Fifth Batch of Baoding Municipal‑level Intangible Cultural Heritage List. The protecting institution is Zhuozhou Cultural Center. Though pasta‑making looks easy to start, achieving consistent crisp and fragrant quality is quite challenging. Today, the inheritor accepts apprentices, organises ICH food‑experience events and campus science‑popularisation programmes, and documents traditional production procedures to safeguard this folk‑food heritage.

Jar‑oven fire bakes passing years; half a crisp cake stirs homesickness. Dry‑Crisp Sesame Cake‑Making Craft is a precious food‑culture legacy of the Dukang land. The enduring oven fire condenses the simple life wisdom of central‑Hebei folk people in kneading and baking.

Catalogue Excerpt
Dry‑Crisp Sesame Cake‑Making Craft, Traditional Craft, Baoding Municipal‑level ICH. Inscribed on the Fifth Batch of Baoding Municipal‑level Intangible Cultural Heritage List in 2016. Originating in the Qing Dynasty and inherited by seven family generations. Using flour and oil‑crisp as raw materials, it adopts jar‑oven sticking‑baking technique. Finished cakes are dry‑crisp with layered texture and rich sesame aroma. Rooted in Zhuozhou’s folk markets, it balances tradition and cultural‑tourism innovation. It is a representative traditional pasta craft in southern Beijing and central Hebei.

