T R AV E L

目C O N T錄E N T S L u o Y a n g 河圖洛書傳說 河洛大鼓 燈彩 唐三彩燒制技藝 真不同洛陽(yáng)水席制作技藝 洛陽(yáng)海神樂

The legend of Hetu

Luoshu is a folk legend

system about hechu

tu,'Luoshu" and other

related stories born in

Luoyang, Henan Province,

mainly including the

legend of Longma Futu

temple, turtle offering

Luoshu and other

contents

河

洛

圖

書

傳

說

洛 陽(yáng) 非 遺

河圖洛書這個(gè)傳說是誕生于河南省

洛陽(yáng)地區(qū)的“河出圖’”洛出書“等相

關(guān)故事的民間傳說體系，主要包括

龍馬負(fù)圖寺，神龜獻(xiàn)洛書體系。

The legend of Hetu Luoshu is a folk legend

system about Hechu tu,'Luochushu" and

other related stories born in Luoyang, Henan Province, mainly including the

legend of Longma Futu temple, turtle

offering Luoshu and other contents

據(jù)介紹，河圖洛書傳說在河洛地區(qū)流傳久遠(yuǎn)，在先秦文學(xué)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。”而西漢的孔安國(guó)、劉歆等也對(duì)“河圖洛書”進(jìn)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。

According to reports, the legend of Hetu Luo book has been

handed down for a long time in Heluo area, and there are

many records in pre-Qin literature. For example,<Zhou Yi·Xi

CI Shang> says: A longhorse jumped out in the Yellow River, carrying on its back the 'he Tu', (Fuxi accepted it, from which

eight Gua was founded); The turtles resurfaced in the loo

water, carrying on their backs the " Luo Shu ", (according to

which daeu founded the " Hongfan nine domain "), and the

San acted to effect them. However, Kong an Guo and Liu Xin

in the West Han also explained the hetoulo book. Zhu

Xi's<Zhouyi ben yi> in the Southern Song Dynasty attached

the pattern of "hetuoluo book" for the first time.

洛陽(yáng) 來(lái)自遠(yuǎn)古的傳說，在現(xiàn)實(shí)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(yáng) 市的孟津縣會(huì)盟鎮(zhèn)，黃河與其支流圖河在此交匯，相傳也就是“龍馬負(fù)圖”的地方，建有龍馬負(fù)圖寺；洛 寧縣洛河與其支流玄滬河交匯當(dāng)中，相傳也就是“神龜負(fù)書”之處，距此不遠(yuǎn)的西長(zhǎng)水村，就存有“洛出 書處碑”。 Legends from ancient times, in real life is also a trace to find. The legendary "River" is also the Yellow River," Luo "is the Luo River, in Luoyang City, Mengjin County Huimeng town, the Yellow River and its tributary tuhe intersection here, legend has it that is the" dragon horse negative map "place, built the Dragon horse negative map temple.

河 洛 大 鼓

河洛大鼓，起源于清末民初，是在洛陽(yáng)琴書的基

礎(chǔ)上發(fā)展起來(lái)的。洛陽(yáng)琴書舊稱“琴音”

，早期

的伴唱樂器是我國(guó)傳統(tǒng)的七弦古琴。

Heluo Drum, originated in the late Qing

Dynasty and the early Republic of China,

was developed on the basis of Luoyang Qin

Shu. Luoyang Qin Shu used to be called Qin

Yin, and the early accompaniment

instrument was the traditional Chinese

seven-string guqin.

河洛大鼓的傳統(tǒng)曲目多取材歷史故事，長(zhǎng)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(zhǎng)沙》、《截江》、《打關(guān)西》等。反映現(xiàn)實(shí)生活的曲

目有《焦裕祿風(fēng)雪探茅屋》、《巧擺地雷陣》。

The traditional repertoire of Heluo Drum is mostly

based on historical stories, the long repertoire includes<

the tale of two whips>, <warm cool cup> and so on; the

second part includes< double lock cabinet>, <Phoenix

and Phoenix match>, etc; the short aria includes <Taking

Changsha>, <Intercepting the river>, <Hitting Guanxi>,

etc. The songs reflecting real life include< Jiao Yulu

exploring the hut in the wind> ， <snow and skillfully

placing the mine array.>

C

H

N I E

S

E

C

U

L

T

U

R

E

河 南 省 洛 陽(yáng) 市 是 中 國(guó) 著 名 的 古 都 ，

流 傳 在 這 里 的 花 燈 藝 術(shù) 最 早 起 源 于

宮 廷 ， 后 來(lái) 逐 漸 散 布 到 民 間 ， 形 成

雍 容 典 雅 的 宮 燈 藝 術(shù) 。

L u o y a n g i n H e n a n P r o v i n c e

i s a f a m o u s a n c i e n t c a p i t a l

o f C h i n a . T h e l a n t e r n a r t

s p r e a d h e r e o r i g i n a t e d

f r o m t h e p a l a c e a t f i r s t , a n d t h e n g r a d u a l l y s p r e a d

