发布日期：2025-01-21 11:34 点击次数：63
炮竹声中一岁除，
Amid the crackle of firecrackers,
the old year takes flight.
春风送暖入屠苏。
The spring breeze brings warmth,
and Tusu wine brings delight.
千家万户曈曈日，
On countless households,
the morning sun gleams.
总把新桃换旧符。
As fresh peachwood charms take
the old ones' place.
公元1069年，北宋盛名诗东谈主、政事家王安石（1021-1086）创作了这首诗，以庆祝新春的到来。
诗中飘溢着欢快的情绪，映射出王安石刚刚赢得天子重用，春风快活、彷徨满志的心理。尽管他尔后发起的各样修订碰到了政事敌手的强烈反对，这首充盈着但愿的诗却永久弥新，被一代又一代中国东谈主在春节期间吟哦。
图源：东方IC
In 1069, Wang Anshi, the renowned poet and statesman of the Northern Song Dynasty (960-1127), composed this poem to celebrate the arrival of a new year. The poem endures as a timeless expression of hope, memorized and recited by generations of Chinese during the New Year celebrations, including the coming one.
“过年——春节主题展”展出的寰球各地的手工艺品。影相：姜东
这是一份深深根植于季节的承诺之中的但愿：中国传统历法将冬末春初之际定为一年之始，其中所蕴含的生机与更新之意不言自明，这亦然为什么中国新年又被称为“春节”。
值得证明的是，尽管中国新年时常被称为农历新年，但传统的中国历法默契了月亮（阴历）和太阳（阳历）运转的计时周期，其中枢在于使农业实行与天然节律迎合作。在中国，新年也标识着农耕季节的运行、地面的解冻、万物的复苏和但愿的萌动。
这亦然为什么中国农历新年不提出径直翻译成Lunar New Year，而要翻译成Chinese New Year的原因。
And that hope is rooted in a seasonal promise: the traditional Chinese calendar aligns the New Year with the end of winter and the beginning of spring, hence the name \"Spring Festival\". At the core of the calendar, which integrated both moon-based (lunar) and sun-based (solar) cycles of timekeeping, is an effort to harmonize agricultural and social practices with the rhythm of nature. The New Year marks the start of the farming season, as hope stirs beneath the thawing earth.
影相：姜东
数千年来，春节的传统和历法一样不休演变。天然新年从午夜钟声敲响时运行，但欢庆举止粗俗会接续数周，从除夜前直至正月十五元宵节。
The calendar had evolved over thousands of years, so did Chinese New Year traditions. While the New Year itself begins at the stroke of midnight, the festive celebrations typically extend for weeks, and in certain areas, even over a month, commencing days before Chinese New Year's Eve.
王安石所深情描写的一切——他阿谁期间的东谈主们在岁末年头所解雇的传统习俗——于今仍激动着生机盎然。尽管中国已不再是昔日的农耕社会，但东谈主们对暖春总结的期盼、对与亲东谈主团员的期待、对过往岁月的缅怀以及对新的一年的憧憬，是恒久不变的。而春节，恰是这些深有情愫汇注的时刻。
Everything Wang so vividly recounted — the customs his contemporaries embraced at this time of year — continues to thrive today. And here's the reason: although China is no longer the agrarian society it had been, the yearning for warmth’s return, the joy of being with loved ones, the bond to the past, and the promise of renewal all endure — each beautifully symbolized by Chinese New Year.
国度级非遗代表性传承东谈主林顺奎制作的乐清首饰龙 影相：姜东
正如王安石所言，旧岁唯有在鞭炮的噼啪声中才会离去——那雷鸣般的声息震颤着街谈两旁的窗户，孩子们捂着耳朵欢畅，留住一地仍是包裹着炸药的红色纸屑。鲜为东谈主知的是，天然中国东谈主很早就发明了炸药，但咱们今天所熟知的鞭炮，其实是在王安石所处的宋代——因与邻国战事频发，炸药制造工夫赢得明显的革命与发展，才迟缓兴起的。
As Wang rightly noted, the old year would only depart at the ear-splitting sound of firecrackers — tiny thunderclaps that rattle street-level windows, send children cupping their ears in delight and leave a confetti of shredded red paper that once wrapped the fiery explosives. Yet, few know that the firecrackers we recognize today only emerged during Wang's time, as gunpowder — first invented by the Chinese around the 9th century — advanced significantly due to the frequent warfare between the Song Dynasty (960-1279) and its neighbors.
