编者按：

这段时间，忙着自己看点东西，写点东西，结果，疏于对“译路”网络的材料整理。

 

网络猛于虎，老有一些无聊的广告贴发到译路网站上。不知道这些人怎么想的，损人不利己。哎，也罢，由他们去吧。阿弥陀佛。

 

我这里把泳涛的翻译大作整理了一点出来。挂到了译路首页下面的翻译资料中。他做的这个材料，不失为翻译练习（尤其是汉译英）的好东东。

 

关于文化部首届“非物质文化遗产”（简称“非遗”）论坛翻译的说明

作者，本站：泳涛（anothership）；转载请注明出处

文化部将于近期在四川成都市举行首届“中国成都国际非物质文化节”，我应邀为家乡做英文翻译。五月五号晚间给我传过来几千字的文字资料，要我在两天之内翻成英文。那边还特别强调，一定要准确无误，因为要刻在“非遗主题公园”的石头雕塑上传之后世。一打开文件我顿时傻眼，全是些民族文化的内容，翻译者最怕的东西，而且好多名词究竟是什么，还查都查不到！我靠！更糟糕的是，那几天我手里还有很多别的活儿，这意味着我只有用零散的时间来完成这浩大的工程，一不小心出点错还得遗臭万年！

心里实在没底。放弃！赶快四处找人，但能联系上的同事跟朋友都不在上海，也没空来做这活儿，翻译公司更不行，这么难的内容，这么急的件，人家是决计不会接的。

只好硬着头皮自己弄了，朋友的情却不过呀，也顾不得遭人唾骂了！用了两个通宵，一个下午，刚好在他催要的时候发过去交差，那边急等着做版。连一点校对修改的时间都不给我留！

翻译的过程十分痛苦，给我的中文还有不少错误，我得上网找资料查实，还得不停地查看相关英文资料，以确定一个名称的表达，我是战战兢兢，诚惶诚恐，生怕译文刻出来给人家一看，第二天就招来骂声一片。人家还只撂下一句话，反正这是在成都用的，你自己家门口，错了人家骂你不骂我的哈！！神啦，救救我吧！

这里把部分资料和译文贴出来，盼各位朋友指点，希望能探讨出更好的译文，尽管我很小心，译的时候仔细推敲，但水平有限，谬误难免！那边已经做版，遗臭万年也没法子了，只希望能在以后的翻译中，得到教益！

 

主雕创意说明

《华彩》标志雕塑由主雕、浮雕墙、标志台三部份组成。主雕下部是象征国家权利（权力？）和民族精神的中华鼎的变体，又是非遗中“非”字的体现，其上安放金色太阳神鸟图案寓意非遗文化多姿多彩，光彩夺目。主雕前面是标志台，台上正中摆放非遗徽记，两边用“非”字装点。主雕后面两边分别是四米高的青石浮雕墙，主题是以我国非遗文化中具有代表性、广泛性的“中国农历二十四个节气”为内容。三部分构成的《华彩》标志雕塑，象征非物质文化遗产历史悠久，种类繁多，回顾历史，审视今天，展望未来非遗文化都会发出灿烂的光芒。主雕用黄铜锻造，上部太阳神鸟为金色，其中镶嵌的太阳神鸟为青铜色，下部中华鼎为青铜色。非遗徽记也为青铜色，凹面贴金箔，整个色调浑厚古朴和谐，是引人瞩目的一道标志景观，从而展示我国非遗的深厚文化，向世界展示出中华文化的一幅华彩篇章。主雕高十二米浮雕墙高四米。

The Conception of the Statue of Huacai

The Statue of Huacai is composed of three parts—the statue body, an emblem stand, and the walls of relief. The lower part of the body is shaped as a variant of the Chinese tripod which symbolizes the national sovereignty and morale of the Chinese nation, and which also resembles the Chinese character “fei”, defined here as “ intangible” in the phrase of Intangible Cultural Heritage. Placed on the tripod’s top is a figure of the Divine Golden Crow of the Sun, alluding to the splendor of Chinese cultural heritage. And in front of the statue’s body is the emblem stand, with the ICH emblem in the middle and the designs of two characters of fei inscribed on each side. Behind the body there are two stone walls of relief, engraved with texts and images of the twenty-four jieqi – the divisions of the solar year according to the Chinese calendar—which are typical of the Chinese culture and widely accepted as the important part in the cultural heritage. These three parts constitute a metaphoric symbol which indicates that the old country boasts a world of cultural heritage with a long-standing tradition, and the layout of them acts as a hint that the Chinese culture will always be brilliant whether you examine it in a close angle, take a view back or look ahead.

The main body of the statue is made of brass, with the Crow painted golden and the tripod bronze. The ICH emblem is bronze too, but the concave is coated with golden foil. The statue as a whole looks antique and harmonious, making an impressive landmark structure, which shows the world China’s time-honored culture (huacai).

The statue stands twelve meters high and the walls are four meters.

