Liu Sanjies Ballads

The origin of folk songs

To explore the origin of Liu Sanjie's folk songs, we can start with the origin of Zhuang ethnic song festivals. Gewei is a platform for the dissemination of Liu Sanjie's folk songs. Without this platform, Liu Sanjie's folk songs are difficult to inherit.

There are several views in the academic community regarding the origin of the Song Fair, and one consensus is that the Song Fair of the Zhuang ethnic group originated from primitive society. Gewei is just a platform for showcasing folk songs. As the main body of the Song Fair, Liu Sanjie's folk songs should have sprouted before the emergence of the Song Fair.

The Zhuang ethnic group originated from the ancient Chinese ethnic minorities of Xi'ou and Luoyue. Due to the uneven historical development of various ethnic groups, especially due to regional reasons, while the feudal culture in the Central Plains was flourishing, the economy and culture of Lingnan, where the ancestors of the Zhuang ethnic group lived, were still very backward.

According to Volume 2 of Zhang Hua's "Records of Natural History" during the Western Jin Dynasty, "There were wild women in Kounan who searched for husbands in groups... naked and without clothing." The term "Rinan" here refers to the Rinan County established by the Western Han Dynasty, located in Ding. Today, in Vietnam, it can be seen from the records of "naked and without clothing" and "searching for husbands in groups" that people in this area still lived in primitive society and retained the dual marriage system of clans or tribal clans. So, these women cannot marry men within their clan and must collectively go to other clan tribes to find husbands. This kind of collective search for husbands is a prerequisite for the existence and development of the Song Market.

developing process

Before the Tang Dynasty, the custom of "marriage without matchmaker" and "singing for marriage" was still popular in Zhuang areas. People used songs as a medium to choose a spouse, and the Song Market became an ideal place for young men and women to chat and choose a spouse.

After the Song Dynasty, the Zhuangxiang Song Market continued to develop. Many works, such as Zhou Qubei's "Lingwai Daida" in the Song Dynasty, "Taiping Huanyu Ji" in music history, Wang Ji's "Ri Xun Shoujing" in the Ming Dynasty, and a large number of local chronicles, all have records of the Song Market. Some poems and writings vividly describe the prosperity of the Song Market. For example, Kuang Lu's "Chiya" in the Ming Dynasty wrote: "Those who gather together to form a village are called caves. During the Spring and Autumn Period, the women of the cave were known for their flower, fruit, sheng, and xiao performances on famous mountains. They used five threads of thorns to form a knot in the heart and a hundred knots of mandarin ducks. They selected the few who were good in the cave and accompanied the daughters of the cave officials, known as Tianji Squad. The rest were three, three, five, and five, picking up fragrant flowers and picking up green flowers on the banks of the Jiaoshui River. They sang to the music of two men and three, five groups, and went there to sing. If they found each other, they sang to Jingri, untied their clothes and tied their belts, and gave each other away. This indicates that during the Ming Dynasty, the custom of Zhuang people singing for marriage was still continuing, and the song fair was very prosperous. Singing Liu Yi's songs was the main way for young men and women to.

In the Qing Dynasty, the Qing Dynasty scholar Lu Zuofan wrote in his book "Yue Liang Nian Ji" that the customs in Zhuang Township were still focused on singing, wearing heavy makeup and beautiful clothes, crossing the mountains and crossing the paths, and singing in the deep forests and bamboo groves where men and women were mixed. When singing, the clouds did not flow, and it was called Hui Lang. At this time, the Zhuang Township Song Fair was larger in scale, with lovers meeting and enjoying songs as a medium. The trend of using songs as a medium seemed to be more prosperous, and the flourishing development of the Song Fair continued until the 1950s.

