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Temple Fairs: A Treasure of Traditional Chinese Folk Culture

Contents

1.Temple Fairs
1.1 General Introduction
1.2 Historical Origin and Development Context
1.3 Core Activities
1.4 Regional Characteristics and Urban-Rural Differences
1.5 Social Functions
1.6 Cultural Vigilance
1.7 Conclusion
2. References
3. Terms and Expressions
4. Questions
5. Answers
==期末论文==
===Temple Fairs===

====General Introduction====

Temple fairs, also known as "temple markets" or "festival fairs", are a traditional folk activity widely popular among the Chinese people. As a national-level intangible cultural heritage (ICH), their emergence can be traced back to the religious activities of local temples, and they are typically held on traditional festivals such as the Lunar New Year, the Lantern Festival, and Dragon Head-Raising Day (the second day of the second lunar month). As an important component of Chinese folk culture, temple fairs serve multiple functions, including religious sacrifice, commodity trade, folk performance, and social interaction. They embody the collective memory and life wisdom of the Chinese nation’s thousands of years of civilization, and their emergence and evolution have always been closely intertwined with the daily lives of the general public.

====Historical Origin and Development Context====

The history of Chinese temple fairs can be traced back to the sacrificial activities of remote antiquity, and their development process can be roughly divided into four stages.

1.Remote Antiquity

The earliest temple fairs originated from the ancient system of ancestral temple and state altar rituals. To seek the blessing of ancestors and deities, the early inhabitants communicated with them through offerings and sacrifices held in palaces or dwellings. On each sacrificial day, to enhance the atmosphere, people would perform splendid singing and dancing shows, known as shexi (village ritual operas) or temple fair operas. It was from these practices that temple fairs took shape.

2.Pre-Qin Period to the Han Dynasties

During the Qin Dynasty, the content of temple fairs remained singular and stable, centered solely on the worship of ancestors and deities. In the Western Han Dynasty, Taoism initially took form. Under the influence of religious beliefs, temple fairs began to exhibit diverse characteristics, and various associated customs started to take preliminary shape. Buddhism was introduced to China during the Eastern Han Dynasty, sparking fierce survival competition with Taoism. Consequently, on the basis of their religious rituals, both Taoist and Buddhist temple fairs added popular entertainment elements such as dances, dramas, and processions to attract followers.

3.Wei, Jin, Southern and Northern Dynasties to the Tang and Song Dynasties

In the Wei, Jin, Southern and Northern Dynasties, temples were no longer exclusive to monks; their public role became increasingly prominent. While gathering for sacrifices, believers gradually began to engage in simple commodity trading. The Tang and Song Dynasties were a critical period for the maturation of temple fairs: the prosperity of the commodity economy led to the formation of fixed markets around temples. During this era, temple fairs transcended their purely religious nature and evolved into integrated events that combined three core functions: worshipping deities, entertaining people, and promoting trade. Folk elements like dragon and lion dances and opera performances were incorporated into temple fairs, whose participants expanded from religious believers to the general public, and whose reach extended from rural areas to cities.

4.Ming and Qing Dynasties

In the Ming Dynasty, many temple fairs began to shift toward a market-oriented focus. Most attendees came for sightseeing or shopping, while relatively few participated in actual sacrifices or pilgrimages. A large number of "Shanxi-Shaanxi Guild Halls" emerged in the Central Plains during this period. Dedicated to worshipping Guan Yu, these guilds built temples, shrines, and especially opera towers and other ritual venues—further expanding the influence and role of temple fairs. By the Qing Dynasty, temple fairs had developed into two distinct types: the so-called "multi-functional temple fairs" and "procession fairs". The former included recreational activities alongside religious rituals and deity worship, while the latter involved parading deities’ statues outside the temple grounds—these events featured performances but no market trading.

====Core Activities====

The core appeal of temple fairs stems from the integration and interaction of diverse activities. The solemnity and sacredness of religious sacrifices interweave with the vibrancy of trade and entertainment, forging a unique cultural landscape.

1.Sacrifices and Blessing-Seeking

Sacrifices and blessing-seeking are the original and spiritual core of temple fairs. While the objects of worship vary across different regions, the ritual procedures are largely similar, mainly consisting of incense offering and worship, wish-making and fulfillment, and collective sacrifices. During these rituals, incense, fire, and offerings serve as bridges between humans and deities. With the mediation of mediums or clergy, a complete sacrificial process takes shape. Such rituals provide a channel for people to express their spiritual aspirations.

