Regional culture of regional form

There is such a folk proverb in Changbai Mountain area of Jilin Province: Twenty-three, the kitchen god goes to heaven; Twenty-four, write big characters; Twenty-five, sweeping dust; Twenty-six, pork; 27; Kill the year chicken; Twenty-eight, send face; Twenty-nine, single position; Thirty nights, one night.

The basic concepts of the annual custom: respect for the red, respect for the new, reunion and auspiciousness are the profound connotations of the annual custom of China people.

To worship red is to advocate red. In the eyes of China people, red is a color with strong life significance. Therefore, people should put up Spring Festival couplets and red window grilles during the New Year, and even put on red and green to dance Yangko. Those who pass the animal year should wear red underpants. These all express people's life consciousness and pray for red to kill evil.

To be new is to advocate new things, and try to replace the old things with new things to welcome the new life during the Chinese New Year. There is still a folk proverb circulating in rural areas of Jilin: from 2000 to 2008, cakes and sugar were used for offering sacrifices to stoves. Girls want flowers, boys want guns, old people want a new felt hat, and old women want a big sticky cake. On New Year's Eve, adults and children put on new clothes, shoes and socks, and even the poorest people buy chopsticks to welcome the New Year. This embodies an enterprising spirit of mankind.

The concept of reunion is the embodiment of the fine traditions of the Chinese nation, such as not forgetting ancestors, respecting the old and loving the young, and uniting and condensing.

Advocating auspiciousness is the yearning for a better life. Therefore, during the Chinese New Year, Jilin people try to be as lucky as possible when they speak and do things. For example, during the Spring Festival, Han and Manchu people have to eat in pairs, and they are not allowed to order a single dish, at least eight dishes; Dishes must have fish and chicken (representing dragon and phoenix respectively). There are many taboos in doing things while talking. For example, you can't say that you broke the plate, but that you are safe all year round; Firecrackers can't be said to be smelly if they don't ring, but they should be calm and quiet; Jiaozi's steaming can't be said, but it's earned ...

Jilin City and Yitong County on both sides of the Second Songhua River are the main settlements of Manchu in Jilin, and they still retain their own national customs in daily life, diet, customs and habits.

Manchu people pay special attention to ancestor worship, which is a major activity during the Spring Festival. Manchu ancestor worship is carried out on a family basis, which is called family sacrifice. Most families hold ancestor worship activities in their own time after beginning of winter, and all ethnic groups should participate, which usually lasts for three days. Pigs should be used as sacrifices, and pork should be cooked and eaten after sacrifice. The atmosphere of ancestor worship is warm and solemn. Shaman wears a hat, a skirt around his waist, a bell outside, a drum in his left hand and a whip in his right hand. Before the ceremony, shaman songs such as welcoming the gods, calming the nerves and paying homage were sung and danced. Its movements are vigorous, its dance is rough, its rhythm is fast and its content is rich.

Yanbian Korean Autonomous Prefecture is the main inhabited area of Korean people in China, and the Spring Festival is also the traditional and most important festival for Korean people. On New Year's Eve, Koreans should also celebrate the 30th anniversary, pay homage to their ancestors before the cock crows on January 1st, and then pay New Year greetings to the elderly, and then pay New Year greetings to relatives, neighbors and the elderly in the whole village after breakfast. After the village festival, as usual, we will fly kites, roll dice, jump the springboard and other recreational sports activities. Both men and women should have a glass of conga for breakfast during the Spring Festival. I hope to hear more good news this year. Hakka folk songs stand in the forest of China folk songs with their tenacious vitality, and their sounds of nature have attracted the attention of domestic experts and scholars.

In July 2003, Meizhou welcomed more than 20 famous China songwriters, including Yan Su, Xu Peidong, Chen Xiaoqi, Li Xin and Wang Yougui, who came to Meizhou to tailor a batch of modern songs with Hakka flavor for the first China Meizhou International Hakka Folk Song Festival held in Meizhou.

Yan Su, a famous poet, thinks that Hakka folk songs have great artistic development potential and value. He said: Hakka folk songs' impromptu singing and implicit artistic conception, as many as 100 kinds of tunes have touched everyone's inspiration. Using the music melody of Hakka folk songs, create a number of new folk songs with a sense of the times and Hakka flavor, and carry forward Hakka folk songs. Yan Su improvised a doggerel to express his love for Hakka folk songs: some people say there are many folk songs in Meizhou, but there are indeed many. Travel thousands of miles around the world, unforgettable Meizhou good folk songs.

