The Relationship between Traditional Thoughts and Traditional Festivals

The traditional festivals in China are diverse in form and rich in content, and they are an integral part of the long history and culture of the Chinese nation. The formation of traditional festivals is a process of long-term accumulation and cohesion of national or national history and culture. The origin and development of festivals is a process of gradual formation, subtle influence and gradual infiltration into social life. Like the development of society, it is the product of the development of human society to a certain stage. These festivals in ancient China were all related to the astronomy, calendar, mathematics and the solar terms divided later. This can be traced back to Zheng Xiao and Shangshu in Xia Dynasty at least in literature. By the Warring States period, the 24 solar terms in a year were basically complete, and later traditional festivals were also closely related to these solar terms. Solar terms provide a prerequisite for the emergence of festivals. Most festivals began to appear in the pre-Qin period, but the enrichment and popularization of customs still need a long development process. The earliest custom activities were related to primitive worship, superstition and taboo; Myths and legends add a bit of romance to the festival; There is also the impact and influence of religion on festivals; Some historical figures have been endowed with eternal remembrance, infiltrated into festivals, and all of them have been integrated into the content of condensed festivals, giving China festivals a profound sense of history. By the Han Dynasty, the main traditional festivals in China had been finalized. People often say that these festivals originated from the Han Dynasty, which was the first great development period after the reunification of China. Political and economic stability and scientific and cultural progress provide good social conditions for the final formation of festivals. By the Tang Dynasty, festivals had been liberated from the mysterious atmosphere of primitive worship and taboo, and turned into entertainment etiquette and a real festive occasion. Since then, festivals have become cheerful and festive, rich and colorful, and many sports and recreational activities have appeared, which soon became a fashion. These customs continue to develop and continue. It is worth mentioning that in the long history, scholars and poets of all ages have written many famous works for festivals. These poems are well-known and widely praised, which makes the traditional festivals in China permeated with profound cultural heritage, wonderful romance and elegant elegance. Among them, the Spring Festival poem "January Day" by Wang Anshi, a statesman and great poet in the Song Dynasty, is very representative and widely read: firecrackers are one year old, and the spring breeze enters Tu Su in send warm; The rising sun sheds light on doors of each household, New peachwood charm is put up to replace the old. This poem not only depicts the festive scene of the New Year, but also places hopes on the New Year. Festivals in our country have strong cohesion and extensive inclusiveness, which are celebrated all over the country as soon as they are over. They are in the same strain as our nation's long history and are valuable spiritual and cultural heritage. Spring Festival, also known as the Lunar New Year, is the most representative and grand festival among the traditional festivals in China. Taking the cultural phenomenon contained in the Spring Festival as an example, this paper illustrates the inseparable relationship between traditional festivals and China culture. When we talk about the Spring Festival, we usually mean New Year's Eve and the first day of the first month. But among the people, the traditional Spring Festival refers to the sacrificial ceremony from the eighth day of the twelfth lunar month or the 23rd or 24th of the twelfth lunar month to the 15th of the first lunar month in La Worship, with New Year's Eve and the first day of the first lunar month as the climax. The Spring Festival has a long history, which originated from the activities of offering sacrifices to gods and ancestors in the beginning and end of the Shang Dynasty. During the Spring Festival, Han people and many ethnic minorities in China will hold various activities to celebrate. The main contents of these activities are offering sacrifices to gods and buddhas, paying homage to ancestors, saying goodbye to the old year and welcoming the new year, and praying for a bumper harvest. The activities are rich and colorful, with strong national characteristics. There is a jingle among the people, which fully embodies the whole process of the traditional Spring Festival: "offering sacrifices to stoves" on the 23rd day of the twelfth lunar month; Twenty-four "Sweeping the House"; Twenty-five "The Jade Emperor"; Twenty-six "stewed meat" and twenty-seven "slaughtered a chicken"; Twenty-eight "face hairs"; "steamed stuffed bun" and "old tradition" on New Year's Eve; On New Year's Day, "Everything is auspicious"; On the second day of the second year, "go back to your mother's house"; The third day of "Don't Go Out" and the fourth day of "Meet the Kitchen God"; The fifth day of "Breaking Five"; On the sixth day, "send the poor god"; Eat noodles on the seventh day. There are many interesting legends about the origin of the Spring Festival. Although it is impossible to verify it now, these legends have been circulated for thousands of years and contain profound cultural connotations and national interests. Keeping the old year is the custom of staying up late to welcome the new year on the last night of the old year. Also known as New Year's Eve, the common name is "Enduring the Year". Exploring the origin of this custom, there is an interesting story among the people: in Archean, there was a fierce monster scattered in the mountains, which people called "Nian". Its appearance is ferocious, its nature is ferocious, and it specializes