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Cult Ov 2 Fin Exam 2024

2024-06-09T03:08:45Z

Chu Shoujuan: /* Translation */

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=Tu Hairong |=
1.1 Introduction

1.2 Historical Background

1.3 Traditional Customs and Practices

1.4 Contemporary Celebrations

1.5 Cultural and Social Impact

1.6 Conclusion

1.7 Terms and Expressions

1.8 Questions

1.9 References

=Chen Zhuo |Chinese Painting: A Thousand Miles of Rivers and Mountains=
==Introduction==

"A Thousand Miles of Rivers and Mountains" is a masterpiece by Wang Ximeng, a painter of the Northern Song Dynasty. This painting, known for its magnificent depiction of China’s natural landscapes, epitomizes the peak of traditional Chinese landscape painting, particularly in the genre of green landscape painting. The painting is not only a representative of green landscape painting but also a treasure of traditional Chinese painting art.
==Wang Ximeng: The Prodigy Painter==
Wang Ximeng (1096-?), a famous painter in the late Northern Song Dynasty, is renowned for his painting "A Thousand Miles of Rivers and Mountains." In his teens, he entered the palace ‘painting school’ as a student but was not initially outstanding. However, under the personal tutelage of Emperor Huizong, his skills flourished remarkably. Emperor Huizong, himself an accomplished artist and patron of the arts, saw great potential in Wang Ximeng and invested time in his education. By the age of eighteen, Wang had completed his magnum opus, "A Thousand Miles of Rivers and Mountains," a testament to both his natural talent and rigorous training. (from baidu)

==The Historical Context of the Northern Song Dynasty==
The Northern Song Dynasty (960-1127) was a period marked by significant cultural, economic, and technological advancements in China. Following the chaotic Five Dynasties and Ten Kingdoms period, the Northern Song era brought stability and prosperity, with remarkable developments in agriculture, commerce, and urbanization. The political structure, heavily influenced by Confucian ideals, promoted intellectual and artistic endeavors. During this golden age, the arts, including painting, literature, and calligraphy, reached new heights, with scholars and artists enjoying substantial support from the state. (from baidu)

==Artistic Brilliance and Technical Mastery==
"A Thousand Miles of Rivers and Mountains" exemplifies the sophisticated techniques and aesthetic principles of Song Dynasty landscape painting. Spanning over 11 meters in length, this handscroll painting captures an expansive and varied landscape with meticulous brushwork and a harmonious color palette. Wang Ximeng’s use of the blue-green landscape technique, employing mineral pigments like malachite and azurite, imbues the painting with a vibrant yet serene quality.
The painting’s composition is both grand and intricate. The undulating mountains, rendered with fine brushstrokes and detailed texture, create a sense of depth and three-dimensionality. The depiction of water bodies, including rivers, waterfalls, and streams, adds a dynamic element to the landscape, reflecting the natural beauty of Jiangnan, a region known for its picturesque scenery. The architectural elements, such as pavilions and thatched cottages, are meticulously detailed, showcasing the architectural style of the time
Wang Ximeng’s use of color is a defining feature of the painting. The blue-green technique, utilizing mineral pigments, gives the painting its distinctive and vibrant appearance. The use of these pigments, combined with careful layering and shading, creates a sense of depth and luminosity. The ochre background provides a warm contrast to the cooler tones of the landscape, enhancing the overall harmony of the composition. (Qin, Shuhai. Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". 36-38.)

==Detailed Analysis of Key Sections==
To further appreciate the intricacies of "A Thousand Miles of Rivers and Mountains," it is essential to examine specific sections of the painting in greater detail. Each segment reveals Wang Ximeng’s exceptional skill and the painting’s profound cultural significance.
The central section of the painting features towering mountains, their peaks shrouded in mist. Wang Ximeng’s use of varying brushstrokes and ink washes creates a sense of depth and texture, making the mountains appear both majestic and ethereal. The fine chapping technique used to depict the rock surfaces adds to the realism and complexity of the landscape. Water is a prominent element in the painting, depicted with a fluidity and grace that contrasts with the solidity of the mountains. The rivers and streams wind through the landscape, reflecting the light and adding movement to the scene. The waterfalls, with their cascading waters, are rendered with a dynamic energy, capturing the viewer’s attention and drawing the eye through the composition. Scattered throughout the landscape are various architectural structures, including pavilions, temples, and bridges. These buildings, though small, are rendered with meticulous detail, reflecting the architectural style and construction techniques of the Northern Song period. The placement of these structures within the landscape highlights the harmonious relationship between human habitation and the natural environment. The human figures in the painting, while small in scale, are depicted with individuality and character. Fishermen, scholars, and travelers are shown engaging in their daily activities, adding a narrative dimension to the landscape. These figures not only populate the scene but also serve to emphasize the scale and grandeur of the natural surroundings.
(Feng, Haitao. Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). 22-28, 38-39. )

==Symbolism and Cultural Connotations==
Beyond its visual splendor, "A Thousand Miles of Rivers and Mountains" is rich in cultural symbolism. The landscape, architecture, and figures within the painting reflect the ancient Chinese literati’s philosophy and aesthetics. The painting embodies the Daoist ideal of harmony between humans and nature, a central theme in Chinese culture. The serene and idyllic scenery represents a utopian vision, an escape from the political and social turmoil of the era.
The figures in the painting, although small in scale, are portrayed with remarkable individuality. Fishermen, travelers, and hermits are depicted engaging in various activities, symbolizing different aspects of life and society. These figures not only add a narrative dimension to the painting but also emphasize the close relationship between people and their natural environment.
The painting reflects the Daoist and Confucian ideals that were prevalent during the Northern Song Dynasty. The harmonious integration of human and natural elements embodies the Daoist concept of harmony with nature. At the same time, the depiction of scholars and hermits in the landscape reflects the Confucian value placed on intellectual and contemplative pursuits.
(Lin, Shunyang & Xu, Hui. Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". 12, 114-116.)

==Impact and Legacy==
Wang Ximeng’s "A Thousand Miles of Rivers and Mountains" is a milestone in the history of Chinese landscape painting. Its innovative techniques, grand composition, and rich colors influenced generations of artists. The painting set a new standard for green landscape painting, inspiring many subsequent artists to adopt and adapt its techniques and style.
The painting’s influence extends beyond China. It is celebrated internationally as a masterpiece of Chinese art, showcasing the depth and sophistication of traditional Chinese culture. The painting’s ability to convey a sense of timeless beauty and tranquility has earned it a place among the most revered works of art in the world.
==Conclusion==
"A Thousand Miles of Rivers and Mountains" by Wang Ximeng is not merely a landscape painting; it is a profound expression of the Northern Song Dynasty’s cultural and artistic achievements. Through its exquisite details and grand vision, the painting encapsulates the harmony between nature and humanity, a core value of Chinese philosophy. Wang Ximeng’s masterpiece continues to inspire and captivate audiences, a testament to the enduring power of art to transcend time and space.
==Terminology==
A Thousand Miles of Rivers and Mountains 千里江山图
Wang Ximeng 王希孟
the Northern Song Dynasty 北宋朝
the palace ‘painting school 宫中“画学”
tutelage 侍奉
Emperor Huizong 宋徽宗
magnum opus 杰作
Five Dynasties and Ten Kingdoms 五代十国
blue-green landscape 青绿山水
malachite 石青
azurite 石绿
Jiangnan 江南
thatched cottages 茅屋
==Questions==
1. What is the significance of Wang Ximeng's "A Thousand Miles of Rivers and Mountains"?
2. How did Emperor Huizong influence Wang Ximeng's artistic development?
3. What advancements in society and culture occurred during the Northern Song Dynasty?
4. What are the main elements depicted in "A Thousand Miles of Rivers and Mountains"?
5. How does the painting reflect the cultural and philosophical ideals of the Northern Song Dynasty?
6. What impact has "A Thousand Miles of Rivers and Mountains" had on subsequent generations of artists?

==References==
#https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
#https://www.dpm.org.cn/collection/paint/228354.html
#http://www.chinashj.com/sh-gdhh/10245.html
#http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
#Lin, Shunyang & Xu, Hui. (2022). Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". Beauty and Times (China), 12, 114-116.
#Feng, Haitao. (2023). Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). Art Research, (01), 22-28, 38-39.
#Qin, Shuhai. (2023). Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". Oriental Collection, (09), 36-38.
#Xiao, Pengfei. (2023). On the Realm of Wang Ximeng’s "A Thousand Miles of Rivers and Mountains". Journal of Fuyang Vocational and Technical College, (02), 76-78.

==简介==

《千里江山图》是北宋画家王希孟的杰作。这幅画以其壮丽的中国自然景观描绘而闻名，堪称传统中国山水画的巅峰，特别是在青绿山水画领域。此画不仅是青绿山水画的代表作，也是传统中国绘画艺术的瑰宝。

==天才画家王希孟==

王希孟（1096-?），是北宋末年的著名画家，以其作品《千里江山图》闻名。在十几岁时，他进入宫中的“画学”学习，但起初并不出众。然而，在宋徽宗的亲自指导下，他的技艺得到了显著提升。宋徽宗本人是一个才华横溢的艺术家，也好支持别人搞艺术，他看到了王希孟的巨大潜力，投入了大量时间来培养他。在十八岁时，王希孟完成了他的杰作《千里江山图》，这不仅证明了他的天赋，也展示了他经过严格训练所取得的成果。

==北宋时期的历史背景==

北宋（960-1127）是中国文化、经济和技术显著进步的时期。在经历了混乱的五代十国时期之后，北宋带来了稳定和繁荣，在农业、商业和城市化方面取得了显著发展。以儒家思想为主导的政治结构促进了知识和艺术的发展。在这个黄金时代，绘画、文学和书法等艺术达到了新的高度，学者和艺术家得到了国家的极大支持。

==精湛技术==

《千里江山图》展示了宋代山水画的复杂技艺和美学原则。画卷长达11米以上，捕捉了广阔多样的景观，以细腻的笔触和和谐的色彩表现出来。王希孟采用了青绿山水技法，使用石青和石绿等矿物颜料，使这幅画充满了生机和宁静。
画面的构图既宏大又复杂。起伏的群山通过细腻的笔触和细致的纹理描绘出深度和三维感。水体的描绘，包括河流、瀑布和溪流，为景观增添了动态元素，反映了以风景如画著称的江南的自然美。建筑元素如亭台和茅屋细致入微，展示了当时的建筑风格。

==象征意义和文化内涵==

《千里江山图》不仅在视觉上引人入胜，还充满了文化象征意义。画中的山水、建筑和人物反映了古代文人雅士的哲学和美学。这幅画体现了人与自然和谐的道家理想，这是中国文化的核心主题。宁静而田园的景色代表了一种乌托邦愿景，是对时代政治和社会动荡的逃避。

画中的人物虽然规模较小，但刻画得极具个性。渔夫、旅行者和隐士从事各种活动，象征着生活和社会的不同方面。这些人物不仅为画面增添了叙事维度，还强调了人与自然环境的紧密关系。

==影响==

王希孟的《千里江山图》是中国山水画史上的一座里程碑。其创新的技法、宏大的构图和丰富的色彩影响了几代艺术家。这幅画为青绿山水画设定了新的标准，激励了许多后来的艺术家采用和改编其技法和风格。

这幅画的影响不止于国内。它作为中国艺术的杰作在国际上备受赞誉，展示了传统中国文化的深度和复杂性。画作所传达的美和宁静感使其成为世界上最受尊敬的艺术作品之一。

==结论==

王希孟的《千里江山图》不仅仅是一幅山水画；它还是北宋文化和艺术成就的深刻表达。通过其精美的细节和宏大的视野，这幅画捕捉了自然与人类和谐的核心价值。《千里江山图》继续激发和吸引观众，证明了艺术跨越时间和空间的持久力量。

==参考文献==
#https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
#https://www.dpm.org.cn/collection/paint/228354.html
#http://www.chinashj.com/sh-gdhh/10245.html
#http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
#林顺洋 & 徐辉.(2022).《千里江山图》的美学思想及艺术价值. 美与时代(中)(12),114-116.
#冯海涛.(2023).画式——《千里江山图》卷中的绘画语言研究（上）. 美术研究(01),22-28+38-39.
#秦树梅.(2023).《千里江山图》画法研究. 东方收藏(09),36-38.
#肖鹏飞.(2023).论王希孟《千里江山图》之境. 阜阳职业技术学院学报(02),76-78.

==问题==
#王希孟的《千里江山图》有何重要意义？
#宋徽宗如何影响王希孟的艺术发展？
#北宋时期社会和文化有哪些进步？
#《千里江山图》描绘了哪些主要元素？
#这幅画如何反映北宋的文化和哲学理想？
#《千里江山图》对后世艺术家产生了怎样的影响？

=Wu Liping | Festival：Qixi Festival=

==Introduction==
Qixi Festival, also known as Qiqiao Festival, Qijie Festival, Daughter's Day, Qiqiao Festival, Qinianghui Festival, Qixi Festival, Ox and Bull Mother's Day, Qiaoxi Festival, etc., is a traditional Chinese folk festival. Qixi Festival evolved from the worship of stars. It is the birthday of the seventh sister in the traditional sense. Because the worship of the "seventh sister" was held on the night of July 7th, it was called "Qixi Festival". Worshiping the seventh sister, praying for blessings and wishing, begging for skillful art, sitting and watching Morning Glory Vega, praying for marriage, storing Qixi water, etc. are the traditional customs of Qixi Festival. After historical development, Qixi Festival has been given the beautiful love legend of "Cowherd and Weaver Girl", making it a festival symbolizing love. Therefore, it is regarded as the most romantic traditional festival in China, and has produced the cultural meaning of "Chinese Valentine's Day" in modern times.

==Origin==
1.The Legend of the Cowherd and the Weaver Girl
Qixi Festival is one of the traditional festivals in China. "Xi" is the origin of the evening festival. Qixi Festival is the night on the seventh day of the seventh lunar month. Qixi Festival originated from the legend of the Cowherd and the Weaver Girl. The cowherd is a young herder, and the weaver girl is a fairy in the sky. The weaver girl felt that there was no freedom in the sky and came to the world. With the help of the old cow, the cowherd met the weaver girl and soon fell in love and got married, giving birth to a man and a woman. But one day, the Queen Mother took the Weaver Girl away. When the cowherd carried the two children to the sky to chase the weaver girl, the Queen Mother drew a galaxy with the jade hairpin on her head. The galaxy was long and wide, and the cowherd could not pass, so they were separated. The Queen Mother only allows the Cowherd and the Weaver Girl to meet once every year on the seventh day of July. Every night on the seventh day of the seventh month, groups of magpies fly to build a bridge for the Cowherd and the Weaver Girl and let them meet on the bridge. This is the origin of the Qixi Festival.

2.Worship of natural celestial phenomena
As early as ancient times, the ancients who pursued order not only planned the sky in an orderly manner, but also corresponded the stars to the ground area one by one. This correspondence is called "star division" in terms of astronomy and "division" in terms of the ground. . In short, the ancients corresponded each constellation in the sky to the physical geographical area on the ground one by one. The purpose of the ancient star division and division was mainly to cooperate with the astrology theory for celestial occupation. In the ancient star system, "Ox" consists of six stars, located on the east coast of the Milky Way, like two inverted triangles, one up and down, very characteristic, but the upper triangle is larger and brighter. The small triangle below is located on the ecliptic. These stars form a cow with two horns on its head but only three feet, so the ancients called it "the morning ox." The three stars of "Weaver Girl" are located in the north of the cow house. Among them, the "Weaver Girl One" star is the fifth bright star in the sky, so it is often directly called "Weaver Vega". People call "Oxus" and "Weaver Vega" together as "Cowherd and Weaver Girl". It is said that on the seventh day of July every year, the Cowherd and the Weaver Girl meet at the Magpie Bridge in the sky. Later, the folk gave further play to the story and gave the "Cowherd and Weaver Girl" a beautiful love legend. And in order to have the dexterity of the weaver girl, the girls work on that day, so that day is also called the Begging Festival.

3.Time digital worship
"Chinese Valentine's Day" is the seventh day of the month and the seventh day. In ancient times, the ancients combined the sun and moon with the five planets of water, fire, wood, gold and earth as "Seven Yao." The seventh day of July is related to the ancients' worship of numbers and time. In ancient times, the "sevenfold" of the first month, February 2, March 3, May 5, June 6, July 7 and September 9 were listed as auspicious days. In ancient China, the "heavy day" was regarded as a day of "the communication between heaven and earth" and "the communication between heaven and man". Seven is the number of beads in each column of the abacus, which is romantic and rigorous, giving people a mysterious beauty. "Seven" and "Ji" are homophonic, and "Seven" also means double good luck, which is an auspicious day.

==Activities on the day==
Activities on the day
1.Couple dating
Chinese Valentine's Day is commonly known as Valentine's Day in China, so couple dating is one of the most common ways to celebrate Chinese Valentine's Day. Couples may choose to have a romantic dinner on this day, enjoy the moon together, or participate in activities on the theme of Qixi Festival to express their love and care for each other
2.Xiangqiao Hui
In Yixing, Jiangsu Province, there is a custom of Qixi Xiangqiao Festival. Every year on the Chinese Valentine's Day, people come to participate and build incense bridges. The so-called incense bridge is a bridge four or five meters long and about half a meter wide made of all kinds of thick and long wrapping incense (paper-wrapped thread incense). It is decorated with a railing made of five-color threads. At night, people sacrifice the double stars, beg for good fortune, and then burn the incense bridge, symbolizing that the double stars have crossed the incense bridge and met happily. This incense bridge is derived from the legendary legend of Magpie Bridge.

3.Take Dew
In rural areas of Zhejiang, it is popular to use washbasins to receive dew. Legend has it that the dew on the Qixi Festival is the tears when the Cowherd and the Weaver Girl meet. If you wipe it on your eyes and hands, you can make your eyes clear and your hands fast.

4.Wear a needle and beg for cleverness
Wearing needles, also known as "matching tricks", is women's competition to wear needles. They tie colored threads and wear seven-hole needles. The faster they wear, the more clever they wear, the more clever they are. Those who wear slowly are called "losing tricks". "People who lose cleverness" should give gifts prepared in advance to the clever. Xijing Miscellany said: "Han Cai girls often wear seven-hole needles in the open building on July 7th, and people get used to it”

==Cultural significance and development of Qixi Festival==
1.Inheritance of traditional culture: As a part of Chinese traditional culture, Qixi Festival has inherited ancient myths and beautiful blessings through generations.
2.Multicultural integration: In contemporary society, Qixi Festival integrates the customs of different regions and cultures, forming a variety of forms of celebration.
3. Changes in personal values: With the rapid development of society, people's concepts of love and marriage are also changing. As a symbol of love, Qixi Festival represents the change of values that people pursue in love.The cultural evolution of Qixi Festival not only retains traditional customs, but also blends with modern society, reflecting the diversity and vitality of Chinese culture. We look forward to the continuous evolution and development of Qixi Festival in the future and become a cultural feast of tradition and modernity.

==Conclusion==
As a traditional Chinese festival, Qixi Festival carries ancient myths and legends and beautiful blessings. With the progress of society and the evolution of culture, Qixi Festival has become more romantic and diversified in modern times. Traditional Qixi customs such as begging for tricks and enjoying the moon still exist, but modern society gives Qixi Festival more meaning and expression. To sum up, the Seven Festivals is not only a traditional festival, but also a festival with rich cultural significance and historical traditions. It embodies the Chinese nation's unremitting self-improvement, diligence and wisdom, creative courage, and the continuous pursuit of a happy life.

==Terms and Expressions==
the Cowboy and the Weaver Girl 牛郎织女
：the Queen of Heaven 王母娘娘
magpie bridge 鹊桥
ecliptic 黄道：
Seven Luminaries 七曜
Heavenly Palace 天宫
Altair 牵牛星
Vega 织女星
Miscellanies of Xijing 《西京杂记

==Questions==
1. What is other name of Qixi Festival?
2. What day does the Chinese Valentine's Day take place?
3. What are the origins of Qixi Festival?
4. What are the common Qixi Festival activities?
5.What is the impact of Qixi Festival on today's society?

==References==
1.邵静.我国大众媒介的“节日传播”——以“春节”与“情人节”为比较范本[J].东南传播,2007(9):58-59.
6.李定琼.传统节日“假日化”与法定假日“传统化”——两者的旅游文化学关系浅析[J].现代商业,2008(9):266-267
7.李晓霞.浅谈中国节庆文化的影响[J].理论界,2006(S2):113-114
8.韦柳芝.从西方节日中反思中国传统节日的保护与传承[J].长春教育学院学报,2014,30(7):15-16.
9.That is Mandarin The Story Behind Qixi Festival

==Translation==
节日：七夕节
介绍：
七夕节，又称七巧节、七姐节、女儿节、乞巧节、七娘会、七夕祭 [39-40]、牛公牛婆日、巧夕等，是中国民间的传统节日。七夕节由星宿崇拜演化而来，为传统意义上的七姐诞，因拜祭“七姐”活动在七月七晩上举行，故名“七夕”。拜七姐，祈福许愿、乞求巧艺、坐看牵牛织女星、祈祷姻缘、储七夕水等，是七夕的传统习俗。经历史发展，七夕被赋予了“牛郎织女”的美丽爱情传说，使其成为了象征爱情的节日，从而被认为是中国最具浪漫色彩的传统节日，在当代更是产生了“中国情人节”的文化含义。

起源：
1.牛郎织女的传说
七夕节是中国传统节日之一，“夕”是夜晚的意思，“乞巧”是向织女乞求智巧的意思，七夕节指的就是农历七月初七的夜晚。七夕节起源于牛郎和织女的传说，牛郎是年轻的牧童，织女是天上的仙女，织女觉得自己在天上没有自由，就下凡来到人间，牛郎在老牛的帮助下认识了织女，不久便结为夫妻，生了一男一女两个孩子，但有一天王母娘娘把织女带回了天宫，牛郎带着两个孩子去天宫找织女，王母用头上的玉簪划了一道银河，银河又宽又长，牛郎无法过河，他们被隔开了，王母娘娘规定每年七月七日牛郎和织女只能相会一次，每到七月初七的夜晚，成群的喜鹊飞来为牛郎和织女搭起一座鹊桥，让牛郎和织女相会，这就是七夕节的由来。

2.崇拜自然的天体现象
早在远古时代，追求秩序的古人们不仅将天空规划得井井有条，还将星宿与地面区域一一做了对应，这个对应关系就天文来说，称作“分星”，就地面来说，称作“分野”。简单来说，古人就是将天上每个星座都与地上的实体地理区域一一对应，古代分星与分野目的主要是为了配合占星理论进行天象占测。在古代星宿体系中，“牛宿”由6颗星组成，位于银河的东岸，像两个倒置的三角形，一上一下，很有特点，不过上面的那个三角形更大一些，亮一些。而下面的小三角形正好位于黄道上，这几颗星组成了一个头上有两角，却只有三只足的牛，因此古人称其为“牵牛”。“织女”3星位于牛宿的北部，其中的“织女一”星是全天第五亮星，因此又常直接称为“织女星”。人们将“牛宿星”与“织女星”合称为“牛郎织女”。相传每年七月初七，牛郎织女在天上的鹊桥相会，后来民间把故事进一步发挥，赋予了“牛郎织女”的美丽爱情传说。而姑娘们为了能有织女的心灵手巧，就在那天比针线活，于是那一天又称作乞巧节。

3.古人的数字崇拜
“七夕”月逢七、日逢七。在古代，古人把日、月与水、火、木、金、土五大行星合在一起叫“七曜”。“七月初七”与古人对数字和时间的崇拜有关。古代民间把正月正、二月二、三月三、五月五、六月六、七月七、九月九这“七重”列为吉庆日。“重日”在中国古代被认为是“天地交感”、“天人相通”的日子。“七”是算盘每列的珠数，浪漫而又严谨，给人以神秘的美感。“七”与“吉”谐音，“七七”又有双吉之意，是个吉利的日子。

节日活动：
1.情侣约会
情侣约会：七夕节被普遍称为中国的情人节，因此情侣约会是七夕节最常见的庆祝方式之一。情侣们可能选择在这一天共进浪漫的晚餐，一起欣赏赏月，或是一起参加七夕主题的活动，表达对彼此的爱意和关怀。
2.香桥会
在江苏宜兴，有七夕香桥会习俗。每年七夕，人们都赶来参与，搭制香桥。所谓香桥，是用各种粗长的裹头香（以纸包着的线香）搭成的长四五米、宽约半米的桥梁，装上栏杆，于栏杆上扎上五色线制成的花装饰。入夜，人们祭祀双星、乞求福祥，然后将香桥焚化，象征着双星已走过香桥，欢喜地相会。这香桥是由传说中的鹊桥传说衍化而来的。
3.接露水
浙江农村，流行用脸盆接露水的习俗。传说七夕节时的露水是牛郎织女相会时的眼泪，如抹在眼上和手上，可使人眼明手快。浙江农村，流行用脸盆接露水的习俗。传说七夕节时的露水是牛郎织女相会时的眼泪，如抹在眼上和手上，可使人眼明手快。
4.穿针乞巧
穿针乞巧，也叫“赛巧”，即女子比赛穿针，她们结彩线，穿七孔针，谁穿得越快，就意味着谁乞到的巧越多，穿得慢的称为“输巧”，“输巧”的人要将事先准备好的礼物送给得巧者。《西京杂记》说：“汉彩女常以七月七日穿七孔针于开襟楼，人具习之。”

七夕节的文化意义与发展
1.传统文化的传承：七夕节作为中国传统文化的一部分，通过世代相传，传承了古代神话故事和美好祝福。
2.多元文化的融合：在当代社会，七夕节融合了不同地区、不同文化的习俗，形成丰富多样的庆祝形式。
3.个人价值观的变迁：随着社会的快速发展，人们对于爱情和婚姻的观念也在发生变化，七夕节作为爱情的象征，代表着人们对爱情追求的价值观的转变。七夕节的文化演变既保留了传统习俗，又与现代社会相互交融，体现了中国文化的多元性和活力。我们期待着七夕节在未来继续演变和发展，成为传统与现代交融的文化盛宴。

总结：七夕节作为中国传统的节日，承载着古老神话传说和美好祝福。随着社会的进步和文化的演变，七夕节在现代变得更加浪漫而具有多元化的特点。传统的七夕习俗如乞巧活动和赏月仍然存在，但现代社会赋予了七夕节更多的意义和表达方式。综上所述，七节不仅是一个传统的节日，也是一个具有丰富文化意义和历史传统的节日。体现了中华民族不懈的自我完善、勤奋和智慧、创造的勇气，以及对幸福生活的持续追求。
问题：
1.七夕节又名什么？
2.七夕节发生在哪一天？
3.七夕节有哪些起源？
4.常见的七夕节活动有哪些？
5.七夕节对当今社会有哪些影响？

参考文献：
1.邵静.我国大众媒介的“节日传播”——以“春节”与“情人节”为比较范本[J].东南传播,2007(9):58-59.
6.李定琼.传统节日“假日化”与法定假日“传统化”——两者的旅游文化学关系浅析[J].现代商业,2008(9):266-267
7.李晓霞.浅谈中国节庆文化的影响[J].理论界,2006(S2):113-114
8.韦柳芝.从西方节日中反思中国传统节日的保护与传承[J].长春教育学院学报,2014,30(7):15-16.
9.That is Mandarin The Story Behind Qixi Festival

=Luo Jiayi | Music and instruments：Yuge（Fishing song）=
==Overview==
Fishing song, also known as Yuge, is a unique Chinese folk song sung by fishermen in China's coastal areas, lakes and harbors. The most widely circulated one is the Tang Dynasty poet Zhang Zhihe's ''Fisherman's Song'':

In front of western hills white egrets fly up and down

Over peach-mirrored stream, where perches are full grown.

In a broad-brimmed blue hat

And green straw cloak, I’d fain

Go fishing careless of the slanting wind and rain.

There are many types and quantities of fishing songs. When and where it originated, there is no way to know. But it is certain that in the Han Dynasty, there was a large number of documentary records of fishing songs. In 2014, the fishing songs (Dongting Fishing Songs and Shanwei Fishing Songs) were approved by the State Council to be included in the fourth batch of national intangible cultural heritage lists. In 2021, Fishing Songs (Shengsi Fishing Songs) were approved by the State Council to be included in the expanded list of representative items of national intangible cultural heritage.

渔歌是一种特有的中国民歌，由中国沿海地区以及湖泊港湾渔民所唱。流传最广泛的当属唐代诗人张志和的《渔歌子》：西塞山前白鹭飞，桃花流水鳜鱼肥。青箬笠，绿蓑衣，斜风细雨不须归。渔歌种类繁多、数量庞大，到底起源于何时何地，已无从考究。但可以确定的是在汉代，渔歌已有大量的文献记载。2014年，渔歌（洞庭渔歌、汕尾渔歌）经国务院批准列入第四批国家级非物质文化遗产名录。2021年，渔歌（嵊泗渔歌）经国务院批准列入国家级非物质文化遗产代表性项目名录扩展项目名录。

==Classification of fishing songs==
Fishing songs can be classified by region. For example, the fishing songs popular in Shanwei, Guangdong Province are collectively referred to as Shanwei Fishing Songs, and there are also fishing songs in Huidong, Guangdong, which belong to the same kind in Shanwei; popular in Yueyang, Hunan Province, Dongting Lake, collectively known as Dongting Fishing Song. The fishing songs popular in Shengsi, Zhoushan, Zhejiang Province, are called Shengsi Fishing Song.

Fishing songs can also be divided into two categories: deep-sea fishing songs and shallow-sea fishing songs. The former is sung by fishermen working in the deep sea, similar to salty water songs. The latter is sung by the women of the fishermen by the sea. It usually refers mainly to shallow-sea fishing songs.

What is more, fishing songs can be classified according to their form, which are divided into three types: work songs, folk songs, and ditty.

渔歌可以按地域来分类。如流行于广东汕尾市的渔歌，统称为汕尾渔歌，而在广东的惠东也有渔歌，属于汕尾市同类；如流行于湖南省岳阳市岳阳楼区洞庭湖边的，则统称为洞庭渔歌；如流行于浙江省舟山市嵊泗县的渔歌，则称为嵊泗渔歌。

渔歌也可以分深海渔歌和浅海渔歌两类。前者是深海作业渔民所唱，近似咸水歌；后者是海边渔家妇女所唱。通常主要指浅海渔歌。

渔歌还可以按其按形式来分类，分为号子、山歌、小调三种类型。

==Characteristics of fishing songs==
The content of fishing songs is rich and colorful, and it is mainly divided into five categories, namely labor, life, love, folk customs and sacrifices. (Li 2008, 51)The labor category, represented by ''The Boatman's Work Song'', mostly describes the spontaneous organization of fishermen in production and life, such as fiber pulling, net collection, etc., with a sonorous rhythm and full of dynamics. In the life category, it mainly expresses the joys and sorrows in the hearts of fishermen, and its representative works include ''How can there be more tears in the river''. Love, mostly men and women pour out their love for each other. Affected by the water, their marriage and love are in the boat, which gave birth to a large number of songs, such as ''Bachelor Marrying'' and so on. Folk customs, more reflect the survival skills of fishermen, and the cultivation of excellent moral qualities such as the education of children, and the representative works include ''My Thousands of Fishing Songs''. Sacrificial category, the content is mainly for the fishermen to pray for the god of water and the dragon king to bless favourable conditions and the boat is safe, the representative works are ''Dongting Immortal'' and so on.（Xu Hao,Liu Jiwen 2020, 121-122）

The lyrics of fishing songs are generally in the format of seven-character sentences, two sentences are one paragraph, and there are also four or eight sentences in a paragraph. In the four sentences, there are also five-character sentences or three-character sentences as the starting sentence, and the last three words of the second or fourth sentence are often repeated with padding words, or the whole sentence is repeated.

The expression forms of fishing songs include humming, singing in unison, singing in unison with the lead singer, blowing, duet, singing and dancing, pure natural harmony singing, playing and singing, etc. The dragging and repetition in the singing are the most basic and significant characteristics that distinguish fishing songs from other folk songs.

渔歌的内容丰富多彩，主要分为五大类，即劳动类、生活类、爱情类、民俗类和祭祀类。(Li 2008, 51)劳动类，以《船工号子》为代表，多形容渔民在生产生活中的自发组织劳动，如拉纤、收网等，节奏铿锵，富于动感；生活类，则主要表达渔民内心的喜怒哀乐，代表作有《河水哪有我的眼泪多》等；爱情类，多为男女之间互相倾诉爱慕之情，受水域影响，婚姻、恋爱均在船间，由此萌生出大量歌曲作品，如《光棍娶亲》等；风俗民俗类，更多反映渔民的生存技巧，及对子女的教育等优秀道德品质的培养，代表作有《我的渔歌万万千》等；祭祀类，内容主要为渔民祈求水神、龙王保佑风调雨顺、行船平安，代表作有《洞庭仙》等。（Xu Hao,Liu Jiwen 2020, 121-122）

渔歌的歌词格式一般为七字句，两句一首，间有四句或八句一首。四句中也有用五字句或三字句作起句的，第二句或第四句的最后三字常加上衬词重复，或整句重复。

渔歌的表现形式有哼唱、齐唱、领和式齐唱、吹奏、对唱、歌舞、纯自然和声演唱、弹唱等。而唱腔曲调上的“拖音”和“复沓”是渔歌有别于其他民歌品种最基本、最显著的特征。

==The value of fishing songs==
The fishing song itself has a high aesthetic value of musical art, which is mainly reflected in its unique style and rich forms of expression. It contains the cultural genes of traditional music, and provides a rich source of original materials and inspiration for music creation.(Wang 2009, 25)

In contemporary times, the more important thing about the fishing song is its historical, cultural and folk value. Fishermen living by the water's edge can learn about the humanistic history, folk customs, social outlook of their hometown, and the way of life, thoughts and feelings, spiritual pursuits, and values of fishermen through fishing songs, so as to gain a sense of identity of local cultural identity. (Chen 2023, 74-75)In addition, this kind of value is also reflected in the true record and effective continuation of traditional fishing culture. Through fishing songs, people can understand the ocean, tide, meteorology, fishing flooding, fish, fishing, breeding, processing, trade and other fishery knowledge and inherit the fishing culture of the fishing area.(Jin 2009, 90/ Fang 2023, 24-25)

In addition, the fishing song also has scientific, economic and practical value. Only by transforming it from a folk art resource into a cultural productive force and bringing economic benefits can the reproduction of folk art producers be guaranteed, and correspondingly more funds will be invested in the protection and development of folk art.(Jinling Li 2022, Volume 4.0, Issue 5.0)

渔歌本身具有很高的音乐艺术审美价值，主要体现在它独特的风格和丰富的表现形态上。它蕴含着传统音乐的文化基因，为音乐创作提供了丰富的原始素材和灵感源泉。(Wang 2009, 25)

在当代，渔歌更重要的是它的历史文化民俗价值。生活在水边的渔民，通过渔歌了解自己家乡的人文历史、民俗风情、社会面貌和渔民的生活方式、思想感情、精神追求、价值观念，从而获得本土文化身份的认同感。(Chen 2023, 74-75)除此之外，它的这种价值还体现在对传统渔俗文化的真实记录和有效延续上，人们通过渔歌，可以了解海洋、潮汛、气象、渔汛、鱼类、捕捞、养殖、加工、贸易等渔业知识，传承渔区渔俗文化。(Jin 2009, 90/ Fang 2023, 24-25)

此外，渔歌也有科学经济实用价值。只有将其从民俗艺术资源转换为文化生产力,带来经济效益,才能保证民俗艺术生产者的再生产,相应地就会有更多的资金投入到民俗艺术的保护和发展上。(Jinling Li 2022, Volume 4.0, Issue 5.0)

==Terms and Expressions==
Fishing songs 渔歌

''Fisherman's Song'' 《渔歌子》

Dongting Fishing Songs 洞庭渔歌

Shanwei Fishing Songs 汕尾渔歌

Shengsi Fishing Songs 嵊泗渔歌

The fourth batch of national intangible cultural heritage list 第四批国家级非物质文化遗产名录

Expanded list of representative items of national intangible cultural heritage 国家级非物质文化遗产代表性项目名录扩展项目名录

Deep-sea fishing songs 深海渔歌

Shallow-sea fishing songs 浅海渔歌

Salty water songs 咸水歌

Work songs 号子

Folk songs 山歌

Ditty 小调

''The Boatman's Work Song'' 《船工号子》

''How can there be more tears in the river'' 《河水哪有我的眼泪多》

''Bachelor Marrying'' 《光棍娶亲》

''My Thousands of Fishing Songs'' 《我的渔歌万万千》

''Dongting Immortal'' 《洞庭仙》

Padding words 衬词
==Questions==
（1）What are the types of fishing songs classified by region? Please name two.

（2）Are fishing songs an intangible cultural heritage?

（3）What is the value of fishing songs?

（1）渔歌按地域分类有哪几种？请举出两个。

（2）渔歌属于非物质文化遗产吗？

（3）当代的渔歌具有什么价值？
==References==
李琳(Li Lin). 环洞庭湖民歌中的民俗及其文化内涵(Folklore and Its Cultural Connotation in Folk Songs Around Dongting Lake)[J]. 湖南农业大学学报(社会科学版)(Journal of Hunan Agricultural University (Social Science)),2008,(05):50-53.

许昊,柳集文(Xu Hao,Liu Jiwen). 传统音乐类非物质文化遗产的生存现状与整合传播——基于湖南岳阳洞庭渔歌的考察(The Survival Status and Integrated Dissemination of Traditional Music Intangible Cultural Heritage: An Investigation Based on Dongting Fishing Songs in Yueyang, Hunan Province)[J]. 新媒体研究(Journal of New Media Research),2020,6(07):121-124.

王晓淮(Wang Xiaohuai). 关于当代原生态民歌发展及意义的思考(Reflections on the Development and Significance of Contemporary Original Ecological Folk Songs)[J]. 歌海(Ge Hai),2009,(04):24-25.

陈辉(Chen Hui). 渔俗文化的历史记忆——浙东渔歌的功能与价值(Historical Memory of Fishing Culture: The Function and Value of Fishing Songs in Eastern Zhejiang)[J]. 浙江艺术职业学院学报(Journal of Zhejiang Vocational College of Art),2023,21(04):70-76.

金成辉(Jin Chenghui). 民俗艺术资源的价值要素探析(Analysis on the Value Factors of Folk Art Resources)[J]. 艺术探索(Art Exploration),2009,23(05):90-91.

方从戎(Fang Congrong). 湖南洞庭渔歌的文化内涵及其生存现状(The Cultural Connotation and Survival Status of Dongting Fishing Songs in Hunan Province)[J]. 中国民族博览(China Nationalities Expo),2023,(18):24-26.

Jinling Li. Research on the Development of Intangible Cultural Heritage Traditional Handicraft Education Inheritance and Socialization Inheritance(非物质文化遗产的发展研究传统手工艺教育传承与社会化传承)[J]. International Journal of Frontiers in Sociology(国际社会学前沿杂志), 2022, Volume 4.0 , Issue 5.0.

=Xie Xianglin |Education:Chicken Child(Fired-up Child)=
==The Origin and Meaning==
In recent years, with the popularity of the TV series ‘A Little Dilemma’, ‘education anxiety’ has become a hot topic nowadays, and the new word ‘chicken child’ has therefore come into the public eye.The drama is set in the context of primary school and reflects the current educational context where children's education is highly competitive.
Chicken child means a child who has been over-motivated and spurred on by their parents in terms of learning and forced to be fired up.Chicken child, in Chinese is ‘鸡娃’. Chicken, ‘鸡’ is homophonous with the character ‘激’which means motivating or stimulating, so Chicken Child has the meaning of a child who is motivated and spurred on.
On the other hand,in China in the 1960s, there was a form of chicken blood therapy, in which fresh chicken blood was drawn and injected into a person's veins, which would leave them refreshed and free of any illness. It's pseudo-science, but the term chicken blood has been passed down and given the meaning of a person's sudden excitement about something.So ‘Chicken Child’ borrowed this meaning to denote a child who is forced by his parents to be excited about learning.Based on its meaning, the term has also been translated as Fired-up Child.（Ding Miaomiao. 2022，Imago Literature Creation）

==Causes of the Chicken Child==
The causes of the chicken child are complex and involve many aspects.
===Education system===
The National College Entrance Examination, as the only examination that determines university entrance, makes parents and students focus all their energy on exam-oriented education. In addition, two important exams, the Junior High School Entrance Examination and the High School Entrance Examination, largely determine how high or low a child's educational starting point will be. These examinations in China make children and their parents anxious, fearing that they will fall behind on any rung of the ladder. Although in recent years the policy of reducing the burden one after another, the effect of reducing the burden is not obvious. Even though the The Double Reduction Policy has alleviated parents‘ educational anxiety to a certain extent, the problem of parents’ educational anxiety will not be reduced as long as there is the existence of exam-oriented education and the selection system of the National College Entrance Examination according to the scores.
===Ideological Tradition===
China's ideological tradition of‘expecting a son to become a dragon and a daughter to become a phoenix’ is the most ardent hope of every Chinese parent for their children. Therefore, most parents will focus all their energy, financial and material resources on their children, so that they can have better conditions and resources to improve social status and change the fate of the family. Education, on the other hand, is the most effective and fair of all avenues. Some scholars have pointed out that the direct cause of parents’ educational anxiety is their educational expectations and requirements for their children. (Fu Qiwen ,Ye Xiangxiang,Zou Simin ,Gong Xue. Secondary school students)
===Economic Factors===
In Professor Fabrizio's eyes, chicken child is not the fault of parents, but the result of economic inequality. In addition to contributing to a shift in cultural values, the increase in economic inequality has also changed parental behaviour. In particular, parents increasingly believe that the basis of their children's success will depend on educational achievement. In a world where parents are tightly connected with their children in interests, parents will be more concerned about their children's place in the social hierarchy, and will therefore be motivated to invest more in pushing their children to adopt success-oriented behaviors. (Tencent News.2021)

==Specific Manifestations in Society==
Firstly, there is intense subject tuition. Children attend a variety of tuition classes after school and on weekends, covering a wide range of subjects such as Maths, English and Physics, with a view to improving their academic performance. Secondly, they enroll in a wide range of interest classes. Apart from subject tuition, parents would also arrange for their children to attend interest classes in music, dance, sports and so on, in the expectation that they could develop in an all-round way. Thirdly, strict time management. Children's schedules are so tight that they have little free time, and all their activities revolve around learning and skill enhancement. Fourthly, the high-pressure family environment, where parents have very high expectations and demands on their children's academic performance, leading to a tense family atmosphere and greater psychological pressure on the children.
Changsha, for example, has the four most prestigious high schools in Hunan: The First High School of Changsha, Changjun High School of Changsha, Yali Middle School, and The High School Attached to Hunan Normal University. In addition, other schools are divided into various echelons, and it is often rumored that ‘Entering XXX school is a step into the door of Universities listed in Project 985, 211’. For this reason, parents and students try to get into the best high school possible. According to the Chinese education system, children only start learning English in the third grade of primary school. But here, there are children who have been attending English interest classes since they were a few years old. Some even learn a second or third foreign language. In addition to the basic curriculum, children also have to learn programming, Olympiads, etc. to have as much competitive capital as possible. At the age of primary school and junior high school, age of nature of to play, it is difficult to say that there are children who love to take the initiative to learn, so all of the above mentioned can not ignore the role of the parents . This is the specific embodiment of the chicken child, rather than children play initiative to learn, it is the parents play initiative to let them learn.

==The Double Reduction Policy==
The implementation of the ‘Double Reduction’ policy is intended to alleviate the phenomenon of ‘chicken children’, reduce the academic burden on students and promote equity in education. The ‘Double Reduction’ policy is an important education reform measure introduced by the Chinese government in 2021. The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training, issued in July 2021, aims to reduce the burden of homework and out-of-school training for primary and secondary school students. The core elements of this policy include reducing the amount of homework, regulating the operation of out-of-school training organizations, and reducing the educational anxiety of students and parents.
However, the policy has faced some challenges and backlash in its implementation, and the demand and competitive mentality of parents and students for educational resources still exists. Achieving the policy's goals will require concerted efforts by the government, schools, and families to enhance the equitable distribution of educational resources, improve the quality of public education, change parents' concepts of education, and promote the all-round development and physical and mental health of students. (Baidu Encyclopedia)

==Similar phenomena abroad==
As a matter of fact, there are similar educational anxieties abroad. Similar to the chicken child, there are ‘Helicopter Parents’ and ‘Tiger Parenting’ .
Helicopter parents refer to parents who are overly concerned about their children's behaviour, learning and development. They hover around their children like helicopters, always ready to intervene and interfere in their children's lives.
Tiger-Parenting is derived from the book ‘The Battle Hymn of the Tiger Mother’ by Amy Chua, a Chinese-American writer. Tiger-Parenting emphasizes rigour and high standards, and parents expect their children to achieve excellent results, often through coercion, threats and punishment, in order to motivate their children to learn and perform. And the term actually originated in China. The origin of the term, ‘Battle Hymn of the Tiger Mother’, is about how the author, a Chinese mother, fired up her children to become chicken child. Tiger-Parenting became a sensation in the education world and led to a great debate about the educational methods of China and the United States.(Woran Zhang. 2023.)

==Summary==
The essence of chicken children lies in parents' excessive concern about their children's studies and performance, as well as their excessive expectations of their children's future development. This phenomenon reflects the unequal distribution of educational resources and opportunities in society, as well as parents' anxiety and distrust of their children's future in a highly competitive social environment. Chicken-child behaviour is often accompanied by negative consequences such as excessive learning pressure, lack of autonomy and mental health problems, and may also lead to a waste of educational resources and a lack of educational equity.

==Terms and Expressions==
Chicken Child(Fired-up Child) 鸡娃
A Little Dilemma 《小别离》
chicken blood therapy 鸡血疗法
National College Entrance Examination 高考
exam-oriented education 应试教育
Junior High School Entrance Examination 小升初考试
High School Entrance Examination 中考
The Double Reduction Policy 双减政策
The First High School of Changsha 长沙市第一中学
Changjun High School of Changsha 长郡高级中学
Yali Middle School 雅礼中学
The High School Attached to Hunan Normal University 湖南师范大学附属中学
The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
Helicopter Parents 直升机式家长
Tiger Parenting 虎妈式教育
The Battle Hymn of the Tiger Mother 《虎妈战歌》

==Question==
#How did the word ‘chickenshit’ come about?
#What are the causes of the chicken child phenomenon?
#What are the concrete manifestations of the chicken child in the society?
#Why is it necessary to implement the ‘Double Reduction Policy’?
#Where did the term ‘tiger mother education’ originate?

==References==
#Ding Miaomiao. An analysis of the network buzzword ‘chicken child’. Journal of literature and creativity,2022,(29):111-113.
#FU Qiwen, YE Xiangxiang, ZOU Simin, GONG Xue. A review of research on the current situation of parents' educational anxiety and countermeasures in the context of burden reduction. A review of parental education anxiety and countermeasures in the context of burden reduction.
#Tencent News.2021.Economists tell you that chicken children are not your fault_Tencent News (qq.com)
#General Office of the CPC Central Committee, General Office of the State Council . Opinions on Further Reducing the Burden of Homework on Students in Compulsory Education and the Burden of Out-of-School Training .
#Baidu Encyclopedia. Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Off-Campus Training_Baidu Encyclopedia (baidu.com)
#Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.

==Translation==
教育：鸡娃
1.鸡娃的由来及含义
近年来，随着电视剧《小别离》的热播，“教育焦虑 ”成为时下的热门话题，“鸡娃 ”这个新词也因此进入公众视野。这部电视剧以小学为背景，反映了当下儿童教育竞争激烈的教育背景。
鸡娃是指在学习方面被家长过度激励和鞭策，被迫发奋学习的孩子。“鸡” 与 “激”同音，“激” 的意思是激励或刺激，所以 ”鸡娃 "有激励和鞭策孩子的意思。
另一方面，在 20 世纪 60 年代的中国，有一种鸡血疗法，即抽取新鲜鸡血注入人的血管，使人神清气爽，百病不生。虽然是伪科学，但鸡血一词却流传了下来，并被赋予了一个人突然对某件事情感到兴奋的含义，所以 “鸡娃”借用了这一含义来表示被父母逼着对学习感到兴奋的孩子。(丁苗苗. 2022,今古文创)

2.鸡娃现象的成因
鸡娃现象的产生成因复杂，涉及许多方面。
A. 教育体制
全国高考作为决定大学入学的唯一考试，使家长和学生把全部精力都放在应试教育上。此外，初中入学考试和高中入学考试这两次重要的考试在很大程度上决定了孩子教育起点的高低。在中国，这些考试让孩子和家长们焦虑不安，生怕自己在哪个阶梯上掉队。虽然近年来减负政策陆续出台，但减负效果并不明显。即使 “双减 ”政策在一定程度上缓解了家长的教育焦虑，但只要存在应试教育和高考唯分数论的选拔制度，家长的教育焦虑问题就不会减少。
B. 思想传统
望子成龙、望女成凤 "是中国的思想传统，也是每个中国家长对子女最殷切的期望。因此，大多数父母都会把所有的精力、财力、物力都集中在子女身上，让子女有更好的条件和资源来提高社会地位，改变家庭命运。而教育则是所有途径中最有效、最公平的途径。有学者指出，造成家长教育焦虑的直接原因是家长对子女的教育期望和要求。 (付启文、叶湘湘、邹思敏、龚雪.中学生）。
C.经济因素
在 Fabrizio 教授眼中，“鸡娃 ”不是父母的错，而是经济不平等的结果。除了导致文化价值观的转变，经济不平等的加剧也改变了父母的行为。尤其是，家长们越来越相信，子女成功的基础取决于教育成就。在父母与子女利益紧密相连的世界里，父母会更加关注子女在社会等级中的位置，因此会有动力投入更多，促使子女采取以成功为导向的行为。(腾讯新闻.2021）

3.鸡娃在社会中的具体显现
一是高强度的学科补习，孩子们在放学后和周末参加各种补习班，涵盖数学、英语、物理等多个学科，以期提高他们的学术成绩。二，报广泛的兴趣班。除了学科补习，家长还会安排孩子参加音乐、舞蹈、体育等兴趣班，期望他们能够全面发展。三是严格的时间管理，孩子们的日程安排得非常紧凑，几乎没有自由时间，所有的活动都围绕着学习和技能提升。四是高压的家庭环境，家长对孩子的学习成绩和表现有着非常高的期望和要求，导致家庭氛围紧张，孩子面临较大的心理压力。
就拿长沙举例，拥有湖南四大名校长沙市第一中学、长沙市长郡中学、长沙市雅礼中学、湖南师范大学附属中学。除此以外，其它学校还分出了各种梯队，常有流言说“上了xxx学校就是一脚迈进了985、211的门”。为此家长学生为了尽可能进入更好的高中挤破了头。按中国教育制度，孩子小学三年级才开始学英语。但是在这里，有的是从几岁开始就上英语兴趣班的娃娃。更有甚者，还学了第二门、第三门外语。除基本的课程外，孩子还要学编程，奥数等，尽可能有更多竞争的资本。在小学、初中的年纪，正是天性爱玩的时候，难说有孩子是热爱主动学习的，所以以上所说种种家长在其中的作用是不可忽略的。这正是鸡娃，与其说是孩子在发挥主动性学习，不如说是家长发挥主动性让他们学习。

4.双减政策
“双减”政策的实施意在缓解“鸡娃”现象，减轻学生的学业负担，促进教育公平。“双减”政策是中国政府在2021年推出的一项重要教育改革措施，2021年7月发布的《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》，旨在减轻中小学生的作业负担和校外培训负担。这一政策的核心内容包括减少家庭作业量、规范校外培训机构的运营、以及减轻学生和家长的教育焦虑。
然而，政策在实施过程中面临一些挑战和反弹，家长和学生对教育资源的需求和竞争心理依然存在。要实现政策目标，需政府、学校和家庭多方协同努力，加强教育资源的公平分配，提升公立教育质量，转变家长的教育观念，促进学生的全面发展和身心健康。(百度百科)

5.国外的相似现象
事实上，国外也有类似的教育焦虑存在。与鸡娃相似的，如“直升机式”家长和“虎妈式”教育。
直升机家长（Helicopter Parents）是指过度关注孩子的行为、学习和发展的家长，他们像直升机一样“盘旋”在孩子的周围，时刻准备介入和干预孩子的生活。
“虎妈式”教育（Tiger-Parenting）源自美国华裔作家蔡美儿（Amy Chua）的著作《虎妈战歌》。虎妈式教育强调严格要求和高标准，家长们期望孩子取得优异的成绩，通常通过强迫、威胁和惩罚来促使孩子学习和表现。而严格来说，这个词也起源于中国。因为个词的起源《虎妈战歌》正是讲的作者作为华裔妈妈如何“鸡娃”的。虎妈的教育方法轰动了教育界，并引起关于中美教育方法的大讨论。
(Woran Zhang.2023.World Journal of Educational Research）

6.总结
鸡娃的本质在于家长过度关注孩子的学习和成绩，以及对孩子未来发展的过度期待。这种现象反映了社会对教育资源和机会的不均等分配，以及家长对孩子未来竞争激烈的社会环境的焦虑和不信任。鸡娃行为常常伴随着过度的学习压力、缺乏自主性、心理健康问题等负面影响，同时也可能导致教育资源的浪费和教育公平的缺失。

术语：
Chicken Child(Fired-up Child) 鸡娃
A Little Dilemma 《小别离》
chicken blood therapy 鸡血疗法
National College Entrance Examination 高考
exam-oriented education 应试教育
Junior High School Entrance Examination 小升初考试
High School Entrance Examination 中考
The Double Reduction Policy 双减政策
The First High School of Changsha 长沙市第一中学
Changjun High School of Changsha 长郡高级中学
Yali Middle School 雅礼中学
The High School Attached to Hunan Normal University 湖南师范大学附属中学
The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
Helicopter Parents 直升机式家长
Tiger Parenting 虎妈式教育
The Battle Hymn of the Tiger Mother 《虎妈战歌》

问题:
#“鸡娃”这个词是如何而来？
#鸡娃现象的成因有哪些方面？
#鸡娃在社会中的具体体现有哪些？
#为什么要实行“双减政策”？
#虎妈教育这个词起源于哪？

参考文献：
#丁苗苗. 网络流行语“鸡娃”探析. 今古文创,2022,(29):111-113.
#付惜文 ,叶湘湘,邹思敏 ,龚雪.减负背景下家长教育焦虑现状及对策的研究综述.中学生
#腾讯新闻.2021.经济学家告诉你，鸡娃不是你的错_腾讯新闻 (qq.com)
#中共中央办公厅、国务院办公厅.《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
#百度百科。关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见_百度百科 (baidu.com)
#Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.World Journal of Educational Research(5)

=Yang Zixuan | Chinese Science Fiction:''The Three-Body Problem''=

==Introduction==

''The Three-Body Problem'' is a series of long science fiction novels written by Liu Cixin, consisting of ''The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever''. The first installment was serialized since May 2006 in ''Science Fiction World'' magazine. The series of novels tells the story of the exchange of information between the human civilization on Earth and the three-body civilization, the life-and-death struggle, and the rise and fall of the two civilizations in the universe. The first installment was translated by Liu Yukun and won the 73rd Hugo Award for Best Long Story.

Liu Cixin, born in Beijing in June 1963, is originally from Luoshan County, Xinyang City, Henan Province, and a native of Yangquan, Shanxi Province. He graduated from the North China University of Water Conservancy and Hydropower and is a senior engineer as well as a science fiction writer. Liu Cixin is one of the representative writers of Chinese science fiction, and his works have been awarded the Galaxy Award for Chinese Science Fiction for the years 1999-2006, and he has won many other important awards at home and abroad, such as Zhao Shuli Literary Award and Chinese Science Fiction Nebula Award, etc. He is also a member of the Chinese Science Fiction Association.

==Main Part==

===The Place and Influence of ''The Three Body Problem'' in Chinese Science Fiction Literature===

The success of ''The Three-Body Problem'' series has greatly contributed to the popularization and prosperity of science fiction literature in China. More and more readers have begun to pay attention to and fall in love with science fiction literature and the quantity and quality of science fiction works have been significantly improved. With its unique scientific concepts, rich imagination and profound insight into human nature, society and civilization, ''The Three-Body Problem'' series has provided new ideas and directions for the creation of Chinese science fiction literature. More and more writers have begun to try to combine scientific theories with storylines, tap into human culture and historical connotations, and explore new ways of literary expression. ''The Three-Body Problem'' has also inspired the creative enthusiasm of Chinese science fiction writers, and more and more writers have begun to try their hand at science fiction literature, injecting new vitality into Chinese science fiction literature. Meanwhile, more writers are encouraged to pursue depth and breadth to enhance the overall level of Chinese science fiction literature.

The international success of ''The Three-Body Problem'' series has raised the status and influence of Chinese science fiction literature. Chinese science fiction literature has begun to receive attention and recognition from the international community, opening up a new way for the international dissemination of Chinese culture. The success of the "The Three-Body Problem" series has enhanced the cultural confidence of Chinese science fiction writers. They began to face international readers and judges with more confidence, showing the unique charm and depth of Chinese science fiction literature. At the same time, "The Three-Body Problem" also shows the world the creativity and thinking power of Chinese people, and wins more praise and respect for the international dissemination of Chinese culture.

===''The Three-Body Problem'' embodies Chinese cultural values===

'''The belief that man can win'''

"For more than 5,000 years, the Chinese people, in the course of exploring nature and seeking survival, have honed the spiritual character of robustness, diligence and courage, positivity and perseverance. In the face of difficulties, we believe that man will prevail over God. Flooding, do not ask the prophet, their own dredging; disease epidemic, do not seek miracles, their own taste of all kinds of herbs; Houyi shoot the sun, Jingwei fill in the sea, Yugongyishan ...... these ancient myths are embedded in the Chinese people's philosophy of survival and spiritual strength.

In "The Three-Body Problem", there is a huge gap between the scientific and technological levels of human civilization and that of the three-body civilization. ''The Three-Body Problem'' sends out only two "Homo sapiens" to interfere with all the particle gas pedals on Earth, making it difficult for humans to take a further step forward in basic science. The three-body world also sends the most contemptuous message to human beings - "you are bugs". The gap between bugs and human beings is much larger than the gap between Earth and The Three-Body Problem, but human beings have not completely eliminated bugs by using all sorts of methods, and the three-body people seem to have forgotten one thing, that bugs have never been truly defeated. Even though human beings are as weak as ants in front of the three-body world, human beings have never given up the struggle, which is exactly the vivid embodiment of the spirit of resilience in the bones of the Chinese people.

'''Planning a profound legacy for future generations'''

The concept of the family has an important place in traditional Chinese culture. In the traditional Chinese political structure, the family and the state are isomorphic: the "family" is the small "state" and the "state" is the big "family". The "family" is the small "state" and the "state" is the big "family". The family-centered culture of Chinese society has given rise to a whole set of ways of thinking and living, and the heroes in "The Three-Body Problem" often have the traditional meaning of "father and ruler", they are cold and rational, and they are able to save the day when there is a crisis, and they act as the "head of the family". As the "head of the family" of human beings, they shoulder the heavy burden of resisting foreign enemies and continuing human civilization, and almost all of them end up sacrificing their lives for the survival of the whole human race. The spirit of family inheritance extends to the country and becomes the historical inheritance of the Chinese nation that has lasted for thousands of years. In "The Three-Body Problem", many of the plans designed by mankind to resist alien invasions lasted for dozens to hundreds of years, and only a nation with a civilized history of 5,000 years would be more inclined to design and imagine these plans that need to be passed down from one generation to the next, and the novel has an epic feel to it as a result. In the setting, the three-body fleet arrived on Earth after 400 years, accordingly, the human struggle with the three-body world strategy is also measured in hundreds of years, for example, the use of the "hibernation" technology of the Pacific Air Force to send talents to the future, the bunker program, the black field program, the development of curvature drive spaceships, and so on.

'''Chinese characters'''

There are also uniquely Chinese protagonists in ''The Three-Body Problem'' that readers remember, such as Wang Miao, Zhang Beihai, and Cheng Xin all of whom are characters that appear more frequently in Amazon reader book reviews.

Zhang Beihai is a very typical Chinese soldier, he is strong and intelligent, with a strong sense of justice, and comes from a military family. His father is a member of the future history school, who predicts that mankind will lose the battle of Armageddon, and he hints at the end of the battle with the cryptic words "think more". Inheriting his father's legacy, Beihai leaves behind a spark of hope for mankind in the midst of an inevitable war. One reader commented that Zhang Beihai "came up with a shocking and inhumane solution to save mankind at the most critical moment". Readers resonate with the human rationality of Zhang Beihai in the context of the book, and at the same time gain a new understanding of the Chinese people's heightened sense of mission, dedication, and spirit of sacrifice.

Cheng Xin has been described by readers in English-speaking areas as "the best protagonist in the series, she is the most memorable. Maybe not the best, but she's the character that is most likely to remain unique in your mind." Each of Ching-Hsin's choices does indeed implement the concept of "goodness" in the moral system that human society has constructed. Respecting human life, loving and caring for all people, Cheng Xin has practiced her concept of "humanity", which in Cheng Xin's context is of course the same as "goodness"! --In Cheng Xin's context, "humanity" is of course the same as "goodness" - rather, Cheng Xin redefines "humanity" through her choices, and in the end, it is this "humanity" that Cheng Xin truly protects, rather than humanity itself. For Cheng Xin, the loss of humanity is the loss of everything.

==Conclusion==

''The Three-Body Problem'' series of novels is the undoubted masterpiece of Chinese science fiction writer Liu Cixin. With its unique scientific setting, rich characterisation and profound philosophical reflections, the series shows the struggles and choices of human civilisation in the face of invasion by an alien civilisation, and at the same time explores the grandeur of the universe and the insignificance of human beings. ''The Three-Body Problem'' is not a copy of foreign sci-fi works; it uses Chinese narrative methods to win wide acclaim from readers around the world, and has become the brightest star in contemporary Chinese sci-fi literature.

==Terms and Expreesions==

The Three-Body Problem 《三体》

The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever 《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》

Science Fiction World 《科幻世界》

the Galaxy Award for Chinese Science Fiction 中国科幻小说银河奖

Zhao Shuli Literary Award 赵树理文学奖

Chinese Science Fiction Nebula Award 华语科幻星云奖

"hibernation" technology 冬眠技术

the bunker program 掩体计划

the black field program 黑域计划

curvature drive spaceships 曲率驱动飞船

==Questions==

1. How does the international success of ''The Three-Body Problem'' affect Chinese science fiction literature?

2. How does ''The Three-Body Problem'' reflect Chinese cultural values?

3. Which character in Three Bodies do you appreciate most? Why?

1.《三体》在国际上的成功对中国科幻文学有何影响？

2.《三体》是如何体现中国文化价值观的？

3.你最欣赏《三体》中的哪个角色？为什么?

==References==

LI Jianfu 李建福, GAO Xuying 高序莹. Analyzing the Realism Thought and Chinese Narrative in Liu Cixin's ''The Three-Body Problem'' 浅析刘慈欣《三体》中的现实主义思想及中国叙事. Modern Communication现代交际,2023,(06):89-97+123-124.

Xie Zhonghui 解仲慧. "The Loss and Reinvention of the Hero--The Thought of Humanity in ''The Three-Body Problem'' “英雄”的失落与重塑——论《三体》中的人性之思. Masterpiece Appreciation 名作欣赏,2024(15):143-146.

Cui Bo 崔波, Chen Zixin 陈子馨. Research on the Overseas Diffusion Mechanism of Chinese Literary Works--An Examination Based on ''The Three-Body Problem'' 中国文学作品的海外扩散机制研究——基于《三体》的考察. Digital Publishing Research 数字出版研究,2024,3(01):104-112.

==Translation==

'''中国科幻小说：《三体》'''

'''简要介绍'''

《三体》是由刘慈欣创作的系列长篇科幻小说，由《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》组成。第一部于2006年5月起在《科幻世界》杂志上连载。该系列小说讲述了地球人类文明和三体文明的信息交流、生死搏杀及两个文明在宇宙中的兴衰历程。其第一部经过刘宇昆翻译后获得了第73届雨果奖最佳长篇小说奖。

刘慈欣，1963年6月出生于北京市，祖籍河南省信阳市罗山县，山西阳泉人。他毕业于华北水利水电大学，是一名高级工程师，同时也是科幻作家。刘慈欣是中国科幻小说代表作家之一，作品蝉联1999年-2006年中国科幻小说银河奖，并多次获得其他国内外重要奖项，如赵树理文学奖、华语科幻星云奖等。

'''《三体》在中国科幻文学中的地位和影响'''

《三体》系列的成功极大地推动了中国科幻文学的普及和繁荣。越来越多的读者开始关注和喜爱科幻文学，科幻作品的数量和质量也得到了显著提升。《三体》系列以其独特的科学理念、丰富的想象力和对人性、社会、文明的深刻洞察，为中国科幻文学的创作提供了新的思路和方向。越来越多的作家开始尝试将科学理论与故事情节相结合，挖掘人类文化和历史内涵，探索新的文学表达方式。《三体》也激发了中国科幻作家的创作热情，越来越多的作家开始尝试科幻文学的创作，为中国科幻文学注入了新的活力。同时鼓励更多的作家追求深度和广度，提升中国科幻文学的整体水平。

《三体》系列在国际上的成功提升了中国科幻文学的地位和影响力。中国科幻文学开始受到国际社会的关注和认可，为中国文化的国际传播开辟了新的途径。《三体》系列的成功增强了中国科幻作家的文化自信。他们开始更加自信地面对国际读者和评委，展现中国科幻文学的独特魅力和深度。同时，《三体》也向世界展示了中国人的创造力和思考力，为中国文化的国际传播赢得了更多的赞誉和尊重。

'''《三体》体现中国文化价值观'''

人定胜天的信念

“天行健，君子以自强不息”，五千多年来，中华民族在探索自然、谋求生存的过程中历练出刚健有为、勤劳勇敢、积极向上、坚忍不拔的精神品格。在困难面前，我们相信人定胜天。洪水泛滥，不问先知，自己疏通河渠；疾病流行，不求神迹，自己尝遍百草；后羿射日、精卫填海、愚公移山……这些上古神话中蕴含着中国人的生存哲学和精神力量。

在《三体》中，人类文明和三体文明的科技水平差距巨大，三体仅派出两颗“智子”就能干扰地球所有的粒子加速器，使人类基础科学再难前进一步。三体世界还向人类发来最蔑视的信息——“你们是虫子”。虫子与人类的差距远大于地球与三体的差距，但是人类使用各种办法都没有彻底消灭虫子，三体人似乎忘了一件事，虫子从来就没有被真正战胜过。即使人类在三体世界面前如蝼蚁般弱小，但是人类从未放弃斗争，这恰恰是中国人骨子里坚韧精神的生动体现。

为子孙后代计深远的传承

家庭观念在中国传统文化中有着重要的地位。在中国传统的政治构造中，家国是同构的：“家”是小“国”，“国”是大“家”。中国社会以家庭为中心的文化衍生出一整套思维和生活方式，《三体》中的英雄形象往往都具有传统意义上“君父形象”的意味，他们冷峻理性，在危机时力挽狂澜，作为人类的“大家长”肩负着抵抗外敌、延续人类文明的重担，最后的结局也几乎都是舍生取义，为整个人类的生存牺牲自己。家族传承精神扩大到国家就变为中华民族绵延数千年的历史传承。《三体》中人类为抵御外星入侵设计的许多计划都延续几十到上百年，只有拥有五千年文明历史的民族才会更偏向于设计与想象出这些需要代代相传的计划，小说也因此具有一种史诗感。在设定上，三体舰队于400年后到达地球，相应的人类与三体世界的斗争策略也以百年计，比如太空军利用“冬眠”技术向未来输送人才，掩体计划、黑域计划、研制曲率驱动飞船，等等。

中国式角色

《三体》中也有独特的中国式主角被读者所牢记，如汪淼、章北海和程心都是亚马逊读者书评中出现频次较高的角色。

章北海是非常典型的中国军人形象，他坚强智慧，胸怀大义，出身军人世家。章北海的父亲是未来史学派成员，预判末日之战中人类必败，他用极为隐晦的话“要多想”向章北海暗示末日之战的结局。章北海继承父亲的遗志，在必败的战争中为人类留下希望的火种。有读者评论称章北海“在最危急的时刻想出一个令人震惊的、非人道的解决方案来拯救人类”，读者在结合书中背景后，对章北海身上的人类理性一面产生共鸣，同时也对中国人高度的使命感、奉献精神和牺牲精神产生新的认识。

而程心被英语地区读者称为“该系列中最好的主角，她是最令人难忘的。或许不是最好的，但她是最容易在你的脑海中保持独特的角色。”程心的每一次选择确实都贯彻了人类社会所构建的道德体系中的“善”这一理念。尊重人的生命，博爱、关怀所有人，程心切身践行了她理念中的“人性”，在程心的语境里，“人性”当然等同于“善”——毋宁说，程心通过她的选择重新定义了“人性”，程心最后真正保护了的，也就是这样的“人性”，而非人类本身。对于程心来说，失去人性，才是失去一切。

'''总结'''

《三体》系列小说是中国科幻作家刘慈欣毫无疑问的代表作。该系列作品以其独特的科学设定、丰富的人物塑造和深邃的哲学思考，展现了人类文明在面对外星文明入侵时的挣扎与抉择，同时探讨了宇宙的宏大和人类的渺小。《三体》不是对外国科幻作品的复制，它用中国叙事，赢得了全球读者的广泛赞誉，成为当代中国科幻文学中最璀璨的明星。

=Chu Shoujuan |Ganshi in Xiangxi: The Cycle of Life and Death under Ancient Witchcraft=
==Introduction==
Xiangxi, a mysterious land in the western part of China's Hunan Province, has been one of the cradles of witchcraft culture since ancient times. In this deep land of mountains and streams, there is an ancient and mysterious legend - Ganshi in Xiangxi. This is a strange ceremony to bring the bodies of people who died in a foreign land back to their hometown and bury them in the ground, and it is called "Three Evils of Xiangxi" with Gu Du and Luo Hua Dong Nv. (Baidu Baike Ganshi in Xiangxi)

==Main Part==

Origin

The origin of Ganshi in Xiangxi can be traced back to ancient times. According to folklore, thousands of years ago, Chi You led soldiers in fierce battles with rival tribes. And then the battlefield was littered with corpses and blood flowed like stream. After the war, Chi You could not bear his soldiers to die in a foreign land, so he asked his tactician to use magic to let the dead soldiers return home. The tactician dressed up as Chi You, silently reciting incantations and praying to the gods, and those who had originally fallen to the ground actually stood up, followed the guidance of the "Fu Jie" and walked south. This is the earliest legend of Ganshi in Xiangxi. (Wang Yanan 2018, 186)

Development

However, it was in the middle of the Qing Dynasty that Ganshi in Xiangxi really formed a profession and was widely spread among the people. At that time, people in Xiangxi took the bodies of their relatives who had died abroad back to their hometowns for burial as a show of filial piety. However, due to the long road, inconvenient transportation, coupled with the complex terrain of the Xiangxi area and the rugged mountain road, it was extremely difficult to transport the body. Therefore, some people who knew witchcraft would use the "Occult Arts" to "drive" the body back to their hometown. These people are called "Ganshi Jiang", they hold "Chen Zhou Fu", and the mouth mutters words, leading the body in the night forward. (Liang Xu 2014, 2)

The ritual of Ganshi in Xiangxi is full of mystery. The Ganshi Jiang usually sets out at night, dressed in Taoist robes and carrying a dementor bell, followed by a string of bodies strung together with straw ropes. Instead of using lanterns, they use bells in their hands and incantations in their mouths to find their way. As the body walks, it wears a tall felt hat, and a yellow paper with a mark on its forehead was draped over its face to conceal it. Such a scene, in the mountains of Xiangxi, appears particularly strange and mysterious. (Baidu Baike Ganshi in Xiangxi)

Ganshi in Xiangxi ritual although mysterious, but not without trace. According to relevant literature records, there is a saying of "Three Rush and Three not Rush" in Xiangxi. Those who have been beheaded, hanged, or killed in cages can be driven away, because these people are forced to die, die unconvinced, and miss both home and love ones. Those who die of illness, those who hang themselves voluntarily or throw themselves into a river, and those who are burned by lightning with incomplete limbs could not be driven away. This is because the person who die of illness has spent the rest of his life, and his soul has been hooked by the impermanent ghost to Yama. The souls of those who hang their necks or throw themselves into a river are "being replaced" and are being handed over. And those who die when lightning strikes fire are sinful and cannot be driven away. (Lu Qun 2007, 56-57)

Declassify

With the development of science and technology, people have gradually explored the mystery of Ganshi. Ganshi does not mean that the body will actually walk on its own, but that someone will carry it on his back. First, Ganshi Jiang removes the head and limbs from the deceased, and then coates them with embalming agents, so that for a period of time, it can not decompose. At the same time, in order to prevent excessive inquiry into their profession, they would choose to wear Taoist robes and carry a dementor bell and travel at night. When the body is delivered to the home of the deceased, people, out of awe and comforted at seeing the deceased, no longer doubt whether the body is intact or whether the removal of the body is a hoax. (Zhang Dawei 2016, 18-22)

==Conclusion==
Although Ganshi in Xiangxi is full of mystery and horror, it also reflects people's respect and nostalgia for the deceased. In the land of Xiangxi, driving dead bodies is not only a profession, but also a cultural inheritance and belief. Nowadays, with the progress of science and technology and the convenience of transportation, Ganshi has gradually fades out of people's vision. However, the legends and stories about Ganshi in Xiangxi are still spread among the mountains and rivers of Xiangxi, becoming an eternal legend in this land.

==Terms and Expressions==
*Ganshi in Xiangxi 湘西赶尸
*Three Evils of Xiangxi 湘西三邪
*Gu Du 蛊毒
*Luo Hua Dong Nv 落花洞女
*Chi You 蚩尤
*Fu Jie 符节
*Occult Arts 秘术
*Ganshi Jiang 赶尸匠
*Chen Zhou Fu 辰州符
*Taoist robes 道袍
*Dementor bell 摄魂铃
*Three Rush and Three not Rush 三赶三不赶
*Yama 阎王

==Questions==
#What are the "Three Evils of Xiangxi"?
#Which legend does the "Ganshi" come from?
#Why doesn't the body rot?

==References==
[1]Baidu Baike Ganshi in Xiangxi (Xiangxi regional culture of China) _ Baidu Baike (baidu.com)

[2]Wang Yanan. Ganshi in Xiangxi culture exploration [J]. computerite, 2018, (02): 186.

[3]Liang Xu. Declassify Ganshi in Xiangxi [C]// Guangdong Folk Culture Research Association. Proceedings of the Symposium on Folklore Intangible Cultural Heritage in July 2014. Publisher unknown, 2014: 2.

[4]Lu Qun. Mysterious Ganshi in Xiangxi [J]. Extensive literature and history, 2007, (05): 56-57.

[5]Zhang Dawei. On the Religious and Ethical Implications of Ganshi in Xiangxi----Concurrently Discuss Primitive Belief as a Way of Human Existence [J]. Journal of Qiannan Teachers College for Nationalities, 2016, 36 (04): 18-22.

==Translation==

湘西赶尸：古老巫术下的生死轮回

介绍

湘西，这片位于中国湖南省西部的神秘土地，自古便是巫文化的发源地之一。在这片崇山峻岭、溪流纵横的深邃之地，流传着一个古老而神秘的传说——湘西赶尸。这是一种将客死异乡之人的尸体带回家乡，让他们入土为安的奇特仪式，与蛊毒、落花洞女并称“湘西三邪”。（百度百科湘西赶尸）

主体部分

起源

湘西赶尸的起源，可追溯到遥远的古代。据民间传说，几千年前，蚩尤率兵与敌对部族激战，战场上尸横遍野，血流成河。战后，蚩尤不忍战士们客死他乡，便请军师施展法术，让战死的将士们魂归故里。军师装扮成蚩尤的模样，默念咒语，祷告神灵，那些原本倒在地上的尸体竟然站了起来，跟随“符节”的指引，向南而行。这便是湘西赶尸最早的传说。（王亚男 2018，186）

发展

然而，湘西赶尸真正形成一种职业，并在民间广为流传，则是在清朝中期。当时，湘西地区的人们将客死他乡的亲人尸体运回家乡安葬，以示孝道。但由于路途遥远，交通不便，加之湘西地区地形复杂，山路崎岖，运送尸体极为困难。于是，一些懂得巫术的人便利用“秘术”，将尸体“赶”回家乡。这些人被称为“赶尸匠”，他们手持“辰州符”，口中念念有词，引领着尸体在夜色中前行。（梁谞 2014，2）

湘西赶尸的仪式充满了神秘色彩。赶尸匠一般选择夜晚出发，身穿道袍，手持摄魂铃，身后跟着一串用草绳串联的尸体。他们不打灯笼，只靠手中的铃铛和口中的咒语辨别方向。尸体在行走时，头戴高筒毡帽，额上压着画着符的黄纸，垂在脸上，以遮盖面容。这样的场景，在湘西的深山中，显得尤为诡异和神秘。（百度百科湘西赶尸）

湘西赶尸的仪式虽然神秘，但并非无迹可寻。据有关文献记载，湘西赶尸有“三赶，三不赶”之说。凡是被砍头、受绞刑、站笼站死的尸体可以赶，因为这些人是被迫死的，死得不服气，既思念家乡又惦念亲人。而病死的、投河吊颈自愿而亡的、雷打火烧肢体不全的尸体则不能赶。这是因为病死的人已享尽天年，其魂魄已被无常鬼勾至阎罗王处；投河吊颈者的魂魄是“被替代”的，正在交接中；而雷打火烧而亡者则属罪孽深重之人，无法驱赶。（陆群 2007，56-57）

解密

随着科学技术的发展，人们逐渐探寻到了“赶尸”的奥秘。“赶尸”并不是尸体真的会自己走路，而是有人将它背着走。赶尸匠先将死者的头部和四肢截下来，然后涂上防腐药剂，这样就能保持一段时间不腐烂。同时，为了防止旁人对他们职业的过分探究，他们会选择身着道袍，手拿摄魂铃，晚上赶路。等到尸体送到死者家中时，人们出于对死者的敬畏和见到死者后的安慰,便不再去怀疑尸体是否完整，赶尸是否是个骗局了。（张达玮 2016，18-22）

结论

湘西赶尸虽然充满了神秘和恐怖色彩，但它也体现了人们对逝者的尊重和怀念之情。在湘西这片土地上，赶尸不仅是一种职业，更是一种文化传承和信仰体现。如今，随着科技的进步和交通的便利，湘西赶尸已经逐渐淡出了人们的视野。但那些关于湘西赶尸的传说和故事，却仍然流传在湘西的山水之间，成为这片土地上永恒的传说。

术语表达
*Ganshi in Xiangxi 湘西赶尸
*Three Evils of Xiangxi 湘西三邪
*Gu Du 蛊毒
*Luo Hua Dong Nv 落花洞女
*Chi You 蚩尤
*Fu Jie 符节
*Occult Arts 秘术
*Ganshi Jiang 赶尸匠
*Chen Zhou Fu 辰州符
*Taoist robes 道袍
*Dementor bell 摄魂铃
*Three Rush and Three not Rush 三赶三不赶
*Yama 阎王

问题
#“湘西三邪”是什么？
#“赶尸”起源于哪个传说？
#为什么尸体不会腐烂？

参考

[1]百度百科湘西赶尸（中国湘西地区地域文化）_百度百科 (baidu.com)

[2]王亚男. 湘西赶尸文化探秘 [J].电脑迷, 2018, (02): 186.

[3]梁谞. 解密湘西赶尸[C]// 广东省民俗文化研究会.2014年07月民俗非遗研讨会论文集.[出版者不详] ,2014: 2.

[4]陆群. 神秘的湘西赶尸[J]. 文史博览,2007, (05): 56-57.

[5]张达玮. 湘西赶尸的宗教与伦理意蕴——兼论原始信仰作为人的存在方式[J]. 黔南民族师范学院学报, 2016, 36 (04): 18-22.

=Jiang Rui |=
=Li Xun | Chinese Animation =
==Overview==
In ''Cambridge Advanced Learner's Dictionary'', the word “animation” means moving picture. Here, Chinese animation refers to animation produced by Chinese. (mainland). Chinese animation originated in the 1920s. In 1922, the first advertising animation in China, ''Shu Zhen Dong Chinese Typewriter'', was produced. In 1926, the first animated film in China, ''Da Nao Studio'', was produced. In 1935, the first audio animated film in China, ''Camel Dancing'', was produced, opening a page in the history of Chinese animation. In the 1940s, the Wan brothers created the first feature film of Chinese animation, ''Princess Iron Fan'', which was released in Southeast Asia and Japan and received warm welcome, laying a good foundation for Chinese animation to go international. Between the 1950s and the 1980s, China entered a golden era of animation. In this period, there were mainly three kinds of traditional animation before the technique of computer animation be widely used, including paper-cut animation, water ink animation and puppet animation. Chinese animation has had an unparalleled glory, which also proves that Chinese animation has strength and has artistic laws suitable for its development. Looking at the development of Chinese animation over the past few decades, it can be seen that Chinese animation has always been committed to a path with its own characteristics. (Chinese animation Baidu bai ke (baidu.com)) (Luo Hong 2011 335) (Luo Hong 2011 6)

==Traditional Elements==
Most Chinese animations are set against the background of mythological tales or ancient history, and thus involve many traditional Chinese elements. Among them, some animation works are made completely according to the original mythology, and some fabricate a story that has never existed before, but most are adapted from existing myths or historical events.

For example, China's early animations such as ''Uproar in Heaven'', ''Nezha Conquers the Dragon King'', and ''Princess Iron Fan'' are all adapted from the long novel ''Journey to the West''. However, the character Nezha was not originally from China at the earliest, but from Indian Buddhist mythology, but it was introduced to China relatively early, and there are records about Nezha in many dynasties:

Jin Dynasty:''The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter'' records:"Vaisravana, the king of heaven, gave birth to Narakuja (that is, Nezha), and all the heavenly beings were extremely happy. The king gave birth to a crown prince today, in the Kapilavastu kingdom, and all the people were also so happy." In the earliest written records of Buddhism, Nezha is a just god of war who is deeply loved by the public. Once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise.

Tang Dynasty:''The Sea of Meanings of the Shurangama Sutra'' records:"The crown prince of the king of heaven is like that of Nezha and the like, assisting in governing and controlling, grasping ghosts and protecting the world and benefiting people."

Song Dynasty:''The Jiatai Pudeng Record'' records:"Nezha has ten faces and ten eyes moving, and the formless spiritual light blocks the sun wheel."

Since the Jin Dynasty, there have been descriptions of Nezha almost in every dynasty. In ''The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter'', Nezha is described as "once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise", while in the animation work ''Nezha: Birth of the Demon Child'', Nezha was born as a "demon child" with a bad nature. Once born, it caused the fear and disgust of the people, and the director's intention of such an adaptation is probably to pave the way for Nezha to sacrifice his life to save everyone at the end, thereby highlighting Nezha's kind character. Therefore, this work conveys such a concept: even if it is a demon, there is kindness. Such a concept is very common in Chinese culture. In ''Journey to the West'', many monsters seem to be very evil, but they haven't done anything extremely heinous. Generally, they just steal things and rob, at least they are aboveboard. On the contrary, in human society, there are all kinds of calculations, conspiracies, and framings, which are simply more evil than monsters; the first is to lament the sinister nature of human society, and the second is to abandon the "label of the evil", that is, there is no absolute evil. This is exactly the value that many Chinese writers want to express through monsters.

Coincidentally, there is also a shadow of this value in the animation ''Fox Spirit Matchmaker''. In this animation, humans and monsters coexist in the world, and it describes some kind-hearted monsters who do not hesitate to sacrifice themselves to protect others and some humans who murder monsters for power. And this animation also involves some other traditional Chinese elements. It mainly tells a series of interesting and mysterious stories that occur in the process of the fox spirit who takes on the profession of matchmaker pulling the red thread for the lovers in the previous life. And the word "matchmaker" comes from ''Romance of the Western Chamber'' created by Wang Shifu, a dramatist in the Yuan Dynasty. In ''Romance of the Western Chamber'', there is a maidservant in the prime minister's mansion named "Hongniang". She not only has to take care of Miss Cui Yingying's daily life, but also monitors Miss on the order of the old lady and reports immediately if there is any bad tendency. But after Hongniang saw Miss Yingying's mind towards Zhang Sheng, she still broke through the shackles of feudal ethics and risked being punished by the old lady to help Miss Yingying and Zhang Sheng, and finally made the lovers become a couple under the matchmaking of Hongniang. Since then,"Hongniang" has referred to those who match men and women to become husband and wife. And "pulling the red thread" is a metaphor for "facilitating marriage".

In addition, there are also some Chinese ancient poems and some original poems in ''Fox Spirit Matchmaker''. For example,"Ask what on earth love is, which directly makes it difficult for the magpie bridge to cross the pain of lovesickness, and directly makes it difficult for the butterfly to pick the sweetness of the same heart". This sentence is adapted from Yuan Haowen's ''Moliyu·Yanqiu Ci'' in the Jin Dynasty. Another example is "On the seventh day of July, at the bamboo pavilion by the Huai River, the scabbard and the flute depend on each other, without regret or complaint". This sentence is written by the author of ''Fox Spirit Matchmaker''. These poems endow this animated work with a romantic atmosphere and enhance its artistic quality, making it more ornamental and aesthetically valuable.

==Influence From Abroad==
==Animation Production Techniques==
==Terms And Expressions==
==Questions==
==Translation==
===概述===
在《剑桥高级学习者词典》中，“动画”一词意为移动的图片。在这里，中国动画指的是（中国大陆）中国人制作的动画。中国动画起源于20世纪20年代。1922年，中国第一部广告动画《舒振东华文打字机》制作完成。1926年，中国第一部动画片《大闹画室》制作完成。1935年，中国第一部有声动画影片《骆驼献舞》制作完成，翻开了中国动画历史的一页。20世纪40年代，万氏兄弟创作了中国动画的第一部故事片《铁扇公主》，该片在东南亚和日本上映并受到热烈欢迎，为中国动画走向国际奠定了良好基础。20世纪50年代至80年代，中国进入了动画的黄金时代。在这一时期，在计算机动画技术被广泛应用之前，主要有三种传统动画类型，包括剪纸动画、水墨动画和木偶动画。中国动画曾有过无与伦比的辉煌，这也证明了中国动画有实力且有适合自身发展的艺术规律。纵观中国动画在过去几十年的发展，可以看出中国动画一直致力于走一条具有自身特色的道路。（中国动画百度百科）（罗虹 2011年6页）（罗虹 2011年335页）
===传统元素===
中国动漫大多以神话传说或者是古代历史为背景，因此涉及许多中国传统元素。其中，有些动漫作品完全按照原神话来制作，还有一些编造出一个从来没有的故事，但大多数是根据已有神话或历史事件改编。
比如中国早期的动画《大闹天宫》，《哪吒闹海》，《铁扇公主》都是由长篇小说《西游记》改编。然而，哪吒这一人物最早并非出自中国，而是出自印度佛教神话，但传入中国较早，多个朝代都有关于哪吒的记载：

晋代：《佛所行赞经·第一生品》记载：“毗沙门天王，生那罗鸠婆（即哪吒），一切诸天众，皆悉大欢喜，王今生太子，迦毗罗卫国，一切诸人民，欢喜亦如是。”哪吒在佛教最早的文字记载中是一位深受大众欢迎的正义战神，一出生就让天地间的一切天众神佛及百姓为之欢颂。
唐代：《首楞严经义海》记载：“天王太子即那吒之类，辅政统摄，跨握鬼物，护世益人。”
宋代：《嘉泰普灯录》记载：“那吒十面十眸动，无相灵光翳日轮。”

从晋代开始，几乎历朝历代都有对哪吒的描述。在《佛所行赞经·第一生品》中，哪吒被描述为“一出生就让天地间的一切天众神佛及百姓为之欢颂”，而在动漫作品《哪吒之魔童降世》中，哪吒是作为一个“魔童”降世的，天性恶劣，一出生就引起了百姓的恐惧和厌恶，而导演如此改编的用意，大概是为了为哪吒在最后舍命救众人做铺垫，以此凸显哪吒善良的品格。因此，这部作品传达出这样一个观念：即使是妖魔，也有善良的。这样的观念，在中国文化中很常见。《西游记》中有许多妖怪都是看似很恶，但并没做过什么罪大恶极的事，一般都是偷偷东西以及抢劫，至少光明磊落。反观人类社会，各种算计，阴谋，陷害，简直比妖怪还恶；第一是感慨人类社会的险恶，二是对“恶人标签”的摒弃，即不存在绝对的恶人。这正是许多中国作家想要通过妖怪表达的价值观。

无独有偶，在动漫《狐妖小红娘》中也有这种价值观的影子。在这部动漫中，人与妖共存于世间，描写了一些善良的为了保护别人而不惜牺牲自己的妖怪和一些为了力量而谋害妖怪的人类。而这部动漫还涉及另一些中国传统元素。它主要讲述了以红娘为职业的狐妖，在为前世恋人牵红线的过程中发生的一系列有趣、神秘的故事。而“红娘”一词，来源于元代杂剧家王实甫创作的《崔莺莺待月西厢记》。在《崔莺莺待月西厢记》中有一个相国府的婢女名叫“红娘”，她不仅要照顾崔莺莺小姐的饮食起居，同时也奉老夫人之命监视小姐，有不良倾向要随时汇报。但是当红娘看出了莺莺小姐对张生的心思之后，还是突破了封建礼教的束缚，冒着被老夫人责罚的风险帮助莺莺小姐和张生，终在红娘的撮合下使有情人终成眷属。此后，“红娘”便指那些撮合男女双方成为夫妻的人。而“牵红线”便是“促成姻缘”的比喻。

另外，《狐妖小红娘》中还有一些中国古诗词以及一些原创诗词，比如“问世间情为何物，直教鹊桥难渡相思苦，直教化蝶难采同心甜”，这一句改编自金代元好问的《摸鱼儿·雁丘词》;又如“七月初七，淮水竹亭，鞘笛相依，无怨无悔”，这一句是原创。这些诗词赋予这部动画作品一种浪漫的氛围，提升了它的艺术品质，使其更具观赏性和审美价值。

=Zhu Ran |Military-style Travel=
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==Introduction==
==Main Part==
==Conclusion==
==Questions==
==References==

=Long Yuhan |Folk Art: Youshen Fairs=
==Introduction==
Youshen Fairs（Wandering Gods), also known as the Holy Driver Tour, the Tour of the Master, the Tour of the Bodhisattva, the Tour of the God Race, the New Year's Exercise, the Welcoming of the God, the Carrying of the God's Statue, the Statue of the God on Tour, etc., refers to the fact that during the New Year's period, or other festivals, people go to temples and bring the statues of the gods into the palanquins, and carry them out of the temples to tour the territory to accept the people's incense and worship to signify that the gods have landed in the folklore to visit the towns and villages and to bless the peace and safety of the territory. The main purpose of the festival is to reward the gods, eliminate disasters, and pray for blessings. From the third to the fifteenth day of the first month of the lunar calendar, it is the time to visit the gods. The gods often tour the village as a unit, sometimes several villages jointly, in the drums and gongs and the sound of firecrackers in the village parade, the people watching, greeted, the scene is warm. (Hu Xiulei/ Huang Xiaojian 2012: 42-48+34)

==Main part==
===Origin===
Youshen Fairs originates from rich and diverse folk beliefs, and its cultural archetype is the ancient emperor who traveled to the four corners of the earth. In the Shanhaijing (Classic of Mountains and Seas), there is a record of a "wandering god", whose duty is to inspect a party for the Emperor of Heaven. In the Chinese folk belief system, there are "day wandering gods" and "night wandering gods", who monitor good and evil on earth during the day and night, respectively. There are various legends of the origins of Youshen Fairs in different regions where the culture is popular. (the Xinhua News Agency, 2024-02-27; Hu Xiulei/ Huang Xiaojian 2012:42-48+34)

===Ceremony and Content===
According to the description of some respected old people, the gods enshrined in the temple do not all come out during the day, but according to the different identity characteristics of the gods the temple priests invite different times to "go on tour" of the gods. All the participants in the parade gather at the temple square at the agreed time, men and women are not limited (no women participated in ancient times), but they must bathe and change into clean clothes. At the beginning of the procession, the first thing is to offer incense to the head of the community and perform the ritual of three kowtows and nine bows. After the incense, the procession of the gods according to the paper boat, gongs, lanterns, quiet avoidance card, palanquin, eight sound teams, lion team (or pottery drum team or floating color team), drums and another ceremonial lineup in good order, sounding a cannon to get up, the eight sounds, all the way to the sound of firecrackers, gongs, and drums Zona sound endless. The procession travels along certain routes in the village alleys or streets, and where it passes by, the heads of the neighboring households have to set off firecrackers, which are meant to welcome the gods. At the beginning of the worship, all the people around, including the tenants, relatives, friends, and staff of the hall, can bow three times and nine times in front of the Bodhisattva to pray for his blessings. At the end of the worship, Taoist priests and their assistants come forward to recite scriptures and cast spells to drive away demons and devils, thus blessing the people with peace. (Yao Xuelan 2012: 17, 18)

===Taboos===
===Zhao Shizi===
==Conclusion: Value and Significance==
==Terms and Expressions==
==Questions==
==References==
==Translation==

=Pei Xinxian |=
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=Hu Yujie |=Cuisine：Hunan cuisine, one of the eight major cuisines
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=Li Shujing |Music and Instruments: Suona Horn=
==Introduction==
Suona, Chinese double-reed woodwind instrument, the most commonly used double-reed instrument. Similar to the shawm, the suona originated in Arabia; it has been widely used in China since the 16th century. The reed is affixed to a conical wooden body covered by a copper tube with eight finger holes (seven in front and one in back), to which is fitted a brass bell. Its range is generally about two octaves, and it comes in many sizes. The suona is characterized by its shrill and penetrating sound and the frequent use of tonguing in performance. It is much used in military music ensembles and religious processions and as a stage instrument in Chinese operas.
==Position in Chinese Folk Music==

The original suona is a musical instrument spread in Persia and Arabia, and even its name is a transliteration of the ancient Persian word Surnā. Suona appeared in China around the third century AD. There are already images of suona playing in the Jiyue murals in Cave 38 of Kizil Grottoes in Baicheng, Xinjiang. In the Jin and Yuan dynasties more than 700 years ago, it spread to the Central Plains of China. During the Ming and Qing dynasties, it was widely used in folk music bands for weddings and funerals, and was also used as an accompaniment for folk songs, dances and operas.

"Birds Paying Homage to the Phoenix", originally named "Ten Scenes", is the most representative among many suona tunes, demonstrating the expressiveness of the suona to an extreme. In the sound of "Birds Paying Homage to the Phoenix", there are warbler singing and dancing, birds and flowers, contributing to a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.birds and flowers, a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.

As a traditional folk instrumental music performance art and one of the most valuable intangible cultural heritages with folk art charm, suona art plays an important role in Chinese folklore. Suona is believed to ward off evil spirits and bring good luck, making it a common choice for auspicious occasions like New Year celebrations, birthdays, marriage ceremonies and harvest festivals. Meanwhile, suona is often used in funeral ceremonies, accompanying the procedures of wake, condoling and burial, and in some places, suona is also used in grave digging ceremonies. Suona's deep tones evoke emotions ranging from joy and celebration to sorrow and remembrance, reflecting the complex tapestry of human experiences.

Except its significance, the precious cultural value of suona can not be ignored, which can be concluded as historical value, artistic value, folklore value and humanistic value.

After hundreds of years of cultural exchanges and integration between the north and the south, suona has formed its unique characteristics and customs. Through the long historical development, people can appreciate the developing path and passing on traditions of Chinese folk music. In terms of craftsmanship, suona is crafted from materials like bronze or brass, showcasing the skills of metalworkers from different periods. They have evolved over time, with modern versions incorporating improvements in design and playing techniques, while still maintaining their traditional essence.

In summary, the artistic value of the suona lies in its ability to express human emotions, convey stories, showcase virtuosity, represent diverse regional cultures, and serve as a cultural symbol within Chinese society. Take the regional diversity for example, suona exists in several variations across China, each with its distinct style and local nuances. Each region in China has its own style of playing the suona, like the famous "Lanzhou Suona" from Gansu Province or "Huangmei Suona" from Anhui. These local variations carry rich cultural heritage and are an expression of regional identity. These regional differences reflect the country's rich cultural diversity and contribute to the overall artistic richness of the instrument.

Besides being used in Chinese traditional ceremonies, suona has other values in different aspects. During village gatherings or agricultural rituals, suona bands are common, providing entertainment and a sense of unity among community members. In some cases, the suona is believed to have spiritual properties, believed to ward off evil spirits or bring blessings through its music.
Overall, suona plays a vital role in Chinese folk culture, serving as a connection to the past, a source of communal joy, and an integral part of diverse local traditions.

Suona embodies a deep connection to human values such as cultural continuity, emotional expression, resilience, storytelling, and the pursuit of harmony, making it a valuable aspect of our collective humanistic heritage. During community gatherings and ceremonies, suona's sound unites people and creates a sense of unity, reinforcing the importance of social cohesion and shared experiences. What’s more, the use of suona in traditional Chinese music often reflects the harmony between man and nature, symbolizing the balance sought in human life and the environment.

In China, the traditional suona is mainly used in weddings, funerals and other ceremonies in rural areas. However, with the acceleration of urbanization and the influence of western culture, the living space of suona is becoming narrower and narrower. It is necessary to open up new space for the inheritance and development of suona.

To some extent, the expansion of new media channels can reduce suona's dependence on wedding and funeral ceremonies, weaken its functional limitations, and develop its modern musical attributes and characteristics. With the development of new media technology, the communication advantages of platforms such as Douyin, Kuaishou and XiaoHongshu continue to be highlighted, with fast communication speed, wide dissemination range, strong interaction and wide audience, which are deeply loved by young people. Inheriting suona skills through new media channels can not only broaden the spreading space of suona, but also improve the spreading effect.

The inheritance and innovation of suona cannot be separated from talents, and the development of suona can be injected with fresh blood through innovative talent training mode. Suona artists must break the barriers between families and factions, learn from each other, and form a joint effort to cultivate the next generation. Meanwhile, suona artists should strengthen the consciousness of people's culture, realize the importance of protecting these instrumental music cultures, and establish a system of inheritance and protection. While maintaining traditional cultural characteristics, we try to integrate fresh cultural elements into it to make it more in line with modern aesthetics and awaken the cultural emotions of the whole people.

At the same time, the inheritance and development of suona cannot be separated from the support of the government. The promulgation of the intangible cultural heritage regulations protects this intangible cultural heritage project to a certain extent, but it is far from enough. A series of relevant measures should be introduced to implement the policy in detail. The decline of suona is the decline of traditional folk culture from the root. Local governments should protect suona culture from the root, organize various forms of folk culture programs, so as to give suona culture more opportunities to be displayed and give it more official recognition.

==Conclusion==
==Terms and Expressions==
==Questions==
==References==
https://www.britannica.com/art/suona

=Chen Jiawen |=
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=Xiang Lu |=Music: Sang Zhi Folk Songs

== Introduction ==
桑植县，隶属于湖南省张家界市，位于湖南西北边陲, 是贺龙元帅的故乡、红二方面军长征出发地, 拥有中国首批、湖南省首个国家级自然保护区八大公山原始森林，被纳入中国“人与生物圈保护区（MAB）”和“中国具有全球意义的17个生物多样性关键地区之一”。
桑植民歌，湖南省桑植县地方传统音乐，国家级非物质文化遗产之一。

== Development ==
桑植民歌起源于原始农耕时期先民日常生产生活中的歌谣，是湖南省桑植县百姓在长期的生活实践中创造、传唱、累积起来的民间音乐文化品种，已有2000多年的历史。桑植民歌节奏明快、旋律优美、曲调丰富、形式多，现存民歌一万余首，著名歌曲有《马桑树儿搭灯台》、《冷水泡茶慢慢浓》、《门口挂盏灯》等。
屈原在《九歌》中写道：“捐余玦兮江中，遗余佩兮醴浦。”《九歌•湘人》中更是记载到：“沅有茝兮醴有兰，思公子兮未敢言。荒忽兮远望，观流水兮湲”，“成礼兮会鼓，传芭兮代舞，姱女倡兮容与。春兰兮秋菊，长无绝兮终古”，这是最早与桑植以及桑植民歌有关的文字。此处的“醴”便是指现在的澧水。澧水是湖南的四大水系之一，在常德市澧县小渡囗注入洞庭湖。
《后汉书·马援传》记载：“二十四年，武威将军刘尚击武陵五溪蛮夷，深入，军没，援因复请行。”“贼每升险鼓噪，援辄曳足以观之，左右哀其壮意，莫不为之流涕。”名将相单程凭借天险据守数月后将马援军队困在沅江南岸的壶头山，马援望江兴叹，一筹莫展，“升险鼓噪” 的典故由此而来。其中“鼓噪”在当时也称“蛮歌”，随后演变成如今的桑植民歌。（王胤，试述桑植民歌歌词的语言艺术，33）
明代，桑植土司率桑植数干土家儿郎应朝廷之召远赴江浙、朝鲜三度抗倭。在抗击倭寇（13-16世纪的日本海盗），的过程中，《马桑树儿搭灯台》应运而生。关于马桑树有两种说法：一说是传说中的马桑树儿高大挺拔，男女双方依依不舍，马桑树下送情人远去；二说是痴情男女搭建树台，台上放置一盏油灯，在灯下写信，心系远方。这就烘托出一对坠入爱河的青年男女分手时的不舍情绪，在1928年的夏天，红军师长贺锦斋用这首桑植民歌与爱妻戴桂香生离死别，她终生素衣守寡，6多年里几乎每天都去丈夫坟前唱这首歌，每天摘一两片马桑叶，直到离世，她留下的一口木箱，装的全是马桑叶。（王胤，试述桑植民歌歌词的语言艺术，37）
清代同治年间的《桑植县志》载：“雍正五年（1727年），邑人张宏毅偕侄崇周、仕周在县城西捐地创建武庙，有歌楼。”1942年版的《桑植县志》印证了这一说法：雍正五年，邑人张宏在城西捐地创建武庙，有歌舞楼，白叟黄童尽歌舞。乾隆年间的《桑植县志》记载：“土家正月赛灯、摆手、唱摆手歌，为秋千之戏，至正月十六为止。”此外，清嘉庆二年桑植河口人沙文清创作了《挽友人》称：“日边飞送燕歌声，疑信偏教旅梦惊。”其“越歌，为丧歌”说明了桑植民歌在清代已经较为普及。（只宠迩一人，baidu.com）
在近代中国，著名的开国将领贺龙在桑植“两把菜刀闹革命”，建立了以桑植为核心的湘鄂革命根据地。云、贵、川、滇、鄂、桂、赣等地的红军在此集结，带来了各地民歌，和桑植民歌融合在一起，推动了桑植民歌的发展。桑植民歌也收到时代影响，创作了许多反映军民感情的歌曲，如《门口挂盏灯》等。
新中国成立后，中国政府先后组织文艺工作者搜集桑植民歌，共计有10000余支。20世纪50年代，桑植民歌就唱到省垣京城。60年代，桑植县文化馆搜集整理民歌1万多首。
1987年湖南民间歌舞团前往波兰参加国际民间歌舞晚会，首次将桑植民歌推向国际舞台；2004年，歌唱家宋祖英在维也纳金色大厅举行个人独唱音乐会，演唱《马桑树儿搭灯台》；2008年，歌唱家雷佳将《马桑树儿搭灯台》收录至《中华五十六民族之歌》，作为国礼赠送给参加奥运会的各个国家。
2006年5月20日，桑植民歌经中华人民共和国国务院批准列入第一批国家级非物质文化遗产名录，项目编号：Ⅱ-10。

== Division ==

== Protection ==

== Conclusion ==

== Terms and expressions ==

== Questions ==

--[[User:Mou Yihong|Mou Yihong]] ([[User talk:Mou Yihong|talk]]) 08:35, 7 June 2024 (UTC)=Mou Yihong |Music and instrument: Ancient Chinese pentatonic scale--Gong,Shang,Jue,Zhi,Yu=

Abstract

This paper examines the ancient Chinese pentatonic scale, comprising the notes Gong, Shang, Jue, Zhi, and Yu. We delve into the historical background, musical characteristics, and instrumental applications of this scale in traditional Chinese music. By exploring the role of these five notes in various musical genres and instruments, we aim to provide a comprehensive understanding of the pentatonic scale in ancient Chinese music and its cultural significance.

Introduction:

The ancient Chinese pentatonic scale, consisting of Gong, Shang, Jue, Zhi, and Yu, is a fundamental component of traditional Chinese music. This scale, with its unique sound and symbolism, has been utilized in various forms of Chinese music for centuries. It is not only a musical construct but also deeply intertwined with Chinese culture, philosophy, and cosmology. This paper explores the pentatonic scale in ancient Chinese music, focusing on its historical evolution, musical characteristics, and instrumental applications.

Historical Background:

The pentatonic scale in ancient Chinese music dates back to the prehistoric era, where it was likely first used in primitive folk music and rituals. Over time, this scale became a fundamental component of traditional Chinese musical theory and practice. The earliest recorded mention of the five notes, Gong, Shang, Jue, Zhi, and Yu, appears in ancient texts such as the "Book of Rites" and the "Book of Songs." These notes were associated with the five elements of nature (earth, metal, wood, fire, and water) and the five directions (center, west, east, south, and north), reflecting the ancient Chinese belief in the interconnectedness of all things in the universe.Gong, the first note, represents the element of earth and is characterized by its stability and grounding sound. Shang, the second note, corresponds to metal and has a bright and resonant sound. Jue, the third note, represents wood and is associated with a clear and piercing tone. Zhi, the fourth note, corresponds to fire and is known for its lively and energetic sound. Yu, the final note, represents water and is characterized by its smooth and flowing melody.

Musical Characteristics:

The pentatonic scale in ancient Chinese music is characterized by its simplicity, purity, and balance. Each note in the scale has a unique sound and symbolism, creating a harmonious and balanced musical structure. The ancient Chinese five tones, namely Gong, Shang, Jue, Zhi, and Yu, correspond to the Western musical scales as follows: Gong to C, Shang to D, Jue to E, Zhi to F, and Yu to G. These correspondences are based on the perceived similarity in pitch and musical characteristics between the two systems.The ancient Chinese musical scale having two fewer notes than the Western scale is not a matter of mathematical or physical limitation but rather a result of cultural and aesthetic preferences. The five-tone system in ancient China was based on the concept of "five elements" (wood, fire, earth, metal, water) and their corresponding relationships with the human body and nature. This system emphasized balance, harmony, and simplicity, which were reflected in the musical scale as well. The two omitted notes, Fa and Si, in the Western scale are considered semi-tones, and their absence in the ancient Chinese scale contributes to a more harmonious and balanced sound.The lack of semi-tones in the ancient Chinese scale has a profound impact on the character and expression of Chinese music. It contributes to a more serene, harmonious, and meditative quality that is often associated with traditional Chinese melodies. The absence of sharp dissonances and the emphasis on balance and simplicity allow the music to flow smoothly and evoke deep emotional responses. This unique aesthetic is a defining characteristic of Chinese music and has influenced its development and evolution throughout history.In summary, the ancient Chinese five-tone system, while differing from the Western scale in terms of note count, possesses its own unique aesthetic value and influence on Chinese music. Its simplicity, balance, and harmonious sound have contributed significantly to the rich cultural heritage of Chinese music.

Instrumental Applications:

The pentatonic scale has been utilized in various traditional Chinese musical instruments, including the zither (guqin), the bamboo flute (dizi), and the pipa. These instruments have unique playing techniques and expressive capabilities that bring out the distinctive sounds and characteristics of the five notes. The zither, for example, utilizes plucking and finger-pressing techniques to create the rich and resonant tones of the pentatonic scale. The bamboo flute, on the other hand, relies on breath control and fingering to produce the clear and piercing melodies of the scale. The pipa, a four-stringed plucked instrument, utilizes plucking and strumming techniques to create a lively and energetic soundscape within the pentatonic scale.

Cultural Significance:

The pentatonic scale in ancient Chinese music is not merely a musical construct; it is also deeply rooted in Chinese culture and philosophy. The five notes correspond to the five elements of nature and the five directions, reflecting the ancient Chinese belief in the interconnectedness of all things in the universe. The pentatonic scale also embodies the Chinese concept of harmony and balance, representing the harmonious coexistence of different elements and forces in nature. This cultural significance has been passed down through generations, influencing the development and evolution of traditional Chinese music and instruments.

Conclusion:

The ancient Chinese pentatonic scale of Gong, Shang, Jue, Zhi, and Yu is a unique and fundamental component of traditional Chinese music. This paper has explored the historical background, musical characteristics, and instrumental applications of this scale, revealing its deep connections with Chinese culture and philosophy. By understanding the pentatonic scale and its role in traditional Chinese music, we gain a deeper appreciation of the richness and complexity of this ancient musical tradition.

=Yu Xinzhong | Social Phenomenon: Modern China's Inter-provincial Migration=

'''Overview:'''

The phenomenon of population migration has been very common in ancient China, but since modern China, especially after the reform and opening up, the inter-provincial migration of China’s population has become unprecedentedly common. The main reason for that is absolutely economy. Such waves of migration have brought significant economic benefits to the regions where the population moves in, but at the same time, they have also given rise to a series of economic, social, and cultural issues. In the process of migrating to improve their standard of living, migrants also undergo certain hardships.

'''The Process of The Migration'''

=Song Chengshuang |=

Chinese tradition culture：Zan hairpin flower

Many tourists have recently come to Quanzhou to experience the XunPu women's hairpin flowers because of this saying, "Adorn yourself with flowers in this life, be beautiful in the next". Quanzhou is a city with a long history and culture in China, with mountains and seas, rich cultural heritage and historical heritage. "Zanhua" is also one of the characteristic cultures of the local XunPu Village. Hairpin flower is actually a type of ancient Chinese headwear, usually fixed on a bun by an ivory hairpin, and then wrapped with flowers in nature or flowers made of other materials. The Zanhua culture has a long history of two to three thousand years and is one of the national intangible cultural heritages.

Cultural customs

As for why it is necessary to hairpin and Zanhua, some people say that the locals initially used animal bones such as fish, sheep, and cows to hairpin, which preserves the ancient custom of "bone needles to secure hair". Others say that "Zanhua Wei" originates from the custom of Central Asian women wearing flowers, which is brought back by the exchange of the Maritime Silk Road during the Song and Yuan dynasties. XunPu women are known for their qualities of Diligent Housekeeping. In order to facilitate their work at the seaside, they wear a large train top, wide tube pants, headwear such as "Zanhua Wei" and earrings such as "DingXianggou", which have become typical features of XunPu women. The headwear and folk culture of the XunPu women record their optimistic attitude towards life, and it is every woman's longing and pursuit of beauty. In addition, it is also a microcosm of ocean culture and the Maritime Silk Road. With its unique geographical environment and cultural characteristics, XunPu embodies the philosophical idea of "Heaven and Man are united as One" in which foreign culture coexists with local culture. [1]

Historical development

Zanhua originated in the Qin and Han dynasties, became popular in the Tang dynasty, flourished in the Song, Yuan, and Ming dynasties, and gradually declined during the Qing dynasty.

（1） The Zanhua Culture Before the Tang Dynasty

The Zanhua culture has a long and rich history, and its development can be traced back to the Warring States period. At that time, although the Zanhua Culture had not yet formed, people began to use flowers as headwear to express their inner emotions. During the Qin and Han dynasties, the trend of hairpin flowers gradually emerged. Especially in the Han Dynasty, women in the Sichuan regions regarded hairpin flowers as fashionable, which is evidenced by the Eastern Han Dynasty pottery figurines with mirrors unearthed in Chengdu. From the Wei, Jin, Southern and Northern Dynasties to the Tang Dynasty, the trend of hairpin flowers became increasingly fierce.

（2） The Zanhua Culture of the Tang Dynasty

The Tang Dynasty was the golden period of Zanhua culture, and both the royal nobles and common people were enthusiastic about hairpin flowers on their heads, forming a unique social trend. The high attire flower bun of Tang Dynasty women was particularly popular, which not only was gorgeous and eye-catching, but also laid the foundation for the popularity of the "flower crown" in the Song Dynasty. In the painting of Portrait of a Flower-wearing Maid, the author uses the elements of flowers to depict the wealth and prestige of aristocratic women in the palace, reflecting the Zanhua Culture at that time. In the painting, except for the maidservants, five noble women are adorned with hairpins on their heads, using vigorous and clean brushstrokes, appearing incredibly beautiful and radiant. In addition, the Zanhua Culture during the Double Ninth Festival also adds to the festive atmosphere. [2] Wang Wei wrote in his poem "Memories of Shandong Brothers on September 9th": " I know from afar where my brothers are climbing high, but one less person is missing when they wore with Cornus officinalisu everywhere." Here, "wore Cornus officinalis" expresses the custom of the Zanhua Culture during the Double Ninth Festival. On the Double Ninth Festival, besides wearing Cornus officinalis, people also have the custom of wearing chrysanthemums. During the Double Ninth Festival, when people climb high to play, they usually have to put chrysanthemums all over their heads to go home.

（3） The Zanhua Culture of the Song Dynasty

In the Song Dynasty, the hairpin culture reached its peak, men's hairpin became popular and became a court etiquette at that time. Compared with the Tang Dynasty, it was more common for men in the Song Dynasty to hairpin flowers, and it was not limited to festivals or celebrations. In the Song Dynasty, people believed that wearing flowers on the head was auspicious, so during that period, when encountering major events, the emperor and officials would wear flowers. During the reign of Emperor SongTaizong, a banquet and flower were held for the annual Jinshi ceremony, and people had to hairpin flowers as rewards. At the same time, women in the Song Dynasty were also enthusiastic about using flowers to dress themselves up. They would choose suitable flowers according to seasonal changes and display different styles. The love for hairpin flowers among literati in the Song Dynasty also reached a climax. They believed that wearing flowers on their heads not only looked beautiful, but also reflected the elegance and taste of literati. Su Shi, a great poet in the Song Dynasty, was very fond of hairpin flowers. He once said, "When people grow old, they should not be ashamed of hairpin flower. Flowers should be ashamed of on the head of old people.” The hairpin flowers of Song Dynasty poets not only reflect the aesthetic taste and characteristics of the time, but also reflect the open and free mentality of the entire society, containing rich humanistic spirit."

（4） The Zanhua Culture After the Song Dynasty

In the Yuan, Ming, and Qing dynasties, the custom of hairpin flowers evolved. Although it was not as popular as in the Song dynasty, it still remained within a certain social class and specific festival celebrations. For example, the records of the Zanhua Culture in the Ming Dynasty mainly appeared in social activities such as the Spring Festival, imperial examinations, wedding customs, expeditions, and leisure activities. [3] And with the development of makeup technology, hairpins are more often combined with hairstyles and makeup, becoming a part of overall image design.

（5） The Zanhua Culture in the Modern and contemporary times

From modern times to today, the tradition of hairpin flowers has been preserved in some regions and specific contexts, such as the bride's wedding headwear, folk festival activities, and the costumes of characters in traditional Chinese opera performances and has evolved into hairpin flower ornaments made from various materials such as flowers and silk flowers.

The significance of hairpin flowers

（1） Decorative

Hairpins initially appeared as headwear, reflecting personal elegance and lifestyle, especially for women who show beauty through hairpins.

（2） Symbolic significance

Different flowers have their own meanings, such as peonies symbolizing wealth and auspiciousness, and plum blossoms symbolizing pride and a clear breeze. Wearing them can express the wearer's emotional support or pursuit of beautiful qualities.

（3） Social status markers

In certain historical periods, hairpins became makers of status and identity. For example, during the Song Dynasty, emperors gave flowers to officials, and officials of different levels received flowers of different materials and colors. As a result, hairpins had the function of distinguishing between official ranks.

From ancient times to the present, hairpin flowers not only have ornamental value, but also represent traditional culture and epitome of Eastern aesthetics. People of different ages, regardless of gender, continue this long-standing tradition of meticulously embellishing themselves with clusters of flowers, living seriously, and striving to live beautifully. The Zanhua Culture blooms with a timeless fragrance, as well as a rich life belonging to ordinary people. With the changing times, hairpin flower is not only a decoration, but also a symbol of cultural inheritance, carrying people's longing and pursuit for a better life. In modern society, hairpin flower has also become artworks and collectibles, showcasing the fusion of tradition and modernity. Both classical and modern styles of hairpins reflect the vastness and profundity of Chinese culture, as well as the charm of traditional aesthetics.

References:

[1]袁晓鹏.泉州蟳埔女头饰民俗文化的美学思想研究[J].戏剧之家,2015,(22):247.

[2]张轶梁.《簪花仕女图》的簪花艺术表现及文化传承[J].东方收藏,2023,(09):33-35

[3] 庞雅静 .《簪花仕女图》的色彩美研究 [J]. 美与时代（中），2022（08）：63-65.

=Tan Yalan |Xiangdao=
Please start to write now.

=Xiao Ye |The Imperial Civil Examination System=
==Introduction==
The imperial civil examination system is an ancient Chinese system of selecting officials through examinations. From its inception to its abolition in 1905, it had a long history of more than 1,200 years and had a profound impact on the society at that time. It was considered to be the fairest way of talent selection that could be adopted in the feudal era, but in the later stages of development, its drawbacks gradually came to the fore, and its negative effects became more and more significant. In addition, ancient Japan, Korea, Vietnam and other countries that had close exchanges with China were also deeply influenced by the imperial civil examination system. To this day, the imperial civil examination system still has profound cultural value and significance.(Baidu Encyclopedia：The imperial civil examination system）
==The development of the imperial civil examination system==
The origin of the imperial civil examination system is controversial in historical circles, with various claims ranging from the Han, Sui, to the Tang dynasties. The mainstream view, however, is that the system was initiated during the Sui Dynasty and further developed and perfected during the Tang.
1 Sui Dynasty: Establishment of the imperial civil examination system
Before the Sui Dynasty, the official selection systems were largely corrupt. For instance, the “Nine Ranks system” during the Wei, Jin, and Southern and Northern Dynasties was based on family background and social status rather than ability. During its implementation, it was unable to escape the notion of class privilege and lacked standardized regulations, leading to widespread corruption among officials. After the establishment of the Sui Dynasty, Emperor Wen of Sui fully recognized the shortcomings of the previous official selection systems and abolished the Nine Ranks system. He began to use a system of specialized examinations to select officials. During the reign of Emperor Yang of Sui, the jinshi,(the highest level and the most difficult of imperial civil examinations) was established for the first time, marking the formation of the civil service examination system.
2 Tang Dynasty: The Perfection of the Examination System
The Tang Dynasty inherited and improved the imperial civil examination system of the Sui Dynasty. It was manifested in the following: Emperor Taizong of the Tang Dynasty increased the number of subjects to be examined, with the two subjects of jinshi and mingjing as the main subjects; Emperor Wu Zetian expanded the number of people who could be selected for the imperial examinations, and created the military examination and the palace examination; Emperor Xuanzong of the Tang Dynasty appointed high-ranking officials to preside over the examinations, and raised the status of the imperial civil examination system.
3 Northern Song Dynasty: Development and Reform of the Imperial civil Examination System
The examination system in the early years of the Northern Song Dynasty saw further development compared to the Tang Dynasty, mainly reflected in the following aspects: First, the examination process was strictly regulated, with the exam divided into three levels: the county examination, the provincial examination, and the palace examination, which became a fixed institution. Second, the number of examination subjects was simplified, with the jinshi subject becoming the most important. Third, the “anonymizing method” was implemented in the examination process to prevent corruption by examiners. Fourth, the number of candidates admitted was expanded.
During the mid-Northern Song Dynasty, Wang Anshi implemented reforms and made changes to the content of the imperial civil examination system. He abolished the subjects that required rote memorization, such as the Mingjing subject and so on, and the jinshi subject no longer included poetry and prose, focusing instead on the study of classics and contemporary affairs. He established the Mingfa subject, which was specifically focused on the examination of laws, regulations, and legal cases. However, with the failure of the reforms, these measures were also repealed.
4 The Ming and Qing dynasties: the rigidity of the imperial examination system
In order to strictly control the thinking of the scholars, the imperial civil examination system of the Ming Dynasty underwent significant changes from content to form. The examination was based only on the Four Books and Five Classics of Confucianism. Candidates were not allowed to express their own opinions. The style of the answer sheet was strictly regulated, and the essay was mechanically divided into eight parts, which was called “Stereotyped Writing”. This severely restricted people's thinking, stifled intellectual ingenuity and creativity, ossified thinking, and seriously impeded the development of Chinese science and culture.
5 Late Qing Dynasty: Abolition of the Imperial civil Examination System
In the 1898 Hundred Days Reform, Emperor Guangxu issued an edict to "abandon the eight-legged essay and replace it with policy essays". After the failure of the Hundred Days Reform, in 1905, the Qing government announced the abolition of the imperial civil examination system. From then on, the imperial civil examination system came to an end.(Lin,33-34)

=Li Sijin |Literature:Qu Yuan=
==Introduction==
Qu Yuan is a famous great patriotic poet in Chinese history, the founder of Chinese romantic literature, and the founder and representative writer of "Chu Ci". 2,300 years ago, the great patriotic poet Qu Yuan threw himself into the Miluo River. The spirit of Qu Yuan has been continuously interpreted since the Han Dynasty, showing distinctive characteristics of the times in each era; The activities and festivals commemorating Qu Yuan have become important cultural traditions of the Chinese nation, and people have increased their sense of belonging and identity through commemorating Qu Yuan. The spirit of Qu Yuan has been widely disseminated and recognized abroad, and the Chinese Dragon Boat Festival has been included in the "Representative List of Intangible Cultural Heritage".

==Main Part==
In 340 B.C., Qu Yuan was born in the state of Chu. When he was young, he received a good education and had a big ambition. After entering politics, he advocated for "good governance", advocating for internal governance with clear laws and external alliances to resist the state of Qin. Later, he was marginalized by the aristocracy and exiled to the region of the Yuan and Xiang rivers. However, like a warrior, he steadfastly upheld his ideals, practiced the ways of a nobleman, never allowing worldly corruption to tarnish his lofty and noble character. In 278 BC, when there was no way to serve the country , Qu Yuan committed suicide in the Miluo River in complete despair.
1.Qu Yuan's virtue

Qu Yuan used his own name to reflect the moral standards he pursued. According to the opening of "Li Sao," "My father gave me the name 'Zheng Ze,' and called me 'Ling Jun'." "Zheng Ze" signifies integrity and righteousness, adhering strictly to principles of conduct: "Ling Jun" denotes intelligence, wisdom, fairness, and justice. In the "Song of the Orange Tree," he further exemplifies his character by the steadfastness of the orange tree: for the sake of his noble ideals, he would never compromise, even unto death. Qu Yuan's eternal aspiration lies in his literary works and political ambitions, all of which stand on the side of the people. His greatness lies in his unwavering compassion for the country and its people, and his profound love for his homeland. The reason his deeds and works are intertwined with the daily lives of the people and have become a significant commemoration of a traditional festival is because his words and actions overflow with boundless love for the motherland, the people, and the native culture. Deeply embedded within them lies the enduring strength of national spirit and culture. "No one in the country knows me, why cling to the old capital?" Qu Yuan once pondered the question of "why not leave the country," but ultimately, he did not embark on distant travels, which truly reflects his steadfastness to his spiritual and cultural heritage.

2.Qu Yuan's political advocacy and contributions

Qu Yuan was a great politician. On the one hand, he set up the ideal and ambition of "good governance" very early, and the political goal for which he fought for all his life. He advocated internal governance with clear laws and the reform of politics. At this time, Qu Yuan, who was honest, upright and selfless, was supported by King, and the six reform measures he carried out made the state of Chu stronger and stronger. On the other hand, Qu Yuan advocated external alliances to resist the state of Qin. His foreign policy made the state of Chu once present a situation of national wealth and strong army.

3.Qu Yuan's poems

Poet is Qu Yuan's primary label throughout the ages. Qu Yuan integrated his life with his homeland, and his specific works are full of deep feelings for his country, which are worthy of praise and learning for future generations.From his life and works, people have summarized and continuously expounded the "Qu Yuan spirit", and with the changes of the times, it has been constantly endowed with new connotations of the times. He recounted in "Li Sao": "Long did I sigh and wipe away my tears, to see my people bowed by griefs and fears." The poet expressed deep sympathy for the difficult life of the people. And this kind of love and sorrow intertwined also made Qu Yuan refuse to leave his hometown until he died. His feelings for the country and the people also erupted uncontrollably in a series of poetic works such as "Jiu Ge" and "Jiu Zhang". Therefore, Qu Yuan's poetry has incomparable cultural value.

4.The embodiment of Qu Yuan's spirit in modern times

Today, during the Dragon Boat Festival, various regions across China highlight the theme of honoring Qu Yuan, praising his upright path and his spirit of patriotism and love for the people. Through storytelling about the festival and Qu Yuan, reciting poetry, and participating in dragon boat races, they lead the public in learning about traditional culture and nurturing patriotic sentiments.Since the 18th National Congress of the Communist Party of China, he has praised his honest and noble personality on different occasions, andhas repeatedly quoted famous sentences from Qu Yuan's poems to expound his thoughts.Today, as we commemorate Qu Yuan, we honor the traditional Chinese scholar's spirit of confronting life and death, boldly striking at the unknown, represented by Qu Yuan's "Questions to Heaven" spirit. In his epic poem "Questions to Heaven," Qu Yuan delves from the separation of heaven and earth, the changes of yin and yang, to natural phenomena like the sun, moon, and stars, directly questioning mythological legends and historical tales of sages and villains, prosperity and decline. Through his inquiries, he expresses his cosmological, historical, and political views. Not confined by doctrines but driven by reality, daring to question and critique, such exploratory spirit is truly admirable.This shows the Chinese's critical spirit of existing traditional concepts and the spirit of exploring scientific truth. Today, we commemorate Qu Yuan to honor the loyal and unswerving patriotic spirit of Qu Yuan. Qu Yuan's name has become an important label for patriotism. The greatest charm of Qu Yuan's personality lies in the spiritual core with the spirit of patriotism as the core, which allowed him to transcend the value pursuit of scholars at that time to abandon the country and pursue profits, closely link personal ideals with the destiny of the nation, and strive to unite and struggle for the realization of the people's yearning for a better life. Today, we commemorate Qu Yuan to honor the perseverance and struggle spirit of Qu Yuan. Qu Yuan has been worried the Chu State all his life, whether he is in the imperial court or not, he does not forget to think about the country and the people.Unwilling to take a detour, nor willing to compromise, he finally proved his loyalty with his life, and he never regretted it.

==Conclusion==
"Qu Yuan," as a spiritual symbol, plays an extraordinary role in the construction of the Chinese national community consciousness, spanning from the past to the present and even into the future. Without a great sage like Qu Yuan, the entire Chinese scholarly community would inevitably lack a certain spiritual strength, and Chinese history would lose many tragic hues.

==Terms and Expressions==
Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录

good governance 美政

==Questions==
#Who is the founder and representative writer of "Chu Ci"?
#What is Qu Yuan's political advocacy?
#What is the meaning of Qu Yuan's name?
#How Qu Yuan's spirit is embodied in his poetry?
#What is the meaning of "Questions to Heaven"?

==References==
[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84.

[2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。

[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190.

[4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.

[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

==Translation==

Introduction

屈原是中国历史上一位著名的伟大的爱国诗人，中国浪漫主义文学的奠基人，“楚辞”的创立者和代表作家。2300年前，伟大的爱国诗人屈原在汨罗江自杀殉国。屈原精神自汉代以来不断被阐释，在每个时代都展现出鲜明的时代特征；纪念屈原的活动和节日成为重要的中华民族文化传统，人们通过纪念屈原增加了归属感、认同感；屈原精神在国外得到广泛传播和认可，中国端午节被列入“非物质文化遗产代表作名录”。

Main part

公元前340年,屈原出生于楚国,少年曾受过良好教育，志向远大，从政后提倡“美政”，主张对内修明法度，对外联齐抗秦，后遭贵族排挤，被流放至沅湘流域。但他坚守自我理想，践行君子之道，绝不允许世俗的秽气玷污自己美好的品格。公元前278年，在报国无路的情况下，屈原极度绝望，自杀于汨罗江。1.屈原的美德屈原用自己的名字反映追求的道德标准。据《离骚》开篇，“父亲把我的名取为正则，把我的字叫作灵均。”“正则”即正直、正派，恪守做人原则；“灵均”指聪颖、智慧、公平、公正。在《橘颂》中，他又以橘树的“独立不迁”体现自己的人格情操：为了心中美好的理想，绝不同流合污，纵然死去也不后悔。屈原的千古之志，在于其文学作品和政治抱负无不站在人民的立场上。他的伟大之处，在于始终怀着强烈的忧国忧民的悲悯之心，始终怀着强烈的爱国之情。他的事迹和作品之所以能和民众日常生活结合在一起，并成为一个重要传统节日的主要纪念对象，就是因为他的言行流露着对祖国、对人民、对故土文化无限的爱，其中深深蕴藏着民族精神和文化的持久力量。“国无人莫我知兮，又何怀乎故都？”屈原亦曾考虑过“何不去国”的问题，但他最终没有去国远游，这正体现了他对精神和文化的坚守。2.屈原的政治主张及贡献屈原是一名伟大的政治家。一方面，他很早就树立了“美政”的理想抱负，及为之奋斗终生的政治目标。他主张对内修明法度，改革政治。此时，清正廉洁、刚正无私的屈原得到国君支持，其开展的六条变法改革图强措施，让楚国日益强大起来。另一方面，屈原对外主张联齐抗秦。他的外交政策，使得楚国一度呈现出一个国富兵强的局面。3.屈原的诗歌诗人是屈原横贯古今的首要标签。屈原将自己的生命与故土融为一体，在其具体的作品中充斥着对家国深厚的情感，值得后世传颂学习。从他的生平和作品中，人们总结并不断阐发出“屈原精神”，随着时代的变迁，不断地赋予新的时代内涵。他在《离骚》中述说着：“长太息以掩涕兮,哀民生之多艰!”诗人对人民艰难的生活深表同情。且这种热爱与忧患交织着的情感也使屈原至死不肯离乡他就。”他对国家和人民的这种感情在《九歌》《九章》等一系列诗歌作品中，也毫不节制地喷发而出。因此，屈原的诗歌有着无法比拟的文化价值。4.屈原精神在现代的体现今日，每逢端午节，中国各地都突出祭祀屈原的主题，歌颂屈原正道直行、爱国爱民的精神，通过讲述端午节与屈原的故事、开展诗词吟诵和进行赛龙舟等活动，引领公众学习传统文化，厚植家国情怀。党的十八大以来，习近平总书记曾在不同场合多次赞叹其心忧家国、清正高洁的人格魅力，并先后多次引用屈原诗歌中的名句来阐述思想。今天我们纪念屈原，是纪念屈原代表的传统中国士人直面生死、敢向未知勇猛叩击的“天问”精神。在长诗《天问》中，屈原从天地离分、阴阳变化、日月星辰等自然现象，一直问到神话传说乃至圣贤凶顽和治乱兴衰的历史故事，并从设问中表达自己的宇宙观念、历史观念和政治主张。这表现了中国人对既有传统观念的批判精神和对科学真理的探索精神。今天我们纪念屈原，是纪念屈原代表的忠贞不渝的爱国精神。屈原的名字已成为爱国主义的重要标签。屈原人格最大魅力就在于以爱国主义精神为核心的精神内核，让他超越了当时士大夫普遍弃国逐利的价值追求，把个人理想同民族命运紧密联系在一起，为实现人民对美好生活的向往而努力团结奋斗。今天我们纪念屈原，是纪念屈原代表的锲而不舍的奋斗精神。屈原一生都在为楚国操心，无论是否处在朝廷，都不忘忧心国家与人民。不愿迂回，也不愿妥协，最后用生命证明了自己的一腔忠义，也不曾后悔。

conclusion

“屈原”作为一种精神符号对中华民族共同体意识的构建，从过去到现在以至未来都发挥着非比寻常的作用。倘若没有屈原这样一位伟大的先贤，那么整个中国士人群体势必会缺少一种精神的力量，而中国历史也会失掉不少悲壮的色彩。文明弦歌终不绝，屈子精神永流传。守正不守旧，尊古不复古，这是我们对传统文化充满自信的表达。

Terms and expressions

Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录good governance 美政Questions1.“楚辞”的创立者和代表作家是谁？2.屈原的政治主张是什么？3.屈原名字的内涵是什么？4.屈原的精神是怎样在他诗歌里体现的？5.“天问精神”是什么意思？

References[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84. [2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190. [4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

=Luo Yang |Games: pitch-pot game(touhu)=
==Introduction==
Pitch-pot game is a ceremonial game played by ancient people during banquets. During the game, a specially made pot is used, and the guests take turns throwing arrows into it. The one who hits the most wins, while the loser drinks. As a classic entertainment activity in Chinese traditional culture, Pitch-pot is not only a competitive game but also a social way of interaction with significant cultural symbolism. With a long history, it embodies rich philosophical thoughts and moral teachings, exerting a profound influence on Chinese etiquette and culture.
==The Evolution and Revival of Touhu Culture==
===Origin and Development===
The renowned Han dynasty writer Zheng Xuan mentioned in his work "The Book of Rites - Pitch-pot," that "Pitch-pot evolved from the archery rituals of the Shang and Zhou dynasties." Archery was one of the six arts for noblemen, and the archery rituals evolved into essential etiquette for banquets. However, due to the limited space of the courtyard, or the people who were unfit for archery, the activity of using bristles instead of arrows, pots instead of targets, and throwing instead of shooting emerged, transforming "banquet archery" into "banquet pitching."

After a long period of development and evolution, Pitch-pot transitioned from an exclusive elegant entertainment for the upper class to the common people, becoming popular among the general public. The earliest literary record of Pitch-pot activity appeared in the "Zuo Zhuan". In the "Zuo Zhuan - The Twelfth Year of Duke Zhao," it was recorded: "The Marquis of Jin entertained the Marquis of Qi, and Zhongxing Muzi played pitch-pot." In the twelfth year of Duke Zhao (around 530 BC), pitch-pot activities were still entertainment at ruling class banquets. At that time, Pitch-pot could be considered as a ritual, inheriting the form and ethical ideas of archery, to some extent reflecting the ethical rules of status hierarchy.

By the Warring States period, pitch-pot gradually became popular among the common people, allowing both men and women to participate, enhancing the entertainment aspect of pitch-pot. During the reign of Emperor Wu of the Han dynasty, the imperial household official Guo was particularly skilled in Pitch-pot. He improved the rules and equipment used in pitch-pot, leading to its wider dissemination among the common people. Until the Song dynasty, Prime Minister Sima Guang opposed the excessive entertainment aspect of Pitch-pot, proposing a return to its ceremonial function, limiting the richness of Pitch-pot skills. In the Ming and Qing dynasties, although Pitch-pot games were still popular among the literati, its overall development slowed down. With the introduction of modern Western sports at the end of the Qing dynasty, pitch-pot game declined and withdrew from the historical stage.

===Cultural significance===
The early practice of Touhu had a complete ceremonial process. As the sport became more entertaining over time, the ceremonial aspects were reduced. However, it is undeniable that the ceremonial culture and the spirit of sports competition within it still have strong guiding significance for the revival of traditional culture today.

Touhu embodies the traditional Chinese culture of moderation and can cultivate both the body and mind. From the perspective of external human behavior, Touhu also provides guidance for people's behavior, requiring people to follow certain standards and methods in handling affairs. Those who participate in this activity all uphold a cautious and respectful attitude. The host and the guest need to demonstrate their courteous demeanor through the ceremonial three invitations and three refusals. The attendants of the host and the guest also need to complete the prescribed sections according to the shooting ceremony, and must not be arrogant, negligent, distracted, turn their backs on the game while standing, or discuss other matters on the scene, etc., to show the seriousness of this activity. From the perspective of the inner state of a person, it is necessary to accompany the game of Touhu with elegant songs, requiring participants to pay attention to rhythm and rhyme, and to act according to the sound; in this process, the upper and lower parts of the human body are in a coordinated state, embodying the combination of movement and stillness, and the pursuit of harmony between man and the outside world.

Unlike other throwing sports overseas, Touhu does not achieve competition through physical confrontation, but emphasizes rationality and moral cultivation. Touhu is a typical representative of the gentleman's competition, requiring one to strive for victory through their own efforts in the competition, while also giving enough respect to the opponent. The Analects of Confucius describes it this way: a gentleman should value self-cultivation and not easily compete with others for superiority. If one must compete with others, they can participate in the shooting ceremony or Touhu. One should strive for victory in the competition, and when they win, they should bow to the opponent to show respect, rather than being complacent. In the competition, one continuously improves their personal cultivation level, using sports as a way to urge individuals to continuously improve their cultivation. This is also consistent with the modern competitive sports concept of "friendship first, competition second".

===Inheritance and promotion===
In the sports and cultural ecology of contemporary China, Western sports have long occupied the mainstream position, and China's traditional sports has been marginalized. In recent years, with the rise of the national fitness wave, people have paid more attention to the content and quality of sports activities. This has created a rare opportunity for the revival of pitching pots. However, we do not need to copy the development model of ancient pitching pots, but to promote its combination with modern entertainment while retaining its own cultural value. For the general public, the fun of sports activities is ranked first, followed by its cultural value. Therefore, we can make bold innovations in pitching pots, increase its gameplay, or expand the scale of the game, so that it can be transformed from a two-person round-based game to a multi-person competition, attracting more people to participate in the sport of pitching pots.

In addition to improving and innovating pitching pots, we should also actively promote the spread of pitching pots at home and abroad. Although there are many pitching pot activities in China, most of them are personal organizations of pitch pot enthusiasts. If we want to make pitch pots a trend in society, multi-party cooperation is strongly needed. First of all, the government should play a guiding role, provide policy guarantees and economic support for pitching pots, and lay the foundation for the healthy development of this project. Secondly, we should make full use of education as an effective platform to let children get in touch with it from an early age and cultivate their interest. Finally, vigorous publicity by the media is indispensable. Through the Internet, we call on the whole society to pay attention to the development of folk sports and enhance the people's cultural confidence and cultural identity.

==Conclusion==
Pitch-pot, a treasure in China's excellent traditional culture, not only inherits the rituals of archery and the etiquette of self-cultivation, but also integrates the essence of Chinese civilization. Under the call of national rejuvenation in the new era, developing pitch-pot is of great significance to the revival of Chinese traditional sports culture and today's leisure sports. We have the responsibility to inherit it and promote its dissemination, so that more people can enjoy this precious humanistic practice of the ancestors of China.
==Terms and Expressions==
Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

==Questions==
# How did Pitch-pot evolve from archery rituals?
# What cultural values does Pitch-pot embody?
# What are the challenges and opportunities in reviving Pitch-pot?
# Why is Pitch-pot's development significant to Chinese traditional sports culture?
# What roles do the government, education, and media play in promoting Pitch-pot?

==References==
You Qianxin, Lian Menglong, Li Ning. Research on the development of ancient leisure sports pitch pot movement. Sports Science and Technology Bulletin, 2020, 28 ( 10 ): 134-135

Zhang Guoquan. ' Touhu ' and the inheritance of ancient ritual and music spirit. Lantai World, 2014, ( 04 ): 106-107.

Zhang Yong, Deng Lixing. Research on the rise and fall of the development of ancient Chinese pots. Journal of Yulin Normal University ( Natural Science Edition ), 2007, ( 05 ): 119 - 121.

Hao Jinfang.Touhu cultural historical changes and inheritance. Shandong Sport University, 2014.

==Translation==
投壶

投壶是古人宴会时礼节性的游戏。游戏时设特制之壶，宾主以次投矢其中，中多者为胜，负者饮。作为中国传统文化中的一项经典娱乐活动，投壶不仅是一种竞技游戏，更是一种独具文化象征意义的社交方式。它历史悠久，蕴含着丰富的哲学思想和道德教化功能，对中国礼仪文化影响深远。

起源及发展

汉代著名文学家郑玄在他所著的《礼记·投壶》中说道：“投壶是从商周时期射礼演化而来的。”射，是君子六艺的一种，由此衍生出来的射礼成为了宴会中必备的礼仪。然而，由于弓、箭数量和宴会场地的限制，或者一些嘉宾不擅长射箭，就出现了以棘代矢，以壶代靶，以投代射的投壶活动，使“宴射”变成了“宴投”。
经过漫长的发展和演变后，投壶由上层社会专属的高雅娱乐走向民间，受到广大平民百姓的喜爱。投壶活动的文献记载最早出现于《左传》。《左传·昭公十二年》载：“晋侯以齐侯宴，中行穆子相，投壶。”在昭公十二年（公元前530年）的时侯，投壶活动还是统治阶层宴会上的娱乐。当时投壶可以被称为是投壶礼仪, 是对射礼从形式到伦理思想的继承, 一定程度上体现地位尊卑的伦理法则。到了战国时期，民间开始逐渐流行投壶，男女皆可参加，增加了投壶的娱乐性。汉武帝时期，郭舍人尤其擅长投壶，他改良了投壶的规则和所用器具，使投壶在民间得到了更为广泛的传播。直到宋代，丞相司马光反对投壶的过度娱乐化，提出要回归它的礼仪功能，限制了投壶技艺的丰富性。明清时期，投壶游戏虽然还流行于士大夫之间，但它整体的发展已趋于缓慢，随着清末西方现代体育运动的传入，投壶走向衰落，退出了历史舞台。

文化意义

投壶早期具有完善的礼仪流程，在后世的发展中，随着投壶运动娱乐性的不断加强, 礼仪则相应地减少。但不可否认的是，其中的礼仪文化以及体育竞技精神对于当下传统文化的复兴仍然有较强的指导意义。
投壶体现了中国传统的中庸文化，能够修养身心。从人的外在行为方面看, 投壶也对人的行为方式做出了指引, 要求人们在事务的处理方面遵循一定的标准与方法。参与到这项活动中的人都秉持着谨慎恭敬的态度, 宾主之间需要通过礼节性的三请三辞来展现双方儒雅揖让的风度。宾主的侍从也都要根据射礼程序完成所规定的节数, 在整个活动过程中做到不可傲慢、不能懈怠、不准分散精力和心神旁顾、不准在站立时背对赛局、不能在现场对他事进行谈论等一系列要求, 以表示此项活动的郑重。从人的内心状态来看, 投壶时需要用雅歌进行伴奏，要求参与者讲求节奏与韵律,循声而发; 在这个过程中, 人的身体上下都处于协调状态,体现着动静结合,追求人与外界的和谐。
与海外的投掷游戏不同的是，投壶并非通过身体对抗来实现竞争，而更强调理性和道德修养。投壶运动是君子之争的典型代表,要求在比赛中通过自己的努力来争取胜利,同时也要给予对手足够的尊重。《论语》中对其做出了这样的表述:君子要重视修身养性,不能与人轻易争高低,如果一定要与人相争,便可以进行射礼或投壶。在比赛中要争取胜利,而在取得优胜时要向对手作揖表示尊重,而不是意得志满。在比赛当中不断提高个人修养水平，将体育运动作为督促个人不断提升修养的途径,这也与现代竞技体育“友谊第一，比赛第二”的理念相一致。

传承和推广

当代中国的体育文化生态中，西方体育长期占据主流阵地，中国的传统体育文化被边缘化。近年来，随着全民健身浪潮的兴起，人们越来越重视体育活动的内容和质量。这为复兴投壶创造了不可多得的机会。但是，我们并不需要照搬古代投壶的发展模式，而是要在保留它自身文化价值的同时，促进它与现代休闲娱乐相结合。对于广大群众而言，体育活动的趣味性是排在首位的，其次才是它的文化价值。因此，我们可以对投壶进行大胆创新，增加它的玩法，或扩大比赛的规模，让它从双人回合制比赛变成多人对抗赛，吸引更多人参与到投壶运动中。
除了对投壶进行改良与创新外，我们也要积极推动投壶的海内外传播。虽然国内有不少投壶活动，但大多是投壶爱好者的个人组织。要想让投壶在社会范围内形成风潮，离不开多方合作。首先，政府要发挥导向作用，为投壶提供政策保障和经济支持，为这一项目的健康发展奠定基础。其次，要充分利用教育这一有效的平台，让孩子们从小接触投壶文化，培养他们对它的兴趣。最后，媒体的大力宣传是必不可少的。通过网络呼吁全社会关注民间运动的发展，提高民众的文化自信和文化认同感。

总结

投壶，这一中华优秀传统文化中的瑰宝，不仅继承了射礼的仪节和正己修身的礼义，更融入了华夏文明的精华积淀。在新时代民族复兴的号召下，发展投壶运动对于中国传统体育文化的复兴对当今休闲体育的发展有着重要意义。我们有责任传承投壶并推广它的传播,让更多人享受到这项华夏先民的珍贵人文实践成果。

术语和表达

Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

问题

#投壶是如何从射礼演变而来的？

#投壶体现了什么文化价值观？

#恢复投壶的挑战和机遇是什么？

#为什么投壶的发展对中国传统体育文化具有重要意义？

#政府、学校和媒体在宣传方面扮演了什么角色？

=Lin Ruyin |Folk Art:Piaose=
==Brief Introduction==
==History==
==Factions==
Yakou Piaose,Nan Lang, Zhong Shan

Wuchuan Piaose

Fushi Piaose,Tai Shan

Hetian Gao Jing
==Current Situation==

=Pan Tong |=
Introduction:

Jingdezhen Porcelain refers to the porcelain produced in the city of Jingdezhen, Jiangxi Province, China. Because of its excellent quality, Jingdezhen has won the reputation of “Porcelain Capital”. The history of porcelain production there can be traced back to the Han Dynasty, with the real boom beginning in the Song Dynasty and peaking in the Ming and Qing dynasties. Jingdezhen has been supported by its porcelain industry for thousands of years. With unique cultural symbolism and influence, it is still the most influential porcelain historical and cultural city in the world.

Development History:

(1) The First Show of Force: Han to Five Dynasties

Historical records, “Xinping smelt pottery, began in the Han Dynasty”. At this time the pottery “itself coarse, the body is very thick, the glaze color is light and brown”, not sold far.

Tang Dynasty, Jingdezhen porcelain has a greater impact in the country. According to the record, “Tang Wude years, the town people Tao Yu carried porcelain into the Guanzhong, known as fake jade, and tribute to the dynasty, so Changnanzhen porcelain world famous.”

Five Dynasties, Jingdezhen porcelain production has reached a considerable scale. The main products are celadon and white porcelain, they are the earlier mature porcelain we can see now.

(2) Strong Rise: Song and Yuan Dynasties

Before the Song Dynasty, Jingdezhen produced mostly white porcelain, with little decorative patterns and paintings. Song clan moved south, a large number of literati, skilled craftsmen also moved to the south of the Yangtze River. Jingdezhen absorbed and assimilated from the other places' famous kilns of excellent workmanship. Jingdezhen porcelain technical force has been enriched, and also because of the original light, elegant, beautiful shadow blue porcelain and famous all over the world.

Yuan dynasty is the innovation period of Jingdezhen Porcelain. New varieties of blue and white porcelain in the technical maturity, opened up by the plain porcelain to colored porcelain of the new era.

(3)Stepping up to the Peak: Ming and Qing Dynasties

Jingdezhen Porcelain in the early Qing Dynasty, whether it is the official kilns or folk kilns; whether it is product modeling, decorative techniques, themes or styles, have reached a state of extreme prosperity.

(4)Porcelain Veins Pass on: Modern and Contemporary Periods

In the Republican period, “Zhushan eight friends”, with traditional painting and calligraphy into porcelain famille rose paintings, created a new Famille-rose porcelain on the ground. After the founding of new China, the establishment of the “ten porcelain factory”. porcelains industry structure changed, from the royal porcelain development to multi-discipline porcelain production. After the reform and opening up, porcelain production into a new era, innovative new colors, techniques and materials. Traditional porcelain art revitalization.

Four Characteristics of Jingdezhen Porcelain

The four characteristics of Jingdezhen Porcelain is sorted by the feelings of people observing the porcelain from afar and near.

White as jade: Jingdezhen porcelain is milky white, soft luster, warm and moist as jade. In the Tang Dynasty, it was known as “fake jade”.

Bright as a mirror: Jingdezhen porcelain glaze is smooth, crystal clear, like a brilliant mirror.

Thin as paper: Jingdezhen porcelain is light in texture and translucent in shadow. Ming dynasty Hao Shijiu creation burned the Luan Mu Cup. It is as thin as cicada's wing, one only weighs half a baht (about 1.1 grams).

Sound like a chime: Jingdezhen porcelain is crisp and clear. With a finger gently buckle, can be heard “thud” sound, like a musical instrument to play a beautiful chime sound.

Four Famous Porcelains

Jingdezhen porcelain variety, but to the Blue-white porcelain, Famille-rose porcelain, Color-glazed porcelain and Linglong porcelain the most prestigious, known as “Jingdezhen four famous porcelain”. Each of the four famous porcelains excels in its own way.

(1)Blue-white porcelain is the most representative porcelain of Jingdezhen, belonging to the underglaze colored porcelain. Primitive blue-white porcelain has been seen in the Tang and Song dynasties. Mature blue-white porcelain appeared in the Yuan Dynasty Hutian kiln in Jingdezhen. It became popular during the Yuan and Ming Dynasties and was exported worldwide, reaching its peak in the Qing Dynasty. Its thin, translucent quality and exotic motifs made it very valuable throughout Europe.

=Lei Huiting |=
Please start to write now.
=Lu Yixuan |=
==Introduction==
1.Introduction

Poetry, painting, and calligraphy: Known as the "Three Perfections," these genres were regarded as the ultimate expressions of Chinese literati culture during the Ming dynasty (1369-1644). Members of the Wu School, centered on the affluent city of Suzhou and nearby towns, earned admiration for their interpretations of these art forms. Painting with Words celebrates Wu School works, examining the relationships among their imagery, brushstrokes, and, especially, words.

==Main Part==

2.A Cultural Center

Situated on flat fertile land between Lake Tai and the Yangzi River, Suzhou (present-day Jiangsu province) is one of the oldest cities in the Yangzi delta. Before the Ming dynasty (1369-1644), when it became a leading center of literati culture, Suzhou had enjoyed a prominent political, economic, and cultural position for most of its two thousand-year history. The city was a major transportation hub on the Grand Canal, which stretched 1,100 miles between the former imperial capital Hangzhou to the south and the Ming imperial capital in Beijing far north. Besides the capital, during the fifteenth and sixteenth centuries Suzhou was the largest urban center in the Ming empire and perhaps the entire world.

Shaped like a rectangle, Suzhou was dotted with temples and spacious residences boasting elegant walled gardens. A grid of anals and paved streets, including as many as three hundred stone bridges, crisscrossed the city, which was surrounded by a moat and a towering outer wall. Beyond its water buffer, the city spilled into the surrounding suburbs but soon gave way to a prosperous countryside of small lakes and ponds, rice paddies, and agricultural fields. Rustic villages and temples were nestled in the landscape; larger satellite townships rose farther off. An area of low-forested hills stood to the west of Suzhou, overlooking the broad expanse of Lake Tai and its several nearby islands. Local poets and artists frequently ventured to such rural and suburban locations and even chose these easily accessible sites for their private retreats and retirement homes.

3.Wen Zhengming: Leader of the Wu School

An outstanding painter and calligrapher and an important trendsetter in his time, Wen Zhengming (1470-1559) was the unrivaled leader of the Wu School for much of its neyday during the first sixty years of the sixteenth century. Born to a modestly successful scholar-official family, Wen was a late bloomer in the arts; he was particularly poor at calligraphy in his youth. But he persevered, studying painting with Shen Zhou, who is often considered the Wu School's spiritual founder. Eventually, Wen mastered a wide range of painting styles and developed his own powerful, influential approach to calligraphy.

In 1527, when he returned to Suzhou after an unhappy three-year stint at the imperial court, Wen built a studio on his family's land. For the next thirty-two years, he devoted himself wholeheartedly to the life of a gentleman-scholar in retirement: reading, writing, painting, composing poetry, and socializing with likeminded friends. Wen's pivotal importance to the Wu School is magnified by the length of his extraordinary career, his wide circle of friends and acquaintances, and the artistic renown of his many students, including his two sons and a nephew and extending to several generations of Wens.

4.At Court and Beyond

During the fifteenth century, many leading gentleman artists of Suzhou spent a good part of their adult lives either serving at court in the imperial capital, Beijing, or out on provincial assignments. Often, they only returned home occasionally or after retirement. Several, such as Xia Chang (1388-1470), Xu Youzhen (1407-1472), and Wu Kuan (1435-1504), embraced these roles,distinguishing themselves in the national jinshi (advanced scholar) examinations and rising to high government offices. As artists, these men were known primarily as poets and calligraphers-except for Xia, who was also a master of the gentlemanly art of ink-bamboo painting.

The lifestyles of Liu Jue (1410-1472) and Shen Zhou (1427-1509) signaled a major alternative to serving at court. Liu only served in the capital for some eight years; Shen opted out entirely. Instead, they spent their lives in and around Suzhou, happily engaged in scholarly and artistic pursuits within their gardens and estates. Occasionally they visited friends, making communal forays into nature and to local scenic or historical sites. This lifestyle became a hallmark of Wu School gentleman artists.

Many Wu School artists were related by blood, marriage, and other formal relationships. They may have been family friends or schoolmates, taken their examinations together, studied as teacher and student, or done business as patron and client. The artists' relationships carried over into their poetry and artworks, which often were inherently personal in nature.

5.The Gentleman in Retirement

Often hailed as the spiritual founder of the Wu School, the painter, poet, and calligrapher Shen Zhou (1427-1509) came from a well-connected lineage of gentleman artists who lived in the Suzhou suburb of Xiangcheng. Both his father and uncle were landscape painters. Shen rejected the official career path followed by most of his peers in favor of a life of art and personal fulfillment. Following his example, many later Wu School artists made the same choice.

For gentleman artists in fifteenth- and sixteenth-century Suzhou, retirement consisted of socializing with other literati, refined activities such as art collecting, and a love of creature comforts such as elegant private gardens. These examples of his paintings and calligraphy reveal aspects of Shen's life in retirement: engaging with likeminded friends, observing and commentating on everyday life, and spending time alone at home or in favorite pastimes, such as wandering the hills to find inspiration for poetry or a place to play his qin.

Shen is said to have had an open, generous character. His palpable enjoyment of nature imbues each painting and poem in this section, graciously inviting us to join in. Owing to Shen's enduring influence and that of his immediate followers, these amiable qualities have come to characterize Wu School literati art.

6.In Full Flower

The Wu School rose to its artistic zenith during the first half of the sixteenth century, led by three of its brightest stars: Wen Zhengming (1470-1559), Tang Yin (1470-1524), and Qiu Ying (ca. 1494-1552). Together with the older Shen Zhou (1427-1509), this group is known as the "Four Great Artists of the Ming." Shen and Wen exemplified the Wu School ideal of the gentleman artist, while Tang and Qiu epitomized the accomplished Suzhou professional. Qiu was solely a painter; the other three developed distinct styles of painting, calligraphy, and poetry.

Although the Four Great Painters came from different social and economic backgrounds-and more than sixty-five years separated the oldest from the youngest-their lives and art intersected repeatedly. Wen and Tang had been friends since they were teenagers, and they both studied literati painting with Shen. Tang also studied under a local professional painter named Zhou Chen (ca. 1450-ca.1535), to whom he and Wen later recommended the young painting phenomenon Qiu Ying.

Such teacher-student and patron-client relationships were key to an artist's development and career in sixteenth-century Suzhou. Wen in particular had both a large number of outstanding students and a wide circle of local connections. Several of Wen's students and protégés went on to develop careers and styles of their own, among them the two brilliant calligraphers Wang Chong (1494-1533) and Chen Shun (1483-1544), both of whom died before their former master.

Despite their differences in style, approach, and social standing, professional artists and gentleman artists were codependent. Thematically, professional artists drew their material from the literature and history at he core of the literati tradition; in turn, literati artists wrote out the appropriate texts in fine calligraphy to accompany the professional artists' paintings. A primary distinction between the two groups was that the gentleman artist was also a calligrapher and a poet in his own right, and the fundamental purpose of his art was personal self-expression, usually prompted by an occasion or recent event. In some cases, one gentleman artist might have written a scroll of poetry for a friend or as a calligraphic exercise. Other times, individuals from both groups would collaborate on a scroll or contributed to a collective project.

7.The Followers

Known for decades as the Wu School's leader, Wen Zhengming (1470-1559) remained active as an artist until he died at age eighty-nine. By that time, several of his most outstanding followers had already passed away. Other artists, however, continued to work in styles heavily influenced by Wen Zhengming's approach well into the final quarter of the sixteenth century. Among these were his two talented sons, Wen Peng (1498-1573) and Wen Jia (1501-1583), who directly emulated their father and shared many of his interests and concerns. Qian Gu (1508-after 1574) also faithfully adhered to the styles that Wen Zhengming had developed and promoted.

Other gentleman artists advanced Wen Zhengming's legacy in new directions, such as Lu Zhi (1496-1576), who developed a unique, almost luminous style of landscape painting. The flourishing professional painter Xie Shichen (1487-after 1567) incorporated elements from other popular styles, but he continued to draw inspiration and material CAa from literati culture and to rely on gentleman artists for calligraphic contributions to his scrolls. Wen Zhengming's influence even extended to the generation of his great-grandson Wen Zhenmeng (1574-1636), a calligrapher. He and other local gentleman artists carried on producing collective scrolls and albums inspired by traditional themes,such as the "Eight Views of Xiao Xiang," as well as by contemporary occasions.

Still, Wen Zhengming's death deprived the Wu School of both its center of gravity and its leading light, and the vitality and prominence of Suzhou painting and calligraphy ultimately waned. By the early seventeenth century, the city's economic clout also had diminished, owing in part to the rise of nearby Shanghai and other towns in the Yangzi delta region. Competing centers of artistic production diluted and eventually eclipsed the city's premier cultural status. By the 1630s, the Wu School, though still highly influential, had given up its role as a dominant force.

==Conclusion==
==Terms and Expressions==
==Questions==
==References==

=Li Yanran |=
==Introduction==
A thangka (also known as tangka, thankga, or Tibetan scroll painting) is a classical and stylized form of Nepalese and Tibetan painting. These intricate artworks typically depict Buddhist deities, scenes, or mandalas. Thangkas are traditionally painted on cotton or silk appliqué and are often used as aids for meditation or teaching. They communicate profound meanings related to Buddhist philosophy through their detailed compositions. When not on display, thangkas are kept unframed and rolled up, similar to Chinese scroll paintings.

==Main Part==
===History and Origins===
The history of Tangka painting is deeply intertwined with the spread of Buddhism in Tibet. The earliest Tangka paintings date back to the reign of King Songtsen Gampo (618-650 AD), who played a pivotal role in establishing Buddhism in Tibet. Over the centuries, Tangka painting evolved, influenced by Indian, Nepalese, and Chinese artistic traditions. The creation of Tangka paintings flourished particularly during the Tibetan Renaissance in the 11th century, a period marked by the revival of Buddhist scholarship and artistic endeavors.

During the early stages, Tangka painting primarily depicted deities and mandalas, serving as tools for teaching and meditation. The construction of the first Buddhist temples in Tibet, such as the Jokhang Temple in Lhasa, further stimulated the development of religious art, including Tangka painting. These temples became centers of artistic activity, where local artists learned from foreign masters and began to develop their distinctive styles.

The period between the 8th and 11th centuries saw significant contributions to Tangka painting from Indian and Nepalese artists. The renowned Indian Buddhist scholar and artist, Atisha (982-1054 AD), played a crucial role during this period. Invited to Tibet by King Jangchub O, Atisha brought with him a wealth of artistic and spiritual knowledge, which greatly influenced Tibetan art and Tangka painting.

The Tibetan Renaissance in the 11th century marked a pivotal moment in the history of Tangka painting. This era was characterized by a resurgence of Buddhist scholarship, the translation of Buddhist texts, and the establishment of new monastic institutions. The renaissance period saw the synthesis of various artistic traditions into a distinctly Tibetan style, marked by vibrant colors, intricate details, and profound spiritual symbolism.

During the 14th to 17th centuries, the Ming dynasty in China established close diplomatic and cultural relations with Tibet. This period saw the exchange of artistic techniques and motifs between the two regions, further enriching the Tangka painting tradition. Tibetan artists adopted Chinese landscape techniques and the use of silk, while maintaining their unique iconographic and symbolic elements.

The 17th century onward witnessed the formalization of Tangka painting schools and lineages, each with its unique style and approach. Prominent schools include the Menri (Sman-ri) school, founded by Menla Dondrub in the 15th century, known for its classical and refined style, and the Khyenri (mKhyen-ri) school, founded by Khyentse Chenmo in the 15th century, recognized for its bold and expressive style.

The preservation and continuity of Tangka painting faced challenges in the 20th century due to political changes and cultural upheavals. However, efforts by Tibetan communities in exile and international interest in Tibetan culture have helped sustain and revive this ancient art form. Today, Tangka painting continues to thrive as both a spiritual practice and an art form, preserving the rich heritage of Tibetan Buddhism.

===Symbolism and Themes===
Tangka paintings are rich in symbolism and often depict deities, mandalas, historical events, and teachings of Buddhism. Each element in a Tangka painting carries specific meanings and serves as a visual aid for meditation and contemplation.
====Deities and Bodhisattvas====
Tangka paintings frequently portray Buddhas, Bodhisattvas, and protective deities. These figures are depicted with specific hand gestures (mudras), postures (asanas), and attributes that symbolize various aspects of Buddhist teachings. For example, Avalokiteshvara, the Bodhisattva of Compassion, is often shown with multiple arms, each holding different objects representing his compassionate activities.
====Mandalas====
Mandalas are intricate geometric designs that represent the universe and serve as tools for meditation. They are often used in Tangka paintings to depict sacred spaces and cosmological concepts. The central figure in a mandala is usually a deity, surrounded by concentric circles and squares filled with symbolic elements.
====Historical and Mythological Scenes====
Tangka paintings also narrate stories from the life of the Buddha, the exploits of various saints and yogis, and mythological tales. These narrative paintings serve an educational purpose, conveying moral and spiritual lessons.
====Symbols and Iconography====
Common symbols in Tangka paintings include the lotus flower (purity), the vajra (indestructibility), and the wheel of Dharma (teachings of the Buddha). Each symbol is meticulously placed to enhance the painting’s spiritual message.
===Cultural and Religious Significance===
Tangka paintings are not merely decorative objects; they hold deep religious and cultural significance. In Tibetan Buddhism, Tangka paintings are used as aids for visualization during meditation. Practitioners focus on the image of a deity, internalizing its qualities and receiving blessings. The detailed iconography serves as a guide for spiritual practice and contemplation.

Moreover, Tangka paintings are used in religious ceremonies and rituals. They are often displayed in monasteries, temples, and private homes, where they serve as objects of veneration. During festivals, such as the Tibetan New Year (Losar), large Tangka paintings are unfurled on hillsides, allowing devotees to receive blessings from the sacred images.

Tangka paintings also play a crucial role in preserving and transmitting Tibetan culture and religious teachings. Each painting is a repository of iconographic and symbolic knowledge, passed down through generations of artists and practitioners. The continuity of this artistic tradition reflects the resilience and adaptability of Tibetan culture in the face of historical challenges.

==Conclusion==

==Terms and Expressions==
==Questions==
==References==

=Duan Siya |Striking iron flower=
==Introduction==
Iron flowers , also known as iron trees , are traditional folk fireworks popular in the Henan and Shanxi regions and are one of China's national intangible cultural heritages .Striking iron flower,a traditional firework that has been passed down in the Yu-Jin region, began in the Northern Song Dynasty, flourished in the Ming and Qing Dynasties. It is mostly popular in the middle and lower reaches of the Yellow River, with Henan and Shanxi being the most. In the 1000-year-old folk art of "Striking Iron Flowers" (打铁花), molten iron is struck with wooden rods to create sparks cascading through the sky like blossoming flowers.
==Main Part==
The "Iron Flower Striking" originated from the ritual activities of the craftsmen. In the Ming Dynasty, the iron-making industry flourished. With the aim to celebrate the harvest and pray for peace, the blacksmiths created a bright sparkling effect by striking the iron in the production. During the Ming and Qing Dynasties, with the support from government and all walks of life, the Queshan Iron Flower reached its peak. It expanded from the original Taoist rituals such as the birthdays of the Jade Emperor and the Queen Mother to general festivities, such as wishing for a new life, getting promoted and getting married.

In the process of local circulation, Queshan Iron Flower has absorbed various artistic elements such as firecrackers, dragon lanterns and brass instruments. It has gradually formed a unique performance style of grandeur, magnificence and auspiciousness.

In June 2008, the iron flower art submitted by Queshan County, Henan Province was approved by the State Council to be included in the second batch of national intangible cultural heritage list .

Before striking the flowers, they all kneel inside the shrine to ask the gods for safety and to avoid burns. A six-meter-high double-layer flower shed is set up in an open space. The shed is densely covered with fresh willow branches and tied with fireworks, firecrackers and goods, known as the "trellis", A six-meter-high old pole is erected in the middle of the shed, making the total height of the flower shed reach more than ten meters.

A furnace is set up next to it to melt iron liquid. More than ten performers take turns to use flower sticks to hit the iron liquid with a temperature of more than a thousand degrees onto the shed, forming iron flowers more than ten meters high. The iron flowers then ignite fireworks and firecrackers, and are accompanied by the "dragon through the flowers" performance.

The flower stick used by the iron flower maker is a fresh willow stick that is as thick as a fist and more than a foot long. There is a circular pit with a diameter of 3 cm at the top of the stick to hold the iron liquid. When making iron flowers, the flower beater wears an inverted gourd ladle on his head (for protection), is topless, holds an upper stick filled with iron juice in one hand, and a lower stick without iron juice in the other hand, and quickly runs to the bottom of the flower shed, using the lower stick to hit the upper stick. A dozen flower beaters take turns, one after another, moving back and forth between the furnace and the flower shed. One stick of iron flowers soars into the sky, and another stick follows, one after another ...The scene is spectacular, presenting the characteristics of thrilling, exciting, festive and lively.

With temperatures of molten iron soaring to 1600°C, artisans bear countless scars across their bodies. In order to minimize injuries to the smiths, the ironwork is mostly performed in winter, when the weather is cold and the scattered ironwork can cool down more quickly, thus better guaranteeing the safety of the smiths. In the process of beating iron flowers, smiths will wear some specific protective clothing. Traditionally, there are mainly Taiji pattern helmet, Taoist style cotton protective cap with shawl, protective shoes, red or yellow cotton belt, etc. The protective shoes include legs, knee pads, foot pads, all three must be a one-piece type, so as to achieve the best protective effect.

Some smiths choose to go bare-chested to increase the shock of the scene.

Behind the brilliance, the risks are not known to all. The molten iron needs to be heated to more than 1600 degrees Celsius. Therefore, performers need to be very careful in the strength and angle . In that case, the iron splashes are high enough and well dispersed to make brilliant iron flowers. Insufficient force or an inaccurate strike position may result in burns to oneself.

==Conclusion==
The technique of striking iron flowers has a long history, and the performance is magnificent and grandiose. The splendor of modern fireworks and the mystery of traditional art are integrated, which is breathtaking. It embraces Taoist culture, trade customs, folk crafts, which not only enriches the folk art treasury of China, but also plays an important role in enhancing national pride and strengthening national cohesion.

==Terms and Expressions==

==Questions==
==References==

Cult Ov 2 Fin Exam 2024

2024-06-09T03:01:42Z

Chu Shoujuan: /* Declassify */

Back to [[Cult_Ov_2_2024|Course Homepage]].

'''Comments for everybody'''
*Please add the sources in the form "(Wang 2020, 445)" behind each paragraph and with a long entry in the References section.
*In the References section, please add at least 1-2 Western sources.
*In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.
*Please also add free lines at places where you want to have a line break, e.g. after a header.

Please write here a textbook chapter about a Chinese cultural phenomenon until June 15 and start writing now, with unlimited revisions possible until June 15. When you find your topic listed here it means it has been approved by the teacher. It can be either in traditional culture or today. It cannot be a topic already published in the textbook.

Please do not forget to put it into context and relation in the beginning, e.g. where it emerged and how it spread, if it is unique to Chinese or Asian cultures, if it is well-known or exotic, when it occured and how it developed throughout history.

Please write 1000 English words, and on top of it write Terms and Expressions, Questions, References. The References should contain also paper books or papers and also at least one Western source. You also need to provide a Chinese version of the text and questions.

=Tu Hairong |=
1.1 Introduction

1.2 Historical Background

1.3 Traditional Customs and Practices

1.4 Contemporary Celebrations

1.5 Cultural and Social Impact

1.6 Conclusion

1.7 Terms and Expressions

1.8 Questions

1.9 References

=Chen Zhuo |Chinese Painting: A Thousand Miles of Rivers and Mountains=
==Introduction==

"A Thousand Miles of Rivers and Mountains" is a masterpiece by Wang Ximeng, a painter of the Northern Song Dynasty. This painting, known for its magnificent depiction of China’s natural landscapes, epitomizes the peak of traditional Chinese landscape painting, particularly in the genre of green landscape painting. The painting is not only a representative of green landscape painting but also a treasure of traditional Chinese painting art.
==Wang Ximeng: The Prodigy Painter==
Wang Ximeng (1096-?), a famous painter in the late Northern Song Dynasty, is renowned for his painting "A Thousand Miles of Rivers and Mountains." In his teens, he entered the palace ‘painting school’ as a student but was not initially outstanding. However, under the personal tutelage of Emperor Huizong, his skills flourished remarkably. Emperor Huizong, himself an accomplished artist and patron of the arts, saw great potential in Wang Ximeng and invested time in his education. By the age of eighteen, Wang had completed his magnum opus, "A Thousand Miles of Rivers and Mountains," a testament to both his natural talent and rigorous training. (from baidu)

==The Historical Context of the Northern Song Dynasty==
The Northern Song Dynasty (960-1127) was a period marked by significant cultural, economic, and technological advancements in China. Following the chaotic Five Dynasties and Ten Kingdoms period, the Northern Song era brought stability and prosperity, with remarkable developments in agriculture, commerce, and urbanization. The political structure, heavily influenced by Confucian ideals, promoted intellectual and artistic endeavors. During this golden age, the arts, including painting, literature, and calligraphy, reached new heights, with scholars and artists enjoying substantial support from the state. (from baidu)

==Artistic Brilliance and Technical Mastery==
"A Thousand Miles of Rivers and Mountains" exemplifies the sophisticated techniques and aesthetic principles of Song Dynasty landscape painting. Spanning over 11 meters in length, this handscroll painting captures an expansive and varied landscape with meticulous brushwork and a harmonious color palette. Wang Ximeng’s use of the blue-green landscape technique, employing mineral pigments like malachite and azurite, imbues the painting with a vibrant yet serene quality.
The painting’s composition is both grand and intricate. The undulating mountains, rendered with fine brushstrokes and detailed texture, create a sense of depth and three-dimensionality. The depiction of water bodies, including rivers, waterfalls, and streams, adds a dynamic element to the landscape, reflecting the natural beauty of Jiangnan, a region known for its picturesque scenery. The architectural elements, such as pavilions and thatched cottages, are meticulously detailed, showcasing the architectural style of the time
Wang Ximeng’s use of color is a defining feature of the painting. The blue-green technique, utilizing mineral pigments, gives the painting its distinctive and vibrant appearance. The use of these pigments, combined with careful layering and shading, creates a sense of depth and luminosity. The ochre background provides a warm contrast to the cooler tones of the landscape, enhancing the overall harmony of the composition. (Qin, Shuhai. Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". 36-38.)

==Detailed Analysis of Key Sections==
To further appreciate the intricacies of "A Thousand Miles of Rivers and Mountains," it is essential to examine specific sections of the painting in greater detail. Each segment reveals Wang Ximeng’s exceptional skill and the painting’s profound cultural significance.
The central section of the painting features towering mountains, their peaks shrouded in mist. Wang Ximeng’s use of varying brushstrokes and ink washes creates a sense of depth and texture, making the mountains appear both majestic and ethereal. The fine chapping technique used to depict the rock surfaces adds to the realism and complexity of the landscape. Water is a prominent element in the painting, depicted with a fluidity and grace that contrasts with the solidity of the mountains. The rivers and streams wind through the landscape, reflecting the light and adding movement to the scene. The waterfalls, with their cascading waters, are rendered with a dynamic energy, capturing the viewer’s attention and drawing the eye through the composition. Scattered throughout the landscape are various architectural structures, including pavilions, temples, and bridges. These buildings, though small, are rendered with meticulous detail, reflecting the architectural style and construction techniques of the Northern Song period. The placement of these structures within the landscape highlights the harmonious relationship between human habitation and the natural environment. The human figures in the painting, while small in scale, are depicted with individuality and character. Fishermen, scholars, and travelers are shown engaging in their daily activities, adding a narrative dimension to the landscape. These figures not only populate the scene but also serve to emphasize the scale and grandeur of the natural surroundings.
(Feng, Haitao. Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). 22-28, 38-39. )

==Symbolism and Cultural Connotations==
Beyond its visual splendor, "A Thousand Miles of Rivers and Mountains" is rich in cultural symbolism. The landscape, architecture, and figures within the painting reflect the ancient Chinese literati’s philosophy and aesthetics. The painting embodies the Daoist ideal of harmony between humans and nature, a central theme in Chinese culture. The serene and idyllic scenery represents a utopian vision, an escape from the political and social turmoil of the era.
The figures in the painting, although small in scale, are portrayed with remarkable individuality. Fishermen, travelers, and hermits are depicted engaging in various activities, symbolizing different aspects of life and society. These figures not only add a narrative dimension to the painting but also emphasize the close relationship between people and their natural environment.
The painting reflects the Daoist and Confucian ideals that were prevalent during the Northern Song Dynasty. The harmonious integration of human and natural elements embodies the Daoist concept of harmony with nature. At the same time, the depiction of scholars and hermits in the landscape reflects the Confucian value placed on intellectual and contemplative pursuits.
(Lin, Shunyang & Xu, Hui. Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". 12, 114-116.)

==Impact and Legacy==
Wang Ximeng’s "A Thousand Miles of Rivers and Mountains" is a milestone in the history of Chinese landscape painting. Its innovative techniques, grand composition, and rich colors influenced generations of artists. The painting set a new standard for green landscape painting, inspiring many subsequent artists to adopt and adapt its techniques and style.
The painting’s influence extends beyond China. It is celebrated internationally as a masterpiece of Chinese art, showcasing the depth and sophistication of traditional Chinese culture. The painting’s ability to convey a sense of timeless beauty and tranquility has earned it a place among the most revered works of art in the world.
==Conclusion==
"A Thousand Miles of Rivers and Mountains" by Wang Ximeng is not merely a landscape painting; it is a profound expression of the Northern Song Dynasty’s cultural and artistic achievements. Through its exquisite details and grand vision, the painting encapsulates the harmony between nature and humanity, a core value of Chinese philosophy. Wang Ximeng’s masterpiece continues to inspire and captivate audiences, a testament to the enduring power of art to transcend time and space.
==Terminology==
A Thousand Miles of Rivers and Mountains 千里江山图
Wang Ximeng 王希孟
the Northern Song Dynasty 北宋朝
the palace ‘painting school 宫中“画学”
tutelage 侍奉
Emperor Huizong 宋徽宗
magnum opus 杰作
Five Dynasties and Ten Kingdoms 五代十国
blue-green landscape 青绿山水
malachite 石青
azurite 石绿
Jiangnan 江南
thatched cottages 茅屋
==Questions==
1. What is the significance of Wang Ximeng's "A Thousand Miles of Rivers and Mountains"?
2. How did Emperor Huizong influence Wang Ximeng's artistic development?
3. What advancements in society and culture occurred during the Northern Song Dynasty?
4. What are the main elements depicted in "A Thousand Miles of Rivers and Mountains"?
5. How does the painting reflect the cultural and philosophical ideals of the Northern Song Dynasty?
6. What impact has "A Thousand Miles of Rivers and Mountains" had on subsequent generations of artists?

==References==
#https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
#https://www.dpm.org.cn/collection/paint/228354.html
#http://www.chinashj.com/sh-gdhh/10245.html
#http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
#Lin, Shunyang & Xu, Hui. (2022). Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". Beauty and Times (China), 12, 114-116.
#Feng, Haitao. (2023). Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). Art Research, (01), 22-28, 38-39.
#Qin, Shuhai. (2023). Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". Oriental Collection, (09), 36-38.
#Xiao, Pengfei. (2023). On the Realm of Wang Ximeng’s "A Thousand Miles of Rivers and Mountains". Journal of Fuyang Vocational and Technical College, (02), 76-78.

==简介==

《千里江山图》是北宋画家王希孟的杰作。这幅画以其壮丽的中国自然景观描绘而闻名，堪称传统中国山水画的巅峰，特别是在青绿山水画领域。此画不仅是青绿山水画的代表作，也是传统中国绘画艺术的瑰宝。

==天才画家王希孟==

王希孟（1096-?），是北宋末年的著名画家，以其作品《千里江山图》闻名。在十几岁时，他进入宫中的“画学”学习，但起初并不出众。然而，在宋徽宗的亲自指导下，他的技艺得到了显著提升。宋徽宗本人是一个才华横溢的艺术家，也好支持别人搞艺术，他看到了王希孟的巨大潜力，投入了大量时间来培养他。在十八岁时，王希孟完成了他的杰作《千里江山图》，这不仅证明了他的天赋，也展示了他经过严格训练所取得的成果。

==北宋时期的历史背景==

北宋（960-1127）是中国文化、经济和技术显著进步的时期。在经历了混乱的五代十国时期之后，北宋带来了稳定和繁荣，在农业、商业和城市化方面取得了显著发展。以儒家思想为主导的政治结构促进了知识和艺术的发展。在这个黄金时代，绘画、文学和书法等艺术达到了新的高度，学者和艺术家得到了国家的极大支持。

==精湛技术==

《千里江山图》展示了宋代山水画的复杂技艺和美学原则。画卷长达11米以上，捕捉了广阔多样的景观，以细腻的笔触和和谐的色彩表现出来。王希孟采用了青绿山水技法，使用石青和石绿等矿物颜料，使这幅画充满了生机和宁静。
画面的构图既宏大又复杂。起伏的群山通过细腻的笔触和细致的纹理描绘出深度和三维感。水体的描绘，包括河流、瀑布和溪流，为景观增添了动态元素，反映了以风景如画著称的江南的自然美。建筑元素如亭台和茅屋细致入微，展示了当时的建筑风格。

==象征意义和文化内涵==

《千里江山图》不仅在视觉上引人入胜，还充满了文化象征意义。画中的山水、建筑和人物反映了古代文人雅士的哲学和美学。这幅画体现了人与自然和谐的道家理想，这是中国文化的核心主题。宁静而田园的景色代表了一种乌托邦愿景，是对时代政治和社会动荡的逃避。

画中的人物虽然规模较小，但刻画得极具个性。渔夫、旅行者和隐士从事各种活动，象征着生活和社会的不同方面。这些人物不仅为画面增添了叙事维度，还强调了人与自然环境的紧密关系。

==影响==

王希孟的《千里江山图》是中国山水画史上的一座里程碑。其创新的技法、宏大的构图和丰富的色彩影响了几代艺术家。这幅画为青绿山水画设定了新的标准，激励了许多后来的艺术家采用和改编其技法和风格。

这幅画的影响不止于国内。它作为中国艺术的杰作在国际上备受赞誉，展示了传统中国文化的深度和复杂性。画作所传达的美和宁静感使其成为世界上最受尊敬的艺术作品之一。

==结论==

王希孟的《千里江山图》不仅仅是一幅山水画；它还是北宋文化和艺术成就的深刻表达。通过其精美的细节和宏大的视野，这幅画捕捉了自然与人类和谐的核心价值。《千里江山图》继续激发和吸引观众，证明了艺术跨越时间和空间的持久力量。

==参考文献==
#https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
#https://www.dpm.org.cn/collection/paint/228354.html
#http://www.chinashj.com/sh-gdhh/10245.html
#http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
#林顺洋 & 徐辉.(2022).《千里江山图》的美学思想及艺术价值. 美与时代(中)(12),114-116.
#冯海涛.(2023).画式——《千里江山图》卷中的绘画语言研究（上）. 美术研究(01),22-28+38-39.
#秦树梅.(2023).《千里江山图》画法研究. 东方收藏(09),36-38.
#肖鹏飞.(2023).论王希孟《千里江山图》之境. 阜阳职业技术学院学报(02),76-78.

==问题==
#王希孟的《千里江山图》有何重要意义？
#宋徽宗如何影响王希孟的艺术发展？
#北宋时期社会和文化有哪些进步？
#《千里江山图》描绘了哪些主要元素？
#这幅画如何反映北宋的文化和哲学理想？
#《千里江山图》对后世艺术家产生了怎样的影响？

=Wu Liping | Festival：Qixi Festival=

==Introduction==
Qixi Festival, also known as Qiqiao Festival, Qijie Festival, Daughter's Day, Qiqiao Festival, Qinianghui Festival, Qixi Festival, Ox and Bull Mother's Day, Qiaoxi Festival, etc., is a traditional Chinese folk festival. Qixi Festival evolved from the worship of stars. It is the birthday of the seventh sister in the traditional sense. Because the worship of the "seventh sister" was held on the night of July 7th, it was called "Qixi Festival". Worshiping the seventh sister, praying for blessings and wishing, begging for skillful art, sitting and watching Morning Glory Vega, praying for marriage, storing Qixi water, etc. are the traditional customs of Qixi Festival. After historical development, Qixi Festival has been given the beautiful love legend of "Cowherd and Weaver Girl", making it a festival symbolizing love. Therefore, it is regarded as the most romantic traditional festival in China, and has produced the cultural meaning of "Chinese Valentine's Day" in modern times.

==Origin==
1.The Legend of the Cowherd and the Weaver Girl
Qixi Festival is one of the traditional festivals in China. "Xi" is the origin of the evening festival. Qixi Festival is the night on the seventh day of the seventh lunar month. Qixi Festival originated from the legend of the Cowherd and the Weaver Girl. The cowherd is a young herder, and the weaver girl is a fairy in the sky. The weaver girl felt that there was no freedom in the sky and came to the world. With the help of the old cow, the cowherd met the weaver girl and soon fell in love and got married, giving birth to a man and a woman. But one day, the Queen Mother took the Weaver Girl away. When the cowherd carried the two children to the sky to chase the weaver girl, the Queen Mother drew a galaxy with the jade hairpin on her head. The galaxy was long and wide, and the cowherd could not pass, so they were separated. The Queen Mother only allows the Cowherd and the Weaver Girl to meet once every year on the seventh day of July. Every night on the seventh day of the seventh month, groups of magpies fly to build a bridge for the Cowherd and the Weaver Girl and let them meet on the bridge. This is the origin of the Qixi Festival.

2.Worship of natural celestial phenomena
As early as ancient times, the ancients who pursued order not only planned the sky in an orderly manner, but also corresponded the stars to the ground area one by one. This correspondence is called "star division" in terms of astronomy and "division" in terms of the ground. . In short, the ancients corresponded each constellation in the sky to the physical geographical area on the ground one by one. The purpose of the ancient star division and division was mainly to cooperate with the astrology theory for celestial occupation. In the ancient star system, "Ox" consists of six stars, located on the east coast of the Milky Way, like two inverted triangles, one up and down, very characteristic, but the upper triangle is larger and brighter. The small triangle below is located on the ecliptic. These stars form a cow with two horns on its head but only three feet, so the ancients called it "the morning ox." The three stars of "Weaver Girl" are located in the north of the cow house. Among them, the "Weaver Girl One" star is the fifth bright star in the sky, so it is often directly called "Weaver Vega". People call "Oxus" and "Weaver Vega" together as "Cowherd and Weaver Girl". It is said that on the seventh day of July every year, the Cowherd and the Weaver Girl meet at the Magpie Bridge in the sky. Later, the folk gave further play to the story and gave the "Cowherd and Weaver Girl" a beautiful love legend. And in order to have the dexterity of the weaver girl, the girls work on that day, so that day is also called the Begging Festival.

3.Time digital worship
"Chinese Valentine's Day" is the seventh day of the month and the seventh day. In ancient times, the ancients combined the sun and moon with the five planets of water, fire, wood, gold and earth as "Seven Yao." The seventh day of July is related to the ancients' worship of numbers and time. In ancient times, the "sevenfold" of the first month, February 2, March 3, May 5, June 6, July 7 and September 9 were listed as auspicious days. In ancient China, the "heavy day" was regarded as a day of "the communication between heaven and earth" and "the communication between heaven and man". Seven is the number of beads in each column of the abacus, which is romantic and rigorous, giving people a mysterious beauty. "Seven" and "Ji" are homophonic, and "Seven" also means double good luck, which is an auspicious day.

==Activities on the day==
Activities on the day
1.Couple dating
Chinese Valentine's Day is commonly known as Valentine's Day in China, so couple dating is one of the most common ways to celebrate Chinese Valentine's Day. Couples may choose to have a romantic dinner on this day, enjoy the moon together, or participate in activities on the theme of Qixi Festival to express their love and care for each other
2.Xiangqiao Hui
In Yixing, Jiangsu Province, there is a custom of Qixi Xiangqiao Festival. Every year on the Chinese Valentine's Day, people come to participate and build incense bridges. The so-called incense bridge is a bridge four or five meters long and about half a meter wide made of all kinds of thick and long wrapping incense (paper-wrapped thread incense). It is decorated with a railing made of five-color threads. At night, people sacrifice the double stars, beg for good fortune, and then burn the incense bridge, symbolizing that the double stars have crossed the incense bridge and met happily. This incense bridge is derived from the legendary legend of Magpie Bridge.

3.Take Dew
In rural areas of Zhejiang, it is popular to use washbasins to receive dew. Legend has it that the dew on the Qixi Festival is the tears when the Cowherd and the Weaver Girl meet. If you wipe it on your eyes and hands, you can make your eyes clear and your hands fast.

4.Wear a needle and beg for cleverness
Wearing needles, also known as "matching tricks", is women's competition to wear needles. They tie colored threads and wear seven-hole needles. The faster they wear, the more clever they wear, the more clever they are. Those who wear slowly are called "losing tricks". "People who lose cleverness" should give gifts prepared in advance to the clever. Xijing Miscellany said: "Han Cai girls often wear seven-hole needles in the open building on July 7th, and people get used to it”

==Cultural significance and development of Qixi Festival==
1.Inheritance of traditional culture: As a part of Chinese traditional culture, Qixi Festival has inherited ancient myths and beautiful blessings through generations.
2.Multicultural integration: In contemporary society, Qixi Festival integrates the customs of different regions and cultures, forming a variety of forms of celebration.
3. Changes in personal values: With the rapid development of society, people's concepts of love and marriage are also changing. As a symbol of love, Qixi Festival represents the change of values that people pursue in love.The cultural evolution of Qixi Festival not only retains traditional customs, but also blends with modern society, reflecting the diversity and vitality of Chinese culture. We look forward to the continuous evolution and development of Qixi Festival in the future and become a cultural feast of tradition and modernity.

