Zhu is the oldest stringed instrument in our country.
According to the literature, the building existed as early as the pre-Qin period.
"Zhan Guo Ce" Volume 8 "Qi Yi" once recorded "Linzi is very rich and real, and its people are all playing the drums, playing the piano, cockfighting and running dogs, and Liubo stumbling people", describing the prosperity of the city during the Warring States period. And the use of the musical instrument "Zhu" in people's entertainment life.
"Historical Records·The Assassin's Biography" contains "Zhiyi is on the water, the ancestors, take the road. Gao Jianlijianzhu, Jing Ke and sing, for the voice of change, all the scholars weep and weep."
Among them, the story of Gao Jianlijizhu is well-known with the poem "The wind is sluggish and the water is cold, and the strong man is gone and never returns", showing the humanistic style of "Zhu" in ancient times.
More than 2,000 years ago, Liu Bang, the emperor of the Han Dynasty, defeated Huainan Wang Tingbu and spent his hometown Pei on the way back to Chang'an. So he set up a wine party to entertain his hometown fathers and elders. When he was drunk, he sang the singular song of the ages with the accompaniment of this instrument. "Song of the Great Wind", "The strong wind is rising, the clouds are flying, the Wiga and the sea are returning to their hometown, and the warriors are guarding the square!" Under Liu Bang's "blessing", the social status of "Zhu" has changed with the royal family's attention and use. After being promoted, the name "Peizhu" has spread.
In the early Han Dynasty, Pei Zhu often accompanies singing and dance music. In "Xijing Miscellaneous Notes", there are many descriptions in "Mrs. Gao Di Qi, who is good at drumming and playing the building", and "Mrs. "Building," Gaozu's song "Great Wind" poem to harmony", and "October 15th, enter the Lingnv Temple together, use the dolphins to play the gods, play the flute to build, and sing "Shangling" song" supplement.
However, with the passage of time and the evolution of musical instruments, it became difficult to find the original appearance of this musical instrument. After the Song Dynasty, it gradually retreated from the court to the folk, and evolved into different forms of Zhuzu musical instruments such as rolling zheng and zheng. The original "strike" of holding a bamboo ruler turned into "rolling", or "strike and rolling".
The scholar Xiang Yang once conducted cultural relics and archaeology on the musical instrument graphics on the stone reliefs of the Han Dynasty, and at the same time analyzed the differences in the sound principle of different forms of Zhuzu musical instruments.
"This kind of building has a larger body, and because of its greater resonance, it can be imagined that its pronunciation will be louder." Therefore, "When Liu Bangjiu sang "The Song of the Great Wind", he would be generous and sad. Next'. We said that Chu Zhizhu's small body can hardly imagine such an effect."
Based on literature research and unearthed cultural relics, Mr. Hao Jingchun, a master of folk crafts in Peixian County, has collected and sorted out relevant materials for nearly 20 years, exploring various aspects such as wood selection, wood processing, musical rhythm considerations, musical instrument shapes and performance methods, and cultural implications. The basic principles of the manufacture and pronunciation of ancient musical instruments Peizhu, based on the ancestral production techniques, have constructed Peizhu's contemporary cultural life form, which not only restores the original appearance of Peizhu, but also achieved a number of innovative results.
Entering the new era, "Peizhu" went abroad again, acting as a friendly messenger of cultural exchanges between the East and the West.
In 2014, "Peizhu" was presented to the Queen of Belgium as a national gift, and a new chapter of "Peizhu" was continued.
So far, Peizhu is no longer just an ancient musical instrument, but a diplomatic envoy of peace in the new era who tells Chinese stories and spreads the voice of China and a representative business card that embodies the soul of Han.
The harmonious development of society and the advancement of craftsmanship and form with the times have injected abundant and rich cultural connotations into Peizhu, which has acquired distinctive characteristics of the times.
As the birthplace of Han culture, Jiangsu Peixian is not only the hometown of Liu Bang, the ancestor of the Han dynasty, but also the birthplace of ancient musical instruments.
From Chinese characters and Hanfu to Hanyuefu and Hanfu, many Chinese cultural elements have nourished the rich soil for Peizhu to be brilliant.
As the place of Longxing of the Han Emperor Gaozu, Peixian's historical and cultural resources are even more colorful. In addition to thousands of cultural relics of the Han Dynasty, there are many iconic historical and cultural attractions such as Songfengtai, Chidi Pavilion, and Seoul Scenic Area.
The famous stars in ancient documents are shining. Philologist and philologist Xu Shen, classical philologist Liu Xiang and his son, Liu Ling, one of the seven sages of the bamboo forest, have all left their footprints here.
These historical and cultural accumulations have constructed a profound native cultural environment for the contemporary development of Peizhu Art, and have played an important role in promoting Peizhu’s creative transformation and innovative development.
