1. The history of physiognomy

Physiognomy has a long history in China. The earliest date can be traced back to the Spring and Autumn Period of the seventh century BC. "Zuo Zhuan·Wen Gong Year" records: During a funeral, Gongsun Ao heard that Uncle Neishi, who was sent by Emperor Zhou to attend the funeral, would read the fortune teller, so he asked his two sons to come out to meet him. Uncle Fu said to Gongsun Ao: "The grain can be used to sacrifice and support you, but the grain can be used to bury you." If Gu has a plump chin, his descendants will surely prosper in the state of Lu. Historical books such as "Historical Records" and "Wu Yue Chun Qiu" also contain records on the activities of early prime ministers such as Gubu Ziqing and Wu Shili. During the Warring States Period, fortune telling became popular. "Zeng Confucius·Executive Chapter" records: King Wei Anyin asked Zi Shun whether it was appropriate to worship Ma Hui as his prime minister. Zishun replied: Those who look at pigs with long eyes are deceitful. Later, Ma Hui became the prime minister, and was eventually convicted of flattery. Although the art of fortune telling was already popular at this time, it was mainly noticed as a means of participating in politics. Professional fortune tellers and the theory of physiognomy in the strict sense had not yet appeared. During the Han Dynasty, physiognomy developed rapidly. There are various detailed records in "Historical Records" about Liu Bang's family's fortune-telling deeds. All the people who achieved great success in the Han Dynasty, such as Prime Minister Zhou Yafu, Changping Hou Weiqing, Wu Wangbi, Huainan Wang Yingbu, General Li Guang, Yushi doctor Ni Xian, etc., all have fortune-telling stories passed down to the world. According to the "Book of the Later Han Dynasty": In the Eastern Han Dynasty, even the selection of concubines and girls in the imperial palace had to be reviewed by fortune tellers. With the widespread popularity of the custom of fortune telling, the theoretical system of physiognomy was initially established at this time. "Hanshu·Yiwenzhi" contains twenty-four volumes of "Xiangren". According to the "Huaiqing Prefecture Chronicles", only Xu Fu, a famous fortune teller at that time, wrote such fortune-telling books as "Song of De Qi", "Miscellaneous Notes of the Five Palaces", and "Listening to Sounds and Forms". After the Han Dynasty and the Li and Tang Dynasties, fortune-telling became an important social occupation, with more than 30 kinds of fortune-telling books and more than 130 volumes. After that, during the Song and Ming dynasties, the custom of fortune telling reached its peak. Many physiognomists became dignitaries, many intellectuals and upper-class celebrities studied physiognomy theories with strong interest, and a large number of physiognomy books filled bookstores. After the Ming Dynasty, physiognomy gradually spread among the people and became a means for quacks and magicians to make money and support their families. Since then, there have been few new developments in both the theory of physiognomy and the art of fortune telling. Ancient physiognomy celebrities are as bright as stars, such as Gubu Ziqing in the Spring and Autumn Period, Tang Ju in the late Warring States Period, Xu Fu in the Han Dynasty, Yuan Tiangang and Li Chunfeng in the Tang Dynasty, Ma Yi Taoist and Chen Bo in the early Song Dynasty, Yuan Zhongwei in the Ming Dynasty, Chen Zhao in the Qing Dynasty, etc. , all are famous. Its social influence is not inferior to that of the dignitaries and literati of the same era. There are countless ancient works on physiognomy, but most of them are copied from each other. The main ones that are self-contained and more practical include "Ma Yi Shen Xiang Fa", "Liu Zhuang Xiang Fa", "The Complete Collection of Shen Xiang", "Shui Jing Ji", " "Xiangli Hengzhen" and so on. Among them, "Ma Yi Shen Xiang", named after the sorcerer Mai Taoist of the Five Dynasties, is the most widely circulated, and "The Complete Collection of Shen Xiang", named after Chen Bo of the Song Dynasty, is the most complete system. 2. Brief introduction to the history of Guangzhou

Brief introduction to the history of Guangzhou ://soufun Real estate portal-SouFun July 17, 2007 14:05 SouFun BBS Guangzhou is referred to as Sui, also known as Yangcheng.

Located in the northern part of the Pearl River Delta in Guangdong, on the edge of the South China Sea, it is the confluence of the Xijiang, Beijiang and Dongjiang rivers. It is the largest city in southern China. Guangzhou has a long history. During the Zhou Dynasty, the Chu State sent ministers to this place where "Baiyue" people lived. When "Baiyue" surrendered to Chu, it was called Chu Ting.