2021年2月12日上昼9时，大年月吉，深圳市龙岗区吉华街谈的甘坑客家小镇锣饱读喧天、鞭炮都鸣，麒麟队逐家挨门贺年，惹得村民眉飞色舞，村里飘溢着浓郁的新年气味 黄志/China Daily
在此之前，机敏的爆炸声是通过燃烧干竹竿发出的，因此鞭炮在中国被称为“炮竹”。另外，东谈主们甩响鞭子也能产生响亮的爆裂声，这也就是“鞭炮”的由来。
Before that, the sharp, explosive sound was made by igniting dried bamboo stalks, which is why the Chinese name for firecrackers is bao zhu, meaning \"bamboo burst\". Alternatively, the resounding crack could be produced by snapping a whip, giving firecrackers the name bian pao, meaning \"whip blast\".
鞭炮在夜空中怒放出震耳欲聋的活力乐章，并非只是是为了刺激耳朵制造愤激，而是为了间隔一头名为“年”的猛兽。
传闻中，这头猛兽形似狮子，每在岁末年头出现，挑升在夜间出没吃东谈主，令东谈主闻风而逃。自后村里的一位老者发现，年兽看似无敌，却怯怯日光，不喜红色，尤其抱怨喧闹的声息。因此，东谈主们为了保护我方，会在除夜夜张贴红色的对子、窗花，点起灯火，同期通过打饱读、放炮竹来驱赶年兽，祈求安逸。
年兽 图源：东方IC
While the firecrackers created a chaotic symphony full of energy, it was not to delight the ears, but to drive away a ferocious beast. This beast, named nian — the same character for \"year\" — once struck terror in the villages, according to legend, until a wise old man discovered that despite its apparent invincibility, nian feared three things: loud noises, bright lights and the color red. Thus, firecrackers exploded in the night, candles flickered until dawn, and lanterns swayed from every rooftop, while the color red seemed to be everywhere, from scarlet couplets and paper-cut window decorations to red envelopes filled with money, gifted to the younger generation as a blessing of good fortune.
2023年1月20日，广西梧州，万秀区夏郢镇古藤村的村民守旧传统的过年习气，打扫房前屋后，在自家门头贴春联、合影全家福、放鞭炮，喜迎新年，祈求来年农业天平地安、丰产丰充，村民生活富庶 何汉文/China Daily
至于为何“年”常被视作一种“破损之力”，文化历史学家们长久以来一直众说纷繁。有东谈主测度，这大约与冬日严寒所带来的辛劳困苦息息筹备。新年的到来如吞并缕讲理的春风，为东谈主们带来慰藉与但愿，赋予东谈主们战胜可怜、摈弃旧我、超最初往、管待更生的勇气与力量。
How did nian come to be seen as a force of destruction? Cultural historians have long pondered this, suggesting it may be tied to the unforgiving nature of winter. Yet, with the arrival of the new year comes a gentle assurance — a chance to triumph over misfortune, over the weight of the past, and over the person we once were.
“已往的年华像一座一座的山横在我后头。假使我回偏激去，回身往后头走，翻最初一座山又一座山，我就会看见我的童年......”
