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Do You Believe There Is A Paradise?

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When I was a kid, I liked to read mythological novels. I have read "Journey to the West" and "The Romance of the Gods" more than once. Later, there were various versions of TV series. It can be said that the contents are almost memorized. There are still differences between the TV series and the original novels. There will be some changes, whether myths or myths, they are all imagined by people. It is not like history and can be played in different ways.

Among the mythical worlds described in these descriptions, the one that makes me most curious is the Elysian World. The various versions of the Elysian World described are not exactly the same, but the general meaning is that they are all a very beautiful place. Legend has it that the Elysian World is: sunflower tree, sunflower bird , the golden sands pave the ground, and the Paradise is filled with dazzling light. People here can be called "gods" and can be reincarnated several times and live forever. It is a good place to be free and happy.

It is said that if a person wants to ascend to the Paradise, he must go through many centuries of practice before finally ascending to the Paradise.

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It is said that the human soul can be immortal. It does not mean that people will reach the paradise after death, but it means that people will go through many centuries of reincarnation before they can finally reach the paradise. This is a bit like the levels in our Go, which are divided into levels. Only by rising to the top level one by one can you be regarded as a grandmaster-level figure in Go.

The same is true for the gods in the Paradise. They also went through centuries of reincarnation and started as humans, and then they could cultivate into gods step by step and achieve righteousness.

There are also rankings after cultivating immortality. After you have just become an immortal, you will be the last immortal in the world of immortals. The righteous god who assigns the position of immortal will first assign you a small position. The immortal will be in this small position. If you continue to practice step by step, and finally achieve positive results, you will become a great god-level figure among the gods.

The little gods will initially start as land gods and mountain gods. At this time, they can enjoy various benefits of the fairy world. These benefits are not the various materials that we humans imagine, but the enjoyment of things distributed by gods that can lead to longevity. For example, a fairy peach can lead to immortality. If you eat one, you can live for thousands of years. A god-level immortal can live for thousands of years. Enjoy it and you will live forever. Ordinary little gods will enjoy it once when they first enter the fairy world. Those who do not perform well may enjoy it once in the fairy world, and there may not be another time, so tens of thousands of years later, they will not After working together in the immortal world, they will return to the human world and suffer the hardships of the human world. Over and over again, they will start over in the human world again, practicing step by step, hoping to return to the immortal world and enjoy leisure. This is such a process.

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The life in the fairy world is actually very beautiful. They can travel freely in the heavenly palace, just like Sun Wukong in "Journey to the West". He can fly in the clouds and ride the mist to travel everywhere. And I heard that the gods will not be thirsty like people in the human world. Hungry is something that immortals cannot do. Once you have cultivated to the level of an immortal, you will neither be thirsty nor hungry. You will feel refreshed and full of energy. You will be in a very comfortable state, and you will not be plagued by any diseases or have any symptoms. Gods don't have the problem of eating, drinking and urinating. Their state is always dominated by endless energy and they are free and easy.

Legend has it that the Jade Emperor, the originator of the immortal world, practiced cultivation for 1,750 kalpas, and each kalpa lasted 129,600 years. How many years did he have to have before he could enjoy this infinite path?

The legend of Taishang Laojun has also been practiced for hundreds of millions of years. Taishang Laojun is the supreme god of Taoism and is considered one of the founders of Taoism. In Taoism, Taishang Laojun is described as possessing infinite wisdom and magical powers, and has practiced Buddhism for countless years.

However, in different Taoist scriptures and belief systems, the number of years Taishang Laojun has practiced may vary. Some texts believe that Taishang Laojun has been practicing for hundreds of millions of years, while others believe that he has been practicing for tens of millions of years.

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It should be noted that these numbers are only symbolic and represent the depth and breadth of Taishang Laojun's practice, rather than the actual length of time. In Taoism, the focus of practice is not the length of time, but the purification and transcendence of the heart.

In different mythological stories, the descriptions of the paradise world are also different. Here are some common descriptions:

1. The Ultimate Bliss in Buddhism: In Buddhism, the Ultimate Bliss is the world created by Amitabha Buddha with infinite compassion and aspiration. It is a world without pain and only joy.

2. Heaven in Christianity: In Christianity, heaven is a place filled with the glory of God and is the eternal destination of the soul. There is no pain, disease, aging and death in heaven, only endless joy.

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3. Paradise in Islam: In Islam, paradise is a place full of joy and happiness, and is the eternal destination prepared by Allah for believers. There are beautiful gardens, cool fountains and all kinds of precious jewelry in heaven.

It should be noted that different mythological systems describe the paradise world differently, and these descriptions are usually based on religious beliefs and imagination.

In short, heaven, that is, the world of paradise, is beautiful. We can think of heaven, that is, the world of paradise, as a kind of imagination. With imagination, people will have a wish, hope that their wishes will be beautiful, their dreams will come true, they will live happily, and after reincarnation Glorious in the paradise world, eternal life, transcendental bliss!

Watching The Spiritual Homeland, Overseas Chinese Retain The "roots Of Chinese Culture"

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Over thousands of years, the Chinese nation has created a rich and splendid Chinese culture. Among overseas Chinese, there are many touching examples of cultural inheritance, but there are also worries about "losing roots" such as the dilution of traditional culture and the loss of cultural resources. In particular, many new generations born overseas have gradually deviated from their parents' language and habits. , are becoming more and more unfamiliar with traditional Chinese culture and have become "banana people" with yellow skin and white hearts. This cannot but arouse our deep thought and attention. How do overseas compatriots maintain the spiritual homeland of our national culture? How to make good use of local multicultural policies? How has Chinese culture guided your overseas life? How can I be a person who is compatible with Chinese and Western cultures?

Watch over our spiritual home

“If people are good, even if blessings have not yet come, disasters are far away;

When people do evil, although disaster has not yet come, blessings are far away. "

This is a couplet copied by the reporter from Thean Hou Temple in Kuala Lumpur, Malaysia. The overseas Chinese leader of the local Hainan Association told me that Chinese characters are still engraved on the door lintels and window lattice of the houses of overseas Chinese in Southeast Asia. It is said that this custom began during Zheng He's voyages to the West and continues to this day. People always respect Chinese characters. Words are just carriers, and the core values ​​and ways of thinking of Chinese culture are the spiritual blood that maintains them. Some overseas Chinese said that coming to the Chinese society in Singapore and Malaysia sometimes feels like going back in time and being able to find some of the traditions of Chinese society in the early last century.

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"As long as the roots of culture continue, no matter where you are, your soul will always be in the warm embrace of your hometown; no matter how noisy and glitzy the era you are in, your spirit will not be anxious or empty." A Chinese writer said affectionately wrote.

In order to preserve their roots, a couple in Quanzhou, Fujian Province named their son Huang Sihua. Today, Huang Sihua, who is the general manager of the National Chung Cheng College of the Philippines, devotes himself to teaching Chinese. While traveling around the Philippines giving lectures, he was engaged in writing, writing about life experiences and educational essays. Due to the discontinuation of Chinese education in the local area, the environment for using Chinese and the atmosphere for language communication are not good. He said: "I didn't want to forget Chinese, so I chose to keep writing."

Overseas compatriots are working hard in foreign lands. Once their lives are stable, they want to set up Chinese schools. Even if they are simple and home-run, they still want to teach Chinese. How difficult it is to open a Chinese school in a foreign land! Pan Shili, the principal of the Chinese School in Florence, Italy, said: "In order to let the children know where they come from and not forget their ancestors, we chose to persevere." He immigrated to Europe more than ten years ago and saw some Chinese children with yellow skin and black hair even their Chinese names. Even though he couldn't write, Pan Shili felt a sense of mission in his heart.

