札记.涿州非遗100项

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015、涿州非遗｜大漆髹饰技艺

（保定市级非物质文化遗产，传统技艺类）

大漆髹饰技艺，是中华古老的漆艺手工技艺，以天然生漆为核心原料，“髹”为涂漆，“饰”为纹饰雕琢，自商周肇始，历经汉唐兴盛，明清民间漆作广为流传，集制胎、披灰、髹涂、镶嵌、彩绘、推光于一体，是东方手工艺术的重要门类 。

涿州大漆髹饰承袭北方漆艺脉络，当代代表性传承人孟鑫，深耕漆艺多年，融合学院美术素养与民间传统技法，坚守手工制作，拒绝模具批量生产。整套技艺包含制胎、选料、裱布固胎、披挂漆灰、反复多层髹涂生漆、荫干固化、打磨磨显、螺钿镶嵌、彩绘描金、推光揩青等数十道繁复工序。大漆必须在特定温湿度的荫房内阴干，每一遍漆层都要等待干透再继续下一道，一件精品耗时数月乃至经年。技法涵盖素髹、变涂、螺钿镶嵌等多种表现形式，漆面温润莹亮，质感沉稳厚重。

创作题材丰富多元，作品涵盖茶具、文房镇尺、漆瓶、手镯、餐具、漆艺家具。传承人将大漆技艺与涿州本土鸟笼文化相结合，创制大漆鸟笼，获得外观设计专利，成为独具地方特色的漆艺品类 。作品既做仿古器物，也融入督亢风物、三国文化本土元素，兼顾实用器与陈设摆件，既有古朴厚重的传统气质，也具备当代审美与收藏价值。

2022年，大漆髹饰技艺列入保定市第六批市级非物质文化遗产名录，保护单位为涿州市文化馆 。大漆髹饰学艺门槛很高，工序周期漫长，还要熟悉生漆特性，传承颇为艰难。如今依托孟鑫漆艺工作室，设立非遗展示阵地，常态化开展展览、公益讲座、非遗进校园体验活动，整理记录全套传统工艺流程，面向社会招收爱好者传习授课，守护这份古老漆艺。

千髹万漆凝古韵，一器莹润见匠心。大漆髹饰技艺，是督亢大地上弥足珍贵的传统技艺瑰宝。以天然大漆为媒，层层髹涂打磨，延续中华漆艺千年文脉，承载国人尚器崇雅的文化情怀。


词条摘录：
大漆髹饰技艺，传统技艺，保定市级非遗。2022年列入保定市第六批市级非物质文化遗产名录。以天然生漆为原料，经制胎、披灰、多层髹漆、镶嵌、推光全套手工工序，擅素髹、变涂、螺钿镶嵌。代表作大漆鸟笼等，融合涿州本土文化。代表性传承人孟鑫，设立漆艺工作室，开展展演普及教学，为冀中珍贵传统漆艺。


015. Zhuozhou Intangible Cultural Heritage｜Lacquer‑Coating and Decoration Craft

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

Lacquer‑Coating and Decoration Craft is an ancient Chinese lacquer‑ware handcraft. Raw natural lacquer serves as its core material. Xiu means applying lacquer; shi stands for ornamentation and carving. Originating in the Shang‑Zhou dynasties, it flourished through the Han and Tang periods and gained wide popularity among folk artisans in the Ming and Qing dynasties. Combining base‑making, filler‑plastering, lacquer application, inlaying, polychrome painting and surface polishing, it forms an important genre of oriental hand‑crafted art.

Zhuozhou’s lacquer‑coating and decoration inherits the northern Chinese lacquer‑art tradition. Meng Xin, the contemporary representative inheritor, has devoted years to lacquer art. He integrates academic fine‑art training with folk traditional techniques, adhering to hand‑made production and rejecting mass‑produced mould‑cast wares. The complete craft involves dozens of elaborate procedures: base forming, material selection, cloth‑reinforcement for base consolidation, plastering with lacquer putty, repeated multi‑layer raw‑lacquer coating, curing in damp‑dark chambers, grinding and surface revealing, mother‑of‑pearl inlay, coloured painting and gilding, final polishing and burnishing. Raw lacquer must cure inside a humidity‑and‑temperature‑controlled dark chamber. Each lacquer coat needs full curing before the next layer is applied. A fine‑quality piece may take months or even years to complete. Techniques include plain lacquering, variable‑colour pouring and mother‑of‑pearl inlay, yielding mellow, lustrous surfaces with solid, substantial texture.

The craft covers diverse subjects: tea‑sets, paper‑weights for scholar’s studios, lacquer vases, bracelets, tableware and lacquered furniture. The inheritor combines lacquer craftsmanship with local Zhuozhou bird‑cage culture and created lacquered bird‑cages, which have obtained design patents and become a distinctive regional lacquer‑art category.&#8239roductions include archaistic wares as well as works infused with local Dukang scenery and Three‑Kingdom cultural motifs. Both functional utensils and decorative display pieces are made, featuring solemn traditional charm together with contemporary aesthetic and collectible value.

In 2022, Lacquer‑Coating and Decoration Craft was inscribed on the Sixth Batch of Baoding Municipal‑level Intangible Cultural Heritage List. The protecting institution is Zhuozhou Cultural Center. Mastering this craft demands high proficiency: long production cycles and thorough familiarity with raw‑lacquer properties make its inheritance rather challenging. Based at Meng Xin Lacquer‑Art Studio, an ICH exhibition venue has been established. Regular exhibitions, public lectures and campus‑experience programmes are held. Full traditional workflows are documented, and enthusiasts are recruited for training to preserve this ancient lacquer art.

Countless lacquer layers embody ancient charm; every lustrous vessel reflects craftsman’s devotion. Lacquer‑Coating and Decoration Craft is a precious traditional‑craft treasure of the ancient Dukang land. Using natural raw lacquer as medium, built up by successive coating and polishing, it carries forward China’s thousand‑year‑old lacquer‑art lineage and embodies Chinese people’s cultural admiration for fine wares and refined taste.

Catalogue Excerpt
Lacquer‑Coating and Decoration Craft, Traditional Craft, Baoding Municipal‑level ICH. Inscribed on the Sixth Batch of Baoding Municipal‑level Intangible Cultural Heritage List in 2022. Using natural raw lacquer as material, it follows full‑hand procedures of base‑making, putty‑plastering, multi‑layer lacquering, inlaying and polishing. Specialised in plain lacquering, variable‑colour pouring and mother‑of‑pearl inlay. Representative works include lacquered bird‑cages infused with Zhuozhou local culture. Representative inheritor: Meng Xin, who runs a lacquer‑art studio for exhibitions, popularisation and training. It is a valuable traditional lacquer craft in central Hebei.

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016、涿州非遗｜锔瓷技艺

（保定市级非物质文化遗产，传统技艺类）

锔瓷技艺，就是俗语所说“没有金刚钻，不揽瓷器活”的古老手工行当，源于宋代，兴盛于明清，是一门将破碎瓷器修补复原的传统修复技艺。旧时匠人走街串巷，为百姓修补碗、盘、壶、罐，化残损为可用，分为实用修补的“锔粗活”与追求艺术审美的“锔秀活”两大流派，承载国人惜物尚俭的生活理念。

涿州锔瓷融汇北方锔作脉络，当代代表性传承人李金波，兼擅锡雕与锔瓷两门技艺，把雕塑、国画的创作理念融入锔瓷修复之中，跳出单纯器物修补的局限，兼顾修复实用与艺术再创作。整套技艺工序繁复严谨，包含对缝找碴、定位标记、金刚钻打孔、锻制锔钉、锔钉铆合、补漏密封、打磨修整等多道工序。打孔最考验功力，瓷胎薄脆，孔径分毫之差便会造成器物彻底碎裂。锔钉有铜钉、银钉、花钉、米钉等多种形制，依器物形制、裂纹走向排布，让裂痕转化为独具韵味的装饰线条。

创作对象十分广泛，既有民间日用瓷碗、茶壶、紫砂器皿，也有古瓷残件、文房雅器。修复之中因器施艺，顺着器物裂痕巧做构思，把残缺转化为艺术亮点，部分作品融入督亢风物、三国文化本土元素，修复之后器物既可正常使用，又具备观赏收藏价值。

锔瓷技艺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。锔瓷学艺门槛极高，既要熟知各类瓷胎质地，又要经年累月打磨手上分寸，传承颇为艰难。如今传承人依托非遗工坊，开展展览展示、公益讲座、非遗进校园体验活动，整理传统工艺流程，招收爱好者传习，守护这份“化残为美”的老手艺。

一钉弥合千载裂，寸钻凝守惜物心。锔瓷技艺，是督亢大地上别具一格的非遗瑰宝，以金刚钻为器，以锔钉为媒，修补破碎器物，延续中华百工“物尽其用”的古老人文情怀。


词条摘录：
锔瓷技艺，传统技艺，涿州市级非遗。古老瓷器修复手艺，俗谓“没有金刚钻，不揽瓷器活”。包含对缝、打孔、锻制锔钉、铆合补漏全套工序，分实用修补与艺术化锔秀活。代表性传承人李金波，融合雕塑绘画进行创新创作，开展非遗普及教学，是冀中颇具特色的传统修复技艺。


016. Zhuozhou Intangible Cultural Heritage｜Cuju Porcelain‑Mending Craft

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

Cuju Porcelain‑Mending Craft is the ancient hand trade referenced in the folk saying: “Without a diamond drill, do not undertake porcelain‑mending work.” Originating in the Song Dynasty and flourishing in the Ming and Qing dynasties, it is a traditional restoration craft for repairing broken porcelain wares. In old times, craftsmen wandered through streets and alleys to mend bowls, plates, pots and jars for ordinary people, turning damaged pieces back into usable objects. It falls into two major schools: the practical “rough‑mending” for everyday use, and the artistic “fine‑mending” pursuing aesthetic value. It embodies the Chinese philosophy of cherishing goods and practicing frugality.

Zhuozhou’s cuju porcelain‑mending inherits northern porcelain‑mending traditions. Li Jinbo, the contemporary representative inheritor, is skilled in both tin‑carving and cuju porcelain‑mending. He integrates concepts from sculpture and traditional Chinese painting into restoration work, going beyond simple repair to combine practical restoration with artistic recreation. The craft consists of multiple elaborate and rigorous procedures: aligning broken fragments, marking positions, drilling holes with diamond drills, forging cuju staples, riveting staples into place, sealing leaks, and polishing and trimming. Drilling demands supreme skill.&#8239orcelain bodies are thin and brittle; a slight error in hole‑size may shatter the ware completely. Cuju staples come in various forms: copper, silver, decorative‑pattern and rice‑shaped staples. They are arranged according to the shape of the object and the direction of cracks, transforming fissures into distinctive decorative lines.

A wide range of objects are restored, including daily‑use porcelain bowls, teapots and purple‑clay wares, as well as broken antique porcelains and elegant scholar‑studio articles. Restoration is tailored to each piece: artists devise creative solutions along cracks, turning damage into artistic highlights. Some works incorporate local motifs of Dukang scenery and Three‑Kingdom culture. After restoration, the wares remain functional while acquiring ornamental and collectible value.

Cuju Porcelain‑Mending Craft was first listed as Zhuozhou Municipal‑level Intangible Cultural Heritage, and later upgraded to Baoding Municipal‑level. The protecting institution is Zhuozhou Cultural Center. Mastering this craft poses extremely high barriers. Practitioners must understand diverse porcelain‑body materials and hone precise manual control through years of practice, making inheritance quite difficult. Today, relying on an ICH workshop, the inheritor holds exhibitions, public lectures and ICH‑on‑campus experience events. Traditional craft workflows are documented, and enthusiasts are recruited for training to preserve this age‑old art of “turning damage into beauty”.

One staple mends thousand‑year‑old cracks; a tiny drill guards the spirit of cherishing goods. Cuju Porcelain‑Mending Craft is a distinctive ICH treasure of the Dukang land. Using diamond drills and cuju staples to repair broken wares, it carries forward the ancient humanistic ideal of “making full use of everything” among Chinese craftspeople.