==Conclusion==
As a traditional Chinese festival, Qixi Festival carries ancient myths and legends and beautiful blessings. With the progress of society and the evolution of culture, Qixi Festival has become more romantic and diversified in modern times. Traditional Qixi customs such as begging for tricks and enjoying the moon still exist, but modern society gives Qixi Festival more meaning and expression. To sum up, the Seven Festivals is not only a traditional festival, but also a festival with rich cultural significance and historical traditions. It embodies the Chinese nation's unremitting self-improvement, diligence and wisdom, creative courage, and the continuous pursuit of a happy life.

==Terms and Expressions==
the Cowboy and the Weaver Girl 牛郎织女
：the Queen of Heaven 王母娘娘
magpie bridge 鹊桥
ecliptic 黄道：
Seven Luminaries 七曜
Heavenly Palace 天宫
Altair 牵牛星
Vega 织女星
Miscellanies of Xijing 《西京杂记

==Questions==
1. What is other name of Qixi Festival?
2. What day does the Chinese Valentine's Day take place?
3. What are the origins of Qixi Festival?
4. What are the common Qixi Festival activities?
5.What is the impact of Qixi Festival on today's society?

==References==
1.邵静.我国大众媒介的“节日传播”——以“春节”与“情人节”为比较范本[J].东南传播,2007(9):58-59.
6.李定琼.传统节日“假日化”与法定假日“传统化”——两者的旅游文化学关系浅析[J].现代商业,2008(9):266-267
7.李晓霞.浅谈中国节庆文化的影响[J].理论界,2006(S2):113-114
8.韦柳芝.从西方节日中反思中国传统节日的保护与传承[J].长春教育学院学报,2014,30(7):15-16.
9.That is Mandarin The Story Behind Qixi Festival

==Translation==
节日：七夕节
介绍：
七夕节，又称七巧节、七姐节、女儿节、乞巧节、七娘会、七夕祭 [39-40]、牛公牛婆日、巧夕等，是中国民间的传统节日。七夕节由星宿崇拜演化而来，为传统意义上的七姐诞，因拜祭“七姐”活动在七月七晩上举行，故名“七夕”。拜七姐，祈福许愿、乞求巧艺、坐看牵牛织女星、祈祷姻缘、储七夕水等，是七夕的传统习俗。经历史发展，七夕被赋予了“牛郎织女”的美丽爱情传说，使其成为了象征爱情的节日，从而被认为是中国最具浪漫色彩的传统节日，在当代更是产生了“中国情人节”的文化含义。

起源：
1.牛郎织女的传说
七夕节是中国传统节日之一，“夕”是夜晚的意思，“乞巧”是向织女乞求智巧的意思，七夕节指的就是农历七月初七的夜晚。七夕节起源于牛郎和织女的传说，牛郎是年轻的牧童，织女是天上的仙女，织女觉得自己在天上没有自由，就下凡来到人间，牛郎在老牛的帮助下认识了织女，不久便结为夫妻，生了一男一女两个孩子，但有一天王母娘娘把织女带回了天宫，牛郎带着两个孩子去天宫找织女，王母用头上的玉簪划了一道银河，银河又宽又长，牛郎无法过河，他们被隔开了，王母娘娘规定每年七月七日牛郎和织女只能相会一次，每到七月初七的夜晚，成群的喜鹊飞来为牛郎和织女搭起一座鹊桥，让牛郎和织女相会，这就是七夕节的由来。

2.崇拜自然的天体现象
早在远古时代，追求秩序的古人们不仅将天空规划得井井有条，还将星宿与地面区域一一做了对应，这个对应关系就天文来说，称作“分星”，就地面来说，称作“分野”。简单来说，古人就是将天上每个星座都与地上的实体地理区域一一对应，古代分星与分野目的主要是为了配合占星理论进行天象占测。在古代星宿体系中，“牛宿”由6颗星组成，位于银河的东岸，像两个倒置的三角形，一上一下，很有特点，不过上面的那个三角形更大一些，亮一些。而下面的小三角形正好位于黄道上，这几颗星组成了一个头上有两角，却只有三只足的牛，因此古人称其为“牵牛”。“织女”3星位于牛宿的北部，其中的“织女一”星是全天第五亮星，因此又常直接称为“织女星”。人们将“牛宿星”与“织女星”合称为“牛郎织女”。相传每年七月初七，牛郎织女在天上的鹊桥相会，后来民间把故事进一步发挥，赋予了“牛郎织女”的美丽爱情传说。而姑娘们为了能有织女的心灵手巧，就在那天比针线活，于是那一天又称作乞巧节。

3.古人的数字崇拜
“七夕”月逢七、日逢七。在古代，古人把日、月与水、火、木、金、土五大行星合在一起叫“七曜”。“七月初七”与古人对数字和时间的崇拜有关。古代民间把正月正、二月二、三月三、五月五、六月六、七月七、九月九这“七重”列为吉庆日。“重日”在中国古代被认为是“天地交感”、“天人相通”的日子。“七”是算盘每列的珠数，浪漫而又严谨，给人以神秘的美感。“七”与“吉”谐音，“七七”又有双吉之意，是个吉利的日子。

节日活动：
1.情侣约会
情侣约会：七夕节被普遍称为中国的情人节，因此情侣约会是七夕节最常见的庆祝方式之一。情侣们可能选择在这一天共进浪漫的晚餐，一起欣赏赏月，或是一起参加七夕主题的活动，表达对彼此的爱意和关怀。
2.香桥会
在江苏宜兴，有七夕香桥会习俗。每年七夕，人们都赶来参与，搭制香桥。所谓香桥，是用各种粗长的裹头香（以纸包着的线香）搭成的长四五米、宽约半米的桥梁，装上栏杆，于栏杆上扎上五色线制成的花装饰。入夜，人们祭祀双星、乞求福祥，然后将香桥焚化，象征着双星已走过香桥，欢喜地相会。这香桥是由传说中的鹊桥传说衍化而来的。
3.接露水
浙江农村，流行用脸盆接露水的习俗。传说七夕节时的露水是牛郎织女相会时的眼泪，如抹在眼上和手上，可使人眼明手快。浙江农村，流行用脸盆接露水的习俗。传说七夕节时的露水是牛郎织女相会时的眼泪，如抹在眼上和手上，可使人眼明手快。
4.穿针乞巧
穿针乞巧，也叫“赛巧”，即女子比赛穿针，她们结彩线，穿七孔针，谁穿得越快，就意味着谁乞到的巧越多，穿得慢的称为“输巧”，“输巧”的人要将事先准备好的礼物送给得巧者。《西京杂记》说：“汉彩女常以七月七日穿七孔针于开襟楼，人具习之。”

七夕节的文化意义与发展
1.传统文化的传承：七夕节作为中国传统文化的一部分，通过世代相传，传承了古代神话故事和美好祝福。
2.多元文化的融合：在当代社会，七夕节融合了不同地区、不同文化的习俗，形成丰富多样的庆祝形式。
3.个人价值观的变迁：随着社会的快速发展，人们对于爱情和婚姻的观念也在发生变化，七夕节作为爱情的象征，代表着人们对爱情追求的价值观的转变。七夕节的文化演变既保留了传统习俗，又与现代社会相互交融，体现了中国文化的多元性和活力。我们期待着七夕节在未来继续演变和发展，成为传统与现代交融的文化盛宴。

总结：七夕节作为中国传统的节日，承载着古老神话传说和美好祝福。随着社会的进步和文化的演变，七夕节在现代变得更加浪漫而具有多元化的特点。传统的七夕习俗如乞巧活动和赏月仍然存在，但现代社会赋予了七夕节更多的意义和表达方式。综上所述，七节不仅是一个传统的节日，也是一个具有丰富文化意义和历史传统的节日。体现了中华民族不懈的自我完善、勤奋和智慧、创造的勇气，以及对幸福生活的持续追求。
问题：
1.七夕节又名什么？
2.七夕节发生在哪一天？
3.七夕节有哪些起源？
4.常见的七夕节活动有哪些？
5.七夕节对当今社会有哪些影响？

参考文献：
1.邵静.我国大众媒介的“节日传播”——以“春节”与“情人节”为比较范本[J].东南传播,2007(9):58-59.
6.李定琼.传统节日“假日化”与法定假日“传统化”——两者的旅游文化学关系浅析[J].现代商业,2008(9):266-267
7.李晓霞.浅谈中国节庆文化的影响[J].理论界,2006(S2):113-114
8.韦柳芝.从西方节日中反思中国传统节日的保护与传承[J].长春教育学院学报,2014,30(7):15-16.
9.That is Mandarin The Story Behind Qixi Festival

=Luo Jiayi | Music and instruments：Yuge（Fishing song）=
==Overview==
Fishing song, also known as Yuge, is a unique Chinese folk song sung by fishermen in China's coastal areas, lakes and harbors. The most widely circulated one is the Tang Dynasty poet Zhang Zhihe's ''Fisherman's Song'':

In front of western hills white egrets fly up and down

Over peach-mirrored stream, where perches are full grown.

In a broad-brimmed blue hat

And green straw cloak, I’d fain

Go fishing careless of the slanting wind and rain.

There are many types and quantities of fishing songs. When and where it originated, there is no way to know. But it is certain that in the Han Dynasty, there was a large number of documentary records of fishing songs. In 2014, the fishing songs (Dongting Fishing Songs and Shanwei Fishing Songs) were approved by the State Council to be included in the fourth batch of national intangible cultural heritage lists. In 2021, Fishing Songs (Shengsi Fishing Songs) were approved by the State Council to be included in the expanded list of representative items of national intangible cultural heritage.

渔歌是一种特有的中国民歌，由中国沿海地区以及湖泊港湾渔民所唱。流传最广泛的当属唐代诗人张志和的《渔歌子》：西塞山前白鹭飞，桃花流水鳜鱼肥。青箬笠，绿蓑衣，斜风细雨不须归。渔歌种类繁多、数量庞大，到底起源于何时何地，已无从考究。但可以确定的是在汉代，渔歌已有大量的文献记载。2014年，渔歌（洞庭渔歌、汕尾渔歌）经国务院批准列入第四批国家级非物质文化遗产名录。2021年，渔歌（嵊泗渔歌）经国务院批准列入国家级非物质文化遗产代表性项目名录扩展项目名录。

==Classification of fishing songs==
Fishing songs can be classified by region. For example, the fishing songs popular in Shanwei, Guangdong Province are collectively referred to as Shanwei Fishing Songs, and there are also fishing songs in Huidong, Guangdong, which belong to the same kind in Shanwei; popular in Yueyang, Hunan Province, Dongting Lake, collectively known as Dongting Fishing Song. The fishing songs popular in Shengsi, Zhoushan, Zhejiang Province, are called Shengsi Fishing Song.

Fishing songs can also be divided into two categories: deep-sea fishing songs and shallow-sea fishing songs. The former is sung by fishermen working in the deep sea, similar to salty water songs. The latter is sung by the women of the fishermen by the sea. It usually refers mainly to shallow-sea fishing songs.

What is more, fishing songs can be classified according to their form, which are divided into three types: work songs, folk songs, and ditty.

渔歌可以按地域来分类。如流行于广东汕尾市的渔歌，统称为汕尾渔歌，而在广东的惠东也有渔歌，属于汕尾市同类；如流行于湖南省岳阳市岳阳楼区洞庭湖边的，则统称为洞庭渔歌；如流行于浙江省舟山市嵊泗县的渔歌，则称为嵊泗渔歌。

渔歌也可以分深海渔歌和浅海渔歌两类。前者是深海作业渔民所唱，近似咸水歌；后者是海边渔家妇女所唱。通常主要指浅海渔歌。

渔歌还可以按其按形式来分类，分为号子、山歌、小调三种类型。

==Characteristics of fishing songs==
The content of fishing songs is rich and colorful, and it is mainly divided into five categories, namely labor, life, love, folk customs and sacrifices. (Li 2008, 51)The labor category, represented by ''The Boatman's Work Song'', mostly describes the spontaneous organization of fishermen in production and life, such as fiber pulling, net collection, etc., with a sonorous rhythm and full of dynamics. In the life category, it mainly expresses the joys and sorrows in the hearts of fishermen, and its representative works include ''How can there be more tears in the river''. Love, mostly men and women pour out their love for each other. Affected by the water, their marriage and love are in the boat, which gave birth to a large number of songs, such as ''Bachelor Marrying'' and so on. Folk customs, more reflect the survival skills of fishermen, and the cultivation of excellent moral qualities such as the education of children, and the representative works include ''My Thousands of Fishing Songs''. Sacrificial category, the content is mainly for the fishermen to pray for the god of water and the dragon king to bless favourable conditions and the boat is safe, the representative works are ''Dongting Immortal'' and so on.（Xu Hao,Liu Jiwen 2020, 121-122）

The lyrics of fishing songs are generally in the format of seven-character sentences, two sentences are one paragraph, and there are also four or eight sentences in a paragraph. In the four sentences, there are also five-character sentences or three-character sentences as the starting sentence, and the last three words of the second or fourth sentence are often repeated with padding words, or the whole sentence is repeated.

The expression forms of fishing songs include humming, singing in unison, singing in unison with the lead singer, blowing, duet, singing and dancing, pure natural harmony singing, playing and singing, etc. The dragging and repetition in the singing are the most basic and significant characteristics that distinguish fishing songs from other folk songs.

渔歌的内容丰富多彩，主要分为五大类，即劳动类、生活类、爱情类、民俗类和祭祀类。(Li 2008, 51)劳动类，以《船工号子》为代表，多形容渔民在生产生活中的自发组织劳动，如拉纤、收网等，节奏铿锵，富于动感；生活类，则主要表达渔民内心的喜怒哀乐，代表作有《河水哪有我的眼泪多》等；爱情类，多为男女之间互相倾诉爱慕之情，受水域影响，婚姻、恋爱均在船间，由此萌生出大量歌曲作品，如《光棍娶亲》等；风俗民俗类，更多反映渔民的生存技巧，及对子女的教育等优秀道德品质的培养，代表作有《我的渔歌万万千》等；祭祀类，内容主要为渔民祈求水神、龙王保佑风调雨顺、行船平安，代表作有《洞庭仙》等。（Xu Hao,Liu Jiwen 2020, 121-122）

渔歌的歌词格式一般为七字句，两句一首，间有四句或八句一首。四句中也有用五字句或三字句作起句的，第二句或第四句的最后三字常加上衬词重复，或整句重复。

渔歌的表现形式有哼唱、齐唱、领和式齐唱、吹奏、对唱、歌舞、纯自然和声演唱、弹唱等。而唱腔曲调上的“拖音”和“复沓”是渔歌有别于其他民歌品种最基本、最显著的特征。

==The value of fishing songs==
The fishing song itself has a high aesthetic value of musical art, which is mainly reflected in its unique style and rich forms of expression. It contains the cultural genes of traditional music, and provides a rich source of original materials and inspiration for music creation.(Wang 2009, 25)

In contemporary times, the more important thing about the fishing song is its historical, cultural and folk value. Fishermen living by the water's edge can learn about the humanistic history, folk customs, social outlook of their hometown, and the way of life, thoughts and feelings, spiritual pursuits, and values of fishermen through fishing songs, so as to gain a sense of identity of local cultural identity. (Chen 2023, 74-75)In addition, this kind of value is also reflected in the true record and effective continuation of traditional fishing culture. Through fishing songs, people can understand the ocean, tide, meteorology, fishing flooding, fish, fishing, breeding, processing, trade and other fishery knowledge and inherit the fishing culture of the fishing area.(Jin 2009, 90/ Fang 2023, 24-25)

In addition, the fishing song also has scientific, economic and practical value. Only by transforming it from a folk art resource into a cultural productive force and bringing economic benefits can the reproduction of folk art producers be guaranteed, and correspondingly more funds will be invested in the protection and development of folk art.(Jinling Li 2022, Volume 4.0, Issue 5.0)

渔歌本身具有很高的音乐艺术审美价值，主要体现在它独特的风格和丰富的表现形态上。它蕴含着传统音乐的文化基因，为音乐创作提供了丰富的原始素材和灵感源泉。(Wang 2009, 25)

在当代，渔歌更重要的是它的历史文化民俗价值。生活在水边的渔民，通过渔歌了解自己家乡的人文历史、民俗风情、社会面貌和渔民的生活方式、思想感情、精神追求、价值观念，从而获得本土文化身份的认同感。(Chen 2023, 74-75)除此之外，它的这种价值还体现在对传统渔俗文化的真实记录和有效延续上，人们通过渔歌，可以了解海洋、潮汛、气象、渔汛、鱼类、捕捞、养殖、加工、贸易等渔业知识，传承渔区渔俗文化。(Jin 2009, 90/ Fang 2023, 24-25)

此外，渔歌也有科学经济实用价值。只有将其从民俗艺术资源转换为文化生产力,带来经济效益,才能保证民俗艺术生产者的再生产,相应地就会有更多的资金投入到民俗艺术的保护和发展上。(Jinling Li 2022, Volume 4.0, Issue 5.0)

==Terms and Expressions==
Fishing songs 渔歌

''Fisherman's Song'' 《渔歌子》

Dongting Fishing Songs 洞庭渔歌

Shanwei Fishing Songs 汕尾渔歌

Shengsi Fishing Songs 嵊泗渔歌

The fourth batch of national intangible cultural heritage list 第四批国家级非物质文化遗产名录

Expanded list of representative items of national intangible cultural heritage 国家级非物质文化遗产代表性项目名录扩展项目名录

Deep-sea fishing songs 深海渔歌

Shallow-sea fishing songs 浅海渔歌

Salty water songs 咸水歌

Work songs 号子

Folk songs 山歌

Ditty 小调

''The Boatman's Work Song'' 《船工号子》

''How can there be more tears in the river'' 《河水哪有我的眼泪多》

''Bachelor Marrying'' 《光棍娶亲》

''My Thousands of Fishing Songs'' 《我的渔歌万万千》

''Dongting Immortal'' 《洞庭仙》

Padding words 衬词
==Questions==
（1）What are the types of fishing songs classified by region? Please name two.

（2）Are fishing songs an intangible cultural heritage?

（3）What is the value of fishing songs?

（1）渔歌按地域分类有哪几种？请举出两个。

（2）渔歌属于非物质文化遗产吗？

（3）当代的渔歌具有什么价值？
==References==
李琳(Li Lin). 环洞庭湖民歌中的民俗及其文化内涵(Folklore and Its Cultural Connotation in Folk Songs Around Dongting Lake)[J]. 湖南农业大学学报(社会科学版)(Journal of Hunan Agricultural University (Social Science)),2008,(05):50-53.

许昊,柳集文(Xu Hao,Liu Jiwen). 传统音乐类非物质文化遗产的生存现状与整合传播——基于湖南岳阳洞庭渔歌的考察(The Survival Status and Integrated Dissemination of Traditional Music Intangible Cultural Heritage: An Investigation Based on Dongting Fishing Songs in Yueyang, Hunan Province)[J]. 新媒体研究(Journal of New Media Research),2020,6(07):121-124.

王晓淮(Wang Xiaohuai). 关于当代原生态民歌发展及意义的思考(Reflections on the Development and Significance of Contemporary Original Ecological Folk Songs)[J]. 歌海(Ge Hai),2009,(04):24-25.

陈辉(Chen Hui). 渔俗文化的历史记忆——浙东渔歌的功能与价值(Historical Memory of Fishing Culture: The Function and Value of Fishing Songs in Eastern Zhejiang)[J]. 浙江艺术职业学院学报(Journal of Zhejiang Vocational College of Art),2023,21(04):70-76.

金成辉(Jin Chenghui). 民俗艺术资源的价值要素探析(Analysis on the Value Factors of Folk Art Resources)[J]. 艺术探索(Art Exploration),2009,23(05):90-91.

方从戎(Fang Congrong). 湖南洞庭渔歌的文化内涵及其生存现状(The Cultural Connotation and Survival Status of Dongting Fishing Songs in Hunan Province)[J]. 中国民族博览(China Nationalities Expo),2023,(18):24-26.

Jinling Li. Research on the Development of Intangible Cultural Heritage Traditional Handicraft Education Inheritance and Socialization Inheritance(非物质文化遗产的发展研究传统手工艺教育传承与社会化传承)[J]. International Journal of Frontiers in Sociology(国际社会学前沿杂志), 2022, Volume 4.0 , Issue 5.0.

=Xie Xianglin |Education:Chicken Child(Fired-up Child)=
==The Origin and Meaning==
In recent years, with the popularity of the TV series ‘A Little Dilemma’, ‘education anxiety’ has become a hot topic nowadays, and the new word ‘chicken child’ has therefore come into the public eye.The drama is set in the context of primary school and reflects the current educational context where children's education is highly competitive.
Chicken child means a child who has been over-motivated and spurred on by their parents in terms of learning and forced to be fired up.Chicken child, in Chinese is ‘鸡娃’. Chicken, ‘鸡’ is homophonous with the character ‘激’which means motivating or stimulating, so Chicken Child has the meaning of a child who is motivated and spurred on.
On the other hand,in China in the 1960s, there was a form of chicken blood therapy, in which fresh chicken blood was drawn and injected into a person's veins, which would leave them refreshed and free of any illness. It's pseudo-science, but the term chicken blood has been passed down and given the meaning of a person's sudden excitement about something.So ‘Chicken Child’ borrowed this meaning to denote a child who is forced by his parents to be excited about learning.Based on its meaning, the term has also been translated as Fired-up Child.（Ding Miaomiao. 2022，Imago Literature Creation）

==Causes of the Chicken Child==
The causes of the chicken child are complex and involve many aspects.
===Education system===
The National College Entrance Examination, as the only examination that determines university entrance, makes parents and students focus all their energy on exam-oriented education. In addition, two important exams, the Junior High School Entrance Examination and the High School Entrance Examination, largely determine how high or low a child's educational starting point will be. These examinations in China make children and their parents anxious, fearing that they will fall behind on any rung of the ladder. Although in recent years the policy of reducing the burden one after another, the effect of reducing the burden is not obvious. Even though the The Double Reduction Policy has alleviated parents‘ educational anxiety to a certain extent, the problem of parents’ educational anxiety will not be reduced as long as there is the existence of exam-oriented education and the selection system of the National College Entrance Examination according to the scores.
===Ideological Tradition===
China's ideological tradition of‘expecting a son to become a dragon and a daughter to become a phoenix’ is the most ardent hope of every Chinese parent for their children. Therefore, most parents will focus all their energy, financial and material resources on their children, so that they can have better conditions and resources to improve social status and change the fate of the family. Education, on the other hand, is the most effective and fair of all avenues. Some scholars have pointed out that the direct cause of parents’ educational anxiety is their educational expectations and requirements for their children. (Fu Qiwen ,Ye Xiangxiang,Zou Simin ,Gong Xue. Secondary school students)
===Economic Factors===
In Professor Fabrizio's eyes, chicken child is not the fault of parents, but the result of economic inequality. In addition to contributing to a shift in cultural values, the increase in economic inequality has also changed parental behaviour. In particular, parents increasingly believe that the basis of their children's success will depend on educational achievement. In a world where parents are tightly connected with their children in interests, parents will be more concerned about their children's place in the social hierarchy, and will therefore be motivated to invest more in pushing their children to adopt success-oriented behaviors. (Tencent News.2021)

==Specific Manifestations in Society==
Firstly, there is intense subject tuition. Children attend a variety of tuition classes after school and on weekends, covering a wide range of subjects such as Maths, English and Physics, with a view to improving their academic performance. Secondly, they enroll in a wide range of interest classes. Apart from subject tuition, parents would also arrange for their children to attend interest classes in music, dance, sports and so on, in the expectation that they could develop in an all-round way. Thirdly, strict time management. Children's schedules are so tight that they have little free time, and all their activities revolve around learning and skill enhancement. Fourthly, the high-pressure family environment, where parents have very high expectations and demands on their children's academic performance, leading to a tense family atmosphere and greater psychological pressure on the children.
Changsha, for example, has the four most prestigious high schools in Hunan: The First High School of Changsha, Changjun High School of Changsha, Yali Middle School, and The High School Attached to Hunan Normal University. In addition, other schools are divided into various echelons, and it is often rumored that ‘Entering XXX school is a step into the door of Universities listed in Project 985, 211’. For this reason, parents and students try to get into the best high school possible. According to the Chinese education system, children only start learning English in the third grade of primary school. But here, there are children who have been attending English interest classes since they were a few years old. Some even learn a second or third foreign language. In addition to the basic curriculum, children also have to learn programming, Olympiads, etc. to have as much competitive capital as possible. At the age of primary school and junior high school, age of nature of to play, it is difficult to say that there are children who love to take the initiative to learn, so all of the above mentioned can not ignore the role of the parents . This is the specific embodiment of the chicken child, rather than children play initiative to learn, it is the parents play initiative to let them learn.

==The Double Reduction Policy==
The implementation of the ‘Double Reduction’ policy is intended to alleviate the phenomenon of ‘chicken children’, reduce the academic burden on students and promote equity in education. The ‘Double Reduction’ policy is an important education reform measure introduced by the Chinese government in 2021. The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training, issued in July 2021, aims to reduce the burden of homework and out-of-school training for primary and secondary school students. The core elements of this policy include reducing the amount of homework, regulating the operation of out-of-school training organizations, and reducing the educational anxiety of students and parents.
However, the policy has faced some challenges and backlash in its implementation, and the demand and competitive mentality of parents and students for educational resources still exists. Achieving the policy's goals will require concerted efforts by the government, schools, and families to enhance the equitable distribution of educational resources, improve the quality of public education, change parents' concepts of education, and promote the all-round development and physical and mental health of students. (Baidu Encyclopedia)

==Similar phenomena abroad==
As a matter of fact, there are similar educational anxieties abroad. Similar to the chicken child, there are ‘Helicopter Parents’ and ‘Tiger Parenting’ .
Helicopter parents refer to parents who are overly concerned about their children's behaviour, learning and development. They hover around their children like helicopters, always ready to intervene and interfere in their children's lives.
Tiger-Parenting is derived from the book ‘The Battle Hymn of the Tiger Mother’ by Amy Chua, a Chinese-American writer. Tiger-Parenting emphasizes rigour and high standards, and parents expect their children to achieve excellent results, often through coercion, threats and punishment, in order to motivate their children to learn and perform. And the term actually originated in China. The origin of the term, ‘Battle Hymn of the Tiger Mother’, is about how the author, a Chinese mother, fired up her children to become chicken child. Tiger-Parenting became a sensation in the education world and led to a great debate about the educational methods of China and the United States.(Woran Zhang. 2023.)

==Summary==
The essence of chicken children lies in parents' excessive concern about their children's studies and performance, as well as their excessive expectations of their children's future development. This phenomenon reflects the unequal distribution of educational resources and opportunities in society, as well as parents' anxiety and distrust of their children's future in a highly competitive social environment. Chicken-child behaviour is often accompanied by negative consequences such as excessive learning pressure, lack of autonomy and mental health problems, and may also lead to a waste of educational resources and a lack of educational equity.

==Terms and Expressions==
Chicken Child(Fired-up Child) 鸡娃
A Little Dilemma 《小别离》
chicken blood therapy 鸡血疗法
National College Entrance Examination 高考
exam-oriented education 应试教育
Junior High School Entrance Examination 小升初考试
High School Entrance Examination 中考
The Double Reduction Policy 双减政策
The First High School of Changsha 长沙市第一中学
Changjun High School of Changsha 长郡高级中学
Yali Middle School 雅礼中学
The High School Attached to Hunan Normal University 湖南师范大学附属中学
The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
Helicopter Parents 直升机式家长
Tiger Parenting 虎妈式教育
The Battle Hymn of the Tiger Mother 《虎妈战歌》

==Question==
#How did the word ‘chickenshit’ come about?
#What are the causes of the chicken child phenomenon?
#What are the concrete manifestations of the chicken child in the society?
#Why is it necessary to implement the ‘Double Reduction Policy’?
#Where did the term ‘tiger mother education’ originate?

==References==
#Ding Miaomiao. An analysis of the network buzzword ‘chicken child’. Journal of literature and creativity,2022,(29):111-113.
#FU Qiwen, YE Xiangxiang, ZOU Simin, GONG Xue. A review of research on the current situation of parents' educational anxiety and countermeasures in the context of burden reduction. A review of parental education anxiety and countermeasures in the context of burden reduction.
#Tencent News.2021.Economists tell you that chicken children are not your fault_Tencent News (qq.com)
#General Office of the CPC Central Committee, General Office of the State Council . Opinions on Further Reducing the Burden of Homework on Students in Compulsory Education and the Burden of Out-of-School Training .
#Baidu Encyclopedia. Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Off-Campus Training_Baidu Encyclopedia (baidu.com)
#Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.

==Translation==
教育：鸡娃
1.鸡娃的由来及含义
近年来，随着电视剧《小别离》的热播，“教育焦虑 ”成为时下的热门话题，“鸡娃 ”这个新词也因此进入公众视野。这部电视剧以小学为背景，反映了当下儿童教育竞争激烈的教育背景。
鸡娃是指在学习方面被家长过度激励和鞭策，被迫发奋学习的孩子。“鸡” 与 “激”同音，“激” 的意思是激励或刺激，所以 ”鸡娃 "有激励和鞭策孩子的意思。
另一方面，在 20 世纪 60 年代的中国，有一种鸡血疗法，即抽取新鲜鸡血注入人的血管，使人神清气爽，百病不生。虽然是伪科学，但鸡血一词却流传了下来，并被赋予了一个人突然对某件事情感到兴奋的含义，所以 “鸡娃”借用了这一含义来表示被父母逼着对学习感到兴奋的孩子。(丁苗苗. 2022,今古文创)

2.鸡娃现象的成因
鸡娃现象的产生成因复杂，涉及许多方面。
A. 教育体制
全国高考作为决定大学入学的唯一考试，使家长和学生把全部精力都放在应试教育上。此外，初中入学考试和高中入学考试这两次重要的考试在很大程度上决定了孩子教育起点的高低。在中国，这些考试让孩子和家长们焦虑不安，生怕自己在哪个阶梯上掉队。虽然近年来减负政策陆续出台，但减负效果并不明显。即使 “双减 ”政策在一定程度上缓解了家长的教育焦虑，但只要存在应试教育和高考唯分数论的选拔制度，家长的教育焦虑问题就不会减少。
B. 思想传统
望子成龙、望女成凤 "是中国的思想传统，也是每个中国家长对子女最殷切的期望。因此，大多数父母都会把所有的精力、财力、物力都集中在子女身上，让子女有更好的条件和资源来提高社会地位，改变家庭命运。而教育则是所有途径中最有效、最公平的途径。有学者指出，造成家长教育焦虑的直接原因是家长对子女的教育期望和要求。 (付启文、叶湘湘、邹思敏、龚雪.中学生）。
C.经济因素
在 Fabrizio 教授眼中，“鸡娃 ”不是父母的错，而是经济不平等的结果。除了导致文化价值观的转变，经济不平等的加剧也改变了父母的行为。尤其是，家长们越来越相信，子女成功的基础取决于教育成就。在父母与子女利益紧密相连的世界里，父母会更加关注子女在社会等级中的位置，因此会有动力投入更多，促使子女采取以成功为导向的行为。(腾讯新闻.2021）

3.鸡娃在社会中的具体显现
一是高强度的学科补习，孩子们在放学后和周末参加各种补习班，涵盖数学、英语、物理等多个学科，以期提高他们的学术成绩。二，报广泛的兴趣班。除了学科补习，家长还会安排孩子参加音乐、舞蹈、体育等兴趣班，期望他们能够全面发展。三是严格的时间管理，孩子们的日程安排得非常紧凑，几乎没有自由时间，所有的活动都围绕着学习和技能提升。四是高压的家庭环境，家长对孩子的学习成绩和表现有着非常高的期望和要求，导致家庭氛围紧张，孩子面临较大的心理压力。
就拿长沙举例，拥有湖南四大名校长沙市第一中学、长沙市长郡中学、长沙市雅礼中学、湖南师范大学附属中学。除此以外，其它学校还分出了各种梯队，常有流言说“上了xxx学校就是一脚迈进了985、211的门”。为此家长学生为了尽可能进入更好的高中挤破了头。按中国教育制度，孩子小学三年级才开始学英语。但是在这里，有的是从几岁开始就上英语兴趣班的娃娃。更有甚者，还学了第二门、第三门外语。除基本的课程外，孩子还要学编程，奥数等，尽可能有更多竞争的资本。在小学、初中的年纪，正是天性爱玩的时候，难说有孩子是热爱主动学习的，所以以上所说种种家长在其中的作用是不可忽略的。这正是鸡娃，与其说是孩子在发挥主动性学习，不如说是家长发挥主动性让他们学习。

4.双减政策
“双减”政策的实施意在缓解“鸡娃”现象，减轻学生的学业负担，促进教育公平。“双减”政策是中国政府在2021年推出的一项重要教育改革措施，2021年7月发布的《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》，旨在减轻中小学生的作业负担和校外培训负担。这一政策的核心内容包括减少家庭作业量、规范校外培训机构的运营、以及减轻学生和家长的教育焦虑。
然而，政策在实施过程中面临一些挑战和反弹，家长和学生对教育资源的需求和竞争心理依然存在。要实现政策目标，需政府、学校和家庭多方协同努力，加强教育资源的公平分配，提升公立教育质量，转变家长的教育观念，促进学生的全面发展和身心健康。(百度百科)

5.国外的相似现象
事实上，国外也有类似的教育焦虑存在。与鸡娃相似的，如“直升机式”家长和“虎妈式”教育。
直升机家长（Helicopter Parents）是指过度关注孩子的行为、学习和发展的家长，他们像直升机一样“盘旋”在孩子的周围，时刻准备介入和干预孩子的生活。
“虎妈式”教育（Tiger-Parenting）源自美国华裔作家蔡美儿（Amy Chua）的著作《虎妈战歌》。虎妈式教育强调严格要求和高标准，家长们期望孩子取得优异的成绩，通常通过强迫、威胁和惩罚来促使孩子学习和表现。而严格来说，这个词也起源于中国。因为个词的起源《虎妈战歌》正是讲的作者作为华裔妈妈如何“鸡娃”的。虎妈的教育方法轰动了教育界，并引起关于中美教育方法的大讨论。
(Woran Zhang.2023.World Journal of Educational Research）

6.总结
鸡娃的本质在于家长过度关注孩子的学习和成绩，以及对孩子未来发展的过度期待。这种现象反映了社会对教育资源和机会的不均等分配，以及家长对孩子未来竞争激烈的社会环境的焦虑和不信任。鸡娃行为常常伴随着过度的学习压力、缺乏自主性、心理健康问题等负面影响，同时也可能导致教育资源的浪费和教育公平的缺失。

术语：
Chicken Child(Fired-up Child) 鸡娃
A Little Dilemma 《小别离》
chicken blood therapy 鸡血疗法
National College Entrance Examination 高考
exam-oriented education 应试教育
Junior High School Entrance Examination 小升初考试
High School Entrance Examination 中考
The Double Reduction Policy 双减政策
The First High School of Changsha 长沙市第一中学
Changjun High School of Changsha 长郡高级中学
Yali Middle School 雅礼中学
The High School Attached to Hunan Normal University 湖南师范大学附属中学
The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
Helicopter Parents 直升机式家长
Tiger Parenting 虎妈式教育
The Battle Hymn of the Tiger Mother 《虎妈战歌》

问题:
#“鸡娃”这个词是如何而来？
#鸡娃现象的成因有哪些方面？
#鸡娃在社会中的具体体现有哪些？
#为什么要实行“双减政策”？
#虎妈教育这个词起源于哪？

参考文献：
#丁苗苗. 网络流行语“鸡娃”探析. 今古文创,2022,(29):111-113.
#付惜文 ,叶湘湘,邹思敏 ,龚雪.减负背景下家长教育焦虑现状及对策的研究综述.中学生
#腾讯新闻.2021.经济学家告诉你，鸡娃不是你的错_腾讯新闻 (qq.com)
#中共中央办公厅、国务院办公厅.《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
#百度百科。关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见_百度百科 (baidu.com)
#Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.World Journal of Educational Research(5)

=Yang Zixuan | Chinese Science Fiction:''The Three-Body Problem''=

==Introduction==

''The Three-Body Problem'' is a series of long science fiction novels written by Liu Cixin, consisting of ''The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever''. The first installment was serialized since May 2006 in ''Science Fiction World'' magazine. The series of novels tells the story of the exchange of information between the human civilization on Earth and the three-body civilization, the life-and-death struggle, and the rise and fall of the two civilizations in the universe. The first installment was translated by Liu Yukun and won the 73rd Hugo Award for Best Long Story.

Liu Cixin, born in Beijing in June 1963, is originally from Luoshan County, Xinyang City, Henan Province, and a native of Yangquan, Shanxi Province. He graduated from the North China University of Water Conservancy and Hydropower and is a senior engineer as well as a science fiction writer. Liu Cixin is one of the representative writers of Chinese science fiction, and his works have been awarded the Galaxy Award for Chinese Science Fiction for the years 1999-2006, and he has won many other important awards at home and abroad, such as Zhao Shuli Literary Award and Chinese Science Fiction Nebula Award, etc. He is also a member of the Chinese Science Fiction Association.

==Main Part==

===The Place and Influence of ''The Three Body Problem'' in Chinese Science Fiction Literature===

The success of ''The Three-Body Problem'' series has greatly contributed to the popularization and prosperity of science fiction literature in China. More and more readers have begun to pay attention to and fall in love with science fiction literature and the quantity and quality of science fiction works have been significantly improved. With its unique scientific concepts, rich imagination and profound insight into human nature, society and civilization, ''The Three-Body Problem'' series has provided new ideas and directions for the creation of Chinese science fiction literature. More and more writers have begun to try to combine scientific theories with storylines, tap into human culture and historical connotations, and explore new ways of literary expression. ''The Three-Body Problem'' has also inspired the creative enthusiasm of Chinese science fiction writers, and more and more writers have begun to try their hand at science fiction literature, injecting new vitality into Chinese science fiction literature. Meanwhile, more writers are encouraged to pursue depth and breadth to enhance the overall level of Chinese science fiction literature.

The international success of ''The Three-Body Problem'' series has raised the status and influence of Chinese science fiction literature. Chinese science fiction literature has begun to receive attention and recognition from the international community, opening up a new way for the international dissemination of Chinese culture. The success of the "The Three-Body Problem" series has enhanced the cultural confidence of Chinese science fiction writers. They began to face international readers and judges with more confidence, showing the unique charm and depth of Chinese science fiction literature. At the same time, "The Three-Body Problem" also shows the world the creativity and thinking power of Chinese people, and wins more praise and respect for the international dissemination of Chinese culture.

===''The Three-Body Problem'' embodies Chinese cultural values===

'''The belief that man can win'''

"For more than 5,000 years, the Chinese people, in the course of exploring nature and seeking survival, have honed the spiritual character of robustness, diligence and courage, positivity and perseverance. In the face of difficulties, we believe that man will prevail over God. Flooding, do not ask the prophet, their own dredging; disease epidemic, do not seek miracles, their own taste of all kinds of herbs; Houyi shoot the sun, Jingwei fill in the sea, Yugongyishan ...... these ancient myths are embedded in the Chinese people's philosophy of survival and spiritual strength.

In "The Three-Body Problem", there is a huge gap between the scientific and technological levels of human civilization and that of the three-body civilization. ''The Three-Body Problem'' sends out only two "Homo sapiens" to interfere with all the particle gas pedals on Earth, making it difficult for humans to take a further step forward in basic science. The three-body world also sends the most contemptuous message to human beings - "you are bugs". The gap between bugs and human beings is much larger than the gap between Earth and The Three-Body Problem, but human beings have not completely eliminated bugs by using all sorts of methods, and the three-body people seem to have forgotten one thing, that bugs have never been truly defeated. Even though human beings are as weak as ants in front of the three-body world, human beings have never given up the struggle, which is exactly the vivid embodiment of the spirit of resilience in the bones of the Chinese people.

'''Planning a profound legacy for future generations'''

The concept of the family has an important place in traditional Chinese culture. In the traditional Chinese political structure, the family and the state are isomorphic: the "family" is the small "state" and the "state" is the big "family". The "family" is the small "state" and the "state" is the big "family". The family-centered culture of Chinese society has given rise to a whole set of ways of thinking and living, and the heroes in "The Three-Body Problem" often have the traditional meaning of "father and ruler", they are cold and rational, and they are able to save the day when there is a crisis, and they act as the "head of the family". As the "head of the family" of human beings, they shoulder the heavy burden of resisting foreign enemies and continuing human civilization, and almost all of them end up sacrificing their lives for the survival of the whole human race. The spirit of family inheritance extends to the country and becomes the historical inheritance of the Chinese nation that has lasted for thousands of years. In "The Three-Body Problem", many of the plans designed by mankind to resist alien invasions lasted for dozens to hundreds of years, and only a nation with a civilized history of 5,000 years would be more inclined to design and imagine these plans that need to be passed down from one generation to the next, and the novel has an epic feel to it as a result. In the setting, the three-body fleet arrived on Earth after 400 years, accordingly, the human struggle with the three-body world strategy is also measured in hundreds of years, for example, the use of the "hibernation" technology of the Pacific Air Force to send talents to the future, the bunker program, the black field program, the development of curvature drive spaceships, and so on.

'''Chinese characters'''

There are also uniquely Chinese protagonists in ''The Three-Body Problem'' that readers remember, such as Wang Miao, Zhang Beihai, and Cheng Xin all of whom are characters that appear more frequently in Amazon reader book reviews.

Zhang Beihai is a very typical Chinese soldier, he is strong and intelligent, with a strong sense of justice, and comes from a military family. His father is a member of the future history school, who predicts that mankind will lose the battle of Armageddon, and he hints at the end of the battle with the cryptic words "think more". Inheriting his father's legacy, Beihai leaves behind a spark of hope for mankind in the midst of an inevitable war. One reader commented that Zhang Beihai "came up with a shocking and inhumane solution to save mankind at the most critical moment". Readers resonate with the human rationality of Zhang Beihai in the context of the book, and at the same time gain a new understanding of the Chinese people's heightened sense of mission, dedication, and spirit of sacrifice.

Cheng Xin has been described by readers in English-speaking areas as "the best protagonist in the series, she is the most memorable. Maybe not the best, but she's the character that is most likely to remain unique in your mind." Each of Ching-Hsin's choices does indeed implement the concept of "goodness" in the moral system that human society has constructed. Respecting human life, loving and caring for all people, Cheng Xin has practiced her concept of "humanity", which in Cheng Xin's context is of course the same as "goodness"! --In Cheng Xin's context, "humanity" is of course the same as "goodness" - rather, Cheng Xin redefines "humanity" through her choices, and in the end, it is this "humanity" that Cheng Xin truly protects, rather than humanity itself. For Cheng Xin, the loss of humanity is the loss of everything.

==Conclusion==

''The Three-Body Problem'' series of novels is the undoubted masterpiece of Chinese science fiction writer Liu Cixin. With its unique scientific setting, rich characterisation and profound philosophical reflections, the series shows the struggles and choices of human civilisation in the face of invasion by an alien civilisation, and at the same time explores the grandeur of the universe and the insignificance of human beings. ''The Three-Body Problem'' is not a copy of foreign sci-fi works; it uses Chinese narrative methods to win wide acclaim from readers around the world, and has become the brightest star in contemporary Chinese sci-fi literature.

==Terms and Expreesions==

The Three-Body Problem 《三体》

The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever 《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》

Science Fiction World 《科幻世界》

the Galaxy Award for Chinese Science Fiction 中国科幻小说银河奖

Zhao Shuli Literary Award 赵树理文学奖

Chinese Science Fiction Nebula Award 华语科幻星云奖

"hibernation" technology 冬眠技术

the bunker program 掩体计划

the black field program 黑域计划

curvature drive spaceships 曲率驱动飞船

==Questions==

1. How does the international success of ''The Three-Body Problem'' affect Chinese science fiction literature?

2. How does ''The Three-Body Problem'' reflect Chinese cultural values?

3. Which character in Three Bodies do you appreciate most? Why?

1.《三体》在国际上的成功对中国科幻文学有何影响？

2.《三体》是如何体现中国文化价值观的？

3.你最欣赏《三体》中的哪个角色？为什么?

==References==

LI Jianfu 李建福, GAO Xuying 高序莹. Analyzing the Realism Thought and Chinese Narrative in Liu Cixin's ''The Three-Body Problem'' 浅析刘慈欣《三体》中的现实主义思想及中国叙事. Modern Communication现代交际,2023,(06):89-97+123-124.

Xie Zhonghui 解仲慧. "The Loss and Reinvention of the Hero--The Thought of Humanity in ''The Three-Body Problem'' “英雄”的失落与重塑——论《三体》中的人性之思. Masterpiece Appreciation 名作欣赏,2024(15):143-146.

Cui Bo 崔波, Chen Zixin 陈子馨. Research on the Overseas Diffusion Mechanism of Chinese Literary Works--An Examination Based on ''The Three-Body Problem'' 中国文学作品的海外扩散机制研究——基于《三体》的考察. Digital Publishing Research 数字出版研究,2024,3(01):104-112.

==Translation==

'''中国科幻小说：《三体》'''

'''简要介绍'''

《三体》是由刘慈欣创作的系列长篇科幻小说，由《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》组成。第一部于2006年5月起在《科幻世界》杂志上连载。该系列小说讲述了地球人类文明和三体文明的信息交流、生死搏杀及两个文明在宇宙中的兴衰历程。其第一部经过刘宇昆翻译后获得了第73届雨果奖最佳长篇小说奖。

刘慈欣，1963年6月出生于北京市，祖籍河南省信阳市罗山县，山西阳泉人。他毕业于华北水利水电大学，是一名高级工程师，同时也是科幻作家。刘慈欣是中国科幻小说代表作家之一，作品蝉联1999年-2006年中国科幻小说银河奖，并多次获得其他国内外重要奖项，如赵树理文学奖、华语科幻星云奖等。

'''《三体》在中国科幻文学中的地位和影响'''

《三体》系列的成功极大地推动了中国科幻文学的普及和繁荣。越来越多的读者开始关注和喜爱科幻文学，科幻作品的数量和质量也得到了显著提升。《三体》系列以其独特的科学理念、丰富的想象力和对人性、社会、文明的深刻洞察，为中国科幻文学的创作提供了新的思路和方向。越来越多的作家开始尝试将科学理论与故事情节相结合，挖掘人类文化和历史内涵，探索新的文学表达方式。《三体》也激发了中国科幻作家的创作热情，越来越多的作家开始尝试科幻文学的创作，为中国科幻文学注入了新的活力。同时鼓励更多的作家追求深度和广度，提升中国科幻文学的整体水平。

《三体》系列在国际上的成功提升了中国科幻文学的地位和影响力。中国科幻文学开始受到国际社会的关注和认可，为中国文化的国际传播开辟了新的途径。《三体》系列的成功增强了中国科幻作家的文化自信。他们开始更加自信地面对国际读者和评委，展现中国科幻文学的独特魅力和深度。同时，《三体》也向世界展示了中国人的创造力和思考力，为中国文化的国际传播赢得了更多的赞誉和尊重。

'''《三体》体现中国文化价值观'''

人定胜天的信念

“天行健，君子以自强不息”，五千多年来，中华民族在探索自然、谋求生存的过程中历练出刚健有为、勤劳勇敢、积极向上、坚忍不拔的精神品格。在困难面前，我们相信人定胜天。洪水泛滥，不问先知，自己疏通河渠；疾病流行，不求神迹，自己尝遍百草；后羿射日、精卫填海、愚公移山……这些上古神话中蕴含着中国人的生存哲学和精神力量。

在《三体》中，人类文明和三体文明的科技水平差距巨大，三体仅派出两颗“智子”就能干扰地球所有的粒子加速器，使人类基础科学再难前进一步。三体世界还向人类发来最蔑视的信息——“你们是虫子”。虫子与人类的差距远大于地球与三体的差距，但是人类使用各种办法都没有彻底消灭虫子，三体人似乎忘了一件事，虫子从来就没有被真正战胜过。即使人类在三体世界面前如蝼蚁般弱小，但是人类从未放弃斗争，这恰恰是中国人骨子里坚韧精神的生动体现。

为子孙后代计深远的传承

家庭观念在中国传统文化中有着重要的地位。在中国传统的政治构造中，家国是同构的：“家”是小“国”，“国”是大“家”。中国社会以家庭为中心的文化衍生出一整套思维和生活方式，《三体》中的英雄形象往往都具有传统意义上“君父形象”的意味，他们冷峻理性，在危机时力挽狂澜，作为人类的“大家长”肩负着抵抗外敌、延续人类文明的重担，最后的结局也几乎都是舍生取义，为整个人类的生存牺牲自己。家族传承精神扩大到国家就变为中华民族绵延数千年的历史传承。《三体》中人类为抵御外星入侵设计的许多计划都延续几十到上百年，只有拥有五千年文明历史的民族才会更偏向于设计与想象出这些需要代代相传的计划，小说也因此具有一种史诗感。在设定上，三体舰队于400年后到达地球，相应的人类与三体世界的斗争策略也以百年计，比如太空军利用“冬眠”技术向未来输送人才，掩体计划、黑域计划、研制曲率驱动飞船，等等。

中国式角色

《三体》中也有独特的中国式主角被读者所牢记，如汪淼、章北海和程心都是亚马逊读者书评中出现频次较高的角色。

章北海是非常典型的中国军人形象，他坚强智慧，胸怀大义，出身军人世家。章北海的父亲是未来史学派成员，预判末日之战中人类必败，他用极为隐晦的话“要多想”向章北海暗示末日之战的结局。章北海继承父亲的遗志，在必败的战争中为人类留下希望的火种。有读者评论称章北海“在最危急的时刻想出一个令人震惊的、非人道的解决方案来拯救人类”，读者在结合书中背景后，对章北海身上的人类理性一面产生共鸣，同时也对中国人高度的使命感、奉献精神和牺牲精神产生新的认识。

而程心被英语地区读者称为“该系列中最好的主角，她是最令人难忘的。或许不是最好的，但她是最容易在你的脑海中保持独特的角色。”程心的每一次选择确实都贯彻了人类社会所构建的道德体系中的“善”这一理念。尊重人的生命，博爱、关怀所有人，程心切身践行了她理念中的“人性”，在程心的语境里，“人性”当然等同于“善”——毋宁说，程心通过她的选择重新定义了“人性”，程心最后真正保护了的，也就是这样的“人性”，而非人类本身。对于程心来说，失去人性，才是失去一切。

'''总结'''

《三体》系列小说是中国科幻作家刘慈欣毫无疑问的代表作。该系列作品以其独特的科学设定、丰富的人物塑造和深邃的哲学思考，展现了人类文明在面对外星文明入侵时的挣扎与抉择，同时探讨了宇宙的宏大和人类的渺小。《三体》不是对外国科幻作品的复制，它用中国叙事，赢得了全球读者的广泛赞誉，成为当代中国科幻文学中最璀璨的明星。

=Chu Shoujuan |Ganshi in Xiangxi: The Cycle of Life and Death under Ancient Witchcraft=
==Introduction==
Xiangxi, a mysterious land in the western part of China's Hunan Province, has been one of the cradles of witchcraft culture since ancient times. In this deep land of mountains and streams, there is an ancient and mysterious legend - Ganshi in Xiangxi. This is a strange ceremony to bring the bodies of people who died in a foreign land back to their hometown and bury them in the ground, and it is called "Three Evils of Xiangxi" with Gu Du and Luo Hua Dong Nv. (Baidu Baike Ganshi in Xiangxi)

==Main Part==

Origin

The origin of Ganshi in Xiangxi can be traced back to ancient times. According to folklore, thousands of years ago, Chi You led soldiers in fierce battles with rival tribes. And then the battlefield was littered with corpses and blood flowed like stream. After the war, Chi You could not bear his soldiers to die in a foreign land, so he asked his tactician to use magic to let the dead soldiers return home. The tactician dressed up as Chi You, silently reciting incantations and praying to the gods, and those who had originally fallen to the ground actually stood up, followed the guidance of the "Fu Jie" and walked south. This is the earliest legend of Ganshi in Xiangxi. (Wang Yanan 2018, 186)

Development

However, it was in the middle of the Qing Dynasty that Ganshi in Xiangxi really formed a profession and was widely spread among the people. At that time, people in Xiangxi took the bodies of their relatives who had died abroad back to their hometowns for burial as a show of filial piety. However, due to the long road, inconvenient transportation, coupled with the complex terrain of the Xiangxi area and the rugged mountain road, it was extremely difficult to transport the body. Therefore, some people who knew witchcraft would use the "Occult Arts" to "drive" the body back to their hometown. These people are called "Ganshi Jiang", they hold "Chen Zhou Fu", and the mouth mutters words, leading the body in the night forward. (Liang Xu 2014, 2)

The ritual of Ganshi in Xiangxi is full of mystery. The Ganshi Jiang usually sets out at night, dressed in Taoist robes and carrying a dementor bell, followed by a string of bodies strung together with straw ropes. Instead of using lanterns, they use bells in their hands and incantations in their mouths to find their way. As the body walks, it wears a tall felt hat, and a yellow paper with a mark on its forehead was draped over its face to conceal it. Such a scene, in the mountains of Xiangxi, appears particularly strange and mysterious. (Baidu Baike Ganshi in Xiangxi)

Ganshi in Xiangxi ritual although mysterious, but not without trace. According to relevant literature records, there is a saying of "Three Rush and Three not Rush" in Xiangxi. Those who have been beheaded, hanged, or killed in cages can be driven away, because these people are forced to die, die unconvinced, and miss both home and love ones. Those who die of illness, those who hang themselves voluntarily or throw themselves into a river, and those who are burned by lightning with incomplete limbs could not be driven away. This is because the person who die of illness has spent the rest of his life, and his soul has been hooked by the impermanent ghost to Yama. The souls of those who hang their necks or throw themselves into a river are "being replaced" and are being handed over. And those who die when lightning strikes fire are sinful and cannot be driven away. (Lu Qun 2007, 56-57)

Declassify

With the development of science and technology, people have gradually explored the mystery of Ganshi. Ganshi does not mean that the body will actually walk on its own, but that someone will carry it on his back. First, Ganshi Jiang removes the head and limbs from the deceased, and then coates them with embalming agents, so that for a period of time, it can not decompose. At the same time, in order to prevent excessive inquiry into their profession, they would choose to wear Taoist robes and carry a dementor bell and travel at night. When the body is delivered to the home of the deceased, people, out of awe and comforted at seeing the deceased, no longer doubt whether the body is intact or whether the removal of the body is a hoax. (Zhang Dawei 2016, 18-22)

==Conclusion==
Although Ganshi in Xiangxi is full of mystery and horror, it also reflects people's respect and nostalgia for the deceased. In the land of Xiangxi, driving dead bodies is not only a profession, but also a cultural inheritance and belief. Nowadays, with the progress of science and technology and the convenience of transportation, Ganshi has gradually fades out of people's vision. However, the legends and stories about Ganshi in Xiangxi are still spread among the mountains and rivers of Xiangxi, becoming an eternal legend in this land.

==Terms and Expressions==
*Ganshi in Xiangxi 湘西赶尸
*Three Evils of Xiangxi 湘西三邪
*Gu Du 蛊毒
*Luo Hua Dong Nv 落花洞女
*Chi You 蚩尤
*Fu Jie 符节
*Occult Arts 秘术
*Ganshi Jiang 赶尸匠
*Chen Zhou Fu 辰州符
*Taoist robes 道袍
*Dementor bell 摄魂铃
*Three Rush and Three not Rush 三赶三不赶
*Yama 阎王

==Questions==
#What are the "Three Evils of Xiangxi"?
#Which legend does the "Ganshi" come from?
#Why doesn't the body rot?

==References==
[1]Baidu Baike Ganshi in Xiangxi (Xiangxi regional culture of China) _ Baidu Baike (baidu.com)

[2]Wang Yanan. Ganshi in Xiangxi culture exploration [J]. computerite, 2018, (02): 186.

[3]Liang Xu. Declassify Ganshi in Xiangxi [C]// Guangdong Folk Culture Research Association. Proceedings of the Symposium on Folklore Intangible Cultural Heritage in July 2014. Publisher unknown, 2014: 2.

[4]Lu Qun. Mysterious Ganshi in Xiangxi [J]. Extensive literature and history, 2007, (05): 56-57.

[5]Zhang Dawei. On the Religious and Ethical Implications of Ganshi in Xiangxi----Concurrently Discuss Primitive Belief as a Way of Human Existence [J]. Journal of Qiannan Teachers College for Nationalities, 2016, 36 (04): 18-22.

==Translation==

湘西赶尸：古老巫术下的生死轮回

介绍

湘西，这片位于中国湖南省西部的神秘土地，自古便是巫文化的发源地之一。在这片崇山峻岭、溪流纵横的深邃之地，流传着一个古老而神秘的传说——湘西赶尸。这是一种将客死异乡之人的尸体带回家乡，让他们入土为安的奇特仪式，与蛊毒、落花洞女并称“湘西三邪”。（百度百科湘西赶尸）

主体部分

起源

湘西赶尸的起源，可追溯到遥远的古代。据民间传说，几千年前，蚩尤率兵与敌对部族激战，战场上尸横遍野，血流成河。战后，蚩尤不忍战士们客死他乡，便请军师施展法术，让战死的将士们魂归故里。军师装扮成蚩尤的模样，默念咒语，祷告神灵，那些原本倒在地上的尸体竟然站了起来，跟随“符节”的指引，向南而行。这便是湘西赶尸最早的传说。（王亚男 2018，186）

发展

然而，湘西赶尸真正形成一种职业，并在民间广为流传，则是在清朝中期。当时，湘西地区的人们将客死他乡的亲人尸体运回家乡安葬，以示孝道。但由于路途遥远，交通不便，加之湘西地区地形复杂，山路崎岖，运送尸体极为困难。于是，一些懂得巫术的人便利用“秘术”，将尸体“赶”回家乡。这些人被称为“赶尸匠”，他们手持“辰州符”，口中念念有词，引领着尸体在夜色中前行。（梁谞 2014，2）

湘西赶尸的仪式充满了神秘色彩。赶尸匠一般选择夜晚出发，身穿道袍，手持摄魂铃，身后跟着一串用草绳串联的尸体。他们不打灯笼，只靠手中的铃铛和口中的咒语辨别方向。尸体在行走时，头戴高筒毡帽，额上压着画着符的黄纸，垂在脸上，以遮盖面容。这样的场景，在湘西的深山中，显得尤为诡异和神秘。（百度百科湘西赶尸）

湘西赶尸的仪式虽然神秘，但并非无迹可寻。据有关文献记载，湘西赶尸有“三赶，三不赶”之说。凡是被砍头、受绞刑、站笼站死的尸体可以赶，因为这些人是被迫死的，死得不服气，既思念家乡又惦念亲人。而病死的、投河吊颈自愿而亡的、雷打火烧肢体不全的尸体则不能赶。这是因为病死的人已享尽天年，其魂魄已被无常鬼勾至阎罗王处；投河吊颈者的魂魄是“被替代”的，正在交接中；而雷打火烧而亡者则属罪孽深重之人，无法驱赶。（陆群 2007，56-57）

解密

随着科学技术的发展，人们逐渐探寻到了“赶尸”的奥秘。“赶尸”并不是尸体真的会自己走路，而是有人将它背着走。赶尸匠先将死者的头部和四肢截下来，然后涂上防腐药剂，这样就能保持一段时间不腐烂。同时，为了防止旁人对他们职业的过分探究，他们会选择身着道袍，手拿摄魂铃，晚上赶路。等到尸体送到死者家中时，人们出于对死者的敬畏和见到死者后的安慰,便不再去怀疑尸体是否完整，赶尸是否是个骗局了。（张达玮 2016，18-22）

结论

湘西赶尸虽然充满了神秘和恐怖色彩，但它也体现了人们对逝者的尊重和怀念之情。在湘西这片土地上，赶尸不仅是一种职业，更是一种文化传承和信仰体现。如今，随着科技的进步和交通的便利，湘西赶尸已经逐渐淡出了人们的视野。但那些关于湘西赶尸的传说和故事，却仍然流传在湘西的山水之间，成为这片土地上永恒的传说。

术语表达
*Ganshi in Xiangxi 湘西赶尸
*Three Evils of Xiangxi 湘西三邪
*Gu Du 蛊毒
*Luo Hua Dong Nv 落花洞女
*Chi You 蚩尤
*Fu Jie 符节
*Occult Arts 秘术
*Ganshi Jiang 赶尸匠
*Chen Zhou Fu 辰州符
*Taoist robes 道袍
*Dementor bell 摄魂铃
*Three Rush and Three not Rush 三赶三不赶
*Yama 阎王

问题
#“湘西三邪”是什么？
#“赶尸”起源于哪个传说？
#为什么尸体不会腐烂？

参考
[1]百度百科湘西赶尸（中国湘西地区地域文化）_百度百科 (baidu.com)

[2]王亚男. 湘西赶尸文化探秘 [J].电脑迷, 2018, (02): 186.

[3]梁谞. 解密湘西赶尸[C]// 广东省民俗文化研究会.2014年07月民俗非遗研讨会论文集.[出版者不详] ,2014: 2.

[4]陆群. 神秘的湘西赶尸[J]. 文史博览,2007, (05): 56-57.

[5]张达玮. 湘西赶尸的宗教与伦理意蕴——兼论原始信仰作为人的存在方式[J]. 黔南民族师范学院学报, 2016, 36 (04): 18-22.

=Jiang Rui |=
=Li Xun | Chinese Animation =
==Overview==
In ''Cambridge Advanced Learner's Dictionary'', the word “animation” means moving picture. Here, Chinese animation refers to animation produced by Chinese. (mainland). Chinese animation originated in the 1920s. In 1922, the first advertising animation in China, ''Shu Zhen Dong Chinese Typewriter'', was produced. In 1926, the first animated film in China, ''Da Nao Studio'', was produced. In 1935, the first audio animated film in China, ''Camel Dancing'', was produced, opening a page in the history of Chinese animation. In the 1940s, the Wan brothers created the first feature film of Chinese animation, ''Princess Iron Fan'', which was released in Southeast Asia and Japan and received warm welcome, laying a good foundation for Chinese animation to go international. Between the 1950s and the 1980s, China entered a golden era of animation. In this period, there were mainly three kinds of traditional animation before the technique of computer animation be widely used, including paper-cut animation, water ink animation and puppet animation. Chinese animation has had an unparalleled glory, which also proves that Chinese animation has strength and has artistic laws suitable for its development. Looking at the development of Chinese animation over the past few decades, it can be seen that Chinese animation has always been committed to a path with its own characteristics. (Chinese animation Baidu bai ke (baidu.com)) (Luo Hong 2011 335) (Luo Hong 2011 6)

==Traditional Elements==
Most Chinese animations are set against the background of mythological tales or ancient history, and thus involve many traditional Chinese elements. Among them, some animation works are made completely according to the original mythology, and some fabricate a story that has never existed before, but most are adapted from existing myths or historical events.

For example, China's early animations such as ''Uproar in Heaven'', ''Nezha Conquers the Dragon King'', and ''Princess Iron Fan'' are all adapted from the long novel ''Journey to the West''. However, the character Nezha was not originally from China at the earliest, but from Indian Buddhist mythology, but it was introduced to China relatively early, and there are records about Nezha in many dynasties:

Jin Dynasty:''The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter'' records:"Vaisravana, the king of heaven, gave birth to Narakuja (that is, Nezha), and all the heavenly beings were extremely happy. The king gave birth to a crown prince today, in the Kapilavastu kingdom, and all the people were also so happy." In the earliest written records of Buddhism, Nezha is a just god of war who is deeply loved by the public. Once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise.

Tang Dynasty:''The Sea of Meanings of the Shurangama Sutra'' records:"The crown prince of the king of heaven is like that of Nezha and the like, assisting in governing and controlling, grasping ghosts and protecting the world and benefiting people."

Song Dynasty:''The Jiatai Pudeng Record'' records:"Nezha has ten faces and ten eyes moving, and the formless spiritual light blocks the sun wheel."

Since the Jin Dynasty, there have been descriptions of Nezha almost in every dynasty. In ''The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter'', Nezha is described as "once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise", while in the animation work ''Nezha: Birth of the Demon Child'', Nezha was born as a "demon child" with a bad nature. Once born, it caused the fear and disgust of the people, and the director's intention of such an adaptation is probably to pave the way for Nezha to sacrifice his life to save everyone at the end, thereby highlighting Nezha's kind character. Therefore, this work conveys such a concept: even if it is a demon, there is kindness. Such a concept is very common in Chinese culture. In ''Journey to the West'', many monsters seem to be very evil, but they haven't done anything extremely heinous. Generally, they just steal things and rob, at least they are aboveboard. On the contrary, in human society, there are all kinds of calculations, conspiracies, and framings, which are simply more evil than monsters; the first is to lament the sinister nature of human society, and the second is to abandon the "label of the evil", that is, there is no absolute evil. This is exactly the value that many Chinese writers want to express through monsters.

Coincidentally, there is also a shadow of this value in the animation ''Fox Spirit Matchmaker''. In this animation, humans and monsters coexist in the world, and it describes some kind-hearted monsters who do not hesitate to sacrifice themselves to protect others and some humans who murder monsters for power. And this animation also involves some other traditional Chinese elements. It mainly tells a series of interesting and mysterious stories that occur in the process of the fox spirit who takes on the profession of matchmaker pulling the red thread for the lovers in the previous life. And the word "matchmaker" comes from ''Romance of the Western Chamber'' created by Wang Shifu, a dramatist in the Yuan Dynasty. In ''Romance of the Western Chamber'', there is a maidservant in the prime minister's mansion named "Hongniang". She not only has to take care of Miss Cui Yingying's daily life, but also monitors Miss on the order of the old lady and reports immediately if there is any bad tendency. But after Hongniang saw Miss Yingying's mind towards Zhang Sheng, she still broke through the shackles of feudal ethics and risked being punished by the old lady to help Miss Yingying and Zhang Sheng, and finally made the lovers become a couple under the matchmaking of Hongniang. Since then,"Hongniang" has referred to those who match men and women to become husband and wife. And "pulling the red thread" is a metaphor for "facilitating marriage".

In addition, there are also some Chinese ancient poems and some original poems in ''Fox Spirit Matchmaker''. For example,"Ask what on earth love is, which directly makes it difficult for the magpie bridge to cross the pain of lovesickness, and directly makes it difficult for the butterfly to pick the sweetness of the same heart". This sentence is adapted from Yuan Haowen's ''Moliyu·Yanqiu Ci'' in the Jin Dynasty. Another example is "On the seventh day of July, at the bamboo pavilion by the Huai River, the scabbard and the flute depend on each other, without regret or complaint". This sentence is written by the author of ''Fox Spirit Matchmaker''. These poems endow this animated work with a romantic atmosphere and enhance its artistic quality, making it more ornamental and aesthetically valuable.

==Influence From Abroad==
==Animation Production Techniques==
==Terms And Expressions==
==Questions==
==Translation==
===概述===
在《剑桥高级学习者词典》中，“动画”一词意为移动的图片。在这里，中国动画指的是（中国大陆）中国人制作的动画。中国动画起源于20世纪20年代。1922年，中国第一部广告动画《舒振东华文打字机》制作完成。1926年，中国第一部动画片《大闹画室》制作完成。1935年，中国第一部有声动画影片《骆驼献舞》制作完成，翻开了中国动画历史的一页。20世纪40年代，万氏兄弟创作了中国动画的第一部故事片《铁扇公主》，该片在东南亚和日本上映并受到热烈欢迎，为中国动画走向国际奠定了良好基础。20世纪50年代至80年代，中国进入了动画的黄金时代。在这一时期，在计算机动画技术被广泛应用之前，主要有三种传统动画类型，包括剪纸动画、水墨动画和木偶动画。中国动画曾有过无与伦比的辉煌，这也证明了中国动画有实力且有适合自身发展的艺术规律。纵观中国动画在过去几十年的发展，可以看出中国动画一直致力于走一条具有自身特色的道路。（中国动画百度百科）（罗虹 2011年6页）（罗虹 2011年335页）
===传统元素===
中国动漫大多以神话传说或者是古代历史为背景，因此涉及许多中国传统元素。其中，有些动漫作品完全按照原神话来制作，还有一些编造出一个从来没有的故事，但大多数是根据已有神话或历史事件改编。
比如中国早期的动画《大闹天宫》，《哪吒闹海》，《铁扇公主》都是由长篇小说《西游记》改编。然而，哪吒这一人物最早并非出自中国，而是出自印度佛教神话，但传入中国较早，多个朝代都有关于哪吒的记载：

晋代：《佛所行赞经·第一生品》记载：“毗沙门天王，生那罗鸠婆（即哪吒），一切诸天众，皆悉大欢喜，王今生太子，迦毗罗卫国，一切诸人民，欢喜亦如是。”哪吒在佛教最早的文字记载中是一位深受大众欢迎的正义战神，一出生就让天地间的一切天众神佛及百姓为之欢颂。
唐代：《首楞严经义海》记载：“天王太子即那吒之类，辅政统摄，跨握鬼物，护世益人。”
宋代：《嘉泰普灯录》记载：“那吒十面十眸动，无相灵光翳日轮。”

从晋代开始，几乎历朝历代都有对哪吒的描述。在《佛所行赞经·第一生品》中，哪吒被描述为“一出生就让天地间的一切天众神佛及百姓为之欢颂”，而在动漫作品《哪吒之魔童降世》中，哪吒是作为一个“魔童”降世的，天性恶劣，一出生就引起了百姓的恐惧和厌恶，而导演如此改编的用意，大概是为了为哪吒在最后舍命救众人做铺垫，以此凸显哪吒善良的品格。因此，这部作品传达出这样一个观念：即使是妖魔，也有善良的。这样的观念，在中国文化中很常见。《西游记》中有许多妖怪都是看似很恶，但并没做过什么罪大恶极的事，一般都是偷偷东西以及抢劫，至少光明磊落。反观人类社会，各种算计，阴谋，陷害，简直比妖怪还恶；第一是感慨人类社会的险恶，二是对“恶人标签”的摒弃，即不存在绝对的恶人。这正是许多中国作家想要通过妖怪表达的价值观。

无独有偶，在动漫《狐妖小红娘》中也有这种价值观的影子。在这部动漫中，人与妖共存于世间，描写了一些善良的为了保护别人而不惜牺牲自己的妖怪和一些为了力量而谋害妖怪的人类。而这部动漫还涉及另一些中国传统元素。它主要讲述了以红娘为职业的狐妖，在为前世恋人牵红线的过程中发生的一系列有趣、神秘的故事。而“红娘”一词，来源于元代杂剧家王实甫创作的《崔莺莺待月西厢记》。在《崔莺莺待月西厢记》中有一个相国府的婢女名叫“红娘”，她不仅要照顾崔莺莺小姐的饮食起居，同时也奉老夫人之命监视小姐，有不良倾向要随时汇报。但是当红娘看出了莺莺小姐对张生的心思之后，还是突破了封建礼教的束缚，冒着被老夫人责罚的风险帮助莺莺小姐和张生，终在红娘的撮合下使有情人终成眷属。此后，“红娘”便指那些撮合男女双方成为夫妻的人。而“牵红线”便是“促成姻缘”的比喻。

另外，《狐妖小红娘》中还有一些中国古诗词以及一些原创诗词，比如“问世间情为何物，直教鹊桥难渡相思苦，直教化蝶难采同心甜”，这一句改编自金代元好问的《摸鱼儿·雁丘词》;又如“七月初七，淮水竹亭，鞘笛相依，无怨无悔”，这一句是原创。这些诗词赋予这部动画作品一种浪漫的氛围，提升了它的艺术品质，使其更具观赏性和审美价值。

=Zhu Ran |Military-style Travel=
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==Introduction==
==Main Part==
==Conclusion==
==Questions==
==References==

=Long Yuhan |Folk Art: Youshen Fairs=
==Introduction==
Youshen Fairs（Wandering Gods), also known as the Holy Driver Tour, the Tour of the Master, the Tour of the Bodhisattva, the Tour of the God Race, the New Year's Exercise, the Welcoming of the God, the Carrying of the God's Statue, the Statue of the God on Tour, etc., refers to the fact that during the New Year's period, or other festivals, people go to temples and bring the statues of the gods into the palanquins, and carry them out of the temples to tour the territory to accept the people's incense and worship to signify that the gods have landed in the folklore to visit the towns and villages and to bless the peace and safety of the territory. The main purpose of the festival is to reward the gods, eliminate disasters, and pray for blessings. From the third to the fifteenth day of the first month of the lunar calendar, it is the time to visit the gods. The gods often tour the village as a unit, sometimes several villages jointly, in the drums and gongs and the sound of firecrackers in the village parade, the people watching, greeted, the scene is warm. (Hu Xiulei, Huang Xiaojian 2012 42-48+34)

==Main part==
===Origin===
===Ceremony and Content===
===Taboos===
===Zhao Shizi===
==Conclusion: Value and Significance==
==Terms and Expressions==
==Questions==
==References==
==Translation==

=Pei Xinxian |=
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=Hu Yujie |=Cuisine：Hunan cuisine, one of the eight major cuisines
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=Li Shujing |Music and Instruments: Suona Horn=
==Introduction==
Suona, Chinese double-reed woodwind instrument, the most commonly used double-reed instrument. Similar to the shawm, the suona originated in Arabia; it has been widely used in China since the 16th century. The reed is affixed to a conical wooden body covered by a copper tube with eight finger holes (seven in front and one in back), to which is fitted a brass bell. Its range is generally about two octaves, and it comes in many sizes. The suona is characterized by its shrill and penetrating sound and the frequent use of tonguing in performance. It is much used in military music ensembles and religious processions and as a stage instrument in Chinese operas.
==Position in Chinese Folk Music==

The original suona is a musical instrument spread in Persia and Arabia, and even its name is a transliteration of the ancient Persian word Surnā. Suona appeared in China around the third century AD. There are already images of suona playing in the Jiyue murals in Cave 38 of Kizil Grottoes in Baicheng, Xinjiang. In the Jin and Yuan dynasties more than 700 years ago, it spread to the Central Plains of China. During the Ming and Qing dynasties, it was widely used in folk music bands for weddings and funerals, and was also used as an accompaniment for folk songs, dances and operas.

"Birds Paying Homage to the Phoenix", originally named "Ten Scenes", is the most representative among many suona tunes, demonstrating the expressiveness of the suona to an extreme. In the sound of "Birds Paying Homage to the Phoenix", there are warbler singing and dancing, birds and flowers, contributing to a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.birds and flowers, a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.

As a traditional folk instrumental music performance art and one of the most valuable intangible cultural heritages with folk art charm, suona art plays an important role in Chinese folklore. Suona is believed to ward off evil spirits and bring good luck, making it a common choice for auspicious occasions like New Year celebrations, birthdays, marriage ceremonies and harvest festivals. Meanwhile, suona is often used in funeral ceremonies, accompanying the procedures of wake, condoling and burial, and in some places, suona is also used in grave digging ceremonies. Suona's deep tones evoke emotions ranging from joy and celebration to sorrow and remembrance, reflecting the complex tapestry of human experiences.

Except its significance, the precious cultural value of suona can not be ignored, which can be concluded as historical value, artistic value, folklore value and humanistic value.

After hundreds of years of cultural exchanges and integration between the north and the south, suona has formed its unique characteristics and customs. Through the long historical development, people can appreciate the developing path and passing on traditions of Chinese folk music. In terms of craftsmanship, suona is crafted from materials like bronze or brass, showcasing the skills of metalworkers from different periods. They have evolved over time, with modern versions incorporating improvements in design and playing techniques, while still maintaining their traditional essence.

In summary, the artistic value of the suona lies in its ability to express human emotions, convey stories, showcase virtuosity, represent diverse regional cultures, and serve as a cultural symbol within Chinese society. Take the regional diversity for example, suona exists in several variations across China, each with its distinct style and local nuances. Each region in China has its own style of playing the suona, like the famous "Lanzhou Suona" from Gansu Province or "Huangmei Suona" from Anhui. These local variations carry rich cultural heritage and are an expression of regional identity. These regional differences reflect the country's rich cultural diversity and contribute to the overall artistic richness of the instrument.

Besides being used in Chinese traditional ceremonies, suona has other values in different aspects. During village gatherings or agricultural rituals, suona bands are common, providing entertainment and a sense of unity among community members. In some cases, the suona is believed to have spiritual properties, believed to ward off evil spirits or bring blessings through its music.
Overall, suona plays a vital role in Chinese folk culture, serving as a connection to the past, a source of communal joy, and an integral part of diverse local traditions.

Suona embodies a deep connection to human values such as cultural continuity, emotional expression, resilience, storytelling, and the pursuit of harmony, making it a valuable aspect of our collective humanistic heritage. During community gatherings and ceremonies, suona's sound unites people and creates a sense of unity, reinforcing the importance of social cohesion and shared experiences. What’s more, the use of suona in traditional Chinese music often reflects the harmony between man and nature, symbolizing the balance sought in human life and the environment.

In China, the traditional suona is mainly used in weddings, funerals and other ceremonies in rural areas. However, with the acceleration of urbanization and the influence of western culture, the living space of suona is becoming narrower and narrower. It is necessary to open up new space for the inheritance and development of suona.

To some extent, the expansion of new media channels can reduce suona's dependence on wedding and funeral ceremonies, weaken its functional limitations, and develop its modern musical attributes and characteristics. With the development of new media technology, the communication advantages of platforms such as Douyin, Kuaishou and XiaoHongshu continue to be highlighted, with fast communication speed, wide dissemination range, strong interaction and wide audience, which are deeply loved by young people. Inheriting suona skills through new media channels can not only broaden the spreading space of suona, but also improve the spreading effect.

The inheritance and innovation of suona cannot be separated from talents, and the development of suona can be injected with fresh blood through innovative talent training mode. Suona artists must break the barriers between families and factions, learn from each other, and form a joint effort to cultivate the next generation. Meanwhile, suona artists should strengthen the consciousness of people's culture, realize the importance of protecting these instrumental music cultures, and establish a system of inheritance and protection. While maintaining traditional cultural characteristics, we try to integrate fresh cultural elements into it to make it more in line with modern aesthetics and awaken the cultural emotions of the whole people.

At the same time, the inheritance and development of suona cannot be separated from the support of the government. The promulgation of the intangible cultural heritage regulations protects this intangible cultural heritage project to a certain extent, but it is far from enough. A series of relevant measures should be introduced to implement the policy in detail. The decline of suona is the decline of traditional folk culture from the root. Local governments should protect suona culture from the root, organize various forms of folk culture programs, so as to give suona culture more opportunities to be displayed and give it more official recognition.

==Conclusion==
==Terms and Expressions==
==Questions==
==References==
https://www.britannica.com/art/suona

=Chen Jiawen |=
Please start to write now.

=Xiang Lu |=Music: Sang Zhi Folk Songs

== Introduction ==
桑植县，隶属于湖南省张家界市，位于湖南西北边陲, 是贺龙元帅的故乡、红二方面军长征出发地, 拥有中国首批、湖南省首个国家级自然保护区八大公山原始森林，被纳入中国“人与生物圈保护区（MAB）”和“中国具有全球意义的17个生物多样性关键地区之一”。
桑植民歌，湖南省桑植县地方传统音乐，国家级非物质文化遗产之一。

== Development ==
桑植民歌起源于原始农耕时期先民日常生产生活中的歌谣，是湖南省桑植县百姓在长期的生活实践中创造、传唱、累积起来的民间音乐文化品种，已有2000多年的历史。桑植民歌节奏明快、旋律优美、曲调丰富、形式多，现存民歌一万余首，著名歌曲有《马桑树儿搭灯台》、《冷水泡茶慢慢浓》、《门口挂盏灯》等。
屈原在《九歌》中写道：“捐余玦兮江中，遗余佩兮醴浦。”《九歌•湘人》中更是记载到：“沅有茝兮醴有兰，思公子兮未敢言。荒忽兮远望，观流水兮湲”，“成礼兮会鼓，传芭兮代舞，姱女倡兮容与。春兰兮秋菊，长无绝兮终古”，这是最早与桑植以及桑植民歌有关的文字。此处的“醴”便是指现在的澧水。澧水是湖南的四大水系之一，在常德市澧县小渡囗注入洞庭湖。
《后汉书·马援传》记载：“二十四年，武威将军刘尚击武陵五溪蛮夷，深入，军没，援因复请行。”“贼每升险鼓噪，援辄曳足以观之，左右哀其壮意，莫不为之流涕。”名将相单程凭借天险据守数月后将马援军队困在沅江南岸的壶头山，马援望江兴叹，一筹莫展，“升险鼓噪” 的典故由此而来。其中“鼓噪”在当时也称“蛮歌”，随后演变成如今的桑植民歌。（王胤，试述桑植民歌歌词的语言艺术，33）
明代，桑植土司率桑植数干土家儿郎应朝廷之召远赴江浙、朝鲜三度抗倭。在抗击倭寇（13-16世纪的日本海盗），的过程中，《马桑树儿搭灯台》应运而生。关于马桑树有两种说法：一说是传说中的马桑树儿高大挺拔，男女双方依依不舍，马桑树下送情人远去；二说是痴情男女搭建树台，台上放置一盏油灯，在灯下写信，心系远方。这就烘托出一对坠入爱河的青年男女分手时的不舍情绪，在1928年的夏天，红军师长贺锦斋用这首桑植民歌与爱妻戴桂香生离死别，她终生素衣守寡，6多年里几乎每天都去丈夫坟前唱这首歌，每天摘一两片马桑叶，直到离世，她留下的一口木箱，装的全是马桑叶。（王胤，试述桑植民歌歌词的语言艺术，37）
清代同治年间的《桑植县志》载：“雍正五年（1727年），邑人张宏毅偕侄崇周、仕周在县城西捐地创建武庙，有歌楼。”1942年版的《桑植县志》印证了这一说法：雍正五年，邑人张宏在城西捐地创建武庙，有歌舞楼，白叟黄童尽歌舞。乾隆年间的《桑植县志》记载：“土家正月赛灯、摆手、唱摆手歌，为秋千之戏，至正月十六为止。”此外，清嘉庆二年桑植河口人沙文清创作了《挽友人》称：“日边飞送燕歌声，疑信偏教旅梦惊。”其“越歌，为丧歌”说明了桑植民歌在清代已经较为普及。（只宠迩一人，baidu.com）
在近代中国，著名的开国将领贺龙在桑植“两把菜刀闹革命”，建立了以桑植为核心的湘鄂革命根据地。云、贵、川、滇、鄂、桂、赣等地的红军在此集结，带来了各地民歌，和桑植民歌融合在一起，推动了桑植民歌的发展。桑植民歌也收到时代影响，创作了许多反映军民感情的歌曲，如《门口挂盏灯》等。
新中国成立后，中国政府先后组织文艺工作者搜集桑植民歌，共计有10000余支。20世纪50年代，桑植民歌就唱到省垣京城。60年代，桑植县文化馆搜集整理民歌1万多首。
1987年湖南民间歌舞团前往波兰参加国际民间歌舞晚会，首次将桑植民歌推向国际舞台；2004年，歌唱家宋祖英在维也纳金色大厅举行个人独唱音乐会，演唱《马桑树儿搭灯台》；2008年，歌唱家雷佳将《马桑树儿搭灯台》收录至《中华五十六民族之歌》，作为国礼赠送给参加奥运会的各个国家。
2006年5月20日，桑植民歌经中华人民共和国国务院批准列入第一批国家级非物质文化遗产名录，项目编号：Ⅱ-10。

== Division ==

== Protection ==

== Conclusion ==

== Terms and expressions ==

== Questions ==

--[[User:Mou Yihong|Mou Yihong]] ([[User talk:Mou Yihong|talk]]) 08:35, 7 June 2024 (UTC)=Mou Yihong |Music and instrument: Ancient Chinese pentatonic scale--Gong,Shang,Jue,Zhi,Yu=

Abstract

This paper examines the ancient Chinese pentatonic scale, comprising the notes Gong, Shang, Jue, Zhi, and Yu. We delve into the historical background, musical characteristics, and instrumental applications of this scale in traditional Chinese music. By exploring the role of these five notes in various musical genres and instruments, we aim to provide a comprehensive understanding of the pentatonic scale in ancient Chinese music and its cultural significance.

Introduction:

The ancient Chinese pentatonic scale, consisting of Gong, Shang, Jue, Zhi, and Yu, is a fundamental component of traditional Chinese music. This scale, with its unique sound and symbolism, has been utilized in various forms of Chinese music for centuries. It is not only a musical construct but also deeply intertwined with Chinese culture, philosophy, and cosmology. This paper explores the pentatonic scale in ancient Chinese music, focusing on its historical evolution, musical characteristics, and instrumental applications.

Historical Background:

The pentatonic scale in ancient Chinese music dates back to the prehistoric era, where it was likely first used in primitive folk music and rituals. Over time, this scale became a fundamental component of traditional Chinese musical theory and practice. The earliest recorded mention of the five notes, Gong, Shang, Jue, Zhi, and Yu, appears in ancient texts such as the "Book of Rites" and the "Book of Songs." These notes were associated with the five elements of nature (earth, metal, wood, fire, and water) and the five directions (center, west, east, south, and north), reflecting the ancient Chinese belief in the interconnectedness of all things in the universe.Gong, the first note, represents the element of earth and is characterized by its stability and grounding sound. Shang, the second note, corresponds to metal and has a bright and resonant sound. Jue, the third note, represents wood and is associated with a clear and piercing tone. Zhi, the fourth note, corresponds to fire and is known for its lively and energetic sound. Yu, the final note, represents water and is characterized by its smooth and flowing melody.

Musical Characteristics:

The pentatonic scale in ancient Chinese music is characterized by its simplicity, purity, and balance. Each note in the scale has a unique sound and symbolism, creating a harmonious and balanced musical structure. The ancient Chinese five tones, namely Gong, Shang, Jue, Zhi, and Yu, correspond to the Western musical scales as follows: Gong to C, Shang to D, Jue to E, Zhi to F, and Yu to G. These correspondences are based on the perceived similarity in pitch and musical characteristics between the two systems.The ancient Chinese musical scale having two fewer notes than the Western scale is not a matter of mathematical or physical limitation but rather a result of cultural and aesthetic preferences. The five-tone system in ancient China was based on the concept of "five elements" (wood, fire, earth, metal, water) and their corresponding relationships with the human body and nature. This system emphasized balance, harmony, and simplicity, which were reflected in the musical scale as well. The two omitted notes, Fa and Si, in the Western scale are considered semi-tones, and their absence in the ancient Chinese scale contributes to a more harmonious and balanced sound.The lack of semi-tones in the ancient Chinese scale has a profound impact on the character and expression of Chinese music. It contributes to a more serene, harmonious, and meditative quality that is often associated with traditional Chinese melodies. The absence of sharp dissonances and the emphasis on balance and simplicity allow the music to flow smoothly and evoke deep emotional responses. This unique aesthetic is a defining characteristic of Chinese music and has influenced its development and evolution throughout history.In summary, the ancient Chinese five-tone system, while differing from the Western scale in terms of note count, possesses its own unique aesthetic value and influence on Chinese music. Its simplicity, balance, and harmonious sound have contributed significantly to the rich cultural heritage of Chinese music.

Instrumental Applications:

The pentatonic scale has been utilized in various traditional Chinese musical instruments, including the zither (guqin), the bamboo flute (dizi), and the pipa. These instruments have unique playing techniques and expressive capabilities that bring out the distinctive sounds and characteristics of the five notes. The zither, for example, utilizes plucking and finger-pressing techniques to create the rich and resonant tones of the pentatonic scale. The bamboo flute, on the other hand, relies on breath control and fingering to produce the clear and piercing melodies of the scale. The pipa, a four-stringed plucked instrument, utilizes plucking and strumming techniques to create a lively and energetic soundscape within the pentatonic scale.

Cultural Significance:

The pentatonic scale in ancient Chinese music is not merely a musical construct; it is also deeply rooted in Chinese culture and philosophy. The five notes correspond to the five elements of nature and the five directions, reflecting the ancient Chinese belief in the interconnectedness of all things in the universe. The pentatonic scale also embodies the Chinese concept of harmony and balance, representing the harmonious coexistence of different elements and forces in nature. This cultural significance has been passed down through generations, influencing the development and evolution of traditional Chinese music and instruments.

Conclusion:

The ancient Chinese pentatonic scale of Gong, Shang, Jue, Zhi, and Yu is a unique and fundamental component of traditional Chinese music. This paper has explored the historical background, musical characteristics, and instrumental applications of this scale, revealing its deep connections with Chinese culture and philosophy. By understanding the pentatonic scale and its role in traditional Chinese music, we gain a deeper appreciation of the richness and complexity of this ancient musical tradition.

=Yu Xinzhong | Social Phenomenon: Modern China's Inter-provincial Migration=

'''Overview:'''

The phenomenon of population migration has been very common in ancient China, but since modern China, especially after the reform and opening up, the inter-provincial migration of China’s population has become unprecedentedly common. The main reason for that is absolutely economy. Such waves of migration have brought significant economic benefits to the regions where the population moves in, but at the same time, they have also given rise to a series of economic, social, and cultural issues. In the process of migrating to improve their standard of living, migrants also undergo certain hardships.

'''The Process of The Migration'''

=Song Chengshuang |=

Chinese tradition culture：Zan hairpin flower

Many tourists have recently come to Quanzhou to experience the XunPu women's hairpin flowers because of this saying, "Adorn yourself with flowers in this life, be beautiful in the next". Quanzhou is a city with a long history and culture in China, with mountains and seas, rich cultural heritage and historical heritage. "Zanhua" is also one of the characteristic cultures of the local XunPu Village. Hairpin flower is actually a type of ancient Chinese headwear, usually fixed on a bun by an ivory hairpin, and then wrapped with flowers in nature or flowers made of other materials. The Zanhua culture has a long history of two to three thousand years and is one of the national intangible cultural heritages.

Cultural customs

As for why it is necessary to hairpin and Zanhua, some people say that the locals initially used animal bones such as fish, sheep, and cows to hairpin, which preserves the ancient custom of "bone needles to secure hair". Others say that "Zanhua Wei" originates from the custom of Central Asian women wearing flowers, which is brought back by the exchange of the Maritime Silk Road during the Song and Yuan dynasties. XunPu women are known for their qualities of Diligent Housekeeping. In order to facilitate their work at the seaside, they wear a large train top, wide tube pants, headwear such as "Zanhua Wei" and earrings such as "DingXianggou", which have become typical features of XunPu women. The headwear and folk culture of the XunPu women record their optimistic attitude towards life, and it is every woman's longing and pursuit of beauty. In addition, it is also a microcosm of ocean culture and the Maritime Silk Road. With its unique geographical environment and cultural characteristics, XunPu embodies the philosophical idea of "Heaven and Man are united as One" in which foreign culture coexists with local culture. [1]

Historical development

Zanhua originated in the Qin and Han dynasties, became popular in the Tang dynasty, flourished in the Song, Yuan, and Ming dynasties, and gradually declined during the Qing dynasty.

（1） The Zanhua Culture Before the Tang Dynasty

The Zanhua culture has a long and rich history, and its development can be traced back to the Warring States period. At that time, although the Zanhua Culture had not yet formed, people began to use flowers as headwear to express their inner emotions. During the Qin and Han dynasties, the trend of hairpin flowers gradually emerged. Especially in the Han Dynasty, women in the Sichuan regions regarded hairpin flowers as fashionable, which is evidenced by the Eastern Han Dynasty pottery figurines with mirrors unearthed in Chengdu. From the Wei, Jin, Southern and Northern Dynasties to the Tang Dynasty, the trend of hairpin flowers became increasingly fierce.

（2） The Zanhua Culture of the Tang Dynasty

The Tang Dynasty was the golden period of Zanhua culture, and both the royal nobles and common people were enthusiastic about hairpin flowers on their heads, forming a unique social trend. The high attire flower bun of Tang Dynasty women was particularly popular, which not only was gorgeous and eye-catching, but also laid the foundation for the popularity of the "flower crown" in the Song Dynasty. In the painting of Portrait of a Flower-wearing Maid, the author uses the elements of flowers to depict the wealth and prestige of aristocratic women in the palace, reflecting the Zanhua Culture at that time. In the painting, except for the maidservants, five noble women are adorned with hairpins on their heads, using vigorous and clean brushstrokes, appearing incredibly beautiful and radiant. In addition, the Zanhua Culture during the Double Ninth Festival also adds to the festive atmosphere. [2] Wang Wei wrote in his poem "Memories of Shandong Brothers on September 9th": " I know from afar where my brothers are climbing high, but one less person is missing when they wore with Cornus officinalisu everywhere." Here, "wore Cornus officinalis" expresses the custom of the Zanhua Culture during the Double Ninth Festival. On the Double Ninth Festival, besides wearing Cornus officinalis, people also have the custom of wearing chrysanthemums. During the Double Ninth Festival, when people climb high to play, they usually have to put chrysanthemums all over their heads to go home.

（3） The Zanhua Culture of the Song Dynasty

In the Song Dynasty, the hairpin culture reached its peak, men's hairpin became popular and became a court etiquette at that time. Compared with the Tang Dynasty, it was more common for men in the Song Dynasty to hairpin flowers, and it was not limited to festivals or celebrations. In the Song Dynasty, people believed that wearing flowers on the head was auspicious, so during that period, when encountering major events, the emperor and officials would wear flowers. During the reign of Emperor SongTaizong, a banquet and flower were held for the annual Jinshi ceremony, and people had to hairpin flowers as rewards. At the same time, women in the Song Dynasty were also enthusiastic about using flowers to dress themselves up. They would choose suitable flowers according to seasonal changes and display different styles. The love for hairpin flowers among literati in the Song Dynasty also reached a climax. They believed that wearing flowers on their heads not only looked beautiful, but also reflected the elegance and taste of literati. Su Shi, a great poet in the Song Dynasty, was very fond of hairpin flowers. He once said, "When people grow old, they should not be ashamed of hairpin flower. Flowers should be ashamed of on the head of old people.” The hairpin flowers of Song Dynasty poets not only reflect the aesthetic taste and characteristics of the time, but also reflect the open and free mentality of the entire society, containing rich humanistic spirit."

（4） The Zanhua Culture After the Song Dynasty

In the Yuan, Ming, and Qing dynasties, the custom of hairpin flowers evolved. Although it was not as popular as in the Song dynasty, it still remained within a certain social class and specific festival celebrations. For example, the records of the Zanhua Culture in the Ming Dynasty mainly appeared in social activities such as the Spring Festival, imperial examinations, wedding customs, expeditions, and leisure activities. [3] And with the development of makeup technology, hairpins are more often combined with hairstyles and makeup, becoming a part of overall image design.

（5） The Zanhua Culture in the Modern and contemporary times

From modern times to today, the tradition of hairpin flowers has been preserved in some regions and specific contexts, such as the bride's wedding headwear, folk festival activities, and the costumes of characters in traditional Chinese opera performances and has evolved into hairpin flower ornaments made from various materials such as flowers and silk flowers.

The significance of hairpin flowers

（1） Decorative

Hairpins initially appeared as headwear, reflecting personal elegance and lifestyle, especially for women who show beauty through hairpins.

（2） Symbolic significance

Different flowers have their own meanings, such as peonies symbolizing wealth and auspiciousness, and plum blossoms symbolizing pride and a clear breeze. Wearing them can express the wearer's emotional support or pursuit of beautiful qualities.

（3） Social status markers

In certain historical periods, hairpins became makers of status and identity. For example, during the Song Dynasty, emperors gave flowers to officials, and officials of different levels received flowers of different materials and colors. As a result, hairpins had the function of distinguishing between official ranks.

From ancient times to the present, hairpin flowers not only have ornamental value, but also represent traditional culture and epitome of Eastern aesthetics. People of different ages, regardless of gender, continue this long-standing tradition of meticulously embellishing themselves with clusters of flowers, living seriously, and striving to live beautifully. The Zanhua Culture blooms with a timeless fragrance, as well as a rich life belonging to ordinary people. With the changing times, hairpin flower is not only a decoration, but also a symbol of cultural inheritance, carrying people's longing and pursuit for a better life. In modern society, hairpin flower has also become artworks and collectibles, showcasing the fusion of tradition and modernity. Both classical and modern styles of hairpins reflect the vastness and profundity of Chinese culture, as well as the charm of traditional aesthetics.

References:

[1]袁晓鹏.泉州蟳埔女头饰民俗文化的美学思想研究[J].戏剧之家,2015,(22):247.

[2]张轶梁.《簪花仕女图》的簪花艺术表现及文化传承[J].东方收藏,2023,(09):33-35

[3] 庞雅静 .《簪花仕女图》的色彩美研究 [J]. 美与时代（中），2022（08）：63-65.

=Tan Yalan |Xiangdao=
Please start to write now.

=Xiao Ye |The Imperial Civil Examination System=
==Introduction==
The imperial civil examination system is an ancient Chinese system of selecting officials through examinations. From its inception to its abolition in 1905, it had a long history of more than 1,200 years and had a profound impact on the society at that time. It was considered to be the fairest way of talent selection that could be adopted in the feudal era, but in the later stages of development, its drawbacks gradually came to the fore, and its negative effects became more and more significant. In addition, ancient Japan, Korea, Vietnam and other countries that had close exchanges with China were also deeply influenced by the imperial civil examination system. To this day, the imperial civil examination system still has profound cultural value and significance.(Baidu Encyclopedia：The imperial civil examination system）
==The development of the imperial civil examination system==
The origin of the imperial civil examination system is controversial in historical circles, with various claims ranging from the Han, Sui, to the Tang dynasties. The mainstream view, however, is that the system was initiated during the Sui Dynasty and further developed and perfected during the Tang.
1 Sui Dynasty: Establishment of the imperial civil examination system
Before the Sui Dynasty, the official selection systems were largely corrupt. For instance, the “Nine Ranks system” during the Wei, Jin, and Southern and Northern Dynasties was based on family background and social status rather than ability. During its implementation, it was unable to escape the notion of class privilege and lacked standardized regulations, leading to widespread corruption among officials. After the establishment of the Sui Dynasty, Emperor Wen of Sui fully recognized the shortcomings of the previous official selection systems and abolished the Nine Ranks system. He began to use a system of specialized examinations to select officials. During the reign of Emperor Yang of Sui, the jinshi,(the highest level and the most difficult of imperial civil examinations) was established for the first time, marking the formation of the civil service examination system.
2 Tang Dynasty: The Perfection of the Examination System
The Tang Dynasty inherited and improved the imperial civil examination system of the Sui Dynasty. It was manifested in the following: Emperor Taizong of the Tang Dynasty increased the number of subjects to be examined, with the two subjects of jinshi and mingjing as the main subjects; Emperor Wu Zetian expanded the number of people who could be selected for the imperial examinations, and created the military examination and the palace examination; Emperor Xuanzong of the Tang Dynasty appointed high-ranking officials to preside over the examinations, and raised the status of the imperial civil examination system.
3 Northern Song Dynasty: Development and Reform of the Imperial civil Examination System
The examination system in the early years of the Northern Song Dynasty saw further development compared to the Tang Dynasty, mainly reflected in the following aspects: First, the examination process was strictly regulated, with the exam divided into three levels: the county examination, the provincial examination, and the palace examination, which became a fixed institution. Second, the number of examination subjects was simplified, with the jinshi subject becoming the most important. Third, the “anonymizing method” was implemented in the examination process to prevent corruption by examiners. Fourth, the number of candidates admitted was expanded.
During the mid-Northern Song Dynasty, Wang Anshi implemented reforms and made changes to the content of the imperial civil examination system. He abolished the subjects that required rote memorization, such as the Mingjing subject and so on, and the jinshi subject no longer included poetry and prose, focusing instead on the study of classics and contemporary affairs. He established the Mingfa subject, which was specifically focused on the examination of laws, regulations, and legal cases. However, with the failure of the reforms, these measures were also repealed.
4 The Ming and Qing dynasties: the rigidity of the imperial examination system
In order to strictly control the thinking of the scholars, the imperial civil examination system of the Ming Dynasty underwent significant changes from content to form. The examination was based only on the Four Books and Five Classics of Confucianism. Candidates were not allowed to express their own opinions. The style of the answer sheet was strictly regulated, and the essay was mechanically divided into eight parts, which was called “Stereotyped Writing”. This severely restricted people's thinking, stifled intellectual ingenuity and creativity, ossified thinking, and seriously impeded the development of Chinese science and culture.
5 Late Qing Dynasty: Abolition of the Imperial civil Examination System
In the 1898 Hundred Days Reform, Emperor Guangxu issued an edict to "abandon the eight-legged essay and replace it with policy essays". After the failure of the Hundred Days Reform, in 1905, the Qing government announced the abolition of the imperial civil examination system. From then on, the imperial civil examination system came to an end.(Lin,33-34)

=Li Sijin |Literature:Qu Yuan=
==Introduction==
Qu Yuan is a famous great patriotic poet in Chinese history, the founder of Chinese romantic literature, and the founder and representative writer of "Chu Ci". 2,300 years ago, the great patriotic poet Qu Yuan threw himself into the Miluo River. The spirit of Qu Yuan has been continuously interpreted since the Han Dynasty, showing distinctive characteristics of the times in each era; The activities and festivals commemorating Qu Yuan have become important cultural traditions of the Chinese nation, and people have increased their sense of belonging and identity through commemorating Qu Yuan. The spirit of Qu Yuan has been widely disseminated and recognized abroad, and the Chinese Dragon Boat Festival has been included in the "Representative List of Intangible Cultural Heritage".

==Main Part==
In 340 B.C., Qu Yuan was born in the state of Chu. When he was young, he received a good education and had a big ambition. After entering politics, he advocated for "good governance", advocating for internal governance with clear laws and external alliances to resist the state of Qin. Later, he was marginalized by the aristocracy and exiled to the region of the Yuan and Xiang rivers. However, like a warrior, he steadfastly upheld his ideals, practiced the ways of a nobleman, never allowing worldly corruption to tarnish his lofty and noble character. In 278 BC, when there was no way to serve the country , Qu Yuan committed suicide in the Miluo River in complete despair.
1.Qu Yuan's virtue

Qu Yuan used his own name to reflect the moral standards he pursued. According to the opening of "Li Sao," "My father gave me the name 'Zheng Ze,' and called me 'Ling Jun'." "Zheng Ze" signifies integrity and righteousness, adhering strictly to principles of conduct: "Ling Jun" denotes intelligence, wisdom, fairness, and justice. In the "Song of the Orange Tree," he further exemplifies his character by the steadfastness of the orange tree: for the sake of his noble ideals, he would never compromise, even unto death. Qu Yuan's eternal aspiration lies in his literary works and political ambitions, all of which stand on the side of the people. His greatness lies in his unwavering compassion for the country and its people, and his profound love for his homeland. The reason his deeds and works are intertwined with the daily lives of the people and have become a significant commemoration of a traditional festival is because his words and actions overflow with boundless love for the motherland, the people, and the native culture. Deeply embedded within them lies the enduring strength of national spirit and culture. "No one in the country knows me, why cling to the old capital?" Qu Yuan once pondered the question of "why not leave the country," but ultimately, he did not embark on distant travels, which truly reflects his steadfastness to his spiritual and cultural heritage.

2.Qu Yuan's political advocacy and contributions

Qu Yuan was a great politician. On the one hand, he set up the ideal and ambition of "good governance" very early, and the political goal for which he fought for all his life. He advocated internal governance with clear laws and the reform of politics. At this time, Qu Yuan, who was honest, upright and selfless, was supported by King, and the six reform measures he carried out made the state of Chu stronger and stronger. On the other hand, Qu Yuan advocated external alliances to resist the state of Qin. His foreign policy made the state of Chu once present a situation of national wealth and strong army.

3.Qu Yuan's poems

Poet is Qu Yuan's primary label throughout the ages. Qu Yuan integrated his life with his homeland, and his specific works are full of deep feelings for his country, which are worthy of praise and learning for future generations.From his life and works, people have summarized and continuously expounded the "Qu Yuan spirit", and with the changes of the times, it has been constantly endowed with new connotations of the times. He recounted in "Li Sao": "Long did I sigh and wipe away my tears, to see my people bowed by griefs and fears." The poet expressed deep sympathy for the difficult life of the people. And this kind of love and sorrow intertwined also made Qu Yuan refuse to leave his hometown until he died. His feelings for the country and the people also erupted uncontrollably in a series of poetic works such as "Jiu Ge" and "Jiu Zhang". Therefore, Qu Yuan's poetry has incomparable cultural value.

4.The embodiment of Qu Yuan's spirit in modern times

Today, during the Dragon Boat Festival, various regions across China highlight the theme of honoring Qu Yuan, praising his upright path and his spirit of patriotism and love for the people. Through storytelling about the festival and Qu Yuan, reciting poetry, and participating in dragon boat races, they lead the public in learning about traditional culture and nurturing patriotic sentiments.Since the 18th National Congress of the Communist Party of China, he has praised his honest and noble personality on different occasions, andhas repeatedly quoted famous sentences from Qu Yuan's poems to expound his thoughts.Today, as we commemorate Qu Yuan, we honor the traditional Chinese scholar's spirit of confronting life and death, boldly striking at the unknown, represented by Qu Yuan's "Questions to Heaven" spirit. In his epic poem "Questions to Heaven," Qu Yuan delves from the separation of heaven and earth, the changes of yin and yang, to natural phenomena like the sun, moon, and stars, directly questioning mythological legends and historical tales of sages and villains, prosperity and decline. Through his inquiries, he expresses his cosmological, historical, and political views. Not confined by doctrines but driven by reality, daring to question and critique, such exploratory spirit is truly admirable.This shows the Chinese's critical spirit of existing traditional concepts and the spirit of exploring scientific truth. Today, we commemorate Qu Yuan to honor the loyal and unswerving patriotic spirit of Qu Yuan. Qu Yuan's name has become an important label for patriotism. The greatest charm of Qu Yuan's personality lies in the spiritual core with the spirit of patriotism as the core, which allowed him to transcend the value pursuit of scholars at that time to abandon the country and pursue profits, closely link personal ideals with the destiny of the nation, and strive to unite and struggle for the realization of the people's yearning for a better life. Today, we commemorate Qu Yuan to honor the perseverance and struggle spirit of Qu Yuan. Qu Yuan has been worried the Chu State all his life, whether he is in the imperial court or not, he does not forget to think about the country and the people.Unwilling to take a detour, nor willing to compromise, he finally proved his loyalty with his life, and he never regretted it.

==Conclusion==
"Qu Yuan," as a spiritual symbol, plays an extraordinary role in the construction of the Chinese national community consciousness, spanning from the past to the present and even into the future. Without a great sage like Qu Yuan, the entire Chinese scholarly community would inevitably lack a certain spiritual strength, and Chinese history would lose many tragic hues.

==Terms and Expressions==
Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录

good governance 美政

==Questions==
#Who is the founder and representative writer of "Chu Ci"?
#What is Qu Yuan's political advocacy?
#What is the meaning of Qu Yuan's name?
#How Qu Yuan's spirit is embodied in his poetry?
#What is the meaning of "Questions to Heaven"?

==References==
[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84.

[2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。

[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190.

[4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.

[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

==Translation==

Introduction

屈原是中国历史上一位著名的伟大的爱国诗人，中国浪漫主义文学的奠基人，“楚辞”的创立者和代表作家。2300年前，伟大的爱国诗人屈原在汨罗江自杀殉国。屈原精神自汉代以来不断被阐释，在每个时代都展现出鲜明的时代特征；纪念屈原的活动和节日成为重要的中华民族文化传统，人们通过纪念屈原增加了归属感、认同感；屈原精神在国外得到广泛传播和认可，中国端午节被列入“非物质文化遗产代表作名录”。

Main part

公元前340年,屈原出生于楚国,少年曾受过良好教育，志向远大，从政后提倡“美政”，主张对内修明法度，对外联齐抗秦，后遭贵族排挤，被流放至沅湘流域。但他坚守自我理想，践行君子之道，绝不允许世俗的秽气玷污自己美好的品格。公元前278年，在报国无路的情况下，屈原极度绝望，自杀于汨罗江。1.屈原的美德屈原用自己的名字反映追求的道德标准。据《离骚》开篇，“父亲把我的名取为正则，把我的字叫作灵均。”“正则”即正直、正派，恪守做人原则；“灵均”指聪颖、智慧、公平、公正。在《橘颂》中，他又以橘树的“独立不迁”体现自己的人格情操：为了心中美好的理想，绝不同流合污，纵然死去也不后悔。屈原的千古之志，在于其文学作品和政治抱负无不站在人民的立场上。他的伟大之处，在于始终怀着强烈的忧国忧民的悲悯之心，始终怀着强烈的爱国之情。他的事迹和作品之所以能和民众日常生活结合在一起，并成为一个重要传统节日的主要纪念对象，就是因为他的言行流露着对祖国、对人民、对故土文化无限的爱，其中深深蕴藏着民族精神和文化的持久力量。“国无人莫我知兮，又何怀乎故都？”屈原亦曾考虑过“何不去国”的问题，但他最终没有去国远游，这正体现了他对精神和文化的坚守。2.屈原的政治主张及贡献屈原是一名伟大的政治家。一方面，他很早就树立了“美政”的理想抱负，及为之奋斗终生的政治目标。他主张对内修明法度，改革政治。此时，清正廉洁、刚正无私的屈原得到国君支持，其开展的六条变法改革图强措施，让楚国日益强大起来。另一方面，屈原对外主张联齐抗秦。他的外交政策，使得楚国一度呈现出一个国富兵强的局面。3.屈原的诗歌诗人是屈原横贯古今的首要标签。屈原将自己的生命与故土融为一体，在其具体的作品中充斥着对家国深厚的情感，值得后世传颂学习。从他的生平和作品中，人们总结并不断阐发出“屈原精神”，随着时代的变迁，不断地赋予新的时代内涵。他在《离骚》中述说着：“长太息以掩涕兮,哀民生之多艰!”诗人对人民艰难的生活深表同情。且这种热爱与忧患交织着的情感也使屈原至死不肯离乡他就。”他对国家和人民的这种感情在《九歌》《九章》等一系列诗歌作品中，也毫不节制地喷发而出。因此，屈原的诗歌有着无法比拟的文化价值。4.屈原精神在现代的体现今日，每逢端午节，中国各地都突出祭祀屈原的主题，歌颂屈原正道直行、爱国爱民的精神，通过讲述端午节与屈原的故事、开展诗词吟诵和进行赛龙舟等活动，引领公众学习传统文化，厚植家国情怀。党的十八大以来，习近平总书记曾在不同场合多次赞叹其心忧家国、清正高洁的人格魅力，并先后多次引用屈原诗歌中的名句来阐述思想。今天我们纪念屈原，是纪念屈原代表的传统中国士人直面生死、敢向未知勇猛叩击的“天问”精神。在长诗《天问》中，屈原从天地离分、阴阳变化、日月星辰等自然现象，一直问到神话传说乃至圣贤凶顽和治乱兴衰的历史故事，并从设问中表达自己的宇宙观念、历史观念和政治主张。这表现了中国人对既有传统观念的批判精神和对科学真理的探索精神。今天我们纪念屈原，是纪念屈原代表的忠贞不渝的爱国精神。屈原的名字已成为爱国主义的重要标签。屈原人格最大魅力就在于以爱国主义精神为核心的精神内核，让他超越了当时士大夫普遍弃国逐利的价值追求，把个人理想同民族命运紧密联系在一起，为实现人民对美好生活的向往而努力团结奋斗。今天我们纪念屈原，是纪念屈原代表的锲而不舍的奋斗精神。屈原一生都在为楚国操心，无论是否处在朝廷，都不忘忧心国家与人民。不愿迂回，也不愿妥协，最后用生命证明了自己的一腔忠义，也不曾后悔。

conclusion

“屈原”作为一种精神符号对中华民族共同体意识的构建，从过去到现在以至未来都发挥着非比寻常的作用。倘若没有屈原这样一位伟大的先贤，那么整个中国士人群体势必会缺少一种精神的力量，而中国历史也会失掉不少悲壮的色彩。文明弦歌终不绝，屈子精神永流传。守正不守旧，尊古不复古，这是我们对传统文化充满自信的表达。

Terms and expressions

Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录good governance 美政Questions1.“楚辞”的创立者和代表作家是谁？2.屈原的政治主张是什么？3.屈原名字的内涵是什么？4.屈原的精神是怎样在他诗歌里体现的？5.“天问精神”是什么意思？

References[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84. [2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190. [4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

=Luo Yang |Games: pitch-pot game(touhu)=
==Introduction==
Pitch-pot game is a ceremonial game played by ancient people during banquets. During the game, a specially made pot is used, and the guests take turns throwing arrows into it. The one who hits the most wins, while the loser drinks. As a classic entertainment activity in Chinese traditional culture, Pitch-pot is not only a competitive game but also a social way of interaction with significant cultural symbolism. With a long history, it embodies rich philosophical thoughts and moral teachings, exerting a profound influence on Chinese etiquette and culture.
==The Evolution and Revival of Touhu Culture==
===Origin and Development===
The renowned Han dynasty writer Zheng Xuan mentioned in his work "The Book of Rites - Pitch-pot," that "Pitch-pot evolved from the archery rituals of the Shang and Zhou dynasties." Archery was one of the six arts for noblemen, and the archery rituals evolved into essential etiquette for banquets. However, due to the limited space of the courtyard, or the people who were unfit for archery, the activity of using bristles instead of arrows, pots instead of targets, and throwing instead of shooting emerged, transforming "banquet archery" into "banquet pitching."

After a long period of development and evolution, Pitch-pot transitioned from an exclusive elegant entertainment for the upper class to the common people, becoming popular among the general public. The earliest literary record of Pitch-pot activity appeared in the "Zuo Zhuan". In the "Zuo Zhuan - The Twelfth Year of Duke Zhao," it was recorded: "The Marquis of Jin entertained the Marquis of Qi, and Zhongxing Muzi played pitch-pot." In the twelfth year of Duke Zhao (around 530 BC), pitch-pot activities were still entertainment at ruling class banquets. At that time, Pitch-pot could be considered as a ritual, inheriting the form and ethical ideas of archery, to some extent reflecting the ethical rules of status hierarchy.

By the Warring States period, pitch-pot gradually became popular among the common people, allowing both men and women to participate, enhancing the entertainment aspect of pitch-pot. During the reign of Emperor Wu of the Han dynasty, the imperial household official Guo was particularly skilled in Pitch-pot. He improved the rules and equipment used in pitch-pot, leading to its wider dissemination among the common people. Until the Song dynasty, Prime Minister Sima Guang opposed the excessive entertainment aspect of Pitch-pot, proposing a return to its ceremonial function, limiting the richness of Pitch-pot skills. In the Ming and Qing dynasties, although Pitch-pot games were still popular among the literati, its overall development slowed down. With the introduction of modern Western sports at the end of the Qing dynasty, pitch-pot game declined and withdrew from the historical stage.

===Cultural significance===
The early practice of Touhu had a complete ceremonial process. As the sport became more entertaining over time, the ceremonial aspects were reduced. However, it is undeniable that the ceremonial culture and the spirit of sports competition within it still have strong guiding significance for the revival of traditional culture today.

Touhu embodies the traditional Chinese culture of moderation and can cultivate both the body and mind. From the perspective of external human behavior, Touhu also provides guidance for people's behavior, requiring people to follow certain standards and methods in handling affairs. Those who participate in this activity all uphold a cautious and respectful attitude. The host and the guest need to demonstrate their courteous demeanor through the ceremonial three invitations and three refusals. The attendants of the host and the guest also need to complete the prescribed sections according to the shooting ceremony, and must not be arrogant, negligent, distracted, turn their backs on the game while standing, or discuss other matters on the scene, etc., to show the seriousness of this activity. From the perspective of the inner state of a person, it is necessary to accompany the game of Touhu with elegant songs, requiring participants to pay attention to rhythm and rhyme, and to act according to the sound; in this process, the upper and lower parts of the human body are in a coordinated state, embodying the combination of movement and stillness, and the pursuit of harmony between man and the outside world.

Unlike other throwing sports overseas, Touhu does not achieve competition through physical confrontation, but emphasizes rationality and moral cultivation. Touhu is a typical representative of the gentleman's competition, requiring one to strive for victory through their own efforts in the competition, while also giving enough respect to the opponent. The Analects of Confucius describes it this way: a gentleman should value self-cultivation and not easily compete with others for superiority. If one must compete with others, they can participate in the shooting ceremony or Touhu. One should strive for victory in the competition, and when they win, they should bow to the opponent to show respect, rather than being complacent. In the competition, one continuously improves their personal cultivation level, using sports as a way to urge individuals to continuously improve their cultivation. This is also consistent with the modern competitive sports concept of "friendship first, competition second".

===Inheritance and promotion===
In the sports and cultural ecology of contemporary China, Western sports have long occupied the mainstream position, and China's traditional sports has been marginalized. In recent years, with the rise of the national fitness wave, people have paid more attention to the content and quality of sports activities. This has created a rare opportunity for the revival of pitching pots. However, we do not need to copy the development model of ancient pitching pots, but to promote its combination with modern entertainment while retaining its own cultural value. For the general public, the fun of sports activities is ranked first, followed by its cultural value. Therefore, we can make bold innovations in pitching pots, increase its gameplay, or expand the scale of the game, so that it can be transformed from a two-person round-based game to a multi-person competition, attracting more people to participate in the sport of pitching pots.

In addition to improving and innovating pitching pots, we should also actively promote the spread of pitching pots at home and abroad. Although there are many pitching pot activities in China, most of them are personal organizations of pitch pot enthusiasts. If we want to make pitch pots a trend in society, multi-party cooperation is strongly needed. First of all, the government should play a guiding role, provide policy guarantees and economic support for pitching pots, and lay the foundation for the healthy development of this project. Secondly, we should make full use of education as an effective platform to let children get in touch with it from an early age and cultivate their interest. Finally, vigorous publicity by the media is indispensable. Through the Internet, we call on the whole society to pay attention to the development of folk sports and enhance the people's cultural confidence and cultural identity.

==Conclusion==
Pitch-pot, a treasure in China's excellent traditional culture, not only inherits the rituals of archery and the etiquette of self-cultivation, but also integrates the essence of Chinese civilization. Under the call of national rejuvenation in the new era, developing pitch-pot is of great significance to the revival of Chinese traditional sports culture and today's leisure sports. We have the responsibility to inherit it and promote its dissemination, so that more people can enjoy this precious humanistic practice of the ancestors of China.
==Terms and Expressions==
Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

==Questions==
# How did Pitch-pot evolve from archery rituals?
# What cultural values does Pitch-pot embody?
# What are the challenges and opportunities in reviving Pitch-pot?
# Why is Pitch-pot's development significant to Chinese traditional sports culture?
# What roles do the government, education, and media play in promoting Pitch-pot?

==References==
You Qianxin, Lian Menglong, Li Ning. Research on the development of ancient leisure sports pitch pot movement. Sports Science and Technology Bulletin, 2020, 28 ( 10 ): 134-135

Zhang Guoquan. ' Touhu ' and the inheritance of ancient ritual and music spirit. Lantai World, 2014, ( 04 ): 106-107.

Zhang Yong, Deng Lixing. Research on the rise and fall of the development of ancient Chinese pots. Journal of Yulin Normal University ( Natural Science Edition ), 2007, ( 05 ): 119 - 121.

Hao Jinfang.Touhu cultural historical changes and inheritance. Shandong Sport University, 2014.

==Translation==
投壶

投壶是古人宴会时礼节性的游戏。游戏时设特制之壶，宾主以次投矢其中，中多者为胜，负者饮。作为中国传统文化中的一项经典娱乐活动，投壶不仅是一种竞技游戏，更是一种独具文化象征意义的社交方式。它历史悠久，蕴含着丰富的哲学思想和道德教化功能，对中国礼仪文化影响深远。

起源及发展

汉代著名文学家郑玄在他所著的《礼记·投壶》中说道：“投壶是从商周时期射礼演化而来的。”射，是君子六艺的一种，由此衍生出来的射礼成为了宴会中必备的礼仪。然而，由于弓、箭数量和宴会场地的限制，或者一些嘉宾不擅长射箭，就出现了以棘代矢，以壶代靶，以投代射的投壶活动，使“宴射”变成了“宴投”。
经过漫长的发展和演变后，投壶由上层社会专属的高雅娱乐走向民间，受到广大平民百姓的喜爱。投壶活动的文献记载最早出现于《左传》。《左传·昭公十二年》载：“晋侯以齐侯宴，中行穆子相，投壶。”在昭公十二年（公元前530年）的时侯，投壶活动还是统治阶层宴会上的娱乐。当时投壶可以被称为是投壶礼仪, 是对射礼从形式到伦理思想的继承, 一定程度上体现地位尊卑的伦理法则。到了战国时期，民间开始逐渐流行投壶，男女皆可参加，增加了投壶的娱乐性。汉武帝时期，郭舍人尤其擅长投壶，他改良了投壶的规则和所用器具，使投壶在民间得到了更为广泛的传播。直到宋代，丞相司马光反对投壶的过度娱乐化，提出要回归它的礼仪功能，限制了投壶技艺的丰富性。明清时期，投壶游戏虽然还流行于士大夫之间，但它整体的发展已趋于缓慢，随着清末西方现代体育运动的传入，投壶走向衰落，退出了历史舞台。

文化意义

投壶早期具有完善的礼仪流程，在后世的发展中，随着投壶运动娱乐性的不断加强, 礼仪则相应地减少。但不可否认的是，其中的礼仪文化以及体育竞技精神对于当下传统文化的复兴仍然有较强的指导意义。
投壶体现了中国传统的中庸文化，能够修养身心。从人的外在行为方面看, 投壶也对人的行为方式做出了指引, 要求人们在事务的处理方面遵循一定的标准与方法。参与到这项活动中的人都秉持着谨慎恭敬的态度, 宾主之间需要通过礼节性的三请三辞来展现双方儒雅揖让的风度。宾主的侍从也都要根据射礼程序完成所规定的节数, 在整个活动过程中做到不可傲慢、不能懈怠、不准分散精力和心神旁顾、不准在站立时背对赛局、不能在现场对他事进行谈论等一系列要求, 以表示此项活动的郑重。从人的内心状态来看, 投壶时需要用雅歌进行伴奏，要求参与者讲求节奏与韵律,循声而发; 在这个过程中, 人的身体上下都处于协调状态,体现着动静结合,追求人与外界的和谐。
与海外的投掷游戏不同的是，投壶并非通过身体对抗来实现竞争，而更强调理性和道德修养。投壶运动是君子之争的典型代表,要求在比赛中通过自己的努力来争取胜利,同时也要给予对手足够的尊重。《论语》中对其做出了这样的表述:君子要重视修身养性,不能与人轻易争高低,如果一定要与人相争,便可以进行射礼或投壶。在比赛中要争取胜利,而在取得优胜时要向对手作揖表示尊重,而不是意得志满。在比赛当中不断提高个人修养水平，将体育运动作为督促个人不断提升修养的途径,这也与现代竞技体育“友谊第一，比赛第二”的理念相一致。

传承和推广

当代中国的体育文化生态中，西方体育长期占据主流阵地，中国的传统体育文化被边缘化。近年来，随着全民健身浪潮的兴起，人们越来越重视体育活动的内容和质量。这为复兴投壶创造了不可多得的机会。但是，我们并不需要照搬古代投壶的发展模式，而是要在保留它自身文化价值的同时，促进它与现代休闲娱乐相结合。对于广大群众而言，体育活动的趣味性是排在首位的，其次才是它的文化价值。因此，我们可以对投壶进行大胆创新，增加它的玩法，或扩大比赛的规模，让它从双人回合制比赛变成多人对抗赛，吸引更多人参与到投壶运动中。
除了对投壶进行改良与创新外，我们也要积极推动投壶的海内外传播。虽然国内有不少投壶活动，但大多是投壶爱好者的个人组织。要想让投壶在社会范围内形成风潮，离不开多方合作。首先，政府要发挥导向作用，为投壶提供政策保障和经济支持，为这一项目的健康发展奠定基础。其次，要充分利用教育这一有效的平台，让孩子们从小接触投壶文化，培养他们对它的兴趣。最后，媒体的大力宣传是必不可少的。通过网络呼吁全社会关注民间运动的发展，提高民众的文化自信和文化认同感。

总结

投壶，这一中华优秀传统文化中的瑰宝，不仅继承了射礼的仪节和正己修身的礼义，更融入了华夏文明的精华积淀。在新时代民族复兴的号召下，发展投壶运动对于中国传统体育文化的复兴对当今休闲体育的发展有着重要意义。我们有责任传承投壶并推广它的传播,让更多人享受到这项华夏先民的珍贵人文实践成果。

术语和表达

Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

问题

#投壶是如何从射礼演变而来的？

#投壶体现了什么文化价值观？

#恢复投壶的挑战和机遇是什么？

#为什么投壶的发展对中国传统体育文化具有重要意义？

#政府、学校和媒体在宣传方面扮演了什么角色？

=Lin Ruyin |Folk Art:Piaose=
==Brief Introduction==
==History==
==Factions==
Yakou Piaose,Nan Lang, Zhong Shan

Wuchuan Piaose

Fushi Piaose,Tai Shan

Hetian Gao Jing
==Current Situation==

=Pan Tong |=
Introduction:

Jingdezhen Porcelain refers to the porcelain produced in the city of Jingdezhen, Jiangxi Province, China. Because of its excellent quality, Jingdezhen has won the reputation of “Porcelain Capital”. The history of porcelain production there can be traced back to the Han Dynasty, with the real boom beginning in the Song Dynasty and peaking in the Ming and Qing dynasties. Jingdezhen has been supported by its porcelain industry for thousands of years. With unique cultural symbolism and influence, it is still the most influential porcelain historical and cultural city in the world.

Development History:

(1) The First Show of Force: Han to Five Dynasties

Historical records, “Xinping smelt pottery, began in the Han Dynasty”. At this time the pottery “itself coarse, the body is very thick, the glaze color is light and brown”, not sold far.

Tang Dynasty, Jingdezhen porcelain has a greater impact in the country. According to the record, “Tang Wude years, the town people Tao Yu carried porcelain into the Guanzhong, known as fake jade, and tribute to the dynasty, so Changnanzhen porcelain world famous.”

Five Dynasties, Jingdezhen porcelain production has reached a considerable scale. The main products are celadon and white porcelain, they are the earlier mature porcelain we can see now.

(2) Strong Rise: Song and Yuan Dynasties

Before the Song Dynasty, Jingdezhen produced mostly white porcelain, with little decorative patterns and paintings. Song clan moved south, a large number of literati, skilled craftsmen also moved to the south of the Yangtze River. Jingdezhen absorbed and assimilated from the other places' famous kilns of excellent workmanship. Jingdezhen porcelain technical force has been enriched, and also because of the original light, elegant, beautiful shadow blue porcelain and famous all over the world.

Yuan dynasty is the innovation period of Jingdezhen Porcelain. New varieties of blue and white porcelain in the technical maturity, opened up by the plain porcelain to colored porcelain of the new era.

(3)Stepping up to the Peak: Ming and Qing Dynasties

Jingdezhen Porcelain in the early Qing Dynasty, whether it is the official kilns or folk kilns; whether it is product modeling, decorative techniques, themes or styles, have reached a state of extreme prosperity.

(4)Porcelain Veins Pass on: Modern and Contemporary Periods

In the Republican period, “Zhushan eight friends”, with traditional painting and calligraphy into porcelain famille rose paintings, created a new Famille-rose porcelain on the ground. After the founding of new China, the establishment of the “ten porcelain factory”. porcelains industry structure changed, from the royal porcelain development to multi-discipline porcelain production. After the reform and opening up, porcelain production into a new era, innovative new colors, techniques and materials. Traditional porcelain art revitalization.

Four Characteristics of Jingdezhen Porcelain

The four characteristics of Jingdezhen Porcelain is sorted by the feelings of people observing the porcelain from afar and near.

White as jade: Jingdezhen porcelain is milky white, soft luster, warm and moist as jade. In the Tang Dynasty, it was known as “fake jade”.

Bright as a mirror: Jingdezhen porcelain glaze is smooth, crystal clear, like a brilliant mirror.

Thin as paper: Jingdezhen porcelain is light in texture and translucent in shadow. Ming dynasty Hao Shijiu creation burned the Luan Mu Cup. It is as thin as cicada's wing, one only weighs half a baht (about 1.1 grams).

Sound like a chime: Jingdezhen porcelain is crisp and clear. With a finger gently buckle, can be heard “thud” sound, like a musical instrument to play a beautiful chime sound.

Four Famous Porcelains

Jingdezhen porcelain variety, but to the Blue-white porcelain, Famille-rose porcelain, Color-glazed porcelain and Linglong porcelain the most prestigious, known as “Jingdezhen four famous porcelain”. Each of the four famous porcelains excels in its own way.

(1)Blue-white porcelain is the most representative porcelain of Jingdezhen, belonging to the underglaze colored porcelain. Primitive blue-white porcelain has been seen in the Tang and Song dynasties. Mature blue-white porcelain appeared in the Yuan Dynasty Hutian kiln in Jingdezhen. It became popular during the Yuan and Ming Dynasties and was exported worldwide, reaching its peak in the Qing Dynasty. Its thin, translucent quality and exotic motifs made it very valuable throughout Europe.

=Lei Huiting |=
Please start to write now.
=Lu Yixuan |=
==Introduction==
1.Introduction

Poetry, painting, and calligraphy: Known as the "Three Perfections," these genres were regarded as the ultimate expressions of Chinese literati culture during the Ming dynasty (1369-1644). Members of the Wu School, centered on the affluent city of Suzhou and nearby towns, earned admiration for their interpretations of these art forms. Painting with Words celebrates Wu School works, examining the relationships among their imagery, brushstrokes, and, especially, words.

==Main Part==

2.A Cultural Center

Situated on flat fertile land between Lake Tai and the Yangzi River, Suzhou (present-day Jiangsu province) is one of the oldest cities in the Yangzi delta. Before the Ming dynasty (1369-1644), when it became a leading center of literati culture, Suzhou had enjoyed a prominent political, economic, and cultural position for most of its two thousand-year history. The city was a major transportation hub on the Grand Canal, which stretched 1,100 miles between the former imperial capital Hangzhou to the south and the Ming imperial capital in Beijing far north. Besides the capital, during the fifteenth and sixteenth centuries Suzhou was the largest urban center in the Ming empire and perhaps the entire world.

Shaped like a rectangle, Suzhou was dotted with temples and spacious residences boasting elegant walled gardens. A grid of anals and paved streets, including as many as three hundred stone bridges, crisscrossed the city, which was surrounded by a moat and a towering outer wall. Beyond its water buffer, the city spilled into the surrounding suburbs but soon gave way to a prosperous countryside of small lakes and ponds, rice paddies, and agricultural fields. Rustic villages and temples were nestled in the landscape; larger satellite townships rose farther off. An area of low-forested hills stood to the west of Suzhou, overlooking the broad expanse of Lake Tai and its several nearby islands. Local poets and artists frequently ventured to such rural and suburban locations and even chose these easily accessible sites for their private retreats and retirement homes.

3.Wen Zhengming: Leader of the Wu School

An outstanding painter and calligrapher and an important trendsetter in his time, Wen Zhengming (1470-1559) was the unrivaled leader of the Wu School for much of its neyday during the first sixty years of the sixteenth century. Born to a modestly successful scholar-official family, Wen was a late bloomer in the arts; he was particularly poor at calligraphy in his youth. But he persevered, studying painting with Shen Zhou, who is often considered the Wu School's spiritual founder. Eventually, Wen mastered a wide range of painting styles and developed his own powerful, influential approach to calligraphy.

In 1527, when he returned to Suzhou after an unhappy three-year stint at the imperial court, Wen built a studio on his family's land. For the next thirty-two years, he devoted himself wholeheartedly to the life of a gentleman-scholar in retirement: reading, writing, painting, composing poetry, and socializing with likeminded friends. Wen's pivotal importance to the Wu School is magnified by the length of his extraordinary career, his wide circle of friends and acquaintances, and the artistic renown of his many students, including his two sons and a nephew and extending to several generations of Wens.

4.At Court and Beyond

During the fifteenth century, many leading gentleman artists of Suzhou spent a good part of their adult lives either serving at court in the imperial capital, Beijing, or out on provincial assignments. Often, they only returned home occasionally or after retirement. Several, such as Xia Chang (1388-1470), Xu Youzhen (1407-1472), and Wu Kuan (1435-1504), embraced these roles,distinguishing themselves in the national jinshi (advanced scholar) examinations and rising to high government offices. As artists, these men were known primarily as poets and calligraphers-except for Xia, who was also a master of the gentlemanly art of ink-bamboo painting.

The lifestyles of Liu Jue (1410-1472) and Shen Zhou (1427-1509) signaled a major alternative to serving at court. Liu only served in the capital for some eight years; Shen opted out entirely. Instead, they spent their lives in and around Suzhou, happily engaged in scholarly and artistic pursuits within their gardens and estates. Occasionally they visited friends, making communal forays into nature and to local scenic or historical sites. This lifestyle became a hallmark of Wu School gentleman artists.

Many Wu School artists were related by blood, marriage, and other formal relationships. They may have been family friends or schoolmates, taken their examinations together, studied as teacher and student, or done business as patron and client. The artists' relationships carried over into their poetry and artworks, which often were inherently personal in nature.

5.The Gentleman in Retirement

Often hailed as the spiritual founder of the Wu School, the painter, poet, and calligrapher Shen Zhou (1427-1509) came from a well-connected lineage of gentleman artists who lived in the Suzhou suburb of Xiangcheng. Both his father and uncle were landscape painters. Shen rejected the official career path followed by most of his peers in favor of a life of art and personal fulfillment. Following his example, many later Wu School artists made the same choice.

For gentleman artists in fifteenth- and sixteenth-century Suzhou, retirement consisted of socializing with other literati, refined activities such as art collecting, and a love of creature comforts such as elegant private gardens. These examples of his paintings and calligraphy reveal aspects of Shen's life in retirement: engaging with likeminded friends, observing and commentating on everyday life, and spending time alone at home or in favorite pastimes, such as wandering the hills to find inspiration for poetry or a place to play his qin.

Shen is said to have had an open, generous character. His palpable enjoyment of nature imbues each painting and poem in this section, graciously inviting us to join in. Owing to Shen's enduring influence and that of his immediate followers, these amiable qualities have come to characterize Wu School literati art.

6.In Full Flower

The Wu School rose to its artistic zenith during the first half of the sixteenth century, led by three of its brightest stars: Wen Zhengming (1470-1559), Tang Yin (1470-1524), and Qiu Ying (ca. 1494-1552). Together with the older Shen Zhou (1427-1509), this group is known as the "Four Great Artists of the Ming." Shen and Wen exemplified the Wu School ideal of the gentleman artist, while Tang and Qiu epitomized the accomplished Suzhou professional. Qiu was solely a painter; the other three developed distinct styles of painting, calligraphy, and poetry.

Although the Four Great Painters came from different social and economic backgrounds-and more than sixty-five years separated the oldest from the youngest-their lives and art intersected repeatedly. Wen and Tang had been friends since they were teenagers, and they both studied literati painting with Shen. Tang also studied under a local professional painter named Zhou Chen (ca. 1450-ca.1535), to whom he and Wen later recommended the young painting phenomenon Qiu Ying.

Such teacher-student and patron-client relationships were key to an artist's development and career in sixteenth-century Suzhou. Wen in particular had both a large number of outstanding students and a wide circle of local connections. Several of Wen's students and protégés went on to develop careers and styles of their own, among them the two brilliant calligraphers Wang Chong (1494-1533) and Chen Shun (1483-1544), both of whom died before their former master.

Despite their differences in style, approach, and social standing, professional artists and gentleman artists were codependent. Thematically, professional artists drew their material from the literature and history at he core of the literati tradition; in turn, literati artists wrote out the appropriate texts in fine calligraphy to accompany the professional artists' paintings. A primary distinction between the two groups was that the gentleman artist was also a calligrapher and a poet in his own right, and the fundamental purpose of his art was personal self-expression, usually prompted by an occasion or recent event. In some cases, one gentleman artist might have written a scroll of poetry for a friend or as a calligraphic exercise. Other times, individuals from both groups would collaborate on a scroll or contributed to a collective project.

7.The Followers

Known for decades as the Wu School's leader, Wen Zhengming (1470-1559) remained active as an artist until he died at age eighty-nine. By that time, several of his most outstanding followers had already passed away. Other artists, however, continued to work in styles heavily influenced by Wen Zhengming's approach well into the final quarter of the sixteenth century. Among these were his two talented sons, Wen Peng (1498-1573) and Wen Jia (1501-1583), who directly emulated their father and shared many of his interests and concerns. Qian Gu (1508-after 1574) also faithfully adhered to the styles that Wen Zhengming had developed and promoted.

Other gentleman artists advanced Wen Zhengming's legacy in new directions, such as Lu Zhi (1496-1576), who developed a unique, almost luminous style of landscape painting. The flourishing professional painter Xie Shichen (1487-after 1567) incorporated elements from other popular styles, but he continued to draw inspiration and material CAa from literati culture and to rely on gentleman artists for calligraphic contributions to his scrolls. Wen Zhengming's influence even extended to the generation of his great-grandson Wen Zhenmeng (1574-1636), a calligrapher. He and other local gentleman artists carried on producing collective scrolls and albums inspired by traditional themes,such as the "Eight Views of Xiao Xiang," as well as by contemporary occasions.

Still, Wen Zhengming's death deprived the Wu School of both its center of gravity and its leading light, and the vitality and prominence of Suzhou painting and calligraphy ultimately waned. By the early seventeenth century, the city's economic clout also had diminished, owing in part to the rise of nearby Shanghai and other towns in the Yangzi delta region. Competing centers of artistic production diluted and eventually eclipsed the city's premier cultural status. By the 1630s, the Wu School, though still highly influential, had given up its role as a dominant force.

==Conclusion==
==Terms and Expressions==
==Questions==
==References==

=Li Yanran |=
==Introduction==
A thangka (also known as tangka, thankga, or Tibetan scroll painting) is a classical and stylized form of Nepalese and Tibetan painting. These intricate artworks typically depict Buddhist deities, scenes, or mandalas. Thangkas are traditionally painted on cotton or silk appliqué and are often used as aids for meditation or teaching. They communicate profound meanings related to Buddhist philosophy through their detailed compositions. When not on display, thangkas are kept unframed and rolled up, similar to Chinese scroll paintings.

==Main Part==
===History and Origins===
The history of Tangka painting is deeply intertwined with the spread of Buddhism in Tibet. The earliest Tangka paintings date back to the reign of King Songtsen Gampo (618-650 AD), who played a pivotal role in establishing Buddhism in Tibet. Over the centuries, Tangka painting evolved, influenced by Indian, Nepalese, and Chinese artistic traditions. The creation of Tangka paintings flourished particularly during the Tibetan Renaissance in the 11th century, a period marked by the revival of Buddhist scholarship and artistic endeavors.

During the early stages, Tangka painting primarily depicted deities and mandalas, serving as tools for teaching and meditation. The construction of the first Buddhist temples in Tibet, such as the Jokhang Temple in Lhasa, further stimulated the development of religious art, including Tangka painting. These temples became centers of artistic activity, where local artists learned from foreign masters and began to develop their distinctive styles.

The period between the 8th and 11th centuries saw significant contributions to Tangka painting from Indian and Nepalese artists. The renowned Indian Buddhist scholar and artist, Atisha (982-1054 AD), played a crucial role during this period. Invited to Tibet by King Jangchub O, Atisha brought with him a wealth of artistic and spiritual knowledge, which greatly influenced Tibetan art and Tangka painting.

The Tibetan Renaissance in the 11th century marked a pivotal moment in the history of Tangka painting. This era was characterized by a resurgence of Buddhist scholarship, the translation of Buddhist texts, and the establishment of new monastic institutions. The renaissance period saw the synthesis of various artistic traditions into a distinctly Tibetan style, marked by vibrant colors, intricate details, and profound spiritual symbolism.

During the 14th to 17th centuries, the Ming dynasty in China established close diplomatic and cultural relations with Tibet. This period saw the exchange of artistic techniques and motifs between the two regions, further enriching the Tangka painting tradition. Tibetan artists adopted Chinese landscape techniques and the use of silk, while maintaining their unique iconographic and symbolic elements.

The 17th century onward witnessed the formalization of Tangka painting schools and lineages, each with its unique style and approach. Prominent schools include the Menri (Sman-ri) school, founded by Menla Dondrub in the 15th century, known for its classical and refined style, and the Khyenri (mKhyen-ri) school, founded by Khyentse Chenmo in the 15th century, recognized for its bold and expressive style.

The preservation and continuity of Tangka painting faced challenges in the 20th century due to political changes and cultural upheavals. However, efforts by Tibetan communities in exile and international interest in Tibetan culture have helped sustain and revive this ancient art form. Today, Tangka painting continues to thrive as both a spiritual practice and an art form, preserving the rich heritage of Tibetan Buddhism.

===Symbolism and Themes===
Tangka paintings are rich in symbolism and often depict deities, mandalas, historical events, and teachings of Buddhism. Each element in a Tangka painting carries specific meanings and serves as a visual aid for meditation and contemplation.
====Deities and Bodhisattvas====
Tangka paintings frequently portray Buddhas, Bodhisattvas, and protective deities. These figures are depicted with specific hand gestures (mudras), postures (asanas), and attributes that symbolize various aspects of Buddhist teachings. For example, Avalokiteshvara, the Bodhisattva of Compassion, is often shown with multiple arms, each holding different objects representing his compassionate activities.
====Mandalas====
Mandalas are intricate geometric designs that represent the universe and serve as tools for meditation. They are often used in Tangka paintings to depict sacred spaces and cosmological concepts. The central figure in a mandala is usually a deity, surrounded by concentric circles and squares filled with symbolic elements.
====Historical and Mythological Scenes====
Tangka paintings also narrate stories from the life of the Buddha, the exploits of various saints and yogis, and mythological tales. These narrative paintings serve an educational purpose, conveying moral and spiritual lessons.
====Symbols and Iconography====
Common symbols in Tangka paintings include the lotus flower (purity), the vajra (indestructibility), and the wheel of Dharma (teachings of the Buddha). Each symbol is meticulously placed to enhance the painting’s spiritual message.
===Cultural and Religious Significance===
Tangka paintings are not merely decorative objects; they hold deep religious and cultural significance. In Tibetan Buddhism, Tangka paintings are used as aids for visualization during meditation. Practitioners focus on the image of a deity, internalizing its qualities and receiving blessings. The detailed iconography serves as a guide for spiritual practice and contemplation.

Moreover, Tangka paintings are used in religious ceremonies and rituals. They are often displayed in monasteries, temples, and private homes, where they serve as objects of veneration. During festivals, such as the Tibetan New Year (Losar), large Tangka paintings are unfurled on hillsides, allowing devotees to receive blessings from the sacred images.

Tangka paintings also play a crucial role in preserving and transmitting Tibetan culture and religious teachings. Each painting is a repository of iconographic and symbolic knowledge, passed down through generations of artists and practitioners. The continuity of this artistic tradition reflects the resilience and adaptability of Tibetan culture in the face of historical challenges.

==Conclusion==

==Terms and Expressions==
==Questions==
==References==

=Duan Siya |Striking iron flower=
==Introduction==
Iron flowers , also known as iron trees , are traditional folk fireworks popular in the Henan and Shanxi regions and are one of China's national intangible cultural heritages .Striking iron flower,a traditional firework that has been passed down in the Yu-Jin region, began in the Northern Song Dynasty, flourished in the Ming and Qing Dynasties. It is mostly popular in the middle and lower reaches of the Yellow River, with Henan and Shanxi being the most. In the 1000-year-old folk art of "Striking Iron Flowers" (打铁花), molten iron is struck with wooden rods to create sparks cascading through the sky like blossoming flowers.
==Main Part==
The "Iron Flower Striking" originated from the ritual activities of the craftsmen. In the Ming Dynasty, the iron-making industry flourished. With the aim to celebrate the harvest and pray for peace, the blacksmiths created a bright sparkling effect by striking the iron in the production. During the Ming and Qing Dynasties, with the support from government and all walks of life, the Queshan Iron Flower reached its peak. It expanded from the original Taoist rituals such as the birthdays of the Jade Emperor and the Queen Mother to general festivities, such as wishing for a new life, getting promoted and getting married.

In the process of local circulation, Queshan Iron Flower has absorbed various artistic elements such as firecrackers, dragon lanterns and brass instruments. It has gradually formed a unique performance style of grandeur, magnificence and auspiciousness.

In June 2008, the iron flower art submitted by Queshan County, Henan Province was approved by the State Council to be included in the second batch of national intangible cultural heritage list .

Before striking the flowers, they all kneel inside the shrine to ask the gods for safety and to avoid burns. A six-meter-high double-layer flower shed is set up in an open space. The shed is densely covered with fresh willow branches and tied with fireworks, firecrackers and goods, known as the "trellis", A six-meter-high old pole is erected in the middle of the shed, making the total height of the flower shed reach more than ten meters.

A furnace is set up next to it to melt iron liquid. More than ten performers take turns to use flower sticks to hit the iron liquid with a temperature of more than a thousand degrees onto the shed, forming iron flowers more than ten meters high. The iron flowers then ignite fireworks and firecrackers, and are accompanied by the "dragon through the flowers" performance.

The flower stick used by the iron flower maker is a fresh willow stick that is as thick as a fist and more than a foot long. There is a circular pit with a diameter of 3 cm at the top of the stick to hold the iron liquid. When making iron flowers, the flower beater wears an inverted gourd ladle on his head (for protection), is topless, holds an upper stick filled with iron juice in one hand, and a lower stick without iron juice in the other hand, and quickly runs to the bottom of the flower shed, using the lower stick to hit the upper stick. A dozen flower beaters take turns, one after another, moving back and forth between the furnace and the flower shed. One stick of iron flowers soars into the sky, and another stick follows, one after another ...The scene is spectacular, presenting the characteristics of thrilling, exciting, festive and lively.

With temperatures of molten iron soaring to 1600°C, artisans bear countless scars across their bodies. In order to minimize injuries to the smiths, the ironwork is mostly performed in winter, when the weather is cold and the scattered ironwork can cool down more quickly, thus better guaranteeing the safety of the smiths. In the process of beating iron flowers, smiths will wear some specific protective clothing. Traditionally, there are mainly Taiji pattern helmet, Taoist style cotton protective cap with shawl, protective shoes, red or yellow cotton belt, etc. The protective shoes include legs, knee pads, foot pads, all three must be a one-piece type, so as to achieve the best protective effect.

Some smiths choose to go bare-chested to increase the shock of the scene.

Behind the brilliance, the risks are not known to all. The molten iron needs to be heated to more than 1600 degrees Celsius. Therefore, performers need to be very careful in the strength and angle . In that case, the iron splashes are high enough and well dispersed to make brilliant iron flowers. Insufficient force or an inaccurate strike position may result in burns to oneself.

==Conclusion==
The technique of striking iron flowers has a long history, and the performance is magnificent and grandiose. The splendor of modern fireworks and the mystery of traditional art are integrated, which is breathtaking. It embraces Taoist culture, trade customs, folk crafts, which not only enriches the folk art treasury of China, but also plays an important role in enhancing national pride and strengthening national cohesion.

==Terms and Expressions==

==Questions==
==References==

Cult Ov 2 Fin Exam 2024

2024-06-09T03:00:50Z

Chu Shoujuan: /* Development */

Back to [[Cult_Ov_2_2024|Course Homepage]].

'''Comments for everybody'''
*Please add the sources in the form "(Wang 2020, 445)" behind each paragraph and with a long entry in the References section.
*In the References section, please add at least 1-2 Western sources.
*In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.
*Please also add free lines at places where you want to have a line break, e.g. after a header.

Please write here a textbook chapter about a Chinese cultural phenomenon until June 15 and start writing now, with unlimited revisions possible until June 15. When you find your topic listed here it means it has been approved by the teacher. It can be either in traditional culture or today. It cannot be a topic already published in the textbook.

Please do not forget to put it into context and relation in the beginning, e.g. where it emerged and how it spread, if it is unique to Chinese or Asian cultures, if it is well-known or exotic, when it occured and how it developed throughout history.

Please write 1000 English words, and on top of it write Terms and Expressions, Questions, References. The References should contain also paper books or papers and also at least one Western source. You also need to provide a Chinese version of the text and questions.

=Tu Hairong |=
1.1 Introduction

1.2 Historical Background

1.3 Traditional Customs and Practices

1.4 Contemporary Celebrations

1.5 Cultural and Social Impact

1.6 Conclusion

1.7 Terms and Expressions

1.8 Questions

1.9 References

=Chen Zhuo |Chinese Painting: A Thousand Miles of Rivers and Mountains=
==Introduction==

"A Thousand Miles of Rivers and Mountains" is a masterpiece by Wang Ximeng, a painter of the Northern Song Dynasty. This painting, known for its magnificent depiction of China’s natural landscapes, epitomizes the peak of traditional Chinese landscape painting, particularly in the genre of green landscape painting. The painting is not only a representative of green landscape painting but also a treasure of traditional Chinese painting art.
==Wang Ximeng: The Prodigy Painter==
Wang Ximeng (1096-?), a famous painter in the late Northern Song Dynasty, is renowned for his painting "A Thousand Miles of Rivers and Mountains." In his teens, he entered the palace ‘painting school’ as a student but was not initially outstanding. However, under the personal tutelage of Emperor Huizong, his skills flourished remarkably. Emperor Huizong, himself an accomplished artist and patron of the arts, saw great potential in Wang Ximeng and invested time in his education. By the age of eighteen, Wang had completed his magnum opus, "A Thousand Miles of Rivers and Mountains," a testament to both his natural talent and rigorous training. (from baidu)

==The Historical Context of the Northern Song Dynasty==
The Northern Song Dynasty (960-1127) was a period marked by significant cultural, economic, and technological advancements in China. Following the chaotic Five Dynasties and Ten Kingdoms period, the Northern Song era brought stability and prosperity, with remarkable developments in agriculture, commerce, and urbanization. The political structure, heavily influenced by Confucian ideals, promoted intellectual and artistic endeavors. During this golden age, the arts, including painting, literature, and calligraphy, reached new heights, with scholars and artists enjoying substantial support from the state. (from baidu)

==Artistic Brilliance and Technical Mastery==
"A Thousand Miles of Rivers and Mountains" exemplifies the sophisticated techniques and aesthetic principles of Song Dynasty landscape painting. Spanning over 11 meters in length, this handscroll painting captures an expansive and varied landscape with meticulous brushwork and a harmonious color palette. Wang Ximeng’s use of the blue-green landscape technique, employing mineral pigments like malachite and azurite, imbues the painting with a vibrant yet serene quality.
The painting’s composition is both grand and intricate. The undulating mountains, rendered with fine brushstrokes and detailed texture, create a sense of depth and three-dimensionality. The depiction of water bodies, including rivers, waterfalls, and streams, adds a dynamic element to the landscape, reflecting the natural beauty of Jiangnan, a region known for its picturesque scenery. The architectural elements, such as pavilions and thatched cottages, are meticulously detailed, showcasing the architectural style of the time
Wang Ximeng’s use of color is a defining feature of the painting. The blue-green technique, utilizing mineral pigments, gives the painting its distinctive and vibrant appearance. The use of these pigments, combined with careful layering and shading, creates a sense of depth and luminosity. The ochre background provides a warm contrast to the cooler tones of the landscape, enhancing the overall harmony of the composition. (Qin, Shuhai. Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". 36-38.)

==Detailed Analysis of Key Sections==
To further appreciate the intricacies of "A Thousand Miles of Rivers and Mountains," it is essential to examine specific sections of the painting in greater detail. Each segment reveals Wang Ximeng’s exceptional skill and the painting’s profound cultural significance.
The central section of the painting features towering mountains, their peaks shrouded in mist. Wang Ximeng’s use of varying brushstrokes and ink washes creates a sense of depth and texture, making the mountains appear both majestic and ethereal. The fine chapping technique used to depict the rock surfaces adds to the realism and complexity of the landscape. Water is a prominent element in the painting, depicted with a fluidity and grace that contrasts with the solidity of the mountains. The rivers and streams wind through the landscape, reflecting the light and adding movement to the scene. The waterfalls, with their cascading waters, are rendered with a dynamic energy, capturing the viewer’s attention and drawing the eye through the composition. Scattered throughout the landscape are various architectural structures, including pavilions, temples, and bridges. These buildings, though small, are rendered with meticulous detail, reflecting the architectural style and construction techniques of the Northern Song period. The placement of these structures within the landscape highlights the harmonious relationship between human habitation and the natural environment. The human figures in the painting, while small in scale, are depicted with individuality and character. Fishermen, scholars, and travelers are shown engaging in their daily activities, adding a narrative dimension to the landscape. These figures not only populate the scene but also serve to emphasize the scale and grandeur of the natural surroundings.
(Feng, Haitao. Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). 22-28, 38-39. )

==Symbolism and Cultural Connotations==
Beyond its visual splendor, "A Thousand Miles of Rivers and Mountains" is rich in cultural symbolism. The landscape, architecture, and figures within the painting reflect the ancient Chinese literati’s philosophy and aesthetics. The painting embodies the Daoist ideal of harmony between humans and nature, a central theme in Chinese culture. The serene and idyllic scenery represents a utopian vision, an escape from the political and social turmoil of the era.
The figures in the painting, although small in scale, are portrayed with remarkable individuality. Fishermen, travelers, and hermits are depicted engaging in various activities, symbolizing different aspects of life and society. These figures not only add a narrative dimension to the painting but also emphasize the close relationship between people and their natural environment.
The painting reflects the Daoist and Confucian ideals that were prevalent during the Northern Song Dynasty. The harmonious integration of human and natural elements embodies the Daoist concept of harmony with nature. At the same time, the depiction of scholars and hermits in the landscape reflects the Confucian value placed on intellectual and contemplative pursuits.
(Lin, Shunyang & Xu, Hui. Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". 12, 114-116.)

==Impact and Legacy==
Wang Ximeng’s "A Thousand Miles of Rivers and Mountains" is a milestone in the history of Chinese landscape painting. Its innovative techniques, grand composition, and rich colors influenced generations of artists. The painting set a new standard for green landscape painting, inspiring many subsequent artists to adopt and adapt its techniques and style.
The painting’s influence extends beyond China. It is celebrated internationally as a masterpiece of Chinese art, showcasing the depth and sophistication of traditional Chinese culture. The painting’s ability to convey a sense of timeless beauty and tranquility has earned it a place among the most revered works of art in the world.
==Conclusion==
"A Thousand Miles of Rivers and Mountains" by Wang Ximeng is not merely a landscape painting; it is a profound expression of the Northern Song Dynasty’s cultural and artistic achievements. Through its exquisite details and grand vision, the painting encapsulates the harmony between nature and humanity, a core value of Chinese philosophy. Wang Ximeng’s masterpiece continues to inspire and captivate audiences, a testament to the enduring power of art to transcend time and space.
==Terminology==
A Thousand Miles of Rivers and Mountains 千里江山图
Wang Ximeng 王希孟
the Northern Song Dynasty 北宋朝
the palace ‘painting school 宫中“画学”
tutelage 侍奉
Emperor Huizong 宋徽宗
magnum opus 杰作
Five Dynasties and Ten Kingdoms 五代十国
blue-green landscape 青绿山水
malachite 石青
azurite 石绿
Jiangnan 江南
thatched cottages 茅屋
==Questions==
1. What is the significance of Wang Ximeng's "A Thousand Miles of Rivers and Mountains"?
2. How did Emperor Huizong influence Wang Ximeng's artistic development?
3. What advancements in society and culture occurred during the Northern Song Dynasty?
4. What are the main elements depicted in "A Thousand Miles of Rivers and Mountains"?
5. How does the painting reflect the cultural and philosophical ideals of the Northern Song Dynasty?
6. What impact has "A Thousand Miles of Rivers and Mountains" had on subsequent generations of artists?

==References==
#https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
#https://www.dpm.org.cn/collection/paint/228354.html
#http://www.chinashj.com/sh-gdhh/10245.html
#http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
#Lin, Shunyang & Xu, Hui. (2022). Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". Beauty and Times (China), 12, 114-116.
#Feng, Haitao. (2023). Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). Art Research, (01), 22-28, 38-39.
#Qin, Shuhai. (2023). Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". Oriental Collection, (09), 36-38.
#Xiao, Pengfei. (2023). On the Realm of Wang Ximeng’s "A Thousand Miles of Rivers and Mountains". Journal of Fuyang Vocational and Technical College, (02), 76-78.

==简介==

《千里江山图》是北宋画家王希孟的杰作。这幅画以其壮丽的中国自然景观描绘而闻名，堪称传统中国山水画的巅峰，特别是在青绿山水画领域。此画不仅是青绿山水画的代表作，也是传统中国绘画艺术的瑰宝。

==天才画家王希孟==

王希孟（1096-?），是北宋末年的著名画家，以其作品《千里江山图》闻名。在十几岁时，他进入宫中的“画学”学习，但起初并不出众。然而，在宋徽宗的亲自指导下，他的技艺得到了显著提升。宋徽宗本人是一个才华横溢的艺术家，也好支持别人搞艺术，他看到了王希孟的巨大潜力，投入了大量时间来培养他。在十八岁时，王希孟完成了他的杰作《千里江山图》，这不仅证明了他的天赋，也展示了他经过严格训练所取得的成果。

==北宋时期的历史背景==

北宋（960-1127）是中国文化、经济和技术显著进步的时期。在经历了混乱的五代十国时期之后，北宋带来了稳定和繁荣，在农业、商业和城市化方面取得了显著发展。以儒家思想为主导的政治结构促进了知识和艺术的发展。在这个黄金时代，绘画、文学和书法等艺术达到了新的高度，学者和艺术家得到了国家的极大支持。

==精湛技术==

《千里江山图》展示了宋代山水画的复杂技艺和美学原则。画卷长达11米以上，捕捉了广阔多样的景观，以细腻的笔触和和谐的色彩表现出来。王希孟采用了青绿山水技法，使用石青和石绿等矿物颜料，使这幅画充满了生机和宁静。
画面的构图既宏大又复杂。起伏的群山通过细腻的笔触和细致的纹理描绘出深度和三维感。水体的描绘，包括河流、瀑布和溪流，为景观增添了动态元素，反映了以风景如画著称的江南的自然美。建筑元素如亭台和茅屋细致入微，展示了当时的建筑风格。

==象征意义和文化内涵==

《千里江山图》不仅在视觉上引人入胜，还充满了文化象征意义。画中的山水、建筑和人物反映了古代文人雅士的哲学和美学。这幅画体现了人与自然和谐的道家理想，这是中国文化的核心主题。宁静而田园的景色代表了一种乌托邦愿景，是对时代政治和社会动荡的逃避。

画中的人物虽然规模较小，但刻画得极具个性。渔夫、旅行者和隐士从事各种活动，象征着生活和社会的不同方面。这些人物不仅为画面增添了叙事维度，还强调了人与自然环境的紧密关系。

==影响==

王希孟的《千里江山图》是中国山水画史上的一座里程碑。其创新的技法、宏大的构图和丰富的色彩影响了几代艺术家。这幅画为青绿山水画设定了新的标准，激励了许多后来的艺术家采用和改编其技法和风格。

这幅画的影响不止于国内。它作为中国艺术的杰作在国际上备受赞誉，展示了传统中国文化的深度和复杂性。画作所传达的美和宁静感使其成为世界上最受尊敬的艺术作品之一。

==结论==

王希孟的《千里江山图》不仅仅是一幅山水画；它还是北宋文化和艺术成就的深刻表达。通过其精美的细节和宏大的视野，这幅画捕捉了自然与人类和谐的核心价值。《千里江山图》继续激发和吸引观众，证明了艺术跨越时间和空间的持久力量。

==参考文献==
#https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
#https://www.dpm.org.cn/collection/paint/228354.html
#http://www.chinashj.com/sh-gdhh/10245.html
#http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
#林顺洋 & 徐辉.(2022).《千里江山图》的美学思想及艺术价值. 美与时代(中)(12),114-116.
#冯海涛.(2023).画式——《千里江山图》卷中的绘画语言研究（上）. 美术研究(01),22-28+38-39.
#秦树梅.(2023).《千里江山图》画法研究. 东方收藏(09),36-38.
#肖鹏飞.(2023).论王希孟《千里江山图》之境. 阜阳职业技术学院学报(02),76-78.

==问题==
#王希孟的《千里江山图》有何重要意义？
#宋徽宗如何影响王希孟的艺术发展？
#北宋时期社会和文化有哪些进步？
#《千里江山图》描绘了哪些主要元素？
#这幅画如何反映北宋的文化和哲学理想？
#《千里江山图》对后世艺术家产生了怎样的影响？

=Wu Liping | Festival：Qixi Festival=

==Introduction==
Qixi Festival, also known as Qiqiao Festival, Qijie Festival, Daughter's Day, Qiqiao Festival, Qinianghui Festival, Qixi Festival, Ox and Bull Mother's Day, Qiaoxi Festival, etc., is a traditional Chinese folk festival. Qixi Festival evolved from the worship of stars. It is the birthday of the seventh sister in the traditional sense. Because the worship of the "seventh sister" was held on the night of July 7th, it was called "Qixi Festival". Worshiping the seventh sister, praying for blessings and wishing, begging for skillful art, sitting and watching Morning Glory Vega, praying for marriage, storing Qixi water, etc. are the traditional customs of Qixi Festival. After historical development, Qixi Festival has been given the beautiful love legend of "Cowherd and Weaver Girl", making it a festival symbolizing love. Therefore, it is regarded as the most romantic traditional festival in China, and has produced the cultural meaning of "Chinese Valentine's Day" in modern times.

==Origin==
1.The Legend of the Cowherd and the Weaver Girl
Qixi Festival is one of the traditional festivals in China. "Xi" is the origin of the evening festival. Qixi Festival is the night on the seventh day of the seventh lunar month. Qixi Festival originated from the legend of the Cowherd and the Weaver Girl. The cowherd is a young herder, and the weaver girl is a fairy in the sky. The weaver girl felt that there was no freedom in the sky and came to the world. With the help of the old cow, the cowherd met the weaver girl and soon fell in love and got married, giving birth to a man and a woman. But one day, the Queen Mother took the Weaver Girl away. When the cowherd carried the two children to the sky to chase the weaver girl, the Queen Mother drew a galaxy with the jade hairpin on her head. The galaxy was long and wide, and the cowherd could not pass, so they were separated. The Queen Mother only allows the Cowherd and the Weaver Girl to meet once every year on the seventh day of July. Every night on the seventh day of the seventh month, groups of magpies fly to build a bridge for the Cowherd and the Weaver Girl and let them meet on the bridge. This is the origin of the Qixi Festival.

2.Worship of natural celestial phenomena
As early as ancient times, the ancients who pursued order not only planned the sky in an orderly manner, but also corresponded the stars to the ground area one by one. This correspondence is called "star division" in terms of astronomy and "division" in terms of the ground. . In short, the ancients corresponded each constellation in the sky to the physical geographical area on the ground one by one. The purpose of the ancient star division and division was mainly to cooperate with the astrology theory for celestial occupation. In the ancient star system, "Ox" consists of six stars, located on the east coast of the Milky Way, like two inverted triangles, one up and down, very characteristic, but the upper triangle is larger and brighter. The small triangle below is located on the ecliptic. These stars form a cow with two horns on its head but only three feet, so the ancients called it "the morning ox." The three stars of "Weaver Girl" are located in the north of the cow house. Among them, the "Weaver Girl One" star is the fifth bright star in the sky, so it is often directly called "Weaver Vega". People call "Oxus" and "Weaver Vega" together as "Cowherd and Weaver Girl". It is said that on the seventh day of July every year, the Cowherd and the Weaver Girl meet at the Magpie Bridge in the sky. Later, the folk gave further play to the story and gave the "Cowherd and Weaver Girl" a beautiful love legend. And in order to have the dexterity of the weaver girl, the girls work on that day, so that day is also called the Begging Festival.

3.Time digital worship
"Chinese Valentine's Day" is the seventh day of the month and the seventh day. In ancient times, the ancients combined the sun and moon with the five planets of water, fire, wood, gold and earth as "Seven Yao." The seventh day of July is related to the ancients' worship of numbers and time. In ancient times, the "sevenfold" of the first month, February 2, March 3, May 5, June 6, July 7 and September 9 were listed as auspicious days. In ancient China, the "heavy day" was regarded as a day of "the communication between heaven and earth" and "the communication between heaven and man". Seven is the number of beads in each column of the abacus, which is romantic and rigorous, giving people a mysterious beauty. "Seven" and "Ji" are homophonic, and "Seven" also means double good luck, which is an auspicious day.

==Activities on the day==
Activities on the day
1.Couple dating
Chinese Valentine's Day is commonly known as Valentine's Day in China, so couple dating is one of the most common ways to celebrate Chinese Valentine's Day. Couples may choose to have a romantic dinner on this day, enjoy the moon together, or participate in activities on the theme of Qixi Festival to express their love and care for each other
2.Xiangqiao Hui
In Yixing, Jiangsu Province, there is a custom of Qixi Xiangqiao Festival. Every year on the Chinese Valentine's Day, people come to participate and build incense bridges. The so-called incense bridge is a bridge four or five meters long and about half a meter wide made of all kinds of thick and long wrapping incense (paper-wrapped thread incense). It is decorated with a railing made of five-color threads. At night, people sacrifice the double stars, beg for good fortune, and then burn the incense bridge, symbolizing that the double stars have crossed the incense bridge and met happily. This incense bridge is derived from the legendary legend of Magpie Bridge.

3.Take Dew
In rural areas of Zhejiang, it is popular to use washbasins to receive dew. Legend has it that the dew on the Qixi Festival is the tears when the Cowherd and the Weaver Girl meet. If you wipe it on your eyes and hands, you can make your eyes clear and your hands fast.

4.Wear a needle and beg for cleverness
Wearing needles, also known as "matching tricks", is women's competition to wear needles. They tie colored threads and wear seven-hole needles. The faster they wear, the more clever they wear, the more clever they are. Those who wear slowly are called "losing tricks". "People who lose cleverness" should give gifts prepared in advance to the clever. Xijing Miscellany said: "Han Cai girls often wear seven-hole needles in the open building on July 7th, and people get used to it”

==Cultural significance and development of Qixi Festival==
1.Inheritance of traditional culture: As a part of Chinese traditional culture, Qixi Festival has inherited ancient myths and beautiful blessings through generations.
2.Multicultural integration: In contemporary society, Qixi Festival integrates the customs of different regions and cultures, forming a variety of forms of celebration.
3. Changes in personal values: With the rapid development of society, people's concepts of love and marriage are also changing. As a symbol of love, Qixi Festival represents the change of values that people pursue in love.The cultural evolution of Qixi Festival not only retains traditional customs, but also blends with modern society, reflecting the diversity and vitality of Chinese culture. We look forward to the continuous evolution and development of Qixi Festival in the future and become a cultural feast of tradition and modernity.

==Conclusion==
As a traditional Chinese festival, Qixi Festival carries ancient myths and legends and beautiful blessings. With the progress of society and the evolution of culture, Qixi Festival has become more romantic and diversified in modern times. Traditional Qixi customs such as begging for tricks and enjoying the moon still exist, but modern society gives Qixi Festival more meaning and expression. To sum up, the Seven Festivals is not only a traditional festival, but also a festival with rich cultural significance and historical traditions. It embodies the Chinese nation's unremitting self-improvement, diligence and wisdom, creative courage, and the continuous pursuit of a happy life.

==Terms and Expressions==
the Cowboy and the Weaver Girl 牛郎织女
：the Queen of Heaven 王母娘娘
magpie bridge 鹊桥
ecliptic 黄道：
Seven Luminaries 七曜
Heavenly Palace 天宫
Altair 牵牛星
Vega 织女星
Miscellanies of Xijing 《西京杂记

==Questions==
1. What is other name of Qixi Festival?
2. What day does the Chinese Valentine's Day take place?
3. What are the origins of Qixi Festival?
4. What are the common Qixi Festival activities?
5.What is the impact of Qixi Festival on today's society?

==References==
1.邵静.我国大众媒介的“节日传播”——以“春节”与“情人节”为比较范本[J].东南传播,2007(9):58-59.
6.李定琼.传统节日“假日化”与法定假日“传统化”——两者的旅游文化学关系浅析[J].现代商业,2008(9):266-267
7.李晓霞.浅谈中国节庆文化的影响[J].理论界,2006(S2):113-114
8.韦柳芝.从西方节日中反思中国传统节日的保护与传承[J].长春教育学院学报,2014,30(7):15-16.
9.That is Mandarin The Story Behind Qixi Festival

==Translation==
节日：七夕节
介绍：
七夕节，又称七巧节、七姐节、女儿节、乞巧节、七娘会、七夕祭 [39-40]、牛公牛婆日、巧夕等，是中国民间的传统节日。七夕节由星宿崇拜演化而来，为传统意义上的七姐诞，因拜祭“七姐”活动在七月七晩上举行，故名“七夕”。拜七姐，祈福许愿、乞求巧艺、坐看牵牛织女星、祈祷姻缘、储七夕水等，是七夕的传统习俗。经历史发展，七夕被赋予了“牛郎织女”的美丽爱情传说，使其成为了象征爱情的节日，从而被认为是中国最具浪漫色彩的传统节日，在当代更是产生了“中国情人节”的文化含义。

起源：
1.牛郎织女的传说
七夕节是中国传统节日之一，“夕”是夜晚的意思，“乞巧”是向织女乞求智巧的意思，七夕节指的就是农历七月初七的夜晚。七夕节起源于牛郎和织女的传说，牛郎是年轻的牧童，织女是天上的仙女，织女觉得自己在天上没有自由，就下凡来到人间，牛郎在老牛的帮助下认识了织女，不久便结为夫妻，生了一男一女两个孩子，但有一天王母娘娘把织女带回了天宫，牛郎带着两个孩子去天宫找织女，王母用头上的玉簪划了一道银河，银河又宽又长，牛郎无法过河，他们被隔开了，王母娘娘规定每年七月七日牛郎和织女只能相会一次，每到七月初七的夜晚，成群的喜鹊飞来为牛郎和织女搭起一座鹊桥，让牛郎和织女相会，这就是七夕节的由来。

2.崇拜自然的天体现象
早在远古时代，追求秩序的古人们不仅将天空规划得井井有条，还将星宿与地面区域一一做了对应，这个对应关系就天文来说，称作“分星”，就地面来说，称作“分野”。简单来说，古人就是将天上每个星座都与地上的实体地理区域一一对应，古代分星与分野目的主要是为了配合占星理论进行天象占测。在古代星宿体系中，“牛宿”由6颗星组成，位于银河的东岸，像两个倒置的三角形，一上一下，很有特点，不过上面的那个三角形更大一些，亮一些。而下面的小三角形正好位于黄道上，这几颗星组成了一个头上有两角，却只有三只足的牛，因此古人称其为“牵牛”。“织女”3星位于牛宿的北部，其中的“织女一”星是全天第五亮星，因此又常直接称为“织女星”。人们将“牛宿星”与“织女星”合称为“牛郎织女”。相传每年七月初七，牛郎织女在天上的鹊桥相会，后来民间把故事进一步发挥，赋予了“牛郎织女”的美丽爱情传说。而姑娘们为了能有织女的心灵手巧，就在那天比针线活，于是那一天又称作乞巧节。

3.古人的数字崇拜
“七夕”月逢七、日逢七。在古代，古人把日、月与水、火、木、金、土五大行星合在一起叫“七曜”。“七月初七”与古人对数字和时间的崇拜有关。古代民间把正月正、二月二、三月三、五月五、六月六、七月七、九月九这“七重”列为吉庆日。“重日”在中国古代被认为是“天地交感”、“天人相通”的日子。“七”是算盘每列的珠数，浪漫而又严谨，给人以神秘的美感。“七”与“吉”谐音，“七七”又有双吉之意，是个吉利的日子。

节日活动：
1.情侣约会
情侣约会：七夕节被普遍称为中国的情人节，因此情侣约会是七夕节最常见的庆祝方式之一。情侣们可能选择在这一天共进浪漫的晚餐，一起欣赏赏月，或是一起参加七夕主题的活动，表达对彼此的爱意和关怀。
2.香桥会
在江苏宜兴，有七夕香桥会习俗。每年七夕，人们都赶来参与，搭制香桥。所谓香桥，是用各种粗长的裹头香（以纸包着的线香）搭成的长四五米、宽约半米的桥梁，装上栏杆，于栏杆上扎上五色线制成的花装饰。入夜，人们祭祀双星、乞求福祥，然后将香桥焚化，象征着双星已走过香桥，欢喜地相会。这香桥是由传说中的鹊桥传说衍化而来的。
3.接露水
浙江农村，流行用脸盆接露水的习俗。传说七夕节时的露水是牛郎织女相会时的眼泪，如抹在眼上和手上，可使人眼明手快。浙江农村，流行用脸盆接露水的习俗。传说七夕节时的露水是牛郎织女相会时的眼泪，如抹在眼上和手上，可使人眼明手快。
4.穿针乞巧
穿针乞巧，也叫“赛巧”，即女子比赛穿针，她们结彩线，穿七孔针，谁穿得越快，就意味着谁乞到的巧越多，穿得慢的称为“输巧”，“输巧”的人要将事先准备好的礼物送给得巧者。《西京杂记》说：“汉彩女常以七月七日穿七孔针于开襟楼，人具习之。”

七夕节的文化意义与发展
1.传统文化的传承：七夕节作为中国传统文化的一部分，通过世代相传，传承了古代神话故事和美好祝福。
2.多元文化的融合：在当代社会，七夕节融合了不同地区、不同文化的习俗，形成丰富多样的庆祝形式。
3.个人价值观的变迁：随着社会的快速发展，人们对于爱情和婚姻的观念也在发生变化，七夕节作为爱情的象征，代表着人们对爱情追求的价值观的转变。七夕节的文化演变既保留了传统习俗，又与现代社会相互交融，体现了中国文化的多元性和活力。我们期待着七夕节在未来继续演变和发展，成为传统与现代交融的文化盛宴。

总结：七夕节作为中国传统的节日，承载着古老神话传说和美好祝福。随着社会的进步和文化的演变，七夕节在现代变得更加浪漫而具有多元化的特点。传统的七夕习俗如乞巧活动和赏月仍然存在，但现代社会赋予了七夕节更多的意义和表达方式。综上所述，七节不仅是一个传统的节日，也是一个具有丰富文化意义和历史传统的节日。体现了中华民族不懈的自我完善、勤奋和智慧、创造的勇气，以及对幸福生活的持续追求。
问题：
1.七夕节又名什么？
2.七夕节发生在哪一天？
3.七夕节有哪些起源？
4.常见的七夕节活动有哪些？
5.七夕节对当今社会有哪些影响？

参考文献：
1.邵静.我国大众媒介的“节日传播”——以“春节”与“情人节”为比较范本[J].东南传播,2007(9):58-59.
6.李定琼.传统节日“假日化”与法定假日“传统化”——两者的旅游文化学关系浅析[J].现代商业,2008(9):266-267
7.李晓霞.浅谈中国节庆文化的影响[J].理论界,2006(S2):113-114
8.韦柳芝.从西方节日中反思中国传统节日的保护与传承[J].长春教育学院学报,2014,30(7):15-16.
9.That is Mandarin The Story Behind Qixi Festival

=Luo Jiayi | Music and instruments：Yuge（Fishing song）=
==Overview==
Fishing song, also known as Yuge, is a unique Chinese folk song sung by fishermen in China's coastal areas, lakes and harbors. The most widely circulated one is the Tang Dynasty poet Zhang Zhihe's ''Fisherman's Song'':

In front of western hills white egrets fly up and down

Over peach-mirrored stream, where perches are full grown.

In a broad-brimmed blue hat

And green straw cloak, I’d fain

Go fishing careless of the slanting wind and rain.

There are many types and quantities of fishing songs. When and where it originated, there is no way to know. But it is certain that in the Han Dynasty, there was a large number of documentary records of fishing songs. In 2014, the fishing songs (Dongting Fishing Songs and Shanwei Fishing Songs) were approved by the State Council to be included in the fourth batch of national intangible cultural heritage lists. In 2021, Fishing Songs (Shengsi Fishing Songs) were approved by the State Council to be included in the expanded list of representative items of national intangible cultural heritage.

渔歌是一种特有的中国民歌，由中国沿海地区以及湖泊港湾渔民所唱。流传最广泛的当属唐代诗人张志和的《渔歌子》：西塞山前白鹭飞，桃花流水鳜鱼肥。青箬笠，绿蓑衣，斜风细雨不须归。渔歌种类繁多、数量庞大，到底起源于何时何地，已无从考究。但可以确定的是在汉代，渔歌已有大量的文献记载。2014年，渔歌（洞庭渔歌、汕尾渔歌）经国务院批准列入第四批国家级非物质文化遗产名录。2021年，渔歌（嵊泗渔歌）经国务院批准列入国家级非物质文化遗产代表性项目名录扩展项目名录。

==Classification of fishing songs==
Fishing songs can be classified by region. For example, the fishing songs popular in Shanwei, Guangdong Province are collectively referred to as Shanwei Fishing Songs, and there are also fishing songs in Huidong, Guangdong, which belong to the same kind in Shanwei; popular in Yueyang, Hunan Province, Dongting Lake, collectively known as Dongting Fishing Song. The fishing songs popular in Shengsi, Zhoushan, Zhejiang Province, are called Shengsi Fishing Song.

Fishing songs can also be divided into two categories: deep-sea fishing songs and shallow-sea fishing songs. The former is sung by fishermen working in the deep sea, similar to salty water songs. The latter is sung by the women of the fishermen by the sea. It usually refers mainly to shallow-sea fishing songs.

What is more, fishing songs can be classified according to their form, which are divided into three types: work songs, folk songs, and ditty.

渔歌可以按地域来分类。如流行于广东汕尾市的渔歌，统称为汕尾渔歌，而在广东的惠东也有渔歌，属于汕尾市同类；如流行于湖南省岳阳市岳阳楼区洞庭湖边的，则统称为洞庭渔歌；如流行于浙江省舟山市嵊泗县的渔歌，则称为嵊泗渔歌。

渔歌也可以分深海渔歌和浅海渔歌两类。前者是深海作业渔民所唱，近似咸水歌；后者是海边渔家妇女所唱。通常主要指浅海渔歌。

渔歌还可以按其按形式来分类，分为号子、山歌、小调三种类型。

==Characteristics of fishing songs==
The content of fishing songs is rich and colorful, and it is mainly divided into five categories, namely labor, life, love, folk customs and sacrifices. (Li 2008, 51)The labor category, represented by ''The Boatman's Work Song'', mostly describes the spontaneous organization of fishermen in production and life, such as fiber pulling, net collection, etc., with a sonorous rhythm and full of dynamics. In the life category, it mainly expresses the joys and sorrows in the hearts of fishermen, and its representative works include ''How can there be more tears in the river''. Love, mostly men and women pour out their love for each other. Affected by the water, their marriage and love are in the boat, which gave birth to a large number of songs, such as ''Bachelor Marrying'' and so on. Folk customs, more reflect the survival skills of fishermen, and the cultivation of excellent moral qualities such as the education of children, and the representative works include ''My Thousands of Fishing Songs''. Sacrificial category, the content is mainly for the fishermen to pray for the god of water and the dragon king to bless favourable conditions and the boat is safe, the representative works are ''Dongting Immortal'' and so on.（Xu Hao,Liu Jiwen 2020, 121-122）

The lyrics of fishing songs are generally in the format of seven-character sentences, two sentences are one paragraph, and there are also four or eight sentences in a paragraph. In the four sentences, there are also five-character sentences or three-character sentences as the starting sentence, and the last three words of the second or fourth sentence are often repeated with padding words, or the whole sentence is repeated.

The expression forms of fishing songs include humming, singing in unison, singing in unison with the lead singer, blowing, duet, singing and dancing, pure natural harmony singing, playing and singing, etc. The dragging and repetition in the singing are the most basic and significant characteristics that distinguish fishing songs from other folk songs.

渔歌的内容丰富多彩，主要分为五大类，即劳动类、生活类、爱情类、民俗类和祭祀类。(Li 2008, 51)劳动类，以《船工号子》为代表，多形容渔民在生产生活中的自发组织劳动，如拉纤、收网等，节奏铿锵，富于动感；生活类，则主要表达渔民内心的喜怒哀乐，代表作有《河水哪有我的眼泪多》等；爱情类，多为男女之间互相倾诉爱慕之情，受水域影响，婚姻、恋爱均在船间，由此萌生出大量歌曲作品，如《光棍娶亲》等；风俗民俗类，更多反映渔民的生存技巧，及对子女的教育等优秀道德品质的培养，代表作有《我的渔歌万万千》等；祭祀类，内容主要为渔民祈求水神、龙王保佑风调雨顺、行船平安，代表作有《洞庭仙》等。（Xu Hao,Liu Jiwen 2020, 121-122）

渔歌的歌词格式一般为七字句，两句一首，间有四句或八句一首。四句中也有用五字句或三字句作起句的，第二句或第四句的最后三字常加上衬词重复，或整句重复。

渔歌的表现形式有哼唱、齐唱、领和式齐唱、吹奏、对唱、歌舞、纯自然和声演唱、弹唱等。而唱腔曲调上的“拖音”和“复沓”是渔歌有别于其他民歌品种最基本、最显著的特征。

==The value of fishing songs==
The fishing song itself has a high aesthetic value of musical art, which is mainly reflected in its unique style and rich forms of expression. It contains the cultural genes of traditional music, and provides a rich source of original materials and inspiration for music creation.(Wang 2009, 25)

In contemporary times, the more important thing about the fishing song is its historical, cultural and folk value. Fishermen living by the water's edge can learn about the humanistic history, folk customs, social outlook of their hometown, and the way of life, thoughts and feelings, spiritual pursuits, and values of fishermen through fishing songs, so as to gain a sense of identity of local cultural identity. (Chen 2023, 74-75)In addition, this kind of value is also reflected in the true record and effective continuation of traditional fishing culture. Through fishing songs, people can understand the ocean, tide, meteorology, fishing flooding, fish, fishing, breeding, processing, trade and other fishery knowledge and inherit the fishing culture of the fishing area.(Jin 2009, 90/ Fang 2023, 24-25)

In addition, the fishing song also has scientific, economic and practical value. Only by transforming it from a folk art resource into a cultural productive force and bringing economic benefits can the reproduction of folk art producers be guaranteed, and correspondingly more funds will be invested in the protection and development of folk art.(Jinling Li 2022, Volume 4.0, Issue 5.0)

渔歌本身具有很高的音乐艺术审美价值，主要体现在它独特的风格和丰富的表现形态上。它蕴含着传统音乐的文化基因，为音乐创作提供了丰富的原始素材和灵感源泉。(Wang 2009, 25)

在当代，渔歌更重要的是它的历史文化民俗价值。生活在水边的渔民，通过渔歌了解自己家乡的人文历史、民俗风情、社会面貌和渔民的生活方式、思想感情、精神追求、价值观念，从而获得本土文化身份的认同感。(Chen 2023, 74-75)除此之外，它的这种价值还体现在对传统渔俗文化的真实记录和有效延续上，人们通过渔歌，可以了解海洋、潮汛、气象、渔汛、鱼类、捕捞、养殖、加工、贸易等渔业知识，传承渔区渔俗文化。(Jin 2009, 90/ Fang 2023, 24-25)

此外，渔歌也有科学经济实用价值。只有将其从民俗艺术资源转换为文化生产力,带来经济效益,才能保证民俗艺术生产者的再生产,相应地就会有更多的资金投入到民俗艺术的保护和发展上。(Jinling Li 2022, Volume 4.0, Issue 5.0)

==Terms and Expressions==
Fishing songs 渔歌

''Fisherman's Song'' 《渔歌子》

Dongting Fishing Songs 洞庭渔歌

Shanwei Fishing Songs 汕尾渔歌

Shengsi Fishing Songs 嵊泗渔歌

The fourth batch of national intangible cultural heritage list 第四批国家级非物质文化遗产名录

Expanded list of representative items of national intangible cultural heritage 国家级非物质文化遗产代表性项目名录扩展项目名录

Deep-sea fishing songs 深海渔歌

Shallow-sea fishing songs 浅海渔歌

Salty water songs 咸水歌

Work songs 号子

Folk songs 山歌

Ditty 小调

''The Boatman's Work Song'' 《船工号子》

''How can there be more tears in the river'' 《河水哪有我的眼泪多》

''Bachelor Marrying'' 《光棍娶亲》

''My Thousands of Fishing Songs'' 《我的渔歌万万千》

''Dongting Immortal'' 《洞庭仙》

Padding words 衬词
==Questions==
（1）What are the types of fishing songs classified by region? Please name two.

（2）Are fishing songs an intangible cultural heritage?

（3）What is the value of fishing songs?

（1）渔歌按地域分类有哪几种？请举出两个。

（2）渔歌属于非物质文化遗产吗？

（3）当代的渔歌具有什么价值？
==References==
李琳(Li Lin). 环洞庭湖民歌中的民俗及其文化内涵(Folklore and Its Cultural Connotation in Folk Songs Around Dongting Lake)[J]. 湖南农业大学学报(社会科学版)(Journal of Hunan Agricultural University (Social Science)),2008,(05):50-53.

许昊,柳集文(Xu Hao,Liu Jiwen). 传统音乐类非物质文化遗产的生存现状与整合传播——基于湖南岳阳洞庭渔歌的考察(The Survival Status and Integrated Dissemination of Traditional Music Intangible Cultural Heritage: An Investigation Based on Dongting Fishing Songs in Yueyang, Hunan Province)[J]. 新媒体研究(Journal of New Media Research),2020,6(07):121-124.

王晓淮(Wang Xiaohuai). 关于当代原生态民歌发展及意义的思考(Reflections on the Development and Significance of Contemporary Original Ecological Folk Songs)[J]. 歌海(Ge Hai),2009,(04):24-25.

陈辉(Chen Hui). 渔俗文化的历史记忆——浙东渔歌的功能与价值(Historical Memory of Fishing Culture: The Function and Value of Fishing Songs in Eastern Zhejiang)[J]. 浙江艺术职业学院学报(Journal of Zhejiang Vocational College of Art),2023,21(04):70-76.

金成辉(Jin Chenghui). 民俗艺术资源的价值要素探析(Analysis on the Value Factors of Folk Art Resources)[J]. 艺术探索(Art Exploration),2009,23(05):90-91.

方从戎(Fang Congrong). 湖南洞庭渔歌的文化内涵及其生存现状(The Cultural Connotation and Survival Status of Dongting Fishing Songs in Hunan Province)[J]. 中国民族博览(China Nationalities Expo),2023,(18):24-26.

Jinling Li. Research on the Development of Intangible Cultural Heritage Traditional Handicraft Education Inheritance and Socialization Inheritance(非物质文化遗产的发展研究传统手工艺教育传承与社会化传承)[J]. International Journal of Frontiers in Sociology(国际社会学前沿杂志), 2022, Volume 4.0 , Issue 5.0.

