The origin, historical changes, advantages and disadvantages of traditional Spring Festival customs in various places, 1000 words.

Historical changes of the custom of Spring Festival on New Year's Eve

New Year's Eve refers to the night on the last day of the twelfth lunar month, which is connected with the Spring Festival (the first day of the first month). The word "except" in "New Year's Eve" is "go; Easy; "Alternating" means that New Year's Eve means "the month is poor and the old year is exhausted". People want to get rid of the old department and the old year, and the coming year means getting a new year. This is the last night of the Lunar New Year. Therefore, the activities during this period are all around changing the old for the new, eliminating disasters and praying for blessings.

During the Zhou and Qin Dynasties, a ceremony of "exorcism" was held in the palace at the end of each year to beat drums to drive away epidemic ghosts, which was called "banishment". Later, the day before New Year's Eve was called "small exorcism". New Year's Eve is New Year's Eve, that is, New Year's Eve.

Goddess of the historical changes of Spring Festival customs

During the Spring Festival, there is a custom of putting up doors all over China. At first, the janitor carved mahogany into a human shape and hung it next to people. Later, it was painted as a janitor and posted on the door. The legendary brothers Shen Tu and Lei Yu specialize in ghosts. They guard the portal, so evil spirits dare not enter the portal to do bad things. After the Tang Dynasty, two brave soldiers, Qin Qiong and Wei Chijingde, were painted as gatekeepers, while Guan Yu and Zhang Fei were painted as gatekeepers. Every family has a door god, and later generations often draw a pair of door gods as martial arts.

Door gods are divided into three categories: the first category is "door gods", which are mostly attached to doors or the whole door, about four or five feet high and two or three feet wide. The second kind is the "door keeper", which is attached to the small street door, about two feet high and one foot wide. These two door gods are two gods with a black face and a white face. White left black right, white easy, black evil, each holding a slap in the face. The third category is the "gatekeeper", which is a little smaller and more limited than the street keeper. It is also a black and white Er Shen, but there are also two black and white statues sitting like statues. At most, there is a picture of "Kirin sending a child" posted on the door, and there are two plump pink dolls with comb crowns, each riding a unicorn. This kind of door god should have been stuck on the wedding door for good luck, and later it was also used as a New Year decoration for ordinary street doors.

Spring Festival couplets: the historical changes of Spring Festival customs

As a unique literary form, Spring Festival couplets have a long history in China. It began in the Five Dynasties and Ten Kingdoms, especially in the Ming and Qing Dynasties, and has developed for more than a thousand years today.

As early as before the Qin and Han dynasties, there was a custom of hanging peach symbols around the gate every New Year. Fu Tao is two big boards made of peach wood, on which are written the names of the legendary gods and spirits who exorcise ghosts and suppress evil spirits. This custom lasted for more than 1000 years. It was not until the Five Dynasties that people began to put couplets on mahogany boards instead of the names of gods. According to historical records, on New Year's Eve in 964 AD, Meng Chang, the master of Houshu, wrote a couplet on the bedroom door, namely, "On New Year's Eve, Jia Jienuo. Changchun ",the earliest Spring Festival couplets in China.

After the Song Dynasty, it has become quite common for people to hang Spring Festival couplets in the New Year. Therefore, Wang Anshi wrote in the poem "January Day" that "thousands of households always change new peaches for old ones" was a true portrayal of the Spring Festival couplets at that time. Due to the close relationship between the appearance of Spring Festival couplets and Fu Tao, the ancients also called Spring Festival couplets "Fu Tao".

In the Ming Dynasty, Zhu Yuanzhang, the founding father of the Ming Dynasty, strongly advocated couplets. After establishing the capital of Jinling (now Nanjing), he ordered ministers, officials and ordinary people to write a couplet and put it on the door before New Year's Eve. Dressed in casual clothes, he went out door to door to watch the excitement. Scholars at that time also regarded couplets as elegant enjoyment, and writing Spring Festival couplets became a social fashion.

After entering the Qing Dynasty, couplets prevailed in Qianlong, Jiaqing and Daoguang generations. Just like the prosperous Tang Dynasty, many famous couplets appeared.

As a unique literary form, Spring Festival couplets have a long history in China. It began in the Five Dynasties and Ten Kingdoms, especially in the Ming and Qing Dynasties, and has developed for more than a thousand years today.

As early as before the Qin and Han dynasties, there was a custom of hanging peach symbols around the gate every New Year. Fu Tao is two big boards made of peach wood, on which are written the names of the legendary gods and spirits who exorcise ghosts and suppress evil spirits. This custom lasted for more than 1000 years. It was not until the Five Dynasties that people began to put couplets on mahogany boards instead of the names of gods. According to historical records, on New Year's Eve in 964 AD, Meng Chang, the master of Houshu, wrote a couplet on the bedroom door, namely, "On New Year's Eve, Jia Jienuo. Changchun ",the earliest Spring Festival couplets in China.

