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2024年3月31日星期日

元朝的科举制(雪域寓言)

 


元朝的科举制

 

网罗,是一种捕捉鱼鸟的器具;也比喻法令、法网;搜求、罗致。中国有句成语叫“自投罗网”,释义:自己投到罗网里去,比喻自己送死。中国历史上的科举制度可以说就是“网罗天下英才”的捕捉知识分子的张网举措。

多吉带着女儿雅丹,在缅甸伊洛瓦底江畔与阿古登巴和达瓦、阿卓、楚三星、向奇玛闲聊时,多吉谈到了蒙古那些事,谈到了文化,也谈及了教育。

多吉说道:

元朝在其建立之初就面临着一个难题,那就是如何统治中国这个庞大的国家。元朝统治者首先采取的措施就是进行了大规模的改制和改革。其中最为重要的一项就是实施科举制度,在中国古代历史上,科举制度一直是选拔官员的主要方式。科举制度就是一张面向知识分子的大网,自投罗网的知识分子,是社会的精英,也是朝廷的附庸,政府的傀儡。

元朝在统治中国时借鉴唐宋两朝政治教育制度的重要举措,可以看到汉蒙文化的冲突与融合。

元朝创建之初废除了科举制度,后来元朝对科举制度作了改造:

首先,元朝将科举制度的范围扩大到全国范围内,取消了唐宋时期地方官员推荐举人的制度,改为全国性的乡试、会试和殿试。这种改革不仅增加了选拔人才的机会,也有助于统一国家制度,提高中央政府的权威。其次,元朝取消了唐宋时期科举考试的主考官制度,改为由中央政府派遣考官负责,从而保证了考试的公正性。此外,元朝还增加了科举考试的难度,要求考生具备更高的文化素养和政治素质。这种改革鼓励了学子们努力学习,提高了他们的文化水平。

与宋代科举制度不同的是,元朝科举制度将文、武两科合并,称为武举和文举。武举分为三个级别,分别是状元、榜眼和探花;文举分为进士、举人和解元。在元朝科举制度下,汉人和蒙古人都可以参加科举考试,但汉人比例较高。

多吉又说道:

随着时间的推移,元朝科举制度逐渐发生了变化。首先是科举的范围逐渐扩大,不仅仅是汉人和蒙古人,还包括了南方少数民族和外族人。

其次是考试形式和内容的变化。元朝科举制度取消了唐代的诗赋科,增加了经义和诸子百家等内容。同时,元朝的科举考试不再强调对诗词的学习和应用,而是更加重视对国家政治和经济的掌握。

元朝科举制度在实施过程中也经历了一定的演变。其中最为重要的演变就是科举制度的地位逐渐上升,成为了官员选拔和社会地位提高的主要途径。在这个过程中,科举制度在选拔人才和提升社会地位方面发挥了重要作用。

在元朝的前期,科举制度主要用于选拔官员。随着时间的推移,科举制度的范围逐渐扩大,成为了广大士人们提升社会地位的重要途径。在元朝后期,科举制度逐渐成为了社会上升的唯一途径。这种演变也促进了社会的文化进步和社会稳定。

此外,元朝的科举制度也在选才标准、考试内容和方式等方面进行了一些调整和改革。例如,元朝后期增加了贡士制度,即通过贡献文献而获得科举资格的制度,这种制度为非富即贵的人提供了一条进入士人阶层的途径。

此外,元朝后期还加强了科举考试的内容和标准,加大了对政治素质的考察力度,这对于提高官员素质和政治水平有着积极作用。

总的来说,元朝科举制度在实施与演变中发挥了重要作用,为中国古代的文化进步和社会稳定做出了贡献。

多吉继续说道:

元朝科举制度的实施对汉蒙文化产生了影响。在元朝的科举制度中,汉蒙文化有着不同的表现。科举制度是元朝统治下的文化政策之一,其目的是推行汉文化,同时也不可避免地引发了汉蒙文化的冲突与融合。在制度的实施过程中,汉文化和蒙古文化相互交融,产生了一些新的文化现象。汉人通过科举考试获得了政治和社会地位的提升,这也推动了汉文化在元朝时期的发展。

汉蒙文化的冲突主要体现在考试科目和文化认同上。科举制度实行汉文化为主,蒙古族考生需要学习汉文化,并通过汉文化的考试来获得官职。这一过程中,蒙古族考生面临着语言和文化的障碍,这使得他们在考试中面临着很大的困难。另一方面,汉族官员在对待蒙古族考生时,常常存在歧视和不公的现象。元朝科举制度的实施使汉人在政治上占据了较高的地位,这引发了蒙古人的不满。汉人参加科举考试的比例高于蒙古人,而在获得官职的比例上,汉人也占据了很大的优势。这种情况在后期逐渐得到了改善,但蒙古人的权益依然受到了影响,这加剧了汉蒙文化的冲突。

在元朝后期,科举制度开始增加对蒙古语言和文化的考核,为汉蒙文化的融合提供了契机。蒙古族考生通过汉文化的学习,逐渐了解和接受了汉文化,这加强了汉蒙文化之间的联系,这也促进了汉蒙文化的融合。汉蒙文化在相互融合的过程中,逐渐形成了独特的文化风貌,这对中国历史和文化的发展产生了深远的影响。

多吉唱了一首民谣《罗网的背后》:

 

  

圈套是捕捉飞禽走兽的工具,

鸟儿不动就不会被困在网罗。

鸟儿飞得高就怕被风筝缠绕,

鸟儿飞得低就怕被落入圈套。

巨大有毒的巴蜘蛛善于结网,

撒下天罗地网却捉不到沙鸥。

 

封建科举制度是残酷的枷锁,

社会精英难以摆脱名利陷阱。

无论你嘴上说多么羡慕自由,

结果仍有群雄先后落入陷阱。

那些梦想做皇帝附庸的学子,

放弃真理就会受到千古唾弃。

 

专制独裁的帝国处处设陷阱,

抓捕杀戮的天网布满了角落。

只许为皇上歌功颂德称万岁,

不准给朝廷抹黑添乱说碎语。

知识分子追求名利自投罗网,

社会精英背后藏有难言秘密。

2024年3月30日星期六

The charm of Yuan Dynasty opera

 


The charm of Yuan Dynasty opera

 

When Dorji took his daughter Yadan and chatted with Agudenba, Dawa, Azhuo, Chu Sanxing and Xiang Qima on the bank of the Irrawaddy River in Myanmar, Dorji talked about Mongolian dance. Dorji is a famous local musician who founded Naypyitaw Song and Dance Ensemble.