Xu Peidong, a famous composer, believes that Hakka folk songs have been circulated for thousands of years, retaining many elements of ancient sayings, and have high appreciation value. As an art form, we should also keep pace with the times, innovate on the basis of the original folk songs, examine folk songs with today's eyes and the characteristics of the times, and take this as inspiration to integrate Hakka customs into the creation of songs.

Chen Xiaoqi, a famous composer, pointed out that Hakka folk songs, due to language limitations, limited its spread in the whole country. However, its melody is second to none in the country, its arrangement can be greatly changed, and its structure is only four or five sentences, which has more room for development. He said that the creative materials of Hakka music are very rich, and the art world has not fully explored them at present.

Experts believe that to revitalize and prosper Hakka folk song culture at present, we should do two things: we should not only sort out and preserve the original folk song materials, but also encourage the creation of new folk songs with the flavor of the times. The combination of tradition and times will make traditional folk songs glow with the artistic charm of the times, thus driving and promoting the development of local economy. A long time ago, natural disasters and man-made disasters spread all over Tibetan areas, and demons were rampant, and the Lebanese people suffered greatly. Gesar, the son of the gods, came to earth. With his extraordinary talent and divine protection, he conquered the devil, eradicated the strong, helped the weak and brought happiness and peace to the world. This is a legendary story told by the Tibetan epic Gesar.

Among them, Gesar, who saved the people from the day of his birth, is portrayed as a hero who combines God, Dragon and Heart (a kind of God in Tibetan primitive religion). This historical poem is mainly divided into three parts: birth, expedition and returning to heaven. Of the three parts, the second part is the most abundant and talked about by people. It is the four great demonization histories-demonizing the north, fighting Huo Ling, defending the salt sea and fighting Menling.

Up to now, Gesar has more than 120 volumes, 1 10,000 lines and more than 20 million words, and its scale is unparalleled. In quantity, Gesar exceeds the sum of the five most famous epics in the world (the Iliad of Babylon and the Odyssey of Gusilla, and one of Ramayana and Mahabharata of India are forgotten). Now, Gesar is still in constant creation and development, which means it is a living epic. According to textual research, Gesar was produced around 2000 years ago, when Tibetan society was in primitive clan society. Today, Gesar is still widely sung and deeply loved by Tibetan people on the vast Qinghai-Tibet Plateau. The research shows that Gesar is developed on the basis of ancient Tibetan myths, legends, poems, proverbs and other national literature, and represents the highest achievement of ancient Tibetan culture. In the eyes of researchers, Gesar is not only a great literary masterpiece, but also a precious document for studying Tibetan social history, religious beliefs, customs and habits, and languages. Before it was collected and recorded in writing, this magnificent epic was magically handed down in the form of rap. In the rap of artists, this epic has spread to every corner of the Qinghai-Tibet Plateau. Inner Mongolia Autonomous Region is one of the origins and birthplaces of mankind. From the site of Dayao Stone Factory in Paleolithic Age 700,000 years ago, to the world-famous Hetao people in the late Paleolithic Age, and the Zhalainuoer people more than 1 10,000 years ago, the early history of grassland people was opened. Neolithic cultural sites in Inner Mongolia, like twinkling stars, are all over the grassland. Xinglongwa Culture, Zhaobaogou culture, Hongshan Culture and Xiaoheyan culture in the eastern region echo Miaozigou culture, Ashan culture and Laohushan culture in the central and southern regions, creating a unique primitive civilization of Inner Mongolia grassland, which is the ancestor of the nomadic people in northern China in ancient times.

Hongshan Culture is a primitive culture with developed farming economy, which coexisted with Yangshao culture in Liaohai Central Plains, five or six thousand years ago. Hongshan Culture lasted about two or three thousand years. Hongshan Culture is characterized by painted pottery, Wen Zi pottery, microliths and unique excavation tools, such as stone pots and laurel leaf-shaped double-hole stone knives. Painted pottery is argillaceous pottery, mostly containers. The main patterns are black and purple, with parallel lines, triangles and scales as the main features.

