Sanping Temple is a famous thousand-year-old temple in southern Fujian. It is located in Wenfeng Town, Pinghe County, Zhangzhou City, Fujian Province, nearly 50 kilometers away from Zhangzhou City, a famous historical and cultural city in China. It was founded by Master Yi Zhong more than 1,100 years ago. The total construction area is more than 2,000 square meters. The building complex is divided into two groups: the mountain gate, bell and drum tower, monk's room, main hall, etc. form the front group, and the ancestral hall, Zhaitang, pagoda hall, etc. form the back group. The palace architecture is unique and has gone through many vicissitudes of life. It has been repeatedly destroyed and rebuilt. The scale of Sanping Temple shown to pilgrims today was rebuilt in the Qing Dynasty. Master Yizhong, known as the "Sanping Patriarch" in southern Fujian and overseas folks, was originally from Gaoling County, Xianyang, Shaanxi Province.

This thousand-year-old temple is commonly known as "Three and a Half Halls". The temple is built against the mountain, facing south, with the front low and the back high, surrounded by mountains, and the geographical conditions are unique. In the hot summer, the south wind jumps over the forest and bamboo waves, blowing gently, making people feel cool. Fujian earth buildings, with their long history, unique style, ingenious construction and magnificent scale, are known as the wonders of residential architecture in the world. The earth buildings in Yongding, Nanjing and Hua'an are already famous, but the various earth buildings in southern Fujian are also attracting more and more people's attention. The earthen houses in southern Fujian are masterpieces of human architectural culture and a pearl in the treasure house of world civilization. Nanjing Tulou is the crystallization of the hard work and ingenuity of the working people of Nanjing. Its scale, structure, craftsmanship, and functions have amazed many modern architectural experts and scholars; its architectural style, folk customs, and cultural connotations have amazed sociologists.

There are more than 15,000 earth buildings in Nanjing County, including 386 distinctive round ancient earth buildings with more than three floors and 1,751 square ancient earth buildings. These earth buildings vary in size and shape, including round, square, oval, five-phoenix, half-moon, ruler-shaped, chair-shaped, apron-shaped, convex-shaped, round in front and back, horseshoe-shaped, etc., with unique shapes and structures. Exquisite and extraordinary. An earth building is a magical architectural masterpiece; an earth building is a concentrated folk culture; an earth building is a historical testimony of the hard work, wisdom and creativity of the people in a region.

"Tu fort style" folk house: In Ludi Village, Gande Town, Anxi County, there is an "Tu fort style" ancient house more than 200 years ago. Its architectural style is similar to that of an earth building. The earthen fort was originally the home of a person named Wu. The base of the wall is more than 2 meters high and is made of large stones. The surrounding walls are extremely hard and easy to defend but difficult to attack. This design is also used to defend against bandits.

Xunlaizhuang Tulou: Xunlaizhuang Tulou was built in the Qing Dynasty and is located in Yangxian Village, Wuli Street Town, Yongchun County. According to legend, it was built by the famous Yanguan Lin in Yongchun during the Qing Dynasty. There are also 10 ancient buildings built around it, owned by his 10 sons respectively. It is the best-preserved ancient building complex in Yongchun to this day. The Xunlaizhuang earth building is square on the outside and round on the inside. The outside is surrounded by a 7-meter-high city wall. It was built to defend against bandits and robbers. Inside the wall is a typical southern Fujian style building. The architectural styles of northern and southern Fujian are integrated here.

Small "gun buildings": Various small earth buildings of different sizes can still be seen in the countryside of southern Fujian. Some are on one side of the ancient house, called "gun towers". They are either independent or connected to whereabouts. They are all built to defend against bandits and robbers. People used local raw soil, sand and gravel, and wood chips (bamboo chips) to build single houses, with small windows as lookouts and slanted gun holes. Liyuan Opera

Liyuan Opera is a type of opera. Breed in Quanzhou, Fujian Province, it is popular in Jinjiang and Longxi areas, as well as in Xiamen and the southern Fujian dialect areas of Taiwan Province. There are also performances in places where overseas Chinese in Southeast Asia live. Liyuan Opera has a relatively long history, and many Southern Opera repertoires and music are still preserved. In the forty-fifth year of the Jiajing reign of the Ming Dynasty (1566), "Chaoquan Part Two" of "Li Jing Ji" was published, which shows that Liyuan Opera was already popular at that time. Liyuan Opera can be divided into Big Liyuan and Small Liyuan. Big Liyuan is divided into two branches: "Shanglu" and "Xianan". The three schools have their own "Eighteen Pentou" (repertoire) and special singing tunes.

