1. Dunhuang
Dunhuang City is located in the northwest of Gansu Province and is under the jurisdiction of Jiuquan City, Gansu Province. East longitude 92°13′-95°30′, north latitude 39°53′-41°35′. It is connected to Guazhou County, Subei Mongolian Autonomous County and Aksai Kazakh Autonomous County to the east and west respectively. The city has a total area of ??31,200 square kilometers, of which the oasis area is 1,400 square kilometers, accounting for only 4.5% of the total area. It is surrounded by the Gobi desert, so it is known as the "Gobi Oasis". The city's total population is 180,000, of which 93,000 are agricultural residents. Han people account for the vast majority of the total population, while 10 ethnic minorities, including Hui, Mongolian, Tibetan, Uyghur, Miao, Manchu, Tujia, Kazakh, Dongxiang, and Yugu, account for only 1.06% of the total population.
2. Big Wild Goose Pagoda
Big Wild Goose Pagoda
Name: Big Wild Goose Pagoda [English] Big Wild Goose Pagoda
Category: Ancient Architecture< /p>
Era: Tang Dynasty
Original belonging of cultural relics: the pagoda used to house the scriptures brought back by Xuanzang from India
Current status of cultural relics: now located in Cien, Xi'an City Temple
Introduction:
The Big Wild Goose Pagoda is located in Ci'en Temple in the southern suburbs of Xi'an, Shaanxi Province. It is a famous ancient building in the country and is regarded as a symbol of the ancient capital of Xi'an. According to legend, it was the place where Master Xuanzang specialized in translating and storing scriptures after he returned from India (ancient Tianzhu). It is named Wild Goose Pagoda because it is built in the style of Indian Wild Goose Pagoda. Since a smaller Wild Goose Pagoda was later built in the Jianfu Temple in Chang'an, for the sake of distinction, people called the Ci'en Temple Tower the Big Wild Goose Pagoda and the Jianfu Temple Tower the Small Wild Goose Pagoda, which has been passed down to this day. The Big Wild Goose Pagoda is square in plan and built on a platform about 45 meters square and 5 meters high. The tower has seven floors, with a side length of 25 meters at the bottom and a height of 64 meters from the ground to the top of the tower. The tower body is made of bricks, and the joints between the polished bricks are extremely strong. There are stairs in the tower that you can spiral up. There is an arched door opening on each side of each floor, which can be viewed from a distance by leaning on the railing. You can have a panoramic view of Chang'an. There are stone gates on all sides of the bottom floor of the pagoda, and there are exquisite line-carved Buddha statues on the gate masts, which are said to be the work of Yan Liben, a great painter of the Tang Dynasty. In the brick niches on both sides of the south gate of the pagoda, two stone tablets are embedded, which are the Preface to the Holy Teachings of the Tripitaka of the Tang Dynasty and the Preface to the Holy Tripitaka of the Tang Dynasty, written by Chu Suiliang, one of the four great calligraphers in the early Tang Dynasty. After the end of the Tang Dynasty, the temple suffered from repeated wars and fires, and the palaces were burned down, leaving only the Big Wild Goose Pagoda standing majestically.
Another theory is that the Big Wild Goose Pagoda was built in the third year of Yonghui reign of Emperor Gaozong of the Tang Dynasty. Because it is located in Ci'en Temple, it is also called Ci'en Temple Pagoda. Ci'en Temple was built by Prince Li Zhi in the 22nd year of Tang Zhenguan (648) in memory of his mother, Queen Wende.
