“北京兔儿爷是北京市一种极具特色的地方传统手工艺品，于 2014 年被列为第四批国家级非物质文化遗产代表性项目。它承载着深厚的历史文化内涵和北京人民的独特情感，是老北京文化的重要象征之一。”
Beijing Rabbit Grandpa
北京兔儿爷
精美／古雅／独特
Beijing Rabbit Grandpa
发展历史
兔儿爷诞生于明代末年。当时，人们根据古老的月宫玉兔捣药等传说，将月宫中负责制药的玉兔加以艺术化、人格化和神化，做成泥彩塑神像。最初的兔儿爷以泥塑形，着衣而坐，由儿童祭拜。在晚明时期，“儿女拜兔儿爷”的习俗尚处于形成之中。
Tu Er Ye was born in the late Ming Dynasty. At that time, based on ancient legends such as the moon palace jade rabbit pounding medicine, people artistically personified and deified the jade rabbit responsible for making medicine in the moon palace and turned it into a clay-coloured sculpture statue. The original Rabbit God was shaped in mud, dressed and sitting, and worshipped by children. In the late Ming Dynasty, the custom of "children worshipping the Rabbit God" was still in its infancy.
到了清代，兔儿爷的风格、式样、工艺等发生诸多变化，祭拜之风尤为盛行。从乾隆年间开始，有关兔儿爷的文献记载明显增多。这一时期兔儿爷的形象更加拟人化，出现了士农工商等各种形象。清代晚期，兔儿爷的形象更趋丰富多彩，除了传统的形象外，还有布扎的、纸绘的以及各种世俗题材的兔儿爷。并且，民间中秋节祭拜兔儿爷的习俗也传入了皇宫。
In the Qing Dynasty, there were many changes in the style, style, and craftsmanship of Tu Er Ye, and the trend of worship was particularly prevalent. Since the Qianlong period, there has been a significant increase in literature records related to the Rabbit God. During this period, the image of Tu Er Ye became more anthropomorphic, with various images such as scholars, farmers, merchants, and merchants appearing. In the late Qing Dynasty, the image of Tu'er Ye became more diverse and colourful. In addition to traditional images, there were also Tu'er Ye depicted in cloth, paper, and various secular themes. In addition, the folk custom of worshipping Mr. Rabbit at the Mid-Autumn Festival was introduced into the imperial palace.
然而，约从 20 世纪 50 年代中期到 80 年代初，由于特殊的时代原因，中秋祭拜兔儿爷的习俗中断，兔儿爷也一度销声匿迹。80 年代初，北京民间玩具研究会组织民间艺人恢复创作兔儿爷，使之重新回归公众视野。此后，兔儿爷的节日祭祀功能进一步淡化，逐步完成了从兔神、儿童玩具到现代艺术品的演变。
However, from the mid-1950s to the early 1980s, due to special historical reasons, the custom of worshipping the Rabbit God during the Mid Autumn Festival was interrupted, and the Rabbit God also disappeared for some time. In the early 1980s, the Beijing Folk Toy Research Association organised folk artists to restore the creation of Tu'er Ye and bring it back to the public eye. Afterwards, the festival worship function of Rabbit God was further weakened, gradually completing the evolution from rabbit gods children's toys to modern artworks.
Beijing Rabbit Grandpa
北京兔儿爷
制作流程
1. 制泥：这是兔儿爷制作的基础环节。需要选取优质的泥土，并在泥土中混合一定比例的棉花。棉花的占比以及泥土的黏性状态非常关键，全靠手艺人的经验和对泥料状态的感知来把握。合适的泥料既要具有足够的可塑性，又要在干燥后保持一定的强度。
1. Mud making: This is the fundamental step in the production of Rabbit God. It is necessary to select high-quality soil and mix a certain proportion of cotton in the soil. The proportion of cotton and the viscosity of the soil are crucial and can be grasped solely through the experience of the artisans and their perception of the clay's condition. Suitable clay should have sufficient plasticity and maintain a certain strength after drying.
2. 制坯：将和好的泥料放入模具中压制成型，或者通过手工捏塑的方式制作出兔儿爷的坯体。如果是使用模具，需要确保模具的形状和尺寸准确无误，以保证兔儿爷的形态规整。脱模后，还要对坯体进行修边等处理，去除多余的部分，使坯体更加光滑。
2. Blanking: Put the well-mixed clay into a mould and press it into shape, or make the body of Rabbit God by hand moulding. If using a mould, it is necessary to ensure that the shape and size of the mould are accurate and correct to ensure that the shape of the rabbit is neat. After demolding, it is necessary to perform edge trimming and other treatments on the billet to remove excess parts and make it smoother.
3. 彩绘：这是兔儿爷制作的关键环节，也是最能体现手艺人技艺和创意的部分。彩绘时要从上往下画，颜色由浅到深。首先用白色颜料打底，然后根据兔儿爷的形象和设计，涂上各种颜色。给兔儿爷“开脸儿”是彩绘中最难的部分，眉眼鼻嘴这寥寥几笔需要手艺人具备精湛的技艺和丰富的经验，才能画出兔儿爷的神采。
3. Painting: This is a crucial step in the production of Tu'er Ye, and it is also the part that best reflects the craftsmanship and creativity of artisans. When painting, it is necessary to draw from top to bottom, with colours gradually increasing from light to dark. First, use white paint as a base, and then apply various colours according to the image and design of Rabbit God. Opening the face of the Rabbit God is the most difficult part of painting. The few strokes of eyebrows, eyes, nose, and mouth require skilled craftsmen and rich experience to depict the Rabbit God's radiance.
