札记.涿州非遗100项

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029、涿州非遗：绳结编织技艺（手工绳结编织技艺）

（保定市级非物质文化遗产，传统技艺类）

手工绳结编织技艺，本地亦称于氏绳结编织技艺，根植涿州，是一脉家族相传的传统手工技艺，列入保定市市级非物质文化遗产名录。绳结文化溯源上古“结绳而治”，最初用以记事、系物，后世逐步演变为装饰佩饰，寄寓吉祥祈愿。涿州于氏绳结，家族传承脉络可追溯至清末，由刘氏始创，传至刘秀荣，再传于外孙女于长娟，迄今历经三代家学赓续，在京南地域形成独有的绳结传承体系。

技艺以各色丝线、彩绳为原料，辅以钉板、珠针、镊子等工具，依靠缠、绕、盘、压、穿、抽等手法，编织成型。留存盘长结、吉祥结、石榴结、双钱结等数十种传统结式，讲究走线匀净、松紧有度，一丝一缕全凭手工完成，不借助机器。作品常搭配玉石、珠饰、木件点缀，可制作挂饰、手链、车挂、摆件、节庆文创等品类。“结”谐音为“吉”，每一种结式皆承载美好寓意：盘长结喻福寿绵长，石榴结寄多子多福，双钱结祈富贵平安，把百姓朴素的吉祥向往绾于绳线之间。

旧时绳结多为家族内口传心授，多用于民俗节庆、婚嫁馈赠。当代代表性传承人于长娟，完整承袭家族绳结技法，深耕绳结技艺数十载，创办非遗就业工坊，创新时代主题作品，把传统结式与现代审美相融，拓展文创品类，破解技艺传承困境 。

工坊采取订单式、团带学员模式开展传习，累计培训学员五百余人，带动群众学习技艺、灵活就业。常年走进范阳非遗坊、校园、社区开展公益授课、非遗展演，参与通会灯市、各类文化会展，面向大众普及绳结文化，让古老手艺走出闺阁，走进寻常生活。

千丝缠绕，一结寄情。手工绳结编织技艺，以绳为媒，以结载吉，把中式民俗的浪漫与祝愿凝于指尖。在守正创新之中，这门流淌于督亢大地的指尖技艺，持续焕发鲜活的时代光彩。

词条摘录

手工绳结编织技艺（于氏绳结编织技艺），保定市级非物质文化遗产，传统技艺类别。家族传承溯至清末，三代传承，代表性传承人于长娟。以彩绳丝线编织各类传统结式，作品寓意吉祥，可做挂饰、佩饰、文创。建有非遗工坊，开展传习培训、进校园展演，实现生产性保护，是京南代表性绳结技艺项目 。

029. Intangible Cultural Heritage of Zhuozhou: Hand‑made Knot‑Weaving Craftsmanship

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

Also known locally as the Yu‑family Knot‑Weaving Craftsmanship, this family‑handed‑down traditional handicraft is rooted in Zhuozhou and inscribed in the Baoding‑level Intangible Cultural Heritage List. The culture of Chinese knot‑tying traces back to the ancient practice of “governing by knot‑tying”. Knots were originally used for record‑keeping and fastening objects. In later ages, they gradually evolved into decorative ornaments carrying auspicious wishes. The Yu‑family knot‑weaving of Zhuozhou dates back to the late Qing Dynasty. Founded by Liu, the craft was passed on to Liu Xiurong, and then to her granddaughter Yu Changjuan. Spanning three generations of family inheritance, it has formed a distinctive knot‑weaving heritage system in southern Beijing.

The craft employs multicolored silk threads and cords as raw materials, aided by pin boards, bead pins and tweezers. Artisans create finished works through twisting, coiling, looping, pressing, threading and pulling motions. Dozens of traditional knot patterns are preserved, including the Endless Knot, Auspicious Knot, Pomegranate Knot and Double‑Coin Knot. Precise even stitching and proper tension are emphasized. Every thread is worked entirely by hand without machinery. Works are often embellished with jade, beads and wooden fittings, produced into hanging ornaments, bracelets, car pendants, table decorations and festival‑themed cultural‑creative products. The Chinese character for “knot” shares the same pronunciation as “auspiciousness”. Each knot carries fine symbolism: the Endless Knot symbolizes longevity and blessings; the Pomegranate Knot stands for numerous descendants and good fortune; the Double‑Coin Knot prays for wealth and peace. Simple folk blessings are woven into every strand of cord.

In old times, knot‑weaving was transmitted orally within families, mostly for folk festivals and wedding gifts. Yu Changjuan, the contemporary representative inheritor, has fully inherited the family techniques and devoted decades to this craft. She founded an intangible‑heritage employment workshop, creates innovative contemporary‑themed works, integrates traditional knot patterns with modern aesthetics, expands cultural‑creative product ranges and addresses the difficulties of heritage continuity.

The workshop delivers training through order‑based projects and group‑mentorship modes. More than 500 trainees have received instruction, enabling local people to learn the craft and achieve flexible employment. Regular public courses and heritage demonstrations are held at Fanyang Intangible Heritage Workshop, schools and communities. It also takes part in the Tonghui Lantern Fair and various cultural exhibitions to popularize knot‑weaving culture among the public, bringing this age‑old handicraft out of private chambers into everyday life.

Thousands of threads intertwine; every knot conveys sincere affection. Hand‑made knot‑weaving craftsmanship uses cords as mediums and knots as carriers of good omens. It condenses the romance and blessings of Chinese folk customs at artisans’ fingertips. While upholding traditions and pursuing innovation, this fingertip‑craft rooted in ancient Dukang land continues to radiate vibrant contemporary charm.

Glossary Extract

Hand‑made Knot‑Weaving Craftsmanship (Yu‑family Knot‑Weaving Craftsmanship): Baoding‑level intangible cultural heritage of traditional craftsmanship. Its family inheritance dates to the late Qing Dynasty across three generations, with Yu Changjuan as representative inheritor. Various auspicious‑themed traditional knots are woven from colourful cords and silk threads for hangings, personal ornaments and cultural‑creative goods. An intangible‑heritage workshop delivers training and campus demonstrations to realize productive protection. It is a representative knot‑weaving craft project south of Beijing.

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030、涿州非遗｜古琴斫制技艺

（保定市级非物质文化遗产，传统技艺类）

古琴斫制技艺，是中国古老的乐器手工制作技艺。古琴为华夏雅乐重器，斫琴集木工、髹漆、声学、审美于一体，自古便有“良材虽得，妙手难寻”之说。涿州古琴斫制承袭北方斫琴脉络，坚守古法手工斫制，不使用模具批量生产，是京南地域珍贵的乐器制作非遗项目。

当代代表性传承人孙世忠，创办馨和琴坊，深耕斫琴数十载，恪守传统斫琴准则。一把古法古琴制作周期漫长，快则一载，精品可达两至三年，全套流程总计二百余道工序，讲究“三分木工，七分漆工”。技艺包含选材出形、掏挖槽腹、安装天地柱、合板整形、裱布固胎、披挂鹿角霜灰胎、反复髹涂生漆、打磨推光、镶嵌琴徽、安装岳山雁足、反复试音调试等繁复环节。灰胎与髹漆最为耗工，每一遍漆灰都需要控温控湿阴干，反复打磨，层层叠加，方能成就琴体温润坚实的质地与沉厚悠远的音色。

选材多用老杉木、梧桐木为面板，梓木等硬木作底板。匠人依据木材纹理、密度构思槽腹结构，槽腹深浅厚薄直接决定共鸣音色。成品形制多样，仲尼、伏羲、连珠等传统制式皆有创作，部分作品融入督亢风物、三国文化本土元素。古琴音色沉静古朴，余韵绵长，既可用于演奏雅乐，亦具备文玩收藏价值。

2021年，古琴斫制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。斫琴技艺学习门槛极高，既要通晓木工髹漆，又要深谙声学乐理，周期漫长、耗力耗心，传承颇为艰难。如今依托琴坊开展展览交流、非遗体验、非遗进校园活动，整理记录全套斫琴工艺流程，面向社会传习授课，培育爱好者，守护这份雅乐背后的手工技艺。

一木经百斫而成雅琴，大漆凝岁月以传清音。古琴斫制技艺，是督亢大地上弥足珍贵的传统技艺瑰宝，一刨一凿承载匠人初心，延续中华千年雅乐文脉，寄寓国人崇雅尚礼的精神追求。


词条摘录：
古琴斫制技艺，传统技艺，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。北方古法手工斫琴，两百余道工序，重选材、槽腹制胎、鹿角霜灰胎、生漆髹漆、反复试音调试。周期漫长，擅传统琴式，适度融入本土文化元素。代表性传承人孙世忠，创办琴坊，开展展览与传习教学，为冀中珍贵乐器手工技艺。


030. Intangible Cultural Heritage of Zhuozhou: Guqin‑Making Craftsmanship

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

Guqin‑making craftsmanship is an ancient hand‑craft for musical instrument production in China. As an eminent instrument of Chinese elegant music, the guqin integrates woodworking, lacquer coating, acoustics and aesthetic pursuit. Since ancient times, there has been a saying: “Fine timber may be obtained, yet a master craftsman is hard to find”. Inheriting the northern‑school guqin‑making tradition, Zhuozhou’s guqin‑making adheres to ancient hand‑made techniques without mass‑production with moulds. It is a precious intangible heritage of instrument craftsmanship in southern Beijing.

Sun Shizhong, the contemporary representative inheritor, founded Xinhe Qin Workshop and has devoted decades to guqin‑making, strictly abiding by traditional criteria. An ancient‑style guqin takes a long time to finish: at least one year for an ordinary piece, and two to three years for fine‑grade works. The whole production consists of more than 200 procedures, following the principle of “three‑tenths woodwork, seven‑tenths lacquer work”. The complex processes include material selection and rough shaping, hollowing the inner chamber, installing heaven‑and‑earth pillars, joining and truing the boards, cloth‑reinforcing the body, applying deer‑antler‑ash base coats, repeated raw‑lacquer coating, polishing and buffing, inlaying hui markers, mounting the yueshan bridge and yanzhu feet, as well as repeated tone testing and tuning. The base‑ash and lacquer‑coating procedures consume the most labour. Each layer of lacquer‑ash needs humidity‑and‑temperature‑controlled shade‑drying and repeated grinding, built‑up layer upon layer, to achieve the mellow‑solid texture and deep, resonant timbre of a guqin.