Catalogue Excerpt
Cuju Porcelain‑Mending Craft, Traditional Craft, Zhuozhou Municipal‑level ICH. An ancient porcelain‑repairing craft, known for the folk saying “Without a diamond drill, do not undertake porcelain‑mending work”. Complete procedures include fragment alignment, drilling, staple forging, riveting and leak‑sealing. It divides into practical repair and artistic fine‑mending. Representative inheritor: Li Jinbo, who creates innovative works combining sculpture and painting, and delivers ICH popularisation and training. It is a distinctive traditional restoration craft in central Hebei.

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017、涿州非遗：花丝镶嵌品制作技艺

（保定市级非物质文化遗产，传统美术类）

花丝镶嵌，古称细金工艺，位列“燕京八绝”之一，集花丝、镶嵌两大绝技于一体，是源自宫廷的贵金属手工技艺，于涿州乡土代代传续，2018年列入保定市级非物质文化遗产名录 。技艺溯源于古代宫廷造办体系，近代京中金匠流徙至涿州义和庄、林家屯一带落地传艺，由此扎根冀中乡土，形成涿州本土传承脉络。

整套技艺工序繁复，以金、银、铜为原料。花丝工序，将金属反复拉拔成细如游丝的素丝，施以掐、填、攒、焊、堆、垒、织、编诸般技法，编织盘绕，构出器物骨架；镶嵌工序，则捶錾金属胎体，将宝石、玉石、珍珠嵌于花丝基底之上，经锉、磨、焊、镀多道工序打磨成型 。一件完整作品，少则数十道工序，多则上百道，全凭匠人手上功力与火候把控。金丝千回百转，宝石缀点其间，雍容华贵，玲珑剔透，既可制作首饰佩饰，亦可雕琢大型摆件、文房器皿，花鸟瑞兽、吉祥纹样皆可入作。

涿州境内形成两支重要传承脉络。义和庄镇南任村曹云鹏，为第四代传承人，出身花丝世家，外祖父早年在北京首饰楼学艺，返乡后开启本地家传，曹云鹏深耕技艺四十余载，高级技师，曾参与APEC国礼花丝月季胸花制作，创办祥云工作室，收徒授课，向外输出实训教学 。林家屯镇二屯村柴学朝、柴冠拥一脉，打造“御华棠”工坊品牌，组建工艺品专业合作社，建设非遗生产性保护基地，带动乡村技艺产业发展，拓展首饰、摆件、文创三大产品线，推动技艺活态传承 。

旧时细金工艺多秘于家传，学艺周期漫长，学习门槛极高。当代传承人守古法而不泥古，在恪守传统掐丝、焊烧、镶嵌核心技法的基础上，融合现代审美，改良器物形制，开发国潮文创作品。积极参加非遗展会、公益展演，开设研学体验，进校园、进乡村普及细金工艺，广收学徒，破解技艺传承断层难题。

一缕金丝，万般匠心。采金为丝，妙手编结，嵌玉缀翠，是为一绝。花丝镶嵌品制作技艺，把宫廷匠艺落于督亢乡土，凝聚北方细金工艺的审美智慧。百年流转，匠人薪火不绝，古老宫廷技艺在京南大地上生生不息。

词条摘录

花丝镶嵌品制作技艺，保定市级非物质文化遗产，传统美术类别。古称细金工艺，燕京八绝之一，由京中金匠落户涿州形成本土传承。以金银铜为材，分花丝、镶嵌两大工艺，运用掐填攒焊堆垒织编等繁复技法，嵌配玉石宝石，制作首饰、摆件、文创器物。代表性传承人曹云鹏、柴学朝、柴冠拥，建有传习工坊与生产性保护基地，开展研学、展演、产业转化，实现传统宫廷技艺在乡土的活态延续。


017. Intangible Cultural Heritage of Zhuozhou: Filigree‑Inlay Craftsmanship

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

Filigree‑inlay, anciently known as fine‑gold craftsmanship, ranks among the “Eight Great Crafts of Yanjing”. Integrating two superb techniques‑filigree work and gem‑inlaying, it is a precious‑metal handicraft originating from the imperial court. The art has been passed down from generation to generation among local folks in Zhuozhou and was inscribed on the Baoding‑level Intangible Cultural Heritage List in 2018. Derived from the ancient imperial workshop system, the craft took root in central Hebei. In modern times, goldsmiths from Beijing migrated to Yihezhuang and Linjiatun of Zhuozhou and handed down their skills, giving birth to the local inheritance lineage.

The whole craft involves highly complicated procedures, with gold, silver and copper as raw materials. For filigree work, metal is repeatedly drawn into gossamer‑thin wires, which are shaped by twisting, filling, assembling, soldering, piling, stacking, weaving and braiding to build the skeleton of artefacts. For inlaying, metal bases are hammered and chiselled, and gems, jades and pearls are embedded onto the filigree framework. Multiple follow‑up processes including filing, polishing, soldering and plating complete the finished piece. A single work may demand dozens or even over one hundred procedures, relying entirely on the artisan’s manual proficiency and precise heat control. Twisting gold wires dotted with inlaid stones produce elegant, exquisite pieces. The craft creates personal ornaments as well as large‑scale decorative displays and scholarly‑studio utensils, with themes ranging from flowers, birds and auspicious beasts to traditional lucky patterns.

Two key inheritance lineages have taken shape in Zhuozhou. Cao Yunpeng, the fourth‑generation inheritor from Nanren Village, Yihezhuang Town, comes from a filigree‑craft family. His maternal grandfather learned the trade in Beijing jewellery workshops and introduced the craft to his hometown. A senior technician with more than forty years of professional practice, Cao Yunpeng once took part in making filigree‑rose brooches for APEC state gifts. He founded Xiangyun Studio to take apprentices and deliver practical training courses. Another lineage represented by Chai Xuechao and Chai Guanyong from Ertun Village, Linjiatun Town runs the workshop brand “Yuhuatang”. They have set up a handicraft cooperative and built an intangible‑heritage productive‑protection base, boosting the rural craft‑driven industry. Three product lines‑jewellery, decorative displays and cultural‑creative goods‑have been developed to boost the living inheritance of this craft.

In old days, fine‑gold craftsmanship was mostly kept as confidential family heritage. It required long‑term training and posed high learning barriers. Modern inheritors uphold ancient techniques without rigid adherence to old forms. While preserving core skills of wire‑twisting, soldering and gem‑inlaying, they blend contemporary aesthetics, optimize object shapes and develop China‑chic cultural‑creative products. They participate in heritage exhibitions and public performances, launch study‑tour experiences, popularize fine‑gold craftsmanship in schools and villages, and recruit new apprentices to avert inheritance gaps.

One wisp of gold thread embodies boundless craftsmanship. Drawing metal into threads, weaving by deft hands, and setting jade and gemstones defines this unparalleled craft. Filigree‑inlay craftsmanship brings imperial‑court art to the ancient Dukang land and embodies the aesthetic wisdom of northern fine‑gold techniques. Over a century of transition, artisans keep the flame of heritage alive, allowing this ancient court craft to thrive in the land south of Beijing.

Glossary Extract

Filigree‑Inlay Craftsmanship: Baoding‑level intangible cultural heritage of traditional fine arts. Formerly called fine‑gold craftsmanship, it is one of the Eight Great Crafts of Yanjing. Local inheritance was established as Beijing goldsmiths settled in Zhuozhou. Using gold, silver and copper as raw materials, it combines filigree and inlay techniques such as twisting, filling, assembling, soldering, piling, stacking, weaving and braiding, with jade and gemstone inlays for jewellery, ornaments and cultural‑creative artefacts. Representative inheritors include Cao Yunpeng, Chai Xuechao and Chai Guanyong. Inheritance studios and productive‑protection bases provide study‑tour programmes, exhibitions and industrial transformation, realizing the living continuity of imperial‑court craftsmanship in rural locales.

门球狂人

018、涿州非遗：张村李氏正骨技艺

(保定市级非物质文化遗产)

涿州传统医药类非物质文化遗产中，李氏正骨技艺，是扎根码头镇张村的家传中医骨伤技艺，属于涿州市级非物质文化遗产，后晋为保定市级。历经数代家传口授，以手法复位、辨证施治为特色，百年来服务乡里百姓，是冀中民间中医骨伤文化的鲜活遗存。

李氏正骨发源于涿州张村，传承历史久远，最早可追溯至清末民初。先辈行医乡间，立足乡土百姓日常跌打损伤、筋骨疾患，博采民间正骨经验，结合传统中医骨伤理论，逐步形成一套独具地方特色的正骨体系。旧时乡间医疗条件有限，百姓遭遇骨折、脱臼、筋骨扭伤，多求助于民间正骨郎中。李氏先祖凭借手摸心会的诊查功夫，徒手正骨复位，辅以祖传中药外敷调理，不用开刀手术，便可医治骨伤病痛，在周边村镇口碑相传，世代以家传方式延续技艺。

李氏正骨恪守中医“正骨为先、内外兼治”的核心理念，讲究摸、接、端、提、推、拿、按、摩八法，重在“手摸心会”，依靠双手触摸辨识骨骼错位、筋脉损伤，不依赖器械辅助，凭手法巧劲完成复位矫正。技法讲究刚柔相济，力道收放有度，力求复位精准，减少患者痛苦。在手法复位之后，配合祖传中药外敷，活血化瘀、消肿止痛，再辅以夹板固定，促进骨骼愈合，做到手法复位、药物调理、养护康复三位一体，形成完整的诊疗体系。

技艺代代相传，历代传承人坚守医者仁心，秉持济世救人的家风。旧时乡间行医，常常走村入户，为出行不便的乡民上门施治，体恤贫苦百姓，不计酬劳，救死扶伤，深得乡邻敬重。随着时代变迁，现代医学快速发展，传统民间正骨面临挑战，李氏后人没有固守旧法，在坚守祖传手法精髓的基础上，主动学习现代骨伤医学知识，借鉴影像学诊断手段，做到传统技法与现代医学相互参考，让古老正骨技艺适应新时代的临床需求。

如今，李氏正骨技艺已经列入涿州市级非物质文化遗产名录。当代传承人坚守祖业，开设诊疗场所，一方面坚持临床接诊，服务本地及周边群众，处理各类跌打损伤、关节错位、颈肩腰腿痛等骨伤疾患；另一方面重视技艺传承，坚持收徒授艺，把正骨手法、用药经验、行医德行完整传授后辈，守护这门乡土医术根脉。

一门手艺，承载一方民生。李氏正骨，不只是一套治病的手法，更是督亢乡土民间中医药文化的缩影。它凝聚着冀中民间医者的智慧，藏着代代相传的行医家风。百余年风雨流转，指尖正骨，仁心济世，在传承中守正，在实践中创新，让这份来自乡土的非遗技艺，继续守护一方百姓安康。

词条摘录

李氏正骨技艺，保定市级非物质文化遗产，项目类别为传统医药，由河北省涿州市申报，根植于涿州码头镇张村，是冀中地域极具代表性的民间中医骨伤技艺。该技艺溯源清末民初，历经家族数代口传心授、世代承袭，以中医正骨八法为核心，秉持“正骨为先、内外兼治”理念，形成徒手复位、中药外敷、夹板固定、养护康复一体化的传统诊疗体系。技艺凭手感辨骨诊伤、巧力复位、无创施治，适配各类跌打损伤、关节错位、筋骨劳损等常见骨伤问题。当代传承人守正创新，融合现代医学诊断方式优化诊疗体系，坚持临床服务与师承传艺并行，百年乡土医术代代赓续，是涿州传统中医药活态传承的重要载体。

018. Intangible Cultural Heritage of Zhuozhou: Li‑style Bone‑setting Technique

(Baoding‑level Intangible Cultural Heritage)

Among Zhuozhou’s intangible cultural heritage items of traditional medicine, Li‑style Bone‑setting Technique is a family‑inherited TCM orthopedic skill rooted in Zhang Village, Matou Town. It was first listed as Zhuozhou‑level intangible cultural heritage and later upgraded to Baoding‑level. Passed down orally through multiple generations, it features manual reduction and syndrome‑differentiated treatment. Having served local villagers for a hundred years, it is a living relic of folk TCM orthopedic culture in central Hebei.