=Xie Xianglin |Education:Chicken Child(Fired-up Child)=
==The Origin and Meaning==
In recent years, with the popularity of the TV series ‘A Little Dilemma’, ‘education anxiety’ has become a hot topic nowadays, and the new word ‘chicken child’ has therefore come into the public eye.The drama is set in the context of primary school and reflects the current educational context where children's education is highly competitive.
Chicken child means a child who has been over-motivated and spurred on by their parents in terms of learning and forced to be fired up.Chicken child, in Chinese is ‘鸡娃’. Chicken, ‘鸡’ is homophonous with the character ‘激’which means motivating or stimulating, so Chicken Child has the meaning of a child who is motivated and spurred on.
On the other hand,in China in the 1960s, there was a form of chicken blood therapy, in which fresh chicken blood was drawn and injected into a person's veins, which would leave them refreshed and free of any illness. It's pseudo-science, but the term chicken blood has been passed down and given the meaning of a person's sudden excitement about something.So ‘Chicken Child’ borrowed this meaning to denote a child who is forced by his parents to be excited about learning.Based on its meaning, the term has also been translated as Fired-up Child.（Ding Miaomiao. 2022，Imago Literature Creation）

==Causes of the Chicken Child==
The causes of the chicken child are complex and involve many aspects.
===Education system===
The National College Entrance Examination, as the only examination that determines university entrance, makes parents and students focus all their energy on exam-oriented education. In addition, two important exams, the Junior High School Entrance Examination and the High School Entrance Examination, largely determine how high or low a child's educational starting point will be. These examinations in China make children and their parents anxious, fearing that they will fall behind on any rung of the ladder. Although in recent years the policy of reducing the burden one after another, the effect of reducing the burden is not obvious. Even though the The Double Reduction Policy has alleviated parents‘ educational anxiety to a certain extent, the problem of parents’ educational anxiety will not be reduced as long as there is the existence of exam-oriented education and the selection system of the National College Entrance Examination according to the scores.
===Ideological Tradition===
China's ideological tradition of‘expecting a son to become a dragon and a daughter to become a phoenix’ is the most ardent hope of every Chinese parent for their children. Therefore, most parents will focus all their energy, financial and material resources on their children, so that they can have better conditions and resources to improve social status and change the fate of the family. Education, on the other hand, is the most effective and fair of all avenues. Some scholars have pointed out that the direct cause of parents’ educational anxiety is their educational expectations and requirements for their children. (Fu Qiwen ,Ye Xiangxiang,Zou Simin ,Gong Xue. Secondary school students)
===Economic Factors===
In Professor Fabrizio's eyes, chicken child is not the fault of parents, but the result of economic inequality. In addition to contributing to a shift in cultural values, the increase in economic inequality has also changed parental behaviour. In particular, parents increasingly believe that the basis of their children's success will depend on educational achievement. In a world where parents are tightly connected with their children in interests, parents will be more concerned about their children's place in the social hierarchy, and will therefore be motivated to invest more in pushing their children to adopt success-oriented behaviors. (Tencent News.2021)

==Specific Manifestations in Society==
Firstly, there is intense subject tuition. Children attend a variety of tuition classes after school and on weekends, covering a wide range of subjects such as Maths, English and Physics, with a view to improving their academic performance. Secondly, they enroll in a wide range of interest classes. Apart from subject tuition, parents would also arrange for their children to attend interest classes in music, dance, sports and so on, in the expectation that they could develop in an all-round way. Thirdly, strict time management. Children's schedules are so tight that they have little free time, and all their activities revolve around learning and skill enhancement. Fourthly, the high-pressure family environment, where parents have very high expectations and demands on their children's academic performance, leading to a tense family atmosphere and greater psychological pressure on the children.
Changsha, for example, has the four most prestigious high schools in Hunan: The First High School of Changsha, Changjun High School of Changsha, Yali Middle School, and The High School Attached to Hunan Normal University. In addition, other schools are divided into various echelons, and it is often rumored that ‘Entering XXX school is a step into the door of Universities listed in Project 985, 211’. For this reason, parents and students try to get into the best high school possible. According to the Chinese education system, children only start learning English in the third grade of primary school. But here, there are children who have been attending English interest classes since they were a few years old. Some even learn a second or third foreign language. In addition to the basic curriculum, children also have to learn programming, Olympiads, etc. to have as much competitive capital as possible. At the age of primary school and junior high school, age of nature of to play, it is difficult to say that there are children who love to take the initiative to learn, so all of the above mentioned can not ignore the role of the parents . This is the specific embodiment of the chicken child, rather than children play initiative to learn, it is the parents play initiative to let them learn.

==The Double Reduction Policy==
The implementation of the ‘Double Reduction’ policy is intended to alleviate the phenomenon of ‘chicken children’, reduce the academic burden on students and promote equity in education. The ‘Double Reduction’ policy is an important education reform measure introduced by the Chinese government in 2021. The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training, issued in July 2021, aims to reduce the burden of homework and out-of-school training for primary and secondary school students. The core elements of this policy include reducing the amount of homework, regulating the operation of out-of-school training organizations, and reducing the educational anxiety of students and parents.
However, the policy has faced some challenges and backlash in its implementation, and the demand and competitive mentality of parents and students for educational resources still exists. Achieving the policy's goals will require concerted efforts by the government, schools, and families to enhance the equitable distribution of educational resources, improve the quality of public education, change parents' concepts of education, and promote the all-round development and physical and mental health of students. (Baidu Encyclopedia)

==Similar phenomena abroad==
As a matter of fact, there are similar educational anxieties abroad. Similar to the chicken child, there are ‘Helicopter Parents’ and ‘Tiger Parenting’ .
Helicopter parents refer to parents who are overly concerned about their children's behaviour, learning and development. They hover around their children like helicopters, always ready to intervene and interfere in their children's lives.
Tiger-Parenting is derived from the book ‘The Battle Hymn of the Tiger Mother’ by Amy Chua, a Chinese-American writer. Tiger-Parenting emphasizes rigour and high standards, and parents expect their children to achieve excellent results, often through coercion, threats and punishment, in order to motivate their children to learn and perform. And the term actually originated in China. The origin of the term, ‘Battle Hymn of the Tiger Mother’, is about how the author, a Chinese mother, fired up her children to become chicken child. Tiger-Parenting became a sensation in the education world and led to a great debate about the educational methods of China and the United States.(Woran Zhang. 2023.)

==Summary==
The essence of chicken children lies in parents' excessive concern about their children's studies and performance, as well as their excessive expectations of their children's future development. This phenomenon reflects the unequal distribution of educational resources and opportunities in society, as well as parents' anxiety and distrust of their children's future in a highly competitive social environment. Chicken-child behaviour is often accompanied by negative consequences such as excessive learning pressure, lack of autonomy and mental health problems, and may also lead to a waste of educational resources and a lack of educational equity.

==Terms and Expressions==
Chicken Child(Fired-up Child) 鸡娃
A Little Dilemma 《小别离》
chicken blood therapy 鸡血疗法
National College Entrance Examination 高考
exam-oriented education 应试教育
Junior High School Entrance Examination 小升初考试
High School Entrance Examination 中考
The Double Reduction Policy 双减政策
The First High School of Changsha 长沙市第一中学
Changjun High School of Changsha 长郡高级中学
Yali Middle School 雅礼中学
The High School Attached to Hunan Normal University 湖南师范大学附属中学
The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
Helicopter Parents 直升机式家长
Tiger Parenting 虎妈式教育
The Battle Hymn of the Tiger Mother 《虎妈战歌》

==Question==
#How did the word ‘chickenshit’ come about?
#What are the causes of the chicken child phenomenon?
#What are the concrete manifestations of the chicken child in the society?
#Why is it necessary to implement the ‘Double Reduction Policy’?
#Where did the term ‘tiger mother education’ originate?

==References==
#Ding Miaomiao. An analysis of the network buzzword ‘chicken child’. Journal of literature and creativity,2022,(29):111-113.
#FU Qiwen, YE Xiangxiang, ZOU Simin, GONG Xue. A review of research on the current situation of parents' educational anxiety and countermeasures in the context of burden reduction. A review of parental education anxiety and countermeasures in the context of burden reduction.
#Tencent News.2021.Economists tell you that chicken children are not your fault_Tencent News (qq.com)
#General Office of the CPC Central Committee, General Office of the State Council . Opinions on Further Reducing the Burden of Homework on Students in Compulsory Education and the Burden of Out-of-School Training .
#Baidu Encyclopedia. Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Off-Campus Training_Baidu Encyclopedia (baidu.com)
#Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.

==Translation==
教育：鸡娃
1.鸡娃的由来及含义
近年来，随着电视剧《小别离》的热播，“教育焦虑 ”成为时下的热门话题，“鸡娃 ”这个新词也因此进入公众视野。这部电视剧以小学为背景，反映了当下儿童教育竞争激烈的教育背景。
鸡娃是指在学习方面被家长过度激励和鞭策，被迫发奋学习的孩子。“鸡” 与 “激”同音，“激” 的意思是激励或刺激，所以 ”鸡娃 "有激励和鞭策孩子的意思。
另一方面，在 20 世纪 60 年代的中国，有一种鸡血疗法，即抽取新鲜鸡血注入人的血管，使人神清气爽，百病不生。虽然是伪科学，但鸡血一词却流传了下来，并被赋予了一个人突然对某件事情感到兴奋的含义，所以 “鸡娃”借用了这一含义来表示被父母逼着对学习感到兴奋的孩子。(丁苗苗. 2022,今古文创)

2.鸡娃现象的成因
鸡娃现象的产生成因复杂，涉及许多方面。
A. 教育体制
全国高考作为决定大学入学的唯一考试，使家长和学生把全部精力都放在应试教育上。此外，初中入学考试和高中入学考试这两次重要的考试在很大程度上决定了孩子教育起点的高低。在中国，这些考试让孩子和家长们焦虑不安，生怕自己在哪个阶梯上掉队。虽然近年来减负政策陆续出台，但减负效果并不明显。即使 “双减 ”政策在一定程度上缓解了家长的教育焦虑，但只要存在应试教育和高考唯分数论的选拔制度，家长的教育焦虑问题就不会减少。
B. 思想传统
望子成龙、望女成凤 "是中国的思想传统，也是每个中国家长对子女最殷切的期望。因此，大多数父母都会把所有的精力、财力、物力都集中在子女身上，让子女有更好的条件和资源来提高社会地位，改变家庭命运。而教育则是所有途径中最有效、最公平的途径。有学者指出，造成家长教育焦虑的直接原因是家长对子女的教育期望和要求。 (付启文、叶湘湘、邹思敏、龚雪.中学生）。
C.经济因素
在 Fabrizio 教授眼中，“鸡娃 ”不是父母的错，而是经济不平等的结果。除了导致文化价值观的转变，经济不平等的加剧也改变了父母的行为。尤其是，家长们越来越相信，子女成功的基础取决于教育成就。在父母与子女利益紧密相连的世界里，父母会更加关注子女在社会等级中的位置，因此会有动力投入更多，促使子女采取以成功为导向的行为。(腾讯新闻.2021）

3.鸡娃在社会中的具体显现
一是高强度的学科补习，孩子们在放学后和周末参加各种补习班，涵盖数学、英语、物理等多个学科，以期提高他们的学术成绩。二，报广泛的兴趣班。除了学科补习，家长还会安排孩子参加音乐、舞蹈、体育等兴趣班，期望他们能够全面发展。三是严格的时间管理，孩子们的日程安排得非常紧凑，几乎没有自由时间，所有的活动都围绕着学习和技能提升。四是高压的家庭环境，家长对孩子的学习成绩和表现有着非常高的期望和要求，导致家庭氛围紧张，孩子面临较大的心理压力。
就拿长沙举例，拥有湖南四大名校长沙市第一中学、长沙市长郡中学、长沙市雅礼中学、湖南师范大学附属中学。除此以外，其它学校还分出了各种梯队，常有流言说“上了xxx学校就是一脚迈进了985、211的门”。为此家长学生为了尽可能进入更好的高中挤破了头。按中国教育制度，孩子小学三年级才开始学英语。但是在这里，有的是从几岁开始就上英语兴趣班的娃娃。更有甚者，还学了第二门、第三门外语。除基本的课程外，孩子还要学编程，奥数等，尽可能有更多竞争的资本。在小学、初中的年纪，正是天性爱玩的时候，难说有孩子是热爱主动学习的，所以以上所说种种家长在其中的作用是不可忽略的。这正是鸡娃，与其说是孩子在发挥主动性学习，不如说是家长发挥主动性让他们学习。

4.双减政策
“双减”政策的实施意在缓解“鸡娃”现象，减轻学生的学业负担，促进教育公平。“双减”政策是中国政府在2021年推出的一项重要教育改革措施，2021年7月发布的《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》，旨在减轻中小学生的作业负担和校外培训负担。这一政策的核心内容包括减少家庭作业量、规范校外培训机构的运营、以及减轻学生和家长的教育焦虑。
然而，政策在实施过程中面临一些挑战和反弹，家长和学生对教育资源的需求和竞争心理依然存在。要实现政策目标，需政府、学校和家庭多方协同努力，加强教育资源的公平分配，提升公立教育质量，转变家长的教育观念，促进学生的全面发展和身心健康。(百度百科)

5.国外的相似现象
事实上，国外也有类似的教育焦虑存在。与鸡娃相似的，如“直升机式”家长和“虎妈式”教育。
直升机家长（Helicopter Parents）是指过度关注孩子的行为、学习和发展的家长，他们像直升机一样“盘旋”在孩子的周围，时刻准备介入和干预孩子的生活。
“虎妈式”教育（Tiger-Parenting）源自美国华裔作家蔡美儿（Amy Chua）的著作《虎妈战歌》。虎妈式教育强调严格要求和高标准，家长们期望孩子取得优异的成绩，通常通过强迫、威胁和惩罚来促使孩子学习和表现。而严格来说，这个词也起源于中国。因为个词的起源《虎妈战歌》正是讲的作者作为华裔妈妈如何“鸡娃”的。虎妈的教育方法轰动了教育界，并引起关于中美教育方法的大讨论。
(Woran Zhang.2023.World Journal of Educational Research）

6.总结
鸡娃的本质在于家长过度关注孩子的学习和成绩，以及对孩子未来发展的过度期待。这种现象反映了社会对教育资源和机会的不均等分配，以及家长对孩子未来竞争激烈的社会环境的焦虑和不信任。鸡娃行为常常伴随着过度的学习压力、缺乏自主性、心理健康问题等负面影响，同时也可能导致教育资源的浪费和教育公平的缺失。

术语：
Chicken Child(Fired-up Child) 鸡娃
A Little Dilemma 《小别离》
chicken blood therapy 鸡血疗法
National College Entrance Examination 高考
exam-oriented education 应试教育
Junior High School Entrance Examination 小升初考试
High School Entrance Examination 中考
The Double Reduction Policy 双减政策
The First High School of Changsha 长沙市第一中学
Changjun High School of Changsha 长郡高级中学
Yali Middle School 雅礼中学
The High School Attached to Hunan Normal University 湖南师范大学附属中学
The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
Helicopter Parents 直升机式家长
Tiger Parenting 虎妈式教育
The Battle Hymn of the Tiger Mother 《虎妈战歌》

问题:
#“鸡娃”这个词是如何而来？
#鸡娃现象的成因有哪些方面？
#鸡娃在社会中的具体体现有哪些？
#为什么要实行“双减政策”？
#虎妈教育这个词起源于哪？

参考文献：
#丁苗苗. 网络流行语“鸡娃”探析. 今古文创,2022,(29):111-113.
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=Yang Zixuan | Chinese Science Fiction:''The Three-Body Problem''=

==Introduction==

''The Three-Body Problem'' is a series of long science fiction novels written by Liu Cixin, consisting of ''The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever''. The first installment was serialized since May 2006 in ''Science Fiction World'' magazine. The series of novels tells the story of the exchange of information between the human civilization on Earth and the three-body civilization, the life-and-death struggle, and the rise and fall of the two civilizations in the universe. The first installment was translated by Liu Yukun and won the 73rd Hugo Award for Best Long Story.

Liu Cixin, born in Beijing in June 1963, is originally from Luoshan County, Xinyang City, Henan Province, and a native of Yangquan, Shanxi Province. He graduated from the North China University of Water Conservancy and Hydropower and is a senior engineer as well as a science fiction writer. Liu Cixin is one of the representative writers of Chinese science fiction, and his works have been awarded the Galaxy Award for Chinese Science Fiction for the years 1999-2006, and he has won many other important awards at home and abroad, such as Zhao Shuli Literary Award and Chinese Science Fiction Nebula Award, etc. He is also a member of the Chinese Science Fiction Association.

==Main Part==

===The Place and Influence of ''The Three Body Problem'' in Chinese Science Fiction Literature===

The success of ''The Three-Body Problem'' series has greatly contributed to the popularization and prosperity of science fiction literature in China. More and more readers have begun to pay attention to and fall in love with science fiction literature and the quantity and quality of science fiction works have been significantly improved. With its unique scientific concepts, rich imagination and profound insight into human nature, society and civilization, ''The Three-Body Problem'' series has provided new ideas and directions for the creation of Chinese science fiction literature. More and more writers have begun to try to combine scientific theories with storylines, tap into human culture and historical connotations, and explore new ways of literary expression. ''The Three-Body Problem'' has also inspired the creative enthusiasm of Chinese science fiction writers, and more and more writers have begun to try their hand at science fiction literature, injecting new vitality into Chinese science fiction literature. Meanwhile, more writers are encouraged to pursue depth and breadth to enhance the overall level of Chinese science fiction literature.

The international success of ''The Three-Body Problem'' series has raised the status and influence of Chinese science fiction literature. Chinese science fiction literature has begun to receive attention and recognition from the international community, opening up a new way for the international dissemination of Chinese culture. The success of the "The Three-Body Problem" series has enhanced the cultural confidence of Chinese science fiction writers. They began to face international readers and judges with more confidence, showing the unique charm and depth of Chinese science fiction literature. At the same time, "The Three-Body Problem" also shows the world the creativity and thinking power of Chinese people, and wins more praise and respect for the international dissemination of Chinese culture.

===''The Three-Body Problem'' embodies Chinese cultural values===

'''The belief that man can win'''

"For more than 5,000 years, the Chinese people, in the course of exploring nature and seeking survival, have honed the spiritual character of robustness, diligence and courage, positivity and perseverance. In the face of difficulties, we believe that man will prevail over God. Flooding, do not ask the prophet, their own dredging; disease epidemic, do not seek miracles, their own taste of all kinds of herbs; Houyi shoot the sun, Jingwei fill in the sea, Yugongyishan ...... these ancient myths are embedded in the Chinese people's philosophy of survival and spiritual strength.

In "The Three-Body Problem", there is a huge gap between the scientific and technological levels of human civilization and that of the three-body civilization. ''The Three-Body Problem'' sends out only two "Homo sapiens" to interfere with all the particle gas pedals on Earth, making it difficult for humans to take a further step forward in basic science. The three-body world also sends the most contemptuous message to human beings - "you are bugs". The gap between bugs and human beings is much larger than the gap between Earth and The Three-Body Problem, but human beings have not completely eliminated bugs by using all sorts of methods, and the three-body people seem to have forgotten one thing, that bugs have never been truly defeated. Even though human beings are as weak as ants in front of the three-body world, human beings have never given up the struggle, which is exactly the vivid embodiment of the spirit of resilience in the bones of the Chinese people.

'''Planning a profound legacy for future generations'''

The concept of the family has an important place in traditional Chinese culture. In the traditional Chinese political structure, the family and the state are isomorphic: the "family" is the small "state" and the "state" is the big "family". The "family" is the small "state" and the "state" is the big "family". The family-centered culture of Chinese society has given rise to a whole set of ways of thinking and living, and the heroes in "The Three-Body Problem" often have the traditional meaning of "father and ruler", they are cold and rational, and they are able to save the day when there is a crisis, and they act as the "head of the family". As the "head of the family" of human beings, they shoulder the heavy burden of resisting foreign enemies and continuing human civilization, and almost all of them end up sacrificing their lives for the survival of the whole human race. The spirit of family inheritance extends to the country and becomes the historical inheritance of the Chinese nation that has lasted for thousands of years. In "The Three-Body Problem", many of the plans designed by mankind to resist alien invasions lasted for dozens to hundreds of years, and only a nation with a civilized history of 5,000 years would be more inclined to design and imagine these plans that need to be passed down from one generation to the next, and the novel has an epic feel to it as a result. In the setting, the three-body fleet arrived on Earth after 400 years, accordingly, the human struggle with the three-body world strategy is also measured in hundreds of years, for example, the use of the "hibernation" technology of the Pacific Air Force to send talents to the future, the bunker program, the black field program, the development of curvature drive spaceships, and so on.

'''Chinese characters'''

There are also uniquely Chinese protagonists in ''The Three-Body Problem'' that readers remember, such as Wang Miao, Zhang Beihai, and Cheng Xin all of whom are characters that appear more frequently in Amazon reader book reviews.

Zhang Beihai is a very typical Chinese soldier, he is strong and intelligent, with a strong sense of justice, and comes from a military family. His father is a member of the future history school, who predicts that mankind will lose the battle of Armageddon, and he hints at the end of the battle with the cryptic words "think more". Inheriting his father's legacy, Beihai leaves behind a spark of hope for mankind in the midst of an inevitable war. One reader commented that Zhang Beihai "came up with a shocking and inhumane solution to save mankind at the most critical moment". Readers resonate with the human rationality of Zhang Beihai in the context of the book, and at the same time gain a new understanding of the Chinese people's heightened sense of mission, dedication, and spirit of sacrifice.

Cheng Xin has been described by readers in English-speaking areas as "the best protagonist in the series, she is the most memorable. Maybe not the best, but she's the character that is most likely to remain unique in your mind." Each of Ching-Hsin's choices does indeed implement the concept of "goodness" in the moral system that human society has constructed. Respecting human life, loving and caring for all people, Cheng Xin has practiced her concept of "humanity", which in Cheng Xin's context is of course the same as "goodness"! --In Cheng Xin's context, "humanity" is of course the same as "goodness" - rather, Cheng Xin redefines "humanity" through her choices, and in the end, it is this "humanity" that Cheng Xin truly protects, rather than humanity itself. For Cheng Xin, the loss of humanity is the loss of everything.

==Conclusion==

''The Three-Body Problem'' series of novels is the undoubted masterpiece of Chinese science fiction writer Liu Cixin. With its unique scientific setting, rich characterisation and profound philosophical reflections, the series shows the struggles and choices of human civilisation in the face of invasion by an alien civilisation, and at the same time explores the grandeur of the universe and the insignificance of human beings. ''The Three-Body Problem'' is not a copy of foreign sci-fi works; it uses Chinese narrative methods to win wide acclaim from readers around the world, and has become the brightest star in contemporary Chinese sci-fi literature.

==Terms and Expreesions==

The Three-Body Problem 《三体》

The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever 《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》

Science Fiction World 《科幻世界》

the Galaxy Award for Chinese Science Fiction 中国科幻小说银河奖

Zhao Shuli Literary Award 赵树理文学奖

Chinese Science Fiction Nebula Award 华语科幻星云奖

"hibernation" technology 冬眠技术

the bunker program 掩体计划

the black field program 黑域计划

curvature drive spaceships 曲率驱动飞船

==Questions==

1. How does the international success of ''The Three-Body Problem'' affect Chinese science fiction literature?

2. How does ''The Three-Body Problem'' reflect Chinese cultural values?

3. Which character in Three Bodies do you appreciate most? Why?

1.《三体》在国际上的成功对中国科幻文学有何影响？

2.《三体》是如何体现中国文化价值观的？

3.你最欣赏《三体》中的哪个角色？为什么?

==References==

LI Jianfu 李建福, GAO Xuying 高序莹. Analyzing the Realism Thought and Chinese Narrative in Liu Cixin's ''The Three-Body Problem'' 浅析刘慈欣《三体》中的现实主义思想及中国叙事. Modern Communication现代交际,2023,(06):89-97+123-124.

Xie Zhonghui 解仲慧. "The Loss and Reinvention of the Hero--The Thought of Humanity in ''The Three-Body Problem'' “英雄”的失落与重塑——论《三体》中的人性之思. Masterpiece Appreciation 名作欣赏,2024(15):143-146.

Cui Bo 崔波, Chen Zixin 陈子馨. Research on the Overseas Diffusion Mechanism of Chinese Literary Works--An Examination Based on ''The Three-Body Problem'' 中国文学作品的海外扩散机制研究——基于《三体》的考察. Digital Publishing Research 数字出版研究,2024,3(01):104-112.

==Translation==

'''中国科幻小说：《三体》'''

'''简要介绍'''

《三体》是由刘慈欣创作的系列长篇科幻小说，由《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》组成。第一部于2006年5月起在《科幻世界》杂志上连载。该系列小说讲述了地球人类文明和三体文明的信息交流、生死搏杀及两个文明在宇宙中的兴衰历程。其第一部经过刘宇昆翻译后获得了第73届雨果奖最佳长篇小说奖。

刘慈欣，1963年6月出生于北京市，祖籍河南省信阳市罗山县，山西阳泉人。他毕业于华北水利水电大学，是一名高级工程师，同时也是科幻作家。刘慈欣是中国科幻小说代表作家之一，作品蝉联1999年-2006年中国科幻小说银河奖，并多次获得其他国内外重要奖项，如赵树理文学奖、华语科幻星云奖等。

'''《三体》在中国科幻文学中的地位和影响'''

《三体》系列的成功极大地推动了中国科幻文学的普及和繁荣。越来越多的读者开始关注和喜爱科幻文学，科幻作品的数量和质量也得到了显著提升。《三体》系列以其独特的科学理念、丰富的想象力和对人性、社会、文明的深刻洞察，为中国科幻文学的创作提供了新的思路和方向。越来越多的作家开始尝试将科学理论与故事情节相结合，挖掘人类文化和历史内涵，探索新的文学表达方式。《三体》也激发了中国科幻作家的创作热情，越来越多的作家开始尝试科幻文学的创作，为中国科幻文学注入了新的活力。同时鼓励更多的作家追求深度和广度，提升中国科幻文学的整体水平。

《三体》系列在国际上的成功提升了中国科幻文学的地位和影响力。中国科幻文学开始受到国际社会的关注和认可，为中国文化的国际传播开辟了新的途径。《三体》系列的成功增强了中国科幻作家的文化自信。他们开始更加自信地面对国际读者和评委，展现中国科幻文学的独特魅力和深度。同时，《三体》也向世界展示了中国人的创造力和思考力，为中国文化的国际传播赢得了更多的赞誉和尊重。

'''《三体》体现中国文化价值观'''

人定胜天的信念

“天行健，君子以自强不息”，五千多年来，中华民族在探索自然、谋求生存的过程中历练出刚健有为、勤劳勇敢、积极向上、坚忍不拔的精神品格。在困难面前，我们相信人定胜天。洪水泛滥，不问先知，自己疏通河渠；疾病流行，不求神迹，自己尝遍百草；后羿射日、精卫填海、愚公移山……这些上古神话中蕴含着中国人的生存哲学和精神力量。

在《三体》中，人类文明和三体文明的科技水平差距巨大，三体仅派出两颗“智子”就能干扰地球所有的粒子加速器，使人类基础科学再难前进一步。三体世界还向人类发来最蔑视的信息——“你们是虫子”。虫子与人类的差距远大于地球与三体的差距，但是人类使用各种办法都没有彻底消灭虫子，三体人似乎忘了一件事，虫子从来就没有被真正战胜过。即使人类在三体世界面前如蝼蚁般弱小，但是人类从未放弃斗争，这恰恰是中国人骨子里坚韧精神的生动体现。

为子孙后代计深远的传承

家庭观念在中国传统文化中有着重要的地位。在中国传统的政治构造中，家国是同构的：“家”是小“国”，“国”是大“家”。中国社会以家庭为中心的文化衍生出一整套思维和生活方式，《三体》中的英雄形象往往都具有传统意义上“君父形象”的意味，他们冷峻理性，在危机时力挽狂澜，作为人类的“大家长”肩负着抵抗外敌、延续人类文明的重担，最后的结局也几乎都是舍生取义，为整个人类的生存牺牲自己。家族传承精神扩大到国家就变为中华民族绵延数千年的历史传承。《三体》中人类为抵御外星入侵设计的许多计划都延续几十到上百年，只有拥有五千年文明历史的民族才会更偏向于设计与想象出这些需要代代相传的计划，小说也因此具有一种史诗感。在设定上，三体舰队于400年后到达地球，相应的人类与三体世界的斗争策略也以百年计，比如太空军利用“冬眠”技术向未来输送人才，掩体计划、黑域计划、研制曲率驱动飞船，等等。

中国式角色

《三体》中也有独特的中国式主角被读者所牢记，如汪淼、章北海和程心都是亚马逊读者书评中出现频次较高的角色。

章北海是非常典型的中国军人形象，他坚强智慧，胸怀大义，出身军人世家。章北海的父亲是未来史学派成员，预判末日之战中人类必败，他用极为隐晦的话“要多想”向章北海暗示末日之战的结局。章北海继承父亲的遗志，在必败的战争中为人类留下希望的火种。有读者评论称章北海“在最危急的时刻想出一个令人震惊的、非人道的解决方案来拯救人类”，读者在结合书中背景后，对章北海身上的人类理性一面产生共鸣，同时也对中国人高度的使命感、奉献精神和牺牲精神产生新的认识。

而程心被英语地区读者称为“该系列中最好的主角，她是最令人难忘的。或许不是最好的，但她是最容易在你的脑海中保持独特的角色。”程心的每一次选择确实都贯彻了人类社会所构建的道德体系中的“善”这一理念。尊重人的生命，博爱、关怀所有人，程心切身践行了她理念中的“人性”，在程心的语境里，“人性”当然等同于“善”——毋宁说，程心通过她的选择重新定义了“人性”，程心最后真正保护了的，也就是这样的“人性”，而非人类本身。对于程心来说，失去人性，才是失去一切。

'''总结'''

《三体》系列小说是中国科幻作家刘慈欣毫无疑问的代表作。该系列作品以其独特的科学设定、丰富的人物塑造和深邃的哲学思考，展现了人类文明在面对外星文明入侵时的挣扎与抉择，同时探讨了宇宙的宏大和人类的渺小。《三体》不是对外国科幻作品的复制，它用中国叙事，赢得了全球读者的广泛赞誉，成为当代中国科幻文学中最璀璨的明星。

=Chu Shoujuan |Ganshi in Xiangxi: The Cycle of Life and Death under Ancient Witchcraft=
==Introduction==
Xiangxi, a mysterious land in the western part of China's Hunan Province, has been one of the cradles of witchcraft culture since ancient times. In this deep land of mountains and streams, there is an ancient and mysterious legend - Ganshi in Xiangxi. This is a strange ceremony to bring the bodies of people who died in a foreign land back to their hometown and bury them in the ground, and it is called "Three Evils of Xiangxi" with Gu Du and Luo Hua Dong Nv. (Baidu Baike Ganshi in Xiangxi)

==Main Part==

Origin

The origin of Ganshi in Xiangxi can be traced back to ancient times. According to folklore, thousands of years ago, Chi You led soldiers in fierce battles with rival tribes. And then the battlefield was littered with corpses and blood flowed like stream. After the war, Chi You could not bear his soldiers to die in a foreign land, so he asked his tactician to use magic to let the dead soldiers return home. The tactician dressed up as Chi You, silently reciting incantations and praying to the gods, and those who had originally fallen to the ground actually stood up, followed the guidance of the "Fu Jie" and walked south. This is the earliest legend of Ganshi in Xiangxi. (Wang Yanan 2018, 186)

Development

However, it was in the middle of the Qing Dynasty that Ganshi in Xiangxi really formed a profession and was widely spread among the people. At that time, people in Xiangxi took the bodies of their relatives who had died abroad back to their hometowns for burial as a show of filial piety. However, due to the long road, inconvenient transportation, coupled with the complex terrain of the Xiangxi area and the rugged mountain road, it was extremely difficult to transport the body. Therefore, some people who knew witchcraft would use the "Occult Arts" to "drive" the body back to their hometown. These people are called "Ganshi Jiang", they hold "Chen Zhou Fu", and the mouth mutters words, leading the body in the night forward. (Liang Xu 2014, 2)

The ritual of Ganshi in Xiangxi is full of mystery. The Ganshi Jiang usually sets out at night, dressed in Taoist robes and carrying a dementor bell, followed by a string of bodies strung together with straw ropes. Instead of using lanterns, they use bells in their hands and incantations in their mouths to find their way. As the body walks, it wears a tall felt hat, and a yellow paper with a mark on its forehead was draped over its face to conceal it. Such a scene, in the mountains of Xiangxi, appears particularly strange and mysterious. (Baidu Baike Ganshi in Xiangxi)

Ganshi in Xiangxi ritual although mysterious, but not without trace. According to relevant literature records, there is a saying of "Three Rush and Three not Rush" in Xiangxi. Those who have been beheaded, hanged, or killed in cages can be driven away, because these people are forced to die, die unconvinced, and miss both home and love ones. Those who die of illness, those who hang themselves voluntarily or throw themselves into a river, and those who are burned by lightning with incomplete limbs could not be driven away. This is because the person who die of illness has spent the rest of his life, and his soul has been hooked by the impermanent ghost to Yama. The souls of those who hang their necks or throw themselves into a river are "being replaced" and are being handed over. And those who die when lightning strikes fire are sinful and cannot be driven away. (Lu Qun 2007, 56-57)

=Declassify=

With the development of science and technology, people have gradually explored the mystery of Ganshi. Ganshi does not mean that the body will actually walk on its own, but that someone will carry it on his back. First, Ganshi Jiang removes the head and limbs from the deceased, and then coates them with embalming agents, so that for a period of time, it can not decompose. At the same time, in order to prevent excessive inquiry into their profession, they would choose to wear Taoist robes and carry a dementor bell and travel at night. When the body is delivered to the home of the deceased, people, out of awe and comforted at seeing the deceased, no longer doubt whether the body is intact or whether the removal of the body is a hoax. (Zhang Dawei 2016, 18-22)

==Conclusion==
Although Ganshi in Xiangxi is full of mystery and horror, it also reflects people's respect and nostalgia for the deceased. In the land of Xiangxi, driving dead bodies is not only a profession, but also a cultural inheritance and belief. Nowadays, with the progress of science and technology and the convenience of transportation, Ganshi has gradually fades out of people's vision. However, the legends and stories about Ganshi in Xiangxi are still spread among the mountains and rivers of Xiangxi, becoming an eternal legend in this land.

==Terms and Expressions==
*Ganshi in Xiangxi 湘西赶尸
*Three Evils of Xiangxi 湘西三邪
*Gu Du 蛊毒
*Luo Hua Dong Nv 落花洞女
*Chi You 蚩尤
*Fu Jie 符节
*Occult Arts 秘术
*Ganshi Jiang 赶尸匠
*Chen Zhou Fu 辰州符
*Taoist robes 道袍
*Dementor bell 摄魂铃
*Three Rush and Three not Rush 三赶三不赶
*Yama 阎王

==Questions==
#What are the "Three Evils of Xiangxi"?
#Which legend does the "Ganshi" come from?
#Why doesn't the body rot?

==References==
[1]Baidu Baike Ganshi in Xiangxi (Xiangxi regional culture of China) _ Baidu Baike (baidu.com)

[2]Wang Yanan. Ganshi in Xiangxi culture exploration [J]. computerite, 2018, (02): 186.

[3]Liang Xu. Declassify Ganshi in Xiangxi [C]// Guangdong Folk Culture Research Association. Proceedings of the Symposium on Folklore Intangible Cultural Heritage in July 2014. Publisher unknown, 2014: 2.

[4]Lu Qun. Mysterious Ganshi in Xiangxi [J]. Extensive literature and history, 2007, (05): 56-57.

[5]Zhang Dawei. On the Religious and Ethical Implications of Ganshi in Xiangxi----Concurrently Discuss Primitive Belief as a Way of Human Existence [J]. Journal of Qiannan Teachers College for Nationalities, 2016, 36 (04): 18-22.

==Translation==

湘西赶尸：古老巫术下的生死轮回

介绍

湘西，这片位于中国湖南省西部的神秘土地，自古便是巫文化的发源地之一。在这片崇山峻岭、溪流纵横的深邃之地，流传着一个古老而神秘的传说——湘西赶尸。这是一种将客死异乡之人的尸体带回家乡，让他们入土为安的奇特仪式，与蛊毒、落花洞女并称“湘西三邪”。（百度百科湘西赶尸）

主体部分

起源

湘西赶尸的起源，可追溯到遥远的古代。据民间传说，几千年前，蚩尤率兵与敌对部族激战，战场上尸横遍野，血流成河。战后，蚩尤不忍战士们客死他乡，便请军师施展法术，让战死的将士们魂归故里。军师装扮成蚩尤的模样，默念咒语，祷告神灵，那些原本倒在地上的尸体竟然站了起来，跟随“符节”的指引，向南而行。这便是湘西赶尸最早的传说。（王亚男 2018，186）

发展

然而，湘西赶尸真正形成一种职业，并在民间广为流传，则是在清朝中期。当时，湘西地区的人们将客死他乡的亲人尸体运回家乡安葬，以示孝道。但由于路途遥远，交通不便，加之湘西地区地形复杂，山路崎岖，运送尸体极为困难。于是，一些懂得巫术的人便利用“秘术”，将尸体“赶”回家乡。这些人被称为“赶尸匠”，他们手持“辰州符”，口中念念有词，引领着尸体在夜色中前行。（梁谞 2014，2）

湘西赶尸的仪式充满了神秘色彩。赶尸匠一般选择夜晚出发，身穿道袍，手持摄魂铃，身后跟着一串用草绳串联的尸体。他们不打灯笼，只靠手中的铃铛和口中的咒语辨别方向。尸体在行走时，头戴高筒毡帽，额上压着画着符的黄纸，垂在脸上，以遮盖面容。这样的场景，在湘西的深山中，显得尤为诡异和神秘。（百度百科湘西赶尸）

湘西赶尸的仪式虽然神秘，但并非无迹可寻。据有关文献记载，湘西赶尸有“三赶，三不赶”之说。凡是被砍头、受绞刑、站笼站死的尸体可以赶，因为这些人是被迫死的，死得不服气，既思念家乡又惦念亲人。而病死的、投河吊颈自愿而亡的、雷打火烧肢体不全的尸体则不能赶。这是因为病死的人已享尽天年，其魂魄已被无常鬼勾至阎罗王处；投河吊颈者的魂魄是“被替代”的，正在交接中；而雷打火烧而亡者则属罪孽深重之人，无法驱赶。（陆群 2007，56-57）

解密

随着科学技术的发展，人们逐渐探寻到了“赶尸”的奥秘。“赶尸”并不是尸体真的会自己走路，而是有人将它背着走。赶尸匠先将死者的头部和四肢截下来，然后涂上防腐药剂，这样就能保持一段时间不腐烂。同时，为了防止旁人对他们职业的过分探究，他们会选择身着道袍，手拿摄魂铃，晚上赶路。等到尸体送到死者家中时，人们出于对死者的敬畏和见到死者后的安慰,便不再去怀疑尸体是否完整，赶尸是否是个骗局了。（张达玮 2016，18-22）

结论

湘西赶尸虽然充满了神秘和恐怖色彩，但它也体现了人们对逝者的尊重和怀念之情。在湘西这片土地上，赶尸不仅是一种职业，更是一种文化传承和信仰体现。如今，随着科技的进步和交通的便利，湘西赶尸已经逐渐淡出了人们的视野。但那些关于湘西赶尸的传说和故事，却仍然流传在湘西的山水之间，成为这片土地上永恒的传说。

术语表达
*Ganshi in Xiangxi 湘西赶尸
*Three Evils of Xiangxi 湘西三邪
*Gu Du 蛊毒
*Luo Hua Dong Nv 落花洞女
*Chi You 蚩尤
*Fu Jie 符节
*Occult Arts 秘术
*Ganshi Jiang 赶尸匠
*Chen Zhou Fu 辰州符
*Taoist robes 道袍
*Dementor bell 摄魂铃
*Three Rush and Three not Rush 三赶三不赶
*Yama 阎王

问题
#“湘西三邪”是什么？
#“赶尸”起源于哪个传说？
#为什么尸体不会腐烂？

参考
[1]百度百科湘西赶尸（中国湘西地区地域文化）_百度百科 (baidu.com)

[2]王亚男. 湘西赶尸文化探秘 [J].电脑迷, 2018, (02): 186.

[3]梁谞. 解密湘西赶尸[C]// 广东省民俗文化研究会.2014年07月民俗非遗研讨会论文集.[出版者不详] ,2014: 2.

[4]陆群. 神秘的湘西赶尸[J]. 文史博览,2007, (05): 56-57.

[5]张达玮. 湘西赶尸的宗教与伦理意蕴——兼论原始信仰作为人的存在方式[J]. 黔南民族师范学院学报, 2016, 36 (04): 18-22.

=Jiang Rui |=
=Li Xun | Chinese Animation =
==Overview==
In ''Cambridge Advanced Learner's Dictionary'', the word “animation” means moving picture. Here, Chinese animation refers to animation produced by Chinese. (mainland). Chinese animation originated in the 1920s. In 1922, the first advertising animation in China, ''Shu Zhen Dong Chinese Typewriter'', was produced. In 1926, the first animated film in China, ''Da Nao Studio'', was produced. In 1935, the first audio animated film in China, ''Camel Dancing'', was produced, opening a page in the history of Chinese animation. In the 1940s, the Wan brothers created the first feature film of Chinese animation, ''Princess Iron Fan'', which was released in Southeast Asia and Japan and received warm welcome, laying a good foundation for Chinese animation to go international. Between the 1950s and the 1980s, China entered a golden era of animation. In this period, there were mainly three kinds of traditional animation before the technique of computer animation be widely used, including paper-cut animation, water ink animation and puppet animation. Chinese animation has had an unparalleled glory, which also proves that Chinese animation has strength and has artistic laws suitable for its development. Looking at the development of Chinese animation over the past few decades, it can be seen that Chinese animation has always been committed to a path with its own characteristics. (Chinese animation Baidu bai ke (baidu.com)) (Luo Hong 2011 335) (Luo Hong 2011 6)

==Traditional Elements==
Most Chinese animations are set against the background of mythological tales or ancient history, and thus involve many traditional Chinese elements. Among them, some animation works are made completely according to the original mythology, and some fabricate a story that has never existed before, but most are adapted from existing myths or historical events.

For example, China's early animations such as ''Uproar in Heaven'', ''Nezha Conquers the Dragon King'', and ''Princess Iron Fan'' are all adapted from the long novel ''Journey to the West''. However, the character Nezha was not originally from China at the earliest, but from Indian Buddhist mythology, but it was introduced to China relatively early, and there are records about Nezha in many dynasties:

Jin Dynasty:''The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter'' records:"Vaisravana, the king of heaven, gave birth to Narakuja (that is, Nezha), and all the heavenly beings were extremely happy. The king gave birth to a crown prince today, in the Kapilavastu kingdom, and all the people were also so happy." In the earliest written records of Buddhism, Nezha is a just god of war who is deeply loved by the public. Once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise.

Tang Dynasty:''The Sea of Meanings of the Shurangama Sutra'' records:"The crown prince of the king of heaven is like that of Nezha and the like, assisting in governing and controlling, grasping ghosts and protecting the world and benefiting people."

Song Dynasty:''The Jiatai Pudeng Record'' records:"Nezha has ten faces and ten eyes moving, and the formless spiritual light blocks the sun wheel."

Since the Jin Dynasty, there have been descriptions of Nezha almost in every dynasty. In ''The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter'', Nezha is described as "once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise", while in the animation work ''Nezha: Birth of the Demon Child'', Nezha was born as a "demon child" with a bad nature. Once born, it caused the fear and disgust of the people, and the director's intention of such an adaptation is probably to pave the way for Nezha to sacrifice his life to save everyone at the end, thereby highlighting Nezha's kind character. Therefore, this work conveys such a concept: even if it is a demon, there is kindness. Such a concept is very common in Chinese culture. In ''Journey to the West'', many monsters seem to be very evil, but they haven't done anything extremely heinous. Generally, they just steal things and rob, at least they are aboveboard. On the contrary, in human society, there are all kinds of calculations, conspiracies, and framings, which are simply more evil than monsters; the first is to lament the sinister nature of human society, and the second is to abandon the "label of the evil", that is, there is no absolute evil. This is exactly the value that many Chinese writers want to express through monsters.

Coincidentally, there is also a shadow of this value in the animation ''Fox Spirit Matchmaker''. In this animation, humans and monsters coexist in the world, and it describes some kind-hearted monsters who do not hesitate to sacrifice themselves to protect others and some humans who murder monsters for power. And this animation also involves some other traditional Chinese elements. It mainly tells a series of interesting and mysterious stories that occur in the process of the fox spirit who takes on the profession of matchmaker pulling the red thread for the lovers in the previous life. And the word "matchmaker" comes from ''Romance of the Western Chamber'' created by Wang Shifu, a dramatist in the Yuan Dynasty. In ''Romance of the Western Chamber'', there is a maidservant in the prime minister's mansion named "Hongniang". She not only has to take care of Miss Cui Yingying's daily life, but also monitors Miss on the order of the old lady and reports immediately if there is any bad tendency. But after Hongniang saw Miss Yingying's mind towards Zhang Sheng, she still broke through the shackles of feudal ethics and risked being punished by the old lady to help Miss Yingying and Zhang Sheng, and finally made the lovers become a couple under the matchmaking of Hongniang. Since then,"Hongniang" has referred to those who match men and women to become husband and wife. And "pulling the red thread" is a metaphor for "facilitating marriage".

In addition, there are also some Chinese ancient poems and some original poems in ''Fox Spirit Matchmaker''. For example,"Ask what on earth love is, which directly makes it difficult for the magpie bridge to cross the pain of lovesickness, and directly makes it difficult for the butterfly to pick the sweetness of the same heart". This sentence is adapted from Yuan Haowen's ''Moliyu·Yanqiu Ci'' in the Jin Dynasty. Another example is "On the seventh day of July, at the bamboo pavilion by the Huai River, the scabbard and the flute depend on each other, without regret or complaint". This sentence is written by the author of ''Fox Spirit Matchmaker''. These poems endow this animated work with a romantic atmosphere and enhance its artistic quality, making it more ornamental and aesthetically valuable.

==Influence From Abroad==
==Animation Production Techniques==
==Terms And Expressions==
==Questions==
==Translation==
===概述===
在《剑桥高级学习者词典》中，“动画”一词意为移动的图片。在这里，中国动画指的是（中国大陆）中国人制作的动画。中国动画起源于20世纪20年代。1922年，中国第一部广告动画《舒振东华文打字机》制作完成。1926年，中国第一部动画片《大闹画室》制作完成。1935年，中国第一部有声动画影片《骆驼献舞》制作完成，翻开了中国动画历史的一页。20世纪40年代，万氏兄弟创作了中国动画的第一部故事片《铁扇公主》，该片在东南亚和日本上映并受到热烈欢迎，为中国动画走向国际奠定了良好基础。20世纪50年代至80年代，中国进入了动画的黄金时代。在这一时期，在计算机动画技术被广泛应用之前，主要有三种传统动画类型，包括剪纸动画、水墨动画和木偶动画。中国动画曾有过无与伦比的辉煌，这也证明了中国动画有实力且有适合自身发展的艺术规律。纵观中国动画在过去几十年的发展，可以看出中国动画一直致力于走一条具有自身特色的道路。（中国动画百度百科）（罗虹 2011年6页）（罗虹 2011年335页）
===传统元素===
中国动漫大多以神话传说或者是古代历史为背景，因此涉及许多中国传统元素。其中，有些动漫作品完全按照原神话来制作，还有一些编造出一个从来没有的故事，但大多数是根据已有神话或历史事件改编。
比如中国早期的动画《大闹天宫》，《哪吒闹海》，《铁扇公主》都是由长篇小说《西游记》改编。然而，哪吒这一人物最早并非出自中国，而是出自印度佛教神话，但传入中国较早，多个朝代都有关于哪吒的记载：

晋代：《佛所行赞经·第一生品》记载：“毗沙门天王，生那罗鸠婆（即哪吒），一切诸天众，皆悉大欢喜，王今生太子，迦毗罗卫国，一切诸人民，欢喜亦如是。”哪吒在佛教最早的文字记载中是一位深受大众欢迎的正义战神，一出生就让天地间的一切天众神佛及百姓为之欢颂。
唐代：《首楞严经义海》记载：“天王太子即那吒之类，辅政统摄，跨握鬼物，护世益人。”
宋代：《嘉泰普灯录》记载：“那吒十面十眸动，无相灵光翳日轮。”

从晋代开始，几乎历朝历代都有对哪吒的描述。在《佛所行赞经·第一生品》中，哪吒被描述为“一出生就让天地间的一切天众神佛及百姓为之欢颂”，而在动漫作品《哪吒之魔童降世》中，哪吒是作为一个“魔童”降世的，天性恶劣，一出生就引起了百姓的恐惧和厌恶，而导演如此改编的用意，大概是为了为哪吒在最后舍命救众人做铺垫，以此凸显哪吒善良的品格。因此，这部作品传达出这样一个观念：即使是妖魔，也有善良的。这样的观念，在中国文化中很常见。《西游记》中有许多妖怪都是看似很恶，但并没做过什么罪大恶极的事，一般都是偷偷东西以及抢劫，至少光明磊落。反观人类社会，各种算计，阴谋，陷害，简直比妖怪还恶；第一是感慨人类社会的险恶，二是对“恶人标签”的摒弃，即不存在绝对的恶人。这正是许多中国作家想要通过妖怪表达的价值观。

无独有偶，在动漫《狐妖小红娘》中也有这种价值观的影子。在这部动漫中，人与妖共存于世间，描写了一些善良的为了保护别人而不惜牺牲自己的妖怪和一些为了力量而谋害妖怪的人类。而这部动漫还涉及另一些中国传统元素。它主要讲述了以红娘为职业的狐妖，在为前世恋人牵红线的过程中发生的一系列有趣、神秘的故事。而“红娘”一词，来源于元代杂剧家王实甫创作的《崔莺莺待月西厢记》。在《崔莺莺待月西厢记》中有一个相国府的婢女名叫“红娘”，她不仅要照顾崔莺莺小姐的饮食起居，同时也奉老夫人之命监视小姐，有不良倾向要随时汇报。但是当红娘看出了莺莺小姐对张生的心思之后，还是突破了封建礼教的束缚，冒着被老夫人责罚的风险帮助莺莺小姐和张生，终在红娘的撮合下使有情人终成眷属。此后，“红娘”便指那些撮合男女双方成为夫妻的人。而“牵红线”便是“促成姻缘”的比喻。

另外，《狐妖小红娘》中还有一些中国古诗词以及一些原创诗词，比如“问世间情为何物，直教鹊桥难渡相思苦，直教化蝶难采同心甜”，这一句改编自金代元好问的《摸鱼儿·雁丘词》;又如“七月初七，淮水竹亭，鞘笛相依，无怨无悔”，这一句是原创。这些诗词赋予这部动画作品一种浪漫的氛围，提升了它的艺术品质，使其更具观赏性和审美价值。

=Zhu Ran |Military-style Travel=
Please start to write now.
==Introduction==
==Main Part==
==Conclusion==
==Questions==
==References==

=Long Yuhan |Folk Art: Youshen Fairs=
==Introduction==
Youshen Fairs（Wandering Gods), also known as the Holy Driver Tour, the Tour of the Master, the Tour of the Bodhisattva, the Tour of the God Race, the New Year's Exercise, the Welcoming of the God, the Carrying of the God's Statue, the Statue of the God on Tour, etc., refers to the fact that during the New Year's period, or other festivals, people go to temples and bring the statues of the gods into the palanquins, and carry them out of the temples to tour the territory to accept the people's incense and worship to signify that the gods have landed in the folklore to visit the towns and villages and to bless the peace and safety of the territory. The main purpose of the festival is to reward the gods, eliminate disasters, and pray for blessings. From the third to the fifteenth day of the first month of the lunar calendar, it is the time to visit the gods. The gods often tour the village as a unit, sometimes several villages jointly, in the drums and gongs and the sound of firecrackers in the village parade, the people watching, greeted, the scene is warm. (Hu Xiulei, Huang Xiaojian 2012 42-48+34)

==Main part==
===Origin===
===Ceremony and Content===
===Taboos===
===Zhao Shizi===
==Conclusion: Value and Significance==
==Terms and Expressions==
==Questions==
==References==
==Translation==

=Pei Xinxian |=
Please start to write now.
=Hu Yujie |=Cuisine：Hunan cuisine, one of the eight major cuisines
Please start to write now.
=Li Shujing |Music and Instruments: Suona Horn=
==Introduction==
Suona, Chinese double-reed woodwind instrument, the most commonly used double-reed instrument. Similar to the shawm, the suona originated in Arabia; it has been widely used in China since the 16th century. The reed is affixed to a conical wooden body covered by a copper tube with eight finger holes (seven in front and one in back), to which is fitted a brass bell. Its range is generally about two octaves, and it comes in many sizes. The suona is characterized by its shrill and penetrating sound and the frequent use of tonguing in performance. It is much used in military music ensembles and religious processions and as a stage instrument in Chinese operas.
==Position in Chinese Folk Music==

The original suona is a musical instrument spread in Persia and Arabia, and even its name is a transliteration of the ancient Persian word Surnā. Suona appeared in China around the third century AD. There are already images of suona playing in the Jiyue murals in Cave 38 of Kizil Grottoes in Baicheng, Xinjiang. In the Jin and Yuan dynasties more than 700 years ago, it spread to the Central Plains of China. During the Ming and Qing dynasties, it was widely used in folk music bands for weddings and funerals, and was also used as an accompaniment for folk songs, dances and operas.

"Birds Paying Homage to the Phoenix", originally named "Ten Scenes", is the most representative among many suona tunes, demonstrating the expressiveness of the suona to an extreme. In the sound of "Birds Paying Homage to the Phoenix", there are warbler singing and dancing, birds and flowers, contributing to a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.birds and flowers, a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.

As a traditional folk instrumental music performance art and one of the most valuable intangible cultural heritages with folk art charm, suona art plays an important role in Chinese folklore. Suona is believed to ward off evil spirits and bring good luck, making it a common choice for auspicious occasions like New Year celebrations, birthdays, marriage ceremonies and harvest festivals. Meanwhile, suona is often used in funeral ceremonies, accompanying the procedures of wake, condoling and burial, and in some places, suona is also used in grave digging ceremonies. Suona's deep tones evoke emotions ranging from joy and celebration to sorrow and remembrance, reflecting the complex tapestry of human experiences.

Except its significance, the precious cultural value of suona can not be ignored, which can be concluded as historical value, artistic value, folklore value and humanistic value.

After hundreds of years of cultural exchanges and integration between the north and the south, suona has formed its unique characteristics and customs. Through the long historical development, people can appreciate the developing path and passing on traditions of Chinese folk music. In terms of craftsmanship, suona is crafted from materials like bronze or brass, showcasing the skills of metalworkers from different periods. They have evolved over time, with modern versions incorporating improvements in design and playing techniques, while still maintaining their traditional essence.

In summary, the artistic value of the suona lies in its ability to express human emotions, convey stories, showcase virtuosity, represent diverse regional cultures, and serve as a cultural symbol within Chinese society. Take the regional diversity for example, suona exists in several variations across China, each with its distinct style and local nuances. Each region in China has its own style of playing the suona, like the famous "Lanzhou Suona" from Gansu Province or "Huangmei Suona" from Anhui. These local variations carry rich cultural heritage and are an expression of regional identity. These regional differences reflect the country's rich cultural diversity and contribute to the overall artistic richness of the instrument.

Besides being used in Chinese traditional ceremonies, suona has other values in different aspects. During village gatherings or agricultural rituals, suona bands are common, providing entertainment and a sense of unity among community members. In some cases, the suona is believed to have spiritual properties, believed to ward off evil spirits or bring blessings through its music.
Overall, suona plays a vital role in Chinese folk culture, serving as a connection to the past, a source of communal joy, and an integral part of diverse local traditions.

Suona embodies a deep connection to human values such as cultural continuity, emotional expression, resilience, storytelling, and the pursuit of harmony, making it a valuable aspect of our collective humanistic heritage. During community gatherings and ceremonies, suona's sound unites people and creates a sense of unity, reinforcing the importance of social cohesion and shared experiences. What’s more, the use of suona in traditional Chinese music often reflects the harmony between man and nature, symbolizing the balance sought in human life and the environment.

In China, the traditional suona is mainly used in weddings, funerals and other ceremonies in rural areas. However, with the acceleration of urbanization and the influence of western culture, the living space of suona is becoming narrower and narrower. It is necessary to open up new space for the inheritance and development of suona.

To some extent, the expansion of new media channels can reduce suona's dependence on wedding and funeral ceremonies, weaken its functional limitations, and develop its modern musical attributes and characteristics. With the development of new media technology, the communication advantages of platforms such as Douyin, Kuaishou and XiaoHongshu continue to be highlighted, with fast communication speed, wide dissemination range, strong interaction and wide audience, which are deeply loved by young people. Inheriting suona skills through new media channels can not only broaden the spreading space of suona, but also improve the spreading effect.

The inheritance and innovation of suona cannot be separated from talents, and the development of suona can be injected with fresh blood through innovative talent training mode. Suona artists must break the barriers between families and factions, learn from each other, and form a joint effort to cultivate the next generation. Meanwhile, suona artists should strengthen the consciousness of people's culture, realize the importance of protecting these instrumental music cultures, and establish a system of inheritance and protection. While maintaining traditional cultural characteristics, we try to integrate fresh cultural elements into it to make it more in line with modern aesthetics and awaken the cultural emotions of the whole people.

At the same time, the inheritance and development of suona cannot be separated from the support of the government. The promulgation of the intangible cultural heritage regulations protects this intangible cultural heritage project to a certain extent, but it is far from enough. A series of relevant measures should be introduced to implement the policy in detail. The decline of suona is the decline of traditional folk culture from the root. Local governments should protect suona culture from the root, organize various forms of folk culture programs, so as to give suona culture more opportunities to be displayed and give it more official recognition.

==Conclusion==
==Terms and Expressions==
==Questions==
==References==
https://www.britannica.com/art/suona

=Chen Jiawen |=
Please start to write now.

=Xiang Lu |=Music: Sang Zhi Folk Songs

== Introduction ==
桑植县，隶属于湖南省张家界市，位于湖南西北边陲, 是贺龙元帅的故乡、红二方面军长征出发地, 拥有中国首批、湖南省首个国家级自然保护区八大公山原始森林，被纳入中国“人与生物圈保护区（MAB）”和“中国具有全球意义的17个生物多样性关键地区之一”。
桑植民歌，湖南省桑植县地方传统音乐，国家级非物质文化遗产之一。

== Development ==
桑植民歌起源于原始农耕时期先民日常生产生活中的歌谣，是湖南省桑植县百姓在长期的生活实践中创造、传唱、累积起来的民间音乐文化品种，已有2000多年的历史。桑植民歌节奏明快、旋律优美、曲调丰富、形式多，现存民歌一万余首，著名歌曲有《马桑树儿搭灯台》、《冷水泡茶慢慢浓》、《门口挂盏灯》等。
屈原在《九歌》中写道：“捐余玦兮江中，遗余佩兮醴浦。”《九歌•湘人》中更是记载到：“沅有茝兮醴有兰，思公子兮未敢言。荒忽兮远望，观流水兮湲”，“成礼兮会鼓，传芭兮代舞，姱女倡兮容与。春兰兮秋菊，长无绝兮终古”，这是最早与桑植以及桑植民歌有关的文字。此处的“醴”便是指现在的澧水。澧水是湖南的四大水系之一，在常德市澧县小渡囗注入洞庭湖。
《后汉书·马援传》记载：“二十四年，武威将军刘尚击武陵五溪蛮夷，深入，军没，援因复请行。”“贼每升险鼓噪，援辄曳足以观之，左右哀其壮意，莫不为之流涕。”名将相单程凭借天险据守数月后将马援军队困在沅江南岸的壶头山，马援望江兴叹，一筹莫展，“升险鼓噪” 的典故由此而来。其中“鼓噪”在当时也称“蛮歌”，随后演变成如今的桑植民歌。（王胤，试述桑植民歌歌词的语言艺术，33）
明代，桑植土司率桑植数干土家儿郎应朝廷之召远赴江浙、朝鲜三度抗倭。在抗击倭寇（13-16世纪的日本海盗），的过程中，《马桑树儿搭灯台》应运而生。关于马桑树有两种说法：一说是传说中的马桑树儿高大挺拔，男女双方依依不舍，马桑树下送情人远去；二说是痴情男女搭建树台，台上放置一盏油灯，在灯下写信，心系远方。这就烘托出一对坠入爱河的青年男女分手时的不舍情绪，在1928年的夏天，红军师长贺锦斋用这首桑植民歌与爱妻戴桂香生离死别，她终生素衣守寡，6多年里几乎每天都去丈夫坟前唱这首歌，每天摘一两片马桑叶，直到离世，她留下的一口木箱，装的全是马桑叶。（王胤，试述桑植民歌歌词的语言艺术，37）
清代同治年间的《桑植县志》载：“雍正五年（1727年），邑人张宏毅偕侄崇周、仕周在县城西捐地创建武庙，有歌楼。”1942年版的《桑植县志》印证了这一说法：雍正五年，邑人张宏在城西捐地创建武庙，有歌舞楼，白叟黄童尽歌舞。乾隆年间的《桑植县志》记载：“土家正月赛灯、摆手、唱摆手歌，为秋千之戏，至正月十六为止。”此外，清嘉庆二年桑植河口人沙文清创作了《挽友人》称：“日边飞送燕歌声，疑信偏教旅梦惊。”其“越歌，为丧歌”说明了桑植民歌在清代已经较为普及。（只宠迩一人，baidu.com）
在近代中国，著名的开国将领贺龙在桑植“两把菜刀闹革命”，建立了以桑植为核心的湘鄂革命根据地。云、贵、川、滇、鄂、桂、赣等地的红军在此集结，带来了各地民歌，和桑植民歌融合在一起，推动了桑植民歌的发展。桑植民歌也收到时代影响，创作了许多反映军民感情的歌曲，如《门口挂盏灯》等。
新中国成立后，中国政府先后组织文艺工作者搜集桑植民歌，共计有10000余支。20世纪50年代，桑植民歌就唱到省垣京城。60年代，桑植县文化馆搜集整理民歌1万多首。
1987年湖南民间歌舞团前往波兰参加国际民间歌舞晚会，首次将桑植民歌推向国际舞台；2004年，歌唱家宋祖英在维也纳金色大厅举行个人独唱音乐会，演唱《马桑树儿搭灯台》；2008年，歌唱家雷佳将《马桑树儿搭灯台》收录至《中华五十六民族之歌》，作为国礼赠送给参加奥运会的各个国家。
2006年5月20日，桑植民歌经中华人民共和国国务院批准列入第一批国家级非物质文化遗产名录，项目编号：Ⅱ-10。

== Division ==

== Protection ==

== Conclusion ==

== Terms and expressions ==

== Questions ==

--[[User:Mou Yihong|Mou Yihong]] ([[User talk:Mou Yihong|talk]]) 08:35, 7 June 2024 (UTC)=Mou Yihong |Music and instrument: Ancient Chinese pentatonic scale--Gong,Shang,Jue,Zhi,Yu=

Abstract

This paper examines the ancient Chinese pentatonic scale, comprising the notes Gong, Shang, Jue, Zhi, and Yu. We delve into the historical background, musical characteristics, and instrumental applications of this scale in traditional Chinese music. By exploring the role of these five notes in various musical genres and instruments, we aim to provide a comprehensive understanding of the pentatonic scale in ancient Chinese music and its cultural significance.

Introduction:

The ancient Chinese pentatonic scale, consisting of Gong, Shang, Jue, Zhi, and Yu, is a fundamental component of traditional Chinese music. This scale, with its unique sound and symbolism, has been utilized in various forms of Chinese music for centuries. It is not only a musical construct but also deeply intertwined with Chinese culture, philosophy, and cosmology. This paper explores the pentatonic scale in ancient Chinese music, focusing on its historical evolution, musical characteristics, and instrumental applications.

Historical Background:

The pentatonic scale in ancient Chinese music dates back to the prehistoric era, where it was likely first used in primitive folk music and rituals. Over time, this scale became a fundamental component of traditional Chinese musical theory and practice. The earliest recorded mention of the five notes, Gong, Shang, Jue, Zhi, and Yu, appears in ancient texts such as the "Book of Rites" and the "Book of Songs." These notes were associated with the five elements of nature (earth, metal, wood, fire, and water) and the five directions (center, west, east, south, and north), reflecting the ancient Chinese belief in the interconnectedness of all things in the universe.Gong, the first note, represents the element of earth and is characterized by its stability and grounding sound. Shang, the second note, corresponds to metal and has a bright and resonant sound. Jue, the third note, represents wood and is associated with a clear and piercing tone. Zhi, the fourth note, corresponds to fire and is known for its lively and energetic sound. Yu, the final note, represents water and is characterized by its smooth and flowing melody.

Musical Characteristics:

The pentatonic scale in ancient Chinese music is characterized by its simplicity, purity, and balance. Each note in the scale has a unique sound and symbolism, creating a harmonious and balanced musical structure. The ancient Chinese five tones, namely Gong, Shang, Jue, Zhi, and Yu, correspond to the Western musical scales as follows: Gong to C, Shang to D, Jue to E, Zhi to F, and Yu to G. These correspondences are based on the perceived similarity in pitch and musical characteristics between the two systems.The ancient Chinese musical scale having two fewer notes than the Western scale is not a matter of mathematical or physical limitation but rather a result of cultural and aesthetic preferences. The five-tone system in ancient China was based on the concept of "five elements" (wood, fire, earth, metal, water) and their corresponding relationships with the human body and nature. This system emphasized balance, harmony, and simplicity, which were reflected in the musical scale as well. The two omitted notes, Fa and Si, in the Western scale are considered semi-tones, and their absence in the ancient Chinese scale contributes to a more harmonious and balanced sound.The lack of semi-tones in the ancient Chinese scale has a profound impact on the character and expression of Chinese music. It contributes to a more serene, harmonious, and meditative quality that is often associated with traditional Chinese melodies. The absence of sharp dissonances and the emphasis on balance and simplicity allow the music to flow smoothly and evoke deep emotional responses. This unique aesthetic is a defining characteristic of Chinese music and has influenced its development and evolution throughout history.In summary, the ancient Chinese five-tone system, while differing from the Western scale in terms of note count, possesses its own unique aesthetic value and influence on Chinese music. Its simplicity, balance, and harmonious sound have contributed significantly to the rich cultural heritage of Chinese music.

Instrumental Applications:

The pentatonic scale has been utilized in various traditional Chinese musical instruments, including the zither (guqin), the bamboo flute (dizi), and the pipa. These instruments have unique playing techniques and expressive capabilities that bring out the distinctive sounds and characteristics of the five notes. The zither, for example, utilizes plucking and finger-pressing techniques to create the rich and resonant tones of the pentatonic scale. The bamboo flute, on the other hand, relies on breath control and fingering to produce the clear and piercing melodies of the scale. The pipa, a four-stringed plucked instrument, utilizes plucking and strumming techniques to create a lively and energetic soundscape within the pentatonic scale.

Cultural Significance:

The pentatonic scale in ancient Chinese music is not merely a musical construct; it is also deeply rooted in Chinese culture and philosophy. The five notes correspond to the five elements of nature and the five directions, reflecting the ancient Chinese belief in the interconnectedness of all things in the universe. The pentatonic scale also embodies the Chinese concept of harmony and balance, representing the harmonious coexistence of different elements and forces in nature. This cultural significance has been passed down through generations, influencing the development and evolution of traditional Chinese music and instruments.

Conclusion:

The ancient Chinese pentatonic scale of Gong, Shang, Jue, Zhi, and Yu is a unique and fundamental component of traditional Chinese music. This paper has explored the historical background, musical characteristics, and instrumental applications of this scale, revealing its deep connections with Chinese culture and philosophy. By understanding the pentatonic scale and its role in traditional Chinese music, we gain a deeper appreciation of the richness and complexity of this ancient musical tradition.

=Yu Xinzhong | Social Phenomenon: Modern China's Inter-provincial Migration=

'''Overview:'''

The phenomenon of population migration has been very common in ancient China, but since modern China, especially after the reform and opening up, the inter-provincial migration of China’s population has become unprecedentedly common. The main reason for that is absolutely economy. Such waves of migration have brought significant economic benefits to the regions where the population moves in, but at the same time, they have also given rise to a series of economic, social, and cultural issues. In the process of migrating to improve their standard of living, migrants also undergo certain hardships.

'''The Process of The Migration'''

=Song Chengshuang |=

Chinese tradition culture：Zan hairpin flower

Many tourists have recently come to Quanzhou to experience the XunPu women's hairpin flowers because of this saying, "Adorn yourself with flowers in this life, be beautiful in the next". Quanzhou is a city with a long history and culture in China, with mountains and seas, rich cultural heritage and historical heritage. "Zanhua" is also one of the characteristic cultures of the local XunPu Village. Hairpin flower is actually a type of ancient Chinese headwear, usually fixed on a bun by an ivory hairpin, and then wrapped with flowers in nature or flowers made of other materials. The Zanhua culture has a long history of two to three thousand years and is one of the national intangible cultural heritages.

Cultural customs

As for why it is necessary to hairpin and Zanhua, some people say that the locals initially used animal bones such as fish, sheep, and cows to hairpin, which preserves the ancient custom of "bone needles to secure hair". Others say that "Zanhua Wei" originates from the custom of Central Asian women wearing flowers, which is brought back by the exchange of the Maritime Silk Road during the Song and Yuan dynasties. XunPu women are known for their qualities of Diligent Housekeeping. In order to facilitate their work at the seaside, they wear a large train top, wide tube pants, headwear such as "Zanhua Wei" and earrings such as "DingXianggou", which have become typical features of XunPu women. The headwear and folk culture of the XunPu women record their optimistic attitude towards life, and it is every woman's longing and pursuit of beauty. In addition, it is also a microcosm of ocean culture and the Maritime Silk Road. With its unique geographical environment and cultural characteristics, XunPu embodies the philosophical idea of "Heaven and Man are united as One" in which foreign culture coexists with local culture. [1]

Historical development

Zanhua originated in the Qin and Han dynasties, became popular in the Tang dynasty, flourished in the Song, Yuan, and Ming dynasties, and gradually declined during the Qing dynasty.

（1） The Zanhua Culture Before the Tang Dynasty

The Zanhua culture has a long and rich history, and its development can be traced back to the Warring States period. At that time, although the Zanhua Culture had not yet formed, people began to use flowers as headwear to express their inner emotions. During the Qin and Han dynasties, the trend of hairpin flowers gradually emerged. Especially in the Han Dynasty, women in the Sichuan regions regarded hairpin flowers as fashionable, which is evidenced by the Eastern Han Dynasty pottery figurines with mirrors unearthed in Chengdu. From the Wei, Jin, Southern and Northern Dynasties to the Tang Dynasty, the trend of hairpin flowers became increasingly fierce.

（2） The Zanhua Culture of the Tang Dynasty

The Tang Dynasty was the golden period of Zanhua culture, and both the royal nobles and common people were enthusiastic about hairpin flowers on their heads, forming a unique social trend. The high attire flower bun of Tang Dynasty women was particularly popular, which not only was gorgeous and eye-catching, but also laid the foundation for the popularity of the "flower crown" in the Song Dynasty. In the painting of Portrait of a Flower-wearing Maid, the author uses the elements of flowers to depict the wealth and prestige of aristocratic women in the palace, reflecting the Zanhua Culture at that time. In the painting, except for the maidservants, five noble women are adorned with hairpins on their heads, using vigorous and clean brushstrokes, appearing incredibly beautiful and radiant. In addition, the Zanhua Culture during the Double Ninth Festival also adds to the festive atmosphere. [2] Wang Wei wrote in his poem "Memories of Shandong Brothers on September 9th": " I know from afar where my brothers are climbing high, but one less person is missing when they wore with Cornus officinalisu everywhere." Here, "wore Cornus officinalis" expresses the custom of the Zanhua Culture during the Double Ninth Festival. On the Double Ninth Festival, besides wearing Cornus officinalis, people also have the custom of wearing chrysanthemums. During the Double Ninth Festival, when people climb high to play, they usually have to put chrysanthemums all over their heads to go home.

（3） The Zanhua Culture of the Song Dynasty

In the Song Dynasty, the hairpin culture reached its peak, men's hairpin became popular and became a court etiquette at that time. Compared with the Tang Dynasty, it was more common for men in the Song Dynasty to hairpin flowers, and it was not limited to festivals or celebrations. In the Song Dynasty, people believed that wearing flowers on the head was auspicious, so during that period, when encountering major events, the emperor and officials would wear flowers. During the reign of Emperor SongTaizong, a banquet and flower were held for the annual Jinshi ceremony, and people had to hairpin flowers as rewards. At the same time, women in the Song Dynasty were also enthusiastic about using flowers to dress themselves up. They would choose suitable flowers according to seasonal changes and display different styles. The love for hairpin flowers among literati in the Song Dynasty also reached a climax. They believed that wearing flowers on their heads not only looked beautiful, but also reflected the elegance and taste of literati. Su Shi, a great poet in the Song Dynasty, was very fond of hairpin flowers. He once said, "When people grow old, they should not be ashamed of hairpin flower. Flowers should be ashamed of on the head of old people.” The hairpin flowers of Song Dynasty poets not only reflect the aesthetic taste and characteristics of the time, but also reflect the open and free mentality of the entire society, containing rich humanistic spirit."

（4） The Zanhua Culture After the Song Dynasty

In the Yuan, Ming, and Qing dynasties, the custom of hairpin flowers evolved. Although it was not as popular as in the Song dynasty, it still remained within a certain social class and specific festival celebrations. For example, the records of the Zanhua Culture in the Ming Dynasty mainly appeared in social activities such as the Spring Festival, imperial examinations, wedding customs, expeditions, and leisure activities. [3] And with the development of makeup technology, hairpins are more often combined with hairstyles and makeup, becoming a part of overall image design.

（5） The Zanhua Culture in the Modern and contemporary times

From modern times to today, the tradition of hairpin flowers has been preserved in some regions and specific contexts, such as the bride's wedding headwear, folk festival activities, and the costumes of characters in traditional Chinese opera performances and has evolved into hairpin flower ornaments made from various materials such as flowers and silk flowers.

The significance of hairpin flowers

（1） Decorative

Hairpins initially appeared as headwear, reflecting personal elegance and lifestyle, especially for women who show beauty through hairpins.

（2） Symbolic significance

Different flowers have their own meanings, such as peonies symbolizing wealth and auspiciousness, and plum blossoms symbolizing pride and a clear breeze. Wearing them can express the wearer's emotional support or pursuit of beautiful qualities.

（3） Social status markers

In certain historical periods, hairpins became makers of status and identity. For example, during the Song Dynasty, emperors gave flowers to officials, and officials of different levels received flowers of different materials and colors. As a result, hairpins had the function of distinguishing between official ranks.

From ancient times to the present, hairpin flowers not only have ornamental value, but also represent traditional culture and epitome of Eastern aesthetics. People of different ages, regardless of gender, continue this long-standing tradition of meticulously embellishing themselves with clusters of flowers, living seriously, and striving to live beautifully. The Zanhua Culture blooms with a timeless fragrance, as well as a rich life belonging to ordinary people. With the changing times, hairpin flower is not only a decoration, but also a symbol of cultural inheritance, carrying people's longing and pursuit for a better life. In modern society, hairpin flower has also become artworks and collectibles, showcasing the fusion of tradition and modernity. Both classical and modern styles of hairpins reflect the vastness and profundity of Chinese culture, as well as the charm of traditional aesthetics.

References:

[1]袁晓鹏.泉州蟳埔女头饰民俗文化的美学思想研究[J].戏剧之家,2015,(22):247.

[2]张轶梁.《簪花仕女图》的簪花艺术表现及文化传承[J].东方收藏,2023,(09):33-35

[3] 庞雅静 .《簪花仕女图》的色彩美研究 [J]. 美与时代（中），2022（08）：63-65.

=Tan Yalan |Xiangdao=
Please start to write now.

=Xiao Ye |The Imperial Civil Examination System=
==Introduction==
The imperial civil examination system is an ancient Chinese system of selecting officials through examinations. From its inception to its abolition in 1905, it had a long history of more than 1,200 years and had a profound impact on the society at that time. It was considered to be the fairest way of talent selection that could be adopted in the feudal era, but in the later stages of development, its drawbacks gradually came to the fore, and its negative effects became more and more significant. In addition, ancient Japan, Korea, Vietnam and other countries that had close exchanges with China were also deeply influenced by the imperial civil examination system. To this day, the imperial civil examination system still has profound cultural value and significance.(Baidu Encyclopedia：The imperial civil examination system）
==The development of the imperial civil examination system==
The origin of the imperial civil examination system is controversial in historical circles, with various claims ranging from the Han, Sui, to the Tang dynasties. The mainstream view, however, is that the system was initiated during the Sui Dynasty and further developed and perfected during the Tang.
1 Sui Dynasty: Establishment of the imperial civil examination system
Before the Sui Dynasty, the official selection systems were largely corrupt. For instance, the “Nine Ranks system” during the Wei, Jin, and Southern and Northern Dynasties was based on family background and social status rather than ability. During its implementation, it was unable to escape the notion of class privilege and lacked standardized regulations, leading to widespread corruption among officials. After the establishment of the Sui Dynasty, Emperor Wen of Sui fully recognized the shortcomings of the previous official selection systems and abolished the Nine Ranks system. He began to use a system of specialized examinations to select officials. During the reign of Emperor Yang of Sui, the jinshi,(the highest level and the most difficult of imperial civil examinations) was established for the first time, marking the formation of the civil service examination system.
2 Tang Dynasty: The Perfection of the Examination System
The Tang Dynasty inherited and improved the imperial civil examination system of the Sui Dynasty. It was manifested in the following: Emperor Taizong of the Tang Dynasty increased the number of subjects to be examined, with the two subjects of jinshi and mingjing as the main subjects; Emperor Wu Zetian expanded the number of people who could be selected for the imperial examinations, and created the military examination and the palace examination; Emperor Xuanzong of the Tang Dynasty appointed high-ranking officials to preside over the examinations, and raised the status of the imperial civil examination system.
3 Northern Song Dynasty: Development and Reform of the Imperial civil Examination System
The examination system in the early years of the Northern Song Dynasty saw further development compared to the Tang Dynasty, mainly reflected in the following aspects: First, the examination process was strictly regulated, with the exam divided into three levels: the county examination, the provincial examination, and the palace examination, which became a fixed institution. Second, the number of examination subjects was simplified, with the jinshi subject becoming the most important. Third, the “anonymizing method” was implemented in the examination process to prevent corruption by examiners. Fourth, the number of candidates admitted was expanded.
During the mid-Northern Song Dynasty, Wang Anshi implemented reforms and made changes to the content of the imperial civil examination system. He abolished the subjects that required rote memorization, such as the Mingjing subject and so on, and the jinshi subject no longer included poetry and prose, focusing instead on the study of classics and contemporary affairs. He established the Mingfa subject, which was specifically focused on the examination of laws, regulations, and legal cases. However, with the failure of the reforms, these measures were also repealed.
4 The Ming and Qing dynasties: the rigidity of the imperial examination system
In order to strictly control the thinking of the scholars, the imperial civil examination system of the Ming Dynasty underwent significant changes from content to form. The examination was based only on the Four Books and Five Classics of Confucianism. Candidates were not allowed to express their own opinions. The style of the answer sheet was strictly regulated, and the essay was mechanically divided into eight parts, which was called “Stereotyped Writing”. This severely restricted people's thinking, stifled intellectual ingenuity and creativity, ossified thinking, and seriously impeded the development of Chinese science and culture.
5 Late Qing Dynasty: Abolition of the Imperial civil Examination System
In the 1898 Hundred Days Reform, Emperor Guangxu issued an edict to "abandon the eight-legged essay and replace it with policy essays". After the failure of the Hundred Days Reform, in 1905, the Qing government announced the abolition of the imperial civil examination system. From then on, the imperial civil examination system came to an end.(Lin,33-34)

=Li Sijin |Literature:Qu Yuan=
==Introduction==
Qu Yuan is a famous great patriotic poet in Chinese history, the founder of Chinese romantic literature, and the founder and representative writer of "Chu Ci". 2,300 years ago, the great patriotic poet Qu Yuan threw himself into the Miluo River. The spirit of Qu Yuan has been continuously interpreted since the Han Dynasty, showing distinctive characteristics of the times in each era; The activities and festivals commemorating Qu Yuan have become important cultural traditions of the Chinese nation, and people have increased their sense of belonging and identity through commemorating Qu Yuan. The spirit of Qu Yuan has been widely disseminated and recognized abroad, and the Chinese Dragon Boat Festival has been included in the "Representative List of Intangible Cultural Heritage".

==Main Part==
In 340 B.C., Qu Yuan was born in the state of Chu. When he was young, he received a good education and had a big ambition. After entering politics, he advocated for "good governance", advocating for internal governance with clear laws and external alliances to resist the state of Qin. Later, he was marginalized by the aristocracy and exiled to the region of the Yuan and Xiang rivers. However, like a warrior, he steadfastly upheld his ideals, practiced the ways of a nobleman, never allowing worldly corruption to tarnish his lofty and noble character. In 278 BC, when there was no way to serve the country , Qu Yuan committed suicide in the Miluo River in complete despair.
1.Qu Yuan's virtue

Qu Yuan used his own name to reflect the moral standards he pursued. According to the opening of "Li Sao," "My father gave me the name 'Zheng Ze,' and called me 'Ling Jun'." "Zheng Ze" signifies integrity and righteousness, adhering strictly to principles of conduct: "Ling Jun" denotes intelligence, wisdom, fairness, and justice. In the "Song of the Orange Tree," he further exemplifies his character by the steadfastness of the orange tree: for the sake of his noble ideals, he would never compromise, even unto death. Qu Yuan's eternal aspiration lies in his literary works and political ambitions, all of which stand on the side of the people. His greatness lies in his unwavering compassion for the country and its people, and his profound love for his homeland. The reason his deeds and works are intertwined with the daily lives of the people and have become a significant commemoration of a traditional festival is because his words and actions overflow with boundless love for the motherland, the people, and the native culture. Deeply embedded within them lies the enduring strength of national spirit and culture. "No one in the country knows me, why cling to the old capital?" Qu Yuan once pondered the question of "why not leave the country," but ultimately, he did not embark on distant travels, which truly reflects his steadfastness to his spiritual and cultural heritage.

2.Qu Yuan's political advocacy and contributions

Qu Yuan was a great politician. On the one hand, he set up the ideal and ambition of "good governance" very early, and the political goal for which he fought for all his life. He advocated internal governance with clear laws and the reform of politics. At this time, Qu Yuan, who was honest, upright and selfless, was supported by King, and the six reform measures he carried out made the state of Chu stronger and stronger. On the other hand, Qu Yuan advocated external alliances to resist the state of Qin. His foreign policy made the state of Chu once present a situation of national wealth and strong army.

3.Qu Yuan's poems

Poet is Qu Yuan's primary label throughout the ages. Qu Yuan integrated his life with his homeland, and his specific works are full of deep feelings for his country, which are worthy of praise and learning for future generations.From his life and works, people have summarized and continuously expounded the "Qu Yuan spirit", and with the changes of the times, it has been constantly endowed with new connotations of the times. He recounted in "Li Sao": "Long did I sigh and wipe away my tears, to see my people bowed by griefs and fears." The poet expressed deep sympathy for the difficult life of the people. And this kind of love and sorrow intertwined also made Qu Yuan refuse to leave his hometown until he died. His feelings for the country and the people also erupted uncontrollably in a series of poetic works such as "Jiu Ge" and "Jiu Zhang". Therefore, Qu Yuan's poetry has incomparable cultural value.

4.The embodiment of Qu Yuan's spirit in modern times

Today, during the Dragon Boat Festival, various regions across China highlight the theme of honoring Qu Yuan, praising his upright path and his spirit of patriotism and love for the people. Through storytelling about the festival and Qu Yuan, reciting poetry, and participating in dragon boat races, they lead the public in learning about traditional culture and nurturing patriotic sentiments.Since the 18th National Congress of the Communist Party of China, he has praised his honest and noble personality on different occasions, andhas repeatedly quoted famous sentences from Qu Yuan's poems to expound his thoughts.Today, as we commemorate Qu Yuan, we honor the traditional Chinese scholar's spirit of confronting life and death, boldly striking at the unknown, represented by Qu Yuan's "Questions to Heaven" spirit. In his epic poem "Questions to Heaven," Qu Yuan delves from the separation of heaven and earth, the changes of yin and yang, to natural phenomena like the sun, moon, and stars, directly questioning mythological legends and historical tales of sages and villains, prosperity and decline. Through his inquiries, he expresses his cosmological, historical, and political views. Not confined by doctrines but driven by reality, daring to question and critique, such exploratory spirit is truly admirable.This shows the Chinese's critical spirit of existing traditional concepts and the spirit of exploring scientific truth. Today, we commemorate Qu Yuan to honor the loyal and unswerving patriotic spirit of Qu Yuan. Qu Yuan's name has become an important label for patriotism. The greatest charm of Qu Yuan's personality lies in the spiritual core with the spirit of patriotism as the core, which allowed him to transcend the value pursuit of scholars at that time to abandon the country and pursue profits, closely link personal ideals with the destiny of the nation, and strive to unite and struggle for the realization of the people's yearning for a better life. Today, we commemorate Qu Yuan to honor the perseverance and struggle spirit of Qu Yuan. Qu Yuan has been worried the Chu State all his life, whether he is in the imperial court or not, he does not forget to think about the country and the people.Unwilling to take a detour, nor willing to compromise, he finally proved his loyalty with his life, and he never regretted it.

==Conclusion==
"Qu Yuan," as a spiritual symbol, plays an extraordinary role in the construction of the Chinese national community consciousness, spanning from the past to the present and even into the future. Without a great sage like Qu Yuan, the entire Chinese scholarly community would inevitably lack a certain spiritual strength, and Chinese history would lose many tragic hues.

==Terms and Expressions==
Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录

good governance 美政

==Questions==
#Who is the founder and representative writer of "Chu Ci"?
#What is Qu Yuan's political advocacy?
#What is the meaning of Qu Yuan's name?
#How Qu Yuan's spirit is embodied in his poetry?
#What is the meaning of "Questions to Heaven"?

==References==
[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84.

[2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。

[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190.

[4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.

[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

==Translation==

Introduction

屈原是中国历史上一位著名的伟大的爱国诗人，中国浪漫主义文学的奠基人，“楚辞”的创立者和代表作家。2300年前，伟大的爱国诗人屈原在汨罗江自杀殉国。屈原精神自汉代以来不断被阐释，在每个时代都展现出鲜明的时代特征；纪念屈原的活动和节日成为重要的中华民族文化传统，人们通过纪念屈原增加了归属感、认同感；屈原精神在国外得到广泛传播和认可，中国端午节被列入“非物质文化遗产代表作名录”。

Main part

公元前340年,屈原出生于楚国,少年曾受过良好教育，志向远大，从政后提倡“美政”，主张对内修明法度，对外联齐抗秦，后遭贵族排挤，被流放至沅湘流域。但他坚守自我理想，践行君子之道，绝不允许世俗的秽气玷污自己美好的品格。公元前278年，在报国无路的情况下，屈原极度绝望，自杀于汨罗江。1.屈原的美德屈原用自己的名字反映追求的道德标准。据《离骚》开篇，“父亲把我的名取为正则，把我的字叫作灵均。”“正则”即正直、正派，恪守做人原则；“灵均”指聪颖、智慧、公平、公正。在《橘颂》中，他又以橘树的“独立不迁”体现自己的人格情操：为了心中美好的理想，绝不同流合污，纵然死去也不后悔。屈原的千古之志，在于其文学作品和政治抱负无不站在人民的立场上。他的伟大之处，在于始终怀着强烈的忧国忧民的悲悯之心，始终怀着强烈的爱国之情。他的事迹和作品之所以能和民众日常生活结合在一起，并成为一个重要传统节日的主要纪念对象，就是因为他的言行流露着对祖国、对人民、对故土文化无限的爱，其中深深蕴藏着民族精神和文化的持久力量。“国无人莫我知兮，又何怀乎故都？”屈原亦曾考虑过“何不去国”的问题，但他最终没有去国远游，这正体现了他对精神和文化的坚守。2.屈原的政治主张及贡献屈原是一名伟大的政治家。一方面，他很早就树立了“美政”的理想抱负，及为之奋斗终生的政治目标。他主张对内修明法度，改革政治。此时，清正廉洁、刚正无私的屈原得到国君支持，其开展的六条变法改革图强措施，让楚国日益强大起来。另一方面，屈原对外主张联齐抗秦。他的外交政策，使得楚国一度呈现出一个国富兵强的局面。3.屈原的诗歌诗人是屈原横贯古今的首要标签。屈原将自己的生命与故土融为一体，在其具体的作品中充斥着对家国深厚的情感，值得后世传颂学习。从他的生平和作品中，人们总结并不断阐发出“屈原精神”，随着时代的变迁，不断地赋予新的时代内涵。他在《离骚》中述说着：“长太息以掩涕兮,哀民生之多艰!”诗人对人民艰难的生活深表同情。且这种热爱与忧患交织着的情感也使屈原至死不肯离乡他就。”他对国家和人民的这种感情在《九歌》《九章》等一系列诗歌作品中，也毫不节制地喷发而出。因此，屈原的诗歌有着无法比拟的文化价值。4.屈原精神在现代的体现今日，每逢端午节，中国各地都突出祭祀屈原的主题，歌颂屈原正道直行、爱国爱民的精神，通过讲述端午节与屈原的故事、开展诗词吟诵和进行赛龙舟等活动，引领公众学习传统文化，厚植家国情怀。党的十八大以来，习近平总书记曾在不同场合多次赞叹其心忧家国、清正高洁的人格魅力，并先后多次引用屈原诗歌中的名句来阐述思想。今天我们纪念屈原，是纪念屈原代表的传统中国士人直面生死、敢向未知勇猛叩击的“天问”精神。在长诗《天问》中，屈原从天地离分、阴阳变化、日月星辰等自然现象，一直问到神话传说乃至圣贤凶顽和治乱兴衰的历史故事，并从设问中表达自己的宇宙观念、历史观念和政治主张。这表现了中国人对既有传统观念的批判精神和对科学真理的探索精神。今天我们纪念屈原，是纪念屈原代表的忠贞不渝的爱国精神。屈原的名字已成为爱国主义的重要标签。屈原人格最大魅力就在于以爱国主义精神为核心的精神内核，让他超越了当时士大夫普遍弃国逐利的价值追求，把个人理想同民族命运紧密联系在一起，为实现人民对美好生活的向往而努力团结奋斗。今天我们纪念屈原，是纪念屈原代表的锲而不舍的奋斗精神。屈原一生都在为楚国操心，无论是否处在朝廷，都不忘忧心国家与人民。不愿迂回，也不愿妥协，最后用生命证明了自己的一腔忠义，也不曾后悔。

conclusion

“屈原”作为一种精神符号对中华民族共同体意识的构建，从过去到现在以至未来都发挥着非比寻常的作用。倘若没有屈原这样一位伟大的先贤，那么整个中国士人群体势必会缺少一种精神的力量，而中国历史也会失掉不少悲壮的色彩。文明弦歌终不绝，屈子精神永流传。守正不守旧，尊古不复古，这是我们对传统文化充满自信的表达。

Terms and expressions

Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录good governance 美政Questions1.“楚辞”的创立者和代表作家是谁？2.屈原的政治主张是什么？3.屈原名字的内涵是什么？4.屈原的精神是怎样在他诗歌里体现的？5.“天问精神”是什么意思？

References[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84. [2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190. [4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

=Luo Yang |Games: pitch-pot game(touhu)=
==Introduction==
Pitch-pot game is a ceremonial game played by ancient people during banquets. During the game, a specially made pot is used, and the guests take turns throwing arrows into it. The one who hits the most wins, while the loser drinks. As a classic entertainment activity in Chinese traditional culture, Pitch-pot is not only a competitive game but also a social way of interaction with significant cultural symbolism. With a long history, it embodies rich philosophical thoughts and moral teachings, exerting a profound influence on Chinese etiquette and culture.
==The Evolution and Revival of Touhu Culture==
===Origin and Development===
The renowned Han dynasty writer Zheng Xuan mentioned in his work "The Book of Rites - Pitch-pot," that "Pitch-pot evolved from the archery rituals of the Shang and Zhou dynasties." Archery was one of the six arts for noblemen, and the archery rituals evolved into essential etiquette for banquets. However, due to the limited space of the courtyard, or the people who were unfit for archery, the activity of using bristles instead of arrows, pots instead of targets, and throwing instead of shooting emerged, transforming "banquet archery" into "banquet pitching."

After a long period of development and evolution, Pitch-pot transitioned from an exclusive elegant entertainment for the upper class to the common people, becoming popular among the general public. The earliest literary record of Pitch-pot activity appeared in the "Zuo Zhuan". In the "Zuo Zhuan - The Twelfth Year of Duke Zhao," it was recorded: "The Marquis of Jin entertained the Marquis of Qi, and Zhongxing Muzi played pitch-pot." In the twelfth year of Duke Zhao (around 530 BC), pitch-pot activities were still entertainment at ruling class banquets. At that time, Pitch-pot could be considered as a ritual, inheriting the form and ethical ideas of archery, to some extent reflecting the ethical rules of status hierarchy.

By the Warring States period, pitch-pot gradually became popular among the common people, allowing both men and women to participate, enhancing the entertainment aspect of pitch-pot. During the reign of Emperor Wu of the Han dynasty, the imperial household official Guo was particularly skilled in Pitch-pot. He improved the rules and equipment used in pitch-pot, leading to its wider dissemination among the common people. Until the Song dynasty, Prime Minister Sima Guang opposed the excessive entertainment aspect of Pitch-pot, proposing a return to its ceremonial function, limiting the richness of Pitch-pot skills. In the Ming and Qing dynasties, although Pitch-pot games were still popular among the literati, its overall development slowed down. With the introduction of modern Western sports at the end of the Qing dynasty, pitch-pot game declined and withdrew from the historical stage.

===Cultural significance===
The early practice of Touhu had a complete ceremonial process. As the sport became more entertaining over time, the ceremonial aspects were reduced. However, it is undeniable that the ceremonial culture and the spirit of sports competition within it still have strong guiding significance for the revival of traditional culture today.

Touhu embodies the traditional Chinese culture of moderation and can cultivate both the body and mind. From the perspective of external human behavior, Touhu also provides guidance for people's behavior, requiring people to follow certain standards and methods in handling affairs. Those who participate in this activity all uphold a cautious and respectful attitude. The host and the guest need to demonstrate their courteous demeanor through the ceremonial three invitations and three refusals. The attendants of the host and the guest also need to complete the prescribed sections according to the shooting ceremony, and must not be arrogant, negligent, distracted, turn their backs on the game while standing, or discuss other matters on the scene, etc., to show the seriousness of this activity. From the perspective of the inner state of a person, it is necessary to accompany the game of Touhu with elegant songs, requiring participants to pay attention to rhythm and rhyme, and to act according to the sound; in this process, the upper and lower parts of the human body are in a coordinated state, embodying the combination of movement and stillness, and the pursuit of harmony between man and the outside world.

Unlike other throwing sports overseas, Touhu does not achieve competition through physical confrontation, but emphasizes rationality and moral cultivation. Touhu is a typical representative of the gentleman's competition, requiring one to strive for victory through their own efforts in the competition, while also giving enough respect to the opponent. The Analects of Confucius describes it this way: a gentleman should value self-cultivation and not easily compete with others for superiority. If one must compete with others, they can participate in the shooting ceremony or Touhu. One should strive for victory in the competition, and when they win, they should bow to the opponent to show respect, rather than being complacent. In the competition, one continuously improves their personal cultivation level, using sports as a way to urge individuals to continuously improve their cultivation. This is also consistent with the modern competitive sports concept of "friendship first, competition second".

===Inheritance and promotion===
In the sports and cultural ecology of contemporary China, Western sports have long occupied the mainstream position, and China's traditional sports has been marginalized. In recent years, with the rise of the national fitness wave, people have paid more attention to the content and quality of sports activities. This has created a rare opportunity for the revival of pitching pots. However, we do not need to copy the development model of ancient pitching pots, but to promote its combination with modern entertainment while retaining its own cultural value. For the general public, the fun of sports activities is ranked first, followed by its cultural value. Therefore, we can make bold innovations in pitching pots, increase its gameplay, or expand the scale of the game, so that it can be transformed from a two-person round-based game to a multi-person competition, attracting more people to participate in the sport of pitching pots.

In addition to improving and innovating pitching pots, we should also actively promote the spread of pitching pots at home and abroad. Although there are many pitching pot activities in China, most of them are personal organizations of pitch pot enthusiasts. If we want to make pitch pots a trend in society, multi-party cooperation is strongly needed. First of all, the government should play a guiding role, provide policy guarantees and economic support for pitching pots, and lay the foundation for the healthy development of this project. Secondly, we should make full use of education as an effective platform to let children get in touch with it from an early age and cultivate their interest. Finally, vigorous publicity by the media is indispensable. Through the Internet, we call on the whole society to pay attention to the development of folk sports and enhance the people's cultural confidence and cultural identity.

==Conclusion==
Pitch-pot, a treasure in China's excellent traditional culture, not only inherits the rituals of archery and the etiquette of self-cultivation, but also integrates the essence of Chinese civilization. Under the call of national rejuvenation in the new era, developing pitch-pot is of great significance to the revival of Chinese traditional sports culture and today's leisure sports. We have the responsibility to inherit it and promote its dissemination, so that more people can enjoy this precious humanistic practice of the ancestors of China.
==Terms and Expressions==
Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

==Questions==
# How did Pitch-pot evolve from archery rituals?
# What cultural values does Pitch-pot embody?
# What are the challenges and opportunities in reviving Pitch-pot?
# Why is Pitch-pot's development significant to Chinese traditional sports culture?
# What roles do the government, education, and media play in promoting Pitch-pot?

==References==
You Qianxin, Lian Menglong, Li Ning. Research on the development of ancient leisure sports pitch pot movement. Sports Science and Technology Bulletin, 2020, 28 ( 10 ): 134-135

Zhang Guoquan. ' Touhu ' and the inheritance of ancient ritual and music spirit. Lantai World, 2014, ( 04 ): 106-107.

Zhang Yong, Deng Lixing. Research on the rise and fall of the development of ancient Chinese pots. Journal of Yulin Normal University ( Natural Science Edition ), 2007, ( 05 ): 119 - 121.

Hao Jinfang.Touhu cultural historical changes and inheritance. Shandong Sport University, 2014.

==Translation==
投壶

投壶是古人宴会时礼节性的游戏。游戏时设特制之壶，宾主以次投矢其中，中多者为胜，负者饮。作为中国传统文化中的一项经典娱乐活动，投壶不仅是一种竞技游戏，更是一种独具文化象征意义的社交方式。它历史悠久，蕴含着丰富的哲学思想和道德教化功能，对中国礼仪文化影响深远。

起源及发展

汉代著名文学家郑玄在他所著的《礼记·投壶》中说道：“投壶是从商周时期射礼演化而来的。”射，是君子六艺的一种，由此衍生出来的射礼成为了宴会中必备的礼仪。然而，由于弓、箭数量和宴会场地的限制，或者一些嘉宾不擅长射箭，就出现了以棘代矢，以壶代靶，以投代射的投壶活动，使“宴射”变成了“宴投”。
经过漫长的发展和演变后，投壶由上层社会专属的高雅娱乐走向民间，受到广大平民百姓的喜爱。投壶活动的文献记载最早出现于《左传》。《左传·昭公十二年》载：“晋侯以齐侯宴，中行穆子相，投壶。”在昭公十二年（公元前530年）的时侯，投壶活动还是统治阶层宴会上的娱乐。当时投壶可以被称为是投壶礼仪, 是对射礼从形式到伦理思想的继承, 一定程度上体现地位尊卑的伦理法则。到了战国时期，民间开始逐渐流行投壶，男女皆可参加，增加了投壶的娱乐性。汉武帝时期，郭舍人尤其擅长投壶，他改良了投壶的规则和所用器具，使投壶在民间得到了更为广泛的传播。直到宋代，丞相司马光反对投壶的过度娱乐化，提出要回归它的礼仪功能，限制了投壶技艺的丰富性。明清时期，投壶游戏虽然还流行于士大夫之间，但它整体的发展已趋于缓慢，随着清末西方现代体育运动的传入，投壶走向衰落，退出了历史舞台。

文化意义

投壶早期具有完善的礼仪流程，在后世的发展中，随着投壶运动娱乐性的不断加强, 礼仪则相应地减少。但不可否认的是，其中的礼仪文化以及体育竞技精神对于当下传统文化的复兴仍然有较强的指导意义。
投壶体现了中国传统的中庸文化，能够修养身心。从人的外在行为方面看, 投壶也对人的行为方式做出了指引, 要求人们在事务的处理方面遵循一定的标准与方法。参与到这项活动中的人都秉持着谨慎恭敬的态度, 宾主之间需要通过礼节性的三请三辞来展现双方儒雅揖让的风度。宾主的侍从也都要根据射礼程序完成所规定的节数, 在整个活动过程中做到不可傲慢、不能懈怠、不准分散精力和心神旁顾、不准在站立时背对赛局、不能在现场对他事进行谈论等一系列要求, 以表示此项活动的郑重。从人的内心状态来看, 投壶时需要用雅歌进行伴奏，要求参与者讲求节奏与韵律,循声而发; 在这个过程中, 人的身体上下都处于协调状态,体现着动静结合,追求人与外界的和谐。
与海外的投掷游戏不同的是，投壶并非通过身体对抗来实现竞争，而更强调理性和道德修养。投壶运动是君子之争的典型代表,要求在比赛中通过自己的努力来争取胜利,同时也要给予对手足够的尊重。《论语》中对其做出了这样的表述:君子要重视修身养性,不能与人轻易争高低,如果一定要与人相争,便可以进行射礼或投壶。在比赛中要争取胜利,而在取得优胜时要向对手作揖表示尊重,而不是意得志满。在比赛当中不断提高个人修养水平，将体育运动作为督促个人不断提升修养的途径,这也与现代竞技体育“友谊第一，比赛第二”的理念相一致。

传承和推广

当代中国的体育文化生态中，西方体育长期占据主流阵地，中国的传统体育文化被边缘化。近年来，随着全民健身浪潮的兴起，人们越来越重视体育活动的内容和质量。这为复兴投壶创造了不可多得的机会。但是，我们并不需要照搬古代投壶的发展模式，而是要在保留它自身文化价值的同时，促进它与现代休闲娱乐相结合。对于广大群众而言，体育活动的趣味性是排在首位的，其次才是它的文化价值。因此，我们可以对投壶进行大胆创新，增加它的玩法，或扩大比赛的规模，让它从双人回合制比赛变成多人对抗赛，吸引更多人参与到投壶运动中。
除了对投壶进行改良与创新外，我们也要积极推动投壶的海内外传播。虽然国内有不少投壶活动，但大多是投壶爱好者的个人组织。要想让投壶在社会范围内形成风潮，离不开多方合作。首先，政府要发挥导向作用，为投壶提供政策保障和经济支持，为这一项目的健康发展奠定基础。其次，要充分利用教育这一有效的平台，让孩子们从小接触投壶文化，培养他们对它的兴趣。最后，媒体的大力宣传是必不可少的。通过网络呼吁全社会关注民间运动的发展，提高民众的文化自信和文化认同感。

总结

投壶，这一中华优秀传统文化中的瑰宝，不仅继承了射礼的仪节和正己修身的礼义，更融入了华夏文明的精华积淀。在新时代民族复兴的号召下，发展投壶运动对于中国传统体育文化的复兴对当今休闲体育的发展有着重要意义。我们有责任传承投壶并推广它的传播,让更多人享受到这项华夏先民的珍贵人文实践成果。

术语和表达

Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

问题

#投壶是如何从射礼演变而来的？

#投壶体现了什么文化价值观？

#恢复投壶的挑战和机遇是什么？

#为什么投壶的发展对中国传统体育文化具有重要意义？

#政府、学校和媒体在宣传方面扮演了什么角色？

=Lin Ruyin |Folk Art:Piaose=
==Brief Introduction==
==History==
==Factions==
Yakou Piaose,Nan Lang, Zhong Shan

Wuchuan Piaose

Fushi Piaose,Tai Shan

Hetian Gao Jing
==Current Situation==

=Pan Tong |=
Introduction:

Jingdezhen Porcelain refers to the porcelain produced in the city of Jingdezhen, Jiangxi Province, China. Because of its excellent quality, Jingdezhen has won the reputation of “Porcelain Capital”. The history of porcelain production there can be traced back to the Han Dynasty, with the real boom beginning in the Song Dynasty and peaking in the Ming and Qing dynasties. Jingdezhen has been supported by its porcelain industry for thousands of years. With unique cultural symbolism and influence, it is still the most influential porcelain historical and cultural city in the world.

Development History:

(1) The First Show of Force: Han to Five Dynasties

Historical records, “Xinping smelt pottery, began in the Han Dynasty”. At this time the pottery “itself coarse, the body is very thick, the glaze color is light and brown”, not sold far.

Tang Dynasty, Jingdezhen porcelain has a greater impact in the country. According to the record, “Tang Wude years, the town people Tao Yu carried porcelain into the Guanzhong, known as fake jade, and tribute to the dynasty, so Changnanzhen porcelain world famous.”

Five Dynasties, Jingdezhen porcelain production has reached a considerable scale. The main products are celadon and white porcelain, they are the earlier mature porcelain we can see now.

(2) Strong Rise: Song and Yuan Dynasties

Before the Song Dynasty, Jingdezhen produced mostly white porcelain, with little decorative patterns and paintings. Song clan moved south, a large number of literati, skilled craftsmen also moved to the south of the Yangtze River. Jingdezhen absorbed and assimilated from the other places' famous kilns of excellent workmanship. Jingdezhen porcelain technical force has been enriched, and also because of the original light, elegant, beautiful shadow blue porcelain and famous all over the world.

Yuan dynasty is the innovation period of Jingdezhen Porcelain. New varieties of blue and white porcelain in the technical maturity, opened up by the plain porcelain to colored porcelain of the new era.

(3)Stepping up to the Peak: Ming and Qing Dynasties

Jingdezhen Porcelain in the early Qing Dynasty, whether it is the official kilns or folk kilns; whether it is product modeling, decorative techniques, themes or styles, have reached a state of extreme prosperity.

(4)Porcelain Veins Pass on: Modern and Contemporary Periods

In the Republican period, “Zhushan eight friends”, with traditional painting and calligraphy into porcelain famille rose paintings, created a new Famille-rose porcelain on the ground. After the founding of new China, the establishment of the “ten porcelain factory”. porcelains industry structure changed, from the royal porcelain development to multi-discipline porcelain production. After the reform and opening up, porcelain production into a new era, innovative new colors, techniques and materials. Traditional porcelain art revitalization.

Four Characteristics of Jingdezhen Porcelain

The four characteristics of Jingdezhen Porcelain is sorted by the feelings of people observing the porcelain from afar and near.

White as jade: Jingdezhen porcelain is milky white, soft luster, warm and moist as jade. In the Tang Dynasty, it was known as “fake jade”.

Bright as a mirror: Jingdezhen porcelain glaze is smooth, crystal clear, like a brilliant mirror.

Thin as paper: Jingdezhen porcelain is light in texture and translucent in shadow. Ming dynasty Hao Shijiu creation burned the Luan Mu Cup. It is as thin as cicada's wing, one only weighs half a baht (about 1.1 grams).

Sound like a chime: Jingdezhen porcelain is crisp and clear. With a finger gently buckle, can be heard “thud” sound, like a musical instrument to play a beautiful chime sound.

Four Famous Porcelains

Jingdezhen porcelain variety, but to the Blue-white porcelain, Famille-rose porcelain, Color-glazed porcelain and Linglong porcelain the most prestigious, known as “Jingdezhen four famous porcelain”. Each of the four famous porcelains excels in its own way.

(1)Blue-white porcelain is the most representative porcelain of Jingdezhen, belonging to the underglaze colored porcelain. Primitive blue-white porcelain has been seen in the Tang and Song dynasties. Mature blue-white porcelain appeared in the Yuan Dynasty Hutian kiln in Jingdezhen. It became popular during the Yuan and Ming Dynasties and was exported worldwide, reaching its peak in the Qing Dynasty. Its thin, translucent quality and exotic motifs made it very valuable throughout Europe.

=Lei Huiting |=
Please start to write now.
=Lu Yixuan |=
==Introduction==
1.Introduction

Poetry, painting, and calligraphy: Known as the "Three Perfections," these genres were regarded as the ultimate expressions of Chinese literati culture during the Ming dynasty (1369-1644). Members of the Wu School, centered on the affluent city of Suzhou and nearby towns, earned admiration for their interpretations of these art forms. Painting with Words celebrates Wu School works, examining the relationships among their imagery, brushstrokes, and, especially, words.

==Main Part==

2.A Cultural Center

Situated on flat fertile land between Lake Tai and the Yangzi River, Suzhou (present-day Jiangsu province) is one of the oldest cities in the Yangzi delta. Before the Ming dynasty (1369-1644), when it became a leading center of literati culture, Suzhou had enjoyed a prominent political, economic, and cultural position for most of its two thousand-year history. The city was a major transportation hub on the Grand Canal, which stretched 1,100 miles between the former imperial capital Hangzhou to the south and the Ming imperial capital in Beijing far north. Besides the capital, during the fifteenth and sixteenth centuries Suzhou was the largest urban center in the Ming empire and perhaps the entire world.

Shaped like a rectangle, Suzhou was dotted with temples and spacious residences boasting elegant walled gardens. A grid of anals and paved streets, including as many as three hundred stone bridges, crisscrossed the city, which was surrounded by a moat and a towering outer wall. Beyond its water buffer, the city spilled into the surrounding suburbs but soon gave way to a prosperous countryside of small lakes and ponds, rice paddies, and agricultural fields. Rustic villages and temples were nestled in the landscape; larger satellite townships rose farther off. An area of low-forested hills stood to the west of Suzhou, overlooking the broad expanse of Lake Tai and its several nearby islands. Local poets and artists frequently ventured to such rural and suburban locations and even chose these easily accessible sites for their private retreats and retirement homes.

3.Wen Zhengming: Leader of the Wu School

An outstanding painter and calligrapher and an important trendsetter in his time, Wen Zhengming (1470-1559) was the unrivaled leader of the Wu School for much of its neyday during the first sixty years of the sixteenth century. Born to a modestly successful scholar-official family, Wen was a late bloomer in the arts; he was particularly poor at calligraphy in his youth. But he persevered, studying painting with Shen Zhou, who is often considered the Wu School's spiritual founder. Eventually, Wen mastered a wide range of painting styles and developed his own powerful, influential approach to calligraphy.

In 1527, when he returned to Suzhou after an unhappy three-year stint at the imperial court, Wen built a studio on his family's land. For the next thirty-two years, he devoted himself wholeheartedly to the life of a gentleman-scholar in retirement: reading, writing, painting, composing poetry, and socializing with likeminded friends. Wen's pivotal importance to the Wu School is magnified by the length of his extraordinary career, his wide circle of friends and acquaintances, and the artistic renown of his many students, including his two sons and a nephew and extending to several generations of Wens.

4.At Court and Beyond

During the fifteenth century, many leading gentleman artists of Suzhou spent a good part of their adult lives either serving at court in the imperial capital, Beijing, or out on provincial assignments. Often, they only returned home occasionally or after retirement. Several, such as Xia Chang (1388-1470), Xu Youzhen (1407-1472), and Wu Kuan (1435-1504), embraced these roles,distinguishing themselves in the national jinshi (advanced scholar) examinations and rising to high government offices. As artists, these men were known primarily as poets and calligraphers-except for Xia, who was also a master of the gentlemanly art of ink-bamboo painting.

The lifestyles of Liu Jue (1410-1472) and Shen Zhou (1427-1509) signaled a major alternative to serving at court. Liu only served in the capital for some eight years; Shen opted out entirely. Instead, they spent their lives in and around Suzhou, happily engaged in scholarly and artistic pursuits within their gardens and estates. Occasionally they visited friends, making communal forays into nature and to local scenic or historical sites. This lifestyle became a hallmark of Wu School gentleman artists.

Many Wu School artists were related by blood, marriage, and other formal relationships. They may have been family friends or schoolmates, taken their examinations together, studied as teacher and student, or done business as patron and client. The artists' relationships carried over into their poetry and artworks, which often were inherently personal in nature.

5.The Gentleman in Retirement

Often hailed as the spiritual founder of the Wu School, the painter, poet, and calligrapher Shen Zhou (1427-1509) came from a well-connected lineage of gentleman artists who lived in the Suzhou suburb of Xiangcheng. Both his father and uncle were landscape painters. Shen rejected the official career path followed by most of his peers in favor of a life of art and personal fulfillment. Following his example, many later Wu School artists made the same choice.

For gentleman artists in fifteenth- and sixteenth-century Suzhou, retirement consisted of socializing with other literati, refined activities such as art collecting, and a love of creature comforts such as elegant private gardens. These examples of his paintings and calligraphy reveal aspects of Shen's life in retirement: engaging with likeminded friends, observing and commentating on everyday life, and spending time alone at home or in favorite pastimes, such as wandering the hills to find inspiration for poetry or a place to play his qin.

Shen is said to have had an open, generous character. His palpable enjoyment of nature imbues each painting and poem in this section, graciously inviting us to join in. Owing to Shen's enduring influence and that of his immediate followers, these amiable qualities have come to characterize Wu School literati art.

6.In Full Flower

The Wu School rose to its artistic zenith during the first half of the sixteenth century, led by three of its brightest stars: Wen Zhengming (1470-1559), Tang Yin (1470-1524), and Qiu Ying (ca. 1494-1552). Together with the older Shen Zhou (1427-1509), this group is known as the "Four Great Artists of the Ming." Shen and Wen exemplified the Wu School ideal of the gentleman artist, while Tang and Qiu epitomized the accomplished Suzhou professional. Qiu was solely a painter; the other three developed distinct styles of painting, calligraphy, and poetry.

Although the Four Great Painters came from different social and economic backgrounds-and more than sixty-five years separated the oldest from the youngest-their lives and art intersected repeatedly. Wen and Tang had been friends since they were teenagers, and they both studied literati painting with Shen. Tang also studied under a local professional painter named Zhou Chen (ca. 1450-ca.1535), to whom he and Wen later recommended the young painting phenomenon Qiu Ying.

Such teacher-student and patron-client relationships were key to an artist's development and career in sixteenth-century Suzhou. Wen in particular had both a large number of outstanding students and a wide circle of local connections. Several of Wen's students and protégés went on to develop careers and styles of their own, among them the two brilliant calligraphers Wang Chong (1494-1533) and Chen Shun (1483-1544), both of whom died before their former master.

Despite their differences in style, approach, and social standing, professional artists and gentleman artists were codependent. Thematically, professional artists drew their material from the literature and history at he core of the literati tradition; in turn, literati artists wrote out the appropriate texts in fine calligraphy to accompany the professional artists' paintings. A primary distinction between the two groups was that the gentleman artist was also a calligrapher and a poet in his own right, and the fundamental purpose of his art was personal self-expression, usually prompted by an occasion or recent event. In some cases, one gentleman artist might have written a scroll of poetry for a friend or as a calligraphic exercise. Other times, individuals from both groups would collaborate on a scroll or contributed to a collective project.

7.The Followers

Known for decades as the Wu School's leader, Wen Zhengming (1470-1559) remained active as an artist until he died at age eighty-nine. By that time, several of his most outstanding followers had already passed away. Other artists, however, continued to work in styles heavily influenced by Wen Zhengming's approach well into the final quarter of the sixteenth century. Among these were his two talented sons, Wen Peng (1498-1573) and Wen Jia (1501-1583), who directly emulated their father and shared many of his interests and concerns. Qian Gu (1508-after 1574) also faithfully adhered to the styles that Wen Zhengming had developed and promoted.

Other gentleman artists advanced Wen Zhengming's legacy in new directions, such as Lu Zhi (1496-1576), who developed a unique, almost luminous style of landscape painting. The flourishing professional painter Xie Shichen (1487-after 1567) incorporated elements from other popular styles, but he continued to draw inspiration and material CAa from literati culture and to rely on gentleman artists for calligraphic contributions to his scrolls. Wen Zhengming's influence even extended to the generation of his great-grandson Wen Zhenmeng (1574-1636), a calligrapher. He and other local gentleman artists carried on producing collective scrolls and albums inspired by traditional themes,such as the "Eight Views of Xiao Xiang," as well as by contemporary occasions.

Still, Wen Zhengming's death deprived the Wu School of both its center of gravity and its leading light, and the vitality and prominence of Suzhou painting and calligraphy ultimately waned. By the early seventeenth century, the city's economic clout also had diminished, owing in part to the rise of nearby Shanghai and other towns in the Yangzi delta region. Competing centers of artistic production diluted and eventually eclipsed the city's premier cultural status. By the 1630s, the Wu School, though still highly influential, had given up its role as a dominant force.

==Conclusion==
==Terms and Expressions==
==Questions==
==References==

=Li Yanran |=
==Introduction==
A thangka (also known as tangka, thankga, or Tibetan scroll painting) is a classical and stylized form of Nepalese and Tibetan painting. These intricate artworks typically depict Buddhist deities, scenes, or mandalas. Thangkas are traditionally painted on cotton or silk appliqué and are often used as aids for meditation or teaching. They communicate profound meanings related to Buddhist philosophy through their detailed compositions. When not on display, thangkas are kept unframed and rolled up, similar to Chinese scroll paintings.

==Main Part==
===History and Origins===
The history of Tangka painting is deeply intertwined with the spread of Buddhism in Tibet. The earliest Tangka paintings date back to the reign of King Songtsen Gampo (618-650 AD), who played a pivotal role in establishing Buddhism in Tibet. Over the centuries, Tangka painting evolved, influenced by Indian, Nepalese, and Chinese artistic traditions. The creation of Tangka paintings flourished particularly during the Tibetan Renaissance in the 11th century, a period marked by the revival of Buddhist scholarship and artistic endeavors.

During the early stages, Tangka painting primarily depicted deities and mandalas, serving as tools for teaching and meditation. The construction of the first Buddhist temples in Tibet, such as the Jokhang Temple in Lhasa, further stimulated the development of religious art, including Tangka painting. These temples became centers of artistic activity, where local artists learned from foreign masters and began to develop their distinctive styles.

The period between the 8th and 11th centuries saw significant contributions to Tangka painting from Indian and Nepalese artists. The renowned Indian Buddhist scholar and artist, Atisha (982-1054 AD), played a crucial role during this period. Invited to Tibet by King Jangchub O, Atisha brought with him a wealth of artistic and spiritual knowledge, which greatly influenced Tibetan art and Tangka painting.

The Tibetan Renaissance in the 11th century marked a pivotal moment in the history of Tangka painting. This era was characterized by a resurgence of Buddhist scholarship, the translation of Buddhist texts, and the establishment of new monastic institutions. The renaissance period saw the synthesis of various artistic traditions into a distinctly Tibetan style, marked by vibrant colors, intricate details, and profound spiritual symbolism.

During the 14th to 17th centuries, the Ming dynasty in China established close diplomatic and cultural relations with Tibet. This period saw the exchange of artistic techniques and motifs between the two regions, further enriching the Tangka painting tradition. Tibetan artists adopted Chinese landscape techniques and the use of silk, while maintaining their unique iconographic and symbolic elements.

The 17th century onward witnessed the formalization of Tangka painting schools and lineages, each with its unique style and approach. Prominent schools include the Menri (Sman-ri) school, founded by Menla Dondrub in the 15th century, known for its classical and refined style, and the Khyenri (mKhyen-ri) school, founded by Khyentse Chenmo in the 15th century, recognized for its bold and expressive style.

The preservation and continuity of Tangka painting faced challenges in the 20th century due to political changes and cultural upheavals. However, efforts by Tibetan communities in exile and international interest in Tibetan culture have helped sustain and revive this ancient art form. Today, Tangka painting continues to thrive as both a spiritual practice and an art form, preserving the rich heritage of Tibetan Buddhism.

===Symbolism and Themes===
Tangka paintings are rich in symbolism and often depict deities, mandalas, historical events, and teachings of Buddhism. Each element in a Tangka painting carries specific meanings and serves as a visual aid for meditation and contemplation.
====Deities and Bodhisattvas====
Tangka paintings frequently portray Buddhas, Bodhisattvas, and protective deities. These figures are depicted with specific hand gestures (mudras), postures (asanas), and attributes that symbolize various aspects of Buddhist teachings. For example, Avalokiteshvara, the Bodhisattva of Compassion, is often shown with multiple arms, each holding different objects representing his compassionate activities.
====Mandalas====
Mandalas are intricate geometric designs that represent the universe and serve as tools for meditation. They are often used in Tangka paintings to depict sacred spaces and cosmological concepts. The central figure in a mandala is usually a deity, surrounded by concentric circles and squares filled with symbolic elements.
====Historical and Mythological Scenes====
Tangka paintings also narrate stories from the life of the Buddha, the exploits of various saints and yogis, and mythological tales. These narrative paintings serve an educational purpose, conveying moral and spiritual lessons.
====Symbols and Iconography====
Common symbols in Tangka paintings include the lotus flower (purity), the vajra (indestructibility), and the wheel of Dharma (teachings of the Buddha). Each symbol is meticulously placed to enhance the painting’s spiritual message.
===Cultural and Religious Significance===
Tangka paintings are not merely decorative objects; they hold deep religious and cultural significance. In Tibetan Buddhism, Tangka paintings are used as aids for visualization during meditation. Practitioners focus on the image of a deity, internalizing its qualities and receiving blessings. The detailed iconography serves as a guide for spiritual practice and contemplation.

Moreover, Tangka paintings are used in religious ceremonies and rituals. They are often displayed in monasteries, temples, and private homes, where they serve as objects of veneration. During festivals, such as the Tibetan New Year (Losar), large Tangka paintings are unfurled on hillsides, allowing devotees to receive blessings from the sacred images.

Tangka paintings also play a crucial role in preserving and transmitting Tibetan culture and religious teachings. Each painting is a repository of iconographic and symbolic knowledge, passed down through generations of artists and practitioners. The continuity of this artistic tradition reflects the resilience and adaptability of Tibetan culture in the face of historical challenges.

==Conclusion==

==Terms and Expressions==
==Questions==
==References==

=Duan Siya |Striking iron flower=
==Introduction==
Iron flowers , also known as iron trees , are traditional folk fireworks popular in the Henan and Shanxi regions and are one of China's national intangible cultural heritages .Striking iron flower,a traditional firework that has been passed down in the Yu-Jin region, began in the Northern Song Dynasty, flourished in the Ming and Qing Dynasties. It is mostly popular in the middle and lower reaches of the Yellow River, with Henan and Shanxi being the most. In the 1000-year-old folk art of "Striking Iron Flowers" (打铁花), molten iron is struck with wooden rods to create sparks cascading through the sky like blossoming flowers.
==Main Part==
The "Iron Flower Striking" originated from the ritual activities of the craftsmen. In the Ming Dynasty, the iron-making industry flourished. With the aim to celebrate the harvest and pray for peace, the blacksmiths created a bright sparkling effect by striking the iron in the production. During the Ming and Qing Dynasties, with the support from government and all walks of life, the Queshan Iron Flower reached its peak. It expanded from the original Taoist rituals such as the birthdays of the Jade Emperor and the Queen Mother to general festivities, such as wishing for a new life, getting promoted and getting married.

In the process of local circulation, Queshan Iron Flower has absorbed various artistic elements such as firecrackers, dragon lanterns and brass instruments. It has gradually formed a unique performance style of grandeur, magnificence and auspiciousness.

In June 2008, the iron flower art submitted by Queshan County, Henan Province was approved by the State Council to be included in the second batch of national intangible cultural heritage list .

Before striking the flowers, they all kneel inside the shrine to ask the gods for safety and to avoid burns. A six-meter-high double-layer flower shed is set up in an open space. The shed is densely covered with fresh willow branches and tied with fireworks, firecrackers and goods, known as the "trellis", A six-meter-high old pole is erected in the middle of the shed, making the total height of the flower shed reach more than ten meters.

A furnace is set up next to it to melt iron liquid. More than ten performers take turns to use flower sticks to hit the iron liquid with a temperature of more than a thousand degrees onto the shed, forming iron flowers more than ten meters high. The iron flowers then ignite fireworks and firecrackers, and are accompanied by the "dragon through the flowers" performance.

The flower stick used by the iron flower maker is a fresh willow stick that is as thick as a fist and more than a foot long. There is a circular pit with a diameter of 3 cm at the top of the stick to hold the iron liquid. When making iron flowers, the flower beater wears an inverted gourd ladle on his head (for protection), is topless, holds an upper stick filled with iron juice in one hand, and a lower stick without iron juice in the other hand, and quickly runs to the bottom of the flower shed, using the lower stick to hit the upper stick. A dozen flower beaters take turns, one after another, moving back and forth between the furnace and the flower shed. One stick of iron flowers soars into the sky, and another stick follows, one after another ...The scene is spectacular, presenting the characteristics of thrilling, exciting, festive and lively.

With temperatures of molten iron soaring to 1600°C, artisans bear countless scars across their bodies. In order to minimize injuries to the smiths, the ironwork is mostly performed in winter, when the weather is cold and the scattered ironwork can cool down more quickly, thus better guaranteeing the safety of the smiths. In the process of beating iron flowers, smiths will wear some specific protective clothing. Traditionally, there are mainly Taiji pattern helmet, Taoist style cotton protective cap with shawl, protective shoes, red or yellow cotton belt, etc. The protective shoes include legs, knee pads, foot pads, all three must be a one-piece type, so as to achieve the best protective effect.

Some smiths choose to go bare-chested to increase the shock of the scene.

Behind the brilliance, the risks are not known to all. The molten iron needs to be heated to more than 1600 degrees Celsius. Therefore, performers need to be very careful in the strength and angle . In that case, the iron splashes are high enough and well dispersed to make brilliant iron flowers. Insufficient force or an inaccurate strike position may result in burns to oneself.

==Conclusion==
The technique of striking iron flowers has a long history, and the performance is magnificent and grandiose. The splendor of modern fireworks and the mystery of traditional art are integrated, which is breathtaking. It embraces Taoist culture, trade customs, folk crafts, which not only enriches the folk art treasury of China, but also plays an important role in enhancing national pride and strengthening national cohesion.

==Terms and Expressions==

==Questions==
==References==

Cult Ov 2 Fin Exam 2024

2024-06-09T03:00:08Z

Chu Shoujuan: /* Origin */

Back to [[Cult_Ov_2_2024|Course Homepage]].

'''Comments for everybody'''
*Please add the sources in the form "(Wang 2020, 445)" behind each paragraph and with a long entry in the References section.
*In the References section, please add at least 1-2 Western sources.
*In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.
*Please also add free lines at places where you want to have a line break, e.g. after a header.

Please write here a textbook chapter about a Chinese cultural phenomenon until June 15 and start writing now, with unlimited revisions possible until June 15. When you find your topic listed here it means it has been approved by the teacher. It can be either in traditional culture or today. It cannot be a topic already published in the textbook.

Please do not forget to put it into context and relation in the beginning, e.g. where it emerged and how it spread, if it is unique to Chinese or Asian cultures, if it is well-known or exotic, when it occured and how it developed throughout history.

Please write 1000 English words, and on top of it write Terms and Expressions, Questions, References. The References should contain also paper books or papers and also at least one Western source. You also need to provide a Chinese version of the text and questions.

=Tu Hairong |=
1.1 Introduction

1.2 Historical Background

1.3 Traditional Customs and Practices

1.4 Contemporary Celebrations

1.5 Cultural and Social Impact

1.6 Conclusion

1.7 Terms and Expressions

1.8 Questions

1.9 References

=Chen Zhuo |Chinese Painting: A Thousand Miles of Rivers and Mountains=
==Introduction==

"A Thousand Miles of Rivers and Mountains" is a masterpiece by Wang Ximeng, a painter of the Northern Song Dynasty. This painting, known for its magnificent depiction of China’s natural landscapes, epitomizes the peak of traditional Chinese landscape painting, particularly in the genre of green landscape painting. The painting is not only a representative of green landscape painting but also a treasure of traditional Chinese painting art.
==Wang Ximeng: The Prodigy Painter==
Wang Ximeng (1096-?), a famous painter in the late Northern Song Dynasty, is renowned for his painting "A Thousand Miles of Rivers and Mountains." In his teens, he entered the palace ‘painting school’ as a student but was not initially outstanding. However, under the personal tutelage of Emperor Huizong, his skills flourished remarkably. Emperor Huizong, himself an accomplished artist and patron of the arts, saw great potential in Wang Ximeng and invested time in his education. By the age of eighteen, Wang had completed his magnum opus, "A Thousand Miles of Rivers and Mountains," a testament to both his natural talent and rigorous training. (from baidu)

==The Historical Context of the Northern Song Dynasty==
The Northern Song Dynasty (960-1127) was a period marked by significant cultural, economic, and technological advancements in China. Following the chaotic Five Dynasties and Ten Kingdoms period, the Northern Song era brought stability and prosperity, with remarkable developments in agriculture, commerce, and urbanization. The political structure, heavily influenced by Confucian ideals, promoted intellectual and artistic endeavors. During this golden age, the arts, including painting, literature, and calligraphy, reached new heights, with scholars and artists enjoying substantial support from the state. (from baidu)

==Artistic Brilliance and Technical Mastery==
"A Thousand Miles of Rivers and Mountains" exemplifies the sophisticated techniques and aesthetic principles of Song Dynasty landscape painting. Spanning over 11 meters in length, this handscroll painting captures an expansive and varied landscape with meticulous brushwork and a harmonious color palette. Wang Ximeng’s use of the blue-green landscape technique, employing mineral pigments like malachite and azurite, imbues the painting with a vibrant yet serene quality.
The painting’s composition is both grand and intricate. The undulating mountains, rendered with fine brushstrokes and detailed texture, create a sense of depth and three-dimensionality. The depiction of water bodies, including rivers, waterfalls, and streams, adds a dynamic element to the landscape, reflecting the natural beauty of Jiangnan, a region known for its picturesque scenery. The architectural elements, such as pavilions and thatched cottages, are meticulously detailed, showcasing the architectural style of the time
Wang Ximeng’s use of color is a defining feature of the painting. The blue-green technique, utilizing mineral pigments, gives the painting its distinctive and vibrant appearance. The use of these pigments, combined with careful layering and shading, creates a sense of depth and luminosity. The ochre background provides a warm contrast to the cooler tones of the landscape, enhancing the overall harmony of the composition. (Qin, Shuhai. Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". 36-38.)

==Detailed Analysis of Key Sections==
To further appreciate the intricacies of "A Thousand Miles of Rivers and Mountains," it is essential to examine specific sections of the painting in greater detail. Each segment reveals Wang Ximeng’s exceptional skill and the painting’s profound cultural significance.
The central section of the painting features towering mountains, their peaks shrouded in mist. Wang Ximeng’s use of varying brushstrokes and ink washes creates a sense of depth and texture, making the mountains appear both majestic and ethereal. The fine chapping technique used to depict the rock surfaces adds to the realism and complexity of the landscape. Water is a prominent element in the painting, depicted with a fluidity and grace that contrasts with the solidity of the mountains. The rivers and streams wind through the landscape, reflecting the light and adding movement to the scene. The waterfalls, with their cascading waters, are rendered with a dynamic energy, capturing the viewer’s attention and drawing the eye through the composition. Scattered throughout the landscape are various architectural structures, including pavilions, temples, and bridges. These buildings, though small, are rendered with meticulous detail, reflecting the architectural style and construction techniques of the Northern Song period. The placement of these structures within the landscape highlights the harmonious relationship between human habitation and the natural environment. The human figures in the painting, while small in scale, are depicted with individuality and character. Fishermen, scholars, and travelers are shown engaging in their daily activities, adding a narrative dimension to the landscape. These figures not only populate the scene but also serve to emphasize the scale and grandeur of the natural surroundings.
(Feng, Haitao. Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). 22-28, 38-39. )

==Symbolism and Cultural Connotations==
Beyond its visual splendor, "A Thousand Miles of Rivers and Mountains" is rich in cultural symbolism. The landscape, architecture, and figures within the painting reflect the ancient Chinese literati’s philosophy and aesthetics. The painting embodies the Daoist ideal of harmony between humans and nature, a central theme in Chinese culture. The serene and idyllic scenery represents a utopian vision, an escape from the political and social turmoil of the era.
The figures in the painting, although small in scale, are portrayed with remarkable individuality. Fishermen, travelers, and hermits are depicted engaging in various activities, symbolizing different aspects of life and society. These figures not only add a narrative dimension to the painting but also emphasize the close relationship between people and their natural environment.
The painting reflects the Daoist and Confucian ideals that were prevalent during the Northern Song Dynasty. The harmonious integration of human and natural elements embodies the Daoist concept of harmony with nature. At the same time, the depiction of scholars and hermits in the landscape reflects the Confucian value placed on intellectual and contemplative pursuits.
(Lin, Shunyang & Xu, Hui. Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". 12, 114-116.)

==Impact and Legacy==
Wang Ximeng’s "A Thousand Miles of Rivers and Mountains" is a milestone in the history of Chinese landscape painting. Its innovative techniques, grand composition, and rich colors influenced generations of artists. The painting set a new standard for green landscape painting, inspiring many subsequent artists to adopt and adapt its techniques and style.
The painting’s influence extends beyond China. It is celebrated internationally as a masterpiece of Chinese art, showcasing the depth and sophistication of traditional Chinese culture. The painting’s ability to convey a sense of timeless beauty and tranquility has earned it a place among the most revered works of art in the world.
==Conclusion==
"A Thousand Miles of Rivers and Mountains" by Wang Ximeng is not merely a landscape painting; it is a profound expression of the Northern Song Dynasty’s cultural and artistic achievements. Through its exquisite details and grand vision, the painting encapsulates the harmony between nature and humanity, a core value of Chinese philosophy. Wang Ximeng’s masterpiece continues to inspire and captivate audiences, a testament to the enduring power of art to transcend time and space.
==Terminology==
A Thousand Miles of Rivers and Mountains 千里江山图
Wang Ximeng 王希孟
the Northern Song Dynasty 北宋朝
the palace ‘painting school 宫中“画学”
tutelage 侍奉
Emperor Huizong 宋徽宗
magnum opus 杰作
Five Dynasties and Ten Kingdoms 五代十国
blue-green landscape 青绿山水
malachite 石青
azurite 石绿
Jiangnan 江南
thatched cottages 茅屋
==Questions==
1. What is the significance of Wang Ximeng's "A Thousand Miles of Rivers and Mountains"?
2. How did Emperor Huizong influence Wang Ximeng's artistic development?
3. What advancements in society and culture occurred during the Northern Song Dynasty?
4. What are the main elements depicted in "A Thousand Miles of Rivers and Mountains"?
5. How does the painting reflect the cultural and philosophical ideals of the Northern Song Dynasty?
6. What impact has "A Thousand Miles of Rivers and Mountains" had on subsequent generations of artists?

==References==
#https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
#https://www.dpm.org.cn/collection/paint/228354.html
#http://www.chinashj.com/sh-gdhh/10245.html
#http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
#Lin, Shunyang & Xu, Hui. (2022). Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". Beauty and Times (China), 12, 114-116.
#Feng, Haitao. (2023). Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). Art Research, (01), 22-28, 38-39.
#Qin, Shuhai. (2023). Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". Oriental Collection, (09), 36-38.
#Xiao, Pengfei. (2023). On the Realm of Wang Ximeng’s "A Thousand Miles of Rivers and Mountains". Journal of Fuyang Vocational and Technical College, (02), 76-78.

==简介==

《千里江山图》是北宋画家王希孟的杰作。这幅画以其壮丽的中国自然景观描绘而闻名，堪称传统中国山水画的巅峰，特别是在青绿山水画领域。此画不仅是青绿山水画的代表作，也是传统中国绘画艺术的瑰宝。

==天才画家王希孟==

王希孟（1096-?），是北宋末年的著名画家，以其作品《千里江山图》闻名。在十几岁时，他进入宫中的“画学”学习，但起初并不出众。然而，在宋徽宗的亲自指导下，他的技艺得到了显著提升。宋徽宗本人是一个才华横溢的艺术家，也好支持别人搞艺术，他看到了王希孟的巨大潜力，投入了大量时间来培养他。在十八岁时，王希孟完成了他的杰作《千里江山图》，这不仅证明了他的天赋，也展示了他经过严格训练所取得的成果。

==北宋时期的历史背景==

北宋（960-1127）是中国文化、经济和技术显著进步的时期。在经历了混乱的五代十国时期之后，北宋带来了稳定和繁荣，在农业、商业和城市化方面取得了显著发展。以儒家思想为主导的政治结构促进了知识和艺术的发展。在这个黄金时代，绘画、文学和书法等艺术达到了新的高度，学者和艺术家得到了国家的极大支持。

==精湛技术==

《千里江山图》展示了宋代山水画的复杂技艺和美学原则。画卷长达11米以上，捕捉了广阔多样的景观，以细腻的笔触和和谐的色彩表现出来。王希孟采用了青绿山水技法，使用石青和石绿等矿物颜料，使这幅画充满了生机和宁静。
画面的构图既宏大又复杂。起伏的群山通过细腻的笔触和细致的纹理描绘出深度和三维感。水体的描绘，包括河流、瀑布和溪流，为景观增添了动态元素，反映了以风景如画著称的江南的自然美。建筑元素如亭台和茅屋细致入微，展示了当时的建筑风格。

==象征意义和文化内涵==

《千里江山图》不仅在视觉上引人入胜，还充满了文化象征意义。画中的山水、建筑和人物反映了古代文人雅士的哲学和美学。这幅画体现了人与自然和谐的道家理想，这是中国文化的核心主题。宁静而田园的景色代表了一种乌托邦愿景，是对时代政治和社会动荡的逃避。

画中的人物虽然规模较小，但刻画得极具个性。渔夫、旅行者和隐士从事各种活动，象征着生活和社会的不同方面。这些人物不仅为画面增添了叙事维度，还强调了人与自然环境的紧密关系。

==影响==

王希孟的《千里江山图》是中国山水画史上的一座里程碑。其创新的技法、宏大的构图和丰富的色彩影响了几代艺术家。这幅画为青绿山水画设定了新的标准，激励了许多后来的艺术家采用和改编其技法和风格。

这幅画的影响不止于国内。它作为中国艺术的杰作在国际上备受赞誉，展示了传统中国文化的深度和复杂性。画作所传达的美和宁静感使其成为世界上最受尊敬的艺术作品之一。

==结论==

王希孟的《千里江山图》不仅仅是一幅山水画；它还是北宋文化和艺术成就的深刻表达。通过其精美的细节和宏大的视野，这幅画捕捉了自然与人类和谐的核心价值。《千里江山图》继续激发和吸引观众，证明了艺术跨越时间和空间的持久力量。

==参考文献==
#https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
#https://www.dpm.org.cn/collection/paint/228354.html
#http://www.chinashj.com/sh-gdhh/10245.html
#http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
#林顺洋 & 徐辉.(2022).《千里江山图》的美学思想及艺术价值. 美与时代(中)(12),114-116.
#冯海涛.(2023).画式——《千里江山图》卷中的绘画语言研究（上）. 美术研究(01),22-28+38-39.
#秦树梅.(2023).《千里江山图》画法研究. 东方收藏(09),36-38.
#肖鹏飞.(2023).论王希孟《千里江山图》之境. 阜阳职业技术学院学报(02),76-78.

==问题==
#王希孟的《千里江山图》有何重要意义？
#宋徽宗如何影响王希孟的艺术发展？
#北宋时期社会和文化有哪些进步？
#《千里江山图》描绘了哪些主要元素？
#这幅画如何反映北宋的文化和哲学理想？
#《千里江山图》对后世艺术家产生了怎样的影响？

=Wu Liping | Festival：Qixi Festival=

==Introduction==
Qixi Festival, also known as Qiqiao Festival, Qijie Festival, Daughter's Day, Qiqiao Festival, Qinianghui Festival, Qixi Festival, Ox and Bull Mother's Day, Qiaoxi Festival, etc., is a traditional Chinese folk festival. Qixi Festival evolved from the worship of stars. It is the birthday of the seventh sister in the traditional sense. Because the worship of the "seventh sister" was held on the night of July 7th, it was called "Qixi Festival". Worshiping the seventh sister, praying for blessings and wishing, begging for skillful art, sitting and watching Morning Glory Vega, praying for marriage, storing Qixi water, etc. are the traditional customs of Qixi Festival. After historical development, Qixi Festival has been given the beautiful love legend of "Cowherd and Weaver Girl", making it a festival symbolizing love. Therefore, it is regarded as the most romantic traditional festival in China, and has produced the cultural meaning of "Chinese Valentine's Day" in modern times.

==Origin==
1.The Legend of the Cowherd and the Weaver Girl
Qixi Festival is one of the traditional festivals in China. "Xi" is the origin of the evening festival. Qixi Festival is the night on the seventh day of the seventh lunar month. Qixi Festival originated from the legend of the Cowherd and the Weaver Girl. The cowherd is a young herder, and the weaver girl is a fairy in the sky. The weaver girl felt that there was no freedom in the sky and came to the world. With the help of the old cow, the cowherd met the weaver girl and soon fell in love and got married, giving birth to a man and a woman. But one day, the Queen Mother took the Weaver Girl away. When the cowherd carried the two children to the sky to chase the weaver girl, the Queen Mother drew a galaxy with the jade hairpin on her head. The galaxy was long and wide, and the cowherd could not pass, so they were separated. The Queen Mother only allows the Cowherd and the Weaver Girl to meet once every year on the seventh day of July. Every night on the seventh day of the seventh month, groups of magpies fly to build a bridge for the Cowherd and the Weaver Girl and let them meet on the bridge. This is the origin of the Qixi Festival.

2.Worship of natural celestial phenomena
As early as ancient times, the ancients who pursued order not only planned the sky in an orderly manner, but also corresponded the stars to the ground area one by one. This correspondence is called "star division" in terms of astronomy and "division" in terms of the ground. . In short, the ancients corresponded each constellation in the sky to the physical geographical area on the ground one by one. The purpose of the ancient star division and division was mainly to cooperate with the astrology theory for celestial occupation. In the ancient star system, "Ox" consists of six stars, located on the east coast of the Milky Way, like two inverted triangles, one up and down, very characteristic, but the upper triangle is larger and brighter. The small triangle below is located on the ecliptic. These stars form a cow with two horns on its head but only three feet, so the ancients called it "the morning ox." The three stars of "Weaver Girl" are located in the north of the cow house. Among them, the "Weaver Girl One" star is the fifth bright star in the sky, so it is often directly called "Weaver Vega". People call "Oxus" and "Weaver Vega" together as "Cowherd and Weaver Girl". It is said that on the seventh day of July every year, the Cowherd and the Weaver Girl meet at the Magpie Bridge in the sky. Later, the folk gave further play to the story and gave the "Cowherd and Weaver Girl" a beautiful love legend. And in order to have the dexterity of the weaver girl, the girls work on that day, so that day is also called the Begging Festival.

3.Time digital worship
"Chinese Valentine's Day" is the seventh day of the month and the seventh day. In ancient times, the ancients combined the sun and moon with the five planets of water, fire, wood, gold and earth as "Seven Yao." The seventh day of July is related to the ancients' worship of numbers and time. In ancient times, the "sevenfold" of the first month, February 2, March 3, May 5, June 6, July 7 and September 9 were listed as auspicious days. In ancient China, the "heavy day" was regarded as a day of "the communication between heaven and earth" and "the communication between heaven and man". Seven is the number of beads in each column of the abacus, which is romantic and rigorous, giving people a mysterious beauty. "Seven" and "Ji" are homophonic, and "Seven" also means double good luck, which is an auspicious day.

==Activities on the day==
Activities on the day
1.Couple dating
Chinese Valentine's Day is commonly known as Valentine's Day in China, so couple dating is one of the most common ways to celebrate Chinese Valentine's Day. Couples may choose to have a romantic dinner on this day, enjoy the moon together, or participate in activities on the theme of Qixi Festival to express their love and care for each other
2.Xiangqiao Hui
In Yixing, Jiangsu Province, there is a custom of Qixi Xiangqiao Festival. Every year on the Chinese Valentine's Day, people come to participate and build incense bridges. The so-called incense bridge is a bridge four or five meters long and about half a meter wide made of all kinds of thick and long wrapping incense (paper-wrapped thread incense). It is decorated with a railing made of five-color threads. At night, people sacrifice the double stars, beg for good fortune, and then burn the incense bridge, symbolizing that the double stars have crossed the incense bridge and met happily. This incense bridge is derived from the legendary legend of Magpie Bridge.

3.Take Dew
In rural areas of Zhejiang, it is popular to use washbasins to receive dew. Legend has it that the dew on the Qixi Festival is the tears when the Cowherd and the Weaver Girl meet. If you wipe it on your eyes and hands, you can make your eyes clear and your hands fast.

4.Wear a needle and beg for cleverness
Wearing needles, also known as "matching tricks", is women's competition to wear needles. They tie colored threads and wear seven-hole needles. The faster they wear, the more clever they wear, the more clever they are. Those who wear slowly are called "losing tricks". "People who lose cleverness" should give gifts prepared in advance to the clever. Xijing Miscellany said: "Han Cai girls often wear seven-hole needles in the open building on July 7th, and people get used to it”

==Cultural significance and development of Qixi Festival==
1.Inheritance of traditional culture: As a part of Chinese traditional culture, Qixi Festival has inherited ancient myths and beautiful blessings through generations.
2.Multicultural integration: In contemporary society, Qixi Festival integrates the customs of different regions and cultures, forming a variety of forms of celebration.
3. Changes in personal values: With the rapid development of society, people's concepts of love and marriage are also changing. As a symbol of love, Qixi Festival represents the change of values that people pursue in love.The cultural evolution of Qixi Festival not only retains traditional customs, but also blends with modern society, reflecting the diversity and vitality of Chinese culture. We look forward to the continuous evolution and development of Qixi Festival in the future and become a cultural feast of tradition and modernity.

==Conclusion==
As a traditional Chinese festival, Qixi Festival carries ancient myths and legends and beautiful blessings. With the progress of society and the evolution of culture, Qixi Festival has become more romantic and diversified in modern times. Traditional Qixi customs such as begging for tricks and enjoying the moon still exist, but modern society gives Qixi Festival more meaning and expression. To sum up, the Seven Festivals is not only a traditional festival, but also a festival with rich cultural significance and historical traditions. It embodies the Chinese nation's unremitting self-improvement, diligence and wisdom, creative courage, and the continuous pursuit of a happy life.

==Terms and Expressions==
the Cowboy and the Weaver Girl 牛郎织女
：the Queen of Heaven 王母娘娘
magpie bridge 鹊桥
ecliptic 黄道：
Seven Luminaries 七曜
Heavenly Palace 天宫
Altair 牵牛星
Vega 织女星
Miscellanies of Xijing 《西京杂记

==Questions==
1. What is other name of Qixi Festival?
2. What day does the Chinese Valentine's Day take place?
3. What are the origins of Qixi Festival?
4. What are the common Qixi Festival activities?
5.What is the impact of Qixi Festival on today's society?

==References==
1.邵静.我国大众媒介的“节日传播”——以“春节”与“情人节”为比较范本[J].东南传播,2007(9):58-59.
6.李定琼.传统节日“假日化”与法定假日“传统化”——两者的旅游文化学关系浅析[J].现代商业,2008(9):266-267
7.李晓霞.浅谈中国节庆文化的影响[J].理论界,2006(S2):113-114
8.韦柳芝.从西方节日中反思中国传统节日的保护与传承[J].长春教育学院学报,2014,30(7):15-16.
9.That is Mandarin The Story Behind Qixi Festival

==Translation==
节日：七夕节
介绍：
七夕节，又称七巧节、七姐节、女儿节、乞巧节、七娘会、七夕祭 [39-40]、牛公牛婆日、巧夕等，是中国民间的传统节日。七夕节由星宿崇拜演化而来，为传统意义上的七姐诞，因拜祭“七姐”活动在七月七晩上举行，故名“七夕”。拜七姐，祈福许愿、乞求巧艺、坐看牵牛织女星、祈祷姻缘、储七夕水等，是七夕的传统习俗。经历史发展，七夕被赋予了“牛郎织女”的美丽爱情传说，使其成为了象征爱情的节日，从而被认为是中国最具浪漫色彩的传统节日，在当代更是产生了“中国情人节”的文化含义。

起源：
1.牛郎织女的传说
七夕节是中国传统节日之一，“夕”是夜晚的意思，“乞巧”是向织女乞求智巧的意思，七夕节指的就是农历七月初七的夜晚。七夕节起源于牛郎和织女的传说，牛郎是年轻的牧童，织女是天上的仙女，织女觉得自己在天上没有自由，就下凡来到人间，牛郎在老牛的帮助下认识了织女，不久便结为夫妻，生了一男一女两个孩子，但有一天王母娘娘把织女带回了天宫，牛郎带着两个孩子去天宫找织女，王母用头上的玉簪划了一道银河，银河又宽又长，牛郎无法过河，他们被隔开了，王母娘娘规定每年七月七日牛郎和织女只能相会一次，每到七月初七的夜晚，成群的喜鹊飞来为牛郎和织女搭起一座鹊桥，让牛郎和织女相会，这就是七夕节的由来。

2.崇拜自然的天体现象
早在远古时代，追求秩序的古人们不仅将天空规划得井井有条，还将星宿与地面区域一一做了对应，这个对应关系就天文来说，称作“分星”，就地面来说，称作“分野”。简单来说，古人就是将天上每个星座都与地上的实体地理区域一一对应，古代分星与分野目的主要是为了配合占星理论进行天象占测。在古代星宿体系中，“牛宿”由6颗星组成，位于银河的东岸，像两个倒置的三角形，一上一下，很有特点，不过上面的那个三角形更大一些，亮一些。而下面的小三角形正好位于黄道上，这几颗星组成了一个头上有两角，却只有三只足的牛，因此古人称其为“牵牛”。“织女”3星位于牛宿的北部，其中的“织女一”星是全天第五亮星，因此又常直接称为“织女星”。人们将“牛宿星”与“织女星”合称为“牛郎织女”。相传每年七月初七，牛郎织女在天上的鹊桥相会，后来民间把故事进一步发挥，赋予了“牛郎织女”的美丽爱情传说。而姑娘们为了能有织女的心灵手巧，就在那天比针线活，于是那一天又称作乞巧节。

3.古人的数字崇拜
“七夕”月逢七、日逢七。在古代，古人把日、月与水、火、木、金、土五大行星合在一起叫“七曜”。“七月初七”与古人对数字和时间的崇拜有关。古代民间把正月正、二月二、三月三、五月五、六月六、七月七、九月九这“七重”列为吉庆日。“重日”在中国古代被认为是“天地交感”、“天人相通”的日子。“七”是算盘每列的珠数，浪漫而又严谨，给人以神秘的美感。“七”与“吉”谐音，“七七”又有双吉之意，是个吉利的日子。

节日活动：
1.情侣约会
情侣约会：七夕节被普遍称为中国的情人节，因此情侣约会是七夕节最常见的庆祝方式之一。情侣们可能选择在这一天共进浪漫的晚餐，一起欣赏赏月，或是一起参加七夕主题的活动，表达对彼此的爱意和关怀。
2.香桥会
在江苏宜兴，有七夕香桥会习俗。每年七夕，人们都赶来参与，搭制香桥。所谓香桥，是用各种粗长的裹头香（以纸包着的线香）搭成的长四五米、宽约半米的桥梁，装上栏杆，于栏杆上扎上五色线制成的花装饰。入夜，人们祭祀双星、乞求福祥，然后将香桥焚化，象征着双星已走过香桥，欢喜地相会。这香桥是由传说中的鹊桥传说衍化而来的。
3.接露水
浙江农村，流行用脸盆接露水的习俗。传说七夕节时的露水是牛郎织女相会时的眼泪，如抹在眼上和手上，可使人眼明手快。浙江农村，流行用脸盆接露水的习俗。传说七夕节时的露水是牛郎织女相会时的眼泪，如抹在眼上和手上，可使人眼明手快。
4.穿针乞巧
穿针乞巧，也叫“赛巧”，即女子比赛穿针，她们结彩线，穿七孔针，谁穿得越快，就意味着谁乞到的巧越多，穿得慢的称为“输巧”，“输巧”的人要将事先准备好的礼物送给得巧者。《西京杂记》说：“汉彩女常以七月七日穿七孔针于开襟楼，人具习之。”

七夕节的文化意义与发展
1.传统文化的传承：七夕节作为中国传统文化的一部分，通过世代相传，传承了古代神话故事和美好祝福。
2.多元文化的融合：在当代社会，七夕节融合了不同地区、不同文化的习俗，形成丰富多样的庆祝形式。
3.个人价值观的变迁：随着社会的快速发展，人们对于爱情和婚姻的观念也在发生变化，七夕节作为爱情的象征，代表着人们对爱情追求的价值观的转变。七夕节的文化演变既保留了传统习俗，又与现代社会相互交融，体现了中国文化的多元性和活力。我们期待着七夕节在未来继续演变和发展，成为传统与现代交融的文化盛宴。

总结：七夕节作为中国传统的节日，承载着古老神话传说和美好祝福。随着社会的进步和文化的演变，七夕节在现代变得更加浪漫而具有多元化的特点。传统的七夕习俗如乞巧活动和赏月仍然存在，但现代社会赋予了七夕节更多的意义和表达方式。综上所述，七节不仅是一个传统的节日，也是一个具有丰富文化意义和历史传统的节日。体现了中华民族不懈的自我完善、勤奋和智慧、创造的勇气，以及对幸福生活的持续追求。
问题：
1.七夕节又名什么？
2.七夕节发生在哪一天？
3.七夕节有哪些起源？
4.常见的七夕节活动有哪些？
5.七夕节对当今社会有哪些影响？

参考文献：
1.邵静.我国大众媒介的“节日传播”——以“春节”与“情人节”为比较范本[J].东南传播,2007(9):58-59.
6.李定琼.传统节日“假日化”与法定假日“传统化”——两者的旅游文化学关系浅析[J].现代商业,2008(9):266-267
7.李晓霞.浅谈中国节庆文化的影响[J].理论界,2006(S2):113-114
8.韦柳芝.从西方节日中反思中国传统节日的保护与传承[J].长春教育学院学报,2014,30(7):15-16.
9.That is Mandarin The Story Behind Qixi Festival

=Luo Jiayi | Music and instruments：Yuge（Fishing song）=
==Overview==
Fishing song, also known as Yuge, is a unique Chinese folk song sung by fishermen in China's coastal areas, lakes and harbors. The most widely circulated one is the Tang Dynasty poet Zhang Zhihe's ''Fisherman's Song'':

In front of western hills white egrets fly up and down

Over peach-mirrored stream, where perches are full grown.

In a broad-brimmed blue hat

And green straw cloak, I’d fain

Go fishing careless of the slanting wind and rain.

There are many types and quantities of fishing songs. When and where it originated, there is no way to know. But it is certain that in the Han Dynasty, there was a large number of documentary records of fishing songs. In 2014, the fishing songs (Dongting Fishing Songs and Shanwei Fishing Songs) were approved by the State Council to be included in the fourth batch of national intangible cultural heritage lists. In 2021, Fishing Songs (Shengsi Fishing Songs) were approved by the State Council to be included in the expanded list of representative items of national intangible cultural heritage.

渔歌是一种特有的中国民歌，由中国沿海地区以及湖泊港湾渔民所唱。流传最广泛的当属唐代诗人张志和的《渔歌子》：西塞山前白鹭飞，桃花流水鳜鱼肥。青箬笠，绿蓑衣，斜风细雨不须归。渔歌种类繁多、数量庞大，到底起源于何时何地，已无从考究。但可以确定的是在汉代，渔歌已有大量的文献记载。2014年，渔歌（洞庭渔歌、汕尾渔歌）经国务院批准列入第四批国家级非物质文化遗产名录。2021年，渔歌（嵊泗渔歌）经国务院批准列入国家级非物质文化遗产代表性项目名录扩展项目名录。

==Classification of fishing songs==
Fishing songs can be classified by region. For example, the fishing songs popular in Shanwei, Guangdong Province are collectively referred to as Shanwei Fishing Songs, and there are also fishing songs in Huidong, Guangdong, which belong to the same kind in Shanwei; popular in Yueyang, Hunan Province, Dongting Lake, collectively known as Dongting Fishing Song. The fishing songs popular in Shengsi, Zhoushan, Zhejiang Province, are called Shengsi Fishing Song.

Fishing songs can also be divided into two categories: deep-sea fishing songs and shallow-sea fishing songs. The former is sung by fishermen working in the deep sea, similar to salty water songs. The latter is sung by the women of the fishermen by the sea. It usually refers mainly to shallow-sea fishing songs.

What is more, fishing songs can be classified according to their form, which are divided into three types: work songs, folk songs, and ditty.

渔歌可以按地域来分类。如流行于广东汕尾市的渔歌，统称为汕尾渔歌，而在广东的惠东也有渔歌，属于汕尾市同类；如流行于湖南省岳阳市岳阳楼区洞庭湖边的，则统称为洞庭渔歌；如流行于浙江省舟山市嵊泗县的渔歌，则称为嵊泗渔歌。

渔歌也可以分深海渔歌和浅海渔歌两类。前者是深海作业渔民所唱，近似咸水歌；后者是海边渔家妇女所唱。通常主要指浅海渔歌。

渔歌还可以按其按形式来分类，分为号子、山歌、小调三种类型。

==Characteristics of fishing songs==
The content of fishing songs is rich and colorful, and it is mainly divided into five categories, namely labor, life, love, folk customs and sacrifices. (Li 2008, 51)The labor category, represented by ''The Boatman's Work Song'', mostly describes the spontaneous organization of fishermen in production and life, such as fiber pulling, net collection, etc., with a sonorous rhythm and full of dynamics. In the life category, it mainly expresses the joys and sorrows in the hearts of fishermen, and its representative works include ''How can there be more tears in the river''. Love, mostly men and women pour out their love for each other. Affected by the water, their marriage and love are in the boat, which gave birth to a large number of songs, such as ''Bachelor Marrying'' and so on. Folk customs, more reflect the survival skills of fishermen, and the cultivation of excellent moral qualities such as the education of children, and the representative works include ''My Thousands of Fishing Songs''. Sacrificial category, the content is mainly for the fishermen to pray for the god of water and the dragon king to bless favourable conditions and the boat is safe, the representative works are ''Dongting Immortal'' and so on.（Xu Hao,Liu Jiwen 2020, 121-122）

The lyrics of fishing songs are generally in the format of seven-character sentences, two sentences are one paragraph, and there are also four or eight sentences in a paragraph. In the four sentences, there are also five-character sentences or three-character sentences as the starting sentence, and the last three words of the second or fourth sentence are often repeated with padding words, or the whole sentence is repeated.

The expression forms of fishing songs include humming, singing in unison, singing in unison with the lead singer, blowing, duet, singing and dancing, pure natural harmony singing, playing and singing, etc. The dragging and repetition in the singing are the most basic and significant characteristics that distinguish fishing songs from other folk songs.

渔歌的内容丰富多彩，主要分为五大类，即劳动类、生活类、爱情类、民俗类和祭祀类。(Li 2008, 51)劳动类，以《船工号子》为代表，多形容渔民在生产生活中的自发组织劳动，如拉纤、收网等，节奏铿锵，富于动感；生活类，则主要表达渔民内心的喜怒哀乐，代表作有《河水哪有我的眼泪多》等；爱情类，多为男女之间互相倾诉爱慕之情，受水域影响，婚姻、恋爱均在船间，由此萌生出大量歌曲作品，如《光棍娶亲》等；风俗民俗类，更多反映渔民的生存技巧，及对子女的教育等优秀道德品质的培养，代表作有《我的渔歌万万千》等；祭祀类，内容主要为渔民祈求水神、龙王保佑风调雨顺、行船平安，代表作有《洞庭仙》等。（Xu Hao,Liu Jiwen 2020, 121-122）

渔歌的歌词格式一般为七字句，两句一首，间有四句或八句一首。四句中也有用五字句或三字句作起句的，第二句或第四句的最后三字常加上衬词重复，或整句重复。

渔歌的表现形式有哼唱、齐唱、领和式齐唱、吹奏、对唱、歌舞、纯自然和声演唱、弹唱等。而唱腔曲调上的“拖音”和“复沓”是渔歌有别于其他民歌品种最基本、最显著的特征。

==The value of fishing songs==
The fishing song itself has a high aesthetic value of musical art, which is mainly reflected in its unique style and rich forms of expression. It contains the cultural genes of traditional music, and provides a rich source of original materials and inspiration for music creation.(Wang 2009, 25)

In contemporary times, the more important thing about the fishing song is its historical, cultural and folk value. Fishermen living by the water's edge can learn about the humanistic history, folk customs, social outlook of their hometown, and the way of life, thoughts and feelings, spiritual pursuits, and values of fishermen through fishing songs, so as to gain a sense of identity of local cultural identity. (Chen 2023, 74-75)In addition, this kind of value is also reflected in the true record and effective continuation of traditional fishing culture. Through fishing songs, people can understand the ocean, tide, meteorology, fishing flooding, fish, fishing, breeding, processing, trade and other fishery knowledge and inherit the fishing culture of the fishing area.(Jin 2009, 90/ Fang 2023, 24-25)

In addition, the fishing song also has scientific, economic and practical value. Only by transforming it from a folk art resource into a cultural productive force and bringing economic benefits can the reproduction of folk art producers be guaranteed, and correspondingly more funds will be invested in the protection and development of folk art.(Jinling Li 2022, Volume 4.0, Issue 5.0)

渔歌本身具有很高的音乐艺术审美价值，主要体现在它独特的风格和丰富的表现形态上。它蕴含着传统音乐的文化基因，为音乐创作提供了丰富的原始素材和灵感源泉。(Wang 2009, 25)

在当代，渔歌更重要的是它的历史文化民俗价值。生活在水边的渔民，通过渔歌了解自己家乡的人文历史、民俗风情、社会面貌和渔民的生活方式、思想感情、精神追求、价值观念，从而获得本土文化身份的认同感。(Chen 2023, 74-75)除此之外，它的这种价值还体现在对传统渔俗文化的真实记录和有效延续上，人们通过渔歌，可以了解海洋、潮汛、气象、渔汛、鱼类、捕捞、养殖、加工、贸易等渔业知识，传承渔区渔俗文化。(Jin 2009, 90/ Fang 2023, 24-25)

此外，渔歌也有科学经济实用价值。只有将其从民俗艺术资源转换为文化生产力,带来经济效益,才能保证民俗艺术生产者的再生产,相应地就会有更多的资金投入到民俗艺术的保护和发展上。(Jinling Li 2022, Volume 4.0, Issue 5.0)

==Terms and Expressions==
Fishing songs 渔歌

''Fisherman's Song'' 《渔歌子》

Dongting Fishing Songs 洞庭渔歌

Shanwei Fishing Songs 汕尾渔歌

Shengsi Fishing Songs 嵊泗渔歌

The fourth batch of national intangible cultural heritage list 第四批国家级非物质文化遗产名录

Expanded list of representative items of national intangible cultural heritage 国家级非物质文化遗产代表性项目名录扩展项目名录

Deep-sea fishing songs 深海渔歌

Shallow-sea fishing songs 浅海渔歌

Salty water songs 咸水歌

Work songs 号子

Folk songs 山歌

Ditty 小调

''The Boatman's Work Song'' 《船工号子》

''How can there be more tears in the river'' 《河水哪有我的眼泪多》

''Bachelor Marrying'' 《光棍娶亲》

''My Thousands of Fishing Songs'' 《我的渔歌万万千》

''Dongting Immortal'' 《洞庭仙》

Padding words 衬词
==Questions==
（1）What are the types of fishing songs classified by region? Please name two.

（2）Are fishing songs an intangible cultural heritage?

（3）What is the value of fishing songs?

（1）渔歌按地域分类有哪几种？请举出两个。

（2）渔歌属于非物质文化遗产吗？

（3）当代的渔歌具有什么价值？
==References==
李琳(Li Lin). 环洞庭湖民歌中的民俗及其文化内涵(Folklore and Its Cultural Connotation in Folk Songs Around Dongting Lake)[J]. 湖南农业大学学报(社会科学版)(Journal of Hunan Agricultural University (Social Science)),2008,(05):50-53.

许昊,柳集文(Xu Hao,Liu Jiwen). 传统音乐类非物质文化遗产的生存现状与整合传播——基于湖南岳阳洞庭渔歌的考察(The Survival Status and Integrated Dissemination of Traditional Music Intangible Cultural Heritage: An Investigation Based on Dongting Fishing Songs in Yueyang, Hunan Province)[J]. 新媒体研究(Journal of New Media Research),2020,6(07):121-124.

王晓淮(Wang Xiaohuai). 关于当代原生态民歌发展及意义的思考(Reflections on the Development and Significance of Contemporary Original Ecological Folk Songs)[J]. 歌海(Ge Hai),2009,(04):24-25.

陈辉(Chen Hui). 渔俗文化的历史记忆——浙东渔歌的功能与价值(Historical Memory of Fishing Culture: The Function and Value of Fishing Songs in Eastern Zhejiang)[J]. 浙江艺术职业学院学报(Journal of Zhejiang Vocational College of Art),2023,21(04):70-76.

金成辉(Jin Chenghui). 民俗艺术资源的价值要素探析(Analysis on the Value Factors of Folk Art Resources)[J]. 艺术探索(Art Exploration),2009,23(05):90-91.

方从戎(Fang Congrong). 湖南洞庭渔歌的文化内涵及其生存现状(The Cultural Connotation and Survival Status of Dongting Fishing Songs in Hunan Province)[J]. 中国民族博览(China Nationalities Expo),2023,(18):24-26.

Jinling Li. Research on the Development of Intangible Cultural Heritage Traditional Handicraft Education Inheritance and Socialization Inheritance(非物质文化遗产的发展研究传统手工艺教育传承与社会化传承)[J]. International Journal of Frontiers in Sociology(国际社会学前沿杂志), 2022, Volume 4.0 , Issue 5.0.

=Xie Xianglin |Education:Chicken Child(Fired-up Child)=
==The Origin and Meaning==
In recent years, with the popularity of the TV series ‘A Little Dilemma’, ‘education anxiety’ has become a hot topic nowadays, and the new word ‘chicken child’ has therefore come into the public eye.The drama is set in the context of primary school and reflects the current educational context where children's education is highly competitive.
Chicken child means a child who has been over-motivated and spurred on by their parents in terms of learning and forced to be fired up.Chicken child, in Chinese is ‘鸡娃’. Chicken, ‘鸡’ is homophonous with the character ‘激’which means motivating or stimulating, so Chicken Child has the meaning of a child who is motivated and spurred on.
On the other hand,in China in the 1960s, there was a form of chicken blood therapy, in which fresh chicken blood was drawn and injected into a person's veins, which would leave them refreshed and free of any illness. It's pseudo-science, but the term chicken blood has been passed down and given the meaning of a person's sudden excitement about something.So ‘Chicken Child’ borrowed this meaning to denote a child who is forced by his parents to be excited about learning.Based on its meaning, the term has also been translated as Fired-up Child.（Ding Miaomiao. 2022，Imago Literature Creation）

==Causes of the Chicken Child==
The causes of the chicken child are complex and involve many aspects.
===Education system===
The National College Entrance Examination, as the only examination that determines university entrance, makes parents and students focus all their energy on exam-oriented education. In addition, two important exams, the Junior High School Entrance Examination and the High School Entrance Examination, largely determine how high or low a child's educational starting point will be. These examinations in China make children and their parents anxious, fearing that they will fall behind on any rung of the ladder. Although in recent years the policy of reducing the burden one after another, the effect of reducing the burden is not obvious. Even though the The Double Reduction Policy has alleviated parents‘ educational anxiety to a certain extent, the problem of parents’ educational anxiety will not be reduced as long as there is the existence of exam-oriented education and the selection system of the National College Entrance Examination according to the scores.
===Ideological Tradition===
China's ideological tradition of‘expecting a son to become a dragon and a daughter to become a phoenix’ is the most ardent hope of every Chinese parent for their children. Therefore, most parents will focus all their energy, financial and material resources on their children, so that they can have better conditions and resources to improve social status and change the fate of the family. Education, on the other hand, is the most effective and fair of all avenues. Some scholars have pointed out that the direct cause of parents’ educational anxiety is their educational expectations and requirements for their children. (Fu Qiwen ,Ye Xiangxiang,Zou Simin ,Gong Xue. Secondary school students)
===Economic Factors===
In Professor Fabrizio's eyes, chicken child is not the fault of parents, but the result of economic inequality. In addition to contributing to a shift in cultural values, the increase in economic inequality has also changed parental behaviour. In particular, parents increasingly believe that the basis of their children's success will depend on educational achievement. In a world where parents are tightly connected with their children in interests, parents will be more concerned about their children's place in the social hierarchy, and will therefore be motivated to invest more in pushing their children to adopt success-oriented behaviors. (Tencent News.2021)

==Specific Manifestations in Society==
Firstly, there is intense subject tuition. Children attend a variety of tuition classes after school and on weekends, covering a wide range of subjects such as Maths, English and Physics, with a view to improving their academic performance. Secondly, they enroll in a wide range of interest classes. Apart from subject tuition, parents would also arrange for their children to attend interest classes in music, dance, sports and so on, in the expectation that they could develop in an all-round way. Thirdly, strict time management. Children's schedules are so tight that they have little free time, and all their activities revolve around learning and skill enhancement. Fourthly, the high-pressure family environment, where parents have very high expectations and demands on their children's academic performance, leading to a tense family atmosphere and greater psychological pressure on the children.
Changsha, for example, has the four most prestigious high schools in Hunan: The First High School of Changsha, Changjun High School of Changsha, Yali Middle School, and The High School Attached to Hunan Normal University. In addition, other schools are divided into various echelons, and it is often rumored that ‘Entering XXX school is a step into the door of Universities listed in Project 985, 211’. For this reason, parents and students try to get into the best high school possible. According to the Chinese education system, children only start learning English in the third grade of primary school. But here, there are children who have been attending English interest classes since they were a few years old. Some even learn a second or third foreign language. In addition to the basic curriculum, children also have to learn programming, Olympiads, etc. to have as much competitive capital as possible. At the age of primary school and junior high school, age of nature of to play, it is difficult to say that there are children who love to take the initiative to learn, so all of the above mentioned can not ignore the role of the parents . This is the specific embodiment of the chicken child, rather than children play initiative to learn, it is the parents play initiative to let them learn.

==The Double Reduction Policy==
The implementation of the ‘Double Reduction’ policy is intended to alleviate the phenomenon of ‘chicken children’, reduce the academic burden on students and promote equity in education. The ‘Double Reduction’ policy is an important education reform measure introduced by the Chinese government in 2021. The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training, issued in July 2021, aims to reduce the burden of homework and out-of-school training for primary and secondary school students. The core elements of this policy include reducing the amount of homework, regulating the operation of out-of-school training organizations, and reducing the educational anxiety of students and parents.
However, the policy has faced some challenges and backlash in its implementation, and the demand and competitive mentality of parents and students for educational resources still exists. Achieving the policy's goals will require concerted efforts by the government, schools, and families to enhance the equitable distribution of educational resources, improve the quality of public education, change parents' concepts of education, and promote the all-round development and physical and mental health of students. (Baidu Encyclopedia)

==Similar phenomena abroad==
As a matter of fact, there are similar educational anxieties abroad. Similar to the chicken child, there are ‘Helicopter Parents’ and ‘Tiger Parenting’ .
Helicopter parents refer to parents who are overly concerned about their children's behaviour, learning and development. They hover around their children like helicopters, always ready to intervene and interfere in their children's lives.
Tiger-Parenting is derived from the book ‘The Battle Hymn of the Tiger Mother’ by Amy Chua, a Chinese-American writer. Tiger-Parenting emphasizes rigour and high standards, and parents expect their children to achieve excellent results, often through coercion, threats and punishment, in order to motivate their children to learn and perform. And the term actually originated in China. The origin of the term, ‘Battle Hymn of the Tiger Mother’, is about how the author, a Chinese mother, fired up her children to become chicken child. Tiger-Parenting became a sensation in the education world and led to a great debate about the educational methods of China and the United States.(Woran Zhang. 2023.)

==Summary==
The essence of chicken children lies in parents' excessive concern about their children's studies and performance, as well as their excessive expectations of their children's future development. This phenomenon reflects the unequal distribution of educational resources and opportunities in society, as well as parents' anxiety and distrust of their children's future in a highly competitive social environment. Chicken-child behaviour is often accompanied by negative consequences such as excessive learning pressure, lack of autonomy and mental health problems, and may also lead to a waste of educational resources and a lack of educational equity.

==Terms and Expressions==
Chicken Child(Fired-up Child) 鸡娃
A Little Dilemma 《小别离》
chicken blood therapy 鸡血疗法
National College Entrance Examination 高考
exam-oriented education 应试教育
Junior High School Entrance Examination 小升初考试
High School Entrance Examination 中考
The Double Reduction Policy 双减政策
The First High School of Changsha 长沙市第一中学
Changjun High School of Changsha 长郡高级中学
Yali Middle School 雅礼中学
The High School Attached to Hunan Normal University 湖南师范大学附属中学
The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
Helicopter Parents 直升机式家长
Tiger Parenting 虎妈式教育
The Battle Hymn of the Tiger Mother 《虎妈战歌》

==Question==
#How did the word ‘chickenshit’ come about?
#What are the causes of the chicken child phenomenon?
#What are the concrete manifestations of the chicken child in the society?
#Why is it necessary to implement the ‘Double Reduction Policy’?
#Where did the term ‘tiger mother education’ originate?

==References==
#Ding Miaomiao. An analysis of the network buzzword ‘chicken child’. Journal of literature and creativity,2022,(29):111-113.
#FU Qiwen, YE Xiangxiang, ZOU Simin, GONG Xue. A review of research on the current situation of parents' educational anxiety and countermeasures in the context of burden reduction. A review of parental education anxiety and countermeasures in the context of burden reduction.
#Tencent News.2021.Economists tell you that chicken children are not your fault_Tencent News (qq.com)
#General Office of the CPC Central Committee, General Office of the State Council . Opinions on Further Reducing the Burden of Homework on Students in Compulsory Education and the Burden of Out-of-School Training .
#Baidu Encyclopedia. Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Off-Campus Training_Baidu Encyclopedia (baidu.com)
#Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.

==Translation==
教育：鸡娃
1.鸡娃的由来及含义
近年来，随着电视剧《小别离》的热播，“教育焦虑 ”成为时下的热门话题，“鸡娃 ”这个新词也因此进入公众视野。这部电视剧以小学为背景，反映了当下儿童教育竞争激烈的教育背景。
鸡娃是指在学习方面被家长过度激励和鞭策，被迫发奋学习的孩子。“鸡” 与 “激”同音，“激” 的意思是激励或刺激，所以 ”鸡娃 "有激励和鞭策孩子的意思。
另一方面，在 20 世纪 60 年代的中国，有一种鸡血疗法，即抽取新鲜鸡血注入人的血管，使人神清气爽，百病不生。虽然是伪科学，但鸡血一词却流传了下来，并被赋予了一个人突然对某件事情感到兴奋的含义，所以 “鸡娃”借用了这一含义来表示被父母逼着对学习感到兴奋的孩子。(丁苗苗. 2022,今古文创)

2.鸡娃现象的成因
鸡娃现象的产生成因复杂，涉及许多方面。
A. 教育体制
全国高考作为决定大学入学的唯一考试，使家长和学生把全部精力都放在应试教育上。此外，初中入学考试和高中入学考试这两次重要的考试在很大程度上决定了孩子教育起点的高低。在中国，这些考试让孩子和家长们焦虑不安，生怕自己在哪个阶梯上掉队。虽然近年来减负政策陆续出台，但减负效果并不明显。即使 “双减 ”政策在一定程度上缓解了家长的教育焦虑，但只要存在应试教育和高考唯分数论的选拔制度，家长的教育焦虑问题就不会减少。
B. 思想传统
望子成龙、望女成凤 "是中国的思想传统，也是每个中国家长对子女最殷切的期望。因此，大多数父母都会把所有的精力、财力、物力都集中在子女身上，让子女有更好的条件和资源来提高社会地位，改变家庭命运。而教育则是所有途径中最有效、最公平的途径。有学者指出，造成家长教育焦虑的直接原因是家长对子女的教育期望和要求。 (付启文、叶湘湘、邹思敏、龚雪.中学生）。
C.经济因素
在 Fabrizio 教授眼中，“鸡娃 ”不是父母的错，而是经济不平等的结果。除了导致文化价值观的转变，经济不平等的加剧也改变了父母的行为。尤其是，家长们越来越相信，子女成功的基础取决于教育成就。在父母与子女利益紧密相连的世界里，父母会更加关注子女在社会等级中的位置，因此会有动力投入更多，促使子女采取以成功为导向的行为。(腾讯新闻.2021）

3.鸡娃在社会中的具体显现
一是高强度的学科补习，孩子们在放学后和周末参加各种补习班，涵盖数学、英语、物理等多个学科，以期提高他们的学术成绩。二，报广泛的兴趣班。除了学科补习，家长还会安排孩子参加音乐、舞蹈、体育等兴趣班，期望他们能够全面发展。三是严格的时间管理，孩子们的日程安排得非常紧凑，几乎没有自由时间，所有的活动都围绕着学习和技能提升。四是高压的家庭环境，家长对孩子的学习成绩和表现有着非常高的期望和要求，导致家庭氛围紧张，孩子面临较大的心理压力。
就拿长沙举例，拥有湖南四大名校长沙市第一中学、长沙市长郡中学、长沙市雅礼中学、湖南师范大学附属中学。除此以外，其它学校还分出了各种梯队，常有流言说“上了xxx学校就是一脚迈进了985、211的门”。为此家长学生为了尽可能进入更好的高中挤破了头。按中国教育制度，孩子小学三年级才开始学英语。但是在这里，有的是从几岁开始就上英语兴趣班的娃娃。更有甚者，还学了第二门、第三门外语。除基本的课程外，孩子还要学编程，奥数等，尽可能有更多竞争的资本。在小学、初中的年纪，正是天性爱玩的时候，难说有孩子是热爱主动学习的，所以以上所说种种家长在其中的作用是不可忽略的。这正是鸡娃，与其说是孩子在发挥主动性学习，不如说是家长发挥主动性让他们学习。

4.双减政策
“双减”政策的实施意在缓解“鸡娃”现象，减轻学生的学业负担，促进教育公平。“双减”政策是中国政府在2021年推出的一项重要教育改革措施，2021年7月发布的《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》，旨在减轻中小学生的作业负担和校外培训负担。这一政策的核心内容包括减少家庭作业量、规范校外培训机构的运营、以及减轻学生和家长的教育焦虑。
然而，政策在实施过程中面临一些挑战和反弹，家长和学生对教育资源的需求和竞争心理依然存在。要实现政策目标，需政府、学校和家庭多方协同努力，加强教育资源的公平分配，提升公立教育质量，转变家长的教育观念，促进学生的全面发展和身心健康。(百度百科)

5.国外的相似现象
事实上，国外也有类似的教育焦虑存在。与鸡娃相似的，如“直升机式”家长和“虎妈式”教育。
直升机家长（Helicopter Parents）是指过度关注孩子的行为、学习和发展的家长，他们像直升机一样“盘旋”在孩子的周围，时刻准备介入和干预孩子的生活。
“虎妈式”教育（Tiger-Parenting）源自美国华裔作家蔡美儿（Amy Chua）的著作《虎妈战歌》。虎妈式教育强调严格要求和高标准，家长们期望孩子取得优异的成绩，通常通过强迫、威胁和惩罚来促使孩子学习和表现。而严格来说，这个词也起源于中国。因为个词的起源《虎妈战歌》正是讲的作者作为华裔妈妈如何“鸡娃”的。虎妈的教育方法轰动了教育界，并引起关于中美教育方法的大讨论。
(Woran Zhang.2023.World Journal of Educational Research）

6.总结
鸡娃的本质在于家长过度关注孩子的学习和成绩，以及对孩子未来发展的过度期待。这种现象反映了社会对教育资源和机会的不均等分配，以及家长对孩子未来竞争激烈的社会环境的焦虑和不信任。鸡娃行为常常伴随着过度的学习压力、缺乏自主性、心理健康问题等负面影响，同时也可能导致教育资源的浪费和教育公平的缺失。

术语：
Chicken Child(Fired-up Child) 鸡娃
A Little Dilemma 《小别离》
chicken blood therapy 鸡血疗法
National College Entrance Examination 高考
exam-oriented education 应试教育
Junior High School Entrance Examination 小升初考试
High School Entrance Examination 中考
The Double Reduction Policy 双减政策
The First High School of Changsha 长沙市第一中学
Changjun High School of Changsha 长郡高级中学
Yali Middle School 雅礼中学
The High School Attached to Hunan Normal University 湖南师范大学附属中学
The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
Helicopter Parents 直升机式家长
Tiger Parenting 虎妈式教育
The Battle Hymn of the Tiger Mother 《虎妈战歌》

问题:
#“鸡娃”这个词是如何而来？
#鸡娃现象的成因有哪些方面？
#鸡娃在社会中的具体体现有哪些？
#为什么要实行“双减政策”？
#虎妈教育这个词起源于哪？

参考文献：
#丁苗苗. 网络流行语“鸡娃”探析. 今古文创,2022,(29):111-113.
#付惜文 ,叶湘湘,邹思敏 ,龚雪.减负背景下家长教育焦虑现状及对策的研究综述.中学生
#腾讯新闻.2021.经济学家告诉你，鸡娃不是你的错_腾讯新闻 (qq.com)
#中共中央办公厅、国务院办公厅.《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
#百度百科。关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见_百度百科 (baidu.com)
#Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.World Journal of Educational Research(5)

=Yang Zixuan | Chinese Science Fiction:''The Three-Body Problem''=

==Introduction==

''The Three-Body Problem'' is a series of long science fiction novels written by Liu Cixin, consisting of ''The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever''. The first installment was serialized since May 2006 in ''Science Fiction World'' magazine. The series of novels tells the story of the exchange of information between the human civilization on Earth and the three-body civilization, the life-and-death struggle, and the rise and fall of the two civilizations in the universe. The first installment was translated by Liu Yukun and won the 73rd Hugo Award for Best Long Story.

Liu Cixin, born in Beijing in June 1963, is originally from Luoshan County, Xinyang City, Henan Province, and a native of Yangquan, Shanxi Province. He graduated from the North China University of Water Conservancy and Hydropower and is a senior engineer as well as a science fiction writer. Liu Cixin is one of the representative writers of Chinese science fiction, and his works have been awarded the Galaxy Award for Chinese Science Fiction for the years 1999-2006, and he has won many other important awards at home and abroad, such as Zhao Shuli Literary Award and Chinese Science Fiction Nebula Award, etc. He is also a member of the Chinese Science Fiction Association.

==Main Part==

===The Place and Influence of ''The Three Body Problem'' in Chinese Science Fiction Literature===

The success of ''The Three-Body Problem'' series has greatly contributed to the popularization and prosperity of science fiction literature in China. More and more readers have begun to pay attention to and fall in love with science fiction literature and the quantity and quality of science fiction works have been significantly improved. With its unique scientific concepts, rich imagination and profound insight into human nature, society and civilization, ''The Three-Body Problem'' series has provided new ideas and directions for the creation of Chinese science fiction literature. More and more writers have begun to try to combine scientific theories with storylines, tap into human culture and historical connotations, and explore new ways of literary expression. ''The Three-Body Problem'' has also inspired the creative enthusiasm of Chinese science fiction writers, and more and more writers have begun to try their hand at science fiction literature, injecting new vitality into Chinese science fiction literature. Meanwhile, more writers are encouraged to pursue depth and breadth to enhance the overall level of Chinese science fiction literature.

The international success of ''The Three-Body Problem'' series has raised the status and influence of Chinese science fiction literature. Chinese science fiction literature has begun to receive attention and recognition from the international community, opening up a new way for the international dissemination of Chinese culture. The success of the "The Three-Body Problem" series has enhanced the cultural confidence of Chinese science fiction writers. They began to face international readers and judges with more confidence, showing the unique charm and depth of Chinese science fiction literature. At the same time, "The Three-Body Problem" also shows the world the creativity and thinking power of Chinese people, and wins more praise and respect for the international dissemination of Chinese culture.

===''The Three-Body Problem'' embodies Chinese cultural values===

'''The belief that man can win'''

"For more than 5,000 years, the Chinese people, in the course of exploring nature and seeking survival, have honed the spiritual character of robustness, diligence and courage, positivity and perseverance. In the face of difficulties, we believe that man will prevail over God. Flooding, do not ask the prophet, their own dredging; disease epidemic, do not seek miracles, their own taste of all kinds of herbs; Houyi shoot the sun, Jingwei fill in the sea, Yugongyishan ...... these ancient myths are embedded in the Chinese people's philosophy of survival and spiritual strength.

In "The Three-Body Problem", there is a huge gap between the scientific and technological levels of human civilization and that of the three-body civilization. ''The Three-Body Problem'' sends out only two "Homo sapiens" to interfere with all the particle gas pedals on Earth, making it difficult for humans to take a further step forward in basic science. The three-body world also sends the most contemptuous message to human beings - "you are bugs". The gap between bugs and human beings is much larger than the gap between Earth and The Three-Body Problem, but human beings have not completely eliminated bugs by using all sorts of methods, and the three-body people seem to have forgotten one thing, that bugs have never been truly defeated. Even though human beings are as weak as ants in front of the three-body world, human beings have never given up the struggle, which is exactly the vivid embodiment of the spirit of resilience in the bones of the Chinese people.

'''Planning a profound legacy for future generations'''

The concept of the family has an important place in traditional Chinese culture. In the traditional Chinese political structure, the family and the state are isomorphic: the "family" is the small "state" and the "state" is the big "family". The "family" is the small "state" and the "state" is the big "family". The family-centered culture of Chinese society has given rise to a whole set of ways of thinking and living, and the heroes in "The Three-Body Problem" often have the traditional meaning of "father and ruler", they are cold and rational, and they are able to save the day when there is a crisis, and they act as the "head of the family". As the "head of the family" of human beings, they shoulder the heavy burden of resisting foreign enemies and continuing human civilization, and almost all of them end up sacrificing their lives for the survival of the whole human race. The spirit of family inheritance extends to the country and becomes the historical inheritance of the Chinese nation that has lasted for thousands of years. In "The Three-Body Problem", many of the plans designed by mankind to resist alien invasions lasted for dozens to hundreds of years, and only a nation with a civilized history of 5,000 years would be more inclined to design and imagine these plans that need to be passed down from one generation to the next, and the novel has an epic feel to it as a result. In the setting, the three-body fleet arrived on Earth after 400 years, accordingly, the human struggle with the three-body world strategy is also measured in hundreds of years, for example, the use of the "hibernation" technology of the Pacific Air Force to send talents to the future, the bunker program, the black field program, the development of curvature drive spaceships, and so on.

'''Chinese characters'''

There are also uniquely Chinese protagonists in ''The Three-Body Problem'' that readers remember, such as Wang Miao, Zhang Beihai, and Cheng Xin all of whom are characters that appear more frequently in Amazon reader book reviews.

Zhang Beihai is a very typical Chinese soldier, he is strong and intelligent, with a strong sense of justice, and comes from a military family. His father is a member of the future history school, who predicts that mankind will lose the battle of Armageddon, and he hints at the end of the battle with the cryptic words "think more". Inheriting his father's legacy, Beihai leaves behind a spark of hope for mankind in the midst of an inevitable war. One reader commented that Zhang Beihai "came up with a shocking and inhumane solution to save mankind at the most critical moment". Readers resonate with the human rationality of Zhang Beihai in the context of the book, and at the same time gain a new understanding of the Chinese people's heightened sense of mission, dedication, and spirit of sacrifice.