2.Folk Performances

Folk performances are the most visually engaging part of temple fairs and also an important carrier for inheriting intangible cultural heritage (ICH) skills. They encompass a variety of art forms, including dance, opera, and folk music. Specific events include lion dances, traditional folk flower fairs, modern dance, Beijing folk character cosplay, exhibitions of old Beijing photos, displays of traditional handicrafts, discount book fairs, and special performances of Peking Opera, martial arts, and acrobatics—all bearing distinct traditional ethnic characteristics.

3.Trade Markets

Trade markets are a key component of temple fairs. Traditional temple fair markets primarily featured agricultural products, handicrafts, and local snacks, serving as vital channels for commodity circulation in rural areas. Modern temple fairs, by contrast, have evolved into a combination of culture and consumption, offering a wide range of goods such as ICH-inspired cultural and creative products, internet-famous snacks, and daily groceries. More than just venues for commodity exchange, these markets embody regional food culture and the inheritance of handicraft skills. Iconic temple fair treats and crafts—such as candied hawthorns, glutinous rice rolls with sweet bean paste, sugar paintings, and clay figurines—have become the distinctive taste and visual symbols of temple fair culture.

====Regional Characteristics and Urban-Rural Differences====

In modern society, temple fairs across different regions exhibit remarkable differences in their objects of worship, activity forms, and cultural connotations, forming a cultural landscape.

1.Northern Temple Fairs

Northern temple fairs integrate the dual characteristics of imperial culture and rural local culture. Take Beijing and rural areas in North China as examples: Beijing’s Ditan Temple Fair originated from imperial sacrificial rituals and still retains elements of court etiquette to this day, having evolved into an integrated event combining culture, tourism, and consumption. Rural temple fairs in North China, by contrast, have preserved traditional beliefs. A case in point is the Fanzhuang Dragon Tablet Festival, where the dragon tablet is the object of worship, and interactions unfold among humans, ritual objects, and deities. Northern temple fairs generally attach great importance to the completeness of sacrificial rituals. Their folk performances are dominated by yangko dances, stilt-walking, and traditional opera, while their trade activities feature local agricultural products and traditional handicrafts.

2.Southern Temple Fairs

Southern temple fairs incorporate elements of overseas Chinese culture and marine culture, reflecting an open and inclusive spirit. Consider the examples of Guangdong and Fujian provinces: the March Third Festival of the Northern Emperor in Xixiang, Shenzhen, engages overseas Chinese and the She ethnic group from Jiangxi Province, building a cross-regional and cross-ethnic platform for cultural exchange. Chaoshan temple fairs, meanwhile, draw on the local characteristic of marine fishery, developing grand procession rituals and a distinctive food culture. Compared with their northern counterparts, southern temple fairs place greater emphasis on commodity trade and the strengthening of clan ties.

3.Urban-Rural Differences

Differences in temple fairs are not limited to the north-south divide; urban and rural temple fairs also vary significantly. Rural temple fairs still center on religious sacrifices and beliefs, whereas urban temple fairs prioritize the functions of cultural tourism, consumption, and cultural display. Such differences reflect the functional adaptation of temple fairs to different social environments. Rural temple fairs preserve cultural authenticity, while urban temple fairs achieve the dual benefits of cultural dissemination and economic value through innovation.

====Social Functions====

1.Function of Social Integration and Order Regulation

As periodic collective events, temple fairs serve as an important carrier for promoting social integration among diverse groups and regulating local social order. This integration not only strengthens the bonds within blood and geographical communities but also fosters cross-regional and cross-ethnic cultural identity, which profoundly reflects the existential value of temple fairs.

2.Function of Cultural Inheritance and Gene Continuity

Temple fairs act as a vital medium for the inheritance of intangible cultural heritage (ICH) skills and traditional culture. At these events, cultural exchange takes place through oral instruction, hands-on practice, and personal participation. Folk performances, handicraft demonstrations, and other activities at temple fairs build a bridge for ICH inheritors to showcase and pass on their skills—an avenue through which ancient crafts such as paper cutting, sugar painting, and shadow puppetry are transmitted from generation to generation. Meanwhile, concepts embedded in temple fairs, such as “praying for blessings and good fortune” and “harmony between humans and nature”, shape people’s daily lives and emerge as a key driving force behind the development of Chinese culture.