The first-generation immigrants have a deep affection for China. In order to pass on the "incense" of culture, they have gone through ups and downs in some countries. Today’s elderly Chinese in Southeast Asia will never forget that they have continued to fight for the survival and development of Chinese schools and Chinese newspapers. Chen Yulan, the director of Zhimin Chinese Academy in Indonesia, is a second-generation Chinese. When she was eight or nine years old, during the Suharto administration, Chinese education was banned, and her father secretly sent his three daughters to private schools to learn Chinese. "At that time, if we were found out, we would be beaten or jailed, so we had to study secretly. There were no textbooks, and we were not allowed to bring pens. In class, the teacher would read quietly, and we couldn't speak out for fear of being heard. The memory of "Encyclopedia" was to write Chinese characters on small papers, and we would read these small papers when we went back. Once it rained heavily, and we could not go through the main door in class, so we had to sneak into the teacher's house through the back door. The mud and water at the back door were up to our knees, and we were still in the wind and rain No problem." Later, Chen Yulan returned to China to study at Huaqiao University. After graduation, she engaged in Chinese education in Indonesia and founded a Chinese language college.

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no pain no gain. Currently, the number of students in Chinese schools around the world is growing rapidly. For example, a Chinese school in Kamphaeng County in northeastern Thailand had only 30 students four years ago, but now it has more than 500 students. Chinese education in Malaysia has basically been integrated into formal education. There are more than 55,000 Chinese middle school students and 650,000 primary school students.

Chinese descendants worry about “losing their roots”

The farther we travel, the stronger the nostalgia becomes, which is a reflection of "old overseas Chinese". What about their next generation? The current situation is mixed. Many Chinese descendants have inherited cultural heritage and used it throughout their lives. The combination of Chinese and Western skills has made them even more powerful. Some of them cannot speak a word of Chinese by the third generation and have to rely on translators when they return to their ancestral country.

In the heterogeneous cultural environment of the country of residence, the culture of the home country will inevitably undergo erosion. Children who have followed their parents abroad or were born overseas since childhood are like a newly sprouted seedling. Wherever it grows, it will take root. Therefore, while the new immigrants are happy that their children can quickly adapt to the new environment and can speak fluent foreign languages, they are also worried about losing their roots.

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Among European Chinese, the old overseas Chinese or new immigrants who "make the country" and the new generation who "take the country" have two complexes about New Year and festivals. The former have long organized various festive activities, while the new generations born in the local area have two complexes about New Year and festivals. The current generation is relatively indifferent. They don’t know the origin of the Spring Festival, why they hang Spring Festival couplets, eat New Year’s dinner, worship ancestors during the Qingming Festival, eat rice dumplings on the Dragon Boat Festival, and climb mountains on the Double Ninth Festival. Some children don’t even know what New Year’s money is.

People are accustomed to calling some new generations of Chinese Americans "banana people." Since their way of thinking is basically Westernized, it is not easy for them to identify with the traditional culture upheld by their fathers. In some families, "banana people" can't stand the cautious and cautious behavior of their parents, and the parents don't understand their children's value choices such as publicity and exposure, and there are constant small conflicts. Some mothers complain that their children never watch Chinese TV or even read Chinese books. An overseas Chinese in the United States took his daughter back to China to visit places of interest in order to replenish her knowledge of Chinese culture. Her daughter, who is already in college, is not interested in anything else except food and beautiful scenery.

In fact, "banana people" live on the edge and between Chinese and Western cultures, and they are filled with considerable helplessness and confusion. They themselves do not want to be like this. When their awareness of the importance of Chinese culture has risen, many people have picked up Chinese again.

Even in Singapore, Malaysia and Thailand, where Chinese education is relatively popular, the older generation of Chinese still have a lot of worries. A writer from Sin Chew Daily wrote: Looking at it, many parents are no longer keen on instilling their own culture in the next generation and let them drift with the crowd. For the sake of further education, moral courses in schools are often sacrificed and used to teach English, mathematics, physics and chemistry.

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The first step to promote Chinese culture is that everyone must be able to recognize Chinese characters, write Chinese characters, and speak Chinese. However, difficulties such as lack of funds, insufficient teachers, and inconsistent teaching materials are still bottlenecks restricting overseas Chinese education. Many Chinese schools can only borrow venues to start classes on weekends. Most teachers have low incomes. The teaching materials are not diverse and vivid enough, and the teaching models are not suitable for overseas language environments.

All these troubles have not dampened the enthusiasm of Chinese associations, institutions and parents to “keep their roots”. Parents have good intentions. On weekends, many people are driving on the road, and no matter how busy they are, they still have to accompany their children to learn Chinese. However, different families have different approaches and implementation efforts to "retain their roots". Some people believe that it is necessary to put a little pressure on children to cultivate interests from an early age. Others believe that "banana people" cannot be forced to identify with Chinese culture, and can only rely on voluntariness and compliance. Its natural. How it should be done is a matter of opinion. For most parents, the most critical thing is how to effectively graft cultural roots.

Keep our “cultural roots”

Objectively speaking, overseas Chinese education has problems such as "difficulty in literacy, difficulty in writing, and difficulty in input". Many people are angry about this. Students have a hard time learning and teachers have a hard time teaching. Indeed, learning Chinese and understanding Chinese culture is not a matter of a few days, but takes many years of work. It is not easy for people who grew up in an environment where they spoke English and watched American TV series, and were separated from the cultural atmosphere of their country of origin.

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In order to solve the problem, some institutions at home and abroad have explored new methods, such as: for literacy difficulties, the "Chinese Character Classic" rapid Chinese teaching method is promoted; for input difficulties, the "Wangma Five-stroke Chinese Character Input Method" is promoted to overcome the problem of not being able to read. Obstacles to computer input; for writing difficulties, we organize essay competitions, etc. Singapore's Chinese education is implementing a "free water to raise fish" type of teaching reform, and the format is becoming more and more vivid. The reformed Chinese examination has reduced rote memorization, and all test papers are reading comprehension.

Overseas Chinese education not only teaches language, but also has the mission of passing on national culture from generation to generation. But in many places, Chinese is just a single language class. Zeng Shisheng, an official from Singapore's Ministry of Education, lamented: "In the past, Chinese, history, literature, and values ​​​​were bundled together. When I was a child, I read many articles about life cultivation, but now there are less of them because too much emphasis is placed on Chinese." Many parents reported that raising their children Children who learn Chinese intermittently can learn a little bit, but the cultural connotation of the Chinese language is gradually lost due to the anomalous writing language and the mediocre and boring vocabulary used in daily life. In view of this, many overseas Chinese schools have adjusted their curricula and added “Chinese culture” content. With the support of institutions at home and abroad, more children are participating in summer and winter camps and returning to their hometowns of national culture for cultural immersion.

Wu Yizhou from Canada believes that only by allowing children to be exposed to vivid culture can they be attracted to the square characters and cherish Chinese culture for a long time. By chance, his son read "Middle School Students' World" published in China, and was moved and attracted by the atmosphere of the times and closeness to life. Therefore, Wu Yizhou asked his son to read more of such magazines and encouraged him to contribute. After the article was published, the child became more enthusiastic about contributing and now writes articles for local Chinese newspapers. A cultural root has truly taken over in a foreign land!