Liyuan Opera originated in Quanzhou during the Song and Yuan Dynasties. Together with Nan Opera in Zhejiang, it is known as the "sound of Fujian and Zhejiang" that "reproduces Southern Song Dynasty operas and sings recitative tunes". It has a history of more than 800 years. , known as the "living fossil of ancient southern opera".

Liyuan Opera is widely spread in Quanzhou, Zhangzhou, Xiamen, Fujian, Chaoshan, Guangdong, Hong Kong, Macao and Taiwan, as well as in the areas where Hokkien-speaking overseas Chinese live in Southeast Asian countries. In the development process of Liyuan Opera, it can be divided into Big Liyuan (a troupe for adult actors in the past) and Xiaoliyuan (a troupe for child actors). The locals of Big Liyuan are commonly known as "Old Opera", and there are also "Shanglu" and "Xianan". "The difference." In the Yuan Dynasty, each province set up "roads". Quanzhou people called the area north of Fujian "Shanglu" and called themselves "Xianan people". Shanglu old opera refers to operas from Zhejiang, Jiangxi and other places, while Xianan old opera refers to local operas. Xiaoliyuan, Quanzhou people call it "Xi Zai" or "Seven Sons Troupe". As early as the Shaoxi reign of Emperor Guangzong of the Song Dynasty (1190-1194), a kind of "excellent opera" was popular among the people in Quanzhou and Zhangzhou in southern Fujian.

Gezi Opera

Gezi Opera is a type of Southern Fujian dialect opera based on Gezi opera in southern Fujian and absorbing the nutrients of Liyuan Opera, Beiguan Opera, Gaojia Opera, Chaozhou Opera, Peking Opera and other operas. At the end of the Ming Dynasty and the beginning of the Qing Dynasty, when the national hero Zheng Chenggong traveled east to regain Taiwan, he brought Jin Ge, a folk song popular in southern Fujian, to Taiwan. It was soon widely sung in Taiwan, and the masses spontaneously organized music clubs and singing groups to sing Jin Ge. At the beginning of the 20th century, Gezi Opera flourished in Taiwan, soon spread to Xiamen, and quickly spread to southern Fujian and places where overseas Chinese in Southeast Asia live.

Gezi Opera, also known as "Taiwan Gezi Opera", is a local opera cultivated and loved by Taiwan compatriots and Fujian people. It is popular in Taiwan Province and Fujian provinces such as Xiamen, Zhangzhou, Quanzhou and other Hokkien-speaking areas. , and where overseas Chinese in Southeast Asia live.

The repertoire of Gaojia Opera is divided into three categories: Daqi Opera, Xiufang Opera and Choudan Opera, with Wu Opera, Choudan Opera and Gongan Opera being the most common. It has more than 600 traditional plays, including "Havoc in the Flower Mansion", "Trapped in the East of the River", "Beheading the Yellow Robe", "Lin Wensheng's Complaint to the Imperial Palace", "Guan Fu Sends Off", "Xing Yuan Sichai", " "Meng Jiangnu", "Fan Po Nong", "Tang Er Farewell" and the drama series "Three Kingdoms", "Yue Zhuan", etc. The music of Gaojia Opera belongs to the Nanyin system, and most of it comes from Nanyin and puppet shows, but the rhythm and melody have changed. The actor uses his own voice when singing, with a powerful and high-pitched tone, as well as clear and delicate phonology. The musical instruments used in Gaojia opera are divided into two types: literary music and martial music. The literary music is mainly suona, supplemented by pinxiao, dongxiao, erxian, sanxian, pipa, etc.; martial music includes hundreds of drums, large and small drums, large and small gongs, large and small gongs, etc. Cymbals, rattles, whistles, etc. show strong local characteristics.

The character professions of Gaojia Opera originally only had three roles: Sheng, Dan, and Chou. Later, Jing, Tie, Wai, Mo, Bei (Jing), Za, etc. were gradually added. Among these lines, ugliness is the most prominent. Ugliness can be divided into male ugliness and female ugliness, and male ugliness can be divided into literary ugliness and martial ugliness. Wen Chou includes long-shirt Chou and short-shirt Chou, and Wu Chou includes Shiye Chou and Bunshen Chou. There are dozens of types of female ugliness, including wife ugliness, matchmaker ugliness, wife ugliness, maid ugliness, etc. The art of ugly performance is rich and varied. Artists extract materials from life and create and design performance types such as son-in-law ugly, ragged-shirt ugly, and puppet ugly. They simulate the typical behaviors of different characters or imitate puppet shows and animal movements. As a means of expressing character, it is light-hearted, humorous, witty, exaggerated yet realistic, and has a strong flavor of life. The martial arts of Gaojia Opera absorb the skills of string puppets and folk lion dance, forming unique movements such as "cold frying pan", "big collision" and "phoenix tail swing".