中国近当代文体行家巴金（原名李尧棠，1904-2005）在其作品《过年》写谈。
文中他忆起儿时某个铭刻的新年，孩提期间的他“一稔肥胖的黄缎子棉袍和花缎棉鞋，一个东谈主躲在花圃后头一个小天井里燃放‘地老鼠’之类的花炮，不知谈怎样尽然把我方的棉鞋烧起来了”。
“我并不肯意年光倒流重返到儿时去，纵使这儿时真如一般东谈主所说，是梦一般地妍丽。”巴金说。
他继而反念念了自己的历史责任：“我对于同期代的后生的热望，又作念过什么事情呢？咱们这期间的后生的热望不也就是——爱那被苛刻受侮辱的本家，为目田、对等、泛爱而高潮吗？”
\"All the passing years lay behind me, like distant mountain ranges… separating me from my childhood,\" wrote venerated Chinese author Ba Jin (Li Yaotang, 1904-2005) in Ring in the New Year (Guo Nian), recalling how, as a boy, he once burned his cotton-padded shoes with firecrackers during an unforgettable New Year's moment. Yet, he confessed that even if he could return to that sweet dream of childhood, he would not, for he had to confront the pain of his soul and his duty \"to love his much-suffered countrymen and to fight for freedom and peace\".
巴金写下这段翰墨的时候，是1934年的春节，其时距离日本发动“九一八事变”、侵占中国东北已逾两年半，而中国抗日干戈（1937-1945）的焰火也行将在三年多后燃起。
在阿谁阴云密布、远景未卜的年代，中国新年不单是意味着欢聚与庆祝，它更成为了决心与勇气的符号，尊荣地警示着众东谈主：那些深深植根于千年历史泥土中的文化传统与遗产，倘若不被咱们可贵与捍卫，便可能在顷刻之间坍弛散失；未必，看护它们以致需要咱们付出人命的代价。
Ba Jin wrote this in 1934, during the War of Resistance Against Japanese Aggression (1931-45). In those dark and uncertain times, Chinese New Year was no mere celebration — it stood as a testament to resolve, a solemn reminder that even traditions rooted in millennia could crumble if not fiercely protected, sometimes at the cost of life itself.
保留这份稀奇的文化遗产，是对祖宗最真切的敬仰。而这份敬仰则深深镌刻于春节传统庆典习俗中。
在被誉为中国古代演义巅峰之作的《红楼梦》里，曹雪芹（1715-1763）以其紧密的笔触，天真再现了一个权臣眷属在春节举行的持重而复杂的祭祖庆典：
“过年最大的礼节乃是祭祖，年三十、年月吉都得祭拜......到年三十大朝晨，贾母率族中有诰封者，按等级着朝服，八抬大轿一字长龙，进宫朝贺，见礼领宴。回来便径直进宁国府贾氏宗祠祭祖。此时眷属中通盘东谈主皆须到场.....青衣乐奏，三献爵，拜兴毕，焚帛奠酒，礼毕，乐止，退出。众东谈主围跟着贾母至正堂上，影前锦幔高挂，彩屏张护，香烛光线。上头正居中悬着宁荣二祖遗像，皆是披蟒腰玉；双方还有几轴列祖遗影。贾荇贾芷等从内仪门按序列站，直到正堂廊下。”
比拟之下，寻常匹夫家的形势则更为朴素：在长桌上供奉着祖宗的画像，行为祭坛，虔敬地献上食品与香火，以此抒发对先辈的担心与敬仰。
To preserve that heritage is the highest form of veneration for one's forebears, a tradition deeply embedded in the customs of Chinese New Year celebrations. In Dream of the Red Mansion, widely regarded as the most accomplished novel of ancient China, author Cao Xueqin (1715-63) vividly depicts the intricate rituals of ancestral worship performed by a prominent family of the era. Humbler households followed modest practices, offering food and incense before painted portraits of their ancestors displayed on a long table serving as an altar. veneration /ˌvenəˈreɪʃn/ 尊敬；珍爱
2016年2月9日，农历大年头二，深圳坪山新区大万世居的曾氏后东谈主举行高大的传统祭祖庆典，共同祭拜先祖，祈求新年民富国强
在辽阔的中国农村，不管古今，这些祭祖庆典往往都在寰球祠堂中举行，那儿供奉着共同的祖宗，承载着眷属的荣耀与牵记。值得一提的是，宗祠粗俗是早期中国侨民抵达别国异地后起始修复的建筑之一。这些侨民中，有些东谈主在150多年前乘坐无能源风帆，横渡稠密的太平洋来到好意思国西海岸。他们参与修建了好意思国第一条相连东西海岸的铁路，但也深受严重的种族仇视之害——仅在19世纪70至80年代，就发生了近500起针对华东谈主的暴力骚乱，其中绝大部分发生在中国侨民连合的加利福尼亚州。
在这么的期间配景下，宗祠成为了中国侨民的伏击精神坦护所。对于这些早期侨民社区的成员来说，庆祝春节不仅是抒发文化招供的形势，更是一种挣扎同化压力的技能。
In China's rural villages, both past and present, these rites are often conducted in communal temples dedicated to shared ancestors. And it's worth noting that ancestral temples were often the first structures built by early Chinese immigrants, some of whom crossed the Pacific in engineless junks nearly 150 years ago. On the American West Coast, where early Chinese immigrants had endured severe forms of racism — including nearly 500 anti-Chinese riots in the 1870s and 1880s, mostly in California — the temples served as spiritual sanctuaries. For these communities, celebrating Chinese New Year constituted a profound expression of cultural identity, a means of resisting assimilation.