The dissemination of Liu Sanjie's folk songs was not smooth sailing. In the Ming and Qing dynasties, the "returning the land to the flow" policy was implemented in the Zhuang ethnic areas, and the feudal ruling forces represented by imperial power penetrated deep into the female ethnic areas. The dissemination of Liu Sanjie's folk songs conflicted with feudal ethics. Feudal rulers regarded the practice of Zhuang men and women "choosing a spouse according to songs" as a vulgar behavior and repeatedly banned it. They tried to prevent the dissemination of Liu Sanjie's folk songs. According to the "Annals of Zhen'an Prefecture", "the families of the local people married frugally, followed rituals without extravagance, and the trend was close to ancient times. However, the style of the Song Market still followed the custom of Yan people jumping and shaking the moon. Although it was strictly prohibited, it could not be completely reformed... It was quite a bad trend. Li Yanzhang, the governor of Si'en in Guangxi during the Qing Dynasty, also posted a notice prohibiting song festivals. At the end of the Qing Dynasty, officials of Donglan Prefecture believed that Liu Sanjie's songs were "romantic songs". In order to ban song fairs, they captured local Zhuang female singers, painted their faces with paint, and paraded around the streets forever. Liu Sanjie's songs were repeatedly banned. The more people who banned them, the more singers faced the government's attack and persecution, and angrily sang: "Big stars in the sky govern small stars, marshals on the ground govern general soldiers, and only prefectures govern Supervisor of the County, who dares to control my singers!"

In the year of the Republic of China, the government was still banning songs, and there were multiple incidents of song bans in Guangxi. "Folk songs have been sung by the people since ancient times, and there is no reason for the ban on singing mountain songs." Faced with the rulers' continuous ban on song movements, Liu San's group of songs have been circulating, and the song fair in Zhuang Township has developed with the development of the times.

Topic division

Singing mountain songs, singing here and there, mountain songs are like the spring river water, not afraid of rapids and many bends... "This is a song sung by Liu Sanjie. Perhaps due to the popularity of Liu Sanjie's folk songs around the world, Zhuang folk songs are named "Liu Sanjie's folk songs". As sung in the above mountain songs, Liu Sanjie's folk songs are like the spring river water, with a wide range of content, including astronomy and geography, myths and legends, farming, daily life, ethics and morality, love and marriage, and other aspects. According to the theme, Liu Sanjie's folk songs can generally be divided into eight categories: ancient songs, labor songs, current affairs songs, love songs, life songs, ritual songs, historical legend story songs, children's songs, etc. Here, we will focus on introducing love songs, life songs, and ritual songs.

Various forms of love songs

In Liu Sanjie's folk songs, there are the most love songs and the highest artistic level. These love songs can be divided into arranged songs, sighing love songs, and wedding love songs.

Long form arrangement of songs

Pai Ge is called "Huan Pai" or "Shi Pai" in Zhuang language: Pai Ge in Liu Sanjie's folk songs belongs to the free ballad style. Although there are no strict restrictions on the number of lines and words, it is different from the impromptu creation and singing of Xiao Ling and short songs. The length of the song arrangement is quite long, ranging from tens of lines to hundreds or even thousands of lines. The common arrangement of songs combines narrative and lyrical elements, and can be sung in rows. At the Song Market, arranging songs can be performed continuously for several days and nights.

The arrangement of songs in love songs is mostly traditional mountain songs, with thoughts of opposing feudal ethics and advocating for marriage freedom running through the lines and lines; Expressing the beautiful spirit of Zhuang young men and women who love life and pursue individual liberation. Representative works of traditional song arrangement include "Nine Farewell Songs", "Ten Farewell Songs", "Ten Miles Farewell Brother", "Five Geng Songs", "Five Geng Thinking of Sister", "October Thinking of Sister", "October Songs", "December Songs", "Ten Talks Songs", "Ten Hate Songs", etc. These love songs can be divided into the following three categories:

One is lovesick songs, such as "Thinking of My Sister in October" and "Thinking of My Sister in Five Nights". Among them, "Thinking of My Sister in October" is sung from January to October, telling the story of Brother Qing's longing for her: "In September, I feel anxious about my sister, but in October, I have a path to miss her, I don't know if my sister is connected or broken, and my heart is even more anxious about the lamp grass on the stove." It reflects Brother Qing's infatuation and infinite concern for his sister. The TV series' Wu Geng Xiang Mei 'portrays a man's lovesickness in a more specific and delicate way, giving people the impression of missing each other every day, tossing and turning, and unable to sleep at night: he thinks of Wu Geng from the first to the fifth,' Wu Geng wants his sister, the moon sinks twice, the cold wind blows alone, and my brother died of illness from catching a cold, turning into a firefly and going to my sister's door. 'It seems that he is ready to dedicate himself to love.

