Full Text Summary
This book is a research work on Nuo, a mysterious and interesting ritual in traditional Chinese culture. The author is an expert who has studied folklore for many years. Through in-depth research and analysis, the book reveals the origin, development, and evolution of Nuo, and discusses its role and significance in different historical periods and cultural environments.
The important contents of this book include the prototype of Nuo, its classification, its relationship with ghosts and spirits, as well as its relationship with mainstream culture, Taoism, Buddhism, and Confucianism. The author provides detailed introductions to different forms and expressions of Nuo, such as Nuo drama, Nuo dance, Nuo music, and Nuo Masks, allowing readers to gain a deep understanding of this unique cultural phenomenon.
The unique selling point of this book is that it is not only an academic research work but also an interesting and inspiring read. Through vivid cases and detailed explanations, the author makes complex concepts and theories easy to understand and accept. At the same time, he also quotes many relevant literary works and famous sayings, making the entire book more rich and interesting.
For different reader groups, the author provides corresponding reading suggestions. For students and scholars interested in folklore, this book is an indispensable learning material; for general readers, this book is an interesting and inspiring read that can help them better understand traditional Chinese culture and history.
Chapter Speed Reading
Chapter 1: Nuo and the World of Ghosts and Spirits
This chapter discusses the content of "Nuo and the World of Ghosts and Spirits". It first introduces the origin and evolution of "Nuo", starting from the original meaning of the character "冕" (mian), and discusses the formation and development of the character "傩" (nuo). Then, it explains the connection between the naming and changes of the character "傩" and "ghost", as well as the status and role of the character "傩" in Chinese characters.
Next, the article analyzes in detail the connotations and influences of "Nuo". First, it starts with the origin and historical background of "Nuo", introducing the development process and evolution of "Nuo" as a cultural phenomenon. Then, it explains the role and significance of "Nuo" as a sacrificial ritual, as well as the relationship and influence between "Nuo" and opera.
Finally, the article summarizes the characteristics and value of "Nuo culture". It emphasizes that "Nuo culture" is an integral cultural system, including characteristics such as the bidirectionality of unity between heaven and man, the completeness of inviting gods and expelling ghosts, and the stability of belief in ghosts and gods. At the same time, it points out the influence and contribution of "Nuo culture" to traditional Chinese culture, as well as its value and enlightenment to modern society.
In summary, this chapter introduces in detail the content related to "Nuo and the World of Ghosts and Spirits", providing an in-depth analysis from aspects such as the origin and evolution of "Nuo", its connotations and influences, offering important references and guidance for us to better understand "Nuo culture".
Section 2: The Prototype of Nuo
This chapter discusses the historical origins and developmental evolution of Chinese Nuo culture. Through studying historical records about "Nuo" throughout the dynasties, the author discovered the prototype of Chinese Nuo culture, which includes basic characteristics such as specific time (end of winter, before La festival, New Year's Eve, or times of unusual events), specific objects to be expelled (ghosts, plagues, evil spirits, nightmares, cold air, etc.), specific intermediaries (Fangxiang officials), and specific costumes (masks, bear skins, dark clothes with red decorations, etc.). These characteristics were recorded as early as in "Rites of Zhou · Summer Officials" and have hardly exceeded this scope in subsequent developments. The author also details the evolution of Chinese Nuo culture, from pre-Qin sacrificial rituals to court ceremonies and folk customs from Han to Tang dynasties, and to the process of continuous self-adjustment and flexible evolution that has been passed down to later generations. At the same time, the author also points out that Chinese Nuo culture is not limited to the Yellow River basin (Central Plains), but in various ethnic cultural traditions, there are activities of inviting gods and expelling ghosts that have different external appearances but the same internal core, such as the "Nine Songs" from Chu culture recorded in Central Plains historical materials and the so-called "Shamanic culture" of northern ethnic groups that many scholars are constantly focusing on nowadays. In summary, this chapter provides a comprehensive and in-depth explanation of the historical origins and developmental evolution of Chinese Nuo culture, providing important references for us to better understand and recognize traditional Chinese culture.
Section 3: Classification of Nuo
This chapter discusses the development process and different types of Chinese Nuo culture. It first introduces the court Nuo, which is a large-scale ceremony held in the name of the state or court by the emperor or feudal lords and princes, with strong official characteristics. Next is the folk Nuo, including two forms: village Nuo and commoner Nuo, originating from traditional Chinese agricultural culture and social customs. Then there's the military Nuo, originating from religious rituals in the army, which gradually transformed into secular military activities. Finally, there's the temple Nuo, originating from Taoist and Buddhist religious rituals, gradually forming unique ritual forms and cultural connotations.
In describing the origin and development process of each type, the author provides detailed information on related cultural backgrounds, historical origins, ritual procedures, and symbolic meanings. For example, the origin of court Nuo can be traced back to court etiquette in the pre-Qin period, which was not only a national grand ceremony but also an important part of official promotion and celebration rituals. Folk Nuo, on the other hand, is closely related to Chinese agricultural culture and family concepts, seeking harvest and peace through various rituals and sacrificial activities. Military Nuo is inseparable from ancient Chinese martial culture and military systems, enhancing soldiers' combat effectiveness and confidence through various martial arts performances and deity worship. Temple Nuo is closely related to ancient Chinese Taoist and Buddhist beliefs, eliminating diseases and disasters through various rituals and prayers, while also being a way to express faith and awe.
In general, this chapter provides a detailed introduction and analysis of different types of Chinese Nuo culture, helping readers better understand and recognize this important cultural heritage. At the same time, it also provides a foundation and reference for subsequent research.
