If living style is the most important interpretation of a cultural identity, then the most intuitive and understood by the public may be clothing. Clothing is the most accessible and direct element in identifying cultural differences. Tunpu women wear blue and green robes and coats decorated with lace, silk waistbands, embroidered cocked cloth shoes, silver earrings, hair buns, cyan or white headbands, and a Ming Dynasty Jiangnan Han Chinese Women's clothing. Because their attire is different from that of the locals, some scholars have made random accusations that some people say that the "crested seedlings" are Miao mistaken. This statement is obviously an imaginary enemy created by the so-called scholars to promote themselves. I have been to Guizhou and seen the local Miao It should be known that there is a huge difference between the two, so the misunderstanding of saying that is like Buyi can be tolerated. No matter what you say, these clothes inherit the clothes of the people in Jiangnan six hundred years ago. If you want to learn about Ming-style cloth clothing, Tunpu is a well-deserved living museum.
Like their clothing, their different accents are also the reason why outsiders mistakenly believe that Tunpu people are ethnic minorities. 1According to relevant expert research, the accent of Tunpu people originated from the Yingtianfu area in the Ming Dynasty. It is not a minority language. It is naturally written in Chinese characters, and the language indispensable echoes that of the current Nanjing area. I think that experts' research will have recognized methods and procedures. If you don't doubt it for the time being, if you want to study Nanjing, looking for useful materials in Tunpu is probably a shortcut or a good choice.
Architecture, clothing, and accents bear the fashion labels of the Ming Dynasty and Jiangnan that scholars and petty bourgeoisie are keen on. In fact, as mentioned before, these are all gorgeous appearances. In essence, they have broken through the limitations of the Ming Dynasty and Yanyu Jiangnan, and are in line with the Ming Dynasty and Yanyu Jiangnan. One word is related - Han. The cultural essence of Tunpu is in line with the Han culture. Festivals, sacrificial methods, ethnic rules and levels, ancestral halls and temples all have the same origin as those of the Han people, so I will not go into details here one by one.
wants to talk about the famous Nuo opera .
Nuo opera is popularly called " local opera " in the local area. Some people who consider themselves to be literate even create a new name "Junnuo", believing that only Tunpu Nuo opera has a war color, and it is the combination of Tunpu Nuo opera and The difference between Nuo opera in other places. The local language refers to Nuo as local opera, which is understandable. They all refer to the same thing, and the different names are due to different dialects. They are not far-fetched to gain fame and reputation. However, the latter seems to be superfluous and does not understand the historical errors of Nuo opera. Nuo has a much longer history than the Ming Dynasty. It was first recorded in the "Book of Changes" and was used in Zhou Dynasty rituals. It can be inferred that Nuo originated in the Yin and Shang era earlier than the Zhou Dynasty. In some The masks unearthed from the excavation of the site can prove it. Obviously, as a component of Chinese culture, after the definition of Han, Nuo is one of the sources of Han culture and an important part of Han culture. It has a long history with the development and the rise of Tang and Song Dynasties. , the Ming and Qing Dynasties gradually declined. After reading many expert books, they all thought that Nuo opera is only spread in Jiangxi, Anhui, Hubei, Hunan, Sichuan, and Guizhou. In fact, Gansu and Qinghai are not included. The Nuo opera in the Longwu Valley of Qinghai is particularly exciting, with its unrestrained and unrestrained style. The warm, even bloody atmosphere is indelible in the memory after hearing and witnessing it. If Yellow River culture is the source of Chinese civilization, then it is conceivable that the Yellow River Basin may be the hometown of Nuo. It is wrong to study Nuo but forget the hometown. Nuo opera exorcises demons and prays for good fortune. During a long period of time, it not only worships gods but also entertains oneself and people. The popular saying nowadays is that after a long period of evolution, it has the entertainment component. This is pure fallacy. There is no doubt that the origin of Nuo comes from the people. It came to the government for a certain period of time, and then only existed among the people. Even in the era when it was used as a national sacrificial ceremony, its spread among the people has not stopped. As we all know, the spontaneous sacredness of the masses will not be single. In addition to slaying ghosts and praying for blessings, Nuo opera also has entertainment elements. It may even originate from primitive entertainment games. Nutrients are absorbed from the entertainment soil, and the spiritual demands of entertainment are satisfied in seemingly solemn rituals. The two constitute the whole of Nuo opera. Otherwise, Nuo opera would not have survived to this day. To take an extreme example, in order to amuse Emperor Wu of the Han Dynasty, Dongfang Shuo performed a Nuo play in the court. You can imagine how entertaining early Nuo plays were in the court, let alone the general public. Now let’s talk about the so-called “military Nuo”.If many of the stories in his Nuo operas are related to war, the "military Nuo" can be related to it, but it is still not enough to be self-contained or classified. The opera tools and methods used in it, in addition to some contents and exercises There are no differences in Nuo opera in other places. To use an analogy that may not be completely appropriate, the Han people can be said to be Hunanese and Hubei people. I have not heard of Hunanese and Hubeiese, let alone It is said that there is a branch of the Han ethnic group under the Hunan people. The reason why the Hunan and Hubei people are both Han ethnic groups is not a branch, but a distinction in geographical concepts. Similarly, there is no doubt that Tunpu Nuo opera is Guizhou Nuo. Putting the label of "junnuo" on Tunpu Nuo opera emphasizes that "junnuo" is the biggest feature of Tunpu Nuo opera that distinguishes it from other Nuo operas. This is precisely the biggest confusion about Nuo opera. It can be said that basically all Nuo operas are related to wars, wars to exorcise demons and slay ghosts, wars to defeat natural disasters , wars between armies... everything is composed of the content of Nuo operas, and the stories are different in nature. They are all the same, all related to "resistance". There are records that during the breaks between the Qin army's battles, the sergeants would perform Nuo dramas related to the war, either to pray for victory or for entertainment. Take the Gan Nuo , which is currently the most historically valuable, as an example. Many of the moves performed by them are all related to the war. Take the Nuo opera in the Longwu Valley of Qinghai mentioned above. Their performances are difficult to distinguish between excitement and excitement. Still murderous, celebrating a good harvest or celebrating a victory! The content related to war is the characteristic of Tunpu Nuo opera, but it is not created by it, nor is it different from other Nuo operas. It just inherits some of the characteristics of Nuo opera. A lot of words have been spent on it, which is not to say that Tunpu Nuo opera has no merits, but it is very rare. It preserves and inherits Nuo opera, a living fossil of the study of Han culture.
In an age of change, inheritance is more valuable than innovation.