1、武术  wushu

中华武术源远流长。它以踢、打、摔、拿、击、刺等技击动作为内容，注重内外兼修，刚柔并济，是中国人民在体育领域的智慧结晶。

Wushu boasts a long-standing tradition. It involves the combat actions such as kicking, boxing, wrestling, snatching, lashing, and thrusting. As a Chinese nation’s brainchild in body-building culture, it highlights a principle of tempering force with mercy, and improving skills through a clear conscience. 

2、苗族芦笙舞   Lusheng Dance

芦笙，古称“卢沙”，是苗、侗、水、彝、仡佬the Gelaos等族的传统乐器，流行于云、贵、川等地，古谚有“苗族不离笙”之说。苗族每于夏历九月二十七日举行“芦笙节”，开展踩芦笙舞，对山歌，赛马等文体活动，庆贺丰收。

With an ancient name "lusha", Lusheng is a traditional musical instrument enjoyed by such ethnic groups as the Miaos, the Dongs, the Shuis, the Gelaos, and the Yi People. And it is widespread in the Yunnan, Guizhou and Sichuan provinces. A "Festival of Lusheng" is held in the Miaos’ communities every year on Sept., 27 of the traditional Chinese calendar, and during the festival the local people celebrate harvests by horse race, Lusheng Dance, and folk songs contest. “The Miaos”, just as the old proverb comments, "cannot do without lusheng."

3、铜鼓十二调  The Twelve Tunes of the Bronze Drum

铜鼓是我国南方濮、越人创造的一种打击乐器，由铜釜演变而成，迄今已有二千多年的历史。铜鼓造型夸张，庄重大方，图案纹饰不拘一格，中心多为日光形，富有浪漫气息。明清以来，成为娱乐乐器，敲击铜鼓必然伴着翩翩舞蹈，于是产生了铜鼓十二调，至今在苗、瑶、壮、伺、希依、水仡佬等族

广为流行，是节日和宗教活动的重器。

The bronze drum presents itself among the percussion instruments invented by the Pus and Yues, two ancient tribes in South China. A development of the bronze kettle, the drum is more than 2,000 years old. It has a distinguishing shape which is solemn but quite natural, and wears an air of romance from the free-style designs and patterns with prototypes of sun in their centers.

During the Ming-Qing Dynasties when dances were often involved into the drum-beating performances, the bronze drum grew into an instrument for entertainment, and the Twelve Tunes was set from then on. The drum with its twelve tunes serves as one of the ceremonial essentials for festivals and religious activities among the Miaos, the Yaos, the Zhuangs, and some other ethnic groups.

4、火把节 The Torch Festival

火把节,又称星回节,来源于原始时代祭火神,祈丰年的习俗,是彝族以及时彝语支各族的传说节日.流行于川、滇、黔、桂等地。多从阴历六月二十四日开始，白天杀猪杀牛祭神，捉鸡祭田公田母，祈求五谷丰登。至夜则家家点燃松木火把，举办篝火晚会。斗牛、赛马、赛歌、摔跤等是火把节重要的文体活动内容，是欢乐、和谐、中外游客喜爱的盛大庆典。

    　The Torch Festival, also called the “Festival of Bringing Back Stars”, is legendary and prevalent among the Yis and the other ethnic groups speaking the tongue of Yi in Sichuan, Yunnan, Guizhou, and the Guangxi Province. It was sprung from a primitive custom that the ancients offered sacrifices to the god of fire in an effort to pray for good harvests. In most cases, the festival will start on June, 24, of the lunar calendar, and in the day the locals will slaughter pigs and bulls which serve as the sacrifices to the deities. They will also offer their chicken to the god and goodness of agriculture, in the hope of a good harvest as a reward. A campfire party will take place at night when people gather together with their torches. Some entertainments of the festival include horse races, bull fights, wrestling, and sing-song contest. What a joyous and harmonious celebration joined and enjoyed by the visitors from home and abroad!

5、戏曲脸谱 Facial Make-ups of the Traditional Operas

戏曲脸谱是传统地方剧种，各种角色的脸部化妆艺术。各种不同剧种有各自不同的表现人物性格与外形特征的脸谱。这里选取昆曲、京剧、川剧、豫剧、粤剧不同类型的脸谱造型。

The Facial Make-ups indicate the face-painting art of the different parts enjoyed by the Chinese traditional operas. Every school of the Chinese operas has their own make-ups different from those of the others’ when they employ the art to describe the appearances and personalities of the characters in their operas. Listed here are make-ups for different roles from the Kunqu Opera, the Peking Opera, the Sichuan Opera, the Henan Opera, and the Guangdong opera.

6、锅庄舞  The Dance of Guozhuang

流行于藏族在区的一种圆圈舞，因围绕“锅庄”（火塘）跳舞而得名。跳锅庄，有歌有舞，人们分行排列。连手而跳，顿地为节，舞姿健美。唱词多为歌颂爱情，热爱生活等内容。哈达是藏语表示“吉祥丝巾”之意的译音。献哈达是藏、蒙古等族的交际礼仪风俗，源于敬献神灵的珍贵礼物。相传带入西藏的第一条哈达是元朝时忽必烈赠送给西藏萨迦法王八思巴的，上有万里长城图案。以后敬献花哈达遂成为最普遍的礼节。

A circling dance popular in the Tibetan districts, the Dance of Guozhuang is so-called because it is performed around “guo zhuang” (campfires). The dancers are supposed to array in rows, singing and dancing hand in hand, and tread time to the beat. The dance is vigorous and graceful, and the songs always involve love and life.