2012年1月30日，英国纽卡斯尔市，英国“蔡李佛”为纽卡斯尔群众带来的精彩舞龙扮演 苟秉宸/China Daily
在一张摄于20世纪早期的短长像片中，一条龙周折穿梭于搅扰的好意思国街谈，两旁商铺吊挂着英文牌号。
20世界早期好意思国唐东谈主街舞龙庆祝中国新年
龙舞，行为中国新年庆典的伏击组成部分，已领有上千年的历史，其发祥可追思至古代的祭祀庆典。这些庆典旨在祈求龙的坦护，因为龙行为有符号力量的神兽，被视为能带来甘露、确保丰充的神灵。
In an early 20th-century black-and-white photograph of the festival, a puppet dragon weaves its serpentine movements down a bustling American street, flanked by storefronts adorned with English signs. Performed during Chinese New Year celebrations for over a millennium, the dragon dance likely evolved from ancient rituals meant to invoke the blessings of the dragon, a symbol of power believed to bring rain and ensure a bountiful harvest. rituals /ˈrɪtʃʊəlz/ 典礼 bountiful / ˈbaʊntɪf(ə)l / 丰富的；野蛮的
像片中，扮演者操控着由多节竹架撑抓、布料遮蔽而成的龙形谈具。他们大约早在侨民好意思国之前，就在家乡学习和传承了这一册事。抵达好意思国后，很多东谈主投身于修建铁路或诡计洗衣店的艰坚苦作中。春节成为了他们难得的机会，得以用搅扰喜庆的形势孤高地展现我方的文化，彰显自己的存在。因此，即便有些地区阻挠燃放鞭炮，一些东谈主仍会用敲击锅碗瓢盆的形势在中国城表里看护着他们的文化牵记。
The performers in the picture, manipulating the dragon puppet made of cloth stretched over a multi-segmented bamboo framework, likely practiced this tradition in their native Chinese villages before emigrating to the United States where many probably found work as railroad builders and laundry workers. Chinese New Year became one of the rare occasions when these hardworking yet often-overlooked individuals could make their presence known — loudly and proudly. That's perhaps why, even when local ordinances forbade firecrackers, some defiantly banged pots and pans, reclaiming a space for their cultural memory, both in and outside the Chinatown.
通过可贵这种集体牵记，他们将其传承给后代。这些后代在履历了各样艰辛后，迟缓在新的家园中塑造出属于自己的独有身份，并将这一传统接续下去。跟着时候的荏苒，春节演变为一个全球性的文化表象，相连着每一个华东谈主的心灵，叙述着对于包摄、但愿与逸想的永恒故事。
By honoring that collective memory, they passed it down to their descendants who, not without much struggle, forged a new identity in their adopted home to carry that heritage forward. Over time, they transformed the festival into a global phenomenon participated by the Chinese diaspora worldwide.
