Does the second dragon rise from Shanghai in February?

The dragon looks up, which is the seventh of the twenty-eight lodgings of Oriental Qinglong-the dustpan at the center and tail of Jiaokang Board House rises from the east on February 2, and the horn lodge is said to be the dragon horn, which first appeared in the east, so it is the dragon looks up. This is a matter of the East, and it has something to do with Shanghai.

The answer is: too relevant. Looking up is a Dragon Boat Festival, also known as the Qinglong Festival. There are many places famous for Qinglong, but only one is Shanghai. The most prosperous port in Shanghai's history is called Qinglong Port, with qinglong river. Qinglong Town was founded in the Tang Dynasty, and there are Qingliu Temple and Qinglong Village.

When we compared Shanghai to the head of the Yangtze River, the ancients regarded Qinglong as their own condition.

In older times, Shanghai was already the hometown of dragons.

Archaeological discoveries in Shanghai prove that Shanghai has a history of 6000 years. Shanghai 6,000 years ago had mature well-drilling technology, and Shanghainese 6,000 years ago were full of wisdom. In a small place in Shanghai, there are two ancient cultures named after place names: Songze culture and Maqiao culture, both of which are excellent cultural accumulations, and there is no such profound tradition in general areas.

Caption: According to the skull restoration of Songze culture, a Shanghainese 6000 years ago.

It is generally believed that dragon culture mainly originated in the north, the Central Plains and the West. The so-called Puyang Dragon and Hongshan Culture all predate the southeast. Phoenix culture originated in the southeast. The tooth carving ornaments with double peaks and rising sun in Hemudu culture, Zhejiang Province, dating back more than 7,000 years, can be regarded as the ancestor of Phoenix culture. But the dragon culture we saw in the south is still relatively late.

In the ancient culture of Shanghai, Songze culture has its own unique attributes, with Zhejiang as the radiation point and rich bird culture. However, the dragon culture was clearly manifested in Shanghai more than 5,000 years ago.

Caption: Jade Bird of Liangzhu Culture, 1987 Unearthed from Fuquan Mountain in Qingpu.

The unearthed cultural relics of Liangzhu culture and the image of dragon culture we see are very beautiful. For example, in 1984, the hollowed-out foot-covered pottery tripod unearthed from Fuquan Mountain in Qingpu reached a high artistic level.

Photo caption: 1984 dish-shaped hollow covered pottery tripod of Liangzhu culture in Fuquanshan, Qingpu.

This covered pottery tripod has dragons between its hollow feet, and the dragon pattern on its waist is even more exciting:

Later, the dragon pattern on bronzes can be regarded as a copy of the dragon pattern on Ding Tao. So this artifact is of extraordinary significance. Although the dragon originated in the north and the Central Plains, the standard dragon pattern was established in Shanghai and its surrounding areas. This is a problem that people neglected in the past. Among them, the double dragon characters, such as cross dragon pattern, flat dragon pattern, one head and two bodies, two bodies and one head, and S pattern, are typical dragon patterns that are commonly used later and continue to this day.

When we see the Dragon Pottery Ding in Shanghai, we will feel that it is also the hometown of dragon culture. What is the scene where it happened? We know from reading ancient books that a great event happened in Zhejiang more than 4000 years ago. "Historical Records Confucius Family" is recorded in this way: "Wu cut Yue, surrendered the meeting, and got a special car. Ambassador Wu asked, "Which bone is the biggest?" Jade gods are in Huiji Mountain. In case of Feng's coming home, jade kills them and keeps a car. This is a great virtue. "The Great God of the South was killed. Scholars generally believe that this is the conquest of the windbreak kingdom of southeast China by Xia culture. It is also the exchange of dragon culture and phoenix culture. The Xia nationality, representing the dragon culture, entered the southeast cultural area, which opened a new milestone of the southeast dragon culture.

This event is obviously an important background for the occurrence of dragon culture in Shanghai, and Shanghai began to change from the cultural world of phoenix to the cultural form of making friends with dragons and phoenixes. Dragon and phoenix began to merge in Shanghai and southeast China. The pottery pattern we saw in Shanghai 4000 years ago, the dragon and phoenix become one.

Description: Fuquan Mountain in Qingpu 1986 Birds.

