https://bou.de/u/api.php?action=feedcontributions&feedformat=atom&user=Chen+Sisi2 2026-04-04T05:27:58Z User contributions MediaWiki 1.35.14 https://bou.de/u/index.php?title=File:Luosifen-2025.pptx&diff=170217 2025-07-07T18:13:41Z

<p>Chen Sisi2: Chen Sisi2 uploaded a new version of &amp;quot;File:Luosifen-2025.pptx&amp;quot;</p> <hr /> <div></div>

Chen Sisi2 https://bou.de/u/index.php?title=File:Luosifen.pptx&diff=170215 2025-07-07T18:11:48Z

<p>Chen Sisi2: Chen Sisi2 uploaded a new version of &amp;quot;File:Luosifen.pptx&amp;quot;</p> <hr /> <div></div>

Chen Sisi2 https://bou.de/u/index.php?title=File:Media-Luosifen_Spring_2025.pptx&diff=170213 2025-07-07T18:08:54Z

<p>Chen Sisi2: </p> <hr /> <div></div>

Chen Sisi2 https://bou.de/u/index.php?title=File:Luosifen-2025.pptx&diff=170210 2025-07-07T18:01:39Z

<p>Chen Sisi2: Chen Sisi2 uploaded a new version of &amp;quot;File:Luosifen-2025.pptx&amp;quot;</p> <hr /> <div></div>

Chen Sisi2 https://bou.de/u/index.php?title=File:Luosifen-2025.pptx&diff=170209 2025-07-07T17:57:59Z

<p>Chen Sisi2: </p> <hr /> <div></div>

Chen Sisi2 https://bou.de/u/index.php?title=File:Luosifen_Spring_2025.pptx&diff=170208 2025-07-07T17:52:14Z

<p>Chen Sisi2: Chen Sisi2 uploaded a new version of &amp;quot;File:Luosifen Spring 2025.pptx&amp;quot;</p> <hr /> <div></div>

Chen Sisi2 https://bou.de/u/index.php?title=File:Luosifen_Spring_2025.pptx&diff=170207 2025-07-07T17:49:50Z

<p>Chen Sisi2: Chen Sisi2 uploaded a new version of &amp;quot;File:Luosifen Spring 2025.pptx&amp;quot;</p> <hr /> <div></div>

Chen Sisi2 https://bou.de/u/index.php?title=File:Luosifen_Spring_2025.pptx&diff=170206 2025-07-07T17:46:52Z

<p>Chen Sisi2: </p> <hr /> <div></div>

Chen Sisi2 https://bou.de/u/index.php?title=User:Chen_Sisi&diff=168188 2025-06-06T05:37:52Z

<p>Chen Sisi2: </p> <hr /> <div>'''Yongzhou Stone Carving'''<br /> <br /> '''1.Development Process'''<br /> <br /> Yongzhou is located in the southern part of Hunan Province. As a city with a long history and rich cultural heritage, it has given birth to a variety of traditional crafts with distinctive local characteristics. Among them, Yongzhou stone carving stands out as an especially brilliant gem. As an important representative of stone carving art in southern China, Yongzhou stone carving not only carries the memory of local culture, but also reflects the Chinese philosophical idea of “conveying meaning through objects.” (Li Ming 2023,45-46) This paper explores the historical origins, artistic style, production process, aesthetic value, and modern inheritance of Yongzhou stone carving, aiming to provide a deeper understanding of the cultural significance embedded in this traditional craft.<br /> <br /> The origins of Yongzhou stone carving can be traced back to the Tang Dynasty, with its development continuing through the Song and Yuan dynasties, and flourishing during the Ming and Qing periods. According to the Yongzhou Gazetteer, as early as the Tang period, local craftsmen were already carving Buddhist statues, steles, and architectural decorations from locally quarried bluestone. In the Song Dynasty, the growing influence of religion and the region’s economic prosperity allowed stone carving to be widely applied to temples, tombs, and residential architecture. By the Ming and Qing periods, Yongzhou’s stone carving techniques had become increasingly sophisticated, producing works that were both technically refined and rich in cultural meaning, eventually forming a unique regional style.<br /> <br /> The development of Yongzhou stone carving is closely tied to its abundant natural resources. Situated between the Nanling Mountains and the Xiang River basin, Yongzhou is rich in fine-grained, durable bluestone and granite, providing ideal raw materials for stone carving. Furthermore, the city has long enjoyed a strong literary tradition. The famous Tang Dynasty writer Liu Zongyuan was exiled to Yongzhou and composed his well-known Eight Records of Excursions in Yongzhou, which vividly described the local scenery and cultural atmosphere. These works contributed, directly or indirectly, to the flourishing of artistic expressions such as stone carving.<br /> <br /> '''2. A Diverse and Integrated Artistic Style'''<br /> <br /> The artistic style of Yongzhou stone carving is a harmonious blend of Central Plains culture and southern folk aesthetics. It employs both realistic and expressive techniques. (Wang Li 2022, 68-69) The subject matter is diverse, ranging from religious motifs and historical figures to auspicious symbols, flora and fauna, and folk tales. For example, Buddhist statues, dragon columns, and lotus bases are common in temples, while images of filial piety and ascension to immortality are often seen on tombs, combining artistic craftsmanship with moral instruction. Facial expressions are carved with fine detail, while animal movements are rendered with vivid dynamism, demonstrating the artisans’ keen observation and skillful execution.<br /> <br /> In terms of composition, Yongzhou stone carving emphasizes a balance between fullness and emptiness, density and sparsity. Through detailed carving and thoughtful spatial arrangement, it creates layered, immersive visual effects. Various techniques such as relief carving, openwork carving, and three-dimensional carving are employed to enhance depth and texture. Craftsmen use chisels as brushes, carving vivid scenes from solid stone with exceptional control and creativity. These works are not only artistic creations, but also visual narratives that reflect cultural stories and ethical values.<br /> <br /> '''3. Meticulous and Rigorous Craftsmanship'''<br /> <br /> The production of Yongzhou stone carving follows a rigorous process, typically including stone selection, design, carving, polishing, and installation. (Song Zhijiang 2022, 45) Material selection is fundamental. Artisans adhere to the principle of “adapting to the material,” choosing stone that is free of cracks, fine in texture, and appropriate in hardness. Commonly used stones include local bluestone and granite, each suited to different styles and functions. The design phase focuses on structure, composition, and symbolic meaning. Traditional motifs often carry auspicious connotations, such as cranes and pines symbolizing longevity, or lotus flowers representing purity and integrity. Designs are usually hand-drawn by experienced artisans and carefully refined before carving begins.<br /> <br /> Carving involves rough shaping, detailed carving, and final adjustments. Traditional tools such as chisels and mallets are still widely used, though modern electric tools have also been adopted to improve efficiency without compromising artistry. Once the carving is complete, the surface is polished to enhance visual appeal and texture. Large-scale works require on-site assembly and installation to ensure structural integrity and artistic coherence.<br /> <br /> '''4. Profound and Rich Cultural Connotations'''<br /> <br /> Yongzhou stone carving is not merely a form of decorative art; it is also a vehicle for cultural expression. The visual language of its motifs conveys symbolic meanings and constitutes an important part of China’s traditional semiotic system. (Zhang Jinghua, Li Hualei 2020,35-36) Many of these symbols can only be fully understood within their specific cultural contexts, reflecting the Chinese tradition of metaphorical and multi-layered communication. In temples, ancestral halls, or tombs, stone carvings often appear alongside inscribed texts, forming integrated visual-linguistic narratives that convey complex cultural messages.<br /> <br /> Folk stories and legendary figures are frequently depicted in Yongzhou stone carvings, offering insights into local dialects, customs, and moral values. For instance, depictions of the “Twenty-Four Filial Exemplars” serve both aesthetic and educational purposes. These elements not only reflect the aesthetic values of the region, but also provide material for linguistic and sociocultural research.<br /> <br /> '''5. Contemporary Inheritance and Innovative Development'''<br /> <br /> As time progresses, traditional handicrafts like Yongzhou stone carving face the challenge of survival in a rapidly modernizing society. On the one hand, the learning curve for traditional techniques is steep, and fewer young people are willing to commit to such demanding apprenticeships. On the other hand, industrialization and changing consumer preferences have reduced the market demand for traditional stone carvings.(Zhou Xin 2021, 56) Nevertheless, efforts have been made by local governments and cultural institutions to protect and revitalize this art form. Yongzhou stone carving has been designated as a provincial intangible cultural heritage, and efforts are underway to integrate the craft into vocational training and school curricula. Public exhibitions, competitions, and media exposure have also helped raise awareness.<br /> <br /> At the same time, the integration of modern technology has opened up new possibilities for the development of Yongzhou stone carving. Digital modeling, laser engraving, and 3D printing have improved production efficiency and enabled more innovative designs. Some young designers are incorporating traditional Yongzhou motifs into modern furniture, jewelry, and cultural products, thereby making the ancient craft relevant in contemporary life. New models of “stone carving + tourism” and “stone carving + landscape architecture” have also emerged, bringing the craft into dynamic interaction with public spaces and modern culture.<br /> <br /> Yongzhou stone carving, as a cultural form that preserves historical memory and conveys ethical and aesthetic values, is not only a regional artistic tradition but also an embodiment of China’s cultural diversity. Through the combination of visual imagery and symbolic language, it expresses deep-rooted ideas about life, morality, nature, and the cosmos. In the context of today’s cultural revival, the protection and inheritance of Yongzhou stone carving represent not only a respect for traditional craftsmanship, but also a reaffirmation of the enduring vitality of Chinese civilization.<br /> <br /> '''References'''<br /> <br />  李明. 永州古民居建筑石雕装饰艺术初探[J]. 湖南工艺美术, 2023(15):45-50.<br /> <br />  宋志江. 湘西南石雕艺术的美学价值探析[J]. 传奇故事, 2022(40):13-15.<br /> <br />  王丽. 古代永州民居建筑石雕艺术特色[J]. 建筑与文化, 2022(12):67-72.<br /> <br />  张京华，李花蕾. 挖掘石刻遗存文化 坚定文化自信——关于永州石刻遗存文化传承发展的思考[J]. 文化遗产研究, 2020(8):34-40. <br /> <br />  周欣. 凝固在石头上的大美——永州做好摩崖石刻保护利用工作综述[J]. 永州文化, 2021(9):56-60.<br /> <br /> '''Network Resources'''<br /> <br /> 永州非物质文化遗产网. (2023). 永州石雕——永州人民的独特智慧与审美追求 [视频]. 永州非物质文化遗产网. https://www.yzwhyc.org/video/yzsd<br /> <br /> '''Terms and Expressions'''<br /> stone carving 石雕 <br /> <br /> bluestone / granite青石 / 花岗岩<br /> <br /> granite 花岗岩 <br /> <br /> round carving / relief carving / openwork 圆雕 / 浮雕 / 透雕<br /> <br /> composition构图 <br /> <br /> spatial arrangement空间布局<br /> <br /> expression rendering表情刻画 <br /> <br /> refinement / finishing修整 / 修光<br /> <br /> rough shaping / rough carving初坯 / 粗雕<br /> <br /> detailed carving精雕<br /> <br /> realism and expressionism 写实与写意<br /> <br /> aesthetic value审美价值<br /> <br /> convey meaning through objects 以物载道<br /> <br /> multilayered / polysemic expression多义表达<br /> <br /> '''Questions'''<br /> <br /> 1. What are the common carving techniques used in Yongzhou stone carving?<br /> <br /> 2. What are the typical themes found in Yongzhou stone carving?<br /> <br /> 3. What symbolic meanings do the patterns in stone carvings usually carry?<br /> <br /> 4. How does the style of Yongzhou stone carving differ from that of the Central Plains?<br /> <br /> 5. What role does the Twenty-Four Filial Exemplars play in stone carving?<br /> <br /> 6. How is the concept of “integration of image and text” reflected in stone carving?<br /> <br /> 7. Why has Yongzhou stone carving been designated as intangible cultural heritage?<br /> <br /> 8. How does modern technology influence the development of Yongzhou stone carving?<br /> <br /> <br />  <br /> '''永州石雕'''<br /> <br /> '''一、发展历程'''<br /> <br /> 永州位于湖南省南部，是一座历史悠久、文化底蕴深厚的城市。在这片山清水秀之地，孕育出许多具有地方特色的传统工艺，其中“永州石雕”尤为引人注目。作为中国南方石雕艺术的重要代表，永州石雕不仅承载着地方文化的记忆，也展现出中华语言文化中“以物载道”的哲学精神。本文将从永州石雕的历史渊源、艺术风格、工艺流程、美学价值及其当代传承等方面加以探讨，旨在深入理解这一文化遗产所蕴含的文化意义。<br /> <br /> 永州石雕的起源可追溯至唐代，发展于宋元，繁盛于明清。据《永州府志》记载，早在唐代，当地便有工匠利用本地青石雕刻佛像、碑铭以及庙宇装饰。宋代时期，随着宗教信仰的传播和永州地方经济的发展，石雕开始广泛应用于寺庙建筑、墓葬装饰和民居构件等多个领域。至明清时期，永州石雕技艺日趋成熟，作品不仅工艺精良，更富有地方特色与文化意蕴，逐步形成独特的艺术流派。<br /> <br /> 永州石雕的发展，与其丰富的自然资源密不可分。永州地处南岭山脉与潇湘水系之间，盛产质地细腻、坚硬耐久的青石和花岗岩，这为石雕艺术的发展提供了优越的材料条件。同时，永州自古文风鼎盛，唐代大文学家柳宗元曾贬谪至此，并以《永州八记》等作品记录了当地的自然风光与人文景观，为石雕艺术的文化氛围提供了滋养。<br /> <br /> '''二、多元融合的艺术风格'''<br /> <br /> 永州石雕的艺术风格融合了中原文化与南方民间艺术的特色，既有写实的技法，又不乏写意的表现。在题材方面，石雕内容广泛，涵盖宗教图像、历史人物、祥瑞图腾、花鸟鱼虫等多种元素。例如在寺庙中常见的佛像、龙柱、莲座，以及墓葬中的孝子图、升仙图，均体现出雕刻技艺与文化象征的高度结合。人物雕刻注重面部表情的细腻刻画，动物图案则强调动势与神韵的捕捉，展现出工匠高超的观察力与表现力。<br /> <br /> 在构图上，永州石雕注重虚实结合、疏密对比，通过细节刻画与空间布局的统一，营造出层次丰富的视觉效果。许多石雕作品采用浮雕、透雕、圆雕等多种技法结合使用，不仅增强了作品的立体感，也使得整体画面更具艺术感染力。工匠们以刀代笔，凭借娴熟的技艺将坚硬的石料雕刻得栩栩如生，其作品既是艺术创作的结晶，也是一种文化叙事的手段。<br /> <br /> '''三、严谨精细的制作工艺'''<br /> <br /> 永州石雕的制作流程十分严谨，通常包括选石、设计、雕刻、打磨与安装等环节。选材是石雕制作的基础，匠人们强调“因材施艺”，往往选择纹理均匀、质地坚硬且无裂纹的青石或花岗岩。设计阶段则注重图案的构图与文化寓意，传统的图案大多含有吉祥、祝福等象征意义，如松鹤延年、连年有余、龙凤呈祥等，体现了中国传统文化中的图像语言与文化心理。<br /> <br /> 雕刻过程分为粗坯、细雕和修整三个步骤，需要石匠们具备高超的技艺与丰富的经验。传统工具以锤、凿为主，现代则辅以电动雕刻工具，提高了效率而不失传统质感。打磨阶段通过不同粗细的工具将雕刻表面抛光，使作品更具观赏性。若为大型作品，还需进行现场拼接与安装，确保整体结构的稳定性与艺术统一。<br /> <br /> '''四、丰富深厚的文化内涵'''<br /> <br /> 永州石雕不仅是一种工艺美术形式，更是一种文化语言的表达方式。石雕作品中的图案语言承载着丰富的象征意义，是中华传统文化符号系统的重要组成部分。许多图案需要在特定文化语境中解读，体现出中国文化中意象思维与多义表达的特点。在寺庙、祠堂或墓地中，石雕往往与碑刻文字共同构成图文一体的叙述方式，使观者在视觉与语言的双重层面感受其文化内涵。<br /> <br /> 此外，永州石雕中常见的民间故事和传说人物，反映出当地方言词汇、民俗观念与社会价值观。例如雕刻《二十四孝图》不仅具有装饰功能，更是一种道德教育的载体。这些内容不仅体现出石雕的审美价值，也具有较高的语言学与社会学研究价值。<br /> <br /> '''五、当代传承与创新发展'''<br /> <br /> 随着时代的发展，传统手工艺逐渐面临传承困境。永州石雕亦不例外，一方面，传统技艺的学习周期长、难度高，年轻一代学习意愿不足；另一方面，工业化生产方式与现代审美观念的变迁，使传统石雕的市场空间受到限制。然而，在地方政府与文化机构的推动下，永州石雕作为非物质文化遗产正在逐步得到保护与传承。近年来，技艺传承人被认定为“省级非遗代表性传承人”，石雕技艺被纳入职业学校课程体系，并通过展览、比赛等方式提高社会关注度。<br /> <br /> 同时，现代科技的引入也为永州石雕带来新的发展机遇。数字建模、激光雕刻、3D打印等新技术不仅提升了生产效率，也为传统石雕设计注入更多创意空间。一些年轻设计师尝试将永州石雕元素与现代家具、文创产品相结合，使这一古老技艺在当代语境中焕发新生。永州本地还发展出“石雕+旅游”“石雕+景观”等产业模式，使传统技艺从静态展示走向动态互动，提升了其社会价值与文化影响力。<br /> <br /> 永州石雕作为一种承载历史记忆与文化情感的艺术形式，不仅是地方工艺的结晶，更是中华语言文化多样性的重要体现。它通过具体形象与文化符号的结合，传递出中国传统文化中关于生命、道德、自然与宇宙的深层理念。对于今天的我们而言，保护与传承永州石雕，不仅仅是对一种手工艺的珍视，更是对民族文化根脉的守护与延续。<br /> <br /> '''参考文献'''<br />  李明. 永州古民居建筑石雕装饰艺术初探[J]. 湖南工艺美术, 2023(15):45-50.<br /> <br />  宋志江. 湘西南石雕艺术的美学价值探析[J]. 传奇故事, 2022(40):13-15.<br /> <br />  王丽. 古代永州民居建筑石雕艺术特色[J]. 建筑与文化, 2022(12):67-72.<br /> <br />  张京华，李花蕾. 挖掘石刻遗存文化 坚定文化自信——关于永州石刻遗存文化传承发展的思考[J]. 文化遗产研究, 2020(8):34-40. <br /> <br />  周欣. 凝固在石头上的大美——永州做好摩崖石刻保护利用工作综述[J]. 永州文化, 2021(9):56-60.<br /> <br /> '''网络资源'''<br /> <br /> 永州非物质文化遗产网. (2023). 永州石雕——永州人民的独特智慧与审美追求 [视频]. 永州非物质文化遗产网. https://www.yzwhyc.org/video/yzsd<br /> <br /> '''术语和表达'''<br /> stone carving 石雕 <br /> <br /> bluestone / granite青石 / 花岗岩<br /> <br /> granite 花岗岩 <br /> <br /> round carving / relief carving / openwork 圆雕 / 浮雕 / 透雕<br /> <br /> composition构图 <br /> <br /> spatial arrangement空间布局<br /> <br /> expression rendering表情刻画 <br /> <br /> refinement / finishing修整 / 修光<br /> <br /> rough shaping / rough carving初坯 / 粗雕<br /> <br /> detailed carving精雕<br /> <br /> realism and expressionism 写实与写意<br /> <br /> aesthetic value审美价值<br /> <br /> convey meaning through objects 以物载道<br /> <br /> multilayered / polysemic expression多义表达<br /> <br /> <br /> '''问题：'''<br /> <br /> 1.永州石雕常见的雕刻技法有哪些？<br /> <br /> 2.永州石雕有哪些常见题材？<br /> <br /> 3.石雕中的图案通常有什么象征意义？<br /> <br /> 4. 永州石雕与中原石雕风格有何不同？<br /> <br /> 5.《二十四孝图》在石雕中有何作用？<br /> <br /> 6.什么是“图文一体”在石雕中的体现？<br /> <br /> 7.永州石雕为何被列为非物质文化遗产？<br /> <br /> 8.现代技术如何影响永州石雕的发展？</div>