Li‑style bone‑setting originated in Zhang Village of Zhuozhou with a long‑standing history dating back to the late Qing and early Republican periods. Its ancestors practiced medicine in rural areas, addressing common traumatic injuries and bone‑tendon disorders among local residents. Drawing on folk bone‑setting experience and combining traditional TCM orthopedic theories, they gradually formed a unique local bone‑setting system. In old times, rural medical conditions were limited. Villagers suffering from fractures, dislocations or tendon‑bone sprains would seek help from folk bone‑setting doctors. With the diagnostic skill of “feeling with hands and perceiving with mind”, the Li family ancestors performed manual bone reduction, assisted by ancestral external herbal medicine. They cured bone injuries without surgery and built a good reputation in neighbouring villages. The craft has been passed down within the family from generation to generation.

Li‑style bone‑setting abides by the core TCM concept of “bone‑setting first, combined internal and external treatment”. It adopts the eight manipulations: feeling, resetting, lifting, pulling, pushing, grasping, pressing and rubbing. Great emphasis is placed on “feeling with hands and perceiving with mind”. Practitioners identify bone displacement and tendon damage by hand palpation without mechanical equipment, completing reduction and correction with skilful manual force. The technique balances hardness and softness with well‑controlled strength, aiming for precise reduction to relieve patients’ pain. After manual reduction, ancestral herbal medicine is applied externally to promote blood circulation, dissipate blood stasis, reduce swelling and relieve pain, followed by splint fixation to accelerate bone healing. It forms a complete treatment system integrating manual reduction, medicinal conditioning and rehabilitation care.

Passed down generation after generation, inheritors uphold the benevolent spirit of physicians and the family tradition of saving lives. In rural days, doctors made house‑calls for villagers with mobility difficulties. They showed compassion for poor people, provided treatment regardless of payment and won deep respect from local neighbours. With the rapid development of modern medicine, traditional folk bone‑setting faces challenges. Instead of sticking to old methods, Li‑family descendants preserve the essence of ancestral manipulations, actively learn modern orthopedic knowledge and make use of imaging diagnosis. They combine traditional skills with modern medicine to adapt this ancient bone‑setting craft to modern clinical demands.

Today, Li‑style Bone‑setting Technique is on the Zhuozhou‑level Intangible Cultural Heritage List. Contemporary inheritors carry on the family legacy and run medical clinics. They receive clinical patients from local and surrounding areas, treating various traumatic injuries, joint dislocations, neck‑shoulder‑waist‑leg pains and other orthopedic ailments. Meanwhile, they value inheritance by taking apprentices, fully passing on bone‑setting manipulations, herbal‑prescribing experience and medical ethics to younger generations, safeguarding this local medical heritage.

A craft carries the well‑being of a community. Li‑style Bone‑setting Technique is more than a set of healing manipulations; it is a microcosm of folk TCM culture on the ancient Dukang land. It embodies the wisdom of folk doctors in central Hebei and preserves the family medical ethos passed down through generations. Through a century of ups and downs, bone‑setting performed by fingertips and benevolent medical practice continue. By inheriting traditions and innovating in practice, this local intangible cultural heritage keeps protecting people’s health.

Glossary Extract

Li‑style Bone‑setting Technique is a Baoding‑level intangible cultural heritage under the category of traditional medicine, declared by Zhuozhou City, Hebei Province. Rooted in Zhang Village, Matou Town, Zhuozhou, it is a representative folk TCM orthopedic skill in central Hebei. Dating back to the late Qing and early Republican eras, it has been orally inherited by the family for generations. Centered on eight TCM orthopedic manipulations, it follows the principle of “bone‑setting first, combined internal and external treatment”. It forms an integrated treatment system of manual reduction, external herbal application, splint fixation and rehabilitation. Practitioners diagnose injuries by hand palpation and achieve non‑invasive reduction with skilful force for traumatic injuries, joint dislocations and tendon‑bone strains. Contemporary inheritors keep traditions while integrating modern diagnostic methods. They combine clinical service with apprenticeship teaching. This century‑old folk medical art serves as an important living carrier of TCM inheritance in Zhuozhou.

门球狂人

019、涿州非遗｜华庄村吵子会

（保定市级非物质文化遗产，传统音乐类，属地：义和庄镇华庄村）

华庄村吵子会，属于冀中吵子会（武吵子）乐种，是依附乡村花会、民俗祭祀存续的传统打击乐乐社，流传已有百余年历史，是京南冀中极具特色的民间器乐形式。吵子会因锣鼓铙镲合奏声响热烈喧闹而得名，旧时也叫“献音会”，多为庙会祈福、民俗巡游献乐，是北方民间花会不可或缺的伴奏乐社。

华庄村吵子会以打击乐为核心，乐队配置以大鼓为领奏，搭配大镲、铙、钹、铛子、小锣等全套铜响乐器，部分曲目辅以唢呐伴奏。演奏风格热烈奔放、节奏铿锵，气势雄浑。演出分为排街巡游与撂场坐奏两种形式：巡游之时乐手列队行进，锣鼓齐鸣；撂场表演则原地合奏，穿插耍镲技艺，铜器翻飞，场面热闹红火。乐社依靠老艺人口传心授传承，沿用传统节奏谱，留存数十套传统锣鼓曲牌，不少曲目保留明清民间乐的原生风貌，是研究冀中民间打击乐的鲜活实物资料。

乐社历经数代乡民接续守护，上世纪中后期活动一度停滞，乐器被村民妥善保管，新时期重新恢复演出。如今华庄村吵子会拥有老中青乐手二十余人，既服务本村年节祭祀、民俗礼俗，也参与元宵灯会、花会调演、非遗公开展示等各类对外展演活动，为乡村节庆增添热闹氛围 。

2021年，华庄村吵子会列入保定市第七批市级非物质文化遗产名录，保护单位为涿州市文化馆。吵子会全靠口传心授，随着老一辈乐手日渐年迈，技艺传承面临后继乏人的困境。如今依托乡村阵地，开展非遗进校园、民俗展演、老曲牌整理记录，吸纳村里青少年参与学习，守护这份乡土打击乐活态遗产。

锣鼓铿锵鸣乡野，铜镲翻飞闹流年。华庄村吵子会，是督亢大地上喧嚣不息的民间音乐瑰宝，声声鼓乐承载冀中百姓的节庆喜乐，延续北方乡村礼俗与民间乐艺交融共生的古老文脉。


词条摘录：
华庄村吵子会，传统音乐，保定市级非遗。2021年列入保定市第七批市级非物质文化遗产名录。属冀中武吵子，以大鼓、铙、镲、钹等打击乐器为主，兼配唢呐；口传心授传承，留存多套传统锣鼓曲牌，分巡游、撂场两种演出形式。服务乡村祭祀与花会民俗，开展展演普及，为京南珍贵民间打击乐乐社。

019. Zhuozhou Intangible Cultural Heritage｜Huazhuang‑cun Chaozi Music Society

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

Huazhuang‑cun Chaozi Music Society belongs to the Wuchaozi (martial‑style Chaozi) genre of central‑Hebei Chaozi music. It is a traditional percussion ensemble sustained by village folk festivals and ritual sacrifices, with a history of more than one hundred years. It stands as a highly distinctive folk instrumental form in southern Beijing and central Hebei. Named for its rousing, boisterous ensemble of gongs, drums and cymbals, it was formerly known as the “Music‑Offering Society”. It chiefly performed for temple‑fair blessings and folk processions, serving as an indispensable accompanying musical group for northern Chinese folk festivities.

Centered on percussion, the ensemble is led by large drums, complemented by a full set of bronze instruments: big cymbals, nao cymbals, bo cymbals, dangzi small bronze gongs and hand gongs. Suona wind instrument supports certain pieces. Its performance style is vigorous, bold, forceful‑rhythmed and grand‑spirited. There are two performing modes: street‑parade processions and stationary open‑ground shows. During parades, musicians march in formation amid thunderous drum‑and‑gong sounds. In stationary performances, they play ensemble pieces on‑site interspersed with dazzling cymbal‑twirling stunts, creating a lively and exuberant atmosphere. Skills are passed down orally and by personal demonstration from senior artists. Traditional rhythmic scores are preserved, including dozens of classic drum‑and‑gong tunes. Many pieces retain the original features of Ming‑Qing folk music, offering living reference materials for the study of central‑Hebei folk percussion.

Safeguarded by successive generations of local villagers, the society suspended activities in the mid‑to‑late 20th century, yet its musical instruments were well‑kept by residents.&#8239undefinederformances resumed in the new era. Today it boasts more than twenty musicians of senior, middle and young ages. Apart from serving local seasonal rituals and folk customs, the group takes part in Lantern‑Festival celebrations, folk‑art galas and public ICH exhibitions, enlivening rural festive occasions.

In 2021, Huazhuang‑cun Chaozi Music Society was inscribed on the Seventh Batch of Baoding Municipal‑level Intangible Cultural Heritage List. The administering institution is Zhuozhou Cultural Center. Transmitted entirely through oral teaching and hands‑on guidance, the art faces the challenge of dwindling successors as elder musicians grow advanced in years. Leveraging village venues, ICH‑on‑campus programmes, folk performances and documentation of ancient tunes are carried out. Local teenagers are recruited for training to preserve this living heritage of rural percussion music.

Resounding drums echo across countryside; whirling bronze cymbals celebrate passing years. Huazhuang‑cun Chaozi Music Society is an enduring folk‑music treasure of the ancient Dukang land. Its beats embody the festive joy of central‑Hebei locals and perpetuate the age‑old cultural lineage where northern rural rituals and folk musical arts interweave.

Catalogue Excerpt
Huazhuang‑cun Chaozi Music Society, Traditional Music, Baoding Municipal‑level ICH. Inscribed on the Seventh Batch of Baoding Municipal‑level Intangible Cultural Heritage List in 2021. A central‑Hebei martial‑style Chaozi ensemble dominated by drums, nao, bo and other percussion instruments, supplemented by suona. Heritage relies on oral‑hands‑on instruction; multiple traditional drum‑gong tunes survive. Two performance formats: street parade and stationary open‑ground show. Serving rural sacrifices and folk festivities with public performances and popularisation work. A precious folk‑percussion ensemble south of Beijing.