The second is the song of meeting, among which the most typical is "Wugeng Ge". In the song, it is sung: "One change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change, one change Difficulties encountered during the meeting: At one hour, Brother Qing came outside the window; But as my daughter grew older, I kept a close eye on her and listened attentively to her outside the window all night long; The infatuated young man patted the window several times, but his mother heard him and asked him questions, which scared him so much that he dared not break into the girl's house. The young man went from the first to the second shift, and from the second to the third shift. The girl finally tricked her and quietly opened the window, but the young man still didn't dare to act rashly. It wasn't until four o'clock that the young man entered the girl's room. He hadn't finished what he needed to say or do yet, and it was already dawn. The lovers were about to part ways. The song "Wugeng Ge" is a masterpiece in song arrangement, with only a dozen or so lyrics telling the story of lovers meeting overnight, vividly portraying the psychological state of a couple who are both anxious and eager to meet.

The third is the song of farewell, such as "Nine Farewell Songs" and "Ten Farewell Songs". Missing each other, meeting each other, and sending each other off are a complete process of romantic love: a couple who have lovers, the pain of missing each other, the difficulty of meeting each other, and the helplessness and melancholy of parting ways. Brother Qing sent his sister away one after another, nine or ten times, but it was still difficult to part ways. In the song "Nine Farewell Songs", it is sung: "Sending off my younger sister to the corner of the house, the thunder god cries repeatedly in the sky, and Brother Qing hopes for rain from all over the world. Please show mercy to my younger sister and stay for a few days." "Sending off my younger sister to Datiandong, the two are separated and empty at both ends. Now that I am separated from my younger sister, I don't know when we will meet again." I have already sent my younger sister outside the village, but it is difficult to see her again, and it is even more difficult to meet her. "When I see my younger sister walking away, I stop and look back at Brother, tears are streaming down my face. Brother cannot let go of my younger sister, and sister cannot let go of brother." The whole song is full of separation. Similarly, the mood of "Ten Farewell Songs" is much higher. At the end of the song, it sings: "Ten Farewell Sisters arrive at the village, where peach blossoms are fresh and fresh. The peach trees bloom, and we are both happy. The peach trees bear fruit, and we are reunited." The affectionate brother here seems to have taken a peace of mind, and the song is full of confidence and longing for a better future.

A mournful and indignant lamentation love song

Sighing love songs are mountain songs sung during heartbreak and marital setbacks. In the folk songs of a nation, there are a large number of folk songs sung during heartbreak and marital setbacks, which can form their own system and become an important branch of folk songs, which is rare in other ethnic groups. This shows the richness of Liu Sanjie's folk songs.

Lament Love Song is a bitter song in Zhuang love songs, which is mostly filled with sadness and resentment. Representative works of Lament Love Song include "Lament Love", "Lament December", "Lament Twelve Hours", "Lament Five Nights", "Chili Stewed Bitter Gourd", "Eighteen Girls and Three Year Old Men", etc. Lament Love "depicts the emotional journey of a woman from her beloved brother's illness to death. The love song is sung from the first day of junior high school to the fifteenth day, with the first half depicting the process of visiting my beloved brother, and the second half depicting the inner struggles that a devoted woman experiences after his death. The lyrics throughout the song are heart wrenching. Sighing in December "can be seen as a elegy for unrequited love. The song describes a man's experience of missing his lover for a year, from" In the beginning of spring, there is a lot of rain, and tears of sadness flow like a river when he misses his sister "to" In December, missing his sister for another year is like calling a golden lotus ". Although he has experienced the torment of unrequited love in his heart, he still fantasizes about it in the end. The song "Braised Bitter Gourd with Chili Pepper" depicts a man's feelings after a breakup: "The moon shines on the high slope, and his beloved sister gets married; my brother's heart is bitter and spicy, and chili peppers stew bitter gourds." In traditional sighing songs, there are also many songs that expose the evil of feudal marriage system and lament the tragic fate of women. For example, "The Eighteen Girls, Three Year Old Boy": "The Eighteen Girls, Three Year Old Boy, wash their feet and carry them to bed at night. When they sleep until three o'clock, they have to eat milk. I am a wife, not a mother. I dress up early to see her beauty, a hibiscus in the mirror, so good that the hibiscus has no bees, wasting the spring flowers so red. The Eighteen Girls, Three Year Old Boy, wash their feet and carry them to bed at night, not to see your parents, you are The tragedy caused by the vulgar system of child brides in old China is deeply exposed.