Gaojia Opera, which is unique among traditional Chinese operas, is a typical representative of local culture in southern Fujian and has a great influence at home and abroad.

Nanguan Opera

Nanguan Opera is a Hokkien drama that was introduced to Taiwan from the mainland in the early days. It includes three types: "Qi Zi Opera", "Gao Jia Opera" and "Bai Zi Opera". Qizi Opera: Taiwan's "Qizi Opera" originated from the "Little Liyuan" (child actors) and "Big Liyuan" (adults) in Quanzhou, Fujian. Generally, "Nanguan Opera" in a narrow sense refers to the "Qizi Opera" (small pear garden). . "Liyuan Opera" is the oldest type of Hokkien opera and was introduced to Taiwan about 36 years ago during the reign of Emperor Kangxi.

"Nanguan Opera" first lost its audience to "Beiguan" opera, and then was left out in the cold due to the rise of "Gezi Opera". Taiwan's professional "Qizi Opera" troupes have been disbanded, with only some Amateur children's societies (a cappella societies), such as "Nansheng Society" in Tainan, "Juying Society" and "Ya Zheng Zhai" in Lukang, "Qing Ya Yuefu" in Qingshui, "Minnan Yuefu" and "Han and Tang Yuefu" in Taipei , "Huasheng Nan Music Society" and others maintain their activities in the form of "a cappella singing". This form of a cappella singing is commonly known as "Lang Jun Sing". Since the decline of the drama form "Qizi Opera", the "Lang Jun Sing" of the a cappella association He gradually became the representative of "Southern Management".

"Nanguan" is the name of Taiwan, also known as "Xianguan", "Nanyin", "Five Tones" and "Nanyue". It is popular in Quanzhou, Fujian, Taiwan and Nanyang. This kind of a cappella "Nanguan" has been officially listed as a "music type" in the National Academy of Arts courses. Gaojia Opera: Also known as "Jiujiao", "Gejia" and "Jiaojia", it is a type of opera transmitted from Quanzhou. "Gaojia Opera" was formed around the Guangxu period of the Qing Dynasty. At that time, due to the gradual decline of "Liyuan Opera", a new type of opera was created based on "Liyuan Opera" and combined with folk martial arts skills (Songjiang Opera) and other operas. Because it was originally called "Liyuan Opera", after it was spread to Taiwan, it was still known as "Nanguan Opera" among the people. "Gaojia Opera" is a term used in mainland China, and this name is not used in Taiwan's folk art circles. The professional theater troupes that are still active in Taiwan include Shen Hong's "New Jinzhu", Yuan Lin's "Zhengxin Liyuan", and Mie's "New Jinying", but their activities have gradually decreased.

Dacheng Opera

Quanzhou is known as the "Religious Museum". Zhu Xi, a great Neo-Confucian scholar of the Song Dynasty, once left two famous sayings that have been handed down from generation to generation: "This place was called the Kingdom of Buddhism in ancient times, and the streets are full of saints." The ritual activities at Kaiyuan Temple, an ancient temple with thousands of years, continue all year round, and the incense is endless. Especially in southern Fujian, it is popular to hold a Pudu festival every July, where monks and Taoist priests are invited to chant sutras, pray and repent, in order to "save the souls of the dead". There are two forms. One is a story in which a monk performs the story of Ksitigarbha Bodhisattva opening the gates of hell and releasing unjust ghosts from the underworld, commonly known as "fighting the dungeon"; the other is a Taoist performance in which King Basho inspects the city of unjust ghosts and the ghosts of unjust ghosts emerge from all directions. The story is commonly known as "Hitting Paradise City". The origin of the name of this "city-beating opera". "Dacheng opera" is also known as "monk opera" and "faith opera". If it is performed by a Taoist priest alone, it is called "Shigong Opera" among the people. All in all, it is a religious drama.