Old China fir and paulownia are mostly selected for the soundboard, while catalpa and other hardwoods serve as the bottom board. Craftsmen design the inner‑chamber structure according to wood grain and density; the depth and thickness of the chamber directly determine resonant tone quality. Various classic styles are produced, such as Zhongni, Fuxi and Lianzhu. Some works incorporate local cultural elements of Dukang land and the Three‑Kingdoms culture. With quiet, primitive timbre and lingering resonance, the guqin can be used for elegant music performance and also serves as a collectible artefact.

In 2021, guqin‑making craftsmanship was inscribed on the 7th Batch of Baoding‑level Intangible Cultural Heritage List, with Zhuozhou Cultural Center as its protection institution. Guqin‑making has an extremely high learning threshold: practitioners must master woodworking and lacquer art as well as acoustics and music theory. Its long‑cycle and labour‑intensive features bring great difficulties to inheritance. Nowadays, the qin‑workshop holds exhibitions, cultural‑experience activities and heritage‑into‑campus programmes. It documents the full set of guqin‑making procedures, offers public training courses, cultivates enthusiasts and safeguards the handicraft behind this elegant music.

A single piece of timber becomes an elegant qin after hundreds of carving procedures; raw lacquer condenses years to transmit pure tones. Guqin‑making craftsmanship is a precious traditional craft treasure on ancient Dukang land. Every chisel and plane bears craftsmen’s original aspiration, carries forward China’s thousand‑year‑old elegant‑music tradition, and embodies the Chinese people’s spiritual pursuit of refinement and ritual propriety.

Glossary Extract

Guqin‑making Craftsmanship: Baoding‑level intangible cultural heritage of traditional craftsmanship, inscribed on the 7th Batch of Baoding‑level ICH List in 2021. It represents northern‑school hand‑crafted guqin‑making with over 200 procedures, focusing on material selection, inner‑chamber shaping, deer‑antler‑ash base coats, raw‑lacquer finishing and repeated tone tuning. Long production cycles are required. Classic guqin forms are adopted with proper integration of local cultural elements. Representative inheritor Sun Shizhong runs a qin workshop for exhibitions and heritage teaching. It is a precious musical‑instrument handicraft in central Hebei.

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031、涿州非遗｜张氏谱牒编纂技艺

（保定市级非物质文化遗产，传统技艺类）

古督亢涿州，根亲文化积淀深厚。张氏谱牒编纂，是集史料考据、田野访查、古文撰述、线装缮写于一体的传统谱学技艺。谱牒与国史、方志并称中华三大历史文献，源起先秦，兴盛于唐宋，明清民间修谱蔚然成风。它以宗族血脉为脉络，记录家族源流、世系繁衍、人物事迹、家风家训，既是家族记忆，也是地方文史重要补充。

涿州张氏谱牒编纂，世代家传，当代代表性传承人张俊，创办谱牒阁工作室，深耕谱牒考据缮写数十载，熟稔传统谱牒整套体例范式。整套技艺包含实地走访采集、旧谱搜集甄别、碑刻墓志勘校、世系梳理考订、谱序撰写、世表绘制、人物传记整理、家训辑录、毛笔缮写、宣纸线装装订等多道工序。修谱讲究考据严谨，对旧谱讹误审慎勘正，做到“不臆造、不附会、重实证”。谱本沿用传统古籍版式，繁体竖排，毛笔手书，形制古朴庄重。除世系图表之外，兼收祖源考辨、先贤事迹、祠墓古迹、家风规训，把涿州本土督亢风物、三国历史人文融入谱序与附录，让家谱兼具宗族档案与地方文史价值。

作品体例丰富，既有简支家谱，也有大部宗谱，还首创姓氏起源图腾书画，将书画艺术与谱牒文化结合。多部谱牒作品被地方文史机构收藏，传承人曾受邀参与国内国际儒学文化交流，多次做客媒体介绍谱牒文化，开展谱牒展览展示。

张氏谱牒编纂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。谱牒编纂门槛很高，既要通晓古汉语、方志考据，又要兼具书法缮写能力，耗时长、考证繁，传承不易。如今依托谱牒阁阵地，开展谱牒文化公益讲座、非遗进校园、谱牒文化雅集，面向社会传习授课，整理保存传统修谱范式，守护这份根亲文脉。

一纸谱牒承血脉，寸管挥毫记家声。张氏谱牒编纂，是督亢大地上独具特色的非遗瑰宝。以笔载史，以牒传家，接续中华慎终追远、敬祖睦亲的千年人文传统。


词条摘录：
张氏谱牒编纂，传统技艺，保定市级非遗。集田野访查、史料勘校、世系梳理、撰述缮写、线装装订于一体。恪守实证考据，传统竖版手书，善修家谱宗谱，融入涿州本土文史元素。代表性传承人张俊，创办谱牒阁，开展展览与公益传习，为冀中珍贵根亲谱牒文化技艺。

031. 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

032、涿州非遗：张氏中医指针疗法（五绝指针疗法）
（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，张氏中医指针疗法（又称五绝指针疗法），是一门以指代针、隔衣点穴的家传中医外治技艺，历经四代家族传承，扎根乡土，服务百姓，2019年列入涿州市级非遗，2021年入选保定市级非物质文化遗产名录。

该疗法渊源可追溯至清末民初。第一代先祖张大奶奶，擅长手掐点按救治民间急症，在乡间颇有声望。技艺传至儿媳刘克敏，为第二代传承；第三代传承人张宝增，在祖传技法基础上，融合武术点打功夫与传统经络理论，归纳总结出点打、点压、点揉、点擦、点振五种核心指法，定名“五绝指针疗法”，完成技艺体系化整理。第四代代表性传承人张剑锋，毕业于河北中医学院，将家传技艺与现代医学知识融会贯通，深耕临床，推动技艺规范化发展，2024年被认定为保定市级非遗代表性传承人。

张氏指针疗法以中医阴阳五行、经络脏象学说为理论根基，无需针具、药物，隔衣即可操作，依靠五指不同力度、节奏的变换刺激周身穴位，疏通经络、调和气血，调畅脏腑机能。五种指法各有功用：点打祛寒，点压消肿，点揉调和气血，点擦疏通筋脉，点振促进循环。技法轻柔安全，适用人群广泛，可用于调理疼痛、消化、妇科等多种常见疾患，也可用于日常养生保健，尤其在结石病症调理方面积累大量临床实践经验。

百余年传承，张氏指针由民间家传手艺，逐步走向规范化、公开化。张剑锋坚守传承使命，一方面开展临床诊疗，在本地及多地设立特色诊室，坚持义诊服务群众；另一方面开班授徒，收徒传艺，把指尖医术向外传播，让古老技艺得以延续。该项目既继承古代指针疗法的文化底蕴，又结合当代百姓健康需求，既是涿州本土的民间医术瑰宝，也是中华传统中医药文化的鲜活载体。

非遗的生命力，在于代代守护与创新发展。张氏中医指针疗法，以指尖为媒，承百年家学，融古今医理，扎根涿州乡土大地，守护一方百姓安康，为督亢非遗谱系增添了传统医药的厚重篇章。

词条摘录

张氏中医指针疗法（五绝指针疗法），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。该技艺始于清末民初，历经张氏四代家族传承，融合传统中医经络理论与民间武术点打技法，独创点打、点压、点揉、点擦、点振五种指法。疗法无需针药、隔衣施治，通过指法力度与节奏变化刺激人体经络穴位，实现疏通经络、调和气血、调理脏腑的功效。2019年入选涿州市级非物质文化遗产名录，2021年列入保定市级非物质文化遗产名录，2024年，第四代传承人张剑锋获评保定市级非遗代表性传承人。


032. Intangible Cultural Heritage of Zhuozhou: Zhang‑style Traditional Chinese Medicine Finger&#8209oint Therapy (Five‑Unique Finger‑Point Therapy)

(Baoding‑level Intangible Cultural Heritage)

Among the traditional‑medicine intangible cultural heritage items of Zhuozhou, Zhang‑style Traditional Chinese Medicine Finger‑Point Therapy, also known as the Five‑Unique Finger‑Point Therapy, is a family‑inherited external TCM healing technique. It uses fingers instead of needles to press acupoints through clothing. Passed down across four generations of the Zhang family, it has taken root in local communities and served ordinary people. It was listed as Zhuozhou‑level intangible cultural heritage in 2019 and included in the Baoding‑level Intangible Cultural Heritage List in 2021.

The therapy dates back to the late Qing and early Republican periods. Its founding ancestor, Grandmother Zhang, was skilled in treating rural emergencies with finger‑pinching and acupoint pressing, and enjoyed high repute in villages. The craft was passed on to her daughter‑in‑law Liu Kemin, the second‑generation inheritor. Zhang Baozeng, the third‑generation inheritor, integrated martial‑arts striking techniques with traditional meridian theories on the basis of ancestral skills. He summarized five core finger techniques: striking‑point, pressing‑point, kneading‑point, rubbing‑point and vibrating‑point. He named the practice “Five‑Unique Finger‑Point Therapy” and systematized the whole technique. Zhang Jianfeng, the fourth‑generation representative inheritor, graduated from Hebei University of Traditional Chinese Medicine. He combined family‑handed‑down skills with modern medical knowledge, engaged deeply in clinical practice, and promoted the standardization of the therapy. In 2024, he was recognized as a Baoding‑level representative inheritor of intangible cultural heritage.