Hot Wedding Song

The marriage and love songs here specifically refer to the songs sung in the "Wild Song Market", which are love songs sung by young men and women when they talk about love and choose a partner. There are two kinds of singing of this kind of marriage and love songs. One is singing during large-scale festivals, such as the Spring Festival, the March 3rd Song Festival, the Zhongyuan Festival, the Mid-Autumn Festival and other folk festivals. Young men and women will take the opportunity to travel on the wild, make friends and choose partners by singing marriage and love songs; Secondly, during the agricultural off-season, nearby young men and women will take the initiative to make plans to go to the hillside, enter the forest, or go to the river to sing mountain songs, exchange ideas, and feelings.

Marriage and love songs belong to mountain songs sung in pairs, usually with a longer length and composed of multiple parts. Firstly, there is the act of "leading singing", which involves using one's own voice to elicit the voice of the other party; Continuing with the song 'First Meeting', also known as' First Encounter Song ', they would ask each other where their home is, who they have, whether they are married, and so on. Once the other party's situation is clarified, they will sing a probing song to test their attitude. If the other person is interested in you, you will sing a hymn of praise and constantly praise them, further winning their favor. When both parties sing to a certain extent, the man will make a request for love to the woman. If the woman is also interested, both parties can continue singing, sometimes singing all night long. When singing to the point of mutual agreement, both parties will sit shoulder to shoulder and exchange tokens. The tokens are prepared in advance and given by the man to the woman, usually jewelry, cosmetics, and other things that the girl likes; The things that the woman gives to the man are usually self-made shoes, embroidery, etc. When parting ways, both parties will sing a "Farewell Love Song": "Farewell, farewell to death is easy, farewell to life is difficult, only complaining about the moon coming out quickly, only hating the sun rushing down the mountains. Farewell, when you come, your footsteps are as light as paper, but when you go back, your footsteps are as heavy as mountains." Then they will agree on the time and place of their next date with the song.

Rich and colorful life songs

People living in rural areas cannot do without songs in their daily lives, and everything they encounter can be told through their singing. They sing "Chrysanthemum Song" when they see chrysanthemums, "Lotus Song" when they see lotus flowers, and "Camellia Song" when they see camellias. They sing all the flowers they see and sing "December Flower Song" loudly. As for fruits, vegetables, mosquitoes, birds and animals, spring, summer, autumn, winter, thunder and lightning, wind and rain, wearing decorations, eating and drinking, there are all folk songs sung. And in Liu Sanjie's folk songs, the most exciting ones are those that showcase folk customs and traditions.

In Zhuangxiang, when guests come to the house, they should offer tea and sing the "Tea Offering Song". After drinking tea, you should drink alcohol and sing the "Toast Song": "After serving tea, bring the wine and sieve a cup of light wine to the high platform. Today, drink in pairs, plant peonies early and watch them bloom at night." Drinking alcohol without vegetables is not enough, but when eating vegetables, you should sing the "Toast Song". After the guests drank and ate, they couldn't help but praise the other party: "The guests praised the chef, praised the chef for making it fragrant, praised the host for making it good, and had nine bowls of meat dishes and one bowl of soup." When a new house was built at home, relatives and friends came to help, and everyone had to sing the "New House Song": "Congratulations to the courtyard to the main hall, the red table and red chairs welcomed the guests, the red chairs were covered with tiger skin mats, and the red table was decorated with ten thousand flower vases. Congratulations to the upper hall He Zhengliang, the main beam was eight zhang long and red, carved with blessings, longevity, and dragons and phoenixes to come to the sunrise..." Even when a family member passed away, they had to sing, such as "Before the Spirit Song" and "Crying for the Spirit". Songs such as' Song of Crying Husband ',' Song of Crying Wife ', and so on.