t o t h e p e o p l e , f o r m i n g a

g r a c e f u l a n d e l e g a n t

p a l a c e l a n t e r n a r t .

燈 彩

作 為 老 樣 宮 燈 的 圓 形 紗 燈 是 洛 陽(yáng) 宮 燈 的 主 打 產(chǎn) 品 ， 它 以 洛

寧 縣 出 產(chǎn) 的 青 竹 制 成 篾 骨 ， 外 糊 紗 絹 ， 上 面 以 文 字 或 圖 案

進(jìn) 行 裝 飾 。

A s a n o l d s t y l e p a l a c e l a n t e r n , t h e

c i r c u l a r g a u z e l a n t e r n i s t h e m a i n

p r o d u c t o f L u o y a n g P a l a c e L a n t e r n . I t i s

m a d e o f b a m b o o f r o m L u o n i n g C o u n t y , p a s t e d w i t h s i l k , a n d d e c o r a t e d w i t h

c h a r a c t e r s o r p a t t e r n s . 這種燈的形制能長(zhǎng)久保持原貌不走樣，骨架可開可

合，宜于收藏。制作洛陽(yáng)宮燈一般需經(jīng)過七十多道

工序，工藝十分講究。

The kind of the lantern can keep its original shape for a

long time, and its frame can be opened and closed

easily for collection.Luoyang Palace Lantern production

generally takes more than 70 exquisite processes.

唐

三

彩

唐三彩是一種風(fēng)格獨(dú)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(yáng)出土，故又稱“洛陽(yáng)唐三彩”。

Tang Sancai is a kind of pottery with unique style, which was

popular in the Tang Dynasty and has a history of more than

1300 years. The so-called "Tri- color" refers to the decoration

of yellow, green, and white glaze on the body to express the

meaning of colorfulness. Because numerous treasures of

cultural relics unearthed in Luoyang, it is also known as

"Luoyang Tang Tri-colored Galzed Pottery.''

Tang Sancai raw material to the local production of white kaolin-based. A

secondary sintering method is adopted in the firing process.After forming and

drying ,the sculpture blank is put into a kiln for biscuit firing at the temperature of

more than 1000℃.Then apply a variety of glaze on the forming ceramic billet,into

the kiln glaze firing ,firing temperature is about 900℃. Tang Sancai glaze is a lowtemperature transparent glaze. In the firing process, the glaze will naturally flow

down and infiltrate each other after melting, resulting in a unique artistic effect.

唐三彩的胎料以當(dāng)?shù)爻霎a(chǎn)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?zé)?；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(huì)自然垂流，相互浸潤(rùn)，產(chǎn)生獨(dú)特的藝術(shù)效果。

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(guó)成立后，高氏家族的高松茂將唐三彩燒制技藝毫無(wú)保留地貢獻(xiàn)出

來(lái)，使唐三彩進(jìn)入新的發(fā)展時(shí)期。洛陽(yáng)唐三彩原先只能簡(jiǎn)單地仿制馬和駱駝造型，

現(xiàn)在其產(chǎn)品類型已經(jīng)大大豐富，人物、動(dòng)物、器皿、鳥獸等都可以用唐三彩燒制。

目前，進(jìn)一步保護(hù)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 Qianlong period of the Qing Dynasty, the Gao

family of MengJin used small kilns to firing tri-glazed

pottery of Tang Dynasty.The skill passed onto women

but to men, and never passed on. After the founding of

the People’s Republic of China, Gao songmao of the

Gao family contributed the firing skills of Tang Sancai

without reservation, making Tang Sancai enter a new

period of development. Luoyang Tang Sancai originally

can only simply imitate horse and camel modeling, now

its product types have been greatly enriched, human

figures, animals, utensils, birds and beasts can be fired

with Tang Sancai. At present, it is still a very urgent

problem to further protect and inherit the traditional

firing technology of Tang Sancai.