3.Function of Spiritual Comfort and Emotional Expression

Temple fairs provide people with a channel to seek spiritual comfort and express their emotions, alleviating the psychological stress of daily life. This spiritual support is rooted in the core religious beliefs of temple fairs. In this unique space, people place their spiritual hopes and gain the strength to cope with life’s difficulties. Additionally, temple fairs offer a rare opportunity for individuals, who are usually preoccupied with their own affairs, to gather and interact. Scenes of family reunions, neighborhood meetings, and the reunion of relatives and friends not only fill emotional voids but also strengthen the emotional bonds between people.

====Cultural Vigilance====

Temple fair culture is a composite form with distinct duality: it often combines the essence of folk art with the dross of feudal superstition, and this heterogeneous mixture exerts a complex influence on its participants. Despite the fact that relevant authorities at all levels have consistently conducted targeted guidance and management of temple fairs, the negative impacts of temple fair culture still hold considerable sway. This is largely because over 200 million farmers in China remain illiterate or semi-literate, and their limited cultural literacy, spiritual attainments, and outlook on life leave them vulnerable to such influences.

1.Temple fairs provide a public venue for feudal superstitious activities. Although the motivations behind burning incense, making offerings to Buddhas, and paying homage vary widely, these practices undeniably foster an atmosphere of pious devotion to superstition. This atmosphere in turn shapes the psychology and behavior of participants, and further exerts influence on a broader population.

2.A vicious cycle has formed between the distorted production and consumption of superstitious items. The large-scale use of superstitious artifacts and funeral offerings at temple fairs has created an abnormal demand. This form of cultural consumption directly misleads the production and circulation sectors; the subsequent surge in production, in turn, fuels the growth of such spiritual consumption. Ultimately, this places an additional economic burden on farmers in underdeveloped regions, including mountainous, remote, border, poor, and ethnic minority areas.

====Conclusion====

As a carrier of traditional Chinese culture, temple fairs have undergone thousands of years of evolution and developed a unique form characterized by the coexistence of the sacred and the secular, and the integration of tradition and modernity. The cultural space they create plays a vital role in promoting social integration, inheriting cultural roots, and comforting people’s souls. In the contemporary era, the innovation of temple fairs has ensured the continuity of their cultural vitality, yet they also face numerous challenges. Looking ahead, to achieve the inheritance and development of temple fair culture, it is essential to strike a balance between upholding its cultural heritage and innovating its presentation forms—allowing this ancient folk custom to radiate new vitality in modern society.

===References===

Liang, Y. Z. (2019). Research on the influencing factors of folk festivals on the construction of local identity: A case study of Chengdu Grand Temple Fair[J]. West Leather, (07): 103-104.
Pan, T. W., Zhu, Q., & Xu, Y. M. (2024). Exploration on the inheritance and development of temple fair culture in the digital context[J]. Overseas Digest·Art, (15): 78-85.
Qin, Y., & Liu, H. (2006). Temple fair culture in rural areas of western China in the 1980s and 1990s: A case study of northern Shaanxi[J]. Contemporary China History Studies, 104-110.
Wang, H. (2025). The cultural transformation and capital value of temple fairs from the perspective of rural revitalization[J]. Issues in Agricultural Economy, 112-120.
Zhao, X. D. (2025). A study on the cognitive paradigm of temple fair folk customs[J]. Folklore Studies, (4): 32-41.
Zhao, X. F., & Zhang, H. (2012). Temples and temple fairs: The center for integrating regional social order in rural Guanzhong[J]. Folklore Studies, (6): 131-139.

===Terms and Expressions ===

1.Temple Fair 庙会
2.Intangible Cultural Heritage (ICH) 非物质文化遗产
3.Rituals and Blessings 祭祀祈福
4.Harmony between Humans and Nature天人合一
5.Shadow Puppetry 皮影戏
6.Dragon Tablet Festival 龙牌会
7.Sugar Painting 糖画
8.Yangko Dance 秧歌
9.Paper Cutting 剪纸

===Questions===

1.What is the core definition of Chinese temple fairs?
2.Into which four key stages can the historical development of Chinese temple fairs be divided?
3.What are the three main categories of core activities at temple fairs, and what are the representative forms of each category?
4.What are the differences in regional characteristics between northern and southern Chinese temple fairs?
5.What social functions do temple fairs carry?
6.How should we promote the inheritance and development of contemporary temple fairs?