Chu Sanxing's wife Xiang Qima said to Duoji: I have read some Tang poetry and Song lyrics, but I don't know much about Yuan opera.

Dawa also hoped that Duoji would tell him something about Yuan Dynasty opera.

Dorje said:

Yuan Dynasty opera refers to operas created and performed during the Yuan Dynasty in China. The Yuan Dynasty was an important period in Chinese history, in which opera culture was an important part of the culture of the Yuan Dynasty. Yuan Dynasty opera has important historical significance and cultural value in the history of Chinese opera. Yuan Dynasty opera not only broke the traditional opera performance form in the past, but also influenced the development of opera in the Ming and Qing Dynasties.

The origin and development background of Yuan Dynasty opera are closely related to the historical background of the establishment and rule of the Yuan Dynasty. The Yuan Dynasty was established by the Mongols, who actively advocated multicultural exchange and integration when they ruled China.

The Mongolian rulers absorbed the cultural elements of the Han, Southern Song Dynasty, and West and Central Asia, which provided a broad cultural soil for the development of Yuan Dynasty opera.

The Mongolian people have their own folk arts, such as folk songs, dances and circuses. These art forms played an important influence on the development of opera in the Yuan Dynasty.

During the Yuan Dynasty, people from different regions and nationalities gathered in the capital, which is now Beijing, and it became the center of cultural exchanges. Opera performers, musicians, writers, etc. from all over the country gathered in Dadu, and the exchanges between them promoted the innovation and development of opera art.

The Yuan Dynasty was an important turning point in Chinese history. The Mongolian rule and changes in the political system brought about changes in the social structure. Opera has become an important form of entertainment and cultural pastime for all levels of society, and has also become an art form that expresses social emotions and thoughts.

Dorje continued:

Yuan Dynasty opera originated from the lyrics of the Southern Song Dynasty. After the development and innovation of the Yuan Dynasty, it formed its own unique artistic style. Yuan opera is characterized by lyricism, delicacy, profound artistic conception, and a high degree of literary and artistic quality.

Peking Opera is a form of opera developed in the Qing Dynasty, but its predecessors can be traced back to Qin Opera and Han Opera in the Yuan Dynasty.

Peking Opera uses singing, chanting, acting and fighting as its main performance methods. Its music, dance and performance have extremely high technical level and artistic value.

Zaju is an important form of opera in the Yuan Dynasty. It is characterized by being relaxed, humorous, and full of comedy, and it integrates various performance forms such as singing, dancing, acrobatics, and rap, showing rich artistic charm.

Mancai is a short and concise form of opera in the Yuan Dynasty, and it is a pure rap art. The content of the comics is mostly funny and humorous, showing characteristics such as comedy and satire. In addition to the above forms, there are other forms of Yuan Dynasty opera, such as Kun Opera, Qin Opera, Hebei Bangzi, etc. The performance characteristics of Yuan Dynasty opera are unique. Yuan Dynasty opera adopts a comprehensive form of four performance methods: singing, reading, acting and playing. When performing, actors must not only sing the characters' lines and songs, but also read narration and commentary. Physical movements and dance performances are performed at the same time, and percussion instruments and music performances are also required. This comprehensive performance form makes Yuan Dynasty opera rich in expressive power and dramatic tension.

When asked Qima about the artistic characteristics of Yuan Dynasty opera, Duoji said:

Yuan opera is one of the representative forms of opera in the Yuan Dynasty and has a unique artistic style. Yuan opera focuses on emotional expression and delicate description. Through euphemistic and touching words, soft and melodious melodies, and delicate and vivid image descriptions, it shows the profound emotions and rich inner world of the characters.

Yuan opera is famous for its beautiful lyrics and profound artistic conception. The works incorporate rich literary elements and use rhetorical techniques, couplets, imagery and other techniques to demonstrate a high degree of literary artistry. Yuan opera also pays attention to the use of music, with beautiful melodies and graceful tunes. When singing, the tone is changeable. When it is sad and sad, it will be slow and lingering. When it is happy and lively, it will be bright and smooth. The melody and emotion echo each other. Yuan Opera innovated in the art form and introduced new performance techniques and techniques, such as allegro, trick play, percussion instruments, etc., which enriched the expressive power and dramatic tension of the opera. The stage performance of Yuan Opera is lively and lively. The actors use dance, movement and body performance to show rich body language and stage charm.

Dorje added:

Yuan opera has a wide range of themes, including historical stories, legends, myths, folklore, etc. The characters are rich and diverse, including monarchs and ministers, women, palace maids, generals, etc. Each character has a distinct personality and characteristics.

Yuan Dynasty opera focused on stage art, costumes and makeup in terms of artistic expression techniques. The stage art in Yuan Dynasty opera focused on the arrangement of scenes and the construction of backgrounds. The stage background often uses three-dimensional structures, curtains and screens, etc., to create various specific scenes, such as palaces, courtyards, landscapes, etc., through painting, sculpture, hanging objects, etc., so that the audience can be immersed in the scene and enhance the artistic appeal of the opera. .

The costumes in Yuan Dynasty operas are famous for their colorful, gorgeous and luxurious costumes. Actors' costumes use different materials, styles and accessories according to the character's identity, gender, age and social status to show the characteristics and image of the character. For example, the costumes of monarchs, ministers, officials, generals, women and other characters have their own unique characteristics, which leave a deep impression on the audience.

Makeup is very important in Yuan Dynasty operas. Actors use makeup to shape the image and characteristics of their characters. Different characters have different makeup methods. For example, red makeup represents happiness, black makeup represents sadness, white makeup represents sinisterness, etc. Makeup highlights the personality and emotions of the characters through the use of fine paintings and colors, allowing the audience to better understand and feel the storyline of the opera.

