jīng jù， yě chēng “ pí huáng ”， yóu“ xī pí” hé“ èr huáng” liǎng zhǒng jī běn qiāng diào zǔ chéng tā de yīnyuè sù cái， yě jiān chàng yī xiē dì fāng xiǎoqǔ diào（ rú liǔ zǐ qiāng、 chuī qiāng děng） hé kūn qū qǔpái。 tā xíng chéng yú běi jīng， shí jiān shì zài 1840 nián qián hòu， shèng xíng yú 20 shì jì sān、 sì shí nián dài， shí yòu“ guó jù” zhī chēng。 xiàn zài tā réng shì jù yòu quán guó yǐng xiǎng de dà jù zhǒng。 tā de hángdāng quán miàn、 biǎo yǎn chéng shú、 qì shì hóng měi， shì jìn dài zhōng guó xìqǔ de dài biǎo。 zhōng guó jīng jù shì zhōng guó de“ guó cuì”， yǐ yòu 200 nián lì shǐ。 jīng jù zhī míng shǐ jiàn yú qīng guāng xù 'èr nián（ 1876） de《 shēn bào》， lì shǐ shàng céng yòu pí huáng、 èr huáng、 huáng qiāng、 jīng diào、 jīng xì、 píng jù、 guó jù děng chēng wèi， qīng cháo qián lóng wǔ shí wǔ nián（ 1790 nián） ān huī sì dà huī bān jìn jīng hòu yǔ běi jīng jù tán de kūn qū、 hàn jù、 yì yáng、 luàn dàn děng jù zhǒng jīng guò wǔ、 liù shí nián de róng huì， yǎn biàn chéng wéi jīng jù， shì zhōng guó zuì dà xìqǔ jù zhǒng。 qí jù mù zhī fēng fù、 biǎo yǎn yì shù jiā zhī duō、 jù tuán zhī duō、 guān zhòng zhī duō、 yǐng xiǎng zhī shēn jūn wéi quán guó zhī guān。 jīng jù shì zōng hé xìng biǎo yǎn yì shù。 jí chàng（ gē chàng）、 niàn（ niàn bái）、 zuò（ biǎo yǎn）、 dǎ（ wǔ dǎ）、 wǔ ( wǔ dǎo ) wéi yī tǐ、 tōng guò chéng shì de biǎo yǎn shǒu duàn xù yǎn gù shì， kè huá rén wù， biǎo dá " xǐ、 nù、 āi、 lè、 jīng、 kǒng、 bēi " de sī xiǎng gǎn qíng。 juésè kě fēn wéi： shēng（ nán rén）、 dàn（ nǚ rén）、 jìng（ cū guǎng wēi měng de nán rén， bié chēng huā liǎn）、 chǒu（ nán、 nǚ rén jiē yòu） sì dà hángdāng。 rén wù yòu zhōng jiān zhī fēn、 měi chǒu zhī fēn、 shàn 'è zhī fēn。 gè gè xíng xiàng xiān míng、 xǔ xǔ rú shēng。 guó jiā fēi cháng zhòng shì fēi wù zhì wén huà yí chǎn de bǎo hù， 2006 nián 5 yuè 20 rì， jīng jù jīng guó wù yuàn pī zhǔn liè rù dì yī pī guó jiā jí fēi wù zhì wén huà yí chǎn míng lù。
【 fā zhǎn jiǎn shǐ】
yī、 yùn yù qī
huī qín hé liú qīng chū , jīng chéng xìqǔ wǔ tái shàng shèng xíng kūn qū yǔ jīng qiāng ( yì yáng qiāng )。 qián lóng zhōng yè hòu , kūn qū jiàn 'ér shuāi luò , jīng qiāng xīng shèng qǔ dài kūn qū yī tǒng jīng chéng wǔ tái。 qián lóng sì shí wǔ nián (1780 nián ) qín qiāng yì rén wèi cháng shēng yóu chuān jìn jīng。 wèi shì dā shuāng qìng bān yǎn chū qín qiāng《 gǔn lóu》、《 bèi wá jìn fǔ》 děng jù。 wèi cháng shēng bàn xiāng jùn měi , zào yīn tián rùn , chàng qiāng wěi wǎn , zuò gōng xì nì , yī chū《 gǔn lóu》 jí hōng dòng jīng chéng。 shuāng qìng bān yě yīn cǐ bèi yù wéi“ jīng dū dì yī”。 zì cǐ , jīng qiāng kāi shǐ shuāi wēi , jīng qiāng liù dà míng bān zhī dà chéng bān、 wáng fǔ bān、 yú qìng bān、 yù qìng bān、 cuì qìng bān、 bǎo hé bān yě wú rén guò wèn , fēn fēn dā rù qín qiāng bān móu shēng。 qián lóng wǔ shí nián (1785 nián ), qīng tíng yǐ wèi cháng shēng de biǎo
yǎn yòu shāng fēng huà , míng lìng jìn zhǐ qín qiāng zài jīng chéng yǎn chū , jiāng wèi cháng shēng zhú chū jīng chéng。
qián lóng wǔ shí wǔ nián (1790 nián ), jì sān qìng huī bān luò jiǎo jīng chéng hòu ( bān zhǐ wèi yú hán jiā tái hú tóng nèi ), yòu yòu sì xǐ、 qǐ xiù、 ní cuì、 chūn tái、 hé chūn、 sān hé、 sōng zhù、 jīn yù、 dà jǐng hé děng bān , yì zài dà shān lán dì qū luò jiǎo yǎn chū。 qí zhōng yǐ sān qìng、 sì xǐ、 hé chūn、 chūn tái sì jiā míng shēng zuì shèng , gù yòu“ sì dà huī bān” zhī chēng。 ‘ chūn tái bān ’ jìn jīng shí jiān , àn hàn diào míng jiā mǐ yìng xiān yú qián lóng mò nián , zài jīng céng dān rèn‘ chūn tái bān’ tái zhù shí shǐ , zhèng míng gāi bān jìn jīng shí jiān zǎo yú‘ sì xǐ’ hé‘ hé chūn’。‘ chūn tái bān’ wèi yú bǎi shùn hú tóng。‘ sì xǐ bān’ yú jiā qìng chū lái jīng。 huī xì、 kūn qū jiān yǎn、 yóu yǐ kūn qū wéi zhù , gù yòu“ xīn pái yī qū táo huā shàn , dào chù hōng chuán sì xǐ bān” zhī yǔ。 gāi bān wèi yú shǎn xī xiàng nèi。‘ hé chūn bān’ yú jiā qìng bā nián (1804 nián ) yú lǐ tiě guǎi xié jiē zǔ jiàn。 gāi bān yǐ wǔ xì jiàn cháng。 dào guāng shí sān nián (1853 nián ) jiě sàn。“ sì dà huī bān” de yǎn chū jù mù , biǎo yǎn fēng gé , gè yòu qí cháng , gù shí yòu“ sān qìng de zhóu zǐ , sì xǐ de qǔzǐ、 hé chūn de bǎ zǐ、 chūn tái de hái zǐ” zhī yù。“ sì dà huī bān” chú yǎn chàng huī diào wài , kūn qiāng、 chuī qiāng、 sì píng diào、 bāng zǐ qiāng yì yòng , kě wèi zhū qiāng bìng zòu。 zài biǎo yǎn yì shù shàng guǎng zhēng bó cǎi xī qǔ zhū jiā jù zhǒng zhī cháng , róng yú huī xì zhī zhōng。 jiān zhī yǎn chū zhèn róng qí zhěng , shàng yǎn de jù mù fēng fù , pō shòu jīng chéng guān zhòng huān yíng。 zì wèi cháng shēng bèi pò lí jīng , qín qiāng bù zhèn , qín qiāng yì rén wèile shēng jì , fēn fēn dā rù huī bān , xíng chéng liǎo huī、 qín liǎng qiāng róng hé de jú miàn。 zài huī、 qín hé liú guò chéng zhōng , huī bān guǎng fàn qǔ nà qín qiāng de yǎn chàng、 biǎo yǎn zhī jīng hé dà liàng de jù běn yí zhí , wéi huī xì yì shù jìn yī bù fā zhǎn , chuàng zào liǎo yòu lì tiáo jiàn。
huī hàn hé liú hàn jù liú xíng yú hú běi , qí shēng qiāng zhōng de 'èr huáng、 xī pí yǔ huī xì yòu zhe xuè yuán guān xì。 huī、 hàn 'èr jù zài jìn jīng qián yǐ yòu guǎng fàn de yì shù jiāo róng。 jì qián lóng mò nián , hàn jù míng jiā mǐ yìng xiān jìn jīng hòu , dào guāng nián chū (1821 nián ), xiān hòu yòu yòu zhù míng hàn jù lǎo shēng lǐ liù、 wáng hóng guì、 yú sān shèng , xiǎo shēng lóng dé yún děng rù jīng , fēn bié dā rù huī bān chūn tái、 hé chūn bān yǎn chàng。 mǐ yìng xiān yǐ chàng guān yǔ xì zhù chēng , sān qìng bān zhù chéng cháng gēng de hóng jìng xì , jiē yóu mǐ yìng xiān suǒ shòu。 lǐ liù yǐ《 zuì xiě xià mán shū》、《 sǎo xuě》 jiàn cháng ; wáng hóng guì zé yǐ《 ràng chéng dū》、《 jī gǔ mà cáo》 ér xiǎng míng ; xiǎo shēng lóng dé yún shàn yǎn《 yuán mén shè jǐ》、《 huáng hè lóu》 děng jù ; yú sān shèng zào yīn chún hòu , chàng qiāng yōu měi , wén wǔ jiān bèi , yǐ yǎn《 dìng jūn shān》、《 sì láng tàn mǔ》、《 dāng jiàn mài mǎ》、《 pèng bēi》 děng lǎo shēng jù mù zhù chēng。 hàn jù yǎn yuán dā rù huī bān hòu , jiāng shēng qiāng qǔdiào , biǎo yǎn jì néng , yǎn chū jù mù róng yú huī xì zhī zhōng , shǐ huī xì de chàng qiāng bǎn shì rì qū fēng fù wán shàn , chàng fǎ、 niàn bái gèng jù běi jīng dì qū yǔ yīn tè diǎn , ér yì yú jīng rén jiē shòu。 dào guāng 'èr shí wǔ nián (1845 nián ) gè dà míng bān , jūn wéi lǎo shēng dān rèn lǐng bān。 huī、 hàn hé liú hòu , cù chéng liǎo hú běi de xī pí diào yǔ 'ān huī de 'èr huáng diào zài cì jiāo liú。 huī、 qín、 hàn de hé liú , wéi jīng jù de dàn shēng diàn dìng liǎo jī chǔ。
èr、 xíng chéng qī
dào guāng 'èr shí nián zhì xián fēng shí nián (1840 nián -1860 nián ) jiān , jīng huī xì、 qín qiāng、 hàn diào de hé liú , bìng jiè jiàn xī shōu kūn qū、 jīng qiāng zhī cháng 'ér xíng chéng liǎo jīng jù。 qí biāo zhì zhī yī : qǔdiào bǎn shì wán bèi fēng fù , chāo yuè liǎo huī、 qín、 hàn sān jù zhōng de rèn hé yī zhǒng。 chàng qiāng yóu bǎn qiāng tǐ hé qū pái tǐ hùn hé zǔ chéng。 shēng qiāng zhù yào yǐ 'èr huáng、 xī pí wéi zhù ; zhī 'èr , hángdāng dà tǐ wán bèi ; zhī sān , xíng chéng liǎo yī pī jīng jù jù mù ; zhī sì , chéng cháng gēng , yú sān shèng、 zhāng 'èr kuí wéi jīng jù xíng chéng chū qī de dài biǎo , shí chēng“ lǎo shēng sān jié”、“ sān dǐng jiá” jí :“ zhuàng yuán” zhāng 'èr kuí、“ bǎng yǎn” chéng cháng gēng、“ tàn huā” yú sān shèng。 tā men zài yǎn chàng jí biǎo yǎn fēng gé shàng gè jù tè sè , zài chuàng zào jīng jù de zhù yào qiāng diào xī pí、 èr huáng shàng hé jīng jù xìqǔ xíng shì shàng , yǐ jí jù yòu běi jīng yǔ yán tè diǎn de shuō bái、 zì yīn shàng , zuò chū liǎo zhuó yuè gòng xiàn。 dì yī dài jīng jù yǎn yuán zhōng , shàng yòu lǎo shēng lú shèng kuí、 xuē yìn xuān、 zhāng rǔ lín、 wáng jiǔ líng děng ; xiǎo shēng lóng dé yún、 xú xiǎo xiāng ; dàn hú xǐ lù、 luó qiǎo fú、 méi qiǎo líng : chǒu yáng míng yù、 liú gǎn sān ; lǎo dàn hǎo lán tián、 tán zhì dào ; jìng zhū dà má zǐ , rèn huā liǎn děng , tā men wéi fēng fù gè gè hángdāng de shēng qiāng jí biǎo yǎn yì shù , jūn yòu dú tè chuàng zào。 hòu rèn‘ sì xǐ bān’ bān zhù de méi qiǎo líng , yǒng yú tū pò qīng yī、 huā dàn de yán gé fēn gōng jiù guī , wéi dàn jiǎo de yǎn chàng yì shù kāipì liǎo yī tiáo xīn lù。
《 tóng guāng míng líng shí sān jué》 shì jīng jù shǐ shàng de yī fú míng líng cǎi sè jù zhuāng xiě zhēn huà， yóu wǎn qīng mín jiān huà shī shěn róng pǔ huì zhì。 tā cān zhào liǎo qīng dài zhōng yè huà shī hè shì kuí suǒ huì《 jīng qiāng shí sān jué》 xìqǔ rén wù huà de xíng shì， tiǎo xuǎn liǎo qīng tóng zhì、 guāng xù nián jiān（ l860 zhì 1890） jīng jù wǔ tái shàng xiǎng yòu shèng míng de shí sān wèi yǎn yuán， yòng gōng bǐ zhòng cǎi bǎ tā men bàn yǎn de jù zhōng rén wù miáo huì chū lái， xiǎn shì liǎo zuò zhě de shēn hòu gōng lì。 cǐ huà yú mín guó sān shí 'èr nián (1943 nián )， yóu jìn huà shè zhū fù chāng zài shū sì shōu gòu , jīng suō xiǎo yǐng yìn wèn shì , bìng fù biān《 tóng guāng míng líng shí sān jué chuán》 yī cè。
sān、 chéng shú qī
1883 nián yī 1918 nián , jīng jù yóu xíng chéng qī bù rù chéng shú qī , dài biǎo rén wù wéi shí chēng“ lǎo shēng hòu sān jié” de tán xīn péi、 wāng guì fēn、 sūn jú xiān。 qí zhōng tán xīn péi chéng chéng cháng gēng、 yú sān shèng、 zhāng 'èr kuí gè jiā yì shù zhī cháng , yòu jīng chuàng zào fā zhǎn , jiāng jīng jù yì shù tuī jìn dào xīn de chéng shú jìng jiè。 tán zài yì shù shí jiàn zhōng guǎng zhēng bó cǎi , cóng kūn qū、 bāng zǐ、 dà gǔ jí jīng jù qīng yī、 huā liǎn、 lǎo dàn gè xíng zhōng jiè jiàn , róng yú yǎn chàng zhī zhōng , chuàng zào chū dú jù yǎn chàng yì shù fēng gé de“ tán pài”， xíng chéng liǎo“ wú qiāng bù xué tán” de jú miàn。 èr shí nián dài hòu de yú shū yán、 yán jú péng、 gāo qìng kuí、 mǎ lián liáng děng , jūn zài zōng“ tán pài” de jī chǔ shàng fā zhǎn wéi gè zì bù tóng de yì shù liú pài。 wāng guì fēn , yì zōng chéng cháng gēng , yǎn chàng xióng jìn chén yù , bēi zhuàng jī 'áng， qiāng diào pǔ shí wú huá , yòu“ hǔ xiào lóng yín” de píng dào , tā yīn“ fǎng chéng kě yǐ luàn zhēn” , gù yòu“ cháng gēng zài shì” zhī yù。 sūn jú xiān ,18 suì shí xuǎn zhōng wǔ xiù cái , shàn chàng jīng jù , cháng rù piào fáng yǎn chàng ,36 suì hòu tóu shī chéng cháng gēng。 tā zào yīn hóng liàng , gāo dī zì rú。 niàn bái bù jū yú hú guǎng yīn hé zhōng zhōu yùn , duō yòng jīng yīn、 jīng zì , tīng lái qīnqiè zì rán。 biǎo yǎn dà fāng bī zhēn , jiē jìn shēng huó。“ lǎo shēng hòu sān jié” shī chéng gè yòu cè zhòng , yì shù fēng gé gè yì , cóng quán miàn quán héng , tán xīn péi wén wǔ kūn luàn bù dǎng , yì shù zào yì jí duì jīng jù de fā zhǎn , yuǎn yuǎn chāo guò wāng、 sūn。 guāng xù nián jiān , tán xīn péi bèi chēng zhī wéi“ líng jiè dà wáng” , zài jù jiè dì wèi , rú dāng nián zhī chéng cháng gēng。 xián fēng shí nián (1861 nián ) jīng jù shǐ rù gōng tíng yǎn chū。 dāng nián wǔ yuè chū liù qǐ zhì yuè mò , fēn yóu sān qìng bān、 sì xǐ bān、 shuāng kuí bān jí wài bān ( jīng jù bān ) yǎn chū。 guāng xù jiǔ nián (1883 nián ), cí xǐ wǔ xún shòu rì , tiǎo xuǎn zhāng qí lín、 yáng lóng shòu、 bào fú shān、 cǎi fú lù、 yán fú xǐ děng 18 rén rù gōng dāngchāi , bù jǐn yǎn chàng , qiě dāng jīng jù jiào xí , xiàng tàijiàn men chuán shòu jì yì。 zì cǐ , qīng gōng zhǎng guǎn yǎn chū shì wù de jī gòu“ shēng píng shǔ” , měi nián jūn xuǎn zhù míng yì rén jìn gōng dāngchāi , jié zhǐ xuān tǒng sān nián (1911 nián )， jì yòu tán xīn péi、 yáng yuè lóu、 sūn jú xiān、 chén dé lín、 wáng léng xiān、 yáng xiǎo lóu、 yú yù qín、 zhū wén yīng、 wáng yáo qīng、 gōng yún fǔ、 mù fèng shān、 qián jīn fú děng shēng、 dàn、 jìng、 chǒu de míng jiā 150 yú rén céng rù gōng。 yóu yú cí xǐ shì hǎo jīng jù , jiā zhī jīng jù míng jiā pín fán zài gōng zhōng xiàn yì , shēng shì rì qiáng。 tóng qī , wèi yú dà shān dì qū de guǎng dé lóu、 sān qìng yuán、 qìng lè yuán、 zhōng hé yuán、 wén míng yuán děng xì yuán、 rì rì yòu jīng jù yǎn chū , xíng chéng liǎo jīng jù yī tǒng de jú miàn。 jīng jù chéng shú qī , chú“ lǎo shēng hòu sān jié” wài , shēng xíng shàng yòu xǔ yìn táng、 jiǎ hóng lín ; wǔ shēng yú jú shēng、 yáng lóng shòu ; jìng xíng hé jiā shān、 huáng rùn fǔ、 jīn xiù shān、 qiú guì xiān、 liú yǒng chūn děng ; xiǎo shēng wáng léng xiān、 dé jùn rú、 lù huá yún : dàn xíng chén dé lín、 tián guì fèng、 wáng yáo qīng、 zhū wén yīng ; chǒu xíng wáng cháng lín、 zhāng hēi、 luó bǎi suì、 xiāo cháng huá、 guō chūn shān。 zhè yī shí qī , dàn jiǎo de jué qǐ , xíng chéng liǎo dànjué yǔ shēng jiǎo bìng jià qí qū zhī shì。 wǔ shēng yú jú shēng , kāi chuàng liǎo wǔ shēng zì lì mén hù tiǎo liáng dì yī rén , tā bèi hòu rén chēng wéi“ wǔ shēng bí zǔ”。 shàng shù míng jiā , zài jì chéng zhōng yòu chuàng xīn fā zhǎn , yǎn chàng jì yì rì zhēn chéng shú , jiāng jīng jù tuī xiàng xīn de gāo dù。
sì、 dǐng shèng qī
1917 nián yǐ lái , jīng jù yōu xiù yǎn yuán dà liàng yǒng xiàn , chéng xiàn chū liú pài fēn chéng de fán shèng jú miàn , yóu chéng shú qī fā zhǎn dào dǐng shèng qī , zhè yī shí qī de dài biǎo rén wù wéi yáng xiǎo lóu、 méi lán fāng、 yú shū yán。 yóu yú wén rén chóng shàng de yǎ wén huà chuán tǒng zài 20 shì jì zāo yù miè dǐng zhī zāi， jīng jù dá dào liǎo tā de quán shèng shí qī。
1927 nián , běi jīng《 shùn tiān dòu bào》 jǔ bàn jīng jù dànjué míng líng píng xuǎn。 dú zhě tóu piào xuǎn jǔ jiēguǒ : méi lán fāng yǐ yǎn《 tài zhēn wàizhuàn》 , shàng xiǎo yún yǐ yǎn《 mó dēng gā nǚ》 , chéng yàn qiū yǐ yǎn《 hóng fú chuán》 , xún huì shēng yǐ yǎn《 dān qīng yǐn》 , róng huò“ sì dà míng dàn”。“ sì dà míng dàn” tuō yíng 'ér chū , shì jīng jù zǒu xiàng dǐng shèng de zhòng yào biāo zhì。 tā men chuàng zào chū gè jù tè sè de yì shù fēng gé , xíng chéng liǎo méi lán fāng de duān zhuāng diǎn yǎ , shàng xiǎo yún de qiào lì gāng jiàn , chéng yàn qiū de shēn chén wěi wǎn , xún huì shēng de jiāo nì róu mèi“ sì dà liú pài” , kāi chuàng liǎo jīng jù wǔ tái shàng yǐ dàn wéi zhù de gé jú。 wǔ shēng yáng xiǎo lóu zài jì yú jú shēng、 yáng yuè lóu zhī hòu , jiāng jīng jù wǔ shēng biǎo yǎn yì shù fā zhǎn dào xīn gāo dù , bèi yù wéi“ guó jù zōng shī”、“ wǔ shēng tài dǒu”。 lǎo shēng zhōng de yú shū yán、 gāo qìng kuí、 yán jú péng、 mǎ lián liáng ,20 nián dài shí chēng“ sì dà xū shēng”。 tóng qī de shí huì bǎo、 wáng fèng qīng、 guàn dà yuán děng yě shì shēng xíng zhōng de yōu xiù rén cái。 30 nián dài mò、 yú、 yán、 gāo xiān hòu tuì chū wǔ tái , mǎ lián liáng yǔ tán fù yīng、 xī xiào bó、 yáng bǎo sēn chēng zhī“ sì dà xū shēng”。 nǚ xū shēng mèng xiǎo dōng , jù yòu jiào gāo yì shù zào yì , pō yòu nǎi shī yú shū yán de yì shù fēng fàn。