Chen Sisi2 https://bou.de/u/index.php?title=User:Chen_Sisi&diff=168187 2025-06-06T05:37:18Z

<p>Chen Sisi2: </p> <hr /> <div>'''Yongzhou Stone Carving'''<br /> <br /> '''1.Development Process'''<br /> <br /> Yongzhou is located in the southern part of Hunan Province. As a city with a long history and rich cultural heritage, it has given birth to a variety of traditional crafts with distinctive local characteristics. Among them, Yongzhou stone carving stands out as an especially brilliant gem. As an important representative of stone carving art in southern China, Yongzhou stone carving not only carries the memory of local culture, but also reflects the Chinese philosophical idea of “conveying meaning through objects.” (Li Ming 2023,45-46) This paper explores the historical origins, artistic style, production process, aesthetic value, and modern inheritance of Yongzhou stone carving, aiming to provide a deeper understanding of the cultural significance embedded in this traditional craft.<br /> <br /> The origins of Yongzhou stone carving can be traced back to the Tang Dynasty, with its development continuing through the Song and Yuan dynasties, and flourishing during the Ming and Qing periods. According to the Yongzhou Gazetteer, as early as the Tang period, local craftsmen were already carving Buddhist statues, steles, and architectural decorations from locally quarried bluestone. In the Song Dynasty, the growing influence of religion and the region’s economic prosperity allowed stone carving to be widely applied to temples, tombs, and residential architecture. By the Ming and Qing periods, Yongzhou’s stone carving techniques had become increasingly sophisticated, producing works that were both technically refined and rich in cultural meaning, eventually forming a unique regional style.<br /> <br /> The development of Yongzhou stone carving is closely tied to its abundant natural resources. Situated between the Nanling Mountains and the Xiang River basin, Yongzhou is rich in fine-grained, durable bluestone and granite, providing ideal raw materials for stone carving. Furthermore, the city has long enjoyed a strong literary tradition. The famous Tang Dynasty writer Liu Zongyuan was exiled to Yongzhou and composed his well-known Eight Records of Excursions in Yongzhou, which vividly described the local scenery and cultural atmosphere. These works contributed, directly or indirectly, to the flourishing of artistic expressions such as stone carving.<br /> <br /> '''2. A Diverse and Integrated Artistic Style'''<br /> <br /> The artistic style of Yongzhou stone carving is a harmonious blend of Central Plains culture and southern folk aesthetics. It employs both realistic and expressive techniques. (Wang Li 2022, 68-69) The subject matter is diverse, ranging from religious motifs and historical figures to auspicious symbols, flora and fauna, and folk tales. For example, Buddhist statues, dragon columns, and lotus bases are common in temples, while images of filial piety and ascension to immortality are often seen on tombs, combining artistic craftsmanship with moral instruction. Facial expressions are carved with fine detail, while animal movements are rendered with vivid dynamism, demonstrating the artisans’ keen observation and skillful execution.<br /> <br /> In terms of composition, Yongzhou stone carving emphasizes a balance between fullness and emptiness, density and sparsity. Through detailed carving and thoughtful spatial arrangement, it creates layered, immersive visual effects. Various techniques such as relief carving, openwork carving, and three-dimensional carving are employed to enhance depth and texture. Craftsmen use chisels as brushes, carving vivid scenes from solid stone with exceptional control and creativity. These works are not only artistic creations, but also visual narratives that reflect cultural stories and ethical values.<br /> <br /> '''3. Meticulous and Rigorous Craftsmanship'''<br /> <br /> The production of Yongzhou stone carving follows a rigorous process, typically including stone selection, design, carving, polishing, and installation. (Song Zhijiang 2022, 45) Material selection is fundamental. Artisans adhere to the principle of “adapting to the material,” choosing stone that is free of cracks, fine in texture, and appropriate in hardness. Commonly used stones include local bluestone and granite, each suited to different styles and functions. The design phase focuses on structure, composition, and symbolic meaning. Traditional motifs often carry auspicious connotations, such as cranes and pines symbolizing longevity, or lotus flowers representing purity and integrity. Designs are usually hand-drawn by experienced artisans and carefully refined before carving begins.<br /> <br /> Carving involves rough shaping, detailed carving, and final adjustments. Traditional tools such as chisels and mallets are still widely used, though modern electric tools have also been adopted to improve efficiency without compromising artistry. Once the carving is complete, the surface is polished to enhance visual appeal and texture. Large-scale works require on-site assembly and installation to ensure structural integrity and artistic coherence.<br /> <br /> '''4. Profound and Rich Cultural Connotations'''<br /> <br /> Yongzhou stone carving is not merely a form of decorative art; it is also a vehicle for cultural expression. The visual language of its motifs conveys symbolic meanings and constitutes an important part of China’s traditional semiotic system. (Zhang Jinghua, Li Hualei 2020,35-36) Many of these symbols can only be fully understood within their specific cultural contexts, reflecting the Chinese tradition of metaphorical and multi-layered communication. In temples, ancestral halls, or tombs, stone carvings often appear alongside inscribed texts, forming integrated visual-linguistic narratives that convey complex cultural messages.<br /> <br /> Folk stories and legendary figures are frequently depicted in Yongzhou stone carvings, offering insights into local dialects, customs, and moral values. For instance, depictions of the “Twenty-Four Filial Exemplars” serve both aesthetic and educational purposes. These elements not only reflect the aesthetic values of the region, but also provide material for linguistic and sociocultural research.<br /> <br /> '''5. Contemporary Inheritance and Innovative Development'''<br /> <br /> As time progresses, traditional handicrafts like Yongzhou stone carving face the challenge of survival in a rapidly modernizing society. On the one hand, the learning curve for traditional techniques is steep, and fewer young people are willing to commit to such demanding apprenticeships. On the other hand, industrialization and changing consumer preferences have reduced the market demand for traditional stone carvings.(Zhou Xin 2021, 56) Nevertheless, efforts have been made by local governments and cultural institutions to protect and revitalize this art form. Yongzhou stone carving has been designated as a provincial intangible cultural heritage, and efforts are underway to integrate the craft into vocational training and school curricula. Public exhibitions, competitions, and media exposure have also helped raise awareness.<br /> <br /> At the same time, the integration of modern technology has opened up new possibilities for the development of Yongzhou stone carving. Digital modeling, laser engraving, and 3D printing have improved production efficiency and enabled more innovative designs. Some young designers are incorporating traditional Yongzhou motifs into modern furniture, jewelry, and cultural products, thereby making the ancient craft relevant in contemporary life. New models of “stone carving + tourism” and “stone carving + landscape architecture” have also emerged, bringing the craft into dynamic interaction with public spaces and modern culture.<br /> <br /> Yongzhou stone carving, as a cultural form that preserves historical memory and conveys ethical and aesthetic values, is not only a regional artistic tradition but also an embodiment of China’s cultural diversity. Through the combination of visual imagery and symbolic language, it expresses deep-rooted ideas about life, morality, nature, and the cosmos. In the context of today’s cultural revival, the protection and inheritance of Yongzhou stone carving represent not only a respect for traditional craftsmanship, but also a reaffirmation of the enduring vitality of Chinese civilization.<br /> <br /> '''References'''<br /> <br />  李明. 永州古民居建筑石雕装饰艺术初探[J]. 湖南工艺美术, 2023(15):45-50.<br /> <br />  宋志江. 湘西南石雕艺术的美学价值探析[J]. 传奇故事, 2022(40):13-15.<br /> <br />  王丽. 古代永州民居建筑石雕艺术特色[J]. 建筑与文化, 2022(12):67-72.<br /> <br />  张京华，李花蕾. 挖掘石刻遗存文化 坚定文化自信——关于永州石刻遗存文化传承发展的思考[J]. 文化遗产研究, 2020(8):34-40. <br /> <br />  周欣. 凝固在石头上的大美——永州做好摩崖石刻保护利用工作综述[J]. 永州文化, 2021(9):56-60.<br /> <br /> '''Network Resources'''<br /> <br /> 永州非物质文化遗产网. (2023). 永州石雕——永州人民的独特智慧与审美追求 [视频]. 永州非物质文化遗产网. https://www.yzwhyc.org/video/yzsd<br /> <br /> '''Terms and Expressions'''<br /> stone carving 石雕 <br /> <br /> bluestone / granite青石 / 花岗岩<br /> <br /> granite 花岗岩 <br /> <br /> round carving / relief carving / openwork 圆雕 / 浮雕 / 透雕<br /> <br /> composition构图 <br /> <br /> spatial arrangement空间布局<br /> <br /> expression rendering表情刻画 <br /> <br /> refinement / finishing修整 / 修光<br /> <br /> rough shaping / rough carving初坯 / 粗雕<br /> <br /> detailed carving精雕<br /> <br /> realism and expressionism 写实与写意<br /> <br /> aesthetic value审美价值<br /> <br /> convey meaning through objects 以物载道<br /> <br /> multilayered / polysemic expression多义表达<br /> <br /> '''Questions'''<br /> 1. What are the common carving techniques used in Yongzhou stone carving?<br /> <br /> 2. What are the typical themes found in Yongzhou stone carving?<br /> <br /> 3. What symbolic meanings do the patterns in stone carvings usually carry?<br /> <br /> 4. How does the style of Yongzhou stone carving differ from that of the Central Plains?<br /> <br /> 5. What role does the Twenty-Four Filial Exemplars play in stone carving?<br /> <br /> 6. How is the concept of “integration of image and text” reflected in stone carving?<br /> <br /> 7. Why has Yongzhou stone carving been designated as intangible cultural heritage?<br /> <br /> 8. How does modern technology influence the development of Yongzhou stone carving?<br /> <br /> <br />  <br /> '''永州石雕'''<br /> <br /> '''一、发展历程'''<br /> <br /> 永州位于湖南省南部，是一座历史悠久、文化底蕴深厚的城市。在这片山清水秀之地，孕育出许多具有地方特色的传统工艺，其中“永州石雕”尤为引人注目。作为中国南方石雕艺术的重要代表，永州石雕不仅承载着地方文化的记忆，也展现出中华语言文化中“以物载道”的哲学精神。本文将从永州石雕的历史渊源、艺术风格、工艺流程、美学价值及其当代传承等方面加以探讨，旨在深入理解这一文化遗产所蕴含的文化意义。<br /> <br /> 永州石雕的起源可追溯至唐代，发展于宋元，繁盛于明清。据《永州府志》记载，早在唐代，当地便有工匠利用本地青石雕刻佛像、碑铭以及庙宇装饰。宋代时期，随着宗教信仰的传播和永州地方经济的发展，石雕开始广泛应用于寺庙建筑、墓葬装饰和民居构件等多个领域。至明清时期，永州石雕技艺日趋成熟，作品不仅工艺精良，更富有地方特色与文化意蕴，逐步形成独特的艺术流派。<br /> <br /> 永州石雕的发展，与其丰富的自然资源密不可分。永州地处南岭山脉与潇湘水系之间，盛产质地细腻、坚硬耐久的青石和花岗岩，这为石雕艺术的发展提供了优越的材料条件。同时，永州自古文风鼎盛，唐代大文学家柳宗元曾贬谪至此，并以《永州八记》等作品记录了当地的自然风光与人文景观，为石雕艺术的文化氛围提供了滋养。<br /> <br /> '''二、多元融合的艺术风格'''<br /> <br /> 永州石雕的艺术风格融合了中原文化与南方民间艺术的特色，既有写实的技法，又不乏写意的表现。在题材方面，石雕内容广泛，涵盖宗教图像、历史人物、祥瑞图腾、花鸟鱼虫等多种元素。例如在寺庙中常见的佛像、龙柱、莲座，以及墓葬中的孝子图、升仙图，均体现出雕刻技艺与文化象征的高度结合。人物雕刻注重面部表情的细腻刻画，动物图案则强调动势与神韵的捕捉，展现出工匠高超的观察力与表现力。<br /> <br /> 在构图上，永州石雕注重虚实结合、疏密对比，通过细节刻画与空间布局的统一，营造出层次丰富的视觉效果。许多石雕作品采用浮雕、透雕、圆雕等多种技法结合使用，不仅增强了作品的立体感，也使得整体画面更具艺术感染力。工匠们以刀代笔，凭借娴熟的技艺将坚硬的石料雕刻得栩栩如生，其作品既是艺术创作的结晶，也是一种文化叙事的手段。<br /> <br /> '''三、严谨精细的制作工艺'''<br /> <br /> 永州石雕的制作流程十分严谨，通常包括选石、设计、雕刻、打磨与安装等环节。选材是石雕制作的基础，匠人们强调“因材施艺”，往往选择纹理均匀、质地坚硬且无裂纹的青石或花岗岩。设计阶段则注重图案的构图与文化寓意，传统的图案大多含有吉祥、祝福等象征意义，如松鹤延年、连年有余、龙凤呈祥等，体现了中国传统文化中的图像语言与文化心理。<br /> <br /> 雕刻过程分为粗坯、细雕和修整三个步骤，需要石匠们具备高超的技艺与丰富的经验。传统工具以锤、凿为主，现代则辅以电动雕刻工具，提高了效率而不失传统质感。打磨阶段通过不同粗细的工具将雕刻表面抛光，使作品更具观赏性。若为大型作品，还需进行现场拼接与安装，确保整体结构的稳定性与艺术统一。<br /> <br /> '''四、丰富深厚的文化内涵'''<br /> <br /> 永州石雕不仅是一种工艺美术形式，更是一种文化语言的表达方式。石雕作品中的图案语言承载着丰富的象征意义，是中华传统文化符号系统的重要组成部分。许多图案需要在特定文化语境中解读，体现出中国文化中意象思维与多义表达的特点。在寺庙、祠堂或墓地中，石雕往往与碑刻文字共同构成图文一体的叙述方式，使观者在视觉与语言的双重层面感受其文化内涵。<br /> <br /> 此外，永州石雕中常见的民间故事和传说人物，反映出当地方言词汇、民俗观念与社会价值观。例如雕刻《二十四孝图》不仅具有装饰功能，更是一种道德教育的载体。这些内容不仅体现出石雕的审美价值，也具有较高的语言学与社会学研究价值。<br /> <br /> '''五、当代传承与创新发展'''<br /> <br /> 随着时代的发展，传统手工艺逐渐面临传承困境。永州石雕亦不例外，一方面，传统技艺的学习周期长、难度高，年轻一代学习意愿不足；另一方面，工业化生产方式与现代审美观念的变迁，使传统石雕的市场空间受到限制。然而，在地方政府与文化机构的推动下，永州石雕作为非物质文化遗产正在逐步得到保护与传承。近年来，技艺传承人被认定为“省级非遗代表性传承人”，石雕技艺被纳入职业学校课程体系，并通过展览、比赛等方式提高社会关注度。<br /> <br /> 同时，现代科技的引入也为永州石雕带来新的发展机遇。数字建模、激光雕刻、3D打印等新技术不仅提升了生产效率，也为传统石雕设计注入更多创意空间。一些年轻设计师尝试将永州石雕元素与现代家具、文创产品相结合，使这一古老技艺在当代语境中焕发新生。永州本地还发展出“石雕+旅游”“石雕+景观”等产业模式，使传统技艺从静态展示走向动态互动，提升了其社会价值与文化影响力。<br /> <br /> 永州石雕作为一种承载历史记忆与文化情感的艺术形式，不仅是地方工艺的结晶，更是中华语言文化多样性的重要体现。它通过具体形象与文化符号的结合，传递出中国传统文化中关于生命、道德、自然与宇宙的深层理念。对于今天的我们而言，保护与传承永州石雕，不仅仅是对一种手工艺的珍视，更是对民族文化根脉的守护与延续。<br /> <br /> '''参考文献'''<br />  李明. 永州古民居建筑石雕装饰艺术初探[J]. 湖南工艺美术, 2023(15):45-50.<br /> <br />  宋志江. 湘西南石雕艺术的美学价值探析[J]. 传奇故事, 2022(40):13-15.<br /> <br />  王丽. 古代永州民居建筑石雕艺术特色[J]. 建筑与文化, 2022(12):67-72.<br /> <br />  张京华，李花蕾. 挖掘石刻遗存文化 坚定文化自信——关于永州石刻遗存文化传承发展的思考[J]. 文化遗产研究, 2020(8):34-40. <br /> <br />  周欣. 凝固在石头上的大美——永州做好摩崖石刻保护利用工作综述[J]. 永州文化, 2021(9):56-60.<br /> <br /> '''网络资源'''<br /> <br /> 永州非物质文化遗产网. (2023). 永州石雕——永州人民的独特智慧与审美追求 [视频]. 永州非物质文化遗产网. https://www.yzwhyc.org/video/yzsd<br /> <br /> '''术语和表达'''<br /> stone carving 石雕 <br /> <br /> bluestone / granite青石 / 花岗岩<br /> <br /> granite 花岗岩 <br /> <br /> round carving / relief carving / openwork 圆雕 / 浮雕 / 透雕<br /> <br /> composition构图 <br /> <br /> spatial arrangement空间布局<br /> <br /> expression rendering表情刻画 <br /> <br /> refinement / finishing修整 / 修光<br /> <br /> rough shaping / rough carving初坯 / 粗雕<br /> <br /> detailed carving精雕<br /> <br /> realism and expressionism 写实与写意<br /> <br /> aesthetic value审美价值<br /> <br /> convey meaning through objects 以物载道<br /> <br /> multilayered / polysemic expression多义表达<br /> <br /> <br /> 问题：<br /> 1.永州石雕常见的雕刻技法有哪些？<br /> <br /> 2.永州石雕有哪些常见题材？<br /> <br /> 3.石雕中的图案通常有什么象征意义？<br /> <br /> 4. 永州石雕与中原石雕风格有何不同？<br /> <br /> 5.《二十四孝图》在石雕中有何作用？<br /> <br /> 6.什么是“图文一体”在石雕中的体现？<br /> <br /> 7.永州石雕为何被列为非物质文化遗产？<br /> <br /> 8.现代技术如何影响永州石雕的发展？</div>