Hada means “the lucky scarf” in the Tibetan language. Presenting hada in front of the guests is recognized as the etiquette and one of the customs among the Tibetans and Mongolians. It was derived from the custom of offering the consecrated gifts to the gods. Hearsay has it that it was Kublai Khan who brought into Tibet the first piece of hada with designs of the Great Wall on it—a present to Basiba the Dharma-raja, the king of law. Hada-presenting was accepted as the prevalent etiquette from then on.

7、蜀锦制造技艺  The Sichuan Brocade

蜀锦是成都地区所产的多彩提花丝织品。它兴于汉代，至唐代品种繁富，风格富丽华贵、色彩斑斓，其中以色晕彩条的雨丝锦、月华锦、浣花锦最具特色。古代有“蜀锦”，“云锦”，“宋锦”，“壮锦”齐名，并称四大名锦，代表了中国古代丝织技艺的最高水平。

The Sichuan Brocade is defined as the colored jacquard silk products originated in the Greater Chengdu, Sichuan Province. It enjoyed popularity in Han Dynasty and boasted variety in the Tang Dynasty. The products, of which the most distinctive are yusi (the Drizzle), yuehua (the Moonlight), and huanhua (the Bathing Flowers), characterized by the rainbow-colored, muted stripes, are colorful and gorgeous. The Sichuan Brocade earns a great fame along with “the Nanking Brocade”, “the Zhuang Brocade” and “the Song Dynasty Brocade”, demonstrating the highest level of the brocade-weaving techniques in ancient China.

8、竹琴Narratives of the Bamboo Percussionists

竹琴，又名“道情”。汉族民间说唱，源于道教音乐，南宋时以渔鼓和筒板为伴奏，故又称“渔鼓道筒”。因各地民间歌谣特色不同。而发展为“陕北道情”，“义务道情”，“陇东道情”，“湖北渔鼓，”“山乐渔鼓”等多种曲艺形式。流行于四川地区的，由称为“四川竹琴”，传统四川竹琴曲目近三百首，以三国故事为多。

The Narratives of the Bamboo Percussionists, or in another name “the Tales of the Taoists”, are the operatic story-telling art enjoyed by the Han People which is derived from the Taoist music. In the South Song Dynasty the narratives were also called “the Fisherman-drum Chants”, for the tale-narrating was supposed to be carried out in melodies to the accompaniment of a bamboo fisherman’s drum.

The narratives have fallen into different schools named after their predominant regions such as Hubei, Shandong, North Shaanxi, and East Gansu— the result of the differences between the folk ballads prevaling in these areas.

The school widespread in Sichuan is recognized as “the Sichuan Narratives” which boast an approximation of three hundred traditional tales, mostly of the Three Kingdoms’ Romance.      

9、茶技   Knack of Tea-brewing

四川是世界发现茶树和种植茶树最早的地区，是世界茶文化的摇篮，盖碗茶文化的发源地。自唐宋以来，中国茶道和茶艺即风行于世。茶道讲究和、静、清、精，茶艺则有壶之艺与掺茶之艺。四川茶馆掺茶师的技艺，有龙行十八式等武茶道和禅茶。道茶仪轨的文茶道，堪称中国一绝。

As the spot where the world’s first tea trees were planted, Sichuan has been recognized as the cradle of tea culture, and the birthplace of the covered teacup.  

Widespread across the world since the Tang-Song Period were the Chinese tea ceremonies and brewing art which highlight the art of teapots and the knack of tea services, and which are meticulous in limpid tea soup, placid atmosphere and harmonious procedures.

The Sichuan teahouses also boast unrivalled art of tea showed by their masters who not only become proficient in arranging scholarly ceremonies and meditation-leading tea rituals, but also acquire the consummate acrobatic serving skills such as “the Flying Eighteen Dragons.”

10、安塞腰鼓

安塞腰鼓流行于陕西安塞，历史悠久，鼓点花样多，分文鼓与武鼓两种。表演时鼓舞与武术、体操、民歌、打击乐、吹奏乐结合在一起，场面雄浑，队形多变，以体现陕北汉子剽悍、豪壮、英武、粗犷的风格而闻名遐尔。

The Ansai Waist-Drum Dancing

The Ansai waist-drum dancing boasts a long-standing tradition and enjoys great popularity in Ansai, Northern Shaanxi Province. Characterized by a variety of drumbeats tempi and accompanied with folk songs, percussion instruments and wind instruments, the unique drum dancing can be generally classified into “soft-swing dancing” and “martial arts dancing.” The performance scene is quite impressive with diversified arrays which integrate dance, song, gymnastics, and vigorous martial arts movements. It serves as a display of the traits in the character of Northern Shaanxi villagers, who are known far and wide as being valiant, heroic, straightforward and uninhibited.