1936 nián qiū , běi jīng dà、 zhōng xué xiào 'àihào jīng jù zhě jí guǎng dà guān zhòng gěi gè bào xiě xìn , chàng yì jìn xíng jīng jù tóng líng xuǎn jǔ。 shí fù lián chéng shè shè cháng yè lóng zhāng yǔ běi píng《 lì yán bào》 shè cháng jīn dá zhì shāng tuǒ , yóu gāi bào fā biǎo tōng gào , zhuān mén jiē dài gè jiè tóu piào , zhú rì zài bào shàng fā biǎo tóu piào shù zì , bìng yuē qǐng“ yùn shí shè” jǐ rén lái bào shè jiān dū。 guī dìng tóu piào rì qī wéi bàn yuè , dào qī chá diǎn piào shù zhōng huá xìqǔ xué xiào hé fù lián chéng shè fù zé rén jí《 shí bào》、《 shí shì bái huà bào》、《 běi jīng wǎn bào》、《 xì jù bào》 yì pài rén dāng chǎng chá yàn piào shù。 xuǎn jǔ jiēguǒ , fù lián chéng shè lǐ shì fāng dé piào yuē wàn zhāng , dāng xuǎn“ tóng líng zhù xí”。 shēng bù guànjūn wáng jīn lù , yà jūn yè shì cháng ; dànjué guànjūn máo shì lái , yà jūn sòng dé zhū ; jìng jiǎo guànjūn qiú shì róng , yà jūn zhào dé yù ; chǒujué guànjūn zhān shì fǔ , yà jūn yīn jīn zhèn。 xuǎn jǔ jié shù hòu , yú hǔ fāng qiáo fù lián chéng shè jǔ xíng qìng zhù dà huì , bìng yú dāng wǎn zài xiān yú kǒu nèi huá lè xì yuàn jǔ xíng jiā miǎn diǎn lǐ , yóu lǐ shì fāng , yuán shì hǎi yǎn chū liǎo《 bà wáng bié jī》。
tóng líng xuǎn jǔ jié shù hòu , réng yóu《 lì yán bào》 zhù chí , xuǎn chū lǐ shì fāng、 zhāng jūn qiū、 máo shì lái、 sòng dé zhū wéi“ sì xiǎo míng dàn”，“ sì xiǎo míng dàn” lián jué yú cháng 'ān、 xīn xīn liǎng jiā xì yuàn yǎn chū liǎo《 báishézhuàn》 hé《 sì wǔ huā dòng》 , yǐ shì zhù hè。
liú pài fēn chéng , rén cái jǐjǐ , shì jīng jù dǐng shèng qī de yòu yī biāo zhì。 zhè yī shí qī chú yáng pài ( xiǎo lóu ), méi pài ( lán fāng )、 shàng pài ( xiǎo yún )、 chéng pài ( yàn qiū )、 xún pài ( huì shēng ) wài , dàn jiǎo zhōng hái yòu xiǎo pài ( cuì huā ) jí sòng pài ( dé zhū )、 zhāng pài ( jūn qiū ); lǎo shēng xíng zhōng de yú pài ( shū yán )、 gāo pài ( qìng kuí )、 yán pài ( jú péng )、 mǎ pài ( lián liáng )、 xī pài ( xiào bó )、 yáng pài ( bǎo sēn )、 xīn tán pài ( fù yīng ); jìng xíng zhōng de jīn pài ( shǎo shān )、 hóu pài ( xǐ ruì )、 hǎo pài ( shòu chén ) yǐ jí 50 nián dài hòu chǎn shēng de qiú pài ( shèng róng ); xiǎo shēng xíng zhōng de jiāng pài ( miào xiāng )、 yè pài ( shèng lán ); lǎo dàn xíng zhōng de gōng pài ( yún fǔ )、 lǐ pài ( duō kuí ); chǒu xíng zhōng de yè pài ( shèng zhāng ) děng。 tóng qī shàng yòu zhòng duō jīng jù biǎo yǎn yì shù jiā , rú shēng xíng zhōng de wáng fèng qīng、 shí huì bǎo、 wáng yòu chén、 lǐ hóng chūn、 tán xiǎo péi、 lǐ wàn chūn、 lǐ shǎo chūn、 gāo shèng lín děng ; dàn xíng zhōng de yán lán qiū、 xú bì yún、 zhū qín xīn、 zhào tóng shān、 xuě yàn qín、 xīn yàn qiū、 zhāng 'è yún、 jīn shǎo méi、 bì yún xiá、 qín xuě fāng、 wáng yù róng、 yán huì zhū、 tóng zhǐ líng、 liáng xiǎo luán、 wú sù qiū、 zhào yàn xiá、 dù jìn fāng děng ; xiǎo shēng zhōng de jīn zhòng rén、 rú fù lán、 chéng jì xiān ; chǒu xíng zhōng de guō chūn shān、 cí ruì quán、 mǎ fù lù、 zhāng chūn huá děng。
huī shāng zhī bān
huī zhōu shāng rén fù jiá yī fāng， shāng yè de chéng gōng yǐn fā liǎo wén huà xiāo fèi yù wàng de gāo zhǎng。 suí zhe shè huì jīng jì de fā zhǎn hé xìqǔ shēng qiāng kūn shān qiāng de xīng qǐ， fēn fēn xù yǎng jiā bān， juésè dǒu yì， bìng mài lì wéi qián lóng xià jiāng nán shōu jí shēng sè gē wǔ， bù xī zhòng jīn bāo zhuāng huī jù sè yì， kè guān shàng wéi huī jù jìn jīng chuàng zào liǎo tiáo jiàn。 xióng bà míng qīng shāng jiè 500 yú nián de huī zhōu shāng bāng yǐ yán shāng chū míng， huáng shān xī xiàn de yán shāng yóu qí chū míng， fù jiá yī fāng。 suí zhe shè huì jīng jì de fā zhǎn hé xìqǔ shēng qiāng kūn shān qiāng de xīng qǐ， jiāng nán jiāng běi wén rén shì dà fū hé fù shāng jù jiǎ fēn fēn xù yǎng jiā tíng xì bān。 yǐ jīng zài wài dì shāng jiè zhǎn lòutóu jiǎo de huī shāng yě fēn fēn xiào fǎng。 cháng qī wéi mǒu gè huī zhōu shāng rén suǒ yǎng suǒ yòng de xìqǔ bān shè jiù bèi wài rén chēng wéi“ huī bān”。 huī shāng guǎng xù jiā bān， ān huī yán jiāng yī dài、 bāo kuò gǔ huī zhōu de dì fāng xì shì yě kāi shǐ xīng shèng。 tā men chàng kūn qiāng， yóu yú yǔ yán de chā yì 'ér bù“ xié wú yīn”， bù jīng yì jiān chàng chū liǎo yī diǎn“ dì fāng fēng wèi”。 yú shì zài qīng yáng qiāng de yǐng xiǎng xià， chàng chū liǎo 'ān huī diào héng héng“ huī kūn”， hòu fā zhǎn wéi 'èr huáng qiāng。 yóu yǐ dàn shēng zài 'ān huī 'ān qìng shì huái níng xiàn de shí pái diào zuì zhù míng。 huī zhōu yì rén dài zhe xiāng yīn xià yáng zhōu， dé dào liǎo huī shāng men de qīn qíng huì gù hé zhòng jīn fú chí。 tā men huò chū méi yú mǎ tóu jiē sì， huò wéi huī shāng fù jiǎ suǒ róng liú。 jì yì dé dào fā zhǎn， xiāng yīn yě jiàn zhàn shàng fēng。 zhè shí huī bān de gài niàn yǐ bù wán quán shì“ huī shāng zhī bān”， ér kāi shǐ yòu liǎo huī diào（ shí pái qiāng， luàn dàn diào） de hán yì。
zhí dé yī tí de shì， xī xiàn dà yán shāng jiāng chūn， shì yī wèi pǐn wèi jí gāo de xìqǔ jiàn shǎng jiā， tā kù 'ài xìqǔ， jiā zhōng cháng cháng“ qǔjù sān sì bù， tóng rì fēn tíng guǎn yàn kè， kè zhì yǐ shù bǎi jì”。 tā bǎ gè zhǒng míngjué jù zài yī qǐ， yòu ràng bù tóng shēng qiāng tóng tái hù bǔ， shǐ yì jūn tū qǐ de huī bān jù yòu liǎo bó cǎi zhòng cháng de kāi fàng gé jú。“ luàn dàn” luàn chàng， hóng huǒ yì cháng。 zhè shí zuì jiào cǎi de shì lái zì 'ān qìng de xìqǔ yì rén， qīng lǐ dǒu zài《 yáng zhōu huà fǎng lù》 zhōng jiù zhè yàng xiě dào： ān qìng sè yì zuì yōu， gài yú běn dì luàn dàn， gù běn dì luàn dàn jiān yòu pìn zhī rù bān zhě。 huī shāng zài shāng jiè jìn yī bù zhàn wěn liǎo jiǎo gēn， tā men hé xìqǔ yì shù de guān xì yě yuè lái yuè mìqiè。 ér yǒng xiàn chū dà pī xìqǔ jiā de“ huī bān”， yě zài xīn de lì shǐ tiáo jiàn xià dé dào liǎo jìn yī bù de fā zhǎn。
“ wú shí bù chéng bān”
shí pái shì 'ān qìng shì huái níng xiàn yī gè gǔ lǎo de jí zhèn，“ wú shí bù chéng bān” de“ shí” jí zhǐ zhè lǐ， yě fàn zhǐ 'ān qìng jí qí suǒ shǔ gè xiàn。 zhì qīng zhōng yè， shí pái yǐ chéng wéi yuǎn jìn wén míng de shāng yè zhōng xīn， yōng yòu shāng jiā sān qiān、 fān chuán qiān sōu。 jiāng xī、 fú jiàn、 hú běi děng dì kè shāng fēn fēn zài cǐ shè guǎn zhù jié。 dāng shí de shí pái chú běn dì jū mín wài， dà dū shì guò wǎng chuán bāng hé shāng hù， zài shēng cún wèn tí biàn dé bǐ jiào qīng sōng de shí hòu， tā men kāi shǐ gòu jiàn zì jǐ de shì jǐng wén huà。
shí pái dāng shí kě gōng biǎo yǎn de xì jù wǔ tái duō dá 800 chù， bù jǐn yòu xì yuán、 xì lóu， hái yòu huā xì tái。 xì yuán， zài shí pái zhèn jiù yòu 3 jiā。 shàng zhèn héng jiē de cháng lè dà xì yuàn kě róng nà guān zhòng 600 duō rén， zhuān gōng huī diào、 pí huáng bān yǎn chū。 xì lóu tōng cháng zài cí táng nèi。 cí táng xì lóu tōng cháng zhǐ chàng dà xì， měi nián zuò dōng zhì jié、 zú nèi yòu rén zhòngjǔ、 shēng guān yǐ jí zú nèi guān shēn qìng shòu děng， dōuyào pìn xì bān zài xì lóu yǎn chū。 cǐ wài， cí táng dà xiū luò chéng， yě bì yāo bān chàng xì yǐ shì zhù hè。《 dū jù fù》 miáo shù：“ huī bān rì shī lì， shǐ zì shí pái”。 biǎo míng 'ān qìng de huī bān lì shǐ shàng céng jīng chū xiàn guò huī huáng， hěn duō jīng jù qián bèi míng líng dōushì zhè yī dài de rén， yīn 'ér yòu“ wú shí bù chéng bān” de shuō fǎ。
zài shí pái de dàn wán zhī dì yǒng xiàn chū liǎo hǎo tiān xiù、 chéng cháng gēng、 yáng yuè lóu děng duō wèi kāi yī dài fēng qì de zōng shī， sì dà huī bān jìn jīng， huáng dì wéi 'ān qìng yì rén jīng měi jué lún de xíng tóu、 zhuāng shì jīng tàn bù yǐ，“ ān qìng sè yì zuì yōu !”“ wú shí ( pái ) bù chéng bān !” zhī shuō yī shí jiān guǎng wéi liú chuán。 xì xīn de jīng jù piào yǒu bù nán fā xiàn， jīng jù de chàng qiāng zhōng yòu hěn duō zì cí de fā yīn shì yǔ běi jīng fāng yán bù xiāng tóng de， rú guǒ nǐ duì 'ān qìng dì qū de fāng yán yòu suǒ liǎo jiě， jiù huì fā xiàn， zhè xiē zì cí què yǔ 'ān qìng fāng yán lǐ de fā yīn yī mó yī yàng。 sì dà huī bān jìn jīng zhī hòu， shí pái yì rén réng yuán yuán bù duàn jìn jīng， jì xù chōng shí sì dà huī bān de yǎn chū zhèn róng， zhì tóng zhì nián jiān， shí pái yì rén jìn jīng jǐ jìn bǎi rén。 suī rán dāng shí huī bān hé líng gōng dà pī wài liú， běn dì huī bān yě tóng yàng yòu suǒ fā zhǎn。
ān qìng mín guó chū qī jiù yòu“ mín zhòng” dà xì yuàn， dāng shí quán guó jīng jù míngjué jī běn shàng dōuzài cǐ yǎn chū guò， tā mendōu dài zhe“ cháo shèng” de xīn qíng lái 'ān qìng dēng tái， xì jù dà jiā cáo yú dào huái níng shí bēi zhèn， xià chē dì yī jù huà jiù shì“ wǒ lái cháo shèng”。 jīng jù jiè lǎo kē bān chū lái de rén， bù zài 'ān qìng yǎn shàng shí tiān， bù chàng lián běn， zài dāng shí dōubèi rèn wéi shì méi yòu fā zhǎn qián tú de“ jiǎo”。 cóng 'ān qìng gǔ zhèn shí pái xiāng yě jiān fā yuán de huī jù， zǒu chū liǎo gǔ zhèn， zǒu dào liǎo běi jīng， huī bān jìn jīng de huī huáng lì shǐ guāng huán zhì jīn hái lǒngzhào zhe gǔ zhèn shí pái。 ān qìng shì zhōng guó jiào zǎo jiē shòu xiàn dài wén míng de chéng shì zhī yī， yě shì guó jiā lì shǐ wén huà míng chéng tóng shí 'ān qìng hái shì xiǎng yù shì jiè， jí jù dì fāng tè sè de xì jù -- huáng méi xì de gù xiāng。 chéng cháng gēng jì niàn guǎn， wèi yú 'ān qìng qián shān xiàn , guǎn nèi zhēn cáng sān bǎi duō jiàn zhēn guì de shí wù hé tú piàn zī liào， zài xiàn liǎo jīng jù yì shù de fā qǐ zhuàng dà cǐ wài。 hái yòu chéng cháng gēng gù jū gōng xì mí zhān yǎng。
xì bān dǒu yì
jù shǐ liào jìzǎi，“ lí yuán yǎn xì， gāo zōng（ qián lóng） nán xún shí wéi zuì shèng， ér liǎng huái yán wù zhōng yóu wéi jué chū”。 yě jiù shì shuō， guān fǔ gōng shì yǎn xì yóu liǎng huái yán wù yá mén fù zé， liǎng huái yán wù yào xù yǎng huā、 yǎ liǎng bù yǐ bèi nán xún yǎn chū dà xì。 yǎ bù jí kūn shān qiāng， huā bù wéi jīng qiāng、 qín qiāng、 yì yáng qiāng、 bāng zǐ qiāng、 luó luó qiāng、 èr huáng diào， tǒng chēng luàn dàn。 chéng dān jù tǐ yǎn chū rèn wù de xì bān dà duō shì yóu 'ān huī yán shāng chū zī zǔ jiàn de， jiào nèi bān。 zuì chū de xì bān wéi yán shāng xú shàng zhì（ jìn shāng） chū zī zǔ jiàn de lǎo xú bān， yǐ hòu yán shāng huáng yuán dé（ huī shāng）、 zhāng dà 'ān、 wāng qǐ yuán（ huī shāng）、 chéng qiān dé、 hóng chōng shí（ huī shāng）、 jiāng chūn（ huī shāng） děng yě xiāng jì zǔ bān。 huī shāng jiāng chūn zì lì mén hù zǔ jiàn liǎo chūn tái bān， wèile chōng shí lì liàng， tā zhēng pìn sì fāng míng dàn rú sū zhōu de yáng bā guān、 ān qìng de hǎo tiān xiù děng wéi chūn tái bān tái zhù。 hǎo tiān xiù de biǎo yǎn róu mèi dòng rén， zhí lìng guān zhòng xiāo hún， rén chēng“ kēng sǐ rén”。 qín qiāng míngjué wèi cháng shēng shàn yǎn huā dàn， lái yáng zhōu tóu kào jiāng chūn。 jiāng chūn duì wèi cháng shēng jí qí jìng zhòng， yǎn xì yī chū， zèng bái yín yī qiān liǎng。 zhè xiē míng jiǎo de jiā méng， jí dà dì tuī dòng liǎo dāng shí yáng zhōu jīng、 qín děng qiāng de hù xiāng róng hé、 xī shōu， jìn yī bù cù jìn liǎo huā bù de fā zhǎn。 sān qìng bān de gāo lǎng tíng、 chūn tái bān de hǎo tiān xiù dōushì yǐ“ ān qìng huā bù hé jīng、 qín 'èr qiāng” xiǎng yù jiāng nán de。 yáng zhōu yán shāng wéi yǎn chū xū yào， hái pìn qǐng liǎo yī xiē jīng yú cí qū de míng jiā， tí gōng yōu hòu de tiáo jiàn， cháng qī gòngyǎng tā men。 dà hóng bān hé chūn tái bān gèng shì“ jù zhòng měi 'ér dà bèi”。 yī chū《 táo huā shàn》 fèi yín 16 wàn， yī chū《 cháng shēng diàn》 fèi yín zhì sì shí yú wàn。 zhè zhǒng pái chǎng chú qīng nèi tíng， qí tā rén shí nán pǐ dí。
sū chàng jiē lí yuán
huī bān jìn jīng de chū fā dì zài yáng zhōu， shēn huái jué jì de yōu líng men， chū fā qián yī dìng yào dào wèi yú sū chàng jiē de lí yuán zǒng jú pèng pèng tóu， shāng liàng yī xià chū fā rì chéng hé yǎn chū jù mù， bìng zài nà lǐ yī qǐ bǎi gè shēn duàn、 shuǎi liǎng xià shuǐ xiù、 yáng jǐ shēng zhū yuán yù rùn de gē hóu。 yòu shí gān cuì pái yǎn jǐ chū zhé zǐ xì， huò shì《 yóu yuán》， huò shì《 sī fán》， shēng qíng bìng mào， ē'nuó duō zī， nà shí de sū chàng jiē， shí fēn rè nào！
sū chàng jiē， shì lǎo yáng zhōu wéi yī bǎo cún xià lái de yǔ xì bān zhí jiē yòu guān de jiē dào。 dāng nián yán shāng xú shàng zhì cóng sū zhōu zhāo lái kūn qiāng yì rén bàn qǐ de yáng zhōu dì yī gè kūn qiāng bān“ lǎo xú bān”， jiù zài zhè tiáo jiē shàng。 kūn qū de lǎo jiā zài sū zhōu， suǒ yǐ yòu yòu sū kūn zhī chēng， zhè tiáo xiǎo jiē jū liú guò bù shǎo chàng sū kūn de yì rén， yáng zhōu rén jiù bǎ tā mìng míng wéi sū chàng jiē。
huī bān jìn jīng
gōng yuán 1790 nián， huī bān yǐ chàng zhù shòu xì kāi shǐ jìn jīng yì shù zhī lǚ。 jīng guò duō nián cāng sāng， zài bù duàn xī nà zhōng， huī bān“ hé wǔ fāng zhī yīn wéi yī zhì” de tóng shí zhú jiàn shī qù zì jǐ de yán sè。 huī bān de lì shǐ jié shù liǎo， ér tuō tāi yú huī bān de jīng jù zhōng chéng wéi xiǎng yù shì jiè de yì shù guī bǎo， duì yú huī bān lái shuō， kě wèi niè pán。
sān qìng bān shǒu fā xiàn yì
1790 nián qiū， wéi qìng zhù qián lóng bā xún shòu chén， yáng zhōu yán shāng jiāng hè tíng（ ān huī rén） zài 'ān qìng zǔ zhì liǎo yī gè míng wéi“ sān qìng bān” de huī xì xì bān， yóu yì rén gāo lǎng tíng shuài lǐng jìn jīng cān jiā zhù shòu yǎn chū。 zhè gè huī bān yǐ chàng 'èr huáng diào wéi zhù， jiān chàng kūn qū、 chuī qiāng、 bāng zǐ děng， shì gè zhū qiāng bìng zòu de xì bān。 zhè cì běi jīng de zhù shòu yǎn chū guī mó shèng dà， cóng xī huá mén dào xī zhí mén wài gāo liáng qiáo， měi gé shù shí bù shè yī xì tái， nán qiāng běi diào， sì fāng zhī lè， huì cuì zhēng yán。 huò xián gē gāo chàng， huò dǒu shàn wǔ shān， qián miàn hái méi yòu xiē xià， hòu miàn yòu yǐ kāi chǎng， qún xì huì cuì， zhòng yì zhēng shèng。 zài zhè chǎng yì shù jìng sài dāng zhōng， dì yī cì jìn jīng de sān qìng huī bān jí zhǎn lòutóu jiǎo， yǐn rén zhǔ mù。 sān qìng bān de gāo lǎng tíng shì 'ān huī 'ān qìng rén， rù jīng shí cái shí liù suì， yǎn dànjué， shàn cháng 'èr huáng qiāng， jì yì jīng zhàn。《 mù xià kàn huā jì》 chēng tā：“ wǎn rán jīn guó， wú fēn háo jiáo qiáng。 bù bì zhēng gē， yī pín yī xiào， yī qǐ yī zuò， miáo mó cí ruǎn shén qíng， jīhū huà jìng。”
sì dà huī bān jìn jīng
sān qìng bān jìn jīng huò dé chéng gōng hòu， yòu yòu sì xǐ bān、 hé chūn bān、 chūn tái bān děng huī bān jìn rù běi jīng， bìng zhú jiàn chēng xióng yú jīng huá de jù tán。 zhè jiù shì suǒ wèi de“ sì dà huī bān jìn jīng”。
sì dà huī bān gè yòu suǒ cháng， yòu“ sān qìng de zhóu zǐ， sì xǐ de qǔzǐ， hé chūn de bǎ zǐ， chūn tái de hái zǐ” de shuō fǎ， zhóu zǐ zhǐ yǐ lián yǎn zhěng běn dà xì zhù chēng， qǔzǐ zhǐ shàn cháng yǎn chàng kūn qū， bǎ zǐ zhǐ yǐ wǔ xì qǔ shèng， hái zǐ zhǐ yǐ tóng líng jiàn cháng。