Rooted in TCM theories of yin‑yang and five‑elements, as well as meridian‑viscera doctrine, this therapy requires no needles or medicines and can be performed over clothing. It stimulates acupoints all over the body by varying the force and rhythm of the five fingers to unblock meridians, harmonize qi and blood, and regulate visceral functions. Each of the five finger techniques serves a distinct purpose: striking‑point dispels cold; pressing‑point reduces swelling; kneading‑point harmonizes qi and blood; rubbing‑point unblocks tendons and vessels; vibrating‑point boosts circulation. Gentle and safe, the technique suits a broad range of people. It can help relieve pain, digestive disorders, gynecological complaints and other common ailments, and is also used for daily health preservation. Rich clinical experience has been accumulated especially in the conditioning of stone‑related illnesses.

Over more than a century of inheritance, this folk family craft has evolved toward standardization and public dissemination. Upholding his mission of inheritance, Zhang Jianfeng provides clinical treatment, runs specialized clinics locally and in other regions, and offers free medical services to the public. He also runs training classes to pass on the finger‑point healing art, so that this ancient skill can live on. The project inherits the cultural legacy of ancient finger‑point therapy while responding to modern people’s health needs. It is a precious folk medical treasure of Zhuozhou and a living carrier of traditional Chinese medicine culture.

The vitality of intangible cultural heritage lies in intergenerational protection and innovative development. Through fingertips, Zhang‑style Finger‑Point Therapy carries a century‑old family legacy and merges ancient and modern medical principles. Rooted in Zhuozhou’s land, it safeguards local people’s well‑being and enriches the traditional‑medicine chapter of the Dukang cultural heritage system.

Glossary Extract

Zhang‑style Traditional Chinese Medicine Finger‑Point Therapy (Five‑Unique Finger‑Point Therapy) is a Baoding‑level intangible cultural heritage under the category of traditional medicine, declared by Zhuozhou City, Hebei Province. Originating in the late Qing and early Republican eras, it has been handed down through four generations of the Zhang family. It combines traditional TCM meridian theories with folk martial‑arts striking skills and features five unique finger techniques: striking‑point, pressing‑point, kneading‑point, rubbing‑point and vibrating‑point. Practiced without needles or medicines through clothing, it stimulates human meridian acupoints by adjusting finger force and rhythm to unblock meridians, harmonize qi and blood, and regulate visceral functions. It was inscribed on the Zhuozhou‑level Intangible Cultural Heritage List in 2019, and the Baoding‑level Intangible Cultural Heritage List in 2021. In 2024, Zhang Jianfeng, the fourth‑generation inheritor, was awarded the title of Baoding‑level Representative Inheritor of Intangible Cultural Heritage.

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033、涿州非遗｜创意剪纸

（涿州市级非物质文化遗产，传统美术类）

剪纸是我国流传久远的民间传统美术。创意剪纸，在传统窗花剪纸基础之上拓展革新，打破民间剪纸只偏重吉祥民俗纹样的固有范式，融合文学、书法、历史、构图多重素养，兼顾传统民俗题材与重大时代主题，是涿州极具代表性的现代剪纸流派。

当代代表性传承人张信荣，为保定市工艺美术大师，青年时代便痴迷剪纸艺术，深耕此艺五十余载。他不固守旧样，主张作品要有史实与现实依据，拒绝凭空杜撰。技法上剪刻并用，以剪刀为主、刻刀为辅，善用折剪、套剪、镂空、阴阳刻等全套剪纸手法，讲究“千剪不断，万剪相连”。既传承民间剪纸饱满匀称、构图繁复的特点，又吸收国画章法，把书法诗词与剪纸画面融为一体，不少作品自作题诗，诗、书、剪三者合一，拓展剪纸的艺术表达边界 。

创作题材十分开阔：既有花鸟瑞兽、民俗团花等传统内容，也创作长卷巨制，把重大时代事件、历史记忆、本土督亢风物、三国文化元素融入剪纸画面。先后完成《梦圆中华》《德信涿州》《唱响北京冬奥会》等一大批长卷作品，部分佳作被涿州市博物馆等机构收藏，百余篇作品刊发于各类报刊，多次参加国内外展览展演。

2010年，创意剪纸列入涿州市第一批非物质文化遗产名录，保护单位为涿州市文化馆。剪纸看似上手简易，但是创意剪纸对创作者文史、绘画、书法综合能力要求很高，精品创作耗时耗力，传承实属不易。如今传承人常年开展公益讲座、展览展示、非遗进校园活动，面向社会授课传艺，培育青年爱好者，守护这份独具特色的乡土美术。

一纸红笺藏万象，千剪万刻见古今。创意剪纸，是督亢大地上珍贵的传统美术遗存，以红纸为载体，以剪刀为笔墨，既延续民间剪纸的古老基因，又赋予传统艺术鲜活的时代生命力。

词条摘录：
创意剪纸，传统美术，涿州市级非遗。2010年列入涿州市第一批非物质文化遗产名录。剪刻并用，融汇阴阳刻、镂空、套剪等技法；突破传统剪纸题材，融诗词书法入作品，开拓时代主题与本土历史题材。代表性传承人张信荣，开展公益普及与教学，是冀中颇具特色的剪纸技艺。


033. Intangible Cultural Heritage of Zhuozhou: Creative Paper‑cutting

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

Paper‑cutting is a time‑honoured folk fine‑art form in China. Creative paper‑cutting develops and innovates upon traditional window‑grille paper‑cuts. Breaking the fixed convention that folk paper‑cutting focuses merely on auspicious folk patterns, it integrates literature, calligraphy, history and compositional aesthetics. Covering both folk‑custom themes and significant contemporary subjects, it stands as a distinctive modern‑style paper‑cutting school in Zhuozhou.

Zhang Xinrong, the contemporary representative inheritor, is a Master of Arts and Crafts of Baoding. Fascinated by paper‑cutting in his youth, he has devoted more than fifty years to this craft. Instead of sticking rigidly to old patterns, he advocates that works shall be grounded in historical facts and real‑life references and rejects ground‑less fabrication. He employs both scissors and gravers, with scissors as the primary tool and gravers as auxiliary. He is proficient in a full range of paper‑cut techniques including folded‑cutting, nested‑cutting, hollow‑out carving, and positive‑negative carving, observing the artistic maxim: “A thousand cuts shall not sever the piece; ten‑thousand cuts keep all parts connected”. He inherits the full‑bodied, well‑proportioned and intricately‑composed features of folk paper‑cutting, while absorbing compositional principles from Chinese painting. He merges calligraphy and poems into paper‑cut visuals; many pieces bear his original inscribed verses, achieving the integration of poetry, calligraphy and paper‑cutting, and expanding the artistic expressive scope of paper‑cut art.

Its creative themes are broad‑ranging: besides traditional motifs such as flowers‑and‑birds, auspicious beasts and folk‑custom rosettes, grand long‑scroll creations incorporate major contemporary events, historical memories, local Dukang‑land scenery and Three‑Kingdoms cultural elements. He has completed numerous long‑scroll works including Dream of a Rejuvenated China, Virtuous‑and‑Faithful Zhuozhou and Ode to the Beijing Winter Olympic Games. Selected fine pieces are collected by institutions such as Zhuozhou Museum. Over one hundred of his works have been published in newspapers and periodicals, and exhibited at home and abroad on many occasions.

In 2010, creative paper‑cutting was inscribed on the First Batch of Zhuozhou‑level Intangible Cultural Heritage List, with Zhuozhou Cultural Center serving as the protection institution. Though paper‑cutting may seem easy to start with, creative paper‑cutting demands comprehensive competence in history, literature, painting and calligraphy from its creators. High‑quality works consume immense time and energy, making inheritance rather challenging. Nowadays, the inheritor delivers regular public‑welfare lectures, exhibitions and heritage‑into‑campus activities. He offers public training courses to cultivate young enthusiasts and safeguard this distinctive local folk art.

A single red sheet holds myriad worlds; thousands of cuts unfold past and present. Creative paper‑cutting is a precious surviving traditional fine‑art heritage on ancient Dukang land. Taking red paper as its carrier and scissors as brush‑and‑ink, it carries forward the ancient DNA of folk paper‑cutting and endows the traditional craft with vibrant contemporary vitality.

Glossary Extract

Creative Paper‑cutting: Zhuozhou‑level intangible cultural heritage of traditional fine arts, inscribed on the First Batch of Zhuozhou‑level ICH List in 2010. It adopts both scissors and gravers, applying positive‑negative carving, hollow‑out and nested‑cutting techniques. Breaking conventional paper‑cut themes, it integrates poetry and calligraphy, exploring contemporary‑themed and local‑historical subjects. Representative inheritor Zhang Xinrong delivers public‑welfare popularisation and training. It is a distinctive paper‑cutting craft in central Hebei.