The worship and repentance activities performed by monks and Taoists were originally purely ritual ceremonies. They wore cassocks and Taoist robes, and held musical instruments such as wooden fish, cymbals, bells, cymbals, cloud boards, grass gongs and other musical instruments. The tunes chanted and sung are also limited to Taoist and Buddhist music, such as [Nanhai Praise], [Pu'an Mantra], [Great Mantra], [Ghost Mixed with Sand], [Reverse Sea], [Big Drum] and other tunes. They attract the audience with some small sideshows such as table jumping, brazier jumping, flying cymbals, and knife-crossing. These performances are usually only performed at night in the squares of temples and ashrams. In order to reflect the nature of "rescuing the souls of the dead", a fragment of the story about the filial son Mulian from the Buddhist scripture "Mu Lian Saves His Mother" was added to the performance. During the Daoguang period of the Qing Dynasty (1821-1850), this kind of religious ritual performance for city-attacking began to go out of the walls of temples and Taoist temples, and gradually set up stages in the vast urban and rural areas of southern Fujian. Around the 10th year of Xianfeng in the Qing Dynasty (1860), brothers Wu Yongliao and Wu Yongyin from Xingyuan in Jinjiang County came forward to establish the Dacheng Opera Troupe (commonly known as "Shigong Opera") and performed in Jinjiang, Nan'an, Hui'an, Tong'an, Kinmen, Xiamen, etc. to perform ritual activities. In this way, city-fighting drama began to mature as a type of drama. According to the research of Professor Long Peter of the University of Oxford in the UK, in the 13th year of Tongzhi (1873), two Dutch people had seen the city-beating opera performances "Li Shimin Travels to the Underworld", "Liu Quan Enters the Melon", "Mu Lian Saves His Mother", "Four Journeys" and other plays.

Gaojia Opera

Gaojia Opera is also known as "Gejia Opera", "Gaojia Opera" is also known as "Gejia Opera", "Jiujia Opera", "Daban", "Tuban" was originally developed from a costume parade popular in rural areas of southern Fujian in the late Ming Dynasty and early Qing Dynasty, in which Liangshan heroes were dressed up and performed martial arts skills. It is also the one with the widest broadcast area and the largest audience among all the dramas in southern Fujian. Opera type.

The performance repertoire of Gaojia opera is divided into three categories: "qiangxi opera" (palace opera and martial arts opera), "Xiufang opera" and "Choudan opera". Wu opera, Choudan opera and Gongan opera are the most common, and there are fewer Shengdan operas. There are more than 900 traditional repertoires, most of which come from Beijing opera, puppet show and puppet show. A small part is absorbed from Liyuan opera, and some are created by artists based on historical novels and folklore. The roles of Gaojia Opera were originally only Sheng, Dan, and Chou. Later, Jing, Tie, Wai, Mo, Bei (Jing), and Zai were added successively. It is commonly known as "Nine-Jiao Opera". The performing arts of Gaojia Opera come partly from Liyuan Opera and Puppet Show, and partly from Yiyang Opera, Hui Opera and Peking Opera. In the early stage, the program did not have a fixed script, and the actors could just follow the plot. Singing and acting are also freer, there is no fixed stage, and the performance time can be long or short. The music and singing of Gaojia Opera uses both "Nanqu", "Puppet Tune" and folk minor tunes, with Nanqu being the mainstay. The musical instruments used in Gaojia Opera are divided into two types: literary and martial music. The accompaniment instruments are mainly wind instruments and suona (pipa was mainly used after liberation), in addition to transverse flute, two-stringed instrument and three-stringed instrument. The percussion instruments and their percussion methods are the same as those in Peking Opera, such as [Punch], [Long Hammer], [Jiji Feng], etc., but the "three links" and "general" are different from those in Peking Opera. Double bells, ringing lamps, etc. are used in ugly Dan operas or relaxed scenes. After liberation, Quanzhou Popular Drama Club was established in 1951. In 1954, he participated in the East China Opera Observation and Performance Competition, and won the script award and performance award for "Peach Blossom Crossing" and "Sweeping the Qin Dynasty".

