The historical origin of Qianzhou Spring Festival Qianzhou, now the Qianzhou Ancient City District of Jishou City, is an ethnic mixed area with Tujia, Miao and Han as the main ethnic groups. According to the "Qianzhou Hall Chronicles", "When Qianzhou was first named, the villagers said that there were three flat and small areas on the ground, which looked like a dry land. The Yuan River was curved from Lifang and embraced the east. Li was originally a dry land, so it should be named Qian Village. The small river behind it came from Dui, now Qian, and the Gen River circled it from behind. The land was among the waters and the soil was high, which meant a state, so the village was named Qianzhou." Therefore, it has been used to this day. Qianzhou is located in the border fortress of Hunan, Hubei, Chongqing and Guizhou provinces. It has been a battleground for military strategists since ancient times. In history, Qianzhou has experienced countless changes and major historical events. In addition, the integration of foreign culture and local culture has nurtured Qianzhou's unique ethnic folk culture. Qianzhou Spring Festival is a common comprehensive folk activity for people in western Hunan during the New Year (Spring Festival). It has always been known as the most cultural and artistic performance with local characteristics in western Hunan. There is no accurate documentary record of when the Qianzhou Spring Festival originated, but since the Jiajing period of the Ming Dynasty, the "Zhachun" activity to welcome the spring has been very popular on the third day of the first lunar month every year. According to Volume 2 of Qianzhou Hall Records in the fourth year of Qianlong's reign in the Qing Dynasty (1739), "On the first day of the first lunar month, people visit each other to greet each other or invite each other to drink spring wine, which is also the meaning of spring wine to introduce eyebrows in ancient times. On the day before the beginning of spring, people perform stories to welcome the spring and predict a good harvest." According to the Customs Chapter of Volume 14 of Chenzhou Prefecture Records in the 30th year of Qianlong's reign in the Qing Dynasty (1765), "A few days before the Lantern Festival, many cities and towns cut paper into lanterns, or dragons, lions, and various birds and beasts. Children under ten years old perform stories about picking tea and yangko." The Qianzhou Spring Festival in the Qing Dynasty was already very lively. It is said that "the most grand and lively ceremony in the Qing Dynasty was the 'Yanchun' ceremony held two days before the 'beginning of spring'. On that day, the hall officials 'Tongzhi' and their subordinates all wore formal clothes, and the soldiers each held a weapon. Red and green flag soldiers walked in front, and twelve "Spring" lanterns, dragon lanterns, lions, clam shell lanterns, lotus-picking boats, fish, shrimp, turtle and other lanterns formed a long team, with colorful flags flying and gongs and drums blaring. The procession was mighty, with trumpets and suonas playing, and the crowds of people walked through the streets and alleys out of the East City Gate to the "Xiannongtan" in the suburbs. After worshiping the "Xiannong God", the "Tongzhi" of the hall and county held the whip and plowed the spring ploughing to start, plowing a few rows of "registered fields" to show that they value agriculture and encourage farming. After the performance of spring, the team swam to the nearby wide parade ground and circled the field. They sat down on high ground to enjoy the spring, and everyone showed their skills, dancing dragons and lions, playing clam shells and jumping lanterns. Officials and civilians enjoyed themselves together, and it was very lively. "During the Republic of China, the county magistrate no longer held the plow to perform spring, but the Spring Festival activities have been preserved to this day. After the founding of New China, the party and the government attached great importance to this folk activity that was deeply loved by the people of Xiangxi. In September 1957, when the Xiangxi Tujia and Miao Autonomous Prefecture was established, the Central Delegation and the Hunan Provincial Delegation watched the performance of the Qianzhou Spring Festival and praised it: "This is the best symbol of national unity." The main content of the Qianzhou Spring Festival is composed of three parts: "making paper", "performing spring" and "traveling spring". 1. Making paper. Making paper is mainly about making paper, playing with people and tying spring. The varieties of paper include: ox-shaped, dragon-shaped, lion, flower boat, palace lantern, revolving lantern, butterfly lantern, shrimp, fish, turtle, clam and Guanyin, goddess, eight immortals, arhat and other figures and statues. Qianzhou's spring making skills have accumulated rich experience in making paper after more than 300 years of long-term practice by artists of all generations. On the basis of selecting the materials for making paper, fourteen processes must be completed, namely: 1. Flatten the bamboo joints. 2. Break the bamboo into round, semi-circular, flat, square, silk and other shapes. 3. Scrape the bamboo strips. 4. Treat the bamboo strips with insect and anti-corrosion treatment. 5. Dry. 6. Make shaped bamboo strips, which are the elements for tying the frame. There are 59 kinds of shaped bamboo strips, including large and small circles, semicircles, arcs, ovals, Ruyi shapes, hexagons, and pointed shapes. 7. Wrap bamboo strips, using leather paper, thin iron wire, etc. 8. Roll paper twists, which are used for bundling, and their lengths vary. 9. Tie the frame. 