After the Song Dynasty, it has become quite common for people to hang Spring Festival couplets in the New Year. Therefore, Wang Anshi wrote in the poem "January Day" that "thousands of households always change new peaches for old ones" was a true portrayal of the Spring Festival couplets at that time. Due to the close relationship between the appearance of Spring Festival couplets and Fu Tao, the ancients also called Spring Festival couplets "Fu Tao".

In the Ming Dynasty, Zhu Yuanzhang, the founding father of the Ming Dynasty, strongly advocated couplets. After establishing the capital of Jinling (now Nanjing), he ordered ministers, officials and ordinary people to write a couplet and put it on the door before New Year's Eve. Dressed in casual clothes, he went out door to door to watch the excitement. Scholars at that time also regarded couplets as elegant enjoyment, and writing Spring Festival couplets became a social fashion.

After entering the Qing Dynasty, couplets prevailed in Qianlong, Jiaqing and Daoguang generations. Just like the prosperous Tang Dynasty, many famous couplets appeared.

With the development of cultural exchanges between countries, there are more and more studies on the origin of couplets.

In the middle of the 6th century, Emperor Chaozong of Liang Dynasty (about 498 ~ 56 1 year) recorded the custom of celebrating the New Year in Jingchu. Scholars praised this typical New Year's record, which changed the previous month-by-month style of politics and religion and literati appreciation. It is "a dynamic ancient field record" [1 Today, it originated from the Spring Festival in La Worship at the end of the year and is still the most important festival in China. However, there are still two problems that Jing Chu Shi Ji tries to avoid. There are many articles introducing the customs of the Spring Festival. Although the content is different and the emphasis is different, its narrative mode is nothing more than the legends, sources, historical records, local customs and events and their explanations of the Spring Festival. To study folklore works, we should either comb ancient books tirelessly or think about the deep meaning behind holiday customs. However, whether it is an introduction or a research work, it refers to a solidified premise before the Spring Festival. This figurative and timeless narrative mode gives people the impression that everyone spends the Spring Festival almost the same, and this "tradition" looks rock solid.

But today, we suddenly find that the voices of "defending Spring Festival travel rush" keep rising. The need to "defend" means that this "tradition" is in danger of being lost. The reunion dinner was moved to the restaurant, and the New Year call was settled by SMS. During the Spring Festival, more and more people travel and surf the Internet. In this regard, the old people lament that 2008 will be a dull year, while some folklorists advocate returning to "tradition". But what does the Spring Festival "tradition" look like? Copying from the literature to find the inner meaning has turned the Spring Festival into the "internal knowledge" of experts and scholars. What researchers ignore is what kind of practice form the so-called Spring Festival "tradition" presents among ordinary people. Are their Spring Festival practices uniform? What causes people's differences in Spring Festival customs? Even the same person's Spring Festival practice will change with time? What has influenced these changes? How do they view these differences and changes?

2. Research methods and theories.

In the second half of the twentieth century, with the alternation of political power, the change of social values and the influence of political movements, the custom of the Spring Festival has changed particularly dramatically. However, in the grand narrative of history, the voices of discrete individuals are often drowned out. Therefore, this paper intends to observe the changes of the customs of 1949 and 1989 Spring Festival from the perspective of personal and family practice by using another historical material different from literature research.

1) oral history

The research material of this paper is 2 12 oral memory text records about the customs of the Spring Festival. Oral memory is often called "oral history". Since the end of 1960s, oral history has been widely used in Britain and other countries, because it is especially suitable for expounding the modern social history. [2] It is generally believed that the investigation and interviews of repeated experiences are more suitable for the study of oral history, such as the history of daily life. In China, oral history is also very flexible in application. In addition to history, it is also favored in sociology, anthropology, folklore, literature and other disciplines, and it is still in the ascendant. And this kind of research based on oral history is mainly based on event research at present. [3]

There is no doubt about the authenticity of oral history materials, which cannot be verified theoretically. This is why historians are still skeptical about the use of oral historical materials. "Part of the reason is that historians are unwilling to break through the principle that historical materials must be contemporary [4], but oral materials are inevitably accompanied by an ex post facto factor." [5] Indeed, the feelings, attitudes and interests of the interviewee will lead to a focused tailoring of memory, which is often shaped by ex post facto experience and cannot fully present what happened in the interview. But it may not be "true" to some extent, but at least it is true to observe the past mentality from now on. How these interviewees absorb, store and explain the relationship between their personal experiences and history and politics is one of the research objects. Rufang's research on the oral history of farmers' social life during the land reform period shows the dislocation between the memory of "no incident" and the mentality reconstructed under the power relationship, and reflects on the investigation of oral history aimed at discovering the truth of reality. Secondly, oral historical materials are often associated with personal life history. Compared with literature, oral history materials are more experienced, more personalized and more detailed, and their cognition is not easily shielded by political forces. As a narrative of fleeing civilians, it also has research value. On the other hand, some studies have pointed out that the major events experienced in early adulthood have a particularly profound impact on the individual's mind, that is, the experiences at that time will also affect the views on other experiences later and the current cognitive framework. Introduced to Vietnam, South Korea, Japan, Singapore and other countries. These countries still have the custom of pasting couplets.