Archive for the ‘Ethnic Group’ Category

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Ancient Naxi Music


2010
03.23

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There is a kind of age-old music popular in Lijiang an ancient city in Yunnan Province, southwest China. It is the ancient Naxi music referred to as as “a living fossil of Chinese music”.

The ancient Naxi music originated in the 14th century and evolved from the music of the Central Plains introduced into Lijiang 600 years ago. It merged the sacred music of Taoism, the ceremonial music of Confucianism and the poetic music of the Tang and Song dynasties. The performance techniques absorbed the style of the Naxi ethnic group in Lijiang, so today it is called “ancient Naxi music”. Lijiang, the area inhabited by the Naxi people for centuries, saw the turmoil of war only rarely. During the Yuan Dynasty, local chiefs invited musicians from the inland to live in Lijiang and teach its musicians the ceremonial music for court, which consisted mainly of the sacred music of Taoism. The ancient city of Lijiang on the plateau is surrounded by the Yulong Snow-capped Mountain and the Jinsha River. Due to its peculiar geographical environment and cultural tradition, Lijiang retains the ancient music that has disappeared at its birthplace.

Xuan Ke (President, Ancient Naxi Music Society of Lijiang)

Large places here have developed too quickly. Many original things that were there have changed or no longer exist. This is a remote place and the local people are rather conservative. Here we retain the music of various ethnic groups, especially the music of the Han people and the instrumental music pertaining to Confucianism. In fact, Confucius said, “When court ceremonial music has been lost, it can be sought from the people.”

Where can we find the Han people’s culture when ceremonial music has been lost? It can be found in the border area. So we believe ancient Naxi music is music of the Han people and of the Central Plains. Ancient Naxi music is our neighbour’s music. Only we have preserved it fairly well.

Over the past 600 years, the ancient music, like the age-old pictograph of Lijiang, has been part of the life of the Naxi people. Their musical instruments are very old. This old man is singing while beating the “ten gong chimes”. The instrument here was made over 200 years ago.

The crooked-neck pipa is a musical instrument peculiar to the Naxi people. It has retained its original shape from the Tang Dynasty of over a thousand years ago.

Ancient Chinese tunes were titled with names of songs. Today we can only see literary works featuring these pure tunes. From the ancient Naxi music, we can appreciate actual melodies of the Tang and Song dynasties.

The tuneful melody of the ancient Naxi music has a primitive simplicity. From this we can fully admire the charm of traditional Chinese music.

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Shangri-La


2010
03.20

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Shangri-la, a popular word after World War II and one frequently adopted by stores, hotels and restaurants, signifies a “heaven away from the turmoil of the mundane word”. Actually, “Shangri-la” is a Tibetan word, which means “land of sacredness and peace.”

The word “Shangri-la” first appeared in its westernized form in James Hiltom’s novel The Lost Horizon. This book tells the story of three American pilots who, when flying over the Sino-Indian air route during World War II, crash-land in the midst a beautiful landscape. This place of tranquility and peace is described as having “snow mountains, grasslands, Tibetan people, red soil plateaus, with three rivers flowing traversing the landscape”. After being rescued by the local Tibetan people, the three American pilots finally return home.

Zhongdian Shangri-La tour Yunnan travel trip.

According to the historical record, in 1944 there was indeed an American transport plane which crashed in the town of Zhongdian within Yunnan province while flying over the Sino-Indian air route. After a careful investigation into these events, it was determined that the beauitful “Shangri-la” described in “The Lost Horizon” is, in fact, the city of Zhongdian, located in the Deqen Tibentan Autonomous Prefecture of Yunnan Province.

Even Today, Zhongdian County remains an untainted natural paradise which retains a mysterious and bewitching quality.