===Answers===

1.Known also as "temple markets" or "festival fairs", temple fairs are a traditional folk activity widely popular among the Chinese people.
2.The historical development of temple fairs is divided into four stages: ①Remote Antiquity; ②Pre-Qin Period to the Han Dynasties; ③Wei, Jin, Southern and Northern Dynasties to the Tang and Song Dynasties; ④Ming and Qing Dynasties.
3.The core activities of temple fairs fall into three categories: ①Sacrifices and Blessing-Seeking: Main forms include incense offering and worship, wish-making and fulfillment, and collective sacrifices; ②Folk Performances: Covering various art forms such as dance, opera, and folk music, they serve as an important carrier for the inheritance of intangible cultural heritage (ICH); ③Trade Markets: Traditional markets mainly feature agricultural products, handicrafts, and local snacks, while modern ones include ICH-inspired cultural and creative products, internet-famous goods, and more.
4.Represented by temple fairs in Beijing and rural North China, northern temple fairs combine imperial grandeur with a commitment to rural traditions. Represented by those in Guangdong, Fujian, and other regions, southern temple fairs incorporate elements of overseas Chinese culture and marine culture, exhibiting an open and inclusive character.
5.Temple fairs perform three key social functions: ①Social integration and order regulation; ②Cultural inheritance and cultural gene continuity; ③Spiritual comfort and emotional expression.
6.To achieve the inheritance and development of temple fair culture, it is essential to strike a balance between upholding its cultural heritage and innovating its presentation forms, allowing this ancient folk custom to radiate new vitality in modern society.

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庙会：中华民俗文化瑰宝

目录

1. 庙会
1.1 总体介绍
1.2 历史起源与发展脉络
1.3 核心活动
1.4 地域特色与城乡差异
1.5 社会功能
1.6 文化警惕
1.7 结语
2. 参考文献
3. 术语和表达
4. 问题
5. 答案
==期末论文==
===庙会===

====总体介绍====

庙会，又称“庙市”或“节场”，是中国民间广泛流传的一种传统民俗活动。作为国家级非物质文化遗产，庙会的形成源于各地寺庙的宗教活动，通常在农历新年、元宵节、二月二龙抬头等传统节日举办。作为中国民俗文化的重要组成部分，庙会具有宗教祭祀、商品贸易、民俗表演与社会交往等众多功能。庙会承载着中华民族千年文明的集体记忆与生活智慧，其产生与演变始终与民众的日常生活紧密相关。

====历史起源与发展脉络====

中国庙会的历史可追溯至上古时期的祭祀活动，其发展历程大致可分为四个阶段。

1.远古时期

最初的庙会起源于远古时代的宗庙社郊制度。为了求得祖先及神灵的保佑，先民们选择了在宫殿或房舍里通过供奉与祭祀的方式，与之进行对话。每逢祭祀之日，为渲染气氛，人们还会演出一些精彩的歌舞，即社戏，也称庙会戏，庙会便由此形成。

2.先秦至两汉

在秦代时期，庙会的内容仍然单一而稳定，即祭祀祖先与神灵。在西汉时期，道教开始初步形成。庙会受到了宗教信仰的影响，内容开始出现了多元化的色彩，各种习俗也开始初步形成。东汉时期佛教开始传入中国，与道教之间展开了激烈的生存竞争。因此，两教庙会在宗教仪式的基础上增加了媚众的娱乐内容，如舞蹈、戏剧、出巡等，以此来吸引群众。

3.魏晋至唐宋

魏晋南北朝时期，寺庙不再只属于僧人，它的公共属性日益凸显。信徒们聚集在一起祭祀的同时，渐渐有了简单的商品交易活动。唐宋时期是庙会成型的关键期，商品经济的繁荣推动寺庙周边形成固定的集市。这一时期，庙会突破了单纯的宗教属性，成为“祭神、娱人、通商”三位一体的综合性活动。舞龙舞狮、戏曲表演等民俗元素开始融入庙会，参与庙会的群体也从信徒扩展至普通民众，地域覆盖从乡村延伸至城市。

4.明清时期

明朝时期，许多庙会已经开始向市集的性质上转变。大多数是游玩观光或购买商品，真正进行祭祀或拜谒的人并不多。明代中原地区出现许多“山陕会馆”，他们敬祀关羽，立祠建庙，特别是建造戏楼等祭祀场所，使庙会的影响和作用进一步扩大化。到了清代，庙会已经分为所谓的“多内涵型庙会”与“迎神赛会”。前者在宗教、娱神的同时有游乐等活动，而后者则是把神像抬出庙外巡行，是没有集市但有表演的庙会。