门球狂人

020、涿州非遗：竹马（南胡宁村竹马会）

（保定市级非物质文化遗产，传统舞蹈类，属地：孙家庄乡南胡宁村）

督亢西南，古村流韵。竹马（南胡宁村竹马会），民间俗称跑竹马，是冀中大地极具代表性的民间社火花会，2021年列入保定市第七批市级非物质文化遗产名录 。该会始创于清代道光年间，取材昭君出塞历史故事，代代口传身授，至今已有两百余年传承历史，是京南乡土民俗活态遗存。

竹马道具以竹篾扎作骨架，外裱五彩布料，分为马头、马尾两部分。演出之时，演员将整套竹马道具挎缚腰间，人在马腹之内，宛若跨骑骏马。演员依照戏曲人物装扮，分别扮演王昭君、护送大臣、随从等角色，手持马鞭，跟随锣鼓节奏驰骋起舞，模拟骏马徐行、奔腾、盘旋、跳跃的姿态，人马合一，形神兼备。

表演讲究阵法变换，留存一条线、龙摆尾、盘玉柱等经典阵式，队伍进退回旋，开合有度。伴奏以打击锣鼓为主，节奏铿锵热烈。每到春节、元宵庙会，竹马会跟随民间花会巡游出会，旌旗先导，鼓乐齐鸣，人马穿梭往来，场面红火热闹，是乡间节庆不可或缺的民俗盛景。

历经数代村民接续传承，老会历来依靠村民自发参与，农闲排练，节庆出会。如今参演人员年龄普遍偏高，队伍老龄化，项目面临后继接续的现实困境。当代坚守花会老艺人，整理复原固有阵式、角色套路与锣鼓伴奏，积极参与通会灯市、非遗大展、各类民俗汇演，尽力扩大项目社会影响力，吸引乡村青年关注，守护这份珍贵的乡土社火记忆 。

一扎竹骨，一袭彩衣。南胡宁竹马会，把昭君出塞的历史故事化为乡土舞蹈。锣鼓声声，骏马翩跹，两百余年社火民俗扎根督亢故土，承载冀中百姓的节庆喜乐，在守艺之中延续古老民间花会的烟火光彩。

词条摘录

竹马（南胡宁村竹马会），保定市级非物质文化遗产，传统舞蹈类别，属地孙家庄乡南胡宁村。始创清道光年间，题材取自昭君出塞。竹篾扎制竹马道具，演员挎马起舞，拥有龙摆尾、盘玉柱等多套传统阵法，锣鼓伴奏，春节元宵随花会展演。依靠村民口传身授传承，积极参加各类非遗民俗展演，是京南珍贵民间社火遗存。


020. Intangible Cultural Heritage of Zhuozhou: Zhuma (Nahuning Village Zhuma Society)

(Baoding‑level Intangible Cultural Heritage, Category: Traditional Dance, Location: Nahuning Village, Sunjiazhuang Township)

To the southwest of ancient Dukang land lies a time‑honoured village brimming with folk charm. Zhuma, commonly known as pao zhuma (running‑horse dance), is a representative folk‑shehuo festive performance in central Hebei. It was inscribed on the 7th Batch of Baoding‑level Intangible Cultural Heritage List in 2021. Originating during the Daoguang reign of the Qing Dynasty, the performance draws its theme from the historical tale of Wang Zhaojun’s journey beyond the frontier. Passed down orally and through personal demonstration from generation to generation, it boasts a heritage of more than 200 years and stands as a living folk custom relic in southern Beijing‑Tianjin‑Hebei region.

The zhuma prop has a frame woven from thin bamboo strips, covered with colourful fabric, and consists of a horse‑head and a horse‑tail. During the show, performers strap the whole prop around their waists, standing inside the “horse‑belly” as if riding a real steed. Dressed in opera‑style costumes, they play the roles of Wang Zhaojun, escorting ministers and attendants. Holding horsewhips, they dance to the rhythm of gongs and drums, imitating the gait of horses‑‑walking slowly, galloping, wheeling and leaping. Human and prop blend into one, delivering vivid and lifelike acting.

The performance features varied formations, including Single‑Line Formation, Dragon‑Tail‑Swing and Jade&#8209illar‑Circling. The troop moves back and forth in well‑disciplined patterns. Percussion from gongs and drums provides powerful, lively accompaniment. During the Spring Festival and Lantern Festival temple fairs, the zhuma society joins folk‑festive parades. Led by banners, accompanied by thunderous percussion, performers weave through crowds, creating a bustling festive spectacle indispensable for rural celebrations.

For generations, this old folk society relied on voluntary villager participation. Rehearsals took place in farming slack seasons, and public performances were staged for festivals. Today, most performers are elderly, and the project faces the challenge of insufficient young successors. Veteran artists dedicated to this folk art sort out and restore traditional formations, role routines and drum scores. They actively take part in Tonghui Lantern Fair, intangible‑heritage exhibitions and folk‑culture galas to raise public awareness and attract rural youth, preserving this precious memory of local shehuo folk art.

Bamboo frames are bound, colourful costumes draped. Nahuning Village Zhuma Society transforms the historic story of Zhaojun’s frontier mission into folk dance. Amid resounding drums and “galloping” horse props, this 200‑year‑old shehuo folk custom is rooted in the ancient Dukang land. It embodies the festive joy of people in central Hebei and keeps the vitality of ancient folk festive art alive through inheritance.

Glossary Extract

Zhuma (Nahuning Village Zhuma Society): Baoding‑level intangible cultural heritage of traditional dance in Nahuning Village, Sunjiazhuang Township. It dates back to the Daoguang reign of Qing Dynasty, themed on Wang Zhaojun’s mission to the frontier. Dancers wear bamboo‑woven horse props and perform classic formations such as Dragon‑Tail‑Swing and Jade‑Pillar‑Circling to gong‑and‑drum accompaniment. It appears in folk parades for Spring Festival and Lantern Festival. Transmitted among villagers by oral and hands‑on teaching, it frequently participates in heritage shows, serving as a valuable folk‑shehuo relic south of Beijing.

门球狂人

021、涿州非遗：霸王鞭舞(三城村霸王鞭舞)

（保定市级非物质文化遗产，传统舞蹈类，属地：东城坊镇三城村）

三城村霸王鞭舞，是扎根东城坊镇三城村的民间传统舞蹈，与省级非遗三城村十不闲共生共演，为当地花会体系重要组成部分。该技艺流传于乡间已有百余年历史，兴盛于民国，新中国成立之后，伴随十不闲戏会发展，鞭舞套路不断丰富完善，成为京南乡土节庆极具代表性的民间舞蹈形式。

霸王鞭道具以木质或竹料制成，鞭身约一米长短，鞭体两端开槽嵌入铜钱，外饰彩色绸带彩穗。舞者持鞭起舞，以鞭击打自身肩、肘、腰、胯、腿、脚各个部位，鞭体碰撞铜钱哗啦作响，节奏清脆铿锵。表演兼具舞蹈律动与节拍击打，可单人独舞，亦适合集体群舞。

整套舞蹈留存走八字、套葫芦、龙摆尾、串黄瓜架等传统阵法队形。演员随锣鼓打击乐进退回旋，跳跃、转身、磕鞭、对鞭，队形开合流转，动作明快热烈。旧时出会，常与十不闲联袂登场，花会巡游之时，十不闲说唱伴唱，霸王鞭列队起舞，歌舞相合，锣鼓齐鸣，是春节、元宵庙会上不可或缺的民俗盛景。

旧时霸王鞭依靠村民口传身授，农闲时节在村内空地排练，节庆出会，村民自发参与。一段时期技艺一度沉寂，伴随三城村十不闲戏会复苏，霸王鞭舞重新整理复原。当代依托村史馆、乡村观光园平台，常态化开展排练展演，参与地方文旅活动、非遗汇演，重现古老乡土舞蹈风采 。

如今，三城村挖掘整理鞭舞固有套路，组织村民练习，开展群众传习，把霸王鞭作为乡村文化建设重要内容。老艺人带教中青年爱好者，尽力扩大参与人群，守护这份和十不闲相伴而生的乡土舞蹈记忆。

一鞭摇曳，铜钱铿锵。三城村霸王鞭舞，融律动、声响、阵形于一体，是冀中乡村民俗生活的鲜活缩影。百年乡舞，和十不闲曲艺互为表里，在督亢故土延续烟火浓浓的民间文脉。

词条摘录

三城村霸王鞭舞，涿州市级非物质文化遗产，传统舞蹈类别，属地东城坊镇三城村。与三城村十不闲共生传承，道具木鞭嵌铜钱，舞动撞击作响。拥有走八字、龙摆尾、串黄瓜架等阵法，常与十不闲联袂花会展演。依靠村民口传身授，当代重新整理复原套路，依托乡村平台开展传习展演，为京南珍贵民间舞蹈遗存。


021. Intangible Cultural Heritage of Zhuozhou: Bawang‑bian Dance (Sancheng Village Bawang‑bian Dance)

(Baoding‑level Intangible Cultural Heritage, Category: Traditional Dance, Location: Sancheng Village, Dongchengfang Town)

Sancheng Village Bawang‑bian Dance is a traditional folk dance rooted in Sancheng Village, Dongchengfang Town. Performed alongside the provincial‑intangible‑heritage Shibuxian, it constitutes a vital component of local folk‑festival performance systems. With a folk‑transmission history of more than one hundred years, the dance thrived in the Republic‑of‑China era. After the founding of the People’s Republic of China, its movement routines were continuously enriched and refined alongside the development of the Shibuxian opera troupe. It has grown into a representative folk‑dance form for rural festivals in southern Beijing.

The Bawang‑bian prop is made of wood or bamboo, around one‑metre long. Slots are cut at both ends of the baton to embed copper coins, decorated with colourful silk ribbons and tassels. Dancers hold the baton and strike their own shoulders, elbows, waists, hips, legs and feet. Clattering sounds ring out as embedded coins collide, producing crisp, forceful rhythms. The performance blends dance movements and rhythmic beating. It can be presented as a solo dance or a group collective dance.

Complete traditional formations are preserved, including Figure‑Eight Walk, Gourd‑Loop Formation, Dragon‑Tail‑Swing and Cucumber‑Trellis Weave. Dancers advance, wheel, leap and turn to gong‑and‑drum percussion. They strike their own batons and clash batons with partners, creating fluid, shifting layouts with brisk, fiery movements. In old festival parades, Bawang‑bian Dance often shared the stage with Shibuxian. During folk‑society processions, Shibuxian delivered ballad singing while lines of Bawang‑bian dancers performed. Songs, dances and thunderous percussion merged into an indispensable festive spectacle for Spring Festival and Lantern‑Festival temple fairs.

In former times, Bawang‑bian skills were passed down among villagers by oral instruction and hands‑on demonstration. Rehearsals were held on village open grounds during farming slack seasons, with villagers volunteering for festival performances. The art once lapsed for a period, yet it was sorted out and restored together with the revival of the Sancheng Village Shibuxian troupe. Today, regular rehearsals and shows are staged at the village‑history museum and rural sightseeing park. It takes part in local cultural‑tourism events and intangible‑heritage galas, reviving the charm of this ancient rural dance.

At present, Sancheng Village sorts out and documents traditional dance routines, organises villagers for practice and popular‑mass inheritance. Bawang‑bian Dance serves as an important part of rural‑cultural development. Veteran artists mentor young and middle‑age enthusiasts to expand participant groups, preserving the folk‑dance memory that has grown hand‑in‑hand with Shibuxian.

One swaying baton brings forth the clink of copper coins. Integrating body rhythms, percussive sounds and formation choreography, Sancheng Village Bawang‑bian Dance offers a vivid miniature of folk life in central Hebei. This century‑old rural dance complements the Shibuxian ballad form, sustaining the lively folk cultural heritage on ancient Dukang land.

Glossary Extract

Sancheng Village Bawang‑bian Dance: Baoding‑level intangible cultural heritage of traditional dance, located in Sancheng Village, Dongchengfang Town. It is inherited hand‑in‑hand with Sancheng‑Village Shibuxian. Its wooden baton prop is inlaid with copper coins that clink during performance. Classic formations include Figure‑Eight Walk, Dragon‑Tail‑Swing and Cucumber‑Trellis Weave. It often appears in folk‑society parades together with Shibuxian. Transmitted among villagers by oral and hands‑on teaching, its routines have been restored in modern times. Training and performances are hosted on rural platforms. It is a precious surviving folk‑dance heritage south of Beijing.