The inheritance of various forms of culture requires us to pay attention to it and think of new methods. For example, the new generation who grew up in the United States think that celebrating the New Year is very cliché and have little interest in it. Some people suggest that parents should pay more attention to discover the affection and beauty contained in traditional customs. Experts pointed out that the so-called cultural inheritance and love for the country of origin might as well start with seriously respecting customs. Before the Spring Festival, some parents take the trouble to let their children participate in the preparations, feel the atmosphere, and create beautiful memories. For example, they teach their children to make Spring Festival couplets and paste them on the door, go to the market together to buy the main dishes for the reunion dinner, and ask their children to do a general cleaning and seal the A red envelope is the most direct encouragement.

Similarly, the promotion of Chinese culture overseas is also constantly innovating models. Recently, the Los Angeles Yue Opera Troupe successfully performed "A Dream of Red Mansions" in Southern California. The actors were all Chinese living in Los Angeles. They only hired famous domestic actors as artistic consultants, and the props and scenery were produced and shipped from Shanghai. If you hire professional actors from China, you will need more than 50 people and the cost will be huge. This performance uses a combination of overseas artistic talents and mainland experts to achieve low-cost and high-quality results.

It is precisely because of the joint efforts at home and abroad and the persistence and promotion of a large number of caring people that the fragrance of Chinese culture spreads all over the world. Today, all over the world, Chinese schools are expanding their enrollment, the readership of Chinese media is expanding, Chinese customs, morals and concepts are widely spread, and catering, theater troupes, martial arts, calligraphy and painting, crafts, clinics, film and television, books and academic research with Chinese prefixes are prevalent… … constitutes the unyielding spiritual home of the Chinese society and provides inexhaustible cultural nourishment for the reproduction and development of Chinese people all over the world. (Lian Jintian)

Forever And Forever The Descendants Of The Dragon – Exploring The Dragon Dance Culture Of The Yao People In Jianghua

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□Yongzhou Daily reporter Zhang Huabing

Jianghua Traditional Dragon Fighting Competition and Dragon Lantern Festival.Photo by Wang Jian

Strength and Beauty

Dragon Lantern Festival

Explosive dragon

bench dragon

See the dragon in the field

Except for the signatures, all pictures in this edition were taken by Li Zhonglin

The dragon is the totem of the Chinese nation, and dancing the dragon to pray for blessings is a traditional custom of the Chinese nation. The Yao people use dragon dogs as their totems, and they are the descendants of the dragon like the Han people. The worship of dragons is very popular among the Yao people, and it has been inherited and evolved in the unique social living environment, forming its own unique dragon culture. The popular dragon dance custom is one of them.

Before and after the Spring Festival, the reporter went to Jianghua Yao Autonomous County many times to interview the "descendants of the dragon" in the Yao Mountains. From the familiar and unfamiliar traditional customs and the innovative dragon dance skills they inherited, they felt the influence of the Chinese "dragon vein". Life goes on and on.

"Rich people play with dragon lanterns, while poor people play with benches."

There is an old saying in Jianghua: "Rich people play with dragon lanterns, and poor people play with benches." It refers to the dragon dance culture that is "different from the customs in ten miles" in Yaoshan. Rich people and no money dance together to celebrate the New Year. Those with good financial conditions can tie up an exquisite colorful dragon, while those with poor financial conditions can use a long bench as a dragon dance, or even a dozen people sitting together can become a dragon. According to a field survey organized by the county ethnic culture department, in addition to the reticulated cloth dragons that are popular among Yao and Han compatriots, Jianghua also has ancient dragons (temple dragons), human dragons, ball-ball dragons, bench dragons, radish dragons, grass dragons, incense dragons, and opera dragons. The various and unique forms and gameplays such as dragon and Yuanxiao fried dragon are spectacular. Among them, the human dragon, the rolling ball dragon and the Yuanxiao fried dragon have been included in the municipal and provincial intangible cultural heritage protection lists, enriching the connotation of Chinese dragon culture.

There are two styles of bench dragons: simple bench dragon and bamboo strip bench dragon. They often appear in gatherings such as when farmers are building houses and raising beams. The simple bench dragon consists of two people holding up a long bench as the head and one person behind as the dragon's tail. Its action routine originated from folk martial arts. When encountering emergencies with bare hands, the bench is used as a weapon. The bamboo bamboo strips are used to make a dragon shape on the bench, and the wooden feet represent the dragon's claws. Some are made of paper tied with bamboo strips, and some are made of straw. Each dragon is performed by four people. Each person holds a stool leg and rolls it up and down, goes around left and right, or passes through it. This kind of dragon dance has simple props and is easy to carry. The number of participants is not large, and the venue does not need to be large, but the atmosphere is warm. In the sound of gongs and drums, people and stools are integrated and dance in harmony. There are action routines such as a black dog wearing a crotch, a dragon wagging its tail, a dragon turning over, a dragon climbing on the sand, and a dragon under the dragon. The priorities and changes are dazzling.

The custom of dancing the human dragon is spread in the areas of Baimangying, Dashiqiao, Taowei and Helukou, especially Wu'anling Village in Baimangying is the most representative. "Dancing Dragon" does not require makeup or props, and is not subject to venue restrictions. Everyone, regardless of age or gender, can participate. The human dragon generally consists of 19 people, with three people, two large and one small, forming the dragon head, and 16 people forming the eight-section dragon body, which ride on each other and dance together. The dragon head, dragon body and dragon tail cooperate tacitly, and the formations are varied. There are 18 sets of movements such as "human pillars, pagodas, archways, and eagles spreading their wings", which demonstrate the unity, cooperation and perseverance of the Yao people. According to folklore, in ancient times, officials and gentry stipulated that "Yao people are not allowed to set tables for meals" and "officials and gentry must be entertained during festivals." The Yao people went to Beijing to complain. After the emperor agreed to abolish this bad rule, they hugged each other, danced on each other's shoulders, and To celebrate, "Dancing Dragon" came from this. It is also said that due to years of severe drought, the Yao people wanted to perform a dragon dance to worship the gods, but they did not even have the materials to make a cloth dragon. So they formed a dragon shape with the human body to pray for blessings and ward off disasters. Since then, the folk dance of "human dragon" has been added. Dragon form.

Fried dragon (fried lion) is a traditional custom in Mashi Town. Every year during the Spring Festival, the people of Macao voluntarily organize cultural activities with strong national characteristics such as spring ox performances and float parades. The finale is the "Burning Dragon and Lion" on Lantern Festival night. Every household on the street prepares enough "ammunition" early after dinner and waits along the street for the dragon and lion team to pass by their door. The young men performing dragon and lion dances are fully armed, stuffing their ears with cotton, covering their mouths and noses with towels, putting on helmets and gloves, and dance along the streets and alleys. Men, women, old and young on both sides of the street lit firecrackers in their hands and kept throwing them at dragons and lions. The agile dragon and lion team danced on the firecrackers, showing the Yao family's fearless nature and fiery folk customs. At the climax of the dance, cannons, cannons, fireworks and salutes were fired together, and dragons and lions seemed to be dancing in the sea of ​​clouds, mist and fire. In the "firecracker array" that lasted nearly four hours and was several kilometers long, there were more than ten people dancing the dragon, but there were a reserve army of more than a hundred people, and substitutes were constantly coming on to take over the non-stop dragon dance. According to local people, this is an evolution of the Yao folk custom of "going into the sea of ​​fire".