zài pěng dàn zhī fēng shí fēn huǒ bào de jīng chéng， jì yì bù fán de gāo lǎng tíng zì rán shòu chǒng。 dǐ dá běi jīng hòu， tā jiē tì yuán sān qìng bān bān zhù yú lǎo sì zhǎng bān， yī zuò jiù shì 30 duō nián， tóng shí hái dān rèn liǎo jīng shī xìqǔ jiè hánghuì zǔ zhì“ jīng zhōng miào” de huì shǒu， tōng guò jīng zhōng miào duì běi jīng de xì bān、 xì yuán shí xíng xíng zhèng guǎn lǐ， tā yě chéng wéi lí yuán lǐng xiù。 jì gāo lǎng tíng zhī hòu， chéng cháng gēng、 xú xiǎo xiāng、 yáng yuè lóu、 liú gǎn sān děng rén jūn rèn guò cǐ zhí。
zhì jiā qìng chū， huī bān zài běi jīng xìqǔ wǔ tái shàng yǐ qǔ dé zhù dǎo dì wèi， jù《 mèng huá suǒ bù》 jìzǎi：“ xì zhuāng yǎn jù bì‘ huī bān’。 xì yuán zhī dà zhě， rú‘ guǎng dé lóu’、‘ guǎng hé lóu’、‘ sān qìng yuán’、‘ qìng lè yuán’， yì bì yǐ‘ huī bān’ wéi zhù。 xià cǐ zé‘ huī bān’‘ xiǎo bān’‘ xī bān’， xiāng zá shì jūn yǐ。”
sì dà huī bān jìn jīng xiàn yì， jiē kāi liǎo 200 duō nián bō lán zhuàng kuò de zhōng guó jīng jù shǐ de xù mù。
zài jīng de gè shēng qiāng jù zhǒng de yì rén， miàn duì huī bān wú suǒ bù néng、 wú suǒ bù jīng de yì shù yōu shì， wú lì yǔ zhī jìng zhēng， duō bàn dū zhuǎn 'ér guī fù huī bān。 tā men zhōng yòu jīng shī wǔ tái gè shēng qiāng jù zhǒng de míng yōu， rú jiā rù chūn tái bān de hú běi hàn xì míng yōu mǐ xǐ zǐ、 lǐ fèng lín， jiā rù sì xǐ bān de hú nán luàn dàn（ pí huáng） míng yōu hán xiǎo yù， jiā rù sān qìng bān de běi jīng jí jīng qiāng yǎn yuán wáng quán fú děng， yú shì jiù xíng chéng liǎo duō zhǒng shēng qiāng jù zhǒng huì cuì huī bān zhī shì。 yě yīn cǐ， huī bān zài zhū qiāng zá zòu de guò chéng zhōng， cóng“ liǎng xià guō”“ sān xià guō” dào“ fēng jiǎo xuě”， zhú jiàn cè zhòng pí huáng xì de yǎn chū。
xíng chéng yǔ chuán bō
jīng jù qián shēn shì qīng chū liú xíng yú jiāng nán dì qū， yǐ chàng chuī qiāng、 gāo bō zǐ、 èr huáng wéi zhù de huī bān。 huī bān liú dòng xìng qiáng， yǔ qí tā jù zhǒng jiē chù pín fán， zài shēng qiāng shàng hù yòu jiāo liú shèn tòu， yīn cǐ zài fā zhǎn guò chéng zhōng yě bān yǎn liǎo bù shǎo kūn qiāng xì， hái xī shōu liǎo luo luo qiāng hé qí tā yī xiē zá qū。 qīng qián lóng wǔ shí wǔ nián（ 1790）， yǐ gāo lǎng tíng（ míng yuè guān） wéi shǒu de dì yī gè huī bān（ sān qìng bān） jìn rù běi jīng， cān jiā qián lóng dì bā shí shòu chén qìng zhù yǎn chū。《 yáng zhōu huà fǎng lù》 zài：“ gāo lǎng tíng rù jīng shī， yǐ 'ān qìng huā bù， hé jīng qín 'èr qiāng， míng qí bān yuē sān qìng。” kān yú dào guāng 'èr shí 'èr nián（ 1842） de yáng mào jiàn《 mèng huá suǒ bù》 yě shuō：“ ér sān qìng yòu zài sì xǐ zhī xiān， qián lóng wǔ shí wǔ nián gēng xū， gāo zōng bā xún wàn shòu rù dū zhù xiá shí， chēng ' sān qìng huī '， shì wéi huī bān bí zǔ。” wǔ zǐ shū zài《 suí yuán shī huà》 pī zhù zhōng zé gèng jù tǐ zhǐ chū shì“ mǐn zhè zǒng dū wǔ nà lā mìng zhè jiāng yán shāng xié 'ān qìng huī réndōu zhù lí。” suí hòu hái yòu bù shǎo huī bān lù xù jìn jīng。 zhù míng de wéi sān qìng、 sì xǐ、 chūn tái、 hé chūn sì bān， suī rán hé chūn chéng lì yú jiā qìng bā nián（ 1803）， chí yú sān qìng shí sān nián， dàn hòu shì réng bìng chēng zhī wéi“ sì dà huī bān jìn jīng”。
qián lóng、 jiā qìng nián jiān， běi jīng wén wù huì cuì， zhèng zhì wěn dìng， jīng jì fán róng， gè jù zhǒng yì rén jūn jí。 běi jīng wǔ tái kūn qiāng、 jīng qiāng、 qín qiāng sān zú dǐng lì、 xiāng hù duì zhì。 huī bān dào jīng， shǒu xiān zhì lì yú“ hé jīng qín 'èr qiāng”。 dāng shí qín qiāng、 jīng qiāng jī běn shàng tóng tái yǎn chū，“ jīng qín bù fēn”（《 yáng zhōu huà fǎng lù》）， huī bān fā yáng qí bó cǎi zhòng cháng de chuán tǒng， guǎng fàn xī shōu qín qiāng（ bāo kuò bù fēn jīng qiāng） de jù mù hé biǎo yǎn fāng fǎ， tóng shí jì chéng liǎo zhòng duō de kūn qiāng jù mù（ hái pái yǎn liǎo kūn qiāng dà xì《 táo huā shàn》） jí qí wǔ tái yì shù tǐ zhì， yīn 'ér zài yì shù shàng dé dào xùn sù tí gāo。
huī bān běn shēn de yì shù tè sè， shì tā néng gòu zài zhēng héng zhōng qǔ shèng de zhù yào yuán yīn。 zài shēng qiāng fāng miàn， chú liǎo suǒ chàng 'èr huáng diào yǐ xīn shēng duó rén 'ér wài， tā“ lián luò wǔ fāng zhī yīn， hé wéi yī zhì”（《 rì xià kàn huā jì》）； zài jù mù fāng miàn， tí cái guǎng kuò， xíng shì duō yàng； zài biǎo yǎn fāng miàn， chún pǔ zhēn qiē， hángdāng qí quán wén wǔ jiān zhòng， yīn cǐ shì hé guǎng dà guān zhòng de xīn shǎng yào qiú。
zài yǎn chū 'ān pái shàng， jù《 mèng huá suǒ bù》 zài， sì dà huī bān“ gè shàn shèng chǎng”。 sān qìng yǐ“ zhóu zǐ” qǔ shèng（ lián rì jiē yǎn xīn xì）， sì xǐ yǐ“ qǔzǐ” qǔ shèng（ shàn chàng kūn qū）， hé chūn yǐ“ bǎ zǐ” qǔ shèng（ shàn yǎn wǔ xì）， chūn tái yǐ“ hái zǐ” qǔ shèng（ yǐ tóng líng wéi hào zhào）。 zài yì shù hé jīng yíng shàng bèi yòu cè zhòng diǎn， néng gòu fā huī zhuān cháng， qǔ dé jiào kuài jìn zhǎn。 zhì dào guāng hòu qī， huī bān yǐ zài běi jīng zhàn jù yōu shì。《 mèng huá suǒ bù》 shuō： " jīn lè bù wǎn rén zuì duō， wú rén yà zhī， shǔ rén jué wú zhī míng zhě yǐ。 " yòu shuō： " xì zhuāng yǎn jù bì huī bān。 xì yuán zhī dà zhě， rú guǎng dé lóu、 guǎng hé lóu、 sān qìng yuán、 qìng lè yuán， yì bì yǐ huī bān wéi zhù。 " huī bān chéngzhǎng fā zhǎn de guò chéng， yě jiù shì tā xiàng jīng jù shàn biàn de guò chéng。 zhè yī shàn biàn de wán chéng， zhù yào biāo zhì wéi huī hàn hé liú hé pí huáng jiāo róng， xíng chéng liǎo yǐ xī pí、 èr huáng liǎng zhǒng qiāng diào wéi zhù de bǎn qiāng tǐ chàng qiāng yīnyuè tǐ xì， shǐ chàng niàn zuò dǎ biǎo yǎn tǐ xì zhú bù wán shàn。 zuì zǎo suí tóng huī bān jìn jīng de hàn diào yǎn yuán shì mǐ yìng xiān（ yòu míng mǐ xǐ zǐ）， hú běi chóng yáng rén（ yī shuō 'ān huī rén）， shēng yú qián lóng sì shí wǔ nián（ 1780）， yuē yú jiā qìng nián jiān jiā rù chūn tái huī bān jìn jīng yǎn chàng， yǎn zhèng shēng， shàn hóng shēng xì， shēng wàng jí lóng（ jiàn《 mèng huá suǒ bù》 jí lǐ dēng qí《 cháng tán cóng lù》）。 bèi shì wéi zhù míng hàn diào yǎn yuán yú sān shèng de xiān qū（ dāng shí qǔyì chàng cí yòu " yà sài dāng nián mǐ yìng xiān " zhī jù）。 dào guāng nián jiān（ 1821-1849）， hàn diào yǎn yuán zhì jīng jiā rù huī bān yǎn chàng de zhú jiàn zēng duō， zhù míng de yòu wáng hóng guì、 lǐ liù。 sù hǎi 'ān jū shì《 yàn tái hóng zhǎo jí》（ yuē zuò yú dào guāng shí 'èr nián yǐ qián） shuō： " jīng shī shàng chǔ diào。 yuègōng zhōng rú wáng hóng guì、 lǐ liù shàn wéi xīn shēng chēng yú shí。 " chǔ diào jí hàn diào， yě jiù shì xī pí diào。 kě jiàn dāng shí běi jīng yǐ liú xíng xī pí diào， wáng hóng guì、 lǐ liù " shàn wéi xīn shēng "， yòu tuī dòng liǎo xī pí diào de gé xīn fā zhǎn。 zài huī、 hàn yǎn yuán de gòng tóng nǔ lì xià， zhú bù shí xiàn liǎo xī pí yǔ 'èr huáng liǎng zhǒng qiāng diào de jiāo róng。 kāi shǐ bù tóng de jù mù， gēn jù bù tóng de lái yuán， fēn bié chàng xī pí huò 'èr huáng； hòu lái， yòu xiē xì jiù jiān chàng xī pí hé 'èr huáng， shèn zhì zài tóng yī chàng duàn zhōng xiān chàng 'èr huáng， hòu zhuǎn xī pí， bìng néng xiāng hù xié diào， hún rán yī tǐ。《 luó chéng jiào guān》（ yuán chū huī diào《 yū ní hé》） jiù shì yī gè lì zǐ。 shēng yùn fāng miàn， xíng chéng " zhōng zhōu yùn、 hú guǎng yīn " de gé lǜ， zì shēng jiān zá jīng yīn、 è yīn， jiān yòng běi jīng、 hú běi liǎng zhǒng sì shēng diào zhí， fēn bié jiān tuán zì yīn， àn zhào " shí sān zhé " yā yùn。 èr huáng de bàn zòuyuè qì， jǐ jīng fǎn fù， zhōng yú zài xián fēng、 tóng zhì nián jiān（ 1851-1874） fèi dí , ér yǔ xī pí tǒng yī shǐ yòng hú qín（ dìng xián bù tóng）， dàn chàng chuī qiāng shí réng 'àn huī bān chuán tǒng yòng dí bàn zòu。
dào guāng mò nián， xī pí xì dà liàng yǒng xiàn， huī bān zhōng pí huáng bìng zòu xí yǐ wéi cháng。 jù kān yú dào guāng 'èr shí wǔ nián de yáng jìng tíng《 dū mén jì lüè》 zài， sān qìng bān chéng cháng gēng、 sì xǐ bān zhāng 'èr kuí、 chūn tái bān yú sān shèng hé lǐ liù、 hé chūn bān wáng hóng guì děng cháng yǎn de jù mù， rú《 wén zhāo guān》《 zhuō fàng cáo》《 dìng jūn shān》《 jī gǔ mà cáo》《 sǎo xuě dǎ wǎn》 děng， yǔ sì hòu jīng jù wǔ tái cháng jiàn de chuán tǒng jù mù yǐ dà tǐ xiāng tóng， huī bān xiàng jīng jù de shàn biàn dào cǐ yǐ jī běn wán chéng（ suī rán dāng shí hái bù chēng jīng jù）。 lìng yī zhǒng shuō fǎ， rèn wéi tán xīn péi chéng míng hòu（ 19 shì jì mò、 20 shì jì chū） jīng jù cái suàn xíng chéng。 lǐ yóu shì dào nà shí pí huáng xì cóng yīnyuè、 biǎo yǎn， dào chàng niàn de zì yīn、 shēng yùn， cái jù bèi liǎo yán gé de guī fàn； ér zài cǐ yǐ qián， jí chéng cháng gēng shí dài， réng shǔ huī diào fàn chóu。
tóng zhì liù nián（ 1867）， jīng jù chuán dào shàng hǎi。 xīn jiàn de mǎn tíng fāng xì yuán cóng tiān jīn yuē lái jīng bān， shòu dào guān zhòng huān yíng。 tóng nián， dān guì chá yuán tōng guò běi jīng de sān qìng bān， yòu yuē lái dà pī zhù míng jīng jù yǎn yuán， qí zhōng yòu lǎo shēng xià kuí zhāng（ xià yuè rùn zhī fù）、 xióng jīn guì（ xióng wén tōng zhī fù）， huā dàn féng sān xǐ（ féng zǐ hèzhī fù） děng。 tā mendōu zài shàng hǎi luò hù， chéng wéi yǐ shàng hǎi wéi zhōng xīn de nán pài jīng jù shì jiā。 sì hòu， gèng duō de jīng jiǎo lù xù nán xià， zhī míng de yòu zhōu chūn kuí、 sūn jú xiān、 yáng yuè lóu、 sūn chūn héng、 huáng yuè shān、 lǐ chūn lái、 liú yǒng chūn yǐ jí bāng zǐ huā dàn tián jì yún（ xiǎng jiǔ xiāo） děng， cóng 'ér shǐ shàng hǎi chéng wéi yǔ běi jīng bìng lì de lìng yī gè jīng jù zhōng xīn。
zài zhè zhī qián， yuē zài xián fēng chū nián， shàng hǎi yǐ yòu kūn bān hé huī bān yǎn chū。 jīng jù jìn shàng hǎi hòu， yě chū xiàn liǎo jīng huī tóng tái、 jīng kūn tóng tái yǐ jí jīng bāng（ bāng zǐ） tóng tái de jú miàn。 zhè duì nán fāng jīng jù tè diǎn de xíng chéng， qǐ liǎo zhòng yào zuò yòng。 huī bān jié chū yǎn yuán wáng hóng shòu（ sān má zǐ） dào hù hòu， jīng cháng cān jiā jīng bān yǎn chū， bìng bǎ yī xiē huī diào jù mù rú《 xú cè páo chéng》、《 sǎo sōng xià shū》、《 xuě yōng lán guān》 děng dài jìn liǎo jīng bān， bǎ huī diào de zhù yào qiāng diào zhī yī " gāo bō zǐ " nà rù dào jīng jù yīn lè lǐ， hái bǎ huī bān de mǒu xiē hóng shēng xì jí qí biǎo yǎn fāng fǎ xī shōu dào jīng jù zhōng。 zhè duì kuò dà jīng jù shàng yǎn jù mù hé fēng fù wǔ tái yì shù qǐ liǎo yī dìng zuò yòng。 cǐ wài， bāng zǐ yì rén tián jì yún zài shàng hǎi de yì shù huó dòng， duì nán pài jīng jù de fā zhǎn yě yòu suǒ yǐng xiǎng。 tā de " dēng cǎi xì "《 dǒu niú gōng》 děng， shí wéi hòu lái " jī guān bù jǐng lián tái běn xì " de làn jīn。 cóng guāng xù wǔ nián（ 1879） qǐ， tán xīn péi liù cì dào hù， hòu lái méi lán fāng děng míng yǎn yuán yě jīng cháng dào hù yǎn chū， cù jìn liǎo běi pài、 nán pài jīng jù jiāo liú， jiā sù liǎo jīng jù yì shù de fā zhǎn。
jīng jù zài jìn rù shàng hǎi zhī qián， jí xián fēng shí nián（ 1860） zhī hòu， suí shāng lǚ wǎng lái jí xì bān de liú dòng yǎn chū， hěn kuài chuán bō dào quán guó gè dì。 rú tiān jīn jí qí zhōu wéi de hé běi yī dài wéi jīng jù zuì zǎo de chuán bō dì qū zhī yī。 dào guāng mò nián， yú sān shèng jí zài tiān jīn huó dòng（ tā hé tā fù qīn sǐ hòu dū zàng zài tiān jīn）； chǒujué yǎn yuán liú gǎn sān xiān zài tiān jīn de piào fáng huó dòng， hòu lái cái dào běi jīng " xià hǎi "。 lǎo shēng yǎn yuán sūn jú xiān yě céng jīng shì yāo jīn de piào yǒu。 shān dōng shì huī bān jìn chū běi jīng de bì jīng zhī dì， shān dōng bāng shāng rén yòu shì běi jīng jīng jì huó dòng de zhòng yào lì liàng， yīn 'ér shān dōng hěn zǎo jiù yòu jīng jù yǎn chū。 qū fù kǒng fǔ zǎo zài qián lóng shí jiù yòu 'ān huī yì rén rù fǔ yǎn xì。 jīng jù de jiào zǎo liú bù dì qū hái yòu 'ān huī、 hú běi hé dōng běi sān shěng。 zhì 20 shì jì chū， nán zhì mǐn、 yuè， dōng zhì zhè jiāng， běi zhì hēi lóng jiāng， xī zhì yún nán， dōuyòu jīng jù huó dòng。 kàng rì zhàn zhēng qī jiān， jīng jù zài sì chuān、 shǎn xī、 guì zhōu、 guǎng xī děng dì yě yòu liǎo jiào dà fā zhǎn。
1919 nián， méi lán fāng shuài jù tuán fù rì běn yǎn chū， jīng jù yì shù shǒu cì xiàng hǎi wài chuán bō； 1924 nián， tā zài dù shuài jù tuán dào rì běn yǎn chū， 1930 nián， méi yòu shuài yóu 'èr shí rén zǔ chéng de jù zǔ dào měi guó fǎng wèn yǎn chū， qǔ dé hěn dà chéng gōng。 1934 nián， tā yìng yāo qù 'ōu zhōu fǎng wèn， zài sū lián yǎn chū， shòu dào 'ōu zhōu xì jù jiè de zhòng shì。 cǐ hòu， shì jiè gè dì bǎ jīng jù kàn chéng zhōng guó de yǎn jù xué pài。
jīng jù de xíng chéng dà yuē yòu 150 nián zuǒ yòu。
qīng qián lóng wǔ shí wǔ nián（ 1790 nián） jiāng nán jiǔ xiǎng shèng míng de huī bān " sān qìng bān " rù jīng wéi qīng gāo zōng（ qián lóng dì） de bā xún " wàn shòu " zhù shòu。 huī bān shì zhǐ yǎn huī diào huò huī xì de xì bān， qīng dài chū nián zài nán fāng shēn shòu huān yíng。 jì cǐ， xǔ duō huī bān jiē zhǒng 'ér lái， qí zhōng zuì zhù míng de yòu sān qìng、 sì xǐ、 chūn tái、 hé chūn， xí chēng " sì dà huī bān "。 tā men zài yǎn chū shàng gè jù tè sè， sān qìng shàn yǎn zhěng běn dà xì； sì xǐ cháng yú kūn qiāng jù mù； chūn tái duō qīng shàonián wéi zhù de tóng líng； hé chūn wǔ xì chū zhòng。
huī diào duō wéi 'èr huáng diào、 gāo bō zǐ、 chuī qiāng、 sì píng diào děng， jiànhuò yì yòu xī pí diào、 kūn qiāng hé yì qiāng； ér hàn diào yǎn yuán yǎn de zé shì xī pí tiáohé 'èr huáng diào。 huī、 hàn liǎng bān hé zuò， liǎng tiáohé liú， jīng guò yī gè shí qī de hù xiāng róng huì xī shōu， zài jiā shàng jīng yīn huà， yòu cóng kūn qū、 yì qiāng、 qín qiāng bù duàn jí qǔ yíng yǎng， zhōng yú xíng chéng liǎo yī gè xīn de jù zhǒng -- jīng jù。 dì yī dài jīng jù yǎn yuán de chéng shú hé bèi chéng rèn， dà yuē shì zài 1840 nián zuǒ yòu。
jīng jù cóng chǎn shēng yǐ lái céng jīng yòu guò xǔ duō míng chēng。 jì yòu： luàn dàn、 huáng diào、 jīng huáng、 jīng 'èr huáng、 pí huáng（ pí huáng）、 èr huáng（ èr huáng）、 dà xì、 píng jù、 jiù jù、 guó jù、 jīng xì、 jīng jù děng。
【 yì shù tè sè】
jīng jù wǔ tái yì shù zài wén xué、 biǎo yǎn、 yīnyuè、 chàng qiāng、 luó gǔ、 huà zhuāng、 liǎn pǔ děng gè gè fāng miàn， tōng guò wú shù yì rén de cháng qī wǔ tái shí jiàn， gòu chéng liǎo yī tào hù xiāng zhì yuē、 xiāng dé yì zhāng de gé lǜ huà hé guī fàn huà de chéng shì。 tā zuò wéi chuàng zào wǔ tái xíng xiàng de yì shù shǒu duàn shì shí fēn fēng fù de， ér yòng fǎ yòu shì shí fēn yán gé de。 bù néng jià yù zhè xiē chéng shì， jiù wú fǎ wán chéng jīng jù wǔ tái yì shù de chuàng zào。 yóu yú jīng jù zài xíng chéng zhī chū， biàn jìn rù liǎo gōng tíng， shǐ tā de fā yù chéngzhǎng bù tóng yú dì fāng jù zhǒng。 yào qiú tā suǒ yào biǎo xiàn de shēng huó lǐng yù gèng kuān， suǒ yào sù zào de rén wù lèi xíng gèng duō， duì tā de jì yì de quán miàn xìng、 wán zhěng xìng yě yào qiú dé gèng yán， duì tā chuàng zào wǔ tái xíng xiàng de měi xué yào qiú yě gèng gāo。 dāng rán， tóng shí yě xiāng yìng dì shǐ tā de mín jiān xiāng tǔ qì xī jiǎn ruò， chún pǔ、 cū guǎng de fēng gé tè sè xiāng duì dàn bó。 yīn 'ér， tā de biǎo yǎn yì shù gèng qū yú xū shí jié hé de biǎo xiàn shǒu fǎ， zuì dà xiàn duódì chāo tuō liǎo wǔ tái kōng jiān hé shí jiān de xiàn zhì， yǐ dá dào“ yǐ xíng chuán shén， xíng shén jiān bèi” de yì shù jìng jiè。 biǎo yǎn shàng yào qiú jīng zhì xì nì， chù chù rù xì； chàng qiāng shàng yào qiú yōu yáng wěi wǎn， shēng qíng bìng mào； wǔ xì zé bù yǐ huǒ bào yǒng měng qǔ shèng， ér yǐ“ wǔ xì wén chàng” jiàn jiā。
