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Other information about Gaosha Town

The Ancient Hunan-Guizhou Road

The Ancient Hunan-Guizhou Road is an ancient trade road that once connected Baoqing, Hengyang, and Changsha to the east, Hongjiang and Zhijiang to the west, and extended to Guizhou. It stretches across mountains and rivers for thousands of miles. Before the emergence of modern transportation methods such as highways and railways, "the top controlled Yunnan and Guizhou, and the bottom controlled Changheng." Dongkou and Xibaoyao guarded this ancient road with their unique geographical location. With the marginalization brought by modern transportation to Xibaoyao, the prosperity of the past when merchants shuttled back and forth is no longer there. The days of "ding-dong of camel bells" or "crash of horse hooves" are no longer there. Robbery, killing, etc. derived from the prosperity are no longer there. Ugliness has also become a legend of the past.

According to research, the ancient post roads in Hunan and Guizhou emerged in the Western Han Dynasty and became more complete in the Ming and Qing Dynasties. One trunk line and three branches of the post road pass through the entire Dongkou area from east to west, from Changsha Prefecture to Baoqing Prefecture. Baoqing has Ziyang Post Station (now called Yi Chuan Street). Go west from Ziyangyi, pass through Fenglinpu, Changyangpu, Yankoupu, Ziyangpu (with a post station), Longtanpu at the entrance, Huangqiaopu (with a post station), pass Jingzhupu, Shiyangpu, to Wugang Prefecture . Then it is divided into two routes: southbound through the city to Xing'an, Guangxi; westbound through Suining to Kaitai, Guizhou. This is the main line connecting Hunan to Guangxi and Guizhou. Ziyangyi calls this the West Line (also known as Daxi Road). Starting from Longtanpu, passing through Shixiajiang River (with a post station), Zhupin Pond, Papaya Bridge, Xikou Pass (today's Dongkou Pond with a post station), entering Xuefeng Mountain, passing Qianqiu Tian (today's Gulou Township), Yue Bao Mu Ai (today's Gulou Xiangshan Village), Simaojie (today's Baiyang Village of Yuexi Township), Liangshanjie, Zongxi, Baoyao (with a post station), Xianren Bridge, and Yuanzhou Prefecture (today's Hongjiang Ancient Shopping City). It is one of the Xiaoxi Lines (also known as branch lines) and is the main channel connecting Yunnan, Guizhou and Sichuan in Hunan. It is called the "Yinyin Special Road". It also starts from Longtanpu, passes through Shailongtan, ends at Gaosha City (with a post station), crosses Shuinanqiao, Xindian, Renjiadu, Liaoxiguan (today's Huayuan Town), and enters Suining Hongyan, which is also part of the Xiaoxi Line. one. It also starts from Changyangpu and passes through Tantou, Shigongjing, Monk Bridge (today's Hexiangqiao Town), Shuixi Bridge, into Shulinli (today's Shijiang Shulin), through Shuidong Bridge, Huangjiaqiao (today's Shanmen Town has a post station), Yue Horse neck bone, Jiaolin boundary, Wangxiang mountain, Maotang boundary, and Xupu are all part of the Xiaoxi line.

Zeng Bazhi Temple - the largest ancestral cultural museum in Hunan. Zeng Bazhi Temple is located in Hong'e Village, 1 km east of Gaosha Town, Dongkou County. It was built in the seventh year of Qianlong's reign in the Qing Dynasty (1742). It was restored from the seventh year of Tongzhi (1868) to the thirteenth year of Tongzhi (1873). The plane is rectangular, with a symmetrical layout along the central axis. The building faces east and west, with a brick and wood structure. It has five entrances from the front and back, including the gatehouse, attic, front hall, corridor, middle (auditorium) hall, and bedrooms. Hall and Zongsheng Pavilion, flanked by the Bell and Drum Tower, Duqin Hall, Shouyue Zhai, Zouma Tower Wings, etc. Its layout is exquisite, the structure is rigorous, the shape is unique, and the scale is large. It is the largest ancient ancestral building in Hunan and even the country. one. Since 2000, while comprehensively repairing the Zeng Ancestral Hall, it has also been turned into the "Gaosha Museum of Literature and History". It has become the business card of Gaosha Town, a provincial historical and cultural town, and is a collection of ancient ancestral halls. It is a large-scale folk museum that integrates buildings, revolutionary memorial sites and facilities, and local cultural and historical collection and exhibition institutions. It has rich historical information, profound cultural connotation, broad development prospects and cultural tourism appreciation value.