The power of inheritance from the people

On New Year's Eve this year (February 11), an 80-meter giant dragon composed of 30 sections made a stunning appearance at Shenlong Plaza in Shengang Village, Ganghwa, praying for good weather in the new year. After the ceremony, accompanied by drums, gongs, cymbals and other sound instruments, the dragon danced gracefully and vigorously in the square, saluting, swimming, crossing, soaring, leaping, turning, rolling, playing, wrapping, composing, modeling… the dance posture was left shrugging Lying on the right, there are nine bends and ten rings, sometimes slow and sometimes urgent, twisting and turning. Two dragons playing with pearls, white dragon spraying water, snowflakes on the roof, white crane spreading its wings, double jumping over the dragon gate, dragon swinging its tail, dragon taking a bath, white dragon panning the jade pillar, four gates saluting, swimming four gates, rolling four gates, full house, stealing four gates Through a series of movements, the dragon danced with the spirit of the dragon and prayed for peace and prosperity for the country and the people, good weather and a good harvest, which won bursts of applause from the villagers.

Shengang is an ancient Yao village adjacent to Guangxi below the Putaojing Village in Dalupu Town, Jianghua. It is said in the Hunan-Guangxi area that the Bailong Holy Emperor, the son of the Dragon King of the East China Sea, lives here. There are Bailong Temple, Bailong Spring and other miracles in the village, so the gods The Ganggu Temple Dragon has become the "dragon ancestor" of more than 20 white dragons in villages on the border of Hunan and Guangxi. To this day, the village still maintains the hand-made dragon tools skills, dragon dance routines and dragon blessing rituals that have been passed down for thousands of years. Now the whole village has organized 8 dragon dance teams. The youngest team member is only 6 years old, and the oldest is 74 years old. The combination of dragon and martial arts , the fire inheritance has become the spiritual pillar that unites people's hearts. Among the many festivals organized by the county in recent years, the Shengang Ancient Temple Dragon is a highlight.

Yin Liang, who works in the Jianghua Ethnic Culture, Tourism, Broadcasting and Sports Bureau, has been engaged in ethnic work for more than 20 years and is known as the "gold medal coach" of dragon dance. He has studied the impact of the ancient dragon culture of the Yao people on Shengang from the perspective of rural revitalization. He believes that the folk customs in Shengang are simple and honest. The excellent qualities of the villagers, such as their enthusiasm, kindness, tenacity, and promotion of righteousness, come from the subtle influence and tempering of the ancient dragon and traditional martial arts spirits over the years. He has visited the village many times to investigate and organize, guiding the integration of Shengang ancient dragon culture with rural revitalization and rural tourism, creating a Yao folk culture research and tourism and ancient dragon culture inheritance and exhibition base, and promoting the living inheritance of dragon dance culture.

Through the joint efforts of many parties, starting from 2018, Shengang will hold a dragon festival for thousands of people and a hundred families banquet and Longwu Spring Festival Gala every New Year's Eve. It has become extremely popular, attracting tourists from as far away as Guangzhou, Shenzhen and other places to participate. In cooperation with Hunan Satellite TV, Reports from Hunan Daily and other media kicked off the rise of the dragon and the revitalization of the sacred hill. This year, large-scale activities have been suspended due to epidemic prevention and control reasons, but the villagers are still full of confidence in future development. Li Zhonghui, chairman of the Shengang Longtang Board of Directors, said with confidence: The village has decided to continue the inheritance and development of traditional culture after the beginning of spring. , preparing to launch the dragon culture rural tourism in the village during the May Day holiday.

For the same reason, this year's Lantern Festival "Fire Dragon and Lion Festival" in Ma City has also been temporarily suspended, but dragon dance activities in various villages are still relatively active. On the night of the Lantern Festival on February 26, Pingdi Yao villages such as Yingying in Taowei Town and Bagangtou in Helukou Town spontaneously launched incense and fire dragon dance activities. After offering sacrifices to the heaven and earth to the Dragon God and praying for good weather and abundant harvests in the year, everyone put three incense sticks and one stick on the dragon head, dragon body and dragon tail made of dragon beads and straw, and started dancing amidst the lively sound of firecrackers. , adding unique light and shadow charm to the night, showing the powerful inheritance power of the folk.

Explore the road to revitalizing Yao culture

Yin Liang is a member of the Chinese Folk Literature and Artists Association and a member of the Hunan Traditional Ethnic Minority Sports Association. He is an enthusiast of dragon dance culture. He is also the initiator and promoter of the renaissance of Jianghua dragon dance culture and the chief editor and director of the Jianghua Dragon Lantern Festival. He once started a WeChat group "Jianghua Dragon Scripture Lecture Hall", organized more than 400 "leaders" from all over Yaoshan, and went to surrounding Daoxian County, Jiangyong, Dong'an, and Fuchuan, Guangxi many times to exchange dragon dance culture. He also went to Beijing, Guizhou and other places to study and research dragon culture at his own expense, and led the dragon culture inheritance research team to promote dragon culture, inherit dragon spirit, and spread positive energy. During the interview, the reporter felt his deep admiration and love for traditional culture. He said that we often lament that "people's hearts are not ancient." This "ancient" can be understood as the mellow social customs, pastoral purity, and the most essential human nature in ancient times. These can be reflected from traditional culture, and dragon dance is a breakthrough in the inheritance and development of China's excellent traditional culture.

With the promotion of the county ethnic culture department, Jianghua has tried to introduce the traditional dragon fighting competition and dragon lantern parade into the annual Panwang Festival of the Yao people since 2013, creating Jianghua's unique Yao folk custom brand and promoting "tolerance and kindness". The dragon-horse spirit of virtue and self-improvement. Gradually, the initial participation of 3 dragons has grown to 24 dragons in 2020. Currently, there are nearly 200 dragon dance teams active in urban and rural areas across the county, with nearly 10,000 participants. In 2020, the Yao Dragon Lantern Festival was broadcast online. There were tens of thousands of viewers that night and 200,000 online views. The back-end platform aroused heated discussions and likes from Chinese people at home and abroad, which greatly inspired the national spirit and united people's hearts. Through government guidance and non-governmental organizations, the Dragon and Lion Lantern Festival has developed into a cultural tourism festival brand of Jianghua Yao people.

Longteng Yaodu, flying dragons in the sky. In 2018, at the China-ASEAN (Fuchuan) International Dragon and Lion Competition held in Fuchuan, Guangxi, Jianghua Dawei Dragon Dance Team won the Competitive Dragon Gold Award; in the same year, Jianghua’s Yao brocade dragon project won the 9th Hunan Provincial Minority Sports Games Gold Award; in 2019, the Jianghua dragon dance project won the second prize at the 11th National Ethnic Traditional Sports Games; in 2020, the Jianghua Yao dragon lantern fight was selected into the Chinese Excellent Sports Culture Catalog of the State Sports General Administration. According to Yin Liang, the 10th Traditional Ethnic Minority Sports Games of Hunan Province will be held in Jianghua from September to October 2022. The Yao dragon dance will become a highlight of the performance competitions and the opening ceremony of this Democracy Games.

On the road of inheriting national culture, Jianghua dragon dance is getting better and better, and the dance becomes more and more exciting.