11、布依族查白歌节

布依族查白歌节每年农历六月二十一日在贵州顶效镇查白村举行。它源于布依族口传民间故事查郎与白妹化仙鹤比翼双飞成为紫云歌仙的故事。查白村是查郎和白妹姓的连称。该村有查白核（此处应为谬误，查有关资料，应为“查白桥”）、查白场、查白河、查白洞、查白井等遗迹。查白歌节有男女对歌、吃狗肉汤锅、五色糯米粉(估计此处谬误，据相关资料，五色糯米饭似乎更为可信)和寃柱（冤枉）坨、净心水、查白庙敬神烧香等习俗。

Zha-Bai Sing-song Festival of the Buyis

Zha-Bai Sing-song Festival is held every year at Zha-Bai Village, Dingxiao Township, Guizhou, on June, 21 of the lunar calendar. The festival is originated from a Buyis’ legendary folk-tale in which Mr. Zha and Miss Bai, a local couple died as victims of love, transformed themselves into a pair of cranes, thus becoming Ziyun, the immortal in charge of Sing-Song. The village has its title from the couple—a combination of their names. Many sites in the village also inherit the name, for they are believed to have connections with the legendary protagonists. During the festival, the local young men and women come and form couples to chant a certain musical dialogue showing mutual affection to each other. And it is customary for people to go to the Zha-Bai Temple where they burn incense to extend the respect to their hero and heroine. There is also the tradition that people eat the casserole of dog meat, colored glutinous rice, and two specially-defined food and drink called “Injustice Dumpling” and “Soul-purging Water.”

12、藏戏

藏戏，藏语名“阿加拉姆”，意为“仙女大姐”。藏族歌舞剧，起源于七姊妹广场表演剧，内容多为佛经神话故事，流传于西藏、四川、云南、青海、甘肃等地。印度、锡金等国也有流传。

相传15世纪西藏噶举派僧人汤东杰布首创藏戏，以唱为主，含唱、诵、舞、武伎动作、快板说唱等表演形式，有白面具派、蓝面具派等流派，多在胡雪顿节(据资料，此处疑为谬误，应为“雪顿节”)期间演出，故又称该节为藏戏节。

Tibetan Opera

Tibetan Opera, or Ah-jia-la-mu, means “Sister Fairy” in the native language. The opera has its sources from an open-air performance called the “Seven Sisters’ Opera” which involves the Buddhist legends prevailing in the provinces of Tibet, Sichuan, Yunnan, Qinghai, Gansu, and other countries such as India and Sikkim.

Old story has it that the Tibetan opera was sponsored by Tang-dong-bu-jie, a reputed fifteenth-century monk from the Gaju Sect of Tibetan Buddhists. The opera, in which singing plays a main role and narrating and dancing performed together with acrobatic movements, falls into such schools as “the White Masque” and “the Blue Masque”. The performance is often done on the Xuedun (Yogurt) Festival, which therefore gains the name “the Opera festival”.

13、川江号子

川江号子是川江水系船工驾船拉纤劳作时演唱的歌谣，是船工们与恶水险滩搏击时发出的激越多样的音乐号子，分为小河号子和大河号子、上水号子和下水号子等多种类型，其号子的震撼力，可与《伏尔加河船夫曲》媲美。

The Sichuan Boatmen’s Chant

Known as the working chorus of the boat crew and trackers in the Sichuan Reach of the Yangtze River, the Sichuan Boatmen’s Chant in its loud and strong variation draws a vivid picture of the dauntless boatmen when they fight the tumulus torrent and dangerous shoal. It is a rhythmical complex consisting of various songs used in different situations as in the tributaries and the mainstream, when going upstream and downstream. With an extraordinarily vigorous and exciting power, the Sichuan Chant finds itself on a par with the Chant of Volga.

14、川剧

川剧产生于清乾隆时雅部戏变花部戏的转折时期，流行于四川省、重庆市及云南、贵州、湖北省的部分地区，是中国戏曲百花园中的一朵奇葩。它主要有高腔、胡琴、弹戏、昆曲、灯调五种声腔。

兼备小生、旦角、生角、花脸、丑角5个行当，它的表演精湛独特，生活气息浓郁，生动活泼，风趣幽默，人物形象千姿百态，特别擅长寓庄于谐，悲剧喜演，并有独特的戏曲表演技艺，如变脸、藏刀、钻火圈、开慧眼、飞褶子、舞翎子、耍扇子等许多绝技，受到海内外观众的喜爱。

The Sichuan Opera

The Sichuan Opera dates back to the Reign of Qianlong, Qing Dynasty, a transition period of Chinese operas from the “Refined Style” to the “Popular Style.” Widespread in Sichuan and Chongqing, the opera also enjoys popularity in parts of other provinces such as Yunnan, Guizhou and Hubei. It is compared to one of the extraordinarily beautiful flowers in the garden of Chinese traditional operas.

The Sichuan Opera has five operatic tunes as gaoqiang(a high pitch), huqin (accompanied by a stringed instrument), tanxi(accompanied by plucking instruments), kunqu(Kunshan arias) and dengdiao (latern operatic arias), and five types of role as Xiaosheng （a young male lead）, Dan (a female lead), Sheng (a male lead), Hualian (the painted face)and Chou (the jester).