门球狂人

012、涿州非遗：涿州鸟笼制作技艺 (保定市级非物质文化遗产) 坐落于义和庄镇的涿州鸟笼制作技艺，是保定市级非物质文化遗产，素有“北笼之乡”美誉，为北方京笼的核心发源地，承袭清宫造办处宫廷制笼工艺，百余年间以竹为骨、以手为匠，把一门民间手艺打磨成享誉全国的传统技艺。 清末民初，京城养鸟之风盛行，宫廷造办处的鸟笼技艺散落民间。涿州人马德润拜宫廷匠人石师傅学艺，学成之后返乡扎根义和庄，将宫廷制笼技法带到乡土，广收门徒，开启涿州北笼的传承脉络，后世人称“涿州马”，成为北笼流派的标杆代表。这门技艺最初依靠师徒口传心授，在乡间作坊代代延续，历经战乱一度沉寂，改革开放之后重焕生机，当地众多村民投身制笼行业，逐步形成完整的民间技艺群落。 涿州鸟笼以南方毛竹为原料，讲究选料严苛，竹料需要经过数年自然风干，去除潮气，避免日后变形开裂。整套制作流程繁复精细，前后历经百余道纯手工工序，劈料、刮料、烤圈定型、接圈、打孔、穿条、打磨抛光、装配笼钩盖板，每一步都考验手艺人的功力。成品笼具造型古朴端庄，线条匀称，坚固耐用，兼顾实用与审美。笼体、笼钩、盖板、食罐配饰皆讲究形制，不少作品融入吉祥纹样，既是养鸟器具，亦是可供收藏把玩的民间工艺品。 北笼讲究方圆有度、结构严谨，区别于南方鸟笼的形制，涿州鸟笼多为平顶圆柱形，做工考究，笼条疏密均匀，接口严丝合缝，经岁月把玩可以形成温润漂亮的包浆，深受京津乃至全国玩家、收藏爱好者青睐。一代代匠人在坚守古法的基础上不断改良，衍生出红子笼、画眉笼等多种品类，满足不同的使用与收藏需求。 时代更迭，老手艺也面临传承挑战。为守护这份非遗根脉，当地成立北笼之乡工艺品专业合作社，聚合一众民间手艺人，举办全国鸟笼鸟具交流会，搭建展示交流平台，推动技艺传播。不少匠人坚守家庭作坊，一边制作精品鸟笼，一边收徒传艺，让古老手艺接续传承。如今义和庄一带，数十户农户以此为业，非遗技艺既承载传统民俗文化，也成为带动乡村增收的特色产业。 一笼竹丝，百年匠心。涿州鸟笼制作技艺，不只是一门手工技艺，更是北方笼鸟文化的鲜活载体。它承宫廷遗韵，融乡土智慧，在一刀一凿、一劈一磨之间，留存着督亢大地民间匠人的坚守。一代代手艺人以竹为媒，守艺传薪，让北笼之美，在新时代继续绽放光彩。 词条摘录 涿州鸟笼制作技艺，保定市级非物质文化遗产，项目类别为传统技艺，由河北省涿州市申报，传承地为义和庄镇，享有“北笼之乡”的称号，是北方京笼技艺的核心发源地。技艺源自清末，传承清宫造办处宫廷制笼工艺，以马德润（涿州马）为代表，以南方毛竹为原料，经百余种纯手工工序制作而成，讲究选料风干、烤圈定型、打磨装配，成品兼具实用与收藏价值。技艺依靠师徒口传心授，形成红子笼、画眉笼等多个品类。当地成立专业合作社，开展交流展示与传习活动，形成乡村特色非遗产业，是北方笼鸟民俗文化的重要活态遗存。 012. Intangible Cultural Heritage of Zhuozhou: Zhuozhou Birdcage‑making Craft (Baoding‑level Intangible Cultural Heritage) Located in Yihezhuang Town, Zhuozhou Birdcage‑making Craft is a Baoding‑level intangible cultural heritage, renowned as the “Hometown of Northern‑style Birdcages”. It is the core birthplace of Beijing‑style birdcages in northern China, inheriting the imperial cage‑making craftsmanship from the Qing‑dynasty Imperial Workshops. For over a century, craftsmen have used bamboo as raw material and created by hand, elevating this folk craft into a nationally celebrated traditional art. In the late Qing and early Republican periods, bird‑keeping was fashionable in the capital. The imperial birdcage‑making skills spread among ordinary people. Ma Derun from Zhuozhou studied under Master Shi, a royal craftsman. After finishing his apprenticeship, he returned to Yihezhuang, brought imperial cage‑making techniques to local villages, and took on many apprentices, laying the foundation for Zhuozhou’s northern‑style birdcage tradition. Later generations called him “Ma of Zhuozhou”, a benchmark figure of the northern‑style birdcage school. Originally passed down orally from master to apprentice in rural workshops, the craft declined amid wars and revived after China’s reform and opening‑up. Many local villagers took up cage‑making, forming a complete community of folk artisans. Southern moso bamboo is the primary material for Zhuozhou birdcages. Strict selection standards are applied: bamboo must be air‑dried for several years to remove moisture and prevent deformation or cracking. The whole production process is elaborate, involving more than a hundred purely manual procedures: splitting, scraping, heat‑shaping rings, joining rings, drilling holes, threading bars, polishing, and fitting cage hooks and cover plates. Each step demands great skill from craftsmen. Finished cages feature simple, dignified shapes with well‑proportioned lines and high durability, combining practicality and aesthetic value. The cage body, hooks, cover plates and food‑jar fittings all follow strict forms. Many pieces are decorated with auspicious patterns, serving both as bird‑keeping utensils and collectible folk artworks. Northern‑style birdcages value well‑proportioned shapes and rigorous structures, differing from southern‑style designs. Most Zhuozhou birdcages are flat‑top cylindrical. Exquisitely crafted, they feature evenly spaced bars and perfectly fitted joints. With long‑term handling, they develop a warm, lustrous patina, winning favour among bird‑keepers and collectors across Beijing, Tianjin and the whole country. While preserving ancient techniques, craftsmen have kept improving the craft and developed various types including red‑bird cages and thrush cages to meet diverse practical and collecting demands. As times change, this old craft faces inheritance challenges. To safeguard this intangible cultural heritage, local authorities established the Hometown of Northern‑style Birdcages Handicraft Professional Cooperative, bringing together folk artisans. National birdcage and bird‑fittings exchange events are held to build platforms for display and communication and promote the craft. Many artisans run home‑based workshops, producing fine‑quality birdcages while taking on apprentices to pass on the ancient craft. Today dozens of households in Yihezhuang make a living from this trade. The intangible heritage carries traditional folk culture and has become a characteristic rural industry boosting local income. Bamboo strips weave a century‑old craftsmanship. More than just a handicraft, Zhuozhou Birdcage‑making Craft is a living carrier of northern bird‑keeping culture. It inherits imperial craftsmanship and local folk wisdom. Through every cut, chisel, split and polish, it preserves the perseverance of folk artisans on the ancient Dukang land. Generations of craftsmen pass on the art through bamboo, keeping the beauty of northern‑style birdcages shining in the new era. Glossary Extract Zhuozhou Birdcage‑making Craft is a Baoding‑level intangible cultural heritage under the category of traditional crafts, declared by Zhuozhou City, Hebei Province. Centered in Yihezhuang Town, it is known as the “Hometown of Northern‑style Birdcages” and the core origin of Beijing‑style birdcage art in northern China. Dating back to the late Qing Dynasty, it inherits imperial cage‑making techniques from the Qing Imperial Workshops, represented by Ma Derun (“Ma of Zhuozhou”). Using southern moso bamboo as raw material, it is produced through over a hundred hand‑made steps including air‑drying, heat‑shaping and polishing. Finished cages are both practical and collectible. Passed down via master‑apprentice oral teaching, it includes varieties such as red‑bird cages and thrush cages. A local professional cooperative organises exhibitions and inheritance activities, developing the craft into a distinctive rural intangible‑heritage industry. It is an important living relic of northern bird‑keeping folk culture.