【 hángdāng fēn lèi】
jīng jù hángdāng de huàfēn， chú yǐ jù rén wù de zì rán shǔ xìng（ xìng bié、 nián líng） hé shè huì shǔ xìng（ shēn fèn、 zhí yè） wài， gèng zhù yào de shì 'àn rén wù de xìng gé tè zhēng hé chuàng zuò zhě duì rén wù de bāo biǎn tài dù bù tóng 'ér yì。
hángdāng huàfēn yóu lái yǐ jiǔ， duì jīng jù huàfēn hángdāng yǐng xiǎng zuì dà de， dāng shù hàn jù。 hàn jù gòng fēn wéi 10 zhǒng hángdāng： yī mò、 èr jìng、 sān shēng、 sì dàn、 wǔ chǒu、 liù wài、 qī xiǎo、 bā tiē、 jiǔ fū、 shí zá。 zhè shí zhǒng hángdāng suǒ bàn yǎn juésè de nèi róng， dà gài shì zhè yàng： mò shì zhù yào de nán xìng juésè， jiù shì jīng jù lǐ biān de shēng xíng； jìng yǔ jīng jù lǐ de jìng shì yī yàng de， zhǐ de shì huā liǎn； dàn jiù shì jīng jù lǐ de dàn， zhǐ de shì nǚjué sè； tiē， shì tiē dàn de jiǎn chēng， jīng jù zài zǎo qī huàfēn hángdāng， yě bāo kuò tiē dàn zài nèi， zhǐ de shì bǐ jiào cì yào de dàn xíng juésè， sú chēng 'èr dàn， lì rú xiàn zài jīng jù《 hóng niàn》 lǐ bàn yǎn yīng yīng xiǎo jiě de， jiù shì tiē dàn。 fū， bàn yǎn chē fū、 jiào fū、 mǎ tóng、 yá yì yī lèi juésè。 zǒng de shuō lái， hàn jù de zhè shí zhǒng hángdāng， huàfēn dé bǐ jiào xì zhì， wéi jīng jù huàfēn hángdāng， dǎ xià liǎo jī chǔ。 jīng jù hòu lái huàfēn wéi shēng、 dàn、 jìng、 chǒu sì dà lèi xíng， sì hū bǐ jiào jiǎn huà jīng liàn， dàn měi gè dà lèi zhī zhōng， yòu bāo hán ruò gān xiǎo lèi， suǒ yǐ shí jì shàng shì bǎ zhè shí zhǒng hángdāng dū bāo kuò zài nèi liǎo。 bù jǐn bāo kuò zài nèi， ér qiě gèng wéi xì mì yán jǐn。 wéi yī bù tóng de shì hàn jù suī rán yòu liǎo shēng xíng， kě tā de zhù yào hángdāng shì mò， ér bù shì shēng。 fā zhǎn dào jīng jù， shēng xíng jiù chéng wéi zhù yào hángdāng liǎo。
【 rén wù huà zhuāng】
zhōng guó chuán tǒng xìqǔ de liǎn pǔ， shì yǎn yuán miàn bù huà zhuāng de yī zhǒng chéng shì。 yī bān yìng yòng yú jìng、 chǒu liǎng gè hángdāng， qí zhōng gè zhǒng rén wù dà dū yòu zì jǐ tè dìng de pǔ shì hé sè cǎi， jiè yǐ tū chū rén wù de xìng gé tè zhēng， jù yòu“ yù bāo biǎn、 bié shàn 'è” de yì shù gōng néng， shǐ guān zhòng néng mù shì wài biǎo， kuī qí xīn xiōng。 yīn 'ér， liǎn pǔ bèi yù wéi juésè“ xīn líng de huà miàn”。
liǎn pǔ de yǎn biàn hé fā zhǎn， bù shì mǒu gè rén píng kōng yì zào de chǎn wù， ér shì xìqǔ yì shù jiā men zài cháng qī yì shù shí jiàn zhōng， duì shēng huó xiàn xiàng de guān chá、 tǐ yàn、 zōng hé， yǐ jí duì jù zhōng juésè de bù duàn fēn xī、 pàn duàn， zuò chū píng jià， cái zhú bù xíng chéng liǎo yī zhěng tào wán zhěng de yì shù shǒu fǎ。
jù shǐ liào jìzǎi， liǎn pǔ xì yóu táng cháo yuèwǔ dà miàn（ chuán tǒng xìqǔ juésè hángdāng zhī yī， shì jīng jù hé mǒu xiē dì fāng xì zhōng jìng de bié chēng） suǒ dài miàn jù hé cān jūn xì fù jìng de tú miàn zhú jiàn yǎn biàn 'ér lái。
zhōng guó xìqǔ lǐ lùn jiā wēng 'ǒu hóng céng zhuàn wén shuō：“ zhōng guó xìqǔ liǎn pǔ， pēi tāi yú shàng gǔ de tú téng， làn shāng yú chūn qiū de nuó jì， niè rǔ wéi hàn、 táng de dài miàn， fā zhǎn wéi sòng、 yuán de tú miàn， xíng chéng wéi míng、 qīng de liǎn pǔ。 zài xìqǔ xíng chéng zhī hòu， liǎn pǔ yǔ miàn jù réng rán jiāo tì shǐ yòng。 zuì míng xiǎn de guì zhōu de‘ dì xì’， jiāng xī、 ān huī de‘ nuó xì’， xīzàng de‘ zàngxì’， wú lùn shēng dàn jìng chǒu， dū dài miàn jù， měi jù duō zhì bǎi yú， shǎo zhě yì xū shù shí。‘ nán kūn’ lǐ de shén xiān guǐ guài， yī bān jūn dài miàn jù， bìng bù gòu huà liǎn pǔ。 jīng jù shì jù yòu quán guó xìng de dà jù zhǒng， dà liàng fā zhǎn liǎn pǔ， kě shì jiā guān、 cái shén、 kuí xīng、 tǔ dì、 léi gōng， réng dài miàn jù。 cóng liǎn pǔ、 miàn jù de hùn hé shǐ yòng yǔ liǎn pǔ pǔ shì de yóu jiǎn zhì fán， kě yǐ kàn chū zhōng guó xìqǔ lěi dì fā zhǎn de guǐ jì。”
jīng jù liǎn pǔ yǔ jīng jù biǎo yǎn yì shù yī yàng， shì hé yǎn yuán yī qǐ chū xiàn zài wǔ tái shàng de huó de yì shù。 jīng jù zài zhōng guó xìqǔ shǐ shàng， suī zhǐ yòu 'èr bǎi yú nián de lì shǐ， dàn yǔ qí tā xìqǔ xiāng bǐ， tā fā zhǎn kuài， liú chuán guǎng， shēn shòu rén mín qún zhòng de xǐ 'ài， yòu guǎng fàn de qún zhòng jī chǔ。 yīn cǐ， jīng jù liǎn pǔ zài zhōng guó xìqǔ liǎn pǔ zhōng jù yòu tè shū de dì wèi。
jīng jù liǎn pǔ shì yī zhǒng xiě yì hé kuā zhāng de yì shù， cháng yǐ biān fú、 yàn yì、 dié chì děng wéi tú 'àn gòu méi yǎn miàn jiá， jié hé kuā zhāng de bí wō、 zuǐ wō lái kè huà miàn bù de biǎo qíng。 kāi lǎng lè guān de liǎn pǔ zǒng shì shū méi zhǎn yǎn， bēi shāng huò bào lì de liǎn pǔ duō shì qū méi hé mù。 gòu huà shí yǐ“ yú wěi wén” de gāo dī qū zhí lái fǎn yìng nián líng， yòng“ fǎ lìng wén” de shàng xià kāi hé lái biǎo xiàn qì zhì， yòng“ yìn táng wén” de bù tóng tú 'àn xiàng zhēng rén wù xìng gé。 jīng jù liǎn pǔ
jīng jù liǎn pǔ， shì jù yòu mín zú tè sè de yī zhǒng tè shū de huà zhuāng fāng fǎ。 yóu yú měi gè lì shǐ rén wù huò mǒu yī zhǒng lèi xíng de rén wù dōuyòu yī zhǒng dà gài de pǔ shì， jiù xiàng chàng gē、 zòuyuè dōuyào 'àn zhào yuèpǔ yī yàng， suǒ yǐ chēng wéi“ liǎn pǔ”。 guān yú liǎn pǔ de lái yuán， yī bān de shuō fǎ shì lái zì jiǎ miàn jù。
jīng jù liǎn pǔ， shì gēn jù mǒu zhǒng xìng gé、 xìng qíng huò mǒu zhǒng tè shū lèi xíng de rén wù wéi cǎi yòng mǒu xiē sè cǎi de。 hóng sè de liǎn pǔ biǎo shì zhōng yǒng shì yì liè， rú guān yǔ、 qiè wéi、 cháng yù chūn； hēi sè de liǎn pǔ biǎo shì gāng liè、 zhèng zhí、 yǒng měng shèn zhì lǔ mǎng， rú bāo zhěng、 zhāng fēi、 lǐ kuí děng； huáng sè de liǎn pǔ biǎo shì xiōng hěn cán bào， rú yǔ wén chéng dū、 diǎn wéi。 lán sè huò lǜ sè de liǎn pǔ biǎo shì yī xiē cū háo bào zào de rén wù， rú dòu 'ěr dūn、 mǎ wǔ děng； bái sè de liǎn pǔ yī bān biǎo shì jiān chén、 huài rén， rú cáo cāo、 zhào gāo děng。
jīng jù liǎn pǔ de sè huà fāng fǎ， jī běn shàng fēn wéi sān lèi： róu liǎn、 mǒ liǎn、 gòu liǎn。 liǎn pǔ zuì chū de zuò yòng， zhǐ shì kuā dà jù zhōng juésè de wǔ guān bù wèi huómiàn bù de wén lǐ， yòng kuā zhāng de shǒu fǎ biǎo xiàn jù zhōng rén de xìng gé、 xīn lǐ hé shēng lǐ shàng de tè zhēng， yǐ cǐ lái wéi zhěng gè xì jù de qíng jié fú wù， kě shì fā zhǎn dào hòu lái， liǎn pǔ yóu jiǎn dào fán、 yóu cū dào xì、 yóu biǎo jí lǐ、 yóu qiǎn dào shēn， běn shēn jiù zhú jiàn chéng wéi yī zhǒng jù yòu mín zú tè sè de、 yǐ rén de miàn bù wéi biǎo xiàn shǒu duàn de tú 'àn yì shù liǎo。
【 fā yīn jì qiǎo】
（ 1） zhēn sǎng yì míng dà sǎng、 běn sǎng。 jīng jù yǎn yuán fā yīn fāng fǎ zhī yī。 yǎn chàng shí， qì cóng dān tián 'ér chū， tōng guò hóu qiāng gòng míng， zhí jiē fā chū shēng lái， chēng wéi zhēn sǎng。 yòng zhēn sǎng fā chū de shēng yīn chēng zhēn shēng。 rú dān tián qì jīng guò hóu qiāng shí， yǎn yuán jiāng hóu qiāng suō xiǎo， shǐ zhī fā chū bǐ zhēn sǎng jiào gāo de yīn diào， zé chēng wéi jiǎ sǎng。 zhēn sǎng yǔ jiǎ sǎng zài xíng qiāng shí xián jiē zì rán， bù lù hén jì， jiù néng shǐ yīn yù kuān guǎng， gāo dī yīn yùn zhuǎn zì rú。 jīng jù de shēng xíng（ lǎo shēng、 wǔ shēng、 hóng shēng）、 jìng xíng、 chǒu xíng、 lǎo dàn děng hángdāng， zài yǎn chàng shí jūn yòng zhēn sǎng。 xiǎo shēng yǎn chàng yòng jiǎ sǎng， dàn niàn bái zé yòng zhēn jiǎ sǎng jié hé。
（ 2） jiǎ sǎng yì míng xiǎo sǎng、 èr běn sǎng。 jīng jù yǎn yuán fā yīn fāng fǎ zhī yī。 xì yǔ zhēn sǎng、 dà sǎng、 běn sǎng xiāng duì 'ér yán。 yòng jiǎ sǎng fā chū de shēng yīn chēng jiǎ shēng。 fā shēng shí， yǔ zhēn sǎng xiāng bǐ hóu kǒng suō xiǎo， bù wèi tái gāo， qì liú biàn xì。 jiǎ sǎng fā yīn de yīn diào jiào zhēn sǎng wéi gāo。 jīng jù de dànjué、 xiǎo shēng de yǎn chàng jūn yòng jiǎ sǎng， dàn 'èr zhě shēng yīn de gāng róu lì dù yòu suǒ bù tóng。
（ 3） zuǒ sǎng， jīng jù shēngyuè míng cí。 zhù yào zhǐ nán shēng zhōng yī zhǒng bù zhèng cháng de sǎng yīn， néng gāo 'ér bù néng dī， lìng wài shēng yīn gāng 'ér biǎn， yuán rùn bù zú， yòu xiē zhuān chàng gāo diào mén de lǎo shēng huò wǔ shēng， jí yǐ cǐ sǎng yǎn chàng。 lǎo shēng sǎng yīn yòu chún cuì zuǒ sǎng， yì yòu běn sǎng 'ér lüè dài zuǒ zhě。 lìng wài， zuǒ sǎng yòu shí yì yòng zuò lìng yī jiě shì， zhǐ sǎng yīn yǔ bàn zòuyuè qì bù hé， jí yī bān suǒ wèi de bù dā diào。
（ 4） diào sǎng yì zuò diào sǎng。 jīng jù yǎn yuán de liàn chàng fāng fǎ， yě shì yǎn yuán chàng gōng duàn liàn de bù zhòu zhī yī。 yǎn yuán měi tiān chú hǎn sǎng、 niàn bái wài， hái xū yòng hú qín（ huò jiā gǔ bǎn děng） bàn zòu， dà shēng liàn chàng xì zhōng de chàng duàn。 yòu de xiān yòng yī bān diào mén， rán hòu shìdàng shēng gāo。 diào sǎng de zuò yòng： 1。 tōng guò dà shēng liàn chàng， shǐ shēng yīn fú hé zài wǔ tái shàng yǎn chàng de yào qiú， yóu yú bù jiànduàn de duàn liàn， kě shǐ sǎng yīn rì yì liáo liàng yuán rùn， qì lì chōng pèi， kǒu chǐ qīng xī yòu lì， bìng bǎo chí nài jiǔ néng lì。 2。 shú xī bàn zòu， quán miàn liǎo jiě chàng qiāng hé bàn zòu de guān xì， gòng tóng zhǎng wò chǐ cùn， jiě míng qū yì， biǎo dá qū qíng， shǐ yǎn chàng yǔ bàn zòu de pèi hé dá dào shuǐ rǔ jiāo róng， jìn 'ér dá chéng yì shù shàng de xiāng hù mò qì， xié diào zhěng gè chàng duàn de biǎo yǎn fēng gé。
（ 5） hǎn sǎng， jīng jù yǎn yuán liàn shēng fāng fǎ， tōng guò hǎn sǎng kě yǐ duàn liàn gè gè fā shēng bù wèi， zhèng què dì fā chū gè gè yùn mǔ de běn yīn。 hǎn sǎng shí jiān yī bān zài qīng chén， yú kōng kuàng dì qū， dà shēng hǎn chū“ wú”、“ yī”、“ ā” děng dān yuán yīn， yóu dī 'ér gāo， yóu gāo 'ér dī， fǎn fù jìn xíng。 dài shēng yīn shū fàng hòu， zài yǐ chàng duàn jìn xíng liàn xí。
（ 6） dān tián yīn， yòu míng xiǎng táng， jīng jù shēngyuè míng cí。 yǎn yuán gē chàng shí fèi bù xù zú qì， xiǎo fù yòng lì， qì sì cóng dān tián（ rén shēn dù qí xià yuē sān cùn chù wèi zhī dān tián） fā chū shēng。 xiàn zài yī bān chuán tǒng yǎn chàng xìqǔ liàn shēng fāng fǎ， yě rèn wéi dān tián yīn zuì néng xiǎng táng（ jí shēng yīn sòng dé yuǎn， tīng dé qīng）。
（ 7） yún zhē yuè， jīng jù shēngyuè míng cí。 zhè shì duì lǎo shēng de yuán rùn 'ér jiào hán xù de sǎng yīn de yī zhǒng bǐ yù。 zhè zhǒng sǎng yīn， kāi shǐ tīng lái sì jué gān sè， yǐ hòu yù chàng yù jué liáo liàng dòng tīng， shǐ rén gǎn dào yùn wèi chún hòu， qián lì wú qióng， shì cháng qī duàn liàn 'ér xíng chéng de yī zhǒng yōu měi yīn zhì。 tán xīn péi、 yú shū yán de sǎng yīn dū shǔ yú zhè yī lèi xíng。
（ 8） tā zhōng， jīng jù shēngyuè míng cí。 yǎn yuán zài zhōng lǎo nián shí qī， yóu yú shēng lǐ guān xì， fā shēng shī yīn xiàn xiàng， wán quán bù néng gē chàng， jiào zuò tā zhōng。 yòu de yǎn yuán 'ài hù sǎng zǐ， dào lǎo réng bǎo chí yuán yīn bù biàn。 yòng jiǎ sǎng gē chàng de yǎn yuán， lǎo lái tā zhōng de jiào duō。
（ 9） nǎo hòu yīn， jīng jù fā shēng de yī zhǒng。 yòu míng bèi gōng yīn。 yī bān fā yīn， qì cóng dān tián 'ér chū， jīng guò hóu qiāng gòng míng， zhí jiē fā chū lái。 nǎo hòu yīn suī rán tóng yàng qì cóng dān tián， dàn fā yīn shí， hóu qiāng shāo jiā yā suō， dǎ kāi hòu yān bì， tí gāo ruǎn 'è， jiāng shēng yīn sòng rù tóu qiāng， yǔ bí yīn xiāng jù， shǐ shēng yīn yū huí zài nǎo hòu， tōng guò tóu qiāng gòng míng， fā chū yī zhǒng hán xù hún hòu de yīn diào。 nǎo hòu yīn fā yīn cāng jìn yòu lì， néng dá yuǎn wén， ér jìn tīng yòu bù jué qí jiān lì。 lǎo shēng hé jìng jiǎo chàng qiāng zhōng， fán yù bì kǒu yīn（ rú“ yī qī zhé”） de gāo yīn， duō yòng cǐ zhǒng chàng fǎ。 dànjué chàng qiāng yòng nǎo hòu yīn zhě jiào shǎo， chéng（ yàn qiū） pài chàng qiāng yòu shí yòng zhī。
（ 10） huāng qiāng， yì zuò huáng qiāng、 huáng diào huò liáng diào。 jīng jù shēngyuè míng cí。 zhǐ yǎn yuán chàng qū yīn diào bù zhǔn， xí guàn shàng zhuān zhǐ lüè dī yú diào mén de biàn yīn。 dà bù fēn dōushì yóu yú yǎn yuán xiān tiān shēng lǐ tiáo jiàn suǒ zào chéng， rú shēng dài biàn yì、 ěr yīn bù zhǔn děng。 yòu shí yě yóu yú liàn shēng bù dé fǎ suǒ zhì。
（ 11） mào diào， jīng jù shēngyuè míng cí。 zhǐ yǎn yuán chàng qū yīn diào lüè gāo yú guī dìng de diào mén。 dà bù fēn shì yóu yú xiān tiān shēng lǐ tiáo jiàn suǒ zào chéng。 yòu de shì yóu yú shēng lǐ tiáo jiàn（ rú shēng dài） lín shí fā shēng gù zhàng； yòu shí yě yóu yú liàn shēng bù dé fǎ suǒ zhì。
（ 12） zǒu bǎn， jīng jù shēngyuè míng cí。 zhǐ yǎn yuán chàng qū bù fú hé guī dìng de jié pāi。 jīng jù chàng qiāng zhōng yòu yī bǎn sān yǎn、 yī bǎn yī yǎn、 liú shuǐ bǎn děng gè zhǒng bù tóng de bǎn cáo， xíng qiāng shí rú bèi lí bǎn yǎn de guī dìng， shī qù jié pāi de fēn cùn， jí wèi zǒu bǎn。
（ 13） bù dā diào， jīng jù shēngyuè míng cí。 zhǐ yǎn yuán chàng qū yīn diào huò gāo huò dī， bù hé yú guī dìng de diào mén。 xí chēng páo diào。
（ 14） qì kǒu， jīng jù yǎn chàng fāng fǎ zhī yī。 zhǐ yǎn yuán chàng qū shí xī qì de fāng fǎ。 jīng jù gè zhǒng chàng qiāng cháng duǎn bù yī， jié zòu kuài màn gè yì， yǎn yuán xū zhǎng wò zhǔn què xī qì fāng fǎ， cái néng chàng dé cóng róng bù pò， yōu měi dòng tīng。 qì kǒu bāo kuò huàn qì、 tōu qì liǎng zhǒng。 huàn qì zhǐ chàng qiāng jiànxiē zhōng de xī qì， tōu qì shì zài lè jù ruò duàn ruò xù zhōng xī qì 'ér bù shǐ tīng zhě jué chá。
（ 15） huàn qì， jīng jù yǎn chàng fāng fǎ zhī yī。 yǎn chàng shí fán yù cháng qiāng huò bá gāo chù， bì xiān xī qì， zuò hǎo chōng fēn zhǔn bèi。 huàn qì bù shì tíng qiāng zài chàng huò míng xiǎn shāo dùn zài jiē chàng， ér shì zài xíng qiāng tūn tù zì yīn de shùn jiān， chéng biàn hū xī， xù qì dài huàn。 chàng qiāng zhōng zài hé chù huàn qì， yīn rén 'ér yì， yī bān chēng wéi qì kǒu。
（ 16） tōu qì， jīng jù yǎn chàng fāng fǎ zhī yī。 zhǐ huàn qì shí bù zhe hén jì， zài guān zhòng bù jué chá shí tōu huàn。 rú《 zhuō fàng cáo》 zhōng chén gōng suǒ chàng“ mǎ xíng zài jiā dào nèi wǒ nán yǐ huí mǎ”， chàng wán qián liù zì jí“ nèi” zì cháng qiāng， lì yòng“ wǒ” zhè yī chèn zì xiàng nèi“ tōu” xī yī kǒu qì， yǐ biàn chàng zú xià miàn“ nán yǐ huí mǎ” de qiāng， jí wèi zhī tōu qì。
（ 17） gā diào， zài jīng jù chàng qiāng zhōng， fán shì yòng tū chū bá gāo de yīn chàng mǒu yī zì shí， xí chēng gā diào。 rú《 sì láng tàn mǔ》 zhōng yáng yán huī chàng“ zhàn lì gōng mén jiào xiǎo fān” yī jù zhōng de“ fān” zì，《 dìng jūn shān》 zhōng huáng zhōng chàng“ sǎo míng tiān wǔ shí sān kè chéng gōng láo” yī jù zhōng de“ tiān” zì děng， jūn chēng gā diào。
（ 18） cháng kēng， cháng（ yīn zhǎng） shì zēngzhǎng， kēng shì sǎng yīn de sú chēng， cǐ chù zhǐ yīn liàng。 cháng kēng hǎo sì jiā dà yīn liàng。