Chen Sisi2 https://bou.de/u/index.php?title=User:Chen_Sisi&diff=168186 2025-06-06T05:36:38Z

<p>Chen Sisi2: </p> <hr /> <div>'''Yongzhou Stone Carving'''<br /> <br /> '''1.Development Process'''<br /> <br /> Yongzhou is located in the southern part of Hunan Province. As a city with a long history and rich cultural heritage, it has given birth to a variety of traditional crafts with distinctive local characteristics. Among them, Yongzhou stone carving stands out as an especially brilliant gem. As an important representative of stone carving art in southern China, Yongzhou stone carving not only carries the memory of local culture, but also reflects the Chinese philosophical idea of “conveying meaning through objects.” (Li Ming 2023,45-46) This paper explores the historical origins, artistic style, production process, aesthetic value, and modern inheritance of Yongzhou stone carving, aiming to provide a deeper understanding of the cultural significance embedded in this traditional craft.<br /> <br /> The origins of Yongzhou stone carving can be traced back to the Tang Dynasty, with its development continuing through the Song and Yuan dynasties, and flourishing during the Ming and Qing periods. According to the Yongzhou Gazetteer, as early as the Tang period, local craftsmen were already carving Buddhist statues, steles, and architectural decorations from locally quarried bluestone. In the Song Dynasty, the growing influence of religion and the region’s economic prosperity allowed stone carving to be widely applied to temples, tombs, and residential architecture. By the Ming and Qing periods, Yongzhou’s stone carving techniques had become increasingly sophisticated, producing works that were both technically refined and rich in cultural meaning, eventually forming a unique regional style.<br /> <br /> The development of Yongzhou stone carving is closely tied to its abundant natural resources. Situated between the Nanling Mountains and the Xiang River basin, Yongzhou is rich in fine-grained, durable bluestone and granite, providing ideal raw materials for stone carving. Furthermore, the city has long enjoyed a strong literary tradition. The famous Tang Dynasty writer Liu Zongyuan was exiled to Yongzhou and composed his well-known Eight Records of Excursions in Yongzhou, which vividly described the local scenery and cultural atmosphere. These works contributed, directly or indirectly, to the flourishing of artistic expressions such as stone carving.<br /> <br /> '''2. A Diverse and Integrated Artistic Style'''<br /> <br /> The artistic style of Yongzhou stone carving is a harmonious blend of Central Plains culture and southern folk aesthetics. It employs both realistic and expressive techniques. (Wang Li 2022, 68-69) The subject matter is diverse, ranging from religious motifs and historical figures to auspicious symbols, flora and fauna, and folk tales. For example, Buddhist statues, dragon columns, and lotus bases are common in temples, while images of filial piety and ascension to immortality are often seen on tombs, combining artistic craftsmanship with moral instruction. Facial expressions are carved with fine detail, while animal movements are rendered with vivid dynamism, demonstrating the artisans’ keen observation and skillful execution.<br /> <br /> In terms of composition, Yongzhou stone carving emphasizes a balance between fullness and emptiness, density and sparsity. Through detailed carving and thoughtful spatial arrangement, it creates layered, immersive visual effects. Various techniques such as relief carving, openwork carving, and three-dimensional carving are employed to enhance depth and texture. Craftsmen use chisels as brushes, carving vivid scenes from solid stone with exceptional control and creativity. These works are not only artistic creations, but also visual narratives that reflect cultural stories and ethical values.<br /> <br /> '''3. Meticulous and Rigorous Craftsmanship'''<br /> <br /> The production of Yongzhou stone carving follows a rigorous process, typically including stone selection, design, carving, polishing, and installation. (Song Zhijiang 2022, 45) Material selection is fundamental. Artisans adhere to the principle of “adapting to the material,” choosing stone that is free of cracks, fine in texture, and appropriate in hardness. Commonly used stones include local bluestone and granite, each suited to different styles and functions. The design phase focuses on structure, composition, and symbolic meaning. Traditional motifs often carry auspicious connotations, such as cranes and pines symbolizing longevity, or lotus flowers representing purity and integrity. Designs are usually hand-drawn by experienced artisans and carefully refined before carving begins.<br /> <br /> Carving involves rough shaping, detailed carving, and final adjustments. Traditional tools such as chisels and mallets are still widely used, though modern electric tools have also been adopted to improve efficiency without compromising artistry. Once the carving is complete, the surface is polished to enhance visual appeal and texture. Large-scale works require on-site assembly and installation to ensure structural integrity and artistic coherence.<br /> <br /> '''4. Profound and Rich Cultural Connotations'''<br /> <br /> Yongzhou stone carving is not merely a form of decorative art; it is also a vehicle for cultural expression. The visual language of its motifs conveys symbolic meanings and constitutes an important part of China’s traditional semiotic system. (Zhang Jinghua, Li Hualei 2020,35-36) Many of these symbols can only be fully understood within their specific cultural contexts, reflecting the Chinese tradition of metaphorical and multi-layered communication. In temples, ancestral halls, or tombs, stone carvings often appear alongside inscribed texts, forming integrated visual-linguistic narratives that convey complex cultural messages.<br /> <br /> Folk stories and legendary figures are frequently depicted in Yongzhou stone carvings, offering insights into local dialects, customs, and moral values. For instance, depictions of the “Twenty-Four Filial Exemplars” serve both aesthetic and educational purposes. These elements not only reflect the aesthetic values of the region, but also provide material for linguistic and sociocultural research.<br /> <br /> '''5. Contemporary Inheritance and Innovative Development'''<br /> <br /> As time progresses, traditional handicrafts like Yongzhou stone carving face the challenge of survival in a rapidly modernizing society. On the one hand, the learning curve for traditional techniques is steep, and fewer young people are willing to commit to such demanding apprenticeships. On the other hand, industrialization and changing consumer preferences have reduced the market demand for traditional stone carvings.(Zhou Xin 2021, 56) Nevertheless, efforts have been made by local governments and cultural institutions to protect and revitalize this art form. Yongzhou stone carving has been designated as a provincial intangible cultural heritage, and efforts are underway to integrate the craft into vocational training and school curricula. Public exhibitions, competitions, and media exposure have also helped raise awareness.<br /> <br /> At the same time, the integration of modern technology has opened up new possibilities for the development of Yongzhou stone carving. Digital modeling, laser engraving, and 3D printing have improved production efficiency and enabled more innovative designs. Some young designers are incorporating traditional Yongzhou motifs into modern furniture, jewelry, and cultural products, thereby making the ancient craft relevant in contemporary life. New models of “stone carving + tourism” and “stone carving + landscape architecture” have also emerged, bringing the craft into dynamic interaction with public spaces and modern culture.<br /> <br /> Yongzhou stone carving, as a cultural form that preserves historical memory and conveys ethical and aesthetic values, is not only a regional artistic tradition but also an embodiment of China’s cultural diversity. Through the combination of visual imagery and symbolic language, it expresses deep-rooted ideas about life, morality, nature, and the cosmos. In the context of today’s cultural revival, the protection and inheritance of Yongzhou stone carving represent not only a respect for traditional craftsmanship, but also a reaffirmation of the enduring vitality of Chinese civilization.<br /> <br /> '''References'''<br /> <br />  李明. 永州古民居建筑石雕装饰艺术初探[J]. 湖南工艺美术, 2023(15):45-50.<br />  宋志江. 湘西南石雕艺术的美学价值探析[J]. 传奇故事, 2022(40):13-15.<br />  王丽. 古代永州民居建筑石雕艺术特色[J]. 建筑与文化, 2022(12):67-72.<br />  张京华，李花蕾. 挖掘石刻遗存文化 坚定文化自信——关于永州石刻遗存文化传承发展的思考[J]. 文化遗产研究, 2020(8):34-40. <br />  周欣. 凝固在石头上的大美——永州做好摩崖石刻保护利用工作综述[J]. 永州文化, 2021(9):56-60.<br /> <br /> '''Network Resources'''<br /> <br /> 永州非物质文化遗产网. (2023). 永州石雕——永州人民的独特智慧与审美追求 [视频]. 永州非物质文化遗产网. https://www.yzwhyc.org/video/yzsd<br /> <br /> '''Terms and Expressions'''<br /> stone carving 石雕 <br /> <br /> bluestone / granite青石 / 花岗岩<br /> <br /> granite 花岗岩 <br /> <br /> round carving / relief carving / openwork 圆雕 / 浮雕 / 透雕<br /> <br /> composition构图 <br /> <br /> spatial arrangement空间布局<br /> <br /> expression rendering表情刻画 <br /> <br /> refinement / finishing修整 / 修光<br /> <br /> rough shaping / rough carving初坯 / 粗雕<br /> <br /> detailed carving精雕<br /> <br /> realism and expressionism 写实与写意<br /> <br /> aesthetic value审美价值<br /> <br /> convey meaning through objects 以物载道<br /> <br /> multilayered / polysemic expression多义表达<br /> <br /> '''Questions'''<br /> 1. What are the common carving techniques used in Yongzhou stone carving?<br /> <br /> 2. What are the typical themes found in Yongzhou stone carving?<br /> <br /> 3. What symbolic meanings do the patterns in stone carvings usually carry?<br /> <br /> 4. How does the style of Yongzhou stone carving differ from that of the Central Plains?<br /> <br /> 5. What role does the Twenty-Four Filial Exemplars play in stone carving?<br /> <br /> 6. How is the concept of “integration of image and text” reflected in stone carving?<br /> <br /> 7. Why has Yongzhou stone carving been designated as intangible cultural heritage?<br /> <br /> 8. How does modern technology influence the development of Yongzhou stone carving?<br /> <br /> <br />  <br /> '''永州石雕'''<br /> <br /> '''一、发展历程'''<br /> <br /> 永州位于湖南省南部，是一座历史悠久、文化底蕴深厚的城市。在这片山清水秀之地，孕育出许多具有地方特色的传统工艺，其中“永州石雕”尤为引人注目。作为中国南方石雕艺术的重要代表，永州石雕不仅承载着地方文化的记忆，也展现出中华语言文化中“以物载道”的哲学精神。本文将从永州石雕的历史渊源、艺术风格、工艺流程、美学价值及其当代传承等方面加以探讨，旨在深入理解这一文化遗产所蕴含的文化意义。<br /> <br /> 永州石雕的起源可追溯至唐代，发展于宋元，繁盛于明清。据《永州府志》记载，早在唐代，当地便有工匠利用本地青石雕刻佛像、碑铭以及庙宇装饰。宋代时期，随着宗教信仰的传播和永州地方经济的发展，石雕开始广泛应用于寺庙建筑、墓葬装饰和民居构件等多个领域。至明清时期，永州石雕技艺日趋成熟，作品不仅工艺精良，更富有地方特色与文化意蕴，逐步形成独特的艺术流派。<br /> <br /> 永州石雕的发展，与其丰富的自然资源密不可分。永州地处南岭山脉与潇湘水系之间，盛产质地细腻、坚硬耐久的青石和花岗岩，这为石雕艺术的发展提供了优越的材料条件。同时，永州自古文风鼎盛，唐代大文学家柳宗元曾贬谪至此，并以《永州八记》等作品记录了当地的自然风光与人文景观，为石雕艺术的文化氛围提供了滋养。<br /> <br /> '''二、多元融合的艺术风格'''<br /> <br /> 永州石雕的艺术风格融合了中原文化与南方民间艺术的特色，既有写实的技法，又不乏写意的表现。在题材方面，石雕内容广泛，涵盖宗教图像、历史人物、祥瑞图腾、花鸟鱼虫等多种元素。例如在寺庙中常见的佛像、龙柱、莲座，以及墓葬中的孝子图、升仙图，均体现出雕刻技艺与文化象征的高度结合。人物雕刻注重面部表情的细腻刻画，动物图案则强调动势与神韵的捕捉，展现出工匠高超的观察力与表现力。<br /> <br /> 在构图上，永州石雕注重虚实结合、疏密对比，通过细节刻画与空间布局的统一，营造出层次丰富的视觉效果。许多石雕作品采用浮雕、透雕、圆雕等多种技法结合使用，不仅增强了作品的立体感，也使得整体画面更具艺术感染力。工匠们以刀代笔，凭借娴熟的技艺将坚硬的石料雕刻得栩栩如生，其作品既是艺术创作的结晶，也是一种文化叙事的手段。<br /> <br /> '''三、严谨精细的制作工艺'''<br /> <br /> 永州石雕的制作流程十分严谨，通常包括选石、设计、雕刻、打磨与安装等环节。选材是石雕制作的基础，匠人们强调“因材施艺”，往往选择纹理均匀、质地坚硬且无裂纹的青石或花岗岩。设计阶段则注重图案的构图与文化寓意，传统的图案大多含有吉祥、祝福等象征意义，如松鹤延年、连年有余、龙凤呈祥等，体现了中国传统文化中的图像语言与文化心理。<br /> <br /> 雕刻过程分为粗坯、细雕和修整三个步骤，需要石匠们具备高超的技艺与丰富的经验。传统工具以锤、凿为主，现代则辅以电动雕刻工具，提高了效率而不失传统质感。打磨阶段通过不同粗细的工具将雕刻表面抛光，使作品更具观赏性。若为大型作品，还需进行现场拼接与安装，确保整体结构的稳定性与艺术统一。<br /> <br /> '''四、丰富深厚的文化内涵'''<br /> <br /> 永州石雕不仅是一种工艺美术形式，更是一种文化语言的表达方式。石雕作品中的图案语言承载着丰富的象征意义，是中华传统文化符号系统的重要组成部分。许多图案需要在特定文化语境中解读，体现出中国文化中意象思维与多义表达的特点。在寺庙、祠堂或墓地中，石雕往往与碑刻文字共同构成图文一体的叙述方式，使观者在视觉与语言的双重层面感受其文化内涵。<br /> <br /> 此外，永州石雕中常见的民间故事和传说人物，反映出当地方言词汇、民俗观念与社会价值观。例如雕刻《二十四孝图》不仅具有装饰功能，更是一种道德教育的载体。这些内容不仅体现出石雕的审美价值，也具有较高的语言学与社会学研究价值。<br /> <br /> '''五、当代传承与创新发展'''<br /> <br /> 随着时代的发展，传统手工艺逐渐面临传承困境。永州石雕亦不例外，一方面，传统技艺的学习周期长、难度高，年轻一代学习意愿不足；另一方面，工业化生产方式与现代审美观念的变迁，使传统石雕的市场空间受到限制。然而，在地方政府与文化机构的推动下，永州石雕作为非物质文化遗产正在逐步得到保护与传承。近年来，技艺传承人被认定为“省级非遗代表性传承人”，石雕技艺被纳入职业学校课程体系，并通过展览、比赛等方式提高社会关注度。<br /> <br /> 同时，现代科技的引入也为永州石雕带来新的发展机遇。数字建模、激光雕刻、3D打印等新技术不仅提升了生产效率，也为传统石雕设计注入更多创意空间。一些年轻设计师尝试将永州石雕元素与现代家具、文创产品相结合，使这一古老技艺在当代语境中焕发新生。永州本地还发展出“石雕+旅游”“石雕+景观”等产业模式，使传统技艺从静态展示走向动态互动，提升了其社会价值与文化影响力。<br /> <br /> 永州石雕作为一种承载历史记忆与文化情感的艺术形式，不仅是地方工艺的结晶，更是中华语言文化多样性的重要体现。它通过具体形象与文化符号的结合，传递出中国传统文化中关于生命、道德、自然与宇宙的深层理念。对于今天的我们而言，保护与传承永州石雕，不仅仅是对一种手工艺的珍视，更是对民族文化根脉的守护与延续。<br /> <br /> '''参考文献'''<br />  李明. 永州古民居建筑石雕装饰艺术初探[J]. 湖南工艺美术, 2023(15):45-50.<br /> <br />  宋志江. 湘西南石雕艺术的美学价值探析[J]. 传奇故事, 2022(40):13-15.<br /> <br />  王丽. 古代永州民居建筑石雕艺术特色[J]. 建筑与文化, 2022(12):67-72.<br /> <br />  张京华，李花蕾. 挖掘石刻遗存文化 坚定文化自信——关于永州石刻遗存文化传承发展的思考[J]. 文化遗产研究, 2020(8):34-40. <br /> <br />  周欣. 凝固在石头上的大美——永州做好摩崖石刻保护利用工作综述[J]. 永州文化, 2021(9):56-60.<br /> <br /> '''网络资源'''<br /> <br /> 永州非物质文化遗产网. (2023). 永州石雕——永州人民的独特智慧与审美追求 [视频]. 永州非物质文化遗产网. https://www.yzwhyc.org/video/yzsd<br /> <br /> '''术语和表达'''<br /> stone carving 石雕 <br /> <br /> bluestone / granite青石 / 花岗岩<br /> <br /> granite 花岗岩 <br /> <br /> round carving / relief carving / openwork 圆雕 / 浮雕 / 透雕<br /> <br /> composition构图 <br /> <br /> spatial arrangement空间布局<br /> <br /> expression rendering表情刻画 <br /> <br /> refinement / finishing修整 / 修光<br /> <br /> rough shaping / rough carving初坯 / 粗雕<br /> <br /> detailed carving精雕<br /> <br /> realism and expressionism 写实与写意<br /> <br /> aesthetic value审美价值<br /> <br /> convey meaning through objects 以物载道<br /> <br /> multilayered / polysemic expression多义表达<br /> <br /> <br /> 问题：<br /> 1.永州石雕常见的雕刻技法有哪些？<br /> <br /> 2.永州石雕有哪些常见题材？<br /> <br /> 3.石雕中的图案通常有什么象征意义？<br /> <br /> 4. 永州石雕与中原石雕风格有何不同？<br /> <br /> 5.《二十四孝图》在石雕中有何作用？<br /> <br /> 6.什么是“图文一体”在石雕中的体现？<br /> <br /> 7.永州石雕为何被列为非物质文化遗产？<br /> <br /> 8.现代技术如何影响永州石雕的发展？</div>

