?洛陽市導游協(xié)會 Luo Yang Tour Guide Association

河 河 洛 唐洛 洛 圖 洛 陽 陽 陽 洛 大 宮 三 水 海 書 鼓 燈 彩 席 神 樂 Hetu Luoshu Heluo Drum Luoyang Palace Lantern Tangsancai Luoyang Water Banquet Luoyang Haishen Yue

一、國家級——河圖洛書傳說 National Level — The record of Hetu Luoshu 傳承人： 符建林 2010.6 第二批 Inheritors: Fu Jianlin June 2010 The second batch 符少武 2016 第三批 Fu Shaowu 2016 The third batch The legend of Hetu Luoshu is a folklore system born in the Luoyang area of Henan Province about \"Yellow River gave birth to ‘Tu’, \"Luo River yielded the ‘Shu’\" and other related stories, mainly including the legend of the Dragon Horse carried Hetu and the divine tortoise with Luoshu on its back. According to the introduction, the legend of Hetu Luoshu has been passed down for a long time in the He Luo area and has been recorded in the Pre-Qin literature. There is a saying in The Explanation of Yi that \"out of the Yellow River 'Tu' appeared, out of the Luo River, 'Shu ' emerged, then the saint came out to do with it.” And Kong Anguo, Liu Xin and many people of the Western Han Dynasty also explained \"Hetu Luoshu\". The original Meaning of Zhouyi by Zhu Xi in the Southern Song Dynasty was the first to include the pictures of \"Hetu Luoshu\". 河圖洛書這個傳說是誕生于河南省洛陽地區(qū)的關于“河出圖”、“洛出書”等相關故事的民間傳說體系，主要包括龍 馬負圖寺的傳說、神龜獻洛書等內容。據(jù)介紹，河圖洛書傳說在河洛地區(qū)流傳久遠，在先秦文學中也多有記載。比如 《周易·系辭上》中就說：“河出圖，洛出書，圣人則之?！倍鳚h的孔安國、劉歆等也對“河圖洛書”進行了闡釋。 南宋朱熹的《周易本義》則首次附上了“河圖洛書”的圖案。

國家級——河圖洛書傳說 National Level — The record of Hetu Luoshu The legend from the ancient times is also traceable in real life. The legendary \"River\" is the Yellow River, and \"Luo\" is the Luo River, in Luoyang City, Mengjin County, Huimeng Town, where the Yellow River and its tributaries Tu River intersect, which is also said to be the \"Dragon Horse carried Hetu\" place. In Luoning County, the Luo River and its tributary Xuanhu River meet here, which is also said to be the place where the divine tortoise with Luoshu on its back, and not far from here, in West Changshui Village, there is a \"Luoshu original monument\". 來自遠古的傳說，在現(xiàn)實生活中也是有蹤跡可尋的。傳說中的“河” 也就是黃河，“洛”是洛河，在洛陽市的孟津縣會盟鎮(zhèn)，黃河與其支 流圖河在此交匯，相傳也就是“龍馬負圖”的地方，建有龍馬負圖寺； 洛寧縣洛河與其支流玄滬河交匯當中，相傳也就是“神龜負書”之處， 距此不遠的西長水村，就存有“洛出書處碑”。