A unique and interesting ceremonial song

In Zhuang Township, various ceremonies are held throughout the year. Throughout one's life, one must encounter various rituals. Whatever ceremony is held, what kind of ceremony song should be sung. On the third day of a person's birth, relatives and friends come to congratulate them and sing the "Three Dynasties Song": "Step into the main house with one foot, offer cigarettes and two teas, drink tea to celebrate the birth of a precious child, and smoke to congratulate the bride." At the full moon, a ceremony is also held, singing the "Full Moon Song": "As soon as you enter the door, you enter the hall twice. The in laws warmly welcome you, and the grandmother and aunt all come to visit your grandson." The child is seven years old and is going to school. In the past, on the first day of school, children were carried to school by their father or uncle. When the child arrives at school, a ceremony is held for enrollment, and the song "Breaking the Mist" is sung: "Candles shine brightly on the school, the father carries his son to the school, kowtows to the strict teacher to accept his disciples, and reads articles day and night." In this way, the child takes the first step in life through the song "Breaking the Mist":

Under the influence of the beautiful Liu Sanjie folk songs, the child grew up day by day and learned to sing love songs. When they met the opposite sex they liked, they had to sing songs such as "First Encounter Song", "Exploration Song", "Questioning Song", followed by "First Love Song" and "Deep Friendship Song". Finally, we will hold a love making ceremony with our sweetheart. At the second love making ceremony, we will sing the "Love Making Song": "The jade table has a gold cup, and the red and blue wine is bought back.". The wedding of the Zhuang ethnic group is particularly lively, with constant laughter and singing. There are countless various ceremonial songs, such as the custom of the Zhuang ethnic group, where the bride holds a ceremony in front of her door where her uncle plants a hairpin for her nephew. At this moment, we need to sing the "Song of Hairpin Flowers": "Candles light up in front of the hall, my uncle and nephew plant silver flowers, tomorrow the sedan chair will pick up the lady, the mandarin ducks will sleep together to celebrate our family, we worship the heavens and the earth, we worship our parents in front of the hall three times, we worship our mother and uncle in front of the hall four times, thank our five friends and six relatives." After getting married, we take care of the family and have children, then take care of our husband and children, and sing endless ritual songs.

The beautiful flowers bloom fresh and fresh, the mountain song sings like a river. Spring comes and autumn, the flowers bloom endlessly, and the good song sings sweet in the heart. "The rich and colorful Liu Sanjie's folk songs have become integrated into every corner of Zhuang people's life and a part of Zhuang people's lives.

artistic characteristics

Liu Sanjie's folk songs contain rich emotions and outstanding poetic wisdom from thousands of years. Due to their lightness, flexibility, and simple form, they are relatively easy for the general public to grasp, expressing their genuine feelings about real life and revealing the emotions that stir in their hearts. Therefore, the emotions are genuine and deeply moving.

Liu Sanjie's folk songs are infused into the weddings, funerals, and various festive rituals of the Zhuang ethnic group, and are closely related to people's daily lives. The skillful use of metaphorical techniques and the oral transmission of singing customs in folk songs showcase the distinctive artistic characteristics of Zhuang folk songs with beautiful style and diverse forms. The traditional context of folk songs is clear and passed down from generation to generation, forming a collective way of thinking. It is a collective consciousness formed by people on the basis of long-term production and life practice, accumulating many ancient concepts and primitive images, with rich and profound connotations. The spiritual core of Liu Sanjie's folk songs is Zhuang culture, and its external form is presented through Han culture, making it a symbol of the integration of diverse cultures.

Looking at the eight narrative long songs of Liu Sanjie's folk songs, except for the theme of "Lament for Self Portrait", most of them are sung on festive occasions. For example, "Zhang Sijie and Li Wenwei" and "Dragon Girl and Han Peng" are usually performed on the evening of their wedding. Liang Shanbo and Zhu Yingtai "is usually performed on the wedding night. Dong Yong and Five Sisters, Meng Jiangnu and Wan Xiliang, and Lv Mengzheng are usually performed during festive occasions. Although the specific occasions or times for singing these narrative long songs may vary, whether it's weddings or birthdays, they are all festive occasions. And usually it is performed before the male female duet of love songs, which means that the performance of narrative long songs is not the main program of the "carnival night", it is just a prelude, and the male female duet afterwards is the highlight.

Inheritance value

Liu Sanjie's folk songs, as a product of the spiritual life of the Zhuang people, an important carrier of Zhuang traditional culture, and a concentrated expression of diverse cultures, are closely related to Zhuang life in cultural form, interdependent and inseparable, and have become the soul of Zhuang.