The props in Yuan Dynasty operas are rich and diverse, such as swords, fans, flowers and birds, etc. The use of props is closely coordinated with the actors' movements and performances. Through the dynamic use of props, the identity of the characters and the development of the plot are highlighted, enriching the artistic effect of the opera.

Dorji told Agudenba and Dawa: The Naypyitaw Song and Dance Troupe I established now is mainly about singing and dancing, but it will also study and add some Yuan Dynasty opera elements, and strive to improve the appeal and appreciation of some songs and dances with opera art. sex.

Duoji's daughter Yadan sang a Yuan song "Recalling Bai Pu":

 

Yuan opera, Tang poetry and Song lyrics are both popular.

Each tune has a fixed rhythm.

Every time I read Bai Pu’s masterpieces of Yuan Opera,

It was like a spiritual feast for me.

The dramatist Bai Pu remained in office his whole life.

But he is one of the four great masters of Yuan Opera.

I often stand in front of the window and remember Bai Pu,

He will tell me the seasons.

 

The warm sun and wind in the spring mountains,

Lingan pavilion curtains,

Willow swing in the courtyard.

Orioles are singing and swallows are dancing, and the flowing water on the small bridge is red.

 

The clouds gather and the rain passes and the waves add,

The building is high, the water is cold and the melon is sweet,

Green trees shade the hanging eaves.

The gauze kitchen is covered with rattan mats, and the beauty’s fan is light.

 

The setting sun fades over the isolated village,

Jackdaws in old trees with light smoke.

Under the shadow of a little Feihong.

Green mountains and green waters, white grass, red leaves and yellow flowers.

 

There was a sound of drawing horns and calling the door,

The new moon dusk in the middle of the courtyard,

The waterfront in front of Snow Mountain.

There are bamboo fences and thatched cottages, an isolated village with faint smoke and decaying grass.

 

Fermented fermented grains are responsible for the ups and downs of the ages.

The song is buried in thousands of feet of rainbow.

If there is wine today, I will be drunk today.

And there are only limited cups in front of the bottle.

I remember Bai Pu at the place where my heart is broken,

The years are passing away like a stream.

Unparalleled fame is always in vain,

Wealth is like a butterfly on a flower.

元代戏曲魅力(雪域寓言)

 


元代戏曲魅力

 

多吉带着女儿雅丹,在缅甸伊洛瓦底江畔与阿古登巴和达瓦、阿卓、楚三星、向奇玛闲聊时,多吉谈到了蒙古舞蹈那些事,多吉是当地著名的音乐家,他创办了内比都歌舞团。

楚三星的妻子向奇玛对多吉说:我阅读过一些唐诗宋词,但对元曲了解不多。

达瓦也希望多吉讲些关于元代戏曲的知识。

多吉说道:

元代戏曲是指在中国元朝时期创作和演出的戏曲。元代是中国历史上的一个重要时期,其中戏曲文化是元代文化中的重要组成部分。元代戏曲在中国戏曲史上具有重要的历史意义和文化价值。元代戏曲不仅打破了以往传统的戏曲表演形式,也影响了后来明清时期的戏曲发展。

元代戏曲的起源和发展背景与元朝建立和统治的历史背景密切相关。元朝是由蒙古族建立的,他们在统治中国时候积极倡导多元文化交流和融合。

蒙古族统治者吸收了汉族、南宋文化以及西亚和中亚的文化元素,这为元代戏曲的发展提供了广阔的文化土壤。

蒙古族有自己的民间艺术,如民间歌谣、舞蹈和马戏等,这些艺术形式对元代戏曲的发展起到了重要的影响。

元朝时期,来自不同地区和民族的人们相聚于首都大都,也就是现今的北京,那里成为文化交流的中心。来自各地的戏曲表演者、音乐家、作家等聚集在大都,他们之间的交流促进了戏曲艺术的创新和发展。

元代是中国历史上的一个重要转折点,蒙古族的统治和政治制度的改变带来了社会结构的变化。戏曲成为社会各个阶层的娱乐和文化消遣的重要方式,也成为表达社会情感和思想的艺术形式。

多吉继续说道:

元代戏曲起源于南宋的词话,经过元代的发展和创新,形成了自己独特的艺术风格。元曲的特点是抒情、细腻、意境深远,具有高度的文学性和艺术性。

京剧则是清代发展起来的一种戏曲形式,但它的前身可以追溯到元代的秦腔、汉剧等。

京剧以唱、念、做、打为主要表演手段,其音乐、舞蹈、表演等方面具有极高的技艺水平和艺术价值。

杂剧是元代戏曲中的一种重要形式。它的特点是轻松、幽默、富有喜剧色彩,而且融合了歌舞、杂技、说唱等多种表演形式,展现出丰富的艺术魅力。

漫才是元代戏曲中的一种短小精悍的形式,是一种纯粹的说唱艺术。漫才内容多为滑稽幽默,表现出搞笑、讽刺等特点。除了以上几种形式外,元代戏曲还有其他形式,如昆曲、秦腔、河北梆子等。元代戏曲的表演特点独具一格,元代戏曲采用了唱、念、做、打四种表演手段的综合形式。演员在表演时不仅要唱出角色的台词和歌曲,还要念出旁白和解说词。同时进行身体动作和舞蹈表演,还需要配合打击乐器和音乐演奏。这种综合表演形式使得元代戏曲具有丰富的表现力和戏剧张力。

当向奇玛问及元代戏曲的艺术特色时,多吉说:

元曲是元代戏曲的代表性形式之一,具有独特的艺术风格。元曲注重情感的抒发和细腻的描绘。通过婉转动人的词句、柔美悠扬的旋律以及细腻生动的形象描写,表现出深刻的人物情感和丰富的内心世界。

元曲以优美的词章和深刻的意境闻名,作品中融入了丰富的文学元素,运用修辞手法、对偶句、意象等技巧,展现了高度的文学艺术性。元曲还注重音乐的运用,其旋律优美、曲调婉转动人。演唱时,音调多变,忧愁悲切的时候会慢而缠绵,欢乐活泼的时候会明快流畅,旋律与情感相互呼应。元曲在艺术形式上进行了创新,引入了新的表演技巧和表现手法,如快板、出把戏、打击乐器等,丰富了戏曲的表现力和戏剧张力。元曲舞台表演热闹活跃,演员运用舞蹈、动作和身段表演,展现出丰富的肢体语言和舞台魅力。