Chen Sisi2 https://bou.de/u/index.php?title=User:Chen_Sisi&diff=168164 2025-06-06T03:43:21Z

<p>Chen Sisi2: </p> <hr /> <div>'''Yongzhou Stone Carving'''<br /> <br /> Yongzhou is located in the southern part of Hunan Province. As a city with a long history and rich cultural heritage, it has given birth to a variety of traditional crafts with distinctive local characteristics. Among them, Yongzhou stone carving stands out as an especially brilliant gem. As an important representative of stone carving art in southern China, Yongzhou stone carving not only carries the memory of local culture, but also reflects the Chinese philosophical idea of “conveying meaning through objects.” This paper explores the historical origins, artistic style, production process, aesthetic value, and modern inheritance of Yongzhou stone carving, aiming to provide a deeper understanding of the cultural significance embedded in this traditional craft.<br /> <br /> The origins of Yongzhou stone carving can be traced back to the Tang Dynasty, with its development continuing through the Song and Yuan dynasties, and flourishing during the Ming and Qing periods. According to the Yongzhou Gazetteer, as early as the Tang period, local craftsmen were already carving Buddhist statues, steles, and architectural decorations from locally quarried bluestone. In the Song Dynasty, the growing influence of religion and the region’s economic prosperity allowed stone carving to be widely applied to temples, tombs, and residential architecture. By the Ming and Qing periods, Yongzhou’s stone carving techniques had become increasingly sophisticated, producing works that were both technically refined and rich in cultural meaning, eventually forming a unique regional style.<br /> <br /> The development of Yongzhou stone carving is closely tied to its abundant natural resources. Situated between the Nanling Mountains and the Xiang River basin, Yongzhou is rich in fine-grained, durable bluestone and granite, providing ideal raw materials for stone carving. Furthermore, the city has long enjoyed a strong literary tradition. The famous Tang Dynasty writer Liu Zongyuan was exiled to Yongzhou and composed his well-known Eight Records of Excursions in Yongzhou, which vividly described the local scenery and cultural atmosphere. These works contributed, directly or indirectly, to the flourishing of artistic expressions such as stone carving.<br /> <br /> The artistic style of Yongzhou stone carving is a harmonious blend of Central Plains culture and southern folk aesthetics. It employs both realistic and expressive techniques. The subject matter is diverse, ranging from religious motifs and historical figures to auspicious symbols, flora and fauna, and folk tales. For example, Buddhist statues, dragon columns, and lotus bases are common in temples, while images of filial piety and ascension to immortality are often seen on tombs, combining artistic craftsmanship with moral instruction. Facial expressions are carved with fine detail, while animal movements are rendered with vivid dynamism, demonstrating the artisans’ keen observation and skillful execution.<br /> In terms of composition, Yongzhou stone carving emphasizes a balance between fullness and emptiness, density and sparsity. Through detailed carving and thoughtful spatial arrangement, it creates layered, immersive visual effects. Various techniques such as relief carving, openwork carving, and three-dimensional carving are employed to enhance depth and texture. Craftsmen use chisels as brushes, carving vivid scenes from solid stone with exceptional control and creativity. These works are not only artistic creations, but also visual narratives that reflect cultural stories and ethical values.<br /> <br /> The production of Yongzhou stone carving follows a rigorous process, typically including stone selection, design, carving, polishing, and installation. Material selection is fundamental. Artisans adhere to the principle of “adapting to the material,” choosing stone that is free of cracks, fine in texture, and appropriate in hardness. Commonly used stones include local bluestone and granite, each suited to different styles and functions. The design phase focuses on structure, composition, and symbolic meaning. Traditional motifs often carry auspicious connotations, such as cranes and pines symbolizing longevity, or lotus flowers representing purity and integrity. Designs are usually hand-drawn by experienced artisans and carefully refined before carving begins.<br /> Carving involves rough shaping, detailed carving, and final adjustments. Traditional tools such as chisels and mallets are still widely used, though modern electric tools have also been adopted to improve efficiency without compromising artistry. Once the carving is complete, the surface is polished to enhance visual appeal and texture. Large-scale works require on-site assembly and installation to ensure structural integrity and artistic coherence.<br /> Yongzhou stone carving is not merely a form of decorative art; it is also a vehicle for cultural expression. The visual language of its motifs conveys symbolic meanings and constitutes an important part of China’s traditional semiotic system. Many of these symbols can only be fully understood within their specific cultural contexts, reflecting the Chinese tradition of metaphorical and multi-layered communication. In temples, ancestral halls, or tombs, stone carvings often appear alongside inscribed texts, forming integrated visual-linguistic narratives that convey complex cultural messages.<br /> <br /> Folk stories and legendary figures are frequently depicted in Yongzhou stone carvings, offering insights into local dialects, customs, and moral values. For instance, depictions of the “Twenty-Four Filial Exemplars” serve both aesthetic and educational purposes. These elements not only reflect the aesthetic values of the region, but also provide material for linguistic and sociocultural research.<br /> <br /> As time progresses, traditional handicrafts like Yongzhou stone carving face the challenge of survival in a rapidly modernizing society. On the one hand, the learning curve for traditional techniques is steep, and fewer young people are willing to commit to such demanding apprenticeships. On the other hand, industrialization and changing consumer preferences have reduced the market demand for traditional stone carvings. Nevertheless, efforts have been made by local governments and cultural institutions to protect and revitalize this art form. Yongzhou stone carving has been designated as a provincial intangible cultural heritage, and efforts are underway to integrate the craft into vocational training and school curricula. Public exhibitions, competitions, and media exposure have also helped raise awareness.<br /> <br /> At the same time, the integration of modern technology has opened up new possibilities for the development of Yongzhou stone carving. Digital modeling, laser engraving, and 3D printing have improved production efficiency and enabled more innovative designs. Some young designers are incorporating traditional Yongzhou motifs into modern furniture, jewelry, and cultural products, thereby making the ancient craft relevant in contemporary life. New models of “stone carving + tourism” and “stone carving + landscape architecture” have also emerged, bringing the craft into dynamic interaction with public spaces and modern culture.<br /> <br /> Yongzhou stone carving, as a cultural form that preserves historical memory and conveys ethical and aesthetic values, is not only a regional artistic tradition but also an embodiment of China’s cultural diversity. Through the combination of visual imagery and symbolic language, it expresses deep-rooted ideas about life, morality, nature, and the cosmos. In the context of today’s cultural revival, the protection and inheritance of Yongzhou stone carving represent not only a respect for traditional craftsmanship, but also a reaffirmation of the enduring vitality of Chinese civilization.<br /> <br /> '''Terms and Expressions'''<br /> stone carving 石雕 <br /> <br /> bluestone / granite青石 / 花岗岩<br /> <br /> granite 花岗岩 <br /> <br /> round carving / relief carving / openwork 圆雕 / 浮雕 / 透雕<br /> <br /> composition构图 <br /> <br /> spatial arrangement空间布局<br /> <br /> expression rendering表情刻画 <br /> <br /> refinement / finishing修整 / 修光<br /> <br /> rough shaping / rough carving初坯 / 粗雕<br /> <br /> detailed carving精雕<br /> <br /> realism and expressionism 写实与写意<br /> <br /> aesthetic value审美价值<br /> <br /> convey meaning through objects 以物载道<br /> <br /> multilayered / polysemic expression多义表达<br /> <br /> '''Questions'''<br /> 1. What are the common carving techniques used in Yongzhou stone carving?<br /> <br /> 2. What are the typical themes found in Yongzhou stone carving?<br /> <br /> 3. What symbolic meanings do the patterns in stone carvings usually carry?<br /> <br /> 4. How does the style of Yongzhou stone carving differ from that of the Central Plains?<br /> <br /> 5. What role does the Twenty-Four Filial Exemplars play in stone carving?<br /> <br /> 6. How is the concept of “integration of image and text” reflected in stone carving?<br /> <br /> 7. Why has Yongzhou stone carving been designated as intangible cultural heritage?<br /> <br /> 8. How does modern technology influence the development of Yongzhou stone carving?<br /> <br /> <br />  <br /> '''永州石雕'''<br /> <br /> 永州位于湖南省南部，是一座历史悠久、文化底蕴深厚的城市。在这片山清水秀之地，孕育出许多具有地方特色的传统工艺，其中“永州石雕”尤为引人注目。作为中国南方石雕艺术的重要代表，永州石雕不仅承载着地方文化的记忆，也展现出中华语言文化中“以物载道”的哲学精神。本文将从永州石雕的历史渊源、艺术风格、工艺流程、美学价值及其当代传承等方面加以探讨，旨在深入理解这一文化遗产所蕴含的文化意义。<br /> <br /> 永州石雕的起源可追溯至唐代，发展于宋元，繁盛于明清。据《永州府志》记载，早在唐代，当地便有工匠利用本地青石雕刻佛像、碑铭以及庙宇装饰。宋代时期，随着宗教信仰的传播和永州地方经济的发展，石雕开始广泛应用于寺庙建筑、墓葬装饰和民居构件等多个领域。至明清时期，永州石雕技艺日趋成熟，作品不仅工艺精良，更富有地方特色与文化意蕴，逐步形成独特的艺术流派。<br /> <br /> 永州石雕的发展，与其丰富的自然资源密不可分。永州地处南岭山脉与潇湘水系之间，盛产质地细腻、坚硬耐久的青石和花岗岩，这为石雕艺术的发展提供了优越的材料条件。同时，永州自古文风鼎盛，唐代大文学家柳宗元曾贬谪至此，并以《永州八记》等作品记录了当地的自然风光与人文景观，为石雕艺术的文化氛围提供了滋养。<br /> <br /> 永州石雕的艺术风格融合了中原文化与南方民间艺术的特色，既有写实的技法，又不乏写意的表现。在题材方面，石雕内容广泛，涵盖宗教图像、历史人物、祥瑞图腾、花鸟鱼虫等多种元素。例如在寺庙中常见的佛像、龙柱、莲座，以及墓葬中的孝子图、升仙图，均体现出雕刻技艺与文化象征的高度结合。人物雕刻注重面部表情的细腻刻画，动物图案则强调动势与神韵的捕捉，展现出工匠高超的观察力与表现力。<br /> 在构图上，永州石雕注重虚实结合、疏密对比，通过细节刻画与空间布局的统一，营造出层次丰富的视觉效果。许多石雕作品采用浮雕、透雕、圆雕等多种技法结合使用，不仅增强了作品的立体感，也使得整体画面更具艺术感染力。工匠们以刀代笔，凭借娴熟的技艺将坚硬的石料雕刻得栩栩如生，其作品既是艺术创作的结晶，也是一种文化叙事的手段。<br /> <br /> 永州石雕的制作流程十分严谨，通常包括选石、设计、雕刻、打磨与安装等环节。选材是石雕制作的基础，匠人们强调“因材施艺”，往往选择纹理均匀、质地坚硬且无裂纹的青石或花岗岩。设计阶段则注重图案的构图与文化寓意，传统的图案大多含有吉祥、祝福等象征意义，如松鹤延年、连年有余、龙凤呈祥等，体现了中国传统文化中的图像语言与文化心理。<br /> <br /> 雕刻过程分为粗坯、细雕和修整三个步骤，需要石匠们具备高超的技艺与丰富的经验。传统工具以锤、凿为主，现代则辅以电动雕刻工具，提高了效率而不失传统质感。打磨阶段通过不同粗细的工具将雕刻表面抛光，使作品更具观赏性。若为大型作品，还需进行现场拼接与安装，确保整体结构的稳定性与艺术统一。<br /> <br /> 永州石雕不仅是一种工艺美术形式，更是一种文化语言的表达方式。石雕作品中的图案语言承载着丰富的象征意义，是中华传统文化符号系统的重要组成部分。许多图案需要在特定文化语境中解读，体现出中国文化中意象思维与多义表达的特点。在寺庙、祠堂或墓地中，石雕往往与碑刻文字共同构成图文一体的叙述方式，使观者在视觉与语言的双重层面感受其文化内涵。<br /> <br /> 此外，永州石雕中常见的民间故事和传说人物，反映出当地方言词汇、民俗观念与社会价值观。例如雕刻《二十四孝图》不仅具有装饰功能，更是一种道德教育的载体。这些内容不仅体现出石雕的审美价值，也具有较高的语言学与社会学研究价值。<br /> 随着时代的发展，传统手工艺逐渐面临传承困境。永州石雕亦不例外，一方面，传统技艺的学习周期长、难度高，年轻一代学习意愿不足；另一方面，工业化生产方式与现代审美观念的变迁，使传统石雕的市场空间受到限制。然而，在地方政府与文化机构的推动下，永州石雕作为非物质文化遗产正在逐步得到保护与传承。近年来，技艺传承人被认定为“省级非遗代表性传承人”，石雕技艺被纳入职业学校课程体系，并通过展览、比赛等方式提高社会关注度。<br /> <br /> 同时，现代科技的引入也为永州石雕带来新的发展机遇。数字建模、激光雕刻、3D打印等新技术不仅提升了生产效率，也为传统石雕设计注入更多创意空间。一些年轻设计师尝试将永州石雕元素与现代家具、文创产品相结合，使这一古老技艺在当代语境中焕发新生。永州本地还发展出“石雕+旅游”“石雕+景观”等产业模式，使传统技艺从静态展示走向动态互动，提升了其社会价值与文化影响力。<br /> <br /> 永州石雕作为一种承载历史记忆与文化情感的艺术形式，不仅是地方工艺的结晶，更是中华语言文化多样性的重要体现。它通过具体形象与文化符号的结合，传递出中国传统文化中关于生命、道德、自然与宇宙的深层理念。对于今天的我们而言，保护与传承永州石雕，不仅仅是对一种手工艺的珍视，更是对民族文化根脉的守护与延续。<br /> <br /> '''Terms and Expressions'''<br /> stone carving 石雕 <br /> <br /> bluestone / granite青石 / 花岗岩<br /> <br /> granite 花岗岩 <br /> <br /> round carving / relief carving / openwork 圆雕 / 浮雕 / 透雕<br /> <br /> composition构图 <br /> <br /> spatial arrangement空间布局<br /> <br /> expression rendering表情刻画 <br /> <br /> refinement / finishing修整 / 修光<br /> <br /> rough shaping / rough carving初坯 / 粗雕<br /> <br /> detailed carving精雕<br /> <br /> realism and expressionism 写实与写意<br /> <br /> aesthetic value审美价值<br /> <br /> convey meaning through objects 以物载道<br /> <br /> multilayered / polysemic expression多义表达<br /> <br /> <br /> 问题：<br /> 1.永州石雕常见的雕刻技法有哪些？<br /> <br /> 2.永州石雕有哪些常见题材？<br /> <br /> 3.石雕中的图案通常有什么象征意义？<br /> <br /> 4. 永州石雕与中原石雕风格有何不同？<br /> <br /> 5.《二十四孝图》在石雕中有何作用？<br /> <br /> 6.什么是“图文一体”在石雕中的体现？<br /> <br /> 7.永州石雕为何被列为非物质文化遗产？<br /> <br /> 8.现代技术如何影响永州石雕的发展？</div>

Chen Sisi2 https://bou.de/u/index.php?title=User:Chen_Sisi&diff=168163 2025-06-06T03:41:37Z