Visitors to the Deqen Tibetan Autonomous Prefecture are sure to find themselves in a land where mysterious tranquillity pervades every inch of the ever-changing scenery. Zhongdian Shangri-La

Three snow-capped mountains, Meili, Baimang and Haba, tower magnificently over the landscape. The region is crisscrossed by the Golden Sand, Mekong, and Yangtze Rivers. These snowy peaks form a beautiful backdrop whose beauty is a feast to behold. Mirror-like lakes, scattered across the vast expanse of grassland, look like rich jewels inlaid on a beautiful tapestry.Cattle graze leisurely in the meadows, where exotic flowers and luxuriant grass wave at the request of the gentle breeze.In the depths of the surrounding forests is an exotic world of rare birds and animals.

Mother Nature has endowed Shangri-la with bountiful natural wealth, making the land a happy home for the 100,000 Tibetans, Lisus, Naxis and Yis who call the area their home. As is this pristine natural enviroment, these nationalities are all kind, honest, extremely hospitable to outsiders.The lamasery of “Shangri-la” is Guihua Temple, or Songzanlinbu Lamasery in Tibet. The lamasery, with 800 lamas, resembles Butala Palace of Lasha in its layout. The five-story Tibetan style building is covered with wooden carvings and gold-plated copper tiles. You may have a look at the Gallery of Tibetan Religion and Culture in Deqen.

In 1933, English novelist James Hilton wrote a captivating tale of an idyllic settlement high in a secluded mountainous valley. Entitled Lost Horizon, it describes a world often chanted pavilions perched between the high mountains and the fertile Blue Moon Valley. Today, even those who have never heard of Lost Horizon, the words “Shangri-La” evoke images of utopia. Hilton said his readers would not find Shangri-La on any map but suggested that Shangri-La was located in a long valley with “rounded, sad looking hills on either side” and capped by the “loveliest mountain on Earth”.

It was almost a perfect cone of snow, simple in outline as if a child had drawn it. “Italian-American film director, Frank Capra snapped up the tights to Lost Horizon and cast Ronald Coleman and Jane Wyatt in the 1937 film version. “I’m sure there’s a wish for Shangri-La in everyone’s heart Oh, I just wish the whole world might come to this valley, “crooned Wyatt. The film won the 1937 Academy Award for Columbia Pictures . Ronald Coleman and Jane Wyatt in de 1937 film, Lori orison. photo and above South China Morning Post, 29, 1997 Though neither Hilton or Capra ever stepped foot in the region, many speculate that Hilton’s Loa Horizon was inspired by a series of articles published from 1924 to 1935 by National Geographic magazine – that included accounts of Joseph F. Rock’s expedition of North west Yunnan Province.

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25 Minorities of Yunnan


2010
03.20

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Yunnan is a microcosm of China in the areas of minority affairs and nationality relations. The province has 25 minority groups, nearly half of the country’s total ( 56 ethnic groups ) . With such ethnic diversity it is important to ask the question: what criteria are used to determine minority status and classification? Basically, there are five ways: Race , Language, Culture, Religion, History.

In Yunnan race is not a major consideration, as it is in northwest China where caucasian exist, Language and culture, however, are of primary interest because they are the basis for classfying most minority nationalities. Religion plays a role in groups such as the Hui ( Muslims ) who, to all intents and purposes, are Chinese except for their faith. Historical background can sometimes tip the balance in determining the status of a people. The Bai , who have a high cultural level and speak a language closedly related to Mandarin, are clearly not Chinese on the basis of their long, well-recorded and independent history .

25 Minorities in Yunnan

The Bai Nationality     The Hani Nationality     The Dai Nationality
The Pumi Nationality     The Bulang Nationality     The Lisu Nationality
The Wa Nationality     The Jingpo Nationality     The Lahu Nationality
The Nu Nationality     The Jinuo Nationality     The Naxi Nationality
The Deang Nationality     The Achang Nationality     The Dulong Nationality
The Tibetan Nationality     The Shui Nationality     The Bouyei Nationality
The Miao Nationality     The Mongol Nationality     The Zhuang Nationality
The Hui Nationality     The Yao Nationality     The Yi Nationality
The Manzu Nationality

The Peoples in Yunnan
Mosuo people    Shani people     Aini people

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Silver Ornaments of the Miao Ethnic Group


2010
03.18

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Miao Ethnical Groups Girl

Miao Ethnical Groups Girl

The Miao ethnic group’s silver ornaments are second to none, both in terms of quantity and variety. Miao women’s festive attire includes a variety of silver decorations, weighing as much as 15 kilos! The purpose of wearing all this silver is of course primarily aesthetic, but it also shows affluence and is thought to wards off evil spirits.