Section 4: Nuo and Ghosts and Spirits
This chapter discusses an ancient cultural phenomenon in Chinese history - Nuo, which is closely related to the belief in ghosts and spirits of early humans. The belief in ghosts and spirits holds that there are two worlds between heaven and earth: the world of humans and the world of ghosts and spirits. These two worlds are interconnected but have different characteristics. The human world is limited, fragile, and small, while the spirit world is infinite, strong, and vast. Humans have life and death, are lonely and short-lived, while spirits transcend life and death and are omnipresent. Therefore, people have a sense of awe and desire for prayer towards the world of ghosts and spirits.
Early humans divided the other world into good and evil, with those benevolent to humans called gods, and those malevolent called ghosts. These names carry both awe-inspiring and worrisome, fearful meanings. To protect their safety, people had to face the threats from the world of ghosts and spirits. They had two choices: one was to respect and drive away ghosts, the other was to drive away, expel, or even eliminate ghosts. The second method might offend the spirit world, so it was seen as the last resort.
Nuo reflects people's beliefs about the world of ghosts and spirits and ways of dealing with it. It is a special ritual that allows people to communicate with spirits through a series of masked costumes and performances, achieving an ideal state where humans become gods and gods become humans. This ritual elevates human power and brings down spirits, thus eliminating ghost plagues and ensuring peace in the human world.
In general, this chapter reveals the existence and significance of the belief in ghosts and spirits reflected by Nuo in Chinese history. It not only affirms the independence of the human world but also makes people feel fear and a sense of helplessness and drift. At the same time, it also demonstrates the mutual relationship between humans and the spirit world, as well as people's belief in karmic retribution for good and evil.
This chapter discusses the "incantation chanted during the 'knife-walking ritual'", introducing various rituals and festival celebrations in Chinese folk beliefs, as well as the folk culture and historical background behind them. The article first mentions "Heaven is powerful, Earth is powerful, please invite the divine master to walk on the blade, the disciple observes the master arriving in person, passing on the law master to quickly descend, the disciple today invites you, a thousand jin and ten thousand dan you should follow, followed by the 'rain' head 'ghost' foot law taboo symbols", explaining in detail the meaning and usage of the incantations and law taboo symbols in the "knife-walking ritual" ceremony. Next, the article introduces various festival celebrations in folk beliefs, such as "New Year", "Lantern Festival", "Qingming Festival", "Dragon Boat Festival", "Mid-Autumn Festival", "Double Ninth Festival", etc., as well as their historical origins and celebration methods.
In addition, the article also mentions the "openness" and "inclusiveness" that exist in folk beliefs, considering this a unique cultural phenomenon and an important component of Chinese culture. The article points out that "all these objects of folk belief that we roughly group together are obviously chaotic and disorderly, seeming to include everything from the three teachings and nine schools: Confucius, Bao Gong, Taishang Laojun, the Jade Emperor, Maitreya, Wuxian...", illustrating the diversity and complexity of folk beliefs. Finally, the article summarizes the influence and significance of folk beliefs on Chinese culture, considering it "a dual, a dual life, that is: the secular world and the world of ghosts and spirits coexist without contradiction", being an important component of Chinese culture.
This chapter discusses the history and characteristics of Nuo drama. It first introduces the scene of the Yi village in Weining, western Guizhou plateau, showcasing the performance of the ancient Yi Nuo drama "Cuo Tai Ji", which combines the life, labor, reproduction, and sacrificial behaviors of early people, attracting the attention of the drama circle and experts. Then it introduces the scene of a mountain village in southeastern Guizhou, showing the chanting and dancing of masked Nuo altar priests, a performance form that integrates Confucian, Taoist, and Buddhist cultures as well as historical and life events, giving Nuo drama rich content and form.
The chapter also talks about the origin and development of Nuo drama. It points out that Nuo drama originated from ancient Nuo sacrificial activities, with the initial performance forms often aimed at inviting gods and expelling ghosts. As time passed, it incorporated more cultural elements and historical events, making its content more diverse and colorful. Moreover, with social changes, Nuo drama also began to have more elements of entertaining others and self-entertainment.
Finally, the chapter emphasizes that Nuo drama, as a form of theatrical performance, is not only a primitive belief method in rural China but also an artistic activity method primarily based on theatrical performance. Although some plays are related to religious ceremonies, they still maintain content related to the belief in ghosts and spirits associated with religious ceremonies. Therefore, Nuo drama, as a form of masked drama, possesses basic theatrical characteristics and is in a state of "pre-drama".
In summary, this chapter provides a detailed introduction to the history, characteristics, and significance of Nuo drama, offering important references for us to understand this ancient art form.
This chapter discusses the origin and development of Nuo dance, as well as its status and role in traditional Chinese culture. The article first introduces what Nuo dance is, pointing out that it is a performance behavior lacking storytelling, often performed as an intermediate form of Nuo drama. Then, the article lists some important Nuo dance performances in history, such as the Nuo sacrifice activities of Fangxiang officials in the Zhou Dynasty, the grand Nuo activities in the Han Dynasty, and so on. These performances not only included dance but also singing and music elements.
Next, the article provides a detailed introduction to the steps and gestures of Nuo dance, pointing out that they have mysterious meanings and need to be performed strictly according to prescribed methods. The article also mentions some common steps and gestures, such as "stepping on human hexagrams", "hook, press, bend, stretch, twist, turn, spin, flip", and so on. These steps and gestures are used to convey information and complete Nuo affairs.
Finally, the article emphasizes the important status and role of Nuo dance in traditional Chinese culture, pointing out that it is part of religious sacrifices and entertainment activities, and at the same time, it is an important research object in the fields of dance history, folk dance, and modern dance. The article also mentions that the structure and artistic forms of modern local Nuo dances are becoming more complex, but they still maintain the primitive functions and intrinsic life value of the original.
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