2013年2月16日，北京地坛春节庙会终末一天，大东谈主驮着戴着“京剧脸谱”的小一又友逛庙会
“过了腊八就是年”——按照传统习俗，新年终末的垂危计算服务自旧历十二月初八便认真拉开序幕。在这段日子里，家家户户都会进行大扫除，寓意着扫除旧岁的霉运，管待新年的安逸；东谈主们也会忙着储备各式食品，如腌制腊八蒜、磨豆腐、买肉、蒸馒头等，以备春节期间享用。
The ancient custom dictates that the intense preparations for the New Year begin on the eighth day of the 12th month. This marks the start of the final rush to ready the household for the celebration, including cleaning house, stockpiling food and making new clothes.
天然还要裁制新衣。在破费目标盛行之前很久，中国新年就是对“新”的庆祝。这是一年中少有的险些东谈主东谈主都会穿上新衣的时刻，这些新衣粗俗由家中的女性亲手缝制，饱含爱意。对孩子们来说，穿上新鲜、带着一点未经水洗的硬挺感的衣物所带来的兴奋，是一种多年后依然难以忘怀的地谈喜跃。在阿谁物资并不丰富的年代，春节的魔力被极地面放大了：新衣、新运行，还有一稔新衣的东谈主在镜前细细端详时，心里那种样貌全非的好意思感与对更生活的无穷渴望——这一切都是那么好意思好。
Long before consumerism took hold, Chinese New Year was a celebration of the truly \"new\". It was the one time of year when people received new clothing, often lovingly handmade by the women of the family. For children, the thrill of wearing something crispy and unspoiled brought pure joy. In a world where newness was a rarity, the festival magnified its allure — new clothes, new beginnings, and a renewed sense of beauty that quietly shone. crispy /ˈkrɪspi/ （食品的外表）松脆的；不悦勃勃的 allure /əˈlʊr/ 诱导力，魔力
腊月二十三，家中管家庭事务的忠良——灶王爷——将被送往天廷，向闻所未闻的玉皇大帝讲演这家东谈主已往一年的善恶说明。为了抒发对灶王爷的敬意并送其动身，家东谈主粗俗会供奉包括麦芽糖在内的多种黏甜食品，意在黏住他的嘴，以防他向玉帝透露家中的任何舛误——若是真有舛误存在的话。到了除夜夜，伴跟着噼里啪啦的鞭炮声，东谈主们又会以热烈的庆典管待灶王爷的总结。
On the 23rd day of the 12th month, the Kitchen God — who, according to legend, oversees the household — is sent to heaven to report to the all-powerful Jade Emperor on the family's behavior over the past year. To bid him farewell, the family typically offers food including sticky sweets like malt sugar, to ensure his lips remain sealed and no misdeed, if there's indeed any, is revealed. This send-off is followed by a spirited welcome-back on New Year's Eve, amid the sound of bursting firecrackers.