The Painter Is The Creator—Liang Baigeng’s Ink World (Part 1)

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resume:

Liang Baigeng, a native of Qingdao, Shandong, was born in 1946

Graduated from Qingdao Arts and Crafts School in 1965

Worked at Qingdao Drawing Mill from 1965 to 1973

Professor at the Academy of Fine Arts, Qingdao University of Science and Technology from 1973 to 1999

He was awarded the title of "Folk Artist" by UNESCO, a member of the China Arts and Crafts Society, a member of the Shandong Artists Association, and a professor of the Academy of Fine Arts of Qingdao University of Science and Technology (former Arts and Crafts School)

Most of his works reflect his unique insights into traditional Chinese quintessence and Western painting style. In the fusion of tradition and modernity, he shows people a familiar yet novel artistic charm. His paintings were invited to participate in the 2010 Grand Palais International Exhibition in France. art exhibition and received high praise from foreign audiences.

Exhibition experience:

In 1995, a personal ink painting exhibition was held in Qingdao

In 1999, the traditional Chinese painting "The Past" participated in the Shandong Qilu Traditional Chinese Painting Exhibition.

Participated in Songzhuang Art Festival from 2007 to 2010

In 2010, he was invited to participate in the International Art Invitational Exhibition at the Grand Palais in France, and his oil painting "Snail Dwelling" was exhibited.

From 2010 to 2012, oil paintings and ink paintings participated in the Asian Art Expo

In 2013, the "Drift·Edge" exhibition of Liang Baigeng's paintings was held at the Aojia Art Museum in Beijing.

In April 2015, Liang Baigeng's contemporary ink painting exhibition "Water·Ink·Color" was held at Heze Art Museum in Shandong.

In 2018, Qingdao Zhongtian Art Museum held "On the Wings of Singing" Liang Baigeng's Contemporary Ink Art Exhibition

Published monographs:

From 1983 to 1999, Shandong Fine Arts Publishing House published monographs such as "Basic Art Tutorial", "100 Questions on Art Self-Study", and "The Beauty of Painting Form".

From 1998 to 2013, "Decorative Figures", "Decorative Animals", "Decorative Flowers", "Decorative Landscapes" and "Creative Sketch", "Creative Color", "Creative Graphic Design" were published by China Textile Publishing House and China Chemical Industry Press. "Creative Three-dimensional Design" and more than ten kinds of monographs and picture albums.

"Run" 2016

"Large" 2016

"Blue Expectation" 2014

"The Old Man in the Red Chair" 2015

Preface – "I'm Thinking"

Liang Baigeng

German artist Gerhard Richter said: "I just want to paint, not to produce ideology. Only the painting itself can make a painting a good work, but the ideology in it cannot." Qi Baishi, Bada Shanren, Wu Changshuo, Van Gogh, Cézanne, and Picasso, the reason why they became epoch-making art masters was not based on any ideology, let alone political right and wrong, but on the uniqueness they created. artistic language. This unique artistic language and artistic concept gives the familiar objective world a new expression of various types and levels, making us seem to see a more ideal world. They are great practitioners and promoters of artistic development.

Under the guidance and teachings of these art masters, I yearn for this creative art path. I am not satisfied with imitating and reproducing nature that I am too familiar with, nor am I satisfied with imitating and repeating the footsteps of others, including these masters.

I longed to make my own way.

However, the road to creation is so difficult. Just imagining things out of thin air and messing things up will not work, nor will it work without rational thinking and a lot of practice…

I have experienced countless failures and painted thousands of useless paintings…

Lu Xun said: "The characters I write are based on this person's eyes and that person's nose"… Where is the "eye and nose" of the language of the art form that I am looking for? ….

I copied the works of traditional masters. I devoted myself to studying the characteristics of materials and techniques used in craftsmanship. I also concentrated on studying folk art…

I think that the combination of different DNAs that are far apart can produce stronger life. I turned my attention to Western exotic art, learning from masters such as Picasso, Dali, Miro, Kerry, Warhol, Sever, etc., and learning from contemporary art. African art, Mayan art, Indian, Greek art, and Eskimo art have all become the objects of my study. Children's graffiti, flawless artificial natural shapes, various imprints, and instantaneous natural phenomena all arouse my great interest. The various dry, withered, burnt, and moist changes that appear on the rice paper with the brush, water, and ink, as well as the magical changes of the water and ink on the rice paper, fascinate me.

I spent a lot of time and energy on this, and ruined a lot of rice paper, just to find the sacred art form language that I vaguely yearned for. But I have experienced too many failures and also tasted the joy of slight gains.

Innovation is as difficult as reaching the sky.

However, my interest is getting stronger day by day and I never tire of it.

I am willing to work tirelessly to gain more creative joy.

"Mountains and Flowing Waters" 2016

"In the Jungle" 2012

"Returning with the Wind" 2013

Comments on Liang Baigeng

"Mr. Liang Baigeng's works have traditional Chinese brush and ink skills, as well as the influence of Western painting colors. It is not easy to form your own style on the road of painting creation, and Mr. Liang's artistic style is very distinctive."

——Yuan Boping (Professor of Cambridge University, UK)

️“After seeing Mr. Liang Baigeng’s exhibition, I was greeted by a youthful atmosphere full of youthful vigor. His paintings do not look like they were painted by an old man who is nearly seventy years old, but like the works of a young man. . His ability to control pen and ink is very proficient, and his ability to use color is very sophisticated. It can be seen that he has very solid skills in oil painting. He has made many new breakthroughs in exploring new expressions of contemporary ink art."

——Li Wenru (former deputy director of the Palace Museum in Beijing)

️"Teacher Liang Baigeng is a versatile artist with comprehensive abilities, and his research covers a wide range of areas. He not only has traditional and solid basic skills, but also has extensive research on Western painting and contemporary art, which is very necessary for a contemporary artist. He uses color as ink, and his color and ink paintings allow the expressive power of traditional Chinese painting and ink to show a wider space. He is also a famous decorative painter himself, and he integrates decorative elements into his color and ink creations. , giving his color and ink paintings a new style and taste, and a new appeal. ——Meng Haidong (Director of the Beijing Symphony Orchestra)

"Teacher Liang Baigeng's works have a combination of brush and ink, color, tradition and contemporary style, which is commendable."

——Zhang Donghong (contemporary artist)

"Mr. Liang's works are full of artistic spirituality and creative inspiration and exploration. The process of appreciating his works is the process of enjoying beauty. He is a teacher and artist that I admire and respect. His paintings are unique and very famous in the country. I can see that he will produce more masterpieces and paint more, better and far-reaching works."

——Wang Shaobo (Dean of the Academy of Fine Arts of Qingdao University, Chairman of Qingdao Federation of Literary and Art Circles, Chairman of Qingdao Artists Association)

Mr. Liang Baigeng said:

I have pursued two goals throughout my life: first, to be able to resemble the artist, but with the greatest difference from reality; second, to distance myself from the masters and others in terms of modeling, coloring, techniques and other styles to create my own artistic look. My current contemporary color and ink paintings combine three elements:

1. Traditional brush and ink elements

2. Western paintings center on color and include contemporary art elements of conceptual awareness.

3. My decorative art is full of elements of imaginative transformation and color change.

"Guangling Song" 2019

"Eight Horses" 2019

"Eight Cows Picture" 2017

"Fishing" 2019

"Horse Release" 2015

The painter is the creator | Interview with the painter Liang Baigeng

If art is regarded as a kind of spiritual practice, then there will always be people who are willing to spend their entire lives practicing it. If art is regarded as an ideal, then there will always be people who are willing to pursue it with all their energy. For painter Liang Baigeng, this is exactly the case.

Liang Baigeng, born in 1946, is still very talkative even though he is over seventy years old. Mentioning the past events of decades ago, one can still recount the treasures one by one, which makes one have to admire the spirit of this old artist.