多吉又说道:   

元曲的题材广泛,包括历史故事、传说神话、民间传说等。角色形象丰满,有君臣、妇女、宫女、武将等多种类型,每个角色都有鲜明的个性和特点。

元代戏曲在艺术表现手法方面注重舞台美术、服装和化妆,元代戏曲中的舞台美术注重场景的布置和背景的构建。舞台背景常采用立体构筑物、幕布和屏风等,通过绘画、雕刻、悬挂物等方式营造出各种具体的场景,如宫殿、庭院、山水等,使观众身临其境,增强戏曲的艺术感染力。

元代戏曲中的服装以丰富多彩、华丽豪华而著称。演员的服装根据角色的身份、性别、年龄和社会地位的不同,采用不同的材料、款式和配饰,展示出角色的特点和形象。例如,君臣、官员、武将、妇女等角色的服装各具特色,给观众留下深刻的印象。

元代戏曲中的化妆十分重要,演员通过化妆来塑造角色的形象和特征。不同的角色化妆方式各异,如红妆代表喜庆,黑妆代表悲哀,白妆代表阴险等。化妆通过精细的绘画和色彩的运用,突出了角色的个性和情感,使观众更好地理解和感受戏曲的故事情节。

元代戏曲中的道具丰富多样,如宝剑、扇子、花鸟等。道具的使用与演员的动作和表演紧密配合,通过动态的使用道具,凸显角色的身份和情节的发展,丰富了戏曲的艺术效果。

多吉告诉阿古登巴和达瓦:我现在成立的内比都歌舞团,主要是以歌舞为主,但也会研究和加入一些元代戏曲元素,努力提升一些带戏曲艺术的歌舞感染力和观赏性。

多吉的女儿雅丹演唱了一首元曲《忆白朴》:

 

元曲与唐诗宋词并举,

每一曲牌有固定格律。

每读白朴元曲之佳作,

我如同享受精神大餐。

杂剧家白朴终身未仕,

却是元曲四大家之一。

我常站在窗前忆白朴,

他会告诉我四季冷暖。

 

春山暖日和风,

阑干楼阁帘栊,

杨柳秋千院中。

啼莺舞燕,小桥流水飞红。

 

云收雨过波添,

楼高水冷瓜甜,

绿树阴垂画檐。

纱厨藤簟,玉人罗扇轻缣。

 

孤村落日残霞,

轻烟老树寒鸦。

一点飞鸿影下。

青山绿水,白草红叶黄花。

 

一声画角谯门,

半庭新月黄昏,

雪里山前水滨。

竹篱茅舍,淡烟衰草孤村。

 

醅瀹千古兴亡事,

曲埋万丈虹霓志。

今朝有酒今朝醉,

且尽樽前有限杯。

断人肠处忆白朴,

岁华如流消磨尽。

盖世功名总是空,

富贵犹似花上蝶。

 

Tears that cannot be wiped away

 


Tears that cannot be wiped away

 

Dorje took his daughter Yadan and met Agu Demba and Dawa, as well as A Zhuo, Chu Sanxing and Xiang Qima on the banks of the Irrawaddy River in Myanmar. Dorji thanked Agudengba for helping his daughter Yadan escape from the Bangladesh Prostitute Island.

Dorje is a famous local musician who founded the Naypyitaw Song and Dance Troupe. He specially brought a dance team from the Song and Dance Troupe here. The performers of this dance team are mainly Mongolian teammates.

When the dancers of the dance team held hands and danced the Mongolian circle dance, Agudengba asked Dorji a question: Dear Mr. Dorji, you have moved to Myanmar now, why do you still love Mongolian dance so much?

Dorje did not directly answer Agudengba's question at that time. I just said to Agudemba: The dance is about to end, let’s talk about these things after the performance is over.

In the evening, Dorje invited Agudengba and Dawa, as well as Adhuo, Chu Sanxing and Xiang Qima, to have dinner together in the temporary Mongolian tent set up on the meadow.

Dorje began to tell Agudengba the reasons why he organized the Naypyitaw Song and Dance Troupe and established the Mongolian dance team.

Dorje said:

Where we are now is Bagan, located at the confluence of the west bank of the Irrawaddy River and the Chindon River, 145 kilometers southwest of Mandalay. The history of Bagan's establishment is earlier than that of the Bagan Kingdom. It is said that the small town of Bagan was built by the Piao people in 105 AD.

In 847, Piimbia built a walled city in Bagan and carried out extensive construction projects, making Bagan gradually become a big city and later the capital of a country. The Kingdom of Bagan is an ancient country in Southeast Asia. It was founded in modern Myanmar in 849 AD. The first king was Phyimbia, and the Kingdom of Bagan was the first kingdom to unite the Burmese region.

Since then, Myanmar has maintained a tributary and vassal relationship with the Song Dynasty. After Anuruddha ascended the throne as king, he was determined to rejuvenate the country and actively expanded outward. His army crossed Bhamo and went straight to Dali, which is now located in Yunnan, China. After that, the two countries reconciled. Anuruddha introduced Theravada Buddhism to the Kingdom of Bagan and established it as the state religion. Anuruddha also created his own script based on the scripts of the Mon and Piao tribes.

However, the kings of the Bagan Kingdom since Jiangxituo either indulged in luxurious feasts or built temples extensively. As a result, they wasted people and money, and the country was declining. After Emperor Narathiopatra came to the throne, he was tyrannical and cruel, and rebellions broke out everywhere. The Shan ethnic group in the northern part of Bagan is on the rise and continues to invade Bagan from the south.

In 1206, the Mongol Empire was established in northern China by Temujin. 65 years later, in 1271, the fifth Khan Kublai Khan changed the name of the country to Yuan. After the establishment of the Yuan Dynasty, Kublai Khan sent envoys to Bagan many times to solicit surrender, but the King of Bagan ignored them.

After the Yuan Dynasty destroyed the Southern Song Dynasty, its national power increased greatly. Yuan soldiers attacked Bagan from the Yunnan region.