门球狂人

034、涿州非遗：沙板鸡

（涿州市级非物质文化遗产，传统技艺类，清真美食）

沙板鸡，旧称“沙巴鸡”，是扎根涿州的回族清真卤制美食技艺，2010年列入涿州市第一批非物质文化遗产名录。“巴巴”为回族对祖辈老者的尊称，“沙巴鸡”本意即沙姓老者烹制的卤鸡，后世口口相传演变为“沙板鸡”。技艺肇始于民国，由沙宝真始创，历经沙氏家族五代薪火赓续，至今已有百余年传承历史，是京南极具代表性的清真饮食非遗项目 。

沙板鸡恪守回族清真饮食规制，原料选用一斤上下本地小公鸡，须经清真寺阿訇诵经宰杀。全套技艺包含选鸡、处理、焯水、吊老汤、配药料、慢火卤煮、出锅包裹等十七道工序 。卤制以传世老汤为根基，搭配二十六种香料与中草药配方，文火长时间焖炖，不添加防腐剂。成品色泽红亮油润，骨肉酥烂，肉香裹挟药料清香，入口醇厚不腻；出锅后以麻子叶包裹，中和酱卤气息，增其清鲜风味，可热食亦可冷食，风味独具一格 。

旧时沙家卤鸡只在本地市井售卖，逢年过节百姓争相购置，是涿州民间节庆待客、馈赠亲友的特色佳肴。家族技艺依靠家传口传心授，老汤代代接续，配方秘不外传。当代传承人坚守古法卤制工艺，保留传统药料配伍，同时改良包装，推出真空封装产品，便于存储与对外流通，拓展传播渠道。

如今沙氏后人守护百年老汤，坚持传统手工卤制，参加各类文旅展会、非遗市集，展示清真饮食技艺。作为涿州城市味觉符号，沙板鸡承载回族饮食民俗，沉淀古城市井烟火记忆，让百年老味道在当代持续流传。

一锅老汤，百年卤香。沙板鸡制作技艺，融清真食俗、药食理念与民间卤艺于一体，是督亢故土活态的饮食文化遗存。岁月流转，老汤不绝，这道乡土清真美味，延续着古城独有的烟火文脉。

词条摘录

沙板鸡制作技艺，涿州市级非物质文化遗产，传统技艺类别，清真饮食项目。旧称沙巴鸡，民国时期沙宝真始创，沙氏家族五代传承。遵循清真屠宰规制，以小公鸡为原料，依托百年老汤，配伍二十六种香料中草药，多道工序文火卤煮，成品骨酥肉烂、油润醇香。当代改良真空包装，参与非遗展演，是涿州代表性清真非遗美食。


034. Intangible Cultural Heritage of Zhuozhou: Shaban‑Chicken Cooking Craftsmanship

(Zhuozhou‑level Intangible Cultural Heritage, Category: Traditional Craftsmanship, Halal Cuisine)

Formerly known as “Shaba‑Chicken”, Shaban‑Chicken is a time‑honoured halal braised‑chicken craft of the Hui ethnic group rooted in Zhuozhou. It was inscribed on the First Batch of Zhuozhou‑level Intangible Cultural Heritage List in 2010. “Baba” is a respectful Hui‑ethnic term for elderly ancestors. “Shaba‑Chicken” originally referred to braised chicken cooked by the elderly Mr. Sha. The name gradually evolved into “Shaban‑Chicken” through oral circulation. Founded by Shao Baozhen in the Republic‑of‑China era, the craft has been passed down through five generations of the Sha family for more than one hundred years, standing as a representative halal‑food intangible heritage south of Beijing .

Strictly following Hui halal dietary rules, the craft selects local young roosters of around one‑kilogram weight, which must be slaughtered by an Ahong of the mosque. The whole workflow covers seventeen procedures: chicken selection, cleaning, blanching, simmering ancestral stock, spice‑herb blending, slow‑fire braising and herb‑leaf wrapping after cooking . Centuries‑old stock serves as the foundation. Twenty‑six kinds of spices and Chinese herbal ingredients are applied for long‑time gentle simmering without preservatives. Finished chicken boasts glossy reddish‑brown colour, tender fall‑off‑the‑bone texture, mellow meat aroma mixed with herbal fragrance. Wrapped with cannabis‑sat‑va leaves after cooking, it balances heavy sauce flavours for refreshing taste. It can be served hot or cold with distinctive flavour .

In old days, Sha‑family braised chicken was sold in local markets. Villagers bought it for festivals, banquets and gifts. Techniques and secret‑recipe stock were passed down within the family. Modern‑day inheritors preserve ancient braising procedures and original spice formulas. Vacuum‑packaged products have been developed for better preservation and wider circulation.

Today, Sha‑family descendants maintain the century‑old stock and stick to hand‑braised production. They take part in cultural‑tourism fairs and heritage exhibitions to display halal culinary skills. As a flavour symbol of Zhuozhou, Shaban‑Chicken carries Hui folk‑diet customs and urban‑folk memory, keeping the century‑old taste alive in modern times.

One pot of ancestral stock carries a hundred‑year‑old braised aroma. Shaban‑Chicken Cooking Craftsmanship integrates halal customs, herbal‑diet philosophy and folk‑braising techniques. It constitutes living culinary heritage on ancient Dukang land. As time goes by, the age‑old stock endures, and this local halal delicacy sustains the lively folk cultural heritage of the ancient city.

Glossary Extract

Shaban‑Chicken Cooking Craftsmanship: Zhuozhou‑level intangible cultural heritage of traditional craftsmanship, a halal‑cuisine item. Formerly named Shaba‑Chicken, it was created by Sha Baozhen in the Republic‑of‑China era and handed down across five generations of the Sha family. Abiding by halal‑slaughter disciplines, it uses young roosters as raw material. Braised over low heat with century‑old stock and twenty‑six spices and herbal ingredients through multi‑step procedures, the finished dish features tender bone‑melting meat and rich glossy aroma. Vacuum‑packaging is upgraded in modern times. It appears in heritage exhibitions and ranks as a representative halal‑food heritage of Zhuozhou.

门球狂人

035、涿州非遗：涿州贡米传统种植技艺

（涿州市级非物质文化遗产，传统技艺类，属地：百尺竿镇“稻地八村”）

涿州贡米，亦称涿州御米，是扎根督亢沃土的千年农耕技艺遗存，古涿州八景“邵村花田”即指这片稻米之乡。水稻种植可上溯南北朝，距今一千四百余年；清代康熙年间，“稻地八村”稻米纳入内务府采办，成为宫廷御膳贡米，“涿州贡米”由此得名，盛名绵延后世。百尺竿镇胡良河、地下甘泉滋养沃土，水土昼夜温差适宜稻米灌浆，造就贡米得天独厚的生长条件，1973年联合国粮农组织将此地评价为水稻绝佳种植区域。

涿州贡米传统种植技艺，整套流程遵循北方粳稻农耕古法，包含选种育秧、平田整地、引水灌溉、插秧定植、田间管护、收割脱粒、晾晒扬场等全套传统工序。旧时依靠泉水自流灌溉，遵循轮作养地的古农法，人工育秧、手插田苗，耘田除草，顺应四时节律耕作，不追求速成，保障稻米生长周期。传统加工以石碾脱壳，轻碾慢磨，最大程度保留稻米原生营养。成品米粒洁白莹润，颗粒饱满，蒸煮之后油润软糯，清香回甘，米饭冷却不回生，久煮不散，是北方粳稻当中的上乘品类。

世代稻农口传心授，把选种、育秧、管水、防虫、晾晒的乡土农艺代代相传。当代代表性传承人周玉川，深耕稻作五十余载，是本地稻农公认的“土专家”，牵头成立水稻专业合作社，守护本土稻种，传承古法种植，同时结合现代生态理念，推广蟹稻共生生态种植模式，守护贡米本源品质。

历史上，“邵村花田”稻浪荷塘相映，是燕南著名田园胜景。旧时贡米不仅供奉宫廷，也是百姓家宴、节庆馈赠的上等物产。近代传统稻作技艺一度受到冲击，如今当地复兴传统种植技艺，建设非遗生产性保护基地，改良真空保鲜包装，参与通会灯市、各类非遗市集、文旅展会，让千年贡米技艺重回大众视野。

一畦稻浪，千载农魂。涿州贡米传统种植技艺，凝结督亢大地千年农耕智慧，水土、天时、农人劳作合一。一捧贡米，承载燕赵乡土农耕记忆，古老的稻作技艺，在京南沃土生生不息。

词条摘录

涿州贡米传统种植技艺，涿州市级非物质文化遗产，传统技艺类别，属地百尺竿镇稻地八村。肇始于南北朝，清代列为宫廷御米，也称涿州御米，古八景“邵村花田”即此。依托甘泉沃土，全套古法农耕工序，产出粳米莹润软糯、清香回甘。代表性传承人周玉川，传承本土稻种与传统农法，发展生态种植，参与非遗展演，是冀中极具代表性的传统农耕非遗项目。

035. Intangible Cultural Heritage of Zhuozhou: Traditional Planting Craftsmanship of Zhuozhou Tribute Rice

(Zhuozhou‑level Intangible Cultural Heritage, Category: Traditional Craftsmanship, Location: Eight‑Rice‑Villages, Baichigan Town)

Also known as Zhuozhou Imperial Rice, Zhuozhou Tribute Rice is a millennium‑old farming heritage rooted on ancient Dukang land. The ancient Zhuozhou‑Eight‑Scenery “Shaocun Flower‑Field” depicts exactly this rice‑growing homeland. Rice cultivation here dates back to the Southern‑Northern Dynasties, more than 1,400 years ago. During the Kangxi reign of the Qing Dynasty, rice from the “Eight‑Rice‑Villages” was collected by the Imperial Household Department as palace tribute grain, hence the name “Zhuozhou Tribute Rice”, whose reputation has endured through centuries. Fertile soil is nourished by the Huliang River and sweet underground springs. Favourable soil‑water conditions and proper day‑night temperature difference benefit rice grain‑filling. In 1973, the Food and Agriculture Organization of the United Nations rated this area as an excellent rice‑producing zone.

Traditional planting craftsmanship of Zhuozhou Tribute Rice follows ancient northern japonica‑rice farming customs. The complete workflow covers seed‑selection and seedling‑raising, field‑levelling, spring‑water irrigation, transplanting, field maintenance, harvesting, threshing, sun‑drying and winnowing. In old times, spring‑water gravity irrigation was adopted alongside crop‑rotation soil‑conservation. Seedlings were raised and transplanted manually, weeds removed by hand, all farming work following seasonal rhythms without premature ripening. Traditional hulling relied on stone‑roller mills for gentle processing to preserve natural nutrition. Finished grains are jade‑white and translucent. Cooked rice is soft, glossy, sweet‑aromatic, does not harden after cooling and keeps intact after repeated boiling, ranking it among premium northern japonica rice varieties.

Farming experience including seed‑selecting, seedling‑raising, water‑management, pest‑prevention and sun‑drying has been passed down orally among generations of local rice farmers. Zhou Yuchuan, the contemporary representative inheritor, has practised rice farming for more than fifty‑one years and is widely recognised as a local agronomy expert. He founded a rice‑growing professional cooperative, conserves local rice seeds and preserves ancient planting methods. Meanwhile he applies modern ecological concepts and promotes crab‑rice symbiosis eco‑farming to safeguard the original quality of tribute rice.