國(guó)家級(jí)——真不同洛陽(yáng)水席制作技藝

河南省洛陽(yáng)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(yuǎn)溯至東周時(shí)期，

筵席組合形式則可以上溯到唐代。

Luoyang water mat in Henan Province is an important

representative of Henan cuisine. It is named for its soup

dishes as the main course of the banquet. Early, the

cooking techniques can be traced back to the Eastern

Zhou Dynasty, and the combination of mats can be traced

back to the Tang Dynasty. 洛陽(yáng)水席中的湯羹是早期中國(guó)烹飪的主要品種，系膳食

中的主體。東周時(shí)期，宮廷宴會(huì)以大羹、和羹、（古代

盛羹的器具）羹這“三羹”為重。豫菜及洛陽(yáng)當(dāng)?shù)夭穗?/p>

一直堅(jiān)持這一傳統(tǒng)，重視湯羹類肴品的制作。洛陽(yáng)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 mat is the main variety of early

Chinese cooking, which is the main body of diet. During the

Eastern Zhou Dynasty, the court mat focused on the "three

soups" of tasteless soup, blended soup and soup (the ancient

utensils for holding soup). Henan cuisine and Luoyang local

cuisine have always adhered to this tradition, paying attention

to the production of soup dishes. After eight cold dishes, from

sixteen kinds of Henan cuisine Luoyang water mat selected ten

kinds of delicious soup dishes, including four hot dishes, eight

seasoned dishes and four courses of drop-off dishes, making

them the main part of the hot dishes in the whole table.

洛陽(yáng)水席在品種設(shè)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(yáng)雖有多家飯店經(jīng)營(yíng)水席及相關(guān)菜肴

品種，民間亦能仿效，但掌握洛陽(yáng)水席精髓、能制作出高質(zhì)量水席

的以洛陽(yáng)真不同飯店為代表。

Luoyang water mat has the tradition of substituting meat with

vegetable and distinguishing the fake from real in its variety

setting, which requires sophisticated production techniques to

complete. Although there are many restaurants in Luoyang

operating water mats and related dishes, and the folk can also

imitate, the Luoyang Zhen Butong Restaurant is the

representative that master the essence of Luoyang water mats

and can make high-quality water mats.

洛陽(yáng)海神樂源于周，當(dāng)時(shí)武王伐紂滅殷后在洛陽(yáng)大封天下，并形成了嚴(yán)

格的禮樂制度，當(dāng)時(shí)祭海的音樂就是洛陽(yáng)海神樂的源頭。后來(lái)海神樂作

為宮廷音樂代代相傳，到唐朝時(shí)非常興盛。安史之亂后流入洛陽(yáng)民間，

被稱為洛陽(yáng)海神，演奏團(tuán)體稱為海神社。

Luoyang Haishen music originated from Zhou Dynasty, when King Wu

conquered Yin Dynasty and established a strict ritual music system in

Luoyang, at that time, the music of offering sacrifices to the sea was the

source of Luoyang Haishen music. Later, as court music, the Haishen

music was passed down from generation to generation and it was very

prosperous during the Tang Dynasty. After the Anshi Rebellion, it flowed

into Luoyang people and was called Luoyang sea god, and the

performance group was called the sea god society. 省級(jí)——洛陽(yáng)海神樂

洛

陽(yáng)

海

神

洛陽(yáng)海神樂演奏內(nèi)容多為古曲，節(jié)奏平緩、韻味

頗近宮廷音樂，是當(dāng)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(chǎng)、武

場(chǎng)、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 music is a rare "living fossil" of

court banquet music in sui and Tang dynasties,

with its gentle rhythm and lingering charm close

to court music. The performance is large-scale

and solemn. The social class is divided into three

parts: literary field, martial field and ceremonial

battle. The playing instruments are mainly

traditional National ancient instruments,

including Guanzi, Sheng, yungong, flute, guzheng,

erhu, yunban, wooden fish, and Bell. 樂

洛陽(yáng)海神樂表演方式根據(jù)時(shí)間和場(chǎng)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(nèi)和舞臺(tái)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(huì)、觀禮臺(tái)前及行進(jìn)的群眾場(chǎng)合。

Luoyang sea god music performance according to the time and

occasion is divided into gongs and drums, gongs and drums,

percussion music, percussion music, singing music, dance music

and cantata music; The seat music is suitable for indoor and

stage performances, The Walking music is mainly played, and the

percussion music only plays the role of rhythm accompaniment,

so that the seat music is suitable for temple fairs, in front of the

observation platform and the marching mass occasions.

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