Liang Baigeng was admitted to Qingdao Fine Arts College in 1962 and officially embarked on the path of professional painting study. In 1965, due to historical reasons, the school was renamed Qingdao Arts and Crafts School and implemented a three-year technical secondary school system. Liang Baigeng, who graduated a year early, was assigned to work in the Qingdao Drawing Mill.

"After I entered the factory, I was completely out of touch with my major. I just did manual labor in the workshop for seven years. But I still used my spare time to paint secretly, which not only preserved my hobbies, but also I continued the habits I had in school. It was not until 1971 that the factory began to pay more and more attention to my artistic ability, began to promote me, and encouraged me to innovate in craftsmanship."

In 1973, Qingdao Arts and Crafts School resumed enrollment. It was also in this year that Liang Baigeng was transferred back to the school and officially began his teaching career. Because his basic skills are extremely solid and he has a wide range of interests, from Chinese painting to oil painting, and even comic books, he can handle almost everything, so he is nicknamed "Taiwan Balm" and "Yunnan Baiyao" by his colleagues. Later, the school opened a sculpture major. Since there were no professional teachers, Liang Baigeng was sent to Zhejiang Academy of Fine Arts for further study. He immediately resumed teaching after returning.

Liang Baigeng is good at fine lines and it is precisely because of this specialty that he was "forced" to start studying decorative arts with the mobilization of all parties. From this, Liang Baigeng opened a new door to art. In the following thirty years, he made many achievements in the field of decorative painting and became an important representative figure in Qingdao's decorative art circle.

After the Cultural Revolution, the dawn of culture once again illuminated the long-deserted land, and a large number of foreign translations were gradually introduced into the country, including various art treatises and color-printed picture albums. Liang Baigeng, who came into contact with Western literary and artistic trends for the first time, jumped into this new world of knowledge almost ecstatically, buying books, borrowing books, copying books… and eagerly absorbing the nourishment of art. Although many conservatives sneered at abstraction, Liang Baigeng frankly stated that he was "ashamed because he could not understand", and at the same time he also established a philosophy – do not make rash comments on things that you cannot understand.

"In 1980, I set strict rules for myself: not to participate in any group activities or exhibitions, and determined to study for ten years."

Arnheim, Gombrich, Van Loon, Nietzsche, Heidegger, Sartre… Through extensive and uninterrupted reading, and infiltrated by Western philosophy and aesthetic theories, Liang Baigeng gradually felt that " Its daybreak". Nietzsche's "God is dead" had a particularly great influence on him. In the history of modern art in the 20th century, bold behaviors such as de-idolization, de-authorization, and breaking of conventions have become important guiding ideas in Liang Baigeng's artistic career.

Influenced by the 1985 New Wave, Qingdao’s “Open-Air Painting Exhibition” from 1987 to 1990 further promoted the advancement of local artistic concepts. Liang Baigeng said that in the 1990s, he slowly began to have ideas. In 1995, he held his first solo exhibition, trying to use traditional brushwork to present new concepts. Although he has received praise from all walks of life, he believes that he is not mature yet and still needs to continue to "explore up and down."

Since then, Liang Baigeng's paintings have received more and more recognition. His attainments in the field of decorative arts have become more and more proficient, and his achievements in basic art teaching and research are even more impressive. However, after being appointed to an administrative position by the school, he gradually felt bored and chose to retire early.

"After he retired, schools from all over the country lined up to hire him, so he continued to teach. During this time, he also accumulated a lot of experience."

Even though he was famous and lived a comfortable life, Liang Baigeng did not stop moving forward. In 2008, he and his wife resolutely packed up their bags and headed to Songzhuang, opening up new horizons again.

"Songzhuang is an interesting place. It brings together various schools and classes, including unknown dreamers and great painters who have been famous for a long time. But because of this, you can come into contact with many new and different things. idea. I stayed in Songzhuang for eight years, and the works of this period also incorporate some of Songzhuang’s contemporary consciousness.”

In 2010, Liang Baigeng was invited to participate in the 2010 International Art Exhibition of the Grand Palais in France. Many people praised his paintings, "A seventy-year-old person can paint the feeling of a thirty-year-old". But when he visited the Louvre and the Pompidou Art Center in France, he discovered that "what we are painting has long been painted by foreign painters." Because of this, in order to no longer follow the footsteps of Western painters, Liang Baigeng finally positioned the center of his creation as traditional Chinese ink painting.

In 2013, "Wandering Edge – Liang Baigeng's Painting Exhibition" was held at the Oga Art Museum and received encouragement and recognition from all walks of life. To a certain extent, this exhibition can also be regarded as a stage summary of the Songzhuang period. In addition to many excellent paintings, a large number of manuscripts are also on display. The seven to eight meter long booth is lined with sketches, which are the footprints of life and the trajectory of creation.

For a long time, Liang Baigeng did not paint large-scale works, but insisted on sketching in notebooks. For him, this is a way of recording and an artistic experiment. He would also carry a notebook with him when he went out, and when he had a good idea, he would immediately put it into writing.

"Many thoughts are like meteors passing across the sky, fleeting and fleeting. They need to be written down immediately so as not to miss them. While painting, they are often accompanied by thinking. These drafts are a record of inspiration and an accumulation of experience. Three years later If you look again, you may still be inspired and gain something.”

The essential meaning of painting lies in its non-replicability, which is what Benjamin called "the aura of art". In Liang Baigeng's view, a good painting is still excellent even if it is not finished or stopped at any stage. Even if it is only a semi-finished product in the end, it will not damage its artistic charm.

In recent years, Liang Baigeng still insists on ink creation, and at the same time, he continues to make new attempts in color ink. He said that colored ink means using colors as ink. The ancients said that ink can be divided into five colors, and colors can also be divided into light and dark shades. Decades of study and exploration of various art forms are blended on paper, eventually forming a unique style.

"Water, ink, and color are the three elements of my creation. Specifically, they include the traditional brush and ink elements, the contemporary art elements of Western painting that center on color and include conceptual awareness, and the elements of my decorative art that are full of imaginative deformation and color changes. .”

When it comes to realism and abstraction, Liang Baigeng said that he has pursued two goals in his life: first, image, but it must be as different from reality as possible; secondly, styles such as modeling, coloring, and techniques require distance from masters and others to create his own art. face. In Liang Baigeng's view, art is a road with no end. "Progress is the inevitable pursuit."

At present, there are more and more large-scale art exhibitions in China, but Liang Baigeng is not keen on such exhibitions. He admitted frankly that he is not interested in "subject matter" because there are too many ideological elements in it. He said that self-feeling during the painting process is crucial.

"The subject matter of painting is eternal. The key lies in how to paint. The form is very critical. If you blindly cater to it, it will only lead to your own alienation in the end. This is what Sartre called others as hell."

Talking about decorative art, Liang Baigeng said that many people now have a prejudice against decorative paintings and believe that "contemporary" and "decorative" are contradictory. This is actually a misunderstanding. The reason for this misunderstanding is certainly related to the long-standing inherent prejudice, but it also has a lot to do with the stagnation of decorative painting over the years.

"Decorative painting naturally has its decorative significance, but it should still be based on painting, and artistry should be given top priority. The painter should not just stay at the stage of depiction, but should be the creator. Even for decorative paintings, there needs to be Novelty and individuality. Many paintings by famous contemporary painters, including David Hockney, are highly decorative, which does not affect the artistic value of these paintings."