Historically, rippling rice paddies interwoven with lotus ponds formed the famous pastoral landscape of “Shaocun Flower‑Field” in southern‑Yan territory. In ancient times, tribute rice served not only the imperial court but also functioned as high‑grade grain for family banquets and festive gifts. Traditional rice‑growing once declined in modern times. Today local communities revive ancient planting techniques, build productive‑protection bases for intangible heritage, upgrade vacuum‑preservation packaging, and take part in the Tonghui Lantern Fair, heritage fairs and cultural‑tourism events, bringing the thousand‑year‑old tribute‑rice craft back to public view.

Rice‑field waves embody thousand‑year‑old farming spirit. Traditional planting craftsmanship of Zhuozhou Tribute Rice crystallises millennia‑long agrarian wisdom of Dukang land, harmonising soil‑water, climate and farmer’s labour. Every handful of tribute‑rice carries folk‑farming memory of Yan‑Zhao. This age‑old rice‑growing craft thrives continuously on the fertile soil south of Beijing.

Glossary Extract

Traditional Planting Craftsmanship of Zhuozhou Tribute Rice: Zhuozhou‑level intangible cultural heritage of traditional craftsmanship, located in Eight‑Rice‑Villages, Baichigan Town. Originated in the Southern‑Northern Dynasties and designated as imperial tribute rice in Qing Dynasty, also called Zhuozhou Imperial Rice; it corresponds to the ancient scenic spot “Shaocun Flower‑Field”. Nourished by spring‑water‑fertile land, complete ancient farming procedures produce glossy, soft‑sweet japonica rice. Representative inheritor Zhou Yuchuan preserves local rice seeds and traditional agronomy, develops eco‑farming and attends heritage exhibitions. It stands as a highly‑representative traditional‑farming heritage in central Hebei.

门球狂人

036、涿州非遗：西茨村香肠制作技艺

（涿州市级非物质文化遗产，传统技艺类，属地：刁窝镇西茨村）

西茨村香肠，俗称茨村香肠，是扎根刁窝镇西茨村的民间肉食手工技艺，为涿州代表性乡土美食非遗项目。技艺发轫于二十世纪七十年代，由本地匠人李凤研创，历经家族四代传承，依靠手工实操、口传心授，在京南一带久负盛名，是京津冀地域广受喜爱的民间风味吃食。

西茨村香肠选料严苛，专取新鲜猪后臀尖肉，去皮去筋，切制肉条。配料采用桂皮、白芷、草果、山奈、丁香、香叶等十余种香辛料，遵循家传配比，不添加色素、防腐剂。整套技艺包含选肉切条、腌制拌料、手工灌制、分节扎绳、煮熟、烤制、自然风干等多道核心工序，全程耗时十余小时。成品色泽红亮油润，肉块肌理清晰，肉质紧实，咸香醇厚，香而不腻，不干不柴，分为五香、麻辣两类口味，热食、冷切皆适宜，风味独具一格。

旧时香肠制作多为家庭作坊模式，逢年过节供不应求，是当地百姓家宴佐餐、年节馈赠的特色吃食。技艺依靠家族内部代代传习，配方与手工要领恪守家传标准。当代代表性传承人李守谭，承袭父辈手艺，深耕此项技艺三十余年，坚守传统手工工艺流程，保留原始香料配方，同时改良真空封装工艺，便于存储与向外流通，产品远销京津冀多地。

如今，传承人坚持古法手工制作，积极参与通会灯市、非遗年货大集、各类文旅展会，现场展示传统肉食制作技艺，扩大项目传播影响力。作为涿州城市味觉名片，西茨村香肠承载冀中乡村饮食民俗，留存一方市井烟火记忆。

一缕肠香，一脉乡味。西茨村香肠制作技艺，把民间肉食加工智慧与乡土饮食习俗融为一体，是督亢故土鲜活的饮食文化遗存。岁月流转，匠人守艺不辍，这份地道乡味在当代持续焕发生机。

词条摘录

西茨村香肠制作技艺，涿州市级非物质文化遗产，传统技艺类别，属地刁窝镇西茨村。始创于上世纪七十年代，家族四代传承。精选猪后臀尖，复合香辛料调味，经灌制、煮熟、烤制、风干多道手工工序，无色素防腐剂，肉质紧实咸香。代表性传承人李守谭，坚守古法，改良真空包装，参加各类非遗展演，是京南知名民间肉食非遗技艺。

036. Intangible Cultural Heritage of Zhuozhou: Xicun‑Village Sausage‑making Craftsmanship

(Zhuozhou‑level Intangible Cultural Heritage, Category: Traditional Craftsmanship, Location: Xici Village, Diaowo Town)

Commonly known as Cicun Sausage, Xici‑Village Sausage‑making Craftsmanship is a folk hand‑processed meat heritage rooted in Xici Village, Diaowo Town, ranking as a representative local‑food intangible heritage of Zhuozhou. Originated in the 1970s by local craftsman Li Feng, the skill has been passed down through four generations of his family via hands‑on practice and oral teaching. It enjoys high reputation south of Beijing and is a well‑loved folk delicacy across the Beijing‑Tianjin‑Hebei region.

Strict material‑selection rules apply. Fresh pork rump meat is trimmed of skin and tendons and cut into strips. More than ten spices including cinnamon, angelica root, amomum tsao‑ko, kaempferia galanga, clove and bay‑leaf are blended according to ancestral formulas, with no artificial pigments or preservatives added. The full workflow covers meat‑slicing, seasoning marination, hand‑stuffing, segment‑tying, boiling, roasting and natural air‑drying, taking more than ten hours in total. Finished sausages boast glossy reddish colour with distinct meat texture. Firm‑textured, mellow‑salty, fragrant yet non‑greasy, neither dry nor tough, they are available in five‑spice and spicy flavours, tasting excellent either hot or cold‑sliced.

In old days, it was produced in family workshops and in high demand during festivals, serving as popular‑banquet dish and festive gift for local residents. Formulas and manual know‑how were kept within the family. Li Shoutan, the contemporary representative inheritor, has practised this craft for over thirty‑odd years. He preserves traditional hand‑work procedures and original spice formulas, meanwhile upgrades vacuum‑packaging for better storage and long‑distance delivery. Its products sell well across Beijing‑Tianjin‑Hebei area.

Nowadays, the inheritor adheres to ancient hand‑making standards. He frequently takes part in the Tonghui Lantern Fair, heritage‑food fairs and cultural‑tourism events to demonstrate traditional meat‑processing skills and raise public awareness of this heritage. As a flavour symbol of Zhuozhou, Xici‑Village Sausage embodies central‑Hebei folk‑diet customs and preserves grassroots‑folk memory.

One sausage carries local flavour. Xici‑Village Sausage‑making Craftsmanship integrates folk meat‑processing wisdom and rural‑diet conventions. It constitutes living culinary heritage on ancient Dukang land. As time passes, craftsmen keep the craft alive, enabling this authentic local delicacy to thrive in modern‑day society.

Glossary Extract

Xici‑Village Sausage‑making Craftsmanship: Zhuozhou‑level intangible cultural heritage of traditional craftsmanship, located in Xici Village, Diaowo Town. Created in the 1970s and handed down across four family generations. It selects fresh pork rump meat seasoned with compound spices, going through multi‑step manual procedures of stuffing, boiling, roasting and air‑drying without pigments or preservatives, yielding firm, savoury meat products. Representative inheritor Li Shoutan sticks to ancient techniques, promotes vacuum‑packaging and attends heritage exhibitions. It is a well‑known folk‑meat‑processing heritage south of Beijing.

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037、涿州非遗：上庄忠义战鼓

（涿州市级非物质文化遗产，传统音乐类，属地：高官庄镇上庄村）

上庄忠义战鼓，扎根高官庄镇上庄村，是植根涿州三国忠义文化的民间大型打击乐表演艺术，列入涿州市第二批非物质文化遗产名录。战鼓脱胎于流传久远的常山战鼓，结合本地花会习俗演化成型，因涿州为刘关张桃园结义故土，取“忠义仁勇”三国精神定名忠义战鼓，是京南地域气势恢宏的民间鼓乐花会项目。

乐队以大鼓、单鼓、小钹为核心演奏乐器，可数十人乃至上百人同台合奏，阵容宏大。鼓谱套路丰富，留存多套传统曲牌，节奏铿锵雄浑，鼓点疏密交错。表演兼具击鼓演奏与队列变换，拥有多套传统阵法，队伍进退流转，排布齐整，阵势壮阔。既可静态定点演奏，也适配民间花会巡游展演，旌旗导引，鼓乐震天，气势磅礴，极具感染力 。

旧时每逢春节、元宵庙会，忠义战鼓随民间花会出会，锣鼓轰鸣，烘托节庆氛围，是当地民俗活动的重要组成部分。技艺依靠村民口传身授，农闲之时集中排练，乡民自愿参与，鼓乐代代相传。一段时期技艺活动趋于沉寂，经当地文旅部门扶持，重新整理挖掘鼓谱与阵法套路，战鼓表演得以复苏重现风采。

当代依托村史馆、文化馆、校园平台常态化开展传习排练。传承人定期走进校园开展技艺教学，在保定幼儿师范高等专科学校等院校建立传承队伍，吸纳青年爱好者习练鼓艺，老艺人带教中青年学员，老中青接续接力。积极参与通会灯市、非遗汇演、地方文旅展演，不断扩大社会影响力，守护这份与三国忠义文化相伴相生的鼓乐记忆。

一鼓擂响，忠义流芳。上庄忠义战鼓，融铿锵鼓乐、队列阵法与燕赵忠义精神于一体，是督亢大地鲜活的民间音乐遗存。声声战鼓激荡乡土情怀，古老的民间鼓乐，在当代乡村生生不息。

词条摘录

上庄忠义战鼓，涿州市级非物质文化遗产，传统音乐类别，属地高官庄镇上庄村。源自常山战鼓演变，得名于涿州三国忠义文化，以大鼓、单鼓、小钹为主要乐器，曲牌套路丰富，百人方阵展演，阵法多变。旧时随花会庙会演出；当代整理复原鼓谱，开展进校园传习，参与各类非遗文旅汇演，承载冀中乡土鼓乐民俗与忠义文化精神。

037. Intangible Cultural Heritage of Zhuozhou: Shangzhuang Loyalty‑and‑Righteousness War‑Drum

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

Rooted in Shangzhuang Village, Gaoguanzhuang Town, Shangzhuang Loyalty‑and‑Righteousness War‑Drum is a large‑scale folk percussion‑performance art nourished by Zhuozhou’s Three‑Kingdoms loyalty‑and‑righteousness culture. It is inscribed on the Second Batch of Zhuozhou‑level Intangible Cultural Heritage List. Evolved from time‑honoured Changshan War‑Drum and adapted to local folk‑festival customs, it gets its name from the “loyalty‑benevolence‑valour” ethos of the Three‑Kingdoms culture, for Zhuozhou is the hometown of the Oath‑of‑the&#8209each‑Garden story. It constitutes a magnificent folk‑drum‑festival heritage south of Beijing.