During the Mongolian-Burmese War, Myanmar dispatched 40,000 to 50,000 soldiers and 800 war elephants to attack the Yuan Dynasty Zhenxi Road with a new one of thousands of dollars (today's Yingjiang County, Yunnan) and the original gold tooth (today's Dehong Dai and Jingpo Autonomous Prefecture of Yunnan), etc. area) invasion. Dali Road Mongolian Qianhu Hudu and the general manager led 700 cavalry to the rescue. The Yuan army and the Burmese army encountered each other during the march and fought fiercely for two days. The Yuan army first broke the phalanx of its war elephant team, and the Burmese army retreated in chaos. The Yuan army pursued for more than 30 miles and captured 17 of its villages. In October of the same year, Marshal Du, the Xuanwei envoy of various routes in Yunnan of the Yuan Dynasty, led 3,848 troops to conquer Burma. The Yuan army captured Jiangtou City and surrendered 35,200 households (about 300 villages) of the Shan tribe nearby. After that, the Yuan army once again conquered Burma, advancing both by land and water, and conquered Jiangtou City, Taigong City and other places. The 12 tribes under the Burmese king surrendered to the Yuan Dynasty.

However, internal strife soon broke out in the Myanmar royal family. The concubine of the Burmese king imprisoned the Burmese king, and also killed Ananda and others, officials sent by the Yunnan king of the Yuan Dynasty. Soon, the concubine was killed in the chaos when his brothers were fighting for the throne. The Burmese Bagan dynasty has actually disintegrated and been divided into several Shan states. In order to seek political support, most of the nobles and Shan tribal leaders who supported their own armies in various places surrendered to the Yuan Dynasty and accepted various official titles such as the Xuanweisi appointed by the Yuan Dynasty.

Dorje said:

But for most Chinese people, the country of Myanmar is basically just a humid place in the distance, coupled with poverty and endless tropical virgin forests. This special geographical environment also became an important reason why it was difficult for China in ancient times to turn Myanmar into territory. However, during the Yuan Dynasty nearly 800 years ago, the Mongols surpassed the limits of the Central Plains dynasty and successfully conquered the Bagan dynasty in Myanmar. Northern Myanmar became the central Myanmar province of the Yuan Dynasty, nominally expanding the Mongolian territory to the coast of the Indian Ocean. Later, the central province of Burma was abolished, but the kings of Bagan after Emperor Narathihobo were almost all puppets of the Yuan Dynasty. Its territory began to divide again, and it was officially destroyed soon after. Since then, Myanmar has been divided into many kingdoms. But from the Mongolian-Burmese War, we can see that the Burmese nation is also a very strong nation. It can be said that the tears of the Burmese people will never be wiped dry.

Dorje said:

The Yuan Dynasty's conquest of Myanmar first benefited from the strong fighting power of its own Mongolian core force, and also benefited from the strong support of the ethnic minority tribes in Yunnan at that time. In ancient China's war against Myanmar, the stability of the Yunnan area as an advance base was crucial. If you get Yunnan, you can get a glimpse of Myanmar and Thailand. If Yunnan is unstable, the southwest border will be in danger.

Speaking of the relationship between Myanmar and Mongolia, we have to talk about the Jingpo Beng ethnic group. The Jingpo Wenbeng ethnic group refers to various branches of the Kachin ethnic group that live in Kachin State in northern Myanmar, Yunnan in China, northeastern India and southern Tibet. Such as Zaiwa, Kaku, Gaoyi, Mayu, Leqi, Lang'e, Riwang, Jingpo, Lisu and other descendants of the ancient Yak Qiang people.

The Wenbeng ethnic group believes that about 10,000 to 6,000 years ago, their ancestors originated from the Riyue Mountain in the cold "natural flat-top mountain" prairie in the north. It is said to be the Riyue Mountain in Qinghai Province. They were the descendants of the ancient Yak Qiang. The cow is worshiped as a totem, so buffalo meat is not eaten. Later, the ancestors of the Wenbeng ethnic group began to move from the natural flat-top mountains of Mongolia's "Mongolia" and the Hehuang area to "Hulianyangdanmao", which is a flat land in Gannan and Baoji, Shaanxi. Then we entered the "Pozhu Sangximao" large forest area in the southeastern Tibet and western Sichuan forest areas. Then they moved to the Red Soil Plateau and the "Zhelinie Lin Zhenmao" area in western Sichuan and northwestern Yunnan. After hundreds of years of long-distance migration, some arrived in the river valleys of southwest Tibet, some in the Memiao River Basin in Myanmar, some along the Ruili River south to the Xunli Mountains in Myanmar, and some in Anano, India. Padisa, that is, the triangle area west of the Himalayas, has formed several "Wenbeng ethnic branches", or tribes. These "tribal territories" are adjacent to each other and connected across borders, and the ethnic groups inhabiting them are collectively called "Wenbeng ethnic groups". It is also part of the ethnic group of the Western Regions.

In ancient times, the Burmese divided the residents in the territory and neighboring countries into five major ethnic groups: first, the Bamar; second, the Mon. Both are monoethnic. 3. Shan ethnic group; refers to ethnic groups from east of Myanmar, including Shan, Thai, Khmer, etc. Four, "Kara". This is the Indians, Arabs, and even later the British from west of Burma, all collectively called "Kala". The fifth ethnic group is "Tayuk", which literally means Chinese, but actually includes Mongolians, Turks and other ethnic groups from the north.

Among the ethnic groups in the Western Regions, the Kayu people are the third largest ethnic group in Dian Kaye State, with a population of more than 50,000. As descendants of the Mongols, the Kayu people still retain many Mongolian characteristics in their language and musical instruments. However, compared with the strength of their ancestors when they conquered the Bagan Dynasty in Myanmar 730 years ago, although today's Kayu people have limited strength, they rely on the unity of the tribe and cooperation with other ethnic groups to confront the central government with the weapons in their hands. .

But while fighting, Minmao, as the leader of the Keyu people, also knew that "taking up arms" was only a stage, and eventually chose to "lay down arms" and negotiate with the central government to win back the rights and interests for his people. In addition to safeguarding the interests of his tribe through political activities, Minmao also vigorously promotes the preservation of the Keyu language.