门球狂人

022、涿州非遗：胡氏养蜂制蜜技艺

(保定市级非物质文化遗产)

胡氏养蜂制蜜技艺，是涿州本土百年传承的传统技艺，先列入涿州市级非物质文化遗产，2021年入选保定市级非物质文化遗产名录，历经四代人接续坚守，把一份“甜蜜事业”沉淀为活态乡土文化，见证华北养蜂业百年变迁。

这项技艺发轫于1920年，第一代创始人胡述古，在北京求学期间痴迷养蜂。彼时国内养蜂技术相对落后，他变卖家中田地筹措路费，远赴海外研习先进活框养蜂技术，引进优良蜂种归国，扎根涿州孙庄乡北横岐村建立养蜂场。胡述古潜心钻研蜂群驯养、花期转场、成熟蜜采收全套技艺，创办华北养蜂协会，其事迹载入《中国蜂业简史》。当年胡氏出产的优质蜂蜜，供应北京同仁堂、鹤年堂等老字号药铺，用于中药丸剂配伍，凭借过硬品质赢得业界口碑。

技艺代代相传，历经第二代、第三代传承人接续耕耘，在传统养蜂经验之上，不断完善蜂群管护、分蜂育王、取蜜过滤、储存保鲜等整套工艺，恪守只采成熟封盖蜜的古法准则，坚持不掺假、不勾兑，守护蜂产品本真风味。

第四代代表性传承人胡建怡接过传承接力棒，在坚守祖传技艺的基础上守正创新。2012年成立述古养蜂专业合作社，推行“合作社+基地+蜂农”模式，面向周边蜂农开展技术培训，传授养蜂、取蜜经验，帮助千余户蜂农拓宽增收渠道，带动乡村产业发展。他既保留古法养蜂制蜜的核心要领，又结合现代生产规范改良加工工艺，推出喜蜜等创新产品，让百年老技艺适配当代生活。

胡氏养蜂制蜜技艺，不只是一门养殖加工手艺，更蕴含一套完整的传统经验智慧。讲究顺应花期时节、顺应蜂群习性，重视蜜源环境，坚持采收高浓度成熟原蜜，讲究低温过滤、自然储存，最大程度保留蜂蜜活性营养。从蜂群繁育、野外转场放蜂，到割蜜、摇蜜、过滤、封存，每一道工序都讲究经验把控，是华北地区传统养蜂文化的鲜活样本。

百年光阴流转，胡氏养蜂制蜜技艺从一户家传手艺，发展成带动一方百姓致富的非遗产业。传承人既守护老祖宗留下来的技艺根脉，又拥抱时代变化，让古老非遗走出蜂场，走进大众生活。这份流淌在督亢故土的甜蜜技艺，既是涿州乡土物产的一张名片，也书写着民间匠人守正创新、惠济乡邻的动人故事。

词条摘录

胡氏养蜂制蜜技艺，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。该技艺始创于1920年，历经胡氏四代家族传承，是集蜂群繁育、花期转场、成熟蜜采收、低温加工、自然储存于一体的完整传统养蜂体系。技艺恪守古法、原生态采收，不添加、不勾兑，最大程度保留蜂蜜天然活性营养。传承人在传承基础上创新经营模式，带动区域蜂农增收，推动传统养蜂技艺产业化、生活化发展。2021年正式列入保定市级非物质文化遗产名录，是华北地区百年民间养蜂文化的典型代表。

022. Intangible Cultural Heritage of Zhuozhou: Hu‑style Beekeeping and Honey‑making Craft

(Baoding‑level Intangible Cultural Heritage)

Hu‑style Beekeeping and Honey‑making Craft is a century‑old traditional technique native to Zhuozhou. It was first listed as Zhuozhou‑level intangible cultural heritage and included in the Baoding‑level Intangible Cultural Heritage List in 2021. Passed down through four generations, this “sweet undertaking” has become living local culture and witnessed the century‑long evolution of beekeeping in North China.

The craft originated in 1920. Its founder Hu Shugu became fascinated with beekeeping while studying in Beijing. Back then, beekeeping technologies in China were relatively underdeveloped. He sold family farmland to raise travel funds, went overseas to study advanced movable‑frame beekeeping techniques, and introduced high‑quality bee breeds back home. He settled in Beihengqi Village, Sunzhuang Township, Zhuozhou and set up an apiary. Hu Shugu devoted himself to bee domestication, migratory beekeeping following blooming seasons and mature‑honey harvesting. He founded the North China Beekeeping Association, and his life story is recorded in Brief History of Chinese Apiculture. The premium honey produced by the Hu family was supplied to time‑honored pharmacies such as Tongrentang and Heniantang in Beijing for preparing traditional Chinese medicinal pills, winning wide recognition in the industry for its superior quality.

The craft was carried forward by the second and third‑generation inheritors. Building on traditional beekeeping experience, they refined the whole set of procedures including bee‑colony management, queen‑bee breeding, honey extraction, filtration and preservation. They follow the ancient rule of harvesting only fully capped mature honey, and never adulterate or blend honey products, preserving the authentic flavor of bee products.

Hu Jianyi, the fourth‑generation representative inheritor, carries on ancestral skills while pursuing innovation. In 2012, he founded the Shugu Beekeeping Professional Cooperative and adopted the model of “Cooperative + Base + Beekeepers”. He delivered technical training for local beekeepers, shared practical beekeeping and honey‑harvesting know‑how, helped more than a thousand beekeeper households increase their income and boosted rural industrial development. While preserving the core essence of ancient beekeeping and honey‑making, he improved processing techniques in accordance with modern production standards and launched innovative products such as festive honey, enabling this century‑old craft to adapt to modern life.

More than merely a breeding and processing craft, Hu‑style Beekeeping and Honey‑making Craft embodies complete traditional wisdom. It respects flowering seasons and bee habits, values nectar‑source environments, and harvests high‑concentration raw mature honey. Low‑temperature filtration and natural storage are adopted to retain maximum active nutrients of honey. Every step, from bee breeding and migratory field beekeeping to honey cutting, shaking, filtering and sealing, relies on hands‑on experience. It serves as a vivid specimen of traditional beekeeping culture in North China.

Over a hundred years, this family‑handed‑down craft has grown into an intangible‑cultural‑heritage industry that lifts local people out of poverty. Inheritors safeguard ancestral craftsmanship while keeping pace with the times, bringing this ancient heritage out of apiaries into people’s daily lives. This sweet craft rooted in the ancient Dukang land is a signature local product of Zhuozhou, telling a touching story of folk craftsmen who inherit traditions, make innovations and benefit local communities.

Glossary Extract

Hu‑style Beekeeping and Honey‑making Craft is a Baoding‑level intangible cultural heritage under the category of traditional crafts, declared by Zhuozhou City, Hebei Province. Originated in 1920 and inherited across four generations of the Hu family, it forms a complete traditional beekeeping system covering bee‑colony breeding, migratory beekeeping, mature‑honey harvesting, low‑temperature processing and natural storage. Adhering to ancient ecological harvesting principles, it avoids additives and blending to preserve natural active nutrients of honey. Inheritors have innovated operational models to raise local beekeepers’ income and promote the industrialization and popularization of traditional beekeeping skills. Officially inscribed on the Baoding‑level Intangible Cultural Heritage List in 2021, it is a typical representative of century‑old folk beekeeping culture in North China.

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023、涿州非遗：烙画（高氏葫芦熔画）

（保定市级非物质文化遗产，传统美术类）

高氏葫芦烙画，是扎根涿州的民间火艺美术，2021年列入保定市第七批市级非物质文化遗产名录。技艺源起清代道光年间，历经五代家族传承，以烙铁为笔，以葫芦为纸，不靠颜料丹青，仅凭火温灼烫形成焦褐烙痕作画，是北方葫芦烙画颇具代表性的流派。

高氏葫芦烙画选材考究，多用本地风干老葫芦，采摘之后经晾晒、去皮、打磨、脱脂，经年干透之后方可入艺。全套工具以多规格电烙笔为主，配有尖头、圆头、扁头等十余种不同烙铁头，艺人依靠控温、运力、运笔速度的变化，在葫芦曲面之上分出焦、褐、黄、浅晕多重层次，线条虚实相生，明暗浓淡尽由火候掌控，不施颜料，本色成画。

技法兼容烙绘、浅刻，集勾、勒、点、染、皴擦于一体。山水花鸟、人物典故、诗词书法皆可入作。作品依托葫芦天然器型随形布局，葫芦谐音“福禄”，自带吉祥寓意，把民俗祈愿与传统绘画融为一体。作品有摆件、挂件、葫芦灯等多种形制，既有案头雅玩，也适宜百姓日常陈设收藏。

家族技艺代代赓续，第五代传承人王超，自幼承袭家学，后又广访名家，研习美术理论，改良烙画工具，把传统烙画技艺与现代审美融合，拓展创作题材，斩获省市各类艺术奖项数十项，创办工作室，坚持进校园、进军营开展公益讲座与技艺体验，广传火笔之艺。同系传承人高鹏亦常年开展非遗公益宣讲、现场展演，推动技艺走进大众生活。

旧时民间葫芦烙画多散于乡野，传承多靠家传口授。当代高氏后人没有固守旧法，在恪守古法火烙根本的前提下，吸收现代美术构图理念，创新器物形制与题材内容，积极参加非遗市集、文化会展，开展传习培训，广收学徒，抢救活化这门古老火艺。

一炉火笔，一寸葫身。高氏葫芦烙画，火为墨，葫为笺，方寸之间藏山水意趣。它承载北方民间吉祥民俗，凝聚乡土匠人巧思，在守正与创新之间，让这门源自督亢大地的火艺，持续焕发时代光彩。

词条摘录

高氏葫芦烙画（俗称葫芦熔画），保定市级非物质文化遗产，传统美术类别，涿州市申报。技艺溯源清代道光年间，五代家传，以烙铁为笔，借温度灼烧葫芦表皮形成深浅烙痕，不施颜料，工具多样，技法丰富，题材涵盖山水、人物、花鸟、书法。第五代传承人王超，传承人高鹏，改良工具、拓展题材，开展展演、公益传习活动，是京南地域极具代表性的葫芦烙画流派。


023. Intangible Cultural Heritage of Zhuozhou: Pyrography (Gao‑Gourd Pyrography)

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

Gao‑family gourd pyrography is a folk fire‑art fine‑craft rooted in Zhuozhou. It was inscribed on the 7th Batch of Baoding‑level Intangible Cultural Heritage List in 2021. Originating in the Daoguang reign of the Qing Dynasty, the craft has been passed down through five generations of the family. Using heated soldering‑irons as brushes and gourds as paper, artists create burnt‑brown traces by thermal scorching without any paint or pigment. It stands as a representative school of northern‑style gourd pyrography.

Great care goes into material selection. Locally‑harvested air‑dried aged gourds are preferred. After picking, gourds go through sun‑curing, peeling, polishing and degreasing, and must be fully seasoned over years before creation. The main implements are multi‑specification electric pyrography pens fitted with more than ten different tips: sharp‑pointed, round‑headed and flat‑headed. By adjusting temperature, hand pressure and drawing speed, artisans produce multiple tonal layers of charred‑black, umber, yellow and soft halation across the gourd’s curved surface. Definite and faint lines interplay; light, shade and depth are entirely governed by heat control. No pigments are applied — the natural gourd surface forms the finished picture.

The craft integrates pyrographic drawing and shallow carving, combining outlining, contouring, dotting, shading and texture‑brushing. Landscapes, flowers‑and‑birds, historical figures, poems and calligraphy can all be rendered. Compositions adapt naturally to each gourd’s unique shape. Since the Chinese word for “gourd” shares the pronunciation of “blessing‑and‑fortune”, gourds carry inherent auspicious connotations, merging folk‑custom wishes with traditional painting. Finished works include table ornaments, hanging decorations and gourd lamps, serving both as elegant desk collectibles and everyday household ornaments.

The family craft has been sustained across generations. Wang Chao, the fifth‑generation inheritor, learned the skill from childhood. He further studied under established masters and absorbed fine‑art theories. He improved pyrography tools, blended traditional techniques with modern aesthetics and broadened creative themes, winning dozens of provincial‑municipal art awards. He founded a studio and delivers free lectures and hands‑on experience sessions in schools and military camps to popularize this fire‑brush art. Fellow inheritor Gao Peng also gives regular public‑welfare lectures and live demonstrations to bring the craft to wider audiences.

In old times, folk gourd pyrography scattered across rural areas and was mostly transmitted through family oral teaching. Modern‑day Gao‑family descendants do not rigidly cling to old conventions. While preserving the core ancient hot‑branding technique, they adopt contemporary compositional concepts, innovate vessel forms and themes, participate in heritage fairs and cultural exhibitions, organize training courses and recruit apprentices to revitalize this ancient fire‑art.

A fire‑heated brush meets the surface of a gourd. For Gao‑family gourd pyrography, fire serves as ink and the gourd as paper. Within this small space lies the charm of landscape painting. Bearing northern folk auspicious customs and embodying rural‑artisan ingenuity, this fire‑art originating from ancient Dukang land continues to shine with contemporary vitality through inheritance and innovation.