Liu Sanjie's folk songs have had a profound impact throughout China and even the world, demonstrating the charm of the living culture of traditional Chinese folk art. It not only has cultural history research value in witnessing national history and emotional expression, but also has research value in ethnology, anthropology, sociology, aesthetics, and other fields.

Current situation of inheritance

With the disappearance of the social foundation of the traditional Zhuang ethnic group's reliance on songs for selection, as well as the impact of dominant culture and new forms of entertainment, there is a lack of successors to Liu Sanjie's folk songs, which are facing the danger of extinction.

Inherited figures

Xie Qingliang, male, born in January 1953. In December 2012, Xie Qingliang was selected as a representative inheritor of the fourth batch of national intangible cultural heritage projects and applied for in Yizhou City, Hechi City, Guangxi Zhuang Autonomous Region. Project application: Liu Sanjie's folk songs.

protective measures

In 1984, the People's Government of Guangxi Zhuang Autonomous Region officially designated March 3rd as the national festival of the Zhuang ethnic group - the "March 3rd" Song Festival. During the Song Festival, in addition to traditional Song Fair activities, there will also be activities such as grabbing fireworks, throwing embroidered balls, touching Easter eggs, performing divination games, dancing colorful dragons, participating in poetry competitions, watching movies, performing martial arts, and performing acrobatics.

On December 24, 2016, Yizhou City held the "Liu Sanjie Ballad" ten thousand person singing event at the Citizen Cultural Park with the theme of creating and enhancing the cultural brand of Liu Sanjie's folk songs, and Liu Sanjie's hometown feelings. Through forms such as duet, duet, group singing, and choir, the event stimulated the enthusiasm of the city's people to love their country and hometown, and protected Liu Sanjie's folk songs.

Xie Qingliang, the representative inheritor of the national intangible cultural heritage project, is committed to teaching Liu Sanjie's folk songs to more people. Whenever he has time, he teaches the children in Dongping Village to sing and often spreads mountain songs through online platforms.

In November 2019, the "List of Representative National Intangible Cultural Heritage Protection Units" was announced, and the Liu Sanjie Cultural Inheritance Center in Yizhou District, Hechi City was awarded the qualification of "Liu Sanjie Ballad" project protection unit.

On October 31, 2023, the "List of Representative National Intangible Cultural Heritage Protection Units" was announced. The original protection unit of the "Liu Sanjie Ballad" project has undergone significant changes in its nature, organization, and other aspects, and does not meet the basic conditions for protection units. Therefore, the protection unit has been re identified as the Liu Sanjie Cultural Inheritance Center in Yizhou District, Hechi City (Yizhou District Intangible Cultural Heritage Protection Center in Hechi City).

On the morning of April 18, 2018, the main venue of the 2018 "Zhuang March 3 · Bagui Carnival" opened at the Guangxi Ethnic Museum. The national representative inheritor of the "Liu Sanjie Ballad" recited prayers and praises.

According to legend, Liu Sanjie was born in the first year of the Shenlong reign of Emperor Zhongzong of Tang (705 AD). She was exceptionally intelligent from a young age, skilled in singing and dancing, and was regarded as a "goddess" by people. Liu Sanjie and Li Xiaoniu, a wood selling singer from the same village, have been childhood sweethearts and have long admired each other. But the local wealthy man Mo Huairen tied them up and threw them into the river under the pretext of violating etiquette. Li Xiaoniu drowned, while Liu Sanjie narrowly escaped and drifted along the river to Liuzhou. She was then rescued by an old fisherman and adopted as a righteous daughter. Later, Liu Sanjie became famous for singing in Liuzhou city. Upon learning of this, Mo Huairen invited three singers to compete with Liu Sanjie in a song competition, but lost and returned home. Mo Huairen became angry and embarrassed, so he ordered his subordinates to tie up Liu Sanjie and put her in a pig cage, sinking her to the bottom of the river. After Liu Sanjie's death, two large carp were offered as sacrifices at her grave. During the ceremony, the grave suddenly cracked open, and Liu Sanjie jumped out and flew up to the sky on one carp, while the other carp turned into "Yufeng Mountain".