Tianqiaozhongfan
01 · Historical Records
Shuazhongfan (stunting with the zhongfan, a large banner pole) originated in the army of the Jin Dynasty (266–420). Flag-bearers performing with banner flags could fully display martial valor and wisdom, so the zhongfan became an indispensable item in Qing Dynasty procession gatherings (zouhui) such as temple pilgrimages and celebrations. During the Qianlong reign of the Qing Dynasty, the zhongfan societies were under the jurisdiction of a zuoling (company captain) of the Bordered Yellow Banner, ranked among the 'Eight Inner Guilds' (nei ba dang hui), and received imperial patronage, reaching a peak of prosperity for a time. In the 1950s, Tianqiao shuazhongfan was led by Mr. Bao Shanlin; third-generation inheritors Chen Jinquan, Ma Guibao, Fu Shunlu and Xu Mao practiced the zhongfan at the Tianqiao wrestling arena, attracting large numbers of professional and amateur experts from all over China to come and exchange skills. For historical reasons, in the 1960s and 1970s the once-flourishing Tianqiao market was abolished, all kinds of theatrical and variety performances were banned, and the Bao San wrestling arena was closed at the same time.
02 · Core Techniques & Process
A fan is a type of flag, and comes in large and small sizes. The zhongfan ('middle banner') has as its main shaft a stout bamboo pole about 9 meters long, from the top of which hangs a long brocade banner 0.5 m wide and 5.5 m long; the banner face is embroidered with auspicious patterns and words of blessing, which is why it is also called the biaoqi ('standard banner'). Shuazhongfan and wuzhongfan are traditional folk acrobatic arts of the Chinese nation, and the Beijing Tianqiao zhongfan performance is the most famous. The banner flags are imposing in form with clear titles, and were often used in ceremonial processions. In the procession gatherings (zouhui), each troupe had its own standard banner, and they competed to demonstrate the finest moves and unique skills of banner stunting, gradually forming a highly distinctive acrobatic program. In the late Qing and early Republican period, bannermen took to the Tianqiao market to earn a living; among their acts, the zhongfan and wrestling performances led by Shen San (Shen Yousan), Bao San (Bao Shanlin) and Zhang Gouzi (Zhang Wenshan) were the liveliest, most rousing and most popular items of the street (liaodi) shows. In a zhongfan performance, the artists stand the pole upright in their hands and dance it through many variations; each move and form has its own vivid name. Tossing the pole up and catching it on the forehead is 'Overlord Lifting the Tripod' (Bawang Juding); standing on one leg while supporting the pole in one hand is 'Golden Rooster Standing on One Leg' (Jinji Duli). Other forms include 'Dragon Raising Its Head' (Long Taitou), 'Tiger Cocking Its Tail' (Laohu Juewei), 'Sealing the Marquis with the Seal' (Fenghou Guayin), 'Su Qin Carrying the Sword' (Su Qin Beijian), 'Tai Gong Fishing' (Taigong Diaoyu) and 'Propping Up a Single Pillar' (Qingyizhu). An elaborate zhongfan pole also carries one or more layers of round ornaments made of colored glaze, brocade, bells, small flags and tassels, called the yingluo baogai ('tasseled canopy'); when spun it is not only a riot of color but also gives out melodious sounds.
Lifting the tripod and the golden rooster
Each move carries a pictorial name: catching the pole on the forehead is “the hegemon lifts the tripod”, one-legged single-hand support is “the golden rooster”, and many more follow.
The bejewelled canopy
Fine poles carry one or several circular ornaments of glazed beads, brocade, bells, pennants and tassels, glittering and chiming as the pole spins.
A nine-metre pole and a 5.5-metre banner
The shaft is a thick bamboo pole about nine metres long, from which hangs a brocade banner half a metre wide and 5.5 metres long embroidered with auspicious motifs.
The Baosan wrestling ground
In the late Qing and early Republic, banner play and wrestling led by Shen, Bao and Zhang were the hottest of Tianqiao's open-ground acts; in the 1950s Bao Shanlin presided and a third generation trained at the Baosan ground.
Fu Wengang and the family pole
The first-batch national inheritor quit his post to study and improve the art, founded the Fu family troupe and keeps a pole used by three generations over more than a century.
03 · Regional Records & Related Items
Tianqiao zhongfan centers on the Tianqiao wrestling arena in Beijing; in the same period, the temple-fair processions of Longfu Temple, Huguo Temple and Baita Temple each also had their own zhongfan societies, and in the late Qing the bannermen Shen Yousan, Bao Shanlin and Zhang Wenshan established separate schools. Beyond the capital region there are also the Antuntun zhongfan of Xianghe in Hebei, the Zhengding gaozhao (raised lanterns) and the Jian'ou tiaofan (flag hoisting) of Fujian, whose forms, techniques and procession procedures both resemble and differ from one another.
Other submitting regions for the same item: Zhongfan · Zhongfan · Zhongfan.
04 · Cultural Value & Contemporary Safeguarding
After the reform and opening up, the Xuanwu District Cultural Commission, with the aim of promoting Xuannan culture, carried out a series of activities to excavate, organize and protect Tianqiao folk culture. Under the guidance and support of the district cultural commission, Fu Wengang, son of Mr. Fu Shunlu, founded the 'Beijing Fu's Tianqiao Bao San Folk Culture and Art Troupe', enabling a number of Tianqiao unique skills to be passed on. However, banner dancing has gradually become non-professional, professional artists are scarce, and the working environment and performance forms of Tianqiao acrobatics have both changed, so the shuazhongfan art remains endangered and needs further protection. Fu Wengang (recorded in the official archive of associated inheritors): male, Han ethnicity, born in 1962, a native of Beijing. To preserve and develop Beijing's Tianqiao zhongfan, Fu Wengang resolutely resigned from his public post, devoted himself to researching and improving the zhongfan art, and has performed continuously at the Ditan temple fair. The zhongfan stands up to three zhang (about ten meters) tall; when spun it flips up and down, its flags and canopy flutter, and its brass bells chime. Performers often have to catch the flying zhongfan with the head, nose, mouth or teeth, while a narrator adds witty commentary to match the routine; the whole performance is grand in momentum, thrilling and varied, and has a humorous, witty character. A representative inheritor of the first national-level batch of the intangible cultural heritage item 'Tianqiao Zhongfan', and head of the Beijing Fu's Tianqiao Bao San Folk Culture and Art Troupe. With the support of the Beijing Xuanwu District Cultural Commission, Fu Wengang founded the 'Beijing Fu's Tianqiao Bao San Folk Culture and Art Troupe' and trained more than ten successors. Fu Wengang not only keeps in his family a large zhongfan pole (over a hundred years old) used jointly by three generations — Wang Xiaobian, Bao San and Fu Shunlu — but his skill has also won prizes in the 'Longtan Cup' folk flower-fair competition, and he has performed abroad many times and taken part in cultural exchanges, winning praise from international friends.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Fu Wengang 01-0034
- Guo Jianbing 05-2533
- Zhu Shiliang 05-2534
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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