门球狂人

013、涿州非遗｜诗赋弦

（保定市级非物质文化遗产，传统戏剧类，属地：义和庄镇西韦坨村）

诗赋弦，是北方稀有的民间地方小戏，脱胎于清代民间鼓子词曲，清光绪初年始创，光绪三十四年传入涿州西韦坨村，扎根督亢乡土，至今已有百余年传承历史，是冀中一带极具代表性的濒危民间戏曲剧种 。此戏初创之初意在劝善戒俗，以通俗小戏教化乡里，唱腔属于曲牌联套体，前身与十不闲曲艺渊源深厚，流传范围集中于京南、冀中交界地带，涿州西韦坨为保定境内核心传承班社所在地。

诗赋弦文场以三弦、板胡、曲笛为主奏；武场配置大鼓、大镲、铙钹、竹板，开场演奏专用曲牌“官通”。全套留存三十余支传统曲牌，号称“九腔十八调”，曲调多取自民间小调，质朴通俗。行当以小生、小旦、小丑三小戏为根基，后拓展老生、花脸；传统剧目题材多取自民间故事、世俗生活，代表作有《小姑贤》《老少换》《三世修》《四劝》《老妈进京》等，剧情通俗易懂，扬善抑恶，充满乡土烟火气息。

西韦坨诗赋弦剧团历经数代艺人接续守护，上世纪六十年代迎来演出高峰，曾受邀赴北京录音存档；后一度中断，乐器曲本得以妥善保存，新时期重新恢复演出。当代以刘井义为剧团负责人，现有老中青演员四十余人，常年服务乡村庙会、年节民俗，也参与花会巡演、非遗公开展演，每年开展多场公益演出活动 。

2016年，诗赋弦列入保定市第五批市级非物质文化遗产名录，保护单位为涿州市文化馆。作为国内濒危戏曲剧种，它传承难度大，老艺人逐年递减。如今依托乡村戏台修缮保护，开展非遗进校园、戏曲体验、剧目整理抄录、公益展演，挖掘整理老曲本，培育青年学习者，守护这份濒临衰微的乡土戏曲活态遗存 。

一曲弦歌叙乡俗，百折小戏见人情。诗赋弦，是督亢大地上珍贵的传统戏剧遗存，以民间小调演绎世间百态，寄寓冀中百姓向善向美的世俗理想。

词条摘录：
诗赋弦，传统戏剧，保定市级非遗。2016年列入保定市第五批市级非物质文化遗产名录。清末传入涿州西韦坨村，曲牌联套体制，三弦板胡竹板锣鼓伴奏，留存三十余支民间曲牌，擅长世俗生活小戏。为冀中濒危地方小戏，现有民间剧团，开展公益演出与校园普及，是京南冀中珍贵的乡土戏曲遗存。

013. Zhuozhou Intangible Cultural Heritage｜Shifuxian Opera

(Baoding Municipal‑level Intangible Cultural Heritage, Traditional Opera Category, Location: Xiweituo Village, Yihezhuang Town)

Shifuxian Opera is a rare local folk opera in northern China. Evolved from folk guzi ballads of the Qing Dynasty, it was first created in the early Guangxu reign, and introduced to Xiweituo Village of Zhuozhou in the 34th year of the Guangxu reign. Taking root in the Dukang countryside, it has been passed down for more than a century, making it a highly representative endangered folk opera genre in central Hebei. Originally created to encourage virtue and reform folk customs, it educated local communities through accessible short plays. Its vocal music adopts a qu‑pattern linked‑suite structure, and it shares deep roots with the Shibuxian folk art form. It was mainly popular in the border region of southern Beijing and central Hebei, and Xiweituo Village in Zhuozhou serves as the core inheriting troupe within Baoding.

