First, she loves her native land. Chi Zijian tirelessly guides readers to linger in the mountains, rivers, plants, flowers, birds, fish and insects in her hometown again and again. Since entering the literary world in the mid-1980s, Chi Zijian has been writing about her hometown scenery persistently. Among them, her early works, such as Fairy Tales in the Arctic Village, Sleeping Infinitely, and later works, are more descriptions of the natural scenery and rural life in the northeastern border by Dll Haiti, and readers will be attracted by the charming natural scenery in her works. In Chi Zijian's eyes, the northern part of his hometown is full of beautiful scenery, from dense forests to white snow, from the northern lights to golden bell-like potato flowers ... Even if there are ubiquitous scenery, the beauty of his hometown is different from other places in Chi Zijian's works. Spring and moonlight are everywhere, but the spring here in my hometown is different from that in the south, and it is more natural and thorough. Moonlight is also different from other places. Very sad, very quiet. They like to choose summer forests or winter waters to show their beauty. Forest and ice, the carrier of this beautiful moonlight, are also the special scenery in Daxinganling area. Similarly, the autumn here is different from the autumn in the south, and the autumn mountain is dyed into Wuhua Mountain by frost. The mountains are colorful, as if all the mountains are blooming, but the golden and crimson colors didn't shine for long, and snowflakes fell from the sky. It seldom rains in the Arctic Village, but it is foggy. Chi Zijian likes the elegant and smart fog in the north very much, and often puts his favorite people and things in this dreamy life scene. In Chi Zijian's novels, the dry and hard border town in the north is shrouded in fog, which has the beauty and moist of Jiangnan water town, but it washes away the humid atmosphere of Jiangnan rainy days. The regional cultural characteristics in literary works are closely related to the writer's own psychological quality of regional culture. And "the writer's own regional cultural psychological quality first comes from the birthplace of childhood and adolescence, from his hometown and hometown." The natural scenery, customs, historical relics and cultural traditions there have infected him since he was able to understand the world, and accumulated over time, forming his initial and most basic regional cultural and psychological quality. This psychological quality is manifested in attachment to the countryside, long-term nostalgia and homesickness, and can even accompany people for life. Chi Zijian was born in Mohe, the northernmost part of China, and spent his childhood in Heilongjiang. The natural environment, folk customs and cultural traditions of her hometown have infected and edified Chi Zijian since childhood, and accumulated over time to form her cultural and psychological quality in a specific region. Throughout her works, the strong local complex makes it difficult for her eyes and pen and ink to leave her hometown from time to time. Her creative career is almost stubborn, and she is eager to stay in her familiar homeland, especially her early works pay more attention to depicting natural scenery. It can be seen that her description of some natural images still carries the shadow of childhood memories. Bright green onions, intoxicating cities, fragrant potato flowers ... Her description of hometown scenery still bears the impression of childhood. The Arctic Village is Chi Zijian's hometown, where she left too many childhood memories, which are always deeply entangled with her: "After I embarked on the road of literature, natural pictures such as mountains, rivers and grass beaches in my childhood hometown often appeared in my mind. It seems that I can still smell the fragrance of flowers and plants and the smell of rivers. I often can't help but think of the life scenes in my childhood hometown, the ways and expressions of the villagers, and the way they look when they are happy and angry. "Chi Zijian's novels are often full of beautiful natural images in the northeast, which makes those northeast customs full of simple texture. Whether it is mountains, trees, animals or people, they all get fantastic artistic conception from the perspective of childhood, which makes people feel Chi Zijian's sacrifice posture as a talented writer in association. I also like the poetic extension of plant species. A's novels let us appreciate the natural beauty of her hometown and feel the unique charm of the culture produced by the black land. The deep natural power of the black land and the life of the characters complement each other, and naturally become a supplement to the spiritual connotation of the characters. In Chi Zijian's literary world, grass can sing, cattle and horses can think, and fish can cry. Everything