二、國家級——河洛大鼓 National Level — Heluo Drum 傳承人:陸四輩、彭愛香、尚繼業(yè)、王太平 2008.6第一批 Inheritors: Lu Sibei, Peng Aixiang, Shang Jiye, Wang Taiping June 2008 The first batch 張懷生 2010.6第二批 Zhang Huaisheng June 2010 The Second batch 河洛大鼓，起源于清末民初，是在洛陽琴書的基礎上發(fā)展起來的。洛陽琴書舊稱“琴音”，早 期的伴唱樂器是我國傳統(tǒng)的七弦古琴?！扒僖簟痹诠倩隆⑸碳澓臀娜酥g傳唱，詞曲典雅，流 入民間后，改稱“琴書”，其琴也改為揚琴。洛陽琴書早期演唱方式多為閉目坐唱，其唱腔委 婉細膩，字少腔多，節(jié)奏緩慢拖沓，其演唱書目也多為才子佳人悲歡離合的中、短篇故事。 Heluo Drum, a folk opera in Luoyang, originated in the late Qing Dynasty and early Republic of China, was developed on the basis of Luoyang qinshu. Luoyang Qinshu used to be called \"Qin Yin\". The early accompaniment instrument was the traditional seven-string guqin. \"Qin Yin\" was circulated among officials, merchants and literati, with elegant lyrics and music. After it was introduced to the people, it was renamed \"Qin Shu\" ,and its accompanying instrument was also changed to Yangqin The early singing style of Luoyang Qinshu was mostly sitting and singing with closed eyes. Its singing was euphemistic and delicate, with limited lyrics ,diversified melodies, and slow rhythm. The singing list was mostly medium and short stories of talented couples.

二、國家級——河洛大鼓 National Level — Heluo Drum 19世紀初，河洛大鼓由洛陽琴書和“單大鼓”結合，并吸收了河南墜子的 一些曲調而形成。其早期被人們稱為“大鼓書”、“鼓碰弦”、“鋼板 書”。20世紀50年代初定名為河洛大鼓。唱腔屬“板腔體”，板式豐富， g Qinshu and \"Single Drum\", and absorb方ing便s演om說e各tu類ne書s 目of。H在en傳an統(tǒng)P節(jié)en目da中nt.，I以n 公its案e書arl、y 武da俠ys,書i和t w袍a帶s c書al等led長\"篇D書agushu\", \"Gupengxian\" and \"Gangbanshu\"and it was n目am為e多d H。el在uo河D洛ru大m 鼓in傳the承e過arl程y 1中95，0s先.It后s a出ria現(xiàn)is過th許e 多\"B知an名qia的ng藝s人tyl。e\"（tune of which with accented or unaccented beat）. With flexible tunes, it is suitable for performing stories of different genres, traditional Inprogrtahmes eoaf rwlyh1ic9hthmcaeinnltyucroyv, eHredleutoecDtivruemstowriaes, fmoarmrtiealdabrtys sctoomriebsiannindgleLgueondysa.ng Qinshu and “Single Drum”, and absorbing some tunes of Henan Pendant. In its early days, It was called\" Dagushu\", \"Gupengxian\" and \"Gangbanshu\" and it was named Heluo Drum in the early 1950s. Its aria is the \"Banqiang style\"( tune of which with accented or unaccented beat). With flexible tunes, it is suitable for performing stories of different genres, traditional programs of which mainly cover detective stories, martial arts stories and legends. In the process of inheriting Heluo Drum, there have been many well-known artists.

二、國家級——河洛大鼓 National Level — Heluo Drum 第二代傳人有“說書狀元”之稱的張?zhí)毂?，在洛陽幾乎家喻戶曉；第三代傳人? 文和，享譽豫西，并曾代表河南參加全國首屆曲代會，一曲《趙云截江》受到國 家領導人的贊賞；第四代傳人段介平，以及原河南省曲藝團團長王小岳等，都曾 獨樹一幟，聞名遐邇。 The second-generation inheritor Zhang Tianbei, a \"master storyteller\", became a household name in Luoyang, the third-generation inheritor Cheng Wenhe, the representative of Henan to take part in the first session of China Ballad Singers Conference, enjoyed a good reputation in western Henan, with his masterpiece Zhao-Yun Rescued The Little Prince On The River praised by the state leaders; the fourth-generation inheritor Duan Jieping, and Wang Xiaoyue, the former head of Henan Folk Art Troupe, developed their own schools, with their fame spread far and near.