Cheng Xin has been described by readers in English-speaking areas as "the best protagonist in the series, she is the most memorable. Maybe not the best, but she's the character that is most likely to remain unique in your mind." Each of Ching-Hsin's choices does indeed implement the concept of "goodness" in the moral system that human society has constructed. Respecting human life, loving and caring for all people, Cheng Xin has practiced her concept of "humanity", which in Cheng Xin's context is of course the same as "goodness"! --In Cheng Xin's context, "humanity" is of course the same as "goodness" - rather, Cheng Xin redefines "humanity" through her choices, and in the end, it is this "humanity" that Cheng Xin truly protects, rather than humanity itself. For Cheng Xin, the loss of humanity is the loss of everything.

==Conclusion==

''The Three-Body Problem'' series of novels is the undoubted masterpiece of Chinese science fiction writer Liu Cixin. With its unique scientific setting, rich characterisation and profound philosophical reflections, the series shows the struggles and choices of human civilisation in the face of invasion by an alien civilisation, and at the same time explores the grandeur of the universe and the insignificance of human beings. ''The Three-Body Problem'' is not a copy of foreign sci-fi works; it uses Chinese narrative methods to win wide acclaim from readers around the world, and has become the brightest star in contemporary Chinese sci-fi literature.

==Terms and Expreesions==

The Three-Body Problem 《三体》

The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever 《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》

Science Fiction World 《科幻世界》

the Galaxy Award for Chinese Science Fiction 中国科幻小说银河奖

Zhao Shuli Literary Award 赵树理文学奖

Chinese Science Fiction Nebula Award 华语科幻星云奖

"hibernation" technology 冬眠技术

the bunker program 掩体计划

the black field program 黑域计划

curvature drive spaceships 曲率驱动飞船

==Questions==

1. How does the international success of ''The Three-Body Problem'' affect Chinese science fiction literature?

2. How does ''The Three-Body Problem'' reflect Chinese cultural values?

3. Which character in Three Bodies do you appreciate most? Why?

1.《三体》在国际上的成功对中国科幻文学有何影响？

2.《三体》是如何体现中国文化价值观的？

3.你最欣赏《三体》中的哪个角色？为什么?

==References==

LI Jianfu 李建福, GAO Xuying 高序莹. Analyzing the Realism Thought and Chinese Narrative in Liu Cixin's ''The Three-Body Problem'' 浅析刘慈欣《三体》中的现实主义思想及中国叙事. Modern Communication现代交际,2023,(06):89-97+123-124.

Xie Zhonghui 解仲慧. "The Loss and Reinvention of the Hero--The Thought of Humanity in ''The Three-Body Problem'' “英雄”的失落与重塑——论《三体》中的人性之思. Masterpiece Appreciation 名作欣赏,2024(15):143-146.

Cui Bo 崔波, Chen Zixin 陈子馨. Research on the Overseas Diffusion Mechanism of Chinese Literary Works--An Examination Based on ''The Three-Body Problem'' 中国文学作品的海外扩散机制研究——基于《三体》的考察. Digital Publishing Research 数字出版研究,2024,3(01):104-112.

==Translation==

'''中国科幻小说：《三体》'''

'''简要介绍'''

《三体》是由刘慈欣创作的系列长篇科幻小说，由《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》组成。第一部于2006年5月起在《科幻世界》杂志上连载。该系列小说讲述了地球人类文明和三体文明的信息交流、生死搏杀及两个文明在宇宙中的兴衰历程。其第一部经过刘宇昆翻译后获得了第73届雨果奖最佳长篇小说奖。

刘慈欣，1963年6月出生于北京市，祖籍河南省信阳市罗山县，山西阳泉人。他毕业于华北水利水电大学，是一名高级工程师，同时也是科幻作家。刘慈欣是中国科幻小说代表作家之一，作品蝉联1999年-2006年中国科幻小说银河奖，并多次获得其他国内外重要奖项，如赵树理文学奖、华语科幻星云奖等。

'''《三体》在中国科幻文学中的地位和影响'''

《三体》系列的成功极大地推动了中国科幻文学的普及和繁荣。越来越多的读者开始关注和喜爱科幻文学，科幻作品的数量和质量也得到了显著提升。《三体》系列以其独特的科学理念、丰富的想象力和对人性、社会、文明的深刻洞察，为中国科幻文学的创作提供了新的思路和方向。越来越多的作家开始尝试将科学理论与故事情节相结合，挖掘人类文化和历史内涵，探索新的文学表达方式。《三体》也激发了中国科幻作家的创作热情，越来越多的作家开始尝试科幻文学的创作，为中国科幻文学注入了新的活力。同时鼓励更多的作家追求深度和广度，提升中国科幻文学的整体水平。

《三体》系列在国际上的成功提升了中国科幻文学的地位和影响力。中国科幻文学开始受到国际社会的关注和认可，为中国文化的国际传播开辟了新的途径。《三体》系列的成功增强了中国科幻作家的文化自信。他们开始更加自信地面对国际读者和评委，展现中国科幻文学的独特魅力和深度。同时，《三体》也向世界展示了中国人的创造力和思考力，为中国文化的国际传播赢得了更多的赞誉和尊重。

'''《三体》体现中国文化价值观'''

人定胜天的信念

“天行健，君子以自强不息”，五千多年来，中华民族在探索自然、谋求生存的过程中历练出刚健有为、勤劳勇敢、积极向上、坚忍不拔的精神品格。在困难面前，我们相信人定胜天。洪水泛滥，不问先知，自己疏通河渠；疾病流行，不求神迹，自己尝遍百草；后羿射日、精卫填海、愚公移山……这些上古神话中蕴含着中国人的生存哲学和精神力量。

在《三体》中，人类文明和三体文明的科技水平差距巨大，三体仅派出两颗“智子”就能干扰地球所有的粒子加速器，使人类基础科学再难前进一步。三体世界还向人类发来最蔑视的信息——“你们是虫子”。虫子与人类的差距远大于地球与三体的差距，但是人类使用各种办法都没有彻底消灭虫子，三体人似乎忘了一件事，虫子从来就没有被真正战胜过。即使人类在三体世界面前如蝼蚁般弱小，但是人类从未放弃斗争，这恰恰是中国人骨子里坚韧精神的生动体现。

为子孙后代计深远的传承

家庭观念在中国传统文化中有着重要的地位。在中国传统的政治构造中，家国是同构的：“家”是小“国”，“国”是大“家”。中国社会以家庭为中心的文化衍生出一整套思维和生活方式，《三体》中的英雄形象往往都具有传统意义上“君父形象”的意味，他们冷峻理性，在危机时力挽狂澜，作为人类的“大家长”肩负着抵抗外敌、延续人类文明的重担，最后的结局也几乎都是舍生取义，为整个人类的生存牺牲自己。家族传承精神扩大到国家就变为中华民族绵延数千年的历史传承。《三体》中人类为抵御外星入侵设计的许多计划都延续几十到上百年，只有拥有五千年文明历史的民族才会更偏向于设计与想象出这些需要代代相传的计划，小说也因此具有一种史诗感。在设定上，三体舰队于400年后到达地球，相应的人类与三体世界的斗争策略也以百年计，比如太空军利用“冬眠”技术向未来输送人才，掩体计划、黑域计划、研制曲率驱动飞船，等等。

中国式角色

《三体》中也有独特的中国式主角被读者所牢记，如汪淼、章北海和程心都是亚马逊读者书评中出现频次较高的角色。

章北海是非常典型的中国军人形象，他坚强智慧，胸怀大义，出身军人世家。章北海的父亲是未来史学派成员，预判末日之战中人类必败，他用极为隐晦的话“要多想”向章北海暗示末日之战的结局。章北海继承父亲的遗志，在必败的战争中为人类留下希望的火种。有读者评论称章北海“在最危急的时刻想出一个令人震惊的、非人道的解决方案来拯救人类”，读者在结合书中背景后，对章北海身上的人类理性一面产生共鸣，同时也对中国人高度的使命感、奉献精神和牺牲精神产生新的认识。

而程心被英语地区读者称为“该系列中最好的主角，她是最令人难忘的。或许不是最好的，但她是最容易在你的脑海中保持独特的角色。”程心的每一次选择确实都贯彻了人类社会所构建的道德体系中的“善”这一理念。尊重人的生命，博爱、关怀所有人，程心切身践行了她理念中的“人性”，在程心的语境里，“人性”当然等同于“善”——毋宁说，程心通过她的选择重新定义了“人性”，程心最后真正保护了的，也就是这样的“人性”，而非人类本身。对于程心来说，失去人性，才是失去一切。

'''总结'''

《三体》系列小说是中国科幻作家刘慈欣毫无疑问的代表作。该系列作品以其独特的科学设定、丰富的人物塑造和深邃的哲学思考，展现了人类文明在面对外星文明入侵时的挣扎与抉择，同时探讨了宇宙的宏大和人类的渺小。《三体》不是对外国科幻作品的复制，它用中国叙事，赢得了全球读者的广泛赞誉，成为当代中国科幻文学中最璀璨的明星。

=Chu Shoujuan |Ganshi in Xiangxi: The Cycle of Life and Death under Ancient Witchcraft=
==Introduction==
Xiangxi, a mysterious land in the western part of China's Hunan Province, has been one of the cradles of witchcraft culture since ancient times. In this deep land of mountains and streams, there is an ancient and mysterious legend - Ganshi in Xiangxi. This is a strange ceremony to bring the bodies of people who died in a foreign land back to their hometown and bury them in the ground, and it is called "Three Evils of Xiangxi" with Gu Du and Luo Hua Dong Nv. (Baidu Baike Ganshi in Xiangxi)

==Main Part==

Origin

The origin of Ganshi in Xiangxi can be traced back to ancient times. According to folklore, thousands of years ago, Chi You led soldiers in fierce battles with rival tribes. And then the battlefield was littered with corpses and blood flowed like stream. After the war, Chi You could not bear his soldiers to die in a foreign land, so he asked his tactician to use magic to let the dead soldiers return home. The tactician dressed up as Chi You, silently reciting incantations and praying to the gods, and those who had originally fallen to the ground actually stood up, followed the guidance of the "Fu Jie" and walked south. This is the earliest legend of Ganshi in Xiangxi. (Wang Yanan 2018, 186)

=Development=

However, it was in the middle of the Qing Dynasty that Ganshi in Xiangxi really formed a profession and was widely spread among the people. At that time, people in Xiangxi took the bodies of their relatives who had died abroad back to their hometowns for burial as a show of filial piety. However, due to the long road, inconvenient transportation, coupled with the complex terrain of the Xiangxi area and the rugged mountain road, it was extremely difficult to transport the body. Therefore, some people who knew witchcraft would use the "Occult Arts" to "drive" the body back to their hometown. These people are called "Ganshi Jiang", they hold "Chen Zhou Fu", and the mouth mutters words, leading the body in the night forward. (Liang Xu 2014, 2)

The ritual of Ganshi in Xiangxi is full of mystery. The Ganshi Jiang usually sets out at night, dressed in Taoist robes and carrying a dementor bell, followed by a string of bodies strung together with straw ropes. Instead of using lanterns, they use bells in their hands and incantations in their mouths to find their way. As the body walks, it wears a tall felt hat, and a yellow paper with a mark on its forehead was draped over its face to conceal it. Such a scene, in the mountains of Xiangxi, appears particularly strange and mysterious. (Baidu Baike Ganshi in Xiangxi)

Ganshi in Xiangxi ritual although mysterious, but not without trace. According to relevant literature records, there is a saying of "Three Rush and Three not Rush" in Xiangxi. Those who have been beheaded, hanged, or killed in cages can be driven away, because these people are forced to die, die unconvinced, and miss both home and love ones. Those who die of illness, those who hang themselves voluntarily or throw themselves into a river, and those who are burned by lightning with incomplete limbs could not be driven away. This is because the person who die of illness has spent the rest of his life, and his soul has been hooked by the impermanent ghost to Yama. The souls of those who hang their necks or throw themselves into a river are "being replaced" and are being handed over. And those who die when lightning strikes fire are sinful and cannot be driven away. (Lu Qun 2007, 56-57)

=Declassify=

With the development of science and technology, people have gradually explored the mystery of Ganshi. Ganshi does not mean that the body will actually walk on its own, but that someone will carry it on his back. First, Ganshi Jiang removes the head and limbs from the deceased, and then coates them with embalming agents, so that for a period of time, it can not decompose. At the same time, in order to prevent excessive inquiry into their profession, they would choose to wear Taoist robes and carry a dementor bell and travel at night. When the body is delivered to the home of the deceased, people, out of awe and comforted at seeing the deceased, no longer doubt whether the body is intact or whether the removal of the body is a hoax. (Zhang Dawei 2016, 18-22)

==Conclusion==
Although Ganshi in Xiangxi is full of mystery and horror, it also reflects people's respect and nostalgia for the deceased. In the land of Xiangxi, driving dead bodies is not only a profession, but also a cultural inheritance and belief. Nowadays, with the progress of science and technology and the convenience of transportation, Ganshi has gradually fades out of people's vision. However, the legends and stories about Ganshi in Xiangxi are still spread among the mountains and rivers of Xiangxi, becoming an eternal legend in this land.

==Terms and Expressions==
*Ganshi in Xiangxi 湘西赶尸
*Three Evils of Xiangxi 湘西三邪
*Gu Du 蛊毒
*Luo Hua Dong Nv 落花洞女
*Chi You 蚩尤
*Fu Jie 符节
*Occult Arts 秘术
*Ganshi Jiang 赶尸匠
*Chen Zhou Fu 辰州符
*Taoist robes 道袍
*Dementor bell 摄魂铃
*Three Rush and Three not Rush 三赶三不赶
*Yama 阎王

==Questions==
#What are the "Three Evils of Xiangxi"?
#Which legend does the "Ganshi" come from?
#Why doesn't the body rot?

==References==
[1]Baidu Baike Ganshi in Xiangxi (Xiangxi regional culture of China) _ Baidu Baike (baidu.com)

[2]Wang Yanan. Ganshi in Xiangxi culture exploration [J]. computerite, 2018, (02): 186.

[3]Liang Xu. Declassify Ganshi in Xiangxi [C]// Guangdong Folk Culture Research Association. Proceedings of the Symposium on Folklore Intangible Cultural Heritage in July 2014. Publisher unknown, 2014: 2.

[4]Lu Qun. Mysterious Ganshi in Xiangxi [J]. Extensive literature and history, 2007, (05): 56-57.

[5]Zhang Dawei. On the Religious and Ethical Implications of Ganshi in Xiangxi----Concurrently Discuss Primitive Belief as a Way of Human Existence [J]. Journal of Qiannan Teachers College for Nationalities, 2016, 36 (04): 18-22.

==Translation==

湘西赶尸：古老巫术下的生死轮回

介绍

湘西，这片位于中国湖南省西部的神秘土地，自古便是巫文化的发源地之一。在这片崇山峻岭、溪流纵横的深邃之地，流传着一个古老而神秘的传说——湘西赶尸。这是一种将客死异乡之人的尸体带回家乡，让他们入土为安的奇特仪式，与蛊毒、落花洞女并称“湘西三邪”。（百度百科湘西赶尸）

主体部分

起源

湘西赶尸的起源，可追溯到遥远的古代。据民间传说，几千年前，蚩尤率兵与敌对部族激战，战场上尸横遍野，血流成河。战后，蚩尤不忍战士们客死他乡，便请军师施展法术，让战死的将士们魂归故里。军师装扮成蚩尤的模样，默念咒语，祷告神灵，那些原本倒在地上的尸体竟然站了起来，跟随“符节”的指引，向南而行。这便是湘西赶尸最早的传说。（王亚男 2018，186）

发展

然而，湘西赶尸真正形成一种职业，并在民间广为流传，则是在清朝中期。当时，湘西地区的人们将客死他乡的亲人尸体运回家乡安葬，以示孝道。但由于路途遥远，交通不便，加之湘西地区地形复杂，山路崎岖，运送尸体极为困难。于是，一些懂得巫术的人便利用“秘术”，将尸体“赶”回家乡。这些人被称为“赶尸匠”，他们手持“辰州符”，口中念念有词，引领着尸体在夜色中前行。（梁谞 2014，2）

湘西赶尸的仪式充满了神秘色彩。赶尸匠一般选择夜晚出发，身穿道袍，手持摄魂铃，身后跟着一串用草绳串联的尸体。他们不打灯笼，只靠手中的铃铛和口中的咒语辨别方向。尸体在行走时，头戴高筒毡帽，额上压着画着符的黄纸，垂在脸上，以遮盖面容。这样的场景，在湘西的深山中，显得尤为诡异和神秘。（百度百科湘西赶尸）

湘西赶尸的仪式虽然神秘，但并非无迹可寻。据有关文献记载，湘西赶尸有“三赶，三不赶”之说。凡是被砍头、受绞刑、站笼站死的尸体可以赶，因为这些人是被迫死的，死得不服气，既思念家乡又惦念亲人。而病死的、投河吊颈自愿而亡的、雷打火烧肢体不全的尸体则不能赶。这是因为病死的人已享尽天年，其魂魄已被无常鬼勾至阎罗王处；投河吊颈者的魂魄是“被替代”的，正在交接中；而雷打火烧而亡者则属罪孽深重之人，无法驱赶。（陆群 2007，56-57）

解密

随着科学技术的发展，人们逐渐探寻到了“赶尸”的奥秘。“赶尸”并不是尸体真的会自己走路，而是有人将它背着走。赶尸匠先将死者的头部和四肢截下来，然后涂上防腐药剂，这样就能保持一段时间不腐烂。同时，为了防止旁人对他们职业的过分探究，他们会选择身着道袍，手拿摄魂铃，晚上赶路。等到尸体送到死者家中时，人们出于对死者的敬畏和见到死者后的安慰,便不再去怀疑尸体是否完整，赶尸是否是个骗局了。（张达玮 2016，18-22）

结论

湘西赶尸虽然充满了神秘和恐怖色彩，但它也体现了人们对逝者的尊重和怀念之情。在湘西这片土地上，赶尸不仅是一种职业，更是一种文化传承和信仰体现。如今，随着科技的进步和交通的便利，湘西赶尸已经逐渐淡出了人们的视野。但那些关于湘西赶尸的传说和故事，却仍然流传在湘西的山水之间，成为这片土地上永恒的传说。

术语表达
*Ganshi in Xiangxi 湘西赶尸
*Three Evils of Xiangxi 湘西三邪
*Gu Du 蛊毒
*Luo Hua Dong Nv 落花洞女
*Chi You 蚩尤
*Fu Jie 符节
*Occult Arts 秘术
*Ganshi Jiang 赶尸匠
*Chen Zhou Fu 辰州符
*Taoist robes 道袍
*Dementor bell 摄魂铃
*Three Rush and Three not Rush 三赶三不赶
*Yama 阎王

问题
#“湘西三邪”是什么？
#“赶尸”起源于哪个传说？
#为什么尸体不会腐烂？

参考
[1]百度百科湘西赶尸（中国湘西地区地域文化）_百度百科 (baidu.com)

[2]王亚男. 湘西赶尸文化探秘 [J].电脑迷, 2018, (02): 186.

[3]梁谞. 解密湘西赶尸[C]// 广东省民俗文化研究会.2014年07月民俗非遗研讨会论文集.[出版者不详] ,2014: 2.

[4]陆群. 神秘的湘西赶尸[J]. 文史博览,2007, (05): 56-57.

[5]张达玮. 湘西赶尸的宗教与伦理意蕴——兼论原始信仰作为人的存在方式[J]. 黔南民族师范学院学报, 2016, 36 (04): 18-22.

=Jiang Rui |=
=Li Xun | Chinese Animation =
==Overview==
In ''Cambridge Advanced Learner's Dictionary'', the word “animation” means moving picture. Here, Chinese animation refers to animation produced by Chinese. (mainland). Chinese animation originated in the 1920s. In 1922, the first advertising animation in China, ''Shu Zhen Dong Chinese Typewriter'', was produced. In 1926, the first animated film in China, ''Da Nao Studio'', was produced. In 1935, the first audio animated film in China, ''Camel Dancing'', was produced, opening a page in the history of Chinese animation. In the 1940s, the Wan brothers created the first feature film of Chinese animation, ''Princess Iron Fan'', which was released in Southeast Asia and Japan and received warm welcome, laying a good foundation for Chinese animation to go international. Between the 1950s and the 1980s, China entered a golden era of animation. In this period, there were mainly three kinds of traditional animation before the technique of computer animation be widely used, including paper-cut animation, water ink animation and puppet animation. Chinese animation has had an unparalleled glory, which also proves that Chinese animation has strength and has artistic laws suitable for its development. Looking at the development of Chinese animation over the past few decades, it can be seen that Chinese animation has always been committed to a path with its own characteristics. (Chinese animation Baidu bai ke (baidu.com)) (Luo Hong 2011 335) (Luo Hong 2011 6)

==Traditional Elements==
Most Chinese animations are set against the background of mythological tales or ancient history, and thus involve many traditional Chinese elements. Among them, some animation works are made completely according to the original mythology, and some fabricate a story that has never existed before, but most are adapted from existing myths or historical events.

For example, China's early animations such as ''Uproar in Heaven'', ''Nezha Conquers the Dragon King'', and ''Princess Iron Fan'' are all adapted from the long novel ''Journey to the West''. However, the character Nezha was not originally from China at the earliest, but from Indian Buddhist mythology, but it was introduced to China relatively early, and there are records about Nezha in many dynasties:

Jin Dynasty:''The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter'' records:"Vaisravana, the king of heaven, gave birth to Narakuja (that is, Nezha), and all the heavenly beings were extremely happy. The king gave birth to a crown prince today, in the Kapilavastu kingdom, and all the people were also so happy." In the earliest written records of Buddhism, Nezha is a just god of war who is deeply loved by the public. Once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise.

Tang Dynasty:''The Sea of Meanings of the Shurangama Sutra'' records:"The crown prince of the king of heaven is like that of Nezha and the like, assisting in governing and controlling, grasping ghosts and protecting the world and benefiting people."

Song Dynasty:''The Jiatai Pudeng Record'' records:"Nezha has ten faces and ten eyes moving, and the formless spiritual light blocks the sun wheel."

Since the Jin Dynasty, there have been descriptions of Nezha almost in every dynasty. In ''The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter'', Nezha is described as "once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise", while in the animation work ''Nezha: Birth of the Demon Child'', Nezha was born as a "demon child" with a bad nature. Once born, it caused the fear and disgust of the people, and the director's intention of such an adaptation is probably to pave the way for Nezha to sacrifice his life to save everyone at the end, thereby highlighting Nezha's kind character. Therefore, this work conveys such a concept: even if it is a demon, there is kindness. Such a concept is very common in Chinese culture. In ''Journey to the West'', many monsters seem to be very evil, but they haven't done anything extremely heinous. Generally, they just steal things and rob, at least they are aboveboard. On the contrary, in human society, there are all kinds of calculations, conspiracies, and framings, which are simply more evil than monsters; the first is to lament the sinister nature of human society, and the second is to abandon the "label of the evil", that is, there is no absolute evil. This is exactly the value that many Chinese writers want to express through monsters.

Coincidentally, there is also a shadow of this value in the animation ''Fox Spirit Matchmaker''. In this animation, humans and monsters coexist in the world, and it describes some kind-hearted monsters who do not hesitate to sacrifice themselves to protect others and some humans who murder monsters for power. And this animation also involves some other traditional Chinese elements. It mainly tells a series of interesting and mysterious stories that occur in the process of the fox spirit who takes on the profession of matchmaker pulling the red thread for the lovers in the previous life. And the word "matchmaker" comes from ''Romance of the Western Chamber'' created by Wang Shifu, a dramatist in the Yuan Dynasty. In ''Romance of the Western Chamber'', there is a maidservant in the prime minister's mansion named "Hongniang". She not only has to take care of Miss Cui Yingying's daily life, but also monitors Miss on the order of the old lady and reports immediately if there is any bad tendency. But after Hongniang saw Miss Yingying's mind towards Zhang Sheng, she still broke through the shackles of feudal ethics and risked being punished by the old lady to help Miss Yingying and Zhang Sheng, and finally made the lovers become a couple under the matchmaking of Hongniang. Since then,"Hongniang" has referred to those who match men and women to become husband and wife. And "pulling the red thread" is a metaphor for "facilitating marriage".

In addition, there are also some Chinese ancient poems and some original poems in ''Fox Spirit Matchmaker''. For example,"Ask what on earth love is, which directly makes it difficult for the magpie bridge to cross the pain of lovesickness, and directly makes it difficult for the butterfly to pick the sweetness of the same heart". This sentence is adapted from Yuan Haowen's ''Moliyu·Yanqiu Ci'' in the Jin Dynasty. Another example is "On the seventh day of July, at the bamboo pavilion by the Huai River, the scabbard and the flute depend on each other, without regret or complaint". This sentence is written by the author of ''Fox Spirit Matchmaker''. These poems endow this animated work with a romantic atmosphere and enhance its artistic quality, making it more ornamental and aesthetically valuable.

==Influence From Abroad==
==Animation Production Techniques==
==Terms And Expressions==
==Questions==
==Translation==
===概述===
在《剑桥高级学习者词典》中，“动画”一词意为移动的图片。在这里，中国动画指的是（中国大陆）中国人制作的动画。中国动画起源于20世纪20年代。1922年，中国第一部广告动画《舒振东华文打字机》制作完成。1926年，中国第一部动画片《大闹画室》制作完成。1935年，中国第一部有声动画影片《骆驼献舞》制作完成，翻开了中国动画历史的一页。20世纪40年代，万氏兄弟创作了中国动画的第一部故事片《铁扇公主》，该片在东南亚和日本上映并受到热烈欢迎，为中国动画走向国际奠定了良好基础。20世纪50年代至80年代，中国进入了动画的黄金时代。在这一时期，在计算机动画技术被广泛应用之前，主要有三种传统动画类型，包括剪纸动画、水墨动画和木偶动画。中国动画曾有过无与伦比的辉煌，这也证明了中国动画有实力且有适合自身发展的艺术规律。纵观中国动画在过去几十年的发展，可以看出中国动画一直致力于走一条具有自身特色的道路。（中国动画百度百科）（罗虹 2011年6页）（罗虹 2011年335页）
===传统元素===
中国动漫大多以神话传说或者是古代历史为背景，因此涉及许多中国传统元素。其中，有些动漫作品完全按照原神话来制作，还有一些编造出一个从来没有的故事，但大多数是根据已有神话或历史事件改编。
比如中国早期的动画《大闹天宫》，《哪吒闹海》，《铁扇公主》都是由长篇小说《西游记》改编。然而，哪吒这一人物最早并非出自中国，而是出自印度佛教神话，但传入中国较早，多个朝代都有关于哪吒的记载：

晋代：《佛所行赞经·第一生品》记载：“毗沙门天王，生那罗鸠婆（即哪吒），一切诸天众，皆悉大欢喜，王今生太子，迦毗罗卫国，一切诸人民，欢喜亦如是。”哪吒在佛教最早的文字记载中是一位深受大众欢迎的正义战神，一出生就让天地间的一切天众神佛及百姓为之欢颂。
唐代：《首楞严经义海》记载：“天王太子即那吒之类，辅政统摄，跨握鬼物，护世益人。”
宋代：《嘉泰普灯录》记载：“那吒十面十眸动，无相灵光翳日轮。”

从晋代开始，几乎历朝历代都有对哪吒的描述。在《佛所行赞经·第一生品》中，哪吒被描述为“一出生就让天地间的一切天众神佛及百姓为之欢颂”，而在动漫作品《哪吒之魔童降世》中，哪吒是作为一个“魔童”降世的，天性恶劣，一出生就引起了百姓的恐惧和厌恶，而导演如此改编的用意，大概是为了为哪吒在最后舍命救众人做铺垫，以此凸显哪吒善良的品格。因此，这部作品传达出这样一个观念：即使是妖魔，也有善良的。这样的观念，在中国文化中很常见。《西游记》中有许多妖怪都是看似很恶，但并没做过什么罪大恶极的事，一般都是偷偷东西以及抢劫，至少光明磊落。反观人类社会，各种算计，阴谋，陷害，简直比妖怪还恶；第一是感慨人类社会的险恶，二是对“恶人标签”的摒弃，即不存在绝对的恶人。这正是许多中国作家想要通过妖怪表达的价值观。

无独有偶，在动漫《狐妖小红娘》中也有这种价值观的影子。在这部动漫中，人与妖共存于世间，描写了一些善良的为了保护别人而不惜牺牲自己的妖怪和一些为了力量而谋害妖怪的人类。而这部动漫还涉及另一些中国传统元素。它主要讲述了以红娘为职业的狐妖，在为前世恋人牵红线的过程中发生的一系列有趣、神秘的故事。而“红娘”一词，来源于元代杂剧家王实甫创作的《崔莺莺待月西厢记》。在《崔莺莺待月西厢记》中有一个相国府的婢女名叫“红娘”，她不仅要照顾崔莺莺小姐的饮食起居，同时也奉老夫人之命监视小姐，有不良倾向要随时汇报。但是当红娘看出了莺莺小姐对张生的心思之后，还是突破了封建礼教的束缚，冒着被老夫人责罚的风险帮助莺莺小姐和张生，终在红娘的撮合下使有情人终成眷属。此后，“红娘”便指那些撮合男女双方成为夫妻的人。而“牵红线”便是“促成姻缘”的比喻。

另外，《狐妖小红娘》中还有一些中国古诗词以及一些原创诗词，比如“问世间情为何物，直教鹊桥难渡相思苦，直教化蝶难采同心甜”，这一句改编自金代元好问的《摸鱼儿·雁丘词》;又如“七月初七，淮水竹亭，鞘笛相依，无怨无悔”，这一句是原创。这些诗词赋予这部动画作品一种浪漫的氛围，提升了它的艺术品质，使其更具观赏性和审美价值。

=Zhu Ran |Military-style Travel=
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==Introduction==
==Main Part==
==Conclusion==
==Questions==
==References==

=Long Yuhan |Folk Art: Youshen Fairs=
==Introduction==
Youshen Fairs（Wandering Gods), also known as the Holy Driver Tour, the Tour of the Master, the Tour of the Bodhisattva, the Tour of the God Race, the New Year's Exercise, the Welcoming of the God, the Carrying of the God's Statue, the Statue of the God on Tour, etc., refers to the fact that during the New Year's period, or other festivals, people go to temples and bring the statues of the gods into the palanquins, and carry them out of the temples to tour the territory to accept the people's incense and worship to signify that the gods have landed in the folklore to visit the towns and villages and to bless the peace and safety of the territory. The main purpose of the festival is to reward the gods, eliminate disasters, and pray for blessings. From the third to the fifteenth day of the first month of the lunar calendar, it is the time to visit the gods. The gods often tour the village as a unit, sometimes several villages jointly, in the drums and gongs and the sound of firecrackers in the village parade, the people watching, greeted, the scene is warm. (Hu Xiulei, Huang Xiaojian 2012 42-48+34)

==Main part==
===Origin===
===Ceremony and Content===
===Taboos===
===Zhao Shizi===
==Conclusion: Value and Significance==
==Terms and Expressions==
==Questions==
==References==
==Translation==

=Pei Xinxian |=
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=Hu Yujie |=Cuisine：Hunan cuisine, one of the eight major cuisines
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=Li Shujing |Music and Instruments: Suona Horn=
==Introduction==
Suona, Chinese double-reed woodwind instrument, the most commonly used double-reed instrument. Similar to the shawm, the suona originated in Arabia; it has been widely used in China since the 16th century. The reed is affixed to a conical wooden body covered by a copper tube with eight finger holes (seven in front and one in back), to which is fitted a brass bell. Its range is generally about two octaves, and it comes in many sizes. The suona is characterized by its shrill and penetrating sound and the frequent use of tonguing in performance. It is much used in military music ensembles and religious processions and as a stage instrument in Chinese operas.
==Position in Chinese Folk Music==

The original suona is a musical instrument spread in Persia and Arabia, and even its name is a transliteration of the ancient Persian word Surnā. Suona appeared in China around the third century AD. There are already images of suona playing in the Jiyue murals in Cave 38 of Kizil Grottoes in Baicheng, Xinjiang. In the Jin and Yuan dynasties more than 700 years ago, it spread to the Central Plains of China. During the Ming and Qing dynasties, it was widely used in folk music bands for weddings and funerals, and was also used as an accompaniment for folk songs, dances and operas.

"Birds Paying Homage to the Phoenix", originally named "Ten Scenes", is the most representative among many suona tunes, demonstrating the expressiveness of the suona to an extreme. In the sound of "Birds Paying Homage to the Phoenix", there are warbler singing and dancing, birds and flowers, contributing to a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.birds and flowers, a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.

As a traditional folk instrumental music performance art and one of the most valuable intangible cultural heritages with folk art charm, suona art plays an important role in Chinese folklore. Suona is believed to ward off evil spirits and bring good luck, making it a common choice for auspicious occasions like New Year celebrations, birthdays, marriage ceremonies and harvest festivals. Meanwhile, suona is often used in funeral ceremonies, accompanying the procedures of wake, condoling and burial, and in some places, suona is also used in grave digging ceremonies. Suona's deep tones evoke emotions ranging from joy and celebration to sorrow and remembrance, reflecting the complex tapestry of human experiences.

Except its significance, the precious cultural value of suona can not be ignored, which can be concluded as historical value, artistic value, folklore value and humanistic value.

After hundreds of years of cultural exchanges and integration between the north and the south, suona has formed its unique characteristics and customs. Through the long historical development, people can appreciate the developing path and passing on traditions of Chinese folk music. In terms of craftsmanship, suona is crafted from materials like bronze or brass, showcasing the skills of metalworkers from different periods. They have evolved over time, with modern versions incorporating improvements in design and playing techniques, while still maintaining their traditional essence.

In summary, the artistic value of the suona lies in its ability to express human emotions, convey stories, showcase virtuosity, represent diverse regional cultures, and serve as a cultural symbol within Chinese society. Take the regional diversity for example, suona exists in several variations across China, each with its distinct style and local nuances. Each region in China has its own style of playing the suona, like the famous "Lanzhou Suona" from Gansu Province or "Huangmei Suona" from Anhui. These local variations carry rich cultural heritage and are an expression of regional identity. These regional differences reflect the country's rich cultural diversity and contribute to the overall artistic richness of the instrument.

Besides being used in Chinese traditional ceremonies, suona has other values in different aspects. During village gatherings or agricultural rituals, suona bands are common, providing entertainment and a sense of unity among community members. In some cases, the suona is believed to have spiritual properties, believed to ward off evil spirits or bring blessings through its music.
Overall, suona plays a vital role in Chinese folk culture, serving as a connection to the past, a source of communal joy, and an integral part of diverse local traditions.

Suona embodies a deep connection to human values such as cultural continuity, emotional expression, resilience, storytelling, and the pursuit of harmony, making it a valuable aspect of our collective humanistic heritage. During community gatherings and ceremonies, suona's sound unites people and creates a sense of unity, reinforcing the importance of social cohesion and shared experiences. What’s more, the use of suona in traditional Chinese music often reflects the harmony between man and nature, symbolizing the balance sought in human life and the environment.

In China, the traditional suona is mainly used in weddings, funerals and other ceremonies in rural areas. However, with the acceleration of urbanization and the influence of western culture, the living space of suona is becoming narrower and narrower. It is necessary to open up new space for the inheritance and development of suona.

To some extent, the expansion of new media channels can reduce suona's dependence on wedding and funeral ceremonies, weaken its functional limitations, and develop its modern musical attributes and characteristics. With the development of new media technology, the communication advantages of platforms such as Douyin, Kuaishou and XiaoHongshu continue to be highlighted, with fast communication speed, wide dissemination range, strong interaction and wide audience, which are deeply loved by young people. Inheriting suona skills through new media channels can not only broaden the spreading space of suona, but also improve the spreading effect.

The inheritance and innovation of suona cannot be separated from talents, and the development of suona can be injected with fresh blood through innovative talent training mode. Suona artists must break the barriers between families and factions, learn from each other, and form a joint effort to cultivate the next generation. Meanwhile, suona artists should strengthen the consciousness of people's culture, realize the importance of protecting these instrumental music cultures, and establish a system of inheritance and protection. While maintaining traditional cultural characteristics, we try to integrate fresh cultural elements into it to make it more in line with modern aesthetics and awaken the cultural emotions of the whole people.

At the same time, the inheritance and development of suona cannot be separated from the support of the government. The promulgation of the intangible cultural heritage regulations protects this intangible cultural heritage project to a certain extent, but it is far from enough. A series of relevant measures should be introduced to implement the policy in detail. The decline of suona is the decline of traditional folk culture from the root. Local governments should protect suona culture from the root, organize various forms of folk culture programs, so as to give suona culture more opportunities to be displayed and give it more official recognition.

==Conclusion==
==Terms and Expressions==
==Questions==
==References==
https://www.britannica.com/art/suona

=Chen Jiawen |=
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=Xiang Lu |=Music: Sang Zhi Folk Songs

== Introduction ==
桑植县，隶属于湖南省张家界市，位于湖南西北边陲, 是贺龙元帅的故乡、红二方面军长征出发地, 拥有中国首批、湖南省首个国家级自然保护区八大公山原始森林，被纳入中国“人与生物圈保护区（MAB）”和“中国具有全球意义的17个生物多样性关键地区之一”。
桑植民歌，湖南省桑植县地方传统音乐，国家级非物质文化遗产之一。

== Development ==
桑植民歌起源于原始农耕时期先民日常生产生活中的歌谣，是湖南省桑植县百姓在长期的生活实践中创造、传唱、累积起来的民间音乐文化品种，已有2000多年的历史。桑植民歌节奏明快、旋律优美、曲调丰富、形式多，现存民歌一万余首，著名歌曲有《马桑树儿搭灯台》、《冷水泡茶慢慢浓》、《门口挂盏灯》等。
屈原在《九歌》中写道：“捐余玦兮江中，遗余佩兮醴浦。”《九歌•湘人》中更是记载到：“沅有茝兮醴有兰，思公子兮未敢言。荒忽兮远望，观流水兮湲”，“成礼兮会鼓，传芭兮代舞，姱女倡兮容与。春兰兮秋菊，长无绝兮终古”，这是最早与桑植以及桑植民歌有关的文字。此处的“醴”便是指现在的澧水。澧水是湖南的四大水系之一，在常德市澧县小渡囗注入洞庭湖。
《后汉书·马援传》记载：“二十四年，武威将军刘尚击武陵五溪蛮夷，深入，军没，援因复请行。”“贼每升险鼓噪，援辄曳足以观之，左右哀其壮意，莫不为之流涕。”名将相单程凭借天险据守数月后将马援军队困在沅江南岸的壶头山，马援望江兴叹，一筹莫展，“升险鼓噪” 的典故由此而来。其中“鼓噪”在当时也称“蛮歌”，随后演变成如今的桑植民歌。（王胤，试述桑植民歌歌词的语言艺术，33）
明代，桑植土司率桑植数干土家儿郎应朝廷之召远赴江浙、朝鲜三度抗倭。在抗击倭寇（13-16世纪的日本海盗），的过程中，《马桑树儿搭灯台》应运而生。关于马桑树有两种说法：一说是传说中的马桑树儿高大挺拔，男女双方依依不舍，马桑树下送情人远去；二说是痴情男女搭建树台，台上放置一盏油灯，在灯下写信，心系远方。这就烘托出一对坠入爱河的青年男女分手时的不舍情绪，在1928年的夏天，红军师长贺锦斋用这首桑植民歌与爱妻戴桂香生离死别，她终生素衣守寡，6多年里几乎每天都去丈夫坟前唱这首歌，每天摘一两片马桑叶，直到离世，她留下的一口木箱，装的全是马桑叶。（王胤，试述桑植民歌歌词的语言艺术，37）
清代同治年间的《桑植县志》载：“雍正五年（1727年），邑人张宏毅偕侄崇周、仕周在县城西捐地创建武庙，有歌楼。”1942年版的《桑植县志》印证了这一说法：雍正五年，邑人张宏在城西捐地创建武庙，有歌舞楼，白叟黄童尽歌舞。乾隆年间的《桑植县志》记载：“土家正月赛灯、摆手、唱摆手歌，为秋千之戏，至正月十六为止。”此外，清嘉庆二年桑植河口人沙文清创作了《挽友人》称：“日边飞送燕歌声，疑信偏教旅梦惊。”其“越歌，为丧歌”说明了桑植民歌在清代已经较为普及。（只宠迩一人，baidu.com）
在近代中国，著名的开国将领贺龙在桑植“两把菜刀闹革命”，建立了以桑植为核心的湘鄂革命根据地。云、贵、川、滇、鄂、桂、赣等地的红军在此集结，带来了各地民歌，和桑植民歌融合在一起，推动了桑植民歌的发展。桑植民歌也收到时代影响，创作了许多反映军民感情的歌曲，如《门口挂盏灯》等。
新中国成立后，中国政府先后组织文艺工作者搜集桑植民歌，共计有10000余支。20世纪50年代，桑植民歌就唱到省垣京城。60年代，桑植县文化馆搜集整理民歌1万多首。
1987年湖南民间歌舞团前往波兰参加国际民间歌舞晚会，首次将桑植民歌推向国际舞台；2004年，歌唱家宋祖英在维也纳金色大厅举行个人独唱音乐会，演唱《马桑树儿搭灯台》；2008年，歌唱家雷佳将《马桑树儿搭灯台》收录至《中华五十六民族之歌》，作为国礼赠送给参加奥运会的各个国家。
2006年5月20日，桑植民歌经中华人民共和国国务院批准列入第一批国家级非物质文化遗产名录，项目编号：Ⅱ-10。

== Division ==

== Protection ==

== Conclusion ==

== Terms and expressions ==

== Questions ==

--[[User:Mou Yihong|Mou Yihong]] ([[User talk:Mou Yihong|talk]]) 08:35, 7 June 2024 (UTC)=Mou Yihong |Music and instrument: Ancient Chinese pentatonic scale--Gong,Shang,Jue,Zhi,Yu=

Abstract

This paper examines the ancient Chinese pentatonic scale, comprising the notes Gong, Shang, Jue, Zhi, and Yu. We delve into the historical background, musical characteristics, and instrumental applications of this scale in traditional Chinese music. By exploring the role of these five notes in various musical genres and instruments, we aim to provide a comprehensive understanding of the pentatonic scale in ancient Chinese music and its cultural significance.

Introduction:

The ancient Chinese pentatonic scale, consisting of Gong, Shang, Jue, Zhi, and Yu, is a fundamental component of traditional Chinese music. This scale, with its unique sound and symbolism, has been utilized in various forms of Chinese music for centuries. It is not only a musical construct but also deeply intertwined with Chinese culture, philosophy, and cosmology. This paper explores the pentatonic scale in ancient Chinese music, focusing on its historical evolution, musical characteristics, and instrumental applications.

Historical Background:

The pentatonic scale in ancient Chinese music dates back to the prehistoric era, where it was likely first used in primitive folk music and rituals. Over time, this scale became a fundamental component of traditional Chinese musical theory and practice. The earliest recorded mention of the five notes, Gong, Shang, Jue, Zhi, and Yu, appears in ancient texts such as the "Book of Rites" and the "Book of Songs." These notes were associated with the five elements of nature (earth, metal, wood, fire, and water) and the five directions (center, west, east, south, and north), reflecting the ancient Chinese belief in the interconnectedness of all things in the universe.Gong, the first note, represents the element of earth and is characterized by its stability and grounding sound. Shang, the second note, corresponds to metal and has a bright and resonant sound. Jue, the third note, represents wood and is associated with a clear and piercing tone. Zhi, the fourth note, corresponds to fire and is known for its lively and energetic sound. Yu, the final note, represents water and is characterized by its smooth and flowing melody.

Musical Characteristics:

The pentatonic scale in ancient Chinese music is characterized by its simplicity, purity, and balance. Each note in the scale has a unique sound and symbolism, creating a harmonious and balanced musical structure. The ancient Chinese five tones, namely Gong, Shang, Jue, Zhi, and Yu, correspond to the Western musical scales as follows: Gong to C, Shang to D, Jue to E, Zhi to F, and Yu to G. These correspondences are based on the perceived similarity in pitch and musical characteristics between the two systems.The ancient Chinese musical scale having two fewer notes than the Western scale is not a matter of mathematical or physical limitation but rather a result of cultural and aesthetic preferences. The five-tone system in ancient China was based on the concept of "five elements" (wood, fire, earth, metal, water) and their corresponding relationships with the human body and nature. This system emphasized balance, harmony, and simplicity, which were reflected in the musical scale as well. The two omitted notes, Fa and Si, in the Western scale are considered semi-tones, and their absence in the ancient Chinese scale contributes to a more harmonious and balanced sound.The lack of semi-tones in the ancient Chinese scale has a profound impact on the character and expression of Chinese music. It contributes to a more serene, harmonious, and meditative quality that is often associated with traditional Chinese melodies. The absence of sharp dissonances and the emphasis on balance and simplicity allow the music to flow smoothly and evoke deep emotional responses. This unique aesthetic is a defining characteristic of Chinese music and has influenced its development and evolution throughout history.In summary, the ancient Chinese five-tone system, while differing from the Western scale in terms of note count, possesses its own unique aesthetic value and influence on Chinese music. Its simplicity, balance, and harmonious sound have contributed significantly to the rich cultural heritage of Chinese music.

Instrumental Applications:

The pentatonic scale has been utilized in various traditional Chinese musical instruments, including the zither (guqin), the bamboo flute (dizi), and the pipa. These instruments have unique playing techniques and expressive capabilities that bring out the distinctive sounds and characteristics of the five notes. The zither, for example, utilizes plucking and finger-pressing techniques to create the rich and resonant tones of the pentatonic scale. The bamboo flute, on the other hand, relies on breath control and fingering to produce the clear and piercing melodies of the scale. The pipa, a four-stringed plucked instrument, utilizes plucking and strumming techniques to create a lively and energetic soundscape within the pentatonic scale.

Cultural Significance:

The pentatonic scale in ancient Chinese music is not merely a musical construct; it is also deeply rooted in Chinese culture and philosophy. The five notes correspond to the five elements of nature and the five directions, reflecting the ancient Chinese belief in the interconnectedness of all things in the universe. The pentatonic scale also embodies the Chinese concept of harmony and balance, representing the harmonious coexistence of different elements and forces in nature. This cultural significance has been passed down through generations, influencing the development and evolution of traditional Chinese music and instruments.

Conclusion:

The ancient Chinese pentatonic scale of Gong, Shang, Jue, Zhi, and Yu is a unique and fundamental component of traditional Chinese music. This paper has explored the historical background, musical characteristics, and instrumental applications of this scale, revealing its deep connections with Chinese culture and philosophy. By understanding the pentatonic scale and its role in traditional Chinese music, we gain a deeper appreciation of the richness and complexity of this ancient musical tradition.

=Yu Xinzhong | Social Phenomenon: Modern China's Inter-provincial Migration=

'''Overview:'''

The phenomenon of population migration has been very common in ancient China, but since modern China, especially after the reform and opening up, the inter-provincial migration of China’s population has become unprecedentedly common. The main reason for that is absolutely economy. Such waves of migration have brought significant economic benefits to the regions where the population moves in, but at the same time, they have also given rise to a series of economic, social, and cultural issues. In the process of migrating to improve their standard of living, migrants also undergo certain hardships.

'''The Process of The Migration'''

=Song Chengshuang |=

Chinese tradition culture：Zan hairpin flower

Many tourists have recently come to Quanzhou to experience the XunPu women's hairpin flowers because of this saying, "Adorn yourself with flowers in this life, be beautiful in the next". Quanzhou is a city with a long history and culture in China, with mountains and seas, rich cultural heritage and historical heritage. "Zanhua" is also one of the characteristic cultures of the local XunPu Village. Hairpin flower is actually a type of ancient Chinese headwear, usually fixed on a bun by an ivory hairpin, and then wrapped with flowers in nature or flowers made of other materials. The Zanhua culture has a long history of two to three thousand years and is one of the national intangible cultural heritages.

Cultural customs

As for why it is necessary to hairpin and Zanhua, some people say that the locals initially used animal bones such as fish, sheep, and cows to hairpin, which preserves the ancient custom of "bone needles to secure hair". Others say that "Zanhua Wei" originates from the custom of Central Asian women wearing flowers, which is brought back by the exchange of the Maritime Silk Road during the Song and Yuan dynasties. XunPu women are known for their qualities of Diligent Housekeeping. In order to facilitate their work at the seaside, they wear a large train top, wide tube pants, headwear such as "Zanhua Wei" and earrings such as "DingXianggou", which have become typical features of XunPu women. The headwear and folk culture of the XunPu women record their optimistic attitude towards life, and it is every woman's longing and pursuit of beauty. In addition, it is also a microcosm of ocean culture and the Maritime Silk Road. With its unique geographical environment and cultural characteristics, XunPu embodies the philosophical idea of "Heaven and Man are united as One" in which foreign culture coexists with local culture. [1]

Historical development

Zanhua originated in the Qin and Han dynasties, became popular in the Tang dynasty, flourished in the Song, Yuan, and Ming dynasties, and gradually declined during the Qing dynasty.

（1） The Zanhua Culture Before the Tang Dynasty

The Zanhua culture has a long and rich history, and its development can be traced back to the Warring States period. At that time, although the Zanhua Culture had not yet formed, people began to use flowers as headwear to express their inner emotions. During the Qin and Han dynasties, the trend of hairpin flowers gradually emerged. Especially in the Han Dynasty, women in the Sichuan regions regarded hairpin flowers as fashionable, which is evidenced by the Eastern Han Dynasty pottery figurines with mirrors unearthed in Chengdu. From the Wei, Jin, Southern and Northern Dynasties to the Tang Dynasty, the trend of hairpin flowers became increasingly fierce.

（2） The Zanhua Culture of the Tang Dynasty

The Tang Dynasty was the golden period of Zanhua culture, and both the royal nobles and common people were enthusiastic about hairpin flowers on their heads, forming a unique social trend. The high attire flower bun of Tang Dynasty women was particularly popular, which not only was gorgeous and eye-catching, but also laid the foundation for the popularity of the "flower crown" in the Song Dynasty. In the painting of Portrait of a Flower-wearing Maid, the author uses the elements of flowers to depict the wealth and prestige of aristocratic women in the palace, reflecting the Zanhua Culture at that time. In the painting, except for the maidservants, five noble women are adorned with hairpins on their heads, using vigorous and clean brushstrokes, appearing incredibly beautiful and radiant. In addition, the Zanhua Culture during the Double Ninth Festival also adds to the festive atmosphere. [2] Wang Wei wrote in his poem "Memories of Shandong Brothers on September 9th": " I know from afar where my brothers are climbing high, but one less person is missing when they wore with Cornus officinalisu everywhere." Here, "wore Cornus officinalis" expresses the custom of the Zanhua Culture during the Double Ninth Festival. On the Double Ninth Festival, besides wearing Cornus officinalis, people also have the custom of wearing chrysanthemums. During the Double Ninth Festival, when people climb high to play, they usually have to put chrysanthemums all over their heads to go home.

（3） The Zanhua Culture of the Song Dynasty

In the Song Dynasty, the hairpin culture reached its peak, men's hairpin became popular and became a court etiquette at that time. Compared with the Tang Dynasty, it was more common for men in the Song Dynasty to hairpin flowers, and it was not limited to festivals or celebrations. In the Song Dynasty, people believed that wearing flowers on the head was auspicious, so during that period, when encountering major events, the emperor and officials would wear flowers. During the reign of Emperor SongTaizong, a banquet and flower were held for the annual Jinshi ceremony, and people had to hairpin flowers as rewards. At the same time, women in the Song Dynasty were also enthusiastic about using flowers to dress themselves up. They would choose suitable flowers according to seasonal changes and display different styles. The love for hairpin flowers among literati in the Song Dynasty also reached a climax. They believed that wearing flowers on their heads not only looked beautiful, but also reflected the elegance and taste of literati. Su Shi, a great poet in the Song Dynasty, was very fond of hairpin flowers. He once said, "When people grow old, they should not be ashamed of hairpin flower. Flowers should be ashamed of on the head of old people.” The hairpin flowers of Song Dynasty poets not only reflect the aesthetic taste and characteristics of the time, but also reflect the open and free mentality of the entire society, containing rich humanistic spirit."

（4） The Zanhua Culture After the Song Dynasty

In the Yuan, Ming, and Qing dynasties, the custom of hairpin flowers evolved. Although it was not as popular as in the Song dynasty, it still remained within a certain social class and specific festival celebrations. For example, the records of the Zanhua Culture in the Ming Dynasty mainly appeared in social activities such as the Spring Festival, imperial examinations, wedding customs, expeditions, and leisure activities. [3] And with the development of makeup technology, hairpins are more often combined with hairstyles and makeup, becoming a part of overall image design.

（5） The Zanhua Culture in the Modern and contemporary times

From modern times to today, the tradition of hairpin flowers has been preserved in some regions and specific contexts, such as the bride's wedding headwear, folk festival activities, and the costumes of characters in traditional Chinese opera performances and has evolved into hairpin flower ornaments made from various materials such as flowers and silk flowers.

The significance of hairpin flowers

（1） Decorative

Hairpins initially appeared as headwear, reflecting personal elegance and lifestyle, especially for women who show beauty through hairpins.

（2） Symbolic significance

Different flowers have their own meanings, such as peonies symbolizing wealth and auspiciousness, and plum blossoms symbolizing pride and a clear breeze. Wearing them can express the wearer's emotional support or pursuit of beautiful qualities.

（3） Social status markers

In certain historical periods, hairpins became makers of status and identity. For example, during the Song Dynasty, emperors gave flowers to officials, and officials of different levels received flowers of different materials and colors. As a result, hairpins had the function of distinguishing between official ranks.

From ancient times to the present, hairpin flowers not only have ornamental value, but also represent traditional culture and epitome of Eastern aesthetics. People of different ages, regardless of gender, continue this long-standing tradition of meticulously embellishing themselves with clusters of flowers, living seriously, and striving to live beautifully. The Zanhua Culture blooms with a timeless fragrance, as well as a rich life belonging to ordinary people. With the changing times, hairpin flower is not only a decoration, but also a symbol of cultural inheritance, carrying people's longing and pursuit for a better life. In modern society, hairpin flower has also become artworks and collectibles, showcasing the fusion of tradition and modernity. Both classical and modern styles of hairpins reflect the vastness and profundity of Chinese culture, as well as the charm of traditional aesthetics.

References:

[1]袁晓鹏.泉州蟳埔女头饰民俗文化的美学思想研究[J].戏剧之家,2015,(22):247.

[2]张轶梁.《簪花仕女图》的簪花艺术表现及文化传承[J].东方收藏,2023,(09):33-35

[3] 庞雅静 .《簪花仕女图》的色彩美研究 [J]. 美与时代（中），2022（08）：63-65.

=Tan Yalan |Xiangdao=
Please start to write now.

=Xiao Ye |The Imperial Civil Examination System=
==Introduction==
The imperial civil examination system is an ancient Chinese system of selecting officials through examinations. From its inception to its abolition in 1905, it had a long history of more than 1,200 years and had a profound impact on the society at that time. It was considered to be the fairest way of talent selection that could be adopted in the feudal era, but in the later stages of development, its drawbacks gradually came to the fore, and its negative effects became more and more significant. In addition, ancient Japan, Korea, Vietnam and other countries that had close exchanges with China were also deeply influenced by the imperial civil examination system. To this day, the imperial civil examination system still has profound cultural value and significance.(Baidu Encyclopedia：The imperial civil examination system）
==The development of the imperial civil examination system==
The origin of the imperial civil examination system is controversial in historical circles, with various claims ranging from the Han, Sui, to the Tang dynasties. The mainstream view, however, is that the system was initiated during the Sui Dynasty and further developed and perfected during the Tang.
1 Sui Dynasty: Establishment of the imperial civil examination system
Before the Sui Dynasty, the official selection systems were largely corrupt. For instance, the “Nine Ranks system” during the Wei, Jin, and Southern and Northern Dynasties was based on family background and social status rather than ability. During its implementation, it was unable to escape the notion of class privilege and lacked standardized regulations, leading to widespread corruption among officials. After the establishment of the Sui Dynasty, Emperor Wen of Sui fully recognized the shortcomings of the previous official selection systems and abolished the Nine Ranks system. He began to use a system of specialized examinations to select officials. During the reign of Emperor Yang of Sui, the jinshi,(the highest level and the most difficult of imperial civil examinations) was established for the first time, marking the formation of the civil service examination system.
2 Tang Dynasty: The Perfection of the Examination System
The Tang Dynasty inherited and improved the imperial civil examination system of the Sui Dynasty. It was manifested in the following: Emperor Taizong of the Tang Dynasty increased the number of subjects to be examined, with the two subjects of jinshi and mingjing as the main subjects; Emperor Wu Zetian expanded the number of people who could be selected for the imperial examinations, and created the military examination and the palace examination; Emperor Xuanzong of the Tang Dynasty appointed high-ranking officials to preside over the examinations, and raised the status of the imperial civil examination system.
3 Northern Song Dynasty: Development and Reform of the Imperial civil Examination System
The examination system in the early years of the Northern Song Dynasty saw further development compared to the Tang Dynasty, mainly reflected in the following aspects: First, the examination process was strictly regulated, with the exam divided into three levels: the county examination, the provincial examination, and the palace examination, which became a fixed institution. Second, the number of examination subjects was simplified, with the jinshi subject becoming the most important. Third, the “anonymizing method” was implemented in the examination process to prevent corruption by examiners. Fourth, the number of candidates admitted was expanded.
During the mid-Northern Song Dynasty, Wang Anshi implemented reforms and made changes to the content of the imperial civil examination system. He abolished the subjects that required rote memorization, such as the Mingjing subject and so on, and the jinshi subject no longer included poetry and prose, focusing instead on the study of classics and contemporary affairs. He established the Mingfa subject, which was specifically focused on the examination of laws, regulations, and legal cases. However, with the failure of the reforms, these measures were also repealed.
4 The Ming and Qing dynasties: the rigidity of the imperial examination system
In order to strictly control the thinking of the scholars, the imperial civil examination system of the Ming Dynasty underwent significant changes from content to form. The examination was based only on the Four Books and Five Classics of Confucianism. Candidates were not allowed to express their own opinions. The style of the answer sheet was strictly regulated, and the essay was mechanically divided into eight parts, which was called “Stereotyped Writing”. This severely restricted people's thinking, stifled intellectual ingenuity and creativity, ossified thinking, and seriously impeded the development of Chinese science and culture.
5 Late Qing Dynasty: Abolition of the Imperial civil Examination System
In the 1898 Hundred Days Reform, Emperor Guangxu issued an edict to "abandon the eight-legged essay and replace it with policy essays". After the failure of the Hundred Days Reform, in 1905, the Qing government announced the abolition of the imperial civil examination system. From then on, the imperial civil examination system came to an end.(Lin,33-34)

=Li Sijin |Literature:Qu Yuan=
==Introduction==
Qu Yuan is a famous great patriotic poet in Chinese history, the founder of Chinese romantic literature, and the founder and representative writer of "Chu Ci". 2,300 years ago, the great patriotic poet Qu Yuan threw himself into the Miluo River. The spirit of Qu Yuan has been continuously interpreted since the Han Dynasty, showing distinctive characteristics of the times in each era; The activities and festivals commemorating Qu Yuan have become important cultural traditions of the Chinese nation, and people have increased their sense of belonging and identity through commemorating Qu Yuan. The spirit of Qu Yuan has been widely disseminated and recognized abroad, and the Chinese Dragon Boat Festival has been included in the "Representative List of Intangible Cultural Heritage".

==Main Part==
In 340 B.C., Qu Yuan was born in the state of Chu. When he was young, he received a good education and had a big ambition. After entering politics, he advocated for "good governance", advocating for internal governance with clear laws and external alliances to resist the state of Qin. Later, he was marginalized by the aristocracy and exiled to the region of the Yuan and Xiang rivers. However, like a warrior, he steadfastly upheld his ideals, practiced the ways of a nobleman, never allowing worldly corruption to tarnish his lofty and noble character. In 278 BC, when there was no way to serve the country , Qu Yuan committed suicide in the Miluo River in complete despair.
1.Qu Yuan's virtue

Qu Yuan used his own name to reflect the moral standards he pursued. According to the opening of "Li Sao," "My father gave me the name 'Zheng Ze,' and called me 'Ling Jun'." "Zheng Ze" signifies integrity and righteousness, adhering strictly to principles of conduct: "Ling Jun" denotes intelligence, wisdom, fairness, and justice. In the "Song of the Orange Tree," he further exemplifies his character by the steadfastness of the orange tree: for the sake of his noble ideals, he would never compromise, even unto death. Qu Yuan's eternal aspiration lies in his literary works and political ambitions, all of which stand on the side of the people. His greatness lies in his unwavering compassion for the country and its people, and his profound love for his homeland. The reason his deeds and works are intertwined with the daily lives of the people and have become a significant commemoration of a traditional festival is because his words and actions overflow with boundless love for the motherland, the people, and the native culture. Deeply embedded within them lies the enduring strength of national spirit and culture. "No one in the country knows me, why cling to the old capital?" Qu Yuan once pondered the question of "why not leave the country," but ultimately, he did not embark on distant travels, which truly reflects his steadfastness to his spiritual and cultural heritage.

2.Qu Yuan's political advocacy and contributions

Qu Yuan was a great politician. On the one hand, he set up the ideal and ambition of "good governance" very early, and the political goal for which he fought for all his life. He advocated internal governance with clear laws and the reform of politics. At this time, Qu Yuan, who was honest, upright and selfless, was supported by King, and the six reform measures he carried out made the state of Chu stronger and stronger. On the other hand, Qu Yuan advocated external alliances to resist the state of Qin. His foreign policy made the state of Chu once present a situation of national wealth and strong army.

3.Qu Yuan's poems

Poet is Qu Yuan's primary label throughout the ages. Qu Yuan integrated his life with his homeland, and his specific works are full of deep feelings for his country, which are worthy of praise and learning for future generations.From his life and works, people have summarized and continuously expounded the "Qu Yuan spirit", and with the changes of the times, it has been constantly endowed with new connotations of the times. He recounted in "Li Sao": "Long did I sigh and wipe away my tears, to see my people bowed by griefs and fears." The poet expressed deep sympathy for the difficult life of the people. And this kind of love and sorrow intertwined also made Qu Yuan refuse to leave his hometown until he died. His feelings for the country and the people also erupted uncontrollably in a series of poetic works such as "Jiu Ge" and "Jiu Zhang". Therefore, Qu Yuan's poetry has incomparable cultural value.

4.The embodiment of Qu Yuan's spirit in modern times

Today, during the Dragon Boat Festival, various regions across China highlight the theme of honoring Qu Yuan, praising his upright path and his spirit of patriotism and love for the people. Through storytelling about the festival and Qu Yuan, reciting poetry, and participating in dragon boat races, they lead the public in learning about traditional culture and nurturing patriotic sentiments.Since the 18th National Congress of the Communist Party of China, he has praised his honest and noble personality on different occasions, andhas repeatedly quoted famous sentences from Qu Yuan's poems to expound his thoughts.Today, as we commemorate Qu Yuan, we honor the traditional Chinese scholar's spirit of confronting life and death, boldly striking at the unknown, represented by Qu Yuan's "Questions to Heaven" spirit. In his epic poem "Questions to Heaven," Qu Yuan delves from the separation of heaven and earth, the changes of yin and yang, to natural phenomena like the sun, moon, and stars, directly questioning mythological legends and historical tales of sages and villains, prosperity and decline. Through his inquiries, he expresses his cosmological, historical, and political views. Not confined by doctrines but driven by reality, daring to question and critique, such exploratory spirit is truly admirable.This shows the Chinese's critical spirit of existing traditional concepts and the spirit of exploring scientific truth. Today, we commemorate Qu Yuan to honor the loyal and unswerving patriotic spirit of Qu Yuan. Qu Yuan's name has become an important label for patriotism. The greatest charm of Qu Yuan's personality lies in the spiritual core with the spirit of patriotism as the core, which allowed him to transcend the value pursuit of scholars at that time to abandon the country and pursue profits, closely link personal ideals with the destiny of the nation, and strive to unite and struggle for the realization of the people's yearning for a better life. Today, we commemorate Qu Yuan to honor the perseverance and struggle spirit of Qu Yuan. Qu Yuan has been worried the Chu State all his life, whether he is in the imperial court or not, he does not forget to think about the country and the people.Unwilling to take a detour, nor willing to compromise, he finally proved his loyalty with his life, and he never regretted it.

==Conclusion==
"Qu Yuan," as a spiritual symbol, plays an extraordinary role in the construction of the Chinese national community consciousness, spanning from the past to the present and even into the future. Without a great sage like Qu Yuan, the entire Chinese scholarly community would inevitably lack a certain spiritual strength, and Chinese history would lose many tragic hues.

==Terms and Expressions==
Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录

good governance 美政

==Questions==
#Who is the founder and representative writer of "Chu Ci"?
#What is Qu Yuan's political advocacy?
#What is the meaning of Qu Yuan's name?
#How Qu Yuan's spirit is embodied in his poetry?
#What is the meaning of "Questions to Heaven"?

==References==
[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84.

[2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。

[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190.

[4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.

[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

==Translation==

Introduction

屈原是中国历史上一位著名的伟大的爱国诗人，中国浪漫主义文学的奠基人，“楚辞”的创立者和代表作家。2300年前，伟大的爱国诗人屈原在汨罗江自杀殉国。屈原精神自汉代以来不断被阐释，在每个时代都展现出鲜明的时代特征；纪念屈原的活动和节日成为重要的中华民族文化传统，人们通过纪念屈原增加了归属感、认同感；屈原精神在国外得到广泛传播和认可，中国端午节被列入“非物质文化遗产代表作名录”。

Main part

公元前340年,屈原出生于楚国,少年曾受过良好教育，志向远大，从政后提倡“美政”，主张对内修明法度，对外联齐抗秦，后遭贵族排挤，被流放至沅湘流域。但他坚守自我理想，践行君子之道，绝不允许世俗的秽气玷污自己美好的品格。公元前278年，在报国无路的情况下，屈原极度绝望，自杀于汨罗江。1.屈原的美德屈原用自己的名字反映追求的道德标准。据《离骚》开篇，“父亲把我的名取为正则，把我的字叫作灵均。”“正则”即正直、正派，恪守做人原则；“灵均”指聪颖、智慧、公平、公正。在《橘颂》中，他又以橘树的“独立不迁”体现自己的人格情操：为了心中美好的理想，绝不同流合污，纵然死去也不后悔。屈原的千古之志，在于其文学作品和政治抱负无不站在人民的立场上。他的伟大之处，在于始终怀着强烈的忧国忧民的悲悯之心，始终怀着强烈的爱国之情。他的事迹和作品之所以能和民众日常生活结合在一起，并成为一个重要传统节日的主要纪念对象，就是因为他的言行流露着对祖国、对人民、对故土文化无限的爱，其中深深蕴藏着民族精神和文化的持久力量。“国无人莫我知兮，又何怀乎故都？”屈原亦曾考虑过“何不去国”的问题，但他最终没有去国远游，这正体现了他对精神和文化的坚守。2.屈原的政治主张及贡献屈原是一名伟大的政治家。一方面，他很早就树立了“美政”的理想抱负，及为之奋斗终生的政治目标。他主张对内修明法度，改革政治。此时，清正廉洁、刚正无私的屈原得到国君支持，其开展的六条变法改革图强措施，让楚国日益强大起来。另一方面，屈原对外主张联齐抗秦。他的外交政策，使得楚国一度呈现出一个国富兵强的局面。3.屈原的诗歌诗人是屈原横贯古今的首要标签。屈原将自己的生命与故土融为一体，在其具体的作品中充斥着对家国深厚的情感，值得后世传颂学习。从他的生平和作品中，人们总结并不断阐发出“屈原精神”，随着时代的变迁，不断地赋予新的时代内涵。他在《离骚》中述说着：“长太息以掩涕兮,哀民生之多艰!”诗人对人民艰难的生活深表同情。且这种热爱与忧患交织着的情感也使屈原至死不肯离乡他就。”他对国家和人民的这种感情在《九歌》《九章》等一系列诗歌作品中，也毫不节制地喷发而出。因此，屈原的诗歌有着无法比拟的文化价值。4.屈原精神在现代的体现今日，每逢端午节，中国各地都突出祭祀屈原的主题，歌颂屈原正道直行、爱国爱民的精神，通过讲述端午节与屈原的故事、开展诗词吟诵和进行赛龙舟等活动，引领公众学习传统文化，厚植家国情怀。党的十八大以来，习近平总书记曾在不同场合多次赞叹其心忧家国、清正高洁的人格魅力，并先后多次引用屈原诗歌中的名句来阐述思想。今天我们纪念屈原，是纪念屈原代表的传统中国士人直面生死、敢向未知勇猛叩击的“天问”精神。在长诗《天问》中，屈原从天地离分、阴阳变化、日月星辰等自然现象，一直问到神话传说乃至圣贤凶顽和治乱兴衰的历史故事，并从设问中表达自己的宇宙观念、历史观念和政治主张。这表现了中国人对既有传统观念的批判精神和对科学真理的探索精神。今天我们纪念屈原，是纪念屈原代表的忠贞不渝的爱国精神。屈原的名字已成为爱国主义的重要标签。屈原人格最大魅力就在于以爱国主义精神为核心的精神内核，让他超越了当时士大夫普遍弃国逐利的价值追求，把个人理想同民族命运紧密联系在一起，为实现人民对美好生活的向往而努力团结奋斗。今天我们纪念屈原，是纪念屈原代表的锲而不舍的奋斗精神。屈原一生都在为楚国操心，无论是否处在朝廷，都不忘忧心国家与人民。不愿迂回，也不愿妥协，最后用生命证明了自己的一腔忠义，也不曾后悔。

conclusion

“屈原”作为一种精神符号对中华民族共同体意识的构建，从过去到现在以至未来都发挥着非比寻常的作用。倘若没有屈原这样一位伟大的先贤，那么整个中国士人群体势必会缺少一种精神的力量，而中国历史也会失掉不少悲壮的色彩。文明弦歌终不绝，屈子精神永流传。守正不守旧，尊古不复古，这是我们对传统文化充满自信的表达。

Terms and expressions

Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录good governance 美政Questions1.“楚辞”的创立者和代表作家是谁？2.屈原的政治主张是什么？3.屈原名字的内涵是什么？4.屈原的精神是怎样在他诗歌里体现的？5.“天问精神”是什么意思？

References[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84. [2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190. [4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

=Luo Yang |Games: pitch-pot game(touhu)=
==Introduction==
Pitch-pot game is a ceremonial game played by ancient people during banquets. During the game, a specially made pot is used, and the guests take turns throwing arrows into it. The one who hits the most wins, while the loser drinks. As a classic entertainment activity in Chinese traditional culture, Pitch-pot is not only a competitive game but also a social way of interaction with significant cultural symbolism. With a long history, it embodies rich philosophical thoughts and moral teachings, exerting a profound influence on Chinese etiquette and culture.
==The Evolution and Revival of Touhu Culture==
===Origin and Development===
The renowned Han dynasty writer Zheng Xuan mentioned in his work "The Book of Rites - Pitch-pot," that "Pitch-pot evolved from the archery rituals of the Shang and Zhou dynasties." Archery was one of the six arts for noblemen, and the archery rituals evolved into essential etiquette for banquets. However, due to the limited space of the courtyard, or the people who were unfit for archery, the activity of using bristles instead of arrows, pots instead of targets, and throwing instead of shooting emerged, transforming "banquet archery" into "banquet pitching."

After a long period of development and evolution, Pitch-pot transitioned from an exclusive elegant entertainment for the upper class to the common people, becoming popular among the general public. The earliest literary record of Pitch-pot activity appeared in the "Zuo Zhuan". In the "Zuo Zhuan - The Twelfth Year of Duke Zhao," it was recorded: "The Marquis of Jin entertained the Marquis of Qi, and Zhongxing Muzi played pitch-pot." In the twelfth year of Duke Zhao (around 530 BC), pitch-pot activities were still entertainment at ruling class banquets. At that time, Pitch-pot could be considered as a ritual, inheriting the form and ethical ideas of archery, to some extent reflecting the ethical rules of status hierarchy.

By the Warring States period, pitch-pot gradually became popular among the common people, allowing both men and women to participate, enhancing the entertainment aspect of pitch-pot. During the reign of Emperor Wu of the Han dynasty, the imperial household official Guo was particularly skilled in Pitch-pot. He improved the rules and equipment used in pitch-pot, leading to its wider dissemination among the common people. Until the Song dynasty, Prime Minister Sima Guang opposed the excessive entertainment aspect of Pitch-pot, proposing a return to its ceremonial function, limiting the richness of Pitch-pot skills. In the Ming and Qing dynasties, although Pitch-pot games were still popular among the literati, its overall development slowed down. With the introduction of modern Western sports at the end of the Qing dynasty, pitch-pot game declined and withdrew from the historical stage.

===Cultural significance===
The early practice of Touhu had a complete ceremonial process. As the sport became more entertaining over time, the ceremonial aspects were reduced. However, it is undeniable that the ceremonial culture and the spirit of sports competition within it still have strong guiding significance for the revival of traditional culture today.

Touhu embodies the traditional Chinese culture of moderation and can cultivate both the body and mind. From the perspective of external human behavior, Touhu also provides guidance for people's behavior, requiring people to follow certain standards and methods in handling affairs. Those who participate in this activity all uphold a cautious and respectful attitude. The host and the guest need to demonstrate their courteous demeanor through the ceremonial three invitations and three refusals. The attendants of the host and the guest also need to complete the prescribed sections according to the shooting ceremony, and must not be arrogant, negligent, distracted, turn their backs on the game while standing, or discuss other matters on the scene, etc., to show the seriousness of this activity. From the perspective of the inner state of a person, it is necessary to accompany the game of Touhu with elegant songs, requiring participants to pay attention to rhythm and rhyme, and to act according to the sound; in this process, the upper and lower parts of the human body are in a coordinated state, embodying the combination of movement and stillness, and the pursuit of harmony between man and the outside world.

Unlike other throwing sports overseas, Touhu does not achieve competition through physical confrontation, but emphasizes rationality and moral cultivation. Touhu is a typical representative of the gentleman's competition, requiring one to strive for victory through their own efforts in the competition, while also giving enough respect to the opponent. The Analects of Confucius describes it this way: a gentleman should value self-cultivation and not easily compete with others for superiority. If one must compete with others, they can participate in the shooting ceremony or Touhu. One should strive for victory in the competition, and when they win, they should bow to the opponent to show respect, rather than being complacent. In the competition, one continuously improves their personal cultivation level, using sports as a way to urge individuals to continuously improve their cultivation. This is also consistent with the modern competitive sports concept of "friendship first, competition second".

===Inheritance and promotion===
In the sports and cultural ecology of contemporary China, Western sports have long occupied the mainstream position, and China's traditional sports has been marginalized. In recent years, with the rise of the national fitness wave, people have paid more attention to the content and quality of sports activities. This has created a rare opportunity for the revival of pitching pots. However, we do not need to copy the development model of ancient pitching pots, but to promote its combination with modern entertainment while retaining its own cultural value. For the general public, the fun of sports activities is ranked first, followed by its cultural value. Therefore, we can make bold innovations in pitching pots, increase its gameplay, or expand the scale of the game, so that it can be transformed from a two-person round-based game to a multi-person competition, attracting more people to participate in the sport of pitching pots.

In addition to improving and innovating pitching pots, we should also actively promote the spread of pitching pots at home and abroad. Although there are many pitching pot activities in China, most of them are personal organizations of pitch pot enthusiasts. If we want to make pitch pots a trend in society, multi-party cooperation is strongly needed. First of all, the government should play a guiding role, provide policy guarantees and economic support for pitching pots, and lay the foundation for the healthy development of this project. Secondly, we should make full use of education as an effective platform to let children get in touch with it from an early age and cultivate their interest. Finally, vigorous publicity by the media is indispensable. Through the Internet, we call on the whole society to pay attention to the development of folk sports and enhance the people's cultural confidence and cultural identity.

==Conclusion==
Pitch-pot, a treasure in China's excellent traditional culture, not only inherits the rituals of archery and the etiquette of self-cultivation, but also integrates the essence of Chinese civilization. Under the call of national rejuvenation in the new era, developing pitch-pot is of great significance to the revival of Chinese traditional sports culture and today's leisure sports. We have the responsibility to inherit it and promote its dissemination, so that more people can enjoy this precious humanistic practice of the ancestors of China.
==Terms and Expressions==
Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

==Questions==
# How did Pitch-pot evolve from archery rituals?
# What cultural values does Pitch-pot embody?
# What are the challenges and opportunities in reviving Pitch-pot?
# Why is Pitch-pot's development significant to Chinese traditional sports culture?
# What roles do the government, education, and media play in promoting Pitch-pot?

==References==
You Qianxin, Lian Menglong, Li Ning. Research on the development of ancient leisure sports pitch pot movement. Sports Science and Technology Bulletin, 2020, 28 ( 10 ): 134-135

Zhang Guoquan. ' Touhu ' and the inheritance of ancient ritual and music spirit. Lantai World, 2014, ( 04 ): 106-107.

Zhang Yong, Deng Lixing. Research on the rise and fall of the development of ancient Chinese pots. Journal of Yulin Normal University ( Natural Science Edition ), 2007, ( 05 ): 119 - 121.

Hao Jinfang.Touhu cultural historical changes and inheritance. Shandong Sport University, 2014.

==Translation==
投壶

投壶是古人宴会时礼节性的游戏。游戏时设特制之壶，宾主以次投矢其中，中多者为胜，负者饮。作为中国传统文化中的一项经典娱乐活动，投壶不仅是一种竞技游戏，更是一种独具文化象征意义的社交方式。它历史悠久，蕴含着丰富的哲学思想和道德教化功能，对中国礼仪文化影响深远。

起源及发展

汉代著名文学家郑玄在他所著的《礼记·投壶》中说道：“投壶是从商周时期射礼演化而来的。”射，是君子六艺的一种，由此衍生出来的射礼成为了宴会中必备的礼仪。然而，由于弓、箭数量和宴会场地的限制，或者一些嘉宾不擅长射箭，就出现了以棘代矢，以壶代靶，以投代射的投壶活动，使“宴射”变成了“宴投”。
经过漫长的发展和演变后，投壶由上层社会专属的高雅娱乐走向民间，受到广大平民百姓的喜爱。投壶活动的文献记载最早出现于《左传》。《左传·昭公十二年》载：“晋侯以齐侯宴，中行穆子相，投壶。”在昭公十二年（公元前530年）的时侯，投壶活动还是统治阶层宴会上的娱乐。当时投壶可以被称为是投壶礼仪, 是对射礼从形式到伦理思想的继承, 一定程度上体现地位尊卑的伦理法则。到了战国时期，民间开始逐渐流行投壶，男女皆可参加，增加了投壶的娱乐性。汉武帝时期，郭舍人尤其擅长投壶，他改良了投壶的规则和所用器具，使投壶在民间得到了更为广泛的传播。直到宋代，丞相司马光反对投壶的过度娱乐化，提出要回归它的礼仪功能，限制了投壶技艺的丰富性。明清时期，投壶游戏虽然还流行于士大夫之间，但它整体的发展已趋于缓慢，随着清末西方现代体育运动的传入，投壶走向衰落，退出了历史舞台。

文化意义

投壶早期具有完善的礼仪流程，在后世的发展中，随着投壶运动娱乐性的不断加强, 礼仪则相应地减少。但不可否认的是，其中的礼仪文化以及体育竞技精神对于当下传统文化的复兴仍然有较强的指导意义。
投壶体现了中国传统的中庸文化，能够修养身心。从人的外在行为方面看, 投壶也对人的行为方式做出了指引, 要求人们在事务的处理方面遵循一定的标准与方法。参与到这项活动中的人都秉持着谨慎恭敬的态度, 宾主之间需要通过礼节性的三请三辞来展现双方儒雅揖让的风度。宾主的侍从也都要根据射礼程序完成所规定的节数, 在整个活动过程中做到不可傲慢、不能懈怠、不准分散精力和心神旁顾、不准在站立时背对赛局、不能在现场对他事进行谈论等一系列要求, 以表示此项活动的郑重。从人的内心状态来看, 投壶时需要用雅歌进行伴奏，要求参与者讲求节奏与韵律,循声而发; 在这个过程中, 人的身体上下都处于协调状态,体现着动静结合,追求人与外界的和谐。
与海外的投掷游戏不同的是，投壶并非通过身体对抗来实现竞争，而更强调理性和道德修养。投壶运动是君子之争的典型代表,要求在比赛中通过自己的努力来争取胜利,同时也要给予对手足够的尊重。《论语》中对其做出了这样的表述:君子要重视修身养性,不能与人轻易争高低,如果一定要与人相争,便可以进行射礼或投壶。在比赛中要争取胜利,而在取得优胜时要向对手作揖表示尊重,而不是意得志满。在比赛当中不断提高个人修养水平，将体育运动作为督促个人不断提升修养的途径,这也与现代竞技体育“友谊第一，比赛第二”的理念相一致。

传承和推广

当代中国的体育文化生态中，西方体育长期占据主流阵地，中国的传统体育文化被边缘化。近年来，随着全民健身浪潮的兴起，人们越来越重视体育活动的内容和质量。这为复兴投壶创造了不可多得的机会。但是，我们并不需要照搬古代投壶的发展模式，而是要在保留它自身文化价值的同时，促进它与现代休闲娱乐相结合。对于广大群众而言，体育活动的趣味性是排在首位的，其次才是它的文化价值。因此，我们可以对投壶进行大胆创新，增加它的玩法，或扩大比赛的规模，让它从双人回合制比赛变成多人对抗赛，吸引更多人参与到投壶运动中。
除了对投壶进行改良与创新外，我们也要积极推动投壶的海内外传播。虽然国内有不少投壶活动，但大多是投壶爱好者的个人组织。要想让投壶在社会范围内形成风潮，离不开多方合作。首先，政府要发挥导向作用，为投壶提供政策保障和经济支持，为这一项目的健康发展奠定基础。其次，要充分利用教育这一有效的平台，让孩子们从小接触投壶文化，培养他们对它的兴趣。最后，媒体的大力宣传是必不可少的。通过网络呼吁全社会关注民间运动的发展，提高民众的文化自信和文化认同感。

总结

投壶，这一中华优秀传统文化中的瑰宝，不仅继承了射礼的仪节和正己修身的礼义，更融入了华夏文明的精华积淀。在新时代民族复兴的号召下，发展投壶运动对于中国传统体育文化的复兴对当今休闲体育的发展有着重要意义。我们有责任传承投壶并推广它的传播,让更多人享受到这项华夏先民的珍贵人文实践成果。

术语和表达

Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

问题

#投壶是如何从射礼演变而来的？

#投壶体现了什么文化价值观？

#恢复投壶的挑战和机遇是什么？

#为什么投壶的发展对中国传统体育文化具有重要意义？

#政府、学校和媒体在宣传方面扮演了什么角色？

=Lin Ruyin |Folk Art:Piaose=
==Brief Introduction==
==History==
==Factions==
Yakou Piaose,Nan Lang, Zhong Shan

Wuchuan Piaose

Fushi Piaose,Tai Shan

Hetian Gao Jing
==Current Situation==

=Pan Tong |=
Introduction:

Jingdezhen Porcelain refers to the porcelain produced in the city of Jingdezhen, Jiangxi Province, China. Because of its excellent quality, Jingdezhen has won the reputation of “Porcelain Capital”. The history of porcelain production there can be traced back to the Han Dynasty, with the real boom beginning in the Song Dynasty and peaking in the Ming and Qing dynasties. Jingdezhen has been supported by its porcelain industry for thousands of years. With unique cultural symbolism and influence, it is still the most influential porcelain historical and cultural city in the world.

Development History:

(1) The First Show of Force: Han to Five Dynasties

Historical records, “Xinping smelt pottery, began in the Han Dynasty”. At this time the pottery “itself coarse, the body is very thick, the glaze color is light and brown”, not sold far.

Tang Dynasty, Jingdezhen porcelain has a greater impact in the country. According to the record, “Tang Wude years, the town people Tao Yu carried porcelain into the Guanzhong, known as fake jade, and tribute to the dynasty, so Changnanzhen porcelain world famous.”

Five Dynasties, Jingdezhen porcelain production has reached a considerable scale. The main products are celadon and white porcelain, they are the earlier mature porcelain we can see now.

(2) Strong Rise: Song and Yuan Dynasties

Before the Song Dynasty, Jingdezhen produced mostly white porcelain, with little decorative patterns and paintings. Song clan moved south, a large number of literati, skilled craftsmen also moved to the south of the Yangtze River. Jingdezhen absorbed and assimilated from the other places' famous kilns of excellent workmanship. Jingdezhen porcelain technical force has been enriched, and also because of the original light, elegant, beautiful shadow blue porcelain and famous all over the world.

Yuan dynasty is the innovation period of Jingdezhen Porcelain. New varieties of blue and white porcelain in the technical maturity, opened up by the plain porcelain to colored porcelain of the new era.

(3)Stepping up to the Peak: Ming and Qing Dynasties

Jingdezhen Porcelain in the early Qing Dynasty, whether it is the official kilns or folk kilns; whether it is product modeling, decorative techniques, themes or styles, have reached a state of extreme prosperity.

(4)Porcelain Veins Pass on: Modern and Contemporary Periods

In the Republican period, “Zhushan eight friends”, with traditional painting and calligraphy into porcelain famille rose paintings, created a new Famille-rose porcelain on the ground. After the founding of new China, the establishment of the “ten porcelain factory”. porcelains industry structure changed, from the royal porcelain development to multi-discipline porcelain production. After the reform and opening up, porcelain production into a new era, innovative new colors, techniques and materials. Traditional porcelain art revitalization.

Four Characteristics of Jingdezhen Porcelain

The four characteristics of Jingdezhen Porcelain is sorted by the feelings of people observing the porcelain from afar and near.

White as jade: Jingdezhen porcelain is milky white, soft luster, warm and moist as jade. In the Tang Dynasty, it was known as “fake jade”.

Bright as a mirror: Jingdezhen porcelain glaze is smooth, crystal clear, like a brilliant mirror.

Thin as paper: Jingdezhen porcelain is light in texture and translucent in shadow. Ming dynasty Hao Shijiu creation burned the Luan Mu Cup. It is as thin as cicada's wing, one only weighs half a baht (about 1.1 grams).

Sound like a chime: Jingdezhen porcelain is crisp and clear. With a finger gently buckle, can be heard “thud” sound, like a musical instrument to play a beautiful chime sound.

Four Famous Porcelains

Jingdezhen porcelain variety, but to the Blue-white porcelain, Famille-rose porcelain, Color-glazed porcelain and Linglong porcelain the most prestigious, known as “Jingdezhen four famous porcelain”. Each of the four famous porcelains excels in its own way.

(1)Blue-white porcelain is the most representative porcelain of Jingdezhen, belonging to the underglaze colored porcelain. Primitive blue-white porcelain has been seen in the Tang and Song dynasties. Mature blue-white porcelain appeared in the Yuan Dynasty Hutian kiln in Jingdezhen. It became popular during the Yuan and Ming Dynasties and was exported worldwide, reaching its peak in the Qing Dynasty. Its thin, translucent quality and exotic motifs made it very valuable throughout Europe.

=Lei Huiting |=
Please start to write now.
=Lu Yixuan |=
==Introduction==
1.Introduction

Poetry, painting, and calligraphy: Known as the "Three Perfections," these genres were regarded as the ultimate expressions of Chinese literati culture during the Ming dynasty (1369-1644). Members of the Wu School, centered on the affluent city of Suzhou and nearby towns, earned admiration for their interpretations of these art forms. Painting with Words celebrates Wu School works, examining the relationships among their imagery, brushstrokes, and, especially, words.

==Main Part==

2.A Cultural Center

Situated on flat fertile land between Lake Tai and the Yangzi River, Suzhou (present-day Jiangsu province) is one of the oldest cities in the Yangzi delta. Before the Ming dynasty (1369-1644), when it became a leading center of literati culture, Suzhou had enjoyed a prominent political, economic, and cultural position for most of its two thousand-year history. The city was a major transportation hub on the Grand Canal, which stretched 1,100 miles between the former imperial capital Hangzhou to the south and the Ming imperial capital in Beijing far north. Besides the capital, during the fifteenth and sixteenth centuries Suzhou was the largest urban center in the Ming empire and perhaps the entire world.

Shaped like a rectangle, Suzhou was dotted with temples and spacious residences boasting elegant walled gardens. A grid of anals and paved streets, including as many as three hundred stone bridges, crisscrossed the city, which was surrounded by a moat and a towering outer wall. Beyond its water buffer, the city spilled into the surrounding suburbs but soon gave way to a prosperous countryside of small lakes and ponds, rice paddies, and agricultural fields. Rustic villages and temples were nestled in the landscape; larger satellite townships rose farther off. An area of low-forested hills stood to the west of Suzhou, overlooking the broad expanse of Lake Tai and its several nearby islands. Local poets and artists frequently ventured to such rural and suburban locations and even chose these easily accessible sites for their private retreats and retirement homes.

3.Wen Zhengming: Leader of the Wu School

An outstanding painter and calligrapher and an important trendsetter in his time, Wen Zhengming (1470-1559) was the unrivaled leader of the Wu School for much of its neyday during the first sixty years of the sixteenth century. Born to a modestly successful scholar-official family, Wen was a late bloomer in the arts; he was particularly poor at calligraphy in his youth. But he persevered, studying painting with Shen Zhou, who is often considered the Wu School's spiritual founder. Eventually, Wen mastered a wide range of painting styles and developed his own powerful, influential approach to calligraphy.

In 1527, when he returned to Suzhou after an unhappy three-year stint at the imperial court, Wen built a studio on his family's land. For the next thirty-two years, he devoted himself wholeheartedly to the life of a gentleman-scholar in retirement: reading, writing, painting, composing poetry, and socializing with likeminded friends. Wen's pivotal importance to the Wu School is magnified by the length of his extraordinary career, his wide circle of friends and acquaintances, and the artistic renown of his many students, including his two sons and a nephew and extending to several generations of Wens.

4.At Court and Beyond

During the fifteenth century, many leading gentleman artists of Suzhou spent a good part of their adult lives either serving at court in the imperial capital, Beijing, or out on provincial assignments. Often, they only returned home occasionally or after retirement. Several, such as Xia Chang (1388-1470), Xu Youzhen (1407-1472), and Wu Kuan (1435-1504), embraced these roles,distinguishing themselves in the national jinshi (advanced scholar) examinations and rising to high government offices. As artists, these men were known primarily as poets and calligraphers-except for Xia, who was also a master of the gentlemanly art of ink-bamboo painting.

The lifestyles of Liu Jue (1410-1472) and Shen Zhou (1427-1509) signaled a major alternative to serving at court. Liu only served in the capital for some eight years; Shen opted out entirely. Instead, they spent their lives in and around Suzhou, happily engaged in scholarly and artistic pursuits within their gardens and estates. Occasionally they visited friends, making communal forays into nature and to local scenic or historical sites. This lifestyle became a hallmark of Wu School gentleman artists.

Many Wu School artists were related by blood, marriage, and other formal relationships. They may have been family friends or schoolmates, taken their examinations together, studied as teacher and student, or done business as patron and client. The artists' relationships carried over into their poetry and artworks, which often were inherently personal in nature.

5.The Gentleman in Retirement

Often hailed as the spiritual founder of the Wu School, the painter, poet, and calligrapher Shen Zhou (1427-1509) came from a well-connected lineage of gentleman artists who lived in the Suzhou suburb of Xiangcheng. Both his father and uncle were landscape painters. Shen rejected the official career path followed by most of his peers in favor of a life of art and personal fulfillment. Following his example, many later Wu School artists made the same choice.

For gentleman artists in fifteenth- and sixteenth-century Suzhou, retirement consisted of socializing with other literati, refined activities such as art collecting, and a love of creature comforts such as elegant private gardens. These examples of his paintings and calligraphy reveal aspects of Shen's life in retirement: engaging with likeminded friends, observing and commentating on everyday life, and spending time alone at home or in favorite pastimes, such as wandering the hills to find inspiration for poetry or a place to play his qin.

Shen is said to have had an open, generous character. His palpable enjoyment of nature imbues each painting and poem in this section, graciously inviting us to join in. Owing to Shen's enduring influence and that of his immediate followers, these amiable qualities have come to characterize Wu School literati art.

6.In Full Flower

The Wu School rose to its artistic zenith during the first half of the sixteenth century, led by three of its brightest stars: Wen Zhengming (1470-1559), Tang Yin (1470-1524), and Qiu Ying (ca. 1494-1552). Together with the older Shen Zhou (1427-1509), this group is known as the "Four Great Artists of the Ming." Shen and Wen exemplified the Wu School ideal of the gentleman artist, while Tang and Qiu epitomized the accomplished Suzhou professional. Qiu was solely a painter; the other three developed distinct styles of painting, calligraphy, and poetry.

Although the Four Great Painters came from different social and economic backgrounds-and more than sixty-five years separated the oldest from the youngest-their lives and art intersected repeatedly. Wen and Tang had been friends since they were teenagers, and they both studied literati painting with Shen. Tang also studied under a local professional painter named Zhou Chen (ca. 1450-ca.1535), to whom he and Wen later recommended the young painting phenomenon Qiu Ying.

Such teacher-student and patron-client relationships were key to an artist's development and career in sixteenth-century Suzhou. Wen in particular had both a large number of outstanding students and a wide circle of local connections. Several of Wen's students and protégés went on to develop careers and styles of their own, among them the two brilliant calligraphers Wang Chong (1494-1533) and Chen Shun (1483-1544), both of whom died before their former master.

Despite their differences in style, approach, and social standing, professional artists and gentleman artists were codependent. Thematically, professional artists drew their material from the literature and history at he core of the literati tradition; in turn, literati artists wrote out the appropriate texts in fine calligraphy to accompany the professional artists' paintings. A primary distinction between the two groups was that the gentleman artist was also a calligrapher and a poet in his own right, and the fundamental purpose of his art was personal self-expression, usually prompted by an occasion or recent event. In some cases, one gentleman artist might have written a scroll of poetry for a friend or as a calligraphic exercise. Other times, individuals from both groups would collaborate on a scroll or contributed to a collective project.

7.The Followers

Known for decades as the Wu School's leader, Wen Zhengming (1470-1559) remained active as an artist until he died at age eighty-nine. By that time, several of his most outstanding followers had already passed away. Other artists, however, continued to work in styles heavily influenced by Wen Zhengming's approach well into the final quarter of the sixteenth century. Among these were his two talented sons, Wen Peng (1498-1573) and Wen Jia (1501-1583), who directly emulated their father and shared many of his interests and concerns. Qian Gu (1508-after 1574) also faithfully adhered to the styles that Wen Zhengming had developed and promoted.

Other gentleman artists advanced Wen Zhengming's legacy in new directions, such as Lu Zhi (1496-1576), who developed a unique, almost luminous style of landscape painting. The flourishing professional painter Xie Shichen (1487-after 1567) incorporated elements from other popular styles, but he continued to draw inspiration and material CAa from literati culture and to rely on gentleman artists for calligraphic contributions to his scrolls. Wen Zhengming's influence even extended to the generation of his great-grandson Wen Zhenmeng (1574-1636), a calligrapher. He and other local gentleman artists carried on producing collective scrolls and albums inspired by traditional themes,such as the "Eight Views of Xiao Xiang," as well as by contemporary occasions.

Still, Wen Zhengming's death deprived the Wu School of both its center of gravity and its leading light, and the vitality and prominence of Suzhou painting and calligraphy ultimately waned. By the early seventeenth century, the city's economic clout also had diminished, owing in part to the rise of nearby Shanghai and other towns in the Yangzi delta region. Competing centers of artistic production diluted and eventually eclipsed the city's premier cultural status. By the 1630s, the Wu School, though still highly influential, had given up its role as a dominant force.

==Conclusion==
==Terms and Expressions==
==Questions==
==References==

=Li Yanran |=
==Introduction==
A thangka (also known as tangka, thankga, or Tibetan scroll painting) is a classical and stylized form of Nepalese and Tibetan painting. These intricate artworks typically depict Buddhist deities, scenes, or mandalas. Thangkas are traditionally painted on cotton or silk appliqué and are often used as aids for meditation or teaching. They communicate profound meanings related to Buddhist philosophy through their detailed compositions. When not on display, thangkas are kept unframed and rolled up, similar to Chinese scroll paintings.

==Main Part==
===History and Origins===
The history of Tangka painting is deeply intertwined with the spread of Buddhism in Tibet. The earliest Tangka paintings date back to the reign of King Songtsen Gampo (618-650 AD), who played a pivotal role in establishing Buddhism in Tibet. Over the centuries, Tangka painting evolved, influenced by Indian, Nepalese, and Chinese artistic traditions. The creation of Tangka paintings flourished particularly during the Tibetan Renaissance in the 11th century, a period marked by the revival of Buddhist scholarship and artistic endeavors.

During the early stages, Tangka painting primarily depicted deities and mandalas, serving as tools for teaching and meditation. The construction of the first Buddhist temples in Tibet, such as the Jokhang Temple in Lhasa, further stimulated the development of religious art, including Tangka painting. These temples became centers of artistic activity, where local artists learned from foreign masters and began to develop their distinctive styles.

The period between the 8th and 11th centuries saw significant contributions to Tangka painting from Indian and Nepalese artists. The renowned Indian Buddhist scholar and artist, Atisha (982-1054 AD), played a crucial role during this period. Invited to Tibet by King Jangchub O, Atisha brought with him a wealth of artistic and spiritual knowledge, which greatly influenced Tibetan art and Tangka painting.

The Tibetan Renaissance in the 11th century marked a pivotal moment in the history of Tangka painting. This era was characterized by a resurgence of Buddhist scholarship, the translation of Buddhist texts, and the establishment of new monastic institutions. The renaissance period saw the synthesis of various artistic traditions into a distinctly Tibetan style, marked by vibrant colors, intricate details, and profound spiritual symbolism.

During the 14th to 17th centuries, the Ming dynasty in China established close diplomatic and cultural relations with Tibet. This period saw the exchange of artistic techniques and motifs between the two regions, further enriching the Tangka painting tradition. Tibetan artists adopted Chinese landscape techniques and the use of silk, while maintaining their unique iconographic and symbolic elements.

The 17th century onward witnessed the formalization of Tangka painting schools and lineages, each with its unique style and approach. Prominent schools include the Menri (Sman-ri) school, founded by Menla Dondrub in the 15th century, known for its classical and refined style, and the Khyenri (mKhyen-ri) school, founded by Khyentse Chenmo in the 15th century, recognized for its bold and expressive style.

The preservation and continuity of Tangka painting faced challenges in the 20th century due to political changes and cultural upheavals. However, efforts by Tibetan communities in exile and international interest in Tibetan culture have helped sustain and revive this ancient art form. Today, Tangka painting continues to thrive as both a spiritual practice and an art form, preserving the rich heritage of Tibetan Buddhism.

===Symbolism and Themes===
Tangka paintings are rich in symbolism and often depict deities, mandalas, historical events, and teachings of Buddhism. Each element in a Tangka painting carries specific meanings and serves as a visual aid for meditation and contemplation.
====Deities and Bodhisattvas====
Tangka paintings frequently portray Buddhas, Bodhisattvas, and protective deities. These figures are depicted with specific hand gestures (mudras), postures (asanas), and attributes that symbolize various aspects of Buddhist teachings. For example, Avalokiteshvara, the Bodhisattva of Compassion, is often shown with multiple arms, each holding different objects representing his compassionate activities.
====Mandalas====
Mandalas are intricate geometric designs that represent the universe and serve as tools for meditation. They are often used in Tangka paintings to depict sacred spaces and cosmological concepts. The central figure in a mandala is usually a deity, surrounded by concentric circles and squares filled with symbolic elements.
====Historical and Mythological Scenes====
Tangka paintings also narrate stories from the life of the Buddha, the exploits of various saints and yogis, and mythological tales. These narrative paintings serve an educational purpose, conveying moral and spiritual lessons.
====Symbols and Iconography====
Common symbols in Tangka paintings include the lotus flower (purity), the vajra (indestructibility), and the wheel of Dharma (teachings of the Buddha). Each symbol is meticulously placed to enhance the painting’s spiritual message.
===Cultural and Religious Significance===
Tangka paintings are not merely decorative objects; they hold deep religious and cultural significance. In Tibetan Buddhism, Tangka paintings are used as aids for visualization during meditation. Practitioners focus on the image of a deity, internalizing its qualities and receiving blessings. The detailed iconography serves as a guide for spiritual practice and contemplation.

Moreover, Tangka paintings are used in religious ceremonies and rituals. They are often displayed in monasteries, temples, and private homes, where they serve as objects of veneration. During festivals, such as the Tibetan New Year (Losar), large Tangka paintings are unfurled on hillsides, allowing devotees to receive blessings from the sacred images.

Tangka paintings also play a crucial role in preserving and transmitting Tibetan culture and religious teachings. Each painting is a repository of iconographic and symbolic knowledge, passed down through generations of artists and practitioners. The continuity of this artistic tradition reflects the resilience and adaptability of Tibetan culture in the face of historical challenges.

==Conclusion==

==Terms and Expressions==
==Questions==
==References==

=Duan Siya |Striking iron flower=
==Introduction==
Iron flowers , also known as iron trees , are traditional folk fireworks popular in the Henan and Shanxi regions and are one of China's national intangible cultural heritages .Striking iron flower,a traditional firework that has been passed down in the Yu-Jin region, began in the Northern Song Dynasty, flourished in the Ming and Qing Dynasties. It is mostly popular in the middle and lower reaches of the Yellow River, with Henan and Shanxi being the most. In the 1000-year-old folk art of "Striking Iron Flowers" (打铁花), molten iron is struck with wooden rods to create sparks cascading through the sky like blossoming flowers.
==Main Part==
The "Iron Flower Striking" originated from the ritual activities of the craftsmen. In the Ming Dynasty, the iron-making industry flourished. With the aim to celebrate the harvest and pray for peace, the blacksmiths created a bright sparkling effect by striking the iron in the production. During the Ming and Qing Dynasties, with the support from government and all walks of life, the Queshan Iron Flower reached its peak. It expanded from the original Taoist rituals such as the birthdays of the Jade Emperor and the Queen Mother to general festivities, such as wishing for a new life, getting promoted and getting married.

In the process of local circulation, Queshan Iron Flower has absorbed various artistic elements such as firecrackers, dragon lanterns and brass instruments. It has gradually formed a unique performance style of grandeur, magnificence and auspiciousness.

In June 2008, the iron flower art submitted by Queshan County, Henan Province was approved by the State Council to be included in the second batch of national intangible cultural heritage list .

Before striking the flowers, they all kneel inside the shrine to ask the gods for safety and to avoid burns. A six-meter-high double-layer flower shed is set up in an open space. The shed is densely covered with fresh willow branches and tied with fireworks, firecrackers and goods, known as the "trellis", A six-meter-high old pole is erected in the middle of the shed, making the total height of the flower shed reach more than ten meters.

A furnace is set up next to it to melt iron liquid. More than ten performers take turns to use flower sticks to hit the iron liquid with a temperature of more than a thousand degrees onto the shed, forming iron flowers more than ten meters high. The iron flowers then ignite fireworks and firecrackers, and are accompanied by the "dragon through the flowers" performance.

The flower stick used by the iron flower maker is a fresh willow stick that is as thick as a fist and more than a foot long. There is a circular pit with a diameter of 3 cm at the top of the stick to hold the iron liquid. When making iron flowers, the flower beater wears an inverted gourd ladle on his head (for protection), is topless, holds an upper stick filled with iron juice in one hand, and a lower stick without iron juice in the other hand, and quickly runs to the bottom of the flower shed, using the lower stick to hit the upper stick. A dozen flower beaters take turns, one after another, moving back and forth between the furnace and the flower shed. One stick of iron flowers soars into the sky, and another stick follows, one after another ...The scene is spectacular, presenting the characteristics of thrilling, exciting, festive and lively.

With temperatures of molten iron soaring to 1600°C, artisans bear countless scars across their bodies. In order to minimize injuries to the smiths, the ironwork is mostly performed in winter, when the weather is cold and the scattered ironwork can cool down more quickly, thus better guaranteeing the safety of the smiths. In the process of beating iron flowers, smiths will wear some specific protective clothing. Traditionally, there are mainly Taiji pattern helmet, Taoist style cotton protective cap with shawl, protective shoes, red or yellow cotton belt, etc. The protective shoes include legs, knee pads, foot pads, all three must be a one-piece type, so as to achieve the best protective effect.

Some smiths choose to go bare-chested to increase the shock of the scene.

Behind the brilliance, the risks are not known to all. The molten iron needs to be heated to more than 1600 degrees Celsius. Therefore, performers need to be very careful in the strength and angle . In that case, the iron splashes are high enough and well dispersed to make brilliant iron flowers. Insufficient force or an inaccurate strike position may result in burns to oneself.

==Conclusion==
The technique of striking iron flowers has a long history, and the performance is magnificent and grandiose. The splendor of modern fireworks and the mystery of traditional art are integrated, which is breathtaking. It embraces Taoist culture, trade customs, folk crafts, which not only enriches the folk art treasury of China, but also plays an important role in enhancing national pride and strengthening national cohesion.

==Terms and Expressions==

==Questions==
==References==

Cult Ov 2 Fin Exam 2024

2024-06-09T02:56:14Z

Chu Shoujuan: /* Chu Shoujuan |Ganshi in Xiangxi: The Cycle of Life and Death under Ancient Witchcraft */

Back to [[Cult_Ov_2_2024|Course Homepage]].

'''Comments for everybody'''
*Please add the sources in the form "(Wang 2020, 445)" behind each paragraph and with a long entry in the References section.
*In the References section, please add at least 1-2 Western sources.
*In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.
*Please also add free lines at places where you want to have a line break, e.g. after a header.

Please write here a textbook chapter about a Chinese cultural phenomenon until June 15 and start writing now, with unlimited revisions possible until June 15. When you find your topic listed here it means it has been approved by the teacher. It can be either in traditional culture or today. It cannot be a topic already published in the textbook.

Please do not forget to put it into context and relation in the beginning, e.g. where it emerged and how it spread, if it is unique to Chinese or Asian cultures, if it is well-known or exotic, when it occured and how it developed throughout history.

Please write 1000 English words, and on top of it write Terms and Expressions, Questions, References. The References should contain also paper books or papers and also at least one Western source. You also need to provide a Chinese version of the text and questions.

=Tu Hairong |=
1.1 Introduction

1.2 Historical Background

1.3 Traditional Customs and Practices

1.4 Contemporary Celebrations

1.5 Cultural and Social Impact

1.6 Conclusion

1.7 Terms and Expressions

1.8 Questions

1.9 References

=Chen Zhuo |Chinese Painting: A Thousand Miles of Rivers and Mountains=
==Introduction==

"A Thousand Miles of Rivers and Mountains" is a masterpiece by Wang Ximeng, a painter of the Northern Song Dynasty. This painting, known for its magnificent depiction of China’s natural landscapes, epitomizes the peak of traditional Chinese landscape painting, particularly in the genre of green landscape painting. The painting is not only a representative of green landscape painting but also a treasure of traditional Chinese painting art.
==Wang Ximeng: The Prodigy Painter==
Wang Ximeng (1096-?), a famous painter in the late Northern Song Dynasty, is renowned for his painting "A Thousand Miles of Rivers and Mountains." In his teens, he entered the palace ‘painting school’ as a student but was not initially outstanding. However, under the personal tutelage of Emperor Huizong, his skills flourished remarkably. Emperor Huizong, himself an accomplished artist and patron of the arts, saw great potential in Wang Ximeng and invested time in his education. By the age of eighteen, Wang had completed his magnum opus, "A Thousand Miles of Rivers and Mountains," a testament to both his natural talent and rigorous training. (from baidu)

==The Historical Context of the Northern Song Dynasty==
The Northern Song Dynasty (960-1127) was a period marked by significant cultural, economic, and technological advancements in China. Following the chaotic Five Dynasties and Ten Kingdoms period, the Northern Song era brought stability and prosperity, with remarkable developments in agriculture, commerce, and urbanization. The political structure, heavily influenced by Confucian ideals, promoted intellectual and artistic endeavors. During this golden age, the arts, including painting, literature, and calligraphy, reached new heights, with scholars and artists enjoying substantial support from the state. (from baidu)

==Artistic Brilliance and Technical Mastery==
"A Thousand Miles of Rivers and Mountains" exemplifies the sophisticated techniques and aesthetic principles of Song Dynasty landscape painting. Spanning over 11 meters in length, this handscroll painting captures an expansive and varied landscape with meticulous brushwork and a harmonious color palette. Wang Ximeng’s use of the blue-green landscape technique, employing mineral pigments like malachite and azurite, imbues the painting with a vibrant yet serene quality.
The painting’s composition is both grand and intricate. The undulating mountains, rendered with fine brushstrokes and detailed texture, create a sense of depth and three-dimensionality. The depiction of water bodies, including rivers, waterfalls, and streams, adds a dynamic element to the landscape, reflecting the natural beauty of Jiangnan, a region known for its picturesque scenery. The architectural elements, such as pavilions and thatched cottages, are meticulously detailed, showcasing the architectural style of the time
Wang Ximeng’s use of color is a defining feature of the painting. The blue-green technique, utilizing mineral pigments, gives the painting its distinctive and vibrant appearance. The use of these pigments, combined with careful layering and shading, creates a sense of depth and luminosity. The ochre background provides a warm contrast to the cooler tones of the landscape, enhancing the overall harmony of the composition. (Qin, Shuhai. Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". 36-38.)

==Detailed Analysis of Key Sections==
To further appreciate the intricacies of "A Thousand Miles of Rivers and Mountains," it is essential to examine specific sections of the painting in greater detail. Each segment reveals Wang Ximeng’s exceptional skill and the painting’s profound cultural significance.
The central section of the painting features towering mountains, their peaks shrouded in mist. Wang Ximeng’s use of varying brushstrokes and ink washes creates a sense of depth and texture, making the mountains appear both majestic and ethereal. The fine chapping technique used to depict the rock surfaces adds to the realism and complexity of the landscape. Water is a prominent element in the painting, depicted with a fluidity and grace that contrasts with the solidity of the mountains. The rivers and streams wind through the landscape, reflecting the light and adding movement to the scene. The waterfalls, with their cascading waters, are rendered with a dynamic energy, capturing the viewer’s attention and drawing the eye through the composition. Scattered throughout the landscape are various architectural structures, including pavilions, temples, and bridges. These buildings, though small, are rendered with meticulous detail, reflecting the architectural style and construction techniques of the Northern Song period. The placement of these structures within the landscape highlights the harmonious relationship between human habitation and the natural environment. The human figures in the painting, while small in scale, are depicted with individuality and character. Fishermen, scholars, and travelers are shown engaging in their daily activities, adding a narrative dimension to the landscape. These figures not only populate the scene but also serve to emphasize the scale and grandeur of the natural surroundings.
(Feng, Haitao. Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). 22-28, 38-39. )

==Symbolism and Cultural Connotations==
Beyond its visual splendor, "A Thousand Miles of Rivers and Mountains" is rich in cultural symbolism. The landscape, architecture, and figures within the painting reflect the ancient Chinese literati’s philosophy and aesthetics. The painting embodies the Daoist ideal of harmony between humans and nature, a central theme in Chinese culture. The serene and idyllic scenery represents a utopian vision, an escape from the political and social turmoil of the era.
The figures in the painting, although small in scale, are portrayed with remarkable individuality. Fishermen, travelers, and hermits are depicted engaging in various activities, symbolizing different aspects of life and society. These figures not only add a narrative dimension to the painting but also emphasize the close relationship between people and their natural environment.
The painting reflects the Daoist and Confucian ideals that were prevalent during the Northern Song Dynasty. The harmonious integration of human and natural elements embodies the Daoist concept of harmony with nature. At the same time, the depiction of scholars and hermits in the landscape reflects the Confucian value placed on intellectual and contemplative pursuits.
(Lin, Shunyang & Xu, Hui. Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". 12, 114-116.)

==Impact and Legacy==
Wang Ximeng’s "A Thousand Miles of Rivers and Mountains" is a milestone in the history of Chinese landscape painting. Its innovative techniques, grand composition, and rich colors influenced generations of artists. The painting set a new standard for green landscape painting, inspiring many subsequent artists to adopt and adapt its techniques and style.
The painting’s influence extends beyond China. It is celebrated internationally as a masterpiece of Chinese art, showcasing the depth and sophistication of traditional Chinese culture. The painting’s ability to convey a sense of timeless beauty and tranquility has earned it a place among the most revered works of art in the world.
==Conclusion==
"A Thousand Miles of Rivers and Mountains" by Wang Ximeng is not merely a landscape painting; it is a profound expression of the Northern Song Dynasty’s cultural and artistic achievements. Through its exquisite details and grand vision, the painting encapsulates the harmony between nature and humanity, a core value of Chinese philosophy. Wang Ximeng’s masterpiece continues to inspire and captivate audiences, a testament to the enduring power of art to transcend time and space.
==Terminology==
A Thousand Miles of Rivers and Mountains 千里江山图
Wang Ximeng 王希孟
the Northern Song Dynasty 北宋朝
the palace ‘painting school 宫中“画学”
tutelage 侍奉
Emperor Huizong 宋徽宗
magnum opus 杰作
Five Dynasties and Ten Kingdoms 五代十国
blue-green landscape 青绿山水
malachite 石青
azurite 石绿
Jiangnan 江南
thatched cottages 茅屋
==Questions==
1. What is the significance of Wang Ximeng's "A Thousand Miles of Rivers and Mountains"?
2. How did Emperor Huizong influence Wang Ximeng's artistic development?
3. What advancements in society and culture occurred during the Northern Song Dynasty?
4. What are the main elements depicted in "A Thousand Miles of Rivers and Mountains"?
5. How does the painting reflect the cultural and philosophical ideals of the Northern Song Dynasty?
6. What impact has "A Thousand Miles of Rivers and Mountains" had on subsequent generations of artists?

==References==
#https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
#https://www.dpm.org.cn/collection/paint/228354.html
#http://www.chinashj.com/sh-gdhh/10245.html
#http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
#Lin, Shunyang & Xu, Hui. (2022). Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". Beauty and Times (China), 12, 114-116.
#Feng, Haitao. (2023). Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). Art Research, (01), 22-28, 38-39.
#Qin, Shuhai. (2023). Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". Oriental Collection, (09), 36-38.
#Xiao, Pengfei. (2023). On the Realm of Wang Ximeng’s "A Thousand Miles of Rivers and Mountains". Journal of Fuyang Vocational and Technical College, (02), 76-78.

==简介==

《千里江山图》是北宋画家王希孟的杰作。这幅画以其壮丽的中国自然景观描绘而闻名，堪称传统中国山水画的巅峰，特别是在青绿山水画领域。此画不仅是青绿山水画的代表作，也是传统中国绘画艺术的瑰宝。

==天才画家王希孟==

王希孟（1096-?），是北宋末年的著名画家，以其作品《千里江山图》闻名。在十几岁时，他进入宫中的“画学”学习，但起初并不出众。然而，在宋徽宗的亲自指导下，他的技艺得到了显著提升。宋徽宗本人是一个才华横溢的艺术家，也好支持别人搞艺术，他看到了王希孟的巨大潜力，投入了大量时间来培养他。在十八岁时，王希孟完成了他的杰作《千里江山图》，这不仅证明了他的天赋，也展示了他经过严格训练所取得的成果。

==北宋时期的历史背景==

北宋（960-1127）是中国文化、经济和技术显著进步的时期。在经历了混乱的五代十国时期之后，北宋带来了稳定和繁荣，在农业、商业和城市化方面取得了显著发展。以儒家思想为主导的政治结构促进了知识和艺术的发展。在这个黄金时代，绘画、文学和书法等艺术达到了新的高度，学者和艺术家得到了国家的极大支持。

==精湛技术==

《千里江山图》展示了宋代山水画的复杂技艺和美学原则。画卷长达11米以上，捕捉了广阔多样的景观，以细腻的笔触和和谐的色彩表现出来。王希孟采用了青绿山水技法，使用石青和石绿等矿物颜料，使这幅画充满了生机和宁静。
画面的构图既宏大又复杂。起伏的群山通过细腻的笔触和细致的纹理描绘出深度和三维感。水体的描绘，包括河流、瀑布和溪流，为景观增添了动态元素，反映了以风景如画著称的江南的自然美。建筑元素如亭台和茅屋细致入微，展示了当时的建筑风格。

==象征意义和文化内涵==

《千里江山图》不仅在视觉上引人入胜，还充满了文化象征意义。画中的山水、建筑和人物反映了古代文人雅士的哲学和美学。这幅画体现了人与自然和谐的道家理想，这是中国文化的核心主题。宁静而田园的景色代表了一种乌托邦愿景，是对时代政治和社会动荡的逃避。

画中的人物虽然规模较小，但刻画得极具个性。渔夫、旅行者和隐士从事各种活动，象征着生活和社会的不同方面。这些人物不仅为画面增添了叙事维度，还强调了人与自然环境的紧密关系。

==影响==

王希孟的《千里江山图》是中国山水画史上的一座里程碑。其创新的技法、宏大的构图和丰富的色彩影响了几代艺术家。这幅画为青绿山水画设定了新的标准，激励了许多后来的艺术家采用和改编其技法和风格。

这幅画的影响不止于国内。它作为中国艺术的杰作在国际上备受赞誉，展示了传统中国文化的深度和复杂性。画作所传达的美和宁静感使其成为世界上最受尊敬的艺术作品之一。

==结论==

王希孟的《千里江山图》不仅仅是一幅山水画；它还是北宋文化和艺术成就的深刻表达。通过其精美的细节和宏大的视野，这幅画捕捉了自然与人类和谐的核心价值。《千里江山图》继续激发和吸引观众，证明了艺术跨越时间和空间的持久力量。

==参考文献==
#https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
#https://www.dpm.org.cn/collection/paint/228354.html
#http://www.chinashj.com/sh-gdhh/10245.html
#http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
#林顺洋 & 徐辉.(2022).《千里江山图》的美学思想及艺术价值. 美与时代(中)(12),114-116.
#冯海涛.(2023).画式——《千里江山图》卷中的绘画语言研究（上）. 美术研究(01),22-28+38-39.
#秦树梅.(2023).《千里江山图》画法研究. 东方收藏(09),36-38.
#肖鹏飞.(2023).论王希孟《千里江山图》之境. 阜阳职业技术学院学报(02),76-78.

==问题==
#王希孟的《千里江山图》有何重要意义？
#宋徽宗如何影响王希孟的艺术发展？
#北宋时期社会和文化有哪些进步？
#《千里江山图》描绘了哪些主要元素？
#这幅画如何反映北宋的文化和哲学理想？
#《千里江山图》对后世艺术家产生了怎样的影响？

=Wu Liping | Festival：Qixi Festival=

==Introduction==
Qixi Festival, also known as Qiqiao Festival, Qijie Festival, Daughter's Day, Qiqiao Festival, Qinianghui Festival, Qixi Festival, Ox and Bull Mother's Day, Qiaoxi Festival, etc., is a traditional Chinese folk festival. Qixi Festival evolved from the worship of stars. It is the birthday of the seventh sister in the traditional sense. Because the worship of the "seventh sister" was held on the night of July 7th, it was called "Qixi Festival". Worshiping the seventh sister, praying for blessings and wishing, begging for skillful art, sitting and watching Morning Glory Vega, praying for marriage, storing Qixi water, etc. are the traditional customs of Qixi Festival. After historical development, Qixi Festival has been given the beautiful love legend of "Cowherd and Weaver Girl", making it a festival symbolizing love. Therefore, it is regarded as the most romantic traditional festival in China, and has produced the cultural meaning of "Chinese Valentine's Day" in modern times.

==Origin==
1.The Legend of the Cowherd and the Weaver Girl
Qixi Festival is one of the traditional festivals in China. "Xi" is the origin of the evening festival. Qixi Festival is the night on the seventh day of the seventh lunar month. Qixi Festival originated from the legend of the Cowherd and the Weaver Girl. The cowherd is a young herder, and the weaver girl is a fairy in the sky. The weaver girl felt that there was no freedom in the sky and came to the world. With the help of the old cow, the cowherd met the weaver girl and soon fell in love and got married, giving birth to a man and a woman. But one day, the Queen Mother took the Weaver Girl away. When the cowherd carried the two children to the sky to chase the weaver girl, the Queen Mother drew a galaxy with the jade hairpin on her head. The galaxy was long and wide, and the cowherd could not pass, so they were separated. The Queen Mother only allows the Cowherd and the Weaver Girl to meet once every year on the seventh day of July. Every night on the seventh day of the seventh month, groups of magpies fly to build a bridge for the Cowherd and the Weaver Girl and let them meet on the bridge. This is the origin of the Qixi Festival.

2.Worship of natural celestial phenomena
As early as ancient times, the ancients who pursued order not only planned the sky in an orderly manner, but also corresponded the stars to the ground area one by one. This correspondence is called "star division" in terms of astronomy and "division" in terms of the ground. . In short, the ancients corresponded each constellation in the sky to the physical geographical area on the ground one by one. The purpose of the ancient star division and division was mainly to cooperate with the astrology theory for celestial occupation. In the ancient star system, "Ox" consists of six stars, located on the east coast of the Milky Way, like two inverted triangles, one up and down, very characteristic, but the upper triangle is larger and brighter. The small triangle below is located on the ecliptic. These stars form a cow with two horns on its head but only three feet, so the ancients called it "the morning ox." The three stars of "Weaver Girl" are located in the north of the cow house. Among them, the "Weaver Girl One" star is the fifth bright star in the sky, so it is often directly called "Weaver Vega". People call "Oxus" and "Weaver Vega" together as "Cowherd and Weaver Girl". It is said that on the seventh day of July every year, the Cowherd and the Weaver Girl meet at the Magpie Bridge in the sky. Later, the folk gave further play to the story and gave the "Cowherd and Weaver Girl" a beautiful love legend. And in order to have the dexterity of the weaver girl, the girls work on that day, so that day is also called the Begging Festival.

3.Time digital worship
"Chinese Valentine's Day" is the seventh day of the month and the seventh day. In ancient times, the ancients combined the sun and moon with the five planets of water, fire, wood, gold and earth as "Seven Yao." The seventh day of July is related to the ancients' worship of numbers and time. In ancient times, the "sevenfold" of the first month, February 2, March 3, May 5, June 6, July 7 and September 9 were listed as auspicious days. In ancient China, the "heavy day" was regarded as a day of "the communication between heaven and earth" and "the communication between heaven and man". Seven is the number of beads in each column of the abacus, which is romantic and rigorous, giving people a mysterious beauty. "Seven" and "Ji" are homophonic, and "Seven" also means double good luck, which is an auspicious day.

==Activities on the day==
Activities on the day
1.Couple dating
Chinese Valentine's Day is commonly known as Valentine's Day in China, so couple dating is one of the most common ways to celebrate Chinese Valentine's Day. Couples may choose to have a romantic dinner on this day, enjoy the moon together, or participate in activities on the theme of Qixi Festival to express their love and care for each other
2.Xiangqiao Hui
In Yixing, Jiangsu Province, there is a custom of Qixi Xiangqiao Festival. Every year on the Chinese Valentine's Day, people come to participate and build incense bridges. The so-called incense bridge is a bridge four or five meters long and about half a meter wide made of all kinds of thick and long wrapping incense (paper-wrapped thread incense). It is decorated with a railing made of five-color threads. At night, people sacrifice the double stars, beg for good fortune, and then burn the incense bridge, symbolizing that the double stars have crossed the incense bridge and met happily. This incense bridge is derived from the legendary legend of Magpie Bridge.

3.Take Dew
In rural areas of Zhejiang, it is popular to use washbasins to receive dew. Legend has it that the dew on the Qixi Festival is the tears when the Cowherd and the Weaver Girl meet. If you wipe it on your eyes and hands, you can make your eyes clear and your hands fast.

4.Wear a needle and beg for cleverness
Wearing needles, also known as "matching tricks", is women's competition to wear needles. They tie colored threads and wear seven-hole needles. The faster they wear, the more clever they wear, the more clever they are. Those who wear slowly are called "losing tricks". "People who lose cleverness" should give gifts prepared in advance to the clever. Xijing Miscellany said: "Han Cai girls often wear seven-hole needles in the open building on July 7th, and people get used to it”

==Cultural significance and development of Qixi Festival==
1.Inheritance of traditional culture: As a part of Chinese traditional culture, Qixi Festival has inherited ancient myths and beautiful blessings through generations.
2.Multicultural integration: In contemporary society, Qixi Festival integrates the customs of different regions and cultures, forming a variety of forms of celebration.
3. Changes in personal values: With the rapid development of society, people's concepts of love and marriage are also changing. As a symbol of love, Qixi Festival represents the change of values that people pursue in love.The cultural evolution of Qixi Festival not only retains traditional customs, but also blends with modern society, reflecting the diversity and vitality of Chinese culture. We look forward to the continuous evolution and development of Qixi Festival in the future and become a cultural feast of tradition and modernity.

==Conclusion==
As a traditional Chinese festival, Qixi Festival carries ancient myths and legends and beautiful blessings. With the progress of society and the evolution of culture, Qixi Festival has become more romantic and diversified in modern times. Traditional Qixi customs such as begging for tricks and enjoying the moon still exist, but modern society gives Qixi Festival more meaning and expression. To sum up, the Seven Festivals is not only a traditional festival, but also a festival with rich cultural significance and historical traditions. It embodies the Chinese nation's unremitting self-improvement, diligence and wisdom, creative courage, and the continuous pursuit of a happy life.

==Terms and Expressions==
the Cowboy and the Weaver Girl 牛郎织女
：the Queen of Heaven 王母娘娘
magpie bridge 鹊桥
ecliptic 黄道：
Seven Luminaries 七曜
Heavenly Palace 天宫
Altair 牵牛星
Vega 织女星
Miscellanies of Xijing 《西京杂记

==Questions==
1. What is other name of Qixi Festival?
2. What day does the Chinese Valentine's Day take place?
3. What are the origins of Qixi Festival?
4. What are the common Qixi Festival activities?
5.What is the impact of Qixi Festival on today's society?

==References==
1.邵静.我国大众媒介的“节日传播”——以“春节”与“情人节”为比较范本[J].东南传播,2007(9):58-59.
6.李定琼.传统节日“假日化”与法定假日“传统化”——两者的旅游文化学关系浅析[J].现代商业,2008(9):266-267
7.李晓霞.浅谈中国节庆文化的影响[J].理论界,2006(S2):113-114
8.韦柳芝.从西方节日中反思中国传统节日的保护与传承[J].长春教育学院学报,2014,30(7):15-16.
9.That is Mandarin The Story Behind Qixi Festival

==Translation==
节日：七夕节
介绍：
七夕节，又称七巧节、七姐节、女儿节、乞巧节、七娘会、七夕祭 [39-40]、牛公牛婆日、巧夕等，是中国民间的传统节日。七夕节由星宿崇拜演化而来，为传统意义上的七姐诞，因拜祭“七姐”活动在七月七晩上举行，故名“七夕”。拜七姐，祈福许愿、乞求巧艺、坐看牵牛织女星、祈祷姻缘、储七夕水等，是七夕的传统习俗。经历史发展，七夕被赋予了“牛郎织女”的美丽爱情传说，使其成为了象征爱情的节日，从而被认为是中国最具浪漫色彩的传统节日，在当代更是产生了“中国情人节”的文化含义。

起源：
1.牛郎织女的传说
七夕节是中国传统节日之一，“夕”是夜晚的意思，“乞巧”是向织女乞求智巧的意思，七夕节指的就是农历七月初七的夜晚。七夕节起源于牛郎和织女的传说，牛郎是年轻的牧童，织女是天上的仙女，织女觉得自己在天上没有自由，就下凡来到人间，牛郎在老牛的帮助下认识了织女，不久便结为夫妻，生了一男一女两个孩子，但有一天王母娘娘把织女带回了天宫，牛郎带着两个孩子去天宫找织女，王母用头上的玉簪划了一道银河，银河又宽又长，牛郎无法过河，他们被隔开了，王母娘娘规定每年七月七日牛郎和织女只能相会一次，每到七月初七的夜晚，成群的喜鹊飞来为牛郎和织女搭起一座鹊桥，让牛郎和织女相会，这就是七夕节的由来。

2.崇拜自然的天体现象
早在远古时代，追求秩序的古人们不仅将天空规划得井井有条，还将星宿与地面区域一一做了对应，这个对应关系就天文来说，称作“分星”，就地面来说，称作“分野”。简单来说，古人就是将天上每个星座都与地上的实体地理区域一一对应，古代分星与分野目的主要是为了配合占星理论进行天象占测。在古代星宿体系中，“牛宿”由6颗星组成，位于银河的东岸，像两个倒置的三角形，一上一下，很有特点，不过上面的那个三角形更大一些，亮一些。而下面的小三角形正好位于黄道上，这几颗星组成了一个头上有两角，却只有三只足的牛，因此古人称其为“牵牛”。“织女”3星位于牛宿的北部，其中的“织女一”星是全天第五亮星，因此又常直接称为“织女星”。人们将“牛宿星”与“织女星”合称为“牛郎织女”。相传每年七月初七，牛郎织女在天上的鹊桥相会，后来民间把故事进一步发挥，赋予了“牛郎织女”的美丽爱情传说。而姑娘们为了能有织女的心灵手巧，就在那天比针线活，于是那一天又称作乞巧节。

3.古人的数字崇拜
“七夕”月逢七、日逢七。在古代，古人把日、月与水、火、木、金、土五大行星合在一起叫“七曜”。“七月初七”与古人对数字和时间的崇拜有关。古代民间把正月正、二月二、三月三、五月五、六月六、七月七、九月九这“七重”列为吉庆日。“重日”在中国古代被认为是“天地交感”、“天人相通”的日子。“七”是算盘每列的珠数，浪漫而又严谨，给人以神秘的美感。“七”与“吉”谐音，“七七”又有双吉之意，是个吉利的日子。

节日活动：
1.情侣约会
情侣约会：七夕节被普遍称为中国的情人节，因此情侣约会是七夕节最常见的庆祝方式之一。情侣们可能选择在这一天共进浪漫的晚餐，一起欣赏赏月，或是一起参加七夕主题的活动，表达对彼此的爱意和关怀。
2.香桥会
在江苏宜兴，有七夕香桥会习俗。每年七夕，人们都赶来参与，搭制香桥。所谓香桥，是用各种粗长的裹头香（以纸包着的线香）搭成的长四五米、宽约半米的桥梁，装上栏杆，于栏杆上扎上五色线制成的花装饰。入夜，人们祭祀双星、乞求福祥，然后将香桥焚化，象征着双星已走过香桥，欢喜地相会。这香桥是由传说中的鹊桥传说衍化而来的。
3.接露水
浙江农村，流行用脸盆接露水的习俗。传说七夕节时的露水是牛郎织女相会时的眼泪，如抹在眼上和手上，可使人眼明手快。浙江农村，流行用脸盆接露水的习俗。传说七夕节时的露水是牛郎织女相会时的眼泪，如抹在眼上和手上，可使人眼明手快。
4.穿针乞巧
穿针乞巧，也叫“赛巧”，即女子比赛穿针，她们结彩线，穿七孔针，谁穿得越快，就意味着谁乞到的巧越多，穿得慢的称为“输巧”，“输巧”的人要将事先准备好的礼物送给得巧者。《西京杂记》说：“汉彩女常以七月七日穿七孔针于开襟楼，人具习之。”

七夕节的文化意义与发展
1.传统文化的传承：七夕节作为中国传统文化的一部分，通过世代相传，传承了古代神话故事和美好祝福。
2.多元文化的融合：在当代社会，七夕节融合了不同地区、不同文化的习俗，形成丰富多样的庆祝形式。
3.个人价值观的变迁：随着社会的快速发展，人们对于爱情和婚姻的观念也在发生变化，七夕节作为爱情的象征，代表着人们对爱情追求的价值观的转变。七夕节的文化演变既保留了传统习俗，又与现代社会相互交融，体现了中国文化的多元性和活力。我们期待着七夕节在未来继续演变和发展，成为传统与现代交融的文化盛宴。

总结：七夕节作为中国传统的节日，承载着古老神话传说和美好祝福。随着社会的进步和文化的演变，七夕节在现代变得更加浪漫而具有多元化的特点。传统的七夕习俗如乞巧活动和赏月仍然存在，但现代社会赋予了七夕节更多的意义和表达方式。综上所述，七节不仅是一个传统的节日，也是一个具有丰富文化意义和历史传统的节日。体现了中华民族不懈的自我完善、勤奋和智慧、创造的勇气，以及对幸福生活的持续追求。
问题：
1.七夕节又名什么？
2.七夕节发生在哪一天？
3.七夕节有哪些起源？
4.常见的七夕节活动有哪些？
5.七夕节对当今社会有哪些影响？

参考文献：
1.邵静.我国大众媒介的“节日传播”——以“春节”与“情人节”为比较范本[J].东南传播,2007(9):58-59.
6.李定琼.传统节日“假日化”与法定假日“传统化”——两者的旅游文化学关系浅析[J].现代商业,2008(9):266-267
7.李晓霞.浅谈中国节庆文化的影响[J].理论界,2006(S2):113-114
8.韦柳芝.从西方节日中反思中国传统节日的保护与传承[J].长春教育学院学报,2014,30(7):15-16.
9.That is Mandarin The Story Behind Qixi Festival

=Luo Jiayi | Music and instruments：Yuge（Fishing song）=
==Overview==
Fishing song, also known as Yuge, is a unique Chinese folk song sung by fishermen in China's coastal areas, lakes and harbors. The most widely circulated one is the Tang Dynasty poet Zhang Zhihe's ''Fisherman's Song'':

In front of western hills white egrets fly up and down

Over peach-mirrored stream, where perches are full grown.

In a broad-brimmed blue hat

And green straw cloak, I’d fain

Go fishing careless of the slanting wind and rain.

There are many types and quantities of fishing songs. When and where it originated, there is no way to know. But it is certain that in the Han Dynasty, there was a large number of documentary records of fishing songs. In 2014, the fishing songs (Dongting Fishing Songs and Shanwei Fishing Songs) were approved by the State Council to be included in the fourth batch of national intangible cultural heritage lists. In 2021, Fishing Songs (Shengsi Fishing Songs) were approved by the State Council to be included in the expanded list of representative items of national intangible cultural heritage.

渔歌是一种特有的中国民歌，由中国沿海地区以及湖泊港湾渔民所唱。流传最广泛的当属唐代诗人张志和的《渔歌子》：西塞山前白鹭飞，桃花流水鳜鱼肥。青箬笠，绿蓑衣，斜风细雨不须归。渔歌种类繁多、数量庞大，到底起源于何时何地，已无从考究。但可以确定的是在汉代，渔歌已有大量的文献记载。2014年，渔歌（洞庭渔歌、汕尾渔歌）经国务院批准列入第四批国家级非物质文化遗产名录。2021年，渔歌（嵊泗渔歌）经国务院批准列入国家级非物质文化遗产代表性项目名录扩展项目名录。

==Classification of fishing songs==
Fishing songs can be classified by region. For example, the fishing songs popular in Shanwei, Guangdong Province are collectively referred to as Shanwei Fishing Songs, and there are also fishing songs in Huidong, Guangdong, which belong to the same kind in Shanwei; popular in Yueyang, Hunan Province, Dongting Lake, collectively known as Dongting Fishing Song. The fishing songs popular in Shengsi, Zhoushan, Zhejiang Province, are called Shengsi Fishing Song.

Fishing songs can also be divided into two categories: deep-sea fishing songs and shallow-sea fishing songs. The former is sung by fishermen working in the deep sea, similar to salty water songs. The latter is sung by the women of the fishermen by the sea. It usually refers mainly to shallow-sea fishing songs.

What is more, fishing songs can be classified according to their form, which are divided into three types: work songs, folk songs, and ditty.

渔歌可以按地域来分类。如流行于广东汕尾市的渔歌，统称为汕尾渔歌，而在广东的惠东也有渔歌，属于汕尾市同类；如流行于湖南省岳阳市岳阳楼区洞庭湖边的，则统称为洞庭渔歌；如流行于浙江省舟山市嵊泗县的渔歌，则称为嵊泗渔歌。

渔歌也可以分深海渔歌和浅海渔歌两类。前者是深海作业渔民所唱，近似咸水歌；后者是海边渔家妇女所唱。通常主要指浅海渔歌。

渔歌还可以按其按形式来分类，分为号子、山歌、小调三种类型。

==Characteristics of fishing songs==
The content of fishing songs is rich and colorful, and it is mainly divided into five categories, namely labor, life, love, folk customs and sacrifices. (Li 2008, 51)The labor category, represented by ''The Boatman's Work Song'', mostly describes the spontaneous organization of fishermen in production and life, such as fiber pulling, net collection, etc., with a sonorous rhythm and full of dynamics. In the life category, it mainly expresses the joys and sorrows in the hearts of fishermen, and its representative works include ''How can there be more tears in the river''. Love, mostly men and women pour out their love for each other. Affected by the water, their marriage and love are in the boat, which gave birth to a large number of songs, such as ''Bachelor Marrying'' and so on. Folk customs, more reflect the survival skills of fishermen, and the cultivation of excellent moral qualities such as the education of children, and the representative works include ''My Thousands of Fishing Songs''. Sacrificial category, the content is mainly for the fishermen to pray for the god of water and the dragon king to bless favourable conditions and the boat is safe, the representative works are ''Dongting Immortal'' and so on.（Xu Hao,Liu Jiwen 2020, 121-122）

The lyrics of fishing songs are generally in the format of seven-character sentences, two sentences are one paragraph, and there are also four or eight sentences in a paragraph. In the four sentences, there are also five-character sentences or three-character sentences as the starting sentence, and the last three words of the second or fourth sentence are often repeated with padding words, or the whole sentence is repeated.

The expression forms of fishing songs include humming, singing in unison, singing in unison with the lead singer, blowing, duet, singing and dancing, pure natural harmony singing, playing and singing, etc. The dragging and repetition in the singing are the most basic and significant characteristics that distinguish fishing songs from other folk songs.

渔歌的内容丰富多彩，主要分为五大类，即劳动类、生活类、爱情类、民俗类和祭祀类。(Li 2008, 51)劳动类，以《船工号子》为代表，多形容渔民在生产生活中的自发组织劳动，如拉纤、收网等，节奏铿锵，富于动感；生活类，则主要表达渔民内心的喜怒哀乐，代表作有《河水哪有我的眼泪多》等；爱情类，多为男女之间互相倾诉爱慕之情，受水域影响，婚姻、恋爱均在船间，由此萌生出大量歌曲作品，如《光棍娶亲》等；风俗民俗类，更多反映渔民的生存技巧，及对子女的教育等优秀道德品质的培养，代表作有《我的渔歌万万千》等；祭祀类，内容主要为渔民祈求水神、龙王保佑风调雨顺、行船平安，代表作有《洞庭仙》等。（Xu Hao,Liu Jiwen 2020, 121-122）

渔歌的歌词格式一般为七字句，两句一首，间有四句或八句一首。四句中也有用五字句或三字句作起句的，第二句或第四句的最后三字常加上衬词重复，或整句重复。

渔歌的表现形式有哼唱、齐唱、领和式齐唱、吹奏、对唱、歌舞、纯自然和声演唱、弹唱等。而唱腔曲调上的“拖音”和“复沓”是渔歌有别于其他民歌品种最基本、最显著的特征。

==The value of fishing songs==
The fishing song itself has a high aesthetic value of musical art, which is mainly reflected in its unique style and rich forms of expression. It contains the cultural genes of traditional music, and provides a rich source of original materials and inspiration for music creation.(Wang 2009, 25)

In contemporary times, the more important thing about the fishing song is its historical, cultural and folk value. Fishermen living by the water's edge can learn about the humanistic history, folk customs, social outlook of their hometown, and the way of life, thoughts and feelings, spiritual pursuits, and values of fishermen through fishing songs, so as to gain a sense of identity of local cultural identity. (Chen 2023, 74-75)In addition, this kind of value is also reflected in the true record and effective continuation of traditional fishing culture. Through fishing songs, people can understand the ocean, tide, meteorology, fishing flooding, fish, fishing, breeding, processing, trade and other fishery knowledge and inherit the fishing culture of the fishing area.(Jin 2009, 90/ Fang 2023, 24-25)

In addition, the fishing song also has scientific, economic and practical value. Only by transforming it from a folk art resource into a cultural productive force and bringing economic benefits can the reproduction of folk art producers be guaranteed, and correspondingly more funds will be invested in the protection and development of folk art.(Jinling Li 2022, Volume 4.0, Issue 5.0)

渔歌本身具有很高的音乐艺术审美价值，主要体现在它独特的风格和丰富的表现形态上。它蕴含着传统音乐的文化基因，为音乐创作提供了丰富的原始素材和灵感源泉。(Wang 2009, 25)

在当代，渔歌更重要的是它的历史文化民俗价值。生活在水边的渔民，通过渔歌了解自己家乡的人文历史、民俗风情、社会面貌和渔民的生活方式、思想感情、精神追求、价值观念，从而获得本土文化身份的认同感。(Chen 2023, 74-75)除此之外，它的这种价值还体现在对传统渔俗文化的真实记录和有效延续上，人们通过渔歌，可以了解海洋、潮汛、气象、渔汛、鱼类、捕捞、养殖、加工、贸易等渔业知识，传承渔区渔俗文化。(Jin 2009, 90/ Fang 2023, 24-25)

此外，渔歌也有科学经济实用价值。只有将其从民俗艺术资源转换为文化生产力,带来经济效益,才能保证民俗艺术生产者的再生产,相应地就会有更多的资金投入到民俗艺术的保护和发展上。(Jinling Li 2022, Volume 4.0, Issue 5.0)

==Terms and Expressions==
Fishing songs 渔歌

''Fisherman's Song'' 《渔歌子》

Dongting Fishing Songs 洞庭渔歌

Shanwei Fishing Songs 汕尾渔歌

Shengsi Fishing Songs 嵊泗渔歌

The fourth batch of national intangible cultural heritage list 第四批国家级非物质文化遗产名录

Expanded list of representative items of national intangible cultural heritage 国家级非物质文化遗产代表性项目名录扩展项目名录

Deep-sea fishing songs 深海渔歌

Shallow-sea fishing songs 浅海渔歌

Salty water songs 咸水歌

Work songs 号子

Folk songs 山歌

Ditty 小调

''The Boatman's Work Song'' 《船工号子》

''How can there be more tears in the river'' 《河水哪有我的眼泪多》

''Bachelor Marrying'' 《光棍娶亲》

''My Thousands of Fishing Songs'' 《我的渔歌万万千》

''Dongting Immortal'' 《洞庭仙》

Padding words 衬词
==Questions==
（1）What are the types of fishing songs classified by region? Please name two.

（2）Are fishing songs an intangible cultural heritage?

（3）What is the value of fishing songs?

（1）渔歌按地域分类有哪几种？请举出两个。

（2）渔歌属于非物质文化遗产吗？

（3）当代的渔歌具有什么价值？
==References==
李琳(Li Lin). 环洞庭湖民歌中的民俗及其文化内涵(Folklore and Its Cultural Connotation in Folk Songs Around Dongting Lake)[J]. 湖南农业大学学报(社会科学版)(Journal of Hunan Agricultural University (Social Science)),2008,(05):50-53.

许昊,柳集文(Xu Hao,Liu Jiwen). 传统音乐类非物质文化遗产的生存现状与整合传播——基于湖南岳阳洞庭渔歌的考察(The Survival Status and Integrated Dissemination of Traditional Music Intangible Cultural Heritage: An Investigation Based on Dongting Fishing Songs in Yueyang, Hunan Province)[J]. 新媒体研究(Journal of New Media Research),2020,6(07):121-124.

王晓淮(Wang Xiaohuai). 关于当代原生态民歌发展及意义的思考(Reflections on the Development and Significance of Contemporary Original Ecological Folk Songs)[J]. 歌海(Ge Hai),2009,(04):24-25.

陈辉(Chen Hui). 渔俗文化的历史记忆——浙东渔歌的功能与价值(Historical Memory of Fishing Culture: The Function and Value of Fishing Songs in Eastern Zhejiang)[J]. 浙江艺术职业学院学报(Journal of Zhejiang Vocational College of Art),2023,21(04):70-76.

金成辉(Jin Chenghui). 民俗艺术资源的价值要素探析(Analysis on the Value Factors of Folk Art Resources)[J]. 艺术探索(Art Exploration),2009,23(05):90-91.

方从戎(Fang Congrong). 湖南洞庭渔歌的文化内涵及其生存现状(The Cultural Connotation and Survival Status of Dongting Fishing Songs in Hunan Province)[J]. 中国民族博览(China Nationalities Expo),2023,(18):24-26.

Jinling Li. Research on the Development of Intangible Cultural Heritage Traditional Handicraft Education Inheritance and Socialization Inheritance(非物质文化遗产的发展研究传统手工艺教育传承与社会化传承)[J]. International Journal of Frontiers in Sociology(国际社会学前沿杂志), 2022, Volume 4.0 , Issue 5.0.

=Xie Xianglin |Education:Chicken Child(Fired-up Child)=
==The Origin and Meaning==
In recent years, with the popularity of the TV series ‘A Little Dilemma’, ‘education anxiety’ has become a hot topic nowadays, and the new word ‘chicken child’ has therefore come into the public eye.The drama is set in the context of primary school and reflects the current educational context where children's education is highly competitive.
Chicken child means a child who has been over-motivated and spurred on by their parents in terms of learning and forced to be fired up.Chicken child, in Chinese is ‘鸡娃’. Chicken, ‘鸡’ is homophonous with the character ‘激’which means motivating or stimulating, so Chicken Child has the meaning of a child who is motivated and spurred on.
On the other hand,in China in the 1960s, there was a form of chicken blood therapy, in which fresh chicken blood was drawn and injected into a person's veins, which would leave them refreshed and free of any illness. It's pseudo-science, but the term chicken blood has been passed down and given the meaning of a person's sudden excitement about something.So ‘Chicken Child’ borrowed this meaning to denote a child who is forced by his parents to be excited about learning.Based on its meaning, the term has also been translated as Fired-up Child.（Ding Miaomiao. 2022，Imago Literature Creation）

==Causes of the Chicken Child==
The causes of the chicken child are complex and involve many aspects.
===Education system===
The National College Entrance Examination, as the only examination that determines university entrance, makes parents and students focus all their energy on exam-oriented education. In addition, two important exams, the Junior High School Entrance Examination and the High School Entrance Examination, largely determine how high or low a child's educational starting point will be. These examinations in China make children and their parents anxious, fearing that they will fall behind on any rung of the ladder. Although in recent years the policy of reducing the burden one after another, the effect of reducing the burden is not obvious. Even though the The Double Reduction Policy has alleviated parents‘ educational anxiety to a certain extent, the problem of parents’ educational anxiety will not be reduced as long as there is the existence of exam-oriented education and the selection system of the National College Entrance Examination according to the scores.
===Ideological Tradition===
China's ideological tradition of‘expecting a son to become a dragon and a daughter to become a phoenix’ is the most ardent hope of every Chinese parent for their children. Therefore, most parents will focus all their energy, financial and material resources on their children, so that they can have better conditions and resources to improve social status and change the fate of the family. Education, on the other hand, is the most effective and fair of all avenues. Some scholars have pointed out that the direct cause of parents’ educational anxiety is their educational expectations and requirements for their children. (Fu Qiwen ,Ye Xiangxiang,Zou Simin ,Gong Xue. Secondary school students)
===Economic Factors===
In Professor Fabrizio's eyes, chicken child is not the fault of parents, but the result of economic inequality. In addition to contributing to a shift in cultural values, the increase in economic inequality has also changed parental behaviour. In particular, parents increasingly believe that the basis of their children's success will depend on educational achievement. In a world where parents are tightly connected with their children in interests, parents will be more concerned about their children's place in the social hierarchy, and will therefore be motivated to invest more in pushing their children to adopt success-oriented behaviors. (Tencent News.2021)

==Specific Manifestations in Society==
Firstly, there is intense subject tuition. Children attend a variety of tuition classes after school and on weekends, covering a wide range of subjects such as Maths, English and Physics, with a view to improving their academic performance. Secondly, they enroll in a wide range of interest classes. Apart from subject tuition, parents would also arrange for their children to attend interest classes in music, dance, sports and so on, in the expectation that they could develop in an all-round way. Thirdly, strict time management. Children's schedules are so tight that they have little free time, and all their activities revolve around learning and skill enhancement. Fourthly, the high-pressure family environment, where parents have very high expectations and demands on their children's academic performance, leading to a tense family atmosphere and greater psychological pressure on the children.
Changsha, for example, has the four most prestigious high schools in Hunan: The First High School of Changsha, Changjun High School of Changsha, Yali Middle School, and The High School Attached to Hunan Normal University. In addition, other schools are divided into various echelons, and it is often rumored that ‘Entering XXX school is a step into the door of Universities listed in Project 985, 211’. For this reason, parents and students try to get into the best high school possible. According to the Chinese education system, children only start learning English in the third grade of primary school. But here, there are children who have been attending English interest classes since they were a few years old. Some even learn a second or third foreign language. In addition to the basic curriculum, children also have to learn programming, Olympiads, etc. to have as much competitive capital as possible. At the age of primary school and junior high school, age of nature of to play, it is difficult to say that there are children who love to take the initiative to learn, so all of the above mentioned can not ignore the role of the parents . This is the specific embodiment of the chicken child, rather than children play initiative to learn, it is the parents play initiative to let them learn.

==The Double Reduction Policy==
The implementation of the ‘Double Reduction’ policy is intended to alleviate the phenomenon of ‘chicken children’, reduce the academic burden on students and promote equity in education. The ‘Double Reduction’ policy is an important education reform measure introduced by the Chinese government in 2021. The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training, issued in July 2021, aims to reduce the burden of homework and out-of-school training for primary and secondary school students. The core elements of this policy include reducing the amount of homework, regulating the operation of out-of-school training organizations, and reducing the educational anxiety of students and parents.
However, the policy has faced some challenges and backlash in its implementation, and the demand and competitive mentality of parents and students for educational resources still exists. Achieving the policy's goals will require concerted efforts by the government, schools, and families to enhance the equitable distribution of educational resources, improve the quality of public education, change parents' concepts of education, and promote the all-round development and physical and mental health of students. (Baidu Encyclopedia)

==Similar phenomena abroad==
As a matter of fact, there are similar educational anxieties abroad. Similar to the chicken child, there are ‘Helicopter Parents’ and ‘Tiger Parenting’ .
Helicopter parents refer to parents who are overly concerned about their children's behaviour, learning and development. They hover around their children like helicopters, always ready to intervene and interfere in their children's lives.
Tiger-Parenting is derived from the book ‘The Battle Hymn of the Tiger Mother’ by Amy Chua, a Chinese-American writer. Tiger-Parenting emphasizes rigour and high standards, and parents expect their children to achieve excellent results, often through coercion, threats and punishment, in order to motivate their children to learn and perform. And the term actually originated in China. The origin of the term, ‘Battle Hymn of the Tiger Mother’, is about how the author, a Chinese mother, fired up her children to become chicken child. Tiger-Parenting became a sensation in the education world and led to a great debate about the educational methods of China and the United States.(Woran Zhang. 2023.)

==Summary==
The essence of chicken children lies in parents' excessive concern about their children's studies and performance, as well as their excessive expectations of their children's future development. This phenomenon reflects the unequal distribution of educational resources and opportunities in society, as well as parents' anxiety and distrust of their children's future in a highly competitive social environment. Chicken-child behaviour is often accompanied by negative consequences such as excessive learning pressure, lack of autonomy and mental health problems, and may also lead to a waste of educational resources and a lack of educational equity.

==Terms and Expressions==
Chicken Child(Fired-up Child) 鸡娃
A Little Dilemma 《小别离》
chicken blood therapy 鸡血疗法
National College Entrance Examination 高考
exam-oriented education 应试教育
Junior High School Entrance Examination 小升初考试
High School Entrance Examination 中考
The Double Reduction Policy 双减政策
The First High School of Changsha 长沙市第一中学
Changjun High School of Changsha 长郡高级中学
Yali Middle School 雅礼中学
The High School Attached to Hunan Normal University 湖南师范大学附属中学
The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
Helicopter Parents 直升机式家长
Tiger Parenting 虎妈式教育
The Battle Hymn of the Tiger Mother 《虎妈战歌》

==Question==
#How did the word ‘chickenshit’ come about?
#What are the causes of the chicken child phenomenon?
#What are the concrete manifestations of the chicken child in the society?
#Why is it necessary to implement the ‘Double Reduction Policy’?
#Where did the term ‘tiger mother education’ originate?

==References==
#Ding Miaomiao. An analysis of the network buzzword ‘chicken child’. Journal of literature and creativity,2022,(29):111-113.
#FU Qiwen, YE Xiangxiang, ZOU Simin, GONG Xue. A review of research on the current situation of parents' educational anxiety and countermeasures in the context of burden reduction. A review of parental education anxiety and countermeasures in the context of burden reduction.
#Tencent News.2021.Economists tell you that chicken children are not your fault_Tencent News (qq.com)
#General Office of the CPC Central Committee, General Office of the State Council . Opinions on Further Reducing the Burden of Homework on Students in Compulsory Education and the Burden of Out-of-School Training .
#Baidu Encyclopedia. Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Off-Campus Training_Baidu Encyclopedia (baidu.com)
#Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.

==Translation==
教育：鸡娃
1.鸡娃的由来及含义
近年来，随着电视剧《小别离》的热播，“教育焦虑 ”成为时下的热门话题，“鸡娃 ”这个新词也因此进入公众视野。这部电视剧以小学为背景，反映了当下儿童教育竞争激烈的教育背景。
鸡娃是指在学习方面被家长过度激励和鞭策，被迫发奋学习的孩子。“鸡” 与 “激”同音，“激” 的意思是激励或刺激，所以 ”鸡娃 "有激励和鞭策孩子的意思。
另一方面，在 20 世纪 60 年代的中国，有一种鸡血疗法，即抽取新鲜鸡血注入人的血管，使人神清气爽，百病不生。虽然是伪科学，但鸡血一词却流传了下来，并被赋予了一个人突然对某件事情感到兴奋的含义，所以 “鸡娃”借用了这一含义来表示被父母逼着对学习感到兴奋的孩子。(丁苗苗. 2022,今古文创)

2.鸡娃现象的成因
鸡娃现象的产生成因复杂，涉及许多方面。
A. 教育体制
全国高考作为决定大学入学的唯一考试，使家长和学生把全部精力都放在应试教育上。此外，初中入学考试和高中入学考试这两次重要的考试在很大程度上决定了孩子教育起点的高低。在中国，这些考试让孩子和家长们焦虑不安，生怕自己在哪个阶梯上掉队。虽然近年来减负政策陆续出台，但减负效果并不明显。即使 “双减 ”政策在一定程度上缓解了家长的教育焦虑，但只要存在应试教育和高考唯分数论的选拔制度，家长的教育焦虑问题就不会减少。
B. 思想传统
望子成龙、望女成凤 "是中国的思想传统，也是每个中国家长对子女最殷切的期望。因此，大多数父母都会把所有的精力、财力、物力都集中在子女身上，让子女有更好的条件和资源来提高社会地位，改变家庭命运。而教育则是所有途径中最有效、最公平的途径。有学者指出，造成家长教育焦虑的直接原因是家长对子女的教育期望和要求。 (付启文、叶湘湘、邹思敏、龚雪.中学生）。
C.经济因素
在 Fabrizio 教授眼中，“鸡娃 ”不是父母的错，而是经济不平等的结果。除了导致文化价值观的转变，经济不平等的加剧也改变了父母的行为。尤其是，家长们越来越相信，子女成功的基础取决于教育成就。在父母与子女利益紧密相连的世界里，父母会更加关注子女在社会等级中的位置，因此会有动力投入更多，促使子女采取以成功为导向的行为。(腾讯新闻.2021）

3.鸡娃在社会中的具体显现
一是高强度的学科补习，孩子们在放学后和周末参加各种补习班，涵盖数学、英语、物理等多个学科，以期提高他们的学术成绩。二，报广泛的兴趣班。除了学科补习，家长还会安排孩子参加音乐、舞蹈、体育等兴趣班，期望他们能够全面发展。三是严格的时间管理，孩子们的日程安排得非常紧凑，几乎没有自由时间，所有的活动都围绕着学习和技能提升。四是高压的家庭环境，家长对孩子的学习成绩和表现有着非常高的期望和要求，导致家庭氛围紧张，孩子面临较大的心理压力。
就拿长沙举例，拥有湖南四大名校长沙市第一中学、长沙市长郡中学、长沙市雅礼中学、湖南师范大学附属中学。除此以外，其它学校还分出了各种梯队，常有流言说“上了xxx学校就是一脚迈进了985、211的门”。为此家长学生为了尽可能进入更好的高中挤破了头。按中国教育制度，孩子小学三年级才开始学英语。但是在这里，有的是从几岁开始就上英语兴趣班的娃娃。更有甚者，还学了第二门、第三门外语。除基本的课程外，孩子还要学编程，奥数等，尽可能有更多竞争的资本。在小学、初中的年纪，正是天性爱玩的时候，难说有孩子是热爱主动学习的，所以以上所说种种家长在其中的作用是不可忽略的。这正是鸡娃，与其说是孩子在发挥主动性学习，不如说是家长发挥主动性让他们学习。

4.双减政策
“双减”政策的实施意在缓解“鸡娃”现象，减轻学生的学业负担，促进教育公平。“双减”政策是中国政府在2021年推出的一项重要教育改革措施，2021年7月发布的《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》，旨在减轻中小学生的作业负担和校外培训负担。这一政策的核心内容包括减少家庭作业量、规范校外培训机构的运营、以及减轻学生和家长的教育焦虑。
然而，政策在实施过程中面临一些挑战和反弹，家长和学生对教育资源的需求和竞争心理依然存在。要实现政策目标，需政府、学校和家庭多方协同努力，加强教育资源的公平分配，提升公立教育质量，转变家长的教育观念，促进学生的全面发展和身心健康。(百度百科)

5.国外的相似现象
事实上，国外也有类似的教育焦虑存在。与鸡娃相似的，如“直升机式”家长和“虎妈式”教育。
直升机家长（Helicopter Parents）是指过度关注孩子的行为、学习和发展的家长，他们像直升机一样“盘旋”在孩子的周围，时刻准备介入和干预孩子的生活。
“虎妈式”教育（Tiger-Parenting）源自美国华裔作家蔡美儿（Amy Chua）的著作《虎妈战歌》。虎妈式教育强调严格要求和高标准，家长们期望孩子取得优异的成绩，通常通过强迫、威胁和惩罚来促使孩子学习和表现。而严格来说，这个词也起源于中国。因为个词的起源《虎妈战歌》正是讲的作者作为华裔妈妈如何“鸡娃”的。虎妈的教育方法轰动了教育界，并引起关于中美教育方法的大讨论。
(Woran Zhang.2023.World Journal of Educational Research）

6.总结
鸡娃的本质在于家长过度关注孩子的学习和成绩，以及对孩子未来发展的过度期待。这种现象反映了社会对教育资源和机会的不均等分配，以及家长对孩子未来竞争激烈的社会环境的焦虑和不信任。鸡娃行为常常伴随着过度的学习压力、缺乏自主性、心理健康问题等负面影响，同时也可能导致教育资源的浪费和教育公平的缺失。

术语：
Chicken Child(Fired-up Child) 鸡娃
A Little Dilemma 《小别离》
chicken blood therapy 鸡血疗法
National College Entrance Examination 高考
exam-oriented education 应试教育
Junior High School Entrance Examination 小升初考试
High School Entrance Examination 中考
The Double Reduction Policy 双减政策
The First High School of Changsha 长沙市第一中学
Changjun High School of Changsha 长郡高级中学
Yali Middle School 雅礼中学
The High School Attached to Hunan Normal University 湖南师范大学附属中学
The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
Helicopter Parents 直升机式家长
Tiger Parenting 虎妈式教育
The Battle Hymn of the Tiger Mother 《虎妈战歌》

问题:
#“鸡娃”这个词是如何而来？
#鸡娃现象的成因有哪些方面？
#鸡娃在社会中的具体体现有哪些？
#为什么要实行“双减政策”？
#虎妈教育这个词起源于哪？

参考文献：
#丁苗苗. 网络流行语“鸡娃”探析. 今古文创,2022,(29):111-113.
#付惜文 ,叶湘湘,邹思敏 ,龚雪.减负背景下家长教育焦虑现状及对策的研究综述.中学生
#腾讯新闻.2021.经济学家告诉你，鸡娃不是你的错_腾讯新闻 (qq.com)
#中共中央办公厅、国务院办公厅.《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
#百度百科。关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见_百度百科 (baidu.com)
#Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.World Journal of Educational Research(5)

=Yang Zixuan | Chinese Science Fiction:''The Three-Body Problem''=

==Introduction==

''The Three-Body Problem'' is a series of long science fiction novels written by Liu Cixin, consisting of ''The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever''. The first installment was serialized since May 2006 in ''Science Fiction World'' magazine. The series of novels tells the story of the exchange of information between the human civilization on Earth and the three-body civilization, the life-and-death struggle, and the rise and fall of the two civilizations in the universe. The first installment was translated by Liu Yukun and won the 73rd Hugo Award for Best Long Story.

Liu Cixin, born in Beijing in June 1963, is originally from Luoshan County, Xinyang City, Henan Province, and a native of Yangquan, Shanxi Province. He graduated from the North China University of Water Conservancy and Hydropower and is a senior engineer as well as a science fiction writer. Liu Cixin is one of the representative writers of Chinese science fiction, and his works have been awarded the Galaxy Award for Chinese Science Fiction for the years 1999-2006, and he has won many other important awards at home and abroad, such as Zhao Shuli Literary Award and Chinese Science Fiction Nebula Award, etc. He is also a member of the Chinese Science Fiction Association.

==Main Part==

===The Place and Influence of ''The Three Body Problem'' in Chinese Science Fiction Literature===

The success of ''The Three-Body Problem'' series has greatly contributed to the popularization and prosperity of science fiction literature in China. More and more readers have begun to pay attention to and fall in love with science fiction literature and the quantity and quality of science fiction works have been significantly improved. With its unique scientific concepts, rich imagination and profound insight into human nature, society and civilization, ''The Three-Body Problem'' series has provided new ideas and directions for the creation of Chinese science fiction literature. More and more writers have begun to try to combine scientific theories with storylines, tap into human culture and historical connotations, and explore new ways of literary expression. ''The Three-Body Problem'' has also inspired the creative enthusiasm of Chinese science fiction writers, and more and more writers have begun to try their hand at science fiction literature, injecting new vitality into Chinese science fiction literature. Meanwhile, more writers are encouraged to pursue depth and breadth to enhance the overall level of Chinese science fiction literature.

The international success of ''The Three-Body Problem'' series has raised the status and influence of Chinese science fiction literature. Chinese science fiction literature has begun to receive attention and recognition from the international community, opening up a new way for the international dissemination of Chinese culture. The success of the "The Three-Body Problem" series has enhanced the cultural confidence of Chinese science fiction writers. They began to face international readers and judges with more confidence, showing the unique charm and depth of Chinese science fiction literature. At the same time, "The Three-Body Problem" also shows the world the creativity and thinking power of Chinese people, and wins more praise and respect for the international dissemination of Chinese culture.

===''The Three-Body Problem'' embodies Chinese cultural values===

'''The belief that man can win'''

"For more than 5,000 years, the Chinese people, in the course of exploring nature and seeking survival, have honed the spiritual character of robustness, diligence and courage, positivity and perseverance. In the face of difficulties, we believe that man will prevail over God. Flooding, do not ask the prophet, their own dredging; disease epidemic, do not seek miracles, their own taste of all kinds of herbs; Houyi shoot the sun, Jingwei fill in the sea, Yugongyishan ...... these ancient myths are embedded in the Chinese people's philosophy of survival and spiritual strength.

In "The Three-Body Problem", there is a huge gap between the scientific and technological levels of human civilization and that of the three-body civilization. ''The Three-Body Problem'' sends out only two "Homo sapiens" to interfere with all the particle gas pedals on Earth, making it difficult for humans to take a further step forward in basic science. The three-body world also sends the most contemptuous message to human beings - "you are bugs". The gap between bugs and human beings is much larger than the gap between Earth and The Three-Body Problem, but human beings have not completely eliminated bugs by using all sorts of methods, and the three-body people seem to have forgotten one thing, that bugs have never been truly defeated. Even though human beings are as weak as ants in front of the three-body world, human beings have never given up the struggle, which is exactly the vivid embodiment of the spirit of resilience in the bones of the Chinese people.

'''Planning a profound legacy for future generations'''

The concept of the family has an important place in traditional Chinese culture. In the traditional Chinese political structure, the family and the state are isomorphic: the "family" is the small "state" and the "state" is the big "family". The "family" is the small "state" and the "state" is the big "family". The family-centered culture of Chinese society has given rise to a whole set of ways of thinking and living, and the heroes in "The Three-Body Problem" often have the traditional meaning of "father and ruler", they are cold and rational, and they are able to save the day when there is a crisis, and they act as the "head of the family". As the "head of the family" of human beings, they shoulder the heavy burden of resisting foreign enemies and continuing human civilization, and almost all of them end up sacrificing their lives for the survival of the whole human race. The spirit of family inheritance extends to the country and becomes the historical inheritance of the Chinese nation that has lasted for thousands of years. In "The Three-Body Problem", many of the plans designed by mankind to resist alien invasions lasted for dozens to hundreds of years, and only a nation with a civilized history of 5,000 years would be more inclined to design and imagine these plans that need to be passed down from one generation to the next, and the novel has an epic feel to it as a result. In the setting, the three-body fleet arrived on Earth after 400 years, accordingly, the human struggle with the three-body world strategy is also measured in hundreds of years, for example, the use of the "hibernation" technology of the Pacific Air Force to send talents to the future, the bunker program, the black field program, the development of curvature drive spaceships, and so on.

'''Chinese characters'''

There are also uniquely Chinese protagonists in ''The Three-Body Problem'' that readers remember, such as Wang Miao, Zhang Beihai, and Cheng Xin all of whom are characters that appear more frequently in Amazon reader book reviews.

Zhang Beihai is a very typical Chinese soldier, he is strong and intelligent, with a strong sense of justice, and comes from a military family. His father is a member of the future history school, who predicts that mankind will lose the battle of Armageddon, and he hints at the end of the battle with the cryptic words "think more". Inheriting his father's legacy, Beihai leaves behind a spark of hope for mankind in the midst of an inevitable war. One reader commented that Zhang Beihai "came up with a shocking and inhumane solution to save mankind at the most critical moment". Readers resonate with the human rationality of Zhang Beihai in the context of the book, and at the same time gain a new understanding of the Chinese people's heightened sense of mission, dedication, and spirit of sacrifice.

Cheng Xin has been described by readers in English-speaking areas as "the best protagonist in the series, she is the most memorable. Maybe not the best, but she's the character that is most likely to remain unique in your mind." Each of Ching-Hsin's choices does indeed implement the concept of "goodness" in the moral system that human society has constructed. Respecting human life, loving and caring for all people, Cheng Xin has practiced her concept of "humanity", which in Cheng Xin's context is of course the same as "goodness"! --In Cheng Xin's context, "humanity" is of course the same as "goodness" - rather, Cheng Xin redefines "humanity" through her choices, and in the end, it is this "humanity" that Cheng Xin truly protects, rather than humanity itself. For Cheng Xin, the loss of humanity is the loss of everything.

==Conclusion==

''The Three-Body Problem'' series of novels is the undoubted masterpiece of Chinese science fiction writer Liu Cixin. With its unique scientific setting, rich characterisation and profound philosophical reflections, the series shows the struggles and choices of human civilisation in the face of invasion by an alien civilisation, and at the same time explores the grandeur of the universe and the insignificance of human beings. ''The Three-Body Problem'' is not a copy of foreign sci-fi works; it uses Chinese narrative methods to win wide acclaim from readers around the world, and has become the brightest star in contemporary Chinese sci-fi literature.

==Terms and Expreesions==

The Three-Body Problem 《三体》

The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever 《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》

Science Fiction World 《科幻世界》

the Galaxy Award for Chinese Science Fiction 中国科幻小说银河奖

Zhao Shuli Literary Award 赵树理文学奖

Chinese Science Fiction Nebula Award 华语科幻星云奖

"hibernation" technology 冬眠技术

the bunker program 掩体计划

the black field program 黑域计划

curvature drive spaceships 曲率驱动飞船

==Questions==

1. How does the international success of ''The Three-Body Problem'' affect Chinese science fiction literature?

2. How does ''The Three-Body Problem'' reflect Chinese cultural values?

3. Which character in Three Bodies do you appreciate most? Why?

1.《三体》在国际上的成功对中国科幻文学有何影响？

2.《三体》是如何体现中国文化价值观的？

3.你最欣赏《三体》中的哪个角色？为什么?

==References==

LI Jianfu 李建福, GAO Xuying 高序莹. Analyzing the Realism Thought and Chinese Narrative in Liu Cixin's ''The Three-Body Problem'' 浅析刘慈欣《三体》中的现实主义思想及中国叙事. Modern Communication现代交际,2023,(06):89-97+123-124.

Xie Zhonghui 解仲慧. "The Loss and Reinvention of the Hero--The Thought of Humanity in ''The Three-Body Problem'' “英雄”的失落与重塑——论《三体》中的人性之思. Masterpiece Appreciation 名作欣赏,2024(15):143-146.

Cui Bo 崔波, Chen Zixin 陈子馨. Research on the Overseas Diffusion Mechanism of Chinese Literary Works--An Examination Based on ''The Three-Body Problem'' 中国文学作品的海外扩散机制研究——基于《三体》的考察. Digital Publishing Research 数字出版研究,2024,3(01):104-112.

==Translation==

'''中国科幻小说：《三体》'''

'''简要介绍'''

《三体》是由刘慈欣创作的系列长篇科幻小说，由《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》组成。第一部于2006年5月起在《科幻世界》杂志上连载。该系列小说讲述了地球人类文明和三体文明的信息交流、生死搏杀及两个文明在宇宙中的兴衰历程。其第一部经过刘宇昆翻译后获得了第73届雨果奖最佳长篇小说奖。

刘慈欣，1963年6月出生于北京市，祖籍河南省信阳市罗山县，山西阳泉人。他毕业于华北水利水电大学，是一名高级工程师，同时也是科幻作家。刘慈欣是中国科幻小说代表作家之一，作品蝉联1999年-2006年中国科幻小说银河奖，并多次获得其他国内外重要奖项，如赵树理文学奖、华语科幻星云奖等。

'''《三体》在中国科幻文学中的地位和影响'''

《三体》系列的成功极大地推动了中国科幻文学的普及和繁荣。越来越多的读者开始关注和喜爱科幻文学，科幻作品的数量和质量也得到了显著提升。《三体》系列以其独特的科学理念、丰富的想象力和对人性、社会、文明的深刻洞察，为中国科幻文学的创作提供了新的思路和方向。越来越多的作家开始尝试将科学理论与故事情节相结合，挖掘人类文化和历史内涵，探索新的文学表达方式。《三体》也激发了中国科幻作家的创作热情，越来越多的作家开始尝试科幻文学的创作，为中国科幻文学注入了新的活力。同时鼓励更多的作家追求深度和广度，提升中国科幻文学的整体水平。

《三体》系列在国际上的成功提升了中国科幻文学的地位和影响力。中国科幻文学开始受到国际社会的关注和认可，为中国文化的国际传播开辟了新的途径。《三体》系列的成功增强了中国科幻作家的文化自信。他们开始更加自信地面对国际读者和评委，展现中国科幻文学的独特魅力和深度。同时，《三体》也向世界展示了中国人的创造力和思考力，为中国文化的国际传播赢得了更多的赞誉和尊重。

'''《三体》体现中国文化价值观'''

人定胜天的信念

“天行健，君子以自强不息”，五千多年来，中华民族在探索自然、谋求生存的过程中历练出刚健有为、勤劳勇敢、积极向上、坚忍不拔的精神品格。在困难面前，我们相信人定胜天。洪水泛滥，不问先知，自己疏通河渠；疾病流行，不求神迹，自己尝遍百草；后羿射日、精卫填海、愚公移山……这些上古神话中蕴含着中国人的生存哲学和精神力量。

在《三体》中，人类文明和三体文明的科技水平差距巨大，三体仅派出两颗“智子”就能干扰地球所有的粒子加速器，使人类基础科学再难前进一步。三体世界还向人类发来最蔑视的信息——“你们是虫子”。虫子与人类的差距远大于地球与三体的差距，但是人类使用各种办法都没有彻底消灭虫子，三体人似乎忘了一件事，虫子从来就没有被真正战胜过。即使人类在三体世界面前如蝼蚁般弱小，但是人类从未放弃斗争，这恰恰是中国人骨子里坚韧精神的生动体现。

为子孙后代计深远的传承

家庭观念在中国传统文化中有着重要的地位。在中国传统的政治构造中，家国是同构的：“家”是小“国”，“国”是大“家”。中国社会以家庭为中心的文化衍生出一整套思维和生活方式，《三体》中的英雄形象往往都具有传统意义上“君父形象”的意味，他们冷峻理性，在危机时力挽狂澜，作为人类的“大家长”肩负着抵抗外敌、延续人类文明的重担，最后的结局也几乎都是舍生取义，为整个人类的生存牺牲自己。家族传承精神扩大到国家就变为中华民族绵延数千年的历史传承。《三体》中人类为抵御外星入侵设计的许多计划都延续几十到上百年，只有拥有五千年文明历史的民族才会更偏向于设计与想象出这些需要代代相传的计划，小说也因此具有一种史诗感。在设定上，三体舰队于400年后到达地球，相应的人类与三体世界的斗争策略也以百年计，比如太空军利用“冬眠”技术向未来输送人才，掩体计划、黑域计划、研制曲率驱动飞船，等等。

中国式角色

《三体》中也有独特的中国式主角被读者所牢记，如汪淼、章北海和程心都是亚马逊读者书评中出现频次较高的角色。

章北海是非常典型的中国军人形象，他坚强智慧，胸怀大义，出身军人世家。章北海的父亲是未来史学派成员，预判末日之战中人类必败，他用极为隐晦的话“要多想”向章北海暗示末日之战的结局。章北海继承父亲的遗志，在必败的战争中为人类留下希望的火种。有读者评论称章北海“在最危急的时刻想出一个令人震惊的、非人道的解决方案来拯救人类”，读者在结合书中背景后，对章北海身上的人类理性一面产生共鸣，同时也对中国人高度的使命感、奉献精神和牺牲精神产生新的认识。

而程心被英语地区读者称为“该系列中最好的主角，她是最令人难忘的。或许不是最好的，但她是最容易在你的脑海中保持独特的角色。”程心的每一次选择确实都贯彻了人类社会所构建的道德体系中的“善”这一理念。尊重人的生命，博爱、关怀所有人，程心切身践行了她理念中的“人性”，在程心的语境里，“人性”当然等同于“善”——毋宁说，程心通过她的选择重新定义了“人性”，程心最后真正保护了的，也就是这样的“人性”，而非人类本身。对于程心来说，失去人性，才是失去一切。

'''总结'''

《三体》系列小说是中国科幻作家刘慈欣毫无疑问的代表作。该系列作品以其独特的科学设定、丰富的人物塑造和深邃的哲学思考，展现了人类文明在面对外星文明入侵时的挣扎与抉择，同时探讨了宇宙的宏大和人类的渺小。《三体》不是对外国科幻作品的复制，它用中国叙事，赢得了全球读者的广泛赞誉，成为当代中国科幻文学中最璀璨的明星。

=Chu Shoujuan |Ganshi in Xiangxi: The Cycle of Life and Death under Ancient Witchcraft=
==Introduction==
Xiangxi, a mysterious land in the western part of China's Hunan Province, has been one of the cradles of witchcraft culture since ancient times. In this deep land of mountains and streams, there is an ancient and mysterious legend - Ganshi in Xiangxi. This is a strange ceremony to bring the bodies of people who died in a foreign land back to their hometown and bury them in the ground, and it is called "Three Evils of Xiangxi" with Gu Du and Luo Hua Dong Nv. (Baidu Baike Ganshi in Xiangxi)

==Main Part==

=Origin=

The origin of Ganshi in Xiangxi can be traced back to ancient times. According to folklore, thousands of years ago, Chi You led soldiers in fierce battles with rival tribes. And then the battlefield was littered with corpses and blood flowed like stream. After the war, Chi You could not bear his soldiers to die in a foreign land, so he asked his tactician to use magic to let the dead soldiers return home. The tactician dressed up as Chi You, silently reciting incantations and praying to the gods, and those who had originally fallen to the ground actually stood up, followed the guidance of the "Fu Jie" and walked south. This is the earliest legend of Ganshi in Xiangxi. (Wang Yanan 2018, 186)

=Development=

However, it was in the middle of the Qing Dynasty that Ganshi in Xiangxi really formed a profession and was widely spread among the people. At that time, people in Xiangxi took the bodies of their relatives who had died abroad back to their hometowns for burial as a show of filial piety. However, due to the long road, inconvenient transportation, coupled with the complex terrain of the Xiangxi area and the rugged mountain road, it was extremely difficult to transport the body. Therefore, some people who knew witchcraft would use the "Occult Arts" to "drive" the body back to their hometown. These people are called "Ganshi Jiang", they hold "Chen Zhou Fu", and the mouth mutters words, leading the body in the night forward. (Liang Xu 2014, 2)

The ritual of Ganshi in Xiangxi is full of mystery. The Ganshi Jiang usually sets out at night, dressed in Taoist robes and carrying a dementor bell, followed by a string of bodies strung together with straw ropes. Instead of using lanterns, they use bells in their hands and incantations in their mouths to find their way. As the body walks, it wears a tall felt hat, and a yellow paper with a mark on its forehead was draped over its face to conceal it. Such a scene, in the mountains of Xiangxi, appears particularly strange and mysterious. (Baidu Baike Ganshi in Xiangxi)

Ganshi in Xiangxi ritual although mysterious, but not without trace. According to relevant literature records, there is a saying of "Three Rush and Three not Rush" in Xiangxi. Those who have been beheaded, hanged, or killed in cages can be driven away, because these people are forced to die, die unconvinced, and miss both home and love ones. Those who die of illness, those who hang themselves voluntarily or throw themselves into a river, and those who are burned by lightning with incomplete limbs could not be driven away. This is because the person who die of illness has spent the rest of his life, and his soul has been hooked by the impermanent ghost to Yama. The souls of those who hang their necks or throw themselves into a river are "being replaced" and are being handed over. And those who die when lightning strikes fire are sinful and cannot be driven away. (Lu Qun 2007, 56-57)

=Declassify=

With the development of science and technology, people have gradually explored the mystery of Ganshi. Ganshi does not mean that the body will actually walk on its own, but that someone will carry it on his back. First, Ganshi Jiang removes the head and limbs from the deceased, and then coates them with embalming agents, so that for a period of time, it can not decompose. At the same time, in order to prevent excessive inquiry into their profession, they would choose to wear Taoist robes and carry a dementor bell and travel at night. When the body is delivered to the home of the deceased, people, out of awe and comforted at seeing the deceased, no longer doubt whether the body is intact or whether the removal of the body is a hoax. (Zhang Dawei 2016, 18-22)

==Conclusion==
Although Ganshi in Xiangxi is full of mystery and horror, it also reflects people's respect and nostalgia for the deceased. In the land of Xiangxi, driving dead bodies is not only a profession, but also a cultural inheritance and belief. Nowadays, with the progress of science and technology and the convenience of transportation, Ganshi has gradually fades out of people's vision. However, the legends and stories about Ganshi in Xiangxi are still spread among the mountains and rivers of Xiangxi, becoming an eternal legend in this land.

==Terms and Expressions==
*Ganshi in Xiangxi 湘西赶尸
*Three Evils of Xiangxi 湘西三邪
*Gu Du 蛊毒
*Luo Hua Dong Nv 落花洞女
*Chi You 蚩尤
*Fu Jie 符节
*Occult Arts 秘术
*Ganshi Jiang 赶尸匠
*Chen Zhou Fu 辰州符
*Taoist robes 道袍
*Dementor bell 摄魂铃
*Three Rush and Three not Rush 三赶三不赶
*Yama 阎王

==Questions==
#What are the "Three Evils of Xiangxi"?
#Which legend does the "Ganshi" come from?
#Why doesn't the body rot?

==References==
[1]Baidu Baike Ganshi in Xiangxi (Xiangxi regional culture of China) _ Baidu Baike (baidu.com)

[2]Wang Yanan. Ganshi in Xiangxi culture exploration [J]. computerite, 2018, (02): 186.

[3]Liang Xu. Declassify Ganshi in Xiangxi [C]// Guangdong Folk Culture Research Association. Proceedings of the Symposium on Folklore Intangible Cultural Heritage in July 2014. Publisher unknown, 2014: 2.

[4]Lu Qun. Mysterious Ganshi in Xiangxi [J]. Extensive literature and history, 2007, (05): 56-57.

[5]Zhang Dawei. On the Religious and Ethical Implications of Ganshi in Xiangxi----Concurrently Discuss Primitive Belief as a Way of Human Existence [J]. Journal of Qiannan Teachers College for Nationalities, 2016, 36 (04): 18-22.

==Translation==

湘西赶尸：古老巫术下的生死轮回

介绍

湘西，这片位于中国湖南省西部的神秘土地，自古便是巫文化的发源地之一。在这片崇山峻岭、溪流纵横的深邃之地，流传着一个古老而神秘的传说——湘西赶尸。这是一种将客死异乡之人的尸体带回家乡，让他们入土为安的奇特仪式，与蛊毒、落花洞女并称“湘西三邪”。（百度百科湘西赶尸）

主体部分

起源

湘西赶尸的起源，可追溯到遥远的古代。据民间传说，几千年前，蚩尤率兵与敌对部族激战，战场上尸横遍野，血流成河。战后，蚩尤不忍战士们客死他乡，便请军师施展法术，让战死的将士们魂归故里。军师装扮成蚩尤的模样，默念咒语，祷告神灵，那些原本倒在地上的尸体竟然站了起来，跟随“符节”的指引，向南而行。这便是湘西赶尸最早的传说。（王亚男 2018，186）

发展

然而，湘西赶尸真正形成一种职业，并在民间广为流传，则是在清朝中期。当时，湘西地区的人们将客死他乡的亲人尸体运回家乡安葬，以示孝道。但由于路途遥远，交通不便，加之湘西地区地形复杂，山路崎岖，运送尸体极为困难。于是，一些懂得巫术的人便利用“秘术”，将尸体“赶”回家乡。这些人被称为“赶尸匠”，他们手持“辰州符”，口中念念有词，引领着尸体在夜色中前行。（梁谞 2014，2）

湘西赶尸的仪式充满了神秘色彩。赶尸匠一般选择夜晚出发，身穿道袍，手持摄魂铃，身后跟着一串用草绳串联的尸体。他们不打灯笼，只靠手中的铃铛和口中的咒语辨别方向。尸体在行走时，头戴高筒毡帽，额上压着画着符的黄纸，垂在脸上，以遮盖面容。这样的场景，在湘西的深山中，显得尤为诡异和神秘。（百度百科湘西赶尸）

湘西赶尸的仪式虽然神秘，但并非无迹可寻。据有关文献记载，湘西赶尸有“三赶，三不赶”之说。凡是被砍头、受绞刑、站笼站死的尸体可以赶，因为这些人是被迫死的，死得不服气，既思念家乡又惦念亲人。而病死的、投河吊颈自愿而亡的、雷打火烧肢体不全的尸体则不能赶。这是因为病死的人已享尽天年，其魂魄已被无常鬼勾至阎罗王处；投河吊颈者的魂魄是“被替代”的，正在交接中；而雷打火烧而亡者则属罪孽深重之人，无法驱赶。（陆群 2007，56-57）

解密

随着科学技术的发展，人们逐渐探寻到了“赶尸”的奥秘。“赶尸”并不是尸体真的会自己走路，而是有人将它背着走。赶尸匠先将死者的头部和四肢截下来，然后涂上防腐药剂，这样就能保持一段时间不腐烂。同时，为了防止旁人对他们职业的过分探究，他们会选择身着道袍，手拿摄魂铃，晚上赶路。等到尸体送到死者家中时，人们出于对死者的敬畏和见到死者后的安慰,便不再去怀疑尸体是否完整，赶尸是否是个骗局了。（张达玮 2016，18-22）

结论

湘西赶尸虽然充满了神秘和恐怖色彩，但它也体现了人们对逝者的尊重和怀念之情。在湘西这片土地上，赶尸不仅是一种职业，更是一种文化传承和信仰体现。如今，随着科技的进步和交通的便利，湘西赶尸已经逐渐淡出了人们的视野。但那些关于湘西赶尸的传说和故事，却仍然流传在湘西的山水之间，成为这片土地上永恒的传说。

术语表达
*Ganshi in Xiangxi 湘西赶尸
*Three Evils of Xiangxi 湘西三邪
*Gu Du 蛊毒
*Luo Hua Dong Nv 落花洞女
*Chi You 蚩尤
*Fu Jie 符节
*Occult Arts 秘术
*Ganshi Jiang 赶尸匠
*Chen Zhou Fu 辰州符
*Taoist robes 道袍
*Dementor bell 摄魂铃
*Three Rush and Three not Rush 三赶三不赶
*Yama 阎王

问题
#“湘西三邪”是什么？
#“赶尸”起源于哪个传说？
#为什么尸体不会腐烂？

参考
[1]百度百科湘西赶尸（中国湘西地区地域文化）_百度百科 (baidu.com)

[2]王亚男. 湘西赶尸文化探秘 [J].电脑迷, 2018, (02): 186.

[3]梁谞. 解密湘西赶尸[C]// 广东省民俗文化研究会.2014年07月民俗非遗研讨会论文集.[出版者不详] ,2014: 2.

[4]陆群. 神秘的湘西赶尸[J]. 文史博览,2007, (05): 56-57.

[5]张达玮. 湘西赶尸的宗教与伦理意蕴——兼论原始信仰作为人的存在方式[J]. 黔南民族师范学院学报, 2016, 36 (04): 18-22.

=Jiang Rui |=
=Li Xun | Chinese Animation =
==Overview==
In ''Cambridge Advanced Learner's Dictionary'', the word “animation” means moving picture. Here, Chinese animation refers to animation produced by Chinese. (mainland). Chinese animation originated in the 1920s. In 1922, the first advertising animation in China, ''Shu Zhen Dong Chinese Typewriter'', was produced. In 1926, the first animated film in China, ''Da Nao Studio'', was produced. In 1935, the first audio animated film in China, ''Camel Dancing'', was produced, opening a page in the history of Chinese animation. In the 1940s, the Wan brothers created the first feature film of Chinese animation, ''Princess Iron Fan'', which was released in Southeast Asia and Japan and received warm welcome, laying a good foundation for Chinese animation to go international. Between the 1950s and the 1980s, China entered a golden era of animation. In this period, there were mainly three kinds of traditional animation before the technique of computer animation be widely used, including paper-cut animation, water ink animation and puppet animation. Chinese animation has had an unparalleled glory, which also proves that Chinese animation has strength and has artistic laws suitable for its development. Looking at the development of Chinese animation over the past few decades, it can be seen that Chinese animation has always been committed to a path with its own characteristics. (Chinese animation Baidu bai ke (baidu.com)) (Luo Hong 2011 335) (Luo Hong 2011 6)

==Traditional Elements==
Most Chinese animations are set against the background of mythological tales or ancient history, and thus involve many traditional Chinese elements. Among them, some animation works are made completely according to the original mythology, and some fabricate a story that has never existed before, but most are adapted from existing myths or historical events.