Its instrumental ensemble centres on big drums, single drums and small cymbals. Performances may involve dozens or even over one hundred performers on one stage. Rich traditional drum scores and rhythmic patterns are preserved with forceful, sonorous beats of varied density. The show integrates drumming performance and formation‑changing choreography with multiple traditional layouts. Troops advance, retreat and shift in neat, spectacular formations. It can be performed as static fixed‑site shows or mobile folk‑festival parades guided by streamer banners. Resounding drum‑music generates magnificent, stirring appeal .

In old times, during Spring Festival and Lantern‑Festival temple fairs, the War‑Drum troupe joined folk‑society parades. Thunderous drum‑beats boosted festive atmosphere as an indispensable part of local folk activities. Skills were passed down by oral‑and‑hands‑on instruction. Villagers gathered for rehearsals in farming‑slack seasons with voluntary participation. For a period the art lapsed, yet with support from local cultural‑tourism authorities, ancient drum scores and formation routines were sorted out and restored to revive this heritage.

Nowadays regular rehearsals and training are carried out at village‑history museums, cultural centres and campuses. Inheritors deliver on‑site teaching in schools. Inheritance teams have been set up in institutions such as Baoding Preschool‑Teachers College to cultivate young enthusiasts. Veteran artists mentor middle‑aged and youth learners for continuous generational succession. The troupe takes active part in the Tonghui Lantern Fair, heritage galas and local cultural‑tourism events to expand public influence, preserving the drum‑music memory intertwined with Three‑Kingdoms loyalty culture.

One drum roll carries forward the spirit of loyalty. Shangzhuang Loyalty‑and‑Righteousness War‑Drum merges powerful percussion, formation choreography and Yan‑Zhao loyalty ethos. It is a living folk‑music heritage on ancient Dukang land. Resounding drum‑beats stir local‑folk sentiments, keeping this ancient folk‑drum art vibrant within modern‑day rural communities.

Glossary Extract

Shangzhuang Loyalty‑and‑Righteousness War‑Drum: Zhuozhou‑level intangible cultural heritage of traditional music, located in Shangzhuang Village, Gaoguanzhuang Town. Evolved from Changshan War‑Drum and named after Zhuozhou Three‑Kingdoms loyalty culture. Main instruments include big drums, single drums and small cymbals. Rich rhythmic repertoires support grand hundred‑performer shows with varied formations. Historically performed in temple‑fair parades. Modern‑day work includes score restoration, campus‑oriented inheritance and diverse heritage‑cultural performances. It embodies central‑Hebei folk‑drum customs and the spirit of loyalty‑and‑righteousness.

门球狂人

038、涿州非遗：大商剪纸

（涿州市级非物质文化遗产，传统美术类，属地：义和庄镇大商村）

大商剪纸，是扎根义和庄镇大商村的乡土民间剪纸技艺，为涿州东部乡村剪纸流派代表，列入涿州市第三批非物质文化遗产名录。当地民风淳朴，民俗活动繁盛，逢年过节张贴窗花、喜花、团花的习俗世代沿袭。大商剪纸脱胎于冀中传统窗花剪纸，经村落代代口传手授，融合本地民俗审美，形成质朴粗犷、构图饱满的乡村剪纸风格。

大商剪纸以大红宣纸为主要载体，以剪刀、刻刀为工具，剪刻结合。技法包含镂空、阴刻、阳刻、套剪等民间剪纸经典手法，不尚繁复雕琢，追求拙朴生动。题材紧贴百姓生活，十二生肖、花鸟瑞兽、戏曲人物、民俗吉花、农耕图景皆可入作。婚俗喜花寓意美满，年节窗花祈求平安，作品乡土气息浓郁，寄托普通百姓祈福纳祥的美好愿望。旧时村里逢婚嫁、新春，剪纸艺人便为邻里剪制窗花喜花，装点院落居室，是乡间民俗不可或缺的组成部分。

技艺依靠村内师徒、邻里口传身授，农闲时节妇女相聚切磋剪艺，代代传承。当代代表性传承人商秀莲，自少年便浸染乡村剪纸氛围，承袭村落传统剪纸范式，坚守乡土本色，保留老辈流传下来的传统纹样。她在恪守古法剪刻的基础之上，适度拓展创作题材，积极参与各类民俗庙会、非遗市集、通会灯会展演，走进校园开展公益传习，向青少年普及民间剪纸技艺，努力发掘整理濒临散失的老剪纸纹样，抢救保护这份乡村美术记忆。

一纸红韵，一村匠心。大商剪纸，沉淀冀中乡村百姓朴素的审美与民俗祈愿，是督亢大地上土生土长的民间美术遗存。一方红纸，方寸之间承载乡土烟火，古老的乡村剪纸技艺，在当代持续延续乡土生命力。

词条摘录

大商剪纸，涿州市级非物质文化遗产，传统美术类别，属地义和庄镇大商村。源自冀中传统窗花剪纸，剪刻并用，技法质朴，题材以花鸟瑞兽、民俗喜花、农耕生活为主。代表性传承人商秀莲，整理传统纹样，参与各类非遗展演与校园公益传习，是涿州东部乡村代表性民间剪纸技艺。

038. Intangible Cultural Heritage of Zhuozhou: Dashang‑Village Paper‑cutting

(Zhuozhou‑level Intangible Cultural Heritage, Category: Traditional Fine Arts, Location: Dashang Village, Yihezhuang Town)

Dashang‑Village Paper‑cutting is a folk paper‑cutting craft rooted in Dashang Village, Yihezhuang Town. It stands as a representative rural paper‑cutting school in eastern Zhuozhou and has been inscribed on the Third Batch of Zhuozhou‑level Intangible Cultural Heritage List. Local folk customs thrive, and the tradition of pasting window‑grille paper‑cuts, wedding decorations and festive rosettes has been passed down for generations. Evolving from central‑Hebei traditional window‑grille paper‑cutting and handed down through oral‑and‑hands‑on teaching among villagers, Dashang‑Village Paper‑cutting forms a rustic, bold‑styled local paper‑cutting school with full‑bodied compositions.

Taking bright‑red rice‑paper as its main carrier, it adopts scissors and gravers with combined cutting‑carving techniques. Classic folk‑paper‑cut skills such as hollow‑out carving, negative‑positive carving and nested‑cutting are applied. It pursues simple, vivid expressions rather than overly‑elaborate craftsmanship. Its themes are closely tied to ordinary rural life: Chinese zodiac animals, flowers‑and‑auspicious beasts, opera figures, festive rosettes and farming‑life scenes. Wedding‑ceremony patterns symbolize happy unions, while festival window‑cuts pray for peace. Full of rustic charm, these works embody local people’s sincere wishes for good fortune. In old days, folk paper‑cut artists made window‑cuts and wedding decorations for neighbours during weddings and Spring‑Festival celebrations, decorating courtyards and houses as an indispensable part of rural folk customs.

Skills were passed down among villagers via apprenticeship and neighbourhood‑based hands‑on teaching. Local women gathered to exchange skills in farming‑slack seasons. Shang Xiulian, the contemporary representative inheritor, was immersed in rural paper‑cutting from childhood. She inherits traditional village‑style patterns and sticks to rustic folk features. While preserving ancient cutting‑carving techniques, she expands creative themes. She takes part in temple‑fair events, heritage fairs and the Tonghui Lantern Fair, delivers public‑welfare training sessions on campus for teenagers, and sorts out fading old patterns to rescue and protect this rural‑art heritage.

Red charm dwells within paper; craftsmanship dwells within one village. Dashang‑Village Paper‑cutting crystallises the simple aesthetics and folk‑custom blessings of central‑Hebei villagers. It constitutes native folk‑art heritage on ancient Dukang land. Within small red sheets dwell grassroots‑folk memories, and this age‑old rural paper‑cutting craft keeps its local vitality alive in modern times.

Glossary Extract

Dashang‑Village Paper‑cutting: Zhuozhou‑level intangible cultural heritage of traditional fine arts, located in Dashang Village, Yihezhuang Town. Derived from central‑Hebei window‑grille paper‑cutting. It combines scissors‑cutting and graver‑carving with plain‑style techniques. Themes cover flowers‑and‑beasts, festive decorations and farming‑life scenes. Representative inheritor Shang Xiulian sorts out traditional patterns and attends heritage exhibitions plus public‑welfare campus training. It is a representative rural paper‑cutting craft in eastern Zhuozhou.