Defined by unique and exquisite performing art, the opera is quite lively and witty with a rich flavor of life and an array of different characters. Therefore, it is a perfect form to explain serious content in humorous ways and to stage tragedies in the disguise of farcical shows. Besides, the Sichuan Opera boasts many unique, consummate skills, thus being attracted to audiences home and abroad. Such techniques are as follows: acrobatic fan playing act, helmet feather spinning, lower hem flying, “opening discerning eye”, leaping through the flaming hoop and changing facial masks at an unnoticeably rapid speed.        

15、傣族泼水节 序号：456

傣族泼水节又名“浴佛节”，傣语称为“比迈”（意为新年），源于梵语，意为流转变更。泼水节为傣历新年的庆祝活动，用飞溅的水花表示祝福。泼水节内容丰富，有互相泼水为戏，有放高升、斗鸡、跳孔雀舞等活动。

The Water-sprinkling Festival

The Water-sprinkling Festival of the Dais is also called “the Festival of Bathing Buddha”, or in the local tongue, “Bii-mai” (the New Year’s Day), which is derived from a Sanskrit word meaning change of time. During the festival, people celebrate the New Year’s Day of the Dais’ Calendar by splashing water over one another to give good wishes. A lot of activities are done on the festival such as cockfight, the Peacock Dancing, and launching home-made festival rockets.

16、都江堰放水节 序号：478

都江堰放水节是在每年清明时为纪念蜀郡太守李冰治水的功劳而在都江堰举办的大型开水仪式。届时，地方官员主持放水仪式，在鱼嘴分水处砍断连接杩槎的竹、索、放外江水入内江水，同时举办二王庙庙会和民间歌舞表演。

The Water Discharge Festival of Du-jiang-yan

The Water Discharge Festival of Du-jiang-yan involves a memorial ceremony held on the Qing-ming day of the early April when the Dammed water of the Minjiang River is sluiced out in honor of Li Bing, the governor of Sichuan more than two thousands years ago who fulfilled the task of constructing the Du-jiang-yan Irrigation Project and thus harnessing floods once and for all. At the ceremony, officials from the local government perform the routine by cutting ropes and bamboo strips used to bind and connect together many different Mazhas, a Chinese traditional method which employs bamboo-woven cages with stones inside to dam flooding rivers. Then the two parts of river divided by the Mazha-made distribution project will meet. There are other celebrations such as performance of folk songs and dances, and a fair held at the Temple of Li Bing and his son.    

17、高跷 序号：112

高跷也叫“高跷秧歌”，是一种广泛流传于全国各地的民间舞蹈，因舞蹈时多双脚踩踏木跷而得名。高跷历史久远，源于汉魏六朝的百戏中的“乔技”。高跷一般以舞队的形式表演，服饰多模仿戏曲行头；常用道具有扇子、手绢、木棍、刀枪等；从表演风格上又分为“文跷”和“武跷”，文跷重走唱、扭踩和情节表演；武跷重炫技功夫，表演倒立、跳高卓(应为桌)，叠罗汉、劈叉等动作。

Walking on Stilts

Stilts Walking, or “Stilts Yangge”, so-called because of the wooden stilts on which a performer dances, is spread far and wide in different parts of China. Dating back long long ago, the performance has its sources from a certain “Qiao Dancing”, one of the entertainments popular in the Han-Wei Dynasties and the Six Dynasties. Generally, the stilts walkers are in dancing arrays and the traditional costumes, and usually their props may include fans, handkerchiefs, sticks, swords and spears. According to the performing styles, Stilts Walking falls into two kinds—a “Plain Walking” style, which involves singing, swing and drama action, and a “Consummate Walking”, highlighting supremely acrobatic skills such as headstand, doing splits, forming pyramids, and jumping onto a high table.  

18、花鼓灯 序号：109

花鼓灯是汉民族中集舞蹈、灯歌和锣鼓音乐、情节性的双(三)人舞和情绪性集体舞完美结合于一体的民间舞种。据史料证明，花鼓灯最迟起源于宋代，流行于淮河流域。花鼓灯多在农村秋收完毕到来年春耕以前演出，尤以庙会、春会为最盛。

Flower-Drum Opera

The Flower-Drum Opera, a folk dance of Han People, takes the form of performance in which dance, lantern ballads and percussion instruments are integrated. It is a perfect example that couple (or with a third party) dancing dramas and spirited group dancing are performed together in harmony. Historical record has it that the opera dates from the Sung Dynasty and was popular in the Huaihe River Valley at that time. The performance was often done in the rural areas during the period between the harvest and the next sowing season, especially at temple fairs and new spring fairs.  