During the reign of King Nan of Zhou Dynasty, he built a city on the shore of the South China Sea and called it Nanwu City. In the 33rd year of Qin Shihuang (214 BC), he sent Ren Xiao to lead troops to unify Lingnan and establish the Nanhai capital. Guangzhou was called Panyu at that time.

Ren Xiao was appointed as Nanhai County Lieutenant and built Panyu City, commonly known as "Ren Xiao City". This is a small city located in the Jiucang Lane area of ??Cangbian Road in today's Guangzhou.

In the early Han Dynasty, Zhao Lun took over Nanhai County, annexed nearby areas, established the Nanyue Kingdom, and established himself as King Wu of Nanyue. His dynasty lasted for 93 years for five generations. Zhao Lun took Panyu as the capital city and spread the city of Panyu to the east, west and most of Guangxi Province. This was the beginning of the name Guangzhou.

The Tang Dynasty was the rule of Lingnan Dao. In the third year of Liang Zhenming in the Five Dynasties (917), Liu Xi, the king of Nanhai, proclaimed himself emperor here, changed it to Qianheng of the Yuan Dynasty, and the country was named Dayue.

The following year it was renamed Han, and historically known as Southern Han. Guangzhou was promoted to Prince Xing's Mansion and served as a capital city. From the Three Kingdoms to the end of the Tang Dynasty and the Five Dynasties, the city of Guangzhou expanded southward. Because it was close to the river, it was often flooded. Liu Yin, the king of Nanhai, chiseled Yushan Mountain, took soil to raise it, and expanded the city wall, which was named New South City.

In the Song Dynasty, it was governed by Donglu, Guangdong. In the Ming Dynasty, it was Guangzhou Prefecture.

In 1645, Zhu Yugou established the 44-day Nanming Dynasty in Guangzhou and changed it to Shaowu. Qing Dynasty along with Meiji period.

In 1921, the Guangzhou City Hall was established, marking the beginning of Guangzhou’s official founding as a city. During the Song Dynasty, the city walls of Guangzhou were built more than ten times.

During the Northern Song Dynasty, the central, eastern and western cities were built successively. Zhongcheng, also known as Zicheng, is based on the old city of the Southern Han Dynasty, reaching Ganxi in the east, ancient West Lake in the west, Danan Road in the south, and Yuehua Road in the north, with a circumference of 2.5 kilometers.

Dongcheng is based on the old site of the eastern part of Zhaoluncheng, connecting Zicheng to the west, Fangcao Street to the east, Haoxian Road to the north, and Wenming Road to the south. In 1071, the West City was built, with a circumference of more than 6.5 kilometers and the largest scale.

During the Ming Dynasty, Guangzhou was the political and economic center of the Lingnan region. During the Hongwu and Jiajing years, the city wall was expanded twice. During the first expansion, the three cities of the Song Dynasty were combined into one, called the old city, with a circumference of 10.5 kilometers.

In the late Ming Dynasty, a new city was built south of the old city. Today, Wanfu Road, Taikang Road and Yide Road are the southern boundary of the new city.

In the third year of Shunzhi in the Qing Dynasty (1646), smaller east and west wings were built to the south of the outer city.

After the Revolution of 1911, it began to be demolished and converted into roads. By 1922, it was completely demolished. Now only a section of the city wall near the five-story building on Yuexiu Mountain remains for people to watch. For more than 2,000 years, Guangzhou has been the political, economic and cultural center of South China.

As far back as the Spring and Autumn Period and the Warring States Period, Guangzhou was a distribution center for precious tropical products. Famous commodities include pearls, rhinoceros horns, tortoise shells, ivory, etc.

Abundant natural resources provide favorable conditions for industrial and commercial development. As early as the Han Dynasty, Panyu's textile, food processing, ceramics and other industries and commerce were already quite developed.

During the Jin and Southern and Northern Dynasties, the northern population migrated south again in large numbers, which promoted the development of production here. During the Eastern Jin Dynasty, the "Dakai Drum Casting" was launched, which led to the emergence of the iron smelting industry for the first time in Guangzhou's history.

During the Liu and Song Dynasties of the Southern Dynasties, Gebu was produced as "thin as cicada wings". A 24-meter-long piece of cloth could be rolled up and packed into a bamboo tube, and was known as "tube fine cloth". During the Tang and Song Dynasties, technologies such as wine-making, pottery making, and smelting were further developed.

During the Ming and Qing dynasties, Foshan Town near Guangzhou was a nationally famous copper and iron smelting center, and its steel utensils were sold to Lingbei and overseas. Guangzhou was an important port for foreign trade in ancient China.

During the Han Dynasty, it already had trade relations with some overseas countries. The tomb of Emperor Wenwang of Nanyue was discovered in Xianggang, Guangzhou. Silver boxes and bead ornaments made of various materials such as agate and crystal were unearthed, some of which were imported from Central Asia or South Asia.