in nature is not only the tangible content that many people live on, but also a part of their lives. She believes that there is also language communication between animals and plants, but there is a natural barrier between the innate "command" of human beings and this spiritual language. " "In Chi's mind, man and nature are intimate. It is this view of nature that makes Chi Zijian add a heavy sense of life to her description of natural scenery, and also makes her colorful description of her hometown landscape melt into her deep love for her hometown people. In her works, we can not only appreciate the unique natural beauty of the northern border, but also see the unique cultural landscape of the northern country that often appears in Chi Zijian's works, such as sauerkraut jars, salmon, potato flowers, wooden houses, cotton hooves, heated kang, sledge and ice lanterns, and also feel the busy years, lively wedding and funeral ceremonies, yangko dancing, river fishing and other rich regional customs. The author shows peculiar regional customs and folk customs in the form of explicit landscape paintings, but in these pictures, the display of images is not the second presentation of Chinese characters. Secondly, the writer constructs a world with rich real life content and strong regional culture color with the memory sequence infiltrated by heart and affectionate words. The unique natural landscape in Northeast China is perfectly integrated with the humanistic landscape saturated with the author's unique aesthetic tendency. Second, the customs and people's feelings Reading Chi Zijian's works, we can not only appreciate the green mountains, white snow and green water forests along the Heilongjiang River in Daxinganling, but also feel the simple and peculiar folk customs, which embodies the myths and legends of the people's wisdom. " Customs, whether naturally formed or containing some artificial factors, all reflect a nation's love for life and joy in living ... keep a nation's evergreen childlike innocence in customs and sanctify this childlike innocence. Custom keeps a nation from aging. ""1 Chi Zijian and her hometown people are immersed in all kinds of mysterious and moving legends, passing on and listening to strange stories from generation to generation, making all kinds of holiday products with great interest, and solemnly and devoutly worshiping heaven and earth and ancestors. In Chi Zijian's literary world, she shows her fascination with all kinds of myths and legends and folk customs. Legends such as wandering souls and fox spirits, as well as folk customs such as watching lanterns, yangko, temple fairs and river lanterns, appear frequently in her novels. Chi Zijian's later works strengthened the description of customs and the meaning of myths and legends, so that novellas such as Yangge, Xiangfang, The Mill in the Old Times, What Happened When Coming to My Window, and short stories such as Far Away Sichuan, Fishbone and Killing Pigs in the Twelfth Moon all took customs or myths and legends as the narrative framework and focus, and the stories developed in conflict. On the other hand, it also shows the life world, the true nature of human nature and the life consciousness of characters. As the saying goes, a thousand miles is different from the wind, and a hundred miles is different from the customs. Heilongjiang has a vast territory, a long history and complex folk customs. This chapter combs the northland folk customs in Chi Zijian's works from four aspects. (1) Folk customs of material life. Through Chi Zijian's Shadow, we can see many descriptions of folk customs of material life. Material life confuses folk customs, including eating, wearing, living, building and other folk customs. There are many descriptions of northern costumes. The special geographical environment in the north makes northerners wear heavy clothes, while the earlier nomadic people basically use local materials to dress. For example, in the fairy tales of the Arctic Village, I wore cotton hooves on my feet and slapped my hands, the tiger-headed shoes worn by the girl Luo when she was a child in Yangko, the new felt hat worn by Wang Er, and the blue cotton-padded jacket and black cotton trousers for dressing. In "The Mill of the Old Times", the third wife is surrounded by a long fluffy scarf, and the fourth wife pawns the leather coat; The purple satin coat on the old lady Luan Shuiyu and the thick and warm leather coat worn by Zhang Huai in Under the Tree; In Far Away Sichuan, fishermen like navy or silver-gray headscarves wrapped in their heads and combed in a bun. In Manchukuo, there were purple leather boots and velvet (cotton robe) sewn with leather. As the saying goes, "food is the most important thing for people", food is the most important thing for human survival, but what to eat and how to eat it depend largely on the natural geographical environment of human habitat.