For example, China's early animations such as ''Uproar in Heaven'', ''Nezha Conquers the Dragon King'', and ''Princess Iron Fan'' are all adapted from the long novel ''Journey to the West''. However, the character Nezha was not originally from China at the earliest, but from Indian Buddhist mythology, but it was introduced to China relatively early, and there are records about Nezha in many dynasties:

Jin Dynasty:''The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter'' records:"Vaisravana, the king of heaven, gave birth to Narakuja (that is, Nezha), and all the heavenly beings were extremely happy. The king gave birth to a crown prince today, in the Kapilavastu kingdom, and all the people were also so happy." In the earliest written records of Buddhism, Nezha is a just god of war who is deeply loved by the public. Once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise.

Tang Dynasty:''The Sea of Meanings of the Shurangama Sutra'' records:"The crown prince of the king of heaven is like that of Nezha and the like, assisting in governing and controlling, grasping ghosts and protecting the world and benefiting people."

Song Dynasty:''The Jiatai Pudeng Record'' records:"Nezha has ten faces and ten eyes moving, and the formless spiritual light blocks the sun wheel."

Since the Jin Dynasty, there have been descriptions of Nezha almost in every dynasty. In ''The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter'', Nezha is described as "once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise", while in the animation work ''Nezha: Birth of the Demon Child'', Nezha was born as a "demon child" with a bad nature. Once born, it caused the fear and disgust of the people, and the director's intention of such an adaptation is probably to pave the way for Nezha to sacrifice his life to save everyone at the end, thereby highlighting Nezha's kind character. Therefore, this work conveys such a concept: even if it is a demon, there is kindness. Such a concept is very common in Chinese culture. In ''Journey to the West'', many monsters seem to be very evil, but they haven't done anything extremely heinous. Generally, they just steal things and rob, at least they are aboveboard. On the contrary, in human society, there are all kinds of calculations, conspiracies, and framings, which are simply more evil than monsters; the first is to lament the sinister nature of human society, and the second is to abandon the "label of the evil", that is, there is no absolute evil. This is exactly the value that many Chinese writers want to express through monsters.

Coincidentally, there is also a shadow of this value in the animation ''Fox Spirit Matchmaker''. In this animation, humans and monsters coexist in the world, and it describes some kind-hearted monsters who do not hesitate to sacrifice themselves to protect others and some humans who murder monsters for power. And this animation also involves some other traditional Chinese elements. It mainly tells a series of interesting and mysterious stories that occur in the process of the fox spirit who takes on the profession of matchmaker pulling the red thread for the lovers in the previous life. And the word "matchmaker" comes from ''Romance of the Western Chamber'' created by Wang Shifu, a dramatist in the Yuan Dynasty. In ''Romance of the Western Chamber'', there is a maidservant in the prime minister's mansion named "Hongniang". She not only has to take care of Miss Cui Yingying's daily life, but also monitors Miss on the order of the old lady and reports immediately if there is any bad tendency. But after Hongniang saw Miss Yingying's mind towards Zhang Sheng, she still broke through the shackles of feudal ethics and risked being punished by the old lady to help Miss Yingying and Zhang Sheng, and finally made the lovers become a couple under the matchmaking of Hongniang. Since then,"Hongniang" has referred to those who match men and women to become husband and wife. And "pulling the red thread" is a metaphor for "facilitating marriage".

In addition, there are also some Chinese ancient poems and some original poems in ''Fox Spirit Matchmaker''. For example,"Ask what on earth love is, which directly makes it difficult for the magpie bridge to cross the pain of lovesickness, and directly makes it difficult for the butterfly to pick the sweetness of the same heart". This sentence is adapted from Yuan Haowen's ''Moliyu·Yanqiu Ci'' in the Jin Dynasty. Another example is "On the seventh day of July, at the bamboo pavilion by the Huai River, the scabbard and the flute depend on each other, without regret or complaint". This sentence is written by the author of ''Fox Spirit Matchmaker''. These poems endow this animated work with a romantic atmosphere and enhance its artistic quality, making it more ornamental and aesthetically valuable.

==Influence From Abroad==
==Animation Production Techniques==
==Terms And Expressions==
==Questions==
==Translation==
===概述===
在《剑桥高级学习者词典》中，“动画”一词意为移动的图片。在这里，中国动画指的是（中国大陆）中国人制作的动画。中国动画起源于20世纪20年代。1922年，中国第一部广告动画《舒振东华文打字机》制作完成。1926年，中国第一部动画片《大闹画室》制作完成。1935年，中国第一部有声动画影片《骆驼献舞》制作完成，翻开了中国动画历史的一页。20世纪40年代，万氏兄弟创作了中国动画的第一部故事片《铁扇公主》，该片在东南亚和日本上映并受到热烈欢迎，为中国动画走向国际奠定了良好基础。20世纪50年代至80年代，中国进入了动画的黄金时代。在这一时期，在计算机动画技术被广泛应用之前，主要有三种传统动画类型，包括剪纸动画、水墨动画和木偶动画。中国动画曾有过无与伦比的辉煌，这也证明了中国动画有实力且有适合自身发展的艺术规律。纵观中国动画在过去几十年的发展，可以看出中国动画一直致力于走一条具有自身特色的道路。（中国动画百度百科）（罗虹 2011年6页）（罗虹 2011年335页）
===传统元素===
中国动漫大多以神话传说或者是古代历史为背景，因此涉及许多中国传统元素。其中，有些动漫作品完全按照原神话来制作，还有一些编造出一个从来没有的故事，但大多数是根据已有神话或历史事件改编。
比如中国早期的动画《大闹天宫》，《哪吒闹海》，《铁扇公主》都是由长篇小说《西游记》改编。然而，哪吒这一人物最早并非出自中国，而是出自印度佛教神话，但传入中国较早，多个朝代都有关于哪吒的记载：

晋代：《佛所行赞经·第一生品》记载：“毗沙门天王，生那罗鸠婆（即哪吒），一切诸天众，皆悉大欢喜，王今生太子，迦毗罗卫国，一切诸人民，欢喜亦如是。”哪吒在佛教最早的文字记载中是一位深受大众欢迎的正义战神，一出生就让天地间的一切天众神佛及百姓为之欢颂。
唐代：《首楞严经义海》记载：“天王太子即那吒之类，辅政统摄，跨握鬼物，护世益人。”
宋代：《嘉泰普灯录》记载：“那吒十面十眸动，无相灵光翳日轮。”

从晋代开始，几乎历朝历代都有对哪吒的描述。在《佛所行赞经·第一生品》中，哪吒被描述为“一出生就让天地间的一切天众神佛及百姓为之欢颂”，而在动漫作品《哪吒之魔童降世》中，哪吒是作为一个“魔童”降世的，天性恶劣，一出生就引起了百姓的恐惧和厌恶，而导演如此改编的用意，大概是为了为哪吒在最后舍命救众人做铺垫，以此凸显哪吒善良的品格。因此，这部作品传达出这样一个观念：即使是妖魔，也有善良的。这样的观念，在中国文化中很常见。《西游记》中有许多妖怪都是看似很恶，但并没做过什么罪大恶极的事，一般都是偷偷东西以及抢劫，至少光明磊落。反观人类社会，各种算计，阴谋，陷害，简直比妖怪还恶；第一是感慨人类社会的险恶，二是对“恶人标签”的摒弃，即不存在绝对的恶人。这正是许多中国作家想要通过妖怪表达的价值观。

无独有偶，在动漫《狐妖小红娘》中也有这种价值观的影子。在这部动漫中，人与妖共存于世间，描写了一些善良的为了保护别人而不惜牺牲自己的妖怪和一些为了力量而谋害妖怪的人类。而这部动漫还涉及另一些中国传统元素。它主要讲述了以红娘为职业的狐妖，在为前世恋人牵红线的过程中发生的一系列有趣、神秘的故事。而“红娘”一词，来源于元代杂剧家王实甫创作的《崔莺莺待月西厢记》。在《崔莺莺待月西厢记》中有一个相国府的婢女名叫“红娘”，她不仅要照顾崔莺莺小姐的饮食起居，同时也奉老夫人之命监视小姐，有不良倾向要随时汇报。但是当红娘看出了莺莺小姐对张生的心思之后，还是突破了封建礼教的束缚，冒着被老夫人责罚的风险帮助莺莺小姐和张生，终在红娘的撮合下使有情人终成眷属。此后，“红娘”便指那些撮合男女双方成为夫妻的人。而“牵红线”便是“促成姻缘”的比喻。

另外，《狐妖小红娘》中还有一些中国古诗词以及一些原创诗词，比如“问世间情为何物，直教鹊桥难渡相思苦，直教化蝶难采同心甜”，这一句改编自金代元好问的《摸鱼儿·雁丘词》;又如“七月初七，淮水竹亭，鞘笛相依，无怨无悔”，这一句是原创。这些诗词赋予这部动画作品一种浪漫的氛围，提升了它的艺术品质，使其更具观赏性和审美价值。

=Zhu Ran |Military-style Travel=
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==Introduction==
==Main Part==
==Conclusion==
==Questions==
==References==

=Long Yuhan |Folk Art: Youshen Fairs=
==Introduction==
Youshen Fairs（Wandering Gods), also known as the Holy Driver Tour, the Tour of the Master, the Tour of the Bodhisattva, the Tour of the God Race, the New Year's Exercise, the Welcoming of the God, the Carrying of the God's Statue, the Statue of the God on Tour, etc., refers to the fact that during the New Year's period, or other festivals, people go to temples and bring the statues of the gods into the palanquins, and carry them out of the temples to tour the territory to accept the people's incense and worship to signify that the gods have landed in the folklore to visit the towns and villages and to bless the peace and safety of the territory. The main purpose of the festival is to reward the gods, eliminate disasters, and pray for blessings. From the third to the fifteenth day of the first month of the lunar calendar, it is the time to visit the gods. The gods often tour the village as a unit, sometimes several villages jointly, in the drums and gongs and the sound of firecrackers in the village parade, the people watching, greeted, the scene is warm. (Hu Xiulei, Huang Xiaojian 2012 42-48+34)

==Main part==
===Origin===
===Ceremony and Content===
===Taboos===
===Zhao Shizi===
==Conclusion: Value and Significance==
==Terms and Expressions==
==Questions==
==References==
==Translation==

=Pei Xinxian |=
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=Hu Yujie |=Cuisine：Hunan cuisine, one of the eight major cuisines
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=Li Shujing |Music and Instruments: Suona Horn=
==Introduction==
Suona, Chinese double-reed woodwind instrument, the most commonly used double-reed instrument. Similar to the shawm, the suona originated in Arabia; it has been widely used in China since the 16th century. The reed is affixed to a conical wooden body covered by a copper tube with eight finger holes (seven in front and one in back), to which is fitted a brass bell. Its range is generally about two octaves, and it comes in many sizes. The suona is characterized by its shrill and penetrating sound and the frequent use of tonguing in performance. It is much used in military music ensembles and religious processions and as a stage instrument in Chinese operas.
==Position in Chinese Folk Music==

The original suona is a musical instrument spread in Persia and Arabia, and even its name is a transliteration of the ancient Persian word Surnā. Suona appeared in China around the third century AD. There are already images of suona playing in the Jiyue murals in Cave 38 of Kizil Grottoes in Baicheng, Xinjiang. In the Jin and Yuan dynasties more than 700 years ago, it spread to the Central Plains of China. During the Ming and Qing dynasties, it was widely used in folk music bands for weddings and funerals, and was also used as an accompaniment for folk songs, dances and operas.

"Birds Paying Homage to the Phoenix", originally named "Ten Scenes", is the most representative among many suona tunes, demonstrating the expressiveness of the suona to an extreme. In the sound of "Birds Paying Homage to the Phoenix", there are warbler singing and dancing, birds and flowers, contributing to a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.birds and flowers, a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.

As a traditional folk instrumental music performance art and one of the most valuable intangible cultural heritages with folk art charm, suona art plays an important role in Chinese folklore. Suona is believed to ward off evil spirits and bring good luck, making it a common choice for auspicious occasions like New Year celebrations, birthdays, marriage ceremonies and harvest festivals. Meanwhile, suona is often used in funeral ceremonies, accompanying the procedures of wake, condoling and burial, and in some places, suona is also used in grave digging ceremonies. Suona's deep tones evoke emotions ranging from joy and celebration to sorrow and remembrance, reflecting the complex tapestry of human experiences.

Except its significance, the precious cultural value of suona can not be ignored, which can be concluded as historical value, artistic value, folklore value and humanistic value.

After hundreds of years of cultural exchanges and integration between the north and the south, suona has formed its unique characteristics and customs. Through the long historical development, people can appreciate the developing path and passing on traditions of Chinese folk music. In terms of craftsmanship, suona is crafted from materials like bronze or brass, showcasing the skills of metalworkers from different periods. They have evolved over time, with modern versions incorporating improvements in design and playing techniques, while still maintaining their traditional essence.

In summary, the artistic value of the suona lies in its ability to express human emotions, convey stories, showcase virtuosity, represent diverse regional cultures, and serve as a cultural symbol within Chinese society. Take the regional diversity for example, suona exists in several variations across China, each with its distinct style and local nuances. Each region in China has its own style of playing the suona, like the famous "Lanzhou Suona" from Gansu Province or "Huangmei Suona" from Anhui. These local variations carry rich cultural heritage and are an expression of regional identity. These regional differences reflect the country's rich cultural diversity and contribute to the overall artistic richness of the instrument.

Besides being used in Chinese traditional ceremonies, suona has other values in different aspects. During village gatherings or agricultural rituals, suona bands are common, providing entertainment and a sense of unity among community members. In some cases, the suona is believed to have spiritual properties, believed to ward off evil spirits or bring blessings through its music.
Overall, suona plays a vital role in Chinese folk culture, serving as a connection to the past, a source of communal joy, and an integral part of diverse local traditions.

Suona embodies a deep connection to human values such as cultural continuity, emotional expression, resilience, storytelling, and the pursuit of harmony, making it a valuable aspect of our collective humanistic heritage. During community gatherings and ceremonies, suona's sound unites people and creates a sense of unity, reinforcing the importance of social cohesion and shared experiences. What’s more, the use of suona in traditional Chinese music often reflects the harmony between man and nature, symbolizing the balance sought in human life and the environment.

In China, the traditional suona is mainly used in weddings, funerals and other ceremonies in rural areas. However, with the acceleration of urbanization and the influence of western culture, the living space of suona is becoming narrower and narrower. It is necessary to open up new space for the inheritance and development of suona.

To some extent, the expansion of new media channels can reduce suona's dependence on wedding and funeral ceremonies, weaken its functional limitations, and develop its modern musical attributes and characteristics. With the development of new media technology, the communication advantages of platforms such as Douyin, Kuaishou and XiaoHongshu continue to be highlighted, with fast communication speed, wide dissemination range, strong interaction and wide audience, which are deeply loved by young people. Inheriting suona skills through new media channels can not only broaden the spreading space of suona, but also improve the spreading effect.

The inheritance and innovation of suona cannot be separated from talents, and the development of suona can be injected with fresh blood through innovative talent training mode. Suona artists must break the barriers between families and factions, learn from each other, and form a joint effort to cultivate the next generation. Meanwhile, suona artists should strengthen the consciousness of people's culture, realize the importance of protecting these instrumental music cultures, and establish a system of inheritance and protection. While maintaining traditional cultural characteristics, we try to integrate fresh cultural elements into it to make it more in line with modern aesthetics and awaken the cultural emotions of the whole people.

At the same time, the inheritance and development of suona cannot be separated from the support of the government. The promulgation of the intangible cultural heritage regulations protects this intangible cultural heritage project to a certain extent, but it is far from enough. A series of relevant measures should be introduced to implement the policy in detail. The decline of suona is the decline of traditional folk culture from the root. Local governments should protect suona culture from the root, organize various forms of folk culture programs, so as to give suona culture more opportunities to be displayed and give it more official recognition.

==Conclusion==
==Terms and Expressions==
==Questions==
==References==
https://www.britannica.com/art/suona

=Chen Jiawen |=
Please start to write now.

=Xiang Lu |=Music: Sang Zhi Folk Songs

== Introduction ==
桑植县，隶属于湖南省张家界市，位于湖南西北边陲, 是贺龙元帅的故乡、红二方面军长征出发地, 拥有中国首批、湖南省首个国家级自然保护区八大公山原始森林，被纳入中国“人与生物圈保护区（MAB）”和“中国具有全球意义的17个生物多样性关键地区之一”。
桑植民歌，湖南省桑植县地方传统音乐，国家级非物质文化遗产之一。

== Development ==
桑植民歌起源于原始农耕时期先民日常生产生活中的歌谣，是湖南省桑植县百姓在长期的生活实践中创造、传唱、累积起来的民间音乐文化品种，已有2000多年的历史。桑植民歌节奏明快、旋律优美、曲调丰富、形式多，现存民歌一万余首，著名歌曲有《马桑树儿搭灯台》、《冷水泡茶慢慢浓》、《门口挂盏灯》等。
屈原在《九歌》中写道：“捐余玦兮江中，遗余佩兮醴浦。”《九歌•湘人》中更是记载到：“沅有茝兮醴有兰，思公子兮未敢言。荒忽兮远望，观流水兮湲”，“成礼兮会鼓，传芭兮代舞，姱女倡兮容与。春兰兮秋菊，长无绝兮终古”，这是最早与桑植以及桑植民歌有关的文字。此处的“醴”便是指现在的澧水。澧水是湖南的四大水系之一，在常德市澧县小渡囗注入洞庭湖。
《后汉书·马援传》记载：“二十四年，武威将军刘尚击武陵五溪蛮夷，深入，军没，援因复请行。”“贼每升险鼓噪，援辄曳足以观之，左右哀其壮意，莫不为之流涕。”名将相单程凭借天险据守数月后将马援军队困在沅江南岸的壶头山，马援望江兴叹，一筹莫展，“升险鼓噪” 的典故由此而来。其中“鼓噪”在当时也称“蛮歌”，随后演变成如今的桑植民歌。（王胤，试述桑植民歌歌词的语言艺术，33）
明代，桑植土司率桑植数干土家儿郎应朝廷之召远赴江浙、朝鲜三度抗倭。在抗击倭寇（13-16世纪的日本海盗），的过程中，《马桑树儿搭灯台》应运而生。关于马桑树有两种说法：一说是传说中的马桑树儿高大挺拔，男女双方依依不舍，马桑树下送情人远去；二说是痴情男女搭建树台，台上放置一盏油灯，在灯下写信，心系远方。这就烘托出一对坠入爱河的青年男女分手时的不舍情绪，在1928年的夏天，红军师长贺锦斋用这首桑植民歌与爱妻戴桂香生离死别，她终生素衣守寡，6多年里几乎每天都去丈夫坟前唱这首歌，每天摘一两片马桑叶，直到离世，她留下的一口木箱，装的全是马桑叶。（王胤，试述桑植民歌歌词的语言艺术，37）
清代同治年间的《桑植县志》载：“雍正五年（1727年），邑人张宏毅偕侄崇周、仕周在县城西捐地创建武庙，有歌楼。”1942年版的《桑植县志》印证了这一说法：雍正五年，邑人张宏在城西捐地创建武庙，有歌舞楼，白叟黄童尽歌舞。乾隆年间的《桑植县志》记载：“土家正月赛灯、摆手、唱摆手歌，为秋千之戏，至正月十六为止。”此外，清嘉庆二年桑植河口人沙文清创作了《挽友人》称：“日边飞送燕歌声，疑信偏教旅梦惊。”其“越歌，为丧歌”说明了桑植民歌在清代已经较为普及。（只宠迩一人，baidu.com）
在近代中国，著名的开国将领贺龙在桑植“两把菜刀闹革命”，建立了以桑植为核心的湘鄂革命根据地。云、贵、川、滇、鄂、桂、赣等地的红军在此集结，带来了各地民歌，和桑植民歌融合在一起，推动了桑植民歌的发展。桑植民歌也收到时代影响，创作了许多反映军民感情的歌曲，如《门口挂盏灯》等。
新中国成立后，中国政府先后组织文艺工作者搜集桑植民歌，共计有10000余支。20世纪50年代，桑植民歌就唱到省垣京城。60年代，桑植县文化馆搜集整理民歌1万多首。
1987年湖南民间歌舞团前往波兰参加国际民间歌舞晚会，首次将桑植民歌推向国际舞台；2004年，歌唱家宋祖英在维也纳金色大厅举行个人独唱音乐会，演唱《马桑树儿搭灯台》；2008年，歌唱家雷佳将《马桑树儿搭灯台》收录至《中华五十六民族之歌》，作为国礼赠送给参加奥运会的各个国家。
2006年5月20日，桑植民歌经中华人民共和国国务院批准列入第一批国家级非物质文化遗产名录，项目编号：Ⅱ-10。

== Division ==

== Protection ==

== Conclusion ==

== Terms and expressions ==

== Questions ==

--[[User:Mou Yihong|Mou Yihong]] ([[User talk:Mou Yihong|talk]]) 08:35, 7 June 2024 (UTC)=Mou Yihong |Music and instrument: Ancient Chinese pentatonic scale--Gong,Shang,Jue,Zhi,Yu=

Abstract

This paper examines the ancient Chinese pentatonic scale, comprising the notes Gong, Shang, Jue, Zhi, and Yu. We delve into the historical background, musical characteristics, and instrumental applications of this scale in traditional Chinese music. By exploring the role of these five notes in various musical genres and instruments, we aim to provide a comprehensive understanding of the pentatonic scale in ancient Chinese music and its cultural significance.

Introduction:

The ancient Chinese pentatonic scale, consisting of Gong, Shang, Jue, Zhi, and Yu, is a fundamental component of traditional Chinese music. This scale, with its unique sound and symbolism, has been utilized in various forms of Chinese music for centuries. It is not only a musical construct but also deeply intertwined with Chinese culture, philosophy, and cosmology. This paper explores the pentatonic scale in ancient Chinese music, focusing on its historical evolution, musical characteristics, and instrumental applications.

Historical Background:

The pentatonic scale in ancient Chinese music dates back to the prehistoric era, where it was likely first used in primitive folk music and rituals. Over time, this scale became a fundamental component of traditional Chinese musical theory and practice. The earliest recorded mention of the five notes, Gong, Shang, Jue, Zhi, and Yu, appears in ancient texts such as the "Book of Rites" and the "Book of Songs." These notes were associated with the five elements of nature (earth, metal, wood, fire, and water) and the five directions (center, west, east, south, and north), reflecting the ancient Chinese belief in the interconnectedness of all things in the universe.Gong, the first note, represents the element of earth and is characterized by its stability and grounding sound. Shang, the second note, corresponds to metal and has a bright and resonant sound. Jue, the third note, represents wood and is associated with a clear and piercing tone. Zhi, the fourth note, corresponds to fire and is known for its lively and energetic sound. Yu, the final note, represents water and is characterized by its smooth and flowing melody.

Musical Characteristics:

The pentatonic scale in ancient Chinese music is characterized by its simplicity, purity, and balance. Each note in the scale has a unique sound and symbolism, creating a harmonious and balanced musical structure. The ancient Chinese five tones, namely Gong, Shang, Jue, Zhi, and Yu, correspond to the Western musical scales as follows: Gong to C, Shang to D, Jue to E, Zhi to F, and Yu to G. These correspondences are based on the perceived similarity in pitch and musical characteristics between the two systems.The ancient Chinese musical scale having two fewer notes than the Western scale is not a matter of mathematical or physical limitation but rather a result of cultural and aesthetic preferences. The five-tone system in ancient China was based on the concept of "five elements" (wood, fire, earth, metal, water) and their corresponding relationships with the human body and nature. This system emphasized balance, harmony, and simplicity, which were reflected in the musical scale as well. The two omitted notes, Fa and Si, in the Western scale are considered semi-tones, and their absence in the ancient Chinese scale contributes to a more harmonious and balanced sound.The lack of semi-tones in the ancient Chinese scale has a profound impact on the character and expression of Chinese music. It contributes to a more serene, harmonious, and meditative quality that is often associated with traditional Chinese melodies. The absence of sharp dissonances and the emphasis on balance and simplicity allow the music to flow smoothly and evoke deep emotional responses. This unique aesthetic is a defining characteristic of Chinese music and has influenced its development and evolution throughout history.In summary, the ancient Chinese five-tone system, while differing from the Western scale in terms of note count, possesses its own unique aesthetic value and influence on Chinese music. Its simplicity, balance, and harmonious sound have contributed significantly to the rich cultural heritage of Chinese music.

Instrumental Applications:

The pentatonic scale has been utilized in various traditional Chinese musical instruments, including the zither (guqin), the bamboo flute (dizi), and the pipa. These instruments have unique playing techniques and expressive capabilities that bring out the distinctive sounds and characteristics of the five notes. The zither, for example, utilizes plucking and finger-pressing techniques to create the rich and resonant tones of the pentatonic scale. The bamboo flute, on the other hand, relies on breath control and fingering to produce the clear and piercing melodies of the scale. The pipa, a four-stringed plucked instrument, utilizes plucking and strumming techniques to create a lively and energetic soundscape within the pentatonic scale.

Cultural Significance:

The pentatonic scale in ancient Chinese music is not merely a musical construct; it is also deeply rooted in Chinese culture and philosophy. The five notes correspond to the five elements of nature and the five directions, reflecting the ancient Chinese belief in the interconnectedness of all things in the universe. The pentatonic scale also embodies the Chinese concept of harmony and balance, representing the harmonious coexistence of different elements and forces in nature. This cultural significance has been passed down through generations, influencing the development and evolution of traditional Chinese music and instruments.

Conclusion:

The ancient Chinese pentatonic scale of Gong, Shang, Jue, Zhi, and Yu is a unique and fundamental component of traditional Chinese music. This paper has explored the historical background, musical characteristics, and instrumental applications of this scale, revealing its deep connections with Chinese culture and philosophy. By understanding the pentatonic scale and its role in traditional Chinese music, we gain a deeper appreciation of the richness and complexity of this ancient musical tradition.

=Yu Xinzhong | Social Phenomenon: Modern China's Inter-provincial Migration=

'''Overview:'''

The phenomenon of population migration has been very common in ancient China, but since modern China, especially after the reform and opening up, the inter-provincial migration of China’s population has become unprecedentedly common. The main reason for that is absolutely economy. Such waves of migration have brought significant economic benefits to the regions where the population moves in, but at the same time, they have also given rise to a series of economic, social, and cultural issues. In the process of migrating to improve their standard of living, migrants also undergo certain hardships.

'''The Process of The Migration'''

=Song Chengshuang |=

Chinese tradition culture：Zan hairpin flower

Many tourists have recently come to Quanzhou to experience the XunPu women's hairpin flowers because of this saying, "Adorn yourself with flowers in this life, be beautiful in the next". Quanzhou is a city with a long history and culture in China, with mountains and seas, rich cultural heritage and historical heritage. "Zanhua" is also one of the characteristic cultures of the local XunPu Village. Hairpin flower is actually a type of ancient Chinese headwear, usually fixed on a bun by an ivory hairpin, and then wrapped with flowers in nature or flowers made of other materials. The Zanhua culture has a long history of two to three thousand years and is one of the national intangible cultural heritages.

Cultural customs

As for why it is necessary to hairpin and Zanhua, some people say that the locals initially used animal bones such as fish, sheep, and cows to hairpin, which preserves the ancient custom of "bone needles to secure hair". Others say that "Zanhua Wei" originates from the custom of Central Asian women wearing flowers, which is brought back by the exchange of the Maritime Silk Road during the Song and Yuan dynasties. XunPu women are known for their qualities of Diligent Housekeeping. In order to facilitate their work at the seaside, they wear a large train top, wide tube pants, headwear such as "Zanhua Wei" and earrings such as "DingXianggou", which have become typical features of XunPu women. The headwear and folk culture of the XunPu women record their optimistic attitude towards life, and it is every woman's longing and pursuit of beauty. In addition, it is also a microcosm of ocean culture and the Maritime Silk Road. With its unique geographical environment and cultural characteristics, XunPu embodies the philosophical idea of "Heaven and Man are united as One" in which foreign culture coexists with local culture. [1]

Historical development

Zanhua originated in the Qin and Han dynasties, became popular in the Tang dynasty, flourished in the Song, Yuan, and Ming dynasties, and gradually declined during the Qing dynasty.

（1） The Zanhua Culture Before the Tang Dynasty

The Zanhua culture has a long and rich history, and its development can be traced back to the Warring States period. At that time, although the Zanhua Culture had not yet formed, people began to use flowers as headwear to express their inner emotions. During the Qin and Han dynasties, the trend of hairpin flowers gradually emerged. Especially in the Han Dynasty, women in the Sichuan regions regarded hairpin flowers as fashionable, which is evidenced by the Eastern Han Dynasty pottery figurines with mirrors unearthed in Chengdu. From the Wei, Jin, Southern and Northern Dynasties to the Tang Dynasty, the trend of hairpin flowers became increasingly fierce.

（2） The Zanhua Culture of the Tang Dynasty

The Tang Dynasty was the golden period of Zanhua culture, and both the royal nobles and common people were enthusiastic about hairpin flowers on their heads, forming a unique social trend. The high attire flower bun of Tang Dynasty women was particularly popular, which not only was gorgeous and eye-catching, but also laid the foundation for the popularity of the "flower crown" in the Song Dynasty. In the painting of Portrait of a Flower-wearing Maid, the author uses the elements of flowers to depict the wealth and prestige of aristocratic women in the palace, reflecting the Zanhua Culture at that time. In the painting, except for the maidservants, five noble women are adorned with hairpins on their heads, using vigorous and clean brushstrokes, appearing incredibly beautiful and radiant. In addition, the Zanhua Culture during the Double Ninth Festival also adds to the festive atmosphere. [2] Wang Wei wrote in his poem "Memories of Shandong Brothers on September 9th": " I know from afar where my brothers are climbing high, but one less person is missing when they wore with Cornus officinalisu everywhere." Here, "wore Cornus officinalis" expresses the custom of the Zanhua Culture during the Double Ninth Festival. On the Double Ninth Festival, besides wearing Cornus officinalis, people also have the custom of wearing chrysanthemums. During the Double Ninth Festival, when people climb high to play, they usually have to put chrysanthemums all over their heads to go home.

（3） The Zanhua Culture of the Song Dynasty

In the Song Dynasty, the hairpin culture reached its peak, men's hairpin became popular and became a court etiquette at that time. Compared with the Tang Dynasty, it was more common for men in the Song Dynasty to hairpin flowers, and it was not limited to festivals or celebrations. In the Song Dynasty, people believed that wearing flowers on the head was auspicious, so during that period, when encountering major events, the emperor and officials would wear flowers. During the reign of Emperor SongTaizong, a banquet and flower were held for the annual Jinshi ceremony, and people had to hairpin flowers as rewards. At the same time, women in the Song Dynasty were also enthusiastic about using flowers to dress themselves up. They would choose suitable flowers according to seasonal changes and display different styles. The love for hairpin flowers among literati in the Song Dynasty also reached a climax. They believed that wearing flowers on their heads not only looked beautiful, but also reflected the elegance and taste of literati. Su Shi, a great poet in the Song Dynasty, was very fond of hairpin flowers. He once said, "When people grow old, they should not be ashamed of hairpin flower. Flowers should be ashamed of on the head of old people.” The hairpin flowers of Song Dynasty poets not only reflect the aesthetic taste and characteristics of the time, but also reflect the open and free mentality of the entire society, containing rich humanistic spirit."

（4） The Zanhua Culture After the Song Dynasty

In the Yuan, Ming, and Qing dynasties, the custom of hairpin flowers evolved. Although it was not as popular as in the Song dynasty, it still remained within a certain social class and specific festival celebrations. For example, the records of the Zanhua Culture in the Ming Dynasty mainly appeared in social activities such as the Spring Festival, imperial examinations, wedding customs, expeditions, and leisure activities. [3] And with the development of makeup technology, hairpins are more often combined with hairstyles and makeup, becoming a part of overall image design.

（5） The Zanhua Culture in the Modern and contemporary times

From modern times to today, the tradition of hairpin flowers has been preserved in some regions and specific contexts, such as the bride's wedding headwear, folk festival activities, and the costumes of characters in traditional Chinese opera performances and has evolved into hairpin flower ornaments made from various materials such as flowers and silk flowers.

The significance of hairpin flowers

（1） Decorative

Hairpins initially appeared as headwear, reflecting personal elegance and lifestyle, especially for women who show beauty through hairpins.

（2） Symbolic significance

Different flowers have their own meanings, such as peonies symbolizing wealth and auspiciousness, and plum blossoms symbolizing pride and a clear breeze. Wearing them can express the wearer's emotional support or pursuit of beautiful qualities.

（3） Social status markers

In certain historical periods, hairpins became makers of status and identity. For example, during the Song Dynasty, emperors gave flowers to officials, and officials of different levels received flowers of different materials and colors. As a result, hairpins had the function of distinguishing between official ranks.

From ancient times to the present, hairpin flowers not only have ornamental value, but also represent traditional culture and epitome of Eastern aesthetics. People of different ages, regardless of gender, continue this long-standing tradition of meticulously embellishing themselves with clusters of flowers, living seriously, and striving to live beautifully. The Zanhua Culture blooms with a timeless fragrance, as well as a rich life belonging to ordinary people. With the changing times, hairpin flower is not only a decoration, but also a symbol of cultural inheritance, carrying people's longing and pursuit for a better life. In modern society, hairpin flower has also become artworks and collectibles, showcasing the fusion of tradition and modernity. Both classical and modern styles of hairpins reflect the vastness and profundity of Chinese culture, as well as the charm of traditional aesthetics.

References:

[1]袁晓鹏.泉州蟳埔女头饰民俗文化的美学思想研究[J].戏剧之家,2015,(22):247.

[2]张轶梁.《簪花仕女图》的簪花艺术表现及文化传承[J].东方收藏,2023,(09):33-35

[3] 庞雅静 .《簪花仕女图》的色彩美研究 [J]. 美与时代（中），2022（08）：63-65.

=Tan Yalan |Xiangdao=
Please start to write now.

=Xiao Ye |The Imperial Civil Examination System=
==Introduction==
The imperial civil examination system is an ancient Chinese system of selecting officials through examinations. From its inception to its abolition in 1905, it had a long history of more than 1,200 years and had a profound impact on the society at that time. It was considered to be the fairest way of talent selection that could be adopted in the feudal era, but in the later stages of development, its drawbacks gradually came to the fore, and its negative effects became more and more significant. In addition, ancient Japan, Korea, Vietnam and other countries that had close exchanges with China were also deeply influenced by the imperial civil examination system. To this day, the imperial civil examination system still has profound cultural value and significance.(Baidu Encyclopedia：The imperial civil examination system）
==The development of the imperial civil examination system==
The origin of the imperial civil examination system is controversial in historical circles, with various claims ranging from the Han, Sui, to the Tang dynasties. The mainstream view, however, is that the system was initiated during the Sui Dynasty and further developed and perfected during the Tang.
1 Sui Dynasty: Establishment of the imperial civil examination system
Before the Sui Dynasty, the official selection systems were largely corrupt. For instance, the “Nine Ranks system” during the Wei, Jin, and Southern and Northern Dynasties was based on family background and social status rather than ability. During its implementation, it was unable to escape the notion of class privilege and lacked standardized regulations, leading to widespread corruption among officials. After the establishment of the Sui Dynasty, Emperor Wen of Sui fully recognized the shortcomings of the previous official selection systems and abolished the Nine Ranks system. He began to use a system of specialized examinations to select officials. During the reign of Emperor Yang of Sui, the jinshi,(the highest level and the most difficult of imperial civil examinations) was established for the first time, marking the formation of the civil service examination system.
2 Tang Dynasty: The Perfection of the Examination System
The Tang Dynasty inherited and improved the imperial civil examination system of the Sui Dynasty. It was manifested in the following: Emperor Taizong of the Tang Dynasty increased the number of subjects to be examined, with the two subjects of jinshi and mingjing as the main subjects; Emperor Wu Zetian expanded the number of people who could be selected for the imperial examinations, and created the military examination and the palace examination; Emperor Xuanzong of the Tang Dynasty appointed high-ranking officials to preside over the examinations, and raised the status of the imperial civil examination system.
3 Northern Song Dynasty: Development and Reform of the Imperial civil Examination System
The examination system in the early years of the Northern Song Dynasty saw further development compared to the Tang Dynasty, mainly reflected in the following aspects: First, the examination process was strictly regulated, with the exam divided into three levels: the county examination, the provincial examination, and the palace examination, which became a fixed institution. Second, the number of examination subjects was simplified, with the jinshi subject becoming the most important. Third, the “anonymizing method” was implemented in the examination process to prevent corruption by examiners. Fourth, the number of candidates admitted was expanded.
During the mid-Northern Song Dynasty, Wang Anshi implemented reforms and made changes to the content of the imperial civil examination system. He abolished the subjects that required rote memorization, such as the Mingjing subject and so on, and the jinshi subject no longer included poetry and prose, focusing instead on the study of classics and contemporary affairs. He established the Mingfa subject, which was specifically focused on the examination of laws, regulations, and legal cases. However, with the failure of the reforms, these measures were also repealed.
4 The Ming and Qing dynasties: the rigidity of the imperial examination system
In order to strictly control the thinking of the scholars, the imperial civil examination system of the Ming Dynasty underwent significant changes from content to form. The examination was based only on the Four Books and Five Classics of Confucianism. Candidates were not allowed to express their own opinions. The style of the answer sheet was strictly regulated, and the essay was mechanically divided into eight parts, which was called “Stereotyped Writing”. This severely restricted people's thinking, stifled intellectual ingenuity and creativity, ossified thinking, and seriously impeded the development of Chinese science and culture.
5 Late Qing Dynasty: Abolition of the Imperial civil Examination System
In the 1898 Hundred Days Reform, Emperor Guangxu issued an edict to "abandon the eight-legged essay and replace it with policy essays". After the failure of the Hundred Days Reform, in 1905, the Qing government announced the abolition of the imperial civil examination system. From then on, the imperial civil examination system came to an end.(Lin,33-34)

=Li Sijin |Literature:Qu Yuan=
==Introduction==
Qu Yuan is a famous great patriotic poet in Chinese history, the founder of Chinese romantic literature, and the founder and representative writer of "Chu Ci". 2,300 years ago, the great patriotic poet Qu Yuan threw himself into the Miluo River. The spirit of Qu Yuan has been continuously interpreted since the Han Dynasty, showing distinctive characteristics of the times in each era; The activities and festivals commemorating Qu Yuan have become important cultural traditions of the Chinese nation, and people have increased their sense of belonging and identity through commemorating Qu Yuan. The spirit of Qu Yuan has been widely disseminated and recognized abroad, and the Chinese Dragon Boat Festival has been included in the "Representative List of Intangible Cultural Heritage".

==Main Part==
In 340 B.C., Qu Yuan was born in the state of Chu. When he was young, he received a good education and had a big ambition. After entering politics, he advocated for "good governance", advocating for internal governance with clear laws and external alliances to resist the state of Qin. Later, he was marginalized by the aristocracy and exiled to the region of the Yuan and Xiang rivers. However, like a warrior, he steadfastly upheld his ideals, practiced the ways of a nobleman, never allowing worldly corruption to tarnish his lofty and noble character. In 278 BC, when there was no way to serve the country , Qu Yuan committed suicide in the Miluo River in complete despair.
1.Qu Yuan's virtue

Qu Yuan used his own name to reflect the moral standards he pursued. According to the opening of "Li Sao," "My father gave me the name 'Zheng Ze,' and called me 'Ling Jun'." "Zheng Ze" signifies integrity and righteousness, adhering strictly to principles of conduct: "Ling Jun" denotes intelligence, wisdom, fairness, and justice. In the "Song of the Orange Tree," he further exemplifies his character by the steadfastness of the orange tree: for the sake of his noble ideals, he would never compromise, even unto death. Qu Yuan's eternal aspiration lies in his literary works and political ambitions, all of which stand on the side of the people. His greatness lies in his unwavering compassion for the country and its people, and his profound love for his homeland. The reason his deeds and works are intertwined with the daily lives of the people and have become a significant commemoration of a traditional festival is because his words and actions overflow with boundless love for the motherland, the people, and the native culture. Deeply embedded within them lies the enduring strength of national spirit and culture. "No one in the country knows me, why cling to the old capital?" Qu Yuan once pondered the question of "why not leave the country," but ultimately, he did not embark on distant travels, which truly reflects his steadfastness to his spiritual and cultural heritage.

2.Qu Yuan's political advocacy and contributions

Qu Yuan was a great politician. On the one hand, he set up the ideal and ambition of "good governance" very early, and the political goal for which he fought for all his life. He advocated internal governance with clear laws and the reform of politics. At this time, Qu Yuan, who was honest, upright and selfless, was supported by King, and the six reform measures he carried out made the state of Chu stronger and stronger. On the other hand, Qu Yuan advocated external alliances to resist the state of Qin. His foreign policy made the state of Chu once present a situation of national wealth and strong army.

3.Qu Yuan's poems

Poet is Qu Yuan's primary label throughout the ages. Qu Yuan integrated his life with his homeland, and his specific works are full of deep feelings for his country, which are worthy of praise and learning for future generations.From his life and works, people have summarized and continuously expounded the "Qu Yuan spirit", and with the changes of the times, it has been constantly endowed with new connotations of the times. He recounted in "Li Sao": "Long did I sigh and wipe away my tears, to see my people bowed by griefs and fears." The poet expressed deep sympathy for the difficult life of the people. And this kind of love and sorrow intertwined also made Qu Yuan refuse to leave his hometown until he died. His feelings for the country and the people also erupted uncontrollably in a series of poetic works such as "Jiu Ge" and "Jiu Zhang". Therefore, Qu Yuan's poetry has incomparable cultural value.

4.The embodiment of Qu Yuan's spirit in modern times

Today, during the Dragon Boat Festival, various regions across China highlight the theme of honoring Qu Yuan, praising his upright path and his spirit of patriotism and love for the people. Through storytelling about the festival and Qu Yuan, reciting poetry, and participating in dragon boat races, they lead the public in learning about traditional culture and nurturing patriotic sentiments.Since the 18th National Congress of the Communist Party of China, he has praised his honest and noble personality on different occasions, andhas repeatedly quoted famous sentences from Qu Yuan's poems to expound his thoughts.Today, as we commemorate Qu Yuan, we honor the traditional Chinese scholar's spirit of confronting life and death, boldly striking at the unknown, represented by Qu Yuan's "Questions to Heaven" spirit. In his epic poem "Questions to Heaven," Qu Yuan delves from the separation of heaven and earth, the changes of yin and yang, to natural phenomena like the sun, moon, and stars, directly questioning mythological legends and historical tales of sages and villains, prosperity and decline. Through his inquiries, he expresses his cosmological, historical, and political views. Not confined by doctrines but driven by reality, daring to question and critique, such exploratory spirit is truly admirable.This shows the Chinese's critical spirit of existing traditional concepts and the spirit of exploring scientific truth. Today, we commemorate Qu Yuan to honor the loyal and unswerving patriotic spirit of Qu Yuan. Qu Yuan's name has become an important label for patriotism. The greatest charm of Qu Yuan's personality lies in the spiritual core with the spirit of patriotism as the core, which allowed him to transcend the value pursuit of scholars at that time to abandon the country and pursue profits, closely link personal ideals with the destiny of the nation, and strive to unite and struggle for the realization of the people's yearning for a better life. Today, we commemorate Qu Yuan to honor the perseverance and struggle spirit of Qu Yuan. Qu Yuan has been worried the Chu State all his life, whether he is in the imperial court or not, he does not forget to think about the country and the people.Unwilling to take a detour, nor willing to compromise, he finally proved his loyalty with his life, and he never regretted it.

==Conclusion==
"Qu Yuan," as a spiritual symbol, plays an extraordinary role in the construction of the Chinese national community consciousness, spanning from the past to the present and even into the future. Without a great sage like Qu Yuan, the entire Chinese scholarly community would inevitably lack a certain spiritual strength, and Chinese history would lose many tragic hues.

==Terms and Expressions==
Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录

good governance 美政

==Questions==
#Who is the founder and representative writer of "Chu Ci"?
#What is Qu Yuan's political advocacy?
#What is the meaning of Qu Yuan's name?
#How Qu Yuan's spirit is embodied in his poetry?
#What is the meaning of "Questions to Heaven"?

==References==
[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84.

[2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。

[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190.

[4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.

[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

==Translation==

Introduction

屈原是中国历史上一位著名的伟大的爱国诗人，中国浪漫主义文学的奠基人，“楚辞”的创立者和代表作家。2300年前，伟大的爱国诗人屈原在汨罗江自杀殉国。屈原精神自汉代以来不断被阐释，在每个时代都展现出鲜明的时代特征；纪念屈原的活动和节日成为重要的中华民族文化传统，人们通过纪念屈原增加了归属感、认同感；屈原精神在国外得到广泛传播和认可，中国端午节被列入“非物质文化遗产代表作名录”。

Main part

公元前340年,屈原出生于楚国,少年曾受过良好教育，志向远大，从政后提倡“美政”，主张对内修明法度，对外联齐抗秦，后遭贵族排挤，被流放至沅湘流域。但他坚守自我理想，践行君子之道，绝不允许世俗的秽气玷污自己美好的品格。公元前278年，在报国无路的情况下，屈原极度绝望，自杀于汨罗江。1.屈原的美德屈原用自己的名字反映追求的道德标准。据《离骚》开篇，“父亲把我的名取为正则，把我的字叫作灵均。”“正则”即正直、正派，恪守做人原则；“灵均”指聪颖、智慧、公平、公正。在《橘颂》中，他又以橘树的“独立不迁”体现自己的人格情操：为了心中美好的理想，绝不同流合污，纵然死去也不后悔。屈原的千古之志，在于其文学作品和政治抱负无不站在人民的立场上。他的伟大之处，在于始终怀着强烈的忧国忧民的悲悯之心，始终怀着强烈的爱国之情。他的事迹和作品之所以能和民众日常生活结合在一起，并成为一个重要传统节日的主要纪念对象，就是因为他的言行流露着对祖国、对人民、对故土文化无限的爱，其中深深蕴藏着民族精神和文化的持久力量。“国无人莫我知兮，又何怀乎故都？”屈原亦曾考虑过“何不去国”的问题，但他最终没有去国远游，这正体现了他对精神和文化的坚守。2.屈原的政治主张及贡献屈原是一名伟大的政治家。一方面，他很早就树立了“美政”的理想抱负，及为之奋斗终生的政治目标。他主张对内修明法度，改革政治。此时，清正廉洁、刚正无私的屈原得到国君支持，其开展的六条变法改革图强措施，让楚国日益强大起来。另一方面，屈原对外主张联齐抗秦。他的外交政策，使得楚国一度呈现出一个国富兵强的局面。3.屈原的诗歌诗人是屈原横贯古今的首要标签。屈原将自己的生命与故土融为一体，在其具体的作品中充斥着对家国深厚的情感，值得后世传颂学习。从他的生平和作品中，人们总结并不断阐发出“屈原精神”，随着时代的变迁，不断地赋予新的时代内涵。他在《离骚》中述说着：“长太息以掩涕兮,哀民生之多艰!”诗人对人民艰难的生活深表同情。且这种热爱与忧患交织着的情感也使屈原至死不肯离乡他就。”他对国家和人民的这种感情在《九歌》《九章》等一系列诗歌作品中，也毫不节制地喷发而出。因此，屈原的诗歌有着无法比拟的文化价值。4.屈原精神在现代的体现今日，每逢端午节，中国各地都突出祭祀屈原的主题，歌颂屈原正道直行、爱国爱民的精神，通过讲述端午节与屈原的故事、开展诗词吟诵和进行赛龙舟等活动，引领公众学习传统文化，厚植家国情怀。党的十八大以来，习近平总书记曾在不同场合多次赞叹其心忧家国、清正高洁的人格魅力，并先后多次引用屈原诗歌中的名句来阐述思想。今天我们纪念屈原，是纪念屈原代表的传统中国士人直面生死、敢向未知勇猛叩击的“天问”精神。在长诗《天问》中，屈原从天地离分、阴阳变化、日月星辰等自然现象，一直问到神话传说乃至圣贤凶顽和治乱兴衰的历史故事，并从设问中表达自己的宇宙观念、历史观念和政治主张。这表现了中国人对既有传统观念的批判精神和对科学真理的探索精神。今天我们纪念屈原，是纪念屈原代表的忠贞不渝的爱国精神。屈原的名字已成为爱国主义的重要标签。屈原人格最大魅力就在于以爱国主义精神为核心的精神内核，让他超越了当时士大夫普遍弃国逐利的价值追求，把个人理想同民族命运紧密联系在一起，为实现人民对美好生活的向往而努力团结奋斗。今天我们纪念屈原，是纪念屈原代表的锲而不舍的奋斗精神。屈原一生都在为楚国操心，无论是否处在朝廷，都不忘忧心国家与人民。不愿迂回，也不愿妥协，最后用生命证明了自己的一腔忠义，也不曾后悔。

conclusion

“屈原”作为一种精神符号对中华民族共同体意识的构建，从过去到现在以至未来都发挥着非比寻常的作用。倘若没有屈原这样一位伟大的先贤，那么整个中国士人群体势必会缺少一种精神的力量，而中国历史也会失掉不少悲壮的色彩。文明弦歌终不绝，屈子精神永流传。守正不守旧，尊古不复古，这是我们对传统文化充满自信的表达。

Terms and expressions

Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录good governance 美政Questions1.“楚辞”的创立者和代表作家是谁？2.屈原的政治主张是什么？3.屈原名字的内涵是什么？4.屈原的精神是怎样在他诗歌里体现的？5.“天问精神”是什么意思？

References[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84. [2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190. [4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

=Luo Yang |Games: pitch-pot game(touhu)=
==Introduction==
Pitch-pot game is a ceremonial game played by ancient people during banquets. During the game, a specially made pot is used, and the guests take turns throwing arrows into it. The one who hits the most wins, while the loser drinks. As a classic entertainment activity in Chinese traditional culture, Pitch-pot is not only a competitive game but also a social way of interaction with significant cultural symbolism. With a long history, it embodies rich philosophical thoughts and moral teachings, exerting a profound influence on Chinese etiquette and culture.
==The Evolution and Revival of Touhu Culture==
===Origin and Development===
The renowned Han dynasty writer Zheng Xuan mentioned in his work "The Book of Rites - Pitch-pot," that "Pitch-pot evolved from the archery rituals of the Shang and Zhou dynasties." Archery was one of the six arts for noblemen, and the archery rituals evolved into essential etiquette for banquets. However, due to the limited space of the courtyard, or the people who were unfit for archery, the activity of using bristles instead of arrows, pots instead of targets, and throwing instead of shooting emerged, transforming "banquet archery" into "banquet pitching."

After a long period of development and evolution, Pitch-pot transitioned from an exclusive elegant entertainment for the upper class to the common people, becoming popular among the general public. The earliest literary record of Pitch-pot activity appeared in the "Zuo Zhuan". In the "Zuo Zhuan - The Twelfth Year of Duke Zhao," it was recorded: "The Marquis of Jin entertained the Marquis of Qi, and Zhongxing Muzi played pitch-pot." In the twelfth year of Duke Zhao (around 530 BC), pitch-pot activities were still entertainment at ruling class banquets. At that time, Pitch-pot could be considered as a ritual, inheriting the form and ethical ideas of archery, to some extent reflecting the ethical rules of status hierarchy.

By the Warring States period, pitch-pot gradually became popular among the common people, allowing both men and women to participate, enhancing the entertainment aspect of pitch-pot. During the reign of Emperor Wu of the Han dynasty, the imperial household official Guo was particularly skilled in Pitch-pot. He improved the rules and equipment used in pitch-pot, leading to its wider dissemination among the common people. Until the Song dynasty, Prime Minister Sima Guang opposed the excessive entertainment aspect of Pitch-pot, proposing a return to its ceremonial function, limiting the richness of Pitch-pot skills. In the Ming and Qing dynasties, although Pitch-pot games were still popular among the literati, its overall development slowed down. With the introduction of modern Western sports at the end of the Qing dynasty, pitch-pot game declined and withdrew from the historical stage.

===Cultural significance===
The early practice of Touhu had a complete ceremonial process. As the sport became more entertaining over time, the ceremonial aspects were reduced. However, it is undeniable that the ceremonial culture and the spirit of sports competition within it still have strong guiding significance for the revival of traditional culture today.

Touhu embodies the traditional Chinese culture of moderation and can cultivate both the body and mind. From the perspective of external human behavior, Touhu also provides guidance for people's behavior, requiring people to follow certain standards and methods in handling affairs. Those who participate in this activity all uphold a cautious and respectful attitude. The host and the guest need to demonstrate their courteous demeanor through the ceremonial three invitations and three refusals. The attendants of the host and the guest also need to complete the prescribed sections according to the shooting ceremony, and must not be arrogant, negligent, distracted, turn their backs on the game while standing, or discuss other matters on the scene, etc., to show the seriousness of this activity. From the perspective of the inner state of a person, it is necessary to accompany the game of Touhu with elegant songs, requiring participants to pay attention to rhythm and rhyme, and to act according to the sound; in this process, the upper and lower parts of the human body are in a coordinated state, embodying the combination of movement and stillness, and the pursuit of harmony between man and the outside world.

Unlike other throwing sports overseas, Touhu does not achieve competition through physical confrontation, but emphasizes rationality and moral cultivation. Touhu is a typical representative of the gentleman's competition, requiring one to strive for victory through their own efforts in the competition, while also giving enough respect to the opponent. The Analects of Confucius describes it this way: a gentleman should value self-cultivation and not easily compete with others for superiority. If one must compete with others, they can participate in the shooting ceremony or Touhu. One should strive for victory in the competition, and when they win, they should bow to the opponent to show respect, rather than being complacent. In the competition, one continuously improves their personal cultivation level, using sports as a way to urge individuals to continuously improve their cultivation. This is also consistent with the modern competitive sports concept of "friendship first, competition second".

===Inheritance and promotion===
In the sports and cultural ecology of contemporary China, Western sports have long occupied the mainstream position, and China's traditional sports has been marginalized. In recent years, with the rise of the national fitness wave, people have paid more attention to the content and quality of sports activities. This has created a rare opportunity for the revival of pitching pots. However, we do not need to copy the development model of ancient pitching pots, but to promote its combination with modern entertainment while retaining its own cultural value. For the general public, the fun of sports activities is ranked first, followed by its cultural value. Therefore, we can make bold innovations in pitching pots, increase its gameplay, or expand the scale of the game, so that it can be transformed from a two-person round-based game to a multi-person competition, attracting more people to participate in the sport of pitching pots.

In addition to improving and innovating pitching pots, we should also actively promote the spread of pitching pots at home and abroad. Although there are many pitching pot activities in China, most of them are personal organizations of pitch pot enthusiasts. If we want to make pitch pots a trend in society, multi-party cooperation is strongly needed. First of all, the government should play a guiding role, provide policy guarantees and economic support for pitching pots, and lay the foundation for the healthy development of this project. Secondly, we should make full use of education as an effective platform to let children get in touch with it from an early age and cultivate their interest. Finally, vigorous publicity by the media is indispensable. Through the Internet, we call on the whole society to pay attention to the development of folk sports and enhance the people's cultural confidence and cultural identity.

==Conclusion==
Pitch-pot, a treasure in China's excellent traditional culture, not only inherits the rituals of archery and the etiquette of self-cultivation, but also integrates the essence of Chinese civilization. Under the call of national rejuvenation in the new era, developing pitch-pot is of great significance to the revival of Chinese traditional sports culture and today's leisure sports. We have the responsibility to inherit it and promote its dissemination, so that more people can enjoy this precious humanistic practice of the ancestors of China.
==Terms and Expressions==
Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

==Questions==
# How did Pitch-pot evolve from archery rituals?
# What cultural values does Pitch-pot embody?
# What are the challenges and opportunities in reviving Pitch-pot?
# Why is Pitch-pot's development significant to Chinese traditional sports culture?
# What roles do the government, education, and media play in promoting Pitch-pot?

==References==
You Qianxin, Lian Menglong, Li Ning. Research on the development of ancient leisure sports pitch pot movement. Sports Science and Technology Bulletin, 2020, 28 ( 10 ): 134-135

Zhang Guoquan. ' Touhu ' and the inheritance of ancient ritual and music spirit. Lantai World, 2014, ( 04 ): 106-107.

Zhang Yong, Deng Lixing. Research on the rise and fall of the development of ancient Chinese pots. Journal of Yulin Normal University ( Natural Science Edition ), 2007, ( 05 ): 119 - 121.

Hao Jinfang.Touhu cultural historical changes and inheritance. Shandong Sport University, 2014.

==Translation==
投壶

投壶是古人宴会时礼节性的游戏。游戏时设特制之壶，宾主以次投矢其中，中多者为胜，负者饮。作为中国传统文化中的一项经典娱乐活动，投壶不仅是一种竞技游戏，更是一种独具文化象征意义的社交方式。它历史悠久，蕴含着丰富的哲学思想和道德教化功能，对中国礼仪文化影响深远。

起源及发展

汉代著名文学家郑玄在他所著的《礼记·投壶》中说道：“投壶是从商周时期射礼演化而来的。”射，是君子六艺的一种，由此衍生出来的射礼成为了宴会中必备的礼仪。然而，由于弓、箭数量和宴会场地的限制，或者一些嘉宾不擅长射箭，就出现了以棘代矢，以壶代靶，以投代射的投壶活动，使“宴射”变成了“宴投”。
经过漫长的发展和演变后，投壶由上层社会专属的高雅娱乐走向民间，受到广大平民百姓的喜爱。投壶活动的文献记载最早出现于《左传》。《左传·昭公十二年》载：“晋侯以齐侯宴，中行穆子相，投壶。”在昭公十二年（公元前530年）的时侯，投壶活动还是统治阶层宴会上的娱乐。当时投壶可以被称为是投壶礼仪, 是对射礼从形式到伦理思想的继承, 一定程度上体现地位尊卑的伦理法则。到了战国时期，民间开始逐渐流行投壶，男女皆可参加，增加了投壶的娱乐性。汉武帝时期，郭舍人尤其擅长投壶，他改良了投壶的规则和所用器具，使投壶在民间得到了更为广泛的传播。直到宋代，丞相司马光反对投壶的过度娱乐化，提出要回归它的礼仪功能，限制了投壶技艺的丰富性。明清时期，投壶游戏虽然还流行于士大夫之间，但它整体的发展已趋于缓慢，随着清末西方现代体育运动的传入，投壶走向衰落，退出了历史舞台。

文化意义

投壶早期具有完善的礼仪流程，在后世的发展中，随着投壶运动娱乐性的不断加强, 礼仪则相应地减少。但不可否认的是，其中的礼仪文化以及体育竞技精神对于当下传统文化的复兴仍然有较强的指导意义。
投壶体现了中国传统的中庸文化，能够修养身心。从人的外在行为方面看, 投壶也对人的行为方式做出了指引, 要求人们在事务的处理方面遵循一定的标准与方法。参与到这项活动中的人都秉持着谨慎恭敬的态度, 宾主之间需要通过礼节性的三请三辞来展现双方儒雅揖让的风度。宾主的侍从也都要根据射礼程序完成所规定的节数, 在整个活动过程中做到不可傲慢、不能懈怠、不准分散精力和心神旁顾、不准在站立时背对赛局、不能在现场对他事进行谈论等一系列要求, 以表示此项活动的郑重。从人的内心状态来看, 投壶时需要用雅歌进行伴奏，要求参与者讲求节奏与韵律,循声而发; 在这个过程中, 人的身体上下都处于协调状态,体现着动静结合,追求人与外界的和谐。
与海外的投掷游戏不同的是，投壶并非通过身体对抗来实现竞争，而更强调理性和道德修养。投壶运动是君子之争的典型代表,要求在比赛中通过自己的努力来争取胜利,同时也要给予对手足够的尊重。《论语》中对其做出了这样的表述:君子要重视修身养性,不能与人轻易争高低,如果一定要与人相争,便可以进行射礼或投壶。在比赛中要争取胜利,而在取得优胜时要向对手作揖表示尊重,而不是意得志满。在比赛当中不断提高个人修养水平，将体育运动作为督促个人不断提升修养的途径,这也与现代竞技体育“友谊第一，比赛第二”的理念相一致。

传承和推广

当代中国的体育文化生态中，西方体育长期占据主流阵地，中国的传统体育文化被边缘化。近年来，随着全民健身浪潮的兴起，人们越来越重视体育活动的内容和质量。这为复兴投壶创造了不可多得的机会。但是，我们并不需要照搬古代投壶的发展模式，而是要在保留它自身文化价值的同时，促进它与现代休闲娱乐相结合。对于广大群众而言，体育活动的趣味性是排在首位的，其次才是它的文化价值。因此，我们可以对投壶进行大胆创新，增加它的玩法，或扩大比赛的规模，让它从双人回合制比赛变成多人对抗赛，吸引更多人参与到投壶运动中。
除了对投壶进行改良与创新外，我们也要积极推动投壶的海内外传播。虽然国内有不少投壶活动，但大多是投壶爱好者的个人组织。要想让投壶在社会范围内形成风潮，离不开多方合作。首先，政府要发挥导向作用，为投壶提供政策保障和经济支持，为这一项目的健康发展奠定基础。其次，要充分利用教育这一有效的平台，让孩子们从小接触投壶文化，培养他们对它的兴趣。最后，媒体的大力宣传是必不可少的。通过网络呼吁全社会关注民间运动的发展，提高民众的文化自信和文化认同感。

总结

投壶，这一中华优秀传统文化中的瑰宝，不仅继承了射礼的仪节和正己修身的礼义，更融入了华夏文明的精华积淀。在新时代民族复兴的号召下，发展投壶运动对于中国传统体育文化的复兴对当今休闲体育的发展有着重要意义。我们有责任传承投壶并推广它的传播,让更多人享受到这项华夏先民的珍贵人文实践成果。

术语和表达

Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

问题

#投壶是如何从射礼演变而来的？

#投壶体现了什么文化价值观？

#恢复投壶的挑战和机遇是什么？

#为什么投壶的发展对中国传统体育文化具有重要意义？

#政府、学校和媒体在宣传方面扮演了什么角色？

=Lin Ruyin |Folk Art:Piaose=
==Brief Introduction==
==History==
==Factions==
Yakou Piaose,Nan Lang, Zhong Shan

Wuchuan Piaose

Fushi Piaose,Tai Shan

Hetian Gao Jing
==Current Situation==

=Pan Tong |=
Introduction:

Jingdezhen Porcelain refers to the porcelain produced in the city of Jingdezhen, Jiangxi Province, China. Because of its excellent quality, Jingdezhen has won the reputation of “Porcelain Capital”. The history of porcelain production there can be traced back to the Han Dynasty, with the real boom beginning in the Song Dynasty and peaking in the Ming and Qing dynasties. Jingdezhen has been supported by its porcelain industry for thousands of years. With unique cultural symbolism and influence, it is still the most influential porcelain historical and cultural city in the world.

Development History:

(1) The First Show of Force: Han to Five Dynasties

Historical records, “Xinping smelt pottery, began in the Han Dynasty”. At this time the pottery “itself coarse, the body is very thick, the glaze color is light and brown”, not sold far.

Tang Dynasty, Jingdezhen porcelain has a greater impact in the country. According to the record, “Tang Wude years, the town people Tao Yu carried porcelain into the Guanzhong, known as fake jade, and tribute to the dynasty, so Changnanzhen porcelain world famous.”

Five Dynasties, Jingdezhen porcelain production has reached a considerable scale. The main products are celadon and white porcelain, they are the earlier mature porcelain we can see now.

(2) Strong Rise: Song and Yuan Dynasties

Before the Song Dynasty, Jingdezhen produced mostly white porcelain, with little decorative patterns and paintings. Song clan moved south, a large number of literati, skilled craftsmen also moved to the south of the Yangtze River. Jingdezhen absorbed and assimilated from the other places' famous kilns of excellent workmanship. Jingdezhen porcelain technical force has been enriched, and also because of the original light, elegant, beautiful shadow blue porcelain and famous all over the world.

Yuan dynasty is the innovation period of Jingdezhen Porcelain. New varieties of blue and white porcelain in the technical maturity, opened up by the plain porcelain to colored porcelain of the new era.

(3)Stepping up to the Peak: Ming and Qing Dynasties

Jingdezhen Porcelain in the early Qing Dynasty, whether it is the official kilns or folk kilns; whether it is product modeling, decorative techniques, themes or styles, have reached a state of extreme prosperity.

(4)Porcelain Veins Pass on: Modern and Contemporary Periods

In the Republican period, “Zhushan eight friends”, with traditional painting and calligraphy into porcelain famille rose paintings, created a new Famille-rose porcelain on the ground. After the founding of new China, the establishment of the “ten porcelain factory”. porcelains industry structure changed, from the royal porcelain development to multi-discipline porcelain production. After the reform and opening up, porcelain production into a new era, innovative new colors, techniques and materials. Traditional porcelain art revitalization.

Four Characteristics of Jingdezhen Porcelain

The four characteristics of Jingdezhen Porcelain is sorted by the feelings of people observing the porcelain from afar and near.

White as jade: Jingdezhen porcelain is milky white, soft luster, warm and moist as jade. In the Tang Dynasty, it was known as “fake jade”.

Bright as a mirror: Jingdezhen porcelain glaze is smooth, crystal clear, like a brilliant mirror.

Thin as paper: Jingdezhen porcelain is light in texture and translucent in shadow. Ming dynasty Hao Shijiu creation burned the Luan Mu Cup. It is as thin as cicada's wing, one only weighs half a baht (about 1.1 grams).

Sound like a chime: Jingdezhen porcelain is crisp and clear. With a finger gently buckle, can be heard “thud” sound, like a musical instrument to play a beautiful chime sound.

Four Famous Porcelains

Jingdezhen porcelain variety, but to the Blue-white porcelain, Famille-rose porcelain, Color-glazed porcelain and Linglong porcelain the most prestigious, known as “Jingdezhen four famous porcelain”. Each of the four famous porcelains excels in its own way.

(1)Blue-white porcelain is the most representative porcelain of Jingdezhen, belonging to the underglaze colored porcelain. Primitive blue-white porcelain has been seen in the Tang and Song dynasties. Mature blue-white porcelain appeared in the Yuan Dynasty Hutian kiln in Jingdezhen. It became popular during the Yuan and Ming Dynasties and was exported worldwide, reaching its peak in the Qing Dynasty. Its thin, translucent quality and exotic motifs made it very valuable throughout Europe.

=Lei Huiting |=
Please start to write now.
=Lu Yixuan |=
==Introduction==
1.Introduction

Poetry, painting, and calligraphy: Known as the "Three Perfections," these genres were regarded as the ultimate expressions of Chinese literati culture during the Ming dynasty (1369-1644). Members of the Wu School, centered on the affluent city of Suzhou and nearby towns, earned admiration for their interpretations of these art forms. Painting with Words celebrates Wu School works, examining the relationships among their imagery, brushstrokes, and, especially, words.

==Main Part==

2.A Cultural Center

Situated on flat fertile land between Lake Tai and the Yangzi River, Suzhou (present-day Jiangsu province) is one of the oldest cities in the Yangzi delta. Before the Ming dynasty (1369-1644), when it became a leading center of literati culture, Suzhou had enjoyed a prominent political, economic, and cultural position for most of its two thousand-year history. The city was a major transportation hub on the Grand Canal, which stretched 1,100 miles between the former imperial capital Hangzhou to the south and the Ming imperial capital in Beijing far north. Besides the capital, during the fifteenth and sixteenth centuries Suzhou was the largest urban center in the Ming empire and perhaps the entire world.

Shaped like a rectangle, Suzhou was dotted with temples and spacious residences boasting elegant walled gardens. A grid of anals and paved streets, including as many as three hundred stone bridges, crisscrossed the city, which was surrounded by a moat and a towering outer wall. Beyond its water buffer, the city spilled into the surrounding suburbs but soon gave way to a prosperous countryside of small lakes and ponds, rice paddies, and agricultural fields. Rustic villages and temples were nestled in the landscape; larger satellite townships rose farther off. An area of low-forested hills stood to the west of Suzhou, overlooking the broad expanse of Lake Tai and its several nearby islands. Local poets and artists frequently ventured to such rural and suburban locations and even chose these easily accessible sites for their private retreats and retirement homes.

3.Wen Zhengming: Leader of the Wu School

An outstanding painter and calligrapher and an important trendsetter in his time, Wen Zhengming (1470-1559) was the unrivaled leader of the Wu School for much of its neyday during the first sixty years of the sixteenth century. Born to a modestly successful scholar-official family, Wen was a late bloomer in the arts; he was particularly poor at calligraphy in his youth. But he persevered, studying painting with Shen Zhou, who is often considered the Wu School's spiritual founder. Eventually, Wen mastered a wide range of painting styles and developed his own powerful, influential approach to calligraphy.

In 1527, when he returned to Suzhou after an unhappy three-year stint at the imperial court, Wen built a studio on his family's land. For the next thirty-two years, he devoted himself wholeheartedly to the life of a gentleman-scholar in retirement: reading, writing, painting, composing poetry, and socializing with likeminded friends. Wen's pivotal importance to the Wu School is magnified by the length of his extraordinary career, his wide circle of friends and acquaintances, and the artistic renown of his many students, including his two sons and a nephew and extending to several generations of Wens.

4.At Court and Beyond

During the fifteenth century, many leading gentleman artists of Suzhou spent a good part of their adult lives either serving at court in the imperial capital, Beijing, or out on provincial assignments. Often, they only returned home occasionally or after retirement. Several, such as Xia Chang (1388-1470), Xu Youzhen (1407-1472), and Wu Kuan (1435-1504), embraced these roles,distinguishing themselves in the national jinshi (advanced scholar) examinations and rising to high government offices. As artists, these men were known primarily as poets and calligraphers-except for Xia, who was also a master of the gentlemanly art of ink-bamboo painting.

The lifestyles of Liu Jue (1410-1472) and Shen Zhou (1427-1509) signaled a major alternative to serving at court. Liu only served in the capital for some eight years; Shen opted out entirely. Instead, they spent their lives in and around Suzhou, happily engaged in scholarly and artistic pursuits within their gardens and estates. Occasionally they visited friends, making communal forays into nature and to local scenic or historical sites. This lifestyle became a hallmark of Wu School gentleman artists.

Many Wu School artists were related by blood, marriage, and other formal relationships. They may have been family friends or schoolmates, taken their examinations together, studied as teacher and student, or done business as patron and client. The artists' relationships carried over into their poetry and artworks, which often were inherently personal in nature.

5.The Gentleman in Retirement

Often hailed as the spiritual founder of the Wu School, the painter, poet, and calligrapher Shen Zhou (1427-1509) came from a well-connected lineage of gentleman artists who lived in the Suzhou suburb of Xiangcheng. Both his father and uncle were landscape painters. Shen rejected the official career path followed by most of his peers in favor of a life of art and personal fulfillment. Following his example, many later Wu School artists made the same choice.

For gentleman artists in fifteenth- and sixteenth-century Suzhou, retirement consisted of socializing with other literati, refined activities such as art collecting, and a love of creature comforts such as elegant private gardens. These examples of his paintings and calligraphy reveal aspects of Shen's life in retirement: engaging with likeminded friends, observing and commentating on everyday life, and spending time alone at home or in favorite pastimes, such as wandering the hills to find inspiration for poetry or a place to play his qin.

Shen is said to have had an open, generous character. His palpable enjoyment of nature imbues each painting and poem in this section, graciously inviting us to join in. Owing to Shen's enduring influence and that of his immediate followers, these amiable qualities have come to characterize Wu School literati art.

6.In Full Flower

The Wu School rose to its artistic zenith during the first half of the sixteenth century, led by three of its brightest stars: Wen Zhengming (1470-1559), Tang Yin (1470-1524), and Qiu Ying (ca. 1494-1552). Together with the older Shen Zhou (1427-1509), this group is known as the "Four Great Artists of the Ming." Shen and Wen exemplified the Wu School ideal of the gentleman artist, while Tang and Qiu epitomized the accomplished Suzhou professional. Qiu was solely a painter; the other three developed distinct styles of painting, calligraphy, and poetry.

Although the Four Great Painters came from different social and economic backgrounds-and more than sixty-five years separated the oldest from the youngest-their lives and art intersected repeatedly. Wen and Tang had been friends since they were teenagers, and they both studied literati painting with Shen. Tang also studied under a local professional painter named Zhou Chen (ca. 1450-ca.1535), to whom he and Wen later recommended the young painting phenomenon Qiu Ying.

Such teacher-student and patron-client relationships were key to an artist's development and career in sixteenth-century Suzhou. Wen in particular had both a large number of outstanding students and a wide circle of local connections. Several of Wen's students and protégés went on to develop careers and styles of their own, among them the two brilliant calligraphers Wang Chong (1494-1533) and Chen Shun (1483-1544), both of whom died before their former master.

Despite their differences in style, approach, and social standing, professional artists and gentleman artists were codependent. Thematically, professional artists drew their material from the literature and history at he core of the literati tradition; in turn, literati artists wrote out the appropriate texts in fine calligraphy to accompany the professional artists' paintings. A primary distinction between the two groups was that the gentleman artist was also a calligrapher and a poet in his own right, and the fundamental purpose of his art was personal self-expression, usually prompted by an occasion or recent event. In some cases, one gentleman artist might have written a scroll of poetry for a friend or as a calligraphic exercise. Other times, individuals from both groups would collaborate on a scroll or contributed to a collective project.

7.The Followers

Known for decades as the Wu School's leader, Wen Zhengming (1470-1559) remained active as an artist until he died at age eighty-nine. By that time, several of his most outstanding followers had already passed away. Other artists, however, continued to work in styles heavily influenced by Wen Zhengming's approach well into the final quarter of the sixteenth century. Among these were his two talented sons, Wen Peng (1498-1573) and Wen Jia (1501-1583), who directly emulated their father and shared many of his interests and concerns. Qian Gu (1508-after 1574) also faithfully adhered to the styles that Wen Zhengming had developed and promoted.

Other gentleman artists advanced Wen Zhengming's legacy in new directions, such as Lu Zhi (1496-1576), who developed a unique, almost luminous style of landscape painting. The flourishing professional painter Xie Shichen (1487-after 1567) incorporated elements from other popular styles, but he continued to draw inspiration and material CAa from literati culture and to rely on gentleman artists for calligraphic contributions to his scrolls. Wen Zhengming's influence even extended to the generation of his great-grandson Wen Zhenmeng (1574-1636), a calligrapher. He and other local gentleman artists carried on producing collective scrolls and albums inspired by traditional themes,such as the "Eight Views of Xiao Xiang," as well as by contemporary occasions.

Still, Wen Zhengming's death deprived the Wu School of both its center of gravity and its leading light, and the vitality and prominence of Suzhou painting and calligraphy ultimately waned. By the early seventeenth century, the city's economic clout also had diminished, owing in part to the rise of nearby Shanghai and other towns in the Yangzi delta region. Competing centers of artistic production diluted and eventually eclipsed the city's premier cultural status. By the 1630s, the Wu School, though still highly influential, had given up its role as a dominant force.

==Conclusion==
==Terms and Expressions==
==Questions==
==References==

=Li Yanran |=
==Introduction==
A thangka (also known as tangka, thankga, or Tibetan scroll painting) is a classical and stylized form of Nepalese and Tibetan painting. These intricate artworks typically depict Buddhist deities, scenes, or mandalas. Thangkas are traditionally painted on cotton or silk appliqué and are often used as aids for meditation or teaching. They communicate profound meanings related to Buddhist philosophy through their detailed compositions. When not on display, thangkas are kept unframed and rolled up, similar to Chinese scroll paintings.

==Main Part==
===History and Origins===
The history of Tangka painting is deeply intertwined with the spread of Buddhism in Tibet. The earliest Tangka paintings date back to the reign of King Songtsen Gampo (618-650 AD), who played a pivotal role in establishing Buddhism in Tibet. Over the centuries, Tangka painting evolved, influenced by Indian, Nepalese, and Chinese artistic traditions. The creation of Tangka paintings flourished particularly during the Tibetan Renaissance in the 11th century, a period marked by the revival of Buddhist scholarship and artistic endeavors.

During the early stages, Tangka painting primarily depicted deities and mandalas, serving as tools for teaching and meditation. The construction of the first Buddhist temples in Tibet, such as the Jokhang Temple in Lhasa, further stimulated the development of religious art, including Tangka painting. These temples became centers of artistic activity, where local artists learned from foreign masters and began to develop their distinctive styles.

The period between the 8th and 11th centuries saw significant contributions to Tangka painting from Indian and Nepalese artists. The renowned Indian Buddhist scholar and artist, Atisha (982-1054 AD), played a crucial role during this period. Invited to Tibet by King Jangchub O, Atisha brought with him a wealth of artistic and spiritual knowledge, which greatly influenced Tibetan art and Tangka painting.

The Tibetan Renaissance in the 11th century marked a pivotal moment in the history of Tangka painting. This era was characterized by a resurgence of Buddhist scholarship, the translation of Buddhist texts, and the establishment of new monastic institutions. The renaissance period saw the synthesis of various artistic traditions into a distinctly Tibetan style, marked by vibrant colors, intricate details, and profound spiritual symbolism.

During the 14th to 17th centuries, the Ming dynasty in China established close diplomatic and cultural relations with Tibet. This period saw the exchange of artistic techniques and motifs between the two regions, further enriching the Tangka painting tradition. Tibetan artists adopted Chinese landscape techniques and the use of silk, while maintaining their unique iconographic and symbolic elements.

The 17th century onward witnessed the formalization of Tangka painting schools and lineages, each with its unique style and approach. Prominent schools include the Menri (Sman-ri) school, founded by Menla Dondrub in the 15th century, known for its classical and refined style, and the Khyenri (mKhyen-ri) school, founded by Khyentse Chenmo in the 15th century, recognized for its bold and expressive style.

The preservation and continuity of Tangka painting faced challenges in the 20th century due to political changes and cultural upheavals. However, efforts by Tibetan communities in exile and international interest in Tibetan culture have helped sustain and revive this ancient art form. Today, Tangka painting continues to thrive as both a spiritual practice and an art form, preserving the rich heritage of Tibetan Buddhism.

===Symbolism and Themes===
Tangka paintings are rich in symbolism and often depict deities, mandalas, historical events, and teachings of Buddhism. Each element in a Tangka painting carries specific meanings and serves as a visual aid for meditation and contemplation.
====Deities and Bodhisattvas====
Tangka paintings frequently portray Buddhas, Bodhisattvas, and protective deities. These figures are depicted with specific hand gestures (mudras), postures (asanas), and attributes that symbolize various aspects of Buddhist teachings. For example, Avalokiteshvara, the Bodhisattva of Compassion, is often shown with multiple arms, each holding different objects representing his compassionate activities.
====Mandalas====
Mandalas are intricate geometric designs that represent the universe and serve as tools for meditation. They are often used in Tangka paintings to depict sacred spaces and cosmological concepts. The central figure in a mandala is usually a deity, surrounded by concentric circles and squares filled with symbolic elements.
====Historical and Mythological Scenes====
Tangka paintings also narrate stories from the life of the Buddha, the exploits of various saints and yogis, and mythological tales. These narrative paintings serve an educational purpose, conveying moral and spiritual lessons.
====Symbols and Iconography====
Common symbols in Tangka paintings include the lotus flower (purity), the vajra (indestructibility), and the wheel of Dharma (teachings of the Buddha). Each symbol is meticulously placed to enhance the painting’s spiritual message.
===Cultural and Religious Significance===
Tangka paintings are not merely decorative objects; they hold deep religious and cultural significance. In Tibetan Buddhism, Tangka paintings are used as aids for visualization during meditation. Practitioners focus on the image of a deity, internalizing its qualities and receiving blessings. The detailed iconography serves as a guide for spiritual practice and contemplation.

Moreover, Tangka paintings are used in religious ceremonies and rituals. They are often displayed in monasteries, temples, and private homes, where they serve as objects of veneration. During festivals, such as the Tibetan New Year (Losar), large Tangka paintings are unfurled on hillsides, allowing devotees to receive blessings from the sacred images.

Tangka paintings also play a crucial role in preserving and transmitting Tibetan culture and religious teachings. Each painting is a repository of iconographic and symbolic knowledge, passed down through generations of artists and practitioners. The continuity of this artistic tradition reflects the resilience and adaptability of Tibetan culture in the face of historical challenges.

==Conclusion==

==Terms and Expressions==
==Questions==
==References==

=Duan Siya |Striking iron flower=
==Introduction==
Iron flowers , also known as iron trees , are traditional folk fireworks popular in the Henan and Shanxi regions and are one of China's national intangible cultural heritages .Striking iron flower,a traditional firework that has been passed down in the Yu-Jin region, began in the Northern Song Dynasty, flourished in the Ming and Qing Dynasties. It is mostly popular in the middle and lower reaches of the Yellow River, with Henan and Shanxi being the most. In the 1000-year-old folk art of "Striking Iron Flowers" (打铁花), molten iron is struck with wooden rods to create sparks cascading through the sky like blossoming flowers.
==Main Part==
The "Iron Flower Striking" originated from the ritual activities of the craftsmen. In the Ming Dynasty, the iron-making industry flourished. With the aim to celebrate the harvest and pray for peace, the blacksmiths created a bright sparkling effect by striking the iron in the production. During the Ming and Qing Dynasties, with the support from government and all walks of life, the Queshan Iron Flower reached its peak. It expanded from the original Taoist rituals such as the birthdays of the Jade Emperor and the Queen Mother to general festivities, such as wishing for a new life, getting promoted and getting married.

In the process of local circulation, Queshan Iron Flower has absorbed various artistic elements such as firecrackers, dragon lanterns and brass instruments. It has gradually formed a unique performance style of grandeur, magnificence and auspiciousness.

In June 2008, the iron flower art submitted by Queshan County, Henan Province was approved by the State Council to be included in the second batch of national intangible cultural heritage list .

Before striking the flowers, they all kneel inside the shrine to ask the gods for safety and to avoid burns. A six-meter-high double-layer flower shed is set up in an open space. The shed is densely covered with fresh willow branches and tied with fireworks, firecrackers and goods, known as the "trellis", A six-meter-high old pole is erected in the middle of the shed, making the total height of the flower shed reach more than ten meters.

A furnace is set up next to it to melt iron liquid. More than ten performers take turns to use flower sticks to hit the iron liquid with a temperature of more than a thousand degrees onto the shed, forming iron flowers more than ten meters high. The iron flowers then ignite fireworks and firecrackers, and are accompanied by the "dragon through the flowers" performance.

The flower stick used by the iron flower maker is a fresh willow stick that is as thick as a fist and more than a foot long. There is a circular pit with a diameter of 3 cm at the top of the stick to hold the iron liquid. When making iron flowers, the flower beater wears an inverted gourd ladle on his head (for protection), is topless, holds an upper stick filled with iron juice in one hand, and a lower stick without iron juice in the other hand, and quickly runs to the bottom of the flower shed, using the lower stick to hit the upper stick. A dozen flower beaters take turns, one after another, moving back and forth between the furnace and the flower shed. One stick of iron flowers soars into the sky, and another stick follows, one after another ...The scene is spectacular, presenting the characteristics of thrilling, exciting, festive and lively.

With temperatures of molten iron soaring to 1600°C, artisans bear countless scars across their bodies. In order to minimize injuries to the smiths, the ironwork is mostly performed in winter, when the weather is cold and the scattered ironwork can cool down more quickly, thus better guaranteeing the safety of the smiths. In the process of beating iron flowers, smiths will wear some specific protective clothing. Traditionally, there are mainly Taiji pattern helmet, Taoist style cotton protective cap with shawl, protective shoes, red or yellow cotton belt, etc. The protective shoes include legs, knee pads, foot pads, all three must be a one-piece type, so as to achieve the best protective effect.

Some smiths choose to go bare-chested to increase the shock of the scene.

Behind the brilliance, the risks are not known to all. The molten iron needs to be heated to more than 1600 degrees Celsius. Therefore, performers need to be very careful in the strength and angle . In that case, the iron splashes are high enough and well dispersed to make brilliant iron flowers. Insufficient force or an inaccurate strike position may result in burns to oneself.

==Conclusion==
The technique of striking iron flowers has a long history, and the performance is magnificent and grandiose. The splendor of modern fireworks and the mystery of traditional art are integrated, which is breathtaking. It embraces Taoist culture, trade customs, folk crafts, which not only enriches the folk art treasury of China, but also plays an important role in enhancing national pride and strengthening national cohesion.

==Terms and Expressions==

==Questions==
==References==

Cult Ov 2 2024

2024-06-09T02:20:02Z

Chu Shoujuan: /* 储守娟 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China */

Welcome to our course website!

=Session 1 OD Fri Mar 1 10:00-11:40 room 404 - Organizational issues=

FRI 10:00-11:40 中国文化概要 [[Cult Ov 2 2024]] 404 BA21笔译2 Yu Xinzhong (1-16, 外国语学院大楼404教室09161319.01) (S1 OD 1.3., S2 MW 8.3., S3 MW 15.3., S4 OD 22.3., S5 MW 29.3., S6 OD 7.4. (instead of 5.4.), S7 OD 12.4., S8 OD 19.4., S9 OD 26.4., S10 OD 28.4., S11 MW 10.5., S12 MW 12.5., S13 MW 17.5., S14 MW 24.5., S15 MW 31.5., S16 MW 7.6.)

==What we learn in this class==
*We learn about Chinese culture from international, especially Western perspective.
*We learn about cultural phenomena, traditional Chinese culture.
*We learn English and Chinese terminology in the area of Chinese culture.
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.
*We learn how to determine the location and role of Chinese culture within global culture.
*We learn basics of theories and models of intercultural communication and comparison.
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).

==Textbook==
Here are 100 topics of the textbook. The names indicate which student translates which chapter of the textbook from English into Chinese. The topics written in bold will be presented as ppt in class.

涂海蓉 1. Geographic Nature as a Basis for Cultural Development

地理环境是文化发展的基础

中国是亚洲最大的国家，也是世界上人口最多的国家。它占地9560900平方公里（3691000平方英里），大约是世界陆地面积的十五分之一。根据最新的人口普查，截至2005年，中国的总人口已达到13.5亿。不论面积还是人口，欧洲（不包括俄罗斯）都仅是中国的一半。

中国地处东亚，太平洋西岸，位于东半球北半部。她东西宽5000公里，南北长5500公里。中国的陆地边境线长达20000多公里，与14个国家接壤：东邻韩国；南接越南，老挝，缅甸；西南与印度，不丹和尼泊尔相接；西邻巴基斯坦，阿富汗；西北接俄罗斯，哈萨克斯坦，吉尔吉斯和塔吉克斯坦；北与蒙古接壤。中国隔黄海与日本相望，东南与菲律宾越南海相眺。

中国大陆拥有世界上最长的海岸线之一，从北部中朝边境的鸭绿江口奔流至南部中越边境的北仑河口，总长18000公里。中国大陆东侧从北至南依次是渤海，黄海，东海，南海，均与太平洋合流。这片巨大的海域散布着5000多座岛屿。台湾是最大的岛屿，其次是海南岛和崇明岛。

由于其地处欧亚大陆东南部及太平洋西岸，世界最大的大陆和最大的大洋之间的热储量差异造成了中国著名的季风气候。在冬季，发源于西伯利亚，寒冷干燥的极地大陆气团，支配着中国大部分地区；而在夏季，炎热潮湿的热带太平洋气团则影响着中国大部分地区。中国大部分区域是显著的大陆性气候，这种气候的日温差和年温差较大。

中国的降水分布大致上从东南向西北递减。东南沿海部分地区的年降水量达到80英寸以上。长江流域降水量约40英寸。再往北，年降水量低于20英寸。中国正构思并规划一项重大的南水北调工程。

中国地势西高东低，因此大部分河流的流向一般向东。地势由西向东可分为三个阶梯：高原，山地和平原。大体上，中国是一个多山的国家。丘陵，山地和高原覆盖了国家总面积的三分之二，居住着三分之一的人口。

自然植被类型及其植物组成十分多样。中国的种子植物总数约为30000种，2700属。200多个属为中国特有。约有2500种林木。它们当中很多是重要的经济树种，如桐油树，樟树和漆树。丰富的植被和多样的地形养育了多种多样的动物。著名的动物有长江的大白鲟，东北部的东北虎，西部的娃娃鱼，大熊猫和西南部的金丝猴。

根据《中华人民共和国宪法》，中华人民共和国是工人阶级领导的、以工农联盟为基础的人民民主专政的社会主义国家。人民行使国家权力的机关是全国人民代表大会和地方各级人民代表大会。国务院是最高国家行政机关的执行机构。

首都北京是全国政治、文化和经济中心。国歌是《义勇军进行曲》。国徽的中心是五星照耀下的天安门，周围是谷穗和齿轮，充分体现了中国人民共和国的宪法范畴。

李珣 2. Aesthetic ideals and social customs: Chinese Marriage Customs

2.审美理想和社会习俗：
中国婚姻习俗
中国是一个礼仪之邦。当谈到人生中最重要的事情——婚姻时，中国人已经形成了一套独特而隆重的仪式。一般来说，中国古代的婚礼需要得到父母的批准和安排。（周丹迪、岳树发2012,12）
六个程序
从谈婚论嫁到完婚，一共有六种礼仪，分别是娜彩、文明、娜季、娜正、晴琪和最后一步秦英。（高晓倩2017235）
那彩是所有婚姻程序的开端。这是指一种习俗，如果一个男孩打算嫁给一个女孩，首先他的家人必须邀请媒人到女孩家求婚。在征得女孩家人同意后，男孩家人应委托媒人正式求婚，并赠送一些礼物。通常，最常见的礼物是代表忠诚的大雁。此外，鸳鸯和绵羊也是经常使用的礼物。（高晓倩2017235）
温明的意思是，男孩的家人请媒人来取女孩的名字和出生日期。这一步骤有两个目的：一是防止近亲同姓结婚；另一种是通过新娘和新郎出生时的“八字”来保证他们的兼容性。（高晓倩2017235）
纳吉发生在媒人收回女人的名字和八个字之后。如果占卜到吉兆，男孩的家人会通知女孩的父母并决定结婚。（高晓倩2017235）
更重要的是，当男孩给女孩送聘礼时，那正是一个重要的步骤，为了礼貌，女孩会寄回一部分礼物，比如食物和一些衣服。（高晓倩2017235）
Qing Qi的意思是男孩的家人选择一个吉日举行婚礼，然后派媒人告诉女孩的家人。（高晓倩2017235）
秦英是六礼的最后一道工序，即新郎到新娘家把新娘接回家。（高晓倩2017235）
海关
除了上面提到的六个步骤外，中国传统婚礼还有许多其他习俗。一般来说，古代婚姻是由父母和媒人安排的，许多年轻人无法掌握自己的婚姻。在举行婚礼之前，男人和女人是不允许见面的，因为古代人非常保守，大多数女孩都被关在闺房里。如果他们婚前私下见面，这将被视为一种女性不忠，父母也会认为这很不吉利。在这种情况下，新婚夫妇只能见面，直到结婚那天。（张跃勇2013，47-48）
婚礼当天，男孩的家人将在家里举行盛大的宴会。在出发接新娘之前，新郎在接新娘的过程中，为了安全和吉祥，首先要祭祖。（高晓倩2017235）
之后，接下来的步骤是整个仪式中最隆重的一步——黄昏时分，新郎和新娘、新郎的父母以及所有宾客将聚集在中心房间，共同见证这对新人的跪姿，共有4个步骤：（高晓倩2017235）
第一个磕头是对天地的叩拜，这表明了古人对上帝和自然的敬畏和赞赏，为他们创造了一个良好的生活环境。第二个磕头是向父母表达对父母养育的感激之情，并真诚希望父母身体健康。然后新人会向对方磕头，这承载了这对新人白头到老的期望。最后一个步骤是去洞房：新娘将被送到洞房，新郎将与客人一起喝酒直到晚上。（高晓倩2017235）
婚礼结束后，新人必须在第三天一起回到女孩的家，这被称为“回门”或“龟岭”。这种礼节是必不可少的。新郎应该带上一些礼物以示尊重，并改变他对新娘父母的称呼方式，后者也会为新人的到来准备一顿大餐。（高晓倩2017235）
发展
随着时间的推移，现在有许多关于婚姻的改革。成年人拥有选择配偶的自由，如果可能的话，他们可以每天见面。父母再也不能掌握自己的“人生大事”了。（张跃勇2013,47）此外，许多新人在婚礼上跳过繁琐的仪式。他们中的一些人选择与一些亲密的亲友在教堂举行仪式，有些人甚至通过旅行来完成仪式。（周丹迪、岳树发2012,15）
尽管如此，大多数年轻人仍然采用中国传统习俗的主要程序，其中一些习俗流传至今。彩礼和嫁妆仍然存在，许多夫妇选择穿红色服装。由此可见，中国传统婚俗大多深深植根于中国人的心中，呈现出独特的中国特色。（周丹迪、岳树发2012,15）

References
Gao Xiaoqian. 高筱倩. (2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.
Zhang Yueyong. 张月莹. (2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage Customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.
Zhou Dandi, Yue Shufa. 周丹迪, 岳书法. (2012) 浅析近代以来中国婚嫁民俗的演变[On the Evolution of Chinese Marriage Customs Since Modern Times] 文化学刊[Cultural Academic Journal] 15.

Terms and Expressions
Na Cai 纳彩
Wen Ming 问名
Na Ji 纳吉
Na Zheng 纳征
Qing Qi 纳征
Qin Ying 亲迎
Huimen 回门
Guiling 归宁
betrothal presents 彩礼
the central room 堂屋
bridal chamber 婚房
“eight characters” of the birth moment 生辰八字

问题
1.从协商到结婚，需要办理多少手续？
2.古代年轻人有权决定自己的婚姻吗？为什么？
3.什么是跪姿？
4.这对夫妇什么时候必须回到女孩家？
5.现在发生了什么变化？
6.请列举一些新的婚俗。

谭雅兰 3. Aesthetic ideals and social customs: Habits, Ways of Contacting

'''雷慧婷 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan'''

李舒婧 5. Aesthetic ideals and social customs: Crying Marriage of Tujia

雷慧婷 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China

'''裴心弦 7. Animals: Panda'''

林如茵 8. Architecture

储守娟 9. Architecture: The Forbidden City

9.建筑:紫禁城

I.介绍

故宫(中文:紫禁城;拼音:Zǐjìnchéng)是位于中国北京东城区的宫殿群，总面积为72万平方米(180英亩)。它位于北京中心轴的中心。今天，紫禁城是故宫博物院的所在地。从明朝(自永乐皇帝开始)到清末(1420年至1924年)，紫禁城是中国皇帝的宫殿和住所。紫禁城是中国皇帝及其家属的住所，也是中国政府的礼仪和政治中心。(Barmé, Geremie R 2018, 26)

紫禁城是国家AAAAA级旅游景点，1961年被列为第一批国家重点文物保护单位。更重要的是，它于1987年被宣布为世界文化遗产，并被联合国教科文组织列为世界上保存最多的古代木结构建筑。(联合国教科文组织,2007年)

II.紫禁城的名字

常见的英文名称“紫禁城”是中文名称紫禁城(中文:紫禁城;拼音:Zǐ金城;英文:紫禁城)的翻译。紫禁城的名称最早出现在嘉靖年间。中国古代强调“天人合一”的规划理念。首都规划与天空中的星星相对应，以突出政权的合法性和皇权的至高无上。(李燮平，1997，(04)29-31)

“Zi ”，或“Purple”，指的是北极星，在中国古代被称为紫薇星。天帝住在紫薇宫，而人类皇帝自称是受命于天的“天子”。他的住所应该是紫薇宫的象征，与天帝相对应。“禁”的意思是这座华丽的宫殿象征着皇室的最高权力和地位。在这种情况下，这座宫殿是被禁止的，没有皇帝的允许，任何人都不能进出宫殿。城的意思是城市。(李燮平，1997，(04)29-31)

今天，这个地方在中文中最常见的名字是故宫，意思是“旧宫”。以这些建筑为基础的博物馆被称为“故宫博物院”(中文:故宫博物院;拼音:Gùgōng Bówùyùan)。

III. 紫禁城的历史

当洪武皇帝的儿子朱棣成为永乐皇帝时，他将首都从南京迁到北京，并于1406年开始建造紫禁城。建设历时14年，征用了100多万工人。从1420年到1644年，紫禁城一直是明朝的宫殿。(余卓云1984,18)

1644年4月，李自成率领叛军占领紫禁城。他在撤退到陕西的过程中放火烧毁了紫禁城的一部分。同年10月，满族人在中国北方取得了至高无上的地位，在紫禁城举行了一场仪式，宣布顺治帝为清朝统治下全国统治者。(郭沫若1944,3.14）

康熙二十二年(1683年)，紫禁城其余被毁建筑开始重建，1695年基本建成。紫禁城曾是24位皇帝(明朝14位，清朝10位)的故居。1912年，随着中国末代皇帝溥仪退位，紫禁城不再是中国的政治中心。(余卓云1984,30)

1933年，日本侵华迫使故宫的国宝撤离。部分藏品在第二次世界大战结束时归还，但另一部分在蒋介石的命令下，于1948年运往台湾。1949年中华人民共和国成立后，由于革命热情席卷全国，紫禁城受到了一定程度的破坏。但是，在文化大革命期间，周恩来总理派了一个军营守卫这座城市，阻止了进一步的破坏。（谢荫明，瞿宛林，2006,11.7）

IV. 紫禁城的结构

首先，紫禁城是一个矩形，在布局上是对称的。它的宫殿沿着南北轴线排列，三个大殿，后三个宫殿和御花园都位于这条轴线上。这条中轴线不仅贯穿紫禁城乃至整个城市，而且南至永定门，北至鼓楼和钟楼。[谢丽，2005，(03)100-102]

其次，紫禁城分为两部分，外廷和内庭。外廷是皇帝处理政治事务的地方。主要有三个殿:太和殿、中和殿和保和殿。内庭或后宫包括北部分，是皇帝及其家人的住所，并用于日常国家事务。内庭以乾清宫、交泰宫、坤宁宫为中心，东有六座宫殿，西有六座宫殿。[谢丽，2005，(03)100-102]

VI.故宫藏品

1925年，故宫博物院在紫禁城成立，其广泛的艺术品和文物收藏是在明清两代皇家收藏的基础上建立起来的。故宫博物院以前的部分藏品现藏于台北故宫博物院。这两个博物馆都是同一机构的后裔，但在中国内战后分裂了。(刘薇, 王硕2005,6 -22)

故宫博物院的藏品以清代皇家藏品为基础，包括绘画、陶瓷、印章、碑刻、雕塑、铭文、青铜器、珐琅制品等。根据最新的审计，它拥有1,863404件艺术品。它们用“故”、“新”和“书”来编号。除古籍文献类藏品冠以“书”字号外，其他门类藏品均冠以“故”、 “新”字号。一般文物的编号均以“资”字开头，陶瓷标本以“标”字开头。总目分为25大类，在每类内各种编号均从小至大排序(网站:故宫博物院馆藏)

许多藏品曾经丢失，后来被带回故宫博物院，例如《韩熙载夜宴图》。还有《陶彩绘女舞俑》、《十二生肖镜》、《画珐琅西洋人物鼻烟壶》等精美藏品。(网站:故宫博物院馆藏)此外，故宫博物院拥有18世纪、19世纪时，世界上最大的机械钟表收藏之一，有1000多件。(孟福霞，2012，(21)73-74)

术语和表达

*palace complex 宫殿群
*central axis 中心轴
*the Palace Museum故宫博物院
*the Yong Le Emperor 永乐皇帝
*key cultural relics under national protection 国家重点文物保护单位
*world cultural heritage 世界文化遗产
*harmony between man and nature 天人合一
*the imperial garden 御花园
*the Hall of Supreme Harmony 太和殿
*the Hall of Central Harmony 中和殿
*the Hall of Preserving Harmony 保和殿
*Palace of Heavenly Purity (乾清宮)
*Hall of Union 交泰宫
*Palace of Earthly Tranquility 坤宁宫
*Han Banquet map 韩熙载夜宴图
*Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑
*Mirror with the Twelve Astrological Emblems十二生肖镜
*Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶

问题

#紫金城的中文名“紫”是什么意思?
#紫禁城是什么时候被联合国教科文组织列为世界上保存最多的古代木结构建筑的?
#有多少位皇帝住过紫禁城?
#建造紫禁城花了多长时间?
#为什么一些国宝现在在台北故宫博物院。
#紫禁城可以分为哪两个部分?
#故宫博物院是什么时候建成的?

参考文献

Barmé, Geremie R(2008)。《紫禁城》。哈佛大学出版社，26。

联合国教科文组织(2007)。《联合国教科文组织世界遗产名录:北京和沈阳的明清皇宫》。

李燮平。(1997)"紫禁城"名称始于何时？紫禁城，(04)29-31。

余卓云(1984)。《紫禁城宫殿》，纽约:维京出版社，第18页。

郭沫若。(1994)甲申三百年祭。新华日报，3.19。

谢丽。(2005)北京中轴线上的十七座门。紫禁城，(03)100-102。

孟福霞。(2012)北京故宫空间布局构思探源—论中国古代宫殿建筑的美学精神。大众文艺，(21)73-74。

刘薇，王硕。2005故宫文物南迁路线图揭秘，华夏经纬网，6. 22 http://www. huaxia. com/wh/gjzt/2005/00333230. html

故宫博物院馆藏https://www. dpm. org. cn /Home. html

谢荫明，瞿宛林。(2006)“文化大革命”中谁保护了故宫。人民网11, 7. http://history. people. com. cn/n/2014/0811/c372327-25441615. html

李嫣然 10. Architecture: Four Famous Bridges

李嫣然 11. Architecture: Four Great Pavilions

'''李嫣然 12. Architecture: Shengjing Imperial Palace'''

李嫣然 13. Architecture: Three Great Towers in China

陈佳雯 14. Architecture: Fengshui in Chinese Architecture

裴心弦 15. Army and weapons: Chinese Ancient Weapons

宋成爽 16. Army and weapons: Terracotta Army

李珣 17. Astrology: Chinese Astrology

17.中国占星术
历史
那么，中国占星术到底是什么呢？中国占星术是一门古老的艺术，它利用出生时间，包括年、月、日和时间，来揭示一个人的性格特征、生活方式、健康状况、职业方向以及与他人的兼容性。虽然这个系统的确切起源尚不清楚，但中国占星术已经指导了中国人5000多年，对我们的生活产生了深远的影响。中国的黄道带系统实际上是基于符合中国古代农业日历的十年日月周期。周期分为五个元素：水、木、火、土和金属，以及代表每年的十二种动物。这个系统受到阴（女）和阳（男）宇宙力量的影响，据说这是对宇宙和谐与平衡的解释。
五行与阴阳
中国人认为五种基本元素，木、火、土、金、水，构成宇宙万物。五行作为东方哲学的基本组成部分，可分为“导”与“控”的相互关系。有利的相互关系意味着这五种元素将相互产生，并有助于相互滋养。我们从木头中得到火，因为火是由燃烧木头产生的。我们从火中得到地球，因为火可以把一切都烧成灰烬（地球）。我们从地球上获得金属，因为所有的金属都必须从地球上提取。我们从金属中得到水，因为金属受热后会变成液体。而且，我们从水中得到木材，因为水滋养植物，从而产生木材。
控制相互关系意味着这五个元素可以控制或被另一个元素破坏。木材控制着地球，因为树木从地球中汲取营养。地球控制着水，因为地球可以吸收水，也可以通过人造堤坝或自然现象阻挡水流。水可以控制火灾，因为水是用来灭火的。火控制金属，因为火的热量可以融化金属。而且，金属控制木材，因为树木可以被斧头的金属刀片砍倒。在这种哲学下，没有任何元素被认为是最强或最弱的。每个元件或者由另一元件控制，或者可以产生另一元件。事实上，他们是相互依存的，因此被认为是平等的。在中国占星术中，在完整的六十年周期中，每个动物星座都与五种主要元素结合在一起：木、火、土、金属和水。你的星座元素会对你的生活产生影响。
阴阳之力
自古以来，中国人就认为阴阳两大力量控制着宇宙。这两股力量是中国哲学的根基，是中国人的根基，更是中国医学的根基。一般来说，阴表示死亡，而阳表示生命。
一个著名的符号被称为“太极”（终极物质）体现了阴阳。在圆中，这两种力使能量平衡，使一切保持平衡。没有任何力量比另一个更强或更弱，当一个处于最高点时，另一个处于最低点。阴阳合一成为一个整体，从而保持宇宙的和谐。
中国占星术的发明是为了实现以下两个目标；
1.）为了预测未来，
2.）确定被视为启动特定项目的最佳日期，尤其是婚礼或新企业。
根据中国占星术，一个人的命运是由主要行星的位置、出生时太阳、月亮和彗星的位置以及他们的星座决定的。这种基于生日、出生季节和出生时间来创造命运和命运的综合系统被称为紫微斗数，在现代中国占星术中仍然经常使用它来预测自己的命运。中国的星座是以一个人出生的年份为基础的，十二个生肖中的每一个都由一种特定的动物代表。十二生肖是：；鼠，牛，虎，兔，龙，蛇，马，羊羔，猴子，鸡，狗，猪。中国占星术认为，掌管一个人出生年份的动物对他们的生活有着深远的影响。中国占星术认为，掌管一个人出生年份的动物对他们的生活有着深远的影响。东方的中国人认为，每个属相都体现了其动物的特征，这些特征被灌输给当年出生的人。
今天，十二生肖是中国传统文化的重要组成部分。在节日活动中，剪纸和十二生肖年画在中国人中很受欢迎。此外，十二生肖也被视为中国本身的象征，在中国文化中发挥着至关重要的作用，尽管龙是中华民族最受认可的图腾。
在中国，十二生肖在人们的宗教信仰中扮演着重要的角色。这12种动物分为阴阳两类，这是中国古代人根据五行（金、木、水、火、土）提出的中国哲学和医学的基本原理。一套算命方法表明，十二生肖决定了人们的命运，因此，十二生肖开始在人们的性格、友谊、婚姻、事业、健康、财富和其他生活的重要部分发挥关键作用。在中国占星术中，人们认为当一个人来到由出生年份决定的归属年份时，他们必须系上红腰带，以追求好运，避免厄运。这种“出生年份”的习俗在中国很普遍。
你可能也会惊讶地听到，根据一些占星家的说法，由于各种原因，你的十二生肖被认为比你的十二星座更准确。
Terms and Expressions
1. Chinese Astrology 中国占星学
2. Chinese Zodiac 中国十二生肖
3. Agricultural calendar 农业日历
4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）
5. The Oriental philosophy 东方哲学
问题
1-为什么中国占星术被发明了？
2-中国占星术如何与一个人的神圣命运联系在一起？
3-十二生肖在中国文化中扮演什么重要角色？
4-中国占星术的基础是什么？
5-中国占星术准确吗？
References
Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9
何丙郁. (2003). Chinese mathematical astrology: reaching out to the stars, Routledge, ISBN 0415297591
Sun, Xiaochun, Jacob Kistemaker. (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. 3-4. ISBN 978-90-04-10737-3.
"'Almanac' 'lunar' zodiac beginning of spring as the boundary dislocation? — China Network". 16 February 2009. Retrieved 5 January 2011.
Eberhard, Wolfram. (1986). A Dictionary of Chinese Symbols. Routledge and Keegan Paul, London. 93, 105, 309.
"Five Elements (Wu Xing)". YourChineseAstrology. com

'''李珣 18. Astrology: Calendar, The 24 Solar Terms'''

18. 占星术：日历，24 节气

1.二十四节气的起源与发展 “二十四节气”是传统农历中独一无二的现象，在中国有着悠久的历史。二十四个太阳系是中国古代在观测太阳的年度运动时创造的，被视为一个时间知识系统和农业指南。它发源于黄河流域，是人们对天文、气象、天气等观察、探索和总结的结果，是中国古代人民创造的优秀文化遗产。（王佳华，2019）

到了西周晚期，人们已经测量了前四个节气：冬至、夏至、春分和秋分。其后，随着测量技术的提高和战国时期人们对自然规律认识的进一步加强，基本形成了完整的24节气。在秦汉时期，完善了一个完整的系统，形成了今天完整的二十四节气系统。（王佳华，2019）

2. 24节气的定义和分类 “二十四节气”是传统农历上的独特现象。为了促进农业生产，中国古代人总结了一种补充日历，根据太阳在黄道上的运动以及天气和其他自然现象的季节性变化将一年分为 24 个部分，其中 24 个部分按比例分布在 12 个月内。（袁继熙 2016， 34-35） “二十四节气”是传统农历上的独特现象。为了促进农业生产，中国古代人总结了一种补充日历，根据太阳在黄道上的运动以及天气和其他自然现象的季节性变化将一年分为 24 个部分，其中 24 个部分按比例分布在 12 个月内。（袁继熙 2016， 34-35）从月初开始的节气称为节气，从月中开始的节气称为气（气）。（每三年就会有一个月只有节而没有气，或者有一个月只有气而没有节，在这种情况下，将添加一个闰月来调节它。节气之所以如此命名，是因为它们代表了季节、物候和气候的变化。（袁继熙 2016， 34-35）反映季节变化的八个节气是初春、春分、初夏、夏至、初秋、秋分、冬初和冬至;代表物候变化的四个节气是昆虫觉醒、新鲜绿色、小饱满度和谷物在穗;表示气候变化的 12 个节气是雨水、粒雨、小热、大热、热结束、白露、冷露、初霜、小雪、大雪、小寒和大冷。（袁继熙 2016， 34-35）

3.二十四节气民俗二十四节气的民俗可分为三个方面：节日民俗、生活习俗和饮食习俗。立春时的“鞭打春牛”和寒冷季节结束时的“拖尾节”等节日习俗。（丁一鸣，昌河2020）几乎每一个节日都有自己特殊的饮食习俗，比如冬至的饺子、夏至的面条，以及立春的咬春、品春。遵循“天人合一、四季合一”的传统观念，二十四节气带来了丰富的健康习俗，如春天吃肝、夏天喝水等。这些活动大致可以概括为：顺应时势拜神、尊祖持家、除恶求和、休闲娱乐。以立春为例，据说立春的第一天、春分日和秋分日都可以把鸡蛋立起来。人们相信，如果有人能在立春的第一天把鸡蛋立起来，他将来会有好运。在中国的许多地方，人们在立春的第一天遵守“咬春”的习俗。他们吃春饼、春卷或几口胡萝卜。此外，大约3000年前，中国人开始在立春的第一天举行一个特殊的仪式。他们向掌管农业的春神勾践献祭。到清代（1644-1911），迎春已成为一项重要的民间活动。（何艳楠、邹亚婷2020）

4.二十四节气的重要性和价值 4.1在古代的重要性二十四节气是对传统农耕文化的创造，其生产、发展和传播适应了农耕时代的经济生产方式和社会需求。他们在中国传统人民的生活和工作中发挥了重要作用。（王家华2019）首先，二十四节气是古代农业生产活动的基本时间指标，也是二十四节气最基本的功能和价值。农业生产是人类根据自然节奏和作物生长规律进行的经济活动。农业生产的基本要求是把握农业时间，即“不违反农业时间，粮食供应就会充足”（《孟子·梁会望》）。（王家华2019）其次，二十四节气在古代也被视为人们日常生活中的重要时间点。第三，对于古代祖先来说，二十四节气不仅仅是一个时间系统，而是一个更加丰富多彩的生命内涵，是他们丰富多彩的生活的重要表现和组成部分。（王家华2019）例如，“四个开始”(四立)- 立春、立夏、立秋、立冬是历史上的重要节日。在这些节日中，皇帝们会带领朝臣前往首都的东、南、西、北门举行仪式，迎接春、夏、秋、冬的到来。冬至、夏至和清明节仍然是今天重要的传统节日，尤其是清明节。春节、端午节、中秋节和清明节被称为中国的四大传统节日。（王家华2019）

4.2现代社会的价值观 2016年，二十四节气被列入《世界非物质文化遗产名录》，成为坚定中华民族文化自信、增强中华民族文化凝聚力最生动的文化符号之一。（丁一鸣，长河2020）它在现代社会仍有其现实价值。首先，二十四节气作为一个历史悠久的知识体系和丰富多彩的习俗传统，具有尊重自然、顺应时宜、尊祖、孝老、好邻居、好朋友等深刻的精神文化内涵。因此，它是中华优秀传统文化的重要组成部分之一。（王家华2019）其次，二十四节气能够准确地反映自然界的节奏和规律以及人与自然的和谐关系。（王家华2019）最后，二十四节气不仅是一个时间系统，而且是一个充满丰富内涵的生活传统，是人们生活的重要组成部分。（王家华2019）

Terms and Expressions

the Beginning of Spring 立春

Beginning of Autumn 立秋

Rain Water 雨水

End of Heat 处暑

Insects Awakening 惊蛰

White Dew 白露

Spring Equinox 春分

Autumnal Equinox 秋分

Fresh Green 清明

Cold Dew 寒露

Grain Rain 谷雨

First Frost 霜降

Beginning of Summer 立夏

Beginning of Winter 立冬

Lesser Fullness 小满

Light Snow 小雪

Grain in Ear 芒种

Heavy Snow 大雪

Summer Solstice 夏至

Winter Solstice 冬至

Lesser Heat 大暑

Lesser Cold 小寒

Greater Heat 立春

Greater Cold 大寒

问题

1. 中国古代人测量的前四个节气是什么？

2. 24节气从何而来？

3. 反映季节变化的八个节气是什么？

4. 24节气何时被列入《世界非物质文化遗产名录》？

5. 初春的饮食习俗是什么？

6. 你知道24个节气的其他民间传说吗？

References

Yuan Jixi. 袁济喜. (2016). "中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)

Wang Jiahua. 王加华. (2019. 9. 20）"China Social Science Network" http://www. cssn. cn/zx/bwyc/201909/t20190920_4974497_1. shtml

Ding Yiming. Chang He. 丁一鸣. 常河（2020. 11. 17）"Chinanews" http://www. chinanews. com/cul/2020/11-17/9340057. shtml

He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020. 2. 4) “China Daily” https://ent. chinadaily. com. cn/a/202002/04/WS5e3901a9a3107bb6b579d18d. html

李珣 19. Astrology: Twelve Animals of the Chinese Zodiac

19.占星术：十二生肖
根据中国的十二生肖，2020年是鼠年，由十二种动物组成，人们用来命名年份。中国传统的十二生肖自诞生以来已经传承了2000多年（编委会，2010:2）。十二生肖是鼠、牛、虎、兔、龙、蛇、马、羊、猴、鸡、狗和猪，它们被分配在一个重复的12年周期中（编委会，2010:2）。这种传统的中国方案起源于中国，然后在许多其他亚洲国家受到欢迎（编委会，2010:12-13）。十二生肖以其文化内涵和悠久影响，刻在每一个中国人的心中。

起源
关于中国十二生肖的起源，有各种各样的观点，但其中许多都是在没有充分证据的情况下提出的。有许多神话解释这些动物的迹象和它们的排列。其中历史最悠久的是伟大的种族。在这个故事中，玉皇大帝，诸天之君，想设计一种测量时间的方法，所以他组织了一场比赛。最后，前十二只渡河的动物是赢家，因此它们按照到达的顺序在黄道带日历上赢得了一席之地（编辑委员会，2010:6）。
除了这个民间故事之外，一些学者声称黄道十二宫图确实来源于地支十二宫，但并不是在地支出现的同时出现的。从汉代开始，地支就被用来记录一天中的时间。因此，一些人一直坚持到那时，十二生肖才作为一种补充出现，用来指代24小时的12个周期。由于时间的推移，地支在当时的原意被抹去了，中国古代将地支和十天干附在黄道带上（编委会，2010:5-7）。
也有人认为十二生肖起源于原始社会的图腾崇拜。根据一些关于中国十二生肖起源的研究，中国古代最早的姓氏只有十二个，这些姓氏来源于中国十二生肖中十二种动物的名字。这里的十二兽是指古代的图腾，不同的姓氏部落使用不同的动物作为图腾。因此，十二生肖是由古代部落的图腾发展而来的（编委会，2010:4-5）。

民间文化与信仰
根据中国的迷信，十二生肖不仅可以揭示一个人的年龄，还可以代表他或她的个性、职业前景和生活方式（编委会，2010:40）。
中国人似乎相信他们与出生年份的动物有一定的亲缘关系，他们的个人特征和财富受到了他们神秘的影响。根据中国的迷信，十二生肖与五行相结合，由金属、木材、水、火和土组成，以告诉一个人的命运。由于人们有他们的十二生肖的固定elment，所以有许多民间信仰基于此。例如，出生在金属鼠时代的人被认为前途光明；火鼠年出生的人被认为聪明、聪明，木鼠独立、自尊（编委会，2010:40）。
此外，由于黄道十二宫是由出生年份决定的，所以一个人的出生年份有很多含义。例如，一些属相偏好在中国人中盛行。中国人一向对龙情有独钟，所以已婚夫妇更喜欢在龙年分娩。由于龙被认为是吉祥和神圣的生物，在龙的这些年出生的孩子被认为有财富。这些文化偏好和民间信仰影响了中国社会中准父母的生育行为（Yip et al.，2002:1804）

此外，中国人相信某些动物比其他动物相处得更好，所以十二生肖对婚姻也有很大的影响。具体来说，虎年出生的人会与猪、兔与狗、龙与鸡有完美的浪漫关系。相反，一些生肖被认为是不幸的，如果他们与某些生肖的人结婚。正如中国的成语所说，龙与虎斗，必有一人受伤。这句老话反映了龙和虎是天生的敌人（编委会，2010:34-35）。
这就是为什么男人和女人在结婚前都会评价他们的八字。然而，在现实中，个性与一个人的人生经历有关，而不是与预先写好的星座有关。同年出生的人会有非常独特的个性。同样，命运也是人们性格的结果，也是他们一路上要做的大多数决定的结果。当然，婚姻是一件更复杂的事情，不能被视为十二生肖带来的预先给定的结果（编辑委员会，2010:34-35）。
结论
十二生肖是一个综合了中国传统占星术的复杂方案，以五行学说、阴阳系统和天干地支系统为基础，经过几代人的发展，形成了深刻的内涵和寓意。数千年来，这种流行文化影响了人们在命名、结婚、分娩和对彼此的态度等方面的重大决定。但人们必须以理性和科学的方式来考虑黄道十二宫。也许十二生肖可以帮助我们理解我们得到了什么，但它不能决定我们的命运。我们应该把它视为宝贵的文化遗产，发掘其中蕴含的深厚文化和历史痕迹（编委会，2010:1-2）。
Terms and Expressions
Jade Emperor 玉皇大帝
Ten Heavenly Stems 十天干
Twelve Earthly Branches 十二地支
Five Elements 五行
Metal, Wood, Water, Fire and Earth 金木水火土
Eight Characters 八字

问题
1.十二生肖的历史有多长？
2.十二生肖的顺序是什么？
3.地支是从什么时候开始用来记录时间的？
4.根据中国民间信仰，鼠年出生的人有什么特点？
5.哪一种生肖在中国最受欢迎？
6.你能根据中国民间文化说出一些相处融洽的生肖吗？
7.根据中国民间文化，哪对动物是天敌？

References
《大中国上下五千年》丛书编委会(2010) The Editorial Board of the Five Thousand Years of Great China（Dazhongguo Shangxia Wuqiannian） Series, 《中国生肖文化》The Culture of Chinese Zodiac, 北京：外文出版社 Peking: Foreign Languages Press.
Yip, Paul S. F. 伊普, Lee, Joseph 李 and Cheung, Y. B. 张 (2002). The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. Social Science & Medicine《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.

'''谭雅兰 20. Beverages: Milk Tea'''

'''李思瑾 21. Beverages: Tea'''

李思瑾 22. Beverages: The Liquor Culture of Ancient China

'''林如茵 23. Body movement performance: Chinese Lion Dancing'''

李思瑾 24. Body movement performance: Stilts

陈卓 25. Body movement performance: Traditional Chinese Dance
肢体运动表演：中国传统舞蹈
1.简介
中国的各种舞蹈历史悠久。中国的现代舞和传统舞都具有很高的艺术地位。并且中国舞蹈种类繁多，包括民间舞蹈、芭蕾舞、祭祀和除草仪式等。中国56个官方承认的民族都有自己的民间舞蹈和风格形式。中国最著名的舞蹈是舞龙和舞狮，这两种舞蹈在中国历史早期就以各种形式为人所知。“联兴”是中国的一种传统舞蹈，人们通常用它来娱乐和强身健体。有人认为，这种舞蹈通过击打肩、胸、腰、腹、臀、足四肢的穴位，并配合肩部微微摆动膝盖，可以舒筋活络，这套动作还可以锻炼骨骼、肌肉。
2.联兴舞蹈的特点
动作特点
舞蹈动作有三个特点：激昂、颤动、下坠。表演者手持竹竿，通过击打肩、胸、腰、腹、臀、足及四肢穴位，微微摆动双膝，配合肩部振动，做出各种舞蹈动作。在传统动作的基础上加以变化和发展，称为单打和双打。单打动作包括蹲打、跳打、滚打和单竹竿混合打。
3. 舞龙
舞龙是中国文化中的一种传统舞蹈和表演形式。与舞狮一样，它最常见于节日庆典中。许多中国人经常使用“龙的传人”一词作为民族身份的标志，这是20世纪70年代兴起的一股潮流的一部分。龙被认为能给中国人带来好运，这反映在龙的品质上，包括强大的力量、尊严、多产和智慧。龙的外表既可怕又大胆。舞龙起源于汉朝，这种活动是由对龙深信不疑、对龙充满敬意的中国人发起的。舞龙是农耕文化和丰收文化的一部分，也是一种治疗和预防疾病的方法。在宋代，舞龙也很流行，成为一种民间活动，和舞狮一样，在节日庆典中最为常见。龙给人以崇高的敬意，故常被称为“神龙”。中国古代帝王以龙自居。龙也是皇权的象征。它象征着超自然的力量、善良、富饶、警惕和尊严。
4.舞狮
舞狮是中国的传统舞蹈，在春节（中国新年）等重大场合表演，以求吉祥，因为人们认为狮子是吉祥的动物。在中国文化中，狮子象征着力量、智慧和高贵。中国人在节日或重大场合表演舞狮，以带来好运，驱赶邪灵。舞狮是春节期间最重要的传统之一。舞狮为来年带来繁荣和好运。舞狮也是营造节日气氛和带来欢乐的一种方式。舞狮者身着狮服，伴随着敲鼓、击钹和响锣的音乐，模仿狮子的各种动作，或展示武术。虽然舞狮的服装大同小异，但在长期的发展过程中，舞狮分为南狮和北狮两种风格。
4.1南方舞狮
南狮起源于广东，流行于香港、澳门和华侨家乡。南狮的表演以研究狮子的行为为基础，注重狮子的抓挠、摇动身体等动作。表演生动活泼，寓教于乐，甚至滑稽可笑。也有技巧性的表演，例如玩球，包括吞球。
4.2北方舞狮
北方舞狮与中国功夫关系密切。幼狮由单人表演，成年狮由双人表演。为了让狮群有更多的活动空间，北狮的服装更为华丽，装饰性较弱。在成年狮子舞中，前面的表演者通常会抬起另一只狮子的头，使狮子站立起来。北方的舞狮更多是体操动作，包括翻滚、摔跤、跳跃、攀爬或磕头。观看中国北方舞狮的最佳地点是中国的武术剧场，如北京的红剧场，甚至是少林寺。
5.结束语
“联兴”是一种流行于许多地区和国家的传统舞蹈。它是一种集娱乐和健身于一体的民间舞蹈。龙被认为能给中国人带来好运，这体现在龙的强大、威严、多产和智慧等品质上。舞狮是中国民间文化的杰出代表，随着华人移民的增多，中国民间文化已传播到世界各地。欧美等地的华侨华人成立了许多舞狮俱乐部，在中国的节日或大型场合，尤其是春节期间，表演舞狮。

Terms and Expressions
1. Han Dynasty 汉朝
2. Traditional dance history 传统舞蹈史
3. The lion Dance 舞狮
4. The Dragon Dance 龙舞
5. Lianxing 联兴
6. Chinese Dance 中国舞
7. Festivals 节庆

6.问题
1.什么是联兴？
2.什么是舞龙？你以前见过舞龙吗？在哪里看过？
3.舞龙起源于哪里？
4.舞狮象征着什么？
5.你知道多少中国传统舞蹈的名称？

牟一泓 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush

陈佳雯 27. Chinese Writing: Calligraphy

牟一泓 28. Chinese Writing: The Evolution of Calligraphy

胡煜杰 29. Chinese Writing: Chinese Characters

'''牟一泓 30. Chinese Writing: Chinese Characters and Scripts'''

裴心弦 31. Clothing: Chinese Clothing

宋成爽 32. Clothing: Batik (Lanran)

'''陈佳雯 33. Clothing: Cheongsam'''

'''涂海蓉 34. Confucianism: Confucian Culture'''

涂海蓉 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues

儒家思想：中国传统文化-五常

中华民族在几千年的历史长河中，创造了灿烂的历史文化，同时也形成了自己的道德规范，对社会的发展和进步发挥了重要作用。这就是我们所说的 "传统美德"。"传统美德 "在今天仍然具有重要意义，其对人类文明发展的价值已得到广泛认同。仁义礼智信是中国传统文化中最重要的 "五常"。它们都源于儒家思想，在中国得到广泛认同。古人以 "五常 "修身，以 "五常 "验身，并将 "五常 "传承到现代生活中。仁义礼智信 "的简明表述，不仅是中国传统文化的简明表述，其对道德范畴的概括和抽象形式，可以说是中国传统伦理道德的 "品牌"，其在中国传统文化中的价值，堪比一个历史悠久的商业品牌的市场价值。
仁
仁是 "五常 "中最重要的第一种美德。它在内心表现为对人的爱和同情，避免伤害或嫉妒任何人。在行为上，"仁 "要求一个人和蔼可亲，不与人争执，不做坏事。要培养自己的 "仁 "德，就应该运用儒家的另一个版本--"黄金法则"：己所不欲，勿施于人；己所欲，施于人。在儒家看来，美德的基础是与他人和谐相处，通过这种道德实践，自我和他人的利益日益得到认同。曾子曾经说过吾三省吾身。骗人？交友不慎，过我所学"。总之，仁者如同父母对待子女一样，不遗余力地帮助他人，甚至为此献出自己的生命，不求回报。
义
孔子在其学说中强调 "义"，即辨别是非的能力。可以认为，"义 "类似于人们常说的 "良知 "或 "正义"。孔子认为，应该根据行为在道义上是对是错来采取行动，而不是看它是否会给个人或团体带来利益或效用。最重要的是，"义 "就是要维护自己的人格。不义而富且贵，于我如浮云。
礼
礼指仪式或正确的行为。礼的内容包括忠、孝、悌、敬等。礼起源于古代的祭祀礼仪，在一般意义上指维护等级制度的行为规范。孔子主张 "克己复礼"、"以礼待人"，认为 "人非礼无以立"。在古代社会，除了君臣关系，还有父子关系、夫妻关系、长幼关系、师生关系等。这些关系各不相同，但都要求谦恭地尊重他人（中国出版社，2006 年，76 页）。
智
智是判断是非、善恶的知识。圣人将 "智者 "的人格定义为 "无惑的智者"。真正有智慧的人不仅能辨别真假，而且理性、理智，在利益和不同的道路面前永不迷惑。也就是说，智慧不仅关乎一个人的能力和本领，更关乎一个人的道德修养。中庸》曾说："知、仁、勇，天下之至贵也。同样是智慧，其基本内涵就是聪明。孔子还指出，"智 "的获得在于学习，可以从书本和生活中获得。
信
信就是诚实。这意味着对外言行一致，对内心口一致。忠诚是人性完善的关键。在中国曲阜孔子故里举办的 "倪山世界文明论坛 "上，美国学者罗伯特-舒勒说过这样一段话他说："应该向周围的人、家人和更多的人强调信仰，也就是诚实。因此，诚信是一个非常重要的原则。每个人都应该以诚相待，当然你还需要谦虚，这也是非常重要的，这样我们才能创造一个和谐的环境。因此，它是其他美德失去真实性的基础；因此，它们是密不可分的。忠诚是孩子的天性，但也可能因外界影响而丧失。
仁义礼智信 "五常 "是君子道德规范的根本要求，是个人安身立命的精神支撑，是儒家思想的时代之用，而儒家君子观的 "五常 "又能更好地践行社会主义核心价值观，使历史传统与当下现实有机结合，贯通过去与未来。张指出，儒家文化不是神的文化，而是以人为中心的道德文化，如何做人，做一个有道德、有理想、有作为的人。做人要忠恕。

Expressions and Terms
Five Constant Virtues 五常
benevolence 仁
righteousness 义
propriety 礼
wisdom 智
fidelity 信
moral code 道德准则
filial piety 孝道
问题
1. 五常指的是什么？
2. 在行为方面，"仁 "的要求是什么？
3. 礼的内容包括哪些？
4. 什么是真正的智者？
5. 五常从何而来？

'''朱然 36. Confucianism: Classical Philosophy - Confucius and Confucianism'''

涂海蓉 37. Confucianism: Classical Philosophy - Reading The Analects

儒学：古典哲学--读阿瑟韦利译的《论语》

学而篇第一
1. 1 子曰：“学而时习之, 不亦说乎？有朋自远方来, 不亦乐乎？人不知, 而不愠, 不亦君子乎？”
1. 2 有子曰：“其为人也孝悌, 而好犯上者, 鲜矣；不好犯上, 而好作乱者, 未之有也。君子务本, 本立而道生。孝悌也者, 其为人之本与！”
1. 3 子曰：“巧言令色, 鲜矣仁！”
1. 4 曾子曰：“吾日三省吾身——为人谋而不忠乎？与朋友交而不信乎？传不习乎？”
1. 5 子曰：“道千乘之国, 敬事而信, 节用而爱人, 使民以时。”
1. 6 子曰：“弟子, 入则孝, 出则悌, 谨而信, 泛爱众, 而亲仁。行有余力, 则以学文。”
1. 7 子夏曰：“贤贤易色；事父母, 能竭其力；事君, 能致其身；与朋友交, 言而有信, 虽曰未学, 吾必谓之学矣。”
1. 8 子曰：“君子不重, 则不威；学则不固。主忠信, 无友不如己者。过, 则勿惮改。”
1. 9 曾子曰：“慎终, 追远, 民德归厚矣。”
1. 10 子禽问于子贡曰：“夫子至于是邦也, 必闻其政, 求之与？抑与之与？”子贡曰：“夫子温、良、恭、俭、让以得之。夫子之求之也, 其诸异乎人之求之与？”
1. 11 子曰：“父在, 观其志；父没, 观其行；三年无改于父之道, 可谓孝矣。”
1. 12 有子曰：“礼之用, 和为贵。先王之道, 斯为美；小大由之。有所不行, 知和而和, 不以礼节之, 亦不可行也。”
1. 13 有子曰：“信近于义, 言可复也。恭近于礼, 远耻辱也。因不失其亲, 亦可宗也。”
1. 14 子曰：“君子食无求饱, 居无求安, 敏于事而慎于言, 就有道而正焉, 可谓好学也已。”
1. 15 子贡曰：“贫而无诌, 富而无骄, 何如？”子曰：“可也；未若贫而乐, 富而好礼者也。”
子贡曰：“《诗》云：‘如切如磋, 如琢如磨’。其斯之谓与？”子曰：“赐也, 始可与言《诗》已矣, 告诸往而知来者。”
1.16. 子曰：“不患人之不己知, 患不知人也。”
为政篇第二
2. 1 子曰：“为政以德, 譬如北辰居为其所而众星共之。”
2. 2 子曰：“《诗》三百, 一言以蔽之, 曰‘思无邪’。”
2. 3 子曰：“道之以政, 齐之以刑, 民免而无耻；道之以德, 齐之以礼, 有耻且格。”
2. 4 子曰：“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不逾矩。”
2. 5 孟懿子问孝。子曰：“无违。”
樊迟御, 子告之曰：“孟孙问孝于我, 我对曰, 无违。”樊迟御曰, “何谓也？”子曰：“生, 事之以礼；死, 葬之以礼, 祭之以礼。”
2. 6 孟武伯问孝。子曰：“父母唯其疾之忧。”
2. 7 子游问孝。子曰：“今之孝者, 是谓能养。至于犬马, 皆能有养；不敬, 何以别乎？”
2. 8 子夏问孝。子曰：“色难。有事, 弟子服其劳；有酒食, 先生馔, 曾是以为孝乎？”
2. 9 子曰：“吾与回言终日, 不违, 如愚。退而省其私, 亦足以发, 回也不愚。”
2. 10 子曰：“视其所以, 观其所由, 察其所安。人焉廋哉？人焉廋哉？”
2. 11 子曰：“温故而知新, 可以为师矣。”
2. 12 子曰：“君子不器。”
2. 13 子贡问君子。子曰：“先行其言而后从之。”
2. 14 子曰：“君子周而不比, 小人比而不周。”
2. 15 子曰：“学而不思则罔, 思而不学则殆。”
2. 16 子曰：“攻乎异端, 斯害也已。”
2. 17 子曰：“由！诲女知之乎！知之为知之, 不知为不知, 是知也。”
2. 18 子张学干禄。子曰：“多闻阙疑, 慎言其余, 则寡尤；多见阙殆, 慎行其余, 则寡悔。言寡尤, 行寡悔, 禄在其中矣。”
2. 19 哀公问曰：“何为则民服？”孔子对曰：“举直错诸枉, 则民服；举枉错诸直, 则民不服。”
2. 20 季康子问：“使民敬、忠以劝, 如之何？”子曰：“临之以庄, 则敬；孝慈, 则忠；举善而教不能, 则劝。”
2. 21 或谓孔子曰：“子奚不为政？”子曰：“《书》云：‘孝乎惟孝, 友于兄弟, 施于有政。’是亦为政, 奚其为为政？”
2. 22 子曰：“人而无信, 不知其可也。大车无輗, 小车无 , 其何以行之哉？”
2. 23 子张问：“十世可知也？”子曰：“殷因与夏礼, 所损益, 可知也；周因于殷礼, 所损益, 可知也。其或继周者, 虽百世, 可知也。”
2. 24 子曰：“非其鬼而祭之, 诌也。见义不为, 无勇也。”

宋成爽 38. Education: Ancient Chinese Education

段思雅 39. Education: Historical Figures, The Four Talented Women of Ancient China

'''谢香琳 40. Education: Modern Chinese Education System'''
40. 教育：中国现代化教育体系

从晚清，到1949年中华人民共和国成立，再到1978年改革开放政策，直到现在，中国的现代教育改革和发展已经持续了一百多年，并取得了巨大的进步和成就。中国建立了具有自己中国特色的世界上最大的现代教育体系之一。（Lijia Guo，等，2019）
中国采用的基础教育制度是包括学前教育、初等教育、中等教育和高等教育在内的学校教育体系。1986年，根据《中华人民共和国义务教育法》，国家实行九年免费义务教育，对所有中国籍学龄儿童和青少年实行普及教育。然而，不同司法管辖区之间存在一些差异，其中极少数司法管辖区采用 5+4 而不是 6+3 结构。（Lijia Guo，等，2019）

学前教育
在中国，儿童通常在两三岁时进入学前班，并在六岁时从学前班毕业。两岁以上的儿童都可以接受学前教育。它有两个功能：早期教育和儿童托管。幼儿园的教育活动是一个系统的、有目的、多方面的教育过程，有利于儿童发育的更活泼、健全。在幼儿园开展的教育活动应以游戏为主，并创造有利于教育的良好环境，为儿童提供生活条件和表现的机会。（中国教育中心，未注明日期）

初等教育
儿童在六岁（某些地区为七岁）开始接受小学教育。在中国，小学教育是义务教育，为期6年。小学最常用的教学语言是中国的主要官方语言——普通话。在一些以少数民族学生为主的地区，教学同时以普通话和当地主要语言展开。通常一学年由两个学期组成，一般从 9 月开始，持续约 9 个月。学生每周上课五天，课程包括九门必修课程，如语文、数学、社会科学、体育、音乐、美术、科学、政治教育和劳动技能，外语为选修课。为了毕业，所有学生都必须通过语文和数学科目的毕业考试，并达到体育标准。考试通常由学校在当地教育当局的指导下设计和执行。小学毕业后，学生升入三年制初中。（Scholaro网站，未注明日期;Kevin Lam，2011 年）

中等教育
在中国，12至18岁的儿童上中学。中学包括初中和高中，都是三年制。后者分为普通高中、中专和特殊高中。初中毕业后学生可以选择是否要就读普通高中、中专学校或职业学校。（Internations，2020年）

初中教育
初中教育跟随在小学后面，为期三年。无论哪种方式，公立学校升入初中都没有选择性入学考试。（私立学校可能有不同类型的录取标准）。这一级别的课程在小学教授的基础科目上有所拓展，增设了历史和地理、生物、物理和化学等附加科目。初中教授的外语通常是英语，但有些学校也可能教授日语或俄语，有些学校的学生还可以选择学习第二外语。（Mini Gu 等人，2019 年）
在完成初中课程后，学生必须通过中考，才能获得毕业证书并进入高中。学生通常在毕业时进行以下科目的考试：语文、数学、化学、物理、外语和政治。这些考试由省级教育部门开展，但仍必须遵循教育部制定的指导方针。此外，学生必须满足毕业所需的体育要求。（林凯文，2011）
所有科目最终成绩在60分以上的学生，将从初中毕业并升入高中，不及格的学生将留级一年。初中教育的完成也标志着9年（6+3）义务教育计划的结束。（Kelly Pang，2021 年）

高中教育
义务教育结束后，学生可以选择是继续接受中等教育，还是进入普通（学术）高中或中专学校。中国有五种类型的高中：普通高中、技工学校、成人中专、职业学校和艺校。后四所被统称为中等职业学校。普通（学术）高中为3年制，职业高中学制为3年或4年。学生在进入高中之前要经历统考，即中考，人们的录取结果就取决于在这次考试中的分数。政府依据中考的考试成绩将学生分配到不同的高中。（经合组织，2016）
学生通常在第一年学习必修课，第二年和第三年开始同时学习必修课和选修课。高中课程包括语文、数学、英语（部分城市地区为俄语或日语）、健康与体育、信息技术、音乐、美术等。此外，在大多数地区，学生必须进行选科，要么是文科倾向，要么是理科倾向。选择文科的学生要考历史、政治和地理，而选择理科的学生则要考物理、化学和生物。尽管高三的课程结构可能因学校而异，但高三的第二学期通常都用于复习和备考。（Kevin Lam，2011）
在最后一学年结尾时，想要进入高等教育的高中毕业生必须参加国家高等教育入学考试，在中国也称为高考（NCEE）。（学者，N.D.）

高等教育
高等教育由各种类型的机构提供，包括普通和技术大学、民办大学、专科大学、军事大学、卫校、独立学院以及各种类型的成人高等教育机构。大学的录取主要取决于学生在高考中的表现。在高中学习成绩优异的学生也可以获得高考豁免的机会，并直接被保送到他们选择的大学。此外，一些民办大学也不用高考，并接纳所有能够负担得起学费的学生。名牌大学（重点大学）有着更高的录取标准，因此要求高考分数高于其他机构。进入中国高等教育的竞争非常激烈。（学者，N.D.）
中国的学生可以选择该国各种顶尖的大学，这些大学提供各种学位课程，例如学士、硕士和博士学位，以及非学位课程。也欢迎外国学生报名中国各种高等教育机构。自20世纪80年代中期以来，中国的大学不再由国家资助，这就是为什么奖学金竞争激烈的原因。因此，国际学生必须在这种竞争激烈的环境中证明自己，特别是因为越来越多的外国人进入中国大学。（国际，2020年）
通常学生在大学的本科水平要学习三到四年并获得本科生学位。许多大学还提供攻读硕士或博士学位的研究生课程。
本科生可以通过研究生入学考试继续深造，通过考试的学生将在研究生院学习三年并获得硕士学位。获得硕士学位的人可以申请攻读博士学位，通常需要三年左右的时间才能毕业。（Kelly Pang，2021 年）
中国政府投入了大量资金和精力来建设大学。近年来，国内重点高校项目众多，包括“211工程”、“985工程”、“2011计划”、“双一流”等。被列举在这些项目中的大学都是中国重点公立大学。“双一流”是指世界上一流的大学和一流的课程。（Cheng Aimin， 2019， 2.03）

职业教育
职业教育课程在中学和中学后阶段提供。中国的职业高中有不同的名称，如中专或技校，但它们都是为培养中级技术人员而设计的。此外，这些学校还提供了接受高等教育的途径，特别是在技术专科/职业专科。课程具有应用性和实用性，但也包括基础学术科目，占课程的三分之一。学科包括德育、语文、数学、外语、历史、计算机应用、体育与健康、艺术、职业规划、职业法律伦理、哲学和法律、经济学、政治学、社会学等。（Mini Gu 等人，2019 年）
毕业生可以参加高考，尽管学生在学术上对这场艰难的考试的准备要少得多，因为他们参加的一般学术课程较少。自 2014 年以来，他们不用再像过去一样强制性地参加高考，而是可以通过参加技能测试来获得高等职业学院的录取。在过去三年中，超过一半的高职院校入学者是通过这一途径进入的。许多职业学校还与理工学院签订了特殊的衔接协议，允许学生根据其他录取方式被录取。
此外，高等职业教育课程的毕业生可以通过专升本在极有限的领域获得本科生学位。（Schorlaro，未注明日期）

考试制度
一、中考
高中入学考试，俗称中考，是中国每年举行的去区分初中毕业生的学术考试。该考试是进入几乎所有高中阶段的教育机构的先决条件，例如普通高中、职业高中和技术高中。学生们通常在最后一年参加考试。考试一方面用于测试学生是否达到规定的学术水平;另一方面，它是高中选拔学生的基础。考试涵盖国家课程计划规定的所有科目，包括语文、数学、外语、政治、历史、地理、生物、物理、化学和体育。考试日期因省而异，但通常在6月中旬举行。（Cheng Aimin， 2019， 2.09）
二、高考NCEE
全国高校入学考试是中国高等学校招收符合资质的高中生的选拔考试。目前，中国大多数省份都采用“3+X”模式。“3”是指三门科目，即语文、数学、外语，而“X”是指学生从文科或理科组中选择的科目。文科的科目是政治、历史、地理，理科的科目包括物理、化学和生物。全国高考总分750分（语文150分，数学150分，外语150分，文科或理科300分）。成绩公布后，学生可以根据自己的成绩申请高校和专业，高校会选出符合自己标准的优秀学生。（Cheng Aimin， 2019， 2.Cheng AiminCheng AiminCheng AiminCheng Aimin10）

术语
Nine-year Compulsory Education 九年义务教育
Physical Education PE 健康与体育
Secondary Vocational School 中专（中等专业学校）
Social-science-oriented area/ Science stream 文科倾向
Natural-science-oriented area/ Art stream 理科倾向
Bachelor's Degrees 学士学位
Master's Degrees 硕士学位
Doctoral Degrees 博士学位
Double-First Class 双一流
High High School Entrance Examination 中考
National College Entrance Examination（NCEE）高考

问题
1. 我国采用哪些基础学校教育体系？
2. 九年免费义务教育是什么时候实施的？
3. 升入中学的先决条件是什么？
4. 当选择文科时，学生必须在高考中考哪些科目？
5. 选择理科时，学生必须在高考中考哪些科目？
6. 中国学生入学考试的两种主要形式是什么？

谢香琳 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern
Dynasties
41.教育：魏晋南北朝九品中正制

在魏晋和南北朝（公元220-公元589年），中国是一个严重分裂的国家。与统一的汉朝不同，这一时期中国的北方和南方相互对峙，同时存在着许多政权。这一时期，官僚选拔制度主要是九品中正制。
九品中正制起源于东汉末年（公元184年-公元220年）曹操的“任人唯贤”思想，直到公元220年才由魏王曹丕正式实施。曹丕在设立这种官员选拔制度时，希望“是以人才的功绩为选拔的依据，而不是以贵族世家的优越性为依据”。而这一制度的建立，也借鉴了汉代的察举制（一种人才选拔的方法）作为参考。
九品中正制内容如下：
1、当地德才兼备的权贵将被朝廷任命为中正。每个州的中正为大中正官，每个郡的中正为小中正官。
2. 中正负责根据候选人的才能、品德和世袭的社会地位，将辖区内的所有男性分为九个等级。中正只负责分级。他们没有任命的权力。
3、九级分别是上上、上中、上下、中上、中中、中下、下上、下中、下下（如图所示）

4. 首先，小中正官将在很大程度上考虑候选人的祖上拥有的地位以及有多少代人当官。接着，小中正官继续审查候选人的功绩。然后，小中正官将把他们的分级交给大中正官，大中正官将检查分级的正确性并将其提交给吏部尚书。最后，吏部尚书将挑选官员并任命他们就职。
5. 官位级别与每个候选人的级别相对应。
6. 每三年，中正将向吏部尚书提交建议。在建议中，中正将就是否应晋升已经被授予职位的官员发表意见。
在实施初期，九品中正制发挥了积极作用。它有利于人才的选拔和社会的稳定。此外，以品德为选拔标准，改变了东汉末年以来富豪权贵主导人才选拔的局面，加强了中央政府对人才选拔的控制。
然而，随着时间的流逝，九品中正制中的负面因素开始占上风。由于缺乏监督机制，九品中正制逐渐成为精英统治阶层控制人才选拔的工具，并借此进一步控制整个官僚体系。《二十四史》将当时的官僚阶层描述为“没有一个高官来自寒门;没有一个高门贵族的人是小官。”此外，由于九品中正制中是以品德为重的，有道德缺陷的人才将永远失去被录用的机会。

Terms and Expressions
Nine-Rank Official Selection System 九品中正制
Recommendatory System 察举制
Rectifier 中正官
Senior Rectifier 大中正官
Junior Rectifier 小中正官
Region 州
Commandery 郡
superior-superior 上上
superior-intermediary 上中
superior-inferior 上下
intermediary-superior 中上
intermediary-intermediary 中中
intermediary-inferior 中下
inferior-superior 下上
inferior-intermediary 下中
and inferior-inferior 下下
Minister of Personnel 吏部尚书
Twenty-Four Histories 《二十四史》

问题
1、九阶官遴选制度是谁设立的？
2. 中正是做什么的？
3. 九个级别分别是什么？
4. 九品中正制的积极影响是什么？
谢香琳 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies)
42. 教育背景：岳麓书院，四大最负盛名的书院之一

作为中国千年来最负盛名的四大书院（嵩阳书院、应天府书院、岳麓书院、白鹿洞书院）之一，岳麓书院自北宋开宝九年（公元976年）正式设立以来，一直是著名的高等学府，也是学术活动和文化的中心。（维基百科，岳麓书院）
书院见证了一千多年的历史，从未间断过，因此被称为“千年书院”。从岳麓书院到湖南大学的历史转变，是中国高等教育发展的一个缩影，反映了中国教育体系的变迁。岳麓学堂成立后不久，就以其学校管理风格和学术传播的作用闻名于全国。北宋宋真宗召见院长周式，将陛下的题词授予书院。（陈玉祥，2020,22）
岳麓书院声名鹊起，享有“潇湘洙泗”的美誉，意为湖南大学者们聚集的地方。正是在这里，在宋代张栻在书院讲学时，理学史上著名的“湖湘学派”开始流行起来。朱熹两次来这里讲学时，课堂人气爆棚，院子坐不下，荫马塘（马喝水的池塘）的水都被他们的马喝干了。（陈玉祥，2020,22）
后来，书院还出传播交流了其他学派和观点，比如明朝中期的阳明学、明末年的东林党、乾隆和贾清年间（1736-1821）的汉学、清末年的新学问等。岳麓书院的学术研究和学府教育体系对湖南文化传统的形成和发展产生了深远的影响。（徐彦文， 2020， 18）
岳麓书院主要有大门、讲堂、麓山寺碑亭、御书楼、文昌阁、六君子堂、文庙、明伦台、半学斋、赫曦台等。正门横板上的四个字“岳麓书院”是宋朝皇帝宋真宗（公元960年-公元1279年）的题字。从此，岳麓书院闻名全国，学生络绎不绝。大门的门柱上挂着对联，上面写着“惟楚有才, 于斯为盛”（楚国，人才的故乡;岳麓书院，万物的摇篮）。这副对联源自中国古典文学，考虑到书院自成立以来不断输送人才，这句话被认为是恰当的。（孔素梅，白旭，2011,179）

岳麓书院大门
其部分建筑在1980年代进行了重建，但园林景观缺乏统一的设计。如今，书院的园林景观正在逐渐失去其诗意的意象。在尊重历史、弘扬园林传统的原则下，为了对书院景观进行整体修复，提出了改善书院景观轴线、还原岳麓书院八景的构想。这对于为中国古典书院园林树立良好榜样，为传统园林艺术增添光彩，具有重要意义。讲堂，又称“忠孝廉节堂”，是书院的核心建筑。讲堂位于书院的中心地带，是教学和举行重要仪式的最重要的场所。南宋乾道六年（公元1168年），著名理想主义者张栻、朱熹在这里联合讲学，这是中国儒学的第一次联合讲课。（李波何，邢耀雄， 2012， 409）

岳麓书院规划
讲厅内还有许多由石碑组成的珍贵文物。大厅的内墙上刻着著名学者朱熹写的四个大字——忠、孝、廉、洁（忠信、孝顺、诚实、正直）。还有其他名言，如清代大师欧阳正焕所写的“整齐严肃”，清代大师王文清撰文的《岳麓书院学规碑》碑文，都是研究中国儒家的重要史料。时至今日，它们仍然对我们具有启发性的意义。一千多年的历史间，有无数才华横溢的学生在这里学习。（阮红松，2020,62）
特别是在19世纪末和20世纪，它见证了大量的爱国思想家，政治家，军事家，实业家和外交家。如今，经过修复的岳麓书院已被列为国家重点保护历史遗迹。它仍然肩负着进行学术研究和培养专业人才的责任。（王毅，2019,106）—[https://wiki. ruhr-uni-bochum. de/uvu/index. php/User：Zhu_Xu 15：24， 6 December 2020] （UTC）

Terms and Expressions
Kai Bao Reign 开宝年间
Emperor Zhenzong 宋真宗
xiao xiang zhu si 潇湘洙泗
Huxiang School of Learning 湖湘学派
Donglin School 东林党
Zhu Xi 朱熹
Zhou Shi 周式
Zhang Shi 张栻
Qiandao Reign 乾道年间
Wei Chu You Cai, Yu Si Wei Sheng 惟楚有才, 于斯为盛
Zhong, Xiao, Lian, Jie 忠、孝、廉、洁
Lushan Temple Tablet 麓山寺碑亭
Yushu Library 御书楼
Wenchang Pavilion 文昌阁
Six Gentleman Hall 六君子堂
Grand Sunlight Platform 明伦堂
the Banxue Building 半学斋
the Hexi Platform 赫曦台

问题
1、岳麓书院是什么时候正式设立的？
2. 为什么荫马塘的水被喝干了？
3、岳麓书院的核心建筑是什么？
4. 讲堂的功能是什么？
5. 岳麓书院与多少学派、学识和理念有关？
6.乾道六年岳麓书院发生了什么事？
段思雅 43. Facial Make-up

'''段思雅 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up'''

'''卢逸萱 45. Facial Make-up: Face Changing in Sichuan Opera'''

'''陈卓 46. Fine Arts: Painting'''
美术：绘画
中国的传统绘画可以追溯到大约 6000 年前的新石器时代。20 世纪 20 年代出土的绘有动物、鱼、鹿和青蛙的彩陶表明，在新石器时代，中国人已经开始使用毛笔作画。
中国传统绘画因其理论、表现形式和技法而备受世人推崇。与西洋画不同，中国画在透视上不受焦点的限制。画家可以在一张狭长的画纸上或在绢上画出长江沿岸的所有景物。《木兰从军图》就是一个例子。《木兰从军图》取材于一个古老的故事：木兰女扮男装，替父从军，在战争胜利后回到家乡。在画面中，人们可以看到庭院和房屋内外的人们正在做什么。可以说，采用移动透视是中国画的特点之一。中国画家为什么要强调视角的变换呢？他们试图摆脱时间和空间的限制，将远处的事物和近处的事物都纳入画中。此外，艺术家们还发现，在生活中，人们会从一个移动的焦点来观察周围的事物。移动透视使艺术家能够自由地表达他想要表达的东西。
根据表现手法，中国画可分为两类：写意画派和工笔画派。前者的主要特点是夸张的形式和写意的笔法，后者的特点是注重细节和精细的笔法。而 "写意 "则是中国画的基本方法。它是一种美学理论，首先强调的是情感。即使在古代，中国艺术家也不愿意被现实所束缚。晋代（265-420 年）著名画家顾恺之（348-409 年）首先提出了 "以形写神 "的理论。"他认为，绘画不仅要表现物体的外观，还要表达艺术家对物体的看法。在顾恺之的观点之后，又出现了 "神似中寓不似"、"画在似与不似之间 "等理论。"在这些理论的指导下，中国艺术家无视比例、透视和光线的限制。以现代画家齐白石为例。他笔下的虾、虫、鸟、花不其在自然界中的样子，而是经过长期观察和深刻理解后的本质模样。
中国书法和中国绘画密切相关，两者都使用线条。中国人把简单的线条变成了一种高度发展的艺术形式。线条不仅可以勾勒轮廓，还可以表达艺术家的观念和情感。针对不同的主题和不同的目的，会使用各种各样的线条。线条或直或曲、或刚或柔、或粗或细、或浅或深，墨色或干或润。线条和笔触的运用是使中国画独具特色的元素之一。
中国传统绘画是诗、书、画、篆刻艺术在同一画面上的结合。在古代，大多数艺术家都既是诗人又是书法家。苏东坡（1037-1101 年）、倪云林（1306-1374 年）和董其昌（1555-1636 年）都是这样的艺术家。对于中国人来说，"诗中有画，画中有诗 "一直是优秀艺术作品的标准之一。题跋和篆印有助于阐释画家的思想感情，也为画作增添了装饰美。古代画家喜欢画松、竹和梅花。在题写 "品行高洁 "等字样时，这些植物寓意着人们在艰苦环境中刚正不阿、乐于助人的品质。对于中国平面艺术而言，诗词、书法、绘画和篆刻是不可或缺的组成部分，它们相互补充、相互丰富。
齐白石（1863-1957 年）是中国当代最著名的艺术家。他多才多艺，他自己的成功标准是：诗词第一，篆刻第二，书法第三，绘画最后。经过长期实践，齐白石形成了独特的个人风格。他既能以写意也能以工笔描绘同一事物。他的作品引人入胜之处在于，有些画作同时使用了两种画法。例如，用工笔画法画的昆虫和用写意画法画的花卉出现在同一幅画中，它们之间有一种完美的和谐。

Questions
1.中国传统绘画的历史有多长？
2.中国传统绘画与西方绘画的最大区别是什么？
3.中国画家为什么强调转换视角？
4.中国画有哪两大类？
5.你对顾恺之的绘画理论了解多少？他的理论在中国绘画史上有多重要？
6.中国传统绘画的四个组成部分是什么？绘画和诗歌有什么关系？
7.松、竹、梅在中国传统绘画中象征什么？
8.齐白石如何看待中国绘画艺术各组成部分之间的关系？
9.齐白石作品的魅力何在？

陈卓 47. Fine Arts: Bada Shanren and Qi Baishi
美术：八大山人和齐白石
清朝（1636-1911年）初期，有一位名叫朱耷的著名画家，但他更出名的名字是“八大山人”，因为他的大部分画作都署名八大山人。他是明朝开国皇帝朱元璋（1328-1398年）的后裔，在江西南昌长大。他自幼学习诗词和美术。1644年，北方满族人推翻了明朝，结束了他平静的生活。第二年，清军占领了南昌，19岁的朱达和家人被迫逃亡，躲进了深山。
一系列不幸接踵而至。朱耷的父亲、妻子和儿子相继去世。在这些沉重的打击下，23岁的朱耷改名换姓，出家为僧。他学习禅宗，禅宗是佛教的一个教派，主张通过冥想和自我思索而不是通过经文来悟道。30多岁时，朱耷对道教教义产生了兴趣。他经常去南昌附近的道观青云谱学习道教经文。50多岁时的一天，当他听说自己的一些诗作被一位官员用来奉承清朝统治者时，他“遂发狂疾，忽大笑，忽痛哭竟日。”62岁时，他决定还俗，以绘画和教书为生。此时，他开始使用“八大山人”这个名字来创作许多作品。虽然贫穷，但他拒绝为官员和富人作画。他于1705年去世，享年80岁。
朱耷的画在公众甚至许多艺术家看来都很奇怪。他画中的鸟和鱼总是昂首挺胸。它们的眼睛被画得很大，甚至是方形的，以表达画家的感情。他在社会动荡年代的辛酸经历和对清朝统治者的憎恨形成了他独特的风格。在他的《孔雀图》中，两只孔雀蹲坐在一块形状怪异、站立不稳的石头上。它们非常丑陋，长着一双奇怪的大眼睛。每只孔雀都有3根尾羽，看起来像清朝官员帽子上佩戴的等级标志。画上的诗句让观众对画面的含义有了一些了解。孔雀身上的翎毛是用来讥讽清朝官员的；形状怪异且不稳固的石头象征着清朝根基不稳，终将被推翻。后来的画家郑板桥（1693-1765年）在评论朱耷的作品时说，他的画中眼泪多于笔墨。
朱耷的表现手法基于他对中国传统绘画技法的掌握。但他并不盲从传统，而是尝试新的路径，寻求新的表现手法。他擅长画山水、花鸟。他作品的特点是构图简洁、用笔简练、夸张、形象奇特、人物表情和神态怪异。他的画风对后世画家产生了很大影响。清代扬州八怪和现代著名画家齐白石、徐悲鸿、吴昌硕、李苦禅等都以八大山人为榜样，成功地形成了自己的风格。
齐白石（1863-1957年）是中国当代最著名的艺术家之一。他的一生表明，他的成功是天赋与勤奋的结合。他出生于湖南省湘潭县的一个农民家庭。8岁上学，一年后因病辍学。在家里放牛、砍柴、干农活。11岁时，他被送去学习木工。在师傅的指导下，他制作嫁妆家具和雕刻装饰木制品。通过工作，他结识了当地的一些学者。其中一位名叫胡慎远的人主动提出教他绘画和诗歌。在此期间，他靠画肖像和出售作品谋生。渐渐地，他不仅是一名木匠，也是一名画家，声名远播。30岁时，他与几个年轻人一起成立了龙山诗社。那几年，他致力于诗歌、书法和篆刻。虽然他承认自己是一位多才多艺的艺术家，但他自己的成功标准是：诗词第一，篆刻第二，书法第三，绘画最后。
从1902年到1916年，齐白石五次巡游全国，在许多大城市留下了他的足迹。这些旅行拓宽了他的视野，改变了他的风格。1917年，他在北京定居。在那里，他结识了许多艺术家和学者，并与陈师曾（1876-1923年）成为朋友。陈师曾建议他不要模仿早期大师，要形成自己的风格。齐白石接受了这一建议，决定改革自己的画法。他将自己的创造力与徐渭、朱耷、石涛等明清名家的绘画技法以及民间艺术的表现技巧融为一体。
经过长期的实践，齐白石逐渐形成了自己独特的风格。他的绘画题材广泛而多样，所画的花鸟鱼虫最受大众喜爱。为了提高画虾的技巧，他在家里养了一些虾，经常观察虾的动作。他在日记中记述了自己画虾方法的变化："起初我画的虾有几分相似，后来变得更加逼真，最后明暗色彩对比得当。这就是三个变化。“齐白石能够用工笔或写意的方式描绘同一物体。当他细致地画一只蜻蜓时，他甚至画出了蜻蜓翅膀上的纹路。当他采用大胆、自由的风格时，他只用几笔干练、富有表现力的笔触来塑造蜻蜓。无论是哪种方法画出的蜻蜓，都逼真而生动。他作品的迷人之处在于，有些画作同时使用了两种方法。例如，用工笔画法画的昆虫和用写意画法画的花卉出现在同一幅画中，两者之间非常和谐。
齐白石是一个品格高尚的人。清末，他拒绝了慈禧太后的诏聘。他甚至作画写诗，讽刺贪官污吏、贪婪商人和可耻汉奸。抗日战争期间（1937-1945年），他还拒绝向日本占领军军官出售自己的作品。

问题
1.朱耷为什么讨厌北方满族人以及清朝官员？
2.朱耷研究过哪些宗教经书？
3.朱耷何时开始以绘画为生？
4.为什么朱耷的画中的鸟总是昂首挺胸？为什么它们的眼睛大得奇怪？
5.他画孔雀的奇怪之处是什么？
6.郑板桥是如何评价他的作品的？
7.他的作品有什么特点？
8.齐白石在成为画家之前是如何谋生的？
9.齐白石的画有什么特点？

讨论话题
1. 中国传统绘画与西方绘画有哪些巨大差异？
2. 你对中国传统绘画还有哪些了解？你能介绍一下张择端的作品《清明上河图》吗？
3. 你知道如何欣赏八大山人或齐白石的画吗？
4. 你对哪幅书法、绘画或篆刻作品印象最深？
5. 有哪些中国美术珍品仍保存在外国博物馆？我们怎样才能把它们找回来？

陈卓 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day
美术：绘画作品《清明上河图》
简要介绍
绘画作品介绍
《清明上河图》是宋代画家张择端的作品。这幅画见证了北宋时期京城汴京（今开封）的百姓日常生活和繁荣景象。画卷中各色商贾云集，有卖酒的、卖粮食的、卖炊具的、卖弓箭的、卖灯笼的、卖乐器的、卖金银器的、卖饰品的，还有许多饭馆。商贩们沿着被称为虹桥的大桥一字排开。除了商铺和食肆，还有客栈、寺庙、民居和风格各异的官府。几百年来，这幅画卷在无数次收藏家手中辗转。1945年，故宫博物院将其购回并纳入馆藏。《清明上河图》被视为国宝，每隔几年才展出一次。

作者介绍
张择端，字正道，汉族，东武（今山东诸城）人，北宋绘画大师。北宋绘画大师。宣和年间进士，善画楼观、楼阁、树木、人物。张择端科举落第后，开始学习界画。界画是一种借助尺子来表现建筑的绘画。在作画时，笔上会附着一小块木头。有了这块木头，笔就可以在尺子上移动，根据画家的意图画出长短不一的直线。用尺子作画更加方便，只要使用熟练的工具；也更容易画得精细准确，从而获得观者的认可，画家也因此更容易谋生。

《清明上河图》三大部分
张择端在画面中表现出强烈的艺术概括性。他以北宋汴京市民的日常生活状态为线索，将商铺随意散落、市民相互打闹、车水马龙的市井生活等热闹场景浓缩在一幅五米多的长卷中。
进城
整幅图从“进城”开始，首先出现的是一队“马帮”，驮着货物进城交易；接着是一队扛轿人，肩上扛着新娘的椅子，后面跟着随从，每个人手里都拿着成亲的嫁妆，在晨光中匆匆前行。随着画面的延伸，人物逐渐增多，商店也开始开门迎客。码头上出现了卸货交易的场景。此时，船只聚拖、聚帆、聚账、聚货、聚灶，生动再现了汴京航运的真实情况。
过河
说到 “过河”，汴河上有一座 “虹桥”。桥上人山人海。抬轿子的、卖农具的、卖农产品的、骑毛驴的、叫卖的。尤其是桥的一侧，有一排人在用手指着桥下运粮的货船。船上，船工们掌舵的掌舵，撑船的撑船，抛缆绳的抛缆绳，放桅杆的放桅杆，喊号子的喊号子，为了避免船与桥相撞，个个争先恐后，这是一片繁忙的景象。这与“进城”部分中安静的郊外气氛形成了鲜明的对比。
城外
当 “城外”部分展开时，鳞次栉比的酒楼、汽车、茶楼、饭店、客栈、药铺、布店、民居、香火店、庙宇等纵横交错。街上有轿夫、马车夫、牛车夫、驴夫、酒客、说书人、修车人、车夫、算命先生、话痨、赌徒、卖糕点的、骆驼队等等。骡、马、牛、羊、猪、狗、驴等动物形神兼备。

画作主旨
再往前看，我们来到了虹桥。这是画作中社会冲突的高潮。有一艘满载乘客的大客轮，突然出现了船桅撞击大桥的巨大危险。按照常理，在距离虹桥一定距离的地方，应该有专人值班，提醒纤夫停止拖船，让船上的人放下桅杆，以免桅杆撞上大桥。
但这些工作都没有人做，所以拖船工一个劲把船往桥这边拉，直到船上的人发现大事不妙。涨水时会有波浪，所以桥上很危险。桥上的人群分成两拨，各自站在桥的一段，已经压缩了桥面的宽度。桥的两端来了一群文官武将，他们的护卫相互争吵，闹得不可开交。"画家将各种社会矛盾交织在桥上桥下，反映了北宋末年官员不作为所引发的尖锐社会问题。

问题
1. 这幅画的三个主要部分是什么？
2. 这幅画是什么时候创作的？
3. 这幅画的主旨是什么？
4. 张择端学的是哪种绘画？

杨子璇 49. Fine Arts: Seal-cutting
美术：篆刻
篆刻是中国文化遗产的独特组成部分。传统上，篆刻与绘画、书法、诗词并列为“四艺”，是有成就的文人必须掌握的技艺之一。这门艺术可追溯到约3700年前的殷商时期，起源于在龟甲上刻写甲骨文。到了秦朝，人们将自己的名字刻在竹木器皿和文件上，以显示所有权或作者身份，这门技艺由此兴盛起来。在此基础上，人们开始在角、玉或木质的小块上刻上自己的名字，这就是我们今天所熟知的印章。
与其他国家一样，官方部门和民间个人都使用印章。早在战国时期（公元前45-221年），国家元首在任命臣民担任要职时，会授予一枚官印，作为授权的象征。换句话说，印章代表着职位和相应的权力。私人印章同样用于在各种文件上加盖个人姓名，以进行认证或作为诚信的象征。
印章上的文字可以是浮雕或凹雕。印章的材料可以是木、石、角、昌化鸡血石、玉石、玛瑙、水晶、象牙甚至黄金。作为艺术品的印章应在书法、构图和雕刻师的手艺三个方面出类拔萃。篆刻家应擅长书写各种书体。他应该知道如何在狭小的空间内安排许多字——有些字笔画多，有些字笔画少——以达到优美的效果。他还应熟悉各种材料——石头、黄铜或象牙——以便以适当的力度、技巧和均匀的节奏使用切割刀。

1.中国传统文化中的四艺是什么？
2. 篆刻的历史有多长？
3. 为什么篆刻艺术在秦代如此兴盛？
4. 官印有什么用？私印呢？
5. 篆刻有哪两种设计？
6. 如何将印章篆刻成艺术品？

杨子璇 50. Games: Go 围棋
游戏：围棋
围棋是一种对抗性游戏，目标是用自己的棋子包围比对手更大的棋盘区域[1]。随着棋局的进行，棋手在棋盘上摆放棋子，绘制出阵型和潜在的领地。对立阵型之间的较量往往极其复杂，可能会使得阵型扩大、缩小，或棋子被全部夺取或丢失。[2]（NRICH 团队，Going First，2007 年）
围棋的一个基本原则是，一组棋子必须至少有一个与这组棋子接壤的开阔点（称为自由点）才能留在棋盘上。一个或多个自由点围成的棋子组称为眼，有两个或多个眼的棋子组即使被包围也无法吃掉。[3]（岩本薰，1977）这种棋组被称为无条件活棋。一般的策略是扩大自己的领土，攻击对方的弱小棋子组（可被杀死的棋子），并时刻注意自己棋子组的“生存状况”。棋子组的自由度是可以计算的。相互对立的棋子必须互相吃掉对方，否则就会输掉比赛，这种情况被称为吃子比赛，或对杀。在吃子比赛中，拥有更多自由度（有更好的 “棋形”）的棋组最终将能吃到对方的棋子。吃子比赛和关乎生死的每一步是下围棋的主要挑战。
如果棋手认为已经没有下棋获胜的机会，可以弃权而不下棋。当双方都弃权或一方弃权时，对局结束。一般来说，对局计分时，每位棋手都要计算自己的棋子周围未被占据的点数，然后减去被对手吃掉的棋子数。得分较高的棋手（调整贴目后）获胜。在对局的开局阶段，棋手通常会在棋盘的角落和两侧建立阵地（或称“基地”）。这些据点有助于快速形成强大的棋形，这些棋形有很多存活下来的选择（棋组的自保能力可以防止被吃），并为潜在的领地建立阵型。棋手通常从角开始下棋，因为借助棋盘的两条边更容易建立地盘。已确立的角开局顺序称为 "定式"，通常单独研究。
“单官”是位于黑白两方边界之间的点，因此被认为对任何一方都没有价值。“双活”是白子和黑子的互生对子，其中任何一方都没有两只眼。“劫"（中文和日文：劫）是一种重复位置的棋形，可以通过在其他地方下先手进行争夺。逼棋走完后，劫可以“收回”，回到原来的位置。有些“劫争”可能很重要，能决定一大组棋的生死，而有些“劫争”可能只值一两分。有些“劫争”被称为“野餐劫”，因为只有一方会损失惨重。日本人称之为赏花劫。
与人下棋通常需要了解每个棋手的实力，以棋手的等级（从30级到1级，然后从1段到7段，然后从职业1段到职业9段）来表示。等级的差异可以通过让子来弥补——允许黑方在棋盘上放置两颗或更多棋子，以弥补白方更强的实力。在不同国家的规则设定中（韩国、日本、中国、AGA 等），除某些特殊情况外，它们几乎完全等同。
除了下棋顺序（交替走棋、黑方先行或占先）和计分规则外，围棋基本上只有两条规则：
规则 1（自由度规则）规定，留在棋盘上的每颗棋子必须至少有一个直接正交相邻（上、下、左或右）的开放“点”（交叉点，称为 “自由点”），或必须有至少一个这样的开放点（“自由点”）紧邻棋组的一部分。失去最后一个自由点的棋子或棋子组将从棋盘上移除。
规则 2（“劫”规则）规定，棋盘上的棋子绝不能重复先前的位置。禁止重复走棋，因此该回合只允许在棋盘其他地方走棋。
几乎所有其他关于游戏玩法的信息都是启发式的，也就是说，它是关于游戏玩法的学习信息，而不是规则。其他规则是专门的，因为它们是通过不同的规则设定产生的，但上述两条规则几乎涵盖了所有下过的棋局。[4]（英国围棋协会，2007 年）虽然不同国家使用的规则设定之间存在一些微小的差异，最明显的是中国和日本的计分规则，但这些差异不会对比赛的战术和战略产生很大影响。
除特别说明外，此处介绍的基本规则与所使用的计分规则无关。计分规则将单独解释。围棋术语如果没有现成的英文对应词，通常用日文名称称呼。
黑白双方轮流将自己颜色的棋子放在棋盘的交叉点上，每次放一颗棋子。棋盘尺寸通常为19×19格，但对于初学者或快速下棋者来说，13×13 和9×9的较小棋盘尺寸也很受欢迎。[5] 棋盘一开始是空的。黑棋先下，除非黑棋有两子或两子以上的残局（在这种情况下，白棋先下）。棋手可以选择任何空着的交叉点下棋，但“劫争”和“自杀”规则禁止的交叉点除外（见下文）。棋子一旦下出，就不能再移动，只有被吃掉时才能从棋盘上取下。棋手也可以弃权，拒绝下棋，但通常只有在对局结束时，当双方都认为下棋已无意义时才会这样做。当双方连续弃权时，游戏结束并计分。

问题
1、围棋的基本原理是什么？
2、除了下棋顺序（交替走棋、黑先走或吃残局）和计分规则外，围棋中还有哪两条基本规则？
3、哪些国家的评分规则差异最明显？

'''杨子璇 51. Games: Kite Flying'''
游戏：放风筝
介绍
风筝在中国有着悠久的历史，且一直延续至今。在公园、广场和空旷的草地上都能看到风筝的身影。各种造型的风筝十分壮观，为人们的休闲时光增添了许多乐趣。同时，作为一项传统的民族活动，风筝打上了深深的中国文化烙印，充分表达了人们的美好愿景和强身健体的心愿，富有民族特色和地方风味。作为一种民俗，放风筝是一种以休闲和调节身心为目的的游戏和娱乐活动，使人们在工作之余得到休息，有益于强身健体、陶冶情操、培养创造力和道德感。
风筝的起源和发展
风筝作为中国古代文明的重要组成部分，它的故乡在中国。中国近代著名史学家李约瑟在其《中国科学技术史》中，将风筝列为中国人对人类重要的科学发明之一。
发明人：墨子
据考证，中国最早的风筝是木制的。春秋战国时期，墨家创始人墨翟（公元前 478-392 年）花了三年时间，用木头做了一只鸟，放飞到天空后一天才落地。这只墨子制作的 “木鸢”据说是中国最早的风筝，也是世界上最早的风筝，距今已有2000多年的历史。然而，有人对风筝飞翔能力提出了质疑。王充的说法在历代风筝研究中具有代表性，他先是肯定了风筝的飞翔能力，然后又对风筝是否能持续飞翔三天提出了质疑。此外，还有人质疑木鸟和风筝是否是同一种飞行器。他们认为，风筝是一种 "振翅飞行器"，这意味着它是通过拍打翅膀和拍打空气来飞行的。除此之外，风筝也是 "固定翼飞行器"。然而，这些推测几乎没有证据。因此，时至今日，主流观点仍然认为风筝是由墨家发明的。
源自战争
依据这种观点，风筝起源于汉末。这种观点是基于历史上韩信制作风筝的传说。高澄在《事物纪原》卷八中有对风筝的描述，韩信在战争中用风筝测量田地长度。此外，据《史记·韩信列传》记载，韩信用牛皮制作了各种风筝，并让乐师坐在上面，飞到楚军上空吹奏楚歌，让楚军思念家乡，无心作战。在古代，由于朝代更迭和外族入侵，战争不断。风筝作为一种飞行工具，在战争中受到青睐。风筝与战争的渊源虽有争议，但仍有其合理性。
源自娱乐
放风筝作为一种民间游戏和娱乐，是民俗活动的重要组成部分。在古代，人们最初放风筝是为了祛除厄运，是一种带有巫术意味的户外活动，并不是为了娱乐。当这种游戏成为调节社会生活的一种文化需要时，它就带有了娱乐的含义。娱乐是风筝出现的前提之一。放风筝不仅给人们的生活增添了情趣，还能在愉快高效的情境中开展教育。在《五代史记·李晔传》中，就有皇帝等人在宫中猜灯谜、放风筝的历史记载。此外，李晔还在宫中做了一个纸鸢游戏，用竹子做了一个笛子，系在纸鸢的头上。纸鸢在空中飞舞时，随着风的涌动，听起来仿佛有人在弹奏古筝，“风筝”因此得名。由此可见，风筝起源于古人的休闲活动。
风筝的使用和生产
风筝的使用
最初，风筝通常被用作传播信息和测量天空风向的军事工具。春秋时期，鲁班 "作木鸢以觇宋城"。在唐朝，风筝主要发挥娱乐的作用，并在宫廷和民间流行开来。由于唐朝与外国的频繁交流，风筝还传入了朝鲜和日本等邻国。在之后的朝代，人们把放风筝作为锻炼身体的主要方式之一。
风筝的生产
中国传统的风筝放飞技巧概括起来就是四个字：扎、粘、画、放，即扎架、粘纸、画花、放飞。扎包括宣、分、弯、剪、接。粘合包括选择、裁剪、粘合、镶边和校正。粘贴包括选择、裁剪、镶边和修改。绘画包括上色、打底、描摹、染色和修补。放飞包括风、线、放线、调整和收线。2006年5月，风筝制作技艺被列入第一批国家级非物质文化遗产名录。
风筝的种类
战斗风筝
战斗风筝是用于风筝格斗运动的风筝。传统上大多数都是小型、不稳定的单线扁平风筝，仅靠风筝线的张力来控制，并使用磨料线切断其他风筝的线。
室内风筝
室内风筝是设计用于在无风环境中放飞的风筝。虽然主要是为室内使用而设计，但也可以在室外放飞。当风力不足导致传统风筝无法在室外放飞时，它们可以。室内风筝的放飞是利用放风筝者的运动所提供的相对风力。这种运动通常是由使用者慢慢向后走（通常是在一个圆圈内）而产生的。但也可以通过风筝线的适当牵引和抽动来实现。
载人风筝
载人风筝是一种用于将人从地面抬起的风筝。历史上，载人风筝主要用于侦察和娱乐。随着 20世纪初动力飞行的出现，人们对这种风筝的开发兴趣逐渐减弱。
充气单线风筝
充气单线风筝是一种充气式的风筝。气球风筝就属于充气风筝。这种风筝将冲压充气和闭囊充气结合在一起。风筝的形状大致源于机翼，进气口通常位于风筝的前端，整个底部都有辔头，可以均匀地分配系绳的负荷。这种风筝没有坚硬的支柱。与热气球一样，也常常充满艺术创意，描绘鱼、猫和许多其他动物和人物。

问题
1.风筝因何得名？
2.中国传统风筝放飞技巧的四个关键词是什么？
3.风筝种类有哪些？

陈佳雯 52. Games: Mahjong: An Ancient Chinese card play

林如茵 53. Garden Culture: Gardens

卢逸萱 54. Garden Culture: Bonsai (Penjing)

林如茵 55. Garden Culture: The Summer Palace

储守娟 56. Garden Culture: Qingming Riverside Landscspe Garden

56. 园林文化:清明上河园

介绍

清明上河园位于河南省开封龙阁西岸，是一座占地600多亩的大型历史文化主题公园，展示了宋代的繁荣风光。此园取材于宋初著名画家张择端的《清明上河图》(韦陀2006,13)。

2009年，清明上河园被中国世界纪录协会评选为中国首个古风主题公园。是国家黄河黄金旅游线上的重点历史文化旅游景区，也是首批5a级旅游景区和中国非物质文化遗产展示基地。它于1998年10月28日正式向公众开放。(韦陀2006,13)

《清明上河图》是关于中国古代社会和民间生活的珍贵画卷，反映了中国北宋都城开封的社会生活、市井风土人情和城市建筑格局。虽然它只是当时开封的一小部分，但人们仍然可以瞥见其他街道和城市地区的大致面貌。有趣的是，一千年前，张择端把它从现实搬到了画上，但一千年后，开封人把它从画搬到了现实里。漫步其中，让人有种时光倒流的感觉。(张璐2013,25)

设有驿站、民俗、特色美食街、宋文化示范、花鸟鱼虫、兴都、休闲购物、综合服务等八大功能区，军事训练场、虹桥、民俗、宋都四大文化区。园林的主要建筑有门楼、虹桥、街景、商店、河道、码头和船舶。根据《清明上河图》的原始布局，园内陈列了酒铺、茶馆、典当行、汴绣、官窑、年画等现场制作品，并汇集了民间表演、杂耍和鼓乐表演。(高静，2010,18)

园内主要旅游景点有虹桥、浮云亭、上善门等。虹桥是中国古代桥梁史上的一项重要创作。它被列为中国十大名桥，是清明上河园的主要景观。原址建于1050年，1998年重建。它是古代十大木桥之一的复制品。(陈康2006,62)

花园中最高的建筑浮云亭有31层，99米高。“浮云”这个名字有两层意思:一是摸，指亭子升到云端，摸到白云;二是清洁，即吹走历史的烟云，归还真正的藏宝图。从外面看，亭子有四层，但里面隐藏着另外三层。它也是宋代重要的皇室文件和中国传统绘画和书籍储存的地方。(张璐2006,62)

清明上河园每年都会举办一系列文化节活动，如宋代民俗文化节、清明文化节、菊花文化节等。在宋代民间文化节期间，景区将聚集全国各地独特的民间表演，如高台花鼓、踩高跷、舞龙、舞狮、小豫剧等。国际灯展是宋代民俗文化节的重头戏。中国馆的吉祥传统、亚洲馆的清新精致、欧洲馆的简约时尚、东南亚馆的古雅佛性、非洲馆的奢华大气，将带来一场视觉盛宴。(张璐2013,26)

清明节期间，园内还会举办一些清明文化节活动，弘扬传统节日文化。届时，游客们可以外出踏青、植树、观赏民俗、品尝小吃，还可以欣赏名为“大宋·东京梦华”的大型水上现场表演。本次活动将宋代历史文化元素与现代娱乐相结合，让游客更好地体验春天，亲近文化，享受生活。(高静，2010,17)

菊花文化节是园内另一个盛大的节日，在这个节日期间，人们会献上各种各样的菊花。每年的十月到十一月开封就会举办菊花节。清明上河园以美丽的菊花为重点，充分利用建筑、雕塑、山川、水面和活动、惯性的联想，突出开封人的修养和创造技能。菊花变成了各种各样的形状，吸引了来自世界各地的成千上万的游客。在展览中，参观者可以欣赏到一些我们日常生活中很少见到的菊花。(张璐2013,24)

清明上河园有“大宋·东京梦华”、“包公敬宾”、“气功喷火”、“斗鸡”、“女子马球”等节目。其中，“大宋·东京梦华”是该园的代表性演出，是清明上河园制作的大型活水表演。演出持续70分钟，由700多名演员表演。这是一幅关于北宋全盛时期的画卷。宋朝市集的繁华景象，汴梁(今开封)都城的繁华，周边国家的豪迈气势，战争的悲壮，福气的滋润，构成了一幅喧嚣与宁静相结合的水墨画。(高静，2010,16)

中国古代建筑和西方建筑是不同的。中国古代建筑可以分为宫殿建筑、宗教建筑、宅第建筑和公共建筑，这些都可以在清明上河园中看到。与西欧中世纪的哥特式建筑相比，宋代建筑表现出一种精致柔和的风格，是宫殿、露台、塔楼、亭台楼阁的复合体，而哥特式建筑则是宏伟而精致的。它有尖尖的拱顶，给人以视觉冲击，具有浓厚的宗教色彩。(庞润昕2019,10)

术语和表达

*Qingming Riverside Landscape Garden 清明上河园
*Riverside Scene at Qingming Festival 《清明上河图》
*Rainbow Bridge 虹桥
*Fuyun Pavillion 浮云阁
*Shangshan Gate 上善门
*chrysanthemum 菊花
*Baogong Salute to Guests 包公迎宾
*Spitting Fire Show 气功喷火
*Cockfight 斗鸡
*Women’s Polo 女子马球
*Luxuriant Dream of the East Capital of the Great Song Dynasty 大宋·东京梦华

问题

#清明上河园在什么位置?
#清明上河园在中国的作用是什么?
#清明上河园是什么时候对外开放的?
#《清明上河图》的作者是谁?
#《清明上河图》描绘的是哪个朝代?
#“浮云阁”这个名字是什么意思?
#《大宋·东京梦华》的演出特点是什么?
#你能列出清明上河园中除了“大宋·东京梦华”的表演项目吗?

参考文献

陈康. (2006). 《清明上河园》的精彩场景——贯木拱虹桥集邮博览(07)62-63.

高静. (2010). 清明上河园——玩转宋文化光彩 (04)16-19.

李梅. (2007). 清明上河园特色建设与长远发展合作经济与科技(8)10-12.

庞润昕. (2019). 《清明上河图》的建筑艺术景德镇陶瓷大学(06)10-16.

韦陀. (2006). 张择端之《清明上河图》紫禁城 (Z2) 13-15.

张璐. (2013). 清明上河园与宋都文化传承创新研究赤峰学院学报(05)23-27.
[https://wiki. ruhr-uni-bochum. de/uvu/index. php/User:Zeng_Liang] 2020年12月20日15:36 (UTC)

'''储守娟 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China'''

57. 性别:武则天——中华帝国唯一的女皇帝

简要介绍
武则天(https://www. worldhistory. org/uploads/images/4558. jpeg?v=1623024902)

武则天皇后(武后、武侯、武媚娘、媚娘、武昭皇后，公元624-705年，公元690-704年)是中华帝国唯一的女皇帝。她统治于唐朝(公元618-907年)，是中国历史上最有效和最有争议的君主之一。(马克，2016)

政治

武则天所掌握的最重要的执政手段之一就是科举制度：科举制度的基本理论和实践是招募那些受过最好教育、最有才能、最有潜力履行职责的人进入政府服务，并通过对候选人进行测试来客观地确定这一点。武则天继续使用科举制度来招募官员，她对自己继承的制度进行了重大改革，包括增加应试人数，允许以前因背景而不合格的平民和士绅参加考试。从693年开始，她在做的另一件事则是扩大政府考试系统，并大大增加了这种招聘政府官员的方法的重要性。武则天在政府内部为华北平原的人民提供了更多的代表机会，而不是西北贵族家庭的人(反正她相当程度地减少了他们);而且，通过科举制度成功选拔出来的候选人成为了她政府中的精英群体。(《新唐书》)

此外，在武则天统治初期，尽管中国其他地区的经济发展改善了其他地区家庭的数量，但关中仍然是全国最强大的贵族家庭的大本营。(《新唐书》)

然而，关陇贵族不愿意放弃对政府的控制;与此同时，在其他地区，如华北平原或湖北，一些新富裕的家庭渴望在国家权力中占有更大的份额。大多数反对武则天的人来自中国西北的关陇家族。因此，她压制了他们，转而支持不那么有特权的家庭，从而将许多有才能但不那么贵族的家庭提升到权力的行列，这些家庭通常是通过官方考试制度招募的。许多受青睐的人来自华北平原。武则天通过消除或削弱她认为对她不忠的既得利益贵族的权力，并在中国建立一个忠于她的改良上层阶级的过程，进行了重大的社会变革。武则天时期的中国(https://www.worldhistory.org/uploads/images/4649.png?v=1614250808)

武则天统治的另一个重要特征是，她权力的巩固在一定程度上依赖于酷吏政治。她利用线人来选择要消灭的人，这一过程在697年达到顶峰，大量的贵族家庭和学者被降职、流放或杀害，并且禁止他们的儿子担任公职。武则天通过死亡（包括处决、命令自杀和或多或少直接杀人）、降职和流放，消灭了许多她真正的、潜在的或被认为是权力对手的人。这主要是由她的酷吏执行的，由像万国俊和来俊臣这样的人领导，他们写了一份名为《罗织经》的文件，详细说明了审讯和通过酷刑获得供词的步骤。(《新唐书》)

经济

武则天的许多措施都具有民间性，为她的统治赢得了支持。武则天上台时，中国人民相当满意，政府运行良好，经济的特点是生活水平不断提高。对于大多数人来说，武则天继续这样做。她决心让自由、自给自足的农民继续在自己的农场土地上工作，因此她定期使用土地均等化制度，也可以称为均田制，并结合最新的人口普查数据来确保公平的土地分配，必要时重新分配。她的成功很大程度上归功于她的各种法令(包括那些被称为“恩典法案”的法令)，这些法令通过各种救济措施帮助满足了下层阶级的需求，她扩大了对政府服务的招募，包括以前被排除在外的乡绅和平民，以及她对下层阶级的慷慨晋升和加薪。(《旧唐书》)

文化

关于修改汉字，公元690年，武太后的堂兄宗勤科提交了一些则天文字，旨在展示武太后的伟大。她接受了它们，并把其中一个修改后的字“赵”(曌)作为她的正式名字(也就是说，人们会对这个名字行使命名禁忌)。赵是由另外两个字组成的:明(明)在上面，意思是“光”或“清晰”，空(空)在下面，意思是“天空”。言下之意似乎是她会像天空中闪耀的光芒。(Zhao(照)的意思是“闪耀”，Zhao(曌)可能是她的原名，但这方面的证据尚无定论。)(《新唐书》)

在文学方面，武则天除了自己的文学作品之外，她的宫廷也是一个文学创作的焦点。《全唐诗》收录她的诗46首，《全唐文》收录她的署名文章61篇。尽管这些作品中有很多是出于政治目的，但有一首诗是她在母亲去世后哀悼她的母亲，并表达了她无法再见到她的绝望。在武则天统治期间，朝廷在她的赞助下出版了各种作品，比如她的朝廷诗歌选集《宝荣集》，其中包含了崔融、李峤、张说等人的诗歌，根据个人在朝廷的官阶进行了排列。在武则天时期(部分是在她的朝廷期间)发生的文学发展中，沈佺期、宋之问这对诗歌组合所创作的“新风”诗歌——格律诗最终发展。(《旧唐书》)

评论

武后是一个真实的历史人物，一个生动的文学艺术画廊形象。长期以来，她是男权话语的扭曲形象。从武则天的女性特征出发，从性别角度出发，这一形象具有重要的社会和现实意义。(刘健，2013)

位于山西省乾陵通道东侧的无字碑是为武则天建造的。由于缺乏历史记载，它的日期和建造者仍然未知，使石碑成为一个谜。也许这正是武则天想要的——除了时间和历史，没有人能定义她的一生。(张宇，2014)

术语和表达

*Wu Mei Niang 武媚娘
*the imperial examination system 科举制度
*officials in feudal times 臣子, 臣民
*Guanzhong 关中地区
*Guanlong aristocracy 关陇集团
*North China Plain 华北平原
*a system of spies 酷吏政治
*secret police 酷吏
*Wan Guojun 万国俊
*Lai Junchen 来俊臣
*the Manual of Accusation 《罗织经》
*System of Land Equalization 均田制
*Gentry 乡绅
*Modified Chinese characters 则天文字
*the Collected Tang Poems 《全唐诗》
*the Collected Tang Essays 《全唐文》
*regulated verse 格律诗
*The Blank Stele 无字碑
*the Qianling mausoleum 乾陵

问题

#谁是中华帝国唯一的女皇帝?
#谁写了《罗织经》?
#用什么制度来保持自由、自给自足的农民继续在自己的农场土地上工作?
#《全唐诗》收录了武则天的几首诗?
#《全唐文》中记载武则天名下的文章有多少篇?
#武则天在她的石碑上写了什么吗?