1. A large-scale ancient courtyard

Zengbazhi Temple covers an area of ??13,000 square meters and has a construction area of ??4,260 square meters, which is two to three times that of ordinary ancestral temple buildings; there are two attics in front and behind It is brilliant and majestic; after entering the main house five times, there is a pavilion in the middle that is connected to the surrounding corridors and doorways, like a maze, with a unique layout. The temple retains the architectural style of the early Qianlong period of the Qing Dynasty, with strict regulations, solemnity and elegance. It is a model of one of the few ancient ancestral temples in the south of the Yangtze River. The large scale of construction, the large collection of cultural relics and the unique structural layout of the temple are among the best in the country. It is rare and provides extremely important physical examples for the study of ancient patriarchal systems, architectural techniques and folk customs.

2. The inheritance base of the culture of Zongsheng and Xiao

Zeng Shen, the ancestor of the Zeng family, was the proud disciple of Confucius and was revered as the "Zongsheng" by later generations. The Zongsheng Pavilion of Zeng's ancestral hall mainly enshrines Zengzi's tablet and the stone tablet of "Zongsheng's portrait". Zengzi received the consistent and true biography of Confucius and practiced filial piety. The emperor named him "Zongsheng", and the pavilion got its name from this. The original pavilion is magnificently built, unique to the Zeng Ancestral Hall in Jiangnan, and comparable to the Zongsheng Temple in the hometown of Zengzi in Shandong. It was called the North Temple and the South Pavilion in ancient times and is famous far and wide.