While usually worn by women, theMiao ethnic minority’s silverware is made by men. Categorized by functions, there are hats, clothing, necklaces, bracelets, and rings. The level of craftsmanship ranges from relatively basic styles seen in some of the bracelets and neckbands to very delicate skilful work used to make silver bells, flowers, birds, butterflies, needles, bubbles, chains, and earrings.

There are three basic varieties of Miao silverware distinguished by area. The first type is represented by easternGuizhou Provincewhere people wear silver ornaments made with a high degree of craftsmanship. The main works are silver hats and clothes. The hats are made of dozens or even more than a hundred parts, topped by tall horn-like decorations. The second style is from the Songtao andTongrenregions, and features silverware inlaid on kerchiefs, shawls, and clothes. Delicate earrings are also made with a high degree of craftsmanship although there is now less silver decoration than before. The third type, from theregions west of Guiyang, capital of Guizhou Province, features comparatively few varieties of silverware. Only hairpins, combs, and flower decorations are made there. All three areas make earrings, neckbands, and bracelets.

There is a great demand for Miao silverware but all the craftsmen are amateurs who can often only work during the farming off season. Then in some regions unique “silver villages” or large compound silver workshops appear.

Because the Miao silverware producing regions have no natural silver resources, the hardworking Miao people used to melt almost all the silver coins and ingots they earned. This led to different levels of silver purity as currencies differed from region to region. From the 1950s, the government began to regularly allocate special silver to the Miao people to as a sign of respect for their tradition and customs.

The design of the silver decorations is largely inspired by other art forms such as embroidery andwax printing. The silversmiths consistently improve and enrich the patterns while keeping the traditional designs.

The rich varieties, elegant patterns, and exquisite craftsmanship not only demonstrate the colorful world of Miao people’s art, but their spiritual life as well.

Headwear

The Miao ethnic minority mainly lives in the border areas of provinces in southwest China where they speak their own language. Farming is their main source of income supplemented by hunting. Their cross-stitch work, embroidery, brocade, batik,papercutouts and handmade ornaments, etc are world-famous for their elegant techniques. The headwear of the Miao ethnic minority is made entirely of silver, with many varieties.

Their headwear includes silver horns, fans, caps, kerchiefs, silver hairpins, pins flowers, chains, combs, earrings, and bonnet ornaments.

Silver Horns

Silver horns are usually decorated with a raised pattern of twodragons playing with a ball. Girls put chicken feathers on the two ends of the silver horns which look beautiful blowing in the wind and increase the height of the wearers.

Silver Caps

Elegant silver caps are used by the Miao ethnic minority for dressing up. They are made from numerous silver flowers and silver bells with various patterns such as birds, butterflies and animals, giving an impression of pearls and jadeall over the head.

Silver Kerchiefs

The Miao sew five hollow silver flowers onto red and green striped kerchiefs. The middle one is bigger and placed on the forehead; the other four are smaller and placed in front of and behind the ears. The flickering silver and the flowery colors of the cloth complement each other beautifully.

Silver Clasps

The Miao ethnic minority’s silver hair clasps have many different designs although most of them feature flowers, birds or butterflies. Their themes are very varied; for example flowers may be single or double-lobed, in bunches or bundles, dense or sparse, and in various designs and sizes. The style may be fine, slim and delicately beautiful, or more classically simple and heavy.