The string‑and‑wind section of Shifuxian features sanxian, banhu and qu‑di as lead instruments. The percussion section includes large drums, big cymbals, nao‑bo cymbals and bamboo clappers. The opening performance uses the special qu‑pattern Guantong. More than thirty traditional qu‑patterns survive, known as “Nine Tunes and Eighteen Melodies”. Most melodies derive from folk ditties, simple and easy‑to‑understand. Its role system is built on three core parts: young male, young female and comic male roles, later expanded to include senior male and painted‑face roles. Traditional plays draw largely from folk tales and everyday secular life. Representative works include The Virtuous Daughter‑in‑Law, Old‑Young Swap, Three‑Lifetime Cultivation, Four Exhortations and The Old Woman Goes to the Capital. The plots are straightforward, promoting goodness and condemning vice, brimming with rural life flavour.

The Xiweituo Shifuxian Opera Troupe has been safeguarded by generations of artists. It reached its performance peak in the 1960s and was invited to Beijing for recording and archival preservation.&#8239erformances were later suspended, yet musical instruments and librettos were well‑preserved, and shows resumed in the new era. Liu Jingyi is the current troupe leader. With over forty performers of senior, middle and young generations, the troupe regularly performs for village temple fairs and seasonal folk rituals. It also takes part in folk‑art parades and public ICH shows, staging multiple public‑welfare performances each year.

In 2016, Shifuxian Opera was inscribed on the Fifth Batch of Baoding Municipal‑level Intangible Cultural Heritage List. The protecting institution is Zhuozhou Cultural Center. As an endangered Chinese opera genre, it faces great inheritance challenges, with senior artists dwindling year by year. Today, relying on restored rural opera stages, the project carries out ICH‑on‑campus programmes, opera experience activities, play‑text collation and transcription, and public‑welfare shows. Old librettos are excavated and sorted out, and young learners are cultivated to preserve this fading living heritage of rural opera.

One stringed melody narrates rural customs; varied short plays reveal human sentiments. Shifuxian Opera is a precious traditional‑opera legacy of the Dukang land. It depicts the world’s vicissitudes through folk ditties, embodying the secular ideal of pursuing goodness and beauty held by people in central Hebei.

Catalogue Excerpt
Shifuxian Opera, Traditional Opera, Baoding Municipal‑level ICH. Inscribed on the Fifth Batch of Baoding Municipal‑level Intangible Cultural Heritage List in 2016. Introduced to Xiweituo Village, Zhuozhou in the late Qing Dynasty. It adopts a qu‑pattern linked‑suite structure, accompanied by sanxian, banhu, bamboo clappers and gongs‑drums. Over thirty folk qu‑patterns are preserved, specialising in short plays of secular life. An endangered local opera in central Hebei. A folk troupe exists, staging public‑welfare performances and campus popularisation. It is a precious rural‑opera heritage in southern Beijing and central Hebei.

门球狂人

014、涿州非遗：武术（观仙营少林会）

（保定市级非物质文化遗产，传统武术类，属地：百尺竿镇观仙营村）

观仙营少林会，旧称武术会、国术会，扎根涿州市百尺竿镇观仙营村，是集传统武术演练与民间花会展演于一体的乡土武社，列入保定市第七批市级非物质文化遗产名录。村庄地处拒马河北岸，古村底蕴厚重，周边古刹遗存众多，崇文尚武之风由来已久。

技艺肇始于1910年前后。河南籍武术传人牛二夫妇避难流落至此，蒙受乡邻接济，为报答乡民厚待，遂在村中传授少林武技。因担心过往身份暴露，二人授艺之后悄然离去，而所传拳械功夫留于村内，自此开启观仙营少林会百年传承脉络，百余年间薪火不绝。

观仙营少林会拳械储备丰厚，留存岳家拳等传统拳套；器械包含春秋刀、插队枪、三节棍、九节鞭等数十套套路。既有单人拳脚、单器械演练，亦有双人对打、多人对阵；演练以锣鼓伴奏，出会之时旗幡导引，随民间花会巡游。每逢新春、元宵庙会登场献艺，招式刚猛奔放，场面声势浩荡，是京西拒马河沿岸极具代表性的民俗武会。

百年来，武会恪守习武强身、守望乡邻的宗旨，旧时农闲聚众操练，护佑一方乡土安宁。当代代表性传承人易建威（少林延代）接续武会传承，担任总教练，整理旧有拳械套路，开设传习场地，广招青少年学员习练基本功与传统套路，坚持常态化训练，夯实传承根基。

武会常年参与通会灯市、非遗汇演、民俗节庆展演，走进公共文化活动现场，展示乡土武术风采。在坚守传统拳械套路的基础上，面向少年群体开展传习教学，破解民间武会后继乏人的困境，让百年武社在乡村大地重焕生机。