There is an empty terrace in front of the pavilion, with green bricks and green moss. Climb up the stairs and enter the Zongsheng Pavilion. The pavilion is three stories high, five bays, 22 meters wide, three bays 11 meters deep, and 17.56 meters high. Corridor, the main hall on the ground floor connects three rooms. In the middle, there is a statue of Zengzi, wearing a robe and a wat, sitting on the shrine. Above it hangs a gold plaque inscribed by Emperor Yongzheng with the inscription "Tao Chuan Yi consistent", just like the system of Zeng Temple in Shandong; there are two bright lights on the left and right. There are twenty-eight pieces of edicts and edicts from past dynasties engraved on it. They are all carved from camphor wood and are surrounded by nine dragons. Four huge stone tablets are erected on both sides of the wall. They are engraved with Zengzi's "Great Learning" and "The Classic of Filial Piety", and the borders are decorated with The patterns of chariots and horses from the Spring and Autumn Period; the grand and majestic palace looks even more majestic under the reflection of numerous plaques and couplets. There are stairs on the left and right sides of the hall leading to the second floor. Enter the hall and three-way room from the side door. On the stone base in the middle stands a stele of "Zongsheng's Portrait", which is the true image of Zeng Shen, a disciple of Confucius. The original stele was erected in Zongsheng Temple, Jiaxiang County, Shandong Province. Zeng Shunwen, the magistrate of Ningde County, Fujian Province, a descendant of the Zeng family in Shiyan, imitated it and immediately enshrined it in Zongsheng Pavilion. In 1952, the tribe buried it in a vegetable field to avoid damage, and it was re-unearthed in 1998 without any loss of pictures or text. Zeng Zi is sitting in casual clothes, with a peaceful expression, simple shape and graceful lines. The upper part is engraved with the praise of the imperial portrait of Emperor Xuanzong of the Tang Dynasty, with 8 sentences and 32 characters in rhyme, and the seal writing method is ancient. The lower part is engraved with Zeng Shunwen's postscript, detailing the original story of the imitation. According to literature disclosure and field research, the original "Zongsheng's portrait" in the Jiaxiang Zongsheng Temple in Shandong was destroyed during the Cultural Revolution. Therefore, the "Zongsheng's portrait" stored in the Eight Branches Temple is now an orphan in the country and is treasured with Gongbi. On both sides of the portrait are two inscriptions of praise written by Emperor Xuanzong of the Tang Dynasty and a stele of poems written by Emperor Qianlong. The upper part is decorated with a hanging flower cover, which is integrated with the carved partitions on the left and right, making it even more solemn and luxurious. Thirty-six "Pictures of Holy Relics" are hung on the surrounding walls, which are relief patterns of the life and achievements of the sage Zengzi; the left and right display cabinets display the long scroll of "Shitai Filial Jing" written in official script by Emperor Xuanzong of the Tang Dynasty and the long scroll of "Chinese Filial Piety Derivative System and Representative Figures" respectively , opposite the shrine is a huge Chinese painting "Sitting Picture", which reproduces the famous story of Confucius and Zeng Xi and other disciples giving lectures and questions in the spring breeze of Yishui River. The whole hall is full of dazzling things, exuding a solemn and elegant cultural atmosphere. Then follow the stairs behind the open room on the second floor to climb to the third floor. It is still a three-bay hall. There is a shrine in the middle to worship Zeng Zi's parents, Laiwu Marquis Zeng Xi and the Shangguan family. Zeng Zi's wife Gongyang family is on the side. The left and right walls are worthy of the historical celebrities of Chinese filial piety culture: Wen Gong Han Yu, Jiangdu Prime Minister Dong Zhongshu, Ya Sheng Mencius, Shu Sheng Zi Si, Zong Sheng Zeng Zi, Wen Ding Gong Zeng Gong, Mr. Yichuan Cheng Yuan, Wen Gong Zhu Xi, Wencheng Gong Wang Shouren, Wen Zheng Large-scale relief images such as Gong Zeng and Guofan are vivid and lifelike. Opposite the shrine hangs a diagram of the origins of the Zeng family and the "Eight Views of Shiyan"; the display cabinets in the hall display documents on Shiyan Zeng's previous genealogy revisions and school and museum running materials. The historical facts are detailed and the context is brilliant. A corridor is built on the third floor with railings around it. Looking into the distance, you can have a panoramic view of the scenery in all directions.

There are two-story wooden structure wing rooms on the left and right of the pavilion, with four bays and front and rear corridors. The width is 16.8 meters and the depth is 14 meters. In the old days, it was the "Xiaoyi Eunuch Temple" on the left and "Xiaoyi Eunuch Temple" on the right. "Yi Zhenjie Martyrdom Shrine". During the Anti-Japanese War, the Third Rear Area Hospital was stationed here during the war. It is now planned to be repaired and built into the "Twenty-Four Filial Piety Group Sculpture Hall", which will truly display the famous story scenes of the twenty-four filial sons in ancient China in front of the audience, and interpret Chinese filial piety with a vivid, intuitive and soul-stunning artistic image. typical example.

3. Rich ancestral cultural collections

The museum has a wide variety of stone carvings, wood carvings, clay sculptures, and paintings with exquisite craftsmanship. In particular, it has a collection of precious ancestral archway stone gates. In the ancestral halls in and near Gaosha Town, if the main buildings were destroyed and could no longer be repaired, the archway and stone door carvings were collected in the ancestral hall. At the same time, it also collects a large number of cultural and historical relics related to the ancestral hall, which can be called a treasure of folk collection. For example, the "Portrait of the Zongsheng" engraved during the Qianlong period of the Qing Dynasty has become the only one in China; the plaques inscribed by three generations of Zeng Guofan's ancestors are gathered together, which is rare in the world; the rubbings date from the Tang Dynasty to the Republic of China, and their contents include politics, military, The authors include President Xu Shichang of the Republic of China, Chairman of the National Government Chiang Zhongzheng, Executive Dean Tan Yankai, Supervisory Dean Yu Youren, Chairman of the Hunan Provincial Government Zhao Hengti and other historical celebrities and Modern scholars, in addition, there are a large number of textual research materials related to rubbings, all of which have extremely high historical, artistic and academic value, and have attracted widespread attention from the world, especially experts and scholars.