Silver Pins

The Miao people wear silver pins in various ways. The Miao who live in Longli City wear pins made of three silver balls, with three silver bells hanging off each ball. The whole pin is inserted behind the bun. In Shidong City their pins are shaped like dragonheads in various sizes. Big pins are worn during festivals, and small ones are used in daily life. They are inserted horizontally right through the top bun, with a section of the clasp protruding sideways.

Silver Chains

The Miao people’s silver chains are a kind of hair clasp. Typically, they are made of a five-stranded net chain, fixed by pins. The five silver chains spread out like a net, covering the bun.

Silver Combs

Silver combs are both a tool to comb and flatten the hair and an adornment. They are usually wooden and covered with silver – except for the comb prongs – with various decorative silver patterns on the back. The style may be complex or simple with elegant patterns such as flowers, birds, dragon, and deer.

Silver Earrings

There is a much greater range of silver earrings than any other type of Miao silverware. The Museum of Guizhou Province alone has, nearly one hundred kinds in its incomplete collection. There are four types of earrings: drop, circle, hook and wheel. Drop and circle types are the most popular types and earrings use other patterns besides the usual flowers, birds, butterflies and dragons.

Silver Bonnet Ornaments

The Miao people regard silver as talisman against evil spirits, so people living around the Qingshui River have a custom of decorating their children’s bonnets with silver ornaments. Traditional bonnet ornaments include lions, fish and butterflies.Chinese characterssuch as fu (prosperity), lu (high position), shou (longevity), xi (happiness) and changming fugui (longevity with wealth and honor) are also used because of the influence of dominant Han Chinese culture.

Chest and neck decorations

Silver Neckbands

The Miao people have always attached great importance to neck embellishments. Chains and loops are the two basic kinds while some pieces combine the two, for example the chained rings in some regions.

Silver Collars

Silver collars are popular in the south ofHunan Provinceand the Qingshui River delta area of Guizhou Province. They evolved from the longevity clock, and retain the original rectangular shape with inscriptions like “Chang Ming Fu Gui” (longevity and wealth). They are usually worn with necklaces.

Silver Chest Bands

A popular silver chest decoration, the bands are usually rectangular or semicircular and evolved from longevity locks . Some smaller ones are made of single pieces, and bigger ones are made up of two or three pieces, covering almost the whole chest and abdomen with a highly decorative effect.

Silver Hanging Decorations

The most common hanging decorations are shaped like butterflies, birds, fish, coins, and riding figures. They usually consist of chains, brands, and pendants arranged in as many as four to five levels, and the longest can be up to 85 cm long.

Hand Decorations

Silver Bracelets

Bracelets are an important part of the Miao people’s silver decorations. There are many variations in shape and different styles represent the diversified tastes of various Miao group branches. People usually wear four or five pairs of bracelets at a time up their forearms.

Silver Rings

Miao silver rings are usually large and wide featuring birds, flowers or vines. There is no specific restriction on how many or where to wear rings. The Miao people near Guiyang sometimes wear eight rings at one time – one on each finger except the two thumbs. In comparison with other silver Miao ornaments, there are few patterns and styles for rings, and they are only popular in a small number of regions.

Clothing Decorations

Silver Patches

People of the Miao branch near the Qingshui River delta area traditionally wear clothes with silver patches. The most common patches are square, rectangular or round and usually feature reliefs of lions, tigers, phoenixes,golden pheasants, dragons, cranes, butterflies, flowers, children and arhats (enlightened Buddhists). Butterfly-shaped bells decorate the bottom of gowns and wristbands, ringing melodiously when the girls walk.

Silver Waist Chains

Silver waist chains are mainly shaped like plum blossoms, with single or double layers.

Silver Clasps

Silver clasps are most common in the Duliu River delta area. These clasps are highly decorative.

Back Decorations

Back decorations can be functional or purely for ornamental purpose. These decorations are usually shaped like butterflies or gourds, and are mostly worn by girls and women.

Others

Waistbands and foot decorations are popular in some regions.