<p>Chen Sisi2: </p> <hr /> <div>'''Yongzhou Stone Carving'''<br /> <br /> Yongzhou is located in the southern part of Hunan Province. As a city with a long history and rich cultural heritage, it has given birth to a variety of traditional crafts with distinctive local characteristics. Among them, Yongzhou stone carving stands out as an especially brilliant gem. As an important representative of stone carving art in southern China, Yongzhou stone carving not only carries the memory of local culture, but also reflects the Chinese philosophical idea of “conveying meaning through objects.” This paper explores the historical origins, artistic style, production process, aesthetic value, and modern inheritance of Yongzhou stone carving, aiming to provide a deeper understanding of the cultural significance embedded in this traditional craft.<br /> <br /> The origins of Yongzhou stone carving can be traced back to the Tang Dynasty, with its development continuing through the Song and Yuan dynasties, and flourishing during the Ming and Qing periods. According to the Yongzhou Gazetteer, as early as the Tang period, local craftsmen were already carving Buddhist statues, steles, and architectural decorations from locally quarried bluestone. In the Song Dynasty, the growing influence of religion and the region’s economic prosperity allowed stone carving to be widely applied to temples, tombs, and residential architecture. By the Ming and Qing periods, Yongzhou’s stone carving techniques had become increasingly sophisticated, producing works that were both technically refined and rich in cultural meaning, eventually forming a unique regional style.<br /> <br /> The development of Yongzhou stone carving is closely tied to its abundant natural resources. Situated between the Nanling Mountains and the Xiang River basin, Yongzhou is rich in fine-grained, durable bluestone and granite, providing ideal raw materials for stone carving. Furthermore, the city has long enjoyed a strong literary tradition. The famous Tang Dynasty writer Liu Zongyuan was exiled to Yongzhou and composed his well-known Eight Records of Excursions in Yongzhou, which vividly described the local scenery and cultural atmosphere. These works contributed, directly or indirectly, to the flourishing of artistic expressions such as stone carving.<br /> <br /> The artistic style of Yongzhou stone carving is a harmonious blend of Central Plains culture and southern folk aesthetics. It employs both realistic and expressive techniques. The subject matter is diverse, ranging from religious motifs and historical figures to auspicious symbols, flora and fauna, and folk tales. For example, Buddhist statues, dragon columns, and lotus bases are common in temples, while images of filial piety and ascension to immortality are often seen on tombs, combining artistic craftsmanship with moral instruction. Facial expressions are carved with fine detail, while animal movements are rendered with vivid dynamism, demonstrating the artisans’ keen observation and skillful execution.<br /> In terms of composition, Yongzhou stone carving emphasizes a balance between fullness and emptiness, density and sparsity. Through detailed carving and thoughtful spatial arrangement, it creates layered, immersive visual effects. Various techniques such as relief carving, openwork carving, and three-dimensional carving are employed to enhance depth and texture. Craftsmen use chisels as brushes, carving vivid scenes from solid stone with exceptional control and creativity. These works are not only artistic creations, but also visual narratives that reflect cultural stories and ethical values.<br /> <br /> The production of Yongzhou stone carving follows a rigorous process, typically including stone selection, design, carving, polishing, and installation. Material selection is fundamental. Artisans adhere to the principle of “adapting to the material,” choosing stone that is free of cracks, fine in texture, and appropriate in hardness. Commonly used stones include local bluestone and granite, each suited to different styles and functions. The design phase focuses on structure, composition, and symbolic meaning. Traditional motifs often carry auspicious connotations, such as cranes and pines symbolizing longevity, or lotus flowers representing purity and integrity. Designs are usually hand-drawn by experienced artisans and carefully refined before carving begins.<br /> Carving involves rough shaping, detailed carving, and final adjustments. Traditional tools such as chisels and mallets are still widely used, though modern electric tools have also been adopted to improve efficiency without compromising artistry. Once the carving is complete, the surface is polished to enhance visual appeal and texture. Large-scale works require on-site assembly and installation to ensure structural integrity and artistic coherence.<br /> Yongzhou stone carving is not merely a form of decorative art; it is also a vehicle for cultural expression. The visual language of its motifs conveys symbolic meanings and constitutes an important part of China’s traditional semiotic system. Many of these symbols can only be fully understood within their specific cultural contexts, reflecting the Chinese tradition of metaphorical and multi-layered communication. In temples, ancestral halls, or tombs, stone carvings often appear alongside inscribed texts, forming integrated visual-linguistic narratives that convey complex cultural messages.<br /> <br /> Folk stories and legendary figures are frequently depicted in Yongzhou stone carvings, offering insights into local dialects, customs, and moral values. For instance, depictions of the “Twenty-Four Filial Exemplars” serve both aesthetic and educational purposes. These elements not only reflect the aesthetic values of the region, but also provide material for linguistic and sociocultural research.<br /> <br /> As time progresses, traditional handicrafts like Yongzhou stone carving face the challenge of survival in a rapidly modernizing society. On the one hand, the learning curve for traditional techniques is steep, and fewer young people are willing to commit to such demanding apprenticeships. On the other hand, industrialization and changing consumer preferences have reduced the market demand for traditional stone carvings. Nevertheless, efforts have been made by local governments and cultural institutions to protect and revitalize this art form. Yongzhou stone carving has been designated as a provincial intangible cultural heritage, and efforts are underway to integrate the craft into vocational training and school curricula. Public exhibitions, competitions, and media exposure have also helped raise awareness.<br /> <br /> At the same time, the integration of modern technology has opened up new possibilities for the development of Yongzhou stone carving. Digital modeling, laser engraving, and 3D printing have improved production efficiency and enabled more innovative designs. Some young designers are incorporating traditional Yongzhou motifs into modern furniture, jewelry, and cultural products, thereby making the ancient craft relevant in contemporary life. New models of “stone carving + tourism” and “stone carving + landscape architecture” have also emerged, bringing the craft into dynamic interaction with public spaces and modern culture.<br /> <br /> Yongzhou stone carving, as a cultural form that preserves historical memory and conveys ethical and aesthetic values, is not only a regional artistic tradition but also an embodiment of China’s cultural diversity. Through the combination of visual imagery and symbolic language, it expresses deep-rooted ideas about life, morality, nature, and the cosmos. In the context of today’s cultural revival, the protection and inheritance of Yongzhou stone carving represent not only a respect for traditional craftsmanship, but also a reaffirmation of the enduring vitality of Chinese civilization.<br /> <br /> '''Terms and Expressions'''<br /> stone carving 石雕 <br /> bluestone / granite青石 / 花岗岩<br /> granite 花岗岩 <br /> round carving / relief carving / openwork 圆雕 / 浮雕 / 透雕<br /> composition构图 <br /> spatial arrangement空间布局<br /> expression rendering表情刻画 <br /> refinement / finishing修整 / 修光<br /> rough shaping / rough carving初坯 / 粗雕<br /> detailed carving精雕<br /> realism and expressionism 写实与写意<br /> aesthetic value审美价值<br /> convey meaning through objects 以物载道<br /> multilayered / polysemic expression多义表达<br /> <br /> '''Questions'''<br /> 1. What are the common carving techniques used in Yongzhou stone carving?<br /> <br /> 2. What are the typical themes found in Yongzhou stone carving?<br /> <br /> 3. What symbolic meanings do the patterns in stone carvings usually carry?<br /> <br /> 4. How does the style of Yongzhou stone carving differ from that of the Central Plains?<br /> <br /> 5. What role does the Twenty-Four Filial Exemplars play in stone carving?<br /> <br /> 6. How is the concept of “integration of image and text” reflected in stone carving?<br /> <br /> 7. Why has Yongzhou stone carving been designated as intangible cultural heritage?<br /> <br /> 8. How does modern technology influence the development of Yongzhou stone carving?<br /> <br /> <br />  <br /> '''永州石雕'''<br /> <br /> 永州位于湖南省南部，是一座历史悠久、文化底蕴深厚的城市。在这片山清水秀之地，孕育出许多具有地方特色的传统工艺，其中“永州石雕”尤为引人注目。作为中国南方石雕艺术的重要代表，永州石雕不仅承载着地方文化的记忆，也展现出中华语言文化中“以物载道”的哲学精神。本文将从永州石雕的历史渊源、艺术风格、工艺流程、美学价值及其当代传承等方面加以探讨，旨在深入理解这一文化遗产所蕴含的文化意义。<br /> <br /> 永州石雕的起源可追溯至唐代，发展于宋元，繁盛于明清。据《永州府志》记载，早在唐代，当地便有工匠利用本地青石雕刻佛像、碑铭以及庙宇装饰。宋代时期，随着宗教信仰的传播和永州地方经济的发展，石雕开始广泛应用于寺庙建筑、墓葬装饰和民居构件等多个领域。至明清时期，永州石雕技艺日趋成熟，作品不仅工艺精良，更富有地方特色与文化意蕴，逐步形成独特的艺术流派。<br /> <br /> 永州石雕的发展，与其丰富的自然资源密不可分。永州地处南岭山脉与潇湘水系之间，盛产质地细腻、坚硬耐久的青石和花岗岩，这为石雕艺术的发展提供了优越的材料条件。同时，永州自古文风鼎盛，唐代大文学家柳宗元曾贬谪至此，并以《永州八记》等作品记录了当地的自然风光与人文景观，为石雕艺术的文化氛围提供了滋养。<br /> <br /> 永州石雕的艺术风格融合了中原文化与南方民间艺术的特色，既有写实的技法，又不乏写意的表现。在题材方面，石雕内容广泛，涵盖宗教图像、历史人物、祥瑞图腾、花鸟鱼虫等多种元素。例如在寺庙中常见的佛像、龙柱、莲座，以及墓葬中的孝子图、升仙图，均体现出雕刻技艺与文化象征的高度结合。人物雕刻注重面部表情的细腻刻画，动物图案则强调动势与神韵的捕捉，展现出工匠高超的观察力与表现力。<br /> 在构图上，永州石雕注重虚实结合、疏密对比，通过细节刻画与空间布局的统一，营造出层次丰富的视觉效果。许多石雕作品采用浮雕、透雕、圆雕等多种技法结合使用，不仅增强了作品的立体感，也使得整体画面更具艺术感染力。工匠们以刀代笔，凭借娴熟的技艺将坚硬的石料雕刻得栩栩如生，其作品既是艺术创作的结晶，也是一种文化叙事的手段。<br /> <br /> 永州石雕的制作流程十分严谨，通常包括选石、设计、雕刻、打磨与安装等环节。选材是石雕制作的基础，匠人们强调“因材施艺”，往往选择纹理均匀、质地坚硬且无裂纹的青石或花岗岩。设计阶段则注重图案的构图与文化寓意，传统的图案大多含有吉祥、祝福等象征意义，如松鹤延年、连年有余、龙凤呈祥等，体现了中国传统文化中的图像语言与文化心理。<br /> <br /> 雕刻过程分为粗坯、细雕和修整三个步骤，需要石匠们具备高超的技艺与丰富的经验。传统工具以锤、凿为主，现代则辅以电动雕刻工具，提高了效率而不失传统质感。打磨阶段通过不同粗细的工具将雕刻表面抛光，使作品更具观赏性。若为大型作品，还需进行现场拼接与安装，确保整体结构的稳定性与艺术统一。<br /> <br /> 永州石雕不仅是一种工艺美术形式，更是一种文化语言的表达方式。石雕作品中的图案语言承载着丰富的象征意义，是中华传统文化符号系统的重要组成部分。许多图案需要在特定文化语境中解读，体现出中国文化中意象思维与多义表达的特点。在寺庙、祠堂或墓地中，石雕往往与碑刻文字共同构成图文一体的叙述方式，使观者在视觉与语言的双重层面感受其文化内涵。<br /> <br /> 此外，永州石雕中常见的民间故事和传说人物，反映出当地方言词汇、民俗观念与社会价值观。例如雕刻《二十四孝图》不仅具有装饰功能，更是一种道德教育的载体。这些内容不仅体现出石雕的审美价值，也具有较高的语言学与社会学研究价值。<br /> 随着时代的发展，传统手工艺逐渐面临传承困境。永州石雕亦不例外，一方面，传统技艺的学习周期长、难度高，年轻一代学习意愿不足；另一方面，工业化生产方式与现代审美观念的变迁，使传统石雕的市场空间受到限制。然而，在地方政府与文化机构的推动下，永州石雕作为非物质文化遗产正在逐步得到保护与传承。近年来，技艺传承人被认定为“省级非遗代表性传承人”，石雕技艺被纳入职业学校课程体系，并通过展览、比赛等方式提高社会关注度。<br /> <br /> 同时，现代科技的引入也为永州石雕带来新的发展机遇。数字建模、激光雕刻、3D打印等新技术不仅提升了生产效率，也为传统石雕设计注入更多创意空间。一些年轻设计师尝试将永州石雕元素与现代家具、文创产品相结合，使这一古老技艺在当代语境中焕发新生。永州本地还发展出“石雕+旅游”“石雕+景观”等产业模式，使传统技艺从静态展示走向动态互动，提升了其社会价值与文化影响力。<br /> <br /> 永州石雕作为一种承载历史记忆与文化情感的艺术形式，不仅是地方工艺的结晶，更是中华语言文化多样性的重要体现。它通过具体形象与文化符号的结合，传递出中国传统文化中关于生命、道德、自然与宇宙的深层理念。对于今天的我们而言，保护与传承永州石雕，不仅仅是对一种手工艺的珍视，更是对民族文化根脉的守护与延续。<br /> <br /> '''Terms and Expressions'''<br /> stone carving 石雕 <br /> bluestone / granite青石 / 花岗岩<br /> granite 花岗岩 <br /> round carving / relief carving / openwork 圆雕 / 浮雕 / 透雕<br /> composition构图 <br /> spatial arrangement空间布局<br /> expression rendering表情刻画 <br /> refinement / finishing修整 / 修光<br /> rough shaping / rough carving初坯 / 粗雕<br /> detailed carving精雕<br /> realism and expressionism 写实与写意<br /> aesthetic value审美价值<br /> convey meaning through objects 以物载道<br /> multilayered / polysemic expression多义表达<br /> <br /> <br /> 问题：<br /> 1.永州石雕常见的雕刻技法有哪些？<br /> <br /> 2.永州石雕有哪些常见题材？<br /> <br /> 3.石雕中的图案通常有什么象征意义？<br /> <br /> 4. 永州石雕与中原石雕风格有何不同？<br /> <br /> 5.《二十四孝图》在石雕中有何作用？<br /> <br /> 6.什么是“图文一体”在石雕中的体现？<br /> <br /> 7.永州石雕为何被列为非物质文化遗产？<br /> <br /> 8.现代技术如何影响永州石雕的发展？</div>

Chen Sisi2 https://bou.de/u/index.php?title=User:Chen_Sisi&diff=168160 2025-06-06T03:37:47Z