====核心活动====

庙会的核心吸引力，源于不同活动的交融碰撞。宗教祭祀的庄严神圣与商贸娱乐的热闹鲜活交织在一起，形成了独一无二的文化风貌。

1、祭祀祈福

祭祀祈福是庙会的本源活动，也是它的的精神内核。各地庙会祭祀对象虽然不同，但仪式流程大体相似，主要包括上香祭拜、许愿还愿和集体祭祀。在祭祀过程中，香、火、供品等成为人与神的沟通纽带，并通过灵媒或神职人员的中介作用，形成完整的供奉流程。这种仪式使民众的心灵诉求得到了表达。

2、民俗表演

民俗表演是庙会中最具观赏性的活动，同时也是非遗技艺传承的重要载体。民俗表演包含了舞蹈、戏曲、曲艺等多种艺术形式。内容有舞狮、传统民族花会、现代舞、北京民俗人物造型、老北京老照片展、民间手工艺展、特价书市和京剧、武术、杂技专场等，都具有鲜明的传统民族特色。

3、商贸集市

商贸集市是庙会的重要组成部分。传统庙会的集市以农副产品、手工艺品、特色小吃为主，是乡村商品流通的重要渠道。现代庙会则升级为文化与消费的结合，涵盖非遗文创、网红小吃、日常杂货等丰富品类。集市不仅是商品交易的场所，更体现着地域饮食文化与手工艺传承。糖葫芦、驴打滚、糖画、泥人等庙会中的特色产品，成为了庙会文化的味觉与视觉特色。

====地域特色与城乡差异====

现代社会，不同地区的庙会在祭祀对象、活动形式、文化内涵上呈现出显著差异。

1、北方庙会

北方庙会兼具皇家文化与乡土文化的双重特质。以北京和华北乡村为例，北京地坛庙会源于皇家祭祀，至今仍保留部分宫廷礼仪元素，已经发展成为文化、旅游、消费三合一的盛会。华北乡村庙会则延续了传统的信仰，如范庄龙牌会以龙牌为祭祀对象，通过人、物、神进行互动。北方庙会普遍注重祭祀仪式的完整性，民俗表演以秧歌、高跷、戏曲为主，商贸活动也以当地农副产品和传统手工艺品为特色。

2、南方庙会

南方庙会融入了侨乡文化与海洋文化元素，透露着开放包容的特质。以广东、福建为例，深圳西乡北帝三月三庙会，联动海内外侨胞与江西畲族，搭建起跨地域、跨民族的文化交流平台。潮汕庙会则结合海洋渔业的本土特色，形成了场面盛大的巡游仪式与特色饮食文化。与北方庙会相比，南方庙会更注重商品贸易的往来与宗族关系的联结。

3、城乡差异

庙会的区别并非只存在于南北之间，城市与乡村的庙会同样有所不同。乡村庙会仍以信仰祭祀为核心内容，城市庙会则更突出文旅消费与文化展示的功能。这样的差异，是庙会在不同社会环境下功能适配的体现。乡村庙会守住文化原真性，城市庙会则靠创新达成文化传播与经济价值的双重效益。

====社会功能====

1、社会融合与秩序调节功能

周期性的集体活动，让庙会成为促进不同群体社会融合、调节地方秩序的重要载体。这种融合既包含血缘、地缘群体的紧密联结，也包括跨地域、跨民族的文化认同，深刻体现出庙会的存在价值。

2、文化传承与基因延续功能

庙会是非遗技艺和传统文化传承的重要媒介。在庙会上，人们可以通过口传心授、亲身参与的方式进行文化交流。庙会上的民俗表演、手工技艺展示等活动，为非遗传承人搭建起展示与传承的桥梁，剪纸、糖画、皮影戏等古老技艺也借此代代相传。同时，庙会中的“祈福纳祥”“天人合一”等思想，影响着民众的日常生活，成为促进中华文化发展的关键力量。

3、心灵慰藉与情感表达功能

庙会给民众提供了慰藉心灵、表达情感的途径，舒缓了人们日常的心理压力。这种心灵层面的支撑，根源于庙会的信仰核心。人们在这个特殊空间里寄托精神，获得应对生活困境的力量。同时，庙会让原本各忙各的人有了相聚交流的机会。家人团圆、邻里相会、亲友重逢的画面，既填补了情感空缺，也加固了人与人之间的情感纽带。