一方乡土，一脉武魂。观仙营少林会，沉淀燕赵大地尚武基因，把民间习武自保、崇德尚义的民俗传统代代赓续。百年刀枪拳棍，声声锣鼓铿锵，古老的乡土武术，依旧在督亢故土生生不息。

词条摘录

观仙营少林会，保定市级非物质文化遗产，传统武术类别，属地百尺竿镇观仙营村。初创于1910年前后，由河南武术传人牛二夫妇留传少林拳械，旧称武术会、国术会。留存岳家拳、春秋刀、三节棍、九节鞭等丰富拳械套路，兼具武术训练与花会巡游表演功能。代表性传承人易建威，开展常态化传习，组织青少年习武，参与各类非遗民俗展演，承载冀中乡土尚武民风。


014. Intangible Cultural Heritage of Zhuozhou: Martial Arts (Guanxianying Shaolin Society)

(Baoding‑level Intangible Cultural Heritage, Category: Traditional Martial Arts, Location: Guanxianying Village, Baichigan Town)

Formerly known as Martial‑Arts Society or National‑Arts Society, Guanxianying Shaolin Society is a local martial‑arts community rooted in Guanxianying Village, Baichigan Town, Zhuozhou. It integrates traditional martial‑arts practice and folk‑festival performances, and has been inscribed on the 7th Batch of Baoding‑level Intangible Cultural Heritage List. Situated on the northern bank of the Juma River, the ancient village boasts profound historical heritage with numerous remnants of old temples nearby. A time‑honoured local ethos values both scholarship and martial prowess.

The craft originated around 1910. Niu Er and his wife, martial‑arts inheritors from Henan, took refuge and drifted to this village. Grateful for villagers’ generous relief, they taught Shaolin martial skills to repay local kindness. Fearing their former identities might be revealed, the couple left quietly after passing on their knowledge. Nevertheless, the boxing and weapon techniques remained in the village, launching the century‑long inheritance of Guanxianying Shaolin Society, whose heritage has endured for more than a hundred years.

Guanxianying Shaolin Society possesses abundant boxing and weapon repertoires, preserving traditional sets such as Yue‑family Boxing. Its weapon routines cover dozens of forms including Spring‑Autumn Broadsword, Spear‑Thrusting Spear, Three‑Section Staff and Nine‑Section Whip. Performances include solo bare‑hand and single‑weapon demonstrations, as well as two‑person sparring and multi‑fighter combats. Training is accompanied by gong‑and‑drum percussion. During folk parades, the troupe marches guided by streamer banners. It gives public shows for Spring Festival and Lantern‑Festival temple fairs. Its forceful, unrestrained movements create magnificent spectacles, making it a representative folk martial‑arts society along the Juma River in western Beijing‑Tianjin‑Hebei area.

For over a century, the society has upheld its tenet of practising martial arts for fitness and safeguarding neighbouring communities. In old days, villagers gathered for drills in farming‑slack seasons to secure local peace. Yi Jianwei (Shaolin Yandai), the contemporary representative inheritor and head coach, carries forward the society’s legacy. He sorts out ancient boxing and weapon routines, sets up training venues and recruits numerous teenage learners to master basic skills and traditional forms. Regular practice consolidates the foundation of inheritance.

The society frequently takes part in the Tonghui Lantern Fair, intangible‑heritage galas and folk‑festival shows, presenting the charm of local martial arts at public‑cultural events. While preserving traditional boxing and weapon routines, it delivers training programmes for youngsters to resolve the problem of insufficient successors, reviving the century‑old martial community in rural areas.

One land nurtures one martial soul. Guanxianying Shaolin Society embodies the martial spirit of Yan‑Zhao land. It perpetuates folk traditions of self‑defence through martial practice, virtue‑worship and righteousness. After a hundred years of broadswords, spears, fists and staves, accompanied by resonant gongs and drums, this ancient folk martial‑art thrives continuously on ancient Dukang land.

Glossary Extract

Guanxianying Shaolin Society: Baoding‑level intangible cultural heritage of traditional martial arts, located in Guanxianying Village, Baichigan Town. Founded around 1910, it inherited Shaolin boxing‑and‑weapon skills from Henan‑origin martial‑arts practitioners Niu Er and his wife. Formerly called Martial‑Arts Society or National‑Arts Society. It preserves rich repertoires such as Yue‑family Boxing, Spring‑Autumn Broadsword, Three‑Section Staff and Nine‑Section Whip, serving both martial‑arts training and folk‑parade performances. Representative inheritor Yi Jianwei organises regular training and youth martial‑arts courses, and participates in various heritage and folk shows. It embodies the martial‑valuing folk ethos of central Hebei.