（ 19） zá bèn， bǐ yù yǎn yuán yǎn chàng sì bèn dì jī shí de gǔ nǔ wéi lì， hán biǎn yì。 yǎn yuán bù shàn yú zhǎng wò yǎn chàng fāng fǎ， yòng qì guò tóu， huò shǐ mán lì， yǎn chàng（ duō zài wěi yīn） chū xiàn bèn zhuō de zhòng yīn， wèi zhī zá bèn。
【 bàn zòuyuè qì】
jīng jù bàn zòuyuè qì fēn dǎ jī lè yǔ guǎn xián lè。 qí zhōng， dǎ jī lè shì jīng jù bàn zòuyuè qì zhōng de líng hún。 jīng jù de“ chàng”、“ niàn”、“ zuò”、“ dǎ” wán quán 'àn zhào guī dìng de jié zòu jìn xíng，“ chàng” yào yòu bǎn yòu yǎn，“ niàn” yào yì yáng dùn cuò，“ zuò” zé shì wǔ dǎo， ér wǔ dǎo bì xū biǎo xiàn chū xiān míng de yùn lǜ， shuí lái kòng zhì、 tǐ xiàn jié zòu？ nà jiù shì dǎ jī lè。 dǎ jī yuèqì yòu bǎn、 dān pí gǔ、 dà luó、 náo、 bó děng， chēng wéi“ wǔ chǎng”； guǎn xián yuèqì yòu jīng hú、 jīng 'èr hú、 yuè qín、 sān xián， chēng wéi“ wén chǎng”。 zài xìqǔ wǔ tái shàng， rén wù de yī qiē xíng dòng， bāo kuò zuì yǐn mì de sī xiǎng huó dòng， dōushì tōng guò wǔ dǎo huà de shēn duàn dòng zuò、 yīnyuè huà de niàn bái hé yǎn chàng， bìng zài yīnyuè de bàn zòu zhōng jìn xíng de， yóu gè zhǒng dǎ jī yuèqì de yīn xiǎng zǔ chéng de“ luó gǔ jīng”， qǐ zhe jí qí zhòng yào de zuò yòng。 yòu rén shuō， rú guǒ“ chàng”、“ niàn”、“ zuò”、“ dǎ” shì xì jù de xuè ròu， nà me“ luó gǔ jīng” jiù shì tā de gǔ gé， yī zhèn luó gǔ， jì kě xuàn rǎn bàng bó de qì shì， yòu néng hōng tuō yǎn yuán de biǎo yǎn， bìng qiě zhè zhǒng duì biǎo yǎn de hōng tuō， shì fēi cháng xì zhì de， shèn zhì xì zhì dào gǔ diǎn zǐ dǎ chū yǎn yuán yǎn zhū de zhuàndòng， yǎn pí de kāi hé， shǒu zhǐ de chàn dǒu。 yǎn yuán biǎo yǎn wǎng wǎng dǎo yǐn chū gǎn qíng biǎo dá xū yào de luó gǔ， luó gǔ（ jié zòu、 yīn xiǎng） děng de cì jī fǎn guò lái yòu fā yǎn yuán de biǎo yǎn jī qíng。
【 wǔ tái dào jù】
qì mò
qì wèi shì dà xiǎo dào jù yǔ yī xiē jiǎn dān zhuāng zhì de tǒng chēng， shì xìqǔ jiě jué biǎo yǎn yǔ shí wù máo dùn de tè shū chǎn wù。 qì wèi yī cí zài jīn、 yuán shí qī yǐ yòu。 chuán tǒng xìqǔ wǔ tái shàng de qì mò bāo kuò shēng huó yòng jù（ rú zhú tái、 dēng lóng、 shàn zǐ、 shǒu juàn、 wén fáng sì bǎo、 chá jù、 jiǔ jù）， jiāo tōng yòng jù（ rú jiào zǐ、 chē qí、 chuán jiǎng、 mǎ biān děng）。 wǔ qì yòu chēng dāo qiāngbàzǐ（ rú gè zhǒng dāo、 qiāng、 jiàn、 fǔ、 chuí、 biān、 gùn、 bàng děng）， yǐ jí biǎo xiàn huán jìng、 diǎn rǎn qì fēn de zhǒng zhǒng wù jiàn（ rú bù chéng、 dà zhàng、 xiǎo zhàng、 mén qí、 dào qí、 shuǐ qí， fēng qí、 huǒ qí、 mán yí qì zhàng、 zhuō wéi yǐ pī） děng。 chú cháng yòng de qì mò zhī wài， yě kě gēn jù yǎn chū xū yào lín shí tiān zhì。
chuán tǒng de qì mò， shì yòu yì shí dì qū bié yú shēng huó de zì rán xíng tài zhī wù。 tā men bù shì shí wù de fǎng zhì pǐn， ér shì shí wù zài xìqǔ zhōng de yī zhǒng yì shù biǎo xiàn。 zhè yě shì qì mò néng gòu yǔ dòng zuò、 xíng xiàng xiāng jié hé de yī gè zhòng yào yuán yīn。
yī zhuō 'èr yǐ， zài yǎn yuán méi yòu shàng chǎng yǐ qián， zhuō yǐ zhǐ shì yī zhǒng chōu xiàng de bǎi shè。 rú yǎn chū huáng dì shì cháo， zhè zhāng zhuō zǐ biàn chéng liǎo shì cháo shí suǒ xū de yù 'àn； xiàn gōng zuò yá， zhè zhāng zhuō zǐ biàn chéng liǎo zuò yá shí suǒ xū de gōng 'àn； péng yǒu yàn huì， biàn chéng liǎo yàn huì shí suǒ xū yào de jiǔ xí。 yǐ shàng shì shí wù shí yòng， dàn xìqǔ wǔ tái shàng de zhuō yǐ hái kě yǐ zuò dài yòng pǐn。 bǐ rú yòng zhuō zǐ dài tì shān shí， rén yào shàng shān， jiù zhàn zài zhuō zǐ shàng， rú guǒ zhè shān hěn gāo， jiù yòng liǎng zhāng zhuō zǐ dié qǐ lái。 yào tiào qiáng， jiù yòng zhuō zǐ dāng qiáng； yào shuì jué， jiāng shēn fú zài zhuō shàng， yòng shǒu zhī zhù tóu。 zhì yú yǐ zǐ suǒ dài tì de jiù gèng duō liǎo。 wǔ tái shàng biǎo shì cóng 'ǎi shān pá dào gāo shān qù， shì cóng yǐ zǐ liǎo zài dēng dào zhuō zǐ shàng， yǐ zǐ hái kě yǐ dài tì yáo mén， dài tì láo mén děng děng。 zhuō yǐ wú lùn dài biǎo shénme， dōushì miào zài sì yǔ bù sì zhī jiān。 rú xìqǔ zhōng de bù chéng suī rán bǐ jiào jiǎn lòu， dàn jué bù zhuī qiú chéng de zhēn shí zài xiàn。 bù chéng kě yǐ gēn jù chéng de xū yào zì yóu diào dù。
qí zhì zài wǔ tái shàng shǐ yòng hěn duō， rú zhèng fāng xíng shuài zì qí、 cháng fāng xíng sān jūn lìng qí、 dà dào qí（ gǔ dài jūn duì lǐ de dà qí）， dōushì biǎo shì yuán shuài jí dà běn yíng suǒ zài dì de。 hái yòu shuǐ qí、 huǒ qí、 fēng qí、 chē qí děng děng， zhè xiē qí zhì shì zài bái sè fāng qí shàng huì lǜ sè shuǐ wén、 huǒ yàn、 fēng、 chē lún děng děng。 yǎn yuán zhí qí， lüè wēi chàn dòng， jiù kě yǐ biǎo shì bō làng qǐ fú、 zháohuǒ、 qǐ fēng、 chéng chē。
xìqǔ wǔ tái shàng bìng bù huí bì " lù jiǎ "， yě bù yào qiú yī yī xiě shí。 yáng biān yǐ dài mǎ， yáo jiǎng yǐ dài chuán。 zài wǔ tái shàng yòu guǎng kuò de kōng jiān gōng yǎn yuán huó dòng， yīngdāng xì zhì de dì fāng jìn lì miáo huì， bù bì yào de chǎng miàn， yī gè yuán chǎng jiù guò qù liǎo， zhè zhǒng xū nǐ de fāng fǎ yǔ zhōng guó xì qū de biǎo yǎn fēng gé shì xiāng yī zhì de。
【 míng cí jiě shì】
（ 1） gōng chǐ， xìqǔ yīnyuè míng cí。 fàn zhǐ xìqǔ qǔpǔ shàng qū cí yòu cè suǒ zhù yīn jiē fú hào。 wǒ guó chuán tǒng mín zú yīnyuè， yǐ“ hé、 sì、 shàng、 chǐ、 gōng、 fán、 liù” děng zì zuò wéi yīn jiē de fú hào， xiāng dāng yú xī yáng yīnyuè de“ 56712345”。 xí guàn shàng bǎ zhè xiē fú hào tǒng chēng wéi“ gōng chǐ”。 yòu de qǔpǔ， qū cí bàng zhǐ zhù bǎn yǎn（ pāi zǐ）， bù zhù gōng chǐ。 yòu gōng chǐ de qǔpǔ， míng wéi gōng chǐ pǔ。
（ 2） bǎn yǎn， xìqǔ yīnyuè míng cí。 chuán tǒng chàng qū shí， cháng yǐ gǔ bǎn 'àn jié pāi， fán qiáng pāi jūn jī bǎn， gù chēng gāi pāi wéi bǎn。 cì qiáng pāi hé ruò pāi zé yǐ gǔ qiān qiāo gǔ huò yòng shǒu zhǐ 'àn pāi， fēn bié chēng wéi zhōng yǎn、 xiǎo yǎn（ zài sì pāi zǐ zhōng qián yī ruò pāi chēng tóu yǎn huò chū yǎn， hòu yī ruò pāi chēng mò yǎn）。 hé chēng bǎn yǎn。
（ 3） guò mén， jīng jù yīnyuè míng cí。 zhǐ zài chàng jù yǔ chàng jù zhī jiān， chàng duàn yǔ chàng duàn zhī jiān de jiànzòu yīnyuè。 chàng jù yǔ chàng jù zhī jiān cháng yòng xiǎo guò mén 'ér， chàng duàn yǔ chàng duàn zhī jiān cháng yòng dà guò mén。 dàn yóu yú bǎn shì bù tóng， yì yòu bù shǎo lì wài， bìng wú gù dìng mó shì。
（ 4） guà 'ér， jīng jù yīnyuè míng cí。 guà 'ér shì“ guò 'ér” de xié yīn， zhuān zhǐ zài chàng duàn yǔ chàng duàn zhī jiān de dà guò mén， yī bān duō zhǐ huá cǎi de jiànzòu yīnyuè。 zài chàng jù yǔ chàng jù zhī jiān de xiǎo guò mén bù chēng guà 'ér。
（ 5） diàn tóu， jīng jù yīnyuè míng cí。 zhǐ zài lè huì yǔ lè huì jiān qǐ dā qiáo zuò yòng de xuán lǜ chēng wéi diàn tóu huò xiǎo diàn tóu， yì míng qiáo。 diàn tóu xuán lǜ jiào duǎn， yī bān zhǐ yòu 'èr、 sān pāi， qǐ qián hòu xián jiē zuò yòng。
（ 6） xíng xuán， jīng jù yīnyuè míng cí。 zhǐ zài yǎn yuán biǎo yǎn dòng zuò huò duì huà、 dú bái shí de chèn tuō yīnyuè。 xíng xuán duō wéi qǔpái huò jiǎn dān xuán lǜ de fǎn fù yǎn zòu， zhù yào qǐ hōng tuō qì fēn de zuò yòng。
（ 7） diào mén， zhǐ yǎn yuán gē chàng shí de yīn gāo。 fán yòng xián lè qì bàn zòu， dū gēn jù yǎn yuán sǎng yīn de gāo dù zì yóu dìng diào。 jīng jù diào mén， yī bān yǐ zhèng gōng diào wéi shì dù， zuì gāo de chàng yǐ zì diào， zuì dī de fán zì diào， sú chēng pā zì diào。 tóng yī jù zhōng， liǎng gè zhù yào yǎn yuán yīn gāo bù tóng， yòu shí hù xiāng qiān jiù， yòu shí lín shí cháng（ tí gāo） diào mén huò luò（ jiàng dī） diào mén。
（ 8） diào miàn， yǎn yuán chàng de yīn gāo yǔ bàn zòuyuè qì（ hú qín、 dí zǐ děng） de yīn gāo xiāng tóng， jiào zuò diào miàn。 yì sī shì 'àn zhào“ diào mén” de biǎo miàn gē chàng。 diào miàn xì zhēn duì diào dǐ 'ér yán。 zài yī bān qíng kuàng xià， yǎn yuán dū chàng diào miàn。
（ 9） diào dǐ， yǎn yuán chàng de yīn gāo bǐ bàn zòuyuè qì（ hú qín、 dí zǐ děng） de yīn gāo dī bā dù， jiào zuò diào dǐ。 yì sī shì 'àn zhào diào mén de dǐ yīn gē chàng。 diào dǐ xì zhēn duì diào miàn 'ér yán。 jīng jù de mǒu xiē chàng qiāng， rú wá wá diào de qiāng diào jīng cháng fān gāo， rú jiāng diào mén dìng gāo， yǎn yuán sǎng yīn bù jí， rú jiāng diào mén dìng dī， yuèqì yīn liàng yòu guò xiǎo， nǎi cǎi yòng diào dǐ de chàng fǎ， bǎ yuèqì dìng gāo bā dù， yǎn yuán yǐ dī bā dù de yīn lái gē chàng。
（ 10） dìng xián， zhǐ xián lè qì（ hú qín、 ruǎn děng） dìng“ diào mén” de gāo dī。 yī bān dū yǐ dí zǐ zuò wéi dìng xián de biāo zhǔn。
（ 11） yǐ zì diào， jīng jù yīnyuè míng cí。 gōng chǐ pǔ suǒ yòng diào mén zhī yī。 dìng xián shí， yǐ dí zǐ xiǎo gōng diào de“ yǐ” yīn（ kāi qǐ dì wǔ kǒng， chuī gāo yīn）， dìng hú qín de“ gōng” yīn（ xī pí diào wài xián de chǎng xián）。 yǐ zì diào wéi jīng jù de zuì gāo diào mén。
（ 12） gōng zhèng diào， yì zuò zhèng gōng diào。 jīng jù gēn jù dí de yīn gāo dìng hú qín de diào mén， xī pí wài xián yǔ dí zhèng gōng diào de gōng yīn tóng gāo de chēng wéi zhèng gōng diào。 bǐ zhèng gōng tiáogāo chū yī dù de chēng yǐ zì diào， gāo chū bàn dù de chēng gōng bàn diào， bǐ zhèng gōng diào dī yī dù de chēng liù zì diào， dī bàn dù de chēng liù bàn diào， dī 'èr dù de sú chēng pā zì diào。
（ 13） gōng bàn diào jīng jù diào mén zhī yī。 lüè gāo yú zhèng gōng diào， lüè dī yú yǐ zì diào。 dìng xián shí bǐ zhào dí zǐ de zhèng gōng diào dìng yīn 'ér lüè shēng gāo。
（ 14） ruǎn gōng diào， jīng jù diào mén zhī yī。 lüè dī yú zhèng gōng diào， ér jiào liù zì diào shāo gāo。 dìng xián shí bǐ zhào dí zǐ de zhèng gōng diào dìng yīn 'ér lüè jiàng dī。
（ 15） liù zì diào， jīng jù diào mén zhī yī。 dìng xián shí， yǐ dí zǐ xiǎo gōng diào de“ liù” yīn（ liù kǒng quán bì， chuī gāo yīn）， dìng hú qín de“ gōng” yīn（ xī pí diào wài xián de chǎng xián）。 liù zì diào wéi jīng jù zhōng dī yú zhèng gōng diào， gāo dī shì dù de diào mén。
（ 16） pā zì diào， yì zuò bā zì diào。 jīng jù diào mén zhī yī。 fán dī yú liù zì diào yī dù yǐ shàng de tǒng chēng pā zì diào。
（ 17） zǒu biān，“ zǒu biān” de lái yuán yī shuō yuán yú jìn jù《 bái hǔ biān · zǒu biān》 zhōng de wǔ dǎo shēn duàn； yī shuō shì yīn wéi fán zǒu biān de rén wù yīn pà rén kàn jiàn 'ér duō zài qiáng biān、 dào biān qián shēn yè xíng， gù 'ér chēng“ zǒu biān”。 yī bān lái shuō，《 è hǔ cūn》 de huáng tiān bà zǒu biān zuì nán。《 yè bēn》 de lín chōng zǒu biān zuì lěi，《 wú gōng lǐng》 de wǔ sōng zǒu biān zuì chī gōng fū。
（ 18） tàng mǎ， yóu yú jīng jù zhōng duō yǐ mǎ biān lái dài tì mǎ， huò zuò wéi qí mǎ de xiàng zhēng， yīn cǐ fán shǒu chí mǎ biān huī wǔ zhe shàng chǎng hòu yùn yòng yuán chǎng、 fān shēn、 wò yú、 kǎn shēn、 shuāi chā、 tāo líng、 liàng xiāng děng jì qiǎo lián xù zuò chū dǎ mǎ、 lè mǎ huò cè mǎ jí chí de wǔ dǎo dòng zuò de zǔ hé jiù shì jīng jù de tàng mǎ。
【 míng jiā dà shī】
jīng jù xíng chéng yǐ lái， yǒng xiàn chū dà liàng de yōu xiù yǎn yuán， tā men duì jīng jù de chàng qiāng、 biǎo yǎn， yǐ jí jù mù hé rén wù zào xíng děng fāng miàn de gé xīn、 fā zhǎn zuò chū liǎo gòng xiàn， xíng chéng liǎo xǔ duō yǐng xiǎng hěn dà de liú pài。 rú lǎo shēng : chéng cháng gēng、 yú sān shèng、 zhāng 'èr kuí、 tán xīn péi、 wāng guì fēn、 sūn jú xiān、 wāng xiào nóng、 liú hóng shēng、 wáng hóng shòu、 yú shū yán、 gāo qìng kuí、 yán jú péng、 zhōu xìn fāng、 mǎ lián liáng、 yáng bǎo sēn、 tán fù yīng、 lǐ shǎo chūn děng； xiǎo shēng : xú xiǎo xiāng、 chéng jì xiān、 jiāng miào xiāng、 yè shèng lán děng； wǔ shēng yú jú shēng、 huáng yuè shān、 lǐ chūn lái、 yáng xiǎo lóu、 gài jiào tiān、 shàng hé yù、 lì huì liáng děng； dànjué : méi qiǎo líng、 yú zǐ yún、 tián guì fèng、 chén dé lín、 wáng yáo qīng、 méi lán fāng、 chéng yàn qiū、 xún huì shēng、 shàng xiǎo yún、 ōu yáng yú qiàn、 féng zǐ hé、 xiǎo cuì huā、 zhāng jūn qiū、 zhāng huǒ dīng děng、 lǎo dàn gōng yún fǔ、 wò yún jū shì、 lǐ duō kuí、 lǐ jīn quán děng； jìng jiǎo : mù fèng shān、 huáng rùn fǔ、 hé guì shān、 qiú guì xiān、 jīn shǎo shān、 qiú shèng róng děng； chǒujué : liú gǎn sān、 yáng míng yù、 wáng cháng lín、 xiāo cháng huá děng。 cǐ wài hái yòu zhù míng qín shī : sūn yòu chén、 méi lán tián、 xú lán yuán、 wáng shǎo qīng、 yáng bǎo zhōng děng； zhù míng gǔ shī háng zǐ hé、 bái dēng yún、 wáng xiè yuán děng。
jīng jù liú pài：
lǎo shēng · xiǎo shēng · wǔ shēng · dànjué · lǎo dàn · jìng jiǎo · chǒujué · qín shī · gǔ shī
【 jīng jù de tè sè】
tè sè
zhōng guó de xìqǔ yǔ xī là bēi jù hé xǐ jù、 yìn dù fàn jù bìng chēng wéi shì jiè sān dà gǔ lǎo de xì jù wén huà。
lì shǐ shàng zuì xiān shǐ yòng xìqǔ zhè gè míng cí de shì sòng liú xūn（ 1240-1319）， tā zài《 cí rén wú yòng zhāng chuán》 zhōng tí chū“ yǒng jiā xìqǔ”， tā suǒ shuō de“ yǒng jiā xìqǔ”， jiù shì hòu rén suǒ shuō de“ nán xì”、“ xì wén”、“ yǒng jiā zá jù”。 cóng jìn dài wáng guó wéi kāi shǐ， cái bǎ“ xìqǔ” yòng lái zuò wéi zhōng guó chuán tǒng xì jù wén huà de tōng chēng。
xìqǔ shì yī mén zōng hé yì shù， shì shí jiān yì shù hé kōng jiān yì shù de zōng hé， zhè zhǒng zōng hé xìng shì shì jiè gè guó xì jù wén huà suǒ gòng yòu de， ér zhōng guó xì qū de zōng hé xìng tè bié qiáng。
zhōng guó xìqǔ shì yǐ chàng、 niàn、 zuò、 dǎ de zōng hé biǎo yǎn wéi zhōng xīn de xì jù xíng shì， tā yòu fēng fù de yì shù biǎo xiàn shǒu duàn， tā yǔ biǎo yǎn yì shù jǐn mì jié hé de zōng hé xìng， shǐ zhōng guó xìqǔ fù yòu tè shū de mèi lì。 tā bǎ qū cí、 yīnyuè、 měi shù、 biǎo yǎn de měi róng zhù wéi yī， yòng jié zòu tǒng yù zài yī gè xì lǐ， dá dào hé xié de tǒng yī， chōng fēn diào dòng liǎo gè zhǒng yì shù shǒu duàn de gǎn rǎn lì， xíng chéng zhōng guó dú yòu de jié zòu xiān míng de biǎo yǎn yì shù。
zhōng guó xì qū zhōng zuì zhòng yào de yī diǎn tè zhēng shì xū nǐ xìng。 wǔ tái yì shù bù shì dān chún mó fǎng shēng huó， ér shì duì shēng huó yuán xíng jìn xíng xuǎn zé、 tí liàn、 kuā zhāng hé měi huà， bǎ guān zhòng zhí jiē dài rù yì shù de diàn táng。
zhōng guó xìqǔ lìng yī gè yì shù tè zhǐ， shì tā de chéng shì xìng， rú guān mén、 shàng mǎ、 zuò chuán děng， dōuyòu yī tào gù dìng de chéng shì。 chéng shì zài xì qū zhōng jì yòu guī fàn xìng yòu yòu líng huó xìng， suǒ yǐ xìqǔ yì shù bèi qiàdàng dì chēng wéi yòu guī zé de zì yóu dòng zuò。
zōng hé xìng、 xū nǐ xìng、 chéng shì xìng， shì zhōng guó xìqǔ de zhù yào yì shù tè zhǐ。 zhè xiē tè zhǐ， níng jù zhe zhōng guó chuán tǒng wén huà de měi xué sī xiǎng jīng suǐ， gòu chéng liǎo dú tè de xì jù guān， shǐ zhōng guó xìqǔ zài shì jiè xìqǔ wén huà de dà wǔ tái shàng shǎn yào zhe tā de dú tè de yì shù guāng huī。
zhōng guó xìqǔ， qǐ yuán yú yuán shǐ gē wǔ， shì yī zhǒng lì shǐ yōu jiǔ de zōng hé wǔ tái yì shù yàng shì。 tā yóu wén xué、 yīnyuè、 wǔ dǎo、 měi shù、 wǔ shù、 zá jì yǐ jí biǎo yǎn yì shù zōng hé 'ér chéng， yuē yòu sān bǎi liù shí duō gè zhǒng lèi。 tā de tè diǎn shì jiāng zhòng duō yì shù xíng shì yǐ yī zhǒng biāo zhǔn jù hé zài yī qǐ， zài gòng tóng jù yòu de xìng zhì zhōng tǐ xiàn qí gè zì de gè xìng。 bǐ jiào zhù míng de xìqǔ zhǒng lèi yòu： jīng jù、 kūn qū、 yuè jù、 yù jù、 yuè jù、 chuān jù、 qín qiāng、 píng jù、 jìn jù、 hàn jù、 hé běi bāng zǐ、 xiāng jù、 huáng méi xì、 hú nán huā gǔ xì děng。