参考文献

马克，E.（2016年3月17日）。武则天。世界历史百科全书。检索自https://www。worldhistory.org/Wu_Zetian/[2]

《新唐书·卷四·本纪第四》

《旧唐书·卷六·本纪第六》

刘健(2013) 武则天形象演变研究(硕士学位论文, 陕西理工学院). https://kns. cnki. net/KCMS/detail/detail. aspx ? dbname = CMFD201402&filename = 1014211402. nh

张宇(2014) 武则天的“无字碑”真的无字吗?. 中国国家博物馆馆刊(11), 63-70. doi: CNKI:太阳:ZLBK. 0. 2014-11-010.

储守娟 58. History: Carl and Cixi

58. 历史:凯瑟琳·卡尔和慈禧

凯瑟琳·奥古斯塔·卡尔(1865-1938)是一位美国画家和作家，她于1903年在中国度过了9个月，为圣路易斯博览会画了慈禧太后的肖像。回到美国后，她出版了一本讲述自己经历的书，书名为《慈禧写照记》。

1903年夏天，凯瑟琳·卡尔受委托为1904年路易斯安那州购买博览会的中国展览画一幅慈禧太后的肖像。她在中国总共待了9个月，画了四幅慈禧太后的肖像，后来1906年出版的一本书中记录了她的一些回忆，作为唯一一个在中国朝廷最后日子里生活的外国人。

卡尔在中国的作品为慈禧太后提供了一个独特而亲密的评价。在书的前言中，她说她写这本书是因为“我回到美国后，我经常在报纸上看到(和听到)我从未说过的话。”这些言论通常是以损害慈禧太后的声誉为代价的，卡尔对此有强烈的感受，她以书面形式为慈禧太后辩护，并试图消除人们对慈禧太后的错误印象，这种印象至今仍挥之不去。

卡尔把慈禧描述为一个善良体贴的女人。慈禧虽然精明，但风度翩翩，美丽迷人，举止优雅，这也导致她性格异常迷人。她喜欢狗，在颐和园有一个由太监管理的狗舍，在那里她养了“一些很棒的北京哈巴狗和一种斯凯狗”。她不喜欢猫，一些养猫的太监会把猫“严格控制在一定范围内，绝不允许它们进入太后的视野”。

卡尔形容慈禧是一个忠诚的人，在谈到她的陪侍时，她说:“此人照顾慈禧度过了大约25年的漫长病期，并且给慈禧喝了母乳，挽救了她的生命。”慈禧太后从来不会忘记别人的恩惠，所以一直把这个女人留在宫里。作为中国人，她裹着小脚。慈禧太后，甚至不忍心看到这双小脚，就让她的脚被解开和精心治疗，直到现在她可以舒服地走路了。慈禧太后教育儿子，在她生病的时候，他还是个婴儿，并且她分享了他的母乳。他现在是一家好衙门的秘书。”

卡尔说慈禧喜欢在湖上划船，在花园和宫殿里散步(皇室坐轿子，太监抬轿走路)，欣赏中国戏曲。慈禧既抽中国的水烟，也用雪茄嘴抽欧洲的雪茄。69岁时，慈禧的身体状况很好，当她带卡尔参观歌剧院时，她和我一样轻松自如地走上陡峭而艰难的台阶，我穿着舒适的欧洲鞋，而她穿着脚中间为六英寸高的满式鞋底，走路就像踩着高跷一样。”

吴梨萍 59. Interieur: The Folding Screen

59. 59. 内部：折叠屏

1.1介绍
折叠屏风是一种灵活的家具，由几个框架或面板组成。它们具有实用的和装饰性的功能，由各种材料和多种风格制成。折叠屏风起源于中国古代。书面参考文献可以追溯到公元前4世纪，在汉朝，但他们可能更早使用。（MilicaSterjova，2017,1）

1.2历史与技术
现存最早的屏风是中国的。现存的中国屏风，其中一些是纸的，可以追溯到公元八世纪，尽管文献资料可以追溯到周朝（公元前四世纪到公元前三世纪），而对屏风的描绘出现在汉朝的墓葬中（公元前200年到公元200年）。然而，正是在日本，银幕形式演变成了它最著名的变体。
中国屏风最初是作为隔板制作的，上面画着美丽而严肃的作品，并不适合经常移动。（2014年出版的一本书）它们最初是由木板制成的，装饰着精美的艺术品。画板上画有许多主题，如神话、宫廷生活场景和自然，使它们更像是一件家具。在中国文学中，它经常与阴谋和浪漫联系在一起，例如，一个恋爱中的年轻女子可能会躲在折叠屏风后面好奇地偷看一眼。在曹雪芹的古典小说《红楼梦》中可以看到这样浪漫的场景。
屏风也是唐代文学中的一个重要元素。唐朝诗人李贺的《屏风曲》描述了一对新婚夫妇的屏风。折叠屏风围绕着这对年轻夫妇的床，它的12块面板上装饰着蝴蝶停落在粉红色的花朵上（寓意情侣），并有类似玻璃硬币的银色铰链。（卡伦·马祖科维齐，2006年）有沉重的木制结构与其他装饰拉通过孔附近的面板边缘。框架是突出的，图像的发展往往是垂直的，并局限于个别面板，创造了一个令人愉快的模式。
当一个巧妙的强力纸铰链系统集成在面板结构中，使折叠图案变得可逆时，面板变得更加灵活。纸铰链使面板更靠近，减少了分隔面板的框架需求，并允许画面水平定向。这为面板的各种空间关系提供了创造性的方法。（Dianne Lee van der Reyden，2）

1.3用途
虽然起源于中国，但现在世界各地的许多室内设计都使用了折叠屏风。人们最初还把它们用在一些实用的方面，比如防止家中的通风，正如它们名字中的两个字符所示：“屏”屏蔽；阻挡”）风（风微风，微风”). 人们也会用它们来赋予一种隐私的感觉；在过去，它们经常被放置在房间里，作为女士们的化妆屏风。（库珀丹1999年，第30-36页）
折叠屏风可以用来划分大的空间，改变房间的配置。它们也可以被用来作为一个虚假的方式设置在一个房间的入口，以创造一个理想的气氛，通过隐藏某些功能，如厨房的门。现在，许多屏风设计与美术，他们服务的装饰目的以及在一个家庭的内部特征。（库珀丹1999年，第30-36页）

1.4传播
在中国流行起来后，折叠屏传播到了世界其他地方，包括东亚和后来的欧洲。公元7世纪，天目天皇在位期间，它们首次出现在日本，并作为礼物赠送给朝鲜的新罗王国。到了8世纪，它们在日本变得如此受欢迎，以至于日本艺术家开始在很大程度上受到中国设计的影响，制作自己的作品。不同的大小有不同的用途：茶道通常使用小的2折屏幕，而更大的8折屏幕可以用作舞蹈的背景。日本的屏幕更轻，通常是由丝绸甚至纸张制成的。彩绘屏风是日本传统建筑的主要组成部分，它们的装饰反映了日本艺术中的领先流派和运动。它们有许多用途，被用于茶道，作为音乐会或舞蹈的背景，以及作为佛教仪式的围栏。(大卫·利奥波德2008，9)
折叠屏是在17世纪初从远东传入欧洲的。由于其实用的功能和独特的装饰，它们引起了人们的极大关注。著名设计师可可·香奈儿完全被科罗曼德尔屏幕迷住了。她以收藏中国折叠屏而闻名。她有32个折叠屏，其中8个保存在她在巴黎的公寓里。她曾经说过：“我从18岁起就喜欢中国的银幕。当我走进一家中国商店，第一次看到科罗曼德尔时，我和喜悦差点晕倒。屏幕是我买的第一件东西。“(Delay Claude 1983，12)
到18世纪初，欧洲工匠已经开始自己制作折叠屏。他们用不那么昂贵的彩绘版本制作折叠屏，取而代之的是使用油漆技术。当时，皮屏很流行，但它们的流行并没有持续很长时间，直到1860年左右拿破仑三世统治期间，日本主义的浪潮激发了法国艺术家的灵感，皮屏才得以恢复。

1. 5 Expressions and Terms表达与术语
Dream of the Red Chamber 《红楼梦》
the Korean Kingdom of Silla 朝鲜新罗王国
Emperor Tenmu 天武天皇

1.6问题
1.折叠屏最早是什么时候出现的？
2.折叠屏在中国文学中是如何与浪漫联系在一起的？
3.屏幕起什么作用？
4.它们是什么时候传播到欧洲的？
5.欧洲的工匠是如何制作折叠屏的？

吴梨萍 60. Landscapes and Tourism: Four Buddhist Shrines

60. 风景和旅游：四个佛教圣地
佛教教是中国最重要的宗教之一。随着汉代佛教从印度传入，中国开始了寺庙建设和启蒙遗址，并一直延续到今天。中国的佛教文化经历了悠久的成长和繁荣的历史，最终转化为历史魅力和文化魅力，并伴以迷人的自然风光，享誉世界。在中国众多著名的佛像中，最神圣的四称为四佛圣地，分别是金五台山、银普陀、铜峨眉山和铁九华，因为它们被认为是菩萨菩萨、观世音菩萨、菩萨菩萨和佛教转世驯服某些人。（甘树德出版社，1998年）

五台山
金五台，又称五台山，或清凉山，是国家自然文化遗产、国家地质公园，是中国唯一的佛教和藏传佛教和谐共处的佛教保护区。五台山位于中国山西省东北部的忻州市的五台县，被称为顶级佛教圣地。五台山因其悠久的历史和宏伟的寺庙而成为佛教的四大大山。它也被称为世界五大佛教圣地之一，尼泊尔的伦皮尼，印度的萨尔纳特、佛伽亚和库什那加。这是中国智慧之神菩萨菩萨的道场。佛教从东汉时期开始传播到五台山，并在南北朝达到顶峰，当时皇帝将寺庙大量扩展到200多个。佛教的第二次开花是在繁荣的唐朝，当时制作了3万多尊佛像。五台山主要有望海峰、叶都峰、瓜云峰、辉煌峰、翠岩峰。每年都有大量作为珍贵文物宝库的寺庙吸引着成千上万的游客，包括剑通寺、南禅寺、佛光寺等。大白塔是五台山最著名的象征，坐落在塔源寺中。（陆尧2011,87)

普陀山
银普陀，观世音菩萨（观音）的道场，位于中国东南部浙江省一个13平方公里的小岛上。银普陀山，又名普陀山，拥有海上佛教王国的荣誉。是国家5A旅游胜地和世界一流的生态景区，拥有迷人的岛屿风光和独特的寺庙、雕塑等独特的佛教魅力。道教是秦朝2000年前在普陀山培育的最早的宗教。佛教在唐代才在普陀山传播，后来在清朝后期和民国时期上升到顶峰，是中国古代最大的佛教王国，拥有4000多名僧人。三座主要神圣佛教寺庙是普济寺，普济寺是普济寺，普济寺是普济寺，是山麓最大的供奉慈悲女神的寺庙，山坡上装饰最高贵精致的第二大寺庙法玉寺，以及位于山顶最高的美丽园林风格寺庙慧济寺。紫竹林是一个吸引游客的景点，人们可以在这里欣赏周围风景如画的风景，体验佛教文化。（景天行，2008）

峨眉山
铜峨眉是指四川省的峨眉山。是中国的修行之神普贤菩萨的道场。峨眉山通常指峨眉山风景区的大峨峰，是佛教四大神山中的最高峰。佛教四大名山之一，同时被列为世界文化和自然遗产。公元1世纪中叶，佛教由印度经丝绸之路传入峨眉山。然后万年寺（旧称普贤寺）在公元3世纪建成，之后又有100多座佛教寺庙建成，使四川一度成为佛教中心。万年寺巨大的普贤菩萨铜像，是宋代一批佛教徒从印度学佛后铸造的。峨眉山不仅以佛教珍宝和珍贵文物闻名于世，而且以金顶的日出、云海、金顶和佛光四大自然奇观而闻名于世。就像其他佛教圣地，有许多寺庙，如报国寺，万年寺，伏虎寺。（甘树德，1998年）
九华山
九华山指的是位于安徽省南部的九华山。它以地藏菩萨为供奉主神，是中国佛教四大名山之一。九华山最初名为九子山，后因唐代大诗人李白的一首诗而更名为九华山。诗云：“分野中峰变，阴晴众壑殊。欲穷天台步，须上九华游。”九华山最早的宗教是道教。到了中晚唐时期，随着佛寺的兴建，佛教逐渐在九华山得到接受和传播。九华山现存佛教文物古迹78处，包括地藏菩萨道场化城寺、历史最悠久的禅寺天台寺、肉身殿、祗园寺等（陈池，2004）。

Terms and Expressions
Buddhist adj. 佛教的
Buddhism n. 佛教
shrine n. 圣地
pullulate v. 大量产生
Gold Wutai 金五台
Silver Putuo 银普陀
Copper Emei 铜峨眉
Iron Jiuhua 铁九华
Manjusri Bodhisattva 文殊菩萨
Avalokitesvara 观音菩萨
Samantabhadra Bodhisattva 普贤菩萨
Ksitigahba Buddhisattva 地藏菩萨
reincarnate v. 使转世, 使化身
ashram n. 修行的住所
Lumpini n. 蓝毗尼
Sarnath n. 鹿野苑
Buddha-gaya n. 菩提伽耶
Kushinagar n. 拘尸那罗
Wanghai Peak 望海峰
Yedou Peak 叶斗峰
Guayue Peak 挂月峰
Splendid Peak 锦绣峰
Cuiyan Peak 翠岩峰
Xiantong Temple 显通寺
Nanchan Temple 南禅寺
Foguang Temple 佛光寺
The Great White Tower 大白塔
Puji Temple 普济寺
Fayu Temple 法雨寺
Huiji Temple 惠济寺
The Purple Bamboo Woods 紫竹林
Wannian Temple 万年寺
Baoguo Temple 报国寺
Fuhu Temple 伏虎寺
Golden Summit 金顶
Huacheng Temple 化城寺
Tiantai Temple 天台寺
Longevity Palace 百岁宫
Zhiyuan Temple 祗园寺
nimbus is divided to two kinds, sacred mountain generates nine glories to praise the beauty of Mount Jiuhua. -By Li Bai
妙有分二气, 灵山开九华。—李白

问题：
1.什么是四大佛教圣地或四大佛教山？
2.四座山分别属于哪一座菩提萨图瓦的圣座？
3.四大佛教圣地分别位于哪些省份？
4.世界上排名前五的佛教圣地是什么？
5.四大佛教圣地中，哪一座被誉为“海上佛教王国”？
6.四大佛龛中，谁的名字与诗人李白有关？

'''吴梨萍 61. Landscapes and Tourism: Four State-Level Cultural Relics
61. 景观和旅游：四件国宝级文物
中国是世界上最古老的文明之一的故乡，拥有丰富的文物，从古墓、建筑、乐器到手工艺品、历史书籍等。它们体现了丰富的历史和文化信息，生动地展示了中国文化的发展过程。这些遗迹中显示的惊人的艺术和技术水平今天继续给人们留下深刻印象。
在中国古代，鼎是帝国权力的象征。因此，鼎经常在中文的短语和表达中用来暗示权威（Anna，2015年）。例如，问鼎，字面意思是“向鼎询问”，意味着密谋篡夺政治权力；一言九鼎，字面意思是“一个承诺等于九个鼎”，意味着这句话具有决定性的作用（Lv Shuxiang，2016年）。
司母戊鼎是1937年在河南省安阳发现的一件非常珍贵的文物。它产生于3000多年前的商朝晚期。这个方形的鼎是古代世界现存最大的青铜器。它现在存放在北京的中国国家博物馆（李伟明，2015年）。
鼎是一个烹饪容器，可能在原始社会中用于煮或烹饪食物。当时，鼎是用粘土做的。在商周（公元前1700年至公元前256年）王朝期间，青铜铸造技术在中国达到了很高的水平。因此，人们用青铜铸造鼎。然而，鼎不再是普通人生活中的炊具，而是重要仪式献祭的对象（Anna，2015年）。
司母戊鼎被商朝武丁皇帝铸造，作为祭祀母亲的仪式的一个物品。三个字符司母戊在侧壁内侧形成铭文。根据考古学家的说法，司的意思是祭祀仪式，母戊是君主母亲的名字。后来，司母戊定为这个大鼎的名字（李伟明，2015年）。
司母戊鼎高1.33米，长1.10米，宽0.78米，重832.84公斤。当时，它需要1000公斤的金属和两到三百名工人来生产它。这款鼎的构造坚固，外观华丽，工艺精湛。四根支柱腿厚实而有力。每边中间都有一个空白，周围环绕着一条以饕餮（动物脸生物）和夔龙（单腿龙）为特色的装饰带，象征着收获和吉祥。司母戊鼎代表了商周王朝最高水平的青铜铸造技术（李伟明，2015年）。
编钟，是一种由青铜制成的打击乐器。中国是最早制造和使用此类仪器的国家。钟铃根据大小、气质、音高分成几组，并挂在架子上。一个小锤子或木棍被用来敲钟，发出共鸣和悦耳的声音（湖北博物馆，2015年）。
曾侯乙编钟是中国目前最大、最完整的古老钟声。它们是1978年从战国时期（公元前475年至公元前221年）的一个小州的曾侯乙的陵墓中出土的。当他们被发现时，所有的钟声仍然挂在他们的架子上。它们现在保存在湖北博物馆（湖北博物馆，2015年）。

这架编钟总共有65个钟，八组挂在木条或青铜条上。架子长10.79米，高2.67米，由三根杆子组成，即上杆、中杆和下杆，由六个青铜战士和几个圆形木柱支撑。65个铃铛重超过2500公斤。最大的钟高度为1.52米，重量超过203.6公斤。最小的铃铛高约20厘米，重2.4公斤。很少看到有这么大规模重量和体积的编钟（Wan Quanwen，2020年）。
曾侯乙编钟铸造精美，看起来非常优雅。为了帮助艺术家表演音乐，每个钟上都有3700个字符的说明（Wan Quanwen，2020年）。还有一些关于悬挂指示和音乐气质的词语，被称为“有价值的音乐理论工作”。曾侯乙编钟表明，早在战国时期，中国就已经拥有非常丰富的音乐文化。出土后，钟声仍然可以产生纯净而准确的音符。色调很好，音色也很纯净。
在挖掘钟声后，中国音乐家创作了一首名为《编钟乐舞》（音乐和舞蹈伴随着钟声）的旋律，再次展示了中国古代音乐的魅力（周毅，2016年）。
通常来说，衣服的质地是棉花、亚麻或丝绸。然而，有由金和玉制成的西装，即“金缕玉衣”（王静，2008年）。

汉朝的皇帝认为玉石可以防止他们的尸体腐烂，他们认为玉石充满了尊严和高贵。因此，他们用玉衣作为他们的坟墓衣服。金线、银线或铜线被用来分别连接四方玉，称为金缕玉衣、银缕玉衣和铜缕玉衣（王静，2008年）。
1968年在河北省满城出土的两套汉朝玉衣向世界揭示了这种墓葬服的真实特征（李亚文，2019年）。他们的主人是中山的景王刘胜和他的妻子窦万（公元前206年至公元25年）。
在外观上，玉衣遵循人体的形状。它由五个部分组成，即头罩、外套、裤子、手套和鞋子。每个部分都由玉片制成。每件玉石的尺寸和形状都是根据其位置设计的。大多数玉石都是正方形或矩形形状的，但也有一些是梯形、三角形或多面形状的。每块玉石的角落都有穿孔，通过它，一根金线将碎片缝合在一起。刘盛的玉衣相当大，长1.88米，由2498件组成。这套西装使用的金线重量约为700克（Li Yawen，2019年）。

这种大约2000年前在汉朝制作的精致西装表明了当时的高设计水平和精湛的工艺。事实上，当然，统治者防止尸体腐烂的梦想永远无法实现。穿玉衣的做法在三国时期（220-280）被禁止（王静，2008年）。
1969年，在中国西部甘肃省武威的东汉（公元前206年至公元220年）墓中出土了一匹青铜驰驿的马。铜像是汉代著名的代表性雕塑。武威县因发现这项国宝而声名鹊起（李晓虎和赵静，2019年）。
这匹34.5厘米高的青铜马，上面覆盖着青绿色的斑点，身体饱满而健壮。跳跃的腿、飞舞的尾巴、略微扩张的鼻孔描绘了一匹疾驰的马。它巧妙之处在于，它的一只后脚正踩着一只飞燕子。这意味着疾驰的马比飞燕子还快（王谦，2020年）。它的四条腿的定位严格符合一匹活马的位置，并受到许多当地和外国考古学家和艺术家的高度赞扬。
在这部作品中，中国古代艺术家结合了现实主义和浪漫主义，通过丰富的想象力、原创概念和娴熟的工艺，巧妙地结合了疾驰的马和飞燕子（王倩：10-11）。飞快的燕子引发了疾驰的马的惊人速度。根据对其力学的分析，马踏飞燕在燕子中找到了一个重心，使雕像保持稳定。燕子的浪漫形象衬托了马的力量和力量，为观众提供了丰富的想象力体验（李小虎和赵静，2019年）。
马踏飞燕被认为是中国传说中“天马”的描绘。它工艺精湛，充分表达了中国西部地区的马匹饲养文化。它已成为中国旅游的象征和具有代表性的作品，将中华民族历史悠久的文化传统和东方美学带给世界。该文物现在保存在甘肃省博物馆（王谦，2020年）。

术语和表达：
Simuwu Ding 司母戊鼎
Emperor Wuding of the Shang Dynasty 商王武丁
taotie 饕餮
National Museum of China 中国国家博物馆
chime bells/bian zhong 编钟
Marquis Yi 曾侯乙
The Chime Bells of Marquis Yi 曾侯乙编钟
Bianzhong Yuewu 《编钟乐舞》
Hubei Museum 湖北省博物馆
Jade Suit with Gold Thread 金缕玉衣
Jade Suit Sewn with Silver Thread 银缕玉衣
Jade Suit Sewn with Copper Thread 铜缕玉衣
Bronze Galloping Horse 铜奔马/ 马踏飞燕
Gansu Provincial Museum 甘肃省博物馆

问题：
1.鼎象征着什么？

2.司母戊鼎是什么时候生产的？

3.易侯爵的钟声包含多少个钟？

4.最大的钟有多大？

5.用什么样的线来连接四方玉片？

6.金缕玉衣是什么时候出土的？

7.马踏飞燕有什么巧妙之处？

8.马踏飞燕现在保存在哪里？

潘彤 62. Landscapes and Tourism: Landscape, Five Famous Mountains

62.景观与旅游：五岳

五岳是中国汉文化中五大名山的总称，是古代民间山神崇拜、五行观念和帝王游览、静修相结合的产物。五岳，又称五大名山，始于汉武帝（公元前157年-公元前87年）。五岳中的“岳”指高山。魏晋南北朝时期，佛教和道教开始在五岳圣山修建寺庙，开展宗教活动。中国古代帝王会定期到山顶游览，并祭祀非人类。根据儒家思想，这一传统成为国家的一种礼仪，也是皇帝登基后的必做活动之一。这一传统一直延续到1911年末代王朝灭亡。虽然五岳没有被称为佛教或道教的圣山，但道教在五岳确实有很强的影响力，并有许多佛教寺庙。五岳至今仍是朝圣之地，许多年轻人的目标是登上五岳，追寻中国古代帝王的足迹。五岳是著名的旅游胜地，旅游和交通服务设施完善，其中几座山被评为国家 AAAAA 级风景名胜区。（阿纳斯塔西娅·伊利娜，2017年）

泰山——五岳东岳
省份: 山东 | 高度: 1533米（5030英尺）泰山，是一座具有历史文化内涵的山峰，位于中国山东省泰安市北部。泰山作为祭祀场所至少有3000年的历史，是国家 AAAAA 级旅游景点。大约3000年前的商文化时期，人们就开始祭拜泰山。中国历代帝王都会来泰山静修和祭祀，数百年来，作家和艺术家也曾来泰山寻找灵感。泰山因其悠久的祭祀历史而保存完好，几乎没有受到任何改动。泰山也被认为是中国攀登次数最多的山峰之一。徒步登山并非易事，可能需要花费大半天的时间才能登顶。

衡山（湖南）——五岳南岳
省份：湖南 | 海拔：1300米（4265英尺）衡山，位于中国湖南省中南部，被誉为中国五岳之一的南岳。衡山山脉长150公里（93英里），有72座山峰。回雁峰是山峰的南端，长沙市的岳麓山是北端，祝融峰海拔1300米（4300英尺），是最高峰。山脚下矗立着中国南方最大的寺庙——南岳大庙，是湖南省最大的古建筑群。南岳衡山共有72座山峰，山上树木葱茏，其中一些已有数百年的历史。夏季登山，可欣赏到满山翠绿。山峰间散布着许多佛教寺庙。值得一提的是位于山脚下的南岳大庙。该寺历经多个朝代，最早的记载可追溯到公元8世纪。虽然该寺庙在文化大革命期间遭到严重破坏，但对许多信徒来说，它仍然具有重要的宗教意义。（阿纳斯塔西娅·伊利娜，2017年）

华山——五岳西岳
省份：陕西 | 高度：2160米（7 087英尺）华山，位于陕西省华阴市附近，距西安以东约120公里（75英里）。它是中国五岳中的西岳，具有悠久的宗教历史。它是国家 AAAAA 级风景名胜区，拥有长空栈道、寺庙、石阵、溶洞、瀑布等景观。华山是古都西安的旅游胜地。华山由五大山峰组成，所有山峰均可徒步登山。然而，许多狭窄的小路和崎岖的台阶使登山变得有一定的挑战性，而在南峰，沿着山体一侧的狭窄厚木板路将挑战任何人的高度关系。沿着两块狭窄的厚木板（用安全带固定在山峰边缘）行走，您可以沿着山峰行走。诀窍在于，这不是一条单行道，应对从另一个方向走来的人非常考验你的平衡能力。（罗德尼，2019 年）

恒山（山西）——五岳北岳
省份: 山西 | 海拔: 2017米（6617英尺）恒山，位于中国山西省中北部，被誉为中国五岳之一的北岳。山西省境内的恒山有时被称为北恒山，湖南省境内的衡山则被称为南衡山。两座山的汉语发音相同，南岳衡山也是五岳之一。与中国其他许多受人敬仰的山峰一样，恒山对道教信徒也具有重要意义。由于地处北方，恒山可能不像其他四座山那样受欢迎，但对于寻求宁静和与世隔绝的徒步旅行者来说，这也是一种优势。山脚下有一座悬空寺，沿着山的一侧延伸。这座木结构建筑由数十根木柱支撑，尽管外观脆弱，但每年都会迎来许多游客。（罗德尼，2019 年）

嵩山——五岳中岳
省份: 河南 | 海拔: 1500米（4921英尺）嵩山，是中国河南省中部、黄河南岸的一座山峰，被誉为中国五岳之一中岳。它是国家 AAAAA 级旅游景点并被列入世界遗产名录。它以其丰富的文化遗产而闻名，是禅宗的发源地、道教圣地和功夫的发源地。嵩山是中国的中心山脉之一，位于黄河岸边，毗邻古都洛阳。嵩山因是禅宗发源地和少林寺所在地最著名，因此对佛教和道教信徒都具有重要的宗教意义。少林寺吸引了众多好奇的游客，他们希望观摩习武之人展示高超的力量和协调性。山峰周围还有许多其他道教和佛教寺庙。（阿纳斯塔西娅·伊利娜，2017 年）

参考文献
Anastasiia Ilina. The Five Great Mountains of China. https://theculturetrip. com/asia/china/articles/the-five-great-mountains-of-china/. 2017
Rodney. The Five Great Mountains of China (Wuyue 五岳). https://welcometochina. com. au/. 2019
术语和表述
Taoism 道教
cultural revolution 文化大革命
plank 厚木板
Hanging Monastery 悬空寺
Zen 禅宗
Shaolin Temple 少林寺
Wei, Jin and Southern and Northern Dynasties 魏晋南北朝
practitioners of martial arts 习武之人
monastery 寺庙

问题
1. What does “Wuyue（五岳）” mean？
2. Do you know any famous Chinese lyrics related to Mount Tai?
3. What is the largest temple in southern China?
4. What are the features of Mount Hua?
5. What is the structure of the Hanging Monastery?
6. What is the famous site in Mount Song?

'''潘彤 63. Landscapes and Tourism: Mogao Grottoes'''

63.景观与旅游：莫高窟

简介

莫高窟的标志性建筑[https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Iconic_Building_of_Mogao_Grottoes. jpg]

莫高窟，又称千佛洞，建于敦煌市东南25公里处鸣沙山东麓的悬崖峭壁上。现存洞窟492个（保存完好），内有泥塑彩绘佛像2400多尊，壁画45000平方米，南区崖壁上有5座木结构建筑。北区悬崖上还有300多个洞窟，既是僧侣和画家的居室，也是他们的葬身之地。莫高窟附近还有一些石窟寺：西千佛洞（22个洞窟）、榆林石窟（42个洞窟）、东千佛洞（23个洞窟，其中8个洞窟有壁画和塑像）、无庙石窟（5个洞窟）。（樊锦诗，2010年，170页）
这些石窟的建造年代、内容和艺术风格与莫高窟十分相似，因此常被称为敦煌石窟。从公元4世纪到14世纪，石窟都是由僧侣利用捐赠者的资金建造的。主要的洞窟通常由佛教僧侣、地方统治精英以及中原帝王等赞助人赞助，其他洞窟则由商旅、军官和当地的人（如妇女团体）资助。（沙武田，2020年，122页）

莫高窟的历史
莫高窟并非一日建成。根据唐朝的相关记载，公元366年，一位名叫乐僔的僧人在敦煌游历。有一天，他在鸣沙山悬崖对面的三危山上看到了佛像，于是这位虔诚的信徒便在悬崖上开凿了第一个洞窟。后来，法良和尚来到这里，与他一起在洞中修行。此后的一千多年里，越来越多的洞穴被开凿出来。（惠特菲尔德，1990 年，第8页）
到了北凉时期，这里已经形成了一个小型的僧侣社区。这些洞窟最初只是作为隐士僧侣的冥想修行之所，但后来发展为服务于附近兴起的寺院。北魏和北周的统治家族成员在此修建了许多石窟，并在短暂的隋朝兴盛一时。到了隋唐时期，莫高窟已成为人们朝拜和朝圣的地方。隋朝时，河西走廊由中央政权控制。皇帝们虔诚地信奉佛教，下令在全国各地修建佛塔。因此，莫高窟在37年内开凿了100多个洞窟。（樊锦诗，2010年，第175-178页）
道教王元禄 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Taoist_Wang_Yuanlu. jpg]
到了唐代，石窟的数量已超过一千个。在此期间，敦煌成为丝绸之路的主要商业枢纽和重要的宗教中心。大量石窟都是在这一时期修建的，包括遗址中的两尊大佛像，其中最大的一尊是在695年修建的，当时唐朝女皇武则天在一年前下诏在全国各地修建巨型佛像。845年，武宗下令对佛教徒进行迫害，敦煌遗址躲过了这一劫，因为当时敦煌在西藏的控制之下。作为边陲重镇，敦煌曾在不同时期被其他非汉族人占领。唐代以后，敦煌逐渐衰落，元代以后完全停止了新石窟的建造。五代十国时期和北宋时期，莫高窟由曹议金保管。（马世昌，2010年，303页）之后，他的后代治理敦煌府，并修建了多个家族石窟，如第55窟。（高秀君，2016年9月）
明朝时期，丝绸之路最终被废弃，敦煌也慢慢人口减少，被外界遗忘。莫高窟的大部分洞窟被废弃。然而，二十世纪初，莫高窟又重新成为当地人朝圣和膜拜的地方。1900 年 6 月 22 日，道士王圆箓在清理第161窟的沙土时，在走廊的墙壁上发现了一个宝库，里面有大量的佛经经卷、旧行政文书、刺绣作品和绘画。自此，敦煌闻名于世。中外学者都对这些发现进行了广泛的研究。（斯坦因，1912年，第2卷）

艺术

有中心柱的支提窟

莫高窟的艺术主要包括三个方面：建筑结构、壁画和雕塑。莫高窟的结构形式主要有三种：精舍、支提窟和带倒漏斗形天花板的大厅。十六国（包括北魏、西魏和北周）早期石窟的主要形式是中央有柱的支提窟。壁画可分为七类：佛教人物、佛经插图、佛教故事、佛教历史画、中国神话、供养人和装饰图案。壁画中的佛教故事可分为三种类型：佛本生、佛陀的生平和命运故事。佛本生讲述了释迦牟尼在世时的善行，如舍身喂饿虎。至于雕塑，则是在木架上被建造，垫上芦苇，然后用灰泥塑模，最后涂上颜料。（段文杰，1994年，第163页）

王子以身饲虎
北魏第251窟 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Cave_251_in_Northern_Wei. jpg]

十六国时期的艺术风格在北魏逐渐从原始、简朴转向了轻松、优美的风格，表现为人物体态匀称、面容憔悴。到了北周，从人物造型上可以看出，融合了外来和本土风格的中国艺术逐渐走向民族化。（樊锦诗，2010年，第174页）
隋代造像的特点是身体粗壮、头大、面方、腿短。石窟变得宽敞，更适合绘制大型绘画，如佛经插图和巨幅佛陀说法图。工笔画大胆遒劲，线条繁复流畅。例如，第420窟天花板上的《妙法莲华经》在有限的空间内展示了大量山林、河流、建筑等情节。隋代的题材和艺术显示了传统艺术的重要发展，预示着一个辉煌新时代的到来。（段文杰，1994年，第164页）
唐代第68号石窟 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Cave_68_in_Tang_Dynasty. jpg]
唐代石窟规模宏大，洞顶呈倒漏斗状。壁画多为巨幅佛经故事画，场景规整，构图匀称。当时的人物面部圆润丰满，眉毛弯弯，表现了唐代人的审美情趣。第220窟的壁画中，皇帝和大臣们听经的形象栩栩如生。皇帝身边的大臣们各有不同的容貌和表情。有的自然雍容，有的小心翼翼。这些比例匀称的彩绘佛像在制作过程中更加细致入微，让我们看到了庄严肃穆的佛像。（樊锦诗，2010年，第174页）
此外，高大的巨型佛像也开始出现。其中最突出的是第96窟的一尊34米高的唐代早期佛像。公元781-848年，河西地区落入藏区。因此，出现了一个有趣的变化：在壁画中，藏王取代了中原皇帝的位置。（樊锦诗2010 年，175页）
到了五代十国和北宋时期，这一时期雕刻的石窟规模很大，形式和布局也各不相同。造像和壁画的题材和风格仍受唐代的影响，但在色彩的运用和绘画技法上呈现出淳朴的民间风格。从9世纪到12世纪，维吾尔族一直在敦煌活动。其艺术风格带有汉族和维吾尔族的印记。维吾尔壁画的总体特点是题材简单、布局松散、笔触直接而粗犷。（荣新江，1999年，248页）
人物形象具有某些少数民族的特征。西夏时期（1036-1227年），大部分石窟都进行了修缮和重修，由于崖壁有限，仅修建了10个石窟。与同时代的榆林石窟相比，敦煌壁画展示的是《净土经》，内容较为简单。元代（1227-1372年）仅存27个洞窟。但第3窟的壁画仍保留了唐宋的技法，即用不同的画法描绘人物的不同部位，如铁线纹、兰叶纹、折枝纹等。自15世纪以来，莫高窟在明清时期逐渐荒废。（荣新江，1999年，248页）
元代第3号石窟 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Cave_3_in_Yuan_Dynasty. jpg]

术语和表述
hermit 隐士
stupas 舍利塔
Emperor Wuzong ofTang Dynasty 唐武宗
Vihara 精舍
Chaitya 支提窟
stucco 灰泥
Sakyamuni 释迦牟尼
Sutras 佛经

问题
1. What do Dunhuang Grottoes refer to?
2. Who built the first cave and when?
3. In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?
4. How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?
5. What are the characteristics of the statues in Sui Dynasty?

参考文献
Fan Jinshi 樊锦诗. (2010). 敦煌石窟 [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院.
Gao Xiujun 高秀军. (2016). 敦煌莫高窟第55窟研究 [Research on the 55th Grotto of Mogao Grottoes in Dunhuang]. Lanzhou University 兰州大学.
MA Shichang. (2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang, 27(2), 303-317.
Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因 [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.
Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda - A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang]. 中原文物 Cultural Relics in Central Plain, No. 215, 118-128.
Stein, M. Aurel. Ruins of Desert Cathay. (1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.
Suemori Kaoru. (2020). "Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns". Kyoto: Hozokan.
Duan Wenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.
Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.
https://books. google. ru/books?hl=zh-CN&lr=&id=vYPNqlAMZWAC&oi=fnd&pg=PP7&dq=info:9v6pr21oST8J:scholar. google. com/&ots=s-uXhnyDBp&sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&redir_esc=y#v=onepage&q&f=false
https://en. m. wikipedia. org/wiki/Mogao_Caves
https://scholar. google. com/scholar?hl=zh-CN&as_sdt=0%2C5&q=mogao+grottoes&oq=

潘彤 64. Landscapes and Tourism: The Culture of Mount Tai

64.景观与旅游：泰山文化

A. 简介
泰山（https://image. baidu. com/search/detail? ct=503316480&z=0&ipn=d&word=%E6%B3%B0%E5%B1%B1&step_word=&hs=0&pn=12&spn=0&di=57860&pi=0&rn=1&tn=baiduimagedetail&is=0%2C0&istype=2&ie=utf-8&oe=utf-8&in=&cl=2&lm=-1&st=- 1&cs=3450486865%2C100894551&os=2998600338%2C4050705434&simid=3289339882%2C371146313&adpicid=0&lpn=0&ln=1846&fr=&fmq=1623779968717_R&fm=result&ic=&s=undefined&hd=&latest=©right=&se=&sme=&tab=0&width=&height=&face=undefined&ist=&jit=&cg=&bdtype=0&oriquery=&objurl=https%3A%2F%2Fgimg2. baidu. com%2Fimage_search%2Fsrc%3Dhttp%3A%2F%2Fn. sinaimg. cn%2Fsinacn08%2F194%2Fw640h354%2F20180328%2Ff356-fysqfnh7181142. jpg%26refer%3Dhttp%3A%2F%2Fn. sinaimg. cn%26app%3D2002%26size%3Df9999%2C10000%26q%3Da80%26n%3D0%26g%3D0n%26fmt%3Djpeg%3Fsec%3D1626371984%26t%3D8548a115be768863ed41740266584cb1&fromurl=ippr_z2C%24qAzdH3FAzdH3Fh_z%26e3Bftgw_z%26e3Bv54_z%26e3BvgAzdH3Fw6ptvsj_m9dmd9a08b_80uabwmvjaa8aamd40_z%26e3Bip4s%3Fu654%3Dp6wejs&gsm=d&rpstart=0&rpnum=0&islist=&querylist=&nojc=undefined)
被誉为“五岳之尊”的泰山，如巨人般屹立在山东齐鲁大地上，静静地俯视着脚下的万物。它不仅是大自然的一员，也是一个不同寻常的文化符号。两千多年来，泰山成为中华民族的精神家园，封建帝王祭天，文人墨客抒怀，百姓顶礼膜拜。深厚的文化积淀造就了泰山“国山”“圣山”的地位。国学大师季羡林曾说：“泰山是中华文化的主要标志之一。我们要弘扬中华文化，首先要弘扬泰山文化。”（魏伟、范宏亮，2020，7）

B. 泰山文化的内涵
如上所述，泰山文化大致可以从以下三个方面来理解。

1. 祭祀（封禅）文化
祭祀大典（封禅）(Fengshan)(https://image. baidu. com/search/detail?ct=503316480&z=0&ipn=d&word=%E5%B0%81%E7%A6%85&step_word=&hs=0&pn=1&spn=0&di=113960&pi=0&rn=1&tn=baiduimagedetail&is=0%2C0&istype=2&ie=utf-8&oe=utf-8&in=&cl=2&lm=-1&st=-1&cs=1788733681%2C3363775309&os=3065253812%2C366172319&simid=3443118911%2C554498160&adpicid=0&lpn=0&ln=1820&fr=&fmq=1623767925869_R&fm=result&ic=&s=undefined&hd=&latest=&copyright=&se=&sme=&tab=0&width=&height=&face=undefined&ist=&jit=&cg=&bdtype=0&oriquery=&objurl=https%3A%2F%2Fgimg2. baidu. com%2Fimage_search%2Fsrc%3Dhttp%3A%2F%2Fi. 3233. cn%2Fa%2F202011%2F9a9213101502bcae. jpeg%26refer%3Dhttp%3A%2F%2Fi. 3233. cn%26app%3D2002%26size%3Df9999%2C10000%26q%3Da80%26n%3D0%26g%3D0n%26fmt%3Djpeg%3Fsec%3D1626360324%26t%3D28beedae81d4507cc4f5770d4b42230e&fromurl=ippr_z2C%24qAzdH3FAzdH3Fooo_z%26e3Bndnn_z%26e3BvgAzdH3FgAzdH3F3zm7-8nd9d_z%26e3Bip4s&gsm=3&rpstart=0&rpnum=0&islist=&querylist=&nojc=undefined)
封禅是古代帝王登临泰山之巅后举行的盛大祭祀仪式，以祭祀天地，宣扬功绩，感谢神灵给自己和子民带来的福祉，并将功绩刻在巨石上。（中国思想文化术语）
先秦学术著作《管子》记载，古代有 72 位部落首领曾登临泰山。进入封建社会后，秦始皇、汉武帝、唐高宗和女皇武则天、唐玄宗、宋真宗、清康熙、清乾隆等先后来泰山朝拜和祭祀，其中汉武帝曾八次登泰山。
帝王祭拜泰山是一种独特的文化现象。任何一个帝王，如果想巩固自己的统治，向天地汇报自己的功绩，都会来泰山祭拜，以此作为自己丰功伟绩的象征。因此，祭祀（封禅）文化是泰山文化的重要组成部分。（金磊，2021，108；侯晓琳，2020，100）

2. 文人文化
泰山在中国文人心目中占有非常重要的地位。他们似乎有一种与生俱来、挥之不去的泰山情结。
有“亚圣”之称的孟子曾感叹泰山的雄伟，说“登泰山而小天下”，这在《论语》中有记载。东汉王充说：“太山之高，参天入云”这是对孔子泰山之言的一种诠释。自此以后，文人墨客对泰山的敬意从未断绝。唐代诗人杜甫在《望岳》诗中写道：“会当凌绝顶，一览众山小。”元代诗人张志纯在《泰山喜雨》中写道：“岱宗天下秀，霖雨遍人间。”东晋诗人谢道韫在《泰山咏》中写道：“峨峨东岳高，秀极冲青天。”古代文人赞美泰山的文字作品不下千篇，可见泰山在文人心中的重要地位。邹博杨，2020，99）。

3. 民间信仰文化
《碧霞元君》(https://baike. baidu. com/pic/%E7%A2%A7%E9%9C%9E%E5%85%83%E5%90%9B/2199062/0/42166d224f4a20a4462391eb191e8f22720e0cf37ac0?fr=lemma&ct=single#aid=0&pic=42166d224f4a20a4462391eb191e8f22720e0cf37ac0)
说到泰山的民间信仰，就不得不提“泰山神”和“碧霞元君”。
据说，泰山神掌管万物（包括植物、动物和人）的生生不息之力。作为泰山的化身，他是沟通天地的使者，也是所有奉天承运、治理天下的帝王的保护神。
碧霞元君是泰山最有影响力的女神。道教认为她“庇佑众生，灵应九州”。她扶弱惩恶，为需要的家庭送子送女，有求必应。
历

==Homework until Session 2==
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==Homework until Session 5==
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==Final paper after Session 16==
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==Session 1 Student presentations==
==='''涂海蓉 34. Confucianism: Confucian Culture'''===

Please upload your power point here:

[[Media:Confucian_Institutes_2024.pptx]]

儒学：儒家文化

引言

儒家是由孔子建立，孟子发展，荀子整理的学术流派。迄今，它仍然保持着一定的生命力。儒家以儒学为指导思想，其中心思想是恕、忠、孝、悌、勇、仁、义、理、智、信。（李晓愚，2010年，第31页）

先秦时期，百家争鸣，儒家与其他百家学术流派处于同等地位。秦始皇焚书坑儒后，儒家的发展受到严重打击。后来，为了维护封建专制统治，汉武帝听从了董仲舒“罢黜百家，独尊儒术”的建议，加强思想专制，儒家得到复兴。（张岂之，1990年，第20页）“儒家”“儒学”“儒教”的概念是不同的，儒家是理论学派，儒学是社会阶层，而儒教是信仰。（陈智斌、杜爱红，2017年，第60-61页）

老子创立了中国道家学派；孔子始创了中国儒家学派；孙子开创了中国兵家学派；墨子是战国初期墨家的创始人。儒学有助于指导行为规范，建设社会秩序；道家注重培养自然观念和精神发展方向；法学服务于国家政治管理的制度建设；兼爱和非攻的概念是墨家的两大基石。

儒学的大一统思想在国家统一、增强民族凝聚力和文化价值融合方面发挥了重要的作用。（谭苏，2012年，第68页）历经两千多年的发展和演变，儒家文化建立起了一个完整的思想体系，包括政治、教育、道德、伦理、行为规范、生活技巧等各个方面。它贯穿华夏历史，培育了中华民族的智慧与灵魂，形成了根深蒂固的思维、心理与生存模式。（向春玲，2008年，第42-43页）

儒家文化分析

智慧发展

孔子是伟大的教育家，也是平民教育的先锋者和实践者。儒学被确立为正统文化后，统治者和百姓都尊崇孔圣教义，重视教育。在这种背景下，保持高度的文化修养与礼教浸润是基本的要求。隋朝，隋文帝发明科举考试，学而优则仕，这鼓舞了寒门学习通过勤奋学习改变自己的生活。（张岂之1990，19）

中华民族世世代代十分重视对子女的教育，这有利于提高整个民族的思维能力。然而，中后期政府的腐败、官僚的黑暗让许多文人学士对仕途感到绝望，对理念感到怀疑。此外，四书五经是儒学的主要学习内容。除了官办学校，私塾和自学几乎无法达到六艺的要求。（张岂之，1990年，第21页）因此，四书五经被作为学生学习的重点，而六艺并没有得到高度重视。

精神指引

精神层面，儒学主张“天行健，君子当自强不息；地势坤，君子以厚德载物。”（张岂之，1990年，第86页）仁者爱人，体现了“天人合一”的精髓，也是儒学最精辟的内涵。这种哲学号召人们积极奉献社会。在现代，它仍具有生命力，是未来人们精神方向的基本要求。（李晓愚，2010年，第32页）

秩序构建

野蛮时期与落后时期的共同点是，一小部分人掌权，压迫奴役大部分人，结果导致劳动分工和财富分配不公，产生了相应的社会等级制度和观念。因为儒学发展于封建社会的过渡时期，孔孟思想植根于唯心主义天命观，没有突破社会等级制度的束缚。此外，他们甚至提倡贵贱有别，强调了等级划分的重要性。（李芳萍，2013年，第56页）

这种背景下，他们所倡导的“仁”在政治管理方面有很大的局限性。百姓的政治地位不能得到公平对待。反之，这种所谓的“仁”呼吁改善百姓生活条件，统治阶级获得更多利益。然而，它的目的是维护社会秩序，调解社会矛盾。这也是封建统治者支持儒学的根本原因。本质上，儒学并没有促进社会公平，相反，它致力于维护不公平的封建社会等级制度，加剧了奴役。事实上，在长期的封建统治下，等级观念已经变成了民族心理的一部分。随着时代与文明的进步，天命观和社会秩序思想变成了中华民族的心理桎梏。（李芳萍，2013年，第56页）

消除封建等级思想和形式主义理念后，儒学的一些哲理在现在社会仍然产生着积极的影响。具体来说，“仁”和“博爱”的精神有利于培养人们的精神；“国家属于人民”的理念反映的积极奉献社会的责任感，可以扩展为不同国家所共享的社会与政治哲学。（李晓愚，2010年，第33页）

孝悌增进了家庭的和睦与稳定；忠信礼恕有利于不同国家、社会和人民之间的关系。“忠”意味着人民应该对国家和民族保持忠诚；“友”“恕”在化解各种矛盾与敌意中发挥着重要作用；谈到“孝”“礼”，许多封建社会遗留的的繁文缛节应当被根除，更注重实际。（向春玲，2008年，第39-41页）

儒家文化的当代价值

今天，儒家文化仍然具有重要意义。我们必须在中华民族优秀传统的基础上，结合当今时代特征与实际国情，探索儒家文化的价值。儒家文化影响中国民族两千余年，已深入到中国社会的方方面面。（向春玲，2008年，第39页）

思想政治教育

儒家文化主张以人为本，高度重视人的价值和尊严。（张岂之，1990年，第51-57页）

多年来，中华民族深受这一优秀哲理影响。在此背景下，其行为模式与心理结构被赋予了独特性，主要表现在两个方面。一是自尊自爱，学会关爱自己。除此之外，也要通过不断提升道德修养增强自尊，实现人的价值发展。二是尊重他人，通过尊重、理解和关心他人来体现对他人人格的尊重。（向春玲，2008年，第39-40页）

现代化经济建设

当今形势下，一些思想内容仍然具有生命力，对促进现代化经济建设，培养中国人民现代爱国主义情感产生着积极影响。（李承宗，2002年，第65页）

首先，儒家文化强调“仁”的思想与组织意识。它有利于培养集体主义思想，为中国现代经济提供精神支柱。（李承宗，2002年，第65页）

由于儒家文化体现的集体主义人生观，个人充满了对他人和集团的义务感和责任感。在此背景下，他们的自我修养旨在治国齐家平天下。因此，个人的价值与国家的兴衰紧密相连，所以他们有强烈的责任感。“天下兴亡，匹夫有责”成为了数千年来的共同信念。这种社会责任感会产生巨大的驱动力，推进国家与社会的发展。（谭苏，2012年，第68页）

第二，儒家文化的“自强”意识和“求是”主张增强了民族精神，为中国经济现代化提供了源动力。（李承宗，2002年，第66页）

《易传》指出：“天行健，君子以自强不息。”它意味着不断发展是自然的法则，君子应当追求进步，坚强不屈。千年来，中华民族在这些思想的影响下形成了奋发图强的优良传统。今天，我们弘扬“自强不息”与“实事求是”的精神，就是要进一步增强民族精神，为社会主义现代化提供强大动力。（李承宗，2002年，第67页）

第三，儒家文化的“改革创新”理念有利于进一步改革开放，加快中国社会主义现代化。在认可不断发展是自然法则的基础上，儒家文化提出了“创新”思想。《礼记》中有言：“苟日新，日日新，又日新。”《易经》曰：“革故鼎新。”（李承宗，2002年，第67页）

这个理念不仅为历史中的改革创新奠定了理论基础，也为当今社会主义经济政治体制改革提供了宝贵经验。对内，弘扬创新精神能够极大地增强中国人民的改革意识。对外，它有利于扩大儒家文化的国际影响力，进一步对开外放。（李承宗，2002年，第67页）

法制建设

儒家文化高度重视个人修养，高度文明的法治社会应该由高素养的公民组成。儒家，在中国有着千年历史的学术流派，已成为中华文化不可或缺的组成部分。（李晓愚，2010年，第32-33页）

如今，中国提出将德治与法治相结合的政策，正是儒家文化找准历史定位，充分发挥作用的时机。探索儒家文化对当代中国法治建设的影响，不仅可以帮助我们深入了解传统文化，也能促进当今中国的法治建设进程。（李晓愚，2010年，第32-33页）

德治思想是儒家文化的重要组成部分，它强调德育的重要性。它是古代中国统治者奉行的治国方略，也是当代中国具有重要借鉴意义的治国方法。

治国层面，儒家强调道德的重要性，它相信治国不应该主要依靠严刑峻法，相反，应该用德育感化民众。子曰：“为政以德，譬如众星捧月。”通过将统治者比作北极星，将人民比作群星，孔子强调了德育的重要性。（王杰，2004，第77页）

如何以德治国？首先，统治者应注重自己的个人修养，发展良好道德品质，以此为公众树立优秀榜样。只有官民真诚地服从于统治者，才能形成良好的社会氛围。其次，由于儒学以“仁”为其核心，呼吁德治，很多人下意识地认为儒学否定法治，并认为儒家文化根本不主张法治。（王杰，2004年，第82-83页）

事实并非如此。诚然儒学提倡德治，它也强调以法治为辅。子曰：“圣人认为，国家治理必须德治与法治相结合。”也就是说，如果用制度和法律约束人们，他们会寻求免罚却缺乏良知；然而，如果以道德和礼节指引他们，他们会有是非观念并严格要求自己。（王杰，2004年，第83页）

总而言之，我们应该认识到，尽管儒家文化是中国的优秀传统文化，它也是封建社会的产物，其本意旨在维护封建专制君主制。因此，它不可避免地存在一些落后性和局限性。在这种情形下，我们必须辩证分析儒家文化，探索儒家文化价值。同时，我们应舍弃其遗留的陋习和不利因素，更好地弘扬中国传统文化，加快现代中国法治建设。（王杰，2004年，第83页）

孔子学院

随着中国国际地位的提高和国际交流的日益增强，中国文化赢得了广泛的国际关注，世界更加渴望学习和理解中国文化。2004年，为响应时代号召，孔子学院成立。今天，孔子学院已遍及亚洲、非洲、美洲、欧洲和大洋洲。（吴瑛，提文静，2009年，第30页）

从根本上说，它有助于中国文化走出去，因为语言是中国文化的重要载体。它对于中国国家形象塑造、中国国际影响力提升、实现广泛国际交流都具有积极意义。（吴瑛，提文静，2009年，第30页）

孔子学院的快速发展充分展现了世界人民学习汉语、了解中国的需求和渴望，但过程中仍然存在一些难题。当今，各国致力于传播自己的语言和文化，因此，国际文化推广中存在着激烈的竞争。此外，孔子学院努力实现持续发展。对内，其发展受诸多因素限制，包括师资短缺、质量低下及缺乏针对性。（吴瑛，提文静，2009年，第31页）

如今，孔子学院遍及世界，但追求量与速的传播策略导致能够对外教授汉语的教师严重不足。

据统计，全球至少缺少 500 万名 TCSL 教师。（吴瑛，提文静，2009年，第31页）

其次，缺乏高质量的本土化汉语教材也成为孔子学院发展的瓶颈。汉语教材的缺乏直接影响了孔子学院文化交流的深度。第三，孔子学院不能传播中国文化的渊博思想。尽管教材内容丰富，但它们主要注重于通过介绍中国食物、茶酒、传统中国医学和武术传播民俗文化。

同时，它们很少提及传统中国文化的思想精髓和现代中国文化的现代价值。（吴瑛，提文静，2009年，第32页）

孔子学院应当全力探索儒学的现代意义，传播中国文化精髓，增进中国文化核心思想及其现代文化价值的推广。中国文化海纳百川。孔子学院应该传播的不是中国文化的全部内容，而是不同于其他国家又展现出中国文化精髓的、具有普世价值的内容。（向春玲，2008年，第42页）

问题

1.儒家文化的核心思想是什么？

2.儒家、儒学、儒教有什么区别？

3.你怎么看待儒家、道家、墨家、法家之间的关系？

4.什么是六艺？

5.你怎么认为儒学的古代影响？

6.你认为儒家文化在中国仍有其当代价值吗？为什么？

7.你如何看待孔子学院的发展现状？

==='''朱然 36. Confucianism: Classical Philosophy - Confucius and Confucianism'''===

Please upload your power point here: [[Media:Confucianism_2024.pptx]]

36. 儒家思想：古典哲学—孔子和儒家思想

孔子被认为是古代中国的一位伟大哲学家和一位伟大圣人。在中国，孔子被称为仲尼、孔丘或孔夫子（孔先生）。17世纪的耶稣会传教士称呼他为Confucius，这个源自拉丁语的名字已为西方所熟知。
据说在大约公元前551年，孔子生于鲁国曲阜（现山东省），卒于公元前479年。他生活在一个动荡时代之末，称为春秋时期。旧周朝诸侯国为争夺霸权而相互争斗，产生的混乱使许多思想家寻求社会秩序与和谐的基本原则。孔子试图游说各个诸侯国，使君主们相信正确的治理方式。虽然儒家思想成为了国家的官方思想体系，但它从未变成一个具有教堂和牧师的确立宗教。中国学者尊称孔子为伟大的老师和圣人，但并没有将他当作人格神来崇拜。孔子本人也没有宣称具有神性。
儒家思想是中国主要的官方思想体系，起源于孔子及其弟子的教导。它涉及到优良行为、实践智慧和适当社会关系的原则。它影响了中国人的生活态度，设定了生活方式和社会价值标准，并为中国的政治理论和制度提供了背景。它自然融入了古代中国的紧密家庭关系和绝对规则模式中，其中父亲像皇帝一样治理，而皇帝则应该像父亲一样关心他的子民，而下面的人则对两者都要服从。这一信仰体系长期统治中国，主要推崇那些适应静态和理想温和世界的美德，使每个家庭都在统治者的统治下有其位置，每个独立的人在家庭中也有其位置。儒家思想从中国的朝鲜、日本和越南传播开来，引起了西方学者的极大兴趣。
儒家思想的原则包含在孔子及其追随者传下来的九本古书中。这些教义可以分为两组：五经和四书。
五经是孔子时期之前的作品，包括以下著作：《周易》（Classic of Changes）、《尚书》（《Classic of History）、《诗经》（Classic of Poetry）、《礼记》（Classic of Rites）和《春秋》（Spring and Autumn Annals）。《周易》主要是一部占卜手册，可能编撰于公元前11世纪之前。其补充的哲学部分，包含在一系列附录中，可能是孔子及其弟子所写。《尚书》是一部古代历史文献的汇编，《诗经》是一部古代诗歌的选集。《礼记》涉及行为原则，包括公共和私人仪式应遵守的规则。《春秋》据说是孔子编纂的唯一著作，是一部珍贵的编年史，记录了从公元前8世纪到公元前5世纪初孔子死亡时的重大封建中国历史事件。
四书是孔子和孟子言论的汇编，以及弟子们对这些思想的评论。包括《论语》（Analects）是孔子名言的汇编，构成了他的道德和政治哲学的基础，《大学》（Ta Hsueh）或The Great Learning，，《中庸》（Chung Yung）或The Doctrine of the Mean，包含一些他的哲学言论，有序地附有弟子们的注释和阐述，《孟子》（Meng Tzu）或Book of Mencius包含孔子最好的继承者之一的名言。
儒家伦理的主旨是“仁”，被解读为各种意思“仁爱”、“爱情”、“善良”、“人性”或“仁心”。“仁”是最高的美德，代表人类最高尚的品质。在个人关系中，“仁”被视为人与人之间的关系，在对自己和他人忠（诚）或faithfulness中得到体现。端庄、互惠和利他主义在儒家黄金法则中体现得淋漓尽致，“己所不欲，勿施于人”。其他重要的儒家美德包括righteousness（义）、propriety（礼）、wisdom（智）、trustworthy- ness 或 integrity（信）和filial piety（孝）。拥有所有这些美德的人成为君子，完美的绅士。政治上，孔子倡导一种父权制的政府，其中君主是仁慈和尊贵的，而子民是尊重和顺从的。统治者应该修养自己，成为道德上完美的人，这样他才能为人民树立良好的榜样。在教育上，孔子坚持“有教无类”的理论。

术语和表达方式
Kong Qiu 孔丘

Qufu 曲阜

Ducal state 诸侯国

Great teacher and sage 至圣先师

Classic of Changes 《易经》

Classic of History 《书经》

Classic of Poetry 《诗经》

Classic of Rites 《礼记》

Spring and Autumn Annals 《春秋》

Appendix n. 附录

Commentary n. 笺注 Analects 《论语》

The Great Learning 《大学》

The Doctrine of the Mean 《中庸》

Book of Mencius 《孟子》

Benevolence n. 仁

Righteousness n. 义

Propriety n. 礼

Wisdom n. 智

Integrity n. 信

Filial piety 孝

问题

1. “孔子”是什么意思？孔子是如何闻名西方的？

2. 孔子生活在哪个混乱的时代？他是如何宣讲自己的思想的？

3. 儒家思想曾经变成国教吗？哪些国家的政治和宗教相结合？

4. 儒家思想主要关于什么？它对中国文化有多重要？

5. 儒家思想符合古代中国的等级制度吗？它的目标是建立什么样的社会？

6. 五经指的是什么？

7. 五经分别是关于什么的？它们都是由孔子编撰的吗？

8. 四书指的是什么？他们包括什么？

9. 哪一本书构成了儒家思想的基础？孔子的格言都包含在其中了吗？

10. 儒家伦理的主旨是什么？你还知道儒家的其他美德吗？

11. 统治者和臣民应该如何按照儒家的道德准则行事？

=Session 2 MW Fri Mar 8 10:00-11:40 room 404=
The topics and contents of the following sessions will be determined by the selection of the students.

==Session 2 Student presentations==
==='''姜睿 93. Medicine: Traditional Chinese Medicine (TCM)'''===

power point : [[Media:TCM_2024.pptx]]

Terms and Expressions

Pharmacology n. 药理学

Pathological adj. 病理学的

Main channels 经

Collateral channels 络

Excretion n. 分泌

Discharge n. 排泄

Syndrome n. 症状（阴阳、表里、寒热、虚实）

Under-activity n. 体虚

Acupuncture n. 扎针

Moxibustion n. 灸术, 拔火罐

Massage n. 按摩

Therapy n. 治疗法

Immunity n. 免疫

Clinical medicine 临床医学

The Yellow Emperor’s Classic of Internal Medicine 《黄帝内经》

On Typhoid and Other Diseases 《伤寒杂病论》

The Herbal Canon of Shen Nong 《神农本草经》

Prescription n. 药方

Property of drug 药性

Pellet n. 小丸

Tincture n. 药酒

Syrup n. 糖浆

Gelatin n. 骨胶

Solvent n. 溶剂

Spray n. 喷剂

Pharmaceutical works 制药厂

93.医学：中医

中国古代人民在与疾病的长期斗争中创造了丰富的宝库，中国传统医学与药理学在治疗技艺领域形成了一个独立的流派。它在两千多年的历史中取得了卓越的成就，并在此过程中不断完善，直到今天仍被广泛采用。
中国传统医学和药理学吸收了阴阳理论和五行理论。这两者都包含了中国古代朴素的辩证思想。前者认为，万物都有阴阳两面，阴阳之间的相互斗争和相互作用是宇宙万物不断产生和变化的根源。后者认为，宇宙万物都是由日常生活中不可或缺的五种元素组成的，它们不断运动变化，相互促进，相互制约。
中医的生理和病理分支侧重于内脏、经络、气血、运动和排泄。（中医的）诊断有一套完整的观测体系，其中患者疾病的性质由“四诊”确定——观察患者的整体面貌（望），听声音和闻气味（闻），询问问题（问）和感受患者的脉搏（切）。然后，治疗进入到平衡“八纲”这一步——即平衡阴阳、表里、寒热和虚实。中医还有其他治疗法，如针灸，这涉及对人体经络和穴位的研究。此外还有按摩和气功（呼吸练习）等治疗方法。
中国传统医学和药理学包含着许多被实践证明了的有价值的思想和观点。其中最重要的是，中医不是只治疗症状，而是考虑到患者病情的各个方面，根据阴阳和五行理论形成统一的概念，然后决定治疗方法。举例来说，对于可能需要动手术的疾病，中医关注的是可能导致病情的一般生理变化，除了手术或采用某种形式的治疗外，还试图提高患者抵抗疾病的能力。预防医学在传统中医学中一直受到重视，在现代医学中得到了很高的评价。其预防措施包括早期治疗、提高身体免疫力和“以毒攻毒”。
传统医家认识疾病、观察疾病、分析疾病、治疗疾病的经验主要通过医学文献传承下来。据不完全统计，现存此类文献约8000余篇，其中以临床医学文献居多。《黄帝内经》、《伤寒杂病论》和《神农本草经》是公元前3世纪以前的3部代表性医学著作。《黄帝内经》完成于战国时期（公元前475-221年），是现存最早的中国医学巨著。全书共18卷162章，对人体的生理机能、疾病的症状和诊疗原则作了比较科学的阐述，奠定了中医学的理论基础。另外两本书写于东汉（25-220）。《伤寒杂病论》主要论述了中医的辨证诊断方法、治疗方法和方剂，而《神农本草经》是现存最早的药理学著作，列出了365种药物，奠定了中国药理学的基础。
现在使用的中草药总共有5000多种。根据传统药理学，药物的性质是由其“四性”（寒，凉，温，热）和“五味”（辛，酸，甘，苦，咸）区分的。传统的中药可以制成丸剂、散剂、小粒、小丸、药酒、冲剂、糖浆、块剂和骨胶等形式。目前还可制成注射剂、片剂、可溶性制剂和喷雾剂。许多中药制药厂全国闻名，如北京的同仁堂、天津的大仁堂、杭州的胡庆余堂、苏州的雷允上堂和长沙的九芝堂。
虽然中医有自己的理论体系、治疗原则和治疗方法，但中国的医学工作者被要求从现代科学的角度研究传统中医的原理和方法，并结合西方医学，发展一种新的中医药学。这成就了中国的三大医学分支——中医、西医和中西医结合如今的共存和同步发展。

问题
1.中医的两大理论基础是什么？它们有什么含义？
2.中医是如何诊断的？什么是“四诊”？
3.中医是怎么进行治疗的？
4.中医还有哪些疗法？
5.中医是不是只治标不治本？中医是如何形成对疾病的统一认识的？
6.中国的预防医学包括哪些预防措施？
7.公元前3世纪以前中国最伟大的三部医学著作是什么？
8.中国现存最早的医学名著是什么？你对它的历史、内容和重要性了解多少？
9.你对另外两部杰作的历史和内容了解多少？
10.草药的特性是如何区分的？
11.中国的三大医学分支是什么？

=Session 3 MW Fri Mar 15 10:00-11:40 room 404=
==Session 3 Student presentation 1: '''李珣 18. Astrology: Calendar, The 24 Solar Terms'''==

power point : [[Media:24_Solar_Terms_2024.pptx]]

18. 占星术：日历，24 节气

1.二十四节气的起源与发展
“二十四节气”是传统农历中独一无二的现象，在中国有着悠久的历史。二十四个太阳系是中国古代在观测太阳的年度运动时创造的，被视为一个时间知识系统和农业指南。它发源于黄河流域，是人们对天文、气象、天气等观察、探索和总结的结果，是中国古代人民创造的优秀文化遗产。（王佳华，2019）

到了西周晚期，人们已经测量了前四个节气：冬至、夏至、春分和秋分。其后，随着测量技术的提高和战国时期人们对自然规律认识的进一步加强，基本形成了完整的24节气。在秦汉时期，完善了一个完整的系统，形成了今天完整的二十四节气系统。（王佳华，2019）

2. 24节气的定义和分类
“二十四节气”是传统农历上的独特现象。为了促进农业生产，中国古代人总结了一种补充日历，根据太阳在黄道上的运动以及天气和其他自然现象的季节性变化将一年分为 24 个部分，其中 24 个部分按比例分布在 12 个月内。（袁继熙 2016， 34-35）
“二十四节气”是传统农历上的独特现象。为了促进农业生产，中国古代人总结了一种补充日历，根据太阳在黄道上的运动以及天气和其他自然现象的季节性变化将一年分为 24 个部分，其中 24 个部分按比例分布在 12 个月内。（袁继熙 2016， 34-35）
从月初开始的节气称为节气，从月中开始的节气称为气（气）。（每三年就会有一个月只有节而没有气，或者有一个月只有气而没有节，在这种情况下，将添加一个闰月来调节它。节气之所以如此命名，是因为它们代表了季节、物候和气候的变化。（袁继熙 2016， 34-35）
反映季节变化的八个节气是初春、春分、初夏、夏至、初秋、秋分、冬初和冬至;代表物候变化的四个节气是昆虫觉醒、新鲜绿色、小饱满度和谷物在穗;表示气候变化的 12 个节气是雨水、粒雨、小热、大热、热结束、白露、冷露、初霜、小雪、大雪、小寒和大冷。（袁继熙 2016， 34-35）

3.二十四节气民俗
二十四节气的民俗可分为三个方面：节日民俗、生活习俗和饮食习俗。立春时的“鞭打春牛”和寒冷季节结束时的“拖尾节”等节日习俗。（丁一鸣，昌河2020）几乎每一个节日都有自己特殊的饮食习俗，比如冬至的饺子、夏至的面条，以及立春的咬春、品春。遵循“天人合一、四季合一”的传统观念，二十四节气带来了丰富的健康习俗，如春天吃肝、夏天喝水等。
这些活动大致可以概括为：顺应时势拜神、尊祖持家、除恶求和、休闲娱乐。以立春为例，据说立春的第一天、春分日和秋分日都可以把鸡蛋立起来。人们相信，如果有人能在立春的第一天把鸡蛋立起来，他将来会有好运。在中国的许多地方，人们在立春的第一天遵守“咬春”的习俗。他们吃春饼、春卷或几口胡萝卜。此外，大约3000年前，中国人开始在立春的第一天举行一个特殊的仪式。他们向掌管农业的春神勾践献祭。到清代（1644-1911），迎春已成为一项重要的民间活动。（何艳楠、邹亚婷2020）

4.二十四节气的重要性和价值
4.1在古代的重要性
二十四节气是对传统农耕文化的创造，其生产、发展和传播适应了农耕时代的经济生产方式和社会需求。他们在中国传统人民的生活和工作中发挥了重要作用。（王家华2019）
首先，二十四节气是古代农业生产活动的基本时间指标，也是二十四节气最基本的功能和价值。农业生产是人类根据自然节奏和作物生长规律进行的经济活动。农业生产的基本要求是把握农业时间，即“不违反农业时间，粮食供应就会充足”（《孟子·梁会望》）。（王家华2019）
其次，二十四节气在古代也被视为人们日常生活中的重要时间点。第三，对于古代祖先来说，二十四节气不仅仅是一个时间系统，而是一个更加丰富多彩的生命内涵，是他们丰富多彩的生活的重要表现和组成部分。（王家华2019）
例如，“四个开始”(四立)- 立春、立夏、立秋、立冬是历史上的重要节日。在这些节日中，皇帝们会带领朝臣前往首都的东、南、西、北门举行仪式，迎接春、夏、秋、冬的到来。冬至、夏至和清明节仍然是今天重要的传统节日，尤其是清明节。春节、端午节、中秋节和清明节被称为中国的四大传统节日。（王家华2019）

4.2现代社会的价值观
2016年，二十四节气被列入《世界非物质文化遗产名录》，成为坚定中华民族文化自信、增强中华民族文化凝聚力最生动的文化符号之一。（丁一鸣，长河2020）
它在现代社会仍有其现实价值。首先，二十四节气作为一个历史悠久的知识体系和丰富多彩的习俗传统，具有尊重自然、顺应时宜、尊祖、孝老、好邻居、好朋友等深刻的精神文化内涵。因此，它是中华优秀传统文化的重要组成部分之一。（王家华2019）
其次，二十四节气能够准确地反映自然界的节奏和规律以及人与自然的和谐关系。（王家华2019）
最后，二十四节气不仅是一个时间系统，而且是一个充满丰富内涵的生活传统，是人们生活的重要组成部分。（王家华2019）

Terms and Expressions

the Beginning of Spring 立春

Beginning of Autumn 立秋

Rain Water 雨水

End of Heat 处暑

Insects Awakening 惊蛰

White Dew 白露

Spring Equinox 春分

Autumnal Equinox 秋分

Fresh Green 清明

Cold Dew 寒露

Grain Rain 谷雨

First Frost 霜降

Beginning of Summer 立夏

Beginning of Winter 立冬

Lesser Fullness 小满

Light Snow 小雪

Grain in Ear 芒种

Heavy Snow 大雪

Summer Solstice 夏至

Winter Solstice 冬至

Lesser Heat 大暑

Lesser Cold 小寒

Greater Heat 立春

Greater Cold 大寒

问题

1. 中国古代人测量的前四个节气是什么？

2. 24节气从何而来？

3. 反映季节变化的八个节气是什么？

4. 24节气何时被列入《世界非物质文化遗产名录》？

5. 初春的饮食习俗是什么？

6. 你知道24个节气的其他民间传说吗？

References

Yuan Jixi. 袁济喜. (2016). "中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)

Wang Jiahua. 王加华. (2019. 9. 20）"China Social Science Network" http://www. cssn. cn/zx/bwyc/201909/t20190920_4974497_1. shtml

Ding Yiming. Chang He. 丁一鸣. 常河（2020. 11. 17）"Chinanews" http://www. chinanews. com/cul/2020/11-17/9340057. shtml

He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020. 2. 4) “China Daily” https://ent. chinadaily. com. cn/a/202002/04/WS5e3901a9a3107bb6b579d18d. html

=='''储守娟 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China'''==

Please upload your power point here: [[Media:Wu_Zetian_2024.pptx]]

57. 性别:武则天——中华帝国唯一的女皇帝

简要介绍

武则天(https://www. worldhistory. org/uploads/images/4558. jpeg?v=1623024902)

武则天皇后(武后、武侯、武媚娘、媚娘、武昭皇后，公元624-705年，公元690-704年)是中华帝国唯一的女皇帝。她统治于唐朝(公元618-907年)，是中国历史上最有效和最有争议的君主之一。(马克，2016)

政治

武则天所掌握的最重要的执政手段之一就是科举制度：科举制度的基本理论和实践是招募那些受过最好教育、最有才能、最有潜力履行职责的人进入政府服务，并通过对候选人进行测试来客观地确定这一点。武则天继续使用科举制度来招募官员，她对自己继承的制度进行了重大改革，包括增加应试人数，允许以前因背景而不合格的平民和士绅参加考试。从693年开始，她在做的另一件事则是扩大政府考试系统，并大大增加了这种招聘政府官员的方法的重要性。武则天在政府内部为华北平原的人民提供了更多的代表机会，而不是西北贵族家庭的人(反正她相当程度地减少了他们);而且，通过科举制度成功选拔出来的候选人成为了她政府中的精英群体。(《新唐书》)

此外，在武则天统治初期，尽管中国其他地区的经济发展改善了其他地区家庭的数量，但关中仍然是全国最强大的贵族家庭的大本营。(《新唐书》)

然而，关陇贵族不愿意放弃对政府的控制;与此同时，在其他地区，如华北平原或湖北，一些新富裕的家庭渴望在国家权力中占有更大的份额。大多数反对武则天的人来自中国西北的关陇家族。因此，她压制了他们，转而支持不那么有特权的家庭，从而将许多有才能但不那么贵族的家庭提升到权力的行列，这些家庭通常是通过官方考试制度招募的。许多受青睐的人来自华北平原。武则天通过消除或削弱她认为对她不忠的既得利益贵族的权力，并在中国建立一个忠于她的改良上层阶级的过程，进行了重大的社会变革。

武则天时期的中国(https://www.worldhistory.org/uploads/images/4649.png?v=1614250808)

武则天统治的另一个重要特征是，她权力的巩固在一定程度上依赖于酷吏政治。她利用线人来选择要消灭的人，这一过程在697年达到顶峰，大量的贵族家庭和学者被降职、流放或杀害，并且禁止他们的儿子担任公职。武则天通过死亡（包括处决、命令自杀和或多或少直接杀人）、降职和流放，消灭了许多她真正的、潜在的或被认为是权力对手的人。这主要是由她的酷吏执行的，由像万国俊和来俊臣这样的人领导，他们写了一份名为《罗织经》的文件，详细说明了审讯和通过酷刑获得供词的步骤。(《新唐书》)

经济

武则天的许多措施都具有民间性，为她的统治赢得了支持。武则天上台时，中国人民相当满意，政府运行良好，经济的特点是生活水平不断提高。对于大多数人来说，武则天继续这样做。她决心让自由、自给自足的农民继续在自己的农场土地上工作，因此她定期使用土地均等化制度，也可以称为均田制，并结合最新的人口普查数据来确保公平的土地分配，必要时重新分配。她的成功很大程度上归功于她的各种法令(包括那些被称为“恩典法案”的法令)，这些法令通过各种救济措施帮助满足了下层阶级的需求，她扩大了对政府服务的招募，包括以前被排除在外的乡绅和平民，以及她对下层阶级的慷慨晋升和加薪。(《旧唐书》)

文化

关于修改汉字，公元690年，武太后的堂兄宗勤科提交了一些则天文字，旨在展示武太后的伟大。她接受了它们，并把其中一个修改后的字“赵”(曌)作为她的正式名字(也就是说，人们会对这个名字行使命名禁忌)。赵是由另外两个字组成的:明(明)在上面，意思是“光”或“清晰”，空(空)在下面，意思是“天空”。言下之意似乎是她会像天空中闪耀的光芒。(Zhao(照)的意思是“闪耀”，Zhao(曌)可能是她的原名，但这方面的证据尚无定论。)(《新唐书》)

在文学方面，武则天除了自己的文学作品之外，她的宫廷也是一个文学创作的焦点。《全唐诗》收录她的诗46首，《全唐文》收录她的署名文章61篇。尽管这些作品中有很多是出于政治目的，但有一首诗是她在母亲去世后哀悼她的母亲，并表达了她无法再见到她的绝望。

在武则天统治期间，朝廷在她的赞助下出版了各种作品，比如她的朝廷诗歌选集《宝荣集》，其中包含了崔融、李峤、张说等人的诗歌，根据个人在朝廷的官阶进行了排列。在武则天时期(部分是在她的朝廷期间)发生的文学发展中，沈佺期、宋之问这对诗歌组合所创作的“新风”诗歌——格律诗最终发展。(《旧唐书》)

评论

武后是一个真实的历史人物，一个生动的文学艺术画廊形象。长期以来，她是男权话语的扭曲形象。从武则天的女性特征出发，从性别角度出发，这一形象具有重要的社会和现实意义。(刘健，2013)

位于山西省乾陵通道东侧的无字碑是为武则天建造的。由于缺乏历史记载，它的日期和建造者仍然未知，使石碑成为一个谜。也许这正是武则天想要的——除了时间和历史，没有人能定义她的一生。(张宇，2014)

术语和表达

*Wu Mei Niang 武媚娘
*the imperial examination system 科举制度
*officials in feudal times 臣子, 臣民
*Guanzhong 关中地区
*Guanlong aristocracy 关陇集团
*North China Plain 华北平原
*a system of spies 酷吏政治
*secret police 酷吏
*Wan Guojun 万国俊
*Lai Junchen 来俊臣
*the Manual of Accusation 《罗织经》
*System of Land Equalization 均田制
*Gentry 乡绅
*Modified Chinese characters 则天文字
*the Collected Tang Poems 《全唐诗》
*the Collected Tang Essays 《全唐文》
*regulated verse 格律诗
*The Blank Stele 无字碑
*the Qianling mausoleum 乾陵

问题

#谁是中华帝国唯一的女皇帝?
#谁写了《罗织经》?
#用什么制度来保持自由、自给自足的农民继续在自己的农场土地上工作?
#《全唐诗》收录了武则天的几首诗?
#《全唐文》中记载武则天名下的文章有多少篇?
#武则天在她的石碑上写了什么吗?

参考文献

[1]马克，E.（2016年3月17日）。武则天。世界历史百科全书。检索自https://www。worldhistory.org/Wu_Zetian/

[2]《新唐书·卷四·本纪第四》

[3]《旧唐书·卷六·本纪第六》

[4]刘健(2013) 武则天形象演变研究(硕士学位论文, 陕西理工学院). https://kns. cnki. net/KCMS/detail/detail. aspx ? dbname = CMFD201402&filename = 1014211402. nh

[5]张宇(2014) 武则天的“无字碑”真的无字吗?. 中国国家博物馆馆刊(11), 63-70. doi: CNKI:太阳:ZLBK. 0. 2014-11-010.

=Session 4 OD Fri Mar 22 10:00-11:40 room 404=
==Session 4: 2 Student presentations==

Notes

3. Intro: who are we when we are talking about our culture etc., what is the meaning of “architecture” (good model of a structure with a purpose)

Good 李嫣然 12. Architecture: Shengjing Imperial Palace
Integration of Manchu and Han cultures; Chinese openness to foreign elements – “embrace the best” from other cultures

Mandschu culture integrated “primitive beliefs” of the Zhurzhen. Importance of hights.

[explains English passages in Chinese ]

4. Good 潘彤 63. Landscapes and Tourism: Mogao Grottoes (Dunhuang)

(personal intro of feeling attracted to the topic), Poor English terminology (switches to Chinese), descriptive presentation; superficial

“Medicine Buddhas” 草师 nor explained. „historical value“, „artistic value“, „commercial value“, „technological value“ (mirrors), „cultural mankind value“ (Encyclopedia or Ocean of human knowledge)
Contest for excavation and exploitation (Aurel Stein, Pelliot etc. [no historical knowledge and interest])
Why and How to protect? Digitalization, copies; documentaries, culture and tourism

[Discourse about “Cultural Value”]

==='''李嫣然 12. Architecture: Shengjing Imperial Palace'''===

Please upload your power point here:[[Media:Shengjing_Imperial_Palace_2024.pptx]]

Terms and Expressions
*Manchu 满族
*Mongol 蒙古
*Nomadic游牧民族的
*Nuerhachi(1559-1626) 努尔哈赤
*Huangtaiji(1592-1643) 皇太极
*Kangxi 康熙
*Jiaqing 嘉庆
*Daoguang 道光
*Red-coated cannon 红衣袍
*Ten Kings Pavilion 十王亭
*Grand Qing Gate 大清门
*Chong Zheng Hall 崇政堂
*Phoenix Tower 凤凰楼（翔凤楼）
*Qingning Palace 清宁宫
*Yanqing Palace 衍庆宫
*Qifu Palace 启福宫
*Wen Su Pavilion 文溯阁
*Chant 吟唱
*the Antler Chair 鹿角椅

'''12. Architecture: Shengjing Imperial Palace'''

Introduction

Shengjing Imperial Palace, commonly referred to as Shenyang Imperial Palace, is not only the jewel in the crown of Shenyang’s cultural heritage, but also the jade in China. Thanks to its pre-Qing Dynasty origins, the palace has strong Manchu and Mongol architectural influences. It has a lot of special arts, from intricate brick gables and carvings to buildings whose form has been inspired by the shapes of nomadic tents. Although the complex has been standing for a little under 400 years, it’s in remarkable condition right down to the golden dragons that flank the imperial throne. (Candice Song 2021, 1-3)

History

Shenyang Imperial Palace is famous because Qing Dynasty's founder, Nuerhachi (1559-1626) and his son Huangtaiji (1592-1643) had lived here. And with the expansion of the Qing Dynasty, they moved to Peking and lived in the Forbidden City. Construction of Shenyang Imperial Palace began in 1625 and accomplished in 1636 during the reign of Nuerhachi and Huangtaiji, so it has over 360 years history. After them, four emperors of Qing Dynasty had come back from Peking to this palace for 10 times and enlarged this area and added a lot of buildings. They were Emperor Kangxi, Qianlong, Jiaqing and Daoguang (People probably heard of Kangxi and Qianlong because they lead to one of the most affluent periods of China). Therefore, until 1783, the palace
was finally finished. （News/Nation 2019 1-3）

It was renamed Co-capital Palace and Emperor Eastward Inspection Palace after the foundation of the Qing Dynasty. With large-scale reparation time after time, the imperial palace now serves as a tourist attraction called Shenyang Imperial Palace Museum. Shenyang Imperial Palace was entitled "Historic Culture Relics Preserved Building" in 1961. The Imperial Palace in Peking and Shenyang are the only two most well-preserved imperial architectural complexes existing in China today. When talking about the palace of China, many people probably just know about the Forbidden City of Peking, it is the most popular one for foreigners. However, to some extent, many antiques and famous places of the Forbidden City are influenced by Shenyang Imperial Palace. (Candice Song 2021, 1-3)

Divisions

Its construction style of Shenyang Imperial Palace belongs to Ming and Qing Dynasty. It covers an area of 60, 000 squaremeters, comprising over 20 courtyards, 300 houses and 70 buildings. There are 114 buildings and around 20 courtyards, and though this might seem rather small when compared to the only other surviving imperial palace in China—the Forbidden City, there is a lot to be said for Shengjing Imperial Palace’s diminutive size and famous elites. According to the build time and layout, the whole construction can be divided into three sections: the east, middle and west:

East part: The buildings around were built in the period of Nuerhachi including Great Administrative Hall and Ten Kings Pavilion;

Middle part: Buildings here were continued and completed in the period of Huangtaiji including Grand Qing Gate, Chong Zheng Hall, Phoenix Tower, Qingning Palace, Yanqing Palace, Qifu Palace etc;

West part: The buildings there were expanded and renovated by Emperor Qian Long (1736-1795) including Wen Su Pavilion. The whole palace, standing in great numbers, is lofty, magnificent and richly ornamented. (Candice Song 2021, 1-3)

A Story about the Antler Chair

(http://pic.nen.com.cn/003/009/349/00300934954_139882b5.jpg)

This palace is an emperor museum combining the architectural styles of the minorities of Man, Han and Mongolia. In addition to the magnificent palace buildings, the Shenyang Imperial Palace is also famous for its rich and precious collections at home and abroad. It has a large number of treasures in its exquisite works, such as Nuerhachi's Sword, Huang Taiji's Waist sword and the Antler Chair. (Candice Song 2021, 1-3)

There is also a legend about the origin of the chair. It is recorded that in 1631, Huang Taiji led his troops to attack a city in western Liaoning Province and built the cities of Huang Dizhi and Huang Bu on the opposite hill. Then, he bombarded the city with red-coated cannon, which scared the wild animals in the mountain. At this time, a panic-stricken deer rushed into Huang Taiji’s tent, was captured by Huang Taiji, and then made into an antler chair with its antlers. After the Antler Chair was produced, all people regarded it as a model. When Emperor Qianlong and Emperor Jiaqing toured Shengjing in the east, they composed poems and chanted on the occasion of appreciating Emperor Huangtaiji's antler chair. Emperor Qianlong also ordered craftsmen to carve poems and articles on the back of the Antler Chair.

(http://pic.nen.com.cn/003/009/349/00300934955_60049e74.jpg)

(http://pic.nen.com.cn/003/009/349/00300934956_70c27d5d.jpg)

Conclusion

In July 2004, Shenyang Imperial Palace was listed on the World Heritage List, and it has become one of the most important cultural relics in China. In addition, a famous world heritage site becomes the joint cultural wealth of all mankind. This change in historical and cultural area has also brought another change in scientific research on Shenyang Imperial Palace Museum. A new proposition and task for the museum's cultural management is put, especially for academic research activities. Now, Shenyang Palace Museum is established as a center for academic exchange, research and information. In the academic research of Shenyang Palace Museum, all efforts are mobilized to expand the content of academic research and to integrate the resources of academic research by cooperation. By studying Shenyang Imperial Palace from the viewpoint of academic, we can further understand the value of Shenyang Imperial Palace as a world heritage. （Deng Qing 2009, 147）

Its most significantly historical value is the record of the rising of Qing Dynasty, its most significantly artistic value is the cultural spirit of Manchu, and its most significantly scientific value is the outstanding representative of national architecture. (Li Xiaoli 2014, 1）The value of Shenyang Imperial Palace is mainly reflected on its early cultural implication, palace culture source, color painting status and age, architectural complex integrity and so on. （Deng Qing 2009, 148）

By connecting Shenyang Palace Museum with "Forbidden City Science" (故宫学)and conducting academic research under the framework of "Forbidden City Science" (故宫学), many researchers have comprehensively improved the academic research level, academic reputation, academic communication and cooperation between Shenyang Palace Museum and domestic academic circles. There are still abundant treasures in Shenyang Imperial Palace, waiting for us to drill. (Deng Qing 2009, 146-148）

'''References'''

Deng Qing 邓庆（2009）研究型博物馆的理论与实践-以沈阳故宫为例[The Theory and Practice of Research Museums - A Case Study of Shenyang Palace Museum] Liaoning辽宁：Shenyang Palace Museum 沈阳故宫博物院

Li Xiaoli 李晓丽（2014）沈阳故宫的价值学研究[Study on the value of Shenyang Imperial Palace] Liaoning辽宁：Shenyang Palace Museum 沈阳故宫博物院

News/Nation（2019）沈阳故宫博物院的古建筑重新向公众开放[Ancient building of Shenyang Palace Museum reopens to public] China中国：Xinhua新华网

Candice Song（2021）沈阳故宫[Shenyang Imperial Palace] Liaoning辽宁 :Shenyang沈阳 Chinese Highlights中国亮点

'''Questions'''

1. How long has the complex been standing?

2. Why is Shenyang Imperial Palace famous?

3. When was the palace entitled "Historic Culture Relics Preserved Buildings"?

4. At what period were Shengjing Imperial Palace continued and completed?

5. What are features of the west part?

6. What is the legend about the origin of the chair?

'''潘彤 63. Landscapes and Tourism: Mogao Grottoes'''

Please upload your power point here: [[Media:Mogao_2024.pptx]]

63.景观与旅游：莫高窟
简介
莫高窟的标志性建筑[https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Iconic_Building_of_Mogao_Grottoes. jpg]
莫高窟，又称千佛洞，建于敦煌市东南25公里处鸣沙山东麓的悬崖峭壁上。现存洞窟492个（保存完好），内有泥塑彩绘佛像2400多尊，壁画45000平方米，南区崖壁上有5座木结构建筑。北区悬崖上还有300多个洞窟，既是僧侣和画家的居室，也是他们的葬身之地。莫高窟附近还有一些石窟寺：西千佛洞（22个洞窟）、榆林石窟（42个洞窟）、东千佛洞（23个洞窟，其中8个洞窟有壁画和塑像）、无庙石窟（5个洞窟）。（樊锦诗，2010年，170页）
这些石窟的建造年代、内容和艺术风格与莫高窟十分相似，因此常被称为敦煌石窟。从公元4世纪到14世纪，石窟都是由僧侣利用捐赠者的资金建造的。主要的洞窟通常由佛教僧侣、地方统治精英以及中原帝王等赞助人赞助，其他洞窟则由商旅、军官和当地的人（如妇女团体）资助。（沙武田，2020年，122页）
莫高窟的历史
莫高窟并非一日建成。根据唐朝的相关记载，公元366年，一位名叫乐僔的僧人在敦煌游历。有一天，他在鸣沙山悬崖对面的三危山上看到了佛像，于是这位虔诚的信徒便在悬崖上开凿了第一个洞窟。后来，法良和尚来到这里，与他一起在洞中修行。此后的一千多年里，越来越多的洞穴被开凿出来。（惠特菲尔德，1990 年，第8页）
到了北凉时期，这里已经形成了一个小型的僧侣社区。这些洞窟最初只是作为隐士僧侣的冥想修行之所，但后来发展为服务于附近兴起的寺院。北魏和北周的统治家族成员在此修建了许多石窟，并在短暂的隋朝兴盛一时。到了隋唐时期，莫高窟已成为人们朝拜和朝圣的地方。隋朝时，河西走廊由中央政权控制。皇帝们虔诚地信奉佛教，下令在全国各地修建佛塔。因此，莫高窟在37年内开凿了100多个洞窟。（樊锦诗，2010年，第175-178页）
道教王元禄 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Taoist_Wang_Yuanlu. jpg]
到了唐代，石窟的数量已超过一千个。在此期间，敦煌成为丝绸之路的主要商业枢纽和重要的宗教中心。大量石窟都是在这一时期修建的，包括遗址中的两尊大佛像，其中最大的一尊是在695年修建的，当时唐朝女皇武则天在一年前下诏在全国各地修建巨型佛像。845年，武宗下令对佛教徒进行迫害，敦煌遗址躲过了这一劫，因为当时敦煌在西藏的控制之下。作为边陲重镇，敦煌曾在不同时期被其他非汉族人占领。唐代以后，敦煌逐渐衰落，元代以后完全停止了新石窟的建造。五代十国时期和北宋时期，莫高窟由曹议金保管。（马世昌，2010年，303页）之后，他的后代治理敦煌府，并修建了多个家族石窟，如第55窟。（高秀君，2016年9月）
明朝时期，丝绸之路最终被废弃，敦煌也慢慢人口减少，被外界遗忘。莫高窟的大部分洞窟被废弃。然而，二十世纪初，莫高窟又重新成为当地人朝圣和膜拜的地方。1900年 6月 22日，道士王圆箓在清理第161窟的沙土时，在走廊的墙壁上发现了一个宝库，里面有大量的佛经经卷、旧行政文书、刺绣作品和绘画。自此，敦煌闻名于世。中外学者都对这些发现进行了广泛的研究。（斯坦因，1912年，第2卷）
艺术
莫高窟的艺术主要包括三个方面：建筑结构、壁画和雕塑。莫高窟的结构形式主要有三种：精舍、支提窟和带倒漏斗形天花板的大厅。十六国（包括北魏、西魏和北周）早期石窟的主要形式是中央有柱的支提窟。壁画可分为七类：佛教人物、佛经插图、佛教故事、佛教历史画、中国神话、供养人和装饰图案。壁画中的佛教故事可分为三种类型：佛本生、佛陀的生平和命运故事。佛本生讲述了释迦牟尼在世时的善行，如舍身喂饿虎。至于雕塑，则是在木架上被建造，垫上芦苇，然后用灰泥塑模，最后涂上颜料。（段文杰，1994年，第163页）
王子以身饲虎
北魏第251窟 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Cave_251_in_Northern_Wei. jpg]
十六国时期的艺术风格在北魏逐渐从原始、简朴转向了轻松、优美的风格，表现为人物体态匀称、面容憔悴。到了北周，从人物造型上可以看出，融合了外来和本土风格的中国艺术逐渐走向民族化。（樊锦诗，2010年，第174页）
隋代造像的特点是身体粗壮、头大、面方、腿短。石窟变得宽敞，更适合绘制大型绘画，如佛经插图和巨幅佛陀说法图。工笔画大胆遒劲，线条繁复流畅。例如，第420窟天花板上的《妙法莲华经》在有限的空间内展示了大量山林、河流、建筑等情节。隋代的题材和艺术显示了传统艺术的重要发展，预示着一个辉煌新时代的到来。（段文杰，1994年，第164页）
唐代第68号石窟 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Cave_68_in_Tang_Dynasty. jpg]
唐代石窟规模宏大，洞顶呈倒漏斗状。壁画多为巨幅佛经故事画，场景规整，构图匀称。当时的人物面部圆润丰满，眉毛弯弯，表现了唐代人的审美情趣。第220窟的壁画中，皇帝和大臣们听经的形象栩栩如生。皇帝身边的大臣们各有不同的容貌和表情。有的自然雍容，有的小心翼翼。这些比例匀称的彩绘佛像在制作过程中更加细致入微，让我们看到了庄严肃穆的佛像。（樊锦诗，2010年，第174页）
此外，高大的巨型佛像也开始出现。其中最突出的是第96窟的一尊34米高的唐代早期佛像。公元781-848年，河西地区落入藏区。因此，出现了一个有趣的变化：在壁画中，藏王取代了中原皇帝的位置。（樊锦诗2010 年，175页）
到了五代十国和北宋时期，这一时期雕刻的石窟规模很大，形式和布局也各不相同。造像和壁画的题材和风格仍受唐代的影响，但在色彩的运用和绘画技法上呈现出淳朴的民间风格。从9世纪到12世纪，维吾尔族一直在敦煌活动。其艺术风格带有汉族和维吾尔族的印记。维吾尔壁画的总体特点是题材简单、布局松散、笔触直接而粗犷。（荣新江，1999年，248页）
人物形象具有某些少数民族的特征。西夏时期（1036-1227年），大部分石窟都进行了修缮和重修，由于崖壁有限，仅修建了10个石窟。与同时代的榆林石窟相比，敦煌壁画展示的是《净土经》，内容较为简单。元代（1227-1372年）仅存27个洞窟。但第3窟的壁画仍保留了唐宋的技法，即用不同的画法描绘人物的不同部位，如铁线纹、兰叶纹、折芦纹等。自15世纪以来，莫高窟在明清时期逐渐荒废。（荣新江，1999年，248页）
元代第3号石窟 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Cave_3_in_Yuan_Dynasty. jpg]
术语和表述
hermit 隐士
stupas 舍利塔
Emperor Wuzong ofTang Dynasty 唐武宗
Vihara 精舍
Chaitya 支提窟
stucco 灰泥
Sakyamuni 释迦牟尼
Sutras 佛经
问题
1. What do Dunhuang Grottoes refer to?
2. Who built the first cave and when?
3. In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?
4. How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?
5. What are the characteristics of the statues in Sui Dynasty?
参考文献
Fan Jinshi 樊锦诗. (2010). 敦煌石窟 [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院.
Gao Xiujun 高秀军. (2016). 敦煌莫高窟第55窟研究 [Research on the 55th Grotto of Mogao Grottoes in Dunhuang]. Lanzhou University 兰州大学.
MA Shichang. (2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang, 27(2), 303-317.
Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因 [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.
Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda - A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang]. 中原文物 Cultural Relics in Central Plain, No. 215, 118-128.
Stein, M. Aurel. Ruins of Desert Cathay. (1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.
Suemori Kaoru. (2020). "Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns". Kyoto: Hozokan.
Duan Wenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.
Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.
https://books. google. ru/books?hl=zh-CN&lr=&id=vYPNqlAMZWAC&oi=fnd&pg=PP7&dq=info:9v6pr21oST8J:scholar. google. com/&ots=s-uXhnyDBp&sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&redir_esc=y#v=onepage&q&f=false
https://en. m. wikipedia. org/wiki/Mogao_Caves
https://scholar. google. com/scholar?hl=zh-CN&as_sdt=0%2C5&q=mogao+grottoes&oq=

=Session 5 MW Fri Mar 29 10:00-11:40 room 404=
==Session 5 Student presentations==

==='''牟一泓 30. Chinese Writing: Chinese Characters and Scripts'''===

Please upload your power point here: [[Media:Characters_2024.pptx]]

中文写作:汉字与字体

收集、编纂、分类和教授汉字最早的人，可能是传说中黄帝时期的史家仓颉。根据文献学家的说法，汉字有六类:象形字、指事字、会意字、形声字、转注字、假借字。陕西半坡、临潼江寨、山东莒县出土的许多新石器时代的陶罐上都标有这类符号。其中一些是象形文字，具有汉字的原始形状，证明汉字是作为我们祖先保存记录的符号和标记而进化和发展起来的。

迄今为止发现的最古老的汉字被称为甲骨文(刻在龟壳或动物骨头上的古代汉字)，这在当时已经是很发达的汉字了。这些文字是在商朝的都城河南安阳发现的。大约15万件贝壳和骨头碎片被挖掘出来。在这些碎片上有超过4600个不同的字符，其中超过1000个已被破译出。它们都具备“六书”的汉字构造法则。

除了甲骨文，商末周初还存在刻在青铜器上的文字，这些文字被称为金文或钟鼎文。青铜器上的金文铭文记载了当时的重大事件和活动，反映了当时的社会生活。因此，它们是研究商周两代历史的宝贵资料。

甲骨文、金文虽已发展成为一套较为完备的记录符号，但仍有许多象形文字具有较强的图像元素。这些文字由于结构松散，笔画复杂，难以书写，往往以平直的笔画和潦草的结构来简化。直到西周晚期，甲骨文被统一，以符合一种称为大篆（great seal script）的字体。春秋战国时期，书面语空前广泛和频繁地使用。由于列国的汉字书写习惯不同，相同的汉字有时可以用完全不同的方式书写，例如简化形式或变体形式。

在统一中国并建立封建集权制度后，秦始皇任用李斯统一列国盛行的各种书法风格，并在秦文字的基础上创造了标准化的小篆（small seal script），推动了汉字的发展。新创制的小篆结束了战国以来不同形式文字书写的混乱，为现在的楷书奠定了基础。

小篆成为官方标准文字后不久，就出现了一种叫做俗体字（commoner style）的文字，它是由秦的文字简化而成的，在平民中使用。虽然小篆比早期的字体整洁，但对普通人来说仍然很麻烦。尽管俗体字不是最高标准，但许多人更喜欢使用俗体字，因为它可以写得更快、更方便。最后，一些官方文件开始用俗体字书写。这种字体后来被称为隶书（clerical script）。一个名叫程邈的囚犯收集并整理了俗体字。由于当时的囚犯被称为徒隶，这个俗体字被命名为隶书。这种新文字得到了秦始皇的支持，并被广泛用作小篆的补充。秦时期的隶书称为秦隶（Qin clerical script）或古隶（Archaic clerical script），而汉时期的隶书称为汉隶（Han clerical script）或今隶（Modern clerical script）。

在隶书这一字体中，原本粗壮、弯曲的笔划被修改为平、直、横。它彻底改变了原有的众多象形文字特征，使汉字更具象征意义。隶书是汉时期的主要字体风格。在隶书的基础上，在秦末汉初出现了一种早期的草书（cursive script）字体，称为章草（old cursive script）。章草的笔划连在一起，横笔划仍然是向上的，而它的左落笔划的两端和右落笔划的两段保留了隶书笔法。

东汉、曹魏以后，由隶书、草书演变而来一种新的书写字体，被称为楷书（regular script）。楷书，在隋唐时期进一步发展，成为一种被广泛认可的字体。顾名思义，它是“规则的”，每一个笔划都缓慢而仔细地放置，笔尖从纸上抬起，所有的笔划都彼此不同。

行书（running hand）出现在楷书之后，字体介于楷书和草书之间。与其他字体不同的是，它没有自己特定的风格，笔划相当灵活自然。当用可区分的笔划仔细书写时，行书的文字会非常接近规则的风格；当迅速书写时，它会更接近草书。自金朝以来，大多数书法家都擅长行书。

印刷术发明后，印刷书籍一般采用楷书字体。明末清初，出现了一种新的字体样式：横笔画轻，落笔画重的方形字体。由于方形字体是从宋朝的印刷字体发展而来的，因此这种字体被称为宋体（Song typeface），现在广泛用于印刷报纸和书籍。

Terms and Expressions

Cangjie 仓颉
Pictography & self-explanatory character 象形字

associative compound 会意字
mutually explanatory character 指事字

picto-phonetic character 形声字
phonetic loan character 假借字

synonymous character 转注字
Banpo 半坡

Jiangzhai 姜寨
Lü County 莒县

Jiagu Wen 甲骨文
Anyang 安阳

Jin Wen 金文
Zhongding Wen 钟鼎文

Da Zhuan 大篆
Xiao Zhuan 小篆

Suti Zi 俗体字
Lishu 隶书

Cheng Miao 程邈
Tu Li 徒隶

Gu Li 古隶
Jin Li 今隶

Zhangcao 章草
Xingshu 行书

regular script 楷书
Song typeface 宋体

Questions:

1. Who is the legendary inventor of Chinese characters?

2. What are the six major catergories of Chinese characters? Could you give examples of each catergory?

3. What do you know about Jiagu Wen?

4. What is Jin Wen? Why are Jin Wen inscriptions historically important?

5. Why did the Qin court standardize character writing under Xiao Zhuan?

6. Why did many Qin people prefer Suti Zi to Xiao Zhuan?

7. What is Lishu? What catergories may it fall into?

8. What is Kaishu characterized by?

9. What is Xingshu?

10. What is the Song typeface?

11. What other scripts do you know?

问题:

1. 传说中谁是汉字的发明者?

2. 汉字的六大类别是什么?你能举例说明每一类吗?

3. 你对甲骨文了解多少?

4. 金文是什么?为什么金文铭文具有重要的历史意义?

5. 秦朝为什么用小篆规范汉字书写?

6. 为什么很多秦人喜欢俗体字而不喜欢小篆?

7. 隶书是什么?它可能属于哪些类别?

8. 楷书的特点是什么?

9. 什么是行书?

10. 宋体是什么?

11. 你还知道其他什么字体吗?

==='''李舒婧 82. Literature: Premodern literature: Tang-Song'''===

Please upload your power point here: [[Media:Tang-Song_2024.pptx]]

A. 唐宋八大家

唐宋八大家简介

唐宋八大家分别是唐代的韩愈、柳宗元和宋代的欧阳修、苏洵、苏轼、苏辙、王安石、曾巩。这个头衔最早出现在《唐宋八大家文钞》。其中，韩愈、柳宗元是唐代古文运动的领袖，而欧阳修和“三苏”（苏洵、苏轼、苏辙）是宋代古文运动的核心人物。王安石、曾巩是临川文学的代表人物。在“三苏”（苏洵、苏轼、苏辙）中，苏洵是他们的父亲，苏轼是哥哥。苏轼与王安石、曾巩是欧阳修的学生。（周振甫 2016， 25）
总之，他们都崇尚散文，反对骈文，对当时和后世的文学界都产生了深远的影响。他们接二连三的古文创新浪潮，改变了诗歌和散文的陈旧面貌。（房本文 2013，1）

1.韩愈

韩愈是唐代的文学家、哲学家和思想家。他是河阳人，现在是河南省焦作市。韩愈在宋代被苏轼誉为“文起八代之衰”，也是唐宋八大家的掌门人。韩愈与柳宗元互称“韩柳”，其散文与杜甫的诗并称为“杜诗韩笔”。他以四十卷《韩昌黎集》、十卷《外集》和《师说》等伟大著作享有“文章巨公”和“百代文宗”的美誉。（侯本塔 2014，135）
他与柳宗元虽然在政治观点上存在分歧，但仍与柳宗元在古文运动中合作。作为先行者，他们都反对过分追求骈文的形式，而是支持先秦和汉代的散文，都强调文章内容的重要性，以扩大文言写作
的表现功能。（何蕾2017，159）

2. 柳宗元

柳宗元是唐代的文学家、哲学家和思想家。他的祖籍是河东，现在在山西省运城市永济地区。他被称为“柳河东”、“河东先生”，以及“柳柳州”，因为他正式结束了柳州刺史的任职。他生于长安，贞元九年进士及第，后任监察御史。
他与韩愈并称为“韩柳”，与刘玉玺并称为“刘柳”，与王维、孟浩然、韦应物并称为“王孟韦柳”。在不到50年的一生中，他给我们留下了600多首诗歌，在写作方面的成就超过了诗歌。《柳河东集》是他的代表之一。（周振甫 2016， 26）
他是一位思想深邃的哲学家和伟大的文学家，重视文章的内容，主张著作要实用。因此，他关注文学的社会功能，强调文学应该造福世界。而且，他主张思想内容和艺术形式的完美结合，对写作态度严肃。这意味着，作家有高度的道德修养是很重要的。（张剑2019， 1）

3. 欧阳修

欧阳修是北宋时期的政治家、文学家、历史学家和诗人。他被称为“六一居士”，意思是一万卷书，一千卷金石遗文，一张琴，一局棋，一壶酒和一老翁。他出生于绵州，今四川绵阳市，故乡是蓟州永丰，今江西省吉安市永丰县。
欧阳修的诗、词、散文都是一时之冠。他的诗流畅、抒情、委婉，具有相似的散文风格，强调气势，同时保持自然流畅。他的词深邃而优雅，继承了南唐的余风。《欧阳文忠集》是他的代表作之一。
欧阳修继承并发扬了韩柳古诗的优良传统，开创了北宋诗文革新运动。作为这场运动的领导者，他不仅赶走了文学界的旧写作风格，而且凭借自己独特的风格和高超的才华，开辟了诗歌的新风格和新的创作领域。他取得了新的成果，将诗歌和散文的创作推向了新的高度。（侯本塔 2014， 136）

4. 苏洵

苏洵是四川梅山人。年轻时，他学习成绩差。19岁那年，他娶了郑太太。后来，他在27岁时下定决心要努力学习。经过十年的努力，他在学术领域取得了巨大的进步。
苏洵是一个充满政治野心的人。他说，他作品的主要目的是“为世界说话”，并“适用于当下”。他在《衡论》、《上皇帝书》等一些重要的议论文中提出了一整套政治创新思想。由于对社会现实的深刻理解，他善于总结过去历史的经验和教训。因此，撇开他的政治话语中的某些迂腐和偏见的观点，其中许多观点仍然是正确的。

5. 苏轼

苏轼，绰号“东坡居士”，是四川眉山人。他是著名的文学家、书法家、散文家、词作家、诗人，是北宋豪放派的代表。
苏轼被称为“中国古代第一全才”。他被认为是中国几千年历史上文学艺术造诣最杰出的人物之一。他在散文上与韩愈并称为“韩朝素海”，与欧阳修并称为“欧苏”，与黄庭坚并称为“苏黄”，在词曲上与辛弃疾并称为“苏辛”。（周振甫 2016， 28）
苏轼的文学观点与欧阳修一致，但他更强调文学的原创性、表现力和艺术价值。他的文学思想强调“为特定目的而创作”，崇尚自然，摆脱束缚。（张剑 2019， 1）苏轼是继欧阳修之后北宋文坛的领军人物。而且，北宋四大文人黄庭坚、秦观、赵不之、张磊，都曾受过他的培养、欣赏和推荐，所以被称为“苏门四学士”。

6. 苏辙

苏辙出生于梅州梅山，今四川省。嘉佑二年（公元1057年），苏辙与哥哥苏轼一起攀登金石支。
苏辙的散文展现出深邃醇厚的精神。他对古代文字有自己的看法。在《上枢密韩太尉书》一书中，他提出了“文体”理论。他在政治和历史方面表现出色。在他的政治著作中，如《新论》和《六国论》，他主要讨论世界事务。从这些作品中，我们可以吸取过去的教训，批判当下的问题。他在改革方面也非常有见地。此外，他在作赋方面也相当出色，比如他的作品《墨竹赋》。（周振甫 2016， 29）

7. 王安石

王安石，暮年又称半山王安石，封为景国公。他出生于北宋临川，即今江西省抚州市。
王安石不仅是一位杰出的政治家和思想家，也是一位才华横溢的文学家。为了实现自己的政治理想，他将文学创作与政治活动紧密联系在一起，强调文学首先要以服务社会为目标。这意味着，他强调文章的现实功能和社会效果，主张文学与道家的统一。他的散文在很大程度上贯彻了他的文学观点，即启蒙供世界使用的政治法令。（周振甫 2016， 30）

8. 曾巩

曾巩被誉为“南丰先生”。他出生于江西省抚州市南丰县。嘉友二年（公元1057年），出位进士。作为北宋的政治家和散文家，唐宋八大家之一，他也是“南丰七曾”之一，包括曾巩、曾肇、曾布、曾纡、曾纮、曾协、曾敦。
曾巩是欧阳修古代散文运动的支持者和参与者。他提倡先道后文。（张建 2019，1）他的散文自然而简单，很少关注文学的优雅。在八大家中，他是最不亲切的一个。他的文章很少是抒情作品，而大多是论证和叙述。（周振甫 2016， 31）他的散文善于论证，如《上欧阳舍人书》、《上蔡学士书》。在这些作品中，他论证了紊乱的治疗方法，并表达了自己的深切感受。

9. 古文运动与文艺复兴的比较

虽然从古代散文运动到意大利文艺复兴有七八百年，但它们都分别发生在其历史的中古时期。同样，他们都继承了古典文化的精髓，进一步完成了文学复古的历史使命。因此，我们可以将他们视为其文化中的历史高峰。（芦思宏2016， 71）
意识形态比较：
唐宋古代散文运动主张恢复先秦、后汉的儒家思想，实现在文学中传承道的现实目标。（芦思宏2016， 73）它反对六朝以来的平行散文和浮动风格，而是温和而诚实的诗歌概念。而文艺复兴则以古典文化为工具，强烈批判中世纪神学，发扬古希腊和罗马的人文主义和科学理性精神。（王亚平2001， 8）他们的前提和基础是他们自己的经典思想。
写作风格的比较：
两次复古运动都以复古风格为标志，还原了古代散文的创作模式，从而推动了文学运动的进程。唐宋古代散文运动研究了前秦、汉时期的朴素语言风格，而文艺复兴则恢复了古希腊文雅优美的特征。（芦思宏2016，76）
文学形式的比较：
古代散文运动不仅纠正了六朝浮动、僵化的写作风格，也为后世散文的发展奠定了良好的基础。它以零散的单句形式出现，少了华丽和多余的典故，但更多的是口语化的语言。（何蕾 2017， 159）文艺复兴时期的文学作品虽然继承了古典主义的优雅风格，但在文体创作方面还是发生了明显的变化。受文学理论和作品的影响，意大利文学在形式上表现出创新。正如朱光潜先生所说：“意大利文学是不同于古典文学的新型文学。（芦思宏2016，81）

B. Terms and Expressions

The Eight Tang-Song Prose Masters 唐宋八大家

Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》

Ancient Prose Movement 古文运动

parallel prose 骈文

The Decline of Eight Generations 文起八代之衰

The Article Giant 文章巨公

Admired Literate of One Hundred Generations 百代文宗

Han Changli Collection 《韩昌黎集》

External collection 《外集》

The Teacher's Theory《师说》

Pre-Qin and Han Dynasties 先秦两汉时期

writing in classical Chinese 文言文

feudal provincial of Liuzhou 柳州刺史

official supervisor of imperial censor 监察御史

Liu He Dong Colloection 《柳河东集》

Northern Song Dynasty 北宋

a thousand volumes of collections of inscriptions 金石遗文一千卷

Xia, Shang, Zhou Dynasties 三代

the crown of that time 一时之冠

Southern Tang Dynasty 南唐

Yu Feng 余风

The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》

the Northern Song Dynasty poetry innovation movement北宋诗文革新运动

Heng Lun 《衡论》

Duke Jingguo 荆国公

The Book to the Emperor 《上皇帝书》

Dongpo Jushi 东坡居士

Ci writer 词人

Unconstrained Ci School豪放派

literary and artistic attainments 文学艺术造诣

the first all-round talent in ancient China 中国古代第一全才

Su Men Four bachelors 苏门四学士

the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》

The New Theory《新论》

On the Six Kingdoms 《六国论》

Ode 赋

The Ode to Ink bamboo 《墨竹赋》

Seven Zengs of Nanfeng 南丰七曾

the doctrine before the text先道后文

the Book to Ouyang She Ren 《上欧阳舍人书》

the Book to Bachelor Cai 《上蔡学士书》

the Six Dynasties 六朝

C. 问题

1. 谁是古文运动的先驱？

2.他们在古文运动中提倡哪种散文?

3、你知道柳宗元的代表作品吗？

4、欧阳修为何被称为“六一书生”？

5、苏洵、苏轼和苏辙是什么关系？

6、谁是“南丰七曾”？

7.、你对文艺复兴时期有所了解吗？

引用

Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanking: Nanking University 南京大学.

Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.

He Lei 何蕾. (2017). 中唐古文运动：社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.

Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature - a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc]. 中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.

Wang Yaping 王亚平. (2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.

Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).

Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).

Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.

Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.

===Teacher content===
Continue with powerpoint to introduce traditional models of ethnocentric view on cultures, scientific, dialectic, dialogic, and a new model to view cultures as heterogeneous and mixed

Information: Apr 4 is Qingming holiday in China, Apr 5 will also be free, it is a so-called Bridge Day, the classes of Apr 5 will be moved to Sunday (!) Apr 7.

=Session 6 OD Sun Apr 7 10:00-11:40 room 404=
==Session 6 Student presentations==

==='''宋成爽 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China'''===

Please upload your power point here: [[Media:Su_Shi_2024.pptx]]

==='''罗嘉怡 77. Literature: Ancient Literature: The Classic of Mountains and Seas'''===

Please upload your power point here: [[Media:Mountains_Seas_2024.pptx]]

文学：古代文学——《山海经》

1.概述
中国古代文学作品《山海经》，又称《大荒经》，是由多位作者编撰而成的一部中国经典著作，是上古地理、历史神话和奇禽异兽的汇编。它在很大程度上是对中国先秦时期神话般的地理文化的描述，也是中国神话的集合。全书共分为十八卷，记载了550多座山脉和300多条河流。
它的内容不是单纯的叙述。它的“情节”涉及对《山经》《海外经》《海内经》《大荒经》中大方向位置的具体描述。这些描述通常是关于医学药物、飞禽走兽和地理特征的。其中大部分生物是普通正常的，但也有许多是充满幻想色彩、瑰丽奇异的。《山海经》每一章的文本内部呈现为平面铺排式的网络状，结构大致相同，整本书的章节结构也以同样的方式排布。《山海经》的各个章节非常像游记，每个章节都集中在一个特定的地区，从中部地区（中原）开始，向各个方向延伸，直到延展到围绕中部地区四海之外的偏远地区。这本书生动地描述了海内外的不同种族、神明形力、奇珍异植和各个地区特有的矿物，并记载了有关它们的有趣信息，包括诸神的历史和行为活动。这本包罗万象的奇书还包含有关早期医学（包括阳痿和不孕症的治疗方法）、占卜、祭祀的典礼仪式以及已知和未知的动植物的重要信息。它为我们描述了上古时期的地理画卷，从中国中部的著名山脉向外延展到海外的土地。总的来说，它起到了向导的作用，通过它，我们可以更多地了解古代的世界。（麦克 2001：679; Srisinthon 2018：104; 孙玉珍 2003： 109， 110）

2.作者
《山海经》的作者和成书时间都存在争议。最早这本书被认为是大禹或伯益等上古神话人物写就。现代汉学家普遍认为这本书并不是出自一人之手，而是从战国中后期到汉代初中期的众多学者不断修改增订而成。目前，根据杨兴慧和罗大和的最新研究，《山海经》是由伯益肇始、口述，并由其子孙口口相传，到周初时，由宅皋狼或衡父成书，并由造父献给周穆王，从而流传于世。（杨兴慧/罗大和 2016： 66， 73）

3.书中的神话生物
《山海经》所塑造的神话英雄形象具有浪漫主义特质,凝聚了远古先民对道德、力量、生命、自然的敬畏与崇拜,是远古先民智慧的结晶。这些神话英雄形象虽然各有异同,但也具有一定的共性特征。首先,他们都承载了远古先民的原始生命观。其次,神话英雄形象具有精神领袖的特质。最后，神话英雄形象是超然物外的神灵而非凡人。（薛正英 2016： 174， 180）书中的神话生物可分为四种：人兽同体的形象、异族人物形象、珍奇异兽的形象、仙草神木的形象。其中一些在亚洲文化中众所周知的形象很受欢迎，例如九尾白狐、凤凰、女娲、后羿。这些形象充满古人对生命起源的沉思和对自然的探索。这种超现实主义对中国传统文化产生了深远的影响。其中一些形象表达了中国古代祖先对和平的追求。后来，热爱和平也成为了中华民族永久的理想追求。（项薇 2021： 25-26）
以下是书中部分典型神话生物的一些图片和简要介绍。

一只九尾白狐。传说中，它是中国最伟大的治水人大禹和他的妻子涂山氏的媒人。

鲛人，一种类似于美人鱼的生物，专门织造鲛纱。根据《搜神记》一书，鲛人看起来像人类，但下半身是一条鱼尾。当他们哭泣时，他们的眼泪会变成珍珠;而他们身体里的油脂人鱼膏可以让一盏长明灯燃烧一千年。

马身龙首的异兽，被称为中山神。

一种名叫狰的五尾生物，专门捕食老虎和豹子等的食肉兽。

一种名叫䑏疏的中国独角兽。

一种类似猴子的生物，被称为举父，擅长远程投掷石块，恐吓其他野兽。

4.发展历程（地位状态的变化）
历史上最早提到《山海经》的是司马迁,因他对其可信性表示了明确怀疑,这对《山海经》在华夏文明传统中的地位产生了根本影响。自汉刘秀整理作《上〈山海经〉表》、晋郭璞首次为注后,一千年间问津者寥寥。后来，20世纪初，西方“神话”概念以及人类学、神话学等现代学术理论与方法传入中国。这些都给《山海经》的地位带来了根本性的变化。从那时起，它不再遭到史学家的诟病，反而成为当代学者所从事的“中国神话”或“中国神话学”研究的基石。（陈帅 2013： 209）

5.对中国文学的影响
《山海经》是记载中国古代早期神话故事和神明历史最早的百科全书，这部作品也是后来中国神话的主要灵感来源。这些神话的系统性呈现在本质上与世界其他地区已知的古代早期神话故事合集不同，那些故事合集由某些形式的连续性叙事构成。而《山海经》缺乏连续性的叙事，其内容是按照神话地理组织的，其中不同的神话元素、主题和生物在地点和方向上都位不同。它没有情节，但书中的神话生物和神话故事引发了丰富多彩的想象。书中的神话生物在中国文学中被广泛引用。《山海经》的内容描述单一简洁，但却极具想象力，这大大影响了中国早期小说的叙述方式和手法。（项薇 2021： 25-26）

The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》
Mountains 《山经》
Regions Beyond Seas 《海外经》
Regions Within Seas 《海内经》
Wilderness 《大荒经》
Yu the Great 大禹
Bo Yi 伯益
modern Sinologist现代汉学家
nine-tailed white fox 九尾白狐
Tushan Shi 涂山氏
Fish Man 鲛人
mermaid 美人鱼
waterproof silk fabric鲛纱
Supernatural Beings 《搜神记》
Mt. Zhongshan 中山神
Zheng 狰
Quanshu 䑏疏
Jufu 举父

问题
1.《山海经》分为几个部分？
2.这本书描述了什么？
3.这本书是如何组织结构的？
4.这本书的创作历程是怎样的？
5.什么对这本书地位的变化有很大的影响？

=Session 7 OD Fri Apr 12 10:00-11:40 room 404=
==Session 7 Student presentations==

==='''胡煜杰 71. Literature: Ancient literature - Chinese Classical Fairy Tales'''===

Please upload your power point here: [[Media:Fairy_tales_2024.pptx]]

==='''罗杨 81. Literature: Premodern literature: Strange Stories from a Chinese Studio'''===

Please upload your power point here: [[Media:Chinese_Studio_2024.pptx]]
=Session 8 OD Fri Apr 19 10:00-11:40 room 404=
==Session 8 Student presentations==

==='''陈卓 Chén Zhuó 46. Fine Arts: Painting'''===

Please upload your power point here: [[Media:Painting_2024.pptx]]

46. 美术：绘画
中国的传统绘画可以追溯到大约 6000 年前的新石器时代。20 世纪 20 年代出土的绘有动物、鱼、鹿和青蛙的彩陶表明，在新石器时代，中国人已经开始使用毛笔作画。
中国传统绘画因其理论、表现形式和技法而备受世人推崇。与西洋画不同，中国画在透视上不受焦点的限制。画家可以在一张狭长的画纸上或在绢上画出长江沿岸的所有景物。《木兰从军图》就是一个例子。《木兰从军图》取材于一个古老的故事：木兰女扮男装，替父从军，在战争胜利后回到家乡。在画面中，人们可以看到庭院和房屋内外的人们正在做什么。可以说，采用移动透视是中国画的特点之一。中国画家为什么要强调视角的变换呢？他们试图摆脱时间和空间的限制，将远处的事物和近处的事物都纳入画中。此外，艺术家们还发现，在生活中，人们会从一个移动的焦点来观察周围的事物。移动透视使艺术家能够自由地表达他想要表达的东西。
根据表现手法，中国画可分为两类：写意画派和工笔画派。前者的主要特点是夸张的形式和写意的笔法，后者的特点是注重细节和精细的笔法。而 "写意 "则是中国画的基本方法。它是一种美学理论，首先强调的是情感。即使在古代，中国艺术家也不愿意被现实所束缚。晋代（265-420 年）著名画家顾恺之（348-409 年）首先提出了 "以形写神 "的理论。"他认为，绘画不仅要表现物体的外观，还要表达艺术家对物体的看法。在顾恺之的观点之后，又出现了 "神似中寓不似"、"画在似与不似之间 "等理论。"在这些理论的指导下，中国艺术家无视比例、透视和光线的限制。以现代画家齐白石为例。他笔下的虾、虫、鸟、花不其在自然界中的样子，而是经过长期观察和深刻理解后的本质模样。
中国书法和中国绘画密切相关，两者都使用线条。中国人把简单的线条变成了一种高度发展的艺术形式。线条不仅可以勾勒轮廓，还可以表达艺术家的观念和情感。针对不同的主题和不同的目的，会使用各种各样的线条。线条或直或曲、或刚或柔、或粗或细、或浅或深，墨色或干或润。线条和笔触的运用是使中国画独具特色的元素之一。
中国传统绘画是诗、书、画、篆刻艺术在同一画面上的结合。在古代，大多数艺术家都既是诗人又是书法家。苏东坡（1037-1101 年）、倪云林（1306-1374 年）和董其昌（1555-1636 年）都是这样的艺术家。对于中国人来说，"诗中有画，画中有诗 "一直是优秀艺术作品的标准之一。题跋和篆印有助于阐释画家的思想感情，也为画作增添了装饰美。古代画家喜欢画松、竹和梅花。在题写 "品行高洁 "等字样时，这些植物寓意着人们在艰苦环境中刚正不阿、乐于助人的品质。对于中国平面艺术而言，诗词、书法、绘画和篆刻是不可或缺的组成部分，它们相互补充、相互丰富。
齐白石（1863-1957 年）是中国当代最著名的艺术家。他多才多艺，他自己的成功标准是：诗词第一，篆刻第二，书法第三，绘画最后。经过长期实践，齐白石形成了独特的个人风格。他既能以写意也能以工笔描绘同一事物。他的作品引人入胜之处在于，有些画作同时使用了两种画法。例如，用工笔画法画的昆虫和用写意画法画的花卉出现在同一幅画中，它们之间有一种完美的和谐。

Terms and Expressions
Focal point 聚焦点 Perspective n. 透视法
Shifting perspective 移动透视 Freehand brush work 写意
Fine brush work 工笔 Sentiment n. 性情
Gu Kaizhi 顾恺之 Su Dongpo 苏东坡
Ni Yunlin 倪云林 Dong Qichang 董其昌
Inscription n. 题字 Seal impression 印章

Questions
1.中国传统绘画的历史有多长？
2.中国传统绘画与西方绘画的最大区别是什么？
3.中国画家为什么强调转换视角？
4.中国画有哪两大类？
5.你对顾恺之的绘画理论了解多少？他的理论在中国绘画史上有多重要？
6.中国传统绘画的四个组成部分是什么？绘画和诗歌有什么关系？
7.松、竹、梅在中国传统绘画中象征什么？
8.齐白石如何看待中国绘画艺术各组成部分之间的关系？
9.齐白石作品的魅力何在？

==='''肖烨 Xiào Yè 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties'''===

Please upload your power point here: [[Media:Nanking_2024.pptx]]

=Session 9 OD Fri Apr 26 10:00-11:40 room 404=
Xiao Ye

6 or 10 dynasties capital? Nanking has good fengshui (harmonious human-nature environment) ; geology looks like dragon and crouching tiger ; Kongmiao, Sun Yat-sen mausoleum;
Discussion about John Rabe

==Session 9 Student presentations==

==='''吴梨萍 Wú Lípíng 61. Landscapes and Tourism: Four State-Level Cultural Relics'''===

Please upload your power point here: [[Media:Four_State-Level_Cultural _ Relics_2024.pptx]]

Wu Liping (must add literature)

Popular rare Chinese treasures; corrects wrong date in textbook, explains key words (traditional terminology, e.g., 后母emperor’s mother) ; Han Dynasty: Ding, bells (“piano”), grave “suits” (Confucian ornament and Longevity: jade; banned during 三国), horse trampling bird (swallow/dove?; knottet tail); significance: enhance cultural learning (context?) ;
good discussion about Dongzhongshu and synchretistic use of elements form Confucian and Daoist thought. Pay attention to conceptual language and descriptive categories

61. 景观和旅游：四件国宝级文物
中国是世界上最古老的文明之一的故乡，拥有丰富的文物，从古墓、建筑、乐器到手工艺品、历史书籍等。它们体现了丰富的历史和文化信息，生动地展示了中国文化的发展过程。这些遗迹中显示的惊人的艺术和技术水平今天继续给人们留下深刻印象。
在中国古代，鼎是帝国权力的象征。因此，鼎经常在中文的短语和表达中用来暗示权威（Anna，2015年）。例如，问鼎，字面意思是“向鼎询问”，意味着密谋篡夺政治权力；一言九鼎，字面意思是“一个承诺等于九个鼎”，意味着这句话具有决定性的作用（Lv Shuxiang，2016年）。
司母戊鼎是1937年在河南省安阳发现的一件非常珍贵的文物。它产生于3000多年前的商朝晚期。这个方形的鼎是古代世界现存最大的青铜器。它现在存放在北京的中国国家博物馆（李伟明，2015年）。
鼎是一个烹饪容器，可能在原始社会中用于煮或烹饪食物。当时，鼎是用粘土做的。在商周（公元前1700年至公元前256年）王朝期间，青铜铸造技术在中国达到了很高的水平。因此，人们用青铜铸造鼎。然而，鼎不再是普通人生活中的炊具，而是重要仪式献祭的对象（Anna，2015年）。
司母戊鼎被商朝武丁皇帝铸造，作为祭祀母亲的仪式的一个物品。三个字符司母戊在侧壁内侧形成铭文。根据考古学家的说法，司的意思是祭祀仪式，母戊是君主母亲的名字。后来，司母戊定为这个大鼎的名字（李伟明，2015年）。
司母戊鼎高1.33米，长1.10米，宽0.78米，重832.84公斤。当时，它需要1000公斤的金属和两到三百名工人来生产它。这款鼎的构造坚固，外观华丽，工艺精湛。四根支柱腿厚实而有力。每边中间都有一个空白，周围环绕着一条以饕餮（动物脸生物）和夔龙（单腿龙）为特色的装饰带，象征着收获和吉祥。司母戊鼎代表了商周王朝最高水平的青铜铸造技术（李伟明，2015年）。
编钟，是一种由青铜制成的打击乐器。中国是最早制造和使用此类仪器的国家。钟铃根据大小、气质、音高分成几组，并挂在架子上。一个小锤子或木棍被用来敲钟，发出共鸣和悦耳的声音（湖北博物馆，2015年）。
曾侯乙编钟是中国目前最大、最完整的古老钟声。它们是1978年从战国时期（公元前475年至公元前221年）的一个小州的曾侯乙的陵墓中出土的。当他们被发现时，所有的钟声仍然挂在他们的架子上。它们现在保存在湖北博物馆（湖北博物馆，2015年）。

这架编钟总共有65个钟，八组挂在木条或青铜条上。架子长10.79米，高2.67米，由三根杆子组成，即上杆、中杆和下杆，由六个青铜战士和几个圆形木柱支撑。65个铃铛重超过2500公斤。最大的钟高度为1.52米，重量超过203.6公斤。最小的铃铛高约20厘米，重2.4公斤。很少看到有这么大规模重量和体积的编钟（Wan Quanwen，2020年）。
曾侯乙编钟铸造精美，看起来非常优雅。为了帮助艺术家表演音乐，每个钟上都有3700个字符的说明（Wan Quanwen，2020年）。还有一些关于悬挂指示和音乐气质的词语，被称为“有价值的音乐理论工作”。曾侯乙编钟表明，早在战国时期，中国就已经拥有非常丰富的音乐文化。出土后，钟声仍然可以产生纯净而准确的音符。色调很好，音色也很纯净。
在挖掘钟声后，中国音乐家创作了一首名为《编钟乐舞》（音乐和舞蹈伴随着钟声）的旋律，再次展示了中国古代音乐的魅力（周毅，2016年）。
通常来说，衣服的质地是棉花、亚麻或丝绸。然而，有由金和玉制成的西装，即“金缕玉衣”（王静，2008年）。

汉朝的皇帝认为玉石可以防止他们的尸体腐烂，他们认为玉石充满了尊严和高贵。因此，他们用玉衣作为他们的坟墓衣服。金线、银线或铜线被用来分别连接四方玉，称为金缕玉衣、银缕玉衣和铜缕玉衣（王静，2008年）。
1968年在河北省满城出土的两套汉朝玉衣向世界揭示了这种墓葬服的真实特征（李亚文，2019年）。他们的主人是中山的景王刘胜和他的妻子窦万（公元前206年至公元25年）。
在外观上，玉衣遵循人体的形状。它由五个部分组成，即头罩、外套、裤子、手套和鞋子。每个部分都由玉片制成。每件玉石的尺寸和形状都是根据其位置设计的。大多数玉石都是正方形或矩形形状的，但也有一些是梯形、三角形或多面形状的。每块玉石的角落都有穿孔，通过它，一根金线将碎片缝合在一起。刘盛的玉衣相当大，长1.88米，由2498件组成。这套西装使用的金线重量约为700克（Li Yawen，2019年）。

这种大约2000年前在汉朝制作的精致西装表明了当时的高设计水平和精湛的工艺。事实上，当然，统治者防止尸体腐烂的梦想永远无法实现。穿玉衣的做法在三国时期（220-280）被禁止（王静，2008年）。
1969年，在中国西部甘肃省武威的东汉（公元前206年至公元220年）墓中出土了一匹青铜驰驿的马。铜像是汉代著名的代表性雕塑。武威县因发现这项国宝而声名鹊起（李晓虎和赵静，2019年）。
这匹34.5厘米高的青铜马，上面覆盖着青绿色的斑点，身体饱满而健壮。跳跃的腿、飞舞的尾巴、略微扩张的鼻孔描绘了一匹疾驰的马。它巧妙之处在于，它的一只后脚正踩着一只飞燕子。这意味着疾驰的马比飞燕子还快（王谦，2020年）。它的四条腿的定位严格符合一匹活马的位置，并受到许多当地和外国考古学家和艺术家的高度赞扬。
在这部作品中，中国古代艺术家结合了现实主义和浪漫主义，通过丰富的想象力、原创概念和娴熟的工艺，巧妙地结合了疾驰的马和飞燕子（王倩：10-11）。飞快的燕子引发了疾驰的马的惊人速度。根据对其力学的分析，马踏飞燕在燕子中找到了一个重心，使雕像保持稳定。燕子的浪漫形象衬托了马的力量和力量，为观众提供了丰富的想象力体验（李小虎和赵静，2019年）。
马踏飞燕被认为是中国传说中“天马”的描绘。它工艺精湛，充分表达了中国西部地区的马匹饲养文化。它已成为中国旅游的象征和具有代表性的作品，将中华民族历史悠久的文化传统和东方美学带给世界。该文物现在保存在甘肃省博物馆（王谦，2020年）。

术语和表达：
Simuwu Ding 司母戊鼎
Emperor Wuding of the Shang Dynasty 商王武丁
taotie 饕餮
National Museum of China 中国国家博物馆
chime bells/bian zhong 编钟
Marquis Yi 曾侯乙
The Chime Bells of Marquis Yi 曾侯乙编钟
Bianzhong Yuewu 《编钟乐舞》
Hubei Museum 湖北省博物馆
Jade Suit with Gold Thread 金缕玉衣
Jade Suit Sewn with Silver Thread 银缕玉衣
Jade Suit Sewn with Copper Thread 铜缕玉衣
Bronze Galloping Horse 铜奔马/ 马踏飞燕
Gansu Provincial Museum 甘肃省博物馆

问题：
1.鼎象征着什么？

2.司母戊鼎是什么时候生产的？

3.易侯爵的钟声包含多少个钟？

4.最大的钟有多大？

5.用什么样的线来连接四方玉片？

6.金缕玉衣是什么时候出土的？

7.马踏飞燕有什么巧妙之处？

8.马踏飞燕现在保存在哪里？

==='''李思瑾 Lǐ Sījǐn 21. Beverages: Tea'''===

Please upload your power point here: [[Media:Tea_2024.pptx]]

Li Sijin

Intro of types and history of tea cultures; distribution / trade routes;
“function”: bioactive substances with health impact ; cafein (why did people like tea before scientific rationalization arrives?; culture, aestetic, emotion?) ; culture and social etiqette of making and drinking tea; Other tea cultures (herbal tea?) (must add references)

=Session 10 MW Fri May 10 10:00-11:40 room 404=

Teacher presentation: [[Media:10_Chin_Cult_2024.pptx]]

==Session 10 Student presentations==

==='''谭雅兰 Tán Yǎlán 20. Beverages: Milk Tea'''===

Please upload your power point here: [[File:Milk_Tea_2024.pdf]]

==='''裴心弦 Féi Xīnxián 7. Animals: Panda Culture'''===

Please make sure that you do introduce the animal itself, but how the animal is used by humans for example for panda diplomacy or as a national symbal etc. This course is not a biology course, but a culture course! You may even have to rewrite the text of the chapter.

Please upload your power point here: [[Media:Panda_Culture_2024.pptx]]

==='''杨子璇 Yáng Zǐxuán 51. Games: Kite Flying'''===

Please upload your power point here: [[Media:Kites_2024.pptx]]

游戏：放风筝

'''介绍'''

风筝在中国有着悠久的历史，且一直延续至今。在公园、广场和空旷的草地上都能看到风筝的身影。各种造型的风筝十分壮观，为人们的休闲时光增添了许多乐趣。同时，作为一项传统的民族活动，风筝打上了深深的中国文化烙印，充分表达了人们的美好愿景和强身健体的心愿，富有民族特色和地方风味。作为一种民俗，放风筝是一种以休闲和调节身心为目的的游戏和娱乐活动，使人们在工作之余得到休息，有益于强身健体、陶冶情操、培养创造力和道德感。

'''风筝的起源和发展'''

风筝作为中国古代文明的重要组成部分，它的故乡在中国。中国近代著名史学家李约瑟在其《中国科学技术史》中，将风筝列为中国人对人类重要的科学发明之一。

发明人：墨子

据考证，中国最早的风筝是木制的。春秋战国时期，墨家创始人墨翟（公元前 478-392 年）花了三年时间，用木头做了一只鸟，放飞到天空后一天才落地。这只墨子制作的 “木鸢”据说是中国最早的风筝，也是世界上最早的风筝，距今已有2000多年的历史。然而，有人对风筝飞翔能力提出了质疑。王充的说法在历代风筝研究中具有代表性，他先是肯定了风筝的飞翔能力，然后又对风筝是否能持续飞翔三天提出了质疑。此外，还有人质疑木鸟和风筝是否是同一种飞行器。他们认为，风筝是一种 "振翅飞行器"，这意味着它是通过拍打翅膀和拍打空气来飞行的。除此之外，风筝也是 "固定翼飞行器"。然而，这些推测几乎没有证据。因此，时至今日，主流观点仍然认为风筝是由墨家发明的。

源自战争

依据这种观点，风筝起源于汉末。这种观点是基于历史上韩信制作风筝的传说。高澄在《事物纪原》卷八中有对风筝的描述，韩信在战争中用风筝测量田地长度。此外，据《史记·韩信列传》记载，韩信用牛皮制作了各种风筝，并让乐师坐在上面，飞到楚军上空吹奏楚歌，让楚军思念家乡，无心作战。在古代，由于朝代更迭和外族入侵，战争不断。风筝作为一种飞行工具，在战争中受到青睐。风筝与战争的渊源虽有争议，但仍有其合理性。

源自娱乐

放风筝作为一种民间游戏和娱乐，是民俗活动的重要组成部分。在古代，人们最初放风筝是为了祛除厄运，是一种带有巫术意味的户外活动，并不是为了娱乐。当这种游戏成为调节社会生活的一种文化需要时，它就带有了娱乐的含义。娱乐是风筝出现的前提之一。放风筝不仅给人们的生活增添了情趣，还能在愉快高效的情境中开展教育。在《五代史记·李晔传》中，就有皇帝等人在宫中猜灯谜、放风筝的历史记载。此外，李晔还在宫中做了一个纸鸢游戏，用竹子做了一个笛子，系在纸鸢的头上。纸鸢在空中飞舞时，随着风的涌动，听起来仿佛有人在弹奏古筝，“风筝”因此得名。由此可见，风筝起源于古人的休闲活动。
风筝的使用和生产

'''风筝的使用'''

最初，风筝通常被用作传播信息和测量天空风向的军事工具。春秋时期，鲁班 "作木鸢以觇宋城"。在唐朝，风筝主要发挥娱乐的作用，并在宫廷和民间流行开来。由于唐朝与外国的频繁交流，风筝还传入了朝鲜和日本等邻国。在之后的朝代，人们把放风筝作为锻炼身体的主要方式之一。

'''风筝的生产'''

中国传统的风筝放飞技巧概括起来就是四个字：扎、粘、画、放，即扎架、粘纸、画花、放飞。扎包括宣、分、弯、剪、接。粘合包括选择、裁剪、粘合、镶边和校正。绘画包括上色、打底、描摹、染色和修补。放飞包括风、线、放线、调整和收线。2006年5月，风筝制作技艺被列入第一批国家级非物质文化遗产名录。

'''风筝的种类'''

战斗风筝

战斗风筝是用于风筝格斗运动的风筝。传统上大多数都是小型、不稳定的单线扁平风筝，仅靠风筝线的张力来控制，并使用磨料线切断其他风筝的线。

室内风筝

室内风筝是设计用于在无风环境中放飞的风筝。虽然主要是为室内使用而设计，但也可以在室外放飞。当风力不足导致传统风筝无法在室外放飞时，它们可以。室内风筝的放飞是利用放风筝者的运动所提供的相对风力。这种运动通常是由使用者慢慢向后走（通常是在一个圆圈内）而产生的。但也可以通过风筝线的适当牵引和抽动来实现。

载人风筝

载人风筝是一种用于将人从地面抬起的风筝。历史上，载人风筝主要用于侦察和娱乐。随着 20世纪初动力飞行的出现，人们对这种风筝的开发兴趣逐渐减弱。

充气单线风筝

充气单线风筝是一种充气式的风筝。气球风筝就属于充气风筝。这种风筝将冲压充气和闭囊充气结合在一起。风筝的形状大致源于机翼，进气口通常位于风筝的前端，整个底部都有辔头，可以均匀地分配系绳的负荷。这种风筝没有坚硬的支柱。与热气球一样，也常常充满艺术创意，描绘鱼、猫和许多其他动物和人物。

问题

1.风筝因何得名？

2.中国传统风筝放飞技巧的四个关键词是什么？

3.风筝种类有哪些？

=Session 11 MW Sat May 11 10:00-11:40 room 404=
May 1-3 is an extended May First Holiday. The classes of the Bridge Day May 3 need to be moved on Saturday May 11.
==Session 11 Student presentations==
==='''雷慧婷 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan'''===

Please upload your power point here: [[Media:Marriage_Songs_Hunan_2024.pptx]]

==='''喻鑫众 69. Language: Chinese Dialects'''===

Please upload your power point here: [[Media:Chinese_Dialects_2024.pptx]]

69.语言：中国方言

A.中国方言简论

Topolect和hibernation这两个词，都是来自于汉朝杨雄的著作“其他方言的翻译”。“方言”一词在不同群体中代表着不同的意义，对于中国人来说，方言有着政治观念和语言学的双重意义，它还被认为是“土话”。“口音”代表着一个特定的地区在语言标准上的差异，如亲属之间不分语言的关系。然而在欧洲，“方言”是一个语言学的概念。在18世纪初，它是位于“语言”之下的一个概念。基于语言之间的关系（比如发音、词汇和语法），方言被划分成了不同的语系、语族、分支和语言。所以考虑到中国的特殊情况，“中国的方言”翻译到英语中便是“各种不同的中文”。在欧洲的定义里，方言应该是一种和标准语不同的并且只在某一特定区域使用的语言（Julie M. Groves 2008,1）。
中国幅员辽阔，历史悠久。在历史进程中，中国大地上各种不可避免的分分合合使得汉语中多样又复杂的方言系统逐渐出现。社会、历史、地理因素，包括语言本身，都是推进方言演化的因素。汉语的方言可以分为两个大类，官话和九大方言。官话，也就是现代汉语，并不是独立的方言，因为它们在发音、词汇和语法上都非常和标准语类似。其他的地区方言则在发音、词汇还有语法上与标准语差异巨大，因此形成了他们自己的方言系统。官话包括了东北官话、北京官话、吉鲁官话、胶辽官话、中原官话、兰银官话、西南官话和江淮官话。六大方言则包括了吴语、粤语、闽语、湘语、赣语、客家话、徽语、晋语和平话。
B.湘语
湘语也被称作湘方言或者湖南话，属于汉藏语系，也是居住在湘江流域及其支流附近的湖南人主要使用的语言。湘语被分为了两个类别，新湘语和旧湘语。新湘语以长沙话为代表，旧湘语则以双峰话为代表。古楚语的核心使用区域就位于长江中游，它也是湘语的起源语言。现代湘语的使用者分布在中国大陆湖南省相当客观的一片区域上，包括了长沙、株洲、湘潭、岳阳、益阳、娄底、衡阳、邵阳、永州还有其他的一些地级市。2010年，湘语使用者估计有4500万。在湖南省内使用的方言包括西南官话、赣语、客家话和还没被分类进任何方言大类的湘乡话、南部湘语。湘语是湖南省主要方言。湖南省的方言非常多样化。
楚语，也就是chu yan（古楚语），在先秦的楚国有很多人使用，也是湘语的最早的起源语言。今天我们已经无法考证古楚语的具体面貌，但它确实是生活在湖南省和湘江沿岸的汉族人最早使用的语言。“chu yan”一词最早出现于《左传》，这说明了最迟在春秋晚期，chu yan就已经形成了。同时也表示楚语是不同于同时期的雅言和xiayan的汉语的另一个分支。湘语的声母有20-35个，韵母有30-40个，音调有5-7个，一般是6个。
C.粤语
粤语，又可以叫广东话或者tang话，常常被称作“白话”，是汉藏语系中的一种汉语方言。粤语是广府人的母语，是汉民族广府文化的重要载体，是广府文化的文化性基础象征。粤语有一套完整的涵盖了9声6调，保留了中古汉语很多特点的语言系统。它是除了普通话之外唯一在被外国大学独立学习的中国语言。
关于粤语的源头，有很多不同观点。有人认为它源自北方的中原方言，也有人说它源自楚国的楚语。粤语是南部方言中保留更多中古汉语元素的一种，其中最显著的特点是它相对保留了中古汉语的“入声”，以及它的声母、韵母和声调与《曲韵》和《广韵》中的古汉语标准韵律有很好的对应关系。
在广东省，普通话是主导语言，而最具有主导地位的方言是粤语。客语和闽语是广东省内另外两种有重大影响力的汉语方言。客语主要集中于广东省的东北部和北部，客家方言也在广东省的部分西部地区有所分布。全省大部分地区都有客家村落散布，使用这种方言的人数约为2000万。
闽语主要分布在广东省西南部和东南部的沿海地区，包括六个市：潮州、汕头、揭阳、汕尾、湛江、茂名，它可以分为两个语言区域：潮汕和雷州。前者与南方闽语有相似之处，而后者则接近海南方言。此外，在中山、惠州、清远、韶关等地的一些岛屿上，有1895万人将闽语作为官方语言。
问题
1.中国有多少种方言？
2.它们都有哪些？
3.湘语的源头是什么？
References
Peng Jianguo 彭建国(2006). 《湘语音韵历史层次研究》. [ A Study on the Historical perspective of Xiang Phonology]. ”湖南大学出版社”[Hunan University Press]. 25-26.
Li Rong 李荣(1989). 汉语方言的分区. [The division of Chinese dialects] (04)：241-259.
Julie M. Groves (2008). Language or Dialect—or Topolect? A Comparison of the Attitudes of Hong Kongers and Mainland Chinese towards the Status of Cantonese . SINO-PLATONIC PAPERS. 1-60.

=Session 12 MW Fri May 17 10:00-11:40 room 404=
==Session 12 Student presentations==
==='''向璐 99. Minority cultures: The Ethnic Minorities’ Costumes'''===

== 简介 ==
中国是一个具有悠久历史和灿烂文化的文明古国。服饰作为文化的一个元素，对中华民族的繁衍与发展作出了重大贡献。55个少数民族的服饰也是中华服饰王国中的奇葩，绽放出夺目的光彩。（魏荣辉，2004，前言1）它们传达了少数民族在政治、经济、文化、宗教、审美等方面的信息。它的形成与演变不仅标志着中华民族物质文明和精神文明的逐步完善，而且也是审美观念和文化特色的集中体现。（魏荣辉，2004，前言2）

== 服饰种类 ==
民族服饰的种类繁多，各具特色。在此，我们将简要介绍四种最为基础的民族服饰类型：长袍、裤子、夹克和裙子。
#长袍
长袍作为中华民族最古老的服装款式之一，承载着深厚的历史文化底蕴。在高原、山区或草原等寒冷或昼夜温差大的地区，一些民族采用动物皮制作长袍，既保暖又实用。长袍的设计使得穿着者可以根据需要轻松穿脱，作为多件衣物使用。随着时代的变迁，长袍的材质和款式也逐渐丰富，如布袍、丝袍等，展现出不同的风格特点。（齐春英，2018，12）
##裤子
裤子作为一种实用的服饰，自战国时期赵武灵王推行“胡服骑射”改革以来，逐渐成为南北各民族常见的服装形式。特别是在寒冷的北方地区，裤子因其保暖性和适应性而备受青睐。它不仅能够抵御严寒，还能适应骑马射箭等生活方式的需求。（齐春英，2018，20）
###夹克
夹克作为各民族广泛穿着的服装之一，具有多样化的特点。有的夹克长度适中，有的则较长；有的无袖，有的袖子长达一两米；有的宽松舒适，有的则贴身修型。在工艺上，夹克还采用了蜡染、刺绣、缝制贝壳珠子、银饰等多种装饰手法，使其更具民族特色和艺术价值。（齐春英，2018，22）
####裙子
中国少数民族的裙子以其独特的款式和精湛的工艺而著称。从长度上来看，有长裙、短裙、筒裙等多种类型；从工艺上来看，则有花裙、百褶裙、飘带裙、蜡染裙等多种制作手法。这些裙子不仅展现了各民族女性的优美身姿，还体现了中华民族丰富多彩的服饰文化。（齐春英，2018，35）
——刘卓凡（讲谈）2021年6月14日11:25（UTC）已修改

== 四大民族服饰简介 ==
壮族、回族、满族和维吾尔族是中国人口最多的四个少数民族，因此我们选择这四个民族向大家介绍。
#壮族
壮族男子多穿对襟上衣，纽扣一般为六至八对，内襟缝有一小口袋，腹部有两个大口袋，裤子短而宽，头包绣花头巾，多穿草鞋，节日或走亲戚时穿布鞋。
壮族女子多穿深色对襟上衣，有的在衣领、袖口、襟底镶上彩色花边，下着宽脚裤。有的地区壮族女子穿黑色褶裙，裙面绣有彩色花纹图案。喜爱佩戴绣花围腰和绣花飘带。壮族妇女有戴黑布头巾、穿绣花鞋的习俗，节日或赶圩时，喜欢佩戴绣花黑色头巾，并配戴银质耳环、手镯和项圈等。
壮族服饰大多以蓝黑色衣裙、衣裤或长衫短衣为主，壮族服饰多用自织的壮锦、土布作衣料。壮锦是壮族人民最精美的一种手工艺品，唐宋以来一直是壮族人民向朝廷进贡的珍品，被汉族人民视为珍奇工艺品。（魏荣辉，2004，27）
#回族
回族服饰独具特色，色彩以白、绿、黑为主调。男子常佩戴白色或黑、棕色无沿小圆帽，身着白色衬衫，外套黑色坎肩，下身则搭配黑色长裤。中年人偏爱中式上衣搭配长裤套裤，展现传统与稳重的风范。回族妇女则普遍佩戴盖头，钟爱背心与宽袖袍服，夏季多选择白色，冬季则偏向黑色与紫色。老年妇女冬季常着长袍和套裤，既保暖又显庄重。年轻姑娘则偏爱大襟短衣与长裤，展现青春活力。儿童服饰色彩鲜艳，样式活泼，男孩常戴具有阿拉伯风格的小圆帽，女孩则穿着色彩艳丽的长衫与裙子，都佩戴着精美的银饰，显得活泼可爱。
回族服饰中，尤其是宗教人士的服饰，受到阿拉伯国家和伊斯兰教文化的深刻影响。例如，回族妇女戴盖头的习俗便是受阿拉伯妇女的影响。在服饰色彩上，回族人崇尚白色，认为白色是最洁净、最喜悦的颜色，这与他们的宗教信仰紧密相连。穆罕默德曾教导他的信众：“你们宜常穿白衣，因为白色是最佳颜色。”这种对白色的偏爱在回族服饰中得到了充分体现。（魏荣辉，2004，7，10）
#满族
作为一个以骑射为生的民族，满族服饰注重简洁，以便于骑马奔驰。例如，满族裤子在前后左右都有开口，显然是为了骑马方便。此外，满族长袍上的“箭袖”也是一大特色，这种袖子与长袍的袖口相连，长半尺呈马蹄形，因此也被称为“马蹄袖”。（徐海燕，2004，5）
在满族服饰中，最为人熟知的便是旗袍。旗袍原是满族人的服装，起初并不是满族妇女的最爱，而是男女老少一年四季都穿的服装，款式相同，只是有单层、夹层和皮等不同设计。满族人也因此被称为“旗人”。旗袍的一个特点是宽松直筒，不显身材，尤其是后期，袍内穿裤，有时袍下还可隐约看见裤脚。旗袍的另一特点是面料厚实，上面绣有各种繁琐的图案花纹。（徐海燕，2004，6）
#维吾尔族
维吾尔族男子一般内穿长衫，外穿宽袖长衫，外穿领扣，俗称“环”。他们的裤子总是蓝色、灰色、黑色、白色和棕色的。这条腰带是用细棉线织成的，上面绣着花纹。(魏荣辉，2004,15)
女性通常内穿及膝的彩色衬衫，外穿宽袖边裙。在过去，她们常常在衣服上穿黑色天鹅绒，边缘有金银片和蕾丝装饰。在冬天，他们还穿着长长的“Loop”。现在，大多数妇女喜欢穿西方的夹克和裙子，穿长筒袜，孩子们经常穿短衣服。维吾尔族男女外出必须戴小花帽。在冬天，他们喜欢皮帽和皮靴。他们的衣服用料很好，通常是纯毛、丝绸、棉花和真皮。(魏荣辉，2004,16) ——刘卓凡(讲座)2021年6月14日11:25 (UTC)已修改

== 参考文献 ==
祁春英.(2018).中国最美第3辑民族服饰.湖北美术出版社.(12-35)
韦荣慧.(2004).中国少数民族服饰.中国画报出版社. (前言1-2, 7-27）
徐海燕.(2004). 满族服饰.沈阳出版社(5-6)

== 相关术语 ==
Robe 袍子
Arabia 阿拉伯半岛
Islam 伊斯兰教
Clothes Worn by Hu People when Riding a Horse and Shooting 胡服骑射
The Manchu 满族
Arrow Sleeve 箭袖
Horseshoe Sleeves 马蹄袖
Cheongsam 旗袍
Uygur 维吾尔族
Loop 袷袢
Fine cotton thread 细棉线
Real leather 真皮

== 问题 ==
#民族服饰可以传达哪些信息？
#民族服饰最基本的四大类是什么？
#哪个民族的布料在古代是著名的贡品？
#回族人倡导什么颜色？
#维吾尔族服饰的常见材料是什么？

Please upload your power point here: [[Media:Ethnic_Costumes_2024.pptx]]

==='''陈佳雯 33. Clothing: Cheongsam'''===

Please upload your power point here: [[Media: Cheongsam_2024.pptx]]

==='''林如茵 23. Body movement performance: Chinese Lion Dancing'''===

Please upload your power point here: [[Media:Lion_Dance_2024.pptx]]

=Session 13 MW Fri May 24 10:00-11:40 room 404=
==Session 13 Student presentations==
==='''罗淑珍 88. Martial Arts: Huo Yuanjia'''===

Please upload your power point here: [[Media:Martial_Arts_Huo_Yuanjia_2024.pptx]]

==='''龙雨涵 92. Martial Arts: Frolics of the Five Animals (Wuqinxi)'''===

Please upload your power point here: [[Media:Martial_Arts_Five_Animals_2024.pptx]]

引言
禽戏起源于春秋战国时期，从二禽戏、三禽戏到多禽戏。在此基础上，华佗发展了五禽戏，以虎、鹿、熊、猿、鹤的动作为基础的一系列练习。这些动作易于完成，练习起来有趣，非常全面，有助于身体锻炼和内在健康与福祉。如今，五禽戏在世界各地享有很高的声誉。(安徽省旅游局)

创立者
华佗出生于今天的安徽省谯县（现在的安徽省毫州市），这里是中国的四大中药材分销中心之一。在《后汉书》中记载：“晓养性之术，时人以为年且百岁，而貌有壮容。”（悉达多·达尔曼南达博士，美国俄勒冈州波特兰市传统医学研究所所长。）
华佗（公元141-208年）与张仲景是同时代的人。他走遍各地，治疗病人并学习其他医生的医疗实践。他以其外科技术和使用麻醉而闻名。麻醉是通过一种名为麻沸散的粉末实现的，这种粉末在手术前溶解于发酵饮料中。有猜测认为这种粉末可能是大麻，因为当时大麻的用途尚不为人所知。除了外科手术，华佗还建议他的病人进行身体锻炼。他设计了一系列类似于五种不同动物动作的锻炼，这些动物包括虎、鹿、熊、猿和鹤。（《中医药历史——汉代》沈农中医药）

虎戏
虎戏是通过模仿虎的形态和动作来进行的一种锻炼。虎的特点是它的凶猛、强健的身体以及擅长跳跃和抓挠。在虎戏中，最重要的元素是模仿虎的威严姿态。它的精神体现在它的眼睛中，它的威严从它的喉咙中散发出来。它怒目而视，动作如风。它用力扭动腰部，摇头摆尾，并振动全身。（五禽戏）
虎是一种以速度、敏捷性和外在力量著称的动物。在这种形态下的训练将发展骨骼、关节和肌腱，因为它需要复杂的协调动作。身体在保持扭曲姿势的方式下进行训练，以发展类似弹簧的力量。这使身体与地面保持中心，并使腿部变得更加优雅而有力。这种形式可能是所有形式中最具身体挑战性的。掌握这种形式将加强前臂、腿部、躯干和手部。（谭华英，《五禽之精神》，第101页。）

鹿戏
鹿戏是通过模仿鹿的形态和动作，希望能够像鹿一样获得长寿和纯净的灵魂。鹿的特点是性情温和、动作敏捷、喜欢用角顶撞，并且擅长奔跑。站立时，鹿喜欢伸长脖子远眺。鹿还喜欢左右观察自己的后腿。它还擅长活动尾骨（骶骨）。尾骨是任脉和督脉交汇的地方。因此，在练习时，练习者不仅需要模仿鹿敏捷的动作和宁静的精神状态，还需要注意尾骨。这样做可以引导气贯穿全身，开通经络，促进血液循环，放松筋骨，有益于肾脏并增强腰部力量。它还可以增强腹部的血液循环。这种练习适合于治疗内脏神经功能障碍、腹部内部器官的慢性感染、腰部肌肉疲劳、骨盆神经痛、大腿骨退化以及性欲缺乏。（五禽戏）

熊戏
一般来说，熊戏的形式强调腰部扭转、弯曲；在伸手、抓取和“挠抓”时注重肩部和上背部的力量。熊戏通常采用马步或低弓步的站姿，有助于锻炼（拉伸和加强）下半身。
熊戏看似笨拙，但实际清晰明了。它迈着沉重的步伐却内含轻盈。集中气力于中丹田。它用力摇动肩膀，猛烈摆动。熊看起来笨拙而迟缓，柔软如同没有骨头，它的气质稳定、朴实、诚实，步伐沉重。然而，在沉重的步伐中隐藏着灵活性和稳定性。在练习中，不仅要模仿熊的沉重、朴实和诚实的姿态，还应尝试展现运动中的灵活性和稳定性。摇晃和摇摆是熊的动作特点，因此在用力时要包括上臂（包括肩膀、肘部、手部、臀部、膝盖和脚部）。导气至中丹田，以加速深层腹式呼吸，形成丹田气。（焦国瑞，《健身气功要略》，1988年，第193-195页）

猿戏
猿戏是通过模仿猿的形态和动作来展现其机警、敏捷和不断的活动。猿的特点是喜欢模仿、动作敏捷、擅长使用上肢采摘果实以及躲避其他动物的攻击。你不仅应该在表面上练习四肢的敏捷，还应该在内在练习控制思想。猿戏的目标是达到“思想纯净安宁，身体轻盈强健，身体在动而心在静”的境界。这种练习将增强心脏和肺的功能，并强化肾脏和腰部。这种练习适合于年纪较大、体质较弱或精神状态较低落的人群。（五禽戏）
在进行猿戏练习时，尽量模仿猿轻巧敏捷的动作，而对于内部练习，你应该保持心灵像静谧夜晚中明亮的月光一样宁静。因此，猿戏在外在表现为动态，而在内在则是静态的。（五禽戏，中国健身气功协会，2007年，第66页）

鹤戏
鸟戏包括模仿鹤，在中国传统中鹤被视为宁静、灵活和长寿的象征。在练习这一动作时，你应该模仿鹤直立站立，鹤嘴上扬，展现出无忧无虑、心满意足的情绪，以及它轻松拍打翅膀的方式。在举起双臂时，伸长脖子、挺直背部以驱使气向上流动。当双臂向下合拢时，收缩胸部、放松腹部，以驱使气流向下腹部的大丹田。鹤戏可以促进所有经络中的气血循环，并提高四肢的活动能力。（五禽戏，中国健身气功协会，2007年，第79页）

功效
"五禽戏"模仿虎的凶猛、鹿的平和、熊的沉稳、猿的敏捷和鹤的轻盈，以锻炼身心。它可以增强体质、活动气血、放松筋腱和经络，使人不易迅速衰老。如果你能坚持不懈地练习，你将会感到精神愉悦、食欲增强、身手敏捷、步履稳健。它具有养精神、调气血、助脾胃、通经络、活筋骨、利关节的功效。"五禽戏"在预防和治疗肺病、哮喘、高血压、心脏病、神经系统虚弱和消化不良等方面也有效果。此外，经常练习"五禽戏"可以纠正异常的立足点和行走姿势，预防肌肉萎缩，提高身体平衡能力。它还对其他症状有益。练习者应该每天练习两次，每次15分钟，一次在早晨，一次在晚上。此外，练习者应该选择一个空气清新、植被茂盛的地方进行练习。

虎 - 培养肌肉力量。虎戏可以强化腰部、筋腱和肾脏，并建立内在力量。
鹿 - 培养优雅与放松。鹿戏使腿部和脊椎得到充分伸展，创造出开放、扩张的动作，使筋骨非常灵活。
熊 - 培养扎根的力量。熊戏增强了腿部力量，坚固骨骼并在肾脏中发展能量，这是你活力的基本源泉。
猿 - 培养柔韧性和敏捷性。变得机智、警觉和灵活。
鹤 - 培养平衡、轻盈和敏捷。鹤戏使你的整个身体得到冷却和放松，平衡心能，温和地拉伸你的韧带并释放你的脊椎。

问题
1. 谁是五禽戏的创始人？
2. 五禽戏模仿哪些动物？
3. 在中国传统文化中，鹤象征着什么？
4. 哪一式动作在外观上是动态的，在内部却是静态的？
5. 鹿戏的特点是什么？

=Session 14 MW Fri May 31 10:00-11:40 room 404=
==Session 14 Student presentations==
==='''卢逸萱 45. Facial Make-up: Face Changing in Sichuan Opera'''===

Please upload your power point here: [[Media:Face_Change_Sichuan_Opera_2024.pptx]]

面部化妆：川剧变脸

1.川剧及其特点

川剧起源于明末清初。随着大量移民涌入四川，不同的戏剧与当地的方言、习俗、民间音乐和舞蹈相融合。渐渐地，反映四川文化的幽默诙谐的川剧应运而生。川剧在中国享有盛誉，它以独唱、娴熟的表演、丰富的打击乐和滑稽可笑的喜剧为特色。演员们身着色彩鲜艳的戏服，随着节奏明快、富有戏剧性的音乐表演，他们的表演总是充满机智、幽默、生动的对白和浓郁的乡土气息。他们还戴着色彩鲜艳的面具，可以在几分之一秒内变换。魔术特技，如不化妆快速变脸，杂技表演，如跳火圈和吞剑，让观众大饱眼福和耳福。

2.变脸的起源与发展

变脸始于300年前的清朝乾隆年间（1736-1795年）。相传古人画脸是为了驱赶野兽。川剧吸收了这一古老技艺，并将其完善为一门艺术。变脸是通过快速撕下、擦拭或吹掉面具，露出另一张面具来实现的。这是川剧的一大亮点。变脸是川剧的一个重要方面，现代川剧变脸的精确技术是一个严守的秘密。这些秘技在戏剧世家中代代相传。2005年，川剧被列为非物质文化遗产。（百度百科）变脸最早出现在一个英雄劫富济贫的故事中。被封建官吏抓住时，他用变脸来迷惑官吏，结果逃过了一劫。到20世纪20年代，戏曲大师们开始使用油纸或干猪膀胱制成的多层面具。熟练的表演者可以在一秒钟内剥下一个又一个面具。在现代戏剧中，表演者挥动手臂、扭动头部，他们的彩绘面具就会一次又一次地更换，令观众感到惊奇和有趣。现代艺术大师使用的是全脸彩绘丝绸面具，可多达二十四层，并可逐层取下。（中国亮点）

演员用手或转头神奇地变换面具，令人叹为观止。我们很难看到面具的变化。川剧大师彭登怀在25秒内变换了14个面具，露出真容后又恢复成4个面具。这是他最新的吉尼斯世界纪录，打破了他之前的纪录。据说，香港巨星刘德华在这项绝技中尊彭先生为师长。一位川剧大师在变脸时也使用了气功动作，他的脸由红变白，再由白变黑。

3.不同色彩的脸谱的象征意义和典型人物

川剧脸谱给人最直接的印象就是色彩斑斓，就像颜料盘一样。以红、黑、蓝、白、黄、绿为主色调，姜黄、粉红、石绿为辅。色彩明快纯正，夸张绚丽。其色彩丰富多变，每一种色彩都有其内涵。除了色彩的差异，人们在日常生活中对色彩的感知更多的是与审美意义和文化内涵有关。例如，黄色代表阳光，绿色代表健康，黑色代表黑暗等。面具上的色彩一方面夸张、放大了人物的特征，另一方面也通过象征意义表达了人物的内心。色彩成为观众评价人物的依据，或褒或贬。

红色面具代表忠义，最著名的当属《三国演义》中的关羽。他一生忠于刘备，不图虚名。白色用于那些奸诈阴险的人物，如曹操、秦桧、严嵩、司马懿等。黑色象征正直、坦率，最典型的是包拯的面部妆容，此外还有李逵、张飞、项羽等。黄色象征勇敢和暴力，如典韦、庞涓等。绿色象征鲁莽和冲动，如 “青虎”徐世英。蓝色和绿色比较中性，象征亡命英雄、刚烈，如窦尔敦、程咬金、公孙胜等。金色和银色不常出现，一般只用于神话人物，代表佛、神、鬼等。例如，孙悟空（美猴王）的面部妆容中有一双炯炯有神的眼睛，眼皮上有一些金色，由此可见孙悟空的聪明才智。(Wang 2017, 132-133)

作为观众欣赏川剧的视觉焦点，脸谱色彩的多变给观众带来了不同层次的内心感受。这种丰富多变的色彩，成功地将戏曲人物的性格特征和情感的历史判断表达得清晰而到位。可以说，色彩作为一种视觉语言，在川剧脸谱化妆艺术中占有十分重要的地位。(Wang 2017, 132-133)

4. 变脸的工艺材料

川剧变脸的材料，最初多以粗糙纸糊的硬面外壳为主。经过不断改进，演变为在薄纸面上作画。变脸过程中，常用折扇或斗篷遮挡。在转头或捋袖的瞬间，迅速扯下脸上的层层妆容。新中国成立后，随着对川剧艺术的广泛重视，变脸绝技也有了长足的进步，制作脸谱的工艺材料也由原来的纸质逐渐被轻便耐用的丝织品所取代。对于演员来说，丝绸面料的使用不仅加快了面罩的制作时间，也增加了面部即时化妆的时间。与传统面部化妆绘制工艺的复杂性不同，这种面部化妆制作工艺不需要考虑面部结构，绘制图案更加自由流畅。但需要注意的是，由于脸谱在表演过程中变化迅速，瞬间变脸，舞台效果强烈，所以这种脸谱非常讲究线条简洁、色彩鲜艳、粗犷有力。（罗志刚，2019，29-30）

5.脸谱的三大类型

变脸有三种类型，分别是擦脸谱、吹脸谱和拉脸谱。在擦脸谱中，演员在脸上的某个位置涂上化妆颜料。如果要变整张脸，则在额头或眉毛上涂抹化妆颜料；如果要改变下半张脸，则在脸颊或鼻子上涂抹化妆颜料，或是其他特定部位。吹面膜的程序适用于粉状化妆品，如金粉、银粉和墨粉。有时，舞台上会放置一个小盒子；演员走近并对着盒子吹气。粉末会膨胀起来，粘在脸上。有时，粉末被放在一个杯子里。成功的秘诀是闭上眼睛和嘴巴，屏住呼吸。拉面具的表演最为复杂。面具画在裁剪好的绫罗绸缎上，用丝线挂好，然后一个个轻轻地贴在脸上。丝线系在服装不显眼的地方。随着剧情的发展，表演者轻轻一甩斗篷，就能神奇地将面具逐一揭下。（百度百科）

术语和表达

Sichuan Opera川剧

Face Changing 变脸

Lian pu 脸谱

Guan Yu 关羽

Romance of The Three Kingdoms 三国演义

Liu Bei 刘备

Cao Cao 曹操

Qin Hui 秦桧

Yan Song 严嵩

Sima Yi 司马懿

Bao Zhenhg 包拯

Li Kui 李逵

Zhang Fei 张飞

Dian Wei 典韦

Pang Juan 庞涓

Xu Shiying 徐世英

Dou Erdun 窦尔敦

Cheng Yaojin 程咬金

Gongsun Sheng 公孙胜

Monkey King 孙悟空，美猴王

Peng Denghuai 彭登怀

Andy Lau刘德华

Wiping Mask 抹脸

Blowing Mask 吹脸

Pulling Mask 扯脸

问题：

1.川剧的历史有多长？

2.川剧的特点是什么？

3.变脸的历史有多长？

4.脸谱的经典色彩及其象征意义是什么？

5.变脸有哪三种类型？

==='''段思雅 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up'''===

44.面部化妆：化妆品，中国传统化妆术
Please upload your power point here: [Facial Make-up: Cosmetics, Traditional Chinese Make-Up_2024.pptx]
东方文化与西方有很大不同。在中国，人们习惯在小孩脸上画红苹果，这样神灵看到孩子就会开心，看着他们健康快乐成长。小脚女人就是一种理想状态。为此，即使在幼年时期，小女孩就穿着很紧的鞋子或者用绷带裹住脚，使其不再生长。化妆的种类和方法有很多种。
让我们回道古代中国，探讨化妆品在中国的历史。很少有人注意到，中国女人的肤色偏黄。为了掩盖这种“缺点”，中国古代妇女使用一种用大米淀粉制成的粉末，将这种分破大量撒在脸上，所以许多中国女人都有了洁白如雪的面庞，而为了形成对比，她们把嘴唇化成红色，把眉毛涂成黑色，古代中国妇女用菜汤涂腮红,用牛奶和茶水洗脸。当时的女人非常注重指甲护理。
值得注意的是，古代中国许多护肤品都价值高昂，所以只有富人或者贵族才能负担得起这种享受。。
在当今时代，淡妆或者自然的面庞更受喜爱，然而在古代，中国女性喜欢在脸上使用丰富的色彩。使用的颜料越多，中国妇女就觉得越美。因此，有机会使用最精致昂贵的护肤品和化妆品的贵族被认为是最美丽的。
中国古代女人从小时候开始就接受美丽知识的教育：怎样使用腮红，染眉膏，粉底，所以从小时候她们就习惯了那个时代的化妆礼仪。例如，化妆时必须神色平淡，五官不能显得凶狠粗野。顺便提一下，如果中国妇女在笑的时候漏出牙齿，人们会觉得她没有礼貌。

1.基础化妆
·铅粉
在商朝，女人们为了人自己的皮肤看上去白皙细腻，会在脸上涂铅粉，这也是当时最常见的化妆方式。<神农本草经》中也提到妇女用铅粉和锡粉化妆。但使用铅粉的副作用十分严重，时间一久，皮肤会发黄，布满皱纹。因此，每次使用的铅粉就会越来越多。铅的毒性很强，对皮肤的伤害很大，所以古诗中总是感叹“美丽易逝"。
·米粉
其实早在铅粉出现之前，人们就已经有了相对安全的底妆产品，最早使用的米粉就是由大米制成的。
《齐民要术》中有记载了之作米粉的详细方法。米粉是一种特殊的化妆品，可以延缓衰老，保护皮肤免受恶劣环境的影响。使用过后，脸上会成膜，可以防止活性化学成分和污垢进入毛孔。同时，该成分富含抗氧化剂，不会让皮肤迅速氧化，而且采用优质大米制作。
制作方法：先磨成细粉，再加工，用冷水浸泡，发酵腐熟，然后清洗沥干，再暴晒，最后用于化妆。不过，米粉的附着力不好，一动就容易脱妆，所以很快就被铅粉取代了。

2.彩妆
如果与现代相比，中国古代的化妆术可不是那么简单的。我们可以将其分成三类，腮红，眉毛和口红。
·腮红
腮红在古代有一个美丽的名字，叫胭脂。中国古代的胭脂色泽鲜艳，色彩丰富，与白皙的底妆新城鲜明对比），向全能的神表示她们是健康快乐的。
胭脂也叫腮红或胭脂水，是一种用于给脸颊染上不同颜色或给嘴唇染上红色的化妆品。它以粉状或膏状使用。它是一种用 "红兰 "的花卉为主要原料，经混合后制成的化妆品。匈奴入主中原后，胭脂的制作不仅限于植物，还加入了油脂、动物骨髓等，使其质地更加粘稠，形成了满足不同需要的口红。
·口红
口红是自先秦流行起来的一类时尚产品的。但是在古代，它被称为 "唇脂 "或 "口脂"。在古代，口红的颜色多为红色，可以使嘴唇的颜色更加艳丽，让人看起来气色更好，更加年轻有活力。因此深受古代女性的喜爱。历朝历代女性唇妆的画法有所不同，但都逃不过一个相似的审美观，那就是嘴唇越小越好。这与现代世界的审美标准完全不同。深入了解历史，可以让我们看到这些简单事物的变化，以及人们思想和品味的变化。
·眉毛
人们认为，眉毛可以决定一张脸的好坏--眉毛就是这么重要。毕竟，眉毛可以勾勒出眼睛的轮廓，增加脸部的立体感。眉毛是化妆的一个独立部分，也是最受欢迎的部分之一。眉毛必须清晰、乌黑。妇女们把眉毛剃掉，然后把眉毛修成细细的弧形，或者修成直眉。战士们习惯把眉毛修成这样，会让整张脸看起来更加严厉。
画眉的传统始于战国时代，但那时并没有出现画眉的工具在。爱漂亮的妇女用烧过的柳枝作眉笔。后来出现了”黛“，这是一种黑蓝色的矿物质。使用前需将其放在石砚上磨成粉状，然后加水调匀。
在汉朝，画眉变得越来越常见，新的审美观也孕育而生。女人画眉，越画越好看。总而言之，古代画眉有许多方法，也意味着当时的古人喜欢画眉。

3.唐妆
初唐
唐朝妆容的风格可以说是整个中国历史中最多变的的。无论是国力还是政治，唐朝几乎达到了了历史的顶峰，因为朝代的繁盛，女性的妆容在安居乐业的环境下会不断变化。
随着初唐、盛唐、中晚唐的转变，妆容也在发生着不同的变化，为此，一些特殊的妆容也应运而生，这一点我们可以从许多古代壁画和图画中看到。
初唐时期，受短暂的隋朝（581-617 年）影响，皇室不追求奢华，崇尚简朴。因此，女性的妆容含蓄婉约，略施铅粉和胭脂
·白妆
从古代开始，人们的审美观就是越白越好看，所以女人会使用很多粉。唐朝妇女的底妆和风格更加的多样化和流行化。贞观年间，白妆在女性中很流行，其流行程度几乎和当代女生化妆时用的bb霜和粉底一样。
·红妆
贞观至武周时期，为了突出脸部轮廓，使脸部看起来更红润，女性会选择一个或几个地方在额头、眼睑、脸颊和下巴上涂胭脂。
于是，华钿、斜红、面靥等红妆及饰品开始多样化。

盛唐
武周时期后，唐朝达到顶峰，不同民族之间交往更加密切，所以妇女的妆容也出现了新风格。很多女人开始穿男人不带帷帽的衣服，化一个漂亮的妆。然而，唐朝女性对美丽的追求远不止于此，她们的面部妆容也发生了许多变化。女子的红妆更红了，脸上的胭脂、华脂也越来越多。
比如酒晕妆，像女人喝了酒后的样子，是红妆中最浓的；其次是飞霞妆，有一种白里透红的感觉；最淡的是比较少女的桃花妆，像桃花一样轻盈明艳。
还有一些其他妆容，像泪妆和啼妆，腮红会用在全脸。

中后唐
安史之乱后，女人的妆容经历了几十年的平淡期，没有什么新的风格出现，妆容更加淡。
在唐朝中后期，受国家动乱的影响，女性的生活不在像盛唐时期一样无拘无束，她们的妆容有逐渐发生变化。
然而，红妆仍然是主流，但是喜欢打扮得别致一些的女性开始在时尚妆容领域更加大胆创新，也吸收了更多异域元素，创造出许多充满梦幻想象力，甚至难以置信的妆容。
晚唐女性最突出的特色妆容是元和时期的时世妆。
这是基于啼妆夸张化后的妆容，面颊更加红润，嘴唇涂成黑色，眉毛画成末端分叉的 "分梢眉"，或形似春蚕出茧的 "出茧眉"，整体形象是眉黑，脸赭，唇黑。
到了长庆年间，时世妆已经过时。女子的黑唇已不复存在，但另一种令人大开眼界的妆容----血晕妆开始盛行。
简单来说就是女子刮掉所有的眉毛，在眼睛上下画上三到四跟红色或紫色的线条，来模仿被抓伤的样子，给人一种在流血的伤口的感觉。

唐妆---时代文化的映射
唐代妆容--时代文化的写照
唐代社会经济、政治、文化繁荣、开放的氛围，给予女性前所未有的包容，女性的妆容随着历史的时间轴，从含蓄婉约到雍容华贵，让我们看到了女性的创造力和艺术魅力。

尽管古代女性的妆容在审美上与当代有所不同，但是在每一个妆容背后，都是中国文化内涵的体现。随着历史潮流滚滚向前，唐朝的妆容逐渐退出大众生活。
总的来说，唐朝女性在追求美丽与时尚上的大胆创新，为化妆发展史和中国文明史增添了不可磨灭的一笔。

问题
古代中国女人用什么粉来让拥有雪白的脸庞？
为什么铅粉是有害的？
古代中国化妆术可分为哪三类？
在汉朝什么变得常见？
初唐时期妆容有哪些类型？
为什么唐朝妆容是那个时代文化的折射？

=Session 15 MW Fri Jun 7 10:00-11:40 room 404=
==Session 15 Student presentations==
==='''谢香琳 40. Education: Modern Chinese Education System'''===

Please upload your power point here: [[Media:Modern_Chinese_Education_System_2024.pptx]]

=Session 16 MW Fri Jun 14 10:00-11:40 room 404=
Reflection on this semester

----
==Final Exam MW==
Please write your final exam paper topic here.
*Tu Hairong |Traditional Festivals：The Dragon Boat Festival
*Chen Zhuo | Fine Arts: Painting Thousand miles of mountains and rivers
*Luo Jiayi | Music and instruments：Yuge（Fishing song）
*Xie Xianglin |Education:Chicken Child(Fired-up Child)
*Yang Zixuan |
*Chu Shoujuan |Traditonal Culture: Ganshi in Xiangxi: The Cycle of Life and Death under Ancient Witchcraft
*Jiang Rui | Achitecture: Chinese Memorial Archway (Paifang)
*Wu Liping | Festival: Qixi Festival
*Zhu Ran |social phenomenon: "Military-style" travel
*Long Yuhan |Folk Art:Youshen Fairs
*Pei Xinxian |Nuo Opera
*Hu Yujie |Chinese Cuisine:Xiang Cuisine--One of the Eight Major Cuisines
*Li Shujing | Music and instruments: Suona Horn
*Chen Jiawen |
*Xiang Lu |social phenomenon: "lie flat" boom among Chinese youth
*Mou Yihong |Music and instrument: Ancient Chinese pentatonic scale--Gong,Shang,Jue,Zhi,Yu
*Li Xun | Chinese animation
*Yu Xinzhong |
*Song Chengshuang | Chinese traditional culture：Zan hairpin flower
*Tan Yalan |Intangible cultural heritage:Xiangdao
*Xiao Ye |Ancient system: The Imperial Civil Examination System
*Li Sijin |Literature:Qu Yuan
*Luo Yang |Games: pitch-pot game
*Lin Ruyin |
*Pan Tong |Folk Art: Jingdezhen porcelain
*Lei Huiting |
*Lu Yixuan | Fine Arts: Painting with Words
*Li Yanran |Fine Arts: Tangka Painting
*Duan Siya |
Please click [[Cult_Ov_2_Fin_Exam_2024|here]] to enter the website where you actually can write it.

Cult Ov 2 2024

2024-06-09T02:17:45Z

Chu Shoujuan: /* 储守娟 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China */

Welcome to our course website!

=Session 1 OD Fri Mar 1 10:00-11:40 room 404 - Organizational issues=

FRI 10:00-11:40 中国文化概要 [[Cult Ov 2 2024]] 404 BA21笔译2 Yu Xinzhong (1-16, 外国语学院大楼404教室09161319.01) (S1 OD 1.3., S2 MW 8.3., S3 MW 15.3., S4 OD 22.3., S5 MW 29.3., S6 OD 7.4. (instead of 5.4.), S7 OD 12.4., S8 OD 19.4., S9 OD 26.4., S10 OD 28.4., S11 MW 10.5., S12 MW 12.5., S13 MW 17.5., S14 MW 24.5., S15 MW 31.5., S16 MW 7.6.)

==What we learn in this class==
*We learn about Chinese culture from international, especially Western perspective.
*We learn about cultural phenomena, traditional Chinese culture.
*We learn English and Chinese terminology in the area of Chinese culture.
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.
*We learn how to determine the location and role of Chinese culture within global culture.
*We learn basics of theories and models of intercultural communication and comparison.
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).

==Textbook==
Here are 100 topics of the textbook. The names indicate which student translates which chapter of the textbook from English into Chinese. The topics written in bold will be presented as ppt in class.