During the Liang Dynasty, more than 10 batches of merchant ships from various countries came to Guangzhou every year. During the Tang Dynasty, Guangzhou became a world-famous port, and its foreign trade scope expanded to countries in the South Pacific and Indian Ocean regions.

In order to strengthen the management of foreign trade, China's earliest foreign trade agency and customs "city shipping envoy" were set up here to take charge of foreign trade. There is also a "Fanfang" for foreign businessmen to live.

The sails of foreign ships arriving in Guangzhou are like clouds; there are tens of thousands of foreign businessmen (mainly Japanese) living in Guangzhou, and the number was more than 100,000 at its peak. They believed in Taoism, so they built a Taoist temple - Huaisheng Temple in Fanfang.

From the Five Dynasties to the Northern Song Dynasty, Guangzhou has become China's largest commercial city and treaty port, accounting for more than 98% of the country's trade volume. Guangzhou plays an important role in the history of modern China and modern revolution.

During the British invasion of Guangzhou in 1841, the people of Township 103 on the outskirts of Guangzhou organized themselves and dealt a powerful blow to the British invading forces in the Sanyuanli area. On the eve of the Revolution of 1911, Sun Yat-sen and others used Guangzhou as their base to hold armed uprisings many times and fought unremittingly to overthrow the imperial system and create a democratic and democratic republic.

The Guangzhou Uprising on April 27, 1911 (also known as the Huanghuagang Uprising) was the prelude to the Revolution of 1911. In 1917, Sun Yat-sen organized the French Guard Army in Guangzhou, was elected Marshal of the Navy and Army, and vowed to fight for the Northern Expedition.

In 1921, Sun Yat-sen took office as the Extraordinary President in Guangzhou and unveiled the banner of protecting the law. The historic Third National Congress of the Communist Party of China was held in Guangzhou in June 1923, establishing the united front policy.

In 1924, the Communist Party of China held its first National Congress in Guangzhou and determined the three major revolutionary policies of "alliance with Russia, alliance with the Communist Party, and support for agriculture and industry", creating the first national revolution. *A new aspect of cooperation. On June 19, 1925, Chinese workers in Hong Kong and foreign workers in Guangzhou, under the leadership of the Communist Party of China, held a provincial-Hong Kong University demonstration in Guangzhou that shocked both China and foreign countries.

On December 11, 1927, the Chinese Communist Party held the Guangzhou Uprising here and established the "Guangzhou Soviet Communist Party", ushering in a new stage of Guangzhou's revolutionary struggle. Guangzhou is a beautiful city with subtropical scenery, with flowers blooming all year round and pleasant scenery.

The famous scenic spot Baiyun Mountain is full of mountains and green vegetation. There are Dooshan Pavilion, Nengren Temple, Mingzhu Tower, Shuiyue Pavilion, Huangpo Cave and other scenic spots on the mountain, as well as scenic spots such as "Baiyun Songtao" and "Baiyun Xiaowang".

The Yuexiu Mountain in the urban area has been turned into the beautiful Yuexiu Park. The Sun Yat-sen Monument on the top of the mountain overlooks the entire city of Guangzhou. The Zhenhai Tower on the top of the mountain was built in the 13th year of Hongwu in the Ming Dynasty (1380). It has red walls and heavy pavilions, which is simple and dignified.

There are also many places such as the Wuyang Stone Statue and the Sailor Pavilion. 3. History of Cantonese Opera

Cantonese Opera Encyclopedia Business Card Cantonese Opera Hua Dan Style Cantonese Opera, formerly known as Drama or Guangdong Drama, originated from Nan Opera and began to appear in Guangdong and Guangxi from 1522 to 1566 AD (the Jiajing period of the Ming Dynasty). , is a performing art that includes chorus, chanting, music by musicians, stage costumes, abstract shapes, etc.

Each profession in Cantonese opera has its own unique costumes. The language used in the initial performances was Zhongyuan phonology, also known as theater Mandarin.

At the end of the Qing Dynasty, intellectuals changed the singing language to Cantonese and Cantonese in order to facilitate the promotion of the revolution, making it easier for Cantonese people to understand. Cantonese opera was included in the first batch of 518 national intangible cultural heritages announced on May 20, 2006.

On September 30, 2009, Cantonese Opera was recognized by UNESCO and included in the Intangible Cultural Heritage of Humanity. Historical evolution Before the Yuan Dynasty, Cantonese opera originated from the rise of Chinese folk Qiyan folk songs. The earliest can be traced back to the "Book of Songs" in 221 BC (the pre-Qin period). However, it is a common form of Chinese Hua Dan in all Chinese traditional operas such as Peking Opera and Cantonese Opera. As well as poetic operas such as Shanghai Yue Opera and Huangmei Diao have the same origin.