kūn qū： yòu chēng“ kūn qiāng”、“ kūn jù”， shì yī zhǒng gǔ lǎo de xìqǔ jù zhǒng。 tā yuán yú jiāng sū kūn shān， míng zhōng yè hòu kāi shǐ shèng xíng。 kūn qū de fēng gé qīng lì róu wǎn、 xì nì shū suí， biǎo yǎn zài gē zài wǔ， shì zhōng guó gǔ diǎn xìqǔ de dài biǎo。 2001 nián， kūn qū bèi lián hé guó jiào kē wén zǔ zhì liè wéi“ rén lèi kǒu tóu yǔ fēi wù zhì lèi wén huà yí chǎn”。 dài biǎo zuò《 shí wǔ guàn》《 hóng xiá》 děng。
Beijing Opera, also called "yellow skin", from "Sipi" and "Erhuang" it is composed of two basic tone music material, but also a number of small local tunes and songs (such as Liu sub chamber, blowing chamber, etc.) and Kun Tune. It was formed in Beijing, the time is in 1840, prevailed in the 20th century, 3, 40's, when the "National Opera". Now it is still a big drama of national impact. It is a comprehensive line of business, performing mature, imposing macro United States, is representative of modern Chinese drama. Chinese Peking Opera is China's "national essence" has been 200 years. Opera first appeared in the Qing dynasty the name of two years (1876) of the "declaration" in history, had skin yellow, two yellow, yellow cavity, emphasized Beijing, Beijing Opera, Peking Opera, Chinese opera and other titles, fifty-five years of the Qing Dynasty Emperor Qianlong (1790 years) class went to Beijing on Four logo with Beijing after the theater's Kun, Han opera, Yiyang, puppet theater and other operas and five or six years of the blend, Evolution of a Peking Opera is China's largest operas. The richness of its repertoire, performing artists as much theater as much as the audience as much influence deep are the highest in the country. Opera is a comprehensive performing arts. The singing (singing), read (read white), do (performance), playing (martial arts), dance (dance) as a whole, the program's performance by means of Syria speech story, carved figures, expressed "joy, anger, sadness and joy , panic, fear, grief, "the thoughts and feelings. Role can be divided into: health (men), Jordan (woman), net (rough mighty men, another name for the painted face), ugly (male, women both) four line when. People are divided Faithfulness, beauty and ugliness of the points, good and evil. Each image is bright and vivid. Country attaches great importance to the protection of intangible cultural heritage, May 20, 2006, to include approval of the State Opera first batch of national intangible cultural heritage.
A brief history】 【
1, incubation period
Confluence of the early Qing Hui Qin, Beijing opera stage Shengxing Kun Qu and Beijing accent (Yiyangqiang). After the mid-Qianlong, gradual decline of the Kun Opera, Beijing accent prosperity replaced Kun unified capital stage. Forty five years of Qianlong (1780) Shaanxi opera artist Wei Changsheng by the River to Beijing. Wei Qin Opera performances take double celebrations class "Rolling House", "baby back into the House" and other plays. Wei Changsheng handsome appearance, noise Tianrun, singing tactful and delicate work, a "Rolling House" that stir the capital. Double celebration classes and therefore known as "Kyoto first." Since then, the Beijing accent began to decline, Beijing accent classes were the culmination of six classes, royal classes, Yuqing classes, Yu Qing-class extraction Qing classes, Paul and Ben are in limbo, have take into Shaanxi opera classes to earn a living. Five years of Qianlong (1785), the Qing court to Wei Changsheng table
Indecent speech, banned in the capital of Shaanxi Opera performances will be Wei Changsheng out of the capital.
Fifty-five years of Qianlong (1790), following three classes celebrate Emblem _set_tled after the capital (class site is located within South Korea Taiwan-alley), there Sixi, Kai Xiu, Ni Cui, Chun Tai, and spring, three, and, Song Zhu, Jin Yu, Dai King and other classes, also _set_tled in the area Dashilan performance. Among them, Miyoshi, Sixi, spring and spring units 4 fame height, and therefore, "the four emblem classes," said. 'Chun Tai Ban' to Beijing time, according to Chinese master meter should be adjusted before Qing emperor Qianlong in Beijing served as 'Chun Tai Ban' pillar until the time to prove that the class to Beijing earlier in the 'Si-xi' and 'and spring'. 'Chun Tai Ban' in the Baishun alley. 'Si-xi ban' to Beijing in the early Jiaqing. Anhui Opera, Kun Opera and performances, particularly as the Kun Opera, and therefore, "the new row of a Fan, everywhere Hongchuan Sixi class" of language. The course is located in Shaanxi lane. 'And spring classes' in Jiaqing eight years (1804) in the Shui Xie Jie, Li Tie _set_. Known for the class play with force. Daoguang 10 years (1853) Dissolution. "Four emblem class" performance repertoire, performance style, each with its long, so when the "three celebrate the axion, Sixi song, spring and the handle, the spring of Taiwan's child" reputation. "Four Emblem Class" Apart from singing emblem of tune, Kun, blowing cavity, Siping stressed Bangzi opera also used, can be described as various chamber and played. Performing arts widely absorb, draw lessons long various family drama, and into the emblem into play. And the lineup neat, staged plays a rich, popular Beijing audience. Since Wei Changsheng forced to leave Beijing, Shaanxi Opera sluggish, Shaanxi opera artist for a living, have take into the emblem of class, formed the Hui, Qin integration of the two cavities the situation. In the emblem, Qin convergence process, the emblem of a broad class concert, taken into Shaanxi Opera, performing the fine and a lot of scripts transplantation, the emblem of the further development of drama arts, created favorable conditions.
Hui Han opera popular in Hubei Han confluence, the tune of two yellow, Xi Pi has a kinship with the movie logo. Hui, Han went to Beijing before the second opera in the art of blending a wide range. Following the Qing emperor Qianlong, the Leisure and Cultural master meter should be advanced in Beijing, Daoguang year (1821), Han Opera has known the older students, there are six Li, Wang Honggui, Yusan Sheng, Long De-yun, a niche into Beijing, respectively, into the emblem of course take the spring units, and spring classes concert. Meter should show known to sing Guan Yu, 3 Ching Hung Cheng Changgeng the net opera troupe, should first be granted rests with rice. Li 6 with "drunk quite scared to write the book," "Snow," known for; Wang Honggui uses the "let Chengdu" and "Jigumacao" and enjoy the name; niche Dragon Devon good speech "radio Ji Yuan Men," "Yellow Crane floor "and other plays; Yu Sansheng noise mellow, beautiful singing, both civil and military, to play," Mount Dingjun "," Shiro Tan Mu "," When White sold horse, "" touch tablet "and the older students, known repertoire. The Leisure and Cultural actors take classes into the emblem, it will tune melodies, performance skills, theater productions among soluble emblem to emblem plate singing opera increasingly enriched and improved, singing and chanting white voice of Beijing and more features, and easily accepted by Beijing. Daoguang twenty-five years (1845) big name courses are older students, as foreman. Hui, Han, after confluence, contributed to the Xi Pi Hubei and Anhui Erhuang tone tune the exchange again. Hui, Qin, Han confluence, the birth of the opera foundation.
Second, the formation of
Daoguang twenty years to ten years Xianfeng (1840 -1,860 years), the play by Hui, Shaanxi Opera, the confluence of the Han stressed, and reference absorption Kun, Beijing accent the long and formed Beijing opera. One of the signs: a complete melody plate is rich beyond the logo, Qin, Han play any of the three. Singing tunes from the plate body cavity and mixed. Tune mainly Erhuang, Sipi-based; the second line when largely complete; the three formed a group of Peking Opera repertoire; of four, Cheng Changgeng, Yu Sansheng, Zhang Erkui the early formation of the representatives of the opera, was called "lao three heroes" "Sanding a" namely: "champion" Zhang Erkui, "second place" Cheng Changgeng, "third overall" Yu Sansheng. Concerts and performances in all characteristics of each style, the main accent in the creation of Peking Opera Sipi, Erhuang and in opera opera form, and has the characteristics of Beijing Language and Culture, said White, pronunciation, the made an outstanding contribution. The first generation of Peking Opera performers, two are still the older students, Lusheng Kui, Xue India Xuan, Zhang Rulin, Wang Jiuling, etc.; niche Lung Tak Yun, Xu Hong; Dan Hu Xilu, Luoqiao Fu, Mei Qiaoling: Chou Yang Mingyu, Liu drive 3; Lao Dan Hao Lantian, TAN Zhi-Tao; net Zhu large pock , any painted face and so on, they enrich each trade are no tune and performing arts, are a unique creation. Successor 'Si-xi ban' troupe of Meiqiao Ling, the courage to break Tsing Yi, Huadan old rules of strict division of labor, the female roles of the singing art opened up a new path.
"Absolutely the same light Troupe 13" is the Peking Opera Troupe in the history of a wardrobe color photo painting, from the late Qing Shen Rong-po civil artist rendering. He made reference to the mid-Qing He Shikui dwarfed portrait master, "Beijing accent 13 must" figure in the form of drama, _select_ed wen, xu (l860 to 1890) the prestigious Peking Opera stage 13 actors, with a meticulous re-color them play portrayed characters in the play, shows the author's profound skill. This painting in the three years of the Republic of China (1943), by the evolution of complex social Zhu Shu Si Chang in the acquisition, by narrowing the advent of photocopying, along with code "must pass the same optical Troupe 13" 1.
3, mature
1883 a 1918 opera by the formation of a mature one, too representative said, "wants to know after the three heroes" of Tan Xinpei, Wang Guifen, Sun Juxian. One Tan Xinpei Cheng Cheng Changgeng, Yu Sansheng, Zhang Erkui length of various arts, but also by the creation of development, will advance to the new Opera mature state. Tan widely in art practice has absorbed from the Kun Opera, clapper, drum and opera Tsing Yi, Baikal, Lao Dan draw the line, and into the concert being, to create unique art style of singing, "Tan Pai", formed a "no Tan cavity do not learn "situation. After twenty years of Yushu Yan, Yan Ju Peng, the high Qing Kui, Ma Lailiang, are in cases of "Tan Pai" development on the basis of their different school of art. Wang Guifen, arts were Cheng Changgeng, singing never powerful gloomy, solemn and stirring tone plain, the "Tigers & Dragons" in the comments, and he was due to "like process to the real thing," therefore, "Venus and then the world" reputation. Sun Juxian, the age of 18 _select_ed military scholar, good to sing opera, often into the concert box office, after the 36-year-old Tou Shi Cheng Changgeng. His loud noise, high and low with ease. Informality in Hubei and Hunan to study voice and Central Plains White Yun, Multi-tone Beijing, Beijing, word, sound kind of natural. Generous realistic performance, close to life. "After the three heroes the older students," studying under different emphases, art styles, from the overall balance, Tan Xinpei Chiang Kun disorder does not block, art skills and the development of Beijing Opera, far more than Wang, Sun. Hsu, Tan Xinpei called "King of Ling sector" status in the theater world, such as year of Cheng Changgeng. Xianfeng years (1861) Peking Opera performances beginning into the palace. May sixth day until the end of the year, divided by three Qing classes, Sixi class, two-Kui classes and outside classes (class opera) performance. Guangxu reign (1883), Empress life Pentecost day, the _select_ion Zhang Qi Lin, YANG Long-life, Bao Fu Shan, Cai Fulu, Yan Fuxi other 18 palaces and poor, not only singing, and when the opera instructors, teach skills to eunuchs. Since then, the Qing performance of the agencies in charge of "peace and prosperity Department", the famous artist each year to _select_ the palace when the poor, end only Xuantong (1911), namely, Tan Xinpei, Yang F, Sun Juxian, Norman Chan, Wang flute cents Yang Xiaolou, Yuyu Qin, Zhu Wenying, Wang Yaoqing, Gong Yunfu, Mu Fengshan, money Jinfu other students, once the net, ugly people have more than 150 famous palace. As the Empress hobby Opera, Peking Opera stars often coupled performed in the palace, on strong momentum. Meanwhile, at Tai Kwong Tak Building gate area, Sam Kyung Park, Qing paradise, and in parks, theaters civilized park, day'd love to form a unified situation in Peking Opera. Opera maturity, in addition to "the older students, after the three heroes", the health-line, there were still Yam Tong, Gu Honglin; Takefu Yu Ju-sheng, YANG Long-life; net line of He Jia Shan, Huang Runfu, gold Xiushan, Qiu Gui-xian, LIU Yong-chun etc.; niche Wang Leng Sin, Tak-jun For example, Lu Huayun: Dan OK Norman Chan, Tiangui Feng, Wang Yaoqing, Zhu Wenying; scandal Wang Changlin, Zhang black, Luo hundred, Xiao Changhua, Almond Hill. During this period, the rise of female roles, female roles and the health angle formed to keep pace with the trend. Takefu Yu Ju Sheng, creating a roof beam to the first person Takefu own company, he was later known as the "Takefu originator." The famous, innovative development in succession, singing skills maturity, will be opera to new heights.
4, peak period
Since 1917, outstanding Peking Opera actors in large numbers, showing a genre scene of the prosperous situation, the development of a peak by the maturity period, a representative of this period was Yangxiao Lou, Mei Lanfang, Yu Shuyan. As scholars respect for the elegant cultural heritage suffered disaster in the 20th century, opera reached its heyday.
