Book Introduction
Full Summary
This book is a monograph on Guizhou Nuo culture, written by the author. It mainly introduces the classification and origins of Nuo Masks in Guizhou region, and explores the natural forms in Nuo mask designs. Additionally, the book provides a brief analysis of Nuo drama in Guizhou and examines the relationship between "Nuo altar shamanic sounds" and the "shamanic manifestation theory" of music origins.
An important content is the "cultural mutual interpretation of 'Nuo' and 'Li' (Ritual)". This chapter delves into the connection between traditional etiquette and Nuo culture in Guizhou, revealing their significant roles in cultural inheritance and development. Through these explanations, readers can gain a deeper understanding of the culture and folk customs in Guizhou.
The uniqueness of this book lies in its combination of traditional culture with modern academic research, offering both depth and breadth. Its target audience is primarily readers interested in Guizhou's culture and history, as well as professionals engaged in related research.
For readers who want to gain an in-depth understanding of Guizhou's culture and history, this book is highly recommended. By reading it, readers can better comprehend the culture and folk customs of Guizhou, thus expanding their horizons and knowledge.
Chapter Quick Read
**Page 30: Classification and Origins of Guizhou Nuo Masks**
This chapter discusses the classification and origins of Nuo masks in Guizhou. It details three types of masks: the Yi ethnic "Cuoteji" masks from northwestern Guizhou (Weining), the "Dixi" (Ground Opera) masks from central Guizhou (Anshun area), and the "Changxi" (Singing Opera) masks from southeastern Guizhou. The "Cuoteji" masks are used for ancestor worship and are considered manifestations of ancestral spirits. The "Dixi" masks are used in theatrical performances, symbolizing dramatic characters. The "Changxi" masks are used in religious ceremonies, representing divine presence. The chapter explores the origins and development of these masks, as well as their status and significance in local culture and tradition. It also introduces the craftsmanship and design features of the masks, including materials, colors, patterns, and decorations. In summary, this chapter provides a comprehensive introduction to the classification of Nuo masks in Guizhou and their cultural background, which is significant for understanding traditional Chinese culture and folklore.
**Page 47: My Observations on Natural Forms in Nuo Mask Designs**
This chapter discusses the research on various types of Nuo mask designs across China from the book "Chinese Nuo". The article explores four aspects: the gentle or dramatic regional topography, the overall or fragmented nature, the warm or cold climate, the abundance or scarcity of water resources, the fertility or barrenness of the soil, the sparse or dense vegetation, and the natural patterns formed under these conditions, which are referred to as the natural forms of the region. The article points out that natural forms have a profound influence on the formation and development of local culture, and also determine the design of local masks. Taking Guizhou Province as an example, the article details the carving and coloring characteristics of four types of masks in the region, including the simple and rough masks of the western tribes, the colorful masks of the southern tribes, the humorous masks of the northeast, and the unique designs of the southeast. Finally, the article summarizes the factors behind the mask designs in different regions, including natural forms, culture, and aesthetic consciousness, emphasizing the importance of understanding the historical, cultural, and social background behind mask designs.
**Page 58: A Brief Analysis of Guizhou Nuo Drama**
This chapter discusses the ontology of drama, that is, the fundamental essence and origin of drama. The article first introduces Nuo drama in Guizhou, which is a ritual activity originating from ancient witchcraft, involving entertainment and prayer through wearing masks and impersonating deities. The author classifies and analyzes Nuo dramas from different regions of Guizhou, discovering that they contain the genes and prerequisites of drama, including three elements: imitation, story, and public performance. The article also mentions that the ontology of drama is the human instinct for imitation, which exists in human life and culture, being one of human's symbiotes and natures.
The article then cites the view of foreign drama theorist Schechner, who believes that performance (imitation) is greater than drama, with drama being only a part of performance. This view further emphasizes that the ontology of drama lies in imitation, rather than merely relying on elements such as scripts, directing, and song and dance. Finally, the article calls on dramatists to understand and practice the ontology of drama, thereby pushing drama out of its predicament and giving it new brilliance.
In summary, this chapter explores the essence and origin of drama by introducing Guizhou Nuo drama and the ontology of drama, while also offering some suggestions for the future development of drama.
**Page 88: "Nuo Altar Shamanic Sounds" and the "Shamanic Manifestation Theory" of Music Origins**
This chapter discusses the relationship between "Nuo altar shamanic sounds" and the origins of music. Through in-depth research on the shamanic activities in Nuo altar rituals in eastern Guizhou, the author explores how shamans use sound to communicate with mysterious forces between heaven and earth, and how this is applied in the process of music creation. The article details various tools used by Nuo altar shamans, such as ox horns, tokens, master knives, gongs and drums, as well as their functions and symbolic meanings in shamanic activities. Additionally, by tracing the development of primitive religion and shamanic art, the author further elaborates on the importance of the "shamanic manifestation theory" in exploring the origins of music. The article concludes by pointing out that sound, as one of the earliest forms of human artistic expression, has undergone a developmental process from sounds without fixed pitch to those with fixed pitch or primitive melodies, with Nuo altar shamanic sounds being an integral part of this process.
**Page 158: Cultural Mutual Interpretation of "Nuo" and "Li" (Ritual)**
This chapter discusses the relationship between the cultural mutual interpretation of "Nuo" and "Li" (Ritual). Through an analysis of these two traditional cultural symbols, the author explores the cultural and symbolic meanings they have been given in historical evolution. The article starts from the perspectives of "Li" (礼) and "Yi" (儀), explaining the essential characteristics of "Li" as a social order norm, and "Yi" as the specific manifestation of ritual activities and ceremonial forms.
The article then delves into the commonalities and intrinsic connections between "Li" and "Yi" in their primitive meanings. Through an analysis of the manifestations and symbolic meanings of "Li" and "Yi" in ritual activities, the author reveals their important roles and values in the history of human civilization. The article points out that "Li" and "Yi" are not only manifestations of ritual activities but also the basis of human social order norms.
Finally, the article proposes new understandings and interpretations by discussing the status and role of "Li" and "Yi" in modern society. The author believes that "Li" and "Yi" are not only representatives of traditional culture but also important markers of human social development. In contemporary society, we should inherit and carry forward the fine traditions of "Li" and "Yi" to promote the progress and development of human civilization.
In summary, this chapter comprehensively introduces the essential characteristics and symbolic meanings of "Li" and "Yi" in a profound yet accessible way, providing beneficial insights for us to better understand and grasp traditional culture.