二、國家級——河洛大鼓 National Level — Heluo Drum 然而，隨著時代的發(fā)展變化，洛陽曲藝跌入低谷，許多市、縣取消了曲藝團隊，曲藝演員 大多改行或流入民間，自生自滅。近些年來，一些知名老藝人相繼過世，后繼乏人，這一在洛陽地 區(qū)具有代表性的曲藝品種瀕臨消亡，急待搶救和保護。 However, with the development and changes of ages, Luoyang Quyi has fallen into a slump. Many cities and counties have cancelled the Quyi teams, and most of the performers have changed their careers or entered the folk industry. In recent years, some famous old artists have died one after another, and there is lack of successors. This typical folk art variety in Luoyang area is on the brink of extinction, and urgently needs to be saved and protected. 8

二、國家級——河洛大鼓 National Level — Heluo Drum 河洛大鼓的傳統(tǒng)曲目多取材歷史故事，長篇有《雙鞭 記》、《溫涼盞》等；中篇有《雙鎖柜》、《鸞鳳配》 等；短篇唱段有《取長沙》、《截江》、《打關西》等。 反映現(xiàn)實生活的曲目有《焦裕祿風雪探茅屋》、《巧擺 地雷陣》。 The traditional repertoire of Heluo Drum is mainly based on historical stories, such as Heroic Stories In The Sui And Tang Dynasties and Wen Liang Zhan or The Talented Couples. Novella Yue Lei Hides In The Closet Twice, Luan Feng Pei or The Matchmaking and so on. Short songs include Guan-Yu Captures Changsha, Zhao- Yun Rescued The Little Prince On The River, Lu Ta Punching Cheng The Butcher and so on. Songs reflecting real life include Jiao Yulu Visits Poor People On A Snowy Day and A Minefield.

三、國家級——燈彩(洛陽宮燈) National Level — Coloured-lantern making( Luoyang Palace Lantern) 老城區(qū) 2010.4第1批 Old City 王福信 2010.4第1批 Wang Fuxin April 2010 The first batch 朱學愈 Zhu Xueyu April 2010 The first batch 河南省洛陽市是中國著名的 Luoyang city of Henan Province is a famous 古都,流傳在這里的花燈藝術 最早起源于宮廷,后來逐漸散 ancient capital of China. The lantern art spread here was 布到民間，形成雍容典雅的 firstly originated from the royal court, and then gradually 宮燈藝術。宮廷文化和民間 spread to the folk, forming a graceful and elegant palace 文化的交融造就了洛陽宮燈 lantern art. The integration of palace culture and folk 的寬泛性,使其類型和樣式較 culture has created the broad nature of Luoyang Palace 一般花燈更為豐富,除嚴格意 Lantern, making their types and styles more abundant 義上的宮燈外，紗燈和其他 than ordinary lanterns. In addition to the palace lanterns 一些體現(xiàn)不同民俗需要的燈 in a strict sense, gauze lanterns and other lanterns 彩也都被納入洛陽宮燈的體 reflecting the needs of different folk customs have been 系之中。 incorporated into the system of Luoyang Palace Lantern.

三、國家級——燈彩(洛陽宮燈) National Level — Coloured-lantern making( Luoyang Palace Lantern) 作為老樣宮燈的圓形紗燈是洛陽宮燈的主打產品，它以洛寧縣出產的青竹制成篾 骨,外糊紗絹，上面以文字或圖案進行裝飾。這種燈的形制能長久保持原貌不走樣, 骨架可開可合,宜于收 藏。制作洛陽宮燈-般需經過七十 多道工序，工藝十分講究。 過去洛陽制燈藝人眾多,涌現(xiàn)出杜、 李、王等- -批宮燈世家，目前多已衰落，只剩 王家還有傳人。如不及時采取保護措施，洛陽宮燈 這一蘊含著豐富歷史文化內涵 的民間藝術之花將難以避免迅速凋零的命運。 As one representative of the old-style palace lantern, the circular gauze lantern, which is made of bamboo produced in Luoning County, is the main product of Luoyang Palace Lantern. It is pasted with silk and decorated with Chinese characters and patterns. This kind of lantern can keep its original skeleton shape for a long time, and its frame can be opened and closed easily for pollection. The production making of the Luoyang Palace Lantern usually takes more than over 70 exquisite processesIn the past there were many lantern-making families in Luoyang represented by the Dus, Lis and Wangs.However, many of them have declined, except for the Wangs. If effective measures are not taken in time, Luoyang Palace Lantern, a flower of folk art with rich historical and culturai connotations, will inevitably face the fate of rapid decline.