<p>Chen Sisi2: </p> <hr /> <div>'''Yongzhou Stone Carving'''<br /> Yongzhou is located in the southern part of Hunan Province. As a city with a long history and rich cultural heritage, it has given birth to a variety of traditional crafts with distinctive local characteristics. Among them, Yongzhou stone carving stands out as an especially brilliant gem. As an important representative of stone carving art in southern China, Yongzhou stone carving not only carries the memory of local culture, but also reflects the Chinese philosophical idea of “conveying meaning through objects.” This paper explores the historical origins, artistic style, production process, aesthetic value, and modern inheritance of Yongzhou stone carving, aiming to provide a deeper understanding of the cultural significance embedded in this traditional craft.<br /> The origins of Yongzhou stone carving can be traced back to the Tang Dynasty, with its development continuing through the Song and Yuan dynasties, and flourishing during the Ming and Qing periods. According to the Yongzhou Gazetteer, as early as the Tang period, local craftsmen were already carving Buddhist statues, steles, and architectural decorations from locally quarried bluestone. In the Song Dynasty, the growing influence of religion and the region’s economic prosperity allowed stone carving to be widely applied to temples, tombs, and residential architecture. By the Ming and Qing periods, Yongzhou’s stone carving techniques had become increasingly sophisticated, producing works that were both technically refined and rich in cultural meaning, eventually forming a unique regional style.<br /> The development of Yongzhou stone carving is closely tied to its abundant natural resources. Situated between the Nanling Mountains and the Xiang River basin, Yongzhou is rich in fine-grained, durable bluestone and granite, providing ideal raw materials for stone carving. Furthermore, the city has long enjoyed a strong literary tradition. The famous Tang Dynasty writer Liu Zongyuan was exiled to Yongzhou and composed his well-known Eight Records of Excursions in Yongzhou, which vividly described the local scenery and cultural atmosphere. These works contributed, directly or indirectly, to the flourishing of artistic expressions such as stone carving.<br /> The artistic style of Yongzhou stone carving is a harmonious blend of Central Plains culture and southern folk aesthetics. It employs both realistic and expressive techniques. The subject matter is diverse, ranging from religious motifs and historical figures to auspicious symbols, flora and fauna, and folk tales. For example, Buddhist statues, dragon columns, and lotus bases are common in temples, while images of filial piety and ascension to immortality are often seen on tombs, combining artistic craftsmanship with moral instruction. Facial expressions are carved with fine detail, while animal movements are rendered with vivid dynamism, demonstrating the artisans’ keen observation and skillful execution.<br /> In terms of composition, Yongzhou stone carving emphasizes a balance between fullness and emptiness, density and sparsity. Through detailed carving and thoughtful spatial arrangement, it creates layered, immersive visual effects. Various techniques such as relief carving, openwork carving, and three-dimensional carving are employed to enhance depth and texture. Craftsmen use chisels as brushes, carving vivid scenes from solid stone with exceptional control and creativity. These works are not only artistic creations, but also visual narratives that reflect cultural stories and ethical values.<br /> The production of Yongzhou stone carving follows a rigorous process, typically including stone selection, design, carving, polishing, and installation. Material selection is fundamental. Artisans adhere to the principle of “adapting to the material,” choosing stone that is free of cracks, fine in texture, and appropriate in hardness. Commonly used stones include local bluestone and granite, each suited to different styles and functions. The design phase focuses on structure, composition, and symbolic meaning. Traditional motifs often carry auspicious connotations, such as cranes and pines symbolizing longevity, or lotus flowers representing purity and integrity. Designs are usually hand-drawn by experienced artisans and carefully refined before carving begins.<br /> Carving involves rough shaping, detailed carving, and final adjustments. Traditional tools such as chisels and mallets are still widely used, though modern electric tools have also been adopted to improve efficiency without compromising artistry. Once the carving is complete, the surface is polished to enhance visual appeal and texture. Large-scale works require on-site assembly and installation to ensure structural integrity and artistic coherence.<br /> Yongzhou stone carving is not merely a form of decorative art; it is also a vehicle for cultural expression. The visual language of its motifs conveys symbolic meanings and constitutes an important part of China’s traditional semiotic system. Many of these symbols can only be fully understood within their specific cultural contexts, reflecting the Chinese tradition of metaphorical and multi-layered communication. In temples, ancestral halls, or tombs, stone carvings often appear alongside inscribed texts, forming integrated visual-linguistic narratives that convey complex cultural messages.<br /> Folk stories and legendary figures are frequently depicted in Yongzhou stone carvings, offering insights into local dialects, customs, and moral values. For instance, depictions of the “Twenty-Four Filial Exemplars” serve both aesthetic and educational purposes. These elements not only reflect the aesthetic values of the region, but also provide material for linguistic and sociocultural research.<br /> As time progresses, traditional handicrafts like Yongzhou stone carving face the challenge of survival in a rapidly modernizing society. On the one hand, the learning curve for traditional techniques is steep, and fewer young people are willing to commit to such demanding apprenticeships. On the other hand, industrialization and changing consumer preferences have reduced the market demand for traditional stone carvings. Nevertheless, efforts have been made by local governments and cultural institutions to protect and revitalize this art form. Yongzhou stone carving has been designated as a provincial intangible cultural heritage, and efforts are underway to integrate the craft into vocational training and school curricula. Public exhibitions, competitions, and media exposure have also helped raise awareness.<br /> At the same time, the integration of modern technology has opened up new possibilities for the development of Yongzhou stone carving. Digital modeling, laser engraving, and 3D printing have improved production efficiency and enabled more innovative designs. Some young designers are incorporating traditional Yongzhou motifs into modern furniture, jewelry, and cultural products, thereby making the ancient craft relevant in contemporary life. New models of “stone carving + tourism” and “stone carving + landscape architecture” have also emerged, bringing the craft into dynamic interaction with public spaces and modern culture.<br /> Yongzhou stone carving, as a cultural form that preserves historical memory and conveys ethical and aesthetic values, is not only a regional artistic tradition but also an embodiment of China’s cultural diversity. Through the combination of visual imagery and symbolic language, it expresses deep-rooted ideas about life, morality, nature, and the cosmos. In the context of today’s cultural revival, the protection and inheritance of Yongzhou stone carving represent not only a respect for traditional craftsmanship, but also a reaffirmation of the enduring vitality of Chinese civilization.<br /> <br /> '''Terms and Expressions'''<br /> stone carving 石雕 <br /> bluestone / granite青石 / 花岗岩<br /> granite 花岗岩 <br /> round carving / relief carving / openwork 圆雕 / 浮雕 / 透雕<br /> composition构图 <br /> spatial arrangement空间布局<br /> expression rendering表情刻画 <br /> refinement / finishing修整 / 修光<br /> rough shaping / rough carving初坯 / 粗雕<br /> detailed carving精雕<br /> realism and expressionism 写实与写意<br /> aesthetic value审美价值<br /> convey meaning through objects 以物载道<br /> multilayered / polysemic expression多义表达<br /> <br /> '''Questions'''<br /> 1. What are the common carving techniques used in Yongzhou stone carving?<br /> 2. What are the typical themes found in Yongzhou stone carving?<br /> 3. What symbolic meanings do the patterns in stone carvings usually carry?<br /> 4. How does the style of Yongzhou stone carving differ from that of the Central Plains?<br /> 5. What role does the Twenty-Four Filial Exemplars play in stone carving?<br /> 6. How is the concept of “integration of image and text” reflected in stone carving?<br /> 7. Why has Yongzhou stone carving been designated as intangible cultural heritage?<br /> 8. How does modern technology influence the development of Yongzhou stone carving?<br /> <br /> <br />  <br /> '''永州石雕'''<br /> 永州位于湖南省南部，是一座历史悠久、文化底蕴深厚的城市。在这片山清水秀之地，孕育出许多具有地方特色的传统工艺，其中“永州石雕”尤为引人注目。作为中国南方石雕艺术的重要代表，永州石雕不仅承载着地方文化的记忆，也展现出中华语言文化中“以物载道”的哲学精神。本文将从永州石雕的历史渊源、艺术风格、工艺流程、美学价值及其当代传承等方面加以探讨，旨在深入理解这一文化遗产所蕴含的文化意义。<br /> 永州石雕的起源可追溯至唐代，发展于宋元，繁盛于明清。据《永州府志》记载，早在唐代，当地便有工匠利用本地青石雕刻佛像、碑铭以及庙宇装饰。宋代时期，随着宗教信仰的传播和永州地方经济的发展，石雕开始广泛应用于寺庙建筑、墓葬装饰和民居构件等多个领域。至明清时期，永州石雕技艺日趋成熟，作品不仅工艺精良，更富有地方特色与文化意蕴，逐步形成独特的艺术流派。<br /> 永州石雕的发展，与其丰富的自然资源密不可分。永州地处南岭山脉与潇湘水系之间，盛产质地细腻、坚硬耐久的青石和花岗岩，这为石雕艺术的发展提供了优越的材料条件。同时，永州自古文风鼎盛，唐代大文学家柳宗元曾贬谪至此，并以《永州八记》等作品记录了当地的自然风光与人文景观，为石雕艺术的文化氛围提供了滋养。<br /> 永州石雕的艺术风格融合了中原文化与南方民间艺术的特色，既有写实的技法，又不乏写意的表现。在题材方面，石雕内容广泛，涵盖宗教图像、历史人物、祥瑞图腾、花鸟鱼虫等多种元素。例如在寺庙中常见的佛像、龙柱、莲座，以及墓葬中的孝子图、升仙图，均体现出雕刻技艺与文化象征的高度结合。人物雕刻注重面部表情的细腻刻画，动物图案则强调动势与神韵的捕捉，展现出工匠高超的观察力与表现力。<br /> 在构图上，永州石雕注重虚实结合、疏密对比，通过细节刻画与空间布局的统一，营造出层次丰富的视觉效果。许多石雕作品采用浮雕、透雕、圆雕等多种技法结合使用，不仅增强了作品的立体感，也使得整体画面更具艺术感染力。工匠们以刀代笔，凭借娴熟的技艺将坚硬的石料雕刻得栩栩如生，其作品既是艺术创作的结晶，也是一种文化叙事的手段。<br /> 永州石雕的制作流程十分严谨，通常包括选石、设计、雕刻、打磨与安装等环节。选材是石雕制作的基础，匠人们强调“因材施艺”，往往选择纹理均匀、质地坚硬且无裂纹的青石或花岗岩。设计阶段则注重图案的构图与文化寓意，传统的图案大多含有吉祥、祝福等象征意义，如松鹤延年、连年有余、龙凤呈祥等，体现了中国传统文化中的图像语言与文化心理。<br /> 雕刻过程分为粗坯、细雕和修整三个步骤，需要石匠们具备高超的技艺与丰富的经验。传统工具以锤、凿为主，现代则辅以电动雕刻工具，提高了效率而不失传统质感。打磨阶段通过不同粗细的工具将雕刻表面抛光，使作品更具观赏性。若为大型作品，还需进行现场拼接与安装，确保整体结构的稳定性与艺术统一。<br /> 永州石雕不仅是一种工艺美术形式，更是一种文化语言的表达方式。石雕作品中的图案语言承载着丰富的象征意义，是中华传统文化符号系统的重要组成部分。许多图案需要在特定文化语境中解读，体现出中国文化中意象思维与多义表达的特点。在寺庙、祠堂或墓地中，石雕往往与碑刻文字共同构成图文一体的叙述方式，使观者在视觉与语言的双重层面感受其文化内涵。<br /> 此外，永州石雕中常见的民间故事和传说人物，反映出当地方言词汇、民俗观念与社会价值观。例如雕刻《二十四孝图》不仅具有装饰功能，更是一种道德教育的载体。这些内容不仅体现出石雕的审美价值，也具有较高的语言学与社会学研究价值。<br /> 随着时代的发展，传统手工艺逐渐面临传承困境。永州石雕亦不例外，一方面，传统技艺的学习周期长、难度高，年轻一代学习意愿不足；另一方面，工业化生产方式与现代审美观念的变迁，使传统石雕的市场空间受到限制。然而，在地方政府与文化机构的推动下，永州石雕作为非物质文化遗产正在逐步得到保护与传承。近年来，技艺传承人被认定为“省级非遗代表性传承人”，石雕技艺被纳入职业学校课程体系，并通过展览、比赛等方式提高社会关注度。<br /> 同时，现代科技的引入也为永州石雕带来新的发展机遇。数字建模、激光雕刻、3D打印等新技术不仅提升了生产效率，也为传统石雕设计注入更多创意空间。一些年轻设计师尝试将永州石雕元素与现代家具、文创产品相结合，使这一古老技艺在当代语境中焕发新生。永州本地还发展出“石雕+旅游”“石雕+景观”等产业模式，使传统技艺从静态展示走向动态互动，提升了其社会价值与文化影响力。<br /> 永州石雕作为一种承载历史记忆与文化情感的艺术形式，不仅是地方工艺的结晶，更是中华语言文化多样性的重要体现。它通过具体形象与文化符号的结合，传递出中国传统文化中关于生命、道德、自然与宇宙的深层理念。对于今天的我们而言，保护与传承永州石雕，不仅仅是对一种手工艺的珍视，更是对民族文化根脉的守护与延续。<br /> <br /> '''Terms and Expressions'''<br /> stone carving 石雕 <br /> bluestone / granite青石 / 花岗岩<br /> granite 花岗岩 <br /> round carving / relief carving / openwork 圆雕 / 浮雕 / 透雕<br /> composition构图 <br /> spatial arrangement空间布局<br /> expression rendering表情刻画 <br /> refinement / finishing修整 / 修光<br /> rough shaping / rough carving初坯 / 粗雕<br /> detailed carving精雕<br /> realism and expressionism 写实与写意<br /> aesthetic value审美价值<br /> convey meaning through objects 以物载道<br /> multilayered / polysemic expression多义表达<br /> <br /> <br /> 问题：<br /> 1.永州石雕常见的雕刻技法有哪些？<br /> 2.永州石雕有哪些常见题材？<br /> 3.石雕中的图案通常有什么象征意义？<br /> 4. 永州石雕与中原石雕风格有何不同？<br /> 5.《二十四孝图》在石雕中有何作用？<br /> 6.什么是“图文一体”在石雕中的体现？<br /> 7.永州石雕为何被列为非物质文化遗产？<br /> 8.现代技术如何影响永州石雕的发展？</div>

Chen Sisi2 https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=166603 2025-05-09T08:45:41Z

<p>Chen Sisi2: </p> <hr /> <div>Final Exam Paper Titles<br /> #https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Zang Flowers ok<br /> #https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok<br /> #https://bou.de/u/wiki/User:Zeng_Zhi 手串文化 Bead Bracelet Culture ok<br /> #https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok<br /> #https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok<br /> #https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)<br /> #https://bou.de/u/wiki/User:Liu_Qi 劝酒文化 Drinking Persuasion Culture ok<br /> #https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok<br /> #https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Huang_Yixuan2 纪录片：《我在故宫修文物》Documentary: Masters in Forbidden City<br /> #https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳八卦 ''The Book of Changes''and Yin-Yang ok<br /> #https://bou.de/u/wiki/User:Liao_Dan 吊脚楼 Stilted Building<br /> #https://bou.de/u/wiki/User:Zheng_Jinlian 陈皮 Dried Orange Peel ok<br /> #https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok<br /> #https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok<br /> #https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok<br /> #https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok<br /> #https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok<br /> #https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Flower ok<br /> #https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok<br /> #https://bou.de/u/wiki/User:Song_Xin 剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects<br /> #https://bou.de/u/wiki/User:Cao_Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city ok<br /> #https://bou.de/u/wiki/User:Jin_Yichen 吴越文化 Wuyue Culture ok<br /> #https://bou.de/u/wiki/User:Ye_Sitong 温州话 Wenzhou Dialect ok<br /> #https://bou.de/u/wiki/User:Xiao_Luyu 封神演义 Chinese classical novel The Investiture of the Gods ok<br /> #https://bou.de/u/wiki/User:Zhang_Qi 福建线面 Fujian Thin Noddles ok<br /> #https://bou.de/u/wiki/User:Zheng_Kaiwu 工夫茶 Kanghu tea ok<br /> #https://bou.de/u/wiki/User:Luo_Jingyan 油纸伞 折扇 Folding Fan<br /> #https://bou.de/u/wiki/User:Luo_Sicheng 惊鸿舞 Flying Wild Goose Dance ok<br /> #https://bou.de/u/wiki/User:Liu_Jianan 安徽名酒—古井贡酒 Famous Anhui Liquor-Gujing Tribute Liquor<br /> #https://bou.de/u/wiki/User:Chen_Lin 服美役 beauty duty ok<br /> #https://bou.de/u/wiki/User:Tang_Yan 道州理学文化 Neo-Confucian Culture in Daozhou ok<br /> #https://bou.de/u/wiki/User:Qin_Yi 胶东花饽饽 Jiao Dong Huabobo ok<br /> #https://bou.de/u/wiki/User:Chen_Zhen 玄奘 Xuanzang ok<br /> #https://bou.de/u/wiki/User:Ou_Huang 浏阳花炮制作技艺 Liuyang Fireworks Making Technique ok<br /> #https://bou.de/u/wiki/User:Luo_Yan 成人礼：冠礼和笄礼 Traditional Chinese coming-of-age ceremony：Guan Li and Ji Li ok<br /> #https://bou.de/u/wiki/User:Lv_Jiahao 越剧 Opera:Yue Opera Pleaes check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Wang_Yuxin 中国古法酿酒 Traditional Chinese Brewing Techniques ok<br /> #https://bou.de/u/wiki/User:Dai_Yexun 粤剧 Opera:Cantonese opera Please check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Yan_Jidong 闽南文化 Hokkien culture ok.<br /> #https://bou.de/u/wiki/User:Qiu_Ping 重阳节 Chung Yeung Festival ok<br /> #https://bou.de/u/wiki/User:He_Yunfeng 献哈达 Etiquette:Offering Hada(Khata) Scarf<br /> #https://bou.de/u/wiki/User:Zhou_Le 榨辣椒 Pressing pepper<br /> #https://bou.de/u/wiki/User:Huang_Qiaoqiao 舞剧《咏春》 Dance Drama Wing Chun<br /> #https://bou.de/u/wiki/User:Duan_Binyao 古诗十九首 Nineteen Old Poems<br /> #https://bou.de/u/wiki/User:Li_Linyao 泼水节 Water-Splashing Festival<br /> #https://bou.de/u/wiki/User:Xiao_Yikang 江西地方端午节传统习俗 Local Dragon Boat Festival traditions of Jiangxi<br /> #https://bou.de/u/wiki/User:Gao_Xiaoqing 粽子 Zongzi<br /> #https://bou.de/u/wiki/User:Zhang_Meiling 秧歌 Yangko<br /> #https://bou.de/u/wiki/User:Huang_Sinan 春晚 Spring Festival Gala<br /> #https://bou.de/u/wiki/User:Du_Jiangping 楚辞 The Songs of Chu<br /> #https://bou.de/u/wiki/User:Jiang_Ziqiang 抛绣球 Zhuang Custom of Throwing the Embroidered Ball for Courtship<br /> #https://bou.de/u/wiki/User:Zeng_Xiaohui 中秋节 Mid-autumn Festival<br /> #https://bou.de/u/wiki/User:Geng_Hongmei 醴陵釉下五彩瓷 Five-colored Under Glaze made in Liling<br /> #https://bou.de/u/wiki/User:Yang_Yue2 现代文学：许渊冲 Modern Literature: Xv Yuanchong<br /> #https://bou.de/u/wiki/User:Chen_Anqi 螺钿 Luodian<br /> #https://bou.de/u/wiki/User:Yang_Jing 粮画 The Grain Paintings<br /> #https://bou.de/u/wiki/User:Dai_Shiru 李白 Li Bai<br /> #https://bou.de/u/wiki/User:Yu_Jingfang 傩文化 Nuo culture<br /> #https://bou.de/u/wiki/User:Li_Mingfeng 编钟 Chinese Ancient Instrument:Bianzhong<br /> #https://bou.de/u/wiki/User:Chen_Ting 湘西泡菜 Xiangxi Kimchi<br /> #https://bou.de/u/wiki/User:Gong_Wei 桃源擂茶 Taoyuan Lei Cha<br /> #https://bou.de/u/wiki/User:Yang_Jiahong2 闽南红砖古厝 Southern Fujian Red Brick Ancient Houses<br /> #https://bou.de/u/wiki/User:Wang_Huaixing 长白山 Mount Changbai<br /> #https://bou.de/u/wiki/User:Xiang_Jianning 马面裙 Horse face skirt<br /> #https://bou.de/u/wiki/User:Zhao_Qi 动画片：《虹猫蓝兔七侠传》 Chinese wuxia animation: Howie &amp; Landau Seven Chivalrous Biography<br /> #https://bou.de/u/wiki/User:Zhang_Zixi 叶子戏 Yezi Xi<br /> Shao Keyuan 殷墟 The Yin Ruins<br /> #https://bou.de/u/wiki/User:Dong_Jiating 麻辣烫 Malatang<br /> #https://bou.de/u/wiki/User:Ouyang_Yihong 辣条 Spicy Gluten Strips<br /> #https://bou.de/u/wiki/User:Lu_Wei 蛋炒饭 Egg-fried Rice<br /> #Xing Xueqing 桃花源 The Peach Garden<br /> #https://bou.de/u/wiki/User:Wang_Xinyu 赣南客家围屋 Hakka Tulou in Southern Jiangxi<br /> #https://bou.de/u/wiki/User:Yuan_Xiaolin 新中式 new Chinese style clothes<br /> #https://bou.de/u/wiki/User:Chu_Hanqi 翠兰 Cui Lan（a kind of tea)<br /> #https://bou.de/u/wiki/User:Wu_Jiating 瓦罐汤 Clay Pot <br /> #https://bou.de/u/wiki/User:Jiang_Xinyue 灵隐寺 Lingyin Temple<br /> #https://bou.de/u/wiki/User:Xu_Xinwen 十二生肖Chinese Zodiac<br /> #https://bou.de/u/wiki/User:Liu_Pei 南岳衡山 Mount Heng<br /> #https://bou.de/u/wiki/User:Xiao_Zixin 恋与深空 Love and Deepspace<br /> #https://bou.de/u/wiki/User:Liu_Shutian 旗袍 Cheongsam<br /> #https://bou.de/u/wiki/User:Li_Jiayi 哈尔滨啤酒 Harbin Beer<br /> #https://bou.de/u/wiki/User:Qi Zhiyang 漆扇 Lacquer Fan<br /> #https://bou.de/u/wiki/User:Chen_Sisi 永州石雕 Yongzhou Stone Carving</div>

Chen Sisi2 https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=166594 2025-05-09T08:27:26Z