As can be seen from the specific image details, this is a pattern in which birds and dragons coexist. It marks that the cultural conflict that once existed has moved towards harmony. I once wrote a paper and published it in the academic monthly. It is about the conflict between dragon and phoenix in history and the conflict between Xia and Shang cultures. The dragon culture of Xia and the phoenix culture of Shang experienced a long run-in. Only in the Zhou Dynasty did this conflict disappear as a whole. However, in some areas, such as Jingchu, this conflict still exists. The most typical one is the pattern on the silk book unearthed from the Chu tomb in Mashan, where dragons and phoenixes are auspicious. It was not until the Warring States, Qin and Han Dynasties that this integration was completely completed.

Description: Bean's waist is a bird.

Description: The bottom of the bean is a dragon.

In addition to this kind of bird and dragon living together, the pattern of the bird's head and dragon body is more prominent.

Caption: 1983 Fuquan Mountain bird head snake body double nose pot

Enlarged pattern of bird head and dragon body:

This pattern shows that the integration of dragon and phoenix has been completed in Shanghai.

There is a saying in academic circles that the culture of Xia and Shang in the Central Plains is the result of Liangzhu culture in the southeast moving northward and westward. If we look at the relationship between the patterns of Xia and Shang bronzes and the patterns of Liangzhu culture in Shanghai and southeast China, and the relationship between the patterns of Zhejiang jades and the bronzes in the Central Plains, this statement is completely true. Also, Liangzhu culture, an ancient country spanning thousands of miles across the banks of the Yangtze River in the southeast, has not disappeared, but continues to survive and develop in Chinese civilization. From this point of view, Shanghai's dragon culture and dragon and phoenix culture are of great significance to the development of China culture. We can think that dragon culture has occurred in many places, but it has matured in Shanghai and southeast China, and further expanded into the totem and symbol of the whole nation.

Since then, Maqiao culture, about 3000 years ago, not only embodies the cultural characteristics of the Central Plains, but also shows the continuation of the original local culture.

Description: Longwen beans and duck-shaped ornaments in Maqiao culture.

This dragon pattern, which is in the same strain as the Central Plains, can be regarded as the same strain as the Central Plains culture, and it can also be regarded as the difficult persistence of the left-behind people in the harsh natural environment after the main migration of local culture. The phenomenon that the cultural level of Maqiao is lower than that of Liangzhu culture is caused by the harsh natural environment. At the same time, we should also pay attention to the influence of the transfer of cultural centers on local culture. However, we can see that Shanghai during the Maqiao culture period (equivalent to the Xia and Shang Dynasties in the Central Plains) strengthened the localization of Longwenhua in this area. During the Spring and Autumn Period, the persistence of this dragon culture was everywhere.

Description: Primitive porcelain, dragon script and S pattern in Qingpu during the Spring and Autumn Period.

At the end of the Warring States Period, Shanghai was the fief of Shen Jun. At that time, before the reunification of Qin Dynasty in 300 BC, the Chu people ruled Shanghai for a hundred years, and their cultural characteristics were stereotyped, with Shanghai's cultural identity: Shen Di and Shen Culture.

"Shuo Wen Jie Zi" said, "Shen, God also. God is an ancient word, but it is actually the image of a two-headed snake.

Here, Shen is a god. Let's look at the dragon patterns on bronzes again. They are closely related. The dragon is a god, of course, its shape should be consistent with Shenzi.

Chunshen culture is the successor of dragon culture. We can see this conscious cultural pursuit when we see the dragon pattern of Shanghai culture in Shen Jun era in spring.

Description: 1983 The Shuanglong Wall of the Warring States Tomb in Fuquan Mountain is a typical symbol of Shen culture in the Spring and Shen Dynasties.

We can regard this Shuanglong Wall as a representative of Shanghai's cultural image. Exquisite and elegant, the dragon is fragrant in the sea.

Seeing these physical patterns, we can understand why the East was regarded as the dragon country during the Spring and Autumn Period and the Warring States Period, but it was actually the base camp of mature dragon culture. Perhaps a metaphor can best explain the problem: the modern China Revolution was organized in Shanghai, with the Nanchang Uprising and the Jinggangshan struggle. However, I have been in Yan 'an for a long time and gained political power from Yan 'an, so Yan 'an is very eye-catching and important.

Dragon culture took place in the north, the Central Plains and other places, and was brought to the southeast by Xia people for mature management, and then returned to the Central Plains, which was a great spectacle. In people's memory, the dragon is the god of the East. In fact, if it weren't for archaeological excavations, we couldn't get the impression of dragon culture in Hongshan Culture and Puyang. Those dragons are the predecessors of the dragon, and then they are not the mainstream dragon image. The mainstream standard dragon image was born in the East and carried forward in the Central Plains, so Shanghai and Southeast China are also important hometowns of dragons. Just as there are several revolutionary shrines in China, dragons also have several shrines.