19、济公传说 序号：011

济公传说是以南宋禅宗高僧道济的故事发展演变而来的一种民间口头文学，以天台为中心分布于浙江省境内，并由此辐射全国，影响世界。800多年来，济公传说已经成为文学艺术的生动素材，其内容主要是疯癫济世、惩恶扬善、戏佞降魔等传说，在小说、书画、雕塑、影视等领域得到广泛的运用。

The Legendary Tales of Ji-Gong

The legendary tales of Ji-Gong are a series of ballads based on the story of the reputed Ji-Gong, or Monk Dao-ji of the Zen School Buddhists and handed down orally from the South Sung Dynasty. In the first place, they were mainly heard in the Zhejiang Province, especially in the Tiantai Mountainous areas, and later on spread across the country and even to other countries. The tales have a variety of themes which include trick-playing and demon-vanquishing, punishing evil-doers and encouraging well-doers, and benefiting mankind in the disguise of eccentricity and mental disorders.  For eight hundred years, literature and other arts have drawn a lot of good materials from the Ji-Gong tales whose themes are widely discussed in novels, sculptures, paintings and calligraphy, films and television dramas.

20、卡斯达温舞 序号：136

卡斯达温舞主要流传于四川省阿坝州黑水河流域，因舞者身穿“甲衣”歌舞，故俗称“铠甲舞”。“卡斯达温”是黑水方言，“卡斯达”为“铠甲”之意，“温”是“穿”的意思。“卡斯达温”是古代黑水人出征前，勇士们祈祷胜利，亲人们为他们祈求平安、祝福吉祥的一种民间祭祀性歌舞活动。

Ka-Si-Da-Wen Dance

Ka-si-da-wen Dance prevails in the Black River Valley, Ahba Autonomous Prefecture of the Tibetans and Qiangs, Sichuan Province. In plain words, it is the “Dance in Armor”, for the dancers are dressed in battle armor when performing. In the ancient time the singing and dancing performance was staged before the soldiers went out to battle, and functioned as a ceremony to pray for good luck, victory and a safe return home.

21、傈僳族民歌

傈僳族民歌包括木刮、摆时和优叶等歌种。其中，“木刮”是最重要、流传最广的歌种，流传于云南省怒江傈僳族自治州的傈僳族聚居区。木刮在傈僳语中原泛指所有的歌和调，后来逐渐成为叙事古歌的专称。

Folk Songs of the Lisus

The Lisu folk songs comprise such types as Mu-gua, Bai-ye and You-ye, of which “Mu-gua” is the most important and the most popular. Mu-gua songs predominate in the Lisu People’s communities, Nujiang, Yunnan Province. Originally, in the Lisu tongue Mu-gua referred to all kinds of songs and chants, but it has become the specific name for the ancient narrative ballads.  

22、玛纳斯

《玛纳斯》是柯尔克孜族的英雄史诗，描写了英雄玛纳斯及其七代子孙前仆后继、率领柯尔克孜人民与外来侵略者和各种邪恶势力进行斗争的事迹。

《玛纳斯》由玛纳斯奇演唱，主要流传于我国新疆维吾尔自治区南部的克孜勒苏柯尔克孜自治州及新疆维吾尔自治区北部的伊犁哈萨克自治州。

Manasi

Manasi, the epic of the Khalkhas, draws an account of the achievements of their hero Manasi and his seven generations of descendants, who rose one after another leading their people in the resistance against the invaders and other wicked powers.

With Manasiqi as the epic singer, Manasi is prevailing in the Autonomous Prefecture of the Kezilesu and Khalkha ethnic groups, Southern Xinjiang Uygur Autonomous Region, and Ili Kazakh Autonomous Prefecture in North Xinjiang.

24、苗族蜡染技艺

蜡染是贵州省苗族世代传承的传统技艺，古称“蜡缬”，苗语称“务图”，意为“蜡染服”。

苗族蜡染主要为生活用品，图案造型生动。

蜡染的制作工具主要有铜刀（蜡笔）、瓷碗、水盆、大针、骨针、谷草、染缸等。制作工艺流程分为草木灰脱脂、黄蜡燃熔点画布面，蓝靛染缸浸泡，清水漂洗，加水煮沸，反复漂洗等多道工序。

Batik-dyeing of the Miaos

Batik, which also has an ancient name “Wax-Patterned Silk”, is typical of the traditional techniques passed down through the generations of the Guizhou Miaos who call it “Wutu”, meaning wax-printed clothes.

Articles for daily use are the main materials for the Miaos’ batik-dyeing. And the dyed paintings have very lively pattern designs.

The main essential tools for batik include a bronze knife (or crayon), a china bowl, a basin full of water, a long needle, a bone needle, some straw and a dye vat. And the process falls into a series of complicated procedures such as wax-printing, dip-dyeing, bleaching, boiling and rinsing over and over.

25、苗族姊妹节

苗族姊妹节是贵州台江县老屯、施洞一带苗族人民在每年春季三月十五日至十七日举行的由妇女主持吃姊妹饭的节日。届时苗族青年男女穿上节日的盛装，吃彩色糯米饭、斗牛斗雀、跳木鼓舞、青年男女交换信物，谈情唱歌，被誉为“最古老的东方情人节”。

The Sisters’ Festival

Among the Miaos in their compact communities of Laotun and Shidong, Taijiang County, Guizhou Province, the Sisters’ Festival takes place every spring from March 15 to 17 when the local women are supposed to host a special feast called “the Sisters’ Dinner”. During the festival, the young men and women, arrayed in ceremonial robes and eating colored glutinous rice, will do bull and sparrow fights and perform dances accompanied by a wooden drum. They will also date and exchange tokens of love. That’s why the festival is known as “the Most Quaint Oriental Lovers’ Day”.