涂海蓉 1. Geographic Nature as a Basis for Cultural Development

地理环境是文化发展的基础

中国是亚洲最大的国家，也是世界上人口最多的国家。它占地9560900平方公里（3691000平方英里），大约是世界陆地面积的十五分之一。根据最新的人口普查，截至2005年，中国的总人口已达到13.5亿。不论面积还是人口，欧洲（不包括俄罗斯）都仅是中国的一半。

中国地处东亚，太平洋西岸，位于东半球北半部。她东西宽5000公里，南北长5500公里。中国的陆地边境线长达20000多公里，与14个国家接壤：东邻韩国；南接越南，老挝，缅甸；西南与印度，不丹和尼泊尔相接；西邻巴基斯坦，阿富汗；西北接俄罗斯，哈萨克斯坦，吉尔吉斯和塔吉克斯坦；北与蒙古接壤。中国隔黄海与日本相望，东南与菲律宾越南海相眺。

中国大陆拥有世界上最长的海岸线之一，从北部中朝边境的鸭绿江口奔流至南部中越边境的北仑河口，总长18000公里。中国大陆东侧从北至南依次是渤海，黄海，东海，南海，均与太平洋合流。这片巨大的海域散布着5000多座岛屿。台湾是最大的岛屿，其次是海南岛和崇明岛。

由于其地处欧亚大陆东南部及太平洋西岸，世界最大的大陆和最大的大洋之间的热储量差异造成了中国著名的季风气候。在冬季，发源于西伯利亚，寒冷干燥的极地大陆气团，支配着中国大部分地区；而在夏季，炎热潮湿的热带太平洋气团则影响着中国大部分地区。中国大部分区域是显著的大陆性气候，这种气候的日温差和年温差较大。

中国的降水分布大致上从东南向西北递减。东南沿海部分地区的年降水量达到80英寸以上。长江流域降水量约40英寸。再往北，年降水量低于20英寸。中国正构思并规划一项重大的南水北调工程。

中国地势西高东低，因此大部分河流的流向一般向东。地势由西向东可分为三个阶梯：高原，山地和平原。大体上，中国是一个多山的国家。丘陵，山地和高原覆盖了国家总面积的三分之二，居住着三分之一的人口。

自然植被类型及其植物组成十分多样。中国的种子植物总数约为30000种，2700属。200多个属为中国特有。约有2500种林木。它们当中很多是重要的经济树种，如桐油树，樟树和漆树。丰富的植被和多样的地形养育了多种多样的动物。著名的动物有长江的大白鲟，东北部的东北虎，西部的娃娃鱼，大熊猫和西南部的金丝猴。

根据《中华人民共和国宪法》，中华人民共和国是工人阶级领导的、以工农联盟为基础的人民民主专政的社会主义国家。人民行使国家权力的机关是全国人民代表大会和地方各级人民代表大会。国务院是最高国家行政机关的执行机构。

首都北京是全国政治、文化和经济中心。国歌是《义勇军进行曲》。国徽的中心是五星照耀下的天安门，周围是谷穗和齿轮，充分体现了中国人民共和国的宪法范畴。

李珣 2. Aesthetic ideals and social customs: Chinese Marriage Customs

2.审美理想和社会习俗：
中国婚姻习俗
中国是一个礼仪之邦。当谈到人生中最重要的事情——婚姻时，中国人已经形成了一套独特而隆重的仪式。一般来说，中国古代的婚礼需要得到父母的批准和安排。（周丹迪、岳树发2012,12）
六个程序
从谈婚论嫁到完婚，一共有六种礼仪，分别是娜彩、文明、娜季、娜正、晴琪和最后一步秦英。（高晓倩2017235）
那彩是所有婚姻程序的开端。这是指一种习俗，如果一个男孩打算嫁给一个女孩，首先他的家人必须邀请媒人到女孩家求婚。在征得女孩家人同意后，男孩家人应委托媒人正式求婚，并赠送一些礼物。通常，最常见的礼物是代表忠诚的大雁。此外，鸳鸯和绵羊也是经常使用的礼物。（高晓倩2017235）
温明的意思是，男孩的家人请媒人来取女孩的名字和出生日期。这一步骤有两个目的：一是防止近亲同姓结婚；另一种是通过新娘和新郎出生时的“八字”来保证他们的兼容性。（高晓倩2017235）
纳吉发生在媒人收回女人的名字和八个字之后。如果占卜到吉兆，男孩的家人会通知女孩的父母并决定结婚。（高晓倩2017235）
更重要的是，当男孩给女孩送聘礼时，那正是一个重要的步骤，为了礼貌，女孩会寄回一部分礼物，比如食物和一些衣服。（高晓倩2017235）
Qing Qi的意思是男孩的家人选择一个吉日举行婚礼，然后派媒人告诉女孩的家人。（高晓倩2017235）
秦英是六礼的最后一道工序，即新郎到新娘家把新娘接回家。（高晓倩2017235）
海关
除了上面提到的六个步骤外，中国传统婚礼还有许多其他习俗。一般来说，古代婚姻是由父母和媒人安排的，许多年轻人无法掌握自己的婚姻。在举行婚礼之前，男人和女人是不允许见面的，因为古代人非常保守，大多数女孩都被关在闺房里。如果他们婚前私下见面，这将被视为一种女性不忠，父母也会认为这很不吉利。在这种情况下，新婚夫妇只能见面，直到结婚那天。（张跃勇2013，47-48）
婚礼当天，男孩的家人将在家里举行盛大的宴会。在出发接新娘之前，新郎在接新娘的过程中，为了安全和吉祥，首先要祭祖。（高晓倩2017235）
之后，接下来的步骤是整个仪式中最隆重的一步——黄昏时分，新郎和新娘、新郎的父母以及所有宾客将聚集在中心房间，共同见证这对新人的跪姿，共有4个步骤：（高晓倩2017235）
第一个磕头是对天地的叩拜，这表明了古人对上帝和自然的敬畏和赞赏，为他们创造了一个良好的生活环境。第二个磕头是向父母表达对父母养育的感激之情，并真诚希望父母身体健康。然后新人会向对方磕头，这承载了这对新人白头到老的期望。最后一个步骤是去洞房：新娘将被送到洞房，新郎将与客人一起喝酒直到晚上。（高晓倩2017235）
婚礼结束后，新人必须在第三天一起回到女孩的家，这被称为“回门”或“龟岭”。这种礼节是必不可少的。新郎应该带上一些礼物以示尊重，并改变他对新娘父母的称呼方式，后者也会为新人的到来准备一顿大餐。（高晓倩2017235）
发展
随着时间的推移，现在有许多关于婚姻的改革。成年人拥有选择配偶的自由，如果可能的话，他们可以每天见面。父母再也不能掌握自己的“人生大事”了。（张跃勇2013,47）此外，许多新人在婚礼上跳过繁琐的仪式。他们中的一些人选择与一些亲密的亲友在教堂举行仪式，有些人甚至通过旅行来完成仪式。（周丹迪、岳树发2012,15）
尽管如此，大多数年轻人仍然采用中国传统习俗的主要程序，其中一些习俗流传至今。彩礼和嫁妆仍然存在，许多夫妇选择穿红色服装。由此可见，中国传统婚俗大多深深植根于中国人的心中，呈现出独特的中国特色。（周丹迪、岳树发2012,15）

References
Gao Xiaoqian. 高筱倩. (2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.
Zhang Yueyong. 张月莹. (2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage Customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.
Zhou Dandi, Yue Shufa. 周丹迪, 岳书法. (2012) 浅析近代以来中国婚嫁民俗的演变[On the Evolution of Chinese Marriage Customs Since Modern Times] 文化学刊[Cultural Academic Journal] 15.

Terms and Expressions
Na Cai 纳彩
Wen Ming 问名
Na Ji 纳吉
Na Zheng 纳征
Qing Qi 纳征
Qin Ying 亲迎
Huimen 回门
Guiling 归宁
betrothal presents 彩礼
the central room 堂屋
bridal chamber 婚房
“eight characters” of the birth moment 生辰八字

问题
1.从协商到结婚，需要办理多少手续？
2.古代年轻人有权决定自己的婚姻吗？为什么？
3.什么是跪姿？
4.这对夫妇什么时候必须回到女孩家？
5.现在发生了什么变化？
6.请列举一些新的婚俗。

谭雅兰 3. Aesthetic ideals and social customs: Habits, Ways of Contacting

'''雷慧婷 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan'''

李舒婧 5. Aesthetic ideals and social customs: Crying Marriage of Tujia

雷慧婷 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China

'''裴心弦 7. Animals: Panda'''

林如茵 8. Architecture

储守娟 9. Architecture: The Forbidden City

9.建筑:紫禁城

I.介绍

故宫(中文:紫禁城;拼音:Zǐjìnchéng)是位于中国北京东城区的宫殿群，总面积为72万平方米(180英亩)。它位于北京中心轴的中心。今天，紫禁城是故宫博物院的所在地。从明朝(自永乐皇帝开始)到清末(1420年至1924年)，紫禁城是中国皇帝的宫殿和住所。紫禁城是中国皇帝及其家属的住所，也是中国政府的礼仪和政治中心。(Barmé, Geremie R 2018, 26)

紫禁城是国家AAAAA级旅游景点，1961年被列为第一批国家重点文物保护单位。更重要的是，它于1987年被宣布为世界文化遗产，并被联合国教科文组织列为世界上保存最多的古代木结构建筑。(联合国教科文组织,2007年)

II.紫禁城的名字

常见的英文名称“紫禁城”是中文名称紫禁城(中文:紫禁城;拼音:Zǐ金城;英文:紫禁城)的翻译。紫禁城的名称最早出现在嘉靖年间。中国古代强调“天人合一”的规划理念。首都规划与天空中的星星相对应，以突出政权的合法性和皇权的至高无上。(李燮平，1997，(04)29-31)

“Zi ”，或“Purple”，指的是北极星，在中国古代被称为紫薇星。天帝住在紫薇宫，而人类皇帝自称是受命于天的“天子”。他的住所应该是紫薇宫的象征，与天帝相对应。“禁”的意思是这座华丽的宫殿象征着皇室的最高权力和地位。在这种情况下，这座宫殿是被禁止的，没有皇帝的允许，任何人都不能进出宫殿。城的意思是城市。(李燮平，1997，(04)29-31)

今天，这个地方在中文中最常见的名字是故宫，意思是“旧宫”。以这些建筑为基础的博物馆被称为“故宫博物院”(中文:故宫博物院;拼音:Gùgōng Bówùyùan)。

III. 紫禁城的历史

当洪武皇帝的儿子朱棣成为永乐皇帝时，他将首都从南京迁到北京，并于1406年开始建造紫禁城。建设历时14年，征用了100多万工人。从1420年到1644年，紫禁城一直是明朝的宫殿。(余卓云1984,18)

1644年4月，李自成率领叛军占领紫禁城。他在撤退到陕西的过程中放火烧毁了紫禁城的一部分。同年10月，满族人在中国北方取得了至高无上的地位，在紫禁城举行了一场仪式，宣布顺治帝为清朝统治下全国统治者。(郭沫若1944,3.14）

康熙二十二年(1683年)，紫禁城其余被毁建筑开始重建，1695年基本建成。紫禁城曾是24位皇帝(明朝14位，清朝10位)的故居。1912年，随着中国末代皇帝溥仪退位，紫禁城不再是中国的政治中心。(余卓云1984,30)

1933年，日本侵华迫使故宫的国宝撤离。部分藏品在第二次世界大战结束时归还，但另一部分在蒋介石的命令下，于1948年运往台湾。1949年中华人民共和国成立后，由于革命热情席卷全国，紫禁城受到了一定程度的破坏。但是，在文化大革命期间，周恩来总理派了一个军营守卫这座城市，阻止了进一步的破坏。（谢荫明，瞿宛林，2006,11.7）

IV. 紫禁城的结构

首先，紫禁城是一个矩形，在布局上是对称的。它的宫殿沿着南北轴线排列，三个大殿，后三个宫殿和御花园都位于这条轴线上。这条中轴线不仅贯穿紫禁城乃至整个城市，而且南至永定门，北至鼓楼和钟楼。[谢丽，2005，(03)100-102]

其次，紫禁城分为两部分，外廷和内庭。外廷是皇帝处理政治事务的地方。主要有三个殿:太和殿、中和殿和保和殿。内庭或后宫包括北部分，是皇帝及其家人的住所，并用于日常国家事务。内庭以乾清宫、交泰宫、坤宁宫为中心，东有六座宫殿，西有六座宫殿。[谢丽，2005，(03)100-102]

VI.故宫藏品

1925年，故宫博物院在紫禁城成立，其广泛的艺术品和文物收藏是在明清两代皇家收藏的基础上建立起来的。故宫博物院以前的部分藏品现藏于台北故宫博物院。这两个博物馆都是同一机构的后裔，但在中国内战后分裂了。(刘薇, 王硕2005,6 -22)

故宫博物院的藏品以清代皇家藏品为基础，包括绘画、陶瓷、印章、碑刻、雕塑、铭文、青铜器、珐琅制品等。根据最新的审计，它拥有1,863404件艺术品。它们用“故”、“新”和“书”来编号。除古籍文献类藏品冠以“书”字号外，其他门类藏品均冠以“故”、 “新”字号。一般文物的编号均以“资”字开头，陶瓷标本以“标”字开头。总目分为25大类，在每类内各种编号均从小至大排序(网站:故宫博物院馆藏)

许多藏品曾经丢失，后来被带回故宫博物院，例如《韩熙载夜宴图》。还有《陶彩绘女舞俑》、《十二生肖镜》、《画珐琅西洋人物鼻烟壶》等精美藏品。(网站:故宫博物院馆藏)此外，故宫博物院拥有18世纪、19世纪时，世界上最大的机械钟表收藏之一，有1000多件。(孟福霞，2012，(21)73-74)

术语和表达

*palace complex 宫殿群
*central axis 中心轴
*the Palace Museum故宫博物院
*the Yong Le Emperor 永乐皇帝
*key cultural relics under national protection 国家重点文物保护单位
*world cultural heritage 世界文化遗产
*harmony between man and nature 天人合一
*the imperial garden 御花园
*the Hall of Supreme Harmony 太和殿
*the Hall of Central Harmony 中和殿
*the Hall of Preserving Harmony 保和殿
*Palace of Heavenly Purity (乾清宮)
*Hall of Union 交泰宫
*Palace of Earthly Tranquility 坤宁宫
*Han Banquet map 韩熙载夜宴图
*Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑
*Mirror with the Twelve Astrological Emblems十二生肖镜
*Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶

问题

#紫金城的中文名“紫”是什么意思?
#紫禁城是什么时候被联合国教科文组织列为世界上保存最多的古代木结构建筑的?
#有多少位皇帝住过紫禁城?
#建造紫禁城花了多长时间?
#为什么一些国宝现在在台北故宫博物院。
#紫禁城可以分为哪两个部分?
#故宫博物院是什么时候建成的?

参考文献

Barmé, Geremie R(2008)。《紫禁城》。哈佛大学出版社，26。

联合国教科文组织(2007)。《联合国教科文组织世界遗产名录:北京和沈阳的明清皇宫》。

李燮平。(1997)"紫禁城"名称始于何时？紫禁城，(04)29-31。

余卓云(1984)。《紫禁城宫殿》，纽约:维京出版社，第18页。

郭沫若。(1994)甲申三百年祭。新华日报，3.19。

谢丽。(2005)北京中轴线上的十七座门。紫禁城，(03)100-102。

孟福霞。(2012)北京故宫空间布局构思探源—论中国古代宫殿建筑的美学精神。大众文艺，(21)73-74。

刘薇，王硕。2005故宫文物南迁路线图揭秘，华夏经纬网，6. 22 http://www. huaxia. com/wh/gjzt/2005/00333230. html

故宫博物院馆藏https://www. dpm. org. cn /Home. html

谢荫明，瞿宛林。(2006)“文化大革命”中谁保护了故宫。人民网11, 7. http://history. people. com. cn/n/2014/0811/c372327-25441615. html

李嫣然 10. Architecture: Four Famous Bridges

李嫣然 11. Architecture: Four Great Pavilions

'''李嫣然 12. Architecture: Shengjing Imperial Palace'''

李嫣然 13. Architecture: Three Great Towers in China

陈佳雯 14. Architecture: Fengshui in Chinese Architecture

裴心弦 15. Army and weapons: Chinese Ancient Weapons

宋成爽 16. Army and weapons: Terracotta Army

李珣 17. Astrology: Chinese Astrology

17.中国占星术
历史
那么，中国占星术到底是什么呢？中国占星术是一门古老的艺术，它利用出生时间，包括年、月、日和时间，来揭示一个人的性格特征、生活方式、健康状况、职业方向以及与他人的兼容性。虽然这个系统的确切起源尚不清楚，但中国占星术已经指导了中国人5000多年，对我们的生活产生了深远的影响。中国的黄道带系统实际上是基于符合中国古代农业日历的十年日月周期。周期分为五个元素：水、木、火、土和金属，以及代表每年的十二种动物。这个系统受到阴（女）和阳（男）宇宙力量的影响，据说这是对宇宙和谐与平衡的解释。
五行与阴阳
中国人认为五种基本元素，木、火、土、金、水，构成宇宙万物。五行作为东方哲学的基本组成部分，可分为“导”与“控”的相互关系。有利的相互关系意味着这五种元素将相互产生，并有助于相互滋养。我们从木头中得到火，因为火是由燃烧木头产生的。我们从火中得到地球，因为火可以把一切都烧成灰烬（地球）。我们从地球上获得金属，因为所有的金属都必须从地球上提取。我们从金属中得到水，因为金属受热后会变成液体。而且，我们从水中得到木材，因为水滋养植物，从而产生木材。
控制相互关系意味着这五个元素可以控制或被另一个元素破坏。木材控制着地球，因为树木从地球中汲取营养。地球控制着水，因为地球可以吸收水，也可以通过人造堤坝或自然现象阻挡水流。水可以控制火灾，因为水是用来灭火的。火控制金属，因为火的热量可以融化金属。而且，金属控制木材，因为树木可以被斧头的金属刀片砍倒。在这种哲学下，没有任何元素被认为是最强或最弱的。每个元件或者由另一元件控制，或者可以产生另一元件。事实上，他们是相互依存的，因此被认为是平等的。在中国占星术中，在完整的六十年周期中，每个动物星座都与五种主要元素结合在一起：木、火、土、金属和水。你的星座元素会对你的生活产生影响。
阴阳之力
自古以来，中国人就认为阴阳两大力量控制着宇宙。这两股力量是中国哲学的根基，是中国人的根基，更是中国医学的根基。一般来说，阴表示死亡，而阳表示生命。
一个著名的符号被称为“太极”（终极物质）体现了阴阳。在圆中，这两种力使能量平衡，使一切保持平衡。没有任何力量比另一个更强或更弱，当一个处于最高点时，另一个处于最低点。阴阳合一成为一个整体，从而保持宇宙的和谐。
中国占星术的发明是为了实现以下两个目标；
1.）为了预测未来，
2.）确定被视为启动特定项目的最佳日期，尤其是婚礼或新企业。
根据中国占星术，一个人的命运是由主要行星的位置、出生时太阳、月亮和彗星的位置以及他们的星座决定的。这种基于生日、出生季节和出生时间来创造命运和命运的综合系统被称为紫微斗数，在现代中国占星术中仍然经常使用它来预测自己的命运。中国的星座是以一个人出生的年份为基础的，十二个生肖中的每一个都由一种特定的动物代表。十二生肖是：；鼠，牛，虎，兔，龙，蛇，马，羊羔，猴子，鸡，狗，猪。中国占星术认为，掌管一个人出生年份的动物对他们的生活有着深远的影响。中国占星术认为，掌管一个人出生年份的动物对他们的生活有着深远的影响。东方的中国人认为，每个属相都体现了其动物的特征，这些特征被灌输给当年出生的人。
今天，十二生肖是中国传统文化的重要组成部分。在节日活动中，剪纸和十二生肖年画在中国人中很受欢迎。此外，十二生肖也被视为中国本身的象征，在中国文化中发挥着至关重要的作用，尽管龙是中华民族最受认可的图腾。
在中国，十二生肖在人们的宗教信仰中扮演着重要的角色。这12种动物分为阴阳两类，这是中国古代人根据五行（金、木、水、火、土）提出的中国哲学和医学的基本原理。一套算命方法表明，十二生肖决定了人们的命运，因此，十二生肖开始在人们的性格、友谊、婚姻、事业、健康、财富和其他生活的重要部分发挥关键作用。在中国占星术中，人们认为当一个人来到由出生年份决定的归属年份时，他们必须系上红腰带，以追求好运，避免厄运。这种“出生年份”的习俗在中国很普遍。
你可能也会惊讶地听到，根据一些占星家的说法，由于各种原因，你的十二生肖被认为比你的十二星座更准确。
Terms and Expressions
1. Chinese Astrology 中国占星学
2. Chinese Zodiac 中国十二生肖
3. Agricultural calendar 农业日历
4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）
5. The Oriental philosophy 东方哲学
问题
1-为什么中国占星术被发明了？
2-中国占星术如何与一个人的神圣命运联系在一起？
3-十二生肖在中国文化中扮演什么重要角色？
4-中国占星术的基础是什么？
5-中国占星术准确吗？
References
Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9
何丙郁. (2003). Chinese mathematical astrology: reaching out to the stars, Routledge, ISBN 0415297591
Sun, Xiaochun, Jacob Kistemaker. (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. 3-4. ISBN 978-90-04-10737-3.
"'Almanac' 'lunar' zodiac beginning of spring as the boundary dislocation? — China Network". 16 February 2009. Retrieved 5 January 2011.
Eberhard, Wolfram. (1986). A Dictionary of Chinese Symbols. Routledge and Keegan Paul, London. 93, 105, 309.
"Five Elements (Wu Xing)". YourChineseAstrology. com

'''李珣 18. Astrology: Calendar, The 24 Solar Terms'''

18. 占星术：日历，24 节气

1.二十四节气的起源与发展 “二十四节气”是传统农历中独一无二的现象，在中国有着悠久的历史。二十四个太阳系是中国古代在观测太阳的年度运动时创造的，被视为一个时间知识系统和农业指南。它发源于黄河流域，是人们对天文、气象、天气等观察、探索和总结的结果，是中国古代人民创造的优秀文化遗产。（王佳华，2019）

到了西周晚期，人们已经测量了前四个节气：冬至、夏至、春分和秋分。其后，随着测量技术的提高和战国时期人们对自然规律认识的进一步加强，基本形成了完整的24节气。在秦汉时期，完善了一个完整的系统，形成了今天完整的二十四节气系统。（王佳华，2019）

2. 24节气的定义和分类 “二十四节气”是传统农历上的独特现象。为了促进农业生产，中国古代人总结了一种补充日历，根据太阳在黄道上的运动以及天气和其他自然现象的季节性变化将一年分为 24 个部分，其中 24 个部分按比例分布在 12 个月内。（袁继熙 2016， 34-35） “二十四节气”是传统农历上的独特现象。为了促进农业生产，中国古代人总结了一种补充日历，根据太阳在黄道上的运动以及天气和其他自然现象的季节性变化将一年分为 24 个部分，其中 24 个部分按比例分布在 12 个月内。（袁继熙 2016， 34-35）从月初开始的节气称为节气，从月中开始的节气称为气（气）。（每三年就会有一个月只有节而没有气，或者有一个月只有气而没有节，在这种情况下，将添加一个闰月来调节它。节气之所以如此命名，是因为它们代表了季节、物候和气候的变化。（袁继熙 2016， 34-35）反映季节变化的八个节气是初春、春分、初夏、夏至、初秋、秋分、冬初和冬至;代表物候变化的四个节气是昆虫觉醒、新鲜绿色、小饱满度和谷物在穗;表示气候变化的 12 个节气是雨水、粒雨、小热、大热、热结束、白露、冷露、初霜、小雪、大雪、小寒和大冷。（袁继熙 2016， 34-35）

3.二十四节气民俗二十四节气的民俗可分为三个方面：节日民俗、生活习俗和饮食习俗。立春时的“鞭打春牛”和寒冷季节结束时的“拖尾节”等节日习俗。（丁一鸣，昌河2020）几乎每一个节日都有自己特殊的饮食习俗，比如冬至的饺子、夏至的面条，以及立春的咬春、品春。遵循“天人合一、四季合一”的传统观念，二十四节气带来了丰富的健康习俗，如春天吃肝、夏天喝水等。这些活动大致可以概括为：顺应时势拜神、尊祖持家、除恶求和、休闲娱乐。以立春为例，据说立春的第一天、春分日和秋分日都可以把鸡蛋立起来。人们相信，如果有人能在立春的第一天把鸡蛋立起来，他将来会有好运。在中国的许多地方，人们在立春的第一天遵守“咬春”的习俗。他们吃春饼、春卷或几口胡萝卜。此外，大约3000年前，中国人开始在立春的第一天举行一个特殊的仪式。他们向掌管农业的春神勾践献祭。到清代（1644-1911），迎春已成为一项重要的民间活动。（何艳楠、邹亚婷2020）

4.二十四节气的重要性和价值 4.1在古代的重要性二十四节气是对传统农耕文化的创造，其生产、发展和传播适应了农耕时代的经济生产方式和社会需求。他们在中国传统人民的生活和工作中发挥了重要作用。（王家华2019）首先，二十四节气是古代农业生产活动的基本时间指标，也是二十四节气最基本的功能和价值。农业生产是人类根据自然节奏和作物生长规律进行的经济活动。农业生产的基本要求是把握农业时间，即“不违反农业时间，粮食供应就会充足”（《孟子·梁会望》）。（王家华2019）其次，二十四节气在古代也被视为人们日常生活中的重要时间点。第三，对于古代祖先来说，二十四节气不仅仅是一个时间系统，而是一个更加丰富多彩的生命内涵，是他们丰富多彩的生活的重要表现和组成部分。（王家华2019）例如，“四个开始”(四立)- 立春、立夏、立秋、立冬是历史上的重要节日。在这些节日中，皇帝们会带领朝臣前往首都的东、南、西、北门举行仪式，迎接春、夏、秋、冬的到来。冬至、夏至和清明节仍然是今天重要的传统节日，尤其是清明节。春节、端午节、中秋节和清明节被称为中国的四大传统节日。（王家华2019）

4.2现代社会的价值观 2016年，二十四节气被列入《世界非物质文化遗产名录》，成为坚定中华民族文化自信、增强中华民族文化凝聚力最生动的文化符号之一。（丁一鸣，长河2020）它在现代社会仍有其现实价值。首先，二十四节气作为一个历史悠久的知识体系和丰富多彩的习俗传统，具有尊重自然、顺应时宜、尊祖、孝老、好邻居、好朋友等深刻的精神文化内涵。因此，它是中华优秀传统文化的重要组成部分之一。（王家华2019）其次，二十四节气能够准确地反映自然界的节奏和规律以及人与自然的和谐关系。（王家华2019）最后，二十四节气不仅是一个时间系统，而且是一个充满丰富内涵的生活传统，是人们生活的重要组成部分。（王家华2019）

Terms and Expressions

the Beginning of Spring 立春

Beginning of Autumn 立秋

Rain Water 雨水

End of Heat 处暑

Insects Awakening 惊蛰

White Dew 白露

Spring Equinox 春分

Autumnal Equinox 秋分

Fresh Green 清明

Cold Dew 寒露

Grain Rain 谷雨

First Frost 霜降

Beginning of Summer 立夏

Beginning of Winter 立冬

Lesser Fullness 小满

Light Snow 小雪

Grain in Ear 芒种

Heavy Snow 大雪

Summer Solstice 夏至

Winter Solstice 冬至

Lesser Heat 大暑

Lesser Cold 小寒

Greater Heat 立春

Greater Cold 大寒

问题

1. 中国古代人测量的前四个节气是什么？

2. 24节气从何而来？

3. 反映季节变化的八个节气是什么？

4. 24节气何时被列入《世界非物质文化遗产名录》？

5. 初春的饮食习俗是什么？

6. 你知道24个节气的其他民间传说吗？

References

Yuan Jixi. 袁济喜. (2016). "中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)

Wang Jiahua. 王加华. (2019. 9. 20）"China Social Science Network" http://www. cssn. cn/zx/bwyc/201909/t20190920_4974497_1. shtml

Ding Yiming. Chang He. 丁一鸣. 常河（2020. 11. 17）"Chinanews" http://www. chinanews. com/cul/2020/11-17/9340057. shtml

He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020. 2. 4) “China Daily” https://ent. chinadaily. com. cn/a/202002/04/WS5e3901a9a3107bb6b579d18d. html

李珣 19. Astrology: Twelve Animals of the Chinese Zodiac

19.占星术：十二生肖
根据中国的十二生肖，2020年是鼠年，由十二种动物组成，人们用来命名年份。中国传统的十二生肖自诞生以来已经传承了2000多年（编委会，2010:2）。十二生肖是鼠、牛、虎、兔、龙、蛇、马、羊、猴、鸡、狗和猪，它们被分配在一个重复的12年周期中（编委会，2010:2）。这种传统的中国方案起源于中国，然后在许多其他亚洲国家受到欢迎（编委会，2010:12-13）。十二生肖以其文化内涵和悠久影响，刻在每一个中国人的心中。

起源
关于中国十二生肖的起源，有各种各样的观点，但其中许多都是在没有充分证据的情况下提出的。有许多神话解释这些动物的迹象和它们的排列。其中历史最悠久的是伟大的种族。在这个故事中，玉皇大帝，诸天之君，想设计一种测量时间的方法，所以他组织了一场比赛。最后，前十二只渡河的动物是赢家，因此它们按照到达的顺序在黄道带日历上赢得了一席之地（编辑委员会，2010:6）。
除了这个民间故事之外，一些学者声称黄道十二宫图确实来源于地支十二宫，但并不是在地支出现的同时出现的。从汉代开始，地支就被用来记录一天中的时间。因此，一些人一直坚持到那时，十二生肖才作为一种补充出现，用来指代24小时的12个周期。由于时间的推移，地支在当时的原意被抹去了，中国古代将地支和十天干附在黄道带上（编委会，2010:5-7）。
也有人认为十二生肖起源于原始社会的图腾崇拜。根据一些关于中国十二生肖起源的研究，中国古代最早的姓氏只有十二个，这些姓氏来源于中国十二生肖中十二种动物的名字。这里的十二兽是指古代的图腾，不同的姓氏部落使用不同的动物作为图腾。因此，十二生肖是由古代部落的图腾发展而来的（编委会，2010:4-5）。

民间文化与信仰
根据中国的迷信，十二生肖不仅可以揭示一个人的年龄，还可以代表他或她的个性、职业前景和生活方式（编委会，2010:40）。
中国人似乎相信他们与出生年份的动物有一定的亲缘关系，他们的个人特征和财富受到了他们神秘的影响。根据中国的迷信，十二生肖与五行相结合，由金属、木材、水、火和土组成，以告诉一个人的命运。由于人们有他们的十二生肖的固定elment，所以有许多民间信仰基于此。例如，出生在金属鼠时代的人被认为前途光明；火鼠年出生的人被认为聪明、聪明，木鼠独立、自尊（编委会，2010:40）。
此外，由于黄道十二宫是由出生年份决定的，所以一个人的出生年份有很多含义。例如，一些属相偏好在中国人中盛行。中国人一向对龙情有独钟，所以已婚夫妇更喜欢在龙年分娩。由于龙被认为是吉祥和神圣的生物，在龙的这些年出生的孩子被认为有财富。这些文化偏好和民间信仰影响了中国社会中准父母的生育行为（Yip et al.，2002:1804）

此外，中国人相信某些动物比其他动物相处得更好，所以十二生肖对婚姻也有很大的影响。具体来说，虎年出生的人会与猪、兔与狗、龙与鸡有完美的浪漫关系。相反，一些生肖被认为是不幸的，如果他们与某些生肖的人结婚。正如中国的成语所说，龙与虎斗，必有一人受伤。这句老话反映了龙和虎是天生的敌人（编委会，2010:34-35）。
这就是为什么男人和女人在结婚前都会评价他们的八字。然而，在现实中，个性与一个人的人生经历有关，而不是与预先写好的星座有关。同年出生的人会有非常独特的个性。同样，命运也是人们性格的结果，也是他们一路上要做的大多数决定的结果。当然，婚姻是一件更复杂的事情，不能被视为十二生肖带来的预先给定的结果（编辑委员会，2010:34-35）。
结论
十二生肖是一个综合了中国传统占星术的复杂方案，以五行学说、阴阳系统和天干地支系统为基础，经过几代人的发展，形成了深刻的内涵和寓意。数千年来，这种流行文化影响了人们在命名、结婚、分娩和对彼此的态度等方面的重大决定。但人们必须以理性和科学的方式来考虑黄道十二宫。也许十二生肖可以帮助我们理解我们得到了什么，但它不能决定我们的命运。我们应该把它视为宝贵的文化遗产，发掘其中蕴含的深厚文化和历史痕迹（编委会，2010:1-2）。
Terms and Expressions
Jade Emperor 玉皇大帝
Ten Heavenly Stems 十天干
Twelve Earthly Branches 十二地支
Five Elements 五行
Metal, Wood, Water, Fire and Earth 金木水火土
Eight Characters 八字

问题
1.十二生肖的历史有多长？
2.十二生肖的顺序是什么？
3.地支是从什么时候开始用来记录时间的？
4.根据中国民间信仰，鼠年出生的人有什么特点？
5.哪一种生肖在中国最受欢迎？
6.你能根据中国民间文化说出一些相处融洽的生肖吗？
7.根据中国民间文化，哪对动物是天敌？

References
《大中国上下五千年》丛书编委会(2010) The Editorial Board of the Five Thousand Years of Great China（Dazhongguo Shangxia Wuqiannian） Series, 《中国生肖文化》The Culture of Chinese Zodiac, 北京：外文出版社 Peking: Foreign Languages Press.
Yip, Paul S. F. 伊普, Lee, Joseph 李 and Cheung, Y. B. 张 (2002). The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. Social Science & Medicine《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.

'''谭雅兰 20. Beverages: Milk Tea'''

'''李思瑾 21. Beverages: Tea'''

李思瑾 22. Beverages: The Liquor Culture of Ancient China

'''林如茵 23. Body movement performance: Chinese Lion Dancing'''

李思瑾 24. Body movement performance: Stilts

陈卓 25. Body movement performance: Traditional Chinese Dance
肢体运动表演：中国传统舞蹈
1.简介
中国的各种舞蹈历史悠久。中国的现代舞和传统舞都具有很高的艺术地位。并且中国舞蹈种类繁多，包括民间舞蹈、芭蕾舞、祭祀和除草仪式等。中国56个官方承认的民族都有自己的民间舞蹈和风格形式。中国最著名的舞蹈是舞龙和舞狮，这两种舞蹈在中国历史早期就以各种形式为人所知。“联兴”是中国的一种传统舞蹈，人们通常用它来娱乐和强身健体。有人认为，这种舞蹈通过击打肩、胸、腰、腹、臀、足四肢的穴位，并配合肩部微微摆动膝盖，可以舒筋活络，这套动作还可以锻炼骨骼、肌肉。
2.联兴舞蹈的特点
动作特点
舞蹈动作有三个特点：激昂、颤动、下坠。表演者手持竹竿，通过击打肩、胸、腰、腹、臀、足及四肢穴位，微微摆动双膝，配合肩部振动，做出各种舞蹈动作。在传统动作的基础上加以变化和发展，称为单打和双打。单打动作包括蹲打、跳打、滚打和单竹竿混合打。
3. 舞龙
舞龙是中国文化中的一种传统舞蹈和表演形式。与舞狮一样，它最常见于节日庆典中。许多中国人经常使用“龙的传人”一词作为民族身份的标志，这是20世纪70年代兴起的一股潮流的一部分。龙被认为能给中国人带来好运，这反映在龙的品质上，包括强大的力量、尊严、多产和智慧。龙的外表既可怕又大胆。舞龙起源于汉朝，这种活动是由对龙深信不疑、对龙充满敬意的中国人发起的。舞龙是农耕文化和丰收文化的一部分，也是一种治疗和预防疾病的方法。在宋代，舞龙也很流行，成为一种民间活动，和舞狮一样，在节日庆典中最为常见。龙给人以崇高的敬意，故常被称为“神龙”。中国古代帝王以龙自居。龙也是皇权的象征。它象征着超自然的力量、善良、富饶、警惕和尊严。
4.舞狮
舞狮是中国的传统舞蹈，在春节（中国新年）等重大场合表演，以求吉祥，因为人们认为狮子是吉祥的动物。在中国文化中，狮子象征着力量、智慧和高贵。中国人在节日或重大场合表演舞狮，以带来好运，驱赶邪灵。舞狮是春节期间最重要的传统之一。舞狮为来年带来繁荣和好运。舞狮也是营造节日气氛和带来欢乐的一种方式。舞狮者身着狮服，伴随着敲鼓、击钹和响锣的音乐，模仿狮子的各种动作，或展示武术。虽然舞狮的服装大同小异，但在长期的发展过程中，舞狮分为南狮和北狮两种风格。
4.1南方舞狮
南狮起源于广东，流行于香港、澳门和华侨家乡。南狮的表演以研究狮子的行为为基础，注重狮子的抓挠、摇动身体等动作。表演生动活泼，寓教于乐，甚至滑稽可笑。也有技巧性的表演，例如玩球，包括吞球。
4.2北方舞狮
北方舞狮与中国功夫关系密切。幼狮由单人表演，成年狮由双人表演。为了让狮群有更多的活动空间，北狮的服装更为华丽，装饰性较弱。在成年狮子舞中，前面的表演者通常会抬起另一只狮子的头，使狮子站立起来。北方的舞狮更多是体操动作，包括翻滚、摔跤、跳跃、攀爬或磕头。观看中国北方舞狮的最佳地点是中国的武术剧场，如北京的红剧场，甚至是少林寺。
5.结束语
“联兴”是一种流行于许多地区和国家的传统舞蹈。它是一种集娱乐和健身于一体的民间舞蹈。龙被认为能给中国人带来好运，这体现在龙的强大、威严、多产和智慧等品质上。舞狮是中国民间文化的杰出代表，随着华人移民的增多，中国民间文化已传播到世界各地。欧美等地的华侨华人成立了许多舞狮俱乐部，在中国的节日或大型场合，尤其是春节期间，表演舞狮。

Terms and Expressions
1. Han Dynasty 汉朝
2. Traditional dance history 传统舞蹈史
3. The lion Dance 舞狮
4. The Dragon Dance 龙舞
5. Lianxing 联兴
6. Chinese Dance 中国舞
7. Festivals 节庆

6.问题
1.什么是联兴？
2.什么是舞龙？你以前见过舞龙吗？在哪里看过？
3.舞龙起源于哪里？
4.舞狮象征着什么？
5.你知道多少中国传统舞蹈的名称？

牟一泓 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush

陈佳雯 27. Chinese Writing: Calligraphy

牟一泓 28. Chinese Writing: The Evolution of Calligraphy

胡煜杰 29. Chinese Writing: Chinese Characters

'''牟一泓 30. Chinese Writing: Chinese Characters and Scripts'''

裴心弦 31. Clothing: Chinese Clothing

宋成爽 32. Clothing: Batik (Lanran)

'''陈佳雯 33. Clothing: Cheongsam'''

'''涂海蓉 34. Confucianism: Confucian Culture'''

涂海蓉 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues

儒家思想：中国传统文化-五常

中华民族在几千年的历史长河中，创造了灿烂的历史文化，同时也形成了自己的道德规范，对社会的发展和进步发挥了重要作用。这就是我们所说的 "传统美德"。"传统美德 "在今天仍然具有重要意义，其对人类文明发展的价值已得到广泛认同。仁义礼智信是中国传统文化中最重要的 "五常"。它们都源于儒家思想，在中国得到广泛认同。古人以 "五常 "修身，以 "五常 "验身，并将 "五常 "传承到现代生活中。仁义礼智信 "的简明表述，不仅是中国传统文化的简明表述，其对道德范畴的概括和抽象形式，可以说是中国传统伦理道德的 "品牌"，其在中国传统文化中的价值，堪比一个历史悠久的商业品牌的市场价值。
仁
仁是 "五常 "中最重要的第一种美德。它在内心表现为对人的爱和同情，避免伤害或嫉妒任何人。在行为上，"仁 "要求一个人和蔼可亲，不与人争执，不做坏事。要培养自己的 "仁 "德，就应该运用儒家的另一个版本--"黄金法则"：己所不欲，勿施于人；己所欲，施于人。在儒家看来，美德的基础是与他人和谐相处，通过这种道德实践，自我和他人的利益日益得到认同。曾子曾经说过吾三省吾身。骗人？交友不慎，过我所学"。总之，仁者如同父母对待子女一样，不遗余力地帮助他人，甚至为此献出自己的生命，不求回报。
义
孔子在其学说中强调 "义"，即辨别是非的能力。可以认为，"义 "类似于人们常说的 "良知 "或 "正义"。孔子认为，应该根据行为在道义上是对是错来采取行动，而不是看它是否会给个人或团体带来利益或效用。最重要的是，"义 "就是要维护自己的人格。不义而富且贵，于我如浮云。
礼
礼指仪式或正确的行为。礼的内容包括忠、孝、悌、敬等。礼起源于古代的祭祀礼仪，在一般意义上指维护等级制度的行为规范。孔子主张 "克己复礼"、"以礼待人"，认为 "人非礼无以立"。在古代社会，除了君臣关系，还有父子关系、夫妻关系、长幼关系、师生关系等。这些关系各不相同，但都要求谦恭地尊重他人（中国出版社，2006 年，76 页）。
智
智是判断是非、善恶的知识。圣人将 "智者 "的人格定义为 "无惑的智者"。真正有智慧的人不仅能辨别真假，而且理性、理智，在利益和不同的道路面前永不迷惑。也就是说，智慧不仅关乎一个人的能力和本领，更关乎一个人的道德修养。中庸》曾说："知、仁、勇，天下之至贵也。同样是智慧，其基本内涵就是聪明。孔子还指出，"智 "的获得在于学习，可以从书本和生活中获得。
信
信就是诚实。这意味着对外言行一致，对内心口一致。忠诚是人性完善的关键。在中国曲阜孔子故里举办的 "倪山世界文明论坛 "上，美国学者罗伯特-舒勒说过这样一段话他说："应该向周围的人、家人和更多的人强调信仰，也就是诚实。因此，诚信是一个非常重要的原则。每个人都应该以诚相待，当然你还需要谦虚，这也是非常重要的，这样我们才能创造一个和谐的环境。因此，它是其他美德失去真实性的基础；因此，它们是密不可分的。忠诚是孩子的天性，但也可能因外界影响而丧失。
仁义礼智信 "五常 "是君子道德规范的根本要求，是个人安身立命的精神支撑，是儒家思想的时代之用，而儒家君子观的 "五常 "又能更好地践行社会主义核心价值观，使历史传统与当下现实有机结合，贯通过去与未来。张指出，儒家文化不是神的文化，而是以人为中心的道德文化，如何做人，做一个有道德、有理想、有作为的人。做人要忠恕。

Expressions and Terms
Five Constant Virtues 五常
benevolence 仁
righteousness 义
propriety 礼
wisdom 智
fidelity 信
moral code 道德准则
filial piety 孝道
问题
1. 五常指的是什么？
2. 在行为方面，"仁 "的要求是什么？
3. 礼的内容包括哪些？
4. 什么是真正的智者？
5. 五常从何而来？

'''朱然 36. Confucianism: Classical Philosophy - Confucius and Confucianism'''

涂海蓉 37. Confucianism: Classical Philosophy - Reading The Analects

儒学：古典哲学--读阿瑟韦利译的《论语》

学而篇第一
1. 1 子曰：“学而时习之, 不亦说乎？有朋自远方来, 不亦乐乎？人不知, 而不愠, 不亦君子乎？”
1. 2 有子曰：“其为人也孝悌, 而好犯上者, 鲜矣；不好犯上, 而好作乱者, 未之有也。君子务本, 本立而道生。孝悌也者, 其为人之本与！”
1. 3 子曰：“巧言令色, 鲜矣仁！”
1. 4 曾子曰：“吾日三省吾身——为人谋而不忠乎？与朋友交而不信乎？传不习乎？”
1. 5 子曰：“道千乘之国, 敬事而信, 节用而爱人, 使民以时。”
1. 6 子曰：“弟子, 入则孝, 出则悌, 谨而信, 泛爱众, 而亲仁。行有余力, 则以学文。”
1. 7 子夏曰：“贤贤易色；事父母, 能竭其力；事君, 能致其身；与朋友交, 言而有信, 虽曰未学, 吾必谓之学矣。”
1. 8 子曰：“君子不重, 则不威；学则不固。主忠信, 无友不如己者。过, 则勿惮改。”
1. 9 曾子曰：“慎终, 追远, 民德归厚矣。”
1. 10 子禽问于子贡曰：“夫子至于是邦也, 必闻其政, 求之与？抑与之与？”子贡曰：“夫子温、良、恭、俭、让以得之。夫子之求之也, 其诸异乎人之求之与？”
1. 11 子曰：“父在, 观其志；父没, 观其行；三年无改于父之道, 可谓孝矣。”
1. 12 有子曰：“礼之用, 和为贵。先王之道, 斯为美；小大由之。有所不行, 知和而和, 不以礼节之, 亦不可行也。”
1. 13 有子曰：“信近于义, 言可复也。恭近于礼, 远耻辱也。因不失其亲, 亦可宗也。”
1. 14 子曰：“君子食无求饱, 居无求安, 敏于事而慎于言, 就有道而正焉, 可谓好学也已。”
1. 15 子贡曰：“贫而无诌, 富而无骄, 何如？”子曰：“可也；未若贫而乐, 富而好礼者也。”
子贡曰：“《诗》云：‘如切如磋, 如琢如磨’。其斯之谓与？”子曰：“赐也, 始可与言《诗》已矣, 告诸往而知来者。”
1.16. 子曰：“不患人之不己知, 患不知人也。”
为政篇第二
2. 1 子曰：“为政以德, 譬如北辰居为其所而众星共之。”
2. 2 子曰：“《诗》三百, 一言以蔽之, 曰‘思无邪’。”
2. 3 子曰：“道之以政, 齐之以刑, 民免而无耻；道之以德, 齐之以礼, 有耻且格。”
2. 4 子曰：“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不逾矩。”
2. 5 孟懿子问孝。子曰：“无违。”
樊迟御, 子告之曰：“孟孙问孝于我, 我对曰, 无违。”樊迟御曰, “何谓也？”子曰：“生, 事之以礼；死, 葬之以礼, 祭之以礼。”
2. 6 孟武伯问孝。子曰：“父母唯其疾之忧。”
2. 7 子游问孝。子曰：“今之孝者, 是谓能养。至于犬马, 皆能有养；不敬, 何以别乎？”
2. 8 子夏问孝。子曰：“色难。有事, 弟子服其劳；有酒食, 先生馔, 曾是以为孝乎？”
2. 9 子曰：“吾与回言终日, 不违, 如愚。退而省其私, 亦足以发, 回也不愚。”
2. 10 子曰：“视其所以, 观其所由, 察其所安。人焉廋哉？人焉廋哉？”
2. 11 子曰：“温故而知新, 可以为师矣。”
2. 12 子曰：“君子不器。”
2. 13 子贡问君子。子曰：“先行其言而后从之。”
2. 14 子曰：“君子周而不比, 小人比而不周。”
2. 15 子曰：“学而不思则罔, 思而不学则殆。”
2. 16 子曰：“攻乎异端, 斯害也已。”
2. 17 子曰：“由！诲女知之乎！知之为知之, 不知为不知, 是知也。”
2. 18 子张学干禄。子曰：“多闻阙疑, 慎言其余, 则寡尤；多见阙殆, 慎行其余, 则寡悔。言寡尤, 行寡悔, 禄在其中矣。”
2. 19 哀公问曰：“何为则民服？”孔子对曰：“举直错诸枉, 则民服；举枉错诸直, 则民不服。”
2. 20 季康子问：“使民敬、忠以劝, 如之何？”子曰：“临之以庄, 则敬；孝慈, 则忠；举善而教不能, 则劝。”
2. 21 或谓孔子曰：“子奚不为政？”子曰：“《书》云：‘孝乎惟孝, 友于兄弟, 施于有政。’是亦为政, 奚其为为政？”
2. 22 子曰：“人而无信, 不知其可也。大车无輗, 小车无 , 其何以行之哉？”
2. 23 子张问：“十世可知也？”子曰：“殷因与夏礼, 所损益, 可知也；周因于殷礼, 所损益, 可知也。其或继周者, 虽百世, 可知也。”
2. 24 子曰：“非其鬼而祭之, 诌也。见义不为, 无勇也。”

宋成爽 38. Education: Ancient Chinese Education

段思雅 39. Education: Historical Figures, The Four Talented Women of Ancient China

'''谢香琳 40. Education: Modern Chinese Education System'''
40. 教育：中国现代化教育体系

从晚清，到1949年中华人民共和国成立，再到1978年改革开放政策，直到现在，中国的现代教育改革和发展已经持续了一百多年，并取得了巨大的进步和成就。中国建立了具有自己中国特色的世界上最大的现代教育体系之一。（Lijia Guo，等，2019）
中国采用的基础教育制度是包括学前教育、初等教育、中等教育和高等教育在内的学校教育体系。1986年，根据《中华人民共和国义务教育法》，国家实行九年免费义务教育，对所有中国籍学龄儿童和青少年实行普及教育。然而，不同司法管辖区之间存在一些差异，其中极少数司法管辖区采用 5+4 而不是 6+3 结构。（Lijia Guo，等，2019）

学前教育
在中国，儿童通常在两三岁时进入学前班，并在六岁时从学前班毕业。两岁以上的儿童都可以接受学前教育。它有两个功能：早期教育和儿童托管。幼儿园的教育活动是一个系统的、有目的、多方面的教育过程，有利于儿童发育的更活泼、健全。在幼儿园开展的教育活动应以游戏为主，并创造有利于教育的良好环境，为儿童提供生活条件和表现的机会。（中国教育中心，未注明日期）

初等教育
儿童在六岁（某些地区为七岁）开始接受小学教育。在中国，小学教育是义务教育，为期6年。小学最常用的教学语言是中国的主要官方语言——普通话。在一些以少数民族学生为主的地区，教学同时以普通话和当地主要语言展开。通常一学年由两个学期组成，一般从 9 月开始，持续约 9 个月。学生每周上课五天，课程包括九门必修课程，如语文、数学、社会科学、体育、音乐、美术、科学、政治教育和劳动技能，外语为选修课。为了毕业，所有学生都必须通过语文和数学科目的毕业考试，并达到体育标准。考试通常由学校在当地教育当局的指导下设计和执行。小学毕业后，学生升入三年制初中。（Scholaro网站，未注明日期;Kevin Lam，2011 年）

中等教育
在中国，12至18岁的儿童上中学。中学包括初中和高中，都是三年制。后者分为普通高中、中专和特殊高中。初中毕业后学生可以选择是否要就读普通高中、中专学校或职业学校。（Internations，2020年）

初中教育
初中教育跟随在小学后面，为期三年。无论哪种方式，公立学校升入初中都没有选择性入学考试。（私立学校可能有不同类型的录取标准）。这一级别的课程在小学教授的基础科目上有所拓展，增设了历史和地理、生物、物理和化学等附加科目。初中教授的外语通常是英语，但有些学校也可能教授日语或俄语，有些学校的学生还可以选择学习第二外语。（Mini Gu 等人，2019 年）
在完成初中课程后，学生必须通过中考，才能获得毕业证书并进入高中。学生通常在毕业时进行以下科目的考试：语文、数学、化学、物理、外语和政治。这些考试由省级教育部门开展，但仍必须遵循教育部制定的指导方针。此外，学生必须满足毕业所需的体育要求。（林凯文，2011）
所有科目最终成绩在60分以上的学生，将从初中毕业并升入高中，不及格的学生将留级一年。初中教育的完成也标志着9年（6+3）义务教育计划的结束。（Kelly Pang，2021 年）

高中教育
义务教育结束后，学生可以选择是继续接受中等教育，还是进入普通（学术）高中或中专学校。中国有五种类型的高中：普通高中、技工学校、成人中专、职业学校和艺校。后四所被统称为中等职业学校。普通（学术）高中为3年制，职业高中学制为3年或4年。学生在进入高中之前要经历统考，即中考，人们的录取结果就取决于在这次考试中的分数。政府依据中考的考试成绩将学生分配到不同的高中。（经合组织，2016）
学生通常在第一年学习必修课，第二年和第三年开始同时学习必修课和选修课。高中课程包括语文、数学、英语（部分城市地区为俄语或日语）、健康与体育、信息技术、音乐、美术等。此外，在大多数地区，学生必须进行选科，要么是文科倾向，要么是理科倾向。选择文科的学生要考历史、政治和地理，而选择理科的学生则要考物理、化学和生物。尽管高三的课程结构可能因学校而异，但高三的第二学期通常都用于复习和备考。（Kevin Lam，2011）
在最后一学年结尾时，想要进入高等教育的高中毕业生必须参加国家高等教育入学考试，在中国也称为高考（NCEE）。（学者，N.D.）

高等教育
高等教育由各种类型的机构提供，包括普通和技术大学、民办大学、专科大学、军事大学、卫校、独立学院以及各种类型的成人高等教育机构。大学的录取主要取决于学生在高考中的表现。在高中学习成绩优异的学生也可以获得高考豁免的机会，并直接被保送到他们选择的大学。此外，一些民办大学也不用高考，并接纳所有能够负担得起学费的学生。名牌大学（重点大学）有着更高的录取标准，因此要求高考分数高于其他机构。进入中国高等教育的竞争非常激烈。（学者，N.D.）
中国的学生可以选择该国各种顶尖的大学，这些大学提供各种学位课程，例如学士、硕士和博士学位，以及非学位课程。也欢迎外国学生报名中国各种高等教育机构。自20世纪80年代中期以来，中国的大学不再由国家资助，这就是为什么奖学金竞争激烈的原因。因此，国际学生必须在这种竞争激烈的环境中证明自己，特别是因为越来越多的外国人进入中国大学。（国际，2020年）
通常学生在大学的本科水平要学习三到四年并获得本科生学位。许多大学还提供攻读硕士或博士学位的研究生课程。
本科生可以通过研究生入学考试继续深造，通过考试的学生将在研究生院学习三年并获得硕士学位。获得硕士学位的人可以申请攻读博士学位，通常需要三年左右的时间才能毕业。（Kelly Pang，2021 年）
中国政府投入了大量资金和精力来建设大学。近年来，国内重点高校项目众多，包括“211工程”、“985工程”、“2011计划”、“双一流”等。被列举在这些项目中的大学都是中国重点公立大学。“双一流”是指世界上一流的大学和一流的课程。（Cheng Aimin， 2019， 2.03）

职业教育
职业教育课程在中学和中学后阶段提供。中国的职业高中有不同的名称，如中专或技校，但它们都是为培养中级技术人员而设计的。此外，这些学校还提供了接受高等教育的途径，特别是在技术专科/职业专科。课程具有应用性和实用性，但也包括基础学术科目，占课程的三分之一。学科包括德育、语文、数学、外语、历史、计算机应用、体育与健康、艺术、职业规划、职业法律伦理、哲学和法律、经济学、政治学、社会学等。（Mini Gu 等人，2019 年）
毕业生可以参加高考，尽管学生在学术上对这场艰难的考试的准备要少得多，因为他们参加的一般学术课程较少。自 2014 年以来，他们不用再像过去一样强制性地参加高考，而是可以通过参加技能测试来获得高等职业学院的录取。在过去三年中，超过一半的高职院校入学者是通过这一途径进入的。许多职业学校还与理工学院签订了特殊的衔接协议，允许学生根据其他录取方式被录取。
此外，高等职业教育课程的毕业生可以通过专升本在极有限的领域获得本科生学位。（Schorlaro，未注明日期）

考试制度
一、中考
高中入学考试，俗称中考，是中国每年举行的去区分初中毕业生的学术考试。该考试是进入几乎所有高中阶段的教育机构的先决条件，例如普通高中、职业高中和技术高中。学生们通常在最后一年参加考试。考试一方面用于测试学生是否达到规定的学术水平;另一方面，它是高中选拔学生的基础。考试涵盖国家课程计划规定的所有科目，包括语文、数学、外语、政治、历史、地理、生物、物理、化学和体育。考试日期因省而异，但通常在6月中旬举行。（Cheng Aimin， 2019， 2.09）
二、高考NCEE
全国高校入学考试是中国高等学校招收符合资质的高中生的选拔考试。目前，中国大多数省份都采用“3+X”模式。“3”是指三门科目，即语文、数学、外语，而“X”是指学生从文科或理科组中选择的科目。文科的科目是政治、历史、地理，理科的科目包括物理、化学和生物。全国高考总分750分（语文150分，数学150分，外语150分，文科或理科300分）。成绩公布后，学生可以根据自己的成绩申请高校和专业，高校会选出符合自己标准的优秀学生。（Cheng Aimin， 2019， 2.Cheng AiminCheng AiminCheng AiminCheng Aimin10）

术语
Nine-year Compulsory Education 九年义务教育
Physical Education PE 健康与体育
Secondary Vocational School 中专（中等专业学校）
Social-science-oriented area/ Science stream 文科倾向
Natural-science-oriented area/ Art stream 理科倾向
Bachelor's Degrees 学士学位
Master's Degrees 硕士学位
Doctoral Degrees 博士学位
Double-First Class 双一流
High High School Entrance Examination 中考
National College Entrance Examination（NCEE）高考

问题
1. 我国采用哪些基础学校教育体系？
2. 九年免费义务教育是什么时候实施的？
3. 升入中学的先决条件是什么？
4. 当选择文科时，学生必须在高考中考哪些科目？
5. 选择理科时，学生必须在高考中考哪些科目？
6. 中国学生入学考试的两种主要形式是什么？

谢香琳 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern
Dynasties
41.教育：魏晋南北朝九品中正制

在魏晋和南北朝（公元220-公元589年），中国是一个严重分裂的国家。与统一的汉朝不同，这一时期中国的北方和南方相互对峙，同时存在着许多政权。这一时期，官僚选拔制度主要是九品中正制。
九品中正制起源于东汉末年（公元184年-公元220年）曹操的“任人唯贤”思想，直到公元220年才由魏王曹丕正式实施。曹丕在设立这种官员选拔制度时，希望“是以人才的功绩为选拔的依据，而不是以贵族世家的优越性为依据”。而这一制度的建立，也借鉴了汉代的察举制（一种人才选拔的方法）作为参考。
九品中正制内容如下：
1、当地德才兼备的权贵将被朝廷任命为中正。每个州的中正为大中正官，每个郡的中正为小中正官。
2. 中正负责根据候选人的才能、品德和世袭的社会地位，将辖区内的所有男性分为九个等级。中正只负责分级。他们没有任命的权力。
3、九级分别是上上、上中、上下、中上、中中、中下、下上、下中、下下（如图所示）

4. 首先，小中正官将在很大程度上考虑候选人的祖上拥有的地位以及有多少代人当官。接着，小中正官继续审查候选人的功绩。然后，小中正官将把他们的分级交给大中正官，大中正官将检查分级的正确性并将其提交给吏部尚书。最后，吏部尚书将挑选官员并任命他们就职。
5. 官位级别与每个候选人的级别相对应。
6. 每三年，中正将向吏部尚书提交建议。在建议中，中正将就是否应晋升已经被授予职位的官员发表意见。
在实施初期，九品中正制发挥了积极作用。它有利于人才的选拔和社会的稳定。此外，以品德为选拔标准，改变了东汉末年以来富豪权贵主导人才选拔的局面，加强了中央政府对人才选拔的控制。
然而，随着时间的流逝，九品中正制中的负面因素开始占上风。由于缺乏监督机制，九品中正制逐渐成为精英统治阶层控制人才选拔的工具，并借此进一步控制整个官僚体系。《二十四史》将当时的官僚阶层描述为“没有一个高官来自寒门;没有一个高门贵族的人是小官。”此外，由于九品中正制中是以品德为重的，有道德缺陷的人才将永远失去被录用的机会。

Terms and Expressions
Nine-Rank Official Selection System 九品中正制
Recommendatory System 察举制
Rectifier 中正官
Senior Rectifier 大中正官
Junior Rectifier 小中正官
Region 州
Commandery 郡
superior-superior 上上
superior-intermediary 上中
superior-inferior 上下
intermediary-superior 中上
intermediary-intermediary 中中
intermediary-inferior 中下
inferior-superior 下上
inferior-intermediary 下中
and inferior-inferior 下下
Minister of Personnel 吏部尚书
Twenty-Four Histories 《二十四史》

问题
1、九阶官遴选制度是谁设立的？
2. 中正是做什么的？
3. 九个级别分别是什么？
4. 九品中正制的积极影响是什么？
谢香琳 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies)
42. 教育背景：岳麓书院，四大最负盛名的书院之一

作为中国千年来最负盛名的四大书院（嵩阳书院、应天府书院、岳麓书院、白鹿洞书院）之一，岳麓书院自北宋开宝九年（公元976年）正式设立以来，一直是著名的高等学府，也是学术活动和文化的中心。（维基百科，岳麓书院）
书院见证了一千多年的历史，从未间断过，因此被称为“千年书院”。从岳麓书院到湖南大学的历史转变，是中国高等教育发展的一个缩影，反映了中国教育体系的变迁。岳麓学堂成立后不久，就以其学校管理风格和学术传播的作用闻名于全国。北宋宋真宗召见院长周式，将陛下的题词授予书院。（陈玉祥，2020,22）
岳麓书院声名鹊起，享有“潇湘洙泗”的美誉，意为湖南大学者们聚集的地方。正是在这里，在宋代张栻在书院讲学时，理学史上著名的“湖湘学派”开始流行起来。朱熹两次来这里讲学时，课堂人气爆棚，院子坐不下，荫马塘（马喝水的池塘）的水都被他们的马喝干了。（陈玉祥，2020,22）
后来，书院还出传播交流了其他学派和观点，比如明朝中期的阳明学、明末年的东林党、乾隆和贾清年间（1736-1821）的汉学、清末年的新学问等。岳麓书院的学术研究和学府教育体系对湖南文化传统的形成和发展产生了深远的影响。（徐彦文， 2020， 18）
岳麓书院主要有大门、讲堂、麓山寺碑亭、御书楼、文昌阁、六君子堂、文庙、明伦台、半学斋、赫曦台等。正门横板上的四个字“岳麓书院”是宋朝皇帝宋真宗（公元960年-公元1279年）的题字。从此，岳麓书院闻名全国，学生络绎不绝。大门的门柱上挂着对联，上面写着“惟楚有才, 于斯为盛”（楚国，人才的故乡;岳麓书院，万物的摇篮）。这副对联源自中国古典文学，考虑到书院自成立以来不断输送人才，这句话被认为是恰当的。（孔素梅，白旭，2011,179）

岳麓书院大门
其部分建筑在1980年代进行了重建，但园林景观缺乏统一的设计。如今，书院的园林景观正在逐渐失去其诗意的意象。在尊重历史、弘扬园林传统的原则下，为了对书院景观进行整体修复，提出了改善书院景观轴线、还原岳麓书院八景的构想。这对于为中国古典书院园林树立良好榜样，为传统园林艺术增添光彩，具有重要意义。讲堂，又称“忠孝廉节堂”，是书院的核心建筑。讲堂位于书院的中心地带，是教学和举行重要仪式的最重要的场所。南宋乾道六年（公元1168年），著名理想主义者张栻、朱熹在这里联合讲学，这是中国儒学的第一次联合讲课。（李波何，邢耀雄， 2012， 409）

岳麓书院规划
讲厅内还有许多由石碑组成的珍贵文物。大厅的内墙上刻着著名学者朱熹写的四个大字——忠、孝、廉、洁（忠信、孝顺、诚实、正直）。还有其他名言，如清代大师欧阳正焕所写的“整齐严肃”，清代大师王文清撰文的《岳麓书院学规碑》碑文，都是研究中国儒家的重要史料。时至今日，它们仍然对我们具有启发性的意义。一千多年的历史间，有无数才华横溢的学生在这里学习。（阮红松，2020,62）
特别是在19世纪末和20世纪，它见证了大量的爱国思想家，政治家，军事家，实业家和外交家。如今，经过修复的岳麓书院已被列为国家重点保护历史遗迹。它仍然肩负着进行学术研究和培养专业人才的责任。（王毅，2019,106）—[https://wiki. ruhr-uni-bochum. de/uvu/index. php/User：Zhu_Xu 15：24， 6 December 2020] （UTC）

Terms and Expressions
Kai Bao Reign 开宝年间
Emperor Zhenzong 宋真宗
xiao xiang zhu si 潇湘洙泗
Huxiang School of Learning 湖湘学派
Donglin School 东林党
Zhu Xi 朱熹
Zhou Shi 周式
Zhang Shi 张栻
Qiandao Reign 乾道年间
Wei Chu You Cai, Yu Si Wei Sheng 惟楚有才, 于斯为盛
Zhong, Xiao, Lian, Jie 忠、孝、廉、洁
Lushan Temple Tablet 麓山寺碑亭
Yushu Library 御书楼
Wenchang Pavilion 文昌阁
Six Gentleman Hall 六君子堂
Grand Sunlight Platform 明伦堂
the Banxue Building 半学斋
the Hexi Platform 赫曦台

问题
1、岳麓书院是什么时候正式设立的？
2. 为什么荫马塘的水被喝干了？
3、岳麓书院的核心建筑是什么？
4. 讲堂的功能是什么？
5. 岳麓书院与多少学派、学识和理念有关？
6.乾道六年岳麓书院发生了什么事？
段思雅 43. Facial Make-up

'''段思雅 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up'''

'''卢逸萱 45. Facial Make-up: Face Changing in Sichuan Opera'''

'''陈卓 46. Fine Arts: Painting'''
美术：绘画
中国的传统绘画可以追溯到大约 6000 年前的新石器时代。20 世纪 20 年代出土的绘有动物、鱼、鹿和青蛙的彩陶表明，在新石器时代，中国人已经开始使用毛笔作画。
中国传统绘画因其理论、表现形式和技法而备受世人推崇。与西洋画不同，中国画在透视上不受焦点的限制。画家可以在一张狭长的画纸上或在绢上画出长江沿岸的所有景物。《木兰从军图》就是一个例子。《木兰从军图》取材于一个古老的故事：木兰女扮男装，替父从军，在战争胜利后回到家乡。在画面中，人们可以看到庭院和房屋内外的人们正在做什么。可以说，采用移动透视是中国画的特点之一。中国画家为什么要强调视角的变换呢？他们试图摆脱时间和空间的限制，将远处的事物和近处的事物都纳入画中。此外，艺术家们还发现，在生活中，人们会从一个移动的焦点来观察周围的事物。移动透视使艺术家能够自由地表达他想要表达的东西。
根据表现手法，中国画可分为两类：写意画派和工笔画派。前者的主要特点是夸张的形式和写意的笔法，后者的特点是注重细节和精细的笔法。而 "写意 "则是中国画的基本方法。它是一种美学理论，首先强调的是情感。即使在古代，中国艺术家也不愿意被现实所束缚。晋代（265-420 年）著名画家顾恺之（348-409 年）首先提出了 "以形写神 "的理论。"他认为，绘画不仅要表现物体的外观，还要表达艺术家对物体的看法。在顾恺之的观点之后，又出现了 "神似中寓不似"、"画在似与不似之间 "等理论。"在这些理论的指导下，中国艺术家无视比例、透视和光线的限制。以现代画家齐白石为例。他笔下的虾、虫、鸟、花不其在自然界中的样子，而是经过长期观察和深刻理解后的本质模样。
中国书法和中国绘画密切相关，两者都使用线条。中国人把简单的线条变成了一种高度发展的艺术形式。线条不仅可以勾勒轮廓，还可以表达艺术家的观念和情感。针对不同的主题和不同的目的，会使用各种各样的线条。线条或直或曲、或刚或柔、或粗或细、或浅或深，墨色或干或润。线条和笔触的运用是使中国画独具特色的元素之一。
中国传统绘画是诗、书、画、篆刻艺术在同一画面上的结合。在古代，大多数艺术家都既是诗人又是书法家。苏东坡（1037-1101 年）、倪云林（1306-1374 年）和董其昌（1555-1636 年）都是这样的艺术家。对于中国人来说，"诗中有画，画中有诗 "一直是优秀艺术作品的标准之一。题跋和篆印有助于阐释画家的思想感情，也为画作增添了装饰美。古代画家喜欢画松、竹和梅花。在题写 "品行高洁 "等字样时，这些植物寓意着人们在艰苦环境中刚正不阿、乐于助人的品质。对于中国平面艺术而言，诗词、书法、绘画和篆刻是不可或缺的组成部分，它们相互补充、相互丰富。
齐白石（1863-1957 年）是中国当代最著名的艺术家。他多才多艺，他自己的成功标准是：诗词第一，篆刻第二，书法第三，绘画最后。经过长期实践，齐白石形成了独特的个人风格。他既能以写意也能以工笔描绘同一事物。他的作品引人入胜之处在于，有些画作同时使用了两种画法。例如，用工笔画法画的昆虫和用写意画法画的花卉出现在同一幅画中，它们之间有一种完美的和谐。

Questions
1.中国传统绘画的历史有多长？
2.中国传统绘画与西方绘画的最大区别是什么？
3.中国画家为什么强调转换视角？
4.中国画有哪两大类？
5.你对顾恺之的绘画理论了解多少？他的理论在中国绘画史上有多重要？
6.中国传统绘画的四个组成部分是什么？绘画和诗歌有什么关系？
7.松、竹、梅在中国传统绘画中象征什么？
8.齐白石如何看待中国绘画艺术各组成部分之间的关系？
9.齐白石作品的魅力何在？

陈卓 47. Fine Arts: Bada Shanren and Qi Baishi
美术：八大山人和齐白石
清朝（1636-1911年）初期，有一位名叫朱耷的著名画家，但他更出名的名字是“八大山人”，因为他的大部分画作都署名八大山人。他是明朝开国皇帝朱元璋（1328-1398年）的后裔，在江西南昌长大。他自幼学习诗词和美术。1644年，北方满族人推翻了明朝，结束了他平静的生活。第二年，清军占领了南昌，19岁的朱达和家人被迫逃亡，躲进了深山。
一系列不幸接踵而至。朱耷的父亲、妻子和儿子相继去世。在这些沉重的打击下，23岁的朱耷改名换姓，出家为僧。他学习禅宗，禅宗是佛教的一个教派，主张通过冥想和自我思索而不是通过经文来悟道。30多岁时，朱耷对道教教义产生了兴趣。他经常去南昌附近的道观青云谱学习道教经文。50多岁时的一天，当他听说自己的一些诗作被一位官员用来奉承清朝统治者时，他“遂发狂疾，忽大笑，忽痛哭竟日。”62岁时，他决定还俗，以绘画和教书为生。此时，他开始使用“八大山人”这个名字来创作许多作品。虽然贫穷，但他拒绝为官员和富人作画。他于1705年去世，享年80岁。
朱耷的画在公众甚至许多艺术家看来都很奇怪。他画中的鸟和鱼总是昂首挺胸。它们的眼睛被画得很大，甚至是方形的，以表达画家的感情。他在社会动荡年代的辛酸经历和对清朝统治者的憎恨形成了他独特的风格。在他的《孔雀图》中，两只孔雀蹲坐在一块形状怪异、站立不稳的石头上。它们非常丑陋，长着一双奇怪的大眼睛。每只孔雀都有3根尾羽，看起来像清朝官员帽子上佩戴的等级标志。画上的诗句让观众对画面的含义有了一些了解。孔雀身上的翎毛是用来讥讽清朝官员的；形状怪异且不稳固的石头象征着清朝根基不稳，终将被推翻。后来的画家郑板桥（1693-1765年）在评论朱耷的作品时说，他的画中眼泪多于笔墨。
朱耷的表现手法基于他对中国传统绘画技法的掌握。但他并不盲从传统，而是尝试新的路径，寻求新的表现手法。他擅长画山水、花鸟。他作品的特点是构图简洁、用笔简练、夸张、形象奇特、人物表情和神态怪异。他的画风对后世画家产生了很大影响。清代扬州八怪和现代著名画家齐白石、徐悲鸿、吴昌硕、李苦禅等都以八大山人为榜样，成功地形成了自己的风格。
齐白石（1863-1957年）是中国当代最著名的艺术家之一。他的一生表明，他的成功是天赋与勤奋的结合。他出生于湖南省湘潭县的一个农民家庭。8岁上学，一年后因病辍学。在家里放牛、砍柴、干农活。11岁时，他被送去学习木工。在师傅的指导下，他制作嫁妆家具和雕刻装饰木制品。通过工作，他结识了当地的一些学者。其中一位名叫胡慎远的人主动提出教他绘画和诗歌。在此期间，他靠画肖像和出售作品谋生。渐渐地，他不仅是一名木匠，也是一名画家，声名远播。30岁时，他与几个年轻人一起成立了龙山诗社。那几年，他致力于诗歌、书法和篆刻。虽然他承认自己是一位多才多艺的艺术家，但他自己的成功标准是：诗词第一，篆刻第二，书法第三，绘画最后。
从1902年到1916年，齐白石五次巡游全国，在许多大城市留下了他的足迹。这些旅行拓宽了他的视野，改变了他的风格。1917年，他在北京定居。在那里，他结识了许多艺术家和学者，并与陈师曾（1876-1923年）成为朋友。陈师曾建议他不要模仿早期大师，要形成自己的风格。齐白石接受了这一建议，决定改革自己的画法。他将自己的创造力与徐渭、朱耷、石涛等明清名家的绘画技法以及民间艺术的表现技巧融为一体。
经过长期的实践，齐白石逐渐形成了自己独特的风格。他的绘画题材广泛而多样，所画的花鸟鱼虫最受大众喜爱。为了提高画虾的技巧，他在家里养了一些虾，经常观察虾的动作。他在日记中记述了自己画虾方法的变化："起初我画的虾有几分相似，后来变得更加逼真，最后明暗色彩对比得当。这就是三个变化。“齐白石能够用工笔或写意的方式描绘同一物体。当他细致地画一只蜻蜓时，他甚至画出了蜻蜓翅膀上的纹路。当他采用大胆、自由的风格时，他只用几笔干练、富有表现力的笔触来塑造蜻蜓。无论是哪种方法画出的蜻蜓，都逼真而生动。他作品的迷人之处在于，有些画作同时使用了两种方法。例如，用工笔画法画的昆虫和用写意画法画的花卉出现在同一幅画中，两者之间非常和谐。
齐白石是一个品格高尚的人。清末，他拒绝了慈禧太后的诏聘。他甚至作画写诗，讽刺贪官污吏、贪婪商人和可耻汉奸。抗日战争期间（1937-1945年），他还拒绝向日本占领军军官出售自己的作品。

问题
1.朱耷为什么讨厌北方满族人以及清朝官员？
2.朱耷研究过哪些宗教经书？
3.朱耷何时开始以绘画为生？
4.为什么朱耷的画中的鸟总是昂首挺胸？为什么它们的眼睛大得奇怪？
5.他画孔雀的奇怪之处是什么？
6.郑板桥是如何评价他的作品的？
7.他的作品有什么特点？
8.齐白石在成为画家之前是如何谋生的？
9.齐白石的画有什么特点？

讨论话题
1. 中国传统绘画与西方绘画有哪些巨大差异？
2. 你对中国传统绘画还有哪些了解？你能介绍一下张择端的作品《清明上河图》吗？
3. 你知道如何欣赏八大山人或齐白石的画吗？
4. 你对哪幅书法、绘画或篆刻作品印象最深？
5. 有哪些中国美术珍品仍保存在外国博物馆？我们怎样才能把它们找回来？

陈卓 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day
美术：绘画作品《清明上河图》
简要介绍
绘画作品介绍
《清明上河图》是宋代画家张择端的作品。这幅画见证了北宋时期京城汴京（今开封）的百姓日常生活和繁荣景象。画卷中各色商贾云集，有卖酒的、卖粮食的、卖炊具的、卖弓箭的、卖灯笼的、卖乐器的、卖金银器的、卖饰品的，还有许多饭馆。商贩们沿着被称为虹桥的大桥一字排开。除了商铺和食肆，还有客栈、寺庙、民居和风格各异的官府。几百年来，这幅画卷在无数次收藏家手中辗转。1945年，故宫博物院将其购回并纳入馆藏。《清明上河图》被视为国宝，每隔几年才展出一次。

作者介绍
张择端，字正道，汉族，东武（今山东诸城）人，北宋绘画大师。北宋绘画大师。宣和年间进士，善画楼观、楼阁、树木、人物。张择端科举落第后，开始学习界画。界画是一种借助尺子来表现建筑的绘画。在作画时，笔上会附着一小块木头。有了这块木头，笔就可以在尺子上移动，根据画家的意图画出长短不一的直线。用尺子作画更加方便，只要使用熟练的工具；也更容易画得精细准确，从而获得观者的认可，画家也因此更容易谋生。

《清明上河图》三大部分
张择端在画面中表现出强烈的艺术概括性。他以北宋汴京市民的日常生活状态为线索，将商铺随意散落、市民相互打闹、车水马龙的市井生活等热闹场景浓缩在一幅五米多的长卷中。
进城
整幅图从“进城”开始，首先出现的是一队“马帮”，驮着货物进城交易；接着是一队扛轿人，肩上扛着新娘的椅子，后面跟着随从，每个人手里都拿着成亲的嫁妆，在晨光中匆匆前行。随着画面的延伸，人物逐渐增多，商店也开始开门迎客。码头上出现了卸货交易的场景。此时，船只聚拖、聚帆、聚账、聚货、聚灶，生动再现了汴京航运的真实情况。
过河
说到 “过河”，汴河上有一座 “虹桥”。桥上人山人海。抬轿子的、卖农具的、卖农产品的、骑毛驴的、叫卖的。尤其是桥的一侧，有一排人在用手指着桥下运粮的货船。船上，船工们掌舵的掌舵，撑船的撑船，抛缆绳的抛缆绳，放桅杆的放桅杆，喊号子的喊号子，为了避免船与桥相撞，个个争先恐后，这是一片繁忙的景象。这与“进城”部分中安静的郊外气氛形成了鲜明的对比。
城外
当 “城外”部分展开时，鳞次栉比的酒楼、汽车、茶楼、饭店、客栈、药铺、布店、民居、香火店、庙宇等纵横交错。街上有轿夫、马车夫、牛车夫、驴夫、酒客、说书人、修车人、车夫、算命先生、话痨、赌徒、卖糕点的、骆驼队等等。骡、马、牛、羊、猪、狗、驴等动物形神兼备。

画作主旨
再往前看，我们来到了虹桥。这是画作中社会冲突的高潮。有一艘满载乘客的大客轮，突然出现了船桅撞击大桥的巨大危险。按照常理，在距离虹桥一定距离的地方，应该有专人值班，提醒纤夫停止拖船，让船上的人放下桅杆，以免桅杆撞上大桥。
但这些工作都没有人做，所以拖船工一个劲把船往桥这边拉，直到船上的人发现大事不妙。涨水时会有波浪，所以桥上很危险。桥上的人群分成两拨，各自站在桥的一段，已经压缩了桥面的宽度。桥的两端来了一群文官武将，他们的护卫相互争吵，闹得不可开交。"画家将各种社会矛盾交织在桥上桥下，反映了北宋末年官员不作为所引发的尖锐社会问题。

问题
1. 这幅画的三个主要部分是什么？
2. 这幅画是什么时候创作的？
3. 这幅画的主旨是什么？
4. 张择端学的是哪种绘画？

杨子璇 49. Fine Arts: Seal-cutting
美术：篆刻
篆刻是中国文化遗产的独特组成部分。传统上，篆刻与绘画、书法、诗词并列为“四艺”，是有成就的文人必须掌握的技艺之一。这门艺术可追溯到约3700年前的殷商时期，起源于在龟甲上刻写甲骨文。到了秦朝，人们将自己的名字刻在竹木器皿和文件上，以显示所有权或作者身份，这门技艺由此兴盛起来。在此基础上，人们开始在角、玉或木质的小块上刻上自己的名字，这就是我们今天所熟知的印章。
与其他国家一样，官方部门和民间个人都使用印章。早在战国时期（公元前45-221年），国家元首在任命臣民担任要职时，会授予一枚官印，作为授权的象征。换句话说，印章代表着职位和相应的权力。私人印章同样用于在各种文件上加盖个人姓名，以进行认证或作为诚信的象征。
印章上的文字可以是浮雕或凹雕。印章的材料可以是木、石、角、昌化鸡血石、玉石、玛瑙、水晶、象牙甚至黄金。作为艺术品的印章应在书法、构图和雕刻师的手艺三个方面出类拔萃。篆刻家应擅长书写各种书体。他应该知道如何在狭小的空间内安排许多字——有些字笔画多，有些字笔画少——以达到优美的效果。他还应熟悉各种材料——石头、黄铜或象牙——以便以适当的力度、技巧和均匀的节奏使用切割刀。

1.中国传统文化中的四艺是什么？
2. 篆刻的历史有多长？
3. 为什么篆刻艺术在秦代如此兴盛？
4. 官印有什么用？私印呢？
5. 篆刻有哪两种设计？
6. 如何将印章篆刻成艺术品？

杨子璇 50. Games: Go 围棋
游戏：围棋
围棋是一种对抗性游戏，目标是用自己的棋子包围比对手更大的棋盘区域[1]。随着棋局的进行，棋手在棋盘上摆放棋子，绘制出阵型和潜在的领地。对立阵型之间的较量往往极其复杂，可能会使得阵型扩大、缩小，或棋子被全部夺取或丢失。[2]（NRICH 团队，Going First，2007 年）
围棋的一个基本原则是，一组棋子必须至少有一个与这组棋子接壤的开阔点（称为自由点）才能留在棋盘上。一个或多个自由点围成的棋子组称为眼，有两个或多个眼的棋子组即使被包围也无法吃掉。[3]（岩本薰，1977）这种棋组被称为无条件活棋。一般的策略是扩大自己的领土，攻击对方的弱小棋子组（可被杀死的棋子），并时刻注意自己棋子组的“生存状况”。棋子组的自由度是可以计算的。相互对立的棋子必须互相吃掉对方，否则就会输掉比赛，这种情况被称为吃子比赛，或对杀。在吃子比赛中，拥有更多自由度（有更好的 “棋形”）的棋组最终将能吃到对方的棋子。吃子比赛和关乎生死的每一步是下围棋的主要挑战。
如果棋手认为已经没有下棋获胜的机会，可以弃权而不下棋。当双方都弃权或一方弃权时，对局结束。一般来说，对局计分时，每位棋手都要计算自己的棋子周围未被占据的点数，然后减去被对手吃掉的棋子数。得分较高的棋手（调整贴目后）获胜。在对局的开局阶段，棋手通常会在棋盘的角落和两侧建立阵地（或称“基地”）。这些据点有助于快速形成强大的棋形，这些棋形有很多存活下来的选择（棋组的自保能力可以防止被吃），并为潜在的领地建立阵型。棋手通常从角开始下棋，因为借助棋盘的两条边更容易建立地盘。已确立的角开局顺序称为 "定式"，通常单独研究。
“单官”是位于黑白两方边界之间的点，因此被认为对任何一方都没有价值。“双活”是白子和黑子的互生对子，其中任何一方都没有两只眼。“劫"（中文和日文：劫）是一种重复位置的棋形，可以通过在其他地方下先手进行争夺。逼棋走完后，劫可以“收回”，回到原来的位置。有些“劫争”可能很重要，能决定一大组棋的生死，而有些“劫争”可能只值一两分。有些“劫争”被称为“野餐劫”，因为只有一方会损失惨重。日本人称之为赏花劫。
与人下棋通常需要了解每个棋手的实力，以棋手的等级（从30级到1级，然后从1段到7段，然后从职业1段到职业9段）来表示。等级的差异可以通过让子来弥补——允许黑方在棋盘上放置两颗或更多棋子，以弥补白方更强的实力。在不同国家的规则设定中（韩国、日本、中国、AGA 等），除某些特殊情况外，它们几乎完全等同。
除了下棋顺序（交替走棋、黑方先行或占先）和计分规则外，围棋基本上只有两条规则：
规则 1（自由度规则）规定，留在棋盘上的每颗棋子必须至少有一个直接正交相邻（上、下、左或右）的开放“点”（交叉点，称为 “自由点”），或必须有至少一个这样的开放点（“自由点”）紧邻棋组的一部分。失去最后一个自由点的棋子或棋子组将从棋盘上移除。
规则 2（“劫”规则）规定，棋盘上的棋子绝不能重复先前的位置。禁止重复走棋，因此该回合只允许在棋盘其他地方走棋。
几乎所有其他关于游戏玩法的信息都是启发式的，也就是说，它是关于游戏玩法的学习信息，而不是规则。其他规则是专门的，因为它们是通过不同的规则设定产生的，但上述两条规则几乎涵盖了所有下过的棋局。[4]（英国围棋协会，2007 年）虽然不同国家使用的规则设定之间存在一些微小的差异，最明显的是中国和日本的计分规则，但这些差异不会对比赛的战术和战略产生很大影响。
除特别说明外，此处介绍的基本规则与所使用的计分规则无关。计分规则将单独解释。围棋术语如果没有现成的英文对应词，通常用日文名称称呼。
黑白双方轮流将自己颜色的棋子放在棋盘的交叉点上，每次放一颗棋子。棋盘尺寸通常为19×19格，但对于初学者或快速下棋者来说，13×13 和9×9的较小棋盘尺寸也很受欢迎。[5] 棋盘一开始是空的。黑棋先下，除非黑棋有两子或两子以上的残局（在这种情况下，白棋先下）。棋手可以选择任何空着的交叉点下棋，但“劫争”和“自杀”规则禁止的交叉点除外（见下文）。棋子一旦下出，就不能再移动，只有被吃掉时才能从棋盘上取下。棋手也可以弃权，拒绝下棋，但通常只有在对局结束时，当双方都认为下棋已无意义时才会这样做。当双方连续弃权时，游戏结束并计分。

问题
1、围棋的基本原理是什么？
2、除了下棋顺序（交替走棋、黑先走或吃残局）和计分规则外，围棋中还有哪两条基本规则？
3、哪些国家的评分规则差异最明显？

'''杨子璇 51. Games: Kite Flying'''
游戏：放风筝
介绍
风筝在中国有着悠久的历史，且一直延续至今。在公园、广场和空旷的草地上都能看到风筝的身影。各种造型的风筝十分壮观，为人们的休闲时光增添了许多乐趣。同时，作为一项传统的民族活动，风筝打上了深深的中国文化烙印，充分表达了人们的美好愿景和强身健体的心愿，富有民族特色和地方风味。作为一种民俗，放风筝是一种以休闲和调节身心为目的的游戏和娱乐活动，使人们在工作之余得到休息，有益于强身健体、陶冶情操、培养创造力和道德感。
风筝的起源和发展
风筝作为中国古代文明的重要组成部分，它的故乡在中国。中国近代著名史学家李约瑟在其《中国科学技术史》中，将风筝列为中国人对人类重要的科学发明之一。
发明人：墨子
据考证，中国最早的风筝是木制的。春秋战国时期，墨家创始人墨翟（公元前 478-392 年）花了三年时间，用木头做了一只鸟，放飞到天空后一天才落地。这只墨子制作的 “木鸢”据说是中国最早的风筝，也是世界上最早的风筝，距今已有2000多年的历史。然而，有人对风筝飞翔能力提出了质疑。王充的说法在历代风筝研究中具有代表性，他先是肯定了风筝的飞翔能力，然后又对风筝是否能持续飞翔三天提出了质疑。此外，还有人质疑木鸟和风筝是否是同一种飞行器。他们认为，风筝是一种 "振翅飞行器"，这意味着它是通过拍打翅膀和拍打空气来飞行的。除此之外，风筝也是 "固定翼飞行器"。然而，这些推测几乎没有证据。因此，时至今日，主流观点仍然认为风筝是由墨家发明的。
源自战争
依据这种观点，风筝起源于汉末。这种观点是基于历史上韩信制作风筝的传说。高澄在《事物纪原》卷八中有对风筝的描述，韩信在战争中用风筝测量田地长度。此外，据《史记·韩信列传》记载，韩信用牛皮制作了各种风筝，并让乐师坐在上面，飞到楚军上空吹奏楚歌，让楚军思念家乡，无心作战。在古代，由于朝代更迭和外族入侵，战争不断。风筝作为一种飞行工具，在战争中受到青睐。风筝与战争的渊源虽有争议，但仍有其合理性。
源自娱乐
放风筝作为一种民间游戏和娱乐，是民俗活动的重要组成部分。在古代，人们最初放风筝是为了祛除厄运，是一种带有巫术意味的户外活动，并不是为了娱乐。当这种游戏成为调节社会生活的一种文化需要时，它就带有了娱乐的含义。娱乐是风筝出现的前提之一。放风筝不仅给人们的生活增添了情趣，还能在愉快高效的情境中开展教育。在《五代史记·李晔传》中，就有皇帝等人在宫中猜灯谜、放风筝的历史记载。此外，李晔还在宫中做了一个纸鸢游戏，用竹子做了一个笛子，系在纸鸢的头上。纸鸢在空中飞舞时，随着风的涌动，听起来仿佛有人在弹奏古筝，“风筝”因此得名。由此可见，风筝起源于古人的休闲活动。
风筝的使用和生产
风筝的使用
最初，风筝通常被用作传播信息和测量天空风向的军事工具。春秋时期，鲁班 "作木鸢以觇宋城"。在唐朝，风筝主要发挥娱乐的作用，并在宫廷和民间流行开来。由于唐朝与外国的频繁交流，风筝还传入了朝鲜和日本等邻国。在之后的朝代，人们把放风筝作为锻炼身体的主要方式之一。
风筝的生产
中国传统的风筝放飞技巧概括起来就是四个字：扎、粘、画、放，即扎架、粘纸、画花、放飞。扎包括宣、分、弯、剪、接。粘合包括选择、裁剪、粘合、镶边和校正。粘贴包括选择、裁剪、镶边和修改。绘画包括上色、打底、描摹、染色和修补。放飞包括风、线、放线、调整和收线。2006年5月，风筝制作技艺被列入第一批国家级非物质文化遗产名录。
风筝的种类
战斗风筝
战斗风筝是用于风筝格斗运动的风筝。传统上大多数都是小型、不稳定的单线扁平风筝，仅靠风筝线的张力来控制，并使用磨料线切断其他风筝的线。
室内风筝
室内风筝是设计用于在无风环境中放飞的风筝。虽然主要是为室内使用而设计，但也可以在室外放飞。当风力不足导致传统风筝无法在室外放飞时，它们可以。室内风筝的放飞是利用放风筝者的运动所提供的相对风力。这种运动通常是由使用者慢慢向后走（通常是在一个圆圈内）而产生的。但也可以通过风筝线的适当牵引和抽动来实现。
载人风筝
载人风筝是一种用于将人从地面抬起的风筝。历史上，载人风筝主要用于侦察和娱乐。随着 20世纪初动力飞行的出现，人们对这种风筝的开发兴趣逐渐减弱。
充气单线风筝
充气单线风筝是一种充气式的风筝。气球风筝就属于充气风筝。这种风筝将冲压充气和闭囊充气结合在一起。风筝的形状大致源于机翼，进气口通常位于风筝的前端，整个底部都有辔头，可以均匀地分配系绳的负荷。这种风筝没有坚硬的支柱。与热气球一样，也常常充满艺术创意，描绘鱼、猫和许多其他动物和人物。

问题
1.风筝因何得名？
2.中国传统风筝放飞技巧的四个关键词是什么？
3.风筝种类有哪些？

陈佳雯 52. Games: Mahjong: An Ancient Chinese card play

林如茵 53. Garden Culture: Gardens

卢逸萱 54. Garden Culture: Bonsai (Penjing)

林如茵 55. Garden Culture: The Summer Palace

储守娟 56. Garden Culture: Qingming Riverside Landscspe Garden

56. 园林文化:清明上河园

介绍

清明上河园位于河南省开封龙阁西岸，是一座占地600多亩的大型历史文化主题公园，展示了宋代的繁荣风光。此园取材于宋初著名画家张择端的《清明上河图》(韦陀2006,13)。

2009年，清明上河园被中国世界纪录协会评选为中国首个古风主题公园。是国家黄河黄金旅游线上的重点历史文化旅游景区，也是首批5a级旅游景区和中国非物质文化遗产展示基地。它于1998年10月28日正式向公众开放。(韦陀2006,13)

《清明上河图》是关于中国古代社会和民间生活的珍贵画卷，反映了中国北宋都城开封的社会生活、市井风土人情和城市建筑格局。虽然它只是当时开封的一小部分，但人们仍然可以瞥见其他街道和城市地区的大致面貌。有趣的是，一千年前，张择端把它从现实搬到了画上，但一千年后，开封人把它从画搬到了现实里。漫步其中，让人有种时光倒流的感觉。(张璐2013,25)

设有驿站、民俗、特色美食街、宋文化示范、花鸟鱼虫、兴都、休闲购物、综合服务等八大功能区，军事训练场、虹桥、民俗、宋都四大文化区。园林的主要建筑有门楼、虹桥、街景、商店、河道、码头和船舶。根据《清明上河图》的原始布局，园内陈列了酒铺、茶馆、典当行、汴绣、官窑、年画等现场制作品，并汇集了民间表演、杂耍和鼓乐表演。(高静，2010,18)

园内主要旅游景点有虹桥、浮云亭、上善门等。虹桥是中国古代桥梁史上的一项重要创作。它被列为中国十大名桥，是清明上河园的主要景观。原址建于1050年，1998年重建。它是古代十大木桥之一的复制品。(陈康2006,62)

花园中最高的建筑浮云亭有31层，99米高。“浮云”这个名字有两层意思:一是摸，指亭子升到云端，摸到白云;二是清洁，即吹走历史的烟云，归还真正的藏宝图。从外面看，亭子有四层，但里面隐藏着另外三层。它也是宋代重要的皇室文件和中国传统绘画和书籍储存的地方。(张璐2006,62)

清明上河园每年都会举办一系列文化节活动，如宋代民俗文化节、清明文化节、菊花文化节等。在宋代民间文化节期间，景区将聚集全国各地独特的民间表演，如高台花鼓、踩高跷、舞龙、舞狮、小豫剧等。国际灯展是宋代民俗文化节的重头戏。中国馆的吉祥传统、亚洲馆的清新精致、欧洲馆的简约时尚、东南亚馆的古雅佛性、非洲馆的奢华大气，将带来一场视觉盛宴。(张璐2013,26)

清明节期间，园内还会举办一些清明文化节活动，弘扬传统节日文化。届时，游客们可以外出踏青、植树、观赏民俗、品尝小吃，还可以欣赏名为“大宋·东京梦华”的大型水上现场表演。本次活动将宋代历史文化元素与现代娱乐相结合，让游客更好地体验春天，亲近文化，享受生活。(高静，2010,17)

菊花文化节是园内另一个盛大的节日，在这个节日期间，人们会献上各种各样的菊花。每年的十月到十一月开封就会举办菊花节。清明上河园以美丽的菊花为重点，充分利用建筑、雕塑、山川、水面和活动、惯性的联想，突出开封人的修养和创造技能。菊花变成了各种各样的形状，吸引了来自世界各地的成千上万的游客。在展览中，参观者可以欣赏到一些我们日常生活中很少见到的菊花。(张璐2013,24)

清明上河园有“大宋·东京梦华”、“包公敬宾”、“气功喷火”、“斗鸡”、“女子马球”等节目。其中，“大宋·东京梦华”是该园的代表性演出，是清明上河园制作的大型活水表演。演出持续70分钟，由700多名演员表演。这是一幅关于北宋全盛时期的画卷。宋朝市集的繁华景象，汴梁(今开封)都城的繁华，周边国家的豪迈气势，战争的悲壮，福气的滋润，构成了一幅喧嚣与宁静相结合的水墨画。(高静，2010,16)

中国古代建筑和西方建筑是不同的。中国古代建筑可以分为宫殿建筑、宗教建筑、宅第建筑和公共建筑，这些都可以在清明上河园中看到。与西欧中世纪的哥特式建筑相比，宋代建筑表现出一种精致柔和的风格，是宫殿、露台、塔楼、亭台楼阁的复合体，而哥特式建筑则是宏伟而精致的。它有尖尖的拱顶，给人以视觉冲击，具有浓厚的宗教色彩。(庞润昕2019,10)

术语和表达

*Qingming Riverside Landscape Garden 清明上河园
*Riverside Scene at Qingming Festival 《清明上河图》
*Rainbow Bridge 虹桥
*Fuyun Pavillion 浮云阁
*Shangshan Gate 上善门
*chrysanthemum 菊花
*Baogong Salute to Guests 包公迎宾
*Spitting Fire Show 气功喷火
*Cockfight 斗鸡
*Women’s Polo 女子马球
*Luxuriant Dream of the East Capital of the Great Song Dynasty 大宋·东京梦华

问题

#清明上河园在什么位置?
#清明上河园在中国的作用是什么?
#清明上河园是什么时候对外开放的?
#《清明上河图》的作者是谁?
#《清明上河图》描绘的是哪个朝代?
#“浮云阁”这个名字是什么意思?
#《大宋·东京梦华》的演出特点是什么?
#你能列出清明上河园中除了“大宋·东京梦华”的表演项目吗?

参考文献

陈康. (2006). 《清明上河园》的精彩场景——贯木拱虹桥集邮博览(07)62-63.

高静. (2010). 清明上河园——玩转宋文化光彩 (04)16-19.

李梅. (2007). 清明上河园特色建设与长远发展合作经济与科技(8)10-12.

庞润昕. (2019). 《清明上河图》的建筑艺术景德镇陶瓷大学(06)10-16.

韦陀. (2006). 张择端之《清明上河图》紫禁城 (Z2) 13-15.

张璐. (2013). 清明上河园与宋都文化传承创新研究赤峰学院学报(05)23-27.
[https://wiki. ruhr-uni-bochum. de/uvu/index. php/User:Zeng_Liang] 2020年12月20日15:36 (UTC)

'''储守娟 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China'''

57. 性别:武则天——中华帝国唯一的女皇帝

简要介绍
武则天(https://www. worldhistory. org/uploads/images/4558. jpeg?v=1623024902)

武则天皇后(武后、武侯、武媚娘、媚娘、武昭皇后，公元624-705年，公元690-704年)是中华帝国唯一的女皇帝。她统治于唐朝(公元618-907年)，是中国历史上最有效和最有争议的君主之一。(马克，2016)

政治

武则天所掌握的最重要的执政手段之一就是科举制度：科举制度的基本理论和实践是招募那些受过最好教育、最有才能、最有潜力履行职责的人进入政府服务，并通过对候选人进行测试来客观地确定这一点。武则天继续使用科举制度来招募官员，她对自己继承的制度进行了重大改革，包括增加应试人数，允许以前因背景而不合格的平民和士绅参加考试。从693年开始，她在做的另一件事则是扩大政府考试系统，并大大增加了这种招聘政府官员的方法的重要性。武则天在政府内部为华北平原的人民提供了更多的代表机会，而不是西北贵族家庭的人(反正她相当程度地减少了他们);而且，通过科举制度成功选拔出来的候选人成为了她政府中的精英群体。(《新唐书》)

此外，在武则天统治初期，尽管中国其他地区的经济发展改善了其他地区家庭的数量，但关中仍然是全国最强大的贵族家庭的大本营。(《新唐书》)

然而，关陇贵族不愿意放弃对政府的控制;与此同时，在其他地区，如华北平原或湖北，一些新富裕的家庭渴望在国家权力中占有更大的份额。大多数反对武则天的人来自中国西北的关陇家族。因此，她压制了他们，转而支持不那么有特权的家庭，从而将许多有才能但不那么贵族的家庭提升到权力的行列，这些家庭通常是通过官方考试制度招募的。许多受青睐的人来自华北平原。武则天通过消除或削弱她认为对她不忠的既得利益贵族的权力，并在中国建立一个忠于她的改良上层阶级的过程，进行了重大的社会变革。武则天时期的中国(https://www.worldhistory.org/uploads/images/4649.png?v=1614250808)

武则天统治的另一个重要特征是，她权力的巩固在一定程度上依赖于酷吏政治。她利用线人来选择要消灭的人，这一过程在697年达到顶峰，大量的贵族家庭和学者被降职、流放或杀害，并且禁止他们的儿子担任公职。武则天通过死亡（包括处决、命令自杀和或多或少直接杀人）、降职和流放，消灭了许多她真正的、潜在的或被认为是权力对手的人。这主要是由她的酷吏执行的，由像万国俊和来俊臣这样的人领导，他们写了一份名为《罗织经》的文件，详细说明了审讯和通过酷刑获得供词的步骤。(《新唐书》)

经济

武则天的许多措施都具有民间性，为她的统治赢得了支持。武则天上台时，中国人民相当满意，政府运行良好，经济的特点是生活水平不断提高。对于大多数人来说，武则天继续这样做。她决心让自由、自给自足的农民继续在自己的农场土地上工作，因此她定期使用土地均等化制度，也可以称为均田制，并结合最新的人口普查数据来确保公平的土地分配，必要时重新分配。她的成功很大程度上归功于她的各种法令(包括那些被称为“恩典法案”的法令)，这些法令通过各种救济措施帮助满足了下层阶级的需求，她扩大了对政府服务的招募，包括以前被排除在外的乡绅和平民，以及她对下层阶级的慷慨晋升和加薪。(《旧唐书》)

文化

关于修改汉字，公元690年，武太后的堂兄宗勤科提交了一些则天文字，旨在展示武太后的伟大。她接受了它们，并把其中一个修改后的字“赵”(曌)作为她的正式名字(也就是说，人们会对这个名字行使命名禁忌)。赵是由另外两个字组成的:明(明)在上面，意思是“光”或“清晰”，空(空)在下面，意思是“天空”。言下之意似乎是她会像天空中闪耀的光芒。(Zhao(照)的意思是“闪耀”，Zhao(曌)可能是她的原名，但这方面的证据尚无定论。)(《新唐书》)

在文学方面，武则天除了自己的文学作品之外，她的宫廷也是一个文学创作的焦点。《全唐诗》收录她的诗46首，《全唐文》收录她的署名文章61篇。尽管这些作品中有很多是出于政治目的，但有一首诗是她在母亲去世后哀悼她的母亲，并表达了她无法再见到她的绝望。在武则天统治期间，朝廷在她的赞助下出版了各种作品，比如她的朝廷诗歌选集《宝荣集》，其中包含了崔融、李峤、张说等人的诗歌，根据个人在朝廷的官阶进行了排列。在武则天时期(部分是在她的朝廷期间)发生的文学发展中，沈佺期、宋之问这对诗歌组合所创作的“新风”诗歌——格律诗最终发展。(《旧唐书》)

评论

武后是一个真实的历史人物，一个生动的文学艺术画廊形象。长期以来，她是男权话语的扭曲形象。从武则天的女性特征出发，从性别角度出发，这一形象具有重要的社会和现实意义。(刘健，2013)

位于山西省乾陵通道东侧的无字碑是为武则天建造的。由于缺乏历史记载，它的日期和建造者仍然未知，使石碑成为一个谜。也许这正是武则天想要的——除了时间和历史，没有人能定义她的一生。(张宇，2014)

术语和表达

*Wu Mei Niang 武媚娘
*the imperial examination system 科举制度
*officials in feudal times 臣子, 臣民
*Guanzhong 关中地区
*Guanlong aristocracy 关陇集团
*North China Plain 华北平原
*a system of spies 酷吏政治
*secret police 酷吏
*Wan Guojun 万国俊
*Lai Junchen 来俊臣
*the Manual of Accusation 《罗织经》
*System of Land Equalization 均田制
*Gentry 乡绅
*Modified Chinese characters 则天文字
*the Collected Tang Poems 《全唐诗》
*the Collected Tang Essays 《全唐文》
*regulated verse 格律诗
*The Blank Stele 无字碑
*the Qianling mausoleum 乾陵

问题

#谁是中华帝国唯一的女皇帝?
#谁写了《罗织经》?
#用什么制度来保持自由、自给自足的农民继续在自己的农场土地上工作?
#《全唐诗》收录了武则天的几首诗?
#《全唐文》中记载武则天名下的文章有多少篇?
#武则天在她的石碑上写了什么吗?

参考文献

马克，E.（2016年3月17日）。武则天。世界历史百科全书。检索自https://www。worldhistory.org/Wu_Zetian/[2]

《新唐书·卷四·本纪第四》

《旧唐书·卷六·本纪第六》

刘健(2013) 武则天形象演变研究(硕士学位论文, 陕西理工学院). https://kns. cnki. net/KCMS/detail/detail. aspx ? dbname = CMFD201402&filename = 1014211402. nh

张宇(2014) 武则天的“无字碑”真的无字吗?. 中国国家博物馆馆刊(11), 63-70. doi: CNKI:太阳:ZLBK. 0. 2014-11-010.

储守娟 58. History: Carl and Cixi

58. 历史:凯瑟琳·卡尔和慈禧

凯瑟琳·奥古斯塔·卡尔(1865-1938)是一位美国画家和作家，她于1903年在中国度过了9个月，为圣路易斯博览会画了慈禧太后的肖像。回到美国后，她出版了一本讲述自己经历的书，书名为《慈禧写照记》。

1903年夏天，凯瑟琳·卡尔受委托为1904年路易斯安那州购买博览会的中国展览画一幅慈禧太后的肖像。她在中国总共待了9个月，画了四幅慈禧太后的肖像，后来1906年出版的一本书中记录了她的一些回忆，作为唯一一个在中国朝廷最后日子里生活的外国人。

卡尔在中国的作品为慈禧太后提供了一个独特而亲密的评价。在书的前言中，她说她写这本书是因为“我回到美国后，我经常在报纸上看到(和听到)我从未说过的话。”这些言论通常是以损害慈禧太后的声誉为代价的，卡尔对此有强烈的感受，她以书面形式为慈禧太后辩护，并试图消除人们对慈禧太后的错误印象，这种印象至今仍挥之不去。

卡尔把慈禧描述为一个善良体贴的女人。慈禧虽然精明，但风度翩翩，美丽迷人，举止优雅，这也导致她性格异常迷人。她喜欢狗，在颐和园有一个由太监管理的狗舍，在那里她养了“一些很棒的北京哈巴狗和一种斯凯狗”。她不喜欢猫，一些养猫的太监会把猫“严格控制在一定范围内，绝不允许它们进入太后的视野”。

卡尔形容慈禧是一个忠诚的人，在谈到她的陪侍时，她说:“此人照顾慈禧度过了大约25年的漫长病期，并且给慈禧喝了母乳，挽救了她的生命。”慈禧太后从来不会忘记别人的恩惠，所以一直把这个女人留在宫里。作为中国人，她裹着小脚。慈禧太后，甚至不忍心看到这双小脚，就让她的脚被解开和精心治疗，直到现在她可以舒服地走路了。慈禧太后教育儿子，在她生病的时候，他还是个婴儿，并且她分享了他的母乳。他现在是一家好衙门的秘书。”

卡尔说慈禧喜欢在湖上划船，在花园和宫殿里散步(皇室坐轿子，太监抬轿走路)，欣赏中国戏曲。慈禧既抽中国的水烟，也用雪茄嘴抽欧洲的雪茄。69岁时，慈禧的身体状况很好，当她带卡尔参观歌剧院时，她和我一样轻松自如地走上陡峭而艰难的台阶，我穿着舒适的欧洲鞋，而她穿着脚中间为六英寸高的满式鞋底，走路就像踩着高跷一样。”

吴梨萍 59. Interieur: The Folding Screen

59. 59. 内部：折叠屏

1.1介绍
折叠屏风是一种灵活的家具，由几个框架或面板组成。它们具有实用的和装饰性的功能，由各种材料和多种风格制成。折叠屏风起源于中国古代。书面参考文献可以追溯到公元前4世纪，在汉朝，但他们可能更早使用。（MilicaSterjova，2017,1）

1.2历史与技术
现存最早的屏风是中国的。现存的中国屏风，其中一些是纸的，可以追溯到公元八世纪，尽管文献资料可以追溯到周朝（公元前四世纪到公元前三世纪），而对屏风的描绘出现在汉朝的墓葬中（公元前200年到公元200年）。然而，正是在日本，银幕形式演变成了它最著名的变体。
中国屏风最初是作为隔板制作的，上面画着美丽而严肃的作品，并不适合经常移动。（2014年出版的一本书）它们最初是由木板制成的，装饰着精美的艺术品。画板上画有许多主题，如神话、宫廷生活场景和自然，使它们更像是一件家具。在中国文学中，它经常与阴谋和浪漫联系在一起，例如，一个恋爱中的年轻女子可能会躲在折叠屏风后面好奇地偷看一眼。在曹雪芹的古典小说《红楼梦》中可以看到这样浪漫的场景。
屏风也是唐代文学中的一个重要元素。唐朝诗人李贺的《屏风曲》描述了一对新婚夫妇的屏风。折叠屏风围绕着这对年轻夫妇的床，它的12块面板上装饰着蝴蝶停落在粉红色的花朵上（寓意情侣），并有类似玻璃硬币的银色铰链。（卡伦·马祖科维齐，2006年）有沉重的木制结构与其他装饰拉通过孔附近的面板边缘。框架是突出的，图像的发展往往是垂直的，并局限于个别面板，创造了一个令人愉快的模式。
当一个巧妙的强力纸铰链系统集成在面板结构中，使折叠图案变得可逆时，面板变得更加灵活。纸铰链使面板更靠近，减少了分隔面板的框架需求，并允许画面水平定向。这为面板的各种空间关系提供了创造性的方法。（Dianne Lee van der Reyden，2）

1.3用途
虽然起源于中国，但现在世界各地的许多室内设计都使用了折叠屏风。人们最初还把它们用在一些实用的方面，比如防止家中的通风，正如它们名字中的两个字符所示：“屏”屏蔽；阻挡”）风（风微风，微风”). 人们也会用它们来赋予一种隐私的感觉；在过去，它们经常被放置在房间里，作为女士们的化妆屏风。（库珀丹1999年，第30-36页）
折叠屏风可以用来划分大的空间，改变房间的配置。它们也可以被用来作为一个虚假的方式设置在一个房间的入口，以创造一个理想的气氛，通过隐藏某些功能，如厨房的门。现在，许多屏风设计与美术，他们服务的装饰目的以及在一个家庭的内部特征。（库珀丹1999年，第30-36页）

1.4传播
在中国流行起来后，折叠屏传播到了世界其他地方，包括东亚和后来的欧洲。公元7世纪，天目天皇在位期间，它们首次出现在日本，并作为礼物赠送给朝鲜的新罗王国。到了8世纪，它们在日本变得如此受欢迎，以至于日本艺术家开始在很大程度上受到中国设计的影响，制作自己的作品。不同的大小有不同的用途：茶道通常使用小的2折屏幕，而更大的8折屏幕可以用作舞蹈的背景。日本的屏幕更轻，通常是由丝绸甚至纸张制成的。彩绘屏风是日本传统建筑的主要组成部分，它们的装饰反映了日本艺术中的领先流派和运动。它们有许多用途，被用于茶道，作为音乐会或舞蹈的背景，以及作为佛教仪式的围栏。(大卫·利奥波德2008，9)
折叠屏是在17世纪初从远东传入欧洲的。由于其实用的功能和独特的装饰，它们引起了人们的极大关注。著名设计师可可·香奈儿完全被科罗曼德尔屏幕迷住了。她以收藏中国折叠屏而闻名。她有32个折叠屏，其中8个保存在她在巴黎的公寓里。她曾经说过：“我从18岁起就喜欢中国的银幕。当我走进一家中国商店，第一次看到科罗曼德尔时，我和喜悦差点晕倒。屏幕是我买的第一件东西。“(Delay Claude 1983，12)
到18世纪初，欧洲工匠已经开始自己制作折叠屏。他们用不那么昂贵的彩绘版本制作折叠屏，取而代之的是使用油漆技术。当时，皮屏很流行，但它们的流行并没有持续很长时间，直到1860年左右拿破仑三世统治期间，日本主义的浪潮激发了法国艺术家的灵感，皮屏才得以恢复。

1. 5 Expressions and Terms表达与术语
Dream of the Red Chamber 《红楼梦》
the Korean Kingdom of Silla 朝鲜新罗王国
Emperor Tenmu 天武天皇

1.6问题
1.折叠屏最早是什么时候出现的？
2.折叠屏在中国文学中是如何与浪漫联系在一起的？
3.屏幕起什么作用？
4.它们是什么时候传播到欧洲的？
5.欧洲的工匠是如何制作折叠屏的？

吴梨萍 60. Landscapes and Tourism: Four Buddhist Shrines

60. 风景和旅游：四个佛教圣地
佛教教是中国最重要的宗教之一。随着汉代佛教从印度传入，中国开始了寺庙建设和启蒙遗址，并一直延续到今天。中国的佛教文化经历了悠久的成长和繁荣的历史，最终转化为历史魅力和文化魅力，并伴以迷人的自然风光，享誉世界。在中国众多著名的佛像中，最神圣的四称为四佛圣地，分别是金五台山、银普陀、铜峨眉山和铁九华，因为它们被认为是菩萨菩萨、观世音菩萨、菩萨菩萨和佛教转世驯服某些人。（甘树德出版社，1998年）

五台山
金五台，又称五台山，或清凉山，是国家自然文化遗产、国家地质公园，是中国唯一的佛教和藏传佛教和谐共处的佛教保护区。五台山位于中国山西省东北部的忻州市的五台县，被称为顶级佛教圣地。五台山因其悠久的历史和宏伟的寺庙而成为佛教的四大大山。它也被称为世界五大佛教圣地之一，尼泊尔的伦皮尼，印度的萨尔纳特、佛伽亚和库什那加。这是中国智慧之神菩萨菩萨的道场。佛教从东汉时期开始传播到五台山，并在南北朝达到顶峰，当时皇帝将寺庙大量扩展到200多个。佛教的第二次开花是在繁荣的唐朝，当时制作了3万多尊佛像。五台山主要有望海峰、叶都峰、瓜云峰、辉煌峰、翠岩峰。每年都有大量作为珍贵文物宝库的寺庙吸引着成千上万的游客，包括剑通寺、南禅寺、佛光寺等。大白塔是五台山最著名的象征，坐落在塔源寺中。（陆尧2011,87)

普陀山
银普陀，观世音菩萨（观音）的道场，位于中国东南部浙江省一个13平方公里的小岛上。银普陀山，又名普陀山，拥有海上佛教王国的荣誉。是国家5A旅游胜地和世界一流的生态景区，拥有迷人的岛屿风光和独特的寺庙、雕塑等独特的佛教魅力。道教是秦朝2000年前在普陀山培育的最早的宗教。佛教在唐代才在普陀山传播，后来在清朝后期和民国时期上升到顶峰，是中国古代最大的佛教王国，拥有4000多名僧人。三座主要神圣佛教寺庙是普济寺，普济寺是普济寺，普济寺是普济寺，是山麓最大的供奉慈悲女神的寺庙，山坡上装饰最高贵精致的第二大寺庙法玉寺，以及位于山顶最高的美丽园林风格寺庙慧济寺。紫竹林是一个吸引游客的景点，人们可以在这里欣赏周围风景如画的风景，体验佛教文化。（景天行，2008）

峨眉山
铜峨眉是指四川省的峨眉山。是中国的修行之神普贤菩萨的道场。峨眉山通常指峨眉山风景区的大峨峰，是佛教四大神山中的最高峰。佛教四大名山之一，同时被列为世界文化和自然遗产。公元1世纪中叶，佛教由印度经丝绸之路传入峨眉山。然后万年寺（旧称普贤寺）在公元3世纪建成，之后又有100多座佛教寺庙建成，使四川一度成为佛教中心。万年寺巨大的普贤菩萨铜像，是宋代一批佛教徒从印度学佛后铸造的。峨眉山不仅以佛教珍宝和珍贵文物闻名于世，而且以金顶的日出、云海、金顶和佛光四大自然奇观而闻名于世。就像其他佛教圣地，有许多寺庙，如报国寺，万年寺，伏虎寺。（甘树德，1998年）
九华山
九华山指的是位于安徽省南部的九华山。它以地藏菩萨为供奉主神，是中国佛教四大名山之一。九华山最初名为九子山，后因唐代大诗人李白的一首诗而更名为九华山。诗云：“分野中峰变，阴晴众壑殊。欲穷天台步，须上九华游。”九华山最早的宗教是道教。到了中晚唐时期，随着佛寺的兴建，佛教逐渐在九华山得到接受和传播。九华山现存佛教文物古迹78处，包括地藏菩萨道场化城寺、历史最悠久的禅寺天台寺、肉身殿、祗园寺等（陈池，2004）。

Terms and Expressions
Buddhist adj. 佛教的
Buddhism n. 佛教
shrine n. 圣地
pullulate v. 大量产生
Gold Wutai 金五台
Silver Putuo 银普陀
Copper Emei 铜峨眉
Iron Jiuhua 铁九华
Manjusri Bodhisattva 文殊菩萨
Avalokitesvara 观音菩萨
Samantabhadra Bodhisattva 普贤菩萨
Ksitigahba Buddhisattva 地藏菩萨
reincarnate v. 使转世, 使化身
ashram n. 修行的住所
Lumpini n. 蓝毗尼
Sarnath n. 鹿野苑
Buddha-gaya n. 菩提伽耶
Kushinagar n. 拘尸那罗
Wanghai Peak 望海峰
Yedou Peak 叶斗峰
Guayue Peak 挂月峰
Splendid Peak 锦绣峰
Cuiyan Peak 翠岩峰
Xiantong Temple 显通寺
Nanchan Temple 南禅寺
Foguang Temple 佛光寺
The Great White Tower 大白塔
Puji Temple 普济寺
Fayu Temple 法雨寺
Huiji Temple 惠济寺
The Purple Bamboo Woods 紫竹林
Wannian Temple 万年寺
Baoguo Temple 报国寺
Fuhu Temple 伏虎寺
Golden Summit 金顶
Huacheng Temple 化城寺
Tiantai Temple 天台寺
Longevity Palace 百岁宫
Zhiyuan Temple 祗园寺
nimbus is divided to two kinds, sacred mountain generates nine glories to praise the beauty of Mount Jiuhua. -By Li Bai
妙有分二气, 灵山开九华。—李白

问题：
1.什么是四大佛教圣地或四大佛教山？
2.四座山分别属于哪一座菩提萨图瓦的圣座？
3.四大佛教圣地分别位于哪些省份？
4.世界上排名前五的佛教圣地是什么？
5.四大佛教圣地中，哪一座被誉为“海上佛教王国”？
6.四大佛龛中，谁的名字与诗人李白有关？

'''吴梨萍 61. Landscapes and Tourism: Four State-Level Cultural Relics
61. 景观和旅游：四件国宝级文物
中国是世界上最古老的文明之一的故乡，拥有丰富的文物，从古墓、建筑、乐器到手工艺品、历史书籍等。它们体现了丰富的历史和文化信息，生动地展示了中国文化的发展过程。这些遗迹中显示的惊人的艺术和技术水平今天继续给人们留下深刻印象。
在中国古代，鼎是帝国权力的象征。因此，鼎经常在中文的短语和表达中用来暗示权威（Anna，2015年）。例如，问鼎，字面意思是“向鼎询问”，意味着密谋篡夺政治权力；一言九鼎，字面意思是“一个承诺等于九个鼎”，意味着这句话具有决定性的作用（Lv Shuxiang，2016年）。
司母戊鼎是1937年在河南省安阳发现的一件非常珍贵的文物。它产生于3000多年前的商朝晚期。这个方形的鼎是古代世界现存最大的青铜器。它现在存放在北京的中国国家博物馆（李伟明，2015年）。
鼎是一个烹饪容器，可能在原始社会中用于煮或烹饪食物。当时，鼎是用粘土做的。在商周（公元前1700年至公元前256年）王朝期间，青铜铸造技术在中国达到了很高的水平。因此，人们用青铜铸造鼎。然而，鼎不再是普通人生活中的炊具，而是重要仪式献祭的对象（Anna，2015年）。
司母戊鼎被商朝武丁皇帝铸造，作为祭祀母亲的仪式的一个物品。三个字符司母戊在侧壁内侧形成铭文。根据考古学家的说法，司的意思是祭祀仪式，母戊是君主母亲的名字。后来，司母戊定为这个大鼎的名字（李伟明，2015年）。
司母戊鼎高1.33米，长1.10米，宽0.78米，重832.84公斤。当时，它需要1000公斤的金属和两到三百名工人来生产它。这款鼎的构造坚固，外观华丽，工艺精湛。四根支柱腿厚实而有力。每边中间都有一个空白，周围环绕着一条以饕餮（动物脸生物）和夔龙（单腿龙）为特色的装饰带，象征着收获和吉祥。司母戊鼎代表了商周王朝最高水平的青铜铸造技术（李伟明，2015年）。
编钟，是一种由青铜制成的打击乐器。中国是最早制造和使用此类仪器的国家。钟铃根据大小、气质、音高分成几组，并挂在架子上。一个小锤子或木棍被用来敲钟，发出共鸣和悦耳的声音（湖北博物馆，2015年）。
曾侯乙编钟是中国目前最大、最完整的古老钟声。它们是1978年从战国时期（公元前475年至公元前221年）的一个小州的曾侯乙的陵墓中出土的。当他们被发现时，所有的钟声仍然挂在他们的架子上。它们现在保存在湖北博物馆（湖北博物馆，2015年）。

这架编钟总共有65个钟，八组挂在木条或青铜条上。架子长10.79米，高2.67米，由三根杆子组成，即上杆、中杆和下杆，由六个青铜战士和几个圆形木柱支撑。65个铃铛重超过2500公斤。最大的钟高度为1.52米，重量超过203.6公斤。最小的铃铛高约20厘米，重2.4公斤。很少看到有这么大规模重量和体积的编钟（Wan Quanwen，2020年）。
曾侯乙编钟铸造精美，看起来非常优雅。为了帮助艺术家表演音乐，每个钟上都有3700个字符的说明（Wan Quanwen，2020年）。还有一些关于悬挂指示和音乐气质的词语，被称为“有价值的音乐理论工作”。曾侯乙编钟表明，早在战国时期，中国就已经拥有非常丰富的音乐文化。出土后，钟声仍然可以产生纯净而准确的音符。色调很好，音色也很纯净。
在挖掘钟声后，中国音乐家创作了一首名为《编钟乐舞》（音乐和舞蹈伴随着钟声）的旋律，再次展示了中国古代音乐的魅力（周毅，2016年）。
通常来说，衣服的质地是棉花、亚麻或丝绸。然而，有由金和玉制成的西装，即“金缕玉衣”（王静，2008年）。

汉朝的皇帝认为玉石可以防止他们的尸体腐烂，他们认为玉石充满了尊严和高贵。因此，他们用玉衣作为他们的坟墓衣服。金线、银线或铜线被用来分别连接四方玉，称为金缕玉衣、银缕玉衣和铜缕玉衣（王静，2008年）。
1968年在河北省满城出土的两套汉朝玉衣向世界揭示了这种墓葬服的真实特征（李亚文，2019年）。他们的主人是中山的景王刘胜和他的妻子窦万（公元前206年至公元25年）。
在外观上，玉衣遵循人体的形状。它由五个部分组成，即头罩、外套、裤子、手套和鞋子。每个部分都由玉片制成。每件玉石的尺寸和形状都是根据其位置设计的。大多数玉石都是正方形或矩形形状的，但也有一些是梯形、三角形或多面形状的。每块玉石的角落都有穿孔，通过它，一根金线将碎片缝合在一起。刘盛的玉衣相当大，长1.88米，由2498件组成。这套西装使用的金线重量约为700克（Li Yawen，2019年）。

这种大约2000年前在汉朝制作的精致西装表明了当时的高设计水平和精湛的工艺。事实上，当然，统治者防止尸体腐烂的梦想永远无法实现。穿玉衣的做法在三国时期（220-280）被禁止（王静，2008年）。
1969年，在中国西部甘肃省武威的东汉（公元前206年至公元220年）墓中出土了一匹青铜驰驿的马。铜像是汉代著名的代表性雕塑。武威县因发现这项国宝而声名鹊起（李晓虎和赵静，2019年）。
这匹34.5厘米高的青铜马，上面覆盖着青绿色的斑点，身体饱满而健壮。跳跃的腿、飞舞的尾巴、略微扩张的鼻孔描绘了一匹疾驰的马。它巧妙之处在于，它的一只后脚正踩着一只飞燕子。这意味着疾驰的马比飞燕子还快（王谦，2020年）。它的四条腿的定位严格符合一匹活马的位置，并受到许多当地和外国考古学家和艺术家的高度赞扬。
在这部作品中，中国古代艺术家结合了现实主义和浪漫主义，通过丰富的想象力、原创概念和娴熟的工艺，巧妙地结合了疾驰的马和飞燕子（王倩：10-11）。飞快的燕子引发了疾驰的马的惊人速度。根据对其力学的分析，马踏飞燕在燕子中找到了一个重心，使雕像保持稳定。燕子的浪漫形象衬托了马的力量和力量，为观众提供了丰富的想象力体验（李小虎和赵静，2019年）。
马踏飞燕被认为是中国传说中“天马”的描绘。它工艺精湛，充分表达了中国西部地区的马匹饲养文化。它已成为中国旅游的象征和具有代表性的作品，将中华民族历史悠久的文化传统和东方美学带给世界。该文物现在保存在甘肃省博物馆（王谦，2020年）。

术语和表达：
Simuwu Ding 司母戊鼎
Emperor Wuding of the Shang Dynasty 商王武丁
taotie 饕餮
National Museum of China 中国国家博物馆
chime bells/bian zhong 编钟
Marquis Yi 曾侯乙
The Chime Bells of Marquis Yi 曾侯乙编钟
Bianzhong Yuewu 《编钟乐舞》
Hubei Museum 湖北省博物馆
Jade Suit with Gold Thread 金缕玉衣
Jade Suit Sewn with Silver Thread 银缕玉衣
Jade Suit Sewn with Copper Thread 铜缕玉衣
Bronze Galloping Horse 铜奔马/ 马踏飞燕
Gansu Provincial Museum 甘肃省博物馆

问题：
1.鼎象征着什么？

2.司母戊鼎是什么时候生产的？

3.易侯爵的钟声包含多少个钟？

4.最大的钟有多大？

5.用什么样的线来连接四方玉片？

6.金缕玉衣是什么时候出土的？

7.马踏飞燕有什么巧妙之处？

8.马踏飞燕现在保存在哪里？

潘彤 62. Landscapes and Tourism: Landscape, Five Famous Mountains

62.景观与旅游：五岳

五岳是中国汉文化中五大名山的总称，是古代民间山神崇拜、五行观念和帝王游览、静修相结合的产物。五岳，又称五大名山，始于汉武帝（公元前157年-公元前87年）。五岳中的“岳”指高山。魏晋南北朝时期，佛教和道教开始在五岳圣山修建寺庙，开展宗教活动。中国古代帝王会定期到山顶游览，并祭祀非人类。根据儒家思想，这一传统成为国家的一种礼仪，也是皇帝登基后的必做活动之一。这一传统一直延续到1911年末代王朝灭亡。虽然五岳没有被称为佛教或道教的圣山，但道教在五岳确实有很强的影响力，并有许多佛教寺庙。五岳至今仍是朝圣之地，许多年轻人的目标是登上五岳，追寻中国古代帝王的足迹。五岳是著名的旅游胜地，旅游和交通服务设施完善，其中几座山被评为国家 AAAAA 级风景名胜区。（阿纳斯塔西娅·伊利娜，2017年）

泰山——五岳东岳
省份: 山东 | 高度: 1533米（5030英尺）泰山，是一座具有历史文化内涵的山峰，位于中国山东省泰安市北部。泰山作为祭祀场所至少有3000年的历史，是国家 AAAAA 级旅游景点。大约3000年前的商文化时期，人们就开始祭拜泰山。中国历代帝王都会来泰山静修和祭祀，数百年来，作家和艺术家也曾来泰山寻找灵感。泰山因其悠久的祭祀历史而保存完好，几乎没有受到任何改动。泰山也被认为是中国攀登次数最多的山峰之一。徒步登山并非易事，可能需要花费大半天的时间才能登顶。

衡山（湖南）——五岳南岳
省份：湖南 | 海拔：1300米（4265英尺）衡山，位于中国湖南省中南部，被誉为中国五岳之一的南岳。衡山山脉长150公里（93英里），有72座山峰。回雁峰是山峰的南端，长沙市的岳麓山是北端，祝融峰海拔1300米（4300英尺），是最高峰。山脚下矗立着中国南方最大的寺庙——南岳大庙，是湖南省最大的古建筑群。南岳衡山共有72座山峰，山上树木葱茏，其中一些已有数百年的历史。夏季登山，可欣赏到满山翠绿。山峰间散布着许多佛教寺庙。值得一提的是位于山脚下的南岳大庙。该寺历经多个朝代，最早的记载可追溯到公元8世纪。虽然该寺庙在文化大革命期间遭到严重破坏，但对许多信徒来说，它仍然具有重要的宗教意义。（阿纳斯塔西娅·伊利娜，2017年）

华山——五岳西岳
省份：陕西 | 高度：2160米（7 087英尺）华山，位于陕西省华阴市附近，距西安以东约120公里（75英里）。它是中国五岳中的西岳，具有悠久的宗教历史。它是国家 AAAAA 级风景名胜区，拥有长空栈道、寺庙、石阵、溶洞、瀑布等景观。华山是古都西安的旅游胜地。华山由五大山峰组成，所有山峰均可徒步登山。然而，许多狭窄的小路和崎岖的台阶使登山变得有一定的挑战性，而在南峰，沿着山体一侧的狭窄厚木板路将挑战任何人的高度关系。沿着两块狭窄的厚木板（用安全带固定在山峰边缘）行走，您可以沿着山峰行走。诀窍在于，这不是一条单行道，应对从另一个方向走来的人非常考验你的平衡能力。（罗德尼，2019 年）

恒山（山西）——五岳北岳
省份: 山西 | 海拔: 2017米（6617英尺）恒山，位于中国山西省中北部，被誉为中国五岳之一的北岳。山西省境内的恒山有时被称为北恒山，湖南省境内的衡山则被称为南衡山。两座山的汉语发音相同，南岳衡山也是五岳之一。与中国其他许多受人敬仰的山峰一样，恒山对道教信徒也具有重要意义。由于地处北方，恒山可能不像其他四座山那样受欢迎，但对于寻求宁静和与世隔绝的徒步旅行者来说，这也是一种优势。山脚下有一座悬空寺，沿着山的一侧延伸。这座木结构建筑由数十根木柱支撑，尽管外观脆弱，但每年都会迎来许多游客。（罗德尼，2019 年）

嵩山——五岳中岳
省份: 河南 | 海拔: 1500米（4921英尺）嵩山，是中国河南省中部、黄河南岸的一座山峰，被誉为中国五岳之一中岳。它是国家 AAAAA 级旅游景点并被列入世界遗产名录。它以其丰富的文化遗产而闻名，是禅宗的发源地、道教圣地和功夫的发源地。嵩山是中国的中心山脉之一，位于黄河岸边，毗邻古都洛阳。嵩山因是禅宗发源地和少林寺所在地最著名，因此对佛教和道教信徒都具有重要的宗教意义。少林寺吸引了众多好奇的游客，他们希望观摩习武之人展示高超的力量和协调性。山峰周围还有许多其他道教和佛教寺庙。（阿纳斯塔西娅·伊利娜，2017 年）

参考文献
Anastasiia Ilina. The Five Great Mountains of China. https://theculturetrip. com/asia/china/articles/the-five-great-mountains-of-china/. 2017
Rodney. The Five Great Mountains of China (Wuyue 五岳). https://welcometochina. com. au/. 2019
术语和表述
Taoism 道教
cultural revolution 文化大革命
plank 厚木板
Hanging Monastery 悬空寺
Zen 禅宗
Shaolin Temple 少林寺
Wei, Jin and Southern and Northern Dynasties 魏晋南北朝
practitioners of martial arts 习武之人
monastery 寺庙

问题
1. What does “Wuyue（五岳）” mean？
2. Do you know any famous Chinese lyrics related to Mount Tai?
3. What is the largest temple in southern China?
4. What are the features of Mount Hua?
5. What is the structure of the Hanging Monastery?
6. What is the famous site in Mount Song?

'''潘彤 63. Landscapes and Tourism: Mogao Grottoes'''

63.景观与旅游：莫高窟

简介

莫高窟的标志性建筑[https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Iconic_Building_of_Mogao_Grottoes. jpg]

莫高窟，又称千佛洞，建于敦煌市东南25公里处鸣沙山东麓的悬崖峭壁上。现存洞窟492个（保存完好），内有泥塑彩绘佛像2400多尊，壁画45000平方米，南区崖壁上有5座木结构建筑。北区悬崖上还有300多个洞窟，既是僧侣和画家的居室，也是他们的葬身之地。莫高窟附近还有一些石窟寺：西千佛洞（22个洞窟）、榆林石窟（42个洞窟）、东千佛洞（23个洞窟，其中8个洞窟有壁画和塑像）、无庙石窟（5个洞窟）。（樊锦诗，2010年，170页）
这些石窟的建造年代、内容和艺术风格与莫高窟十分相似，因此常被称为敦煌石窟。从公元4世纪到14世纪，石窟都是由僧侣利用捐赠者的资金建造的。主要的洞窟通常由佛教僧侣、地方统治精英以及中原帝王等赞助人赞助，其他洞窟则由商旅、军官和当地的人（如妇女团体）资助。（沙武田，2020年，122页）

莫高窟的历史
莫高窟并非一日建成。根据唐朝的相关记载，公元366年，一位名叫乐僔的僧人在敦煌游历。有一天，他在鸣沙山悬崖对面的三危山上看到了佛像，于是这位虔诚的信徒便在悬崖上开凿了第一个洞窟。后来，法良和尚来到这里，与他一起在洞中修行。此后的一千多年里，越来越多的洞穴被开凿出来。（惠特菲尔德，1990 年，第8页）
到了北凉时期，这里已经形成了一个小型的僧侣社区。这些洞窟最初只是作为隐士僧侣的冥想修行之所，但后来发展为服务于附近兴起的寺院。北魏和北周的统治家族成员在此修建了许多石窟，并在短暂的隋朝兴盛一时。到了隋唐时期，莫高窟已成为人们朝拜和朝圣的地方。隋朝时，河西走廊由中央政权控制。皇帝们虔诚地信奉佛教，下令在全国各地修建佛塔。因此，莫高窟在37年内开凿了100多个洞窟。（樊锦诗，2010年，第175-178页）
道教王元禄 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Taoist_Wang_Yuanlu. jpg]
到了唐代，石窟的数量已超过一千个。在此期间，敦煌成为丝绸之路的主要商业枢纽和重要的宗教中心。大量石窟都是在这一时期修建的，包括遗址中的两尊大佛像，其中最大的一尊是在695年修建的，当时唐朝女皇武则天在一年前下诏在全国各地修建巨型佛像。845年，武宗下令对佛教徒进行迫害，敦煌遗址躲过了这一劫，因为当时敦煌在西藏的控制之下。作为边陲重镇，敦煌曾在不同时期被其他非汉族人占领。唐代以后，敦煌逐渐衰落，元代以后完全停止了新石窟的建造。五代十国时期和北宋时期，莫高窟由曹议金保管。（马世昌，2010年，303页）之后，他的后代治理敦煌府，并修建了多个家族石窟，如第55窟。（高秀君，2016年9月）
明朝时期，丝绸之路最终被废弃，敦煌也慢慢人口减少，被外界遗忘。莫高窟的大部分洞窟被废弃。然而，二十世纪初，莫高窟又重新成为当地人朝圣和膜拜的地方。1900 年 6 月 22 日，道士王圆箓在清理第161窟的沙土时，在走廊的墙壁上发现了一个宝库，里面有大量的佛经经卷、旧行政文书、刺绣作品和绘画。自此，敦煌闻名于世。中外学者都对这些发现进行了广泛的研究。（斯坦因，1912年，第2卷）

艺术

有中心柱的支提窟

莫高窟的艺术主要包括三个方面：建筑结构、壁画和雕塑。莫高窟的结构形式主要有三种：精舍、支提窟和带倒漏斗形天花板的大厅。十六国（包括北魏、西魏和北周）早期石窟的主要形式是中央有柱的支提窟。壁画可分为七类：佛教人物、佛经插图、佛教故事、佛教历史画、中国神话、供养人和装饰图案。壁画中的佛教故事可分为三种类型：佛本生、佛陀的生平和命运故事。佛本生讲述了释迦牟尼在世时的善行，如舍身喂饿虎。至于雕塑，则是在木架上被建造，垫上芦苇，然后用灰泥塑模，最后涂上颜料。（段文杰，1994年，第163页）

王子以身饲虎
北魏第251窟 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Cave_251_in_Northern_Wei. jpg]

十六国时期的艺术风格在北魏逐渐从原始、简朴转向了轻松、优美的风格，表现为人物体态匀称、面容憔悴。到了北周，从人物造型上可以看出，融合了外来和本土风格的中国艺术逐渐走向民族化。（樊锦诗，2010年，第174页）
隋代造像的特点是身体粗壮、头大、面方、腿短。石窟变得宽敞，更适合绘制大型绘画，如佛经插图和巨幅佛陀说法图。工笔画大胆遒劲，线条繁复流畅。例如，第420窟天花板上的《妙法莲华经》在有限的空间内展示了大量山林、河流、建筑等情节。隋代的题材和艺术显示了传统艺术的重要发展，预示着一个辉煌新时代的到来。（段文杰，1994年，第164页）
唐代第68号石窟 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Cave_68_in_Tang_Dynasty. jpg]
唐代石窟规模宏大，洞顶呈倒漏斗状。壁画多为巨幅佛经故事画，场景规整，构图匀称。当时的人物面部圆润丰满，眉毛弯弯，表现了唐代人的审美情趣。第220窟的壁画中，皇帝和大臣们听经的形象栩栩如生。皇帝身边的大臣们各有不同的容貌和表情。有的自然雍容，有的小心翼翼。这些比例匀称的彩绘佛像在制作过程中更加细致入微，让我们看到了庄严肃穆的佛像。（樊锦诗，2010年，第174页）
此外，高大的巨型佛像也开始出现。其中最突出的是第96窟的一尊34米高的唐代早期佛像。公元781-848年，河西地区落入藏区。因此，出现了一个有趣的变化：在壁画中，藏王取代了中原皇帝的位置。（樊锦诗2010 年，175页）
到了五代十国和北宋时期，这一时期雕刻的石窟规模很大，形式和布局也各不相同。造像和壁画的题材和风格仍受唐代的影响，但在色彩的运用和绘画技法上呈现出淳朴的民间风格。从9世纪到12世纪，维吾尔族一直在敦煌活动。其艺术风格带有汉族和维吾尔族的印记。维吾尔壁画的总体特点是题材简单、布局松散、笔触直接而粗犷。（荣新江，1999年，248页）
人物形象具有某些少数民族的特征。西夏时期（1036-1227年），大部分石窟都进行了修缮和重修，由于崖壁有限，仅修建了10个石窟。与同时代的榆林石窟相比，敦煌壁画展示的是《净土经》，内容较为简单。元代（1227-1372年）仅存27个洞窟。但第3窟的壁画仍保留了唐宋的技法，即用不同的画法描绘人物的不同部位，如铁线纹、兰叶纹、折枝纹等。自15世纪以来，莫高窟在明清时期逐渐荒废。（荣新江，1999年，248页）
元代第3号石窟 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Cave_3_in_Yuan_Dynasty. jpg]

术语和表述
hermit 隐士
stupas 舍利塔
Emperor Wuzong ofTang Dynasty 唐武宗
Vihara 精舍
Chaitya 支提窟
stucco 灰泥
Sakyamuni 释迦牟尼
Sutras 佛经

问题
1. What do Dunhuang Grottoes refer to?
2. Who built the first cave and when?
3. In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?
4. How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?
5. What are the characteristics of the statues in Sui Dynasty?

参考文献
Fan Jinshi 樊锦诗. (2010). 敦煌石窟 [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院.
Gao Xiujun 高秀军. (2016). 敦煌莫高窟第55窟研究 [Research on the 55th Grotto of Mogao Grottoes in Dunhuang]. Lanzhou University 兰州大学.
MA Shichang. (2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang, 27(2), 303-317.
Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因 [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.
Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda - A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang]. 中原文物 Cultural Relics in Central Plain, No. 215, 118-128.
Stein, M. Aurel. Ruins of Desert Cathay. (1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.
Suemori Kaoru. (2020). "Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns". Kyoto: Hozokan.
Duan Wenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.
Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.
https://books. google. ru/books?hl=zh-CN&lr=&id=vYPNqlAMZWAC&oi=fnd&pg=PP7&dq=info:9v6pr21oST8J:scholar. google. com/&ots=s-uXhnyDBp&sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&redir_esc=y#v=onepage&q&f=false
https://en. m. wikipedia. org/wiki/Mogao_Caves
https://scholar. google. com/scholar?hl=zh-CN&as_sdt=0%2C5&q=mogao+grottoes&oq=

潘彤 64. Landscapes and Tourism: The Culture of Mount Tai

64.景观与旅游：泰山文化

A. 简介
泰山（https://image. baidu. com/search/detail? ct=503316480&z=0&ipn=d&word=%E6%B3%B0%E5%B1%B1&step_word=&hs=0&pn=12&spn=0&di=57860&pi=0&rn=1&tn=baiduimagedetail&is=0%2C0&istype=2&ie=utf-8&oe=utf-8&in=&cl=2&lm=-1&st=- 1&cs=3450486865%2C100894551&os=2998600338%2C4050705434&simid=3289339882%2C371146313&adpicid=0&lpn=0&ln=1846&fr=&fmq=1623779968717_R&fm=result&ic=&s=undefined&hd=&latest=©right=&se=&sme=&tab=0&width=&height=&face=undefined&ist=&jit=&cg=&bdtype=0&oriquery=&objurl=https%3A%2F%2Fgimg2. baidu. com%2Fimage_search%2Fsrc%3Dhttp%3A%2F%2Fn. sinaimg. cn%2Fsinacn08%2F194%2Fw640h354%2F20180328%2Ff356-fysqfnh7181142. jpg%26refer%3Dhttp%3A%2F%2Fn. sinaimg. cn%26app%3D2002%26size%3Df9999%2C10000%26q%3Da80%26n%3D0%26g%3D0n%26fmt%3Djpeg%3Fsec%3D1626371984%26t%3D8548a115be768863ed41740266584cb1&fromurl=ippr_z2C%24qAzdH3FAzdH3Fh_z%26e3Bftgw_z%26e3Bv54_z%26e3BvgAzdH3Fw6ptvsj_m9dmd9a08b_80uabwmvjaa8aamd40_z%26e3Bip4s%3Fu654%3Dp6wejs&gsm=d&rpstart=0&rpnum=0&islist=&querylist=&nojc=undefined)
被誉为“五岳之尊”的泰山，如巨人般屹立在山东齐鲁大地上，静静地俯视着脚下的万物。它不仅是大自然的一员，也是一个不同寻常的文化符号。两千多年来，泰山成为中华民族的精神家园，封建帝王祭天，文人墨客抒怀，百姓顶礼膜拜。深厚的文化积淀造就了泰山“国山”“圣山”的地位。国学大师季羡林曾说：“泰山是中华文化的主要标志之一。我们要弘扬中华文化，首先要弘扬泰山文化。”（魏伟、范宏亮，2020，7）

B. 泰山文化的内涵
如上所述，泰山文化大致可以从以下三个方面来理解。

1. 祭祀（封禅）文化
祭祀大典（封禅）(Fengshan)(https://image. baidu. com/search/detail?ct=503316480&z=0&ipn=d&word=%E5%B0%81%E7%A6%85&step_word=&hs=0&pn=1&spn=0&di=113960&pi=0&rn=1&tn=baiduimagedetail&is=0%2C0&istype=2&ie=utf-8&oe=utf-8&in=&cl=2&lm=-1&st=-1&cs=1788733681%2C3363775309&os=3065253812%2C366172319&simid=3443118911%2C554498160&adpicid=0&lpn=0&ln=1820&fr=&fmq=1623767925869_R&fm=result&ic=&s=undefined&hd=&latest=&copyright=&se=&sme=&tab=0&width=&height=&face=undefined&ist=&jit=&cg=&bdtype=0&oriquery=&objurl=https%3A%2F%2Fgimg2. baidu. com%2Fimage_search%2Fsrc%3Dhttp%3A%2F%2Fi. 3233. cn%2Fa%2F202011%2F9a9213101502bcae. jpeg%26refer%3Dhttp%3A%2F%2Fi. 3233. cn%26app%3D2002%26size%3Df9999%2C10000%26q%3Da80%26n%3D0%26g%3D0n%26fmt%3Djpeg%3Fsec%3D1626360324%26t%3D28beedae81d4507cc4f5770d4b42230e&fromurl=ippr_z2C%24qAzdH3FAzdH3Fooo_z%26e3Bndnn_z%26e3BvgAzdH3FgAzdH3F3zm7-8nd9d_z%26e3Bip4s&gsm=3&rpstart=0&rpnum=0&islist=&querylist=&nojc=undefined)
封禅是古代帝王登临泰山之巅后举行的盛大祭祀仪式，以祭祀天地，宣扬功绩，感谢神灵给自己和子民带来的福祉，并将功绩刻在巨石上。（中国思想文化术语）
先秦学术著作《管子》记载，古代有 72 位部落首领曾登临泰山。进入封建社会后，秦始皇、汉武帝、唐高宗和女皇武则天、唐玄宗、宋真宗、清康熙、清乾隆等先后来泰山朝拜和祭祀，其中汉武帝曾八次登泰山。
帝王祭拜泰山是一种独特的文化现象。任何一个帝王，如果想巩固自己的统治，向天地汇报自己的功绩，都会来泰山祭拜，以此作为自己丰功伟绩的象征。因此，祭祀（封禅）文化是泰山文化的重要组成部分。（金磊，2021，108；侯晓琳，2020，100）

2. 文人文化
泰山在中国文人心目中占有非常重要的地位。他们似乎有一种与生俱来、挥之不去的泰山情结。
有“亚圣”之称的孟子曾感叹泰山的雄伟，说“登泰山而小天下”，这在《论语》中有记载。东汉王充说：“太山之高，参天入云”这是对孔子泰山之言的一种诠释。自此以后，文人墨客对泰山的敬意从未断绝。唐代诗人杜甫在《望岳》诗中写道：“会当凌绝顶，一览众山小。”元代诗人张志纯在《泰山喜雨》中写道：“岱宗天下秀，霖雨遍人间。”东晋诗人谢道韫在《泰山咏》中写道：“峨峨东岳高，秀极冲青天。”古代文人赞美泰山的文字作品不下千篇，可见泰山在文人心中的重要地位。邹博杨，2020，99）。

3. 民间信仰文化
《碧霞元君》(https://baike. baidu. com/pic/%E7%A2%A7%E9%9C%9E%E5%85%83%E5%90%9B/2199062/0/42166d224f4a20a4462391eb191e8f22720e0cf37ac0?fr=lemma&ct=single#aid=0&pic=42166d224f4a20a4462391eb191e8f22720e0cf37ac0)
说到泰山的民间信仰，就不得不提“泰山神”和“碧霞元君”。
据说，泰山神掌管万物（包括植物、动物和人）的生生不息之力。作为泰山的化身，他是沟通天地的使者，也是所有奉天承运、治理天下的帝王的保护神。
碧霞元君是泰山最有影响力的女神。道教认为她“庇佑众生，灵应九州”。她扶弱惩恶，为需要的家庭送子送女，有求必应。
历

==Homework until Session 2==
Please make a Chinese translation of the text of the topic you selected for presentation including questions at the end of the textbook text. When you select a topic, please coordinate with your class representative that no other students selects the same topic.

==Preparatory homework for every session==
Please prepare the topics of the following session by reading the respective texts in the textbook and by answering the respective questions.

==Homework until Session 5==
Please translate another topic you are interested in into English. When you select another topic, please coordinate with your class representative that no other students selects the same topic.

==Homework until Session 10==
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==Homework until Session 15==
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==Final paper after Session 16==
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==Session 1 Student presentations==
==='''涂海蓉 34. Confucianism: Confucian Culture'''===

Please upload your power point here:

[[Media:Confucian_Institutes_2024.pptx]]

儒学：儒家文化

引言

儒家是由孔子建立，孟子发展，荀子整理的学术流派。迄今，它仍然保持着一定的生命力。儒家以儒学为指导思想，其中心思想是恕、忠、孝、悌、勇、仁、义、理、智、信。（李晓愚，2010年，第31页）

先秦时期，百家争鸣，儒家与其他百家学术流派处于同等地位。秦始皇焚书坑儒后，儒家的发展受到严重打击。后来，为了维护封建专制统治，汉武帝听从了董仲舒“罢黜百家，独尊儒术”的建议，加强思想专制，儒家得到复兴。（张岂之，1990年，第20页）“儒家”“儒学”“儒教”的概念是不同的，儒家是理论学派，儒学是社会阶层，而儒教是信仰。（陈智斌、杜爱红，2017年，第60-61页）

老子创立了中国道家学派；孔子始创了中国儒家学派；孙子开创了中国兵家学派；墨子是战国初期墨家的创始人。儒学有助于指导行为规范，建设社会秩序；道家注重培养自然观念和精神发展方向；法学服务于国家政治管理的制度建设；兼爱和非攻的概念是墨家的两大基石。

儒学的大一统思想在国家统一、增强民族凝聚力和文化价值融合方面发挥了重要的作用。（谭苏，2012年，第68页）历经两千多年的发展和演变，儒家文化建立起了一个完整的思想体系，包括政治、教育、道德、伦理、行为规范、生活技巧等各个方面。它贯穿华夏历史，培育了中华民族的智慧与灵魂，形成了根深蒂固的思维、心理与生存模式。（向春玲，2008年，第42-43页）

儒家文化分析

智慧发展

孔子是伟大的教育家，也是平民教育的先锋者和实践者。儒学被确立为正统文化后，统治者和百姓都尊崇孔圣教义，重视教育。在这种背景下，保持高度的文化修养与礼教浸润是基本的要求。隋朝，隋文帝发明科举考试，学而优则仕，这鼓舞了寒门学习通过勤奋学习改变自己的生活。（张岂之1990，19）

中华民族世世代代十分重视对子女的教育，这有利于提高整个民族的思维能力。然而，中后期政府的腐败、官僚的黑暗让许多文人学士对仕途感到绝望，对理念感到怀疑。此外，四书五经是儒学的主要学习内容。除了官办学校，私塾和自学几乎无法达到六艺的要求。（张岂之，1990年，第21页）因此，四书五经被作为学生学习的重点，而六艺并没有得到高度重视。

精神指引

精神层面，儒学主张“天行健，君子当自强不息；地势坤，君子以厚德载物。”（张岂之，1990年，第86页）仁者爱人，体现了“天人合一”的精髓，也是儒学最精辟的内涵。这种哲学号召人们积极奉献社会。在现代，它仍具有生命力，是未来人们精神方向的基本要求。（李晓愚，2010年，第32页）

秩序构建

野蛮时期与落后时期的共同点是，一小部分人掌权，压迫奴役大部分人，结果导致劳动分工和财富分配不公，产生了相应的社会等级制度和观念。因为儒学发展于封建社会的过渡时期，孔孟思想植根于唯心主义天命观，没有突破社会等级制度的束缚。此外，他们甚至提倡贵贱有别，强调了等级划分的重要性。（李芳萍，2013年，第56页）

这种背景下，他们所倡导的“仁”在政治管理方面有很大的局限性。百姓的政治地位不能得到公平对待。反之，这种所谓的“仁”呼吁改善百姓生活条件，统治阶级获得更多利益。然而，它的目的是维护社会秩序，调解社会矛盾。这也是封建统治者支持儒学的根本原因。本质上，儒学并没有促进社会公平，相反，它致力于维护不公平的封建社会等级制度，加剧了奴役。事实上，在长期的封建统治下，等级观念已经变成了民族心理的一部分。随着时代与文明的进步，天命观和社会秩序思想变成了中华民族的心理桎梏。（李芳萍，2013年，第56页）

消除封建等级思想和形式主义理念后，儒学的一些哲理在现在社会仍然产生着积极的影响。具体来说，“仁”和“博爱”的精神有利于培养人们的精神；“国家属于人民”的理念反映的积极奉献社会的责任感，可以扩展为不同国家所共享的社会与政治哲学。（李晓愚，2010年，第33页）

孝悌增进了家庭的和睦与稳定；忠信礼恕有利于不同国家、社会和人民之间的关系。“忠”意味着人民应该对国家和民族保持忠诚；“友”“恕”在化解各种矛盾与敌意中发挥着重要作用；谈到“孝”“礼”，许多封建社会遗留的的繁文缛节应当被根除，更注重实际。（向春玲，2008年，第39-41页）

儒家文化的当代价值

今天，儒家文化仍然具有重要意义。我们必须在中华民族优秀传统的基础上，结合当今时代特征与实际国情，探索儒家文化的价值。儒家文化影响中国民族两千余年，已深入到中国社会的方方面面。（向春玲，2008年，第39页）

思想政治教育

儒家文化主张以人为本，高度重视人的价值和尊严。（张岂之，1990年，第51-57页）

多年来，中华民族深受这一优秀哲理影响。在此背景下，其行为模式与心理结构被赋予了独特性，主要表现在两个方面。一是自尊自爱，学会关爱自己。除此之外，也要通过不断提升道德修养增强自尊，实现人的价值发展。二是尊重他人，通过尊重、理解和关心他人来体现对他人人格的尊重。（向春玲，2008年，第39-40页）

现代化经济建设

当今形势下，一些思想内容仍然具有生命力，对促进现代化经济建设，培养中国人民现代爱国主义情感产生着积极影响。（李承宗，2002年，第65页）

首先，儒家文化强调“仁”的思想与组织意识。它有利于培养集体主义思想，为中国现代经济提供精神支柱。（李承宗，2002年，第65页）

由于儒家文化体现的集体主义人生观，个人充满了对他人和集团的义务感和责任感。在此背景下，他们的自我修养旨在治国齐家平天下。因此，个人的价值与国家的兴衰紧密相连，所以他们有强烈的责任感。“天下兴亡，匹夫有责”成为了数千年来的共同信念。这种社会责任感会产生巨大的驱动力，推进国家与社会的发展。（谭苏，2012年，第68页）

第二，儒家文化的“自强”意识和“求是”主张增强了民族精神，为中国经济现代化提供了源动力。（李承宗，2002年，第66页）

《易传》指出：“天行健，君子以自强不息。”它意味着不断发展是自然的法则，君子应当追求进步，坚强不屈。千年来，中华民族在这些思想的影响下形成了奋发图强的优良传统。今天，我们弘扬“自强不息”与“实事求是”的精神，就是要进一步增强民族精神，为社会主义现代化提供强大动力。（李承宗，2002年，第67页）

第三，儒家文化的“改革创新”理念有利于进一步改革开放，加快中国社会主义现代化。在认可不断发展是自然法则的基础上，儒家文化提出了“创新”思想。《礼记》中有言：“苟日新，日日新，又日新。”《易经》曰：“革故鼎新。”（李承宗，2002年，第67页）

这个理念不仅为历史中的改革创新奠定了理论基础，也为当今社会主义经济政治体制改革提供了宝贵经验。对内，弘扬创新精神能够极大地增强中国人民的改革意识。对外，它有利于扩大儒家文化的国际影响力，进一步对开外放。（李承宗，2002年，第67页）

法制建设

儒家文化高度重视个人修养，高度文明的法治社会应该由高素养的公民组成。儒家，在中国有着千年历史的学术流派，已成为中华文化不可或缺的组成部分。（李晓愚，2010年，第32-33页）

如今，中国提出将德治与法治相结合的政策，正是儒家文化找准历史定位，充分发挥作用的时机。探索儒家文化对当代中国法治建设的影响，不仅可以帮助我们深入了解传统文化，也能促进当今中国的法治建设进程。（李晓愚，2010年，第32-33页）

德治思想是儒家文化的重要组成部分，它强调德育的重要性。它是古代中国统治者奉行的治国方略，也是当代中国具有重要借鉴意义的治国方法。

治国层面，儒家强调道德的重要性，它相信治国不应该主要依靠严刑峻法，相反，应该用德育感化民众。子曰：“为政以德，譬如众星捧月。”通过将统治者比作北极星，将人民比作群星，孔子强调了德育的重要性。（王杰，2004，第77页）

如何以德治国？首先，统治者应注重自己的个人修养，发展良好道德品质，以此为公众树立优秀榜样。只有官民真诚地服从于统治者，才能形成良好的社会氛围。其次，由于儒学以“仁”为其核心，呼吁德治，很多人下意识地认为儒学否定法治，并认为儒家文化根本不主张法治。（王杰，2004年，第82-83页）

事实并非如此。诚然儒学提倡德治，它也强调以法治为辅。子曰：“圣人认为，国家治理必须德治与法治相结合。”也就是说，如果用制度和法律约束人们，他们会寻求免罚却缺乏良知；然而，如果以道德和礼节指引他们，他们会有是非观念并严格要求自己。（王杰，2004年，第83页）

总而言之，我们应该认识到，尽管儒家文化是中国的优秀传统文化，它也是封建社会的产物，其本意旨在维护封建专制君主制。因此，它不可避免地存在一些落后性和局限性。在这种情形下，我们必须辩证分析儒家文化，探索儒家文化价值。同时，我们应舍弃其遗留的陋习和不利因素，更好地弘扬中国传统文化，加快现代中国法治建设。（王杰，2004年，第83页）

孔子学院

随着中国国际地位的提高和国际交流的日益增强，中国文化赢得了广泛的国际关注，世界更加渴望学习和理解中国文化。2004年，为响应时代号召，孔子学院成立。今天，孔子学院已遍及亚洲、非洲、美洲、欧洲和大洋洲。（吴瑛，提文静，2009年，第30页）

从根本上说，它有助于中国文化走出去，因为语言是中国文化的重要载体。它对于中国国家形象塑造、中国国际影响力提升、实现广泛国际交流都具有积极意义。（吴瑛，提文静，2009年，第30页）

孔子学院的快速发展充分展现了世界人民学习汉语、了解中国的需求和渴望，但过程中仍然存在一些难题。当今，各国致力于传播自己的语言和文化，因此，国际文化推广中存在着激烈的竞争。此外，孔子学院努力实现持续发展。对内，其发展受诸多因素限制，包括师资短缺、质量低下及缺乏针对性。（吴瑛，提文静，2009年，第31页）

如今，孔子学院遍及世界，但追求量与速的传播策略导致能够对外教授汉语的教师严重不足。

据统计，全球至少缺少 500 万名 TCSL 教师。（吴瑛，提文静，2009年，第31页）

其次，缺乏高质量的本土化汉语教材也成为孔子学院发展的瓶颈。汉语教材的缺乏直接影响了孔子学院文化交流的深度。第三，孔子学院不能传播中国文化的渊博思想。尽管教材内容丰富，但它们主要注重于通过介绍中国食物、茶酒、传统中国医学和武术传播民俗文化。

同时，它们很少提及传统中国文化的思想精髓和现代中国文化的现代价值。（吴瑛，提文静，2009年，第32页）

孔子学院应当全力探索儒学的现代意义，传播中国文化精髓，增进中国文化核心思想及其现代文化价值的推广。中国文化海纳百川。孔子学院应该传播的不是中国文化的全部内容，而是不同于其他国家又展现出中国文化精髓的、具有普世价值的内容。（向春玲，2008年，第42页）

问题

1.儒家文化的核心思想是什么？

2.儒家、儒学、儒教有什么区别？

3.你怎么看待儒家、道家、墨家、法家之间的关系？

4.什么是六艺？

5.你怎么认为儒学的古代影响？

6.你认为儒家文化在中国仍有其当代价值吗？为什么？

7.你如何看待孔子学院的发展现状？

==='''朱然 36. Confucianism: Classical Philosophy - Confucius and Confucianism'''===

Please upload your power point here: [[Media:Confucianism_2024.pptx]]

36. 儒家思想：古典哲学—孔子和儒家思想

孔子被认为是古代中国的一位伟大哲学家和一位伟大圣人。在中国，孔子被称为仲尼、孔丘或孔夫子（孔先生）。17世纪的耶稣会传教士称呼他为Confucius，这个源自拉丁语的名字已为西方所熟知。
据说在大约公元前551年，孔子生于鲁国曲阜（现山东省），卒于公元前479年。他生活在一个动荡时代之末，称为春秋时期。旧周朝诸侯国为争夺霸权而相互争斗，产生的混乱使许多思想家寻求社会秩序与和谐的基本原则。孔子试图游说各个诸侯国，使君主们相信正确的治理方式。虽然儒家思想成为了国家的官方思想体系，但它从未变成一个具有教堂和牧师的确立宗教。中国学者尊称孔子为伟大的老师和圣人，但并没有将他当作人格神来崇拜。孔子本人也没有宣称具有神性。
儒家思想是中国主要的官方思想体系，起源于孔子及其弟子的教导。它涉及到优良行为、实践智慧和适当社会关系的原则。它影响了中国人的生活态度，设定了生活方式和社会价值标准，并为中国的政治理论和制度提供了背景。它自然融入了古代中国的紧密家庭关系和绝对规则模式中，其中父亲像皇帝一样治理，而皇帝则应该像父亲一样关心他的子民，而下面的人则对两者都要服从。这一信仰体系长期统治中国，主要推崇那些适应静态和理想温和世界的美德，使每个家庭都在统治者的统治下有其位置，每个独立的人在家庭中也有其位置。儒家思想从中国的朝鲜、日本和越南传播开来，引起了西方学者的极大兴趣。
儒家思想的原则包含在孔子及其追随者传下来的九本古书中。这些教义可以分为两组：五经和四书。
五经是孔子时期之前的作品，包括以下著作：《周易》（Classic of Changes）、《尚书》（《Classic of History）、《诗经》（Classic of Poetry）、《礼记》（Classic of Rites）和《春秋》（Spring and Autumn Annals）。《周易》主要是一部占卜手册，可能编撰于公元前11世纪之前。其补充的哲学部分，包含在一系列附录中，可能是孔子及其弟子所写。《尚书》是一部古代历史文献的汇编，《诗经》是一部古代诗歌的选集。《礼记》涉及行为原则，包括公共和私人仪式应遵守的规则。《春秋》据说是孔子编纂的唯一著作，是一部珍贵的编年史，记录了从公元前8世纪到公元前5世纪初孔子死亡时的重大封建中国历史事件。
四书是孔子和孟子言论的汇编，以及弟子们对这些思想的评论。包括《论语》（Analects）是孔子名言的汇编，构成了他的道德和政治哲学的基础，《大学》（Ta Hsueh）或The Great Learning，，《中庸》（Chung Yung）或The Doctrine of the Mean，包含一些他的哲学言论，有序地附有弟子们的注释和阐述，《孟子》（Meng Tzu）或Book of Mencius包含孔子最好的继承者之一的名言。
儒家伦理的主旨是“仁”，被解读为各种意思“仁爱”、“爱情”、“善良”、“人性”或“仁心”。“仁”是最高的美德，代表人类最高尚的品质。在个人关系中，“仁”被视为人与人之间的关系，在对自己和他人忠（诚）或faithfulness中得到体现。端庄、互惠和利他主义在儒家黄金法则中体现得淋漓尽致，“己所不欲，勿施于人”。其他重要的儒家美德包括righteousness（义）、propriety（礼）、wisdom（智）、trustworthy- ness 或 integrity（信）和filial piety（孝）。拥有所有这些美德的人成为君子，完美的绅士。政治上，孔子倡导一种父权制的政府，其中君主是仁慈和尊贵的，而子民是尊重和顺从的。统治者应该修养自己，成为道德上完美的人，这样他才能为人民树立良好的榜样。在教育上，孔子坚持“有教无类”的理论。

术语和表达方式
Kong Qiu 孔丘

Qufu 曲阜

Ducal state 诸侯国

Great teacher and sage 至圣先师

Classic of Changes 《易经》

Classic of History 《书经》

Classic of Poetry 《诗经》

Classic of Rites 《礼记》

Spring and Autumn Annals 《春秋》

Appendix n. 附录

Commentary n. 笺注 Analects 《论语》

The Great Learning 《大学》

The Doctrine of the Mean 《中庸》

Book of Mencius 《孟子》

Benevolence n. 仁

Righteousness n. 义

Propriety n. 礼

Wisdom n. 智

Integrity n. 信

Filial piety 孝

问题

1. “孔子”是什么意思？孔子是如何闻名西方的？

2. 孔子生活在哪个混乱的时代？他是如何宣讲自己的思想的？

3. 儒家思想曾经变成国教吗？哪些国家的政治和宗教相结合？

4. 儒家思想主要关于什么？它对中国文化有多重要？

5. 儒家思想符合古代中国的等级制度吗？它的目标是建立什么样的社会？

6. 五经指的是什么？

7. 五经分别是关于什么的？它们都是由孔子编撰的吗？

8. 四书指的是什么？他们包括什么？

9. 哪一本书构成了儒家思想的基础？孔子的格言都包含在其中了吗？

10. 儒家伦理的主旨是什么？你还知道儒家的其他美德吗？

11. 统治者和臣民应该如何按照儒家的道德准则行事？

=Session 2 MW Fri Mar 8 10:00-11:40 room 404=
The topics and contents of the following sessions will be determined by the selection of the students.

==Session 2 Student presentations==
==='''姜睿 93. Medicine: Traditional Chinese Medicine (TCM)'''===

power point : [[Media:TCM_2024.pptx]]

Terms and Expressions

Pharmacology n. 药理学

Pathological adj. 病理学的

Main channels 经

Collateral channels 络

Excretion n. 分泌

Discharge n. 排泄

Syndrome n. 症状（阴阳、表里、寒热、虚实）

Under-activity n. 体虚

Acupuncture n. 扎针

Moxibustion n. 灸术, 拔火罐

Massage n. 按摩

Therapy n. 治疗法

Immunity n. 免疫

Clinical medicine 临床医学

The Yellow Emperor’s Classic of Internal Medicine 《黄帝内经》

On Typhoid and Other Diseases 《伤寒杂病论》

The Herbal Canon of Shen Nong 《神农本草经》

Prescription n. 药方

Property of drug 药性

Pellet n. 小丸

Tincture n. 药酒

Syrup n. 糖浆

Gelatin n. 骨胶

Solvent n. 溶剂

Spray n. 喷剂

Pharmaceutical works 制药厂

93.医学：中医

中国古代人民在与疾病的长期斗争中创造了丰富的宝库，中国传统医学与药理学在治疗技艺领域形成了一个独立的流派。它在两千多年的历史中取得了卓越的成就，并在此过程中不断完善，直到今天仍被广泛采用。
中国传统医学和药理学吸收了阴阳理论和五行理论。这两者都包含了中国古代朴素的辩证思想。前者认为，万物都有阴阳两面，阴阳之间的相互斗争和相互作用是宇宙万物不断产生和变化的根源。后者认为，宇宙万物都是由日常生活中不可或缺的五种元素组成的，它们不断运动变化，相互促进，相互制约。
中医的生理和病理分支侧重于内脏、经络、气血、运动和排泄。（中医的）诊断有一套完整的观测体系，其中患者疾病的性质由“四诊”确定——观察患者的整体面貌（望），听声音和闻气味（闻），询问问题（问）和感受患者的脉搏（切）。然后，治疗进入到平衡“八纲”这一步——即平衡阴阳、表里、寒热和虚实。中医还有其他治疗法，如针灸，这涉及对人体经络和穴位的研究。此外还有按摩和气功（呼吸练习）等治疗方法。
中国传统医学和药理学包含着许多被实践证明了的有价值的思想和观点。其中最重要的是，中医不是只治疗症状，而是考虑到患者病情的各个方面，根据阴阳和五行理论形成统一的概念，然后决定治疗方法。举例来说，对于可能需要动手术的疾病，中医关注的是可能导致病情的一般生理变化，除了手术或采用某种形式的治疗外，还试图提高患者抵抗疾病的能力。预防医学在传统中医学中一直受到重视，在现代医学中得到了很高的评价。其预防措施包括早期治疗、提高身体免疫力和“以毒攻毒”。
传统医家认识疾病、观察疾病、分析疾病、治疗疾病的经验主要通过医学文献传承下来。据不完全统计，现存此类文献约8000余篇，其中以临床医学文献居多。《黄帝内经》、《伤寒杂病论》和《神农本草经》是公元前3世纪以前的3部代表性医学著作。《黄帝内经》完成于战国时期（公元前475-221年），是现存最早的中国医学巨著。全书共18卷162章，对人体的生理机能、疾病的症状和诊疗原则作了比较科学的阐述，奠定了中医学的理论基础。另外两本书写于东汉（25-220）。《伤寒杂病论》主要论述了中医的辨证诊断方法、治疗方法和方剂，而《神农本草经》是现存最早的药理学著作，列出了365种药物，奠定了中国药理学的基础。
现在使用的中草药总共有5000多种。根据传统药理学，药物的性质是由其“四性”（寒，凉，温，热）和“五味”（辛，酸，甘，苦，咸）区分的。传统的中药可以制成丸剂、散剂、小粒、小丸、药酒、冲剂、糖浆、块剂和骨胶等形式。目前还可制成注射剂、片剂、可溶性制剂和喷雾剂。许多中药制药厂全国闻名，如北京的同仁堂、天津的大仁堂、杭州的胡庆余堂、苏州的雷允上堂和长沙的九芝堂。
虽然中医有自己的理论体系、治疗原则和治疗方法，但中国的医学工作者被要求从现代科学的角度研究传统中医的原理和方法，并结合西方医学，发展一种新的中医药学。这成就了中国的三大医学分支——中医、西医和中西医结合如今的共存和同步发展。

问题
1.中医的两大理论基础是什么？它们有什么含义？
2.中医是如何诊断的？什么是“四诊”？
3.中医是怎么进行治疗的？
4.中医还有哪些疗法？
5.中医是不是只治标不治本？中医是如何形成对疾病的统一认识的？
6.中国的预防医学包括哪些预防措施？
7.公元前3世纪以前中国最伟大的三部医学著作是什么？
8.中国现存最早的医学名著是什么？你对它的历史、内容和重要性了解多少？
9.你对另外两部杰作的历史和内容了解多少？
10.草药的特性是如何区分的？
11.中国的三大医学分支是什么？

=Session 3 MW Fri Mar 15 10:00-11:40 room 404=
==Session 3 Student presentation 1: '''李珣 18. Astrology: Calendar, The 24 Solar Terms'''==

power point : [[Media:24_Solar_Terms_2024.pptx]]

18. 占星术：日历，24 节气

1.二十四节气的起源与发展
“二十四节气”是传统农历中独一无二的现象，在中国有着悠久的历史。二十四个太阳系是中国古代在观测太阳的年度运动时创造的，被视为一个时间知识系统和农业指南。它发源于黄河流域，是人们对天文、气象、天气等观察、探索和总结的结果，是中国古代人民创造的优秀文化遗产。（王佳华，2019）

到了西周晚期，人们已经测量了前四个节气：冬至、夏至、春分和秋分。其后，随着测量技术的提高和战国时期人们对自然规律认识的进一步加强，基本形成了完整的24节气。在秦汉时期，完善了一个完整的系统，形成了今天完整的二十四节气系统。（王佳华，2019）

2. 24节气的定义和分类
“二十四节气”是传统农历上的独特现象。为了促进农业生产，中国古代人总结了一种补充日历，根据太阳在黄道上的运动以及天气和其他自然现象的季节性变化将一年分为 24 个部分，其中 24 个部分按比例分布在 12 个月内。（袁继熙 2016， 34-35）
“二十四节气”是传统农历上的独特现象。为了促进农业生产，中国古代人总结了一种补充日历，根据太阳在黄道上的运动以及天气和其他自然现象的季节性变化将一年分为 24 个部分，其中 24 个部分按比例分布在 12 个月内。（袁继熙 2016， 34-35）
从月初开始的节气称为节气，从月中开始的节气称为气（气）。（每三年就会有一个月只有节而没有气，或者有一个月只有气而没有节，在这种情况下，将添加一个闰月来调节它。节气之所以如此命名，是因为它们代表了季节、物候和气候的变化。（袁继熙 2016， 34-35）
反映季节变化的八个节气是初春、春分、初夏、夏至、初秋、秋分、冬初和冬至;代表物候变化的四个节气是昆虫觉醒、新鲜绿色、小饱满度和谷物在穗;表示气候变化的 12 个节气是雨水、粒雨、小热、大热、热结束、白露、冷露、初霜、小雪、大雪、小寒和大冷。（袁继熙 2016， 34-35）

3.二十四节气民俗
二十四节气的民俗可分为三个方面：节日民俗、生活习俗和饮食习俗。立春时的“鞭打春牛”和寒冷季节结束时的“拖尾节”等节日习俗。（丁一鸣，昌河2020）几乎每一个节日都有自己特殊的饮食习俗，比如冬至的饺子、夏至的面条，以及立春的咬春、品春。遵循“天人合一、四季合一”的传统观念，二十四节气带来了丰富的健康习俗，如春天吃肝、夏天喝水等。
这些活动大致可以概括为：顺应时势拜神、尊祖持家、除恶求和、休闲娱乐。以立春为例，据说立春的第一天、春分日和秋分日都可以把鸡蛋立起来。人们相信，如果有人能在立春的第一天把鸡蛋立起来，他将来会有好运。在中国的许多地方，人们在立春的第一天遵守“咬春”的习俗。他们吃春饼、春卷或几口胡萝卜。此外，大约3000年前，中国人开始在立春的第一天举行一个特殊的仪式。他们向掌管农业的春神勾践献祭。到清代（1644-1911），迎春已成为一项重要的民间活动。（何艳楠、邹亚婷2020）

4.二十四节气的重要性和价值
4.1在古代的重要性
二十四节气是对传统农耕文化的创造，其生产、发展和传播适应了农耕时代的经济生产方式和社会需求。他们在中国传统人民的生活和工作中发挥了重要作用。（王家华2019）
首先，二十四节气是古代农业生产活动的基本时间指标，也是二十四节气最基本的功能和价值。农业生产是人类根据自然节奏和作物生长规律进行的经济活动。农业生产的基本要求是把握农业时间，即“不违反农业时间，粮食供应就会充足”（《孟子·梁会望》）。（王家华2019）
其次，二十四节气在古代也被视为人们日常生活中的重要时间点。第三，对于古代祖先来说，二十四节气不仅仅是一个时间系统，而是一个更加丰富多彩的生命内涵，是他们丰富多彩的生活的重要表现和组成部分。（王家华2019）
例如，“四个开始”(四立)- 立春、立夏、立秋、立冬是历史上的重要节日。在这些节日中，皇帝们会带领朝臣前往首都的东、南、西、北门举行仪式，迎接春、夏、秋、冬的到来。冬至、夏至和清明节仍然是今天重要的传统节日，尤其是清明节。春节、端午节、中秋节和清明节被称为中国的四大传统节日。（王家华2019）

4.2现代社会的价值观
2016年，二十四节气被列入《世界非物质文化遗产名录》，成为坚定中华民族文化自信、增强中华民族文化凝聚力最生动的文化符号之一。（丁一鸣，长河2020）
它在现代社会仍有其现实价值。首先，二十四节气作为一个历史悠久的知识体系和丰富多彩的习俗传统，具有尊重自然、顺应时宜、尊祖、孝老、好邻居、好朋友等深刻的精神文化内涵。因此，它是中华优秀传统文化的重要组成部分之一。（王家华2019）
其次，二十四节气能够准确地反映自然界的节奏和规律以及人与自然的和谐关系。（王家华2019）
最后，二十四节气不仅是一个时间系统，而且是一个充满丰富内涵的生活传统，是人们生活的重要组成部分。（王家华2019）

Terms and Expressions

the Beginning of Spring 立春

Beginning of Autumn 立秋

Rain Water 雨水

End of Heat 处暑

Insects Awakening 惊蛰

White Dew 白露

Spring Equinox 春分

Autumnal Equinox 秋分

Fresh Green 清明

Cold Dew 寒露

Grain Rain 谷雨

First Frost 霜降

Beginning of Summer 立夏

Beginning of Winter 立冬

Lesser Fullness 小满

Light Snow 小雪

Grain in Ear 芒种

Heavy Snow 大雪

Summer Solstice 夏至

Winter Solstice 冬至

Lesser Heat 大暑

Lesser Cold 小寒

Greater Heat 立春

Greater Cold 大寒

问题

1. 中国古代人测量的前四个节气是什么？

2. 24节气从何而来？

3. 反映季节变化的八个节气是什么？

4. 24节气何时被列入《世界非物质文化遗产名录》？

5. 初春的饮食习俗是什么？

6. 你知道24个节气的其他民间传说吗？

References

Yuan Jixi. 袁济喜. (2016). "中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)

Wang Jiahua. 王加华. (2019. 9. 20）"China Social Science Network" http://www. cssn. cn/zx/bwyc/201909/t20190920_4974497_1. shtml

Ding Yiming. Chang He. 丁一鸣. 常河（2020. 11. 17）"Chinanews" http://www. chinanews. com/cul/2020/11-17/9340057. shtml

He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020. 2. 4) “China Daily” https://ent. chinadaily. com. cn/a/202002/04/WS5e3901a9a3107bb6b579d18d. html

=='''储守娟 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China'''==

Please upload your power point here: [[Media:Wu_Zetian_2024.pptx]]

57. 性别:武则天——中华帝国唯一的女皇帝
简要介绍
武则天(https://www. worldhistory. org/uploads/images/4558. jpeg?v=1623024902)

武则天皇后(武后、武侯、武媚娘、媚娘、武昭皇后，公元624-705年，公元690-704年)是中华帝国唯一的女皇帝。她统治于唐朝(公元618-907年)，是中国历史上最有效和最有争议的君主之一。(马克，2016)

政治

武则天所掌握的最重要的执政手段之一就是科举制度：科举制度的基本理论和实践是招募那些受过最好教育、最有才能、最有潜力履行职责的人进入政府服务，并通过对候选人进行测试来客观地确定这一点。武则天继续使用科举制度来招募官员，她对自己继承的制度进行了重大改革，包括增加应试人数，允许以前因背景而不合格的平民和士绅参加考试。从693年开始，她在做的另一件事则是扩大政府考试系统，并大大增加了这种招聘政府官员的方法的重要性。武则天在政府内部为华北平原的人民提供了更多的代表机会，而不是西北贵族家庭的人(反正她相当程度地减少了他们);而且，通过科举制度成功选拔出来的候选人成为了她政府中的精英群体。(《新唐书》)

此外，在武则天统治初期，尽管中国其他地区的经济发展改善了其他地区家庭的数量，但关中仍然是全国最强大的贵族家庭的大本营。(《新唐书》)

然而，关陇贵族不愿意放弃对政府的控制;与此同时，在其他地区，如华北平原或湖北，一些新富裕的家庭渴望在国家权力中占有更大的份额。大多数反对武则天的人来自中国西北的关陇家族。因此，她压制了他们，转而支持不那么有特权的家庭，从而将许多有才能但不那么贵族的家庭提升到权力的行列，这些家庭通常是通过官方考试制度招募的。许多受青睐的人来自华北平原。武则天通过消除或削弱她认为对她不忠的既得利益贵族的权力，并在中国建立一个忠于她的改良上层阶级的过程，进行了重大的社会变革。

武则天时期的中国(https://www.worldhistory.org/uploads/images/4649.png?v=1614250808)

武则天统治的另一个重要特征是，她权力的巩固在一定程度上依赖于酷吏政治。她利用线人来选择要消灭的人，这一过程在697年达到顶峰，大量的贵族家庭和学者被降职、流放或杀害，并且禁止他们的儿子担任公职。武则天通过死亡（包括处决、命令自杀和或多或少直接杀人）、降职和流放，消灭了许多她真正的、潜在的或被认为是权力对手的人。这主要是由她的酷吏执行的，由像万国俊和来俊臣这样的人领导，他们写了一份名为《罗织经》的文件，详细说明了审讯和通过酷刑获得供词的步骤。(《新唐书》)

经济

武则天的许多措施都具有民间性，为她的统治赢得了支持。武则天上台时，中国人民相当满意，政府运行良好，经济的特点是生活水平不断提高。对于大多数人来说，武则天继续这样做。她决心让自由、自给自足的农民继续在自己的农场土地上工作，因此她定期使用土地均等化制度，也可以称为均田制，并结合最新的人口普查数据来确保公平的土地分配，必要时重新分配。她的成功很大程度上归功于她的各种法令(包括那些被称为“恩典法案”的法令)，这些法令通过各种救济措施帮助满足了下层阶级的需求，她扩大了对政府服务的招募，包括以前被排除在外的乡绅和平民，以及她对下层阶级的慷慨晋升和加薪。(《旧唐书》)

文化

关于修改汉字，公元690年，武太后的堂兄宗勤科提交了一些则天文字，旨在展示武太后的伟大。她接受了它们，并把其中一个修改后的字“赵”(曌)作为她的正式名字(也就是说，人们会对这个名字行使命名禁忌)。赵是由另外两个字组成的:明(明)在上面，意思是“光”或“清晰”，空(空)在下面，意思是“天空”。言下之意似乎是她会像天空中闪耀的光芒。(Zhao(照)的意思是“闪耀”，Zhao(曌)可能是她的原名，但这方面的证据尚无定论。)(《新唐书》)

在文学方面，武则天除了自己的文学作品之外，她的宫廷也是一个文学创作的焦点。《全唐诗》收录她的诗46首，《全唐文》收录她的署名文章61篇。尽管这些作品中有很多是出于政治目的，但有一首诗是她在母亲去世后哀悼她的母亲，并表达了她无法再见到她的绝望。

在武则天统治期间，朝廷在她的赞助下出版了各种作品，比如她的朝廷诗歌选集《宝荣集》，其中包含了崔融、李峤、张说等人的诗歌，根据个人在朝廷的官阶进行了排列。在武则天时期(部分是在她的朝廷期间)发生的文学发展中，沈佺期、宋之问这对诗歌组合所创作的“新风”诗歌——格律诗最终发展。(《旧唐书》)

评论

武后是一个真实的历史人物，一个生动的文学艺术画廊形象。长期以来，她是男权话语的扭曲形象。从武则天的女性特征出发，从性别角度出发，这一形象具有重要的社会和现实意义。(刘健，2013)

位于山西省乾陵通道东侧的无字碑是为武则天建造的。由于缺乏历史记载，它的日期和建造者仍然未知，使石碑成为一个谜。也许这正是武则天想要的——除了时间和历史，没有人能定义她的一生。(张宇，2014)

术语和表达

*Wu Mei Niang 武媚娘
*the imperial examination system 科举制度
*officials in feudal times 臣子, 臣民
*Guanzhong 关中地区
*Guanlong aristocracy 关陇集团
*North China Plain 华北平原
*a system of spies 酷吏政治
*secret police 酷吏
*Wan Guojun 万国俊
*Lai Junchen 来俊臣
*the Manual of Accusation 《罗织经》
*System of Land Equalization 均田制
*Gentry 乡绅
*Modified Chinese characters 则天文字
*the Collected Tang Poems 《全唐诗》
*the Collected Tang Essays 《全唐文》
*regulated verse 格律诗
*The Blank Stele 无字碑
*the Qianling mausoleum 乾陵

问题

#谁是中华帝国唯一的女皇帝?
#谁写了《罗织经》?
#用什么制度来保持自由、自给自足的农民继续在自己的农场土地上工作?
#《全唐诗》收录了武则天的几首诗?
#《全唐文》中记载武则天名下的文章有多少篇?
#武则天在她的石碑上写了什么吗?

参考文献

[1]马克，E.（2016年3月17日）。武则天。世界历史百科全书。检索自https://www。worldhistory.org/Wu_Zetian/

[2]《新唐书·卷四·本纪第四》

[3]《旧唐书·卷六·本纪第六》

[4]刘健(2013) 武则天形象演变研究(硕士学位论文, 陕西理工学院). https://kns. cnki. net/KCMS/detail/detail. aspx ? dbname = CMFD201402&filename = 1014211402. nh

[5]张宇(2014) 武则天的“无字碑”真的无字吗?. 中国国家博物馆馆刊(11), 63-70. doi: CNKI:太阳:ZLBK. 0. 2014-11-010.

=Session 4 OD Fri Mar 22 10:00-11:40 room 404=
==Session 4: 2 Student presentations==

Notes

3. Intro: who are we when we are talking about our culture etc., what is the meaning of “architecture” (good model of a structure with a purpose)

Good 李嫣然 12. Architecture: Shengjing Imperial Palace
Integration of Manchu and Han cultures; Chinese openness to foreign elements – “embrace the best” from other cultures

Mandschu culture integrated “primitive beliefs” of the Zhurzhen. Importance of hights.

[explains English passages in Chinese ]

4. Good 潘彤 63. Landscapes and Tourism: Mogao Grottoes (Dunhuang)

(personal intro of feeling attracted to the topic), Poor English terminology (switches to Chinese), descriptive presentation; superficial

“Medicine Buddhas” 草师 nor explained. „historical value“, „artistic value“, „commercial value“, „technological value“ (mirrors), „cultural mankind value“ (Encyclopedia or Ocean of human knowledge)
Contest for excavation and exploitation (Aurel Stein, Pelliot etc. [no historical knowledge and interest])
Why and How to protect? Digitalization, copies; documentaries, culture and tourism

[Discourse about “Cultural Value”]

==='''李嫣然 12. Architecture: Shengjing Imperial Palace'''===

Please upload your power point here:[[Media:Shengjing_Imperial_Palace_2024.pptx]]

Terms and Expressions
*Manchu 满族
*Mongol 蒙古
*Nomadic游牧民族的
*Nuerhachi(1559-1626) 努尔哈赤
*Huangtaiji(1592-1643) 皇太极
*Kangxi 康熙
*Jiaqing 嘉庆
*Daoguang 道光
*Red-coated cannon 红衣袍
*Ten Kings Pavilion 十王亭
*Grand Qing Gate 大清门
*Chong Zheng Hall 崇政堂
*Phoenix Tower 凤凰楼（翔凤楼）
*Qingning Palace 清宁宫
*Yanqing Palace 衍庆宫
*Qifu Palace 启福宫
*Wen Su Pavilion 文溯阁
*Chant 吟唱
*the Antler Chair 鹿角椅

'''12. Architecture: Shengjing Imperial Palace'''

Introduction

Shengjing Imperial Palace, commonly referred to as Shenyang Imperial Palace, is not only the jewel in the crown of Shenyang’s cultural heritage, but also the jade in China. Thanks to its pre-Qing Dynasty origins, the palace has strong Manchu and Mongol architectural influences. It has a lot of special arts, from intricate brick gables and carvings to buildings whose form has been inspired by the shapes of nomadic tents. Although the complex has been standing for a little under 400 years, it’s in remarkable condition right down to the golden dragons that flank the imperial throne. (Candice Song 2021, 1-3)

History

Shenyang Imperial Palace is famous because Qing Dynasty's founder, Nuerhachi (1559-1626) and his son Huangtaiji (1592-1643) had lived here. And with the expansion of the Qing Dynasty, they moved to Peking and lived in the Forbidden City. Construction of Shenyang Imperial Palace began in 1625 and accomplished in 1636 during the reign of Nuerhachi and Huangtaiji, so it has over 360 years history. After them, four emperors of Qing Dynasty had come back from Peking to this palace for 10 times and enlarged this area and added a lot of buildings. They were Emperor Kangxi, Qianlong, Jiaqing and Daoguang (People probably heard of Kangxi and Qianlong because they lead to one of the most affluent periods of China). Therefore, until 1783, the palace
was finally finished. （News/Nation 2019 1-3）

It was renamed Co-capital Palace and Emperor Eastward Inspection Palace after the foundation of the Qing Dynasty. With large-scale reparation time after time, the imperial palace now serves as a tourist attraction called Shenyang Imperial Palace Museum. Shenyang Imperial Palace was entitled "Historic Culture Relics Preserved Building" in 1961. The Imperial Palace in Peking and Shenyang are the only two most well-preserved imperial architectural complexes existing in China today. When talking about the palace of China, many people probably just know about the Forbidden City of Peking, it is the most popular one for foreigners. However, to some extent, many antiques and famous places of the Forbidden City are influenced by Shenyang Imperial Palace. (Candice Song 2021, 1-3)

Divisions

Its construction style of Shenyang Imperial Palace belongs to Ming and Qing Dynasty. It covers an area of 60, 000 squaremeters, comprising over 20 courtyards, 300 houses and 70 buildings. There are 114 buildings and around 20 courtyards, and though this might seem rather small when compared to the only other surviving imperial palace in China—the Forbidden City, there is a lot to be said for Shengjing Imperial Palace’s diminutive size and famous elites. According to the build time and layout, the whole construction can be divided into three sections: the east, middle and west:

East part: The buildings around were built in the period of Nuerhachi including Great Administrative Hall and Ten Kings Pavilion;

Middle part: Buildings here were continued and completed in the period of Huangtaiji including Grand Qing Gate, Chong Zheng Hall, Phoenix Tower, Qingning Palace, Yanqing Palace, Qifu Palace etc;

West part: The buildings there were expanded and renovated by Emperor Qian Long (1736-1795) including Wen Su Pavilion. The whole palace, standing in great numbers, is lofty, magnificent and richly ornamented. (Candice Song 2021, 1-3)

A Story about the Antler Chair

(http://pic.nen.com.cn/003/009/349/00300934954_139882b5.jpg)

This palace is an emperor museum combining the architectural styles of the minorities of Man, Han and Mongolia. In addition to the magnificent palace buildings, the Shenyang Imperial Palace is also famous for its rich and precious collections at home and abroad. It has a large number of treasures in its exquisite works, such as Nuerhachi's Sword, Huang Taiji's Waist sword and the Antler Chair. (Candice Song 2021, 1-3)

There is also a legend about the origin of the chair. It is recorded that in 1631, Huang Taiji led his troops to attack a city in western Liaoning Province and built the cities of Huang Dizhi and Huang Bu on the opposite hill. Then, he bombarded the city with red-coated cannon, which scared the wild animals in the mountain. At this time, a panic-stricken deer rushed into Huang Taiji’s tent, was captured by Huang Taiji, and then made into an antler chair with its antlers. After the Antler Chair was produced, all people regarded it as a model. When Emperor Qianlong and Emperor Jiaqing toured Shengjing in the east, they composed poems and chanted on the occasion of appreciating Emperor Huangtaiji's antler chair. Emperor Qianlong also ordered craftsmen to carve poems and articles on the back of the Antler Chair.