Glossary Extract

Gao‑family Gourd Pyrography (commonly known as gourd heat‑branding art): Baoding‑level intangible cultural heritage of traditional fine arts, submitted by Zhuozhou. Dating back to the Daoguang reign of the Qing Dynasty, it has five generations of family inheritance. Heated iron tools act as brushes, burning tonal traces onto gourd rinds without pigment. Diverse tools and versatile techniques render landscapes, figures, flora‑fauna and calligraphy. Represented by fifth‑generation inheritor Wang Chao and inheritor Gao Peng. They upgrade tools, expand themes and host demonstrations plus public‑welfare training. It is a highly representative gourd‑pyrography school south of Beijing.

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024、涿州非遗：时氏正骨术（涿州市）

（保定市级非物质文化遗产）

燕赵大地民间正骨医术源远流长，时氏正骨术，由涿州市申报，列入保定市级非物质文化遗产名录，后晋级河北省第七批省级非遗，行政属地为保定白沟新城，地缘毗邻涿州，文化辐射京南督亢广大区域。技艺发轫于清末民初，历经四代传承，以手法复位、辨证施治为特色，扎根冀中乡土，服务四方百姓，是北方中医骨伤领域珍贵的活态文化遗存。

时氏正骨起源于清末民初，早期先辈游走乡间，医治跌打损伤、骨折脱臼，博采南北骨伤名家经验，结合中医经络脏腑理论，逐步形成自成体系的正骨技法。1932年，时氏医者整理家传经验，编纂完成《时氏家传正骨术》，由齐白石弟子马景桐题字，在北平、天津刊印发行，留下珍贵的文字典籍，为后世传承留下文献依据，这也是北方民间正骨少有的成文家传医籍。

该疗法恪守中医正骨八法精髓，讲究手摸心会，辨证施治，以“分神推拿、瞬间正骨、复位调理”为时门三绝，手法讲究刚柔相济、巧力复位，依靠双手辨骨察筋，对骨折、关节脱位进行徒手整复，配合外敷药物、夹板固定，做到手法、药物、养护三位一体，减轻患者痛苦，助力骨伤愈合。在传承古法基础上，第四代传承人时峰博采众长，结合现代医学理念，创新筋膜点位松解疗法，拓展对颈肩腰腿痛、急慢性软组织损伤的诊疗，实现传统技艺守正创新，让古老正骨适配当代百姓的健康需求。

百余年间，时氏正骨恪守“正其心、怀其仁、轻其利、愈其民”的行医家风，世代秉持济世救人的初心。旧时乡间缺医少药，时氏医者常常奔走乡野，体恤贫苦民众，救死扶伤，在冀中、京南一带拥有广泛口碑。随着时代发展，现代医学快速普及，传统民间正骨面临传承挑战，时氏后人并未固守旧法，主动学习现代骨伤诊断知识，借鉴影像学检查，将古法手技与现代医学相互参照，既守住家传正骨的内核，又提升临床诊疗的安全性与科学性。

该项目由涿州完成市级非遗申报，后成功晋级河北省第七批省级非物质文化遗产名录，时峰获评省级非遗代表性传承人。如今，传承团队坚持临床接诊，接诊骨折脱臼、跌打扭伤、颈肩腰腿疾患等各类骨伤病症，同时坚持收徒传艺，系统传授正骨手法、用药经验与行医德行，把百年家学代代接续。传承团队还开展公益义诊，普及中医骨伤养生知识，让非遗医术走出诊室，惠及更多群众。

一门正骨技艺，承载一方乡土医脉。时氏正骨术，不只是治病救人的医术，更是燕赵民间中医药文化的缩影。它凝聚先辈医者的实践智慧，藏着代代相传的仁心医德。历经百年风雨，在守正中传承，在创新中发展，以指尖医术护佑百姓安康，为督亢大地的非遗谱系增添了厚重的传统医药篇章。

词条摘录

时氏正骨术，河北省省级非物质文化遗产，项目类别为传统医药，由涿州市申报，行政属地为保定白沟新城，隶属京南督亢文化圈。技艺始于清末民初，四代家传，1932年编著《时氏家传正骨术》，马景桐题字，为北方民间正骨稀有的成文家传医籍。恪守中医正骨八法，以“分神推拿、瞬间正骨、复位调理”为独门三绝，采用徒手复位、外敷药物、夹板固定三位一体诊疗模式。第四代传承人时峰创新筋膜点位松解疗法，融合现代影像学诊断，拓展软组织损伤诊疗。秉持“正其心、怀其仁、轻其利、愈其民”行医家风，坚持临床诊疗、师承传艺与公益义诊，是北方中医骨伤重要活态文化遗存。

备注：时氏正骨术由涿州市申报保定市级非遗，行政属地为保定白沟新城，同属京南督亢文化圈，故纳入本土非遗记述。

024. Intangible Cultural Heritage of Zhuozhou: Shi‑style Bone‑setting Technique

The folk bone‑setting medicine of the Yan‑Zhao region has a long history. Shi‑style Bone‑setting Technique was declared by Zhuozhou City. It was inscribed on the Baoding‑level Intangible Cultural Heritage List and later promoted to the 7th batch of Hebei Provincial‑level Intangible Cultural Heritage. Administratively it belongs to Baoding Baigou New Town, bordering Zhuozhou culturally, and its influence covers the vast Dukang area south of Beijing. Dating back to the late Qing and early Republican periods and passed down through four generations, it is characterized by manual reduction and syndrome‑differentiated treatment. Rooted in central Hebei countryside and serving people far and wide, it is a precious living cultural heritage of northern TCM orthopedics.

Shi‑style bone‑setting originated in the late Qing and early Republican eras. Early ancestors travelled rural villages to treat traumatic injuries, fractures and dislocations. Drawing on experience of famous orthopedic masters from north and south and integrating TCM theories of meridians and viscera, they gradually formed a self‑contained bone‑setting system. In 1932, Shi‑family physicians compiled Shi‑family Handed‑down Bone‑setting Techniques, with an inscription by Ma Jingtong, a disciple of Qi Baishi. Published in Beiping and Tianjin, it left precious written documents for later‑generation inheritance. It is one of the few written family medical books for northern folk bone‑setting.

Adhering to the essence of the eight TCM orthopedic manipulations, the therapy stresses “feeling with hands and perceiving with mind” and syndrome‑differentiated treatment. Its three signature skills are “spirit‑oriented tuina, instant bone‑setting, and post‑reduction conditioning”. The manipulations combine hardness and softness and achieve resetting with skilful force. Practitioners identify bones and tendons by hand to perform manual reduction for fractures and joint dislocations. Combined with external herbal medicine and splint fixation, it forms a tripartite system of manipulation, medication and rehabilitation to relieve patients’ pain and facilitate bone healing. Building on ancient traditions, Shi Feng, the fourth‑generation inheritor, absorbed diverse expertise and integrated modern medical concepts. He innovated the fascial point release therapy, expanding treatment for neck‑shoulder‑waist‑leg pain and acute‑chronic soft‑tissue injuries. This inheritance‑plus‑innovation approach adapts the ancient bone‑setting art to modern public health needs.

For more than a century, Shi‑style bone‑setting has upheld the family medical ethos: “Keep a righteous heart, hold benevolence, value profit lightly, heal the people”. Generations have kept the original aspiration of saving lives. In old days when rural medical resources were scarce, Shi‑family doctors travelled across villages to treat poor people and rescue patients, earning wide reputation in central Hebei and southern Beijing. With popularization of modern medicine, traditional folk bone‑setting faces inheritance challenges. Instead of rigidly following old methods, Shi‑family descendants study modern orthopedic diagnosis and adopt imaging examinations. They combine ancient manual skills with modern medicine, preserving the core of family‑handed‑down bone‑setting while improving clinical safety and scientificity.

The project was submitted for municipal‑level heritage recognition by Zhuozhou and later listed in the 7th batch of Hebei Provincial‑level Intangible Cultural Heritage. Shi Feng was awarded the title of Provincial‑level Representative Inheritor. Today, the inheritance team receives clinical patients suffering from fractures, dislocations, sprains, neck‑shoulder‑waist‑leg disorders and other orthopedic conditions. Meanwhile, they take on apprentices, systematically passing down bone‑setting manipulations, medication experience and medical ethics to carry forward the century‑old family knowledge. The team also holds free public clinics and popularizes TCM orthopedic health knowledge, bringing this intangible‑cultural‑heritage medicine beyond clinics to benefit more people.

A bone‑setting craft carries the local medical lineage. Shi‑style Bone‑setting Technique is more than healing art; it is a microcosm of folk TCM culture of the Yan‑Zhao land. It embodies practical wisdom of ancestral physicians and the benevolent medical ethics passed down through generations. Having weathered a century of changes, it inherits traditions and develops through innovation. With fingertip medical skills it safeguards people’s health and adds a profound chapter of traditional medicine to the intangible‑cultural‑heritage lineage of Dukang land.

Glossary Extract

Shi‑style Bone‑setting Technique is a Hebei Provincial‑level intangible cultural heritage under the category of traditional medicine, declared by Zhuozhou City. Administratively it belongs to Baoding Baigou New Town within the southern‑Beijing Dukang cultural circle. Originating in the late Qing and early Republican periods and handed down through four family generations, it produced the written medical book Shi‑family Handed‑down Bone‑setting Techniques in 1932, inscribed by Ma Jingtong, a rare written family orthopedic document in northern China. Following the eight TCM orthopedic manipulations, it features three signature skills: spirit‑oriented tuina, instant bone‑setting and post‑reduction conditioning. It adopts a three‑in‑one treatment mode of manual reduction, external herbal application and splint fixation. Shi Feng, the fourth‑generation inheritor, created fascial point release therapy and integrated modern imaging diagnosis to treat soft‑tissue injuries. Guided by the medical family motto “Keep a righteous heart, hold benevolence, value profit lightly, heal the people”, it carries out clinical practice, apprenticeship teaching and free public clinics. It is an important living cultural relic of northern TCM orthopedics.

Note: Shi‑style Bone‑setting Technique was declared for Baoding‑level intangible cultural heritage by Zhuozhou. Administratively it belongs to Baoding Baigou New Town, yet it falls within the Dukang cultural circle south of Beijing, so it is included in local intangible‑cultural‑heritage records.