26、热巴舞

热巴舞是由藏族“热巴”艺人表演的一种舞蹈形式，流行于迪庆州内。热巴是一种由男持铜铃，女持手鼓，融说唱、歌舞、杂技、气功、热巴剧于一体的综合性艺术。

Reba Dance

A dancing performance staged by the Tibetan artists “Reba”, the Reba Dance is prevalent in the Diqing Tibetan Autonomous Prefecture of Yunnan Province. The dance involves an actor who shakes a brass bell and an actress who plays a hand-drum. It is an artistic complex which integrates singing, comic dialogue, dancing, qigong, acrobatics and Reba drama.

27、少林功夫

少林功夫是指在河南登封嵩山少林寺由该寺历代僧人创造的以言传身教为传承方式的禅武文化体系的武功。少林功夫共有708套，其中仅经典套路就有217种，罗汉散打108根。少林拳、少林棍、七十二绝技等，尤为精华。它是中华武术的正宗和东方禅武文化的代表。

Shaolin Kung-fu

Shaolin Kung-fu is defined as the Buddhist martial arts system invented and developed by the successive generations of monks of the Shaolin Temple in Dengfeng, Henan Province. It highlights a formula to pass on Kung-fu by imparting skills in examples and verbal instruction. The Shaolin Temple boasts seven hundred and eight established series of wushu skills and tricks all together, among which two hundred and seventeen kinds are of first rate. There are one hundred and eight free style boxing skills in the Shaolin kung-fu. Of all the temple’s consummate skills, the Shaolin Boxing, the Shaolin Cudgel Play and the Seventy-two Unrivalled Skills are above all the real quintessence. The Shaolin Kung-fu, representative of the Oriental Buddhist martial culture, is recognized as the orthodox of wushu in China.

28、蜀绣

蜀绣又称川绣，起源于川西民间，它起源于古蜀时代的丝织业，同蜀锦齐名。蜀绣技艺以针法见长，共有12大类、122种。受地理环境、风俗习惯、地方文化艺术等因素的影响，蜀绣在长期不断的发展过程中逐渐形成了严谨细腻、光亮平整、构图疏朗、浑厚圆润、色彩明快的独特风格，既长于刺绣花、鸟、虫、鱼等细腻而生动的图像，又善于表现山水磅礴的气势。

Shu-Xiu

Shu-Xiu Embroidery, also known as the Sichuan Embroidery, was invented in Western Sichuan by the average people. It is sprung from the silk-weaving business of the Shu State in the ancient time, and enjoys the same reputation as the Sichuan Brocade. A Major edge of Shu-Xiu resides in its unique embroidery stitches which amount to one hundred and twenty two types in twelve principal styles. The embroidery boasts such traits as fine and well-knit texture, shining and smooth surface, rich and mellow colors, simple but vigorous lines and strokes, bright and uncluttered stitches, and thin but clear organization of the picture, which are a result of the influence from the natural environment, the local culture and the customary behaviors. Thanks to these advantages, Shu-Xiu Embroidery is not only suitable to describe vivid and lifelike images such as flower, birds, insects and fishes, but competent in expressing mountains and rivers in all of their majestic power and grandeur.

29、土族於菟

土族於菟流传于青海省同仁县隆务河畔的年都乎村，是当地特有的一种民俗文化形态，于每年农历十一月初五至二十日举行，包含念平安经、人神共娱、祛疫逐邪等仪式。“於菟”是楚方言，意为老虎。仪式开始时，名为於菟的舞者在赤裸的上身绘上虎豹图案沿村进行表演，挨家挨户跳舞。土族於菟舞流传至今已有数百年历史。

The Wutu Totem

Wutu defines a unique, local culture prevalent among the Tu ethnic group of the Leduhu Village along the Longwu River in Tongren County, Qinghai Province. Held every year from Nov., 5 to 20 of the lunar calendar, the Wutu-related activities include a series of ceremonial procedures as follows: reciting Buddhist scriptures for a life free of danger, dispelling diseases and exorcizing evils, and seeking pleasure together with the divine beings. At the outset of the ceremony, stripped to the waist and tattooed with tigers, a team of men will perform a sort of dance from door to door in the village. The dancers are also named “Wutu”, an equivalent to “tiger” in the dialects of an ancient ethnic group. The dance is hundreds of years old.

30、翼城花鼓

翼城花鼓源远流长，早在唐太宗时就已“花鼓打的热哄哄”，是百姓庆丰收、祭祖先的表演仪式，“绕城西北东南走，到处皆闻花鼓声”，即是这种状况的真实写照。

翼城花鼓动作粗犷，节奏欢快，情绪热烈，风格淳朴。唱腔多为当地民歌，一般由花鼓手和女苗子领唱，众人齐和。

The Flower-drum Opera of Yicheng

The Yicheng Flower-drum Opera goes back to time immemorial. As early as in the reign of the Tang Dynasty’s Tai-Zong Emperor, there was the saying “flower drum beating loudly and excitedly”. In the past the Flower-drum functioned as an entertainment of the masses to celebrate harvests and show respect for their ancestors. Maybe a line from an old poem could best describe the scene whenever there was a Flower-drum performance. It says “you just go here and there, the drumbeats are everywhere.”

