Foreword
Amidst the melodic harmony of bells and the enduring flame of tradition, upon the grand scroll of millennia-old civilization, the folklore codes of Chang’an pulsate with vibrant rhythms of life.The resounding melodies in the ancient territory of the Qin Dynasty, fortune-hidden fillings in dumplings, flickering shadow puppets, and delicate paper-cut window decorations – these timeless traditions extend the spiritual fabric of the people. Passing through the Zhou, Qin, Han, and Tang Dynasties, they continue to flow through the ancestral heartland of Chinese civilization.
Foreword
Amidst the melodic harmony of bells and the enduring flame of tradition, upon the grand scroll of millennia-old civilization, the folklore codes of Chang’an pulsate with vibrant rhythms of life.The resounding melodies in the ancient territory of the Qin Dynasty, fortune-hidden fillings in dumplings, flickering shadow puppets, and delicate paper-cut window decorations – these timeless traditions extend the spiritual fabric of the people. Passing through the Zhou, Qin, Han, and Tang Dynasties, they continue to flow through the ancestral heartland of Chinese civilization.
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Shaanxi shadow puppetry originated during the Han Dynasty and flourished in the Ming and Qing Dynasties. Known as a “living fossil” of theatrical intangible cultural heritage, it features two major stylistic schools: the Eastern School and the Western School. The shadow puppetry of the Eastern School is characterized by its small, delicate figures, precise and intricate carving, and vibrant colors. The singing styles primarily include Wanwanqiang and Laoqiang. The shadow puppetry of the Western School features larger, bold, and powerful figures with simple decorations. The singing styles mainly include Agongqiang, Qinqiang, and Xianbanqiang. Shaanxi shadow puppetry embodies elements of ancient seal engraving and traditional painting techniques. It draws artistic inspiration from silk paintings, stone reliefs, and portrait bricks in the Han Dynasty, as well as mural art from temples and fine brushwork in the Tang and Song Dynasties. A finely-crafted shadow puppet figure undergoes a meticulous process of leather preparation, carving, and coloring, involving 24 intricate steps before it becomes a vibrant performance prop beneath the screen.
Paper cutting originated during the Han Dynasty, matured in the Tang and Song Dynasties, and flourished in the Ming and Qing Dynasties. It has long been used as a decorative art for folk festivals and celebrations. Zhouzhi paper cutting, a representative style of Xi’an’s paper cutting art, was historically known as “jian cai” (color cutting) and was traditionally crafted by rural women. Its style is simple, bold, refined, and bright. The themes of Zhouzhi paper cutting are diverse, categorized into six main types: mythological figures, historical and theatrical characters, auspicious and harmonious patterns, mythical creatures and birds, and other traditional motifs. Zhouzhi paper cutting encompasses a wide range of techniques, including yin-cutting, yang-cutting, single-fold cutting, double-fold cutting, composite cutting, dyeing, point-coloring, engraving, and carving. The compositions are meticulous and detailed, with rich, deep colors, exuding a strong rustic charm and profound emotional expression.
Dumplings, also known as “Bianshi” or “Jiao’er”, are a traditional Chinese delicacy that originated during the Spring and Autumn Period and flourished in the Tang Dynasty. The Defachang dumpling-making craftsmanship is a representative intangible cultural heritage of Xi’an cuisine. For decades, it has continuously innovated dumpling-making techniques, transforming dumplings from a single type of food into a grand dumpling banquet that integrates flavors from both northern and southern China. The variety has expanded from the original 8 types to an impressive 318 varieties, which are further curated into banquets featuring diverse flavors and themes. Defachang dumplings are renowned for their distinctive characteristics: each dumpling has a unique shape and form; a hundred dumplings offer a hundred different fillings and flavors; and delicate, thin wrappers encase generous, tender, and flavorful fillings. Over the years, dignitaries and celebrities from more than 80 countries have visited to taste these exquisite dumplings, and gave high praise for their craftsmanship and flavor.
Qinqiang Opera is one of China’s most time-honored traditional opera forms. It originated during the Western Zhou Dynasty, developed in the western region of Guanzhong Plain in Shaanxi, matured in the Qin Dynasty, and flourished during the Ming and Qing Dynasties. Qinqiang’s vocal styles are divided into “Huanyin” (joyful tone) and “Kuyin” (sorrowful tone). Huanyin is bright and cheerful, while Kuyin is mournful and full of deep sorrow. The performance style is bold, unrestrained, and highly expressive, often incorporating exaggerated movements and unique stunts such as horse galloping and fire breathing. The primary accompanying instrument is the Banhu, a type of fiddle, complemented by a variety of other musical instruments. The repertoire mainly consists of heroic legends and tragic stories. Qinqiang Opera is popular in Northwest China, with branches such as Eastern School and Xifu School (in the western region of Guanzhong Plain). It carries profound historical and cultural significance and has had a far-reaching influence on many other Chinese opera genres.