4. A treasure trove of stone-carved couplets

Gaosha Zeng’s Ancestral Hall not only has stone-carved couplets on its archway pillars, gates, and side doors, but it also has collections of other ancestral halls. Or many stone carvings and couplets of famous places. This is to move the ancestral halls or stone archways of famous places in and near Gaosha Town that have been destroyed and cannot be restored to the Zeng Ancestral Hall as collections, so that they can be better preserved. Protection and inheritance. There are nearly 30 stone-engraved couplets in which the words are allusive, profound in meaning, and neatly contrasted; the calligraphy fonts are standardized, the pen is powerful, and the carving skills are round and the depth is appropriate. These stone-carved couplets are full of humanistic atmosphere and artistic charm, highlighting the beauty of the complementarity of Confucianism, filial piety culture and the art of calligraphy and stone carving. They are integrated with the elegant style of the historical and cultural town and have strong ornamental value and appeal.

5. The former site of the military academy and hospital that fought against Japan and saved the nation

In 1938, there was one corps in the 16th phase of the second branch of Huangpu Military Academy, two corps in the 17th phase and two corps in the 18th phase. A corps and the third rear hospital during the war were located in Zengbazhi Temple. It lasted seven years and trained a large number of military and political talents. To this day, the Anti-Japanese War Memorial, the Prime Minister’s Teachings, the Chairman’s Teachings, and Swords and Bayonets remain in the Ancestral Hall. , slogans, monuments, playgrounds, flagpoles, mast stones, and sword memorials are the most precious and vivid historical teaching materials for revolutionary traditional education and patriotism education.

6. A folk museum that collects local historical materials and objects

After Zeng Bazhi Temple was opened as the "Gaosha Museum of Literature and History", it was not limited to the narrow clan concept of one surname and one house. Instead, they are committed to the protection of local cultural heritage. These volunteers for cultural relic protection have worked hard and selflessly. It took 12 years and more than 3 million yuan to raise funds to build the "Stone Carving Art Museum", "Calligraphy and Painting Art Museum", "Rubbing Art Museum" and "Gaosha Historical Records Museum" is open to the public free of charge and has achieved good social benefits. Now efforts are being made to build the first "Chinese Filial Piety Culture Museum" in Hunan, with novel concepts and distinctive features. Taking a comprehensive look at the museum's work philosophy of "based on cultural relic protection and relying on the development of the tourism industry" and its more than ten years of continuous work history, its early awareness, high enthusiasm, great intensity and excellent results in protecting cultural heritage are the characteristics of Hunan Province. An advanced model in the cultural and museum world.

Gaosha Culture: Fishing Drum

Also known as "Singing Taoism", it originated in the Tang Dynasty and was mainly about singing, combined with rapping. Generally, there is no accompaniment of musical instruments. It is performed by one person holding a two-foot-long fishing drum tube and a small gong. It was once popular in Gaosha and Huayuan areas. Influential artists include Deng Xinkai, Zeng Jidi, Lu Dexu and others. The singing contents are mostly historical stories, chivalrous stories and folklore. It continued to circulate after the founding of New China, but the content was innovative, mainly showing new people, new things, and new trends. The 1950s and 1960s were the heyday of the development of Dongkou fishing drum art. In 1953, after Deng Xinkai participated in the "First Folk Art Performance in Shaoyang Region", he was selected as a member of the Shaoyang region representative team to go to Changsha to participate in the "First Folk Art Observation Performance in Hunan Province". In 1956, Zeng Jidi, Wang Huanxiang, Zhang Changding, Yang Jiaoju and others participated in the "Shaoyang District Mass Art Performance" and performed programs such as "Praising Our Old Secretary", "Battle Songs by the Bank of the River", "Who Would Not Praise a Model Couple" and other new singers The program with new things and new trends has been well received. In the 1970s and 1980s, fishing drum performances were occasionally seen in mass activities in Gaosha, but they have been basically lost now. Therefore, it is imperative to increase the collection, sorting, rescue and protection of Gaosha folk traditional culture.