In the middle of the Bagan dynasty, the court implemented a benevolent act by exempting land donated to temples from taxes. Over the years, the princes and nobles of the Bagan dynasty have built major temples on their fiefdoms in order to do good deeds. Each one is more grand and more exquisite than the other. By the late dynasty, nearly two-thirds of the land in the country was owned by temples, and taxes could not be raised, resulting in a tight financial situation for the state treasury. Monks are well paid and are an important springboard for social class advancement. More and more young people are becoming monks. There is a shortage of strong labor in the fields, and there are not enough soldiers in the army. Grain production is decreasing year by year, and internal and external troubles have emerged. First, the subordinate countries in the south rebelled, and then the enemy countries in the west invaded, but the most dangerous thing was the Mongolian legion from the north.

Dorje sighed:

The tears of the Burmese people were largely caused by the incompetence of their monarchs and the infighting within the court. But the tough Mongols did not have the last laugh, and they also had tears that they could not wipe away.

In Myanmar, I got to know many people of Mongolian descent living in this land. They told me: the Mongolian cavalry crossed the Cangshan Mountains and destroyed the Dali Kingdom; Kublai Khan established his capital in Beijing and established the Yuan Dynasty; five years later, the Yuan Dynasty army broke through Lin'an, and the Southern Song Dynasty was destroyed. The Bagan army fought several battles with the Mongolian army, but each time the Bagan army was defeated. When the Mongolian cavalry once again pressed forward with troops, the Bagan dynasty was unable to gather an army because most of the men had gone to temples to become monks. Not only did the last emperor of the Bagan dynasty, Narathiropodi, not resist, but he abandoned the entire country and ran to his son in the south to take refuge.

But these Mongolian descendants couldn't laugh. The Mongols did rule Upper Burma for a period of time, and in the historical period before the Mongolian Yuan Dynasty, the Han government basically did not go much beyond the current China-Burma Line. Therefore, from this perspective, the "Han people" stranded in Myanmar cannot actually be ruled out as descendants of the remaining Mongolian troops. When the Ming army rose, many southern Mongols who had not had time to retreat mostly settled in Myanmar after hiding their Mongolian identities locally.

Dorje continued:

Among those of Mongolian descent who settled in Myanmar, a considerable number of them made a living by singing and dancing performances and wandered around. But what made them despair was that after the Yuan Dynasty was overthrown by the Qing Dynasty, in 1367 AD, Ming Taizu Zhu Yuanzhang issued the "Zhu Yuanzhang's Proclamation to the Heaven to Defeat the Yuan Dynasty for the Northern Expedition" when he was preparing for the Northern Expedition in Yingtian Mansion (today's Nanjing). The slogan "restore China, establish principles and discipline, and save the people" became the program of Zhu Yuanzhang's Northern Expedition. Many Mongolians who lived in the Ming Dynasty began to return to the north or migrate to the Western Regions, and some took refuge in Myanmar. The Naypyitaw Song and Dance Troupe I founded has a dance team whose actors are mainly the children of these Mongolians.

As a musician, I like Mongolian singing and dancing very much. As a descendant of people from the Western Regions, I am naturally full of nostalgia for Mongolians, Xinjiang people, and Tibetans. I sympathize with the people of Mongolian descent living in Myanmar, and I know the stories behind their tears.

What confuses me even more is that when Zhu Yuanzhang was preparing for the Northern Expedition, he put forward the slogan "Expelling the barbarians, restoring China, establishing a program of discipline, and relieving the people of Sri Lanka" in the "Zhu Yuanzhang's Message for the Northern Expedition." However, this slogan was used by Sun Yat-sen. Plagiarized and adapted into "Drive out the Tartars, restore China, establish the Republic of China, and equalize land rights." The abbreviation of "Nation, Civil Rights and People's Livelihood" is the "Three People's Principles" and serves as the political program of the Chinese Tongmenghui.

"Drive out the Tartars", are the Tartars not Chinese?

Sun Yat-sen shouted loudly:

Today's Manchuria is located outside the Great Wall of China. In the past, during the Ming Dynasty, they were a frequent threat to the frontiers. Later, taking advantage of China's troubles, they drove into China and destroyed China. They seized control of our government and forced our Han people to be slaves. Those who refused to obey were killed by hundreds of millions. . We, the Han people, have been subjugated here for two hundred and sixty years! The Manchurian government is extremely vicious and has now become a full force. The righteous army has pointed out that the Han soldiers in other continents will be exempted from their crimes if they repent and surrender. If they dare to resist, Kill without mercy! The same goes for Han Chinese who became Manchu slaves and became traitors.

Sun Yat-sen kicked the Mongols and Manchus out of the Chinese ethnic circle. He also put forward the slogan of "restoring China":

China, the Chinese people's China, Chinese politics, the Chinese people will let it go, and after expelling the Tartars, we will regain our nation's country. Anyone who dares to do what Shi Jingtang and Wu Sangui did will be attacked by the whole world.

The whole of China has begun to arrest "traitors", and the tears that the Mongols and Manchus can't wipe away do not end there. In the following years, the Mongols were subjected to the Red Purge by Soviet Russia, which split Mongolia into two parts. The suppression of the Mongols was brutal and bloody. There are even genocidal madmen who have introduced violent measures to ban speaking Mongolian and writing Mongolian characters. The tears that the Mongols could not wipe away were filled with red blood.

Dorje continued sadly: I promote Mongolian culture, including Uyghur culture and Tibetan culture. The world should be a multicultural combination. Any act of extermination of aliens is a crime against humanity.

Dorje opened his voice and sang a song called "Song of the Horse":

 

I am a brave and sweaty horse,

I am running on the vast grasslands of the world,

I fly under the blue sky,

The wind in the grassland is the singing of my heart,

The swinging flowers are my dancing steps.

 

I don’t have many pursuits or dreams,

I just want free space,

Far away from the crazy and bloody killings of war,

To prevent the mutual genocide of races,

The sound of horse hooves is my heroic call.

抹不干的泪(雪域寓言)

 


抹不干的泪

 

多吉带着女儿雅丹,在缅甸伊洛瓦底江畔见到了阿古登巴和达瓦,还有阿卓、楚三星和向奇玛。多吉感谢阿古登巴帮助自己的女儿雅丹逃出了孟加拉妓女岛。

多吉是当地著名的音乐家,他创办了内比都歌舞团,他特意带着歌舞团的一支舞蹈队前来。这支舞蹈队的演员主要是蒙古族队友。

当舞蹈队演员手拉手跳起蒙古族的圈圈舞时,阿古登巴这时向多吉提出了一个问题:尊敬的多吉先生,你现在移居缅甸,为什么仍然对蒙古舞如此热爱?