Liang Baigeng believes that a major feature of decorative painting is that it breaks the constraints of time and space and can develop imagination to the maximum extent. In addition, there are many expression methods that can be tried. "The whole is unchanged, but the part is variable."

Having been engaged in education for decades, Liang Baigeng has his own unique teaching philosophy. As early as the 1970s, he used "diversified expressions of the same object" to conduct classroom demonstrations and guide students to find the painting methods that interest them. In his view, as long as there is a sense of independence and innovative ideas in the work, even if the technique is immature, it is still worthy of praise. But he also believes that the current education system is not easy to cultivate real artists. Nowadays, many masters hold classes, and the students draw like the teacher, without their own personality. This is a kind of inbreeding, which is very detrimental to the long-term development of art. There needs to be "introduction" and "grafting", and with the mixing of multiple genes, art will have variability and stronger vitality.

"Cultivating students is like sowing seeds. When a seed is sprinkled into the ground, whether it is a peony or a foxtail, it is beautiful and natural. You have to allow all possibilities for germination. I have never been able to do that. Instead of restricting students more, encourage them to paint whatever they like and how they like to paint. In addition, we must also learn to observe in the process of sketching. One life is two, two is three, three is all things, and all things are unified. Of course, You still need to have basic things, and you still need to learn techniques, and you can't be too good at everything. The formal beauty and laws of art require hard work to study. Only with a solid foundation and a broad vision can you provide more for your creations. optional directions.”

Liang Baigeng, who was awarded the title of "Folk Artist" by UNESCO, has devoted himself to the study of folk art for many years and has collected a large number of paper-cuts, embroidery, ceramics, wood carvings, theater props… and even from India, Egypt, Africa, Maori , many ethnic handicrafts of the Eskimos. In Liang Baigeng's view, the closer something is to the land, the more primitive it is of divinity. This also confirms his insistence on "original innovation" – that is, returning to the origin of history, abandoning the knowledge system of human civilization, examining and observing the world with the purest and most curious eyes, and ultimately giving birth to a new aesthetic angle.

Liang Baigeng advocated that the study of art cannot be picky and requires multi-faceted absorption and digestion. "Eat everything, don't be greedy for anything." Diversified expression methods are not only artistic pursuits, but also a kind of emotional expression. Traditional good things must be preserved, but new good things must also appear. Innovation is a process with only a beginning and no end. Only by maintaining a humble attitude can we continue to learn and make progress. At the same time, we cannot be limited by the techniques and ideas of our predecessors, we must have our own independent expression. "Just like when cooking, you can't just follow the recipe. You have to be creative and constantly adjust the taste."

"Painting is to first create contradictions and then unify. You need to find concreteness from abstraction and order from chaos. In this process, self-liberation is the most important. Don't put too much pressure on yourself. Only when you can achieve relaxation Only in this state can one be as if there is no one around, which is what Buddhism calls all dharmas without self and all actions impermanent.”

There are many outstanding painters in Qingdao's traditional Chinese painting circle. In Liang Baigeng's view, everyone has their own pursuits in art, and it is impossible to easily define a "successful" example. The only thing I can do is to continue painting. Anyone who is familiar with Liang Baigeng knows that this senior figure in the painting world does not participate in social activities and his daily life is almost completely occupied by painting.

"For me, painting is not work, but a way of rest. I always have the passion and impulse to create in my heart, and I have always advocated that I finish today's work and draw it as soon as I have inspiration. If possible , I really want to live and paint for another fifty years.”

Time can age our appearance, but it cannot erase the passion within. The one-way life and the multi-directional art are intertwined, just like the hearty, wide-open ink and color in Liang Baigeng's paintings. With perseverance and innovation, we have the emotion to look back and the motivation to move forward.

Chunhongjiu Art Museum

October 2019

The Most Suspicious Goblin In Journey To The West Is As Powerful As Sun Wukong, And Even Guanyin Doesn’t Know His Origins

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The most unknown goblin in Journey to the West is the six-eared macaque.

The six-eared macaque has three monsters.

First, he has great ability but little reputation.

This monkey has the same magic power as Sun Wukong. The two monkeys can fight from the human world to the underworld, and from the underworld to the heavenly palace. This distance would take three or four days even if you take the Shenzhou 10 spaceship. There is no winner between the two monkeys. Looking at the full text of Journey to the West, those who are stronger than Sun Wukong have more or less backgrounds. Even if they can't talk about "Havoc in Heaven" like Sun Wukong every day, they are still somewhat famous, but the six-eared macaque is so low-key that even his back There is no one left, and even the powerful Guanyin Bodhisattva does not know his origin. Only Buddhist masters like Tathagata have such treasures, and Liu Er's reputation is really not in line with his ability.

Second, the equipment is all good for performance.

Make 3 Drifters with multiple skills_Make 3 Drifters with moves_Dream Journey to the West 3 Drifters to defeat evil Drifters

The costume of the six-eared macaque is the same as that of Sun Wukong, which is fine, because when the two monkeys fight, they both wear brocade and tiger skin skirts. It is not difficult for the six-eared macaque to get one of these when it kills a tiger. But his weapons and golden hoops are just like Sun Wukong, they are really unpredictable. Sun Wukong’s weapon is the Sea-Dinging Needle, also known as the Ruyi Golden Cudgel. Wu Chengen also let the six-eared macaque take a "Xixin Iron Pole Soldier" to practice pole dancing; the tight hoop is the magic weapon of Tathagata, and the six-eared macaque also got a similar one on his head When the hoop was put on, both monkeys still felt pain when chanting the tight hoop curse. Either Tathagata's patent had been copied, or the six-eared macaque's acting skills were really good.

Third, the motives are ambiguous and the actions are suspicious.

It is said that the six-eared macaque has such a great ability. It is not good to do anything. It has to be Sun Wukong. Later, he even copied Tang Monk Sha Seng and Zhu Bajie. He wanted to go his own way and left Tang Monk with no way to go. God knows what his motives were. . Moreover, since the monkey head knows that Tathagata's Dharma is boundless and the possibility of his mask being revealed is extremely high, he still dares to go to see Tathagata with Sun Wukong. Isn't this a trap for himself? His actions were suspicious.

Therefore, the world is full of legends about the six-eared macaque. Some say that the six-eared macaque was trained by Tathagata to replace Sun Wukong. In fact, it was Wukong who was killed; Some of the changes were just to show off to Monk Tang and let him know that learning Buddhist scriptures would not work without him; others were secretive and whispered that there was no such thing as six ears, but it was just the second monkey grid created by Sun Wukong's schizophrenia. Killing the six ears would mean elimination. Understand Wukong's "two minds". These major sects are still talking about words, taking out Mr. Wu Chengen's book and saying that they don't believe it. Turn to such and such page, the Tathagata said that they have two hearts fighting against each other, how to explain this "two hearts"; the Tathagata's "righteous desire" reveals, this There are three ways to understand the word "righteous desire"; Tathagata named the monkey's head "six-eared macaque", and the "six ears" are very particular…

In fact, these people think too much. Six ears is six ears, and he is also a very thoughtful monkey.

Make 3 Drifters with multiple skills_Make 3 Drifters with moves_Dream Journey to the West 3 Drifters to defeat evil Drifters

First of all, it is untenable to say that Tathagata replaced Sun Wukong. Sun Wukong was sentenced to five hundred years in prison on behalf of the universe by Tathagata at that time. He was also pardoned by Tathagata and released for meritorious service. Since joining the Westward Journey team, Sun Wukong has been conscientious and dedicated. Sun Wukong took care of everything from eating and fighting monsters. He never slacked off in his work and returned it to Tang Monk. To popularize general common sense in the Buddhist world, and to have a ring on his head that is controlled by Tathagata's special code and voice, Tathagata doesn't need to raise a fake monkey at all. If Tathagata wants the six-eared macaque to become a positive person, he can just let the six-eared macaque join the Western Heaven Buddhist scriptures team. There is no need to play such a big game.