197 1 In the spring of, a rare treasure, Jasper Dragon, was unearthed in Sanxingtala Township, Wengniute Banner, Chifeng. It is 25 cm high, with a snake head, a long kiss and a mane on its neck. It looks like a big dark green jade dragon floating and rising.

Donghu nationality appeared in Shang and Zhou Dynasties, flourished in the Spring and Autumn Period and the Warring States Period, and declined in the early Western Han Dynasty. It is an alliance of northern nomadic tribes active in eastern Inner Mongolia. The bronzes found in Xiajiadian, Ningcheng County, Inner Mongolia, belong to the upper cultural site of Donghu people. All of them are weapons and ritual vessels, which shows that Donghu people have created a developed grassland bronze civilization with rich cultural connotations, which has had a great influence on all ethnic groups in the Central Plains and later nomadic people in the north.

Chilechuan, please sing a song for me.

Under the dark mountain, with forgotten ancient words.

The sky is like a vault, please call gently with a beautiful vibrato.

Cage covers four areas. Great rivers and mountains in my heart

The sky is gray-Xi Murong's March

Wild,

See cattle and sheep when the wind blows.

-Beiqi folk song "Chile Song"

The essential feature and soul of nomadic culture are verbs. In Mongolian life, horses, carts and felt tents are trinity and indispensable.

Mongolians cannot live without horses. Stirrup is the starting point of nomadic life. The stirrup liberated the nomadic people's hands, and the rider no longer needed to hold the horse's mane with both hands, so he became a cavalry. Cavalry can bend bows and arrows on horseback, sprint and kill with spears, or hold harness and graze cattle in turn. With stirrups, riders can start freely on horseback and hide in stirrups to harness the horse.

Herdsmen and horses are one. When the Mongolian cavalry marched, there were no heavy grain trucks accompanying them. Every entrepreneur has several horses. He rides on the sun gear, and the horses are not sleepy. Cavalry can March day and night on horseback, and even sleep on horseback. You can live on horse milk for a month if necessary. Therefore, the Eurasian grassland stretching across Wan Li is not only the battlefield of Mongolian cavalry, but also their parents.

The distinctive feature of nomadic civilization is to make full use of natural and sustainable resources and environment to continue the survival skills of nomadic people. The nomadic way of continuous migration and flow is the only way to adapt to the production of grassland where the alpine decomposed soil is easy to be destroyed. The unique value of hunting and grazing civilization lies not in giving us a technical tool and modern invention, but in giving us a way of thinking and values of harmonious coexistence between man and nature.

Mongolians regard heaven as their father, earth as their mother, water as their blood and vegetation as their gods. Mongolians have such a broad concept of home. Home is the whole grassland, and landscapes, flowers, birds, beasts and livestock are all members of home. When a child asks his mother why we Mongols are always nomadic and can't settle in one place? His mother told him that if we settled in one place, the mother earth, Etugen, would be very painful. Only when the Mongols migrate nomadically will it flow on her like the blood of Mother Earth, making her feel comfortable all over.

The vast grassland has nurtured nomadic people, and nomadic civilization has sheltered the evergreen grassland. When shepherds no longer need horses, they change from nomadism to settlement, and the grassland loses the shelter of nomadic civilization, how will it last for thousands of years?

Today, there are solar energy, wind energy, mobile phones and the Internet on the grassland. Is it possible to give nomadic civilization new meaning? Xiang embroidery has a long history, which can be traced back to the Spring and Autumn Period and the Warring States Period more than 2000 years ago. It can be seen from a large number of embroideries unearthed from the Chu Tomb of the Warring States Period in Changsha and the Western Han Tomb of Mawangdui that the local embroidery skills in Hunan had reached an amazing height at that time. After a long evolution, after entering the19th century, with the development of commodity economy of Xiang embroidery, through the continuous exploration of many embroidery artists and the dedication of a large number of outstanding painters in China, Xiang embroidery absorbed various artistic essences of ancient China culture, such as painting, embroidery, poetry, calligraphy and epigraphy. So as to form dozens of stitches and embroidery lines with various color levels based on traditional Chinese painting, give full play to the expressive force of stitches on various substrates, and depict the appearance of objects in detail. At the beginning of the 20th century, Xiang embroidery won many awards at home and abroad for its unique style, and became one of the four famous embroideries in China.