当时多吉没有直接回答阿古登巴的提问。只是对阿古登巴说:舞蹈即将结束了,我们等表演结束后再聊这些事吧。

晚上,多吉邀请阿古登巴和达瓦,还有阿卓、楚三星和向奇玛,一起在草甸上临时搭建的蒙古帐逢里用晚餐。

多吉开始对阿古登巴讲述起自己组织内比都歌舞团及建立蒙古舞舞蹈队的原因。

多吉说:

我们现在所处的地方是蒲甘,位于伊洛瓦底江西岸与亲敦江汇合处,在曼德勒西南145公里。蒲甘建立的历史比蒲甘王国还要早,据说在105年由骠族建蒲甘小城。

847年,披因比亚在蒲甘修建城寨,大兴土木,使蒲甘渐渐成为大城市,后成为一国之都。蒲甘王国则是东南亚的一个古国,公元849年建国于现代缅甸地区。第一任国王是披因比亚,蒲甘王国是第一个统一缅甸地区的王国。

此后,缅甸一直保持着对宋朝的朝贡及臣属关系。阿努律陀即位为国王后,有心拯兴国家,积极向外扩张,其军队越过八莫,直捣现在位于中国云南的大理,之后两国和解。阿努律陀把上座部佛教传入蒲甘王国,并立为国教。阿努律陀又参考孟族与骠族的文字,创立了自己的文字。

但蒲甘王国自江喜陀之后的诸王,或纵情奢华宴乐,或广建寺庙,结果劳民伤财,国势日微。那罗梯诃波帝即位后,暴虐无道,叛乱四起。蒲甘国北部的掸族势力盛起,不断南侵蒲甘国。

1206年,蒙古帝国由孛儿只斤铁木真在在中国北方建立,65年之后的1271年第五任大汗忽必烈改国号为元。元朝建立后,忽必烈多次遣使到蒲甘国招降,蒲甘国王不理会。

元灭南宋后,国力大增。元兵自云南地区进攻蒲甘国。

在蒙缅战争中,缅甸曾出动士卒四五万、战象800头大举向元朝镇西路新附千额(今云南盈江县城)及原附金齿(今云南德宏傣族景颇族自治州等地区)侵袭。大理路蒙古千户忽都、总管率领700名骑兵驰援。元军与缅军在行进中遭遇,激战两日。元军首先破其战象队方阵,缅军大乱而败退。元军追逐30余里,攻破其17寨。同年十月,元朝云南诸路宣慰使都元帅统兵3848人出征缅国。元军进占江头城,招降了附近的掸族部落35200户(约300寨)。之后,元军再次征伐缅国,水陆并进,攻破了江头城、太公城等地,缅王臣属的12个部落归顺元朝。

但是,不久缅国王室发生内讧。缅王庶子囚禁了缅王,还杀害了元朝云南王派去的官员阿南达等人。不久,庶子在诸兄弟争位时纷乱中被杀。缅甸蒲甘王朝实际上已经解体,分成若干掸邦。各地纷纷拥兵自立的贵族和掸族部落首领为寻求政治上的支持,大多向元朝投降,接受了元朝任命的宣慰司等各种官职名号。

多吉说:

但是对于大部分中国人而言, 缅甸这个国度基本上只是潮湿的远方,外加贫穷与无限的热带原始森林。这一特殊的地理环境也成为古代中国难以将缅甸一带变为领土的重要原因。然而,在近八百年前的元朝 ,蒙古人却超越了中原王朝的极限,成功征服缅甸的蒲甘王朝 ,缅甸北部成为元朝的缅中行省,将蒙古人的疆域名义上拓展到了印度洋沿岸。后缅中行省撤消,但那罗梯诃波帝之后的蒲甘国王几乎都是元朝的傀儡。其领土就开始重归分裂,不久后正式灭亡。自此,缅甸重新分成诸多王邦。但我们从蒙缅战争中,可以看出缅甸民族也是一个非常强悍的民族。可以说,缅甸人的泪抹不干。

多吉说:

元朝对缅甸的征服,首先得益于自身本部蒙古核心力量的强悍战斗力,同时也得益于当时云南一带少数民族部落的鼎力支持。在古代中国对缅甸作战中,云南一带作为前进基地的稳定性至关重要,得云南则可以窥缅泰,云南不稳则西南边疆危殆。

说起缅甸与蒙古的关系,还得说说景颇文蚌民族。景颇文蚌族是指定居在缅甸北部克钦邦、中国云南、印度东北部和藏南地区的克钦族各个支系。如载瓦、卡库、高伊、马尤、勒期、浪峨、日旺、景颇族、傈僳族等古代牦牛羌族的后裔。

文蚌民族认为,大约在10000至6000年前,其祖先发源于北方寒冷的“天然平顶山”大草原的日月山,据说就是青海省的日月山,那是古代牦牛羌的后裔,他们将牛作为图腾崇拜,因此不食水牛肉。后来,文蚌民族先民开始从蒙古的“蒙古利亚”天然平顶山和河湟地区迁到“户练央旦卯”,那是甘南、陕西宝鸡一带的平坦之地。再之后进入藏东南与川西林区“颇究桑昔卯”大森林地区。再迁到红土高原和川西、滇西北一带的“哲聂林真卯”。经过数百年的长途迁徙,一部份到了西藏西南部的河谷地带,一部份到了缅甸的湄苗河流域,一部分沿瑞丽江南下到了缅甸的寻利山脉,还有一部分到了印度阿那诺帕底萨,即喜马拉雅山脉以西三角地带,形成了若干“文蚌民族支系”,或称部落。这些“部落领土”互为毗邻,跨国界相连,所居住的民族统称“文蚌民族”。也是西域民族的一部分。

