Lift Pavilion (core, iron branch, floating color) (Kuancheng back pole)

Name of China's national intangible cultural heritage: Taige (core, iron branch, floating color) (kuanchengbeigan)

Applicant: Kuancheng Manchu Autonomous County, Hebei Province

Item No.: 994

Project No.: Ⅹ - 87

Time of publication: 2008 (second batch)

Category: folk customs

Region: Hebei Province

Type: new item

Applicant: Kuancheng Manchu Autonomous County, Hebei Province

Protected by: Kuancheng Manchu Autonomous County Cultural Center

Brief introduction of Taige (Xinzi, Tiezhi, piaose) (kuanchengbeigan)

Applicant: Kuancheng Manchu Autonomous County, Hebei Province

Also known as "lift angle", "lift song", "lift high", "naoge", "naoge" and "Gaozhuang", lift Pavilion is a form of folk Parade Performance in traditional festival activities. It originated from the activities of meeting gods in the Central Plains, and then gradually spread to the southeast coast and Northwest China. It was popular for a time in the Qing Dynasty. In the process of spreading, it combined with the specific situation of different places and formed different characteristics.

In the activities of raising the pavilion, several children dressed as ancient opera characters, formed wonderful shapes according to the plot, fixed on the iron pillars and supports of the square attic, and carried by people. The traditional modeling of the pavilion is mostly taken from such plays as Liang Shanbo and Zhu Yingtai, Tian Xianpei, the legend of the White Snake, journey to the west, Zhaojun's leaving the fortress, blue bridge club, Yellow Crane Tower, fishing and killing the family. The height of the traditional modeling is about 3 to 5 meters. The attic has 3 to 5 floors. Generally, there are 1 person on each floor, 4 people on the bottom floor, 5 to 6 people on the middle floor, and 1 person on the top floor. During the pavilion tour, four lofts are generally used, and six or even eight lofts are often used. Each loft is carried forward by four or eight people.

It is popular among the people for a long time because of its beautiful shape and spectacular pictures. With the acceleration of the modernization process, the activities of raising the pavilion are gradually declining, and there is no successor in the production skills of raising the pavilion in rural areas, so the relevant rescue and protection work is imminent.

Kuancheng Beigan, commonly known as "Beige", mainly spreads in the North Village of Kuancheng town in Kuancheng Manchu Autonomous County of Hebei Province. According to the old artist's recollection, Kuancheng Beigan began in the Qing Dynasty and flourished in the period of the Republic of China.

There are a lot of performers in Kuancheng. The traditional back bar requires that the performance is not repeated within three days, and the twisted children are changed every day. In history, temple fairs were jointly held by the government, business and people. In difficult times, they provided financial support for the activities through chamber of Commerce and individual fund-raising.

Kuancheng's back pole props are exquisitely made, and the upper and lower corners are extremely fastidious. For example, the abacus in suanliang dengdian, the wind and fire wheel trampled by Nezha in huodongtian, and the bright red Shoutao in Magu xianshou are all very lifelike and ingenious. The average weight of Kuancheng's back pole is about 26.5 to 27 kg. A good back hand can carry up to three or four twisted children with a load of more than 100 kg. At present, the frame rods are all iron frames, and the upper and lower corners are based on the premise of free movement, safety and reliability. The binding requirements of the upper and lower rods are very high, and the friction and extrusion must be avoided as far as possible. During the performance, a number of people who beat forks and picked benches followed closely, each performing his duties with clear responsibilities.

Kuancheng back pole has a long history and unique style. At present, most of the 13th generation of old artists have passed away one after another, and only one old artist who is nearly 80 years old is left to inherit the back bar technique, which is in urgent need of protection.