相通在除夜夜，中国部分地区的住户还会依照传统，饮用王安石诗中说起的屠苏酒。这种遴荐多种草药经心酿制的酒，自古以来就被以为具有滋补躯壳妥协毒的神奇功效。饮用时，家中的年青一辈往往会率先碰杯，随后才是年长辈。
这一习俗在南北朝时期的梁宗懔所著《荆楚岁时记》中已有记录：“岁饮屠苏，先幼后长，为幼者贺岁，长辈祝嘏。”这一独有的饮用律例，照耀出东谈主们对时候试验的深刻洞悉。每一滴酒液中，都蕴含着成长的应承与岁月荏苒的哀愁，它们交汇在一谈，共同组成了东谈主们对人命无常与时候流转的复杂情愫。
Also on this eve, Tusu Wine, as mentioned in Wang Anshi's poem, is poured in certain parts of China. By custom, this fermented herbal drink, believed to have a nourishing and detoxifying effect, is first sipped by the younger members of the family, marking the addition of another year to their lives. The older members drink next, acknowledging a year slipping quietly away. In this ritual, the wine becomes more than a drink — it is a bittersweet reflection on the cyclical nature of time, where growth and loss intertwine. herbal /ˈɜːrb(ə)l/ 草药的 nourishing /ˈnɜːrɪʃɪŋ/ 有养分的；润泽多的 detoxify / diːˈtɑːksɪfaɪ / 使解毒，给……解毒
发热、寒战、咳嗽、咽痛、头痛、全身肌肉酸痛、乏力……感染了甲流会有什么症状？甲流和普通感冒有什么区别？感染甲流后什么情况要就医？更多↓↓转需！
◇当代中国青年消费文化正呈现出“平替消费”与“精致人设”的交织样态，以服装选择为例，他们开始寻求能够彰显自我风格、不过分消耗财务资源的平替品，因此快时尚品牌在青年群体中快速普及
1978年底，修订洞开的春风悄然吹起，迟缓在20世纪80年代晚期吹散了物资匮乏的晦暗。这场海浪壮阔的修订不仅极地面推动了经济的隆盛发展，还催生出了鸿沟弘大的农民工群体。至1990年代中期，农民工的数目已迅猛增长至过亿。这股从农村涌向工业化城市的劳能源激流，不仅为中国经济的升起注入了强劲能源，更深刻地重塑了农村的生活样貌和社会结构，也对包括春节在内传统节日产生了抓久和深刻的影响。
The material scarcity began to ease in the 1980s, following China's reform and opening-up, initiated at the end of 1978. These sweeping reforms, which significantly boosted economic development, also gave rise to a vast population of migrant workers. By the mid-1990s, their numbers had surged to hundreds of millions. The migration of labor from rural areas to industrial cities not only drove China's economic boom but also profoundly altered rural life and social structures, reshaping traditions such as Spring Festival in lasting ways.
对于农民工及其留守在家乡父母细君而言，春节不再是农忙漏洞的休憩，而是成为了一段无比稀奇的团员时光——一个让因糊口而分隔两地的亲东谈主拉近心与心之间距离的机会。返乡的农民工带着城市的富贵故事归来，为家东谈主描写了一幅幅与乡村宁静生活毫不疏导的图景。而那些无数次期盼着父母的归来的孩子们，此刻尽情沐浴在嫡亲的跟随之中，却又不得不沉默为行将到来的死别作念好方式准备。
For the migrant workers and the families they have left behind — parents, spouses and children — Spring Festival is no longer a pause in agricultural labor but a much-cherished time of reunion, a brief chance to close the distance imposed by economic necessity. Parents return home with stories of the bustling cities, offering glimpses into a world far removed from the tranquil rhythms of village life. The children, who have ached for their parents' presence, savor the moment even as they brace for another farewell. tranquil /ˈtræŋkwɪl/ 坦然的，宁静的
2024年2月7日，广州南站迎来春运出行客流岑岭，候车室挤满乘坐高铁返乡的游客
在高铁尚未擢升的年代，每年春节前夜，大鸿沟的东谈主口流动使得火车走动酿成了一场卓绝艰辛的征途。车厢内东谈主头攒动，短促的过谈上挤满了手抓“站票”的乘客，他们不得不在拥堵不胜举步维艰的空间中矗立数小时乃至十数小时。密集的东谈主群里敷裕着汗水的气味，偶尔会听到一声困顿嗟叹。
Before the advent of high-speed rail, the massive flow of people in the days leading up to Spring Festival turned train rides into a grueling ordeal. The carriages were packed to the brim, with the narrow walkway running through the middle of the train entirely occupied by passengers holding \"standing tickets\", which condemned them to long hours — sometimes 10 or more — on their feet. The crowd was so dense that trying to cut through it felt like a hopeless endeavor. The air was thick with the smell of sweat, and every so often, a weary groan would rise above the murmur of voices, as exhaustion took its toll on the travelers.