When the Big Wild Goose Pagoda was first built, it had five floors, with a brick surface and an earth core. It later collapsed and was rebuilt with ten floors. During the Chang'an period of Wu Zetian of the Tang Dynasty (701-704), it was transformed into a pavilion-style blue brick pagoda. , seven floors, square in plan, composed of two parts: the tower base and the tower body. The tower base is 48 meters long on a side and 4.2 meters high. Above it is the tower body, which is 25 meters long on a side and 59.9 meters high. The total height of the tower base and the tower body is 64.1 meters. The walls of each floor of the tower are made of flat brick pillars and balustrades. There are large buckets on the upper parts of the pillars, and brick gates are opened in the middle of the four sides of each floor. The plane inside the tower is also square, with floors on each floor and escalators that can spiral up to the top of the tower. In the Ming Dynasty, a thick layer of bricks was built on the outside of the tower, and the bricks were polished to make them extremely strong. When the Dayan Pagoda was first built, it was a five-story square pagoda with a brick surface and an earth core. Later, it was transformed into a seven-story square pavilion style. The tower is now 64 meters high, with each floor having a wooden imitation structure. The lintel on the bottom floor has exquisite line-carved Buddha statues, and the lintel on the west door is a picture of Amitabha preaching, with a magnificent hall carved on the picture. In the brick niche inside the south gate of the ground floor of the pagoda, there are two stone tablets embedded: "The Preface to the Holy Teachings of the Tripitaka of the Tang Dynasty" and "The Preface to the Holy Teachings of the Tripitaka of the Tang Dynasty", both written by Chu Suiliang, a famous calligrapher in the Tang Dynasty. Elegant and unrestrained, it is a famous monument of the Tang Dynasty. On the lintel of the stone gate on the west side, there are Tang carved architectural patterns and line carvings of Buddha statues. The layout of the picture is rigorous and the lines are strong and smooth. It is said that it was painted by Yan Liben and Yuchi Yiseng, the famous painters of the Tang Dynasty. It is an important material for the study of ancient Chinese architecture. The Big Wild Goose Pagoda was a famous tourist attraction in the Tang Dynasty, so it has a large number of inscriptions by literati. There are more than 200 inscriptions on the monument in the Ming and Qing Dynasties alone. To this day, the Big Wild Goose Pagoda is still a landmark building in the ancient city of Xi'an and a scenic spot famous both at home and abroad. The State Council promulgated it as the first batch of national key cultural relics protection units in 1961.
3. Blue Flower
This is a folk song in northern Shaanxi. The song describes a touching folk love story, reflecting the innocent love of girls and the hardship of people's lives in the old society. If you have read the lyrics of this song, you should know what the story is:
The blue line is the blue line, the blue one is brilliant,
give birth to a blue flower, I really love people to death.
The grain seedlings in the field are as high as the sorghum.
The daughters of the Thirteenth Province are as good as the blue flowers.
The one who talks about matchmaking in the first month will make the decision in February,
Pay a lot of money in March, and welcome in April.
The one from the third team will blow the news, and the two teams will fight,
I left my beloved brother behind and carried him into the Zhou family.
The one from Lan Huahua got off the sedan and looked around,
Looking for the Zhou family’s monkey. I am like a tomb.
If you want to die, come and die early.
One day you will die, and the next day I will leave in blue.
Hand-held Serve the mutton and carry the cake,
I will risk my life to run to my brother's house.
I saw my beloved brother, and I have endless things to say,
We live and die together.
4. Xintianyou
Xintianyou is a form of folk song spread in the vast area of ??northwest my country.
This is a masterpiece engraved on the northwest Loess Plateau with old ingots. It is a wonderful flower among the Huangpo and Huangshui. A high-pitched song can resound and stop the moving clouds, sweeping away the overwhelming sound; a single sound reaches the ears, making people feel refreshed and refreshed.
It is the folk song of northern Shaanxi. In northern Shaanxi, it is called "Xintianyou", also known as "Shuntianyou" and "Xiaoqu". In Shanxi, it is called "Shanqu", and in Inner Mongolia, it is called "Shanshan Tune". Whether it is Xintianyou in northern Shaanxi, Shanxi's Shanqu, or Inner Mongolia's Mountaineering Tune, the lyrics are all written in a seven-character pattern of 2, 2 and 3 as the basic sentence format, and the expression is based on romanticism. Known for his techniques. Xintianyou has a wide range of comparisons, ranging from the sun, moon and stars, wind, clouds, rain and dew; down to flowers, plants and trees, birds, animals, insects and fish; as well as firewood, rice, oil and salt, grains, food, clothing and daily life. "According to Liu Xie,...'Xing' has both a metaphorical meaning and the role of entrusting and initiating. It can achieve arousing emotions through subtle suggestions, that is, using subtle things to express the author's emotions and exaggerate the atmosphere. etc. "① Since it is a "subtle thing", it can be understood but cannot be expressed. There are many such unexpected and unspeakable situations in the rise of Xintianyou, such as: "The sheep's belly handkerchief (that) has three streaks of blue, and my brother (yo) who was in the Red Army is back." Another example: "The sheep's belly handkerchief (That) Three Paths of Blue, you said (that) is difficult or not difficult. "The "rising" is the same, but the content of rising is completely different. What are the connections? How did this connection come about? What rules can this kind of creator's mental activity reveal about folk song creation? Through pragmatic analysis, the answer may be obtained.
Folk songs in northern Shaanxi are the crystallization of the spirit, thoughts, and emotions of the working people in northern Shaanxi. They are the closest companions of the people in northern Shaanxi and the most direct reflection of the lives of the working people in northern Shaanxi.
Northern Shaanxi is a place where folk songs gather. There are many kinds of folk songs, which are commonly known locally as "mountain songs" or "sour songs". There are mainly more than 20 kinds of Xintianyou, minor tunes, drinking songs, and Yulin ditties, among which Xintianyou is the most distinctive and representative.