There are several landmark events in the ancient culture of China that confirmed that the East is the hometown of dragons:

First, the classical literature clearly records the oriental orientation of dragon culture. The Confucian classic Book of Rites Quli says:

All right. The former Suzaku and the later Xuanwu, the left dragon and the right white tiger, swagger on the ground, anxious to repair their anger.

This is March, and Qinglong is in the east. Qinglong, or Black Dragon, is known as the God of the East and the underground space dominated by the stars in the sky. This is four spirits, plus 28 stars. We have seen such patterns in national tombs in the Spring and Autumn Period. This concept of "Dragon of the East" was fully formed at least during the Spring and Autumn Period and the Warring States Period. This is also the reason why Chun and other earlier Shanghai predecessors took the dragon as their own.

As the East is regarded as the hometown of Qinglong by national literature, it is normal for Qinglong Town to appear in Shanghai. During the Tang and Song Dynasties, the prosperous Qinglong Port in Qinglong Town was the inheritance of this culture. Today's Qinglong Village, Qinglong Tower and Qinglong Temple embody the ancient precious heritage that Shanghainese took the initiative to undertake for national classics, and should be declared as national intangible cultural heritage.

Second, the unique position of the Dragon King in the East China Sea is further reflected. Only the East China Sea Dragon King Ao Guang, the South China Sea Dragon King Aoqin, the North China Sea Dragon King Aoshun and the West Sea Dragon King Aorun. Today, people know Ao Guang very well, but it is difficult to remember the names of several other dragon kings. Around the end of the Western Jin Dynasty, a Taoist classic "The Divine Mantra Sutra of Taishang Cave" began to spread, in which five dragon kings were mentioned, namely, Di Qing Dragon King in the East, Chi Di Red Dragon King in the South, Bai Di Bai Longwang in the West, Hei Di Black Dragon King in the North and Huanglong King in the Central Yellow Emperor. This is the product of the combination of the primitive five emperors system and the dragon king belief. Then the classic said the Four Seas Dragon King: the East China Sea Dragon King, the South China Sea Dragon King, the West Sea Dragon King and the North Sea Dragon King. It is pointed out that the gods of the Four Seas Dragon King can be placed around the house to ensure the safety of the house. In the Tang Dynasty, the Five Dragon Kings were sacrificed, and in the Song Dynasty, Song Huizong named Ren Guang, the king of Qinglong God. Later, Journey to the West was named Ao Guang. At this point, the Four Seas Dragon King and the East China Sea Dragon King are household names.

Shanghai, facing the East China Sea, is naturally the most direct area to inherit the Dragon King culture in the East China Sea. In the past, the eastern coast of Shanghai was densely covered with Longwang temples, which was a kind of cultural consciousness. Nowadays, the legend and belief of the Dragon King in the East China Sea in Shanghai has become an endangered heritage. However, in movies, novels handed down from ancient times and other reading materials, the Dragon King of the East China Sea is still full of vitality. As the coast of the East China Sea, Shanghai should undertake the mission of inheriting cultural traditions. We also hope that other eastern regions and other regions at home and abroad will work together to complete such a mission of inheriting and carrying forward dragon culture.

Shanghai is the hometown of dragon culture, which is rich in dragon cultural relics and cultural inheritance. Both the other and the ego regard the dragon as a symbol of eastern culture. Shanghai should hold high the banner of dragon culture. A place that wants to become the economic leader of China is also the hometown of dragon culture. It is doubtful whether this economic leader can do well without promoting dragon culture. Therefore, all walks of life in Shanghai must be clear about their glorious tasks.

3. At present, Chongming Sanmin Cultural Village promotes the Dragon Lantern Culture on February 2nd, and has held the Dragon Lantern Culture Festival on February 2nd for six consecutive years, holding various celebrations, cutting hair for the elderly, eating cakes to support the elderly, and promoting the custom of February 2nd, which has won the support from all walks of life in Shanghai and at home. At present, Shanghai Chongming is applying for the national intangible cultural heritage project of February Erlong Cultural Festival.

In Chongming, China and all over the world, there are conscious successors of dragon culture, and thousands of descendants of dragons in Qian Qian are carrying forward the tradition of dragon culture. With the development of China, dragons will have a wider influence in the world. For Shanghai, there is a metaphor that China is the economic leader, and it is also the hometown of the Oriental Giant Dragon. Therefore, on February 2nd, a grand celebration will be held.