====文化警惕====

庙会文化是一种复合形态，具有明显的两重性，常常是民间艺术精萃与封建迷信糟粕交织在一起，鱼龙混杂影响着受众。虽然各级有关部门始终对庙会进行着有针对性地疏导和管理，但是由于我国农民尚有2亿多文盲半文盲，受到文化修养、精神素质和人生观的局限，庙会文化的负面影响仍具有相当大的市场。

1.庙会为封建迷信活动提供了公开的场所。焚香供佛、顶礼膜拜的心态尽管多种多样，但确确实实创造了一种对迷信虔诚、笃信的氛围，从而左右着受众的心理和行为，进而对更多的人施加影响。

2.迷信品畸形生产与消费形成互动。庙会上迷信品和冥品的消耗，产生了一种畸形的需求。这种文化消费直接误导了生产和流通领域，生产的激增反过来又刺激了这种精神消费的攀升。使本来并不富裕的山老边穷少地区的农民增加了经济负担。

====结语====

庙会作为中国传统文化的载体，历经千年演变，形成了神圣与世俗共生、传统与现代交融的独特形态。它构建的文化空间，在促进社会融合、传承文化根脉、慰藉民众心灵等方面发挥着重要作用。在当代，庙会的革新实现了文化生命力的延续，但同时也面临着许多挑战。未来，要实现庙会文化的传承与发展，就需在坚守文化底蕴与创新呈现形式之间把握好平衡，让这一古老民俗在现代社会重焕光彩。

===参考文献===

梁与舟.(2019).民俗节庆对地方认同构建的影响因素研究——以成都大庙会为例[J].西部皮革(07):103-104.
潘亭婉，朱倩，徐一鸣.(2024).数字化背景下庙会文化的传承与发展探索[J].海外文摘・艺术,(15): 78-85.
秦燕，刘慧.(2006).20世纪八九十年代西部农村的庙会文化——以陕北地区为个案[J].当代中国史研究,104-110.
王浩.(2025).乡村振兴视角下庙会的文化转型及其资本价值[J].农业经济问题,112-120.
赵旭东.(2025).庙会民俗的认知范式研究[J].民俗研究,(4): 32-41.
赵晓峰，张红.(2012).庙与庙会：作为关中农村区域社会秩序整合的中心[J].民俗研究,(6): 131-139.

===术语===

1.Temple Fair 庙会
2.Intangible Cultural Heritage (ICH) 非物质文化遗产
3.Rituals and Blessings 祭祀祈福
4.Harmony between Humans and Nature天人合一
5.Shadow Puppetry 皮影戏
6.Dragon Tablet Festival 龙牌会
7.Sugar Painting 糖画
8.Yangko Dance 秧歌
9.Paper Cutting 剪纸

===问题===

1.中国庙会的核心定义是什么？
2.中国庙会的历史发展可分为哪四个关键阶段？
3.庙会的核心活动包含哪三大类？各类别有哪些代表性形式？
4.中国南北方庙会的地域特色有何差异？
5.庙会承载的社会功能包括哪些？
6.应当怎么样促进当代庙会传承发展？

===答案===

1.庙会，又称“庙市”或“节场”，是中国民间广泛流传的一种传统民俗活动。
2.庙会历史发展分为四个阶段：①远古时期；②先秦至两汉；③魏晋至唐宋；④明清时期
3.庙会核心活动分为三类：①祭祀祈福：以上香祭拜、许愿还愿、集体祭祀为主要形式；②民俗表演：涵盖舞蹈、戏曲、曲艺等多种艺术形式，是非遗传承的重要载体；③商贸集市：传统以农副产品、手工艺品、特色小吃为主，现代包含非遗文创、网红产品等。
4.北方庙会以北京、华北乡村为代表，兼具皇家气派与乡土坚守；南方庙会以广东、福建等地为代表，融入了侨乡文化与海洋文化元素，呈现出开放包容的特质。
5.庙会的社会功能有三点：①社会融合与秩序调节；②文化传承与基因延续；③心灵慰藉与情感表达。
6.要实现庙会文化的传承与发展，就需在坚守文化底蕴与创新呈现形式之间把握好平衡，让这一古老民俗在现代社会重焕光彩。