Puppet Opera

Puppet Opera is also known as Bag Puppet Show, Hand Puppet Show, Handbag Puppet Show, Palm Opera, Xiao Long and Finger Flower Opera. It is a kind of puppet show that originated in China in the 17th century. Quanzhou or Zhangzhou, Fujian (most scholars believe that the origin of puppetry is Quanzhou); a local drama performed with puppets mainly spread in Quanzhou, Zhangzhou, Fujian, Chaoshan area of ??Guangdong and Taiwan. The puppet's head is a hollow human head carved from wood. Except for the puppet's head, puppet's palms and puppet's feet, the torso and limbs of the puppet's body are made of cloth; during performances, gloves are worn Get into the costumes of the puppets and perform puppeteering performances. It is precisely because the puppets in early performances of this type looked very much like "bags made of cloth" that the puppet show was commonly known as "Puppet Opera". Similar arts similar to puppetry have different names in the north and south of China. They are called "Goulizi" in Beijing, "bianpolan opera" in the northeast, "wooden head opera" in Sichuan, and "pole play" in Xi'an and Lanzhou. "It's called "curtain opera" in eastern Fujian, "glove puppet" in Ningbo, and "puppet opera" in southern Fujian, Cangnan, Chongming Island, Southeast Asia and other southern Fujian dialect areas. "Yangzhou Painted Boat Record" written by Li Dou of the Qing Dynasty records that "...the three-inch puppet is moved with five fingers, the golden drum is noisy, and the white words are called Hao Zi, all performed by one person, which is called shoulder-bearing play." "Yangzhou Painted Boat Record" The performance form of the recorded "Shoulder Performance" is quite similar to that of the bag puppet show. Volume 72 of "Jinjiang County Chronicles" published during the Jiaqing period of the Qing Dynasty, "Customs and Songs": "There are people who practice dongxiao and pipa, and those who beat the rhythm can make the sound of heaven and earth. The predecessors did not think that the music was based on local music, but It is thought that this is the tune of strings and pipes passed down by the emperor. Another example is the Qiziban, which is commonly known as Tuban. In recent times, there is also a puppet show, which is also known as puppetry. Each performance is composed of syllables. The earliest record of the title "Puppet Opera". During folk weddings in southern Fujian, there is always a "bridal mother" who is good at singing (also known as the "bridal mother" who presides over the wedding ceremony), singing loudly throughout the entire wedding, which is both solemn and serious, and humorous. , adding a festive, peaceful and happy atmosphere to the wedding.

The first step of the wedding is to symbolically dress up in the hall. The bride and groom each have their hair combed three times. This is called "top", which means that you have officially become an adult. In the bride's home, the "bridal mother" invites the bride to the hall and chants: "Please come out of the hall, please come out of the hall, and you will have a good reputation." When the bride sits down, she should sing: Sit upright, sit upright, and the bride will win. pain. When using matcha oil, you should sing: Tea oil is smooth, tea oil is black, and Chapu is born (Chapu, that is, a boy). ”

Sing when combing your hair: Three combs, two combs (scatters, that is, grates) will give birth to children with good character.

At the front of the wedding team, someone is carrying a twig. Green bamboo with leaves, commonly known as "bamboo sweep", indicates the bride's "chastity" (chastity).

A piece of pork is tied on the bamboo. It is said that this is a sacrifice to the white tiger god who comes to make trouble during happy events, and can turn bad luck into good luck. Next comes the bride's sedan (or car), and behind there are people carrying a load of "offspring barrels" packed in cloth bags, which means that the bride will have a son early. The person who picks the child will get a big red envelope, but he must recite the blessing song well: "offspring buckets, hanging baskets" Get up, and there will be fruits in the front garden."

The bride must cry a few times before getting into the sedan (car) to express her reluctance to leave. This way, she will be happy after marriage, which is commonly known as "crying for good luck". The "bridal mother" should put a purple handkerchief on the bride and chant: "Purple handkerchief on the head, the bride will be virtuous and the groom can be good. If it is put on the front, the bride will be popular; if it is put on the back, the couple will grow old, old, old." After the sedan has walked a few steps, the bride will throw down the folding fan from the sedan (car) on the road to show that she has given up her bad sexual habits. It is commonly known as "putting the fan on the ground" (homophonous for "releasing sex"). The "bridal mother" then sang: "Put the fan down" , put on the fan, the bride will be well served (the birth of the child will be smooth)”

The wedding team is back, but the sedan (car) can only park outside the threshold of the main room. At this time, the groom's nephew holds two tangerines (homophoned as "ganji") in his hands, leading the bride out, and covers the sun with an umbrella or a rice sieve, which is commonly known as "passing the rice sieve". The "bridal mother" chants loudly: "The bride please get out of the sedan chair, and the child will laugh." When the bride enters the threshold of the groom's house, she must first step across the "stove" burning charcoal fire. In the Hokkien dialect, "generating charcoal" and "reproductive" are homophonic. To prosper. "Send the Marrying Mother" sings: "Across the fire and smoke, every spring, I hold Chapu Sun (boy) in my arms every other year. After the marriage, the couple will be reconciled for a hundred and twenty years." The bride and groom both worship heaven and earth, ancestors and parents. After paying homage, you enter the bridal chamber. Then eat: "Hexin Wine" (also called a wine wedding table). There are twelve dishes on the table, which means twelve months in a year, and every month will be happy. The "bridal mother" sings as she picks up vegetables for the bride: "Eat pig heart, and the love will be united; eat pig liver, and the groom will become rich and become a high official; eat chicken, and he will make a fortune; eat red dates, and the bride will be prosperous every year." OK." Then there is the "bridal tea"...