Under such a profound cultural soil and cultural context, the "Zhonghua Building" to celebrate the 70th anniversary of the founding of the People's Republic of China and the "Renaissance Building" to celebrate the 100th anniversary of the founding of the Communist Party of China came into being one after another.
Among them, the exterior design of Fuxing Building is inspired by the high-speed rail Fuxing. The building sits on the frame of an elevated arch bridge engraved with Han Dynasty elements. It is visually shocking, reflecting the dialogue between tradition and modernity, and represents the speed and innovation of China in the new era. Spirit.
It is huge in size, unique in style, wide in range, loud in volume, and beautiful in tone. It contains more than a dozen innovative inventions.
You can play both the pentatonic scale and the seven-tonal scale at the same time, and you can also quickly transpose.
The two ends of the building are designed with dragon heads and phoenix heads, which have a strong sense of shape. The abstract dragon and phoenix forms are outlined with red and yellow inlaid colors, which means "dragon and phoenix are auspicious" in traditional culture.
This instrument is developed and innovated on the basis of Thirteen Strings.
Its total length is 365 centimeters, which means 365 days a year, which can be passed down forever; the number of strings is designed to be 56, which symbolizes the unity of 56 ethnic groups in China and sings the Chinese dream in harmony.
The back of the building is engraved with Liu Bang’s "Da Feng Ge" seal script, using the inscription written by the famous calligrapher Cai Yong of the Han Dynasty. The building is also accompanied by a Han Dynasty dragon totem and a seal seal by the artist Huyi.
Presented as an integrated carrier that integrates poems, calligraphy, seal cutting, celebrity information, and sound, combined into a set of Chinese cultural symbols with agility and rhyme, it vividly demonstrates the important value of Fuxingzhu.
The birth of Fuxingzhu reflects Peizhu's contemporary cultural heritage.
Mr. Hao Jingchun not only restored the history and praised the times, but also laid the foundation for the innovative development of Peizhu Art.
As a native Chinese traditional national musical instrument, its living soil must be Chinese culture, and its inheritance and development must also rely on the Chinese.
The inheritance of Peizhu's art also depends on the continuous improvement of scientific research and practical ability in art education.
Strengthen school-based curriculum construction, so that students are immersed in music and art, and then influenced by traditional culture.
In higher education, fieldwork, close reading of texts, and the principles of musical instrument manufacturing are the cornerstones of students' professional abilities.
Ensure that students have a solid grasp of Peizhu's tracing back to the source in terms of musical instrument production, performance, and historical documents.
Change the one-dimensional learning method of traditional musical instrument learning that only delves into the performance skills of repertoire, and put the improvement of students' actual research ability as the focus of the art inheritance of higher education.
Let students understand the "why" of traditional music, so that after they leave the campus, they have the knowledge and practical ability to promote the contemporary development of traditional musical instruments.
For such musical instruments as Zhu, there are few repertoires suitable for its performance. Therefore, the construction of repertoire library, the sorting and excavation of traditional repertoire, and the creation of new music works are also important areas for art educators and learners to explore.
In addition, the best way to protect the culture of musical instruments is to adapt to the contemporary cultural context and aesthetic habits, so as to stimulate the sense of mission of the cultural bearers and realize the contemporary dissemination of Peizhu culture.
In the process of cultural dissemination of Peizhu, it is necessary to rely on the power of private cultural enterprises and social forces to reproduce the grand historical scene of Jianzhusong by means of real-life performance creation; bring into play the power of integrated media technology and new technology to bring the traditional and social strengths closer. The contemporary distance realizes the living inheritance of ancient art.
This kind of communication method not only strengthens the cultural connection between ancient musical instruments and its historical origin, but also creates a cultural environment of immersive experience, which will greatly promote the contemporary communication of ancient musical instruments.
These all-round and diversified forms of cultural communication will put forward new requirements for basic national music and traditional cultural research, and require in-depth and systematic basic research to provide them with a steady flow of communication momentum; this experience The cultural dissemination atmosphere will also have a negative effect on school art education, making up for the lack of an atmosphere of "enhancement" in the inheritance of contemporary ancient musical instrument school education.
Therefore, in the contemporary cultural field, we must take the opportunity of inheriting Peizhu culture to promote traditional Chinese culture, promote traditional music culture, and continuously enhance cultural self-confidence.
(Author: Gong Xue Unit: School of Music, Nanjing Xiaozhuang College, this article belongs to the general project of Philosophy and Social Science Research in Jiangsu Province, "Research on the Influence of Intangible Heritage "Peizhu" and the Integration of Research and Tourism on the Economic and Social Development of Pei County, Jiangsu", Nanjing Municipal Committee The fifth batch of cultural talent projects of the Ministry of Propaganda "Research on the Formal Improvement and Innovation of "Peizhu"", Nanjing Xiaozhuang College Youth Special Project (Humanities and Social Sciences) "Research on the School Educational Inheritance System of the Intangible Cultural Heritage "Peizhu" of National Ceremony" Results)