As far as the characteristics are concerned, the opera is uninhibited, cheerful, enthusiastic, simple and unadorned. Folk songs play a main role in its arias. A man drummer and his woman partner are supposed to sing first and then several other people will join the chorus.

31、壮族织锦技艺

壮锦技艺源于汉代壮族先民织的“斑布”，形成于唐宋时代，明清时期进一步发展，在明代列为贡品。壮锦自成体系，有三大种类、二十多个品种和五十多种图案，尤以凤图为主，“十件壮锦九件凤，活似凤从锦中出”。壮锦以结实耐用、技艺精巧、图案别致、花纹精美著称。

Picture-weaving in Silk

The Picture-weaving in Silk, i.e., the Zhuangs’ Brocade has its root from a certain “Mottled Cloth” woven by their forefathers in the Han Dynasty. The present skills came into existence later in the Tang and Sung Dynasties, and the Ming-Qing period witnesses their development. In the Ming Dynasty the brocade got itself among the articles of tribute.

The Zhuang Brocade has its own system which consists of three principal categories including more than twenty types and more than fifty designs. Phoenix plays a main role in the picture-weaving, and so goes the saying “nine out of ten pictures are about phoenix, and they are so lifelike that the bird seems to fly away.” The brocade is credited with such advantages as durability, delicacy, exquisiteness and innovation.

32、秧歌

秧歌主要是北方地区广泛流传的一种极具群众性和代表性的民间舞蹈，不同地区有不同的称谓和风格样式。踩跷表演的称为“高跷秧歌”，不踩跷表演的称为“地秧歌”。既有集体舞，也有双人舞、三人舞等多种表演形式，千姿百态，美不胜收。

Yangge

A dancing performance widespread in North China, Yangge enjoys great popularity among the masses. And its name and performing styles differ from place to place. There are names such as “Stilts-walking Yangge”, which is supposed to be performed on stilts, and “Ground Yangge”, meaning dancing without them. Dancing in couples, in threes and in groups, the Yangge performers display all kinds of lively expressions and beautiful postures.

33、泸州老窑酒酿制技艺

泸州老窖酒是中国浓香型白酒的代表。四川泸州市的老窖有四百余年历史，传承至今的有四口老窖池，为全国重点文物保护单位，在我国酒类行业中享有“活文物”之称，它是我国酿酒技术和酒文化的一个典型实例。

The Old Cellar of Luzhou

Liquors produced in the Old Cellar of Luzhou are representative of the Chinese spirituous drinks of rich flavor. The cellar in the Luzhou City of the Sichuan Province is more than four hundred years old. It has four old brewing pits passed down through the history and thus finds itself among the major historic and cultural sites under state protection. As a “living relic” of the wine industry, it is regarded as a classic case which tells of the Chinese brewing techniques and the culture of wine.   

34、民族服饰

民族服饰各有鲜明的特色，这里选取三种作为代表。一是惠安女服饰，流传于福建省惠安县，其源于百越部族，定型于唐代，至宋代渐趋成熟，形成款式奇异、装饰独特、色彩协调、纹饰艳丽的特色。

二是回族服饰，主要有坎肩、戴斯达尔（缠头巾）、麦赛海袜（皮祙子）、准白（袍子）、礼拜帽、盖头等，具有鲜明特色。

三是瑶族服饰，流传于瑶族地区，以广西壮族自治区南丹县瑶族服饰最为突出。

男子服饰为蓝黑色对襟衣，白裤的膝部绣有五条红色花纹，民间相传这是瑶王与外族战争时留下的血手印。

女性有“褂衣”，右衽，袖服，无扣，均采用独特的树汁染织技术。

The Costumes and Adornments of Ethnic Groups

Every national minority has their own costumes and adornments which are uniquely striking. Following are examples from three ethnic groups.

1. Hui-an Women’s Costumes

Typical in the Hui-an County of Fujian Province, the Hui-an women’s costumes have sources from the ancient Bai-yue tribes and take its current shape in the Tang Dynasty. But it was not until the Sung Dynasty that the costumes were fully developed with such unique traits as fantastic fashion, distinctive ornaments, harmonious colors, and gorgeous designs.

2. The Huis’ Costums

The Huis’ costumes are composed of the waistcoat, the scarf, the leather socks, the robes, the red bridal veil, and a headgear indicating their piety.

3. The Yaos’ Costumes and Adornments

The Yaos’ costumes and adornments are predominant in the Yaos communities, especially among the Yao people in the Nandan County, the Guangxi Zhuangs’ Autonomous Region.

The Yao men wear a deep blue-colored edge-to-edge jacket with a buttoned opening straight down the front, and a pair of white trousers on which five red stripes are printed on the lap—a symbol of their king’s blooded hand print from the war against other tribes.

And the women are dressed in “Gua yi”, a long-sleeved, button-free gown colored from some unique leaf-dyeing techniques.