Chinese Qiyan-style folk songs developed to an unprecedented peak between 500 and 1500 AD (the Western period was the Middle Ages; China was the Wei, Jin and Tang dynasties), and formed a generation of literature. Style - Tang poetry. These folk songs in Qiyan style, which emphasize smoothness and order, not only formed the content of storytelling in the folk performances of Buddhist temples in the Tang Dynasty, but also added the rhythm of wooden fish.

However, due to its long-term status in the lower class of society, and the fact that banquet music (or Yanyue) was influenced by foreign music, it was always appreciated by the ruling class in the Tang Dynasty, so it did not develop very much. The lyrics and music developed from the banquets passed through the Tang and Song Dynasties and formed operas with rhythms and palace tunes.

In the Yuan Dynasty, Zaju became the most popular type of drama. At that time, a play was called a play.

From now on, only one act of a play will be called an excerpt. Many Cantonese opera plays are handed down from the Yuan Dynasty Zaju operas, and even some traditional Cantonese opera plays are exactly the same as those in Zaju operas, such as "The Romance of the West Chamber", "The Injustice of Dou E", "Walking in the Snow to Seek Plum Blossoms", "A Chinese Girl Leaving the Soul", " Zhao's Orphan" and so on.

Volume 9 of "Zhuang Qu's Posthumous Notes" compiled by Gui Youguang from 1368 to 1644 AD in the Ming Dynasty records the "Episodes of the Imperial Envoy Wei Xiao" in 1521 AD (the 16th year of Zhengde in the Ming Dynasty). "Edict to the People" contains statements such as "In a house that promotes excellence and subordinates, the children are not allowed to send students to Du University." "It is not allowed to compose and sing obscene songs, reenact the emperors of the past dynasties, slander the past and present, and those who violate it will be questioned."

This can be said to be the earliest written record of drama in Guangdong. According to the "Xinhui County Chronicle", in the mid-1560s (the early years of Chenghua in the Ming Dynasty), "many local children did not stick to their own profession and engaged in drama to survive."

In 1561 AD (the 40th year of the Jiajing reign of the Ming Dynasty), "Guangdong Tongzhi" recorded: Guangzhou Prefecture "There are many performances in the city for fun in February, and the proverb goes that there are two operas on the lantern", and there are There is a saying that "it is difficult to become an actor by playing an opera, but it is not a good thing to play a stringed instrument", so "when an actor from Jiangsu and Zhejiang comes, he will call himself a villager and will always turn him down". This proves that drama was already prevalent at that time.

By AD 1368 to 1644 (during the Ming Dynasty), the Yiyang tune of Nan Opera had become popular in Guangdong, and Kun Troupe, Hui Troupe and Jiangxi and Hunan troupes often performed in Guangdong. According to "History of Cantonese Opera", a female actress named Zhang Qiao appeared in Guangdong. She was from Nanhai and was an actor in Tsing Yi.

Originally from Suzhou, she was born in Guangdong. Because her mother was a Suzhou Kunqu Opera actress, she was recorded as a female actress in the Kunqu Opera Troupe. It can be seen that people from theater troupes from various places began to take root in Guangdong.

Although Cantonese people began to learn acting due to foreign influence, during the Chenghua period, learning opera was still not accepted by conservative people. The genealogy of the Huo family in Shiwan Taiyuan once prohibited children from good families from learning opera. family motto. Later, theater troupes with locals as the main body gradually appeared, and the transition to theater troupes with locals as the whole was made.

To distinguish the two, the former is called the "Waijiang class" and the latter is called the "local class". Cantonese Opera not only absorbs the characteristics of Yiyang Opera, but also has a blood relationship with Hui Opera (Anhui), Han Opera (Hubei), Hunan Opera (Hunan), Qi Opera (Hunan), and Gui Opera (Guangxi).

Because the repertoire, singing, music, performance methods, etc. are roughly the same as those of Hui, Han, Hunan, Qi, and Gui operas. For example: the two dramas "Qing Wen Mending Fur" and "Exclusive Ownership of the Courtesan", "Shovel Chair", "Diving Platform", "Night Fight with Ma Chao" and other southern martial arts dramas, Gui opera and Cantonese opera are exactly the same.

Although it is said that the Waijiang class is close to the Anhui class and the local class is close to the Spanish class, in fact, in the early days of the establishment of the local class, the main difference was in the people who formed the class. Local troupes are composed of local people, mainly referring to professional theater troupes composed of local artists.

However, sometimes it can also include temporary troupes formed by farmers for seasonal performances. "Before the Eight Harmonies, there were Qionghua first" is something that no one in the theater understands.