门球狂人

025、涿州非遗：武术（望海庄少林会）

（保定市级非物质文化遗产，传统武术类，属地：刁窝镇望海庄村）

望海庄少林会，扎根涿州市刁窝镇望海庄村，是集传统武术、民间花会于一体的乡土民俗武社，2021年列入保定市第七批市级非物质文化遗产名录 。村庄旧时临河设有盐场码头，商旅往来，民风尚武。清光绪十九年（1893年）前后，河南少林寺戳脚派武僧至此募建庙宇，感念乡民捐材助建，便开馆授艺，创立少林会，传授拳脚器械，供村民强身自卫、护守乡闾，技艺自此在村中落地生根，代代传续，迄今已有一百二十余年历史 。

望海庄少林会兼具家传武法与花会展演双重特质。拳械体系完备，留存六合拳、靠山拳、猴拳等传统拳套，刀、枪、棍、鞭各类器械套路齐全；既有单人拳脚、单器械演练，也有二人对打、多人对阵，集体阵法名曰“打连扇”，模拟古战场对阵场景，阵旗分列，进退有序。表演以锣鼓为节，旗幡导引，闪转腾挪，刚猛奔放，每逢春节、元宵庙会，随民间花会出会巡演，锣鼓铿锵，旌旗猎猎，是京南一带极具声势的民俗武会 。

百余年岁月流转，少林会亦曾投身家国大义。抗战烽烟之时，会中弟子投身保家卫国，毁桥阻敌、支援前线，以一身武艺守护故土，为这段乡土武史写下慷慨悲壮的一页 。

该会历经八代薪火相传，杨守培为第六代传人、现任会长。现有第六、七代传人四十余人，第八代青年传人二十余名，老中青接续传承。旧时以口传身授、会规自律维系社团；如今搭建传习场地，坚持村内常态化操练，积极参与全市非遗展演、民俗庙会、全民运动会汇演，进校园普及传统武术，着力吸纳青少年习练，破解后继乏人的传承困境 。

一方乡土，一腔武风。望海庄少林会，不独是拳脚器械之技，更是燕赵乡土尚武精神的鲜活载体。百年武社扎根督亢大地，把习武强身、守望乡邻的民俗传统代代赓续，让古老民间武术在当代乡村生生不息。

词条摘录

望海庄少林会，保定市级非物质文化遗产，传统武术类别，属地刁窝镇望海庄村。始创于1893年，源自戳脚派武僧授艺，集拳械武术与民间花会展演为一体，拥有多套拳术、器械以及集体阵法“打连扇”。历经八代传承，杨守培为第六代传人、会长。旧时会员曾投身抗日救亡；当代坚持日常传习、庙会展演，开展青少年传习，承载燕赵乡土尚武民风。


025. Intangible Cultural Heritage of Zhuozhou: Martial Arts (Wanghaizhuang Shaolin Society)

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

Rooted in Wanghaizhuang Village, Diaowo Town of Zhuozhou, Wanghaizhuang Shaolin Society is a folk martial‑arts community integrating traditional martial arts and folk festival performances. It was inscribed on the 7th Batch of Baoding‑level Intangible Cultural Heritage List in 2021. In old times, the village sat beside a river with a salt‑works wharf. Frequent merchant travellers fostered a local martial‑valuing ethos. Around the 19th year of the Guangxu reign of the Qing Dynasty (1893), warrior‑monks of the Chuojiao school from Henan Shaolin Temple came to raise funds for temple construction. Grateful for villagers’ donations of materials and labour, they opened a martial‑arts school and founded the Shaolin Society. They taught bare‑hand boxing and weapon routines for villagers to build fitness and defend their hometown. The techniques took root in the village and have been passed down for more than 120 years.

Wanghaizhuang Shaolin Society bears dual features of family‑style martial heritage and folk‑festival performance. It boasts a complete system of boxing and weapon skills. Preserved traditional boxing sets include Liuhe Boxing, Kaoshan Boxing and Monkey Boxing, alongside full routines for broadswords, spears, cudgels and whips. Performances cover solo bare‑hand forms, single‑weapon demonstrations, two‑person sparring and multi‑combat group displays. The collective formation called “Dalian Shan” simulates ancient‑battlefield confrontations, with arrayed battle‑flags and well‑disciplined advances and retreats. Accompanied by gongs and drums and guided by streamer banners, performers dart, dodge, leap and spin in powerful, unrestrained styles. During Spring Festival and Lantern‑Festival temple fairs, the society joins folk‑festive parades. Resounding percussion and fluttering banners make it an impressive folk‑martial‑arts event south of Beijing.

Over more than a century, the society has also stood for national justice. During the War of Resistance against Japanese Aggression, its members fought to defend their homeland. They destroyed bridges to block enemy troops and supported the front‑line, writing a stirring, heroic chapter in local martial‑arts history.

The society has been passed down through eight generations. Yang Shoupei is the sixth‑generation inheritor and current society president. There are more than forty sixth‑ and seventh‑generation inheritors, plus over twenty young eighth‑generation successors, forming a continuous inheritance chain of elders, middle‑aged practitioners and youth. In former times, the community was sustained by oral‑and‑hands‑on teaching and internal association rules. Today, dedicated training venues have been established. Regular village‑based drills are maintained. The society takes part in municipal heritage galas, temple‑fair events and national‑sports‑meet performances. It promotes traditional martial arts in schools and recruits teenage practitioners to ease the challenge of insufficient successors.

One land nurtures one martial spirit. Far more than mere boxing and weapon techniques, Wanghaizhuang Shaolin Society serves as a living carrier of the Yan‑Zhao regional martial ethos. This century‑old martial community is anchored on ancient Dukang land. It carries forward folk traditions of physical training and mutual‑village protection, keeping ancient folk martial arts vibrant within modern‑day rural communities.

Glossary Extract

Wanghaizhuang Shaolin Society: Baoding‑level intangible cultural heritage of traditional martial arts, located in Wanghaizhuang Village, Diaowo Town. Founded in 1893 from instruction delivered by Chuojiao‑school warrior‑monks, it combines boxing‑weapon martial arts with folk‑festival shows. It preserves multiple boxing and weapon routines plus the group‑battle formation “Dalian Shan”. Passed down across eight generations, Yang Shoupei acts as sixth‑generation inheritor and society president. Its members once joined the resistance against Japanese invasion. Modern‑day practice includes regular training, temple‑fair performances and youth‑oriented inheritance programmes. It embodies the martial‑valuing folk ethos of Yan‑Zhao.

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026、涿州非遗｜金石博古画

（保定市级非物质文化遗产，传统美术类）

金石博古画，源自清代兴起的博古拓绘艺术，是传拓技艺与国画创作相融合的独特美术门类。它以碑刻、瓦当、青铜残件等古器物为本体，先完成器物全形拓印，得到金石拓片，再依托拓片留白，以国画笔墨补绘花卉蔬果、清供景物，辅以题跋印章，拓、绘、书、印融为一体，古器朴拙的金石气韵与写意笔墨交相辉映，自成一格艺术风貌。

涿州金石博古画传承脉络始于民国宋翼青，当代代表性传承人张葆冬，承袭家学衣钵，深耕金石考据与书画创作数十载。熟稔传拓全套技法，善全形拓，恪守古制，器物拓印务求忠于实物，不随意杜撰纹饰。整套技艺包含器物遴选、清理除锈、上纸施拓、捶打取拓、揭取拓片、补绘景物、题跋钤印等多道工序。拓片为本，绘画为辅，讲究拓墨层次沉稳，补绘清雅克制，做到拓与画浑然一体，不喧宾夺主。

创作题材丰富：既有青铜礼器、汉魏瓦当、碑刻造像等古物拓绘，梅兰竹菊、瑞卉清供等传统博古题材；也立足涿州本土，将本地出土金石、督亢风物、三国文化元素融入画面，创作《大魏正始元年铭》《北魏涿州造石佛像》等本土主题作品。作品兼具金石考据价值与文人画审美，多次举办专题展览，不少作品被文博机构收藏。

2019年，金石博古画列入涿州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 。后晋为保定市级。技艺门槛颇高，既要精通传拓实操，又要具备国画、书法、金石考据综合修养，习得不易。如今传承人依托快雪书院等阵地，开展展览雅集、公益讲座、非遗进校园、传拓体验活动，整理金石资料，收徒授课，扩大技艺传播，守护这份融古拓与丹青于一体的传统美术。

一纸拓片留古器，半帧丹青续雅风。金石博古画，是督亢大地上别具一格的非遗瑰宝，以拓载古，以画抒怀，延续中华金石传拓与文人博古艺术的生生文脉。


词条摘录：
金石博古画，传统美术，涿州市级非遗。2019年列入涿州市第四批市级非物质文化遗产名录。集金石传拓、国画补绘、题跋钤印于一体，以古器物拓片为基底，补绘清供景物；兼顾金石考据与文人审美，融入涿州本土文物题材。代表性传承人张葆冬，开展展览、公益传习，是冀中特色拓绘合一的传统美术技艺。


026. Zhuozhou Intangible Cultural Heritage｜Epigraphic Antique‑Theme Painting

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

Epigraphic Antique‑Theme Painting derives from the antique‑rubbing art that rose in the Qing Dynasty. It is a distinctive art genre combining stone‑rubbing techniques with traditional Chinese painting. Taking ancient artifacts such as stone steles, tile‑ends and broken bronze pieces as subjects, artists first produce full‑form rubbings of these relics. On the blank spaces of the rubbing, they add paintings of flowers, fruits, vegetables and scholarly offerings with traditional Chinese painting brushwork, complemented by inscriptions and seals. Rubbing, painting, calligraphy and seal‑stamping are integrated as one. The simple, unadorned epigraphic charm of ancient artifacts resonates with free‑hand brushwork, forming a unique artistic style.

The lineage of Zhuozhou’s Epigraphic Antique‑Theme Painting began with Song Yiqing in the Republic of China period. Zhang Baodong, the contemporary representative inheritor, inherited family‑passed knowledge and has devoted decades to epigraphic research and painting‑calligraphy creation. He masters the full set of rubbing skills, excels at full‑form rubbing, and follows ancient conventions. Rubbings are strictly faithful to original artifacts without arbitrary fabrication of decorative patterns. The craft comprises multiple procedures: artifact selection, cleaning and rust removal, paper‑laying and rubbing, beating to produce impressions, peeling off rubbings, supplementary painting of scenery, inscription writing and seal‑imprinting. Rubbings serve as the foundation while painting plays a supporting role. The ink tone of rubbings is required to be steady and deep, and supplementary paintings elegant and restrained, so that rubbing and painting blend harmoniously without the latter overshadowing the former.

It covers diverse themes: rubbings and paintings of ancient relics including bronze ritual vessels, Han‑Wei‑period tile‑ends and carved stone statues, as well as traditional antique‑themed subjects such as plum, orchid, bamboo, chrysanthemum and auspicious scholarly offerings. Rooted in Zhuozhou’s local context, works incorporate locally unearthed epigraphic relics, Dukang scenery and Three‑Kingdom cultural elements. Representative local‑themed works include Inscription of the First Year of Zhengshi of the Great Wei Dynasty and Stone Buddha Statue Made in Zhuozhou of the Northern Wei Dynasty. These works combine epigraphic research value with literati‑painting aesthetics. Special‑theme exhibitions have been held repeatedly, and many pieces are collected by cultural‑relic institutions.

In 2019, Epigraphic Antique‑Theme Painting was inscribed on the Fourth Batch of Zhuozhou Municipal‑level Intangible Cultural Heritage List, and later upgraded to Baoding Municipal‑level. The protecting institution is Zhuozhou Cultural Center. This craft sets high entry barriers: practitioners need proficient rubbing skills as well as comprehensive attainments in traditional Chinese painting, calligraphy and epigraphic textual research, making it hard to master. Today, relying on venues such as Kuaixue Academy, the inheritor hosts exhibitions, cultural gatherings, public lectures, ICH‑on‑campus programmes and rubbing experience activities. Epigraphic materials are sorted out, and apprentices are taught to expand the spread of this traditional art that unites ancient rubbing techniques and ink‑wash painting.

One rubbing preserves ancient artifacts; half‑frame ink‑wash painting carries on refined elegance. Epigraphic Antique‑Theme Painting is a unique ICH treasure of the Dukang land. It preserves antiquity through rubbings and expresses emotions through paintings, perpetuating the enduring cultural lineage of Chinese epigraphic rubbing and literati antique‑appreciation art.

Catalogue Excerpt
Epigraphic Antique‑Theme Painting, Traditional Fine‑Arts, Zhuozhou Municipal‑level ICH. Inscribed on the Fourth Batch of Zhuozhou Municipal‑level Intangible Cultural Heritage List in 2019. It integrates epigraphic rubbing, supplementary traditional‑Chinese‑painting, inscriptions and seal‑imprinting. Based on rubbings of ancient artifacts, it adds paintings of scholarly offerings. It balances epigraphic research and literati aesthetics, incorporating local‑relic themes of Zhuozhou. Representative inheritor: Zhang Baodong, holding exhibitions and public‑welfare training. It is a distinctive central‑Hebei traditional art combining rubbing and painting.