The endangered Gaosha earthenware jar

The Gaosha earthenware jar has a history of more than a thousand years. There were more than 20 previous earthenware jars such as Xianji Kiln and Lengshui Kiln. In its heyday, there were more than 500 craftsmen, but now there are only a dozen craftsmen, and the handicraft technology is facing extinction. On October 19, when we arrived at Hongmao Village, Gaosha Town, Dongkou County, it was already dark. Brothers Xiang Qiandeng, 49, and Xiang Qianming, 44, are busy inside and outside the house. "We are rushing to produce a batch of goods these days, so we have to work overtime." Xiang Qiandeng raised his head slightly and said with a smile. I saw him skillfully picking out a small piece from the yellow mud next to him and placing it on the bearing, then quickly turning the bearing, his hand free on the yellow mud. After 3 minutes, a smooth clay pot appeared in front of you. The reporter followed Master Xiang's instructions and tried. Not only did he not succeed, but his body was splashed with mud and water. "It seems easy, but this technique requires secret effort. So girls generally don't learn this." Xiang Gan Deng was born into a family of earthenware pots. Ever since his grandfather's grandfather lived, he had been making earthenware pots while farming.

Xiang Qiandeng has been living in a pile of yellow mud since he could climb up. He can do every step of making earthen pots with his eyes closed. Xiang Qiandeng’s father, Xiang Shengxiu, is 86 years old this year. In the 1960s and 1970s, earthen jars were very popular and even exported to other places. "Xiang Xiu introduced that at that time, the earthen jars were made at home and then carried to Guangxi, Guiyang, Sichuan and other places for sale. They would go out for a month or two. In the past, there was no running water in the village, and the villagers would buy one or two and a half people. Large tanks of various heights are used to store water. Large tanks, jars, and flower pots are easier to sell and easier to make. Xiang Shengxiu relied on this craft to raise Brother Xiang Qiandeng to make tiles. The loess selected for the pot should be yellow with white. This kind of loess has good viscosity so that the fired pot will not crack. " Xiang Gandeng said while making the pot, the process of making the pot is simple but interesting. Among them, firing is the most important process. Firing with firewood requires a high temperature of 1200°C. "Our only secret is to see it with the naked eye." Nowadays, some handmade pottery has been replaced by fashionable porcelain, woodware, and plastic products. There are fewer and fewer people making earthen pots in the village, but Xiang Gandeng persists at his father's request. The pottery produced has been integrated into the aesthetics of that generation with the changes of the times. The pottery needed by our ancestors was to store water, grain, vegetables and oil, mainly plain pottery; by the generation of Xiang Qiandeng , what is needed are flower pots, vases, and flower bowls, mainly glazed pottery. The former is large and practical, the latter is small and beautiful. Faced with sales bottlenecks, the Xiang brothers continued to innovate their craftsmanship. This is a difficult process. You must be able to endure loneliness and resist temptation. "I believe that every effort will be rewarded." Now the bird whistles they invented and produced are sold to overseas markets. In 2009, brothers Xiang Qiandeng and Xiang Qianming participated in the municipal intangible cultural heritage evaluation and display. In the end, the city listed Gaosha pottery pots as "municipal intangible cultural heritage" and are currently preparing to apply for "provincial intangible cultural heritage". cultural heritage". [Source: Shaoyang Daily Author: Liu Xiaoxing Ai Zhe]