The Qionghua Guild Hall was built from 1573 to 1620 AD (the Wanli period of the Ming Dynasty). According to the records of "Foshan Zhongyi Township Chronicle": "There are thirty-seven guild halls in the town, and the Qionghua Guild Hall has a magnificent building and is the most beautiful guild hall."

At that time, the Qionghua Guild Hall was located in Dajipu (i.e. Hongqiang District, Foshan City, Guangdong Province) where "excellent boats gathered at Jitou and wine shops were plentiful on the city's edge".

At that time, there were four large pillars and a pavilion at the entrance of the guild hall. The plaque at the entrance of the hall reads "Guild Hall", and the entire hall is larger than the ancestral temple at that time.

The whole museum is divided into three entrances: the first entrance is for bells and drums, followed by a temporary stage that can be disassembled and closed; the second entrance is the main hall of Qionghua Palace, in front of the main hall is the heavenly steps; The third entrance is the clubhouse. On the occasion of Huaguang's birthday, theatergoers gathered in the main hall of Qionghua Palace to worship Emperor Huaguang.

Near the Qionghua Guild Hall is the Qionghua Water Port on the Dajiwei River in Foshan, which is convenient for actors taking the red boat to go ashore or perform in other places.

It is said that the actors originally hired the purple cave boat as a theater boat. Later, they added sails, painted dragon scales and chrysanthemum patterns on the hull, and painted the bow red, so it was called the red boat.

Qing Dynasty The center of the early activities of local theater troupes in Guangdong was Foshan. In 1658 (the fifteenth year of Shunzhi in the Qing Dynasty), a Huafeng stage was built in front of the Lingying Ancestral Temple. The stage was complete with drums, tables and everything else.

It was renamed Wanfu Stage from 1661 to 1722 AD (Kangxi period). It is the most gorgeous and exquisite existing ancient stage in Guangdong and the largest in Lingnan, witnessing the development history of Cantonese opera. The stage is divided into two parts, the front and rear. The front stage is decorated with golden lacquered wood carvings, which has a strong stage effect.

The entire Wanfu Terrace also adopts an arch structure. No matter where you stand, the sound quality you can hear is basically the same. AD 1722 ~ 1735 (Yong Dynasty, Qing Dynasty. 4. History of Cantonese Opera

Cantonese Opera is popular in Guangdong Province, southern Guangxi Zhuang Autonomous Region, Hong Kong, Macau and other places. Southeast Asia, Oceania, and Guangdong in the Americas There are also Cantonese opera performances in areas where overseas Chinese live together. In Southeast Asia, there are artists who have been passed down from generation to generation, fixed troupe organizations, guilds and traditional performance venues, such as Singapore's "Qing Wei Xin" and Kuala Lumpur's "Puchang Chun", which have cultivated it. There are many famous Cantonese opera actors.

In the late Ming and early Qing dynasties, Yiyang and Kunshan tunes were introduced to Guangdong from the "Waijiang Troupe", and then the Guangdong "Local Troupe" appeared, singing in harmony with each other. , called "Cantonese tune". This tune was still preserved in the later Cantonese operas such as "The Prime Minister of the Six Kingdoms", "The Fairy Sends Off Her Son", and "The Eight Immortals Congratulate Me on Birthday". During the period, Gaoqiang and Kunqiang gradually declined, and the "local troupe" began to use bangzi (referring to tunes close to Han tune Xipi and Qiyang opera "Beilu") as the main singing tune. Later, the influence of Huizhou troupe grew, and "Banghuang" (i.e. Banghuang) became the main singing tune. Xipi, Erhuang) as the basic singing tune, while also retaining part of Kun, Yi and Guangdong tunes, and absorbing Guangdong folk music and current tunes, gradually forming Cantonese opera. During the Revolution of 1911, some patriotic artists were influenced by Chunliu Society. Influenced by the new drama (commonly known as civilized drama), "Patriot Classes" were organized one after another to carry out anti-Qing, anti-imperialist and anti-feudal propaganda, and they compiled and performed dramas such as "Wen Tianxiang Martyred for the Country" with easy-to-understand lyrics and music. The "Banghuang" singing style was interspersed with folk tunes, and the singing method was changed from falsetto to "flat throat" (real voice). After repeated practice, all singing was switched to Guangzhou dialect. Around 1920, many Cantonese opera troupes often concentrated in Guangzhou. Performing in Guangzhou, Hong Kong and Macao, Xi called them the "Provincial and Hong Kong Taipan". They absorbed part of the artistic nutrition of drama, opera and film, and soon enriched themselves. After the founding of the People's Republic of China, capitalism was gradually eliminated. Under the influence of commercialization, we have actively explored and inherited excellent traditions, and also carried out comprehensive artistic innovations. We have not only performed many excellent plays, but also cultivated a group of new talents. 5. Does anyone understand the historical background of sumo

< p> Sumo (すもう): A sport similar to wrestling, it was called Jiaodai during the Qin and Han Dynasties, and was called sumo from the Northern and Southern Dynasties to the Southern Song Dynasty.