10. Paste. 11. Paint. 12. Press the seams with gold thread. 13. "Play the role of spring". The role of "playing the role of spring" is selected from the folk boys and girls around 10 years old, with beautiful looks and courage, commonly known as "Spring Boys". The old artists in Qianzhou are the ones who make up for them. They are beautiful and handsome with appropriate makeup. Their painted faces are also well painted. They are clean and majestic, and their clothes are bright and fit. 14. "Binding Spring". In a special "Spring table and pole" (collectively called "tie frame") with railings on all four sides, the "Spring boy" and the small stool are sent to the high pole to pose, with different heights, and then tied with soft cloth strips. If the character needs to stand in the air with one foot or stretch out a huge hand, fake hands and feet are tied to match. Especially the "high pole standing spring", which is thrilling and surprising. It is difficult to tie. It is necessary to make a hole in the middle or left and right of the table, insert a hardwood stick more than ten feet high and tie it firmly. In the Qing Dynasty, Gaotaichun was mainly a local drama, which was constantly changed every year. In the Republic of China, classical dramas such as "Taibai Drunk", "Niu Gao Angered Jin Wushu to Death", and "Yuchi Gong Visited the White Robe" were tied. After the founding of New China, stories such as "Sun Wukong Makes Trouble in Heaven", "Three Fights with the White Bone Demon", "Nezha Makes Trouble in the Sea", "Mu Guiying Takes Command", "Heavenly Girl Scatters Flowers", "Flooding Jinshan", "Hope School", and "National Unity" were added. Second, the performance of spring mainly involves the performance of "Yangchun Opera". Yangchun Opera is the play of Yangchun (farmers), performed by Yangchun people for Yangchun people. The "Yang Opera", a small drama popular in Xiangxi today, is named after this. Yang Opera developed from Xiangxi folk songs and dances into a form of opera. It has gone through the formation, evolution and development stages of "two small" (small dan, clown), "three small" (small dan, clown, and young male) and multi-role plays. In the "Customs" of "Phoenix Hall Records" compiled by Huang Ningdao and Zheng Huwen in the 23rd year of Qianlong in the Qing Dynasty (1758), it is recorded: "A few days before the Lantern Festival, cities and towns collect money to dress up various lanterns, in the shape of dragons, horses, beasts, fish and shrimps. Children over ten years old perform stories of picking tea and yangko. On the 15th night, there are loud music and singing, and the lights are brilliant, which is called the Lantern Festival." To this day, the traditional Yang Opera excerpt "Picking Cabbages" still retains the singing segment of "Picking Tea in December". In the first year of the Daoguang reign of the Qing Dynasty (1821), Liu Jiachuan compiled the "Chenxi County Chronicles" and in the "Customs" Volume 16, it is recorded: "After the Lantern Festival, people gather money to perform plays, which are called lantern plays." Lantern plays in Xiangxi generally refer to small-scale Yang Operas or lantern songs and dances performed during the Spring Festival. Elderly people in Luxi, Jishou, Fenghuang and other places are still accustomed to calling small-scale Yang Operas performed during the Spring Festival, such as "Liu Hai Cuts Wood" and "Bringing Children Home", as lantern plays. The plays that are often performed during the Spring Festival activities include "Picking Snails", "Ding Gou'er Tells Stories", "Going to the Tea Mountain", "Picking Mushrooms", "Pan Flowers", "Pulling Bamboo Shoots", "Sanbao Dragon Dance", "Baiwang Delivers Grain" and dozens of other plays. The must-perform play in the Qing Dynasty was "Picking Snails". This is a traditional play, which is one of the whole play "White Ape Plays Jin" (i.e. "Ape Plays Plum"). Bu Zhongshi was picking snails in the field when he met the white ape fairy who turned into a girl named Bai Xiuying and came to ask him to marry her. After several persuasions, Bu Zhongshi agreed. This play is both sung and performed. It was premiered by the Xiangxi Autonomous Prefecture Mass Art Troupe, and the script was narrated by Wu Yingzhong. 3. Spring outing is the hot topic of Qianzhou Spring Festival. Countless lanterns gather, flag teams, drum bands and twelve high platforms (thirteen platforms in the leap month) are arranged in order. The spring protection team is huge, with nearly 10,000 people participating in the Qing Dynasty. In 1957, at the founding meeting of the Xiangxi Tujia and Miao Autonomous Prefecture, more than 40,000 people participated in the Qianzhou Spring Festival. The media reported at the time: "The skilled craftsmen also showed their skills, using bamboo strips and paper to dress up the spring tables with flowers in full bloom, peach blossoms and green willows, and spring is full of vitality; during the period, dragons and tigers leap, cattle and sheep are fat, and phoenixes fly and fish jump, which are lifelike and amazing." In the old days, there was a sacrificial ceremony called "Sacrificing to Shennong", also known as "Sacrificing to the God of Agriculture" before the spring outing. The scene needs to set up the Xiannong Temple, and then the altar master (Tu Lao Si) will perform the ritual. The whole sacrificial activity is recalled by later generations as follows: "According to historical records, Qianzhou Xiannong Temple was built in the sixth year of Yongzheng in the Qing Dynasty (1728). In