四、國家級——唐三彩燒制技藝 National Level — Tang Tri-Color Glazed Pottery (Tangsancai ) 傳承人：高水旺 2009.5 第三批 Inheritor: Gao Shuiwang April 2005 The third batch 唐三彩是一種風格獨特的陶器，盛行于唐代，至今已有一千三百多年的歷 史。所謂“三彩”，是指在白色素胎上飾以黃、綠、白為主的釉彩，以表 示多彩之意。因大批唐三彩珍品在洛陽出土，故又稱“洛陽唐三彩”。 With a history of more than 1,300 years, Tang Tri-Color Glazed Pottery, a unique style of pottery, was very popular in the Tang Dynasty (618-907). The so-called \"Tri-color\"(three colors) refers to the decoration of yellow, green, and white glaze on the body to express the meaning of colorfulness. Because a large number of treasures of cultural relics unearthed in Luoyang, it is also known as \"Luoyang Tang Tri-colored Glazed Pottery\".

四、國家級——唐三彩燒制技藝 National Level — Tang Tri-Color Glazed Pottery (Tangsancai ) 唐三彩的胎料以當?shù)爻霎a的白色高嶺土為主。燒制上采用二次燒成 法，先讓雕塑坯胎成型干燥，而后入窯，以1000℃以上的溫度素燒； 再施以各種釉料，入窯釉燒，燒成溫度約在900℃左右。唐三彩釉 屬低溫透明釉，在燒制過程中，釉料融化后會自然垂流，相互浸潤， 產生獨特的藝術效果。 Tang Sancai glaze materials is given priority to with local produce white kaolin. Secondary burning method is used on the burning system, first let the pottery tire molding dry, and then into the kiln, fire at 1000℃ with the white pottery as roughcast . Then apply a variety of glazes, into the kiln glaze burning, burning temperature of about 900 ℃.Tri-colored glazed pottery of the Tang Dynasty is a kind of low-temperature colored pottery. During the course of firing, all the enamel colors are mixed with each other to form bright and colorful artistic works.

四、國家級——唐三彩燒制技藝 National Level — Tang Tri-Color Glazed Pottery (Tangsancai ) 自清代乾隆年間開始，孟津高氏家族用小窯燒制唐三彩，傳男不傳女，其技藝傳 沿不絕。新中國成立后，高氏家族的高松茂將唐三彩燒制技藝毫無保留地貢獻出 來，使唐三彩進入新的發(fā)展時期。洛陽唐三彩原先只能簡單地仿制馬和駱駝造型， 現(xiàn)在其產品類型已經大大豐富，人物、動物、器皿、鳥獸等都可以用唐三彩燒制。 目前，進一步保護和傳承唐三彩的傳統(tǒng)燒制技藝仍然是十分迫切的問題。 Since the Qing Dynasty Qianlong years, the Mengjin Gao family burnt Tang Tri-Color Glazed Pottery by small kilns, which only passed on women to continue. After the founding of People's Republic of China, Gao Songmao of the Gao family made an unreserved contribution to the tang tricolor burning technique, which brought Tang tricolor into a new period of development. Luoyang Tang Tri-colored Glazed Potteries have been developed from the original simple imitation of horse and camel to the present thousands of varieties including human figures, animals, utensils, birds and beasts, ect. At present, further protection and inheritance of Tang Sancai fire tradition is still a very urgent problem.