It was introduced to Japan around the Tang Dynasty and is now popular in Japan. A wrestling sport. Sumo (すもう), also known as Sumo in ancient times, originated in the Han Dynasty of China. It involved two strong men wrestling with each other.

Until the seventh century AD, Emperor Yungong. At his funeral (AD 453), China sent a special envoy to Japan to perform a plain dance to pay tribute. This is considered to be the first time that Chinese sumo was introduced to Japan, which had a certain impact on Japan's original sumo and later became Japan's national sport. , Japan's international martial arts and sports.

As a professional competitive event, it is called grand sumo in Japan. [Edit this paragraph] History China and Japan have history.

Judging from some unearthed cultural relics, the image of horn wrestling in China during the Qin and Han Dynasties is very similar to the popular sumo wrestling in Japan. As late as the early years of the Western Jin Dynasty, China already had the name sumo.

Sumo wrestling has always been popular during the Tang, Song, Yuan, Ming and Qing dynasties. By the middle of the Qing Dynasty, the name sumo gradually disappeared.

In modern times, sumo wrestling has always been considered a Japanese martial art. In fact, sumo wrestling was originally a type of "corner wrestling" in ancient my country. As early as the early Western Han Dynasty, a folk game was popular in Jizhou (now Hebei): people wore horned masks to compete with each other in strength.

This kind of activity that is both a competition and a performance is called "Jiao Da", also known as "Chi You Opera." Sima Qian once recorded in "Historical Records: The Book of the Yellow Emperor": "Chi You's head has horns." , and Huang Di's head, using his horns to hit people, today's Jizhou is Chiyou's play. "

Linking "Jiaodian" with the legend of Huangdi's battle with Chi You is enough to explain its long history. The scope of "Jiaodian" in ancient times is very wide, and sumo wrestling is only part of it. < /p>

In the Song Dynasty, the word "Jiaodai" specifically referred to wrestling activities, also known as sumo wrestling. Now, the ancient sumo wrestling is still quite popular in Japan, according to the Japanese book "The Beginning of Sumo Wrestling". , Japan’s sumo wrestling first appeared in 23 BC.

The Japanese Sports Encyclopedia records: “Japanese sumo wrestling is related to Chinese corner fighting and boxing. "The book "Tonggou" co-authored by Japanese historical archaeologists Ikeuchi Hiroshi and Umehara Sueharu also said that Japanese sumo wrestling is very similar to the horn diagrams unearthed from the 3rd to 5th century tomb walls in Ji'an County, Jilin Province, China; The form and rules of sumo wrestling are also similar to those of the Tang and Song Dynasties in China.

Since the 17th century, professional sumo wrestling has emerged in various parts of Japan, called "Grand Sumo". Modern sumo wrestling began to take shape in the 18th century.

By the early 20th century, sumo wrestling was widely developed as Japan's "national sport". So far, sumo wrestling competitions in Japan are held 6 times a year, divided into January, March, May, July, September and November, and have become one of the most popular sports among the people.

The following introduces the technical requirements, competition rules, etc. of Sumo wrestling that is currently popular in Japan. Sumo wrestlers must not only have strength, but also have proficient skills. Skills are the key to determining the outcome of the game.

Techniques are roughly divided into pushing, throwing, catching, pulling, dodging, pressing, tripping, etc. Athletes mainly use their neck, shoulders, hands, arms, chest, abdomen, waist, knees, legs, feet and other parts to flexibly use various techniques to attack each other.

Athletes (called rikishi in Japan) are divided into 10 levels according to their sports performance: preface, preface 2nd dan, 3rd dan, makushita, juryo, maegou, kosumu, sekiwaki, ozeki and yokozuna . Yokozuna is the highest-level title for athletes and a lifelong honorary title.

The quality of hairstyles and belts of athletes above level 6 of Juryo is different from those of level 4 athletes below makushita. When athletes of level 11 or above compete, there is an entrance ceremony and they wear makeup aprons.

Sumo referees (called kyoshi in Japan) are also divided into 10 levels according to their years of experience. The level of a sumo referee is called "Kaku", and "Yokozuna Kaku" is the highest-level title for a referee.

Their rank is marked by the color of the tassel on the command fan. The fan used by the referee to direct is called "military match", and the side the fan points to is the winner.