即便如斯，东谈主们依然不忘佩戴满载着情谊的礼物，这是送给迢遥亲东谈主的稀奇情意。此外，东谈主群中还搀和着放寒假归家的学生，他们的父母早已在站台上翘首以盼，即等于在东北零下30摄氏度的严寒中也依然遵照着，只为子女一走出车厢就能收货一个拥抱。
And as if the journey itself weren't challenging enough, nearly everyone carried giant packages — gifts for loved ones, in an era when what was available in one part of the country might be impossible to find in another. Among the passengers were students returning home for Spring Festival and winter holiday, their parents waiting on the arrival platform, sometimes in temperatures as low as -30 C.
这些履历正逐步隔离咱们。如今，孩子们不再只是因为能吃糖而对春节满怀憧憬——惟有他们想，糖果随时都不错有。越来越多的东谈主也取舍在春节旅行，赶赴阳光明媚的沙滩感受海风拂面，隔离家乡的喧嚣。然则，跟着城市化的疾速鼓舞和当代生活节律的日益加速，分手似乎变得越来越常常且不可幸免，这也使得每一次春节团员显得愈发弥足稀奇。那些历经东谈主生饱经世故浸礼的东谈主们，更能深刻体会到这少量。
These experiences are gradually fading into memory. Today, children no longer eagerly anticipate the festival for a taste of candy, and Spring Festival itself may even be spent on a sun-kissed beach, far from home. Yet, the relentless tide of urbanization and the fast pace of modern life means that separation has become more frequent and inevitable, making each reunion all the more precious.
一年一度的春节团员，无法抹去一个东谈主过往所承受的艰辛，也无法镌汰他依然要承担的重担，但却如吞并缕讲理的阳光，为困顿的心灵带来慰藉，为人命在穷冬永夜中点亮一盏但愿之灯，增添一抹光明。
Life has not always been kind or easy. Spring Festival can neither erase the struggle nor lift the burden for one, but it offers solace — a gentle balm for the weary soul, a moment of comfort and warmth to brighten life’s winter night.
影相：姜东
说到永夜，除夜晚上，除了年幼的孩子，大巨额东谈主都和会宵达旦地管待新年的到来。这一习俗被称为“守岁”。
对于“守岁”的源起，有东谈主以为是体现了东谈主们对最爱护之物的看护和对一切危境和不祥的戒除。常明的灯光和烛火为亲东谈主们照亮归家的路，也携带着死人的灵魂。
Speaking of night, it has long been tradition for people — except young children — to stay awake throughout the night beginning from the eve of Chinese New Year. This custom, known as shou sui or the new year's vigil, reflects a deep desire to safeguard what's most valued. The glow of lights is also expected to illuminate the path home for loved ones, including those who have passed away.
1062年，与王安石同期代的文化行家，北宋文体家、字画家苏轼（1037-1101），以“守岁”为题创作了一首诗，来源部分写到：“欲知垂尽岁，有似赴壑蛇。修鳞半已没，去意谁能遮。”苏轼惊羡年级荏苒，恍然如蛇入深涧，顷刻之间一半果决隐去，谁又能阻挠使其停下呢？
In 1062, Su Shi (1037-1101), a much-revered polymath of the Northern Song Dynasty and a contemporary of Wang Anshi, composed a poem for the occasion, under the title Shou Sui. \"To sense the year's end approaching; is like seeing a snake slipping into a ravine. Half its scaled body has already vanished away; who can stop its journey, or make it stay?\" prompted Su, whose influence on Chinese culture as a poet, prose writer and painter is hard to overestimate. polymath /ˈpɑːlimæθ/ 博学的
按照中国的十二生肖，2025年农历新年是蛇年。在中国文化中，蛇常被敬称为“小龙”，这一雅号不仅源于蛇与龙在外形上相似，更因为它们都有一些神秘力量。一些文化学者以为，中华英才“龙”图腾的产生和蛇息息筹备。
It's interesting to note that according to the Chinese zodiac, the upcoming new year, beginning on Jan 29, marks the Year of the Snake, often referred to in Chinese culture as the \"dragon minor\". This connection stems from the snake's physical resemblance to the dragon, as well as its revered qualities — grace, mystery and power — which mirror those of the dragon, a symbol of might and virtue in Chinese culture.