五、國家級——真不同洛陽水席制作技藝 National Level — Luoyang Water Banquet Cooking Technology of Zhenbutong Restaurant 傳承人： Inheritors： 國家級 -- 2009年05月第3批：姚炎立 National Level — May 2009 The third batch Yao Yanli 省 級 -- 2012年12月第3批：裴五江 Provinvial Level— February 2012 The third batch Pei Wujiang 市 級 -- 2012年07月第2批：李玉賓 Munisipal Level — July 2012 The second batch Li Yubin 2016年10月第3批：李柱、姚智 October 2016 The third batch Lizhu, Yaozhi 河南省洛陽水席是豫菜的重要代表，因以湯羹類肴品為筵 席主菜而得名。其菜肴制作工藝最早可以遠溯至東周時期， 筵席組合形式則可以上溯到唐代。 Luoyang Water Banquet is animportant representative of Henan cuisine , which is named after that the main dishes are all soup. Its cooking technology and banquet composition can be traced back to the Eastern Zhou dynasty(770BC-- 256BC) and the Tang Dynasty(618--907) respectively.

五、國家級——真不同洛陽水席制作技藝 National Level — Luoyang Water Banquet Cooking Technology of Zhenbutong Restaurant 洛陽水席中的湯羹是早期中國烹飪的主要品種，是膳食中的主體。東周時期，宮 廷宴會以大羹、和羹、（古代盛羹的器具）羹這“三羹”為重。豫菜及洛陽當?shù)? 菜肴一直堅持這一傳統(tǒng)，重視湯羹類肴品的制作。洛陽水席在八道冷菜之后，從 豫菜的四大件、八中件、四壓桌共十六種菜肴中選擇了十種優(yōu)秀的湯羹菜品，使 之成為整席中熱菜的主要組成部分。 The soup in Luoyang Water Banquet is the main variety of early Chinese cuisine and the TmhaeinsopuparitnoLfutohyeanCghWinaetseer Bdiaentq. uInettihsethEeamstaeirnnvZarhieotuy oDfyenaarlsytyC, hthineesceocuuritsibnaenaqnudetthsewmearien fpoacrtuosfedthe Chinese diet. In the Eastern Zhou Dynasty, the court banquets were focused on the \"Sangeng\" : Dageng, Hoegnetnhge, a\"SnadnGgeenngg\"(t:heDaangceinengt, uHteengseilnsgf,oarnhdolGdiennggth(ethseouapn)c.Hieenntauntecnuissiilsnefoarnhdolludoiynagngthleocal cuisine hasvoeupbe).eHneandahnercinugistionethaisntdralduiotiyoannagndlopcaayl actuteisnitnioenhtaovtehebseoeunp acdoohkeirninggtetcohntholiosgtyra. dAifttioerneaignhdt cpoauyrses ofatctoelndtidoinshteos,tLhueosyoaungp WcoaotekrinBgantequcehtnsoelloegctye.dAtfetnereexcigehllet nctosuoruspesdiosfhecsolfdrodmisshiexste,eLnuodiysahnesgoWf aHteenran cuBiasinnqe,umetakseinlegcttheedmttehne mexacinelcleonmtpsoonuepntsdoisfhtehse fwrohmolestiaxbteleenofdhiosthdeisshoefsH. enan cuisine, making them the main components of the whole table of hot dishes.