4. 晾干与装饰：彩绘完成后的兔儿爷需要进行自然晾干，这个过程可能需要数天甚至更长时间，具体取决于泥料的湿度和环境条件。晾干后的兔儿爷可以根据需要添加一些装饰，如插上靠旗、安上坐骑等，使兔儿爷的形象更加生动。
4. Drying and Decoration: After the painting is completed, the Rabbit God needs to be naturally dried, which may take several days or even longer, depending on the humidity of the clay and environmental conditions. After drying, the Rabbit God can be decorated as needed, such as placing flags and mounts, to make the image of the Rabbit God more vivid.
鉴赏赏析
1. 造型：兔儿爷最典型的造型是兔首人身，亦人亦兔，亦庄亦谐。其姿态各异，有的端坐莲花座，有的骑在虎、鹿、象、麒麟等瑞兽身上。整体造型注重衣着的华丽和面目五官的神情，通常二目直视，火焰眉竖立，三瓣嘴紧闭，脸蛋上施淡淡的胭脂，俊秀中含威武，端庄中有稚气，活泼生动惹人喜爱。
1. Appearance: The most typical appearance of Tu Er Ye is a rabbit head and a human body, both human and rabbit, both dignified and harmonious. Their postures vary, some sitting on lotus pedestals while others ride on auspicious beasts such as tigers, deer, elephants, and unicorns. The overall design emphasises the elegance of clothing and the expression of facial features, usually with two eyes looking straight, flame eyebrows standing upright, three lips tightly closed, and a light blush applied to the face. It is handsome yet majestic, dignified yet childish, lively and vivid, and pleasing to the eye.
2. 色彩：色彩丰富艳丽，但又协调柔和，呈现出高贵、雅气的装饰风格。色彩的搭配既要符合兔儿爷的形象特点，又要体现出传统的审美观念。比如，红色代表喜庆、吉祥，黄色代表尊贵、皇家等。
2. Color: Vibrant colours, yet harmonious and soft, presenting a noble and elegant decorative style. The combination of colours should not only conform to the image characteristics of the Rabbit God but also reflect traditional aesthetic concepts. For example, red represents joy and auspiciousness, while yellow represents nobility, royalty, and so on.
3. 寓意：每一种兔儿爷的造型和坐骑都有着特定的吉祥寓意。例如，骑白象兔儿爷寓意吉祥如意，因为象与“祥”同音，象是瑞兽，是祥瑞的象征；骑黄虎兔儿爷寓意事业兴盛，虎为百兽之王，是统帅者，象征着事业有成、人脉广博、财源广进；骑麒麟兔儿爷象征着学识广博、学业有成。
3. Meaning: Each shape and mount of Rabbit God has a specific auspicious meaning. For example, riding the white elephant Rabbit God symbolises good luck and prosperity because the elephant sounds the same as "Xiang" and is an auspicious beast, symbolising good fortune. Riding the Yellow Tiger Rabbit God symbolises the prosperity of one's career. The tiger is the king of all beasts and the commander, symbolising a successful career, extensive network, and abundant wealth; Riding the Qilin Rabbit God symbolises broad knowledge and academic success.
4. 工艺：好的兔儿爷作品工艺精湛，细节处理细腻。无论是捏塑的线条还是彩绘的笔触，都能体现出手艺人的高超技艺和用心程度。比如，兔儿爷的服饰纹理、装饰图案等都要绘制得清晰、精美。
4. Craftsmanship: Good Tu'er Ye works have exquisite craftsmanship and delicate detail processing. Whether it is the moulded lines or the painted strokes, they can reflect the superb skills and dedication of the artist. For example, the texture and decorative patterns of Tu'er Ye's clothing must be drawn clearly and beautifully.
总结
北京兔儿爷作为一种独特的非物质文化遗产，具有重要的历史、文化和艺术价值。它不仅是老北京民俗文化的重要组成部分，也是中华民族传统文化的瑰宝。从历史角度看，兔儿爷的发展历程反映了不同时期北京的社会风貌和人们的生活状态，是研究北京历史文化的重要实物资料。从艺术角度看，兔儿爷的造型和彩绘体现了民间艺人的智慧和创造力，具有很高的艺术欣赏价值。
Beijing Rabbit God, as a unique intangible cultural heritage, has significant historical, cultural, and artistic value. It is not only an important part of the folk culture of old Beijing but also a treasure of traditional Chinese culture. From a historical perspective, the development of Tu Er Ye reflects the social landscape and people's living conditions of Beijing in different periods and is an important material for studying the history and culture of Beijing. From an artistic perspective, the design and painting of Tu Er Ye reflect the wisdom and creativity of folk artists and have high artistic appreciation value.
如今，随着社会的发展和人们对传统文化的重视，北京兔儿爷得到了越来越多的关注和保护。许多非遗传承人在坚守传统工艺的基础上，不断创新和发展，推出了各种新颖的兔儿爷作品，使这一古老的艺术形式焕发出新的活力。同时，兔儿爷也成为了中外友好交流的使者，在国际上传播着中国的传统文化。我们应当继续加强对北京兔儿爷的保护和传承，让这一独特的非物质文化遗产永远流传下去。
Nowadays, with the development of society and people's emphasis on traditional culture, Beijing Rabbit God has received increasing attention and protection. Many inheritors of intangible cultural heritage have continuously innovated and developed based on adhering to traditional crafts, launching various novel works of Tu'er Ye, which have revitalised this ancient art form. At the same time, Tu Er Ye has also become a messenger of friendly exchanges between China and foreign countries, spreading traditional Chinese culture internationally. We should continue to strengthen the protection and inheritance of Beijing Rabbit God so that this unique intangible cultural heritage can be passed down forever.
不只是非遗，更是一种传承
Not only intangible cultural heritage but also a form of inheritance
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