1月3日，蔚县剪纸国度级代表性传承东谈主周淑英在河北省石家庄市新华区名家服务室展示生肖蛇作品。春节相近，河北蔚县剪纸国度级代表性传承东谈主周淑英以蛇为主题，创作系列生肖蛇剪纸作品，抒发对新年的道贺，管待蛇年的到来 新华社记者 王晓 摄
在苏轼的《守岁》诗中，他描写了在彻夜守岁时，“坐久灯烬落”后，“起看北斗斜”的景况。
“北斗”是北斗七星——它们是大熊座中最为安宁的七颗恒星，组成的图形宛如一把嵌入在天幕上的勺子。在北半球的夜空中，北斗七星无疑是最引东谈主注方针存在。
自古以来，中国一直借助它们来感知时候的流转。当北斗星逐步歪斜，向地平线缓缓千里去，那便预示着漫漫永夜行将末端，崭新的黎明正悄然来临。
Later in his poem, Su Shi, having sat for the whole night, \"rose to peer at the slanting Northern Spoon\". For those who don't know, the \"Northern Spoon\" here refers to the shape of the Big Dipper — a prominent group of seven stars that form part of the constellation Ursa Major (the Great Bear). As one of the most recognizable star patterns in the night sky, especially in the Northern Hemisphere, the Big Dipper often used to mark the passage of time. Their tilting toward the horizon signifies that the night is drawing to a close and dawn is near.
仰望星空——这是古代中国东谈主在守候新年第一缕晨曦时的共同庆典。在这片稠密的天幕下，他们追寻时候的巧妙，探索天然的次第。在校服“天谈”的古代中国社会，天然的妥协运转被视为最高正当性的体现。而将天文体与数学完好趋承的传统历法，深深植根在中国的文化泥土之中，与农业、政事乃至东谈主们的平常生活紧密相连。
Star-gazing — that's what people in ancient China almost certainly did while waiting for first ray of the new year. In fact, at the core of the tradition Chinese calendar was the persistent advances in the art of astronomy and mathematics, integrated with the cultural, agricultural, and political life of a society that believed the rule of heaven was the rule of law, with ultimate legitimacy resting in the reign of the natural order.
影相：姜东
春节的庆祝举止在农历正月十五日元宵节达到尾声，这一天恰逢农历新年的第一轮朔月。这一天，东谈主们会点亮小巧的手工灯笼，有些灯笼上还附有密语，灯光装点着每一个边缘，将夜晚烘托得如梦如幻。
Spring Festival usually concludes on the 15th day of Chinese New Year, corresponding to Feb 12 in the solar calendar. This final day, marking the first full moon of the new year, is traditionally illuminated by delicately handcrafted lanterns — some bearing riddles — that adorn every corner.
影相：姜东
苏轼，这位长久与月亮保抓诗意共识的大文体各人，曾在月下写出千古吟哦的句子：
“东谈主有世态炎凉，月有阴晴圆缺，此事古难全。”
Su Shi, whose poetic instinct was forever in tune with the moon, once wrote: \"Life brings both joy and sorrow, union and separation. Like the moon's phases, in constant fluctuation. Imperfect it's been since the dawn of creation.\"
已往的一年对很多东谈主来说大约并不完好，新的一年也依然充满未知的挑战。然则，恰是靠近窘境的勇气与坚抓的力量，使那些看似不完好的时刻，最终化作完好的回忆。
2014年2月24日，广东顺德龙江，村民在生菜宴上碰杯庆祝 郑俊彬/China Daily
至于除夜之夜和每一个行将到来的朝朝暮暮，不妨像苏轼在《守岁》诗中所说——“勉力尽今夕”。今夕，就是最好意思的时光。
For many of us, the past year has been far from perfect, and the year ahead may hold its own trials. Yet, it is the courage to face adversity and the strength to carry on with grace that transform all the imperfect moments into perfect memories. As for Chinese New Year's Eve and every night and day to come, do what Su Shi recommended in his Shou Sui poem — \"Make the most of your time.\"
记者：赵旭