在古代,缅甸人将境内及邻国的居民分为5大族群:一,缅族;二,孟族。这两个都是单一民族。三,掸族;指来自缅甸以东的民族,包括掸族、泰族、高棉人等。四,“卡拉”。这是来自缅甸以西的印度人、阿拉伯人、甚至后来的英国人,都统称“卡拉”。第五个族群就是“塔尤克”,字面上的意思是指中国人,实际上却包括了蒙古、突厥等所有来自北方的民族。

在西域民族中,克尤人是甸克耶邦第三大族群,人口5萬餘人。作為蒙古人的後裔,克尤人如今的語言、樂器仍保留著不少蒙古人的特色。然而相較於其祖先730年前征服緬甸蒲甘王朝時的強勢,如今的克尤人雖然力量有限,卻依靠著族人的團結,以及與其他族群的配合,憑藉著手中的武器與中央政府對峙。

但在抗爭同時,作為克尤族人領袖的敏茅也清楚,“拿起武器”只是一個階段,最終也選擇“放下武器”與中央談判,為其族人贏回該有的權益。敏茅除了通過政治活動捍衛族人利益,也大力推動克尤語言的保留。

在蒲甘王朝中期,朝廷实施了一项善举,对馈赠予寺庙的土地免征税收。多年以来,蒲甘王朝的王公贵族们为了积善,纷纷在自己的封地上大修寺庙,一座比一座宏伟,一个比一个精致。到了王朝晚期,全国将近三分之二的土地都已归寺庙所有,税收不上来,结果造成国库财政吃紧。僧人待遇优厚,是提升社会阶层的重要跳板,越来越多的年轻人出家为僧,田里缺少壮劳力,军队也征不足兵丁,粮食产量逐年减少,内忧外患便纷纷显现出来了。先是南方附属国造反,后又有西边敌国进犯,但最危险的则是来自北方的蒙古军团。

多吉叹息道:

缅甸人的泪,有相当原因是他们的君主无能和朝廷内斗造成的。但强悍的蒙古人没有笑到最后,他们也有抹不掉的泪。

我在缅甸结识了不少流落在这片土地上的蒙古族后裔。他们告诉我:蒙古骑兵翻越过苍山,消灭了大理国;忽必烈定都北京,建立了元朝;5年之后,元朝大军攻破临安,南宋破灭了。蒲甘军队和蒙古军团打过几仗,但每次蒲甘军都大败而归。当蒙古骑兵再一次大兵压境时,蒲甘王朝竟然凑不齐军队,因为男丁大多进寺庙当和尚了。蒲甘王朝的末代皇帝那罗梯诃波帝不仅没有抵抗,反而甩下一国百姓,只身跑到南方的儿子那里避难去了。

但是这些蒙古族后裔笑不起来。蒙古人确实曾统治过上缅甸一段时间,而在蒙元之前历史时期,汉人政权基本没有太超过现在的中缅线附近。因此,从这个角度讲,滞留在缅甸的“汉人”实际上不能排除是遗留的蒙古军队后裔。当明军兴起时,很多没来得及撤退的南方蒙古人,大都在当地隐藏了他们的蒙古人身份后,而在缅甸定居了下来。

多吉继续说道:

那些定居在缅甸的蒙古族后裔中,有相当一部分人靠歌舞演出谋生,到处飘泊。但令他们绝望的是:元代被大清推翻后,公元1367年,明太祖朱元璋在应天府(今南京)准备北伐时发表《朱元璋奉天讨元北伐檄文》,檄文中提出了“驱逐胡虏,恢复中华,立纲陈纪,救济斯民”的口号,成为朱元璋北伐的纲领。不少生活在大明时代的蒙古族人,开始回归北方或流落到西域,也有一些就避难到缅甸。我创办的内比都歌舞团,有一支舞蹈队的演员,主要就是这些蒙古人的子女。

我作为一个音乐家,我很喜欢蒙族歌舞,我作为西域人的后代,对蒙古人、新疆人、西藏人,自然也充满了乡情。我很同情流落在缅甸的蒙古族后裔,我知道他们泪水背后的故事。

令我更困惑的是,朱元璋准备北伐时发表的《朱元璋奉天讨元北伐檄文》中提出了“驱逐胡虏,恢复中华,立纲陈纪,救济斯民”的口号,这个口号却被孙中山所抄袭和改编成“驱除鞑虏,恢复中华,创立民国,平均地权”。简称“民族、民权、民生”即“三民主义”,并作为中国同盟会的政治纲领。

“驱除鞑虏”,鞑虏不是中国人?

孙中山大声疾呼:

今之满洲,本塞外东胡,昔在明朝,屡为边患;后乘中国多事,长驱入关,灭我中国,据我政府,迫我汉人为其奴隶,有不从者,杀戮亿万。我汉人为亡国之民者二百六十年于斯!满洲政府穷凶极恶,今已贯盈,义师所指,覆彼洲汉军人等,如悔司来降者,免其罪;敢有抵抗,杀无赦!汉人有为满奴以作汉奸者,亦如之。

孙中山将蒙古人、满族人,踢出了中华民族圈。他又提出“恢复中华”的口号:

中国者,中国人之中国,中国之政治,中国人任之,驱除鞑虏之后,光复我民族的国家。敢有为石敬瑭、吴三桂之所为者,天下共击之。

全中国都开始捉拿“汉奸”了,蒙古人、满族人抹不干的泪,并没有至此结束。后来的岁月里,蒙古人受到了苏俄的红色大清洗,蒙古国一分为二,血洗蒙古人的镇压残酷血腥。甚至又有灭绝种族的狂人,推出了禁止说蒙古语,写蒙古字的暴力措施。蒙古人抹不去的泪,泪中更增添了红色的血。

多吉悲伤地继续说道:我弘扬蒙族文化,也包括维吾尔族文化、藏族文化,世界应该是一个多元文化的组合,任何灭绝异族的行为都是对人类犯罪。

多吉放开歌喉唱起了一首《骏马之歌》:

 

我是一匹英勇的汗血骏马,

我奔驰在辽阔的世界草原,

我飞驰在苍穹的蓝天之下,

草原的风是我的心声歌唱,

摆动的花是我的舞步跳跃。

 

我没有太多的追求和梦想,

我只希望能得到自由空间,

远离战争的疯狂血腥杀戮,

阻止种族的相互灭绝残杀,

马蹄声声是我的豪气呼唤。