五、國家級——真不同洛陽水席制作技藝 National Level — Luoyang Water Banquet Cooking Technology of Zhenbutong Restaurant 洛陽水席在品種設置上，有以素代葷、以假亂真的傳統(tǒng)，這 需要有高深的制作技藝才能完成。洛陽雖有多家飯店經營水 席及相關菜肴品種，民間亦能仿效，但掌握洛陽水席精髓、 能制作出高質量水席的以洛陽真不同飯店為代表。 Luoyang Water Banquet has a tradition of making vegetarian dishes substitute for meat dishes, which requires sophisticated cooking techniques. There are many restaurants operating water banquets and related dishes in Luoyang. The folk can follow suit, but Zhenbutong Restaurant as a representative of restaurants in Luoyang can master the essence of Luoyang Water Banquet and produce high-quality water banquet.

六、省級——洛陽海神樂 Provincial Level — Luoyang Haishen Yue (The Music of Sea God) 傳承人： Inheritors : 省 級 -- 2008年06月第1批：郭紅運 Provincial Level: Guo hongyun June 2008 The first batch 市 級 -- 2016年10月第3批：郭治會 Municipal Level: Guo zhihui October 2016 The third batch 洛陽海神樂源于周，當時武王伐紂滅殷后在洛陽大封天下，并形成了嚴格的 禮樂制度，當時祭海的音樂就是洛陽海神樂的源頭。后來海神樂作為宮廷音 樂代代相傳，到唐朝時非常興盛。安史之亂后流入洛陽民間，被稱為洛陽海 神，演奏團體稱為海神社。 Luoyang Haishen Yue was originated from the Zhou Dynasty. After King Wu defeated King Zhou and ended the Yin Dynasty, a strict system of rites and music in Luoyang was established. Among them, the music of sea sacrifice was the source of later Luoyang Haishen Yue. Luoyang Haishen Yue was passed down from generation to generation as court music and flourished in the Tang Dynasty After the Anshi Rebellion, it became popular among ordinary people, known as Luoyang Haishen and the performing group is called Haishen association.

六、省級——洛陽海神樂 Provincial Level — Luoyang Haishen Yue (The Music of Sea God) 洛陽海神樂演奏內容多為古曲，節(jié)奏平緩、韻味頗近宮廷音樂，是當今罕見的隋唐宮廷 宴樂“活化石”。 演出規(guī)模宏大、莊重，社班分文場、武場、儀仗三部分，演奏樂器以 民族傳統(tǒng)古樂器為主,包括管子、笙、云鑼、笛子、古箏、二胡、云板、木魚、碰鈴等。 Luoyang Haishen Yue are mainly ancient music, with a slow and steady beat close to court music. It is a rare\"living fossil\"of the court music of the Sui and Tang dynasties. The performance is grand and solemn and consists of three parts:Wen Chang, Wu Chang and Yi Zhang. The instruments used in Luoyang Haishen Yue are mostly traditional ancient music instruments, including Guanzi (Pipe),Sheng (Chinese mouth-blown free reed instrument consisting of vertical pipes), Yunluo (a set of 10 small tuned gongs mounted in a wooden frame), Flute, Guzheng (Half-tube Zither or Chinese zither), Erhu(Two-string Fiddle), Yunban, Muyu (Woodblock or Slitdrum), Pengling (round-shaped copper percussion instrument), and etc.

六、省級——洛陽海神樂 Provincial Level — Luoyang Haishen Yue (The Music of Sea God) 洛陽海神樂表演方式根據(jù)時間和場合分為鑼鼓樂、鑼鼓舞、吹打樂、吹 唱樂、伴舞樂以及清唱樂；演奏形式分為座樂和行樂兩種。座樂適合于 室內和舞臺表演，行樂以吹奏為主，打擊樂只起節(jié)拍伴奏作用，適合廟 會、觀禮臺前及行進的群眾場合。 According to the time and occasion, the performance of Luoyang Haishen Yue are divided into gongs and drums, gong and drum dance, wind and percussion, wind singing, dance music and cappella. And the performance manners are divided into seat performance and marching formance. The former is suitable for indoor and stage performances.The latter is suitable for temple fairs, celebration and marching occasions.

若問古今興廢事， 請君只看洛陽城。

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