<p>Chen Sisi2: </p> <hr /> <div>Final Exam Paper Titles<br /> #https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Zang Flowers ok<br /> #https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok<br /> #https://bou.de/u/wiki/User:Zeng_Zhi 手串文化 Bead Bracelet Culture ok<br /> #https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok<br /> #https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok<br /> #https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)<br /> #https://bou.de/u/wiki/User:Liu_Qi 劝酒文化 Drinking Persuasion Culture ok<br /> #https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok<br /> #https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Huang_Yixuan2 纪录片：《我在故宫修文物》Documentary: Masters in Forbidden City<br /> #https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳八卦 ''The Book of Changes''and Yin-Yang ok<br /> #https://bou.de/u/wiki/User:Liao_Dan 吊脚楼 Stilted Building<br /> #https://bou.de/u/wiki/User:Zheng_Jinlian 陈皮 Dried Orange Peel ok<br /> #https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok<br /> #https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok<br /> #https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok<br /> #https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok<br /> #https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok<br /> #https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Flower ok<br /> #https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok<br /> #https://bou.de/u/wiki/User:Song_Xin 剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects<br /> #https://bou.de/u/wiki/User:Cao_Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city ok<br /> #https://bou.de/u/wiki/User:Jin_Yichen 吴越文化 Wuyue Culture ok<br /> #https://bou.de/u/wiki/User:Ye_Sitong 温州话 Wenzhou Dialect ok<br /> #https://bou.de/u/wiki/User:Xiao_Luyu 封神演义 Chinese classical novel The Investiture of the Gods ok<br /> #https://bou.de/u/wiki/User:Zhang_Qi 福建线面 Fujian Thin Noddles ok<br /> #https://bou.de/u/wiki/User:Zheng_Kaiwu 工夫茶 Kanghu tea ok<br /> #https://bou.de/u/wiki/User:Luo_Jingyan 油纸伞 折扇 Folding Fan<br /> #https://bou.de/u/wiki/User:Luo_Sicheng 惊鸿舞 Flying Wild Goose Dance ok<br /> #https://bou.de/u/wiki/User:Liu_Jianan 安徽名酒—古井贡酒 Famous Anhui Liquor-Gujing Tribute Liquor<br /> #https://bou.de/u/wiki/User:Chen_Lin 服美役 beauty duty ok<br /> #https://bou.de/u/wiki/User:Tang_Yan 道州理学文化 Neo-Confucian Culture in Daozhou ok<br /> #https://bou.de/u/wiki/User:Qin_Yi 胶东花饽饽 Jiao Dong Huabobo ok<br /> #https://bou.de/u/wiki/User:Chen_Zhen 玄奘 Xuanzang ok<br /> #https://bou.de/u/wiki/User:Ou_Huang 浏阳花炮制作技艺 Liuyang Fireworks Making Technique ok<br /> #https://bou.de/u/wiki/User:Luo_Yan 成人礼：冠礼和笄礼 Traditional Chinese coming-of-age ceremony：Guan Li and Ji Li ok<br /> #https://bou.de/u/wiki/User:Lv_Jiahao 越剧 Opera:Yue Opera Pleaes check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Wang_Yuxin 中国古法酿酒 Traditional Chinese Brewing Techniques ok<br /> #https://bou.de/u/wiki/User:Dai_Yexun 粤剧 Opera:Cantonese opera Please check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Yan_Jidong 闽南文化 Hokkien culture ok.<br /> #https://bou.de/u/wiki/User:Qiu_Ping 重阳节 Chung Yeung Festival ok<br /> #https://bou.de/u/wiki/User:He_Yunfeng 献哈达 Tibetan Etiquette:Offering Hada(Khata)<br /> #https://bou.de/u/wiki/User:Zhou_Le 榨辣椒 Pressing pepper<br /> #https://bou.de/u/wiki/User:Huang_Qiaoqiao 舞剧《咏春》 Dance Drama Wing Chun<br /> #https://bou.de/u/wiki/User:Duan_Binyao 古诗十九首 Nineteen Old Poems<br /> #https://bou.de/u/wiki/User:Li_Linyao 泼水节 Water-Splashing Festival<br /> #https://bou.de/u/wiki/User:Xiao_Yikang 江西地方端午节传统习俗 Local Dragon Boat Festival traditions of Jiangxi<br /> #https://bou.de/u/wiki/User:Gao_Xiaoqing 粽子 Zongzi<br /> #https://bou.de/u/wiki/User:Zhang_Meiling 秧歌 Yangko<br /> #https://bou.de/u/wiki/User:Huang_Sinan 春晚 Spring Festival Gala<br /> #https://bou.de/u/wiki/User:Du_Jiangping 楚辞 The Songs of Chu<br /> #https://bou.de/u/wiki/User:Jiang_Ziqiang 抛绣球 Zhuang Custom of Throwing the Embroidered Ball for Courtship<br /> #https://bou.de/u/wiki/User:Zeng_Xiaohui 中秋节 Mid-autumn Festival<br /> #https://bou.de/u/wiki/User:Geng_Hongmei 醴陵釉下五彩瓷 Five-colored Under Glaze made in Liling<br /> #https://bou.de/u/wiki/User:Yang_Yue2 现代文学：许渊冲 Modern Literature: Xv Yuanchong<br /> #https://bou.de/u/wiki/User:Chen_Anqi 螺钿 Luodian<br /> #https://bou.de/u/wiki/User:Yang_Jing 粮画 The Grain Paintings<br /> #https://bou.de/u/wiki/User:Dai_Shiru 李白 Li Bai<br /> #https://bou.de/u/wiki/User:Yu_Jingfang 傩文化 Nuo culture<br /> #https://bou.de/u/wiki/User:Li_Mingfeng 编钟 Chinese Ancient Instrument:Bianzhong<br /> #https://bou.de/u/wiki/User:Chen_Ting 湘西泡菜 Xiangxi Kimchi<br /> #https://bou.de/u/wiki/User:Gong_Wei 桃源擂茶 Taoyuan Lei Cha<br /> #https://bou.de/u/wiki/User:Yang_Jiahong2 闽南红砖古厝 Southern Fujian Red Brick Ancient Houses<br /> #https://bou.de/u/wiki/User:Wang_Huaixing 长白山 Mount Changbai<br /> #https://bou.de/u/wiki/User:Xiang_Jianning 马面裙 Horse face skirt<br /> #https://bou.de/u/wiki/User:Zhao_Qi 动画片：《虹猫蓝兔七侠传》 Chinese wuxia animation: Howie &amp; Landau Seven Chivalrous Biography<br /> #https://bou.de/u/wiki/User:Zhang_Zixi 叶子戏 Yezi Xi<br /> Shao Keyuan 殷墟 The Yin Ruins<br /> #https://bou.de/u/wiki/User:Dong_Jiating 麻辣烫 Malatang<br /> #https://bou.de/u/wiki/User:Ouyang_Yihong 辣条 Spicy Gluten Strips<br /> #https://bou.de/u/wiki/User:Lu_Wei 月饼 Mooncake<br /> #Xing Xueqing 桃花源 The Peach Garden<br /> #https://bou.de/u/wiki/User:Wang_Xinyu 赣南客家围屋 Hakka Tulou in Southern Jiangxi<br /> #https://bou.de/u/wiki/User:Yuan_Xiaolin 新中式 new Chinese style clothes<br /> #https://bou.de/u/wiki/User:Chu_Hanqi 翠兰 Cui Lan（a kind of tea)<br /> #https://bou.de/u/wiki/User:Wu_Jiating 瓦罐汤 Clay Pot <br /> #https://bou.de/u/wiki/User:Jiang_Xinyue 灵隐寺 Lingyin Temple<br /> Xu_Xinwen十二生肖Chinese Zodiac<br /> #https://bou.de/u/wiki/User:Liu_Pei 南岳衡山 Mount Heng<br /> #https://bou.de/u/wiki/User:Liu_Shutian 旗袍 Cheongsam<br /> #https://bou.de/u/wiki/User:Chen_Sisi 永州石雕 Yongzhou Stone Carving</div>

Chen Sisi2 https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=165779 2025-03-14T16:57:22Z

<p>Chen Sisi2: /* Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations */</p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203 (Zhang Mai)<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309 <br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462（Zhao Qi）<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900 <br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317 (Wu Jiating)<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> <br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> <br /> 143. Traditional Crafts: Cloisonne 1363 <br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br /> <br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> <br /> 157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558<br /> <br /> 166. Economy: Chinese Currency Changes 1569<br /> <br /> 167. History: Wang Shouren 1573 Lv Jiahao<br /> <br /> 168. Martial Arts: Chinese Swordsman Spirit 1582<br /> <br /> 169. Cuisine: Luosifen 1593 （Chen Sisi)<br /> <br /> 170. Fine Arts: Chinese Paper Cutting 1601 <br /> <br /> 171. Science and Technology: Taobao(淘宝) 1611<br /> <br /> 172. Traditional Craft: Bronze 1623<br /> <br /> 173. Entertainment: Deyunshe 德云社 1631<br /> <br /> 174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br /> <br /> 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br /> <br /> 176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br /> <br /> 177. stage entertainment:Yuan drama 1676<br /> <br /> 178. Music and instruments: Erhu 1685<br /> <br /> 179. Traditional and Modern Views on Marriage and Love 1694 <br /> <br /> 180. Traditional Cuisine: Tangyuan 1701<br /> <br /> 181. Animals：Golden Monkey 1712（Xiao Yawen）<br /> <br /> 182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br /> <br /> 183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br /> <br /> 184. The Chinese tradition of ancestor worship 1740<br /> <br /> 185. Opera: Huangmei opera 1752 （Chu Hanqi）<br /> <br /> 186. The “reference” of Chinese Music 1759<br /> <br /> 187. Chinese Folk Art:Lion Dance 1767<br /> <br /> 188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br /> <br /> 189. Clothing: Vintage Clothing 1790<br /> <br /> 190. Fine arts:Kunqu Opera 1798<br /> <br /> 191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br /> <br /> 192. National Belief: the Chinese Dream 1818<br /> <br /> 193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br /> <br /> 194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br /> <br /> 195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br /> <br /> 196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> <br /> 197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br /> <br /> 198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br /> <br /> 199. Traditional Crafts: Dough Sculpture 面塑 1845<br /> <br /> 200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br /> <br /> 201. The culture of Grass cloth 夏布 1845 <br /> <br /> 202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br /> <br /> 203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br /> <br /> 204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> <br /> 205. Bride-price（彩礼） 1845 <br /> <br /> 206. Chinese science fiction movies 中国科幻片 1845<br /> <br /> 207. Shandong cuisine鲁菜 1845(Lu Wei)<br /> <br /> 208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)<br /> <br /> 209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br /> <br /> 210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br /> <br /> 211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br /> <br /> 212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br /> <br /> 213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br /> <br /> 214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br /> <br /> 215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br /> <br /> 216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br /> <br /> 217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br /> <br /> 218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br /> <br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> 220. Rice cake (年糕) 1845 （Dong Jiating）<br /> <br /> 221. Zhongyuan festival 1845 （Ou Huang）<br /> <br /> 222. Dulong: Facial tattoo (独龙族：纹面) 1845<br /> <br /> 223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br /> <br /> 224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br /> <br /> 225. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845(Li Linyao) <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845 （Liu Qi）<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br /> <br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br /> <br /> 274. God of Wealth(财神) 1845 <br /> <br /> 275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br /> <br /> 276. Nail art（美甲） 1845 （Luo Jiaxin）<br /> 277. Mirror (镜子) 1845 (Cheng Sixiang) <br /> <br /> 278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br /> <br /> 279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br /> <br /> 280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br /> <br /> 281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br /> <br /> 282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br /> <br /> 283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br /> <br /> =Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Topics for today==<br /> Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br /> <br /> You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br /> <br /> Please remember that you have to indicate the 10 topics for Friday on the course website under &quot;Session 2&quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br /> <br /> 27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br /> <br /> Tea Latte Art (Xiang Jianning)<br /> <br /> Topic 7<br /> <br /> Topic 8<br /> <br /> Topic 9<br /> <br /> Topic 10<br /> <br /> =Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br /> ==Presentations==<br /> 1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br /> <br /> 2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br /> <br /> 3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br /> <br /> 4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br /> <br /> 5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br /> <br /> 6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br /> <br /> 7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br /> <br /> ==Notes on presentations==<br /> Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br /> <br /> 1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &quot;Black tea&quot; (in English all &quot;hong cha&quot; is called &quot;black tea&quot;), British tea culture (add milk)<br /> <br /> 2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br /> <br /> 3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br /> <br /> 4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br /> <br /> 5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br /> <br /> 6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br /> <br /> 7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br /> <br /> ==Student grades: 平时成绩/签到==<br /> # lu jiahui<br /> # li yuan<br /> # cao yuan<br /> # xiao luyu<br /> # zhang jiaxin<br /> # ye sitong<br /> # zhao yashi<br /> # jiang xinyue<br /> # yan xiang<br /> # fei xinyu<br /> # zhang qi<br /> # dai shiru<br /> # zhangzi xi<br /> # zheng kaiwu<br /> # cai yichun<br /> # yang jing<br /> # liao dan<br /> # luo yan<br /> # qin yi<br /> # shao keyuan<br /> # cao chunyang<br /> # xu yangyang<br /> # liao zuoyun<br /> # cheng sixiang<br /> # du jiangping<br /> # liu qi<br /> # miao yunlong<br /> # huang qiaoqiao<br /> # chen lin<br /> # duan binyao<br /> # li ting<br /> # ceng me<br /> # geng xueqing<br /> # luo jingyan<br /> # liu shutian<br /> # gao xiaoqing<br /> # chen zhen<br /> # luo guoqiang<br /> # she xiao<br /> # he yunfeng<br /> # liu ying<br /> # du yuan<br /> # li jiayi<br /> # tao yao<br /> # xu xinwen<br /> # ou huang<br /> # liu peini<br /> # jiang ziqiang<br /> # zhang huifang<br /> # liu chao<br /> # liu yunxi<br /> # luo jiaxin<br /> # li mei<br /> # ceng xiaohui<br /> # huang yixuan<br /> # chen anqi<br /> # chen ting<br /> # zhang mai<br /> # yuan xiaolin<br /> # li mingfeng<br /> # dai yexun<br /> # yang pei<br /> # tang yan<br /> # xiang jianning<br /> # liu chang<br /> # wang yuxin<br /> # lv jiahao<br /> # dong jiating<br /> # lu wei<br /> # yang yue<br /> # guo cili<br /> # shen shuai<br /> # Ouyang yihong<br /> # li zihan<br /> # zuo fang<br /> # fu sihui<br /> # xiao zixin<br /> # zhou tianyi<br /> # qi zhiyang<br /> # liu pei<br /> # gong wei<br /> # chen sisi<br /> # huang sinan<br /> # xiao yikang<br /> # yu jingfang<br /> # luo sicheng<br /> # yang jiahong<br /> # yan jidong<br /> # xiao yawen<br /> # geng hongmei<br /> # zhou le<br /> # qiu ping<br /> # wang huaixing<br /> # wang xinyu<br /> # chu hanqi<br /> # wu jiating<br /> # zhang meiling<br /> # liu jianan<br /> # song xin<br /> # zhao qi<br /> # zheng jinlian<br /> # li linyao<br /> <br /> # 金奕辰<br /> # 陆嘉慧<br /> # 李源<br /> # 曹媛<br /> # 肖璐雨<br /> # 张嘉欣<br /> # 叶思彤<br /> # 赵雅诗<br /> # 姜心悦<br /> # 闫祥<br /> # 费欣宇<br /> # 张琪<br /> # 戴师如<br /> # 章子熙<br /> # 郑凯武<br /> # 蔡逸淳<br /> # 杨静<br /> # 廖丹<br /> # 罗艳<br /> # 秦怡<br /> # 邵柯源<br /> # 曹春阳<br /> # 许洋洋<br /> # 廖佐筠<br /> # 程思乡<br /> # 杜江平<br /> # 刘琪<br /> # 苗云龙<br /> # 黄巧巧<br /> # 陈琳<br /> # 段斌尧<br /> # 李婷<br /> # 曾沚<br /> # 邢雪晴<br /> # 罗菁妍<br /> # 刘抒湉<br /> # 高晓庆<br /> # 陈桢<br /> # 罗国强<br /> # 佘肖<br /> # 何云峰<br /> # 刘瑛<br /> # 杜媛<br /> # 李嘉怡<br /> # 陶瑶<br /> # 许馨文<br /> # 欧煌<br /> # 刘佩妮<br /> # 姜自强<br /> # 章慧芳<br /> # 刘超<br /> # 刘芸汐<br /> # 罗佳欣<br /> # 李玫<br /> # 曾晓辉<br /> # 黄译萱<br /> # 陈安琪<br /> # 陈婷<br /> # 张迈<br /> # 袁晓琳<br /> # 黎明枫<br /> # 戴业迅<br /> # 杨佩<br /> # 唐彦<br /> # 向柬宁<br /> # 刘畅<br /> # 王宇鑫<br /> # 吕嘉豪<br /> # 董佳婷<br /> # 卢玮<br /> # 杨悦<br /> # 郭赐力<br /> # 申帅<br /> # 欧阳易红<br /> # 黎子涵<br /> # 左芳<br /> # 符思慧<br /> # 肖子欣<br /> # 周天仪<br /> # 齐芷阳<br /> # 刘佩<br /> # 龚威<br /> # 陈思思<br /> # 黄思楠<br /> # 肖贻康<br /> # 余景芳<br /> # 罗思成<br /> # 杨佳虹<br /> # 鄢继东<br /> # 肖娅雯<br /> # 耿红玫<br /> # 周乐<br /> # 邱平<br /> # 王淮星<br /> # 王昕昱<br /> # 储寒琪<br /> # 吴佳婷<br /> # 张美玲<br /> # 刘加楠<br /> # 宋欣<br /> # 赵琪<br /> # 郑锦莲<br /> # 李琳瑶<br /> <br /> =Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br /> #Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]<br /> #Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_Spring_2025.pptx]]<br /> #Topic 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br /> #Topic 233. Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br /> #Topic 182. Chinese Economy: rich businessmen (Fu Sihui)<br /> #Topic 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> #Topic 138: Social: Round Table Culture 1317 (Wu Jiating)<br /> #Topic 174: Jiaozi (Liu Pei)<br /> <br /> =Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br /> 131.Silk and porcelain: Silk (Fei Xinyu)<br /> 224. Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan)<br /> 204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> 169. Cuisine: Luosifen 1593 (Chen Sisi)<br /> <br /> =Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br /> =HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br /> 清明节4月4日——4月6日<br /> =Session 08 Fri Apr 11 14:30-16:10 room 613 - Student presentations=<br /> 183 Chinese Local Operas-Gan opera （Wang Xinyu）<br /> 185 Huangmei opera （Chu Hanqi）<br /> <br /> =Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br /> 242. Hunan Rice Noodles (湖南米粉） 1845 (Gong Wei)<br /> 167. History: Wang Shouren 1573 (Lv Jiahao)<br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> =HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br /> 劳动节5月1日——5月5日<br /> =Session 12 Fri May 09 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 13 Fri May 16 14:30-16:10 room 613 - Student presentations=<br /> 231. The plaque and couplet in Chinese garden（园林匾额对联）Wang Yuxin<br /> <br /> =Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 15 Fri May 30 14:30-16:10 room 613 - Student presentations=<br /> 279. Huo Qubing （霍去病） Luo Jingyan<br /> 端午节5月31日——6月2日<br /> <br /> =Session 16 Fri Jun 28 14:30-16:10 room 613 - Final Exam=<br /> Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Chen Sisi2 https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=165777 2025-03-14T11:16:18Z

