Nirvana In The Ancient Capital Of Quyi

Luoyang qinshu was produced during the reigns of Jiaqing of Qing dynasty,which spread widely in Luoyang area as a kind of quyi art till the reign of Guangxu.At first,its elegant music and lyrics are mainly used for the personal parties which were held to entertain the official,the merchant and the gentleman.Before and after 1905,the quyi artist had to perform here and there because of the natural disaster.The artists of Luoyang qinshu,Duan yan,Hu Nanfang and Lv Lu made acquaintance with Li Gou who was the artist of Nanyang Gu'erheng.During the tour,they cooperated with each other and created a new form of quyi called Gupengxian,which is the rudiment of Heluo drum.Within five or six years,the Gupengxian rose rapidly in Luoyang area and basically replaced Luoyang qinshu which had already been popular for more than one hundred years and widely known in Luoyang.From then on,there was no voice of Luoyang qinshu.It seemed that the qinshu nearly died out,but the fact was that the qinshu was born again.The appearance of Gupengxian breathe new life into the qinshu, even until now,it flew in the body of Heluo drum.During one hundred years since the Gupengxian appeared,it was first named as Heluo drum.With the development of new china ups and downs,Heluo drum became the first group of national intangible cultural heritage authorized by the State Council in May 20th,2006.Today,the art of Luoyang qinshu which flows with the traditional quyi art culture of the ancient capital is once again thrown into a dilemma of the disappearing.In this paper,with the background of Luoyang which is such a famous ancient capital with thick history and became capital in many dynasties,the object of study is the typical examples of the natural changes of the traditional culture which described above. It shows the whole process of the ancient capital's quyi art from scholars,officials moved towards civil society step by step,and then stepped into the sight of the government.This changing process was not caused by modernization,but caused by the creators of the traditional culture themselves from inside of the culture in the beginning of the twentieth century.The purpose of this paper is to witness the history in changes and show the whole process of our country's quyi art which naturally changed, disappeared and rebirth.This paper uses the theory of changes in the traditional culture, which reflects the strong vitality of Chinese folk art.This article is within the categories of anthropology,which uses folk music theory concepts as a guide.It mainly takes literature research,field work,analysis methods to explain the ancient capital of Luoyang civil quyi and do research and writing.The full paper consists of exordium,text and conclusion,which include five sections of the text. The first chapter is based on the geographical,cultural and historical background and the folk art and cultural traditions to construct the ancient cultural;The second chapter gives a totality introduction of quyi in the ancient capital;The third,fourth,five chapters are the patterns from the music,organizational system,mode of transmission and the transmission system,to the core of the cultural spirit.These there chapters give us a specific expound about the process of the folk art's change.I would like to look back to the history of the traditional quyi culture in order to enable us to better understand the development of the ancient folk art of the various problems encountered.Analysis deeply of its changing power,enabling us to better respond to Heluo drums which are likely faced with the dying out crisis.