order to pray for good weather and good harvests, the government of all dynasties has regarded the altar activities as the top priority every year. No matter which year, on a certain day after the "Beginning of Spring" and before the "Rain Water", the local county magistrate must bathe, dress neatly, wear a gauze hat, ring the gong to clear the way, and take a sedan chair to the Xiannong Temple to hold a grand altar activity. During the sacrifice, gongs and drums sounded, incense and paper were burned, and first the heaven and earth and the god of agriculture were worshipped. After a sacrificial ceremony, the county magistrate would go to the altar to hold a grand altar activity. On a piece of open space (i.e., the land of the land) left in the altar, the magistrate personally plowed the land, hung a piece of red cloth on the horns of the plowing ox, and the county magistrate personally drove the ox to plow the land, and there were people behind him who followed the plow to scatter grains and cotton seeds. After more than ten rounds, the whole sacrificial activity was over. "During the spring outing, the first stage of "Spring" is a spring ox, and a shepherd boy holding a whip and riding on the back of the ox plays a flute, which means to urge the spring; the second stage is the animal of the zodiac sign of the year; the third stage is to take auspiciousness and encourage young people to serve the country and make contributions. A big tree is made, and a honeycomb and countless paper-cut bees and a gold seal wrapped in red cloth are hung on it. Under the tree, a boy plays a little monkey, which is called "Feng Hou Feng Yin", which means promotion; these three stages are made every year. Among the other stages, there must be one that is ancient red. According to the location and color of the spring ox picture in the calendar issued by the government every year and the regulations on the door of the county office, a "Spring Ox Picture" made of paper and bamboo is drawn and placed in front of the welcoming spring team. Farmers pay the most attention to the color changes in this picture every year, because the red head of the spring ox indicates spring drought; the red waist indicates summer drought; the red tail indicates autumn drought; the whole body is black, indicating floods; and the blue in between indicates storms. The shepherd boy wears a bamboo hat, indicating heavy rains and floods; the bamboo hat on his back indicates good weather; and the bamboo hat hanging on the ox's horns indicates severe drought. The inheritance value of Qianzhou Spring Festival Qianzhou Spring Festival is a street art after the rise of Yuan Dynasty Zaju, which is an organic combination of drama and paper-cutting skills. First, it has a wide range of materials, and can select themes from classical dramas, folk tales, folk myths, and legends; second, it has a rigorous structure, with one to three characters in each spring play, and the time is calculated by month. There is one spring play in each of the twelve months of the year, and thirteen in the leap month. Except for the first five traditional spring stories, other spring stories can be selected according to the industry; third, the modeling is exaggerated, and difficult movements such as running, jumping, and leaping are selected to further shape and portray the characters; fourth, the colors are bright, and folk art and folk handmade paper-making skills are organically combined. The layout of characters, plants, and spring is carefully designed and decorated to make it more artistic and ornamental, achieving a propaganda effect. For example, the colored paper on the spring ox, red for drought, black for flooding, and white for cotton, predicts the spring scenery of the year to people. This has surpassed the art itself. Therefore, Qianzhou Spring Festival is not only a street art, but also has a close relationship with the ancient farming culture. Qianzhou Spring Festival is a microcosm of Xiangxi farming civilization. It tells people to encourage farming and attach importance to agriculture by setting up an altar to worship the God of Agriculture. In particular, by holding the mass folk art activity of spring outing, people can not only enjoy art, but also obtain agricultural information from art and predict the spring scenery of the year. For example, the color changes of the cow in the "Spring Ox Picture" are based on the judgment of the calendars of previous years, which has a certain guiding role in the farming at that time. Qianzhou Spring Festival is closely related to classical drama, folk stories, folk myths and legends, and local folk customs. It comprehensively uses folk handicrafts, folk art, and folk character stories for careful design, and reproduces the ancient civilization and historical development of mankind with vivid shapes, bright colors, and unique forms. Qianzhou Spring Festival concentrates on the cultural traditions of the people of all ethnic groups in Qianzhou, fully reflects the aesthetic consciousness and national sentiments of the people of all ethnic groups in Qianzhou, lashes out at falsehood, ugliness, and evil, and promotes truth, goodness, and beauty. In recent years, with the continuous deepening of tourism development in Xiangxi, various characteristic cultures have been continuously protected, developed, and utilized, and Qianzhou Spring Festival, a unique street art with a profound folk cultural heritage, will have a broader stage. In 2006, Qianzhou Spring Festival was identified as the first batch of intangible cultural heritage list items in Hunan Province.