In 1927, Beijing "Shuntian inch newspaper" organized actresses, stars performing _select_ion. Readers vote results: Mei Lanfang to play "too true rumor", Shang Xiaoyun to play "Mo Dengjia Girls", Cheng Yanqiu to play "Hong Fu Chuan", Xun Huisheng to play "Danqing primer", won the "four most famous . " "The four most famous" stand out, is an important indicator opera to its peak. They create a distinctive artistic style, dignified and elegant form of Mei Lanfang, Shang Xiaoyun's pretty vigorous, Cheng Yanqiu the deep euphemism, Xun Huisheng of Johnson Nick and lovely "Four Schools", created a Beijing opera stage to Dan based pattern. Takefu Yu Ju Sheng Yang Xiaolou in the following, Yang F, will be followed by the development of the performing arts opera Takefu to new heights, known as "Chinese opera master," "Wu Shengtai struggle." The older students in the Yushu Yan, high Qingkui, made Ju Peng, Ma Lailiang, 20 years, said that "four to life." During the same period Hui Bao, Wang Fengqing, Guan Tai Yuen Sang and so is the talent. The late 30s, more than, say, the high has quit the stage, Ma Lailiang and Tan Fuying, Xi Xiaobo, Yang Baosen known as "four to life." Women need health Meng Xiaodong, with high artistic attainments, rather Naishi Yushu Yan's artistic style.
After the election, Tong Ling, still, "Li Yan reported that" over, _select_ed Li Shifang, Zhang Junqiu, hair to the world, SONG beads for the "Four Little Ming Dan", "four small Mingdan" joint choice in Chang'an, the new two new theaters the "White Snake" and "45 flowers holes" and offer their congratulations.
Genre scene, talents, is another sign of Beijing Opera peak. In addition to Yang sent during this period (small building), the Mei school (Lan Fong), are still sending (Xiaoyun), Cheng sent (Yan Qiu), Xun (Wai Health), the female roles there are Xiao camp (Cuihua) and Song School (Germany bead), Zhang sent (Kimiaki); lao line I sent (tert-rock), high school (Qingkui), made camp (Ju Peng), horse camp (even good), Xi sent (Xiao Bo ), Poplar (Bossen), New Tan Pai (Fu Ying); net line in the gold camp (small hill), Hou School (Cerritos), Hao sent (Shouson) and after 50 years generated Qiu style (Sheng Jung); niche line Jiang faction (myohyang), leaves school (Sheng Lan); Laodan line Gong camp (Yunnan to), Lee sent (more Kui); the scandal in the leaf Pine (Sheng Zhang) and so on. Over the same period there are a number of Peking Opera performing artists, such as health row Wang Fengqing, when Hui Bao, Wang Yichen, LI Hong-chun, Tan Xiaopei, LI Wanchun, Li Shao-chun, Goldman Sachs Lun, etc.; Jordan line Yanlan Qiu, Xu Biyun, Zhu Qin heart, Zhaotong Shan, Xueyan piano, new Yan-Qiu, Zhang contain cloud, Jinshao Mei, Bi clouds, Qin Chiffon, Wang Yurong, made Huizhu, Tongzhi Ling, Leung Luan, Wu Suqiu, Zhao Yanxia, Du Jinfang; niche in Jinzhong Ren, Ru Fu Lan, Cheng Ji-xian; scandal in Guo Spring Hill, Cirui Quan, Mafu Lu, Zhang Chunhua, etc..
Merchants of the class
Huizhou merchants extremely rich culture of commercial success led to the upsurge of consumer desire. With the socio-economic development and the Kunshan chamber opera tune the rise, one after another Keeper's home, the role of fighting arts, and hard for the South to collect under the Qianlong sensual dance, drama lavishly packaged emblem color art, an objective for the logo to create a drama went to Beijing conditions. Dominated the 500 years of the Ming and Qing Huizhou business to business to help merchants famous famous Huangshan Shexian of merchants in particular, rich. With the socio-economic development and the Kunshan chamber opera tune the rise, South Jiangbei literati and the wealthiest businessmen have Keeper family troupe. Already in the field-and-coming business merchants have followed suit. Huizhou merchants for a long time used to support social drama classes were outsiders known as the "emblem of class." Hui Guangzhou Pumped Storage's home, along the river in Anhui, including a local drama in Ancient things began to flourish. They sing Kun, and not because of language differences "Harmony Wu Yin", inadvertently sing a little "local flavor." So in the cavity under the influence of Qingyang, Anhui singing tone - "Hui Kun", and later developed into Erhuang cavity. In particular, was born in Anqing City, Totally transfer Huaining County, the most famous. Huizhou artist with a local accent in Yangzhou, get merchants their family patronage and a heavy support. Them, or come and go in Pier Street, wantonly, or for Hui Fu Jia Suorong stay. To develop skills, accent has gradually gained the upper hand. Then the concept of class emblem is not entirely "Merchants of the class," and begin with emblem transfer (Shipai cavity, puppet theater tune) meaning.
"No stone not a class"
Pai is a Huaining County of Anqing City, the ancient market town, "no stone not a class" and "stone" refers to here, also refers to the Anqing and their respective counties. To mid-Qing, Pai has become known far and near commercial centers, business 3000, sailing 1000. Jiangxi, Fujian, Hubei and other merchants have the _set_ting in this section. Then Shihpai addition to local residents, mostly in the past Chuanbang and businesses, in survival has become more relaxed, they began to build their own Pop Culture.
Pai was a stage for theatrical performances as many as 800, not only Me and Park, Theater, there are flower stage. The Opera House, there are three in Pai town. On the side streets of the town of Changle Grand Theater can accommodate 600 spectators, specifically for Hui stressed Pihuang class performance. Theater usually in the ancestral hall. Ancestral Theater usually sing opera, with annual winter solstice festival, held within the clan was in, promoted and family in gentry Keiju, must employ troupe performed in the playhouse. In addition, the ancestral overhaul completed, also will be invited to express congratulations singing classes. "Du Fu drama" Description: "Hui Lai lost class day, began Pai." Anqing of Anhui classes that have appeared glorious history, a lot of Peking Opera Troupe are senior people in this band, so there is "no stone not a class itself."
Fighting arts troupe
According to historical records, "The Legendary play, Gojong (Qianlong) southern tour for the height, but never out of Salt Salt in particular." In other words, official bureaucratic official responsible for acting by the Salt Salt, Salt Salt to Keeper flowers, elegant drama of two to prepare southern tour performances. Ya, namely, Kunshan cavity, for the Beijing accent flower, Shaanxi opera, Yiyang Tune, Bangzi opera, Rolls-Royce cavity, Erhuang transfer, referred to puppet theater. Undertake specific tasks of the troupe performed mostly funded by the Anhui merchants formed, called within the class. The original troupe for the Salt Xu Shangzhi (Shanxi) Xu Jinglei established investment classes, after the merchants Huangyuan De (merchants), Zhang Daan, Wang Qiyuan (Hui), Cheng Qian Germany, Hong enrichment (merchants), Garden (Hui business), also have group classes. Jiang Chun-Hui Chun Tai classes formed her own company, in order to enrich the power, he recruited four Mingdan as eight officials in Suzhou, Yang, Anqing, such as Chun Tai Hao Tianxiu class pillars. Hao Tianxiu performances and lovely and moving, straight audience ecstasy, known as the "pit the dead." Shaanxi opera repertoire Wei Changsheng famed artistes who, to seek refuge in Yangzhou Spring River. Great respect on the Wei Changsheng Jiang Chun, acting one, gifts of silver 1200. The actors to join, a great boost to the Yangzhou to Beijing, Qin and other cavity convergence, absorption, and further promote the development of flowers. Three classes of high-Lang Qing Ting, Chun Tai Hao Tianxiu classes are the "flower together Anqing Beijing, Qin second chamber" famous Jiangnan. Salt Merchants need to perform, but also employ a number of experts in the famous lyrics, providing favorable conditions for long-term support them. Dahong classes in spring and Taiwan class is "assembling a crowd to the United States and large equipment." A "Peach Blossom Fan," Bank charges 160 000, a "Palace of Eternal Youth" cost more than ten million, four silver. This pomp Chuqing CHAMBERLAIN, others difficult to match.
Su opera singing Street
Anhui to Beijing starting classes in Yangzhou, skilled and Actors were, prior to departure must be to sing in the Soviet Union Street, Pear Bureau bumper head start to discuss about the schedule and perform plays, where the placing of a posture, the rejection Under the two sleeves, Yang few more words of Zhuyuanyurun voice. Sometimes even a few out of rehearsal excerpts, or "garden" or "Hess", extremely rich, graceful, when the Soviet Union to sing street, very busy!
Su Sing Street, is the only preserved the old Yangzhou directly related to the street with the troupe. Salt Xu Shangzhi year artists from the Suzhou Kun do to attract the first Kun from Yangzhou class "Xu Jinglei class", on this street. Kun Opera's home in Suzhou, so there Sukun known, this had much to sing Sukun residence street artists, who took it the name of Yangzhou Su-sung Street.
Hui class to Beijing
AD 1790, Emblem classes to sing happy birthday to Beijing opera began to tour. After years of vicissitudes, constantly absorbing, the emblem of class, "Voice for the same five parties together," while gradually losing their color. Emblem of history class is over, but born out of the final emblem classes to become world-renowned Peking Opera art treasures, is the emblem of class, can be described as Nirvana.
Miyoshi classes starting Performances
Anhui to Beijing four classes
Beijing to celebrate the success of the three classes, there was Sixi classes, and spring classes, courses, the emblem of spring classes to enter Taiwan, Beijing, and gradually dominating the theater at the Capitol. This is the so-called "four major classes emblem to Beijing."
Four classes have their own strengths emblem, the "three-axis sub-Ching, Sixi song, spring and the handle, the spring of Taiwan's children," saying axion speech refers to the whole drama was even said that good song Concert Kun, handle refers to the force play to win, the children refer to children Ling known for.
In holding a very hot once the capital of the wind, the high skill extraordinary natural favored Long Pavilion. After arriving in Beijing, he replaced the original three-class troupe I Ching ranks the fourth metacarpal classes, one to do that more than 30 years, and also served as the theatrical community of the Capital Bank will organize the "sake of the temple" and will head to Beijing by Loyalty Temple troupe, play Park practice administration, he became leader of opera. After following the high-Lang Ting, Cheng Changgeng, Xu Hong, Yang F, Liu had time for three classes per term in this post.
Jiaqing to the beginning of classes in the Beijing opera stage, Anhui has achieved a dominant position, according to "Beautiful Dream Suo book" reads: "Zhuang drama will play 'emblem of class'. Opera House and great person, such as' Canton de F', ' Canton and House ',' Sam Kyung Park ',' celebration park ', doubtless to' emblem of class' main. Next to this is' emblem of class''Small''Spain ', with all carry on hybrid fitness. "
Anhui to Beijing four classes performed for 200 years has opened a magnificent prelude to the history of Chinese opera.
Tune in Beijing opera artists in all, the face emblem classes can do everything, nothing is fine art edge, unable to compete, and most of all turn to join themselves to class emblem. Among them are the Capital stage, the opera's famous tune, such as adding classes of Hubei Han Chun Tai rice Xizi famous opera, Li Fenglin, adding Sixi classes Hunan noodle (yellow skin) famous Han Xiaoyu, joined the three classes of Beijing Ji Qing Beijing accent actor Quan-Fu Wang and so on, so he formed the emblem of a variety of meta-class opera Tune trend. As a result, all Hui classes in the process of playing chamber complex, from the "two necessary fuel," "three necessary fuel" to "wind stirred the snow," and gradually focused on yellow leather opera performances.
Formation and Communication
Peking Opera was formerly popular in the early Qing Jiangnan region, to sing the blow cavity, high pick, two yellow emblem consisting mainly of class. Emblem class liquidity, frequent contacts with other forms of opera, in tune with each other can exchange, so also moonlights in the development process a lot of Kun Opera, also absorbed La La cavity and other miscellaneous songs. Fifty-five years of Qing Dynasty (1790), with high Long Pavilion (name on official) led the first emblem of class (c Qing Ban) into Beijing to attend the birthday celebration of Emperor Qianlong 80 performances. "Pleasure boats" contains: "High Long booths into Capital to Anqing flowers, Jing Qin second chamber together, were said, the three celebrate their classes." Published in the Daoguang two years (1842), Yang Mao Jian "Immigrant trivial book "also said:" The three celebrate again Sixi the first, Qianlong 50 years Geng-Xu, Zong Wanshou into the eighties when all wish box, called 'three-Ching-Hui', is the ancestor class emblem. "sub Wu Shu in" with the Garden Poetry "notation is even more specific that the" Fujian and Zhejiang Governor Woonara life Anqing Anhui, Zhejiang merchants kai people wishes PCT. "emblem then there are many classes one after another to Beijing. The famous three Qing, Si-xi, spring _set_s, spring and four classes, although the spring and _set_ up eight years in Jiaqing (1803), no later than three years to celebrate, but later still, and called the "emblem of class into four Beijing. "
Qianlong, Chia Ching, the Beijing Cultural Fair, political stability, economic prosperity, the drama artists beginning to look like. Beijing stage Kun, Beijing accent, Shaanxi opera three pillars, each confrontation. Emblem class to Beijing, the first dedicated to "co-Jing Qin second chamber." At that time Shaanxi Opera, Beijing accent is basically the same stage, "Jing Qin, regardless of" ("Pleasure boats"), emblems of their drawing on others to carry forward the tradition of class, broad absorption Shaanxi opera (including some of Beijing accent) of the repertoire and performance methods, and inherited many The Kun operas (also rehearsing the Kun opera "Peach Blossom Fan") and stage art system, which rapidly increased in the arts.
Emblem art class itself features is its ability to win in the main Zhengheng. In tune, in addition to the singing voice erhuang wins were transferred to the new suits, it is "five-party contact Voice, merged into the same" ("past it to see record"); in the repertory, the subject matter wide variety of forms; In the show, the simple and genuine, and heavy line when complete civil and military, so for the general audience has requested.
Arrangements on the show, according to "Beautiful Dream Suo book" contains the four Emblem class "all good at winning games." 3 celebrate the "axion" win (the past few days took a role in new play), Sixi to "tune" to win (good singing Kun), and spring in order to "handle" to win (good Yanwu play), the spring _set_s in order to "children" to win (with Ling Tong to call). In the arts and business with emphasis on, can play expertise, made rapid progress. To Daoguang late emblem classes have an advantage in Beijing. "Immigrant Suo book", said: "this club for a maximum of Anhui, Wu people of Asia, Shu no known who carry on." Said: "logo will play Zhuang drama classes. Opera House and great person, such as wide Tak House, Canton, and House, Sam Kyung Park, Qing park is fully to the main emblem of class. "emblem of the process of growth and development classes, that is good at it to change the course of opera. The completion of this evolution, the main symbol for the confluence of the Han and Hui Huang blend of leather, formed the Xi Pi, two yellow two tone-based vocal chamber music system board, so deeply honored to performance gradually improved. The first class to Beijing along with the Han Hui stressed that m actors should (also known as rice Xizi), Hubei Chongyang (one that people in Anhui), was born forty-five years Qianlong (1780), about the spring of Taiwan to join Jiaqing Emblem class to Beijing concert, play is health, good at red health show, a very prestigious Long (see "Immigrant Suo Book" and Lee Teng-Qi "Talking often bundle record"). Be regarded as a famous Chinese actor Yu Sansheng pioneer tune (lyrics folk art was a "sub-meter race to be first year" of the sentence). Reign (1821-1849), Han transferred to Beijing to join emblem actor singing classes gradually increased, with the noted Wang Honggui, Lee 6. Su Hoi Temple Buddhist "Yan Taiwan Hong claw _set_" (about as in Daoguang years ago) said: "Imperial is still Chu notes. Musicians in such Wanghong Gui, Li 6 good for the new claim in time." Chu notes that Chinese tone, that is, Xi Pi tone. It is obvious that Beijing has stressed popular Sipi, Wang Honggui, Lee 6 "good for the new sound", but also promoted the transfer of innovation in the development of the Xi Pi. In the emblem, the joint efforts of Chinese actors, and gradually realized the Xi Pi and two yellow two tone blending. Start a different repertoire, according to different sources, were singing the Xi Pi or 2 yellow; later, some play and sing on the Xi Pi and two yellow, and even singing the same aria in the first two yellow, and then by the Xi Pi, and the mutual coordination and seamless . "Luo called off" (the emblem of the source tune "mud river") is an example. Rhyme, the form "Central Plains Yun and Hu tone" of the rhyme, the word sound intermingled Beijing Music, E Music, used along with Beijing, Hubei, two four-tone value, respectively, ts pronunciation, in accordance with the "13 Track" rhyme. Two yellow strings and, several times repeated, and finally in Xianfeng, Tongzhi period (1851-1874) spent flute, used consistently with the Xi Pi huqin (different tune a stringed instrument), but the blowing chamber singing traditional classes according to the previous logo with flute accompaniment.
Tongzhi six years (1867), Peking Opera spread to Shanghai. Man Ting Fang, the new Opera House is about to Beijing from Tianjin classes by the audience. In the same year, Osmanthus tea celebration by Beijing three classes, but also about the large number of well-known Peking Opera actor, which wants to know Xiakui Zhang (Xiayue Run the father), Xiong Jingui (Xiong Wen Tong father), rising star Feng Sanxi (Feng Zi and father) and so on. They _set_tled in Shanghai, a Shanghai as the center of the Southern Pine opera family. Subsequently, the more Beijing angle gradually southward, the best known are Zhou Chunkui, Sun Juxian, Yang F, Sun Chunheng, Yellow Moon Mountain, Chun-Lai, Yong-Chun Liu and clapper Huadan Tin International Cloud (ring Jiuxiao), so as to make Shanghai become the Beijing side by side to another Opera Centre.
In 1919, Mei Lanfang rate troupe went to Japan to perform Peking Opera for the first time spread to overseas; in 1924, he re-rate troupe to perform in Japan, in 1930, Mei has rate 20-member crew to the United States visit and performance achieved great success. In 1934, he was invited to go to Europe to perform in the Soviet Union, the importance attached by the European theater. Since then, around the world as the Peking Opera School of the Chinese drama.
Opera about the formation of about 150 years.
Fifty-five years of Qing Dynasty (1790) The emblem of the renowned South Course "Miyoshi class" into Beijing for the Qing Gaozong (Qianlong Emperor) of the eight late "Wanshou" birthday. Class is speech emblem emblem or logo of opera troupe tune, popular in the South the early years of the Qing Dynasty. Following this, many emblem incoming class, including the most famous three Qing, Si-xi, spring _set_s, and spring, often called "four emblem classes." They perform on their own characteristics, the three celebrate the whole repertoire of drama; Sixi longer Kun plays; Chun Tai Ling and more young children mainly; spring and outstanding repertoire.
Huang Hui tone is two tone, high pick, blow cavity, Siping transfer, etc., sometimes also the Xi Pi transfer, Kun and Yi cavity; the Chinese cast member is transferred to reconcile two yellow tone Sipi. Hui and Han class cooperation, merging the two tone, mix with each other after a period of absorption, coupled with sound technology to Beijing, and from Kun, Yi cavity, Shaanxi opera constantly absorb nutrients, and finally the formation of a new art form - opera. The first generation of Peking Opera players mature and are recognized around around in 1840.
Peking Opera from the production since there have been many names. Include: puppet theater, spring adjustment, Beijing spring, Beijing Erhuang, Pi Huang (yellow skin), Erhuang (2 yellow), drama, Peking Opera, the old opera and Chinese opera, Beijing Opera, Beijing Opera and so on.
【Features】 Arts
Peking Opera stage in the literary arts, performance, music, singing, drums, makeup, facial makeup and so on, through the stage of long-term practice of numerous artists, constitute a _set_ of constraints with each other, complement each other's metrical and standardization programs. As a means to create a stage image of the art is very rich, but usage is very strict. Can not manage these programs, you can not complete the opera stage art creation. Since the beginning of opera in the formation, they entered the court, it is different from the developmental growth of the local operas. Asked it to show wider areas of life, the types of characters to create more comprehensive nature of its skills, integrity also requires more stringent, it creates the image of the aesthetics of the stage were also higher. Of course, it also correspondingly weakened civil local flavor, simple, rugged style features relatively weak. Thus, it tends to be more performing arts performance combining false and true way to maximize the detachment of the stage space and time constraints, to achieve the "Form and, Vivid," the art of life. Performance on the required fine delicate, always into the game; melodious singing to request euphemism, extremely rich; force play to win not to brave hot, but to "force the text to sing opera," see good.
Category】 【line when
Opera trade are no division, otherwise than pursuant to the natural character attributes (gender, age) and social attributes (status, occupation), the more the main character traits according to figures on the characters and creators DC attitudes were different.
Line when divided into long, divided into line when the greatest impact on the opera, when the number of the Leisure and Cultural. Han opera is divided into 10 types of business: one end of the second net, whose son, 4 Dan, 5 b, 6, the seven little, eight, nine husbands, 10 miscellaneous. The role of this ten line when the contents of something like this: at the end is the main male role, that is, inside the Sang opera; the net and the net opera, is the same, referring to the painted face; Dan is the opera, the roles, refers to the female role; sticker is affixed Dan's short opera in the early division of business, where also posted, including Jordan, referring to the relatively minor role once the line, commonly known as the two roles, such as Peking Opera is now "matchmaker" in play Miss Yingying is posted once. Husband, plays the driver, bearers, horses child, the role of a class of runners. Overall, the Leisure and Cultural of the ten business, where division was more detailed, classified for the opera business, where the foundation. Peking Opera was divided into a living, once the net, ugly four types, seems to be more streamlined and concise, but among each category, but also includes a number of categories, so in fact these 10 kinds of line when all included. Not included, and more stringent fine. The only difference is that although there Sang Han Opera, but his main industry was the end, not the students. The development of the opera, Sang became the main line when the.