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027、涿州非遗：书法（郝氏龙凤花鸟字）

（保定市级非物质文化遗产，传统美术类，项目名称：书法（郝氏龙凤花鸟字））

郝氏龙凤花鸟字，俗称龙凤字，脱胎于古老鸟虫书，是融汉字书写与花鸟绘画于一体的民间特色艺术，2021年列入保定市第七批市级非物质文化遗产名录。艺术源流可上溯先秦鸟虫篆，历经历代民间流变，明清广泛流传于市井乡野。郝氏一脉扎根涿州，经家族代代研习改良，形成京南地域独有的花鸟字传承流派。

郝氏龙凤花鸟字以特制板笔为主要工具，色彩丰富，一笔多色。创作之时，将汉字笔画巧妙幻化成龙、凤、花、鸟、虫、鱼等吉祥物象，远观为完整汉字，近赏是花鸟图画，字中有画，画内含字，书画浑然一体。题材多选用吉语、诗词、匾额、祝福短句，龙凤呈祥、花开富贵、松鹤延年等祥瑞意象常融入笔墨之间。作品形式丰富，可制作条幅、镜芯、卷轴，适配厅堂陈设、民俗节庆馈赠，乡土吉祥寓意浓厚。

创作讲究布局随字赋形，依笔画走势铺陈花鸟纹样，点染晕染一气呵成，不做底稿，即兴落笔。不同于文人书法，它重民俗意趣，兼顾字形辨识与图画美感，色彩浓艳鲜活，洋溢市井烟火气息。

项目代表性传承人郝勋昌，为郝氏龙凤花鸟字当代核心传人，深耕此艺数十载，承袭家传技法，博采各地花鸟字之长，不断丰富题材与表现形式。他积极参与通会灯市、各类非遗展会、民俗展演，走进校园开展技艺普及；冬奥期间创作主题花鸟字作品，借民间艺术抒发时代情怀，扩大项目社会影响力。在坚守传统板笔技法的基础上，创新时代主题创作，广收爱好者传习技艺，破解民间手艺传承困境。

板笔流彩，字寓花鸟。郝氏龙凤花鸟字，把汉字文化与民间吉祥审美融为一体，是流传于督亢大地鲜活的民间书画艺术。百年流转，艺人守艺不辍，让这门古老市井技艺，在当代民俗舞台持续焕发生机。

词条摘录

郝氏龙凤花鸟字，官方定名书法（郝氏龙凤花鸟字），保定市级非物质文化遗产，传统美术类别，涿州市申报。源自古鸟虫书，民间俗称龙凤字，特制板笔施彩，字画合一，笔画幻化龙凤花鸟鱼虫。代表性传承人郝勋昌，常年参与非遗展演、公益科普，兼顾传统与时代题材创作，是京南地区代表性民间书画技艺。



027. Intangible Cultural Heritage of Zhuozhou: Calligraphy (Hao‑Family Dragon&#8209hoenix‑Flower‑Bird Character Art)

(Baoding‑level Intangible Cultural Heritage, Category: Traditional Fine Arts, Official Project Title: Calligraphy (Hao‑Family Dragon‑Phoenix‑Flower‑Bird Character Art))

Commonly known as Dragon‑Phoenix Characters, Hao‑family Dragon‑Phoenix‑Flower‑Bird Character Art evolves from the ancient Bird‑and‑Insect Script. It is a distinctive folk art that merges Chinese character writing with flower‑and‑bird painting. It was inscribed on the 7th Batch of Baoding‑level Intangible Cultural Heritage List in 2021. Its artistic origin traces back to the pre‑Qin Bird‑and‑Insect Seal Script. After folk evolution across dynasties, it gained great popularity among townsfolk and villagers in the Ming and Qing dynasties. Rooted in Zhuozhou, the Hao family has studied and refined this art for generations, forming a unique inheritance school of flower‑bird character art in southern Beijing.

This art mainly adopts custom‑made board brushes which can deliver multiple colours within a single stroke. During creation, strokes of Chinese characters are ingeniously transformed into auspicious patterns including dragons, phoenixes, flowers, birds, insects and fish. Viewed from afar, it presents complete Chinese characters; observed up close, it reveals flower‑and‑bird paintings. Paintings lie within characters and characters are embedded in paintings, achieving perfect integration of calligraphy and painting. Its themes are mostly auspicious phrases, poems, horizontal boards and blessing epigrams. Propitious motifs such as Dragon and Phoenix Bringing Good Fortune, Blossoms Symbolizing Prosperity and Pine‑Crane Representing Longevity are frequently embodied in the works. Available in various forms such as vertical hanging scrolls, mirror‑mount panels and handscrolls, these artworks are ideal for hall decorations and folk‑festival gifts, loaded with rustic auspicious implications.

Creation stresses composition tailored to character structures. Floral and avian patterns unfold along the flow of strokes. Dabbing and colour‑washing are finished in one spontaneous motion without preliminary sketches. Different from literati calligraphy, it lays stress on folk charm, balancing character legibility and pictorial beauty. Bright and vivid colours endow works with strong grassroots‑life flavour.

Hao Xunchang, the contemporary core representative inheritor, has devoted decades to this craft. He inherits family‑handed‑down techniques, draws strengths from flower‑bird character arts of other regions, and keeps enriching themes and expressive forms. He takes an active part in the Tonghui Lantern Fair, intangible‑heritage exhibitions and folk‑culture performances, and popularizes the craft on campus. During the Winter Olympic Games, he created themed flower‑bird character works to express contemporary sentiments through folk art and raise public awareness of this heritage. While sticking to traditional board‑brush techniques, he innovates contemporary‑themed creations and teaches numerous enthusiasts to address the inheritance dilemma of folk handicrafts.

Brilliant colours flow from board brushes; flowers and birds reside within characters. Hao‑family Dragon‑Phoenix‑Flower‑Bird Character Art integrates Chinese‑character culture with folk auspicious aesthetics. It is a living folk painting‑calligraphy art passed down on ancient Dukang land. For over a century, artisans keep practising this craft unremittingly, enabling this ancient street‑folk art to thrive on modern folk‑culture stages.

Glossary Extract

Hao‑Family Dragon‑Phoenix‑Flower‑Bird Character Art, officially titled Calligraphy (Hao‑Family Dragon‑Phoenix‑Flower‑Bird Character Art): Baoding‑level intangible cultural heritage under traditional fine arts, submitted by Zhuozhou. Derived from ancient Bird‑and‑Insect Script and popularly called Dragon‑Phoenix Characters. Custom‑made board brushes apply pigments to realize integrated character‑and‑picture effect, with strokes metamorphosed into dragons, phoenixes, flowers, birds, fish and insects. Representative inheritor Hao Xunchang regularly attends heritage shows and public‑welfare popular‑science activities, creating both traditional and modern‑themed works. It is a representative folk painting‑calligraphy craft in southern Beijing.

门球狂人

028、涿州非遗｜锡雕

（保定市级非物质文化遗产，传统美术类）

古督亢大地，金属錾作技艺源远流长。锡雕技艺，又称锡器錾刻，是我国古老的金属手工技艺。锡质地柔韧，延展性佳，色泽银润，自古多用于制作茶具、酒器、香炉、文房摆件，明清时期民间锡器盛行，涿州为冀中锡雕重要流传地之一 。

涿州锡雕技艺承袭北方锡作脉络，当代代表性传承人李金波，深耕此艺数十载，兼修国画与雕塑，打破传统锡器只重实用的局限，兼顾器物功用与艺术审美。恪守纯手工锻作，不依赖模具量产，坚持每一件作品都要有设计构思，依托锡材本身进行锻打、錾刻成型。整套技艺包含熔锡铸板、裁料、打坯锻形、錾刻纹饰、焊接组装、打磨抛光等十余道工序。錾刻之时，大小錾具交替使用，浮雕、阴刻、镂空诸法并用，锤声错落，千锤百炼方成器物。作品既有锡壶、锡杯、茶叶罐、香炉等日用器皿，也开拓山水、花鸟、本土历史题材艺术摆件，把督亢风物、三国文化元素融入锡雕创作，器物银白温润，纹饰古朴灵动，兼具实用、观赏与收藏价值 。

2021年，锡雕技艺列入保定市第七批市级非物质文化遗产名录，保护单位为涿州市文化馆。锡雕学习门槛高，锻打、錾刻、焊接均需要长年实操积累，传承颇为艰难。如今传承人设立非遗工坊，收徒传艺，开展展览、公益讲座、非遗进校园体验活动，整理传统锡作工艺流程，扩大技艺传播，守护这门濒临萎缩的金属手工技艺。

千锤锻锡成雅器，一錾一刻见匠心。锡雕技艺，是督亢大地上珍贵的传统美术遗存，以锡为媒，以锤为笔，延续北方民间金属錾作的古老文脉，寄寓国人惜物尚古的文化情怀。


词条摘录：
锡雕技艺，传统美术，保定市级非遗。2021年列入保定市第七批市级非物质文化遗产名录。属北方传统锡器錾刻工艺，经熔锡、锻打、錾刻、焊接、抛光全套手工工序；制作茶具、酒器、香炉、文房摆件，兼融本土文化题材。代表性传承人李金波，设立非遗工坊，开展普及传习，为冀中珍贵金属手工技艺。


028. Zhuozhou Intangible Cultural Heritage｜Tin‑Carving Craft

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

In the ancient Dukang land, metal chiselling craftsmanship has a long‑standing history. Also known as tin‑ware chiselling, tin‑carving is an ancient Chinese metal handcraft. Tin is soft and pliable with excellent ductility and silken silvery lustre. Since ancient times, it has been widely used to make tea sets, wine vessels, incense burners and scholar‑studio ornaments. Folk tin‑ware boomed in the Ming and Qing dynasties, and Zhuozhou was one of the major hubs for tin‑carving in central Hebei.

Zhuozhou’s tin‑carving inherits the northern tin‑craft tradition. Li Jinbo, the contemporary representative inheritor, has devoted decades to this art. He also studies traditional Chinese painting and sculpture, breaking the limitation that traditional tin‑ware prioritises practicality alone, and balances functionality with artistic aesthetics. He adheres to pure hand‑forging and rejects mass‑production with moulds. Each piece is carefully conceived and shaped through forging and chiselling on tin material. The full craft consists of more than ten procedures: tin‑melting and plate‑casting, material cutting, blank‑forging and shaping, pattern chiselling, welding and assembly, grinding and polishing. During chiselling, chisels of different sizes are used alternately, combining relief carving, intaglio carving and hollow‑out techniques. Through rhythmic hammering and countless forging strokes, a finished object takes shape. Works include daily‑use wares such as tin pots, tin cups, tea caddies and incense burners, as well as artistic ornaments themed on landscapes, flowers‑birds and local history. Dukang scenery and Three‑Kingdom cultural elements are incorporated into tin‑carving creations. The pieces feature silvery‑white, mellow texture with simple yet vivid decorative patterns, possessing practical, ornamental and collectible values.

In 2021, Tin‑Carving Craft was inscribed on the Seventh Batch of Baoding Municipal‑level Intangible Cultural Heritage List. The protecting institution is Zhuozhou Cultural Center. Mastering tin‑carving sets high barriers. Forging, chiselling and welding all require years of hands‑on practice, making inheritance quite challenging. Today, the inheritor runs an ICH workshop, takes on apprentices, organises exhibitions, public‑welfare lectures and ICH‑on‑campus experience activities. Traditional tin‑craft workflows are documented to expand the spread of this fading metal handcraft.

Countless hammer strokes forge tin into refined wares; every chisel mark reveals craftsman’s devotion. Tin‑Carving Craft is a precious traditional‑fine‑arts legacy of the Dukang land. Using tin as medium and hammer as brush, it carries forward the ancient lineage of northern folk metal chiselling, embodying the Chinese cultural sentiment of cherishing goods and revering antiquity.

Catalogue Excerpt
Tin‑Carving Craft, Traditional Fine‑Arts, Baoding Municipal‑level ICH. Inscribed on the Seventh Batch of Baoding Municipal‑level Intangible Cultural Heritage List in 2021. A northern traditional tin‑ware chiselling craft with full manual procedures including tin‑melting, forging, chiselling, welding and polishing. It produces tea sets, wine vessels, incense burners and scholar‑studio ornaments, integrating local cultural themes. Representative inheritor: Li Jinbo, who operates an ICH workshop for popularisation and training. It is a precious metal handcraft in central Hebei.