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039、涿州非遗：风雨竹酒酿作工艺

（涿州市级非物质文化遗产，传统技艺类）

风雨竹酒酿作技艺，源自涿州本土固态粮食白酒酿造传统，项目得名于三义宫《风雨竹》碑刻，取关公以竹明志、忠义节烈的文化意象，2017年列入涿州市级非物质文化遗产名录。涿州自古酿酒之风盛行，此地为刘关张桃园结义故土，三国忠义文化浸润酒俗，国营老酒厂积淀的酿造古法代代延续，后经改制传承，形成这项兼具古法酿造与地域人文底色的白酒非遗技艺。

技艺依托本地甘冽水源，恪守北方固态发酵古法，以优质红粮、小麦为主要原料，以麸曲作糖化剂，搭配人工培育产酯酵母为发酵剂，完整保留清烧混蒸、场地堆积、老窖泥池低温发酵、温火蒸馏、分级摘酒、陶坛窖藏、精心勾调等全套传统工序。酿造讲究时序节律，发酵、窖藏皆顺天时，不追求速成，经陶坛长期储存，酒体微黄透明，香气浓郁，醇和绵甜，焦香与粮香协调，回味悠长，是冀中本土粮食白酒的典型代表。产品包装融入风雨竹碑刻、刘关张脸谱等专利文创设计，将酒品与三国文化融为一体，兼具饮用与文化观赏价值。

风雨竹酒承载涿州民间宴饮礼俗，旧时便是地方待客、节庆馈赠的佳酿。技艺传承主体脱胎于地方国营酒厂，当代代表性传承人郭顺兴接续古法酿造，坚守传统固态酿造工艺，完整保留老窖池与传统酿造流程，在恪守古训的基础之上完善产品体系，拓展礼盒、坛装原浆等多元品类，适配宴席、文旅伴手礼等多元场景。

如今传承人积极参与通会灯市、各类非遗市集、文旅展会，现场展示传统粮食酒酿造文化，对外传播涿州三国忠义文化。作为涿州重要的文化物产符号，风雨竹酒酿作技艺，把千年酿酒智慧与燕赵忠义人文相融，是督亢故土活态的酿造文化遗存。岁月流转，窖池不绝，这方本土佳酿，让古城酒脉在当代生生不息。

词条摘录

风雨竹酒酿作技艺，涿州市级非物质文化遗产，传统技艺类别。取名源自三义宫风雨竹碑刻关公忠义典故，承袭涿州本土固态粮食白酒酿造古法，以红粮、小麦为原料，经低温发酵、混蒸蒸馏、陶坛窖藏等多道工序，酒体绵甜醇厚。代表性传承人郭顺兴，坚守传统窖池酿造，拓展文旅文创产品，参与各类非遗展演，承载涿州三国忠义酒俗文化。

039. Intangible Cultural Heritage of Zhuozhou: Feng‑yu‑zhu Wine‑brewing Craftsmanship

(Zhuozhou‑level Intangible Cultural Heritage, Category: Traditional Craftsmanship)

Feng‑yu‑zhu Wine‑brewing Craftsmanship originates from the local tradition of solid‑state grain liquor brewing in Zhuozhou. It takes its name from the Wind‑and‑Rain Bamboo Stele housed in Sanyi Palace, drawing on the cultural symbolism of Guan Yu manifesting his loyalty and integrity through bamboo. It was inscribed on the Zhuozhou‑level Intangible Cultural Heritage List in 2017. Wine‑making has enjoyed a long‑standing popularity in Zhuozhou, hometown of the Oath of the Peach Garden. Local drinking customs have been deeply influenced by the Three‑Kingdoms spirit of loyalty and righteousness. Time‑honoured brewing methods accumulated by the former state‑owned distillery have been passed down through generations following institutional restructuring, giving birth to this liquor‑making heritage that integrates ancient craftsmanship with regional humanistic features.

Drawing on local fresh and sweet water sources, the craft follows ancient northern‑Chinese solid‑state fermentation techniques. High‑quality red sorghum and wheat serve as major raw materials. Bran koji functions as the saccharifying agent, together with artificially cultivated ester‑producing yeast as the fermenting agent. It preserves a full set of traditional procedures: separate‑steaming mixed distillation, open‑air stacking, low‑temperature fermentation in aged mud pits, gentle‑fire distillation, graded liquor collection, pottery‑jar cellaring and refined blending. Brewing follows natural seasonal rhythms; fermentation and cellaring adapt to natural conditions rather than pursuing rapid production. After long‑term ageing in pottery jars, the liquor presents a slight yellow transparent hue, rich aroma, mellow‑sweet taste, well‑balanced roasted‑grain fragrance and a lasting finish. It stands as a typical example of native grain liquor in central Hebei. Its packaging incorporates patented cultural‑creative designs such as patterns from the Wind‑and‑Rain Bamboo Stele and facial masks of Liu Bei, Guan Yu and Zhang Fei. It unites liquor products with Three‑Kingdoms culture, delivering both drinking value and cultural‑ornamental appeal.

Feng‑yu‑zhu liquor embodies local banquet rituals of Zhuozhou. In old times, it was a fine liquor for receiving guests and festive gifts. The inheritance system evolved from the local state‑owned distillery. Guo Shunxing, the contemporary representative inheritor, carries forward ancient brewing practices. He adheres to solid‑state fermentation, well‑preserving aged fermentation pits and traditional workflows. While respecting ancestral norms, he optimizes the product portfolio and develops diversified categories including gift boxes and jar‑packaged raw liquor for banquets and cultural‑tourism souvenirs.

Today the inheritor takes an active part in the Tonghui Lantern Fair, intangible‑heritage fairs and cultural‑tourism exhibitions. He demonstrates traditional grain‑liquor‑making culture on‑site and promotes Zhuozhou’s Three‑Kingdoms loyalty culture. As an important cultural‑product symbol of Zhuozhou, Feng‑yu‑zhu Wine‑brewing Craftsmanship combines millennia‑old brewing wisdom with the loyalty‑and‑righteousness ethos of Yan‑Zhao. It constitutes living brewing‑culture heritage on ancient Dukang land. As years go by, fermentation pits keep operating, and this local fine liquor keeps the ancient city’s wine‑making tradition alive in modern society.

Glossary Extract

Feng‑yu‑zhu Wine‑brewing Craftsmanship: Zhuozhou‑level intangible cultural heritage under traditional craftsmanship. Named after the loyalty‑themed Wind‑and‑Rain Bamboo Stele at Sanyi Palace. It inherits local solid‑state grain‑liquor brewing traditions of Zhuozhou. Using red sorghum and wheat as raw materials, it undergoes multi‑step procedures including low‑temperature fermentation, mixed‑steaming distillation and pottery‑jar cellaring to produce mellow‑sweet liquor. Representative inheritor Guo Shunxing sticks to pit‑based brewing, develops cultural‑tourism creative products and participates in various heritage performances. It embodies Zhuozhou’s drinking customs rooted in Three‑Kingdoms loyalty culture.

门球狂人

040、涿州非遗：泗各庄高跷盛会

（涿州市级非物质文化遗产，传统舞蹈类，属地：百尺竿镇泗各庄村）

泗各庄高跷盛会，是扎根百尺竿镇泗各庄村的北方传统民间花会舞蹈，兴起于清代乾隆年间，迄今已有两百余年传承历史，列入涿州市级非物质文化遗产名录。泗各庄村毗邻拒马河畔，古村民俗积淀深厚，村中花会世代兴盛，高跷会是当地最具代表性的民俗社火项目，属于冀中北派高跷，文武兼备，文武角色齐全，在京南一带久负盛名。

表演者双腿绑缚木质高跷，身着五彩戏衣，头戴各色盔头头饰，整套表演角色配置完备，分为俊角、丑角两大体系，含俊鼓、丑鼓、俊锣、丑锣等伴奏角色。剧目多取材古典小说，以《水浒传》故事为主，演绎三打祝家庄等经典桥段，演员分别扮演武松、吴用、扈三娘等梁山人物，人物扮相鲜明，各有对应的唱腔曲牌，留存《扎花调》等传统唱调，说唱与舞蹈相互交融。

表演动作丰富，既有碎步行进、翻身、推车、斗鱼等柔美身段，又有大背剑、小背剑、走大凳、跳大板、跳大马车等惊险高难度特技，动静结合，刚柔并济。演出以锣鼓镲打击乐全程伴奏，既可定点场地展演，也跟随民间花会巡游过街。每逢新春、元宵庙会，高跷队伍随社火出行，锣鼓喧天，队伍迤逦而行，是当地年节民俗最重要的欢庆形式。

旧时技艺依靠村民口传身授，农闲时节集中排练，村民自愿参与，代代传习。部分老唱词曾濒临散失，经当地民间艺人搜集整理，抢救恢复部分传统曲牌与动作套路。当代传承队伍坚持常态化排练，老艺人带徒传艺，吸纳中青年村民加入，接续花会血脉。积极参与通会灯市、非遗大集、地方文旅展演，重现古老高跷盛会的风采。

一跷踏歌，百代乡风。泗各庄高跷盛会，把戏曲故事、特技舞蹈、乡土锣鼓融为一体，承载冀中乡村社火民俗记忆，是督亢故土鲜活的民间舞蹈遗存。声声锣鼓起落之间，古老的民间花会，在当代乡村生生不息。

词条摘录

泗各庄高跷盛会，涿州市级非物质文化遗产，传统舞蹈类别，属地百尺竿镇泗各庄村。始于清乾隆年间，北派冀中高跷花会，角色分俊丑，取材水浒故事，保留传统唱腔，特技动作丰富，锣鼓伴奏，可定点演出也可巡游。经艺人抢救整理老曲牌，组建传承队伍，参与各类非遗文旅展演，承载京南乡村社火民俗文化。

040. Intangible Cultural Heritage of Zhuozhou: Sigezhuang Stilt‑Show Grand Performance

(Zhuozhou‑level Intangible Cultural Heritage, Category: Traditional Dance, Location: Sigezhuang Village, Baichigan Town)

Sigezhuang Stilt‑Show Grand Performance is a northern‑style folk‑festival dance rooted in Sigezhuang Village, Baichigan Town. Originated in the Qianlong reign of the Qing Dynasty, it boasts a heritage of more than two hundred years and is inscribed on the Zhuozhou‑level Intangible Cultural Heritage List. Nestled beside the Juma River, the ancient village possesses profound folk‑custom heritage. As a core local she‑huo festive‑society item, it belongs to central‑Hebei northern‑school stilt‑dance featuring both civil and martial roles, enjoying high reputation south of Beijing.