On the second day of the wedding, the bride leaves the bridal chamber and walks to the hall to meet her family members. This is commonly known as "going out of the hall". This is the end of the wedding. Later, the "bridal mother" accompanies the bride to familiarize herself with the future work path and location, showing that the bride from southern Fujian loves to work. The "bridal mother" symbolically instructs the bride to sing a song loudly when she is familiar with each job.

When the bride comes to the stove, she should sing: "Keep the stove alive, the fire will not smoke, and the porridge will boil quickly." When the bride goes to the well, she should sing: "The water in the well is clear, and the bride's hands are smart and her heart is clear; the well water Obviously, the birth of children and the inheritance of wealth will not stop. The bride goes to the pig feed tank to "bring her mother" and calls the pigs "? Ah?,? Ah?..." and sings: "Stir the pan (swill) and the water will float." Feed the pigs like a cow, throw pan on the wall, and there will be a litter of twelve piglets."

The bride returns to her parents' home for the first time, commonly known as the "first time guest". The time varies from place to place. On the second, third or twelfth day, etc., the groom will also go with him and come back at dusk. This is commonly known as "secretly touching and giving birth to a Chapu (boy)". The girl's family will give a pair of chicks to lead the way and two sugar cane plants with roots and tails (meaning sweet from beginning to end). The chickens and sugar cane represent prosperous descendants; they will also give rice cakes (meaning back and forth) for the son-in-law to take back. This is the end of the marriage. Beginning to end. From then on, the couple started a new life. Han women (commonly known as Huinu) in coastal villages and towns in the eastern part of Hui'an in southern Fujian, such as Chongwu and Xiaoniu, have attracted the world's attention with their unique costumes, customs of staying with their parents' families, and their hard-working nature.

Huinv’s costumes are bright and colorful, unique and unique. Throughout the year, they always wear brightly colored and novel flower headscarves on their heads, cover their cheeks and chins, and then wear freshly painted yellow garden-shaped pointed hats with four colorful ribbons inlaid with buttons. It is fastened tightly on the chin, and only the eyes, nose, and mouth are exposed under the edge of the hat; there are several sword-shaped hairpins inserted in the bun, and a circle of flower strings are placed on the bun; the upper body wears a narrow and short blue-green or plain skirt. A large-garmented shirt with sleeves as short as the forearms and tightly tied, with the abdomen below the navel exposed; the lower body is often worn with blue or black trousers with wide legs and a light crotch. The trouser head is decorated with a long white trouser waistband, and then tied with 5 ~ 7 exquisite silver trouser belts (waist chains), bare feet. People jokingly call it "feudal head, democratic belly, frugal shirt, wasteful trousers". It is said that this peculiar costume is related to the cultural inheritance of the ancient ancestors of Fujian.

Some villages along the coast of Huidong still retain the custom of living in the natal family for a long time after marriage.

This kind of marriage custom stipulates that a woman must return to her parents' home three days after marriage. She can only return to her husband's home during the Spring Festival, Qingming Festival, and Mid-Autumn Festival in a year. We stayed for 3 days during the Spring Festival, Qingming Festival and Mid-Autumn Festival during the day. We had to go back to our parents’ home in the evening and were not allowed to spend the night at our husband’s house. When a husband spends the night at his wife's natal home, he has to go in the dark and leave early in the morning. It is said that he "doesn't see the light at both ends." The wife cannot live in her husband's house until the first child is born. Those who violate this custom are often ridiculed, isolated, or even punished according to clan rules. This custom is gradually changing.

Most of the young men in Hui'an go out to fish, break stones, and contract projects, while Hui's women take on the burden of production and housework. In Hui'an, you can see neatly dressed women carrying burdens and stones everywhere. They also left home to work and start businesses in Shenzhen, Zhuhai and other places. The four major ancient towns in southern Fujian refer to Anhai in Jinjiang, Majiang Town in Xiang'an, Jiaomei in Zhangzhou, and Guankou in Xiamen.