】 【Character Makeup
Face of Chinese traditional opera, an actor facial make-up of a program. Generally applied to the net, the two ugly Profession, in which various characters have their own specific spectrum of great style and color to highlight the character's personality characteristics, with "Apartments no judgments, do good and evil," the art features that allow viewers to visual appearance , to comprehend the mind. Thus, Facebook known as the role of "spiritual picture."
Facebook's evolution and development, not an individual product concocted out of thin air, but the art of opera artists to practice in the long run, observations of the phenomenon of life, experience, comprehensive, and continuous analysis of the play the role of judge, to evaluate, before gradually formed a complete _set_ of artistic practices.
According to historical records, Facebook by the Tang Dynasty Music and Dance Omo (traditional opera character line when is one of the opera and the play in some parts of the net's other name) is wearing a mask and join the army to show the net of the coated vice Ancient Period.
Peking Opera and Peking Opera performing arts, as is, and actors appear on stage with live art. Opera in the history of Chinese opera, though only 200 years of history, but compared with other opera, it has developed quickly, spread widely, deeply loved by the people, have a broad mass base. Therefore, the Peking Opera facial makeup in Chinese opera has a special status.
Peking Opera is an impressionistic and exaggerated art, often bat, Yan-wing, Diechi facial features such as cheek hook pattern, combined with exaggerated nasal fossa, fossa mouth to describe the facial expression. Facebook is always cheerful optimistic eye development Shu-mei, sad or violent facial Eyebrow mostly songs in destination. Outlined when the "crow's feet" to reflect the age, the level of right and wrong, use the "nasolabial folds" up and down to open and close to the performance of temperament, with "Yintang pattern" a symbol of Characters in different patterns. Peking Opera
Peking Opera is the national characteristics of a particular cosmetic. As each historical figure or a certain type of person has an approximate spectral type, like sing, play music to the music, so called "Facebook." Sources on Facebook, the general view is from mask.
Peking Opera, is based on some kind of personality, temperament or a particular type of figures for the use of certain colors. Red mask that Warriors of strong, such as Guan Yu and his concubine dimensional, regular book; black mask that Unyielding, integrity, bravery or recklessness, such as Bao Zheng, Zhang Fei, Li Kui, etc.; yellow mask that vicious brutality, such as Yu Chengdu, Dian Wei. Blue or green mask that some of the figures represented irritable, such as Dou, Ma Wu; white mask generally indicated a traitor, villain, such as Cao Cao, Zhao higher.
Peking Opera of color painting methods, basically divided into three categories: rubbing face, face towel, different faces. Facebook first, it only exaggerated the characters facial features and facial parts of the texture, the performance of characters in the play with exaggerated personality, psychological and physiological characteristics, in order to service the entire drama of the plot, but the development of later , Facebook from simple to complex, from coarse to fine, exterior to interior, from shallow to deep, itself becoming a nation of characteristics, people's facial expression means for the pictorial arts.
】 【Pronunciation skills
(1) real voice 亦名 big voice, the voice. Peking Opera is one of articulation. Singing, the air out from the pubic region, through the throat resonance, given the direct sound to, as real voice. With the real voice sounds that really sound. Such as the pubic region air through the throat, the actor will narrow throat, so that issue higher than the real voice tones, is called the false voice. False true voice and throat cavity when the convergence of the natural line, without a trace, you can make a wide range of high bass run smoothly. Peking Opera Sang (wants to know Takefu, Hong-sheng), net line, scandal, Lao Dan and other business, where all the time in concert with the real voice. Niche singing voice with a fake, but the idea of white is combined with true and false voice.
(2) at the throat 亦名 small voice, two throat. Peking Opera is one of articulation. Department and true voice, great voice, the voice relative. Fake voice with fal_set_to voice said. Sound when compared with the true voice pore throat narrow, site elevation, air becomes thin. Fake voice sounds higher pitch Jiaozhen voice. Female roles in Peking Opera, niche concert are using fake voice, but they sound different from the flex strength.
(3) Left voice, opera vocal terms. Mainly refers to male voice in an abnormal voice, can be high but not low, another voice has just the flat, round enough, wants to know some special high-sounding doors or Takefu that this throat singing. Voice has just left the older students, throat, also left by the throat, somewhat. In addition, the left voice sometimes used as another explanation, saying that substandard voice with accompaniment of musical instruments, the general so-called dissonant.
(5) calling voice, opera voice actor training methods, you can exercise all by voice shouting voice parts, correctly in all finals of the sound issue. Shouting voice in early morning, in open areas, loudly shouted, "Well," "Iraq", "ah" sound such as unit, from low to high, from high to low, repeated. Put the sound to be comfortable, then to aria to practice.
(6) Dan Tian tone, also known as ring hall, opera vocal terms. When the actor singing the lungs to store enough gas, abdominal strength in air like from the pubic region (about three inches under the navel person office that the pubic region) the issue of sound. Now the traditional method of singing opera voice training, but also that most navel ring tone together (that sounds sent far away, hear clearly).
(7) on cloud cover, opera vocal terms. This is the round while the older students, more subtle voice of a metaphor. This voice began to sound like feel dry, after more singing Yujue loud sounds, people feel full-bodied flavor, great potential is the formation of long-term exercise and a beautiful sound. Tan Xinpei, Yushu Yan's voice will be of this type.
(8) collapse, the opera vocal terms. Actors in old age, due to physical relationship, occurred aphonia phenomenon, can not sing, called the collapse of. Some actors love his voice, to the old vowel remains unchanged. Singing with a fake voice actor, collapsed in the more old.
(9) behind sound, a Peking Opera sound. Also known as back sound work. General pronunciation, gas from the navel out through the throat resonance, direct send to. Although the same sound from the back of the head gas pubic region, but the pronunciation, the throat a little compression, open the posterior pharyngeal wall, raise the soft palate, the sound into the head cavity, and nasal meet so convoluted in the back of the head voice, through the first cavity resonance , send a subtle, rich tone. Behind sound the vigorous and powerful can be up to much news, but they knew it almost hear the piercing. The older students, and the net angular singing in any case in closed sound (such as "17 Track") treble, and more with this singing. Female Roles in the singing voice behind those with fewer processes (Yan Qiu) Vocal sometimes used.
(10) ridiculous, but also for yellow chamber yellow tone or cool tone. Opera vocal terms. Cantata tone that actors are not allowed to, customary to refer exclusively to the tone changes slightly lower than the sound. Most are due to physiological condition caused by congenital actors, such as vocal variation, ears, etc. are not allowed to sound. Sometimes not be as sound law practice due.
(11) to take notes, opera vocal terms. Cantata pitched slightly higher than the requirement that an actor the tone. Most are caused by a congenital physical condition. Some are due to physical conditions (such as vocal cords) temporary failure; sometimes not as sound practice law due.
(12) take the board, opera vocal terms. Means Cantata actor beat irregularities. Peking Opera has a Plate 3, stiff, water board in a variety of board slot, line cavities, such as departure from the beats when the provisions of the measured loss of rhythm, that is that the go board.
(13) to be dissonant, opera vocal terms. Means Cantata actor or high or low tone, inconsistent with the provisions of the tune. Xi said that out of tune.
(14) air intake, Peking Opera singing one of the methods. When the suction means Cantata method actor. Varying lengths of various singing opera, rhythm and speed are different, the actors have to have accurate methods of breathing to sing calm, beautiful sounding. Including the ventilation air intake, two stolen gas. Intermittent ventilation means in inspiratory singing, stealing gas is off, if continued in the phrase, if not to make the listener aware of the breath.
(15) ventilation, the Peking Opera singing one of the methods. Whenever long-time concert chamber, or overstating Department, we must first inhale, well prepared. Ventilation was not stopped or significantly Pause Afterwards cavity sing songs, but the moment the line cavity throughput pronunciation, we took the opportunity breathing, has to be for gas. Where singing in the ventilation, vary, commonly known as air intakes.
(16) to steal gas, Peking Opera singing one of the methods. Means for air fused together organically, in the audience when the substitution is not aware of. Such as "Zhuofang Cao," sung in Chen Gong "Ma line to line both sides I can not return within the horse," over and over before the sixth and the "inside" word length cavity, using "I" word in this lining inward to "steal" suction breath to sing adequate following "difficult to return to Malaysia," the chamber, that is, that of stealing gas.
(17) Ga tune, singing in the opera, all sung with outstanding overstating the sound of a word, the study said the Ga transfer. Such as "Shiro Tan Mu" in the YANG Yan-hui sing "stand palace called the Little Fan" one of the "barbarians" and the words "Mount Dingjun" in Huang sing "Three carved credit sweep tomorrow noon," one of "Heaven," the word , are called Ga tune.
(18) long anything, but the length (tone palm) is the growth of anything about this incident is the voice of the called, here refers to the volume. Long anything about this incident as if to increase the volume.
(19) to drop ram, ram like analogy cast album of the drum when the foundation efforts Weili, with derogatory implications. Control methods are not good at singing actor with gas too far, or to brute force, singing (mostly in the tail) appears awkward accent, that the drop ram.
【Accompaniment instrument】
Peking Opera percussion and orchestral strings and points. Among them, the music is the soul of Peking Opera in the accompaniment of musical instruments. Peking Opera "singing", "read", "do" and "fighting" in full accordance with the provisions of the rhythm, "singing" to rhythmic, "read" to self-assured, "do" is the dance, and dance to demonstrate clear rhythm, who control, reflecting the rhythm? That is percussion. Percussion instruments are plate percussion section, a large gong, cymbals, cymbals, etc., referred to as "special effects"; orchestra has jinghu, Beijing Erhu, Yueqin, sanxian, known as "text field." In the opera stage, all the action figures, including the most secret thoughts activities are dance-oriented posture through movement, music and singing of the concept of white, and carried out the music accompaniment, composed by a variety of percussion sound the "percussive" plays an important role. Some people say that if the "singing", "read", "do" and "fighting" is a drama of flesh and blood, then the "percussive" is that it's bone, burst of drums, both playing majestic momentum, but also heighten the actors performance, and this _set_ off on the performances is very detailed, and even careful to point shot drum rotating cast eyes, opening and closing of eyelids, fingers trembling. Performers are often guided the emotional and expressive needs of drums, gongs and drums (rhythm, sound) and other stimuli, in turn induced by the actors performing passion.
】 【Stage props
Puzzle at the end
Puzzle is not the size of a few simple props and devices referred to, is the opera performance and physical conflicts to resolve the particular product. Not the word puzzle in the Jin and Yuan period there. Puzzle of traditional opera stage, including the end of life equipment (such as candlesticks, lanterns, fans, handkerchiefs, pens, tea, wine), transportation equipment (eg chair, car flags, paddles, whips, etc.). Weapons, also known as swords and guns handle (such as a variety of knives, guns, swords, axes, hammers, whips, clubs, sticks, etc.), and the performance environment, dyed all the atmosphere of objects (such as Putrajaya, large accounts and small accounts, the door flag , banner flag, water flag, wind flags, fire flag, quite a battle equipment, table chairs around Phi) and so on. In addition to popular puzzle at the end, but also can require temporary installation of performance.
The traditional makeup, is consciously different from the life of the natural shape of the object. They are not the kind of imitation, but in the drama of a kind of artistic expression. This is the puzzle and action to end the image is an important reason for the combination.
Banner on the stage to use a lot, such as the handsome Jack square, rectangular armed prayer flag, banner flag (the ancient banner of the army), are said Marshal and headquarters location. There are water flag, fire flag, wind flags, car flags, etc., these flags are painted in white on green water stripe square flag, flame, wind, wheels and so on. Actor execution flag, a slight quiver, it can be expressed undulating, fire, wind, ride.
Opera stage is not to evade the "false disclosure," nor does it require 11 realism. Swagger to on behalf of the horse, Yao Jiang in lieu of shipping. In the arena there is a broad space for performers, it shall make every effort to place detailed descriptions of unnecessary scenes, a rounders to have passed, this virtual method and style of Chinese opera performances are consistent.
】 【Glossary
(1), a musical, opera music terminology. Opera scores on the lyrics refers to the right side of the scale note symbol. China's traditional folk music, with "joint, four, on foot, workers, who, six" the words as the scale of the symbol, the equivalent of Western music, "56712345." Habits of these symbols collectively referred to as "a musical." Some music scores, lyrics next to the only note beats (segment), not a musical note. The scores are a musical called a musical score.
(2) traditional Chinese music, Chinese music terminology. Cantata tradition, the often Guban by the beat, where the strong beat are hit board, so called for the board of the film. Times strong and weak beat Zeyi drum beat playing, or finger sign making, are called the eyes, small eyes (four beats in the middle of a weak beat, said the beginning of the first eye or eyes, a weak beat, said after the end of eyes). Together, the orderliness.
(3) window-, Opera musical terms. Means singing words and singing between sentences, aria and aria interlude between the music. Sing the words and sing the words commonly used in small window-between the children, aria and aria great interlude between the commonly used. However, different plate, there are many exceptions, there is no fixed pattern.
(4) linked to children, opera music terminology. Linked to children is "too child" homophonic, specifically refers to arias and aria large window-between, most people refer to CLS's room playing music. Sentence and sing in singing the little interlude between sentences are not linked to child said.
(5) pad head, opera music terminology. Meeting with the music refers to music from the bridge between the role of Health and melody known as the pad or small mat head first, 亦名 bridge. Mat the first melody short, generally only two or three shot, played the role of back to back.
(6) line of rotary, opera music terminology. Refers to performers action or dialogue, monologue _set_ off when the music. Rotary multi-line melody for the melody or simple repetitive playing, the main role of the atmosphere from the contrast.
(7) pitch, that pitch when singing actor. Any use of stringed accompaniment, are based on the height of the free voice actors _set_ the tone. Opera pitch, generally being modest house notes, to sing the highest notes B word, any word the lowest tone, commonly known as lying on the tone. The same play, the two main actors of different pitch, sometimes to accommodate each other, sometimes temporary long (increase) pitch or off (lower) pitch.
(8) transfer surface, the actors sing the pitch with the accompaniment of musical instruments (erhu, dizi, etc.) the same pitch, called the transfer surface. Means in accordance with the "tone" of the surface of singing. Transfer surface in terms of the bottom line for the transfer. Under normal circumstances, the actors are singing tone surface.
(9) emphasized the end, the actors sing the pitch than the accompaniment of musical instruments (erhu, dizi, etc.) sound level octave, called the transfer end. Means in accordance with the tone of voice singing the bottom. Transfer surface for transfer in terms of bottom line. Opera's some singing, such as dolls tone tone often turned high, if the tone _set_ high, the actors voice less, if the tone _set_ low, musical instruments, the volume has been small, is the use of transfer end singing, the instrument _set_ an octave higher actor low octave sound to singing.
(10) tune a stringed instrument, means the strings (erhu, ruan, etc.) will "tone" of the high and low. Generally to the flute as a standard tune a stringed instrument.
(11) B tones of Chinese characters, Beijing Opera musical terms. Notation used in one tone. Tune a stringed instrument, the flute unskilled laborer to adjust the "B" sound (to open the fifth hole, blowing soprano), _set_ the erhu "work" sound (Sipi transfer Waixian of open strings). B the tone for the opera of the highest pitch.
(12) work is being transferred, but also for being house tune. Peking opera _set_ according to the pitch of the erhu flute tone, Xi Pi Wai Xian Gong tune with the flute work is sound palace with a high tone as positive. Than the increase in the palace is a time of said transfer B words, more than half a degree of that half-tone work, lower than was once the palace said the sixth tone, said the low degree of six and a half semi-tone, low degrees of the known lie the tone.
(13) work one half-tone opera tune. Slightly higher than the house is transferred, slightly lower than the B word transfer. Cf flute tune a stringed instrument when it is _set_ a positive tone and a little house increased.
(14) soft-workers stressed that the tone of one of the Peking Opera. Slightly lower than the house is transferred, but slightly higher than the sixth tune. Tune a stringed instrument is flute cf palace when it is _set_ slightly lower tone while.
(15) The sixth tone, the tone of one of the Peking Opera. Tune a stringed instrument, the flute unskilled laborer to adjust the "six" sound (tin fully closed, blowing treble), _set_ the erhu "work" sound (Sipi transfer Waixian of open strings). Sixth notes of Peking Opera are working below the tone, the level of moderate tone.
(16) lie on the tone, the tone will be Pa. The tone of one of the Peking Opera. Where less than the sixth transfer more than once referred to lie on the tone.
(17) take the side, "take sides" of the source of one that comes from Shanxi Operatic "white tiger whip away side" of the dance figure; a say because of where to go side characters because was afraid to see and more to the wall, along the roadside potential physical Night, Guer referred to as "walking side." In general, "Wuhu Village" Huang Tianba take the hardest edge. "Night Flight" and take the side of Lin's most tired, "centipede Ridge" of the Wu Kung Fu eat away the best side.
(18) times a horse opera in as much as to whip to replace the horse, or as a symbol of riding, so any hand waving whip use rounders after playing, stand up, lay the fish, cut body, throw fork, dig Ling, appearance and other skills Continuous made a horse, galloping horse stops or a combination of dance movements of the times is the horse opera.
Master】 【famous
Peking Opera has been formed, emerged a large number of excellent actors, their opera singing, acting, and modeling plays and characters such as innovation, contribute to the development, forming a large number of affected schools. If the older students: Cheng Changgeng, Yu Sansheng, Zhang Erkui, Tan Xinpei, Wang Guifen, Sun Juxian, Wang Xiao-ning, LIU Hong-Sheng, Wang Hongshou, Yushu Yan, Gao Qing Kui, Yan Ju Peng, Zhou Xinfang, Ma Lailiang, Yang Baosen, Tan Fuying, Li Shao-chun, etc.; niche: Xu Hong, Cheng Ji-xian, Jiang myohyang, Ye Shenglan etc.; Takefu Yu Ju-sheng, HUANG Yue Shan, Chun-Lai, Yang Xiaolou, Gai Jiaotian, Shang and Yu, Li Huiliang, etc.; female roles: Meiqiao Ling, Yu Ziyun, Tiangui Feng, Norman Chan, Wang Yaoqing, Mei Lanfang, Cheng Yanqiu, Xun Huisheng, yet Xiaoyun, Ouyang Yuqian, Feng Zi and, Xiao Cui-hua, Zhang Junqiu, ZHANG Huo D, etc., Lao Dan Gong Yunfu, lying clouds lay, Lee Da-kui, Jin-Quan Li, etc.; net angle: Mu Fengshan, Huangrun Fu, He Shan, Qiu Gui-xian, Jin Shao Shan, Qiu Shengrong, etc. ; clown: Liu go to three, Yang Mingyu, Wang Changlin, Xiao Changhua so. In addition, the famous zither player: Sunyou Chen, Mei Lantian, Xu Lan Yuan, WANG Shaoqing, Yang Baozhong, etc.; famous son and Hang drum teacher, Baideng Yun, Wang Xieyuan so.
Peking Opera school:
NGA wants to know the net angle Takefu female roles Laodan clown Musician drum teacher
【Features】 Peking Opera
Characteristic
Chinese opera and Greek tragedy and comedy, drama and Indian Sanskrit drama called the world's three ancient cultures.
Historically the term was first used Opera Sung Liu Xun (1240-1319), his "poet Wu Yong Zhang Biography" that "Yongjia opera," he said, "Yongjia Opera" is what later generations, "Southern Opera" "Opera Man," "Yongjia Drama." From the beginning of modern Wang Guowei, only then "Opera" is used as a generic term for traditional Chinese theater culture.
Opera is a comprehensive art, is the time integrated art and space art, this comprehensive theater culture is shared by countries in the world, and comprehensive Chinese opera particularly strong.
Shi Yi Chinese opera singing, concept, doing, playing De variety show centered on dramatic form, it means a wealth of artistic expression, it is closely integrated with the performing arts comprehensive, so full of special the charm of Chinese opera. It is the lyrics, music, fine arts, performing cast for the United States, with the rhythm of the exercise was in a drama, to achieve unity and harmony, and fully mobilize a variety of artistic means of appeal, the formation of China's unique rhythmic performance Art.
Chinese opera features the most important point is virtual sex. Performing Arts is not a simple imitation of life, but to choose life prototype, refine, exaggerated and embellished the audience directly into the art.
Another artistic feature Chinese opera, is the nature of its programs, such as closed, launched, boat, etc., have a fixed program. Both in the drama program there regulatory flexibility, Opera art is properly called a rule of freedom of movement.
Comprehensive, virtual, program, and is the main artistic characteristics of Chinese opera. These characteristics, the efforts of Chinese traditional culture, the essence of aesthetic ideas, constitute a unique theater concept, the Chinese opera in the opera world culture shines on the big stage of its unique artistic brilliance.
Chinese opera originated in the original song and dance, is a long history of comprehensive performing arts style. It consists of literature, music, dance, art, martial arts, acrobatics and performing arts integrated made about more than 360 species. It features the many art forms coming together in a standard, in common with the nature of personality reflected in their respective. The famous opera types are: Peking Opera, Kun Opera, Shaoxing Opera, Opera, opera, Sichuan opera, Shaanxi Opera, Pingju, Shanxi Operatic, Han Opera, Hebei Clapper, Xiang Ju, Opera, Hunan Flower Drum Opera and so on.
Kun: also known as "Kun", "Kun" is an ancient operas. It originated in Kunshan, Jiangsu, became popular after the mid-Ming. Elegant style of Kun Opera soften, delicate express Sui, singing and dancing performances, is the representative of Chinese classical opera. In 2001, the Kun Opera by UNESCO as a "Class of Oral and Intangible Cultural Heritage." Masterpiece "Fifteen Strings of Coppers" "Hongxia", etc..
|