Performers tie wooden stilts to their legs, wearing colourful opera costumes and ornate head‑ornaments. The cast is complete, divided into elegant roles and comic roles, accompanied by musical parts of handsome‑drum, comic‑drum, handsome‑cymbal and comic‑cymbal. Most plots are adapted from classical novels, mainly stories from Water Margin, such as the classic episode of Three Assaults on Zhu Family Manor. Actors portray Liangshan heroes including Wu Song, Wu Yong and Hu Sanniang with distinctive images. Each character corresponds to unique tunes, and traditional melodies such as Zha‑hua Tune are preserved, integrating singing‑recitation and dancing.

The repertoire includes diverse movements: gentle postures such as mincing‑step, body‑twisting, cart‑pushing and fish‑fighting, alongside breath‑taking stunts including big‑sword‑back carry, small‑sword‑back carry, bench‑stepping, big‑board‑jumping and big‑carriage‑leaping. Percussion instruments such as gongs and cymbals provide full‑time accompaniment. The troupe can give fixed‑site shows or parade along streets as part of folk festivals. During Spring Festival and Lantern‑Festival temple fairs, the stilt troupe marches amid thunderous drums as a highlight of local festive celebrations.

In old times, skills were passed down orally among villagers. Villagers gathered for rehearsals in farming‑slack seasons with voluntary participation. Some old librettos were once on the verge of loss. Local folk artists collected and restored partial traditional tunes and movement routines. Contemporary inheritance teams keep regular rehearsals. Veteran artists mentor young and middle‑aged villagers to continue the folk‑society heritage. The troupe takes part in the Tonghui Lantern Fair, heritage fairs and cultural‑tourism events to revive the charm of the ancient stilt show.

Stilts carry songs; folk customs pass for centuries. Sigezhuang Stilt‑Show Grand Performance integrates opera stories, acrobatic dance and folk percussion. It embodies she‑huo festive‑society memories of central‑Hebei countryside and constitutes living folk‑dance heritage on ancient Dukang land. With rising and falling drum‑beats, this age‑old folk‑festival art thrives in modern‑day villages.

Glossary Extract

Sigezhuang Stilt‑Show Grand Performance: Zhuozhou‑level intangible cultural heritage of traditional dance, located in Sigezhuang Village, Baichigan Town. It dates back to the Qianlong reign of Qing Dynasty, representing northern‑school central‑Hebei stilt‑show folk‑society art. Roles are divided into elegant and comic types. It draws materials from Water Margin with preserved traditional tunes and abundant stunts. Accompanied by gongs‑and‑cymbals, it performs both in fixed venues and street parades. Folk artists rescue old tunes, form inheritance teams and attend heritage‑cultural‑tourism events. It embodies rural she‑huo folk‑custom culture south of Beijing.

门球狂人

041、涿州非遗：刁窝子弟高跷会

刁窝子弟高跷会，为涿州市级非物质文化遗产，隶属传统舞蹈门类，世代流传于涿州刁窝镇刁一村，是古督亢京南乡土社火文化中极具代表性的民间花会遗存。此方乡土襟连涿东沃野，民风质朴、社火兴盛，自古春节元宵必有百戏巡游、乐舞娱神，高跷技艺遂扎根乡野、代代承袭，历百余年风雨而传承不绝。

该高跷会溯源清光绪年间，由州城艺脉传入乡间。据传彼时本村乡贤周氏钟七老爷，性好雅乐民俗，致仕归里后，悯乡野岁时文娱匮乏，遂延请城内高跷名师入村授艺，捐资置装、置办器乐、规整会规，始创本村高跷花会。初立会之时，规制严谨、纪律整肃，参与表演者皆为村中适龄子弟，淳朴勤勉、尊师守礼，故而定名“子弟高跷会”。为固会基、续传承，旧时入会子弟皆以粮谷入社、以礼入会，乡民同心维系，使这门乡土技艺稳稳扎根、世代赓续。

其表演形制文武兼备、动静相宜，尽得冀中高跷神韵。文跷步态舒缓、身段灵动，扭摆穿行、阵形规整，重仪态、重气韵、重排场；武跷特技精湛、刚健有力，蹲桩劈叉、腾空跳跃、移步换形，招式纯熟利落、惊险可观。出会之际，全员身着戏曲行头，角色配置齐全，锣鼓铿锵相伴，列队巡游街巷，步踏节律、随乐起舞。整套仪程恪守古制，起会、巡游、拜会、退场规制完整，留存晚清民国京南花会原始风貌。

自晚清肇始，历民国、至当代，此会盛名远播、享誉四乡。民国年间，曾远赴军营展演慰问，艺风端正、技艺精湛，一时声震畿南。每逢新春元夕、庙会大典，子弟高跷必盛装出会，十里乡民聚观，人声鼎沸、街巷欢腾，成为一方岁时节庆最盛大、最热闹的民俗景观，滋养世代乡俗记忆、涵养淳朴乡风民心。

岁月更迭，世风流变，民间花会几经沉浮，亦曾历沉寂断层。改革开放之后，村内老一辈传承人重拾旧艺、复盘套路、修补行头、重整会规，广收后辈、耐心传习，让中断的技艺再度复苏，百年古会重焕新生。时至今日，每逢佳节盛典，刁窝子弟高跷会依旧整装列队、踏跷巡游，舞步铿锵、古韵悠长，坚守乡土文脉、赓续民俗薪火。

一方古跷艺，半部乡俗史。刁窝子弟高跷会，不惟是一门传统舞蹈技艺，更是督亢东部乡村礼乐传承、乡贤兴艺、乡民共治、邻里同心的鲜活见证。它承载着京南古村的节庆礼制、民俗审美、人文风骨，是乡土烟火与传统礼乐交融的珍贵活态遗存。记录其源流、留存其风貌，即是守护涿州本土民俗根脉，赓续千年督亢人文余韵。

词条摘录

刁窝子弟高跷会，涿州市级非遗传统舞蹈。始创于清光绪年间，由乡贤引艺立会，因本村子弟世代传承得名。文武跷兼备，会规古朴完整，是京南极具代表性的民间社火花会，为督亢乡土民俗重要活态遗存。

041 Zhuozhou Intangible Cultural Heritage: Diaowo Young‑Men Stilt‑Show Society (Notes on Dukang Cultural Relics)

The Diaowo Young‑Men Stilt‑Show Society is a prefecture‑level intangible cultural heritage of Zhuozhou under the category of traditional dance. It has been passed down for generations in Diao No.1 Village, Diaowo Town, Zhuozhou. It stands as a representative folk‑festive performance among the local fire‑festival traditions of ancient Dukang in southern Beijing. This land borders the fertile eastern plains of Zhuozhou, where folk customs are simple and festive performances thrive. Since ancient times, operatic parades and ritual dances have been staged during the Spring Festival and Lantern Festival to entertain deities. The stilt‑show art took root in the countryside and has survived over more than a hundred years of vicissitudes.

The stilt‑show society traces its origin to the Guangxu reign of the Qing Dynasty, when performing arts were introduced from the prefectural city into the village. According to oral records, a local gentleman Zhou Zhongqili, fond of refined music and folk customs, retired to his hometown. Seeing the lack of seasonal recreational activities in rural areas, he invited celebrated stilt‑show masters from the city to teach in the village. He donated funds for costumes and musical instruments, and formulated association rules to found the village’s stilt‑show troupe. In its early days, the society operated under strict disciplines. All performers were young local villagers, honest, diligent and respectful to masters — hence the name “Young‑Men Stilt‑Show Society”. In old times, new members joined by contributing grain and observing rituals. Villagers jointly sustained the troupe, enabling this folk craft to take firm root and pass from generation to generation.

Its performances integrate civil‑style and martial‑style stilts, embodying the essence of central‑Hebei stilt art. Civil‑style stilt features leisurely strides and flexible postures with well‑organized formations, emphasizing grace, charm and pageantry. Martial‑style stilt presents stunning, forceful feats including squatting, splits and leaping, with nimble, breath‑taking moves. When performing, artists wear full opera costumes with complete character roles. Accompanied by resounding gongs and drums, they parade along streets dancing in rhythm. The full ritual procedure — opening ceremony, parade, ceremonial visits and closing — is strictly preserved, retaining the original style of southern‑Beijing folk shows from the late Qing and Republican periods.

Founded in the late Qing Dynasty, the troupe gained wide fame through the Republican era down to modern times. During the Republican period, it gave special condolence performances for military barracks, earning renown across southern Ji Province. At Spring Festival, Lantern Festival and temple fairs, the troupe staged grand shows drawing crowds from miles away. It became the most spectacular folk‑festival spectacle, shaping local collective memory and fostering honest community ethos.

As times changed, folk festive arts experienced ups and downs and once fell into oblivion. After China’s reform and opening‑up, veteran inheritors revived the art: restoring routines, repairing costumes and reorganizing codes of conduct. They recruited young apprentices for patient mentoring, reviving the interrupted heritage and breathing new life into the century‑old society. Up to today, on major festivals, the troupe still marches on stilts with powerful rhythms and time‑honored charm, safeguarding local cultural roots and carrying forward folk traditions.

This ancient stilt‑show craft records chapters of local folk history. More than merely a dance form, the Diaowo Young‑Men Stilt‑Show Society bears living witness to ritual inheritance, gentry‑sponsored arts, community governance and neighborhood solidarity in eastern Dukang villages. It embodies festival rituals, folk aesthetics and cultural ethos of ancient villages south of Beijing, a precious living heritage blending rural vitality and traditional rituals. Documenting its origin and features helps preserve Zhuozhou’s folk roots and perpetuate the millennia‑old cultural legacy of Dukang.

Excerpt

Diaowo Young‑Men Stilt‑Show Society is a prefecture‑level intangible cultural heritage of Zhuozhou in traditional dance. Established in the Guangxu reign of Qing Dynasty under gentry patronage, it gets its name from generational participation of local youth. Combining civil‑ and martial‑style stilt techniques with complete ancient conventions, it is a representative folk‑festive troupe south of Beijing and vital living heritage of Dukang folk customs.