Secondly, it is not very reliable to say that the six ears were transformed from Wukong's hair. Sun Wukong's vellus hair is quite impressive, but judging from several actual battles, Sun Wukong can only use it in large quantities at close range. There has never been a precedent for remotely controlling the vellus hair from a long distance; and there are still big flaws in the vellus hair transformation method, such as The battle with the Yellow Wind Monster shows us that the hair is afraid of wind, the battle with the Golden Horn King shows that the hair is afraid of fire, and the fight with King Si shows that the hair is afraid of the diamond. When the two monkeys are fighting, outsiders can reveal the truth about hair. Sun Wukong would be asking for trouble if he really did this.

What's more, Sun Wukong had been applying for political asylum from Guanyin Bodhisattva when he was homeless. Guanyin Bodhisattva guarded Wukong and made a prediction: "Your master will be seriously injured in an instant." It can be seen that Tang Monk had not received six ears at that time. Macaque's cold stick; later he testified to Wukong in court that "Wukong has been here for four days", ruling out the time when Sun Wukong committed the crime. No matter how great Sun Wukong is, he still has no ability to play tricks on his body across time and space under the nose of Guanyin Bodhisattva.

Make 3 The matching moves of Drifting_Made 3 Drifting Dual_Dream Journey to the West 3 Drifting to fight against the evil Drifting

It is said that the six-eared macaque was transformed by Sun Wukong's "two minds". I guess it is because I have watched too many Chinese-style horror movies that are not scary at all. I really believe that schizophrenia can give birth to a second body. I don't even bother to explain.

In short, the six-eared macaque is the six-eared macaque. Like the black bear spirit and the yellow-browed king, it is a little fairy on the journey to the west. The so-called doubts are just a coincidence.

First, let’s talk about where the six-eared macaque’s ability comes from. This question is as unreliable as asking where Sun Wukong came from. Sun Wukong jumped out of a stone. Because he is the protagonist, the process of his birth, learning skills, and joining the organization is described in such detail. The six-eared macaque is just a passerby in Journey to the West. Mr. Wu did not explain its origin because it was to save energy and reduce emissions and reduce ink consumption. Sun Wukong didn't have much trouble finding Patriarch Bodhi to learn skills, so it's not surprising that the six-eared macaque could find a good master to learn skills from. As for saying that the six-eared macaque is not famous, it is even simpler. It happened that this monkey had just come out of the mountain and the crime was committed before he could do a few earth-shattering good things. Or it could be said that the six-eared macaque imitated Sun Wukong just to do something earth-shattering.

Secondly, how to explain the equipment of the six-eared macaque. Let’s take a look at Journey to the West. The Golden Cudgel is just a weapon. Its only advantage is its heavy weight and its own voice control of its size. There are many weapons or magic weapons that can change in size in Journey to the West. The gold-horned and silver-horned gourd, purifying bottle, and golden rope can be changed at will. Zhu Bajie's rake can also be "changed with you and cherished", and Sha Monk's demon subduing staff can also be "changed with you". It may be as long or as short as I like." This shows that this is not a big deal. As for the weight of the weapon, who knows how heavy the Suixin Iron Soldier is, and judging from actual combat, the weight issue does not have a great impact. Bajie's rake is much lighter than Wukong's golden cudgel, and he can still fight Sun Wukong for nearly a night. . Sun Wukong captured the treasure in the Dragon Palace, and the Dragon King was not worth mentioning in Journey to the West. The origin of the six-eared macaque weapon is not mentioned in the original work. Maybe it was taken from some famous mountain or pool, or even rewarded by the master of the six-eared macaque. Maybe. As for the tight hoop, it is easier to explain. What the six-eared macaque wears is not a tight hoop at all, it is just an imitation. It is just that the six-eared macaque belongs to the acting school, and it is just the performance when he understood Sun Wukong. .

Make 3 The matching moves of Drifting_Made 3 Drifting Dual_Dream Journey to the West 3 Drifting to fight against the evil Drifting

When the Buddha said "two minds", it meant that Sun Wukong and Tang Monk had two minds. It was not some trick. The Buddha's "righteous desire" explanation was just to tell the life experience of the six-eared macaque, and he would not change his words just because the Bodhisattva came over. Otherwise, it would be incomprehensible to explain why the Bodhisattva can tell the truth even if he does not come, and why the Bodhisattva can tell lies when he comes. It would be even simpler to name it "Six-eared Macaque". How can this monkey "know everything before and after" if it is not good at eavesdropping?

What is the purpose of the six-eared macaque?

As mentioned before, the six-eared macaque is a fairy with magical powers but no reputation. Who is capable but doesn’t want to show off? So Liu Er needs a chance.

But its special function is to be able to detect things, know before and after, and see all things clearly. Sun Wukong easily won it because he made trouble in the Heavenly Palace. It does not want to copy such results. The path of self-reliance and gradual development is too slow, and it is not in line with the "monkey anxious" character of the six-eared macaque.

Just then an opportunity appeared out of nowhere. There was a conflict between Sun Wukong, a well-known fairy who belonged to the same monkey species as him, and Comrade Tang Sanzang, the leader of the westbound team!

Drifting to fight the evil Drifting_Create 3 Drifting multi-layers_Create 3 Drifting with moves

We know that before the Six-Eared Macaque incident, Sun Wukong had a fierce conflict with Tang Sanzang due to excessive violence. I really blame Sun Wukong for this matter. Even the Bodhisattva said to Sun Wukong, "According to my opinion, it is still your fault." Tang Sanzang drove Sun Wukong away. The punishment may be a bit serious, but it is definitely not an unjust, false or wrongful conviction.

Tang Sanzang drove away Sun Wukong who had made a mistake, leaving a vacancy in the Westbound team. The six-eared macaque took advantage of the situation and pretended to be Sun Wukong, confessed his mistake and asked to return to the team. This had two results: if Tang Monk accepted it, the six-eared macaque would directly take Sun Wukong's place, go to the west to become a Buddha, and then reveal his identity. Anyway, after the rice is cooked, how can the Buddha regret it? If Tang Monk does not accept it, it can cause a fight between the six-eared macaque and Sun Wukong. Through a fight that attracts the attention of all Buddhists in heaven and earth, it will attract the attention of all walks of life and become famous in one fell swoop.

As for going to the Buddha, the six-eared macaque is a little goblin with no criminal record and is good to the Buddha. As long as the Buddha has a kind heart, he can mix it up and become an advanced member of the Buddhist world. Therefore, the idea of ​​​​the six-eared macaque is a matter of gaining fame and fortune, and it will not lose money no matter what. This monkey head is the work of a ghost, not a reckless fool.

But against all odds, it didn't expect that Sun Wukong was too impatient, and the Buddha was killed just after he took it. The original work said that Buddha was "intolerant". If it was hairless or double-minded, why would Buddha be intolerant? At the same time, Buddha's intolerance also shows that the six-eared macaque's plan was only a little bit successful. Although the six-eared macaque is very scheming, it is a tragedy that it ended up like this after failing to achieve a shortcut!

Article by the official team of the History Hall: Kurayo Kazuo’s mistake