Sumo wrestling originates from Japanese Shinto religious rituals. People hold competitions in temples for the God of Harvest, hoping to bring about a good harvest.

During the Nara and Heian periods, sumo wrestling was a court spectator sport, and by the Kamakura Warring States period, sumo wrestling became part of samurai training. Professional sumo wrestling emerged in the 18th century, and it is very similar to today's sumo competition.

Shinto rituals emphasize the sport of sumo wrestling. The purpose of the foot stamping ceremony (looking around) before the game is to drive away evil spirits in the venue and also to relax the muscles. Salt is also sprinkled on the site for purification purposes, because Shinto teachings believe that salt can drive away ghosts.

Sumo wrestling matches take place on the stage. The entire platform is square with a circle in the middle, and its diameter is 4.55 meters.

During the competition, the two warriors tied their hair in a bun and wore a belt around their lower bodies, making them almost naked on the stage. During the competition, any part of the wrestler except the soles of his feet may not touch the surface of the platform, and shall not exceed the circle.

The game can be decided within a minute or two or even seconds. The sumo referee*** consists of 6 people.

The chief referee is "Xingsi" who holds a folding fan on the stage, and the other five people are on the front, east, west and referee seats respectively. The highest level of strongman is "Yokozuna".

Below are Ozeki, Sekiwaki, Komusubi, and Neck. These four levels are called "makuuchi" and belong to the upper level of force soil. Again, there are Juryō and Makushita. In addition, there are even lower level 3rd paragraphs and 3rd paragraph prologue.

The lowest level is called the sequence port. It takes a lot of effort for an ordinary strongman to obtain a higher level; it is also impossible to obtain the lowest level without hard work.

Sumo is known as the quintessence of Japan, also known as wrestling and wrestling. Sumo wrestling originated in China.

"Book of Rites·Yue Ling": "The emperor ordered the generals to teach martial arts, practice archery, and wrestling." Later introduced to Japan.

First seen in "Nihon Shoki·Torijinki". It flourished after the Nara period.

In 719 (three years after Yang Lao's death), the imperial court established Pu Chusi (later Prime Minister Pu Si). During the Heian period, there was a Sumo Festival every July.

It became popular among samurai as a martial art after the Kamakura period. At the end of the 17th century, for-profit professional sumo wrestling appeared.

In the Edo period, professional promotion to sumo wrestling became popular, and Edo became the center of sumo wrestling in the country. It declined temporarily during the Meiji Restoration.

In the early Showa era, nationalism rose and sumo wrestling revived. After the war, there were sumo wrestling rings in Tokyo, Osaka, Fukuoka, and Nagoya.

As a mass sports activity, it is still quite popular among people in various places. Sumo is the only Japanese form of wrestling.

It has as long a history as Japanese Shintoism. Today, there are still many traditional rituals that are the most basic of sumo wrestling. 6. Who knows the history of Chaoyang Xilu

Xilu Town, Chaoyang District, Shantou City, with mountains on its back and the sea, fertile land, has always been the "land of plenty" in the Chaoshan Plain. According to historical records, Xilu Village was founded during the Jianyan Period of the Southern Song Dynasty (1127 to 1130 AD). It has a history of more than 800 years. The long history has given birth to a splendid and colorful regional culture. Here, the "Iron-faced Police", Many exciting stories such as "The Beacon on Tiger Mountain", "Su Liu Niang", "Blue Blood Money Pit", and "Yang Jiansheng" have been compiled into Chaozhou operas and dramas and are widely spread in Chaoshan and Southeast Asia. The ancient town of Xilu has also been Known as the "Hometown of Stories".

Many popular stories in Xilu are inseparable from celebrities and scholars of past dynasties.