China Hundred Flowers Award Golden Cup Arts and Crafts Award, and both were selected as national treasures of arts and crafts in China. The new technology of double-sided embroidery is praised as an incredible and magical art by the world. Shuang Mianxiu's "Yang Guifei" and "Full Moon Map" are treasured by relevant state departments; The large-scale Shuang Mianxiu Fairy Birthday Picture developed in 1990s pushed Xiang embroidery to a new peak. The large-scale double-sided screen gift of Xiang embroidery "A Hundred Birds at the Phoenix, Spring in Dongting" was well received by Chinese and foreign guests at the centennial return of Hong Kong and the establishment ceremony of the Special Administrative Region Government. In addition, Hunan has also developed a series of Xiang embroidery products, such as Chu Jin wall hanging, combination of painting and embroidery, craft clothing, home decoration and so on, which meet the needs of society. During the Western Zhou Dynasty, the territory of Wuyue culture was distinct. During the Spring and Autumn Period, the appearance of Wu culture in Ningzhen area changed obviously, and the factors of Wu culture in Taihu area also increased. These changes are reflected in the tombs. In the mound tombs in Ningzhen area, a large number of bronzes were unearthed in the tombs of the Western Zhou Dynasty, which were similar to those in the Central Plains, but in the Spring and Autumn Period, especially in the late Spring and Autumn Period, there were few bronzes. Although there were many porcelains in the tombs of the Spring and Autumn Period, there were few beans. In the Western Zhou Dynasty, the cookware was Wei, and in the Spring and Autumn Period, it was mainly cauldron and tripod, which were rarely seen. Judging from these changes, the Central Plains factor has obviously decreased, while the Vietnamese cultural factor has gradually increased and finally occupied a dominant position. This shows the infiltration and assimilation of Wu culture by Yue culture. Such a drastic change can only be caused by the Vietnamese invasion. This is consistent with the wuyue rebellion in the history books.

There are also traces of Wu culture in Taihu Lake area. In the early Spring and Autumn Period, Wu began to enter Taihu Lake area and pushed eastward. At the end of the Spring and Autumn Period, the State of Wu occupied Suzhou and made it its capital. Archaeological findings show that bronze wares in Taihu Lake increased in the Spring and Autumn Period. It has been found in Wujin, Wuxi, Suzhou and Kunming in Taihu Lake area. These bronzes have the characteristics of Wu culture, and they are all in the late Spring and Autumn Period. Bronze ware, a valuable thing, is only used by nobles, and is often a symbol of the upper nobility. In the late Spring and Autumn Period, a large number of bronzes with the characteristics of Wu culture appeared in Taihu Lake, indicating that the rulers of Wu had entered the area at this time. When did Wu people take Gusu as their capital? Judging from the current archaeological findings, it should be in the late Spring and Autumn Period, possibly during the reign of He Lv, the king of Wu. Although Wu Dingdu stayed in Suzhou late. However, Wu and Yue cultures had already blended as early as the early Spring and Autumn Period. The founder of Wu culture should be Zhou people. Taber Ben Wu merged with the local aborigines, became barbarians, and formed the Wu culture. What is the descent of the local aborigines? According to the literature, it belongs to one of the tribes. They have conflicts with the neighboring Guyue people, and they are constantly fighting with each other. The result is, of course, the mutual infiltration of cultures. Sanjin culture has a long history, deep roots and endless life, and has experienced thousands of years of glory. She originated in the legendary Yao Shunyu era, matured in the early years of the Western Zhou Dynasty and flourished in the Spring and Autumn Period and the Warring States Period. As the regional culture of the Central Plains, with Shanxi as the main body and spanning the four provinces of Henan, Hebei, Mongolia and Shaanxi, it is different from the typical patriarchal Lu culture, the eclectic Qi culture, the southern Chu culture and the post-Qin culture, and it is also different from the Wuyue culture located in the southeast coast. Throughout the origin and development of Sanjin culture, its historical characteristics are roughly in three aspects.

1, according to local conditions.

According to "Zuo Zhuan Ding Gong Four Years", when the Tang Dynasty was sealed, (Zhou Chengwang) divided Tang Shu into the main road (chariot), the dense beard drum, the lack of public (No.1), Gu Xi (Zhong), with nine surnames and five official positions. He was ordered by the Tang Dynasty to live in the ruins of Xia Dynasty, and then recovered Zheng (politics) to conquer Xinjiang. The so-called "Xia Zheng" and "Jiangrong Institute" mean that Xia people are taught by them and Rongren people are governed by Rongfa. This is the policy agenda formulated by Zhou Jiuzhi (actually Duke Zhou) for Yu Shu. As the Tang State is located in the former site of Xia people and surrounded by Rongdi tribe, it is necessary to proceed from reality, adjust measures to local conditions, make the best use of the situation, manage Xia Rong's land with Xia Rong's government, and manage Xia Rong's people with Xia Rong's confusion. This was of great practical significance and far-reaching historical significance at that time.