<p>Chen Sisi2: </p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203 (Zhang Mai)<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309 <br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462（Zhao Qi）<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900 <br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317 (Wu Jiating)<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> <br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> <br /> 143. Traditional Crafts: Cloisonne 1363 <br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br /> <br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> <br /> 157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558<br /> <br /> 166. Economy: Chinese Currency Changes 1569<br /> <br /> 167. History: Wang Shouren 1573 Lv Jiahao<br /> <br /> 168. Martial Arts: Chinese Swordsman Spirit 1582<br /> <br /> 169. Cuisine: Luosifen 1593 （Chen Sisi)<br /> <br /> 170. Fine Arts: Chinese Paper Cutting 1601 <br /> <br /> 171. Science and Technology: Taobao(淘宝) 1611<br /> <br /> 172. Traditional Craft: Bronze 1623<br /> <br /> 173. Entertainment: Deyunshe 德云社 1631<br /> <br /> 174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br /> <br /> 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br /> <br /> 176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br /> <br /> 177. stage entertainment:Yuan drama 1676<br /> <br /> 178. Music and instruments: Erhu 1685<br /> <br /> 179. Traditional and Modern Views on Marriage and Love 1694 <br /> <br /> 180. Traditional Cuisine: Tangyuan 1701<br /> <br /> 181. Animals：Golden Monkey 1712（Xiao Yawen）<br /> <br /> 182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br /> <br /> 183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br /> <br /> 184. The Chinese tradition of ancestor worship 1740<br /> <br /> 185. Opera: Huangmei opera 1752 （Chu Hanqi）<br /> <br /> 186. The “reference” of Chinese Music 1759<br /> <br /> 187. Chinese Folk Art:Lion Dance 1767<br /> <br /> 188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br /> <br /> 189. Clothing: Vintage Clothing 1790<br /> <br /> 190. Fine arts:Kunqu Opera 1798<br /> <br /> 191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br /> <br /> 192. National Belief: the Chinese Dream 1818<br /> <br /> 193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br /> <br /> 194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br /> <br /> 195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br /> <br /> 196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> <br /> 197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br /> <br /> 198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br /> <br /> 199. Traditional Crafts: Dough Sculpture 面塑 1845<br /> <br /> 200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br /> <br /> 201. The culture of Grass cloth 夏布 1845 <br /> <br /> 202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br /> <br /> 203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br /> <br /> 204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> <br /> 205. Bride-price（彩礼） 1845 <br /> <br /> 206. Chinese science fiction movies 中国科幻片 1845<br /> <br /> 207. Shandong cuisine鲁菜 1845(Lu Wei)<br /> <br /> 208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)<br /> <br /> 209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br /> <br /> 210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br /> <br /> 211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br /> <br /> 212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br /> <br /> 213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br /> <br /> 214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br /> <br /> 215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br /> <br /> 216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br /> <br /> 217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br /> <br /> 218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br /> <br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> 220. Rice cake (年糕) 1845 （Dong Jiating）<br /> <br /> 221. Zhongyuan festival 1845 （Ou Huang）<br /> <br /> 222. Dulong: Facial tattoo (独龙族：纹面) 1845<br /> <br /> 223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br /> <br /> 224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br /> <br /> 225. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845(Li Linyao) <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845 （Liu Qi）<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br /> <br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br /> <br /> 274. God of Wealth(财神) 1845 <br /> <br /> 275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br /> <br /> 276. Nail art（美甲） 1845 （Luo Jiaxin）<br /> 277. Mirror (镜子) 1845 (Cheng Sixiang) <br /> <br /> 278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br /> <br /> 279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br /> <br /> 280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br /> <br /> 281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br /> <br /> 282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br /> <br /> 283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br /> <br /> =Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Topics for today==<br /> Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br /> <br /> You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br /> <br /> Please remember that you have to indicate the 10 topics for Friday on the course website under &quot;Session 2&quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br /> <br /> 27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br /> <br /> Tea Latte Art (Xiang Jianning)<br /> <br /> Topic 7<br /> <br /> Topic 8<br /> <br /> Topic 9<br /> <br /> Topic 10<br /> <br /> =Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br /> ==Presentations==<br /> 1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br /> <br /> 2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br /> <br /> 3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br /> <br /> 4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br /> <br /> 5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br /> <br /> 6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br /> <br /> 7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br /> <br /> ==Notes on presentations==<br /> Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br /> <br /> 1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &quot;Black tea&quot; (in English all &quot;hong cha&quot; is called &quot;black tea&quot;), British tea culture (add milk)<br /> <br /> 2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br /> <br /> 3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br /> <br /> 4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br /> <br /> 5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br /> <br /> 6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br /> <br /> 7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br /> <br /> ==Student grades: 平时成绩/签到==<br /> # lu jiahui<br /> # li yuan<br /> # cao yuan<br /> # xiao luyu<br /> # zhang jiaxin<br /> # ye sitong<br /> # zhao yashi<br /> # jiang xinyue<br /> # yan xiang<br /> # fei xinyu<br /> # zhang qi<br /> # dai shiru<br /> # zhangzi xi<br /> # zheng kaiwu<br /> # cai yichun<br /> # yang jing<br /> # liao dan<br /> # luo yan<br /> # qin yi<br /> # shao keyuan<br /> # cao chunyang<br /> # xu yangyang<br /> # liao zuoyun<br /> # cheng sixiang<br /> # du jiangping<br /> # liu qi<br /> # miao yunlong<br /> # huang qiaoqiao<br /> # chen lin<br /> # duan binyao<br /> # li ting<br /> # ceng me<br /> # geng xueqing<br /> # luo jingyan<br /> # liu shutian<br /> # gao xiaoqing<br /> # chen zhen<br /> # luo guoqiang<br /> # she xiao<br /> # he yunfeng<br /> # liu ying<br /> # du yuan<br /> # li jiayi<br /> # tao yao<br /> # xu xinwen<br /> # ou huang<br /> # liu peini<br /> # jiang ziqiang<br /> # zhang huifang<br /> # liu chao<br /> # liu yunxi<br /> # luo jiaxin<br /> # li mei<br /> # ceng xiaohui<br /> # huang yixuan<br /> # chen anqi<br /> # chen ting<br /> # zhang mai<br /> # yuan xiaolin<br /> # li mingfeng<br /> # dai yexun<br /> # yang pei<br /> # tang yan<br /> # xiang jianning<br /> # liu chang<br /> # wang yuxin<br /> # lv jiahao<br /> # dong jiating<br /> # lu wei<br /> # yang yue<br /> # guo cili<br /> # shen shuai<br /> # Ouyang yihong<br /> # li zihan<br /> # zuo fang<br /> # fu sihui<br /> # xiao zixin<br /> # zhou tianyi<br /> # qi zhiyang<br /> # liu pei<br /> # gong wei<br /> # chen sisi<br /> # huang sinan<br /> # xiao yikang<br /> # yu jingfang<br /> # luo sicheng<br /> # yang jiahong<br /> # yan jidong<br /> # xiao yawen<br /> # geng hongmei<br /> # zhou le<br /> # qiu ping<br /> # wang huaixing<br /> # wang xinyu<br /> # chu hanqi<br /> # wu jiating<br /> # zhang meiling<br /> # liu jianan<br /> # song xin<br /> # zhao qi<br /> # zheng jinlian<br /> # li linyao<br /> <br /> # 金奕辰<br /> # 陆嘉慧<br /> # 李源<br /> # 曹媛<br /> # 肖璐雨<br /> # 张嘉欣<br /> # 叶思彤<br /> # 赵雅诗<br /> # 姜心悦<br /> # 闫祥<br /> # 费欣宇<br /> # 张琪<br /> # 戴师如<br /> # 章子熙<br /> # 郑凯武<br /> # 蔡逸淳<br /> # 杨静<br /> # 廖丹<br /> # 罗艳<br /> # 秦怡<br /> # 邵柯源<br /> # 曹春阳<br /> # 许洋洋<br /> # 廖佐筠<br /> # 程思乡<br /> # 杜江平<br /> # 刘琪<br /> # 苗云龙<br /> # 黄巧巧<br /> # 陈琳<br /> # 段斌尧<br /> # 李婷<br /> # 曾沚<br /> # 邢雪晴<br /> # 罗菁妍<br /> # 刘抒湉<br /> # 高晓庆<br /> # 陈桢<br /> # 罗国强<br /> # 佘肖<br /> # 何云峰<br /> # 刘瑛<br /> # 杜媛<br /> # 李嘉怡<br /> # 陶瑶<br /> # 许馨文<br /> # 欧煌<br /> # 刘佩妮<br /> # 姜自强<br /> # 章慧芳<br /> # 刘超<br /> # 刘芸汐<br /> # 罗佳欣<br /> # 李玫<br /> # 曾晓辉<br /> # 黄译萱<br /> # 陈安琪<br /> # 陈婷<br /> # 张迈<br /> # 袁晓琳<br /> # 黎明枫<br /> # 戴业迅<br /> # 杨佩<br /> # 唐彦<br /> # 向柬宁<br /> # 刘畅<br /> # 王宇鑫<br /> # 吕嘉豪<br /> # 董佳婷<br /> # 卢玮<br /> # 杨悦<br /> # 郭赐力<br /> # 申帅<br /> # 欧阳易红<br /> # 黎子涵<br /> # 左芳<br /> # 符思慧<br /> # 肖子欣<br /> # 周天仪<br /> # 齐芷阳<br /> # 刘佩<br /> # 龚威<br /> # 陈思思<br /> # 黄思楠<br /> # 肖贻康<br /> # 余景芳<br /> # 罗思成<br /> # 杨佳虹<br /> # 鄢继东<br /> # 肖娅雯<br /> # 耿红玫<br /> # 周乐<br /> # 邱平<br /> # 王淮星<br /> # 王昕昱<br /> # 储寒琪<br /> # 吴佳婷<br /> # 张美玲<br /> # 刘加楠<br /> # 宋欣<br /> # 赵琪<br /> # 郑锦莲<br /> # 李琳瑶<br /> <br /> =Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br /> #Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]<br /> #Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_Spring_2025.pptx]]<br /> #Topic 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br /> #Topic 233. Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br /> #Topic 182. Chinese Economy: rich businessmen (Fu Sihui)<br /> #Topic 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> #Topic 138: Social: Round Table Culture 1317 (Wu Jiating)<br /> #Topic 174: Jiaozi (Liu Pei)<br /> <br /> =Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br /> 131.Silk and porcelain: Silk (Fei Xinyu)<br /> 224. Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan)<br /> <br /> =Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br /> =HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br /> 清明节4月4日——4月6日<br /> =Session 08 Fri Apr 11 14:30-16:10 room 613 - Student presentations=<br /> 183 Chinese Local Operas-Gan opera （Wang Xinyu）<br /> 185 Huangmei opera （Chu Hanqi）<br /> <br /> =Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br /> 242. Hunan Rice Noodles (湖南米粉） 1845 (Gong Wei)<br /> 167. History: Wang Shouren 1573 (Lv Jiahao)<br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> =HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br /> 劳动节5月1日——5月5日<br /> =Session 12 Fri May 09 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 13 Fri May 16 14:30-16:10 room 613 - Student presentations=<br /> 231. The plaque and couplet in Chinese garden（园林匾额对联）Wang Yuxin<br /> <br /> =Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 15 Fri May 30 14:30-16:10 room 613 - Student presentations=<br /> 279. Huo Qubing （霍去病） Luo Jingyan<br /> 端午节5月31日——6月2日<br /> <br /> =Session 16 Fri Jun 28 14:30-16:10 room 613 - Final Exam=<br /> Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Chen Sisi2 https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=165464 2025-02-27T16:39:09Z

<p>Chen Sisi2: /* Homework for every session */</p> <hr /> <div>--[[User:Miao Yunlong|Miao Yunlong]] ([[User talk:Miao Yunlong|talk]]) 13:12, 24 February 2025 (UTC)[[Media:Example.ogg]]Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> &lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> [[File:Example.jpg]]==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309<br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900<br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 <br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317<br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> 143. Traditional Crafts: Cloisonne 1363<br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386(Zhang Huifang)<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456（Xiao Zixin）<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480<br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491<br /> 157. Traditional Cuisine: Hotpot 1501 <br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558<br /> <br /> 166. Economy: Chinese Currency Changes 1569<br /> <br /> 167. History: Wang Shouren 1573<br /> <br /> 168. Martial Arts: Chinese Swordsman Spirit 1582<br /> <br /> 169. Cuisine: Luosifen 1593 <br /> <br /> 170. Fine Arts: Chinese Paper Cutting 1601 <br /> <br /> 171. Science and Technology: Taobao(淘宝) 1611<br /> <br /> 172. Traditional Craft: Bronze 1623<br /> <br /> 173. Entertainment: Deyunshe 德云社 1631<br /> <br /> 174. Traditional Cuisine: Jiaozi 1644<br /> <br /> 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br /> <br /> 176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 (Tao Yao)<br /> <br /> 177. stage entertainment:Yuan drama 1676<br /> <br /> 178. Music and instruments: Erhu 1685<br /> <br /> 179. Traditional and Modern Views on Marriage and Love 1694<br /> <br /> 180. Traditional Cuisine: Tangyuan 1701（Liu Shutian）<br /> <br /> 181. Animals：Golden Monkey 1712<br /> <br /> 182. Chinese Economy: rich businessmen 1719<br /> <br /> 183. Opera: Chinese Local Operas 1727<br /> <br /> 184. The Chinese tradition of ancestor worship 1740<br /> <br /> 185. Opera: Huangmei opera 1752<br /> <br /> 186. The “reference” of Chinese Music 1759<br /> <br /> 187. Chinese Folk Art:Lion Dance 1767<br /> <br /> 188. Science and Technology: Mobile Games（手游） 1783<br /> <br /> 189. Clothing: Vintage Clothing 1790.(Chen Sisi)<br /> <br /> 190. Fine arts:Kunqu Opera 1798<br /> <br /> 191. Aesthetic ideals and social customs: The Culture of Flowers 1807 <br /> <br /> 192. National Belief: the Chinese Dream 1818<br /> <br /> 193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br /> <br /> 194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br /> <br /> 195. Sports: Cuju (蹴鞠) 1845<br /> <br /> 196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845<br /> <br /> 197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 （Chu Hanqi）<br /> <br /> 198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br /> <br /> 199. Traditional Crafts: Dough Sculpture 面塑 1845<br /> <br /> 200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 （Wang Xinyu）<br /> <br /> 201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)<br /> <br /> 202. The Legend of Zhen Huan 《甄嬛传》 1845 （Xing Xueqing）<br /> <br /> 203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br /> <br /> 204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> <br /> 205. Bride-price（彩礼） 1845 （Wu Jiating）<br /> <br /> 206. Chinese science fiction movies 中国科幻片 1845<br /> <br /> 207. Shandong cuisine鲁菜 1845(Liu Peini)<br /> <br /> 208. Chinese traditional ornament: Buyao （步摇） 1845 <br /> <br /> 209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br /> <br /> 210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br /> <br /> 211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br /> <br /> 212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan)<br /> <br /> 213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br /> <br /> 214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br /> <br /> 215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br /> <br /> 216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br /> <br /> 217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 <br /> <br /> 218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br /> <br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> 220. Rice cake (年糕) 1845(Li Linyao)<br /> <br /> 221. Zhongyuan festival 1845 （Ou Huang）<br /> <br /> 222. Dulong: Facial tattoo (独龙族：纹面) 1845<br /> <br /> 223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br /> <br /> 224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br /> <br /> 225. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845（Liao Zuoyun）<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 (Yang Jing)<br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845 <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 <br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845<br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Cheng Sixiang)<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br /> <br /> 274. God of Wealth(财神) 1845 （Zeng Zhi）<br /> <br /> 275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br /> <br /> 276. Nail art（美甲） 1845 （Luo Jiaxin）<br /> <br /> 277. Mirror (镜子) 1845 (Cheng Sixiang)<br /> <br /> 278. The Beef Board Noodle (牛肉板面) 1845<br /> <br /> 279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br /> <br /> 280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br /> <br /> 281. Music and instruments: Yangqin（扬琴） 1845<br /> <br /> 282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br /> <br /> 283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br /> <br /> =Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=<br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Topics for today==<br /> Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br /> <br /> You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br /> <br /> Please remember that you have to indicate the 10 topics for Friday on the course website under &quot;Session 2&quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br /> <br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> [[File:The Summer Palace - Li Mei.pptx]]<br /> <br /> =Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=<br /> =Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=<br /> =Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=<br /> =Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=<br /> =HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=<br /> 清明节4月4日——4月6日<br /> =Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=<br /> =Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=<br /> =Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=<br /> =HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=<br /> 劳动节5月1日——5月5日<br /> =Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=<br /> =Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=<br /> =Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=<br /> =Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=<br /> 端午节5月31日——6月2日<br /> =Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=<br /> Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Chen Sisi2