The singing environment of Xintianyou is a vast and boundless yellow plateau. This plateau is filled with thousands of ravines and ravines. It is vast, majestic and yet deeply desolate and tragic; it is steep, fortitude and yet... Full of depression and frustration. For thousands of years, it has potentially influenced the living customs of people in northern Shaanxi with its own personality, shaping the distinctive plateau culture and shaping the desolate, majestic and melancholy Xintianyou. Xintianyou, in this remote ravine with poor people and inconvenient transportation, and in the long history, is the best way for the working people in northern Shaanxi to express their feelings, and it is the voice from the bottom of the people's hearts.
These colloquial poems are strikingly expressive, vivid and have strong artistic appeal. Its content mainly reflects love, marriage, resistance to oppression and the fight for freedom.
People in northern Shaanxi sing Xintianyou, which not only sings about the joy of life, but also sings about personal sorrow. It is not lacking in romance, but also pays attention to reality. It is the pursuit of the beauty of life and the sustenance of emotions.
The rhythms of Xintianyou are mostly very free, and the melodies are unrestrained, open, exciting, and soul-stirring. This is directly related to the landscape of northern Shaanxi full of ravines. In the local area, people are accustomed to standing on slopes or at the bottom of ditches and shouting or talking loudly from a distance. For this purpose, they often make their voices very long, thus forming a free and evacuation rhythm between high and low lengths. This habit will naturally Have an impact on Xintianyou. Therefore, Xintianyou's tunes are melodious and high-pitched, rough and unrestrained, with harmonious rhythms, and reveal the beauty of health without modification. Xintianyou's singing style highly concentratedly displays the plateau's natural landscape, social features and the spiritual world of northern Shaanxi people.
Xintianyou, this pearl on the Loess Plateau, has gone through changes and vicissitudes of life along with history, showing its charm and radiating dazzling splendor in the evolution of the times.
Context is an important concept in pragmatic research, which refers to the speech environment in which people use natural language to communicate. This environment includes: context, situation, national cultural traditions, etc. In the rise of Xintianyou, contextual factors are very prominent. For example, in "Blue Flower": "The green line (that) blue line (the) blue line (one) is the shining color, giving birth to a blue flower (ah) is really love to death." How does the green line and the blue line originate, leading to cuteness Where are the blue flowers? This needs to be analyzed from several aspects: first of all, the location context. This song Xintianyou was circulated on the Loess Plateau in northern Shaanxi, where there is endless loess, mountains and hills, and the Yellow River winding through is also a mess. Yellow mud, in such a yellow world that is all over the sky, clear water is what people long for and gives people a sense of beauty. The colors that make people think of water are also beautiful. The words "green" and "green" in the lyrics "Blue" is a color that can give people such beautiful associations, and it also has a moving "yingying" luster, so it is "lovable to death". So what role does "line" play here? This again needs to be analyzed from the context of national cultural traditions. In traditional Chinese culture, one of the virtues that women should possess is "women's work". In the past, women did housework at home, as well as tasks such as weaving, embroidery, and sewing. Thread is an indispensable material for this kind of work, so the image of "thread" is associated with women. Therefore, it is logical to start with beautiful threads and lead to the charming and lovely woman Lan Huahua. Such "gender characteristics" still exist in the rise of Xintianyou, such as the "sheep belly handkerchief (that) has three streaks of blue, and my brother who was a Red Army member came back with him." If not used in the context of national cultural traditions Analyzing the "social norms and customs", we can't see any inevitable connection between the sentence "Sheep belly handkerchief with three stripes of blue" and the brother who was a member of the Red Army. But if you understand the customs of northern Shaanxi, you will know that tying a "hero's knot" on the head with a sheep's belly handkerchief is a typical dress of local young and middle-aged men, and is considered by the locals to be a heroic appearance. This sentence actually outlines the image characteristics of "the elder brother of the Red Army" and can also illustrate the youth's yearning for the Red Army at that time. On the Loess Plateau, not only are the colors monotonous, but there is also a lack of vigorous life. The loess and windy sand give people a sense of boredom and loneliness. Therefore, all colors that can be in sharp contrast with yellow and things full of vitality are very eye-catching. For example, in the very familiar Xintianyou song "Shandandan blooms red and bright", it goes: "Shandandan blooms red and bright, our central (Oh) The Red Army arrives in northern Shaanxi. "The mountain dandelion flowers are shaped like day lilies. When they bloom, they are dyed fiery red all over the mountains and plains. The atmosphere is heightened from the beginning: warm, festive and full of vitality. Moreover, during the First Civil Revolutionary War, people in northern Shaanxi called participating in the Red Army "making red". If you have such historical knowledge, you can better understand why the song Xintianyou uses the bright red Shandan flower. Instead of using anything else to get excited.
