Are traditional festivals important?

I. The Roots of Traditional Chinese Festivals

Most of the important traditional Chinese festivals are related to the calendar system. Ms. Li Lulu, a researcher at the National Museum of China, in her new book "Chinese Festivals - Folk Traditional Festivals in Pictures" (Fujian People's Publishing House, January 2005), summarizes the statistics of China's more important traditional festivals into 20, of which 16 come from or are related to the meeting of the sun, moon, and the seasons. The Spring Festival, Spring Festival, Lantern Festival, Zhonghe Festival (February 2), Shangsi Festival (March 3), Qingming Festival, Tian Kuang Festival (June 6), Summer Solstice Festival, Tanabata Festival, Mid-Autumn Festival, Chongyang Festival, Winter Solstice Festival are all related to the rhythm of seasonal time and weather; a few superficially unrelated to seasonal time and weather, such as Duanwu Festival, Lapa Festival (December 8), Zaosheng Festival (December 23), New Year's Eve Festival, checking the ancient system, but also with seasonal time and weather, the festival has a special meaning. The ancient system, but also a time to pay attention to the order of the day. Folk beliefs consider May to be the month of poison, and the fifth day of the month is the day of poison, with five poisons, i.e. snakes, centipedes, scorpions, lizards and toads. This month is plagued with disasters, and even the birth of a child will die prematurely, so we must take all kinds of ways to prevent, avoid the five poisons is the "Dragon Boat Festival" of the original intention. Lapa, sacrificial stove and New Year's Eve Festival, are the Spring Festival "companion festival", naturally, is also related to the time. The remaining four festivals are the Ren Sheng Festival on the seventh day of the first month of the lunar calendar, the Buddha Bathing Festival (Sakyamuni's birthday) on the eighth day of the fourth month of the lunar calendar, the Mid-Yuan Festival (Ghost Festival) on the fifteenth day of the seventh month of the lunar calendar, and the Xiayuan Festival (Water Festival) on the fifteenth day of the tenth month of the lunar calendar. The "Haoyuan Festival (Birthday of Shui Kuan Da Di)" on July 15 and October 15 have their origins in legends, myths and religions. Chinese traditional festivals and even the inheritance of the development of the roots of the millennium of farming civilization, the specific support is manifested in three aspects, serving the agricultural production of the Chinese Lunar Calendar for its specific seasonal nodes carved out; the Chinese people respected the "unity of man and nature" philosophical thinking

The second protection of traditional festivals and cultures Significance

"We can not forget our ancestry, can not forget the traditional Chinese festival culture, which also has many wonderful cultural content. Its role in improving people's cultural quality, maintaining social morality, enhancing national cohesion, and educating patriotism can never be underestimated." Li Lulu expressed her understanding of the cultural significance of preserving traditional festivals in this way. Liu Kaili, on the other hand, from the perspective of the ethnicity of culture, emphasized, "Why must a nation have its own traditional festivals? Every nation survives in a certain natural environment and has to have its own unique perspective of nature, and this unique perspective of nature and unique way of adapting to nature (utilizing nature) are different from each other. Just as all of us walk, but each of us walks with a different posture; all of us speak, but we speak with different voices and use different words. And this is all very importantly ethnic." Mr. Song Zhaolin, vice president of the Chinese Folklore Society, talked even more carefully, "Firstly, festivals are important carriers of folk culture, we say that we have to lead the bull by the nose, and the study of folk culture by grasping the festivals can bring out a series of issues, such as folklore, folk myths and legends and so on, which has a very important value for academic research. Secondly, festivals are also in a state of flux, we have to consider how to make the best of the situation, keep the good ones and eliminate the bad ones in order to make it better. For example, I think the Chinese New Year rituals of bowing are better than the Western handshake rituals, which can keep the distance. Another example is firecrackers, although they can create a festive atmosphere, they are highly polluting and have hidden dangers. If we can create improved varieties with only sound and photoelectricity, without smoke and explosion, wouldn't it be the best of both worlds? Thirdly, festivals are also important for social stability, people's harmony and enhancement of national cohesion. During festivals, on the one hand, families are in harmony, and even people who do not usually see each other upstairs and downstairs and neighbors will politely greet and wish each other well when they see each other, so that the whole society is full of stability and peace, and on the other hand, I am afraid that the crime rate is the lowest. On the other hand, I am afraid that the crime rate is the lowest. Furthermore, no matter where Chinese people go, the Spring Festival must be celebrated, and this is the cohesion of our nation." Excluding these seasonal nodes of the ancients of the externality and contingency, and give them more metaphysical significance; for the feudal society of successive generations of the ruling class respected the use of the Confucian ethical doctrine enriched the festival of the social basis and practical significance and implementation of the form. Third, how to protect the traditional festival culture

Song Zhaolin believes that the protection of traditional festival culture is the first job is to record: "our generation to record what we see, because after many years it is still going to change, it is not the same, especially now that the means are more, you can use the written record can also be videotaped, and there is a lot of historical value here. But salvage to pay attention to a problem, is to maintain continuity. It's not that today's record is finished, tomorrow or the same must be recorded." Simply record more only applies to the "past tense", "protection" and "development" equal importance, is a greater sense of "protection ". The Olympic Games, held once every four years, has become the most caring contemporary cultural event for people of all races all over the world. As we all know, it originated in 776 BC or so, the ancient Greeks held the Olympic Games as a custom to worship Zeus, the god of thunder and lightning. After more than 2,800 years of intermittent development and evolution to today's weather, Wu Bing'an evaluation of it "to play the modernization of ancient folk cultural resources set the highest model.

Wu Bing'an believes that in order to recognize and bring into play the "modernization effect" of traditional culture, it is necessary to first identify its modernity, i.e., to identify its value of existence in modern life. On this basis, "a selection of traditional folk cultural heritage should be made in order to recognize the potential modernity value of certain cultural resources, so that many of these folk events will no longer be 'ancient fossils' or 'historical residues' but cultural treasures that lead the past into the future. past into the future as cultural treasures." He also talked about a number of specific measures, such as promoting cultural protection legislation, establishing professional associations and specialized folk culture museums.

The topic of traditional festival culture protection will continue. The reporter thought, it seems that the "inheritance of tradition" and "absorb the advanced" to combine more closely to be good. Unlike most young people, the reporter likes to listen to Peking Opera, but only part of the repertoire. At the same time, I am very clear that I like this is not out of self-consciousness, not because the Peking Opera is a national treasure and the audience is sparse on the initiative to "do their duty", but out of spontaneity, I think that many of the Peking Opera excerpts are really very "good". I can say that it is the charm of Peking Opera itself that has infected me, not the "essence of traditional culture" and other such aura that is attached to it. In my opinion, to use "crisis" or "embarrassment" to describe the current situation of Peking Opera is emotional and subjective. In fact, Peking Opera is just not as brilliant as it used to be, and it has returned to its rightful place in a specific period of time. In this process, what the Peking Opera has lost is its former status, while its true aesthetic charm and artistic value have not been diminished. Based on this judgment, I don't think Peking Opera will die out - at least in a long historical period. And those parts that should be sent to museums should just be sent in. Traditional festivals - or the core values embedded in them - are not going to die out either, that's my opinion. I also welcome and enjoy some of the "foreign festivals". The advanced culture embodied in the "foreign festivals", such as the idea of "people-oriented", what is the need to reject it?

So the traditional Chinese festivals are very important~~