in eating birds, animals and insects. It changes its taste every day, from kowtowing insects to living people, which makes people talk about "Nian". Later, people gradually mastered the activity law of "Nian", that is, every 365 days, people go to places where people live in concentrated communities to taste fresh food. The haunting time is after dark, and when the rooster crows at dawn, they return to the mountains. After determining the date of the ravages of 2008, people regarded this terrible night as a gateway, and came up with a set of methods to close the New Year's Day: every family prepared dinner in advance, turned off the fire, cleaned the stove, then tied all the cowpeas, sealed the front and back doors of the house, and hid in the house to eat the "New Year's Eve" because this dinner was uncertain. In addition to inviting the whole family to have dinner together to show harmonious reunion, we should also worship our ancestors before eating and pray for their blessing to spend the night safely. After dinner, no one dared to sleep, so they sat together and chatted with courage. Gradually formed the habit of not sleeping on New Year's Eve. The trend of observing the age rose in the Southern and Northern Dynasties, and many scholars in the Liang Dynasty had poems about observing the age. "One night for two years, five hours for two years." People light candles or oil lamps and keep vigil all night, which symbolizes driving away all evil diseases and epidemics and looking forward to good luck in the new year. This custom has been handed down from generation to generation. It is said that the custom of pasting Spring Festival couplets began in the post-Shu period about 1000 years ago, which is proved by history. In addition, according to the Jade Candle Collection and the Chronicle of Yanjing, the original form of Spring Festival couplets is what people call "Fu Tao". In the ancient mythology of China, it is said that there is a ghost world, in which there is a mountain, a big peach tree covering three thousand miles, and a golden rooster at the top of the tree. Whenever the golden rooster crows in the morning, the ghost who travels at night will rush back to the ghost domain. The Gate of Ghost Domain is located in the northeast of Peach Tree District. There are two gods standing by the door, named Shen Tu and Lei Yu. If the ghost does something unnatural at night, Shen Tu and Lei Yu will immediately find it, catch it, tie it up with a rope made of Miscanthus and give it to the tiger. So all the ghosts in the world are afraid of Shen Tu and Lei Yu. So people carved them into peach trees and put them at their doorsteps to ward off evil spirits and prevent harm. Later, people simply carved the names of Shen Tu and Lei Yu on the mahogany board, thinking that this could also eliminate disasters. This kind of red board was later called "Fu Tao". In the Song Dynasty, people began to write couplets on mahogany boards, one for killing evil spirits, the other for expressing good wishes, and the third for decorating the portal for beauty. They also write couplets on red paper symbolizing happiness and good luck, and stick them on both sides of doors and windows during the Spring Festival to express people's good wishes for good luck in the coming year. In order to pray for the longevity of the family, people in some places still keep the habit of sticking up doors. It is said that there are two door gods posted on the gate, and all monsters will be afraid. In the folk, the door god is a symbol of justice and strength. The ancients thought that people with strange looks often had magical temperament and extraordinary skills. They are honest and kind, and it is their nature and responsibility to catch ghosts and demons. Zhong Kui, a ghost hunter who is highly regarded by people, is such a strange look. Therefore, the folk door gods are always glaring and ferocious, holding all kinds of traditional weapons in their hands, ready to fight against ghosts who dare to come to the door. Because the doors of China's house are usually two opposite doors, the door gods are always paired. After the Tang Dynasty, besides peace, people also regarded Qin and Weichi Gong, two military commanders in the Tang Dynasty, as gatekeepers. According to legend, Emperor Taizong was ill, heard ghosts screaming outside, and stayed up all night. So he asked the two generals to stand by with weapons in their hands, and there was no ghost harassment the next night. Later, Emperor Taizong had the images of these two generals painted and pasted on the door, and this custom began to spread widely among the people. The Spring Festival is a festival that pays attention to traditional culture. Celebrating the Spring Festival is a review and encouragement of peace, friendship and affection, and a blessing and prayer for a better life in the future. Spring Festival culture is a long-standing China culture and oriental culture, which is deeply loved by people and deeply rooted in people's hearts. Nowadays, the Spring Festival is deeply rooted not only in China, but also in the hearts of foreigners. China people value family and affection as much as foreigners. In some countries and regions with China people, foreigners also spend the Spring Festival with China people. In addition to tens of millions of overseas Chinese and students, today more China people go abroad and more foreigners come to China. The entry and exit of people will inevitably promote the entry and exit of culture. There are "western learning spreading to the east" and "eastern learning spreading to the west" You have me and I have you. East and west absorb the essence of culture and learn from each other. All healthy and civilized things are welcomed by the world. Cultural exchange makes the world more civilized and life more colorful. The charm of the Spring Festival is the charm of China, the charm of the East and the charm of world civilization. The Spring Festival in China is a contribution to world civilization and a gift to all mankind.