The rise of some Xintianyou can only be deduced from its connection with the content through the conversational implicature theory of pragmatics. For example, "Brother Missing Love":
"Light up the lantern on the east mountain, and get a light on the west mountain, and there will be no people in the plains for forty miles.
< p>You got sick at your home (oh) and I cried at my home, and the pear (yo) on the scale didn’t come to my door.”The whole first paragraph is full of excitement.
If analyzed using the principle of conversational implicature, this passage first violates the "principle of quality" and says something without basis. In the age of lighting oil lamps, how could the lamps on the east mountain also shine brightly on the west mountain? No matter how flat the forty miles of plains are, it is impossible for human eyes to see all the way to the end. It is normal for "no one to be seen". This is a violation of the "maxim of quantity" and talking nonsense. Since it is not the truth, since it is said in vain, why do you say it anymore, because you have to tell it. In other words, this rise is deliberately intended to violate these principles. The purpose is to elicit the following content: Even though we are so far apart, I can know that you are sick in your home and I can know about it in mine. People who are worried about you and love each other have the same heart-to-heart. But I don’t have anyone I can trust—“I don’t know anyone”—so I bought you the things you loved to eat while you were sick and couldn’t give them to you. Qixing here, in addition to emphasizing the close connection between lovers, also highlights the pain of a woman who misses but has no one to talk to, and the helplessness of being anxious and unable to find anyone to help. Another example is "The big white rabbit with red ears (the one with red ears) doesn't think of anyone as much as I think of my brother." "The big white rabbit with red ears" violates the "principle of quality", no matter what It is impossible for a white rabbit, a black rabbit, a gray rabbit, or a flower rabbit to have red ears. White rabbits with red ears do not exist in life. But as a stimulus, this special white rabbit successfully elicited "I miss no one as much as I miss my brother." The white rabbit is different, and I miss you, brother, in an extraordinary way. Another example: Mr. Wang Chaowen exclaimed that "Mountains are as close as water as rocks are, and people are here if you are not." If stones can be moved, "stones are here" does not violate the principle of quantity, then "mountains are here as water is here" is obvious. It violates this principle and is nonsense. But it is precisely because things like stones, which can be formed with or without them, are there, but the lovers who are inseparable for a moment are not there. This is the most unreasonable thing for "lovers", and the woman's resentment is so angry. intensity. The "others" who have stirred up others are here, so you are coquettish and questioning why you are not there, citing mountains, water, and rocks as reasons why you should be there! Not only is nonsense here not nonsense, on the contrary, without its foreshadowing, "Everyone is here but you are not" would not have such a big shock to people's souls.
Xintianyou Qixing also contains the principle of pragmatic presupposition. For example: "It's good to cut a handful of millet and bend down, and drink a sip of cold water from my mother's family." "It's good to cut a handful of millet and bend down" and "to drink a sip of cold water from my mother's family" seem to have nothing to do with each other. Without a preset premise, it is impossible to understand the relationship between them, and this premise is not given to us by the lyrics: harvesting is very hard physical labor. The implication of the words is: I am very tired. But my husband's family didn't cherish me because of this, so the next sentence is: Even drinking cold water is delicious. The implication is that the husband's family is not good. I miss my natal family very much and want to go back to my own home. There is also a song "I Know My Sister's Thoughts": "Water is poured out from the well, and I know what is on my sister's mind." This Xintianyou song is not a soliloquy, but has someone to talk to, and the object is "sister". The premise of the song is: the sister has thoughts, which is actually a communication between two people. Qi Xingzhong: "Water" is winched from the well, it is the water in the "heart" of the well. I pour the water into the bucket, and I put my sister's thoughts into my own heart. Another example: "It's too low to run a horse on the wall, but I still miss you when we sit face to face." The default premise of Qi Xing here is: the wall is very high. If it is really low, you won't say "still" is too low. The premise here is summarized from the sign "yet" in speech. The analogy between arousal and excitement is logical: sitting face to face should not be forgotten, just like the wall should be high enough for horse racing, but "I have already raced on the high wall, but I still feel it is not high enough." The sentence "I still miss you when I sit face to face" perfectly combines with the starting sentence, and expresses my love for the other person most vividly.
The rise of Xintianyou is very unique, but due to some reasons, such as its long circulation time and the huge difference between the context when it was produced and the contemporary context, the rise of The connection with the content is not so straightforward, so it is necessary to analyze and find the rules. Only in this way can the research on folk songs be deepened into the creative psychology of folk singers.