During the Shaoding period of the Southern Song Dynasty (1228 to 1233 AD), Guangxi's envoy and jurist Guo Hao expired and did not return to his ancestral home in Putian County, Fujian. Instead, he took his family to settle in Chaoyang and lived in Quantang Village, Xilu, with his eldest son Guo Lin. During Guo Hao's tenure, The deeds of impartial law enforcement were compiled into Gui Opera in Guangxi. After Guo Hao settled in Chaoyang, many legendary stories were widely circulated in the local area and were compiled into "The Iron Mask" and put on the stage. In the Ming Dynasty, Guo Jichun, a young man from Xilu Village, and his cousin Su Liuniang from Lupu Village, Jieyang County, fell in love with each other and resisted the feudal marriage. Su Liuniang was drowned in the river and died. Her body floated to the lower reaches of the Rongjiang River, where she was picked up by fishermen and buried in Baidu on the bank of the Rongjiang River. Su Liuniang's grave on Yu Xiaopu was destroyed in the early 1960s when Xue Dazhai was clearing the land for farming. The story of the love between Guo Jichun and Su Liu Niang has also been widely circulated and was compiled into the Teochew opera "Su Liu Niang" and was also made into a movie and drama. Chen Qinsheng (1886-1919 AD), a native of Xilu, was one of the pioneers of China’s democratic revolution. According to Chaoyang County Chronicle: “Chen Qinsheng followed Mr. Sun Yat-sen in the revolution and served successively as Mr. Sun’s secretary, chief of staff of the Guangdong Army, and the fourth army general. In 1919, he was assassinated while destroying opium in Qiankengzhai, Jieyang County (now part of Jiexi County). He was only 34 years old. "After Chen Qinsheng's death, his story became widely circulated and became a household name. Before the founding of New China. It was adapted into the play "Blue Blood Money Pit". In 1944, the Japanese squadron stationed in Hexi Township, led by squadron leader Yongfang Aoxing, invaded Xilu. The people of Xilu rose up to attack and fought fiercely with the Japanese invaders in Hushan, wiping out all the Japanese troops including Yongfang Aoxing. The 49 people became a great anti-Japanese victory that shocked Chaoshan. The story of the people of Xilu fighting against the Japanese invaders has been widely sung throughout Chaoshan and was adapted into the idiom drama "The War on Tiger Mountain". On July 28, 1969, Xilu was hit by a strong typhoon and waves. Yang Jiansheng, director of the Commune Revolutionary Committee, risked his life. , led the masses to resist the wind and rescue, and died gloriously at the age of 39. After Yang Jiansheng's death, he was awarded the title of "Revolutionary Martyr" by the Provincial Revolutionary Committee. Many touching stories of Yang Jiansheng in Xilu were passed down as legends and compiled into the Teochew opera "Yang Jiansheng", which was widely spread in eastern Guangdong.

The touching story makes Xilu, an ancient border town, famous. A number of ancient buildings, ancient poems, and ancient tombs related to the story also add color to the ancient town of Xilu. Among them, the well-preserved ones include Meifeng Temple and Wushui Bridge built in the Tang Dynasty, Changmeiyan Temple built in the Song Dynasty, Ancient Xueyan Temple built in the Yuan Dynasty, and the Huang Clan Ancestral Hall built in the Ming Dynasty. These ancient buildings, It integrates stone carvings, wood carvings, porcelain inlays, clay sculptures and other folk crafts, reflecting the unique architectural styles of different dynasties. Various ancient buildings have also left behind a number of ancient poems and essays by celebrities and scholars from past dynasties. Among them, Chen Muyin, a poet from the Yuan Dynasty, wrote a poem "Inscribed on Fengshan Ancient Village". The poem says: "To protect the banner of Yiyi when it was built, the rocks of Fengshan surrounded Yangxi. Hero." Where is the battle fortress now? The eternal crows have echoed in the sky. "Chen Daqi, a scholar and censor in the Ming Dynasty, wrote in his poem "Wuyan Cave": "The clouds on the ladder are slanting, and there are traces of the spiritual roots of the monks who have not been secreted for thousands of years. "There is an ancient forest with more than a thousand ancient trees that are more than a hundred years old, including locust trees planted in the Jianyan period of the Song Dynasty, plum trees planted in the Yuan Dynasty, and iron trees planted in the Daoguang period of the Qing Dynasty. , in various shapes and forms. There are well-preserved tombs of Huang Dan, a famous Confucian and Chaozhou magistrate in the Song Dynasty, and the tomb of Chen Daqi, a censor and scholar in the Ming Dynasty. These ancient buildings, ancient poems, ancient trees, and ancient tombs give the legendary story of Xilu Ancient Town a magical color, showing the profound cultural heritage and humanistic landscape.

Xilu Town, which used to be poor and backward, has now changed its appearance. The folk songs here in the past include: "Xilu has many famous people in ancient and modern times, and we can tell a lot of stories. How can the stories be used as food? There is nothing we can do if we are hungry." After the founding of the People's Republic of China, especially since the reform and opening up, Xilu Town has been prosperous. In Nantan Beach, an aquaculture base covering an area of ??more than 8,000 acres has been built. Black-eared eels, crabs, and lotus roots are sold both inside and outside the province. A 375.5-hectare fruit planting base has been built on Xiaobei Mountain. Wusu bayberry and golden-edge carambola are famous at home and abroad. The town office It has one construction company, 216 construction teams contracting projects across the country, and more than 300 private enterprises and family workshops in stone processing, local product processing, plastics, woolen weaving, etc. More than 100,000 tourists from home and abroad come to Xilu every year. In the land of stories, there are many new things.