2. Seek common ground while reserving differences and be eclectic.

Sanjin area is a special area where the Chinese nation and the surrounding ethnic groups crisscross. The south is a developed agricultural area, the middle is an area where agriculture and animal husbandry develop together, and the north is a typical grassland nomadic area. Generally speaking, the human geographical environment is extremely complicated. Faced with this situation, only by seeking common ground while reserving differences in politics and culture and implementing policies to promote national unity and integration can we stabilize society and seek development.

3, contrary to orthodoxy, deviant innovation

This feature of Sanjin culture is mainly aimed at the typical orthodox patriarchal culture of Zhou Helu, Wei and other vassal States. The so-called violation of orthodoxy is a violation of the traditional rules of orthodox patriarchal etiquette; The so-called deviance is the ritual and music from the feudal patriarchal clan system and the kiss from the blood clan system. The social organization structure of the Western Zhou Dynasty is a kind of integration of family and country, and the patriarchal clan system and monarchy system are integrated, and the same surname belongs to the clan system. The Emperor of Zhou was not only the supreme monarch who ruled everything, but also the patriarch and strict father of all the people in the world. The governors of all countries also had this dual identity of politics and blood to their subjects. From the emperor to the gentry, the hierarchy is strict, and the distribution and inheritance of property and power are determined according to the distance of blood and in-laws, so as to consolidate the ruling order of patriarchal slavery. However, due to specific social and historical reasons, in the cultural system of Sanjin, the patriarchal clan system linked by blood relationship is relatively weak. Shaanxi Opera, also known as Luantan, is the main local opera in Shaanxi and the oldest existing opera art in China. It is the originator of Beijing Opera, Henan Opera, Sichuan Opera, Hebei Bangzi and other operas. Its singing, Taoism, facial makeup, characters, roles, categories and acting skills are all self-contained. Originated in Guanzhong, Shaanxi, and spread in the northwest.

The song and dance dramas created and performed by Shaanxi Song and Dance Theatre are large-scale classical court dances, such as Imitation of Tang Wu and Tang Changan Dance, which show Tang Wu's brilliant, simple and elegant artistic style. The choreography and music have reached a high level, winning the unanimous praise of the vast audience and experts and scholars at home and abroad. They have been performed for tens of thousands of times and become an important part of Shaanxi tourism culture.

Film Art Xi 'an's film art can be said to be famous all over the country. Zhang Yimou's dramas such as The Story of Autumn Chrysanthemum and Red Sorghum have a place in the international film industry, and many actors in Water Margin are also well-known actors in Shaanxi literary and art circles. Xi 'an Film Studio also has many high-level film works, and its creative level ranks among the top in China.

Literature and Art Shaanxi's literary and artistic creation is obviously representative in the whole country. Liu Qing's creative history, Lu Yao's life and Ordinary World have exerted a wide influence on readers. After the reform and opening up, Shaanxi literature has entered a new period of prosperity, and a number of outstanding young writers such as Jia Pingwa, Chen, Jing Fu have emerged. Their works shook the literary world, and they were praised as Shaanxi Army's eastward expedition and northwest wind.

As a folk art form with a long history, paper-cutting in northern Shaanxi is deeply loved by people of all ethnic groups in China, among which paper-cutting in northern Shaanxi is still eye-catching. Paper-cutting in northern Shaanxi contains the style of Qin and Han dynasties, which is slim and beautiful, and rough and generous. It has been exhibited in Xi, Beijing and other places for several years and has been well received. In recent years, northern Shaanxi paper-cut artists have visited foreign countries many times, causing a sensation.

Tri-colored pottery in the Tang Dynasty in China was made with yellow, green, blue, brown and purple as the main glaze colors. In the firing process, due to the flow of lead glaze, various colors are different in depth or skillfully intertwined to form intricate and colorful colored glaze. Commonly known as Tang Sancai.