(http://pic.nen.com.cn/003/009/349/00300934955_60049e74.jpg)

(http://pic.nen.com.cn/003/009/349/00300934956_70c27d5d.jpg)

Conclusion

In July 2004, Shenyang Imperial Palace was listed on the World Heritage List, and it has become one of the most important cultural relics in China. In addition, a famous world heritage site becomes the joint cultural wealth of all mankind. This change in historical and cultural area has also brought another change in scientific research on Shenyang Imperial Palace Museum. A new proposition and task for the museum's cultural management is put, especially for academic research activities. Now, Shenyang Palace Museum is established as a center for academic exchange, research and information. In the academic research of Shenyang Palace Museum, all efforts are mobilized to expand the content of academic research and to integrate the resources of academic research by cooperation. By studying Shenyang Imperial Palace from the viewpoint of academic, we can further understand the value of Shenyang Imperial Palace as a world heritage. （Deng Qing 2009, 147）

Its most significantly historical value is the record of the rising of Qing Dynasty, its most significantly artistic value is the cultural spirit of Manchu, and its most significantly scientific value is the outstanding representative of national architecture. (Li Xiaoli 2014, 1）The value of Shenyang Imperial Palace is mainly reflected on its early cultural implication, palace culture source, color painting status and age, architectural complex integrity and so on. （Deng Qing 2009, 148）

By connecting Shenyang Palace Museum with "Forbidden City Science" (故宫学)and conducting academic research under the framework of "Forbidden City Science" (故宫学), many researchers have comprehensively improved the academic research level, academic reputation, academic communication and cooperation between Shenyang Palace Museum and domestic academic circles. There are still abundant treasures in Shenyang Imperial Palace, waiting for us to drill. (Deng Qing 2009, 146-148）

'''References'''

Deng Qing 邓庆（2009）研究型博物馆的理论与实践-以沈阳故宫为例[The Theory and Practice of Research Museums - A Case Study of Shenyang Palace Museum] Liaoning辽宁：Shenyang Palace Museum 沈阳故宫博物院

Li Xiaoli 李晓丽（2014）沈阳故宫的价值学研究[Study on the value of Shenyang Imperial Palace] Liaoning辽宁：Shenyang Palace Museum 沈阳故宫博物院

News/Nation（2019）沈阳故宫博物院的古建筑重新向公众开放[Ancient building of Shenyang Palace Museum reopens to public] China中国：Xinhua新华网

Candice Song（2021）沈阳故宫[Shenyang Imperial Palace] Liaoning辽宁 :Shenyang沈阳 Chinese Highlights中国亮点

'''Questions'''

1. How long has the complex been standing?

2. Why is Shenyang Imperial Palace famous?

3. When was the palace entitled "Historic Culture Relics Preserved Buildings"?

4. At what period were Shengjing Imperial Palace continued and completed?

5. What are features of the west part?

6. What is the legend about the origin of the chair?

'''潘彤 63. Landscapes and Tourism: Mogao Grottoes'''

Please upload your power point here: [[Media:Mogao_2024.pptx]]

63.景观与旅游：莫高窟
简介
莫高窟的标志性建筑[https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Iconic_Building_of_Mogao_Grottoes. jpg]
莫高窟，又称千佛洞，建于敦煌市东南25公里处鸣沙山东麓的悬崖峭壁上。现存洞窟492个（保存完好），内有泥塑彩绘佛像2400多尊，壁画45000平方米，南区崖壁上有5座木结构建筑。北区悬崖上还有300多个洞窟，既是僧侣和画家的居室，也是他们的葬身之地。莫高窟附近还有一些石窟寺：西千佛洞（22个洞窟）、榆林石窟（42个洞窟）、东千佛洞（23个洞窟，其中8个洞窟有壁画和塑像）、无庙石窟（5个洞窟）。（樊锦诗，2010年，170页）
这些石窟的建造年代、内容和艺术风格与莫高窟十分相似，因此常被称为敦煌石窟。从公元4世纪到14世纪，石窟都是由僧侣利用捐赠者的资金建造的。主要的洞窟通常由佛教僧侣、地方统治精英以及中原帝王等赞助人赞助，其他洞窟则由商旅、军官和当地的人（如妇女团体）资助。（沙武田，2020年，122页）
莫高窟的历史
莫高窟并非一日建成。根据唐朝的相关记载，公元366年，一位名叫乐僔的僧人在敦煌游历。有一天，他在鸣沙山悬崖对面的三危山上看到了佛像，于是这位虔诚的信徒便在悬崖上开凿了第一个洞窟。后来，法良和尚来到这里，与他一起在洞中修行。此后的一千多年里，越来越多的洞穴被开凿出来。（惠特菲尔德，1990 年，第8页）
到了北凉时期，这里已经形成了一个小型的僧侣社区。这些洞窟最初只是作为隐士僧侣的冥想修行之所，但后来发展为服务于附近兴起的寺院。北魏和北周的统治家族成员在此修建了许多石窟，并在短暂的隋朝兴盛一时。到了隋唐时期，莫高窟已成为人们朝拜和朝圣的地方。隋朝时，河西走廊由中央政权控制。皇帝们虔诚地信奉佛教，下令在全国各地修建佛塔。因此，莫高窟在37年内开凿了100多个洞窟。（樊锦诗，2010年，第175-178页）
道教王元禄 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Taoist_Wang_Yuanlu. jpg]
到了唐代，石窟的数量已超过一千个。在此期间，敦煌成为丝绸之路的主要商业枢纽和重要的宗教中心。大量石窟都是在这一时期修建的，包括遗址中的两尊大佛像，其中最大的一尊是在695年修建的，当时唐朝女皇武则天在一年前下诏在全国各地修建巨型佛像。845年，武宗下令对佛教徒进行迫害，敦煌遗址躲过了这一劫，因为当时敦煌在西藏的控制之下。作为边陲重镇，敦煌曾在不同时期被其他非汉族人占领。唐代以后，敦煌逐渐衰落，元代以后完全停止了新石窟的建造。五代十国时期和北宋时期，莫高窟由曹议金保管。（马世昌，2010年，303页）之后，他的后代治理敦煌府，并修建了多个家族石窟，如第55窟。（高秀君，2016年9月）
明朝时期，丝绸之路最终被废弃，敦煌也慢慢人口减少，被外界遗忘。莫高窟的大部分洞窟被废弃。然而，二十世纪初，莫高窟又重新成为当地人朝圣和膜拜的地方。1900年 6月 22日，道士王圆箓在清理第161窟的沙土时，在走廊的墙壁上发现了一个宝库，里面有大量的佛经经卷、旧行政文书、刺绣作品和绘画。自此，敦煌闻名于世。中外学者都对这些发现进行了广泛的研究。（斯坦因，1912年，第2卷）
艺术
莫高窟的艺术主要包括三个方面：建筑结构、壁画和雕塑。莫高窟的结构形式主要有三种：精舍、支提窟和带倒漏斗形天花板的大厅。十六国（包括北魏、西魏和北周）早期石窟的主要形式是中央有柱的支提窟。壁画可分为七类：佛教人物、佛经插图、佛教故事、佛教历史画、中国神话、供养人和装饰图案。壁画中的佛教故事可分为三种类型：佛本生、佛陀的生平和命运故事。佛本生讲述了释迦牟尼在世时的善行，如舍身喂饿虎。至于雕塑，则是在木架上被建造，垫上芦苇，然后用灰泥塑模，最后涂上颜料。（段文杰，1994年，第163页）
王子以身饲虎
北魏第251窟 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Cave_251_in_Northern_Wei. jpg]
十六国时期的艺术风格在北魏逐渐从原始、简朴转向了轻松、优美的风格，表现为人物体态匀称、面容憔悴。到了北周，从人物造型上可以看出，融合了外来和本土风格的中国艺术逐渐走向民族化。（樊锦诗，2010年，第174页）
隋代造像的特点是身体粗壮、头大、面方、腿短。石窟变得宽敞，更适合绘制大型绘画，如佛经插图和巨幅佛陀说法图。工笔画大胆遒劲，线条繁复流畅。例如，第420窟天花板上的《妙法莲华经》在有限的空间内展示了大量山林、河流、建筑等情节。隋代的题材和艺术显示了传统艺术的重要发展，预示着一个辉煌新时代的到来。（段文杰，1994年，第164页）
唐代第68号石窟 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Cave_68_in_Tang_Dynasty. jpg]
唐代石窟规模宏大，洞顶呈倒漏斗状。壁画多为巨幅佛经故事画，场景规整，构图匀称。当时的人物面部圆润丰满，眉毛弯弯，表现了唐代人的审美情趣。第220窟的壁画中，皇帝和大臣们听经的形象栩栩如生。皇帝身边的大臣们各有不同的容貌和表情。有的自然雍容，有的小心翼翼。这些比例匀称的彩绘佛像在制作过程中更加细致入微，让我们看到了庄严肃穆的佛像。（樊锦诗，2010年，第174页）
此外，高大的巨型佛像也开始出现。其中最突出的是第96窟的一尊34米高的唐代早期佛像。公元781-848年，河西地区落入藏区。因此，出现了一个有趣的变化：在壁画中，藏王取代了中原皇帝的位置。（樊锦诗2010 年，175页）
到了五代十国和北宋时期，这一时期雕刻的石窟规模很大，形式和布局也各不相同。造像和壁画的题材和风格仍受唐代的影响，但在色彩的运用和绘画技法上呈现出淳朴的民间风格。从9世纪到12世纪，维吾尔族一直在敦煌活动。其艺术风格带有汉族和维吾尔族的印记。维吾尔壁画的总体特点是题材简单、布局松散、笔触直接而粗犷。（荣新江，1999年，248页）
人物形象具有某些少数民族的特征。西夏时期（1036-1227年），大部分石窟都进行了修缮和重修，由于崖壁有限，仅修建了10个石窟。与同时代的榆林石窟相比，敦煌壁画展示的是《净土经》，内容较为简单。元代（1227-1372年）仅存27个洞窟。但第3窟的壁画仍保留了唐宋的技法，即用不同的画法描绘人物的不同部位，如铁线纹、兰叶纹、折芦纹等。自15世纪以来，莫高窟在明清时期逐渐荒废。（荣新江，1999年，248页）
元代第3号石窟 [https://wiki. ruhr-uni-bochum. de/uvu/index. php/File:Cave_3_in_Yuan_Dynasty. jpg]
术语和表述
hermit 隐士
stupas 舍利塔
Emperor Wuzong ofTang Dynasty 唐武宗
Vihara 精舍
Chaitya 支提窟
stucco 灰泥
Sakyamuni 释迦牟尼
Sutras 佛经
问题
1. What do Dunhuang Grottoes refer to?
2. Who built the first cave and when?
3. In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?
4. How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?
5. What are the characteristics of the statues in Sui Dynasty?
参考文献
Fan Jinshi 樊锦诗. (2010). 敦煌石窟 [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院.
Gao Xiujun 高秀军. (2016). 敦煌莫高窟第55窟研究 [Research on the 55th Grotto of Mogao Grottoes in Dunhuang]. Lanzhou University 兰州大学.
MA Shichang. (2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang, 27(2), 303-317.
Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因 [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.
Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda - A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang]. 中原文物 Cultural Relics in Central Plain, No. 215, 118-128.
Stein, M. Aurel. Ruins of Desert Cathay. (1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.
Suemori Kaoru. (2020). "Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns". Kyoto: Hozokan.
Duan Wenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.
Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.
https://books. google. ru/books?hl=zh-CN&lr=&id=vYPNqlAMZWAC&oi=fnd&pg=PP7&dq=info:9v6pr21oST8J:scholar. google. com/&ots=s-uXhnyDBp&sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&redir_esc=y#v=onepage&q&f=false
https://en. m. wikipedia. org/wiki/Mogao_Caves
https://scholar. google. com/scholar?hl=zh-CN&as_sdt=0%2C5&q=mogao+grottoes&oq=

=Session 5 MW Fri Mar 29 10:00-11:40 room 404=
==Session 5 Student presentations==

==='''牟一泓 30. Chinese Writing: Chinese Characters and Scripts'''===

Please upload your power point here: [[Media:Characters_2024.pptx]]

中文写作:汉字与字体

收集、编纂、分类和教授汉字最早的人，可能是传说中黄帝时期的史家仓颉。根据文献学家的说法，汉字有六类:象形字、指事字、会意字、形声字、转注字、假借字。陕西半坡、临潼江寨、山东莒县出土的许多新石器时代的陶罐上都标有这类符号。其中一些是象形文字，具有汉字的原始形状，证明汉字是作为我们祖先保存记录的符号和标记而进化和发展起来的。

迄今为止发现的最古老的汉字被称为甲骨文(刻在龟壳或动物骨头上的古代汉字)，这在当时已经是很发达的汉字了。这些文字是在商朝的都城河南安阳发现的。大约15万件贝壳和骨头碎片被挖掘出来。在这些碎片上有超过4600个不同的字符，其中超过1000个已被破译出。它们都具备“六书”的汉字构造法则。

除了甲骨文，商末周初还存在刻在青铜器上的文字，这些文字被称为金文或钟鼎文。青铜器上的金文铭文记载了当时的重大事件和活动，反映了当时的社会生活。因此，它们是研究商周两代历史的宝贵资料。

甲骨文、金文虽已发展成为一套较为完备的记录符号，但仍有许多象形文字具有较强的图像元素。这些文字由于结构松散，笔画复杂，难以书写，往往以平直的笔画和潦草的结构来简化。直到西周晚期，甲骨文被统一，以符合一种称为大篆（great seal script）的字体。春秋战国时期，书面语空前广泛和频繁地使用。由于列国的汉字书写习惯不同，相同的汉字有时可以用完全不同的方式书写，例如简化形式或变体形式。

在统一中国并建立封建集权制度后，秦始皇任用李斯统一列国盛行的各种书法风格，并在秦文字的基础上创造了标准化的小篆（small seal script），推动了汉字的发展。新创制的小篆结束了战国以来不同形式文字书写的混乱，为现在的楷书奠定了基础。

小篆成为官方标准文字后不久，就出现了一种叫做俗体字（commoner style）的文字，它是由秦的文字简化而成的，在平民中使用。虽然小篆比早期的字体整洁，但对普通人来说仍然很麻烦。尽管俗体字不是最高标准，但许多人更喜欢使用俗体字，因为它可以写得更快、更方便。最后，一些官方文件开始用俗体字书写。这种字体后来被称为隶书（clerical script）。一个名叫程邈的囚犯收集并整理了俗体字。由于当时的囚犯被称为徒隶，这个俗体字被命名为隶书。这种新文字得到了秦始皇的支持，并被广泛用作小篆的补充。秦时期的隶书称为秦隶（Qin clerical script）或古隶（Archaic clerical script），而汉时期的隶书称为汉隶（Han clerical script）或今隶（Modern clerical script）。

在隶书这一字体中，原本粗壮、弯曲的笔划被修改为平、直、横。它彻底改变了原有的众多象形文字特征，使汉字更具象征意义。隶书是汉时期的主要字体风格。在隶书的基础上，在秦末汉初出现了一种早期的草书（cursive script）字体，称为章草（old cursive script）。章草的笔划连在一起，横笔划仍然是向上的，而它的左落笔划的两端和右落笔划的两段保留了隶书笔法。

东汉、曹魏以后，由隶书、草书演变而来一种新的书写字体，被称为楷书（regular script）。楷书，在隋唐时期进一步发展，成为一种被广泛认可的字体。顾名思义，它是“规则的”，每一个笔划都缓慢而仔细地放置，笔尖从纸上抬起，所有的笔划都彼此不同。

行书（running hand）出现在楷书之后，字体介于楷书和草书之间。与其他字体不同的是，它没有自己特定的风格，笔划相当灵活自然。当用可区分的笔划仔细书写时，行书的文字会非常接近规则的风格；当迅速书写时，它会更接近草书。自金朝以来，大多数书法家都擅长行书。

印刷术发明后，印刷书籍一般采用楷书字体。明末清初，出现了一种新的字体样式：横笔画轻，落笔画重的方形字体。由于方形字体是从宋朝的印刷字体发展而来的，因此这种字体被称为宋体（Song typeface），现在广泛用于印刷报纸和书籍。

Terms and Expressions

Cangjie 仓颉
Pictography & self-explanatory character 象形字

associative compound 会意字
mutually explanatory character 指事字

picto-phonetic character 形声字
phonetic loan character 假借字

synonymous character 转注字
Banpo 半坡

Jiangzhai 姜寨
Lü County 莒县

Jiagu Wen 甲骨文
Anyang 安阳

Jin Wen 金文
Zhongding Wen 钟鼎文

Da Zhuan 大篆
Xiao Zhuan 小篆

Suti Zi 俗体字
Lishu 隶书

Cheng Miao 程邈
Tu Li 徒隶

Gu Li 古隶
Jin Li 今隶

Zhangcao 章草
Xingshu 行书

regular script 楷书
Song typeface 宋体

Questions:

1. Who is the legendary inventor of Chinese characters?

2. What are the six major catergories of Chinese characters? Could you give examples of each catergory?

3. What do you know about Jiagu Wen?

4. What is Jin Wen? Why are Jin Wen inscriptions historically important?

5. Why did the Qin court standardize character writing under Xiao Zhuan?

6. Why did many Qin people prefer Suti Zi to Xiao Zhuan?

7. What is Lishu? What catergories may it fall into?

8. What is Kaishu characterized by?

9. What is Xingshu?

10. What is the Song typeface?

11. What other scripts do you know?

问题:

1. 传说中谁是汉字的发明者?

2. 汉字的六大类别是什么?你能举例说明每一类吗?

3. 你对甲骨文了解多少?

4. 金文是什么?为什么金文铭文具有重要的历史意义?

5. 秦朝为什么用小篆规范汉字书写?

6. 为什么很多秦人喜欢俗体字而不喜欢小篆?

7. 隶书是什么?它可能属于哪些类别?

8. 楷书的特点是什么?

9. 什么是行书?

10. 宋体是什么?

11. 你还知道其他什么字体吗?

==='''李舒婧 82. Literature: Premodern literature: Tang-Song'''===

Please upload your power point here: [[Media:Tang-Song_2024.pptx]]

A. 唐宋八大家

唐宋八大家简介

唐宋八大家分别是唐代的韩愈、柳宗元和宋代的欧阳修、苏洵、苏轼、苏辙、王安石、曾巩。这个头衔最早出现在《唐宋八大家文钞》。其中，韩愈、柳宗元是唐代古文运动的领袖，而欧阳修和“三苏”（苏洵、苏轼、苏辙）是宋代古文运动的核心人物。王安石、曾巩是临川文学的代表人物。在“三苏”（苏洵、苏轼、苏辙）中，苏洵是他们的父亲，苏轼是哥哥。苏轼与王安石、曾巩是欧阳修的学生。（周振甫 2016， 25）
总之，他们都崇尚散文，反对骈文，对当时和后世的文学界都产生了深远的影响。他们接二连三的古文创新浪潮，改变了诗歌和散文的陈旧面貌。（房本文 2013，1）

1.韩愈

韩愈是唐代的文学家、哲学家和思想家。他是河阳人，现在是河南省焦作市。韩愈在宋代被苏轼誉为“文起八代之衰”，也是唐宋八大家的掌门人。韩愈与柳宗元互称“韩柳”，其散文与杜甫的诗并称为“杜诗韩笔”。他以四十卷《韩昌黎集》、十卷《外集》和《师说》等伟大著作享有“文章巨公”和“百代文宗”的美誉。（侯本塔 2014，135）
他与柳宗元虽然在政治观点上存在分歧，但仍与柳宗元在古文运动中合作。作为先行者，他们都反对过分追求骈文的形式，而是支持先秦和汉代的散文，都强调文章内容的重要性，以扩大文言写作
的表现功能。（何蕾2017，159）

2. 柳宗元

柳宗元是唐代的文学家、哲学家和思想家。他的祖籍是河东，现在在山西省运城市永济地区。他被称为“柳河东”、“河东先生”，以及“柳柳州”，因为他正式结束了柳州刺史的任职。他生于长安，贞元九年进士及第，后任监察御史。
他与韩愈并称为“韩柳”，与刘玉玺并称为“刘柳”，与王维、孟浩然、韦应物并称为“王孟韦柳”。在不到50年的一生中，他给我们留下了600多首诗歌，在写作方面的成就超过了诗歌。《柳河东集》是他的代表之一。（周振甫 2016， 26）
他是一位思想深邃的哲学家和伟大的文学家，重视文章的内容，主张著作要实用。因此，他关注文学的社会功能，强调文学应该造福世界。而且，他主张思想内容和艺术形式的完美结合，对写作态度严肃。这意味着，作家有高度的道德修养是很重要的。（张剑2019， 1）

3. 欧阳修

欧阳修是北宋时期的政治家、文学家、历史学家和诗人。他被称为“六一居士”，意思是一万卷书，一千卷金石遗文，一张琴，一局棋，一壶酒和一老翁。他出生于绵州，今四川绵阳市，故乡是蓟州永丰，今江西省吉安市永丰县。
欧阳修的诗、词、散文都是一时之冠。他的诗流畅、抒情、委婉，具有相似的散文风格，强调气势，同时保持自然流畅。他的词深邃而优雅，继承了南唐的余风。《欧阳文忠集》是他的代表作之一。
欧阳修继承并发扬了韩柳古诗的优良传统，开创了北宋诗文革新运动。作为这场运动的领导者，他不仅赶走了文学界的旧写作风格，而且凭借自己独特的风格和高超的才华，开辟了诗歌的新风格和新的创作领域。他取得了新的成果，将诗歌和散文的创作推向了新的高度。（侯本塔 2014， 136）

4. 苏洵

苏洵是四川梅山人。年轻时，他学习成绩差。19岁那年，他娶了郑太太。后来，他在27岁时下定决心要努力学习。经过十年的努力，他在学术领域取得了巨大的进步。
苏洵是一个充满政治野心的人。他说，他作品的主要目的是“为世界说话”，并“适用于当下”。他在《衡论》、《上皇帝书》等一些重要的议论文中提出了一整套政治创新思想。由于对社会现实的深刻理解，他善于总结过去历史的经验和教训。因此，撇开他的政治话语中的某些迂腐和偏见的观点，其中许多观点仍然是正确的。

5. 苏轼

苏轼，绰号“东坡居士”，是四川眉山人。他是著名的文学家、书法家、散文家、词作家、诗人，是北宋豪放派的代表。
苏轼被称为“中国古代第一全才”。他被认为是中国几千年历史上文学艺术造诣最杰出的人物之一。他在散文上与韩愈并称为“韩朝素海”，与欧阳修并称为“欧苏”，与黄庭坚并称为“苏黄”，在词曲上与辛弃疾并称为“苏辛”。（周振甫 2016， 28）
苏轼的文学观点与欧阳修一致，但他更强调文学的原创性、表现力和艺术价值。他的文学思想强调“为特定目的而创作”，崇尚自然，摆脱束缚。（张剑 2019， 1）苏轼是继欧阳修之后北宋文坛的领军人物。而且，北宋四大文人黄庭坚、秦观、赵不之、张磊，都曾受过他的培养、欣赏和推荐，所以被称为“苏门四学士”。

6. 苏辙

苏辙出生于梅州梅山，今四川省。嘉佑二年（公元1057年），苏辙与哥哥苏轼一起攀登金石支。
苏辙的散文展现出深邃醇厚的精神。他对古代文字有自己的看法。在《上枢密韩太尉书》一书中，他提出了“文体”理论。他在政治和历史方面表现出色。在他的政治著作中，如《新论》和《六国论》，他主要讨论世界事务。从这些作品中，我们可以吸取过去的教训，批判当下的问题。他在改革方面也非常有见地。此外，他在作赋方面也相当出色，比如他的作品《墨竹赋》。（周振甫 2016， 29）

7. 王安石

王安石，暮年又称半山王安石，封为景国公。他出生于北宋临川，即今江西省抚州市。
王安石不仅是一位杰出的政治家和思想家，也是一位才华横溢的文学家。为了实现自己的政治理想，他将文学创作与政治活动紧密联系在一起，强调文学首先要以服务社会为目标。这意味着，他强调文章的现实功能和社会效果，主张文学与道家的统一。他的散文在很大程度上贯彻了他的文学观点，即启蒙供世界使用的政治法令。（周振甫 2016， 30）

8. 曾巩

曾巩被誉为“南丰先生”。他出生于江西省抚州市南丰县。嘉友二年（公元1057年），出位进士。作为北宋的政治家和散文家，唐宋八大家之一，他也是“南丰七曾”之一，包括曾巩、曾肇、曾布、曾纡、曾纮、曾协、曾敦。
曾巩是欧阳修古代散文运动的支持者和参与者。他提倡先道后文。（张建 2019，1）他的散文自然而简单，很少关注文学的优雅。在八大家中，他是最不亲切的一个。他的文章很少是抒情作品，而大多是论证和叙述。（周振甫 2016， 31）他的散文善于论证，如《上欧阳舍人书》、《上蔡学士书》。在这些作品中，他论证了紊乱的治疗方法，并表达了自己的深切感受。

9. 古文运动与文艺复兴的比较

虽然从古代散文运动到意大利文艺复兴有七八百年，但它们都分别发生在其历史的中古时期。同样，他们都继承了古典文化的精髓，进一步完成了文学复古的历史使命。因此，我们可以将他们视为其文化中的历史高峰。（芦思宏2016， 71）
意识形态比较：
唐宋古代散文运动主张恢复先秦、后汉的儒家思想，实现在文学中传承道的现实目标。（芦思宏2016， 73）它反对六朝以来的平行散文和浮动风格，而是温和而诚实的诗歌概念。而文艺复兴则以古典文化为工具，强烈批判中世纪神学，发扬古希腊和罗马的人文主义和科学理性精神。（王亚平2001， 8）他们的前提和基础是他们自己的经典思想。
写作风格的比较：
两次复古运动都以复古风格为标志，还原了古代散文的创作模式，从而推动了文学运动的进程。唐宋古代散文运动研究了前秦、汉时期的朴素语言风格，而文艺复兴则恢复了古希腊文雅优美的特征。（芦思宏2016，76）
文学形式的比较：
古代散文运动不仅纠正了六朝浮动、僵化的写作风格，也为后世散文的发展奠定了良好的基础。它以零散的单句形式出现，少了华丽和多余的典故，但更多的是口语化的语言。（何蕾 2017， 159）文艺复兴时期的文学作品虽然继承了古典主义的优雅风格，但在文体创作方面还是发生了明显的变化。受文学理论和作品的影响，意大利文学在形式上表现出创新。正如朱光潜先生所说：“意大利文学是不同于古典文学的新型文学。（芦思宏2016，81）

B. Terms and Expressions

The Eight Tang-Song Prose Masters 唐宋八大家

Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》

Ancient Prose Movement 古文运动

parallel prose 骈文

The Decline of Eight Generations 文起八代之衰

The Article Giant 文章巨公

Admired Literate of One Hundred Generations 百代文宗

Han Changli Collection 《韩昌黎集》

External collection 《外集》

The Teacher's Theory《师说》

Pre-Qin and Han Dynasties 先秦两汉时期

writing in classical Chinese 文言文

feudal provincial of Liuzhou 柳州刺史

official supervisor of imperial censor 监察御史

Liu He Dong Colloection 《柳河东集》

Northern Song Dynasty 北宋

a thousand volumes of collections of inscriptions 金石遗文一千卷

Xia, Shang, Zhou Dynasties 三代

the crown of that time 一时之冠

Southern Tang Dynasty 南唐

Yu Feng 余风

The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》

the Northern Song Dynasty poetry innovation movement北宋诗文革新运动

Heng Lun 《衡论》

Duke Jingguo 荆国公

The Book to the Emperor 《上皇帝书》

Dongpo Jushi 东坡居士

Ci writer 词人

Unconstrained Ci School豪放派

literary and artistic attainments 文学艺术造诣

the first all-round talent in ancient China 中国古代第一全才

Su Men Four bachelors 苏门四学士

the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》

The New Theory《新论》

On the Six Kingdoms 《六国论》

Ode 赋

The Ode to Ink bamboo 《墨竹赋》

Seven Zengs of Nanfeng 南丰七曾

the doctrine before the text先道后文

the Book to Ouyang She Ren 《上欧阳舍人书》

the Book to Bachelor Cai 《上蔡学士书》

the Six Dynasties 六朝

C. 问题

1. 谁是古文运动的先驱？

2.他们在古文运动中提倡哪种散文?

3、你知道柳宗元的代表作品吗？

4、欧阳修为何被称为“六一书生”？

5、苏洵、苏轼和苏辙是什么关系？

6、谁是“南丰七曾”？

7.、你对文艺复兴时期有所了解吗？

引用

Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanking: Nanking University 南京大学.

Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.

He Lei 何蕾. (2017). 中唐古文运动：社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.

Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature - a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc]. 中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.

Wang Yaping 王亚平. (2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.

Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).

Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).

Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.

Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.

===Teacher content===
Continue with powerpoint to introduce traditional models of ethnocentric view on cultures, scientific, dialectic, dialogic, and a new model to view cultures as heterogeneous and mixed

Information: Apr 4 is Qingming holiday in China, Apr 5 will also be free, it is a so-called Bridge Day, the classes of Apr 5 will be moved to Sunday (!) Apr 7.

=Session 6 OD Sun Apr 7 10:00-11:40 room 404=
==Session 6 Student presentations==

==='''宋成爽 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China'''===

Please upload your power point here: [[Media:Su_Shi_2024.pptx]]

==='''罗嘉怡 77. Literature: Ancient Literature: The Classic of Mountains and Seas'''===

Please upload your power point here: [[Media:Mountains_Seas_2024.pptx]]

文学：古代文学——《山海经》

1.概述
中国古代文学作品《山海经》，又称《大荒经》，是由多位作者编撰而成的一部中国经典著作，是上古地理、历史神话和奇禽异兽的汇编。它在很大程度上是对中国先秦时期神话般的地理文化的描述，也是中国神话的集合。全书共分为十八卷，记载了550多座山脉和300多条河流。
它的内容不是单纯的叙述。它的“情节”涉及对《山经》《海外经》《海内经》《大荒经》中大方向位置的具体描述。这些描述通常是关于医学药物、飞禽走兽和地理特征的。其中大部分生物是普通正常的，但也有许多是充满幻想色彩、瑰丽奇异的。《山海经》每一章的文本内部呈现为平面铺排式的网络状，结构大致相同，整本书的章节结构也以同样的方式排布。《山海经》的各个章节非常像游记，每个章节都集中在一个特定的地区，从中部地区（中原）开始，向各个方向延伸，直到延展到围绕中部地区四海之外的偏远地区。这本书生动地描述了海内外的不同种族、神明形力、奇珍异植和各个地区特有的矿物，并记载了有关它们的有趣信息，包括诸神的历史和行为活动。这本包罗万象的奇书还包含有关早期医学（包括阳痿和不孕症的治疗方法）、占卜、祭祀的典礼仪式以及已知和未知的动植物的重要信息。它为我们描述了上古时期的地理画卷，从中国中部的著名山脉向外延展到海外的土地。总的来说，它起到了向导的作用，通过它，我们可以更多地了解古代的世界。（麦克 2001：679; Srisinthon 2018：104; 孙玉珍 2003： 109， 110）

2.作者
《山海经》的作者和成书时间都存在争议。最早这本书被认为是大禹或伯益等上古神话人物写就。现代汉学家普遍认为这本书并不是出自一人之手，而是从战国中后期到汉代初中期的众多学者不断修改增订而成。目前，根据杨兴慧和罗大和的最新研究，《山海经》是由伯益肇始、口述，并由其子孙口口相传，到周初时，由宅皋狼或衡父成书，并由造父献给周穆王，从而流传于世。（杨兴慧/罗大和 2016： 66， 73）

3.书中的神话生物
《山海经》所塑造的神话英雄形象具有浪漫主义特质,凝聚了远古先民对道德、力量、生命、自然的敬畏与崇拜,是远古先民智慧的结晶。这些神话英雄形象虽然各有异同,但也具有一定的共性特征。首先,他们都承载了远古先民的原始生命观。其次,神话英雄形象具有精神领袖的特质。最后，神话英雄形象是超然物外的神灵而非凡人。（薛正英 2016： 174， 180）书中的神话生物可分为四种：人兽同体的形象、异族人物形象、珍奇异兽的形象、仙草神木的形象。其中一些在亚洲文化中众所周知的形象很受欢迎，例如九尾白狐、凤凰、女娲、后羿。这些形象充满古人对生命起源的沉思和对自然的探索。这种超现实主义对中国传统文化产生了深远的影响。其中一些形象表达了中国古代祖先对和平的追求。后来，热爱和平也成为了中华民族永久的理想追求。（项薇 2021： 25-26）
以下是书中部分典型神话生物的一些图片和简要介绍。

一只九尾白狐。传说中，它是中国最伟大的治水人大禹和他的妻子涂山氏的媒人。

鲛人，一种类似于美人鱼的生物，专门织造鲛纱。根据《搜神记》一书，鲛人看起来像人类，但下半身是一条鱼尾。当他们哭泣时，他们的眼泪会变成珍珠;而他们身体里的油脂人鱼膏可以让一盏长明灯燃烧一千年。

马身龙首的异兽，被称为中山神。

一种名叫狰的五尾生物，专门捕食老虎和豹子等的食肉兽。

一种名叫䑏疏的中国独角兽。

一种类似猴子的生物，被称为举父，擅长远程投掷石块，恐吓其他野兽。

4.发展历程（地位状态的变化）
历史上最早提到《山海经》的是司马迁,因他对其可信性表示了明确怀疑,这对《山海经》在华夏文明传统中的地位产生了根本影响。自汉刘秀整理作《上〈山海经〉表》、晋郭璞首次为注后,一千年间问津者寥寥。后来，20世纪初，西方“神话”概念以及人类学、神话学等现代学术理论与方法传入中国。这些都给《山海经》的地位带来了根本性的变化。从那时起，它不再遭到史学家的诟病，反而成为当代学者所从事的“中国神话”或“中国神话学”研究的基石。（陈帅 2013： 209）

5.对中国文学的影响
《山海经》是记载中国古代早期神话故事和神明历史最早的百科全书，这部作品也是后来中国神话的主要灵感来源。这些神话的系统性呈现在本质上与世界其他地区已知的古代早期神话故事合集不同，那些故事合集由某些形式的连续性叙事构成。而《山海经》缺乏连续性的叙事，其内容是按照神话地理组织的，其中不同的神话元素、主题和生物在地点和方向上都位不同。它没有情节，但书中的神话生物和神话故事引发了丰富多彩的想象。书中的神话生物在中国文学中被广泛引用。《山海经》的内容描述单一简洁，但却极具想象力，这大大影响了中国早期小说的叙述方式和手法。（项薇 2021： 25-26）

The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》
Mountains 《山经》
Regions Beyond Seas 《海外经》
Regions Within Seas 《海内经》
Wilderness 《大荒经》
Yu the Great 大禹
Bo Yi 伯益
modern Sinologist现代汉学家
nine-tailed white fox 九尾白狐
Tushan Shi 涂山氏
Fish Man 鲛人
mermaid 美人鱼
waterproof silk fabric鲛纱
Supernatural Beings 《搜神记》
Mt. Zhongshan 中山神
Zheng 狰
Quanshu 䑏疏
Jufu 举父

问题
1.《山海经》分为几个部分？
2.这本书描述了什么？
3.这本书是如何组织结构的？
4.这本书的创作历程是怎样的？
5.什么对这本书地位的变化有很大的影响？

=Session 7 OD Fri Apr 12 10:00-11:40 room 404=
==Session 7 Student presentations==

==='''胡煜杰 71. Literature: Ancient literature - Chinese Classical Fairy Tales'''===

Please upload your power point here: [[Media:Fairy_tales_2024.pptx]]

==='''罗杨 81. Literature: Premodern literature: Strange Stories from a Chinese Studio'''===

Please upload your power point here: [[Media:Chinese_Studio_2024.pptx]]
=Session 8 OD Fri Apr 19 10:00-11:40 room 404=
==Session 8 Student presentations==

==='''陈卓 Chén Zhuó 46. Fine Arts: Painting'''===

Please upload your power point here: [[Media:Painting_2024.pptx]]

46. 美术：绘画
中国的传统绘画可以追溯到大约 6000 年前的新石器时代。20 世纪 20 年代出土的绘有动物、鱼、鹿和青蛙的彩陶表明，在新石器时代，中国人已经开始使用毛笔作画。
中国传统绘画因其理论、表现形式和技法而备受世人推崇。与西洋画不同，中国画在透视上不受焦点的限制。画家可以在一张狭长的画纸上或在绢上画出长江沿岸的所有景物。《木兰从军图》就是一个例子。《木兰从军图》取材于一个古老的故事：木兰女扮男装，替父从军，在战争胜利后回到家乡。在画面中，人们可以看到庭院和房屋内外的人们正在做什么。可以说，采用移动透视是中国画的特点之一。中国画家为什么要强调视角的变换呢？他们试图摆脱时间和空间的限制，将远处的事物和近处的事物都纳入画中。此外，艺术家们还发现，在生活中，人们会从一个移动的焦点来观察周围的事物。移动透视使艺术家能够自由地表达他想要表达的东西。
根据表现手法，中国画可分为两类：写意画派和工笔画派。前者的主要特点是夸张的形式和写意的笔法，后者的特点是注重细节和精细的笔法。而 "写意 "则是中国画的基本方法。它是一种美学理论，首先强调的是情感。即使在古代，中国艺术家也不愿意被现实所束缚。晋代（265-420 年）著名画家顾恺之（348-409 年）首先提出了 "以形写神 "的理论。"他认为，绘画不仅要表现物体的外观，还要表达艺术家对物体的看法。在顾恺之的观点之后，又出现了 "神似中寓不似"、"画在似与不似之间 "等理论。"在这些理论的指导下，中国艺术家无视比例、透视和光线的限制。以现代画家齐白石为例。他笔下的虾、虫、鸟、花不其在自然界中的样子，而是经过长期观察和深刻理解后的本质模样。
中国书法和中国绘画密切相关，两者都使用线条。中国人把简单的线条变成了一种高度发展的艺术形式。线条不仅可以勾勒轮廓，还可以表达艺术家的观念和情感。针对不同的主题和不同的目的，会使用各种各样的线条。线条或直或曲、或刚或柔、或粗或细、或浅或深，墨色或干或润。线条和笔触的运用是使中国画独具特色的元素之一。
中国传统绘画是诗、书、画、篆刻艺术在同一画面上的结合。在古代，大多数艺术家都既是诗人又是书法家。苏东坡（1037-1101 年）、倪云林（1306-1374 年）和董其昌（1555-1636 年）都是这样的艺术家。对于中国人来说，"诗中有画，画中有诗 "一直是优秀艺术作品的标准之一。题跋和篆印有助于阐释画家的思想感情，也为画作增添了装饰美。古代画家喜欢画松、竹和梅花。在题写 "品行高洁 "等字样时，这些植物寓意着人们在艰苦环境中刚正不阿、乐于助人的品质。对于中国平面艺术而言，诗词、书法、绘画和篆刻是不可或缺的组成部分，它们相互补充、相互丰富。
齐白石（1863-1957 年）是中国当代最著名的艺术家。他多才多艺，他自己的成功标准是：诗词第一，篆刻第二，书法第三，绘画最后。经过长期实践，齐白石形成了独特的个人风格。他既能以写意也能以工笔描绘同一事物。他的作品引人入胜之处在于，有些画作同时使用了两种画法。例如，用工笔画法画的昆虫和用写意画法画的花卉出现在同一幅画中，它们之间有一种完美的和谐。

Terms and Expressions
Focal point 聚焦点 Perspective n. 透视法
Shifting perspective 移动透视 Freehand brush work 写意
Fine brush work 工笔 Sentiment n. 性情
Gu Kaizhi 顾恺之 Su Dongpo 苏东坡
Ni Yunlin 倪云林 Dong Qichang 董其昌
Inscription n. 题字 Seal impression 印章

Questions
1.中国传统绘画的历史有多长？
2.中国传统绘画与西方绘画的最大区别是什么？
3.中国画家为什么强调转换视角？
4.中国画有哪两大类？
5.你对顾恺之的绘画理论了解多少？他的理论在中国绘画史上有多重要？
6.中国传统绘画的四个组成部分是什么？绘画和诗歌有什么关系？
7.松、竹、梅在中国传统绘画中象征什么？
8.齐白石如何看待中国绘画艺术各组成部分之间的关系？
9.齐白石作品的魅力何在？

==='''肖烨 Xiào Yè 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties'''===

Please upload your power point here: [[Media:Nanking_2024.pptx]]

=Session 9 OD Fri Apr 26 10:00-11:40 room 404=
Xiao Ye

6 or 10 dynasties capital? Nanking has good fengshui (harmonious human-nature environment) ; geology looks like dragon and crouching tiger ; Kongmiao, Sun Yat-sen mausoleum;
Discussion about John Rabe

==Session 9 Student presentations==

==='''吴梨萍 Wú Lípíng 61. Landscapes and Tourism: Four State-Level Cultural Relics'''===

Please upload your power point here: [[Media:Four_State-Level_Cultural _ Relics_2024.pptx]]

Wu Liping (must add literature)

Popular rare Chinese treasures; corrects wrong date in textbook, explains key words (traditional terminology, e.g., 后母emperor’s mother) ; Han Dynasty: Ding, bells (“piano”), grave “suits” (Confucian ornament and Longevity: jade; banned during 三国), horse trampling bird (swallow/dove?; knottet tail); significance: enhance cultural learning (context?) ;
good discussion about Dongzhongshu and synchretistic use of elements form Confucian and Daoist thought. Pay attention to conceptual language and descriptive categories

61. 景观和旅游：四件国宝级文物
中国是世界上最古老的文明之一的故乡，拥有丰富的文物，从古墓、建筑、乐器到手工艺品、历史书籍等。它们体现了丰富的历史和文化信息，生动地展示了中国文化的发展过程。这些遗迹中显示的惊人的艺术和技术水平今天继续给人们留下深刻印象。
在中国古代，鼎是帝国权力的象征。因此，鼎经常在中文的短语和表达中用来暗示权威（Anna，2015年）。例如，问鼎，字面意思是“向鼎询问”，意味着密谋篡夺政治权力；一言九鼎，字面意思是“一个承诺等于九个鼎”，意味着这句话具有决定性的作用（Lv Shuxiang，2016年）。
司母戊鼎是1937年在河南省安阳发现的一件非常珍贵的文物。它产生于3000多年前的商朝晚期。这个方形的鼎是古代世界现存最大的青铜器。它现在存放在北京的中国国家博物馆（李伟明，2015年）。
鼎是一个烹饪容器，可能在原始社会中用于煮或烹饪食物。当时，鼎是用粘土做的。在商周（公元前1700年至公元前256年）王朝期间，青铜铸造技术在中国达到了很高的水平。因此，人们用青铜铸造鼎。然而，鼎不再是普通人生活中的炊具，而是重要仪式献祭的对象（Anna，2015年）。
司母戊鼎被商朝武丁皇帝铸造，作为祭祀母亲的仪式的一个物品。三个字符司母戊在侧壁内侧形成铭文。根据考古学家的说法，司的意思是祭祀仪式，母戊是君主母亲的名字。后来，司母戊定为这个大鼎的名字（李伟明，2015年）。
司母戊鼎高1.33米，长1.10米，宽0.78米，重832.84公斤。当时，它需要1000公斤的金属和两到三百名工人来生产它。这款鼎的构造坚固，外观华丽，工艺精湛。四根支柱腿厚实而有力。每边中间都有一个空白，周围环绕着一条以饕餮（动物脸生物）和夔龙（单腿龙）为特色的装饰带，象征着收获和吉祥。司母戊鼎代表了商周王朝最高水平的青铜铸造技术（李伟明，2015年）。
编钟，是一种由青铜制成的打击乐器。中国是最早制造和使用此类仪器的国家。钟铃根据大小、气质、音高分成几组，并挂在架子上。一个小锤子或木棍被用来敲钟，发出共鸣和悦耳的声音（湖北博物馆，2015年）。
曾侯乙编钟是中国目前最大、最完整的古老钟声。它们是1978年从战国时期（公元前475年至公元前221年）的一个小州的曾侯乙的陵墓中出土的。当他们被发现时，所有的钟声仍然挂在他们的架子上。它们现在保存在湖北博物馆（湖北博物馆，2015年）。

这架编钟总共有65个钟，八组挂在木条或青铜条上。架子长10.79米，高2.67米，由三根杆子组成，即上杆、中杆和下杆，由六个青铜战士和几个圆形木柱支撑。65个铃铛重超过2500公斤。最大的钟高度为1.52米，重量超过203.6公斤。最小的铃铛高约20厘米，重2.4公斤。很少看到有这么大规模重量和体积的编钟（Wan Quanwen，2020年）。
曾侯乙编钟铸造精美，看起来非常优雅。为了帮助艺术家表演音乐，每个钟上都有3700个字符的说明（Wan Quanwen，2020年）。还有一些关于悬挂指示和音乐气质的词语，被称为“有价值的音乐理论工作”。曾侯乙编钟表明，早在战国时期，中国就已经拥有非常丰富的音乐文化。出土后，钟声仍然可以产生纯净而准确的音符。色调很好，音色也很纯净。
在挖掘钟声后，中国音乐家创作了一首名为《编钟乐舞》（音乐和舞蹈伴随着钟声）的旋律，再次展示了中国古代音乐的魅力（周毅，2016年）。
通常来说，衣服的质地是棉花、亚麻或丝绸。然而，有由金和玉制成的西装，即“金缕玉衣”（王静，2008年）。

汉朝的皇帝认为玉石可以防止他们的尸体腐烂，他们认为玉石充满了尊严和高贵。因此，他们用玉衣作为他们的坟墓衣服。金线、银线或铜线被用来分别连接四方玉，称为金缕玉衣、银缕玉衣和铜缕玉衣（王静，2008年）。
1968年在河北省满城出土的两套汉朝玉衣向世界揭示了这种墓葬服的真实特征（李亚文，2019年）。他们的主人是中山的景王刘胜和他的妻子窦万（公元前206年至公元25年）。
在外观上，玉衣遵循人体的形状。它由五个部分组成，即头罩、外套、裤子、手套和鞋子。每个部分都由玉片制成。每件玉石的尺寸和形状都是根据其位置设计的。大多数玉石都是正方形或矩形形状的，但也有一些是梯形、三角形或多面形状的。每块玉石的角落都有穿孔，通过它，一根金线将碎片缝合在一起。刘盛的玉衣相当大，长1.88米，由2498件组成。这套西装使用的金线重量约为700克（Li Yawen，2019年）。

这种大约2000年前在汉朝制作的精致西装表明了当时的高设计水平和精湛的工艺。事实上，当然，统治者防止尸体腐烂的梦想永远无法实现。穿玉衣的做法在三国时期（220-280）被禁止（王静，2008年）。
1969年，在中国西部甘肃省武威的东汉（公元前206年至公元220年）墓中出土了一匹青铜驰驿的马。铜像是汉代著名的代表性雕塑。武威县因发现这项国宝而声名鹊起（李晓虎和赵静，2019年）。
这匹34.5厘米高的青铜马，上面覆盖着青绿色的斑点，身体饱满而健壮。跳跃的腿、飞舞的尾巴、略微扩张的鼻孔描绘了一匹疾驰的马。它巧妙之处在于，它的一只后脚正踩着一只飞燕子。这意味着疾驰的马比飞燕子还快（王谦，2020年）。它的四条腿的定位严格符合一匹活马的位置，并受到许多当地和外国考古学家和艺术家的高度赞扬。
在这部作品中，中国古代艺术家结合了现实主义和浪漫主义，通过丰富的想象力、原创概念和娴熟的工艺，巧妙地结合了疾驰的马和飞燕子（王倩：10-11）。飞快的燕子引发了疾驰的马的惊人速度。根据对其力学的分析，马踏飞燕在燕子中找到了一个重心，使雕像保持稳定。燕子的浪漫形象衬托了马的力量和力量，为观众提供了丰富的想象力体验（李小虎和赵静，2019年）。
马踏飞燕被认为是中国传说中“天马”的描绘。它工艺精湛，充分表达了中国西部地区的马匹饲养文化。它已成为中国旅游的象征和具有代表性的作品，将中华民族历史悠久的文化传统和东方美学带给世界。该文物现在保存在甘肃省博物馆（王谦，2020年）。

术语和表达：
Simuwu Ding 司母戊鼎
Emperor Wuding of the Shang Dynasty 商王武丁
taotie 饕餮
National Museum of China 中国国家博物馆
chime bells/bian zhong 编钟
Marquis Yi 曾侯乙
The Chime Bells of Marquis Yi 曾侯乙编钟
Bianzhong Yuewu 《编钟乐舞》
Hubei Museum 湖北省博物馆
Jade Suit with Gold Thread 金缕玉衣
Jade Suit Sewn with Silver Thread 银缕玉衣
Jade Suit Sewn with Copper Thread 铜缕玉衣
Bronze Galloping Horse 铜奔马/ 马踏飞燕
Gansu Provincial Museum 甘肃省博物馆

问题：
1.鼎象征着什么？

2.司母戊鼎是什么时候生产的？

3.易侯爵的钟声包含多少个钟？

4.最大的钟有多大？

5.用什么样的线来连接四方玉片？

6.金缕玉衣是什么时候出土的？

7.马踏飞燕有什么巧妙之处？

8.马踏飞燕现在保存在哪里？

==='''李思瑾 Lǐ Sījǐn 21. Beverages: Tea'''===

Please upload your power point here: [[Media:Tea_2024.pptx]]

Li Sijin

Intro of types and history of tea cultures; distribution / trade routes;
“function”: bioactive substances with health impact ; cafein (why did people like tea before scientific rationalization arrives?; culture, aestetic, emotion?) ; culture and social etiqette of making and drinking tea; Other tea cultures (herbal tea?) (must add references)

=Session 10 MW Fri May 10 10:00-11:40 room 404=

Teacher presentation: [[Media:10_Chin_Cult_2024.pptx]]

==Session 10 Student presentations==

==='''谭雅兰 Tán Yǎlán 20. Beverages: Milk Tea'''===

Please upload your power point here: [[File:Milk_Tea_2024.pdf]]

==='''裴心弦 Féi Xīnxián 7. Animals: Panda Culture'''===

Please make sure that you do introduce the animal itself, but how the animal is used by humans for example for panda diplomacy or as a national symbal etc. This course is not a biology course, but a culture course! You may even have to rewrite the text of the chapter.

Please upload your power point here: [[Media:Panda_Culture_2024.pptx]]

==='''杨子璇 Yáng Zǐxuán 51. Games: Kite Flying'''===

Please upload your power point here: [[Media:Kites_2024.pptx]]

游戏：放风筝

'''介绍'''

风筝在中国有着悠久的历史，且一直延续至今。在公园、广场和空旷的草地上都能看到风筝的身影。各种造型的风筝十分壮观，为人们的休闲时光增添了许多乐趣。同时，作为一项传统的民族活动，风筝打上了深深的中国文化烙印，充分表达了人们的美好愿景和强身健体的心愿，富有民族特色和地方风味。作为一种民俗，放风筝是一种以休闲和调节身心为目的的游戏和娱乐活动，使人们在工作之余得到休息，有益于强身健体、陶冶情操、培养创造力和道德感。

'''风筝的起源和发展'''

风筝作为中国古代文明的重要组成部分，它的故乡在中国。中国近代著名史学家李约瑟在其《中国科学技术史》中，将风筝列为中国人对人类重要的科学发明之一。

发明人：墨子

据考证，中国最早的风筝是木制的。春秋战国时期，墨家创始人墨翟（公元前 478-392 年）花了三年时间，用木头做了一只鸟，放飞到天空后一天才落地。这只墨子制作的 “木鸢”据说是中国最早的风筝，也是世界上最早的风筝，距今已有2000多年的历史。然而，有人对风筝飞翔能力提出了质疑。王充的说法在历代风筝研究中具有代表性，他先是肯定了风筝的飞翔能力，然后又对风筝是否能持续飞翔三天提出了质疑。此外，还有人质疑木鸟和风筝是否是同一种飞行器。他们认为，风筝是一种 "振翅飞行器"，这意味着它是通过拍打翅膀和拍打空气来飞行的。除此之外，风筝也是 "固定翼飞行器"。然而，这些推测几乎没有证据。因此，时至今日，主流观点仍然认为风筝是由墨家发明的。

源自战争

依据这种观点，风筝起源于汉末。这种观点是基于历史上韩信制作风筝的传说。高澄在《事物纪原》卷八中有对风筝的描述，韩信在战争中用风筝测量田地长度。此外，据《史记·韩信列传》记载，韩信用牛皮制作了各种风筝，并让乐师坐在上面，飞到楚军上空吹奏楚歌，让楚军思念家乡，无心作战。在古代，由于朝代更迭和外族入侵，战争不断。风筝作为一种飞行工具，在战争中受到青睐。风筝与战争的渊源虽有争议，但仍有其合理性。

源自娱乐

放风筝作为一种民间游戏和娱乐，是民俗活动的重要组成部分。在古代，人们最初放风筝是为了祛除厄运，是一种带有巫术意味的户外活动，并不是为了娱乐。当这种游戏成为调节社会生活的一种文化需要时，它就带有了娱乐的含义。娱乐是风筝出现的前提之一。放风筝不仅给人们的生活增添了情趣，还能在愉快高效的情境中开展教育。在《五代史记·李晔传》中，就有皇帝等人在宫中猜灯谜、放风筝的历史记载。此外，李晔还在宫中做了一个纸鸢游戏，用竹子做了一个笛子，系在纸鸢的头上。纸鸢在空中飞舞时，随着风的涌动，听起来仿佛有人在弹奏古筝，“风筝”因此得名。由此可见，风筝起源于古人的休闲活动。
风筝的使用和生产

'''风筝的使用'''

最初，风筝通常被用作传播信息和测量天空风向的军事工具。春秋时期，鲁班 "作木鸢以觇宋城"。在唐朝，风筝主要发挥娱乐的作用，并在宫廷和民间流行开来。由于唐朝与外国的频繁交流，风筝还传入了朝鲜和日本等邻国。在之后的朝代，人们把放风筝作为锻炼身体的主要方式之一。

'''风筝的生产'''

中国传统的风筝放飞技巧概括起来就是四个字：扎、粘、画、放，即扎架、粘纸、画花、放飞。扎包括宣、分、弯、剪、接。粘合包括选择、裁剪、粘合、镶边和校正。绘画包括上色、打底、描摹、染色和修补。放飞包括风、线、放线、调整和收线。2006年5月，风筝制作技艺被列入第一批国家级非物质文化遗产名录。

'''风筝的种类'''

战斗风筝

战斗风筝是用于风筝格斗运动的风筝。传统上大多数都是小型、不稳定的单线扁平风筝，仅靠风筝线的张力来控制，并使用磨料线切断其他风筝的线。

室内风筝

室内风筝是设计用于在无风环境中放飞的风筝。虽然主要是为室内使用而设计，但也可以在室外放飞。当风力不足导致传统风筝无法在室外放飞时，它们可以。室内风筝的放飞是利用放风筝者的运动所提供的相对风力。这种运动通常是由使用者慢慢向后走（通常是在一个圆圈内）而产生的。但也可以通过风筝线的适当牵引和抽动来实现。

载人风筝

载人风筝是一种用于将人从地面抬起的风筝。历史上，载人风筝主要用于侦察和娱乐。随着 20世纪初动力飞行的出现，人们对这种风筝的开发兴趣逐渐减弱。

充气单线风筝

充气单线风筝是一种充气式的风筝。气球风筝就属于充气风筝。这种风筝将冲压充气和闭囊充气结合在一起。风筝的形状大致源于机翼，进气口通常位于风筝的前端，整个底部都有辔头，可以均匀地分配系绳的负荷。这种风筝没有坚硬的支柱。与热气球一样，也常常充满艺术创意，描绘鱼、猫和许多其他动物和人物。

问题

1.风筝因何得名？

2.中国传统风筝放飞技巧的四个关键词是什么？

3.风筝种类有哪些？

=Session 11 MW Sat May 11 10:00-11:40 room 404=
May 1-3 is an extended May First Holiday. The classes of the Bridge Day May 3 need to be moved on Saturday May 11.
==Session 11 Student presentations==
==='''雷慧婷 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan'''===

Please upload your power point here: [[Media:Marriage_Songs_Hunan_2024.pptx]]

==='''喻鑫众 69. Language: Chinese Dialects'''===

Please upload your power point here: [[Media:Chinese_Dialects_2024.pptx]]

69.语言：中国方言

A.中国方言简论

Topolect和hibernation这两个词，都是来自于汉朝杨雄的著作“其他方言的翻译”。“方言”一词在不同群体中代表着不同的意义，对于中国人来说，方言有着政治观念和语言学的双重意义，它还被认为是“土话”。“口音”代表着一个特定的地区在语言标准上的差异，如亲属之间不分语言的关系。然而在欧洲，“方言”是一个语言学的概念。在18世纪初，它是位于“语言”之下的一个概念。基于语言之间的关系（比如发音、词汇和语法），方言被划分成了不同的语系、语族、分支和语言。所以考虑到中国的特殊情况，“中国的方言”翻译到英语中便是“各种不同的中文”。在欧洲的定义里，方言应该是一种和标准语不同的并且只在某一特定区域使用的语言（Julie M. Groves 2008,1）。
中国幅员辽阔，历史悠久。在历史进程中，中国大地上各种不可避免的分分合合使得汉语中多样又复杂的方言系统逐渐出现。社会、历史、地理因素，包括语言本身，都是推进方言演化的因素。汉语的方言可以分为两个大类，官话和九大方言。官话，也就是现代汉语，并不是独立的方言，因为它们在发音、词汇和语法上都非常和标准语类似。其他的地区方言则在发音、词汇还有语法上与标准语差异巨大，因此形成了他们自己的方言系统。官话包括了东北官话、北京官话、吉鲁官话、胶辽官话、中原官话、兰银官话、西南官话和江淮官话。六大方言则包括了吴语、粤语、闽语、湘语、赣语、客家话、徽语、晋语和平话。
B.湘语
湘语也被称作湘方言或者湖南话，属于汉藏语系，也是居住在湘江流域及其支流附近的湖南人主要使用的语言。湘语被分为了两个类别，新湘语和旧湘语。新湘语以长沙话为代表，旧湘语则以双峰话为代表。古楚语的核心使用区域就位于长江中游，它也是湘语的起源语言。现代湘语的使用者分布在中国大陆湖南省相当客观的一片区域上，包括了长沙、株洲、湘潭、岳阳、益阳、娄底、衡阳、邵阳、永州还有其他的一些地级市。2010年，湘语使用者估计有4500万。在湖南省内使用的方言包括西南官话、赣语、客家话和还没被分类进任何方言大类的湘乡话、南部湘语。湘语是湖南省主要方言。湖南省的方言非常多样化。
楚语，也就是chu yan（古楚语），在先秦的楚国有很多人使用，也是湘语的最早的起源语言。今天我们已经无法考证古楚语的具体面貌，但它确实是生活在湖南省和湘江沿岸的汉族人最早使用的语言。“chu yan”一词最早出现于《左传》，这说明了最迟在春秋晚期，chu yan就已经形成了。同时也表示楚语是不同于同时期的雅言和xiayan的汉语的另一个分支。湘语的声母有20-35个，韵母有30-40个，音调有5-7个，一般是6个。
C.粤语
粤语，又可以叫广东话或者tang话，常常被称作“白话”，是汉藏语系中的一种汉语方言。粤语是广府人的母语，是汉民族广府文化的重要载体，是广府文化的文化性基础象征。粤语有一套完整的涵盖了9声6调，保留了中古汉语很多特点的语言系统。它是除了普通话之外唯一在被外国大学独立学习的中国语言。
关于粤语的源头，有很多不同观点。有人认为它源自北方的中原方言，也有人说它源自楚国的楚语。粤语是南部方言中保留更多中古汉语元素的一种，其中最显著的特点是它相对保留了中古汉语的“入声”，以及它的声母、韵母和声调与《曲韵》和《广韵》中的古汉语标准韵律有很好的对应关系。
在广东省，普通话是主导语言，而最具有主导地位的方言是粤语。客语和闽语是广东省内另外两种有重大影响力的汉语方言。客语主要集中于广东省的东北部和北部，客家方言也在广东省的部分西部地区有所分布。全省大部分地区都有客家村落散布，使用这种方言的人数约为2000万。
闽语主要分布在广东省西南部和东南部的沿海地区，包括六个市：潮州、汕头、揭阳、汕尾、湛江、茂名，它可以分为两个语言区域：潮汕和雷州。前者与南方闽语有相似之处，而后者则接近海南方言。此外，在中山、惠州、清远、韶关等地的一些岛屿上，有1895万人将闽语作为官方语言。
问题
1.中国有多少种方言？
2.它们都有哪些？
3.湘语的源头是什么？
References
Peng Jianguo 彭建国(2006). 《湘语音韵历史层次研究》. [ A Study on the Historical perspective of Xiang Phonology]. ”湖南大学出版社”[Hunan University Press]. 25-26.
Li Rong 李荣(1989). 汉语方言的分区. [The division of Chinese dialects] (04)：241-259.
Julie M. Groves (2008). Language or Dialect—or Topolect? A Comparison of the Attitudes of Hong Kongers and Mainland Chinese towards the Status of Cantonese . SINO-PLATONIC PAPERS. 1-60.

=Session 12 MW Fri May 17 10:00-11:40 room 404=
==Session 12 Student presentations==
==='''向璐 99. Minority cultures: The Ethnic Minorities’ Costumes'''===

== 简介 ==
中国是一个具有悠久历史和灿烂文化的文明古国。服饰作为文化的一个元素，对中华民族的繁衍与发展作出了重大贡献。55个少数民族的服饰也是中华服饰王国中的奇葩，绽放出夺目的光彩。（魏荣辉，2004，前言1）它们传达了少数民族在政治、经济、文化、宗教、审美等方面的信息。它的形成与演变不仅标志着中华民族物质文明和精神文明的逐步完善，而且也是审美观念和文化特色的集中体现。（魏荣辉，2004，前言2）

== 服饰种类 ==
民族服饰的种类繁多，各具特色。在此，我们将简要介绍四种最为基础的民族服饰类型：长袍、裤子、夹克和裙子。
#长袍
长袍作为中华民族最古老的服装款式之一，承载着深厚的历史文化底蕴。在高原、山区或草原等寒冷或昼夜温差大的地区，一些民族采用动物皮制作长袍，既保暖又实用。长袍的设计使得穿着者可以根据需要轻松穿脱，作为多件衣物使用。随着时代的变迁，长袍的材质和款式也逐渐丰富，如布袍、丝袍等，展现出不同的风格特点。（齐春英，2018，12）
##裤子
裤子作为一种实用的服饰，自战国时期赵武灵王推行“胡服骑射”改革以来，逐渐成为南北各民族常见的服装形式。特别是在寒冷的北方地区，裤子因其保暖性和适应性而备受青睐。它不仅能够抵御严寒，还能适应骑马射箭等生活方式的需求。（齐春英，2018，20）
###夹克
夹克作为各民族广泛穿着的服装之一，具有多样化的特点。有的夹克长度适中，有的则较长；有的无袖，有的袖子长达一两米；有的宽松舒适，有的则贴身修型。在工艺上，夹克还采用了蜡染、刺绣、缝制贝壳珠子、银饰等多种装饰手法，使其更具民族特色和艺术价值。（齐春英，2018，22）
####裙子
中国少数民族的裙子以其独特的款式和精湛的工艺而著称。从长度上来看，有长裙、短裙、筒裙等多种类型；从工艺上来看，则有花裙、百褶裙、飘带裙、蜡染裙等多种制作手法。这些裙子不仅展现了各民族女性的优美身姿，还体现了中华民族丰富多彩的服饰文化。（齐春英，2018，35）
——刘卓凡（讲谈）2021年6月14日11:25（UTC）已修改

== 四大民族服饰简介 ==
壮族、回族、满族和维吾尔族是中国人口最多的四个少数民族，因此我们选择这四个民族向大家介绍。
#壮族
壮族男子多穿对襟上衣，纽扣一般为六至八对，内襟缝有一小口袋，腹部有两个大口袋，裤子短而宽，头包绣花头巾，多穿草鞋，节日或走亲戚时穿布鞋。
壮族女子多穿深色对襟上衣，有的在衣领、袖口、襟底镶上彩色花边，下着宽脚裤。有的地区壮族女子穿黑色褶裙，裙面绣有彩色花纹图案。喜爱佩戴绣花围腰和绣花飘带。壮族妇女有戴黑布头巾、穿绣花鞋的习俗，节日或赶圩时，喜欢佩戴绣花黑色头巾，并配戴银质耳环、手镯和项圈等。
壮族服饰大多以蓝黑色衣裙、衣裤或长衫短衣为主，壮族服饰多用自织的壮锦、土布作衣料。壮锦是壮族人民最精美的一种手工艺品，唐宋以来一直是壮族人民向朝廷进贡的珍品，被汉族人民视为珍奇工艺品。（魏荣辉，2004，27）
#回族
回族服饰独具特色，色彩以白、绿、黑为主调。男子常佩戴白色或黑、棕色无沿小圆帽，身着白色衬衫，外套黑色坎肩，下身则搭配黑色长裤。中年人偏爱中式上衣搭配长裤套裤，展现传统与稳重的风范。回族妇女则普遍佩戴盖头，钟爱背心与宽袖袍服，夏季多选择白色，冬季则偏向黑色与紫色。老年妇女冬季常着长袍和套裤，既保暖又显庄重。年轻姑娘则偏爱大襟短衣与长裤，展现青春活力。儿童服饰色彩鲜艳，样式活泼，男孩常戴具有阿拉伯风格的小圆帽，女孩则穿着色彩艳丽的长衫与裙子，都佩戴着精美的银饰，显得活泼可爱。
回族服饰中，尤其是宗教人士的服饰，受到阿拉伯国家和伊斯兰教文化的深刻影响。例如，回族妇女戴盖头的习俗便是受阿拉伯妇女的影响。在服饰色彩上，回族人崇尚白色，认为白色是最洁净、最喜悦的颜色，这与他们的宗教信仰紧密相连。穆罕默德曾教导他的信众：“你们宜常穿白衣，因为白色是最佳颜色。”这种对白色的偏爱在回族服饰中得到了充分体现。（魏荣辉，2004，7，10）
#满族
作为一个以骑射为生的民族，满族服饰注重简洁，以便于骑马奔驰。例如，满族裤子在前后左右都有开口，显然是为了骑马方便。此外，满族长袍上的“箭袖”也是一大特色，这种袖子与长袍的袖口相连，长半尺呈马蹄形，因此也被称为“马蹄袖”。（徐海燕，2004，5）
在满族服饰中，最为人熟知的便是旗袍。旗袍原是满族人的服装，起初并不是满族妇女的最爱，而是男女老少一年四季都穿的服装，款式相同，只是有单层、夹层和皮等不同设计。满族人也因此被称为“旗人”。旗袍的一个特点是宽松直筒，不显身材，尤其是后期，袍内穿裤，有时袍下还可隐约看见裤脚。旗袍的另一特点是面料厚实，上面绣有各种繁琐的图案花纹。（徐海燕，2004，6）
#维吾尔族
维吾尔族男子一般内穿长衫，外穿宽袖长衫，外穿领扣，俗称“环”。他们的裤子总是蓝色、灰色、黑色、白色和棕色的。这条腰带是用细棉线织成的，上面绣着花纹。(魏荣辉，2004,15)
女性通常内穿及膝的彩色衬衫，外穿宽袖边裙。在过去，她们常常在衣服上穿黑色天鹅绒，边缘有金银片和蕾丝装饰。在冬天，他们还穿着长长的“Loop”。现在，大多数妇女喜欢穿西方的夹克和裙子，穿长筒袜，孩子们经常穿短衣服。维吾尔族男女外出必须戴小花帽。在冬天，他们喜欢皮帽和皮靴。他们的衣服用料很好，通常是纯毛、丝绸、棉花和真皮。(魏荣辉，2004,16) ——刘卓凡(讲座)2021年6月14日11:25 (UTC)已修改

== 参考文献 ==
祁春英.(2018).中国最美第3辑民族服饰.湖北美术出版社.(12-35)
韦荣慧.(2004).中国少数民族服饰.中国画报出版社. (前言1-2, 7-27）
徐海燕.(2004). 满族服饰.沈阳出版社(5-6)

== 相关术语 ==
Robe 袍子
Arabia 阿拉伯半岛
Islam 伊斯兰教
Clothes Worn by Hu People when Riding a Horse and Shooting 胡服骑射
The Manchu 满族
Arrow Sleeve 箭袖
Horseshoe Sleeves 马蹄袖
Cheongsam 旗袍
Uygur 维吾尔族
Loop 袷袢
Fine cotton thread 细棉线
Real leather 真皮

== 问题 ==
#民族服饰可以传达哪些信息？
#民族服饰最基本的四大类是什么？
#哪个民族的布料在古代是著名的贡品？
#回族人倡导什么颜色？
#维吾尔族服饰的常见材料是什么？

Please upload your power point here: [[Media:Ethnic_Costumes_2024.pptx]]

==='''陈佳雯 33. Clothing: Cheongsam'''===

Please upload your power point here: [[Media: Cheongsam_2024.pptx]]

==='''林如茵 23. Body movement performance: Chinese Lion Dancing'''===

Please upload your power point here: [[Media:Lion_Dance_2024.pptx]]

=Session 13 MW Fri May 24 10:00-11:40 room 404=
==Session 13 Student presentations==
==='''罗淑珍 88. Martial Arts: Huo Yuanjia'''===

Please upload your power point here: [[Media:Martial_Arts_Huo_Yuanjia_2024.pptx]]

==='''龙雨涵 92. Martial Arts: Frolics of the Five Animals (Wuqinxi)'''===

Please upload your power point here: [[Media:Martial_Arts_Five_Animals_2024.pptx]]

引言
禽戏起源于春秋战国时期，从二禽戏、三禽戏到多禽戏。在此基础上，华佗发展了五禽戏，以虎、鹿、熊、猿、鹤的动作为基础的一系列练习。这些动作易于完成，练习起来有趣，非常全面，有助于身体锻炼和内在健康与福祉。如今，五禽戏在世界各地享有很高的声誉。(安徽省旅游局)

创立者
华佗出生于今天的安徽省谯县（现在的安徽省毫州市），这里是中国的四大中药材分销中心之一。在《后汉书》中记载：“晓养性之术，时人以为年且百岁，而貌有壮容。”（悉达多·达尔曼南达博士，美国俄勒冈州波特兰市传统医学研究所所长。）
华佗（公元141-208年）与张仲景是同时代的人。他走遍各地，治疗病人并学习其他医生的医疗实践。他以其外科技术和使用麻醉而闻名。麻醉是通过一种名为麻沸散的粉末实现的，这种粉末在手术前溶解于发酵饮料中。有猜测认为这种粉末可能是大麻，因为当时大麻的用途尚不为人所知。除了外科手术，华佗还建议他的病人进行身体锻炼。他设计了一系列类似于五种不同动物动作的锻炼，这些动物包括虎、鹿、熊、猿和鹤。（《中医药历史——汉代》沈农中医药）

虎戏
虎戏是通过模仿虎的形态和动作来进行的一种锻炼。虎的特点是它的凶猛、强健的身体以及擅长跳跃和抓挠。在虎戏中，最重要的元素是模仿虎的威严姿态。它的精神体现在它的眼睛中，它的威严从它的喉咙中散发出来。它怒目而视，动作如风。它用力扭动腰部，摇头摆尾，并振动全身。（五禽戏）
虎是一种以速度、敏捷性和外在力量著称的动物。在这种形态下的训练将发展骨骼、关节和肌腱，因为它需要复杂的协调动作。身体在保持扭曲姿势的方式下进行训练，以发展类似弹簧的力量。这使身体与地面保持中心，并使腿部变得更加优雅而有力。这种形式可能是所有形式中最具身体挑战性的。掌握这种形式将加强前臂、腿部、躯干和手部。（谭华英，《五禽之精神》，第101页。）

鹿戏
鹿戏是通过模仿鹿的形态和动作，希望能够像鹿一样获得长寿和纯净的灵魂。鹿的特点是性情温和、动作敏捷、喜欢用角顶撞，并且擅长奔跑。站立时，鹿喜欢伸长脖子远眺。鹿还喜欢左右观察自己的后腿。它还擅长活动尾骨（骶骨）。尾骨是任脉和督脉交汇的地方。因此，在练习时，练习者不仅需要模仿鹿敏捷的动作和宁静的精神状态，还需要注意尾骨。这样做可以引导气贯穿全身，开通经络，促进血液循环，放松筋骨，有益于肾脏并增强腰部力量。它还可以增强腹部的血液循环。这种练习适合于治疗内脏神经功能障碍、腹部内部器官的慢性感染、腰部肌肉疲劳、骨盆神经痛、大腿骨退化以及性欲缺乏。（五禽戏）

熊戏
一般来说，熊戏的形式强调腰部扭转、弯曲；在伸手、抓取和“挠抓”时注重肩部和上背部的力量。熊戏通常采用马步或低弓步的站姿，有助于锻炼（拉伸和加强）下半身。
熊戏看似笨拙，但实际清晰明了。它迈着沉重的步伐却内含轻盈。集中气力于中丹田。它用力摇动肩膀，猛烈摆动。熊看起来笨拙而迟缓，柔软如同没有骨头，它的气质稳定、朴实、诚实，步伐沉重。然而，在沉重的步伐中隐藏着灵活性和稳定性。在练习中，不仅要模仿熊的沉重、朴实和诚实的姿态，还应尝试展现运动中的灵活性和稳定性。摇晃和摇摆是熊的动作特点，因此在用力时要包括上臂（包括肩膀、肘部、手部、臀部、膝盖和脚部）。导气至中丹田，以加速深层腹式呼吸，形成丹田气。（焦国瑞，《健身气功要略》，1988年，第193-195页）

猿戏
猿戏是通过模仿猿的形态和动作来展现其机警、敏捷和不断的活动。猿的特点是喜欢模仿、动作敏捷、擅长使用上肢采摘果实以及躲避其他动物的攻击。你不仅应该在表面上练习四肢的敏捷，还应该在内在练习控制思想。猿戏的目标是达到“思想纯净安宁，身体轻盈强健，身体在动而心在静”的境界。这种练习将增强心脏和肺的功能，并强化肾脏和腰部。这种练习适合于年纪较大、体质较弱或精神状态较低落的人群。（五禽戏）
在进行猿戏练习时，尽量模仿猿轻巧敏捷的动作，而对于内部练习，你应该保持心灵像静谧夜晚中明亮的月光一样宁静。因此，猿戏在外在表现为动态，而在内在则是静态的。（五禽戏，中国健身气功协会，2007年，第66页）

鹤戏
鸟戏包括模仿鹤，在中国传统中鹤被视为宁静、灵活和长寿的象征。在练习这一动作时，你应该模仿鹤直立站立，鹤嘴上扬，展现出无忧无虑、心满意足的情绪，以及它轻松拍打翅膀的方式。在举起双臂时，伸长脖子、挺直背部以驱使气向上流动。当双臂向下合拢时，收缩胸部、放松腹部，以驱使气流向下腹部的大丹田。鹤戏可以促进所有经络中的气血循环，并提高四肢的活动能力。（五禽戏，中国健身气功协会，2007年，第79页）

功效
"五禽戏"模仿虎的凶猛、鹿的平和、熊的沉稳、猿的敏捷和鹤的轻盈，以锻炼身心。它可以增强体质、活动气血、放松筋腱和经络，使人不易迅速衰老。如果你能坚持不懈地练习，你将会感到精神愉悦、食欲增强、身手敏捷、步履稳健。它具有养精神、调气血、助脾胃、通经络、活筋骨、利关节的功效。"五禽戏"在预防和治疗肺病、哮喘、高血压、心脏病、神经系统虚弱和消化不良等方面也有效果。此外，经常练习"五禽戏"可以纠正异常的立足点和行走姿势，预防肌肉萎缩，提高身体平衡能力。它还对其他症状有益。练习者应该每天练习两次，每次15分钟，一次在早晨，一次在晚上。此外，练习者应该选择一个空气清新、植被茂盛的地方进行练习。

虎 - 培养肌肉力量。虎戏可以强化腰部、筋腱和肾脏，并建立内在力量。
鹿 - 培养优雅与放松。鹿戏使腿部和脊椎得到充分伸展，创造出开放、扩张的动作，使筋骨非常灵活。
熊 - 培养扎根的力量。熊戏增强了腿部力量，坚固骨骼并在肾脏中发展能量，这是你活力的基本源泉。
猿 - 培养柔韧性和敏捷性。变得机智、警觉和灵活。
鹤 - 培养平衡、轻盈和敏捷。鹤戏使你的整个身体得到冷却和放松，平衡心能，温和地拉伸你的韧带并释放你的脊椎。

问题
1. 谁是五禽戏的创始人？
2. 五禽戏模仿哪些动物？
3. 在中国传统文化中，鹤象征着什么？
4. 哪一式动作在外观上是动态的，在内部却是静态的？
5. 鹿戏的特点是什么？

=Session 14 MW Fri May 31 10:00-11:40 room 404=
==Session 14 Student presentations==
==='''卢逸萱 45. Facial Make-up: Face Changing in Sichuan Opera'''===

Please upload your power point here: [[Media:Face_Change_Sichuan_Opera_2024.pptx]]

面部化妆：川剧变脸

1.川剧及其特点

川剧起源于明末清初。随着大量移民涌入四川，不同的戏剧与当地的方言、习俗、民间音乐和舞蹈相融合。渐渐地，反映四川文化的幽默诙谐的川剧应运而生。川剧在中国享有盛誉，它以独唱、娴熟的表演、丰富的打击乐和滑稽可笑的喜剧为特色。演员们身着色彩鲜艳的戏服，随着节奏明快、富有戏剧性的音乐表演，他们的表演总是充满机智、幽默、生动的对白和浓郁的乡土气息。他们还戴着色彩鲜艳的面具，可以在几分之一秒内变换。魔术特技，如不化妆快速变脸，杂技表演，如跳火圈和吞剑，让观众大饱眼福和耳福。

2.变脸的起源与发展

变脸始于300年前的清朝乾隆年间（1736-1795年）。相传古人画脸是为了驱赶野兽。川剧吸收了这一古老技艺，并将其完善为一门艺术。变脸是通过快速撕下、擦拭或吹掉面具，露出另一张面具来实现的。这是川剧的一大亮点。变脸是川剧的一个重要方面，现代川剧变脸的精确技术是一个严守的秘密。这些秘技在戏剧世家中代代相传。2005年，川剧被列为非物质文化遗产。（百度百科）变脸最早出现在一个英雄劫富济贫的故事中。被封建官吏抓住时，他用变脸来迷惑官吏，结果逃过了一劫。到20世纪20年代，戏曲大师们开始使用油纸或干猪膀胱制成的多层面具。熟练的表演者可以在一秒钟内剥下一个又一个面具。在现代戏剧中，表演者挥动手臂、扭动头部，他们的彩绘面具就会一次又一次地更换，令观众感到惊奇和有趣。现代艺术大师使用的是全脸彩绘丝绸面具，可多达二十四层，并可逐层取下。（中国亮点）

演员用手或转头神奇地变换面具，令人叹为观止。我们很难看到面具的变化。川剧大师彭登怀在25秒内变换了14个面具，露出真容后又恢复成4个面具。这是他最新的吉尼斯世界纪录，打破了他之前的纪录。据说，香港巨星刘德华在这项绝技中尊彭先生为师长。一位川剧大师在变脸时也使用了气功动作，他的脸由红变白，再由白变黑。

3.不同色彩的脸谱的象征意义和典型人物

川剧脸谱给人最直接的印象就是色彩斑斓，就像颜料盘一样。以红、黑、蓝、白、黄、绿为主色调，姜黄、粉红、石绿为辅。色彩明快纯正，夸张绚丽。其色彩丰富多变，每一种色彩都有其内涵。除了色彩的差异，人们在日常生活中对色彩的感知更多的是与审美意义和文化内涵有关。例如，黄色代表阳光，绿色代表健康，黑色代表黑暗等。面具上的色彩一方面夸张、放大了人物的特征，另一方面也通过象征意义表达了人物的内心。色彩成为观众评价人物的依据，或褒或贬。

红色面具代表忠义，最著名的当属《三国演义》中的关羽。他一生忠于刘备，不图虚名。白色用于那些奸诈阴险的人物，如曹操、秦桧、严嵩、司马懿等。黑色象征正直、坦率，最典型的是包拯的面部妆容，此外还有李逵、张飞、项羽等。黄色象征勇敢和暴力，如典韦、庞涓等。绿色象征鲁莽和冲动，如 “青虎”徐世英。蓝色和绿色比较中性，象征亡命英雄、刚烈，如窦尔敦、程咬金、公孙胜等。金色和银色不常出现，一般只用于神话人物，代表佛、神、鬼等。例如，孙悟空（美猴王）的面部妆容中有一双炯炯有神的眼睛，眼皮上有一些金色，由此可见孙悟空的聪明才智。(Wang 2017, 132-133)

作为观众欣赏川剧的视觉焦点，脸谱色彩的多变给观众带来了不同层次的内心感受。这种丰富多变的色彩，成功地将戏曲人物的性格特征和情感的历史判断表达得清晰而到位。可以说，色彩作为一种视觉语言，在川剧脸谱化妆艺术中占有十分重要的地位。(Wang 2017, 132-133)

4. 变脸的工艺材料

川剧变脸的材料，最初多以粗糙纸糊的硬面外壳为主。经过不断改进，演变为在薄纸面上作画。变脸过程中，常用折扇或斗篷遮挡。在转头或捋袖的瞬间，迅速扯下脸上的层层妆容。新中国成立后，随着对川剧艺术的广泛重视，变脸绝技也有了长足的进步，制作脸谱的工艺材料也由原来的纸质逐渐被轻便耐用的丝织品所取代。对于演员来说，丝绸面料的使用不仅加快了面罩的制作时间，也增加了面部即时化妆的时间。与传统面部化妆绘制工艺的复杂性不同，这种面部化妆制作工艺不需要考虑面部结构，绘制图案更加自由流畅。但需要注意的是，由于脸谱在表演过程中变化迅速，瞬间变脸，舞台效果强烈，所以这种脸谱非常讲究线条简洁、色彩鲜艳、粗犷有力。（罗志刚，2019，29-30）

5.脸谱的三大类型

变脸有三种类型，分别是擦脸谱、吹脸谱和拉脸谱。在擦脸谱中，演员在脸上的某个位置涂上化妆颜料。如果要变整张脸，则在额头或眉毛上涂抹化妆颜料；如果要改变下半张脸，则在脸颊或鼻子上涂抹化妆颜料，或是其他特定部位。吹面膜的程序适用于粉状化妆品，如金粉、银粉和墨粉。有时，舞台上会放置一个小盒子；演员走近并对着盒子吹气。粉末会膨胀起来，粘在脸上。有时，粉末被放在一个杯子里。成功的秘诀是闭上眼睛和嘴巴，屏住呼吸。拉面具的表演最为复杂。面具画在裁剪好的绫罗绸缎上，用丝线挂好，然后一个个轻轻地贴在脸上。丝线系在服装不显眼的地方。随着剧情的发展，表演者轻轻一甩斗篷，就能神奇地将面具逐一揭下。（百度百科）

术语和表达

Sichuan Opera川剧

Face Changing 变脸

Lian pu 脸谱

Guan Yu 关羽

Romance of The Three Kingdoms 三国演义

Liu Bei 刘备

Cao Cao 曹操

Qin Hui 秦桧

Yan Song 严嵩

Sima Yi 司马懿

Bao Zhenhg 包拯

Li Kui 李逵

Zhang Fei 张飞

Dian Wei 典韦

Pang Juan 庞涓

Xu Shiying 徐世英

Dou Erdun 窦尔敦

Cheng Yaojin 程咬金

Gongsun Sheng 公孙胜

Monkey King 孙悟空，美猴王

Peng Denghuai 彭登怀

Andy Lau刘德华

Wiping Mask 抹脸

Blowing Mask 吹脸

Pulling Mask 扯脸

问题：

1.川剧的历史有多长？

2.川剧的特点是什么？

3.变脸的历史有多长？

4.脸谱的经典色彩及其象征意义是什么？

5.变脸有哪三种类型？

==='''段思雅 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up'''===

44.面部化妆：化妆品，中国传统化妆术
Please upload your power point here: [Facial Make-up: Cosmetics, Traditional Chinese Make-Up_2024.pptx]
东方文化与西方有很大不同。在中国，人们习惯在小孩脸上画红苹果，这样神灵看到孩子就会开心，看着他们健康快乐成长。小脚女人就是一种理想状态。为此，即使在幼年时期，小女孩就穿着很紧的鞋子或者用绷带裹住脚，使其不再生长。化妆的种类和方法有很多种。
让我们回道古代中国，探讨化妆品在中国的历史。很少有人注意到，中国女人的肤色偏黄。为了掩盖这种“缺点”，中国古代妇女使用一种用大米淀粉制成的粉末，将这种分破大量撒在脸上，所以许多中国女人都有了洁白如雪的面庞，而为了形成对比，她们把嘴唇化成红色，把眉毛涂成黑色，古代中国妇女用菜汤涂腮红,用牛奶和茶水洗脸。当时的女人非常注重指甲护理。
值得注意的是，古代中国许多护肤品都价值高昂，所以只有富人或者贵族才能负担得起这种享受。。
在当今时代，淡妆或者自然的面庞更受喜爱，然而在古代，中国女性喜欢在脸上使用丰富的色彩。使用的颜料越多，中国妇女就觉得越美。因此，有机会使用最精致昂贵的护肤品和化妆品的贵族被认为是最美丽的。
中国古代女人从小时候开始就接受美丽知识的教育：怎样使用腮红，染眉膏，粉底，所以从小时候她们就习惯了那个时代的化妆礼仪。例如，化妆时必须神色平淡，五官不能显得凶狠粗野。顺便提一下，如果中国妇女在笑的时候漏出牙齿，人们会觉得她没有礼貌。

1.基础化妆
·铅粉
在商朝，女人们为了人自己的皮肤看上去白皙细腻，会在脸上涂铅粉，这也是当时最常见的化妆方式。<神农本草经》中也提到妇女用铅粉和锡粉化妆。但使用铅粉的副作用十分严重，时间一久，皮肤会发黄，布满皱纹。因此，每次使用的铅粉就会越来越多。铅的毒性很强，对皮肤的伤害很大，所以古诗中总是感叹“美丽易逝"。
·米粉
其实早在铅粉出现之前，人们就已经有了相对安全的底妆产品，最早使用的米粉就是由大米制成的。
《齐民要术》中有记载了之作米粉的详细方法。米粉是一种特殊的化妆品，可以延缓衰老，保护皮肤免受恶劣环境的影响。使用过后，脸上会成膜，可以防止活性化学成分和污垢进入毛孔。同时，该成分富含抗氧化剂，不会让皮肤迅速氧化，而且采用优质大米制作。
制作方法：先磨成细粉，再加工，用冷水浸泡，发酵腐熟，然后清洗沥干，再暴晒，最后用于化妆。不过，米粉的附着力不好，一动就容易脱妆，所以很快就被铅粉取代了。

2.彩妆
如果与现代相比，中国古代的化妆术可不是那么简单的。我们可以将其分成三类，腮红，眉毛和口红。
·腮红
腮红在古代有一个美丽的名字，叫胭脂。中国古代的胭脂色泽鲜艳，色彩丰富，与白皙的底妆新城鲜明对比），向全能的神表示她们是健康快乐的。
胭脂也叫腮红或胭脂水，是一种用于给脸颊染上不同颜色或给嘴唇染上红色的化妆品。它以粉状或膏状使用。它是一种用 "红兰 "的花卉为主要原料，经混合后制成的化妆品。匈奴入主中原后，胭脂的制作不仅限于植物，还加入了油脂、动物骨髓等，使其质地更加粘稠，形成了满足不同需要的口红。
·口红
口红是自先秦流行起来的一类时尚产品的。但是在古代，它被称为 "唇脂 "或 "口脂"。在古代，口红的颜色多为红色，可以使嘴唇的颜色更加艳丽，让人看起来气色更好，更加年轻有活力。因此深受古代女性的喜爱。历朝历代女性唇妆的画法有所不同，但都逃不过一个相似的审美观，那就是嘴唇越小越好。这与现代世界的审美标准完全不同。深入了解历史，可以让我们看到这些简单事物的变化，以及人们思想和品味的变化。
·眉毛
人们认为，眉毛可以决定一张脸的好坏--眉毛就是这么重要。毕竟，眉毛可以勾勒出眼睛的轮廓，增加脸部的立体感。眉毛是化妆的一个独立部分，也是最受欢迎的部分之一。眉毛必须清晰、乌黑。妇女们把眉毛剃掉，然后把眉毛修成细细的弧形，或者修成直眉。战士们习惯把眉毛修成这样，会让整张脸看起来更加严厉。
画眉的传统始于战国时代，但那时并没有出现画眉的工具在。爱漂亮的妇女用烧过的柳枝作眉笔。后来出现了”黛“，这是一种黑蓝色的矿物质。使用前需将其放在石砚上磨成粉状，然后加水调匀。
在汉朝，画眉变得越来越常见，新的审美观也孕育而生。女人画眉，越画越好看。总而言之，古代画眉有许多方法，也意味着当时的古人喜欢画眉。

3.唐妆
初唐
唐朝妆容的风格可以说是整个中国历史中最多变的的。无论是国力还是政治，唐朝几乎达到了了历史的顶峰，因为朝代的繁盛，女性的妆容在安居乐业的环境下会不断变化。
随着初唐、盛唐、中晚唐的转变，妆容也在发生着不同的变化，为此，一些特殊的妆容也应运而生，这一点我们可以从许多古代壁画和图画中看到。
初唐时期，受短暂的隋朝（581-617 年）影响，皇室不追求奢华，崇尚简朴。因此，女性的妆容含蓄婉约，略施铅粉和胭脂
·白妆
从古代开始，人们的审美观就是越白越好看，所以女人会使用很多粉。唐朝妇女的底妆和风格更加的多样化和流行化。贞观年间，白妆在女性中很流行，其流行程度几乎和当代女生化妆时用的bb霜和粉底一样。
·红妆
贞观至武周时期，为了突出脸部轮廓，使脸部看起来更红润，女性会选择一个或几个地方在额头、眼睑、脸颊和下巴上涂胭脂。
于是，华钿、斜红、面靥等红妆及饰品开始多样化。

盛唐
武周时期后，唐朝达到顶峰，不同民族之间交往更加密切，所以妇女的妆容也出现了新风格。很多女人开始穿男人不带帷帽的衣服，化一个漂亮的妆。然而，唐朝女性对美丽的追求远不止于此，她们的面部妆容也发生了许多变化。女子的红妆更红了，脸上的胭脂、华脂也越来越多。
比如酒晕妆，像女人喝了酒后的样子，是红妆中最浓的；其次是飞霞妆，有一种白里透红的感觉；最淡的是比较少女的桃花妆，像桃花一样轻盈明艳。
还有一些其他妆容，像泪妆和啼妆，腮红会用在全脸。

中后唐
安史之乱后，女人的妆容经历了几十年的平淡期，没有什么新的风格出现，妆容更加淡。
在唐朝中后期，受国家动乱的影响，女性的生活不在像盛唐时期一样无拘无束，她们的妆容有逐渐发生变化。
然而，红妆仍然是主流，但是喜欢打扮得别致一些的女性开始在时尚妆容领域更加大胆创新，也吸收了更多异域元素，创造出许多充满梦幻想象力，甚至难以置信的妆容。
晚唐女性最突出的特色妆容是元和时期的时世妆。
这是基于啼妆夸张化后的妆容，面颊更加红润，嘴唇涂成黑色，眉毛画成末端分叉的 "分梢眉"，或形似春蚕出茧的 "出茧眉"，整体形象是眉黑，脸赭，唇黑。
到了长庆年间，时世妆已经过时。女子的黑唇已不复存在，但另一种令人大开眼界的妆容----血晕妆开始盛行。
简单来说就是女子刮掉所有的眉毛，在眼睛上下画上三到四跟红色或紫色的线条，来模仿被抓伤的样子，给人一种在流血的伤口的感觉。

唐妆---时代文化的映射
唐代妆容--时代文化的写照
唐代社会经济、政治、文化繁荣、开放的氛围，给予女性前所未有的包容，女性的妆容随着历史的时间轴，从含蓄婉约到雍容华贵，让我们看到了女性的创造力和艺术魅力。

尽管古代女性的妆容在审美上与当代有所不同，但是在每一个妆容背后，都是中国文化内涵的体现。随着历史潮流滚滚向前，唐朝的妆容逐渐退出大众生活。
总的来说，唐朝女性在追求美丽与时尚上的大胆创新，为化妆发展史和中国文明史增添了不可磨灭的一笔。

问题
古代中国女人用什么粉来让拥有雪白的脸庞？
为什么铅粉是有害的？
古代中国化妆术可分为哪三类？
在汉朝什么变得常见？
初唐时期妆容有哪些类型？
为什么唐朝妆容是那个时代文化的折射？

=Session 15 MW Fri Jun 7 10:00-11:40 room 404=
==Session 15 Student presentations==
==='''谢香琳 40. Education: Modern Chinese Education System'''===

Please upload your power point here: [[Media:Modern_Chinese_Education_System_2024.pptx]]

=Session 16 MW Fri Jun 14 10:00-11:40 room 404=
Reflection on this semester

----
==Final Exam MW==
Please write your final exam paper topic here.
*Tu Hairong |Traditional Festivals：The Dragon Boat Festival
*Chen Zhuo | Fine Arts: Painting Thousand miles of mountains and rivers
*Luo Jiayi | Music and instruments：Yuge（Fishing song）
*Xie Xianglin |Education:Chicken Child(Fired-up Child)
*Yang Zixuan |
*Chu Shoujuan |Traditonal Culture: Ganshi in Xiangxi: The Cycle of Life and Death under Ancient Witchcraft
*Jiang Rui | Achitecture: Chinese Memorial Archway (Paifang)
*Wu Liping | Festival: Qixi Festival
*Zhu Ran |social phenomenon: "Military-style" travel
*Long Yuhan |Folk Art:Youshen Fairs
*Pei Xinxian |Nuo Opera
*Hu Yujie |Chinese Cuisine:Xiang Cuisine--One of the Eight Major Cuisines
*Li Shujing | Music and instruments: Suona Horn
*Chen Jiawen |
*Xiang Lu |social phenomenon: "lie flat" boom among Chinese youth
*Mou Yihong |Music and instrument: Ancient Chinese pentatonic scale--Gong,Shang,Jue,Zhi,Yu
*Li Xun | Chinese animation
*Yu Xinzhong |
*Song Chengshuang | Chinese traditional culture：Zan hairpin flower
*Tan Yalan |Intangible cultural heritage:Xiangdao
*Xiao Ye |Ancient system: The Imperial Civil Examination System
*Li Sijin |Literature:Qu Yuan
*Luo Yang |Games: pitch-pot game
*Lin Ruyin |
*Pan Tong |Folk Art: Jingdezhen porcelain
*Lei Huiting |
*Lu Yixuan | Fine Arts: Painting with Words
*Li Yanran |Fine Arts: Tangka Painting
*Duan Siya |
Please click [[Cult_Ov_2_Fin_Exam_2024|here]] to enter the website where you actually can write it.

Cult Ov 2 Fin Exam 2024

2024-06-08T15:14:51Z

Chu Shoujuan: /* Chu Shoujuan |Ganshi in Xiangxi: The Cycle of Life and Death under Ancient Witchcraft */

Back to [[Cult_Ov_2_2024|Course Homepage]].

'''Comments for everybody'''
*Please add the sources in the form "(Wang 2020, 445)" behind each paragraph and with a long entry in the References section.
*In the References section, please add at least 1-2 Western sources.
*In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.
*Please also add free lines at places where you want to have a line break, e.g. after a header.

Please write here a textbook chapter about a Chinese cultural phenomenon until June 15 and start writing now, with unlimited revisions possible until June 15. When you find your topic listed here it means it has been approved by the teacher. It can be either in traditional culture or today. It cannot be a topic already published in the textbook.

Please do not forget to put it into context and relation in the beginning, e.g. where it emerged and how it spread, if it is unique to Chinese or Asian cultures, if it is well-known or exotic, when it occured and how it developed throughout history.

Please write 1000 English words, and on top of it write Terms and Expressions, Questions, References. The References should contain also paper books or papers and also at least one Western source. You also need to provide a Chinese version of the text and questions.

=Tu Hairong |=
1.1 Introduction

1.2 Historical Background

1.3 Traditional Customs and Practices

1.4 Contemporary Celebrations

1.5 Cultural and Social Impact

1.6 Conclusion

1.7 Terms and Expressions

1.8 Questions

1.9 References

=Chen Zhuo |Chinese Painting: A Thousand Miles of Rivers and Mountains=
==Introduction==

"A Thousand Miles of Rivers and Mountains" is a masterpiece by Wang Ximeng, a painter of the Northern Song Dynasty. This painting, known for its magnificent depiction of China’s natural landscapes, epitomizes the peak of traditional Chinese landscape painting, particularly in the genre of green landscape painting. The painting is not only a representative of green landscape painting but also a treasure of traditional Chinese painting art.
==Wang Ximeng: The Prodigy Painter==
Wang Ximeng (1096-?), a famous painter in the late Northern Song Dynasty, is renowned for his painting "A Thousand Miles of Rivers and Mountains." In his teens, he entered the palace ‘painting school’ as a student but was not initially outstanding. However, under the personal tutelage of Emperor Huizong, his skills flourished remarkably. Emperor Huizong, himself an accomplished artist and patron of the arts, saw great potential in Wang Ximeng and invested time in his education. By the age of eighteen, Wang had completed his magnum opus, "A Thousand Miles of Rivers and Mountains," a testament to both his natural talent and rigorous training. (from baidu)

==The Historical Context of the Northern Song Dynasty==
The Northern Song Dynasty (960-1127) was a period marked by significant cultural, economic, and technological advancements in China. Following the chaotic Five Dynasties and Ten Kingdoms period, the Northern Song era brought stability and prosperity, with remarkable developments in agriculture, commerce, and urbanization. The political structure, heavily influenced by Confucian ideals, promoted intellectual and artistic endeavors. During this golden age, the arts, including painting, literature, and calligraphy, reached new heights, with scholars and artists enjoying substantial support from the state. (from baidu)

==Artistic Brilliance and Technical Mastery==
"A Thousand Miles of Rivers and Mountains" exemplifies the sophisticated techniques and aesthetic principles of Song Dynasty landscape painting. Spanning over 11 meters in length, this handscroll painting captures an expansive and varied landscape with meticulous brushwork and a harmonious color palette. Wang Ximeng’s use of the blue-green landscape technique, employing mineral pigments like malachite and azurite, imbues the painting with a vibrant yet serene quality.
The painting’s composition is both grand and intricate. The undulating mountains, rendered with fine brushstrokes and detailed texture, create a sense of depth and three-dimensionality. The depiction of water bodies, including rivers, waterfalls, and streams, adds a dynamic element to the landscape, reflecting the natural beauty of Jiangnan, a region known for its picturesque scenery. The architectural elements, such as pavilions and thatched cottages, are meticulously detailed, showcasing the architectural style of the time
Wang Ximeng’s use of color is a defining feature of the painting. The blue-green technique, utilizing mineral pigments, gives the painting its distinctive and vibrant appearance. The use of these pigments, combined with careful layering and shading, creates a sense of depth and luminosity. The ochre background provides a warm contrast to the cooler tones of the landscape, enhancing the overall harmony of the composition. (Qin, Shuhai. Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". 36-38.)

==Detailed Analysis of Key Sections==
To further appreciate the intricacies of "A Thousand Miles of Rivers and Mountains," it is essential to examine specific sections of the painting in greater detail. Each segment reveals Wang Ximeng’s exceptional skill and the painting’s profound cultural significance.
The central section of the painting features towering mountains, their peaks shrouded in mist. Wang Ximeng’s use of varying brushstrokes and ink washes creates a sense of depth and texture, making the mountains appear both majestic and ethereal. The fine chapping technique used to depict the rock surfaces adds to the realism and complexity of the landscape. Water is a prominent element in the painting, depicted with a fluidity and grace that contrasts with the solidity of the mountains. The rivers and streams wind through the landscape, reflecting the light and adding movement to the scene. The waterfalls, with their cascading waters, are rendered with a dynamic energy, capturing the viewer’s attention and drawing the eye through the composition. Scattered throughout the landscape are various architectural structures, including pavilions, temples, and bridges. These buildings, though small, are rendered with meticulous detail, reflecting the architectural style and construction techniques of the Northern Song period. The placement of these structures within the landscape highlights the harmonious relationship between human habitation and the natural environment. The human figures in the painting, while small in scale, are depicted with individuality and character. Fishermen, scholars, and travelers are shown engaging in their daily activities, adding a narrative dimension to the landscape. These figures not only populate the scene but also serve to emphasize the scale and grandeur of the natural surroundings.
(Feng, Haitao. Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). 22-28, 38-39. )

==Symbolism and Cultural Connotations==
Beyond its visual splendor, "A Thousand Miles of Rivers and Mountains" is rich in cultural symbolism. The landscape, architecture, and figures within the painting reflect the ancient Chinese literati’s philosophy and aesthetics. The painting embodies the Daoist ideal of harmony between humans and nature, a central theme in Chinese culture. The serene and idyllic scenery represents a utopian vision, an escape from the political and social turmoil of the era.
The figures in the painting, although small in scale, are portrayed with remarkable individuality. Fishermen, travelers, and hermits are depicted engaging in various activities, symbolizing different aspects of life and society. These figures not only add a narrative dimension to the painting but also emphasize the close relationship between people and their natural environment.
The painting reflects the Daoist and Confucian ideals that were prevalent during the Northern Song Dynasty. The harmonious integration of human and natural elements embodies the Daoist concept of harmony with nature. At the same time, the depiction of scholars and hermits in the landscape reflects the Confucian value placed on intellectual and contemplative pursuits.
(Lin, Shunyang & Xu, Hui. Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". 12, 114-116.)

==Impact and Legacy==
Wang Ximeng’s "A Thousand Miles of Rivers and Mountains" is a milestone in the history of Chinese landscape painting. Its innovative techniques, grand composition, and rich colors influenced generations of artists. The painting set a new standard for green landscape painting, inspiring many subsequent artists to adopt and adapt its techniques and style.
The painting’s influence extends beyond China. It is celebrated internationally as a masterpiece of Chinese art, showcasing the depth and sophistication of traditional Chinese culture. The painting’s ability to convey a sense of timeless beauty and tranquility has earned it a place among the most revered works of art in the world.
==Conclusion==
"A Thousand Miles of Rivers and Mountains" by Wang Ximeng is not merely a landscape painting; it is a profound expression of the Northern Song Dynasty’s cultural and artistic achievements. Through its exquisite details and grand vision, the painting encapsulates the harmony between nature and humanity, a core value of Chinese philosophy. Wang Ximeng’s masterpiece continues to inspire and captivate audiences, a testament to the enduring power of art to transcend time and space.
==Terminology==
A Thousand Miles of Rivers and Mountains 千里江山图
Wang Ximeng 王希孟
the Northern Song Dynasty 北宋朝
the palace ‘painting school 宫中“画学”
tutelage 侍奉
Emperor Huizong 宋徽宗
magnum opus 杰作
Five Dynasties and Ten Kingdoms 五代十国
blue-green landscape 青绿山水
malachite 石青
azurite 石绿
Jiangnan 江南
thatched cottages 茅屋
==Questions==
1. What is the significance of Wang Ximeng's "A Thousand Miles of Rivers and Mountains"?
2. How did Emperor Huizong influence Wang Ximeng's artistic development?
3. What advancements in society and culture occurred during the Northern Song Dynasty?
4. What are the main elements depicted in "A Thousand Miles of Rivers and Mountains"?
5. How does the painting reflect the cultural and philosophical ideals of the Northern Song Dynasty?
6. What impact has "A Thousand Miles of Rivers and Mountains" had on subsequent generations of artists?

==References==
#https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
#https://www.dpm.org.cn/collection/paint/228354.html
#http://www.chinashj.com/sh-gdhh/10245.html
#http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
#Lin, Shunyang & Xu, Hui. (2022). Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". Beauty and Times (China), 12, 114-116.
#Feng, Haitao. (2023). Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). Art Research, (01), 22-28, 38-39.
#Qin, Shuhai. (2023). Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". Oriental Collection, (09), 36-38.
#Xiao, Pengfei. (2023). On the Realm of Wang Ximeng’s "A Thousand Miles of Rivers and Mountains". Journal of Fuyang Vocational and Technical College, (02), 76-78.

==简介==

《千里江山图》是北宋画家王希孟的杰作。这幅画以其壮丽的中国自然景观描绘而闻名，堪称传统中国山水画的巅峰，特别是在青绿山水画领域。此画不仅是青绿山水画的代表作，也是传统中国绘画艺术的瑰宝。

==天才画家王希孟==

王希孟（1096-?），是北宋末年的著名画家，以其作品《千里江山图》闻名。在十几岁时，他进入宫中的“画学”学习，但起初并不出众。然而，在宋徽宗的亲自指导下，他的技艺得到了显著提升。宋徽宗本人是一个才华横溢的艺术家，也好支持别人搞艺术，他看到了王希孟的巨大潜力，投入了大量时间来培养他。在十八岁时，王希孟完成了他的杰作《千里江山图》，这不仅证明了他的天赋，也展示了他经过严格训练所取得的成果。

==北宋时期的历史背景==

北宋（960-1127）是中国文化、经济和技术显著进步的时期。在经历了混乱的五代十国时期之后，北宋带来了稳定和繁荣，在农业、商业和城市化方面取得了显著发展。以儒家思想为主导的政治结构促进了知识和艺术的发展。在这个黄金时代，绘画、文学和书法等艺术达到了新的高度，学者和艺术家得到了国家的极大支持。

==精湛技术==

《千里江山图》展示了宋代山水画的复杂技艺和美学原则。画卷长达11米以上，捕捉了广阔多样的景观，以细腻的笔触和和谐的色彩表现出来。王希孟采用了青绿山水技法，使用石青和石绿等矿物颜料，使这幅画充满了生机和宁静。
画面的构图既宏大又复杂。起伏的群山通过细腻的笔触和细致的纹理描绘出深度和三维感。水体的描绘，包括河流、瀑布和溪流，为景观增添了动态元素，反映了以风景如画著称的江南的自然美。建筑元素如亭台和茅屋细致入微，展示了当时的建筑风格。

==象征意义和文化内涵==

《千里江山图》不仅在视觉上引人入胜，还充满了文化象征意义。画中的山水、建筑和人物反映了古代文人雅士的哲学和美学。这幅画体现了人与自然和谐的道家理想，这是中国文化的核心主题。宁静而田园的景色代表了一种乌托邦愿景，是对时代政治和社会动荡的逃避。

画中的人物虽然规模较小，但刻画得极具个性。渔夫、旅行者和隐士从事各种活动，象征着生活和社会的不同方面。这些人物不仅为画面增添了叙事维度，还强调了人与自然环境的紧密关系。

==影响==

王希孟的《千里江山图》是中国山水画史上的一座里程碑。其创新的技法、宏大的构图和丰富的色彩影响了几代艺术家。这幅画为青绿山水画设定了新的标准，激励了许多后来的艺术家采用和改编其技法和风格。

这幅画的影响不止于国内。它作为中国艺术的杰作在国际上备受赞誉，展示了传统中国文化的深度和复杂性。画作所传达的美和宁静感使其成为世界上最受尊敬的艺术作品之一。

==结论==

王希孟的《千里江山图》不仅仅是一幅山水画；它还是北宋文化和艺术成就的深刻表达。通过其精美的细节和宏大的视野，这幅画捕捉了自然与人类和谐的核心价值。《千里江山图》继续激发和吸引观众，证明了艺术跨越时间和空间的持久力量。

==参考文献==
#https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
#https://www.dpm.org.cn/collection/paint/228354.html
#http://www.chinashj.com/sh-gdhh/10245.html
#http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
#林顺洋 & 徐辉.(2022).《千里江山图》的美学思想及艺术价值. 美与时代(中)(12),114-116.
#冯海涛.(2023).画式——《千里江山图》卷中的绘画语言研究（上）. 美术研究(01),22-28+38-39.
#秦树梅.(2023).《千里江山图》画法研究. 东方收藏(09),36-38.
#肖鹏飞.(2023).论王希孟《千里江山图》之境. 阜阳职业技术学院学报(02),76-78.

==问题==
#王希孟的《千里江山图》有何重要意义？
#宋徽宗如何影响王希孟的艺术发展？
#北宋时期社会和文化有哪些进步？
#《千里江山图》描绘了哪些主要元素？
#这幅画如何反映北宋的文化和哲学理想？
#《千里江山图》对后世艺术家产生了怎样的影响？

=Wu Liping | Festival：Qixi Festival=

==Introduction==
Qixi Festival, also known as Qiqiao Festival, Qijie Festival, Daughter's Day, Qiqiao Festival, Qinianghui Festival, Qixi Festival, Ox and Bull Mother's Day, Qiaoxi Festival, etc., is a traditional Chinese folk festival. Qixi Festival evolved from the worship of stars. It is the birthday of the seventh sister in the traditional sense. Because the worship of the "seventh sister" was held on the night of July 7th, it was called "Qixi Festival". Worshiping the seventh sister, praying for blessings and wishing, begging for skillful art, sitting and watching Morning Glory Vega, praying for marriage, storing Qixi water, etc. are the traditional customs of Qixi Festival. After historical development, Qixi Festival has been given the beautiful love legend of "Cowherd and Weaver Girl", making it a festival symbolizing love. Therefore, it is regarded as the most romantic traditional festival in China, and has produced the cultural meaning of "Chinese Valentine's Day" in modern times.

==Origin==
1.The Legend of the Cowherd and the Weaver Girl
Qixi Festival is one of the traditional festivals in China. "Xi" is the origin of the evening festival. Qixi Festival is the night on the seventh day of the seventh lunar month. Qixi Festival originated from the legend of the Cowherd and the Weaver Girl. The cowherd is a young herder, and the weaver girl is a fairy in the sky. The weaver girl felt that there was no freedom in the sky and came to the world. With the help of the old cow, the cowherd met the weaver girl and soon fell in love and got married, giving birth to a man and a woman. But one day, the Queen Mother took the Weaver Girl away. When the cowherd carried the two children to the sky to chase the weaver girl, the Queen Mother drew a galaxy with the jade hairpin on her head. The galaxy was long and wide, and the cowherd could not pass, so they were separated. The Queen Mother only allows the Cowherd and the Weaver Girl to meet once every year on the seventh day of July. Every night on the seventh day of the seventh month, groups of magpies fly to build a bridge for the Cowherd and the Weaver Girl and let them meet on the bridge. This is the origin of the Qixi Festival.

2.Worship of natural celestial phenomena
As early as ancient times, the ancients who pursued order not only planned the sky in an orderly manner, but also corresponded the stars to the ground area one by one. This correspondence is called "star division" in terms of astronomy and "division" in terms of the ground. . In short, the ancients corresponded each constellation in the sky to the physical geographical area on the ground one by one. The purpose of the ancient star division and division was mainly to cooperate with the astrology theory for celestial occupation. In the ancient star system, "Ox" consists of six stars, located on the east coast of the Milky Way, like two inverted triangles, one up and down, very characteristic, but the upper triangle is larger and brighter. The small triangle below is located on the ecliptic. These stars form a cow with two horns on its head but only three feet, so the ancients called it "the morning ox." The three stars of "Weaver Girl" are located in the north of the cow house. Among them, the "Weaver Girl One" star is the fifth bright star in the sky, so it is often directly called "Weaver Vega". People call "Oxus" and "Weaver Vega" together as "Cowherd and Weaver Girl". It is said that on the seventh day of July every year, the Cowherd and the Weaver Girl meet at the Magpie Bridge in the sky. Later, the folk gave further play to the story and gave the "Cowherd and Weaver Girl" a beautiful love legend. And in order to have the dexterity of the weaver girl, the girls work on that day, so that day is also called the Begging Festival.

3.Time digital worship
"Chinese Valentine's Day" is the seventh day of the month and the seventh day. In ancient times, the ancients combined the sun and moon with the five planets of water, fire, wood, gold and earth as "Seven Yao." The seventh day of July is related to the ancients' worship of numbers and time. In ancient times, the "sevenfold" of the first month, February 2, March 3, May 5, June 6, July 7 and September 9 were listed as auspicious days. In ancient China, the "heavy day" was regarded as a day of "the communication between heaven and earth" and "the communication between heaven and man". Seven is the number of beads in each column of the abacus, which is romantic and rigorous, giving people a mysterious beauty. "Seven" and "Ji" are homophonic, and "Seven" also means double good luck, which is an auspicious day.

==Activities on the day==
Activities on the day
1.Couple dating
Chinese Valentine's Day is commonly known as Valentine's Day in China, so couple dating is one of the most common ways to celebrate Chinese Valentine's Day. Couples may choose to have a romantic dinner on this day, enjoy the moon together, or participate in activities on the theme of Qixi Festival to express their love and care for each other
2.Xiangqiao Hui
In Yixing, Jiangsu Province, there is a custom of Qixi Xiangqiao Festival. Every year on the Chinese Valentine's Day, people come to participate and build incense bridges. The so-called incense bridge is a bridge four or five meters long and about half a meter wide made of all kinds of thick and long wrapping incense (paper-wrapped thread incense). It is decorated with a railing made of five-color threads. At night, people sacrifice the double stars, beg for good fortune, and then burn the incense bridge, symbolizing that the double stars have crossed the incense bridge and met happily. This incense bridge is derived from the legendary legend of Magpie Bridge.

3.Take Dew
In rural areas of Zhejiang, it is popular to use washbasins to receive dew. Legend has it that the dew on the Qixi Festival is the tears when the Cowherd and the Weaver Girl meet. If you wipe it on your eyes and hands, you can make your eyes clear and your hands fast.

4.Wear a needle and beg for cleverness
Wearing needles, also known as "matching tricks", is women's competition to wear needles. They tie colored threads and wear seven-hole needles. The faster they wear, the more clever they wear, the more clever they are. Those who wear slowly are called "losing tricks". "People who lose cleverness" should give gifts prepared in advance to the clever. Xijing Miscellany said: "Han Cai girls often wear seven-hole needles in the open building on July 7th, and people get used to it”

==Cultural significance and development of Qixi Festival==
1.Inheritance of traditional culture: As a part of Chinese traditional culture, Qixi Festival has inherited ancient myths and beautiful blessings through generations.
2.Multicultural integration: In contemporary society, Qixi Festival integrates the customs of different regions and cultures, forming a variety of forms of celebration.
3. Changes in personal values: With the rapid development of society, people's concepts of love and marriage are also changing. As a symbol of love, Qixi Festival represents the change of values that people pursue in love.The cultural evolution of Qixi Festival not only retains traditional customs, but also blends with modern society, reflecting the diversity and vitality of Chinese culture. We look forward to the continuous evolution and development of Qixi Festival in the future and become a cultural feast of tradition and modernity.

==Conclusion==
As a traditional Chinese festival, Qixi Festival carries ancient myths and legends and beautiful blessings. With the progress of society and the evolution of culture, Qixi Festival has become more romantic and diversified in modern times. Traditional Qixi customs such as begging for tricks and enjoying the moon still exist, but modern society gives Qixi Festival more meaning and expression. To sum up, the Seven Festivals is not only a traditional festival, but also a festival with rich cultural significance and historical traditions. It embodies the Chinese nation's unremitting self-improvement, diligence and wisdom, creative courage, and the continuous pursuit of a happy life.

==Terms and Expressions==
the Cowboy and the Weaver Girl 牛郎织女
：the Queen of Heaven 王母娘娘
magpie bridge 鹊桥
ecliptic 黄道：
Seven Luminaries 七曜
Heavenly Palace 天宫
Altair 牵牛星
Vega 织女星
Miscellanies of Xijing 《西京杂记

==Questions==
Qustions:
1. What is the name of Qixi Festival?
2. What day does the Chinese Valentine's Day take place?
3. What are the origins of Qixi Festival?
4. What are the common Qixi Festival activities?
5.What is the impact of Qixi Festival on today's society?

=Luo Jiayi | Music and instruments：Yuge（Fishing song）=
==Overview==
Fishing song, also known as Yuge, is a unique Chinese folk song sung by fishermen in China's coastal areas, lakes and harbors. The most widely circulated one is the Tang Dynasty poet Zhang Zhihe's ''Fisherman's Song'':

In front of western hills white egrets fly up and down

Over peach-mirrored stream, where perches are full grown.

In a broad-brimmed blue hat

And green straw cloak, I’d fain

Go fishing careless of the slanting wind and rain.

There are many types and quantities of fishing songs. When and where it originated, there is no way to know. But it is certain that in the Han Dynasty, there was a large number of documentary records of fishing songs. In 2014, the fishing songs (Dongting Fishing Songs and Shanwei Fishing Songs) were approved by the State Council to be included in the fourth batch of national intangible cultural heritage lists. In 2021, Fishing Songs (Shengsi Fishing Songs) were approved by the State Council to be included in the expanded list of representative items of national intangible cultural heritage.

渔歌是一种特有的中国民歌，由中国沿海地区以及湖泊港湾渔民所唱。流传最广泛的当属唐代诗人张志和的《渔歌子》：西塞山前白鹭飞，桃花流水鳜鱼肥。青箬笠，绿蓑衣，斜风细雨不须归。渔歌种类繁多、数量庞大，到底起源于何时何地，已无从考究。但可以确定的是在汉代，渔歌已有大量的文献记载。2014年，渔歌（洞庭渔歌、汕尾渔歌）经国务院批准列入第四批国家级非物质文化遗产名录。2021年，渔歌（嵊泗渔歌）经国务院批准列入国家级非物质文化遗产代表性项目名录扩展项目名录。

==Classification of fishing songs==
Fishing songs can be classified by region. For example, the fishing songs popular in Shanwei, Guangdong Province are collectively referred to as Shanwei Fishing Songs, and there are also fishing songs in Huidong, Guangdong, which belong to the same kind in Shanwei; popular in Yueyang, Hunan Province, Dongting Lake, collectively known as Dongting Fishing Song. The fishing songs popular in Shengsi, Zhoushan, Zhejiang Province, are called Shengsi Fishing Song.

Fishing songs can also be divided into two categories: deep-sea fishing songs and shallow-sea fishing songs. The former is sung by fishermen working in the deep sea, similar to salty water songs. The latter is sung by the women of the fishermen by the sea. It usually refers mainly to shallow-sea fishing songs.

What is more, fishing songs can be classified according to their form, which are divided into three types: work songs, folk songs, and ditty.

渔歌可以按地域来分类。如流行于广东汕尾市的渔歌，统称为汕尾渔歌，而在广东的惠东也有渔歌，属于汕尾市同类；如流行于湖南省岳阳市岳阳楼区洞庭湖边的，则统称为洞庭渔歌；如流行于浙江省舟山市嵊泗县的渔歌，则称为嵊泗渔歌。

渔歌也可以分深海渔歌和浅海渔歌两类。前者是深海作业渔民所唱，近似咸水歌；后者是海边渔家妇女所唱。通常主要指浅海渔歌。

渔歌还可以按其按形式来分类，分为号子、山歌、小调三种类型。

==Characteristics of fishing songs==
The content of fishing songs is rich and colorful, and it is mainly divided into five categories, namely labor, life, love, folk customs and sacrifices. (Li 2008, 51)The labor category, represented by ''The Boatman's Work Song'', mostly describes the spontaneous organization of fishermen in production and life, such as fiber pulling, net collection, etc., with a sonorous rhythm and full of dynamics. In the life category, it mainly expresses the joys and sorrows in the hearts of fishermen, and its representative works include ''How can there be more tears in the river''. Love, mostly men and women pour out their love for each other. Affected by the water, their marriage and love are in the boat, which gave birth to a large number of songs, such as ''Bachelor Marrying'' and so on. Folk customs, more reflect the survival skills of fishermen, and the cultivation of excellent moral qualities such as the education of children, and the representative works include ''My Thousands of Fishing Songs''. Sacrificial category, the content is mainly for the fishermen to pray for the god of water and the dragon king to bless favourable conditions and the boat is safe, the representative works are ''Dongting Immortal'' and so on.（Xu Hao,Liu Jiwen 2020, 121-122）

The lyrics of fishing songs are generally in the format of seven-character sentences, two sentences are one paragraph, and there are also four or eight sentences in a paragraph. In the four sentences, there are also five-character sentences or three-character sentences as the starting sentence, and the last three words of the second or fourth sentence are often repeated with padding words, or the whole sentence is repeated.

The expression forms of fishing songs include humming, singing in unison, singing in unison with the lead singer, blowing, duet, singing and dancing, pure natural harmony singing, playing and singing, etc. The dragging and repetition in the singing are the most basic and significant characteristics that distinguish fishing songs from other folk songs.

渔歌的内容丰富多彩，主要分为五大类，即劳动类、生活类、爱情类、民俗类和祭祀类。(Li 2008, 51)劳动类，以《船工号子》为代表，多形容渔民在生产生活中的自发组织劳动，如拉纤、收网等，节奏铿锵，富于动感；生活类，则主要表达渔民内心的喜怒哀乐，代表作有《河水哪有我的眼泪多》等；爱情类，多为男女之间互相倾诉爱慕之情，受水域影响，婚姻、恋爱均在船间，由此萌生出大量歌曲作品，如《光棍娶亲》等；风俗民俗类，更多反映渔民的生存技巧，及对子女的教育等优秀道德品质的培养，代表作有《我的渔歌万万千》等；祭祀类，内容主要为渔民祈求水神、龙王保佑风调雨顺、行船平安，代表作有《洞庭仙》等。（Xu Hao,Liu Jiwen 2020, 121-122）

渔歌的歌词格式一般为七字句，两句一首，间有四句或八句一首。四句中也有用五字句或三字句作起句的，第二句或第四句的最后三字常加上衬词重复，或整句重复。

渔歌的表现形式有哼唱、齐唱、领和式齐唱、吹奏、对唱、歌舞、纯自然和声演唱、弹唱等。而唱腔曲调上的“拖音”和“复沓”是渔歌有别于其他民歌品种最基本、最显著的特征。

==The value of fishing songs==
The fishing song itself has a high aesthetic value of musical art, which is mainly reflected in its unique style and rich forms of expression. It contains the cultural genes of traditional music, and provides a rich source of original materials and inspiration for music creation.(Wang 2009, 25)

In contemporary times, the more important thing about the fishing song is its historical, cultural and folk value. Fishermen living by the water's edge can learn about the humanistic history, folk customs, social outlook of their hometown, and the way of life, thoughts and feelings, spiritual pursuits, and values of fishermen through fishing songs, so as to gain a sense of identity of local cultural identity. (Chen 2023, 74-75)In addition, this kind of value is also reflected in the true record and effective continuation of traditional fishing culture. Through fishing songs, people can understand the ocean, tide, meteorology, fishing flooding, fish, fishing, breeding, processing, trade and other fishery knowledge and inherit the fishing culture of the fishing area.(Jin 2009, 90/ Fang 2023, 24-25)

In addition, the fishing song also has scientific, economic and practical value. Only by transforming it from a folk art resource into a cultural productive force and bringing economic benefits can the reproduction of folk art producers be guaranteed, and correspondingly more funds will be invested in the protection and development of folk art.(Jinling Li 2022, Volume 4.0, Issue 5.0)

渔歌本身具有很高的音乐艺术审美价值，主要体现在它独特的风格和丰富的表现形态上。它蕴含着传统音乐的文化基因，为音乐创作提供了丰富的原始素材和灵感源泉。(Wang 2009, 25)

在当代，渔歌更重要的是它的历史文化民俗价值。生活在水边的渔民，通过渔歌了解自己家乡的人文历史、民俗风情、社会面貌和渔民的生活方式、思想感情、精神追求、价值观念，从而获得本土文化身份的认同感。(Chen 2023, 74-75)除此之外，它的这种价值还体现在对传统渔俗文化的真实记录和有效延续上，人们通过渔歌，可以了解海洋、潮汛、气象、渔汛、鱼类、捕捞、养殖、加工、贸易等渔业知识，传承渔区渔俗文化。(Jin 2009, 90/ Fang 2023, 24-25)

此外，渔歌也有科学经济实用价值。只有将其从民俗艺术资源转换为文化生产力,带来经济效益,才能保证民俗艺术生产者的再生产,相应地就会有更多的资金投入到民俗艺术的保护和发展上。(Jinling Li 2022, Volume 4.0, Issue 5.0)

==Terms and Expressions==
Fishing songs 渔歌

''Fisherman's Song'' 《渔歌子》

Dongting Fishing Songs 洞庭渔歌

Shanwei Fishing Songs 汕尾渔歌

Shengsi Fishing Songs 嵊泗渔歌

The fourth batch of national intangible cultural heritage list 第四批国家级非物质文化遗产名录

Expanded list of representative items of national intangible cultural heritage 国家级非物质文化遗产代表性项目名录扩展项目名录

Deep-sea fishing songs 深海渔歌

Shallow-sea fishing songs 浅海渔歌

Salty water songs 咸水歌

Work songs 号子

Folk songs 山歌

Ditty 小调

''The Boatman's Work Song'' 《船工号子》

''How can there be more tears in the river'' 《河水哪有我的眼泪多》

''Bachelor Marrying'' 《光棍娶亲》

''My Thousands of Fishing Songs'' 《我的渔歌万万千》

''Dongting Immortal'' 《洞庭仙》

Padding words 衬词
==Questions==
（1）What are the types of fishing songs classified by region? Please name two.

（2）Are fishing songs an intangible cultural heritage?

（3）What is the value of fishing songs?

（1）渔歌按地域分类有哪几种？请举出两个。

（2）渔歌属于非物质文化遗产吗？

（3）当代的渔歌具有什么价值？
==References==
李琳(Li Lin). 环洞庭湖民歌中的民俗及其文化内涵(Folklore and Its Cultural Connotation in Folk Songs Around Dongting Lake)[J]. 湖南农业大学学报(社会科学版)(Journal of Hunan Agricultural University (Social Science)),2008,(05):50-53.

许昊,柳集文(Xu Hao,Liu Jiwen). 传统音乐类非物质文化遗产的生存现状与整合传播——基于湖南岳阳洞庭渔歌的考察(The Survival Status and Integrated Dissemination of Traditional Music Intangible Cultural Heritage: An Investigation Based on Dongting Fishing Songs in Yueyang, Hunan Province)[J]. 新媒体研究(Journal of New Media Research),2020,6(07):121-124.

王晓淮(Wang Xiaohuai). 关于当代原生态民歌发展及意义的思考(Reflections on the Development and Significance of Contemporary Original Ecological Folk Songs)[J]. 歌海(Ge Hai),2009,(04):24-25.

陈辉(Chen Hui). 渔俗文化的历史记忆——浙东渔歌的功能与价值(Historical Memory of Fishing Culture: The Function and Value of Fishing Songs in Eastern Zhejiang)[J]. 浙江艺术职业学院学报(Journal of Zhejiang Vocational College of Art),2023,21(04):70-76.

金成辉(Jin Chenghui). 民俗艺术资源的价值要素探析(Analysis on the Value Factors of Folk Art Resources)[J]. 艺术探索(Art Exploration),2009,23(05):90-91.

方从戎(Fang Congrong). 湖南洞庭渔歌的文化内涵及其生存现状(The Cultural Connotation and Survival Status of Dongting Fishing Songs in Hunan Province)[J]. 中国民族博览(China Nationalities Expo),2023,(18):24-26.

Jinling Li. Research on the Development of Intangible Cultural Heritage Traditional Handicraft Education Inheritance and Socialization Inheritance(非物质文化遗产的发展研究传统手工艺教育传承与社会化传承)[J]. International Journal of Frontiers in Sociology(国际社会学前沿杂志), 2022, Volume 4.0 , Issue 5.0.

=Xie Xianglin |Education:Chicken Child(Fired-up Child)=
==The Origin and Meaning==
In recent years, with the popularity of the TV series ‘A Little Dilemma’, ‘education anxiety’ has become a hot topic nowadays, and the new word ‘chicken child’ has therefore come into the public eye.The drama is set in the context of primary school and reflects the current educational context where children's education is highly competitive.
Chicken child means a child who has been over-motivated and spurred on by their parents in terms of learning and forced to be fired up.Chicken child, in Chinese is ‘鸡娃’. Chicken, ‘鸡’ is homophonous with the character ‘激’which means motivating or stimulating, so Chicken Child has the meaning of a child who is motivated and spurred on.
On the other hand,in China in the 1960s, there was a form of chicken blood therapy, in which fresh chicken blood was drawn and injected into a person's veins, which would leave them refreshed and free of any illness. It's pseudo-science, but the term chicken blood has been passed down and given the meaning of a person's sudden excitement about something.So ‘Chicken Child’ borrowed this meaning to denote a child who is forced by his parents to be excited about learning.Based on its meaning, the term has also been translated as Fired-up Child.（Ding Miaomiao. 2022，Imago Literature Creation）

==Causes of the Chicken Child==
The causes of the chicken child are complex and involve many aspects.
===Education system===
The National College Entrance Examination, as the only examination that determines university entrance, makes parents and students focus all their energy on exam-oriented education. In addition, two important exams, the Junior High School Entrance Examination and the High School Entrance Examination, largely determine how high or low a child's educational starting point will be. These examinations in China make children and their parents anxious, fearing that they will fall behind on any rung of the ladder. Although in recent years the policy of reducing the burden one after another, the effect of reducing the burden is not obvious. Even though the The Double Reduction Policy has alleviated parents‘ educational anxiety to a certain extent, the problem of parents’ educational anxiety will not be reduced as long as there is the existence of exam-oriented education and the selection system of the National College Entrance Examination according to the scores.
===Ideological Tradition===
China's ideological tradition of‘expecting a son to become a dragon and a daughter to become a phoenix’ is the most ardent hope of every Chinese parent for their children. Therefore, most parents will focus all their energy, financial and material resources on their children, so that they can have better conditions and resources to improve social status and change the fate of the family. Education, on the other hand, is the most effective and fair of all avenues. Some scholars have pointed out that the direct cause of parents’ educational anxiety is their educational expectations and requirements for their children. (Fu Qiwen ,Ye Xiangxiang,Zou Simin ,Gong Xue. Secondary school students)
===Economic Factors===
In Professor Fabrizio's eyes, chicken child is not the fault of parents, but the result of economic inequality. In addition to contributing to a shift in cultural values, the increase in economic inequality has also changed parental behaviour. In particular, parents increasingly believe that the basis of their children's success will depend on educational achievement. In a world where parents are tightly connected with their children in interests, parents will be more concerned about their children's place in the social hierarchy, and will therefore be motivated to invest more in pushing their children to adopt success-oriented behaviors. (Tencent News.2021)

==Specific Manifestations in Society==
Firstly, there is intense subject tuition. Children attend a variety of tuition classes after school and on weekends, covering a wide range of subjects such as Maths, English and Physics, with a view to improving their academic performance. Secondly, they enroll in a wide range of interest classes. Apart from subject tuition, parents would also arrange for their children to attend interest classes in music, dance, sports and so on, in the expectation that they could develop in an all-round way. Thirdly, strict time management. Children's schedules are so tight that they have little free time, and all their activities revolve around learning and skill enhancement. Fourthly, the high-pressure family environment, where parents have very high expectations and demands on their children's academic performance, leading to a tense family atmosphere and greater psychological pressure on the children.
Changsha, for example, has the four most prestigious high schools in Hunan: The First High School of Changsha, Changjun High School of Changsha, Yali Middle School, and The High School Attached to Hunan Normal University. In addition, other schools are divided into various echelons, and it is often rumored that ‘Entering XXX school is a step into the door of Universities listed in Project 985, 211’. For this reason, parents and students try to get into the best high school possible. According to the Chinese education system, children only start learning English in the third grade of primary school. But here, there are children who have been attending English interest classes since they were a few years old. Some even learn a second or third foreign language. In addition to the basic curriculum, children also have to learn programming, Olympiads, etc. to have as much competitive capital as possible. At the age of primary school and junior high school, age of nature of to play, it is difficult to say that there are children who love to take the initiative to learn, so all of the above mentioned can not ignore the role of the parents . This is the specific embodiment of the chicken child, rather than children play initiative to learn, it is the parents play initiative to let them learn.

==The Double Reduction Policy==
The implementation of the ‘Double Reduction’ policy is intended to alleviate the phenomenon of ‘chicken children’, reduce the academic burden on students and promote equity in education. The ‘Double Reduction’ policy is an important education reform measure introduced by the Chinese government in 2021. The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training, issued in July 2021, aims to reduce the burden of homework and out-of-school training for primary and secondary school students. The core elements of this policy include reducing the amount of homework, regulating the operation of out-of-school training organizations, and reducing the educational anxiety of students and parents.
However, the policy has faced some challenges and backlash in its implementation, and the demand and competitive mentality of parents and students for educational resources still exists. Achieving the policy's goals will require concerted efforts by the government, schools, and families to enhance the equitable distribution of educational resources, improve the quality of public education, change parents' concepts of education, and promote the all-round development and physical and mental health of students. (Baidu Encyclopedia)

==Similar phenomena abroad==
As a matter of fact, there are similar educational anxieties abroad. Similar to the chicken child, there are ‘Helicopter Parents’ and ‘Tiger Parenting’ .
Helicopter parents refer to parents who are overly concerned about their children's behaviour, learning and development. They hover around their children like helicopters, always ready to intervene and interfere in their children's lives.
Tiger-Parenting is derived from the book ‘The Battle Hymn of the Tiger Mother’ by Amy Chua, a Chinese-American writer. Tiger-Parenting emphasizes rigour and high standards, and parents expect their children to achieve excellent results, often through coercion, threats and punishment, in order to motivate their children to learn and perform. And the term actually originated in China. The origin of the term, ‘Battle Hymn of the Tiger Mother’, is about how the author, a Chinese mother, fired up her children to become chicken child. Tiger-Parenting became a sensation in the education world and led to a great debate about the educational methods of China and the United States.(Woran Zhang. 2023.)

==Summary==
The essence of chicken children lies in parents' excessive concern about their children's studies and performance, as well as their excessive expectations of their children's future development. This phenomenon reflects the unequal distribution of educational resources and opportunities in society, as well as parents' anxiety and distrust of their children's future in a highly competitive social environment. Chicken-child behaviour is often accompanied by negative consequences such as excessive learning pressure, lack of autonomy and mental health problems, and may also lead to a waste of educational resources and a lack of educational equity.

==Terms and Expressions==
Chicken Child(Fired-up Child) 鸡娃
A Little Dilemma 《小别离》
chicken blood therapy 鸡血疗法
National College Entrance Examination 高考
exam-oriented education 应试教育
Junior High School Entrance Examination 小升初考试
High School Entrance Examination 中考
The Double Reduction Policy 双减政策
The First High School of Changsha 长沙市第一中学
Changjun High School of Changsha 长郡高级中学
Yali Middle School 雅礼中学
The High School Attached to Hunan Normal University 湖南师范大学附属中学
The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
Helicopter Parents 直升机式家长
Tiger Parenting 虎妈式教育
The Battle Hymn of the Tiger Mother 《虎妈战歌》

==Question==
#How did the word ‘chickenshit’ come about?
#What are the causes of the chicken child phenomenon?
#What are the concrete manifestations of the chicken child in the society?
#Why is it necessary to implement the ‘Double Reduction Policy’?
#Where did the term ‘tiger mother education’ originate?

==References==
#Ding Miaomiao. An analysis of the network buzzword ‘chicken child’. Journal of literature and creativity,2022,(29):111-113.
#FU Qiwen, YE Xiangxiang, ZOU Simin, GONG Xue. A review of research on the current situation of parents' educational anxiety and countermeasures in the context of burden reduction. A review of parental education anxiety and countermeasures in the context of burden reduction.
#Tencent News.2021.Economists tell you that chicken children are not your fault_Tencent News (qq.com)
#General Office of the CPC Central Committee, General Office of the State Council . Opinions on Further Reducing the Burden of Homework on Students in Compulsory Education and the Burden of Out-of-School Training .
#Baidu Encyclopedia. Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Off-Campus Training_Baidu Encyclopedia (baidu.com)
#Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.

==Translation==
教育：鸡娃
1.鸡娃的由来及含义
近年来，随着电视剧《小别离》的热播，“教育焦虑 ”成为时下的热门话题，“鸡娃 ”这个新词也因此进入公众视野。这部电视剧以小学为背景，反映了当下儿童教育竞争激烈的教育背景。
鸡娃是指在学习方面被家长过度激励和鞭策，被迫发奋学习的孩子。“鸡” 与 “激”同音，“激” 的意思是激励或刺激，所以 ”鸡娃 "有激励和鞭策孩子的意思。
另一方面，在 20 世纪 60 年代的中国，有一种鸡血疗法，即抽取新鲜鸡血注入人的血管，使人神清气爽，百病不生。虽然是伪科学，但鸡血一词却流传了下来，并被赋予了一个人突然对某件事情感到兴奋的含义，所以 “鸡娃”借用了这一含义来表示被父母逼着对学习感到兴奋的孩子。(丁苗苗. 2022,今古文创)

2.鸡娃现象的成因
鸡娃现象的产生成因复杂，涉及许多方面。
A. 教育体制
全国高考作为决定大学入学的唯一考试，使家长和学生把全部精力都放在应试教育上。此外，初中入学考试和高中入学考试这两次重要的考试在很大程度上决定了孩子教育起点的高低。在中国，这些考试让孩子和家长们焦虑不安，生怕自己在哪个阶梯上掉队。虽然近年来减负政策陆续出台，但减负效果并不明显。即使 “双减 ”政策在一定程度上缓解了家长的教育焦虑，但只要存在应试教育和高考唯分数论的选拔制度，家长的教育焦虑问题就不会减少。
B. 思想传统
望子成龙、望女成凤 "是中国的思想传统，也是每个中国家长对子女最殷切的期望。因此，大多数父母都会把所有的精力、财力、物力都集中在子女身上，让子女有更好的条件和资源来提高社会地位，改变家庭命运。而教育则是所有途径中最有效、最公平的途径。有学者指出，造成家长教育焦虑的直接原因是家长对子女的教育期望和要求。 (付启文、叶湘湘、邹思敏、龚雪.中学生）。
C.经济因素
在 Fabrizio 教授眼中，“鸡娃 ”不是父母的错，而是经济不平等的结果。除了导致文化价值观的转变，经济不平等的加剧也改变了父母的行为。尤其是，家长们越来越相信，子女成功的基础取决于教育成就。在父母与子女利益紧密相连的世界里，父母会更加关注子女在社会等级中的位置，因此会有动力投入更多，促使子女采取以成功为导向的行为。(腾讯新闻.2021）

3.鸡娃在社会中的具体显现
一是高强度的学科补习，孩子们在放学后和周末参加各种补习班，涵盖数学、英语、物理等多个学科，以期提高他们的学术成绩。二，报广泛的兴趣班。除了学科补习，家长还会安排孩子参加音乐、舞蹈、体育等兴趣班，期望他们能够全面发展。三是严格的时间管理，孩子们的日程安排得非常紧凑，几乎没有自由时间，所有的活动都围绕着学习和技能提升。四是高压的家庭环境，家长对孩子的学习成绩和表现有着非常高的期望和要求，导致家庭氛围紧张，孩子面临较大的心理压力。
就拿长沙举例，拥有湖南四大名校长沙市第一中学、长沙市长郡中学、长沙市雅礼中学、湖南师范大学附属中学。除此以外，其它学校还分出了各种梯队，常有流言说“上了xxx学校就是一脚迈进了985、211的门”。为此家长学生为了尽可能进入更好的高中挤破了头。按中国教育制度，孩子小学三年级才开始学英语。但是在这里，有的是从几岁开始就上英语兴趣班的娃娃。更有甚者，还学了第二门、第三门外语。除基本的课程外，孩子还要学编程，奥数等，尽可能有更多竞争的资本。在小学、初中的年纪，正是天性爱玩的时候，难说有孩子是热爱主动学习的，所以以上所说种种家长在其中的作用是不可忽略的。这正是鸡娃，与其说是孩子在发挥主动性学习，不如说是家长发挥主动性让他们学习。

4.双减政策
“双减”政策的实施意在缓解“鸡娃”现象，减轻学生的学业负担，促进教育公平。“双减”政策是中国政府在2021年推出的一项重要教育改革措施，2021年7月发布的《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》，旨在减轻中小学生的作业负担和校外培训负担。这一政策的核心内容包括减少家庭作业量、规范校外培训机构的运营、以及减轻学生和家长的教育焦虑。
然而，政策在实施过程中面临一些挑战和反弹，家长和学生对教育资源的需求和竞争心理依然存在。要实现政策目标，需政府、学校和家庭多方协同努力，加强教育资源的公平分配，提升公立教育质量，转变家长的教育观念，促进学生的全面发展和身心健康。(百度百科)

5.国外的相似现象
事实上，国外也有类似的教育焦虑存在。与鸡娃相似的，如“直升机式”家长和“虎妈式”教育。
直升机家长（Helicopter Parents）是指过度关注孩子的行为、学习和发展的家长，他们像直升机一样“盘旋”在孩子的周围，时刻准备介入和干预孩子的生活。
“虎妈式”教育（Tiger-Parenting）源自美国华裔作家蔡美儿（Amy Chua）的著作《虎妈战歌》。虎妈式教育强调严格要求和高标准，家长们期望孩子取得优异的成绩，通常通过强迫、威胁和惩罚来促使孩子学习和表现。而严格来说，这个词也起源于中国。因为个词的起源《虎妈战歌》正是讲的作者作为华裔妈妈如何“鸡娃”的。虎妈的教育方法轰动了教育界，并引起关于中美教育方法的大讨论。
(Woran Zhang.2023.World Journal of Educational Research）

6.总结
鸡娃的本质在于家长过度关注孩子的学习和成绩，以及对孩子未来发展的过度期待。这种现象反映了社会对教育资源和机会的不均等分配，以及家长对孩子未来竞争激烈的社会环境的焦虑和不信任。鸡娃行为常常伴随着过度的学习压力、缺乏自主性、心理健康问题等负面影响，同时也可能导致教育资源的浪费和教育公平的缺失。

术语：
Chicken Child(Fired-up Child) 鸡娃
A Little Dilemma 《小别离》
chicken blood therapy 鸡血疗法
National College Entrance Examination 高考
exam-oriented education 应试教育
Junior High School Entrance Examination 小升初考试
High School Entrance Examination 中考
The Double Reduction Policy 双减政策
The First High School of Changsha 长沙市第一中学
Changjun High School of Changsha 长郡高级中学
Yali Middle School 雅礼中学
The High School Attached to Hunan Normal University 湖南师范大学附属中学
The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
Helicopter Parents 直升机式家长
Tiger Parenting 虎妈式教育
The Battle Hymn of the Tiger Mother 《虎妈战歌》

问题:
#“鸡娃”这个词是如何而来？
#鸡娃现象的成因有哪些方面？
#鸡娃在社会中的具体体现有哪些？
#为什么要实行“双减政策”？
#虎妈教育这个词起源于哪？

参考文献：
#丁苗苗. 网络流行语“鸡娃”探析. 今古文创,2022,(29):111-113.
#付惜文 ,叶湘湘,邹思敏 ,龚雪.减负背景下家长教育焦虑现状及对策的研究综述.中学生
#腾讯新闻.2021.经济学家告诉你，鸡娃不是你的错_腾讯新闻 (qq.com)
#中共中央办公厅、国务院办公厅.《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
#百度百科。关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见_百度百科 (baidu.com)
#Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.World Journal of Educational Research(5)

=Yang Zixuan | Chinese Science Fiction:''The Three-Body Problem''=

==Introduction==

''The Three-Body Problem'' is a series of long science fiction novels written by Liu Cixin, consisting of ''The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever''. The first installment was serialized since May 2006 in ''Science Fiction World'' magazine. The series of novels tells the story of the exchange of information between the human civilization on Earth and the three-body civilization, the life-and-death struggle, and the rise and fall of the two civilizations in the universe. The first installment was translated by Liu Yukun and won the 73rd Hugo Award for Best Long Story.

Liu Cixin, born in Beijing in June 1963, is originally from Luoshan County, Xinyang City, Henan Province, and a native of Yangquan, Shanxi Province. He graduated from the North China University of Water Conservancy and Hydropower and is a senior engineer as well as a science fiction writer. Liu Cixin is one of the representative writers of Chinese science fiction, and his works have been awarded the Galaxy Award for Chinese Science Fiction for the years 1999-2006, and he has won many other important awards at home and abroad, such as Zhao Shuli Literary Award and Chinese Science Fiction Nebula Award, etc. He is also a member of the Chinese Science Fiction Association.

==Main Part==

===The Place and Influence of ''The Three Body Problem'' in Chinese Science Fiction Literature===

The success of ''The Three-Body Problem'' series has greatly contributed to the popularization and prosperity of science fiction literature in China. More and more readers have begun to pay attention to and fall in love with science fiction literature and the quantity and quality of science fiction works have been significantly improved. With its unique scientific concepts, rich imagination and profound insight into human nature, society and civilization, ''The Three-Body Problem'' series has provided new ideas and directions for the creation of Chinese science fiction literature. More and more writers have begun to try to combine scientific theories with storylines, tap into human culture and historical connotations, and explore new ways of literary expression. ''The Three-Body Problem'' has also inspired the creative enthusiasm of Chinese science fiction writers, and more and more writers have begun to try their hand at science fiction literature, injecting new vitality into Chinese science fiction literature. Meanwhile, more writers are encouraged to pursue depth and breadth to enhance the overall level of Chinese science fiction literature.

The international success of ''The Three-Body Problem'' series has raised the status and influence of Chinese science fiction literature. Chinese science fiction literature has begun to receive attention and recognition from the international community, opening up a new way for the international dissemination of Chinese culture. The success of the "The Three-Body Problem" series has enhanced the cultural confidence of Chinese science fiction writers. They began to face international readers and judges with more confidence, showing the unique charm and depth of Chinese science fiction literature. At the same time, "The Three-Body Problem" also shows the world the creativity and thinking power of Chinese people, and wins more praise and respect for the international dissemination of Chinese culture.

===''The Three-Body Problem'' embodies Chinese cultural values===

'''The belief that man can win'''

"For more than 5,000 years, the Chinese people, in the course of exploring nature and seeking survival, have honed the spiritual character of robustness, diligence and courage, positivity and perseverance. In the face of difficulties, we believe that man will prevail over God. Flooding, do not ask the prophet, their own dredging; disease epidemic, do not seek miracles, their own taste of all kinds of herbs; Houyi shoot the sun, Jingwei fill in the sea, Yugongyishan ...... these ancient myths are embedded in the Chinese people's philosophy of survival and spiritual strength.

In "The Three-Body Problem", there is a huge gap between the scientific and technological levels of human civilization and that of the three-body civilization. ''The Three-Body Problem'' sends out only two "Homo sapiens" to interfere with all the particle gas pedals on Earth, making it difficult for humans to take a further step forward in basic science. The three-body world also sends the most contemptuous message to human beings - "you are bugs". The gap between bugs and human beings is much larger than the gap between Earth and The Three-Body Problem, but human beings have not completely eliminated bugs by using all sorts of methods, and the three-body people seem to have forgotten one thing, that bugs have never been truly defeated. Even though human beings are as weak as ants in front of the three-body world, human beings have never given up the struggle, which is exactly the vivid embodiment of the spirit of resilience in the bones of the Chinese people.

'''Planning a profound legacy for future generations'''

The concept of the family has an important place in traditional Chinese culture. In the traditional Chinese political structure, the family and the state are isomorphic: the "family" is the small "state" and the "state" is the big "family". The "family" is the small "state" and the "state" is the big "family". The family-centered culture of Chinese society has given rise to a whole set of ways of thinking and living, and the heroes in "The Three-Body Problem" often have the traditional meaning of "father and ruler", they are cold and rational, and they are able to save the day when there is a crisis, and they act as the "head of the family". As the "head of the family" of human beings, they shoulder the heavy burden of resisting foreign enemies and continuing human civilization, and almost all of them end up sacrificing their lives for the survival of the whole human race. The spirit of family inheritance extends to the country and becomes the historical inheritance of the Chinese nation that has lasted for thousands of years. In "The Three-Body Problem", many of the plans designed by mankind to resist alien invasions lasted for dozens to hundreds of years, and only a nation with a civilized history of 5,000 years would be more inclined to design and imagine these plans that need to be passed down from one generation to the next, and the novel has an epic feel to it as a result. In the setting, the three-body fleet arrived on Earth after 400 years, accordingly, the human struggle with the three-body world strategy is also measured in hundreds of years, for example, the use of the "hibernation" technology of the Pacific Air Force to send talents to the future, the bunker program, the black field program, the development of curvature drive spaceships, and so on.

'''Chinese characters'''

There are also uniquely Chinese protagonists in ''The Three-Body Problem'' that readers remember, such as Wang Miao, Zhang Beihai, and Cheng Xin all of whom are characters that appear more frequently in Amazon reader book reviews.

Zhang Beihai is a very typical Chinese soldier, he is strong and intelligent, with a strong sense of justice, and comes from a military family. His father is a member of the future history school, who predicts that mankind will lose the battle of Armageddon, and he hints at the end of the battle with the cryptic words "think more". Inheriting his father's legacy, Beihai leaves behind a spark of hope for mankind in the midst of an inevitable war. One reader commented that Zhang Beihai "came up with a shocking and inhumane solution to save mankind at the most critical moment". Readers resonate with the human rationality of Zhang Beihai in the context of the book, and at the same time gain a new understanding of the Chinese people's heightened sense of mission, dedication, and spirit of sacrifice.

Cheng Xin has been described by readers in English-speaking areas as "the best protagonist in the series, she is the most memorable. Maybe not the best, but she's the character that is most likely to remain unique in your mind." Each of Ching-Hsin's choices does indeed implement the concept of "goodness" in the moral system that human society has constructed. Respecting human life, loving and caring for all people, Cheng Xin has practiced her concept of "humanity", which in Cheng Xin's context is of course the same as "goodness"! --In Cheng Xin's context, "humanity" is of course the same as "goodness" - rather, Cheng Xin redefines "humanity" through her choices, and in the end, it is this "humanity" that Cheng Xin truly protects, rather than humanity itself. For Cheng Xin, the loss of humanity is the loss of everything.

==Conclusion==

''The Three-Body Problem'' series of novels is the undoubted masterpiece of Chinese science fiction writer Liu Cixin. With its unique scientific setting, rich characterisation and profound philosophical reflections, the series shows the struggles and choices of human civilisation in the face of invasion by an alien civilisation, and at the same time explores the grandeur of the universe and the insignificance of human beings. ''The Three-Body Problem'' is not a copy of foreign sci-fi works; it uses Chinese narrative methods to win wide acclaim from readers around the world, and has become the brightest star in contemporary Chinese sci-fi literature.

==Terms and Expreesions==

The Three-Body Problem 《三体》

The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever 《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》

Science Fiction World 《科幻世界》

the Galaxy Award for Chinese Science Fiction 中国科幻小说银河奖

Zhao Shuli Literary Award 赵树理文学奖

Chinese Science Fiction Nebula Award 华语科幻星云奖

"hibernation" technology 冬眠技术

the bunker program 掩体计划

the black field program 黑域计划

curvature drive spaceships 曲率驱动飞船

==Questions==

1. How does the international success of ''The Three-Body Problem'' affect Chinese science fiction literature?

2. How does ''The Three-Body Problem'' reflect Chinese cultural values?

3. Which character in Three Bodies do you appreciate most? Why?

1.《三体》在国际上的成功对中国科幻文学有何影响？

2.《三体》是如何体现中国文化价值观的？

3.你最欣赏《三体》中的哪个角色？为什么?

==References==

LI Jianfu 李建福, GAO Xuying 高序莹. Analyzing the Realism Thought and Chinese Narrative in Liu Cixin's ''The Three-Body Problem'' 浅析刘慈欣《三体》中的现实主义思想及中国叙事. Modern Communication现代交际,2023,(06):89-97+123-124.

Xie Zhonghui 解仲慧. "The Loss and Reinvention of the Hero--The Thought of Humanity in ''The Three-Body Problem'' “英雄”的失落与重塑——论《三体》中的人性之思. Masterpiece Appreciation 名作欣赏,2024(15):143-146.

Cui Bo 崔波, Chen Zixin 陈子馨. Research on the Overseas Diffusion Mechanism of Chinese Literary Works--An Examination Based on ''The Three-Body Problem'' 中国文学作品的海外扩散机制研究——基于《三体》的考察. Digital Publishing Research 数字出版研究,2024,3(01):104-112.

==Translation==

'''中国科幻小说：《三体》'''

'''简要介绍'''

《三体》是由刘慈欣创作的系列长篇科幻小说，由《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》组成。第一部于2006年5月起在《科幻世界》杂志上连载。该系列小说讲述了地球人类文明和三体文明的信息交流、生死搏杀及两个文明在宇宙中的兴衰历程。其第一部经过刘宇昆翻译后获得了第73届雨果奖最佳长篇小说奖。

刘慈欣，1963年6月出生于北京市，祖籍河南省信阳市罗山县，山西阳泉人。他毕业于华北水利水电大学，是一名高级工程师，同时也是科幻作家。刘慈欣是中国科幻小说代表作家之一，作品蝉联1999年-2006年中国科幻小说银河奖，并多次获得其他国内外重要奖项，如赵树理文学奖、华语科幻星云奖等。

'''《三体》在中国科幻文学中的地位和影响'''

《三体》系列的成功极大地推动了中国科幻文学的普及和繁荣。越来越多的读者开始关注和喜爱科幻文学，科幻作品的数量和质量也得到了显著提升。《三体》系列以其独特的科学理念、丰富的想象力和对人性、社会、文明的深刻洞察，为中国科幻文学的创作提供了新的思路和方向。越来越多的作家开始尝试将科学理论与故事情节相结合，挖掘人类文化和历史内涵，探索新的文学表达方式。《三体》也激发了中国科幻作家的创作热情，越来越多的作家开始尝试科幻文学的创作，为中国科幻文学注入了新的活力。同时鼓励更多的作家追求深度和广度，提升中国科幻文学的整体水平。

《三体》系列在国际上的成功提升了中国科幻文学的地位和影响力。中国科幻文学开始受到国际社会的关注和认可，为中国文化的国际传播开辟了新的途径。《三体》系列的成功增强了中国科幻作家的文化自信。他们开始更加自信地面对国际读者和评委，展现中国科幻文学的独特魅力和深度。同时，《三体》也向世界展示了中国人的创造力和思考力，为中国文化的国际传播赢得了更多的赞誉和尊重。

'''《三体》体现中国文化价值观'''

人定胜天的信念

“天行健，君子以自强不息”，五千多年来，中华民族在探索自然、谋求生存的过程中历练出刚健有为、勤劳勇敢、积极向上、坚忍不拔的精神品格。在困难面前，我们相信人定胜天。洪水泛滥，不问先知，自己疏通河渠；疾病流行，不求神迹，自己尝遍百草；后羿射日、精卫填海、愚公移山……这些上古神话中蕴含着中国人的生存哲学和精神力量。

在《三体》中，人类文明和三体文明的科技水平差距巨大，三体仅派出两颗“智子”就能干扰地球所有的粒子加速器，使人类基础科学再难前进一步。三体世界还向人类发来最蔑视的信息——“你们是虫子”。虫子与人类的差距远大于地球与三体的差距，但是人类使用各种办法都没有彻底消灭虫子，三体人似乎忘了一件事，虫子从来就没有被真正战胜过。即使人类在三体世界面前如蝼蚁般弱小，但是人类从未放弃斗争，这恰恰是中国人骨子里坚韧精神的生动体现。

为子孙后代计深远的传承

家庭观念在中国传统文化中有着重要的地位。在中国传统的政治构造中，家国是同构的：“家”是小“国”，“国”是大“家”。中国社会以家庭为中心的文化衍生出一整套思维和生活方式，《三体》中的英雄形象往往都具有传统意义上“君父形象”的意味，他们冷峻理性，在危机时力挽狂澜，作为人类的“大家长”肩负着抵抗外敌、延续人类文明的重担，最后的结局也几乎都是舍生取义，为整个人类的生存牺牲自己。家族传承精神扩大到国家就变为中华民族绵延数千年的历史传承。《三体》中人类为抵御外星入侵设计的许多计划都延续几十到上百年，只有拥有五千年文明历史的民族才会更偏向于设计与想象出这些需要代代相传的计划，小说也因此具有一种史诗感。在设定上，三体舰队于400年后到达地球，相应的人类与三体世界的斗争策略也以百年计，比如太空军利用“冬眠”技术向未来输送人才，掩体计划、黑域计划、研制曲率驱动飞船，等等。

中国式角色

《三体》中也有独特的中国式主角被读者所牢记，如汪淼、章北海和程心都是亚马逊读者书评中出现频次较高的角色。

章北海是非常典型的中国军人形象，他坚强智慧，胸怀大义，出身军人世家。章北海的父亲是未来史学派成员，预判末日之战中人类必败，他用极为隐晦的话“要多想”向章北海暗示末日之战的结局。章北海继承父亲的遗志，在必败的战争中为人类留下希望的火种。有读者评论称章北海“在最危急的时刻想出一个令人震惊的、非人道的解决方案来拯救人类”，读者在结合书中背景后，对章北海身上的人类理性一面产生共鸣，同时也对中国人高度的使命感、奉献精神和牺牲精神产生新的认识。

而程心被英语地区读者称为“该系列中最好的主角，她是最令人难忘的。或许不是最好的，但她是最容易在你的脑海中保持独特的角色。”程心的每一次选择确实都贯彻了人类社会所构建的道德体系中的“善”这一理念。尊重人的生命，博爱、关怀所有人，程心切身践行了她理念中的“人性”，在程心的语境里，“人性”当然等同于“善”——毋宁说，程心通过她的选择重新定义了“人性”，程心最后真正保护了的，也就是这样的“人性”，而非人类本身。对于程心来说，失去人性，才是失去一切。

'''总结'''

《三体》系列小说是中国科幻作家刘慈欣毫无疑问的代表作。该系列作品以其独特的科学设定、丰富的人物塑造和深邃的哲学思考，展现了人类文明在面对外星文明入侵时的挣扎与抉择，同时探讨了宇宙的宏大和人类的渺小。《三体》不是对外国科幻作品的复制，它用中国叙事，赢得了全球读者的广泛赞誉，成为当代中国科幻文学中最璀璨的明星。

=Chu Shoujuan |Ganshi in Xiangxi: The Cycle of Life and Death under Ancient Witchcraft=
==Introduction==
Xiangxi, a mysterious land in the western part of China's Hunan Province, has been one of the cradles of witchcraft culture since ancient times. In this deep land of mountains and streams, there is an ancient and mysterious legend - Ganshi in Xiangxi. This is a strange ceremony to bring the bodies of people who died in a foreign land back to their hometown and bury them in the ground, and it is called "Three Evils of Xiangxi" with Gu Du and Luo Hua Dong Nv. (Baidu Baike Ganshi in Xiangxi)

==Main Part==
The origin of Ganshi in Xiangxi can be traced back to ancient times. According to folklore, thousands of years ago, Chi You led soldiers in fierce battles with rival tribes. And then the battlefield was littered with corpses and blood flowed like stream. After the war, Chi You could not bear his soldiers to die in a foreign land, so he asked his tactician to use magic to let the dead soldiers return home. The tactician dressed up as Chi You, silently reciting incantations and praying to the gods, and those who had originally fallen to the ground actually stood up, followed the guidance of the "Fu Jie" and walked south. This is the earliest legend of Ganshi in Xiangxi. (Wang Yanan 2018, 186)

However, it was in the middle of the Qing Dynasty that Ganshi in Xiangxi really formed a profession and was widely spread among the people. At that time, people in Xiangxi took the bodies of their relatives who had died abroad back to their hometowns for burial as a show of filial piety. However, due to the long road, inconvenient transportation, coupled with the complex terrain of the Xiangxi area and the rugged mountain road, it was extremely difficult to transport the body. Therefore, some people who knew witchcraft would use the "Occult Arts" to "drive" the body back to their hometown. These people are called "Ganshi Jiang", they hold "Chen Zhou Fu", and the mouth mutters words, leading the body in the night forward. (Liang Xu 2014, 2)

The ritual of Ganshi in Xiangxi is full of mystery. The Ganshi Jiang usually sets out at night, dressed in Taoist robes and carrying a dementor bell, followed by a string of bodies strung together with straw ropes. Instead of using lanterns, they use bells in their hands and incantations in their mouths to find their way. As the body walks, it wears a tall felt hat, and a yellow paper with a mark on its forehead was draped over its face to conceal it. Such a scene, in the mountains of Xiangxi, appears particularly strange and mysterious. (Baidu Baike Ganshi in Xiangxi)

Ganshi in Xiangxi ritual although mysterious, but not without trace. According to relevant literature records, there is a saying of "Three Rush and Three not Rush" in Xiangxi. Those who have been beheaded, hanged, or killed in cages can be driven away, because these people are forced to die, die unconvinced, and miss both home and love ones. Those who die of illness, those who hang themselves voluntarily or throw themselves into a river, and those who are burned by lightning with incomplete limbs could not be driven away. This is because the person who die of illness has spent the rest of his life, and his soul has been hooked by the impermanent ghost to Yama. The souls of those who hang their necks or throw themselves into a river are "being replaced" and are being handed over. And those who die when lightning strikes fire are sinful and cannot be driven away. (Lu Qun 2007, 56-57)

With the development of science and technology, people have gradually explored the mystery of Ganshi. Ganshi does not mean that the body will actually walk on its own, but that someone will carry it on his back. First, Ganshi Jiang removes the head and limbs from the deceased, and then coates them with embalming agents, so that for a period of time, it can not decompose. At the same time, in order to prevent excessive inquiry into their profession, they would choose to wear Taoist robes and carry a dementor bell and travel at night. When the body is delivered to the home of the deceased, people, out of awe and comforted at seeing the deceased, no longer doubt whether the body is intact or whether the removal of the body is a hoax. (Zhang Dawei 2016, 18-22)

==Conclusion==
Although Ganshi in Xiangxi is full of mystery and horror, it also reflects people's respect and nostalgia for the deceased. In the land of Xiangxi, driving dead bodies is not only a profession, but also a cultural inheritance and belief. Nowadays, with the progress of science and technology and the convenience of transportation, Ganshi has gradually fades out of people's vision. However, the legends and stories about Ganshi in Xiangxi are still spread among the mountains and rivers of Xiangxi, becoming an eternal legend in this land.

==Terms and Expressions==
*Ganshi in Xiangxi 湘西赶尸
*Three Evils of Xiangxi 湘西三邪
*Gu Du 蛊毒
*Luo Hua Dong Nv 落花洞女
*Chi You 蚩尤
*Fu Jie 符节
*Occult Arts 秘术
*Ganshi Jiang 赶尸匠
*Chen Zhou Fu 辰州符
*Taoist robes 道袍
*Dementor bell 摄魂铃
*Three Rush and Three not Rush 三赶三不赶
*Yama 阎王

==Questions==
#What are the "Three Evils of Xiangxi"?
#Which legend does the "Ganshi" come from?
#Why doesn't the body rot?
#“湘西三邪”是什么？
#“赶尸”起源于哪个传说？
#为什么尸体不会腐烂？

==References==
[1]百度百科湘西赶尸（中国湘西地区地域文化）_百度百科 (baidu.com) (Baidu Baike Xiangxi corpse removal (Xiangxi regional culture of China) _ Baidu Baike (baidu.com) )

[2]Wang Yanan王亚男. 湘西赶尸文化探秘(Ganshi in Xiangxi culture exploration) [J]. 电脑迷(computerite), (2018),(02): 186.

[3]Liang Xu梁谞. 解密湘西赶尸(Declassify Ganshi in Xiangxi)[C]// 广东省民俗文化研究会(Guangdong Folk Culture Research Association). 2014年07月民俗非遗研讨会论文集(Proceedings of the Symposium on Folklore Intangible Cultural Heritage in July 2014). [出版者不详](Publisher unknown), 2014: 2.

[4]Lu Qun陆群. 神秘的湘西赶尸(Mysterious Ganshi in Xiangxi) [J]. 文史博览(Extensive literature and history), 2007, (05): 56-57.

[5]Zhang Dawei张达玮. 湘西赶尸的宗教与伦理意蕴——兼论原始信仰作为人的存在方式(On the Religious and Ethical Implications of Ganshi in Xiangxi----Concurrently Discuss Primitive Belief as a Way of Human Existence) [J]. 黔南民族师范学院学报(Journal of Qiannan Teachers College for Nationalities), 2016, 36 (04): 18-22.

==Translation==

湘西赶尸：古老巫术下的生死轮回

介绍

湘西，这片位于中国湖南省西部的神秘土地，自古便是巫文化的发源地之一。在这片崇山峻岭、溪流纵横的深邃之地，流传着一个古老而神秘的传说——湘西赶尸。这是一种将客死异乡之人的尸体带回家乡，让他们入土为安的奇特仪式，与蛊毒、落花洞女并称“湘西三邪”。（百度百科湘西赶尸）

主体部分

湘西赶尸的起源，可追溯到遥远的古代。据民间传说，几千年前，蚩尤率兵与敌对部族激战，战场上尸横遍野，血流成河。战后，蚩尤不忍战士们客死他乡，便请军师施展法术，让战死的将士们魂归故里。军师装扮成蚩尤的模样，默念咒语，祷告神灵，那些原本倒在地上的尸体竟然站了起来，跟随“符节”的指引，向南而行。这便是湘西赶尸最早的传说。（王亚男 2018，186）

然而，湘西赶尸真正形成一种职业，并在民间广为流传，则是在清朝中期。当时，湘西地区的人们将客死他乡的亲人尸体运回家乡安葬，以示孝道。但由于路途遥远，交通不便，加之湘西地区地形复杂，山路崎岖，运送尸体极为困难。于是，一些懂得巫术的人便利用“秘术”，将尸体“赶”回家乡。这些人被称为“赶尸匠”，他们手持“辰州符”，口中念念有词，引领着尸体在夜色中前行。（梁谞 2014，2）

湘西赶尸的仪式充满了神秘色彩。赶尸匠一般选择夜晚出发，身穿道袍，手持摄魂铃，身后跟着一串用草绳串联的尸体。他们不打灯笼，只靠手中的铃铛和口中的咒语辨别方向。尸体在行走时，头戴高筒毡帽，额上压着画着符的黄纸，垂在脸上，以遮盖面容。这样的场景，在湘西的深山中，显得尤为诡异和神秘。（百度百科湘西赶尸）

湘西赶尸的仪式虽然神秘，但并非无迹可寻。据有关文献记载，湘西赶尸有“三赶，三不赶”之说。凡是被砍头、受绞刑、站笼站死的尸体可以赶，因为这些人是被迫死的，死得不服气，既思念家乡又惦念亲人。而病死的、投河吊颈自愿而亡的、雷打火烧肢体不全的尸体则不能赶。这是因为病死的人已享尽天年，其魂魄已被无常鬼勾至阎罗王处；投河吊颈者的魂魄是“被替代”的，正在交接中；而雷打火烧而亡者则属罪孽深重之人，无法驱赶。（陆群 2007，56-57）

随着科学技术的发展，人们逐渐探寻到了“赶尸”的奥秘。“赶尸”并不是尸体真的会自己走路，而是有人将它背着走。赶尸匠先将死者的头部和四肢截下来，然后涂上防腐药剂，这样就能保持一段时间不腐烂。同时，为了防止旁人对他们职业的过分探究，他们会选择身着道袍，手拿摄魂铃，晚上赶路。等到尸体送到死者家中时，人们出于对死者的敬畏和见到死者后的安慰,便不再去怀疑尸体是否完整，赶尸是否是个骗局了。（张达玮 2016，18-22）

结论

湘西赶尸虽然充满了神秘和恐怖色彩，但它也体现了人们对逝者的尊重和怀念之情。在湘西这片土地上，赶尸不仅是一种职业，更是一种文化传承和信仰体现。如今，随着科技的进步和交通的便利，湘西赶尸已经逐渐淡出了人们的视野。但那些关于湘西赶尸的传说和故事，却仍然流传在湘西的山水之间，成为这片土地上永恒的传说。

=Jiang Rui |=
=Li Xun | Chinese Animation =
==Overview==
In ''Cambridge Advanced Learner's Dictionary'', the word “animation” means moving picture. Here, Chinese animation refers to animation produced by Chinese. (mainland). Chinese animation originated in the 1920s. In 1922, the first advertising animation in China, ''Shu Zhen Dong Chinese Typewriter'', was produced. In 1926, the first animated film in China, ''Da Nao Studio'', was produced. In 1935, the first audio animated film in China, ''Camel Dancing'', was produced, opening a page in the history of Chinese animation. In the 1940s, the Wan brothers created the first feature film of Chinese animation, ''Princess Iron Fan'', which was released in Southeast Asia and Japan and received warm welcome, laying a good foundation for Chinese animation to go international. Between the 1950s and the 1980s, China entered a golden era of animation. In this period, there were mainly three kinds of traditional animation before the technique of computer animation be widely used, including paper-cut animation, water ink animation and puppet animation. Chinese animation has had an unparalleled glory, which also proves that Chinese animation has strength and has artistic laws suitable for its development. Looking at the development of Chinese animation over the past few decades, it can be seen that Chinese animation has always been committed to a path with its own characteristics. (Chinese animation Baidu bai ke (baidu.com)) (Luo Hong 2011 335) (Luo Hong 2011 6)

==Traditional Elements==
Most Chinese animations are set against the background of mythological tales or ancient history, and thus involve many traditional Chinese elements. Among them, some animation works are made completely according to the original mythology, and some fabricate a story that has never existed before, but most are adapted from existing myths or historical events.

For example, China's early animations such as ''Uproar in Heaven'', ''Nezha Conquers the Dragon King'', and ''Princess Iron Fan'' are all adapted from the long novel ''Journey to the West''. However, the character Nezha was not originally from China at the earliest, but from Indian Buddhist mythology, but it was introduced to China relatively early, and there are records about Nezha in many dynasties:

Jin Dynasty:''The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter'' records:"Vaisravana, the king of heaven, gave birth to Narakuja (that is, Nezha), and all the heavenly beings were extremely happy. The king gave birth to a crown prince today, in the Kapilavastu kingdom, and all the people were also so happy." In the earliest written records of Buddhism, Nezha is a just god of war who is deeply loved by the public. Once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise.

Tang Dynasty:''The Sea of Meanings of the Shurangama Sutra'' records:"The crown prince of the king of heaven is like that of Nezha and the like, assisting in governing and controlling, grasping ghosts and protecting the world and benefiting people."

Song Dynasty:''The Jiatai Pudeng Record'' records:"Nezha has ten faces and ten eyes moving, and the formless spiritual light blocks the sun wheel."

Since the Jin Dynasty, there have been descriptions of Nezha almost in every dynasty. In ''The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter'', Nezha is described as "once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise", while in the animation work ''Nezha: Birth of the Demon Child'', Nezha was born as a "demon child" with a bad nature. Once born, it caused the fear and disgust of the people, and the director's intention of such an adaptation is probably to pave the way for Nezha to sacrifice his life to save everyone at the end, thereby highlighting Nezha's kind character. Therefore, this work conveys such a concept: even if it is a demon, there is kindness. Such a concept is very common in Chinese culture. In ''Journey to the West'', many monsters seem to be very evil, but they haven't done anything extremely heinous. Generally, they just steal things and rob, at least they are aboveboard. On the contrary, in human society, there are all kinds of calculations, conspiracies, and framings, which are simply more evil than monsters; the first is to lament the sinister nature of human society, and the second is to abandon the "label of the evil", that is, there is no absolute evil. This is exactly the value that many Chinese writers want to express through monsters.

Coincidentally, there is also a shadow of this value in the animation ''Fox Spirit Matchmaker''. In this animation, humans and monsters coexist in the world, and it describes some kind-hearted monsters who do not hesitate to sacrifice themselves to protect others and some humans who murder monsters for power. And this animation also involves some other traditional Chinese elements. It mainly tells a series of interesting and mysterious stories that occur in the process of the fox spirit who takes on the profession of matchmaker pulling the red thread for the lovers in the previous life. And the word "matchmaker" comes from ''Romance of the Western Chamber'' created by Wang Shifu, a dramatist in the Yuan Dynasty. In ''Romance of the Western Chamber'', there is a maidservant in the prime minister's mansion named "Hongniang". She not only has to take care of Miss Cui Yingying's daily life, but also monitors Miss on the order of the old lady and reports immediately if there is any bad tendency. But after Hongniang saw Miss Yingying's mind towards Zhang Sheng, she still broke through the shackles of feudal ethics and risked being punished by the old lady to help Miss Yingying and Zhang Sheng, and finally made the lovers become a couple under the matchmaking of Hongniang. Since then,"Hongniang" has referred to those who match men and women to become husband and wife. And "pulling the red thread" is a metaphor for "facilitating marriage".

In addition, there are also some Chinese ancient poems and some original poems in ''Fox Spirit Matchmaker''. For example,"Ask what on earth love is, which directly makes it difficult for the magpie bridge to cross the pain of lovesickness, and directly makes it difficult for the butterfly to pick the sweetness of the same heart". This sentence is adapted from Yuan Haowen's ''Moliyu·Yanqiu Ci'' in the Jin Dynasty. Another example is "On the seventh day of July, at the bamboo pavilion by the Huai River, the scabbard and the flute depend on each other, without regret or complaint". This sentence is written by the author of ''Fox Spirit Matchmaker''. These poems endow this animated work with a romantic atmosphere and enhance its artistic quality, making it more ornamental and aesthetically valuable.

==Influence From Abroad==
==Animation Production Techniques==
==Terms And Expressions==
==Questions==
==Translation==
===概述===
在《剑桥高级学习者词典》中，“动画”一词意为移动的图片。在这里，中国动画指的是（中国大陆）中国人制作的动画。中国动画起源于20世纪20年代。1922年，中国第一部广告动画《舒振东华文打字机》制作完成。1926年，中国第一部动画片《大闹画室》制作完成。1935年，中国第一部有声动画影片《骆驼献舞》制作完成，翻开了中国动画历史的一页。20世纪40年代，万氏兄弟创作了中国动画的第一部故事片《铁扇公主》，该片在东南亚和日本上映并受到热烈欢迎，为中国动画走向国际奠定了良好基础。20世纪50年代至80年代，中国进入了动画的黄金时代。在这一时期，在计算机动画技术被广泛应用之前，主要有三种传统动画类型，包括剪纸动画、水墨动画和木偶动画。中国动画曾有过无与伦比的辉煌，这也证明了中国动画有实力且有适合自身发展的艺术规律。纵观中国动画在过去几十年的发展，可以看出中国动画一直致力于走一条具有自身特色的道路。（中国动画百度百科）（罗虹 2011年6页）（罗虹 2011年335页）
===传统元素===
中国动漫大多以神话传说或者是古代历史为背景，因此涉及许多中国传统元素。其中，有些动漫作品完全按照原神话来制作，还有一些编造出一个从来没有的故事，但大多数是根据已有神话或历史事件改编。
比如中国早期的动画《大闹天宫》，《哪吒闹海》，《铁扇公主》都是由长篇小说《西游记》改编。然而，哪吒这一人物最早并非出自中国，而是出自印度佛教神话，但传入中国较早，多个朝代都有关于哪吒的记载：

晋代：《佛所行赞经·第一生品》记载：“毗沙门天王，生那罗鸠婆（即哪吒），一切诸天众，皆悉大欢喜，王今生太子，迦毗罗卫国，一切诸人民，欢喜亦如是。”哪吒在佛教最早的文字记载中是一位深受大众欢迎的正义战神，一出生就让天地间的一切天众神佛及百姓为之欢颂。
唐代：《首楞严经义海》记载：“天王太子即那吒之类，辅政统摄，跨握鬼物，护世益人。”
宋代：《嘉泰普灯录》记载：“那吒十面十眸动，无相灵光翳日轮。”

从晋代开始，几乎历朝历代都有对哪吒的描述。在《佛所行赞经·第一生品》中，哪吒被描述为“一出生就让天地间的一切天众神佛及百姓为之欢颂”，而在动漫作品《哪吒之魔童降世》中，哪吒是作为一个“魔童”降世的，天性恶劣，一出生就引起了百姓的恐惧和厌恶，而导演如此改编的用意，大概是为了为哪吒在最后舍命救众人做铺垫，以此凸显哪吒善良的品格。因此，这部作品传达出这样一个观念：即使是妖魔，也有善良的。这样的观念，在中国文化中很常见。《西游记》中有许多妖怪都是看似很恶，但并没做过什么罪大恶极的事，一般都是偷偷东西以及抢劫，至少光明磊落。反观人类社会，各种算计，阴谋，陷害，简直比妖怪还恶；第一是感慨人类社会的险恶，二是对“恶人标签”的摒弃，即不存在绝对的恶人。这正是许多中国作家想要通过妖怪表达的价值观。

无独有偶，在动漫《狐妖小红娘》中也有这种价值观的影子。在这部动漫中，人与妖共存于世间，描写了一些善良的为了保护别人而不惜牺牲自己的妖怪和一些为了力量而谋害妖怪的人类。而这部动漫还涉及另一些中国传统元素。它主要讲述了以红娘为职业的狐妖，在为前世恋人牵红线的过程中发生的一系列有趣、神秘的故事。而“红娘”一词，来源于元代杂剧家王实甫创作的《崔莺莺待月西厢记》。在《崔莺莺待月西厢记》中有一个相国府的婢女名叫“红娘”，她不仅要照顾崔莺莺小姐的饮食起居，同时也奉老夫人之命监视小姐，有不良倾向要随时汇报。但是当红娘看出了莺莺小姐对张生的心思之后，还是突破了封建礼教的束缚，冒着被老夫人责罚的风险帮助莺莺小姐和张生，终在红娘的撮合下使有情人终成眷属。此后，“红娘”便指那些撮合男女双方成为夫妻的人。而“牵红线”便是“促成姻缘”的比喻。

另外，《狐妖小红娘》中还有一些中国古诗词以及一些原创诗词，比如“问世间情为何物，直教鹊桥难渡相思苦，直教化蝶难采同心甜”，这一句改编自金代元好问的《摸鱼儿·雁丘词》;又如“七月初七，淮水竹亭，鞘笛相依，无怨无悔”，这一句是原创。这些诗词赋予这部动画作品一种浪漫的氛围，提升了它的艺术品质，使其更具观赏性和审美价值。

=Zhu Ran |Military-style Travel=
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==Introduction==
==Main Part==
==Conclusion==
==Terms and Expressions==
==Questions==
==References==

=Long Yuhan |=
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=Pei Xinxian |=
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=Hu Yujie |=Cuisine：Hunan cuisine, one of the eight major cuisines
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=Li Shujing |Music and Instruments: Suona Horn=
==Introduction==
Suona, Chinese double-reed woodwind instrument, the most commonly used double-reed instrument. Similar to the shawm, the suona originated in Arabia; it has been widely used in China since the 16th century. The reed is affixed to a conical wooden body covered by a copper tube with eight finger holes (seven in front and one in back), to which is fitted a brass bell. Its range is generally about two octaves, and it comes in many sizes. The suona is characterized by its shrill and penetrating sound and the frequent use of tonguing in performance. It is much used in military music ensembles and religious processions and as a stage instrument in Chinese operas.
==Position in Chinese Folk Music==

The original suona is a musical instrument spread in Persia and Arabia, and even its name is a transliteration of the ancient Persian word Surnā. Suona appeared in China around the third century AD. There are already images of suona playing in the Jiyue murals in Cave 38 of Kizil Grottoes in Baicheng, Xinjiang. In the Jin and Yuan dynasties more than 700 years ago, it spread to the Central Plains of China. During the Ming and Qing dynasties, it was widely used in folk music bands for weddings and funerals, and was also used as an accompaniment for folk songs, dances and operas.

"Birds Paying Homage to the Phoenix", originally named "Ten Scenes", is the most representative among many suona tunes, demonstrating the expressiveness of the suona to an extreme. In the sound of "Birds Paying Homage to the Phoenix", there are warbler singing and dancing, birds and flowers, contributing to a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.birds and flowers, a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.

As a traditional folk instrumental music performance art and one of the most valuable intangible cultural heritages with folk art charm, suona art plays an important role in Chinese folklore. Suona is believed to ward off evil spirits and bring good luck, making it a common choice for auspicious occasions like New Year celebrations, birthdays, marriage ceremonies and harvest festivals. Meanwhile, suona is often used in funeral ceremonies, accompanying the procedures of wake, condoling and burial, and in some places, suona is also used in grave digging ceremonies. Suona's deep tones evoke emotions ranging from joy and celebration to sorrow and remembrance, reflecting the complex tapestry of human experiences.

Except its significance, the precious cultural value of suona can not be ignored, which can be concluded as historical value, artistic value, folklore value and humanistic value.

After hundreds of years of cultural exchanges and integration between the north and the south, suona has formed its unique characteristics and customs. Through the long historical development, people can appreciate the developing path and passing on traditions of Chinese folk music. In terms of craftsmanship, suona is crafted from materials like bronze or brass, showcasing the skills of metalworkers from different periods. They have evolved over time, with modern versions incorporating improvements in design and playing techniques, while still maintaining their traditional essence.

In summary, the artistic value of the suona lies in its ability to express human emotions, convey stories, showcase virtuosity, represent diverse regional cultures, and serve as a cultural symbol within Chinese society. Take the regional diversity for example, suona exists in several variations across China, each with its distinct style and local nuances. Each region in China has its own style of playing the suona, like the famous "Lanzhou Suona" from Gansu Province or "Huangmei Suona" from Anhui. These local variations carry rich cultural heritage and are an expression of regional identity. These regional differences reflect the country's rich cultural diversity and contribute to the overall artistic richness of the instrument.

Besides being used in Chinese traditional ceremonies, suona has other values in different aspects. During village gatherings or agricultural rituals, suona bands are common, providing entertainment and a sense of unity among community members. In some cases, the suona is believed to have spiritual properties, believed to ward off evil spirits or bring blessings through its music.
Overall, suona plays a vital role in Chinese folk culture, serving as a connection to the past, a source of communal joy, and an integral part of diverse local traditions.

Suona embodies a deep connection to human values such as cultural continuity, emotional expression, resilience, storytelling, and the pursuit of harmony, making it a valuable aspect of our collective humanistic heritage. During community gatherings and ceremonies, suona's sound unites people and creates a sense of unity, reinforcing the importance of social cohesion and shared experiences. What’s more, the use of suona in traditional Chinese music often reflects the harmony between man and nature, symbolizing the balance sought in human life and the environment.

In China, the traditional suona is mainly used in weddings, funerals and other ceremonies in rural areas. However, with the acceleration of urbanization and the influence of western culture, the living space of suona is becoming narrower and narrower. It is necessary to open up new space for the inheritance and development of suona.

To some extent, the expansion of new media channels can reduce suona's dependence on wedding and funeral ceremonies, weaken its functional limitations, and develop its modern musical attributes and characteristics. With the development of new media technology, the communication advantages of platforms such as Douyin, Kuaishou and XiaoHongshu continue to be highlighted, with fast communication speed, wide dissemination range, strong interaction and wide audience, which are deeply loved by young people. Inheriting suona skills through new media channels can not only broaden the spreading space of suona, but also improve the spreading effect.

The inheritance and innovation of suona cannot be separated from talents, and the development of suona can be injected with fresh blood through innovative talent training mode. Suona artists must break the barriers between families and factions, learn from each other, and form a joint effort to cultivate the next generation. Meanwhile, suona artists should strengthen the consciousness of people's culture, realize the importance of protecting these instrumental music cultures, and establish a system of inheritance and protection. While maintaining traditional cultural characteristics, we try to integrate fresh cultural elements into it to make it more in line with modern aesthetics and awaken the cultural emotions of the whole people.

At the same time, the inheritance and development of suona cannot be separated from the support of the government. The promulgation of the intangible cultural heritage regulations protects this intangible cultural heritage project to a certain extent, but it is far from enough. A series of relevant measures should be introduced to implement the policy in detail. The decline of suona is the decline of traditional folk culture from the root. Local governments should protect suona culture from the root, organize various forms of folk culture programs, so as to give suona culture more opportunities to be displayed and give it more official recognition.

==Conclusion==
==Terms and Expressions==
==Questions==
==References==
https://www.britannica.com/art/suona

=Chen Jiawen |=
Please start to write now.

=Xiang Lu |=Music: Sang Zhi Folk Songs

== Introduction ==
桑植县，隶属于湖南省张家界市，位于湖南西北边陲, 是贺龙元帅的故乡、红二方面军长征出发地, 拥有中国首批、湖南省首个国家级自然保护区八大公山原始森林，被纳入中国“人与生物圈保护区（MAB）”和“中国具有全球意义的17个生物多样性关键地区之一”。
桑植民歌，湖南省桑植县地方传统音乐，国家级非物质文化遗产之一。

== Development ==
桑植民歌起源于原始农耕时期先民日常生产生活中的歌谣，是湖南省桑植县百姓在长期的生活实践中创造、传唱、累积起来的民间音乐文化品种，已有2000多年的历史。桑植民歌节奏明快、旋律优美、曲调丰富、形式多，现存民歌一万余首，著名歌曲有《马桑树儿搭灯台》、《冷水泡茶慢慢浓》、《门口挂盏灯》等。
屈原在《九歌》中写道：“捐余玦兮江中，遗余佩兮醴浦。”《九歌•湘人》中更是记载到：“沅有茝兮醴有兰，思公子兮未敢言。荒忽兮远望，观流水兮湲”，“成礼兮会鼓，传芭兮代舞，姱女倡兮容与。春兰兮秋菊，长无绝兮终古”，这是最早与桑植以及桑植民歌有关的文字。此处的“醴”便是指现在的澧水。澧水是湖南的四大水系之一，在常德市澧县小渡囗注入洞庭湖。
《后汉书·马援传》记载：“二十四年，武威将军刘尚击武陵五溪蛮夷，深入，军没，援因复请行。”“贼每升险鼓噪，援辄曳足以观之，左右哀其壮意，莫不为之流涕。”名将相单程凭借天险据守数月后将马援军队困在沅江南岸的壶头山，马援望江兴叹，一筹莫展，“升险鼓噪” 的典故由此而来。其中“鼓噪”在当时也称“蛮歌”，随后演变成如今的桑植民歌。（王胤，试述桑植民歌歌词的语言艺术，33）
明代，桑植土司率桑植数干土家儿郎应朝廷之召远赴江浙、朝鲜三度抗倭。在抗击倭寇（13-16世纪的日本海盗），的过程中，《马桑树儿搭灯台》应运而生。关于马桑树有两种说法：一说是传说中的马桑树儿高大挺拔，男女双方依依不舍，马桑树下送情人远去；二说是痴情男女搭建树台，台上放置一盏油灯，在灯下写信，心系远方。这就烘托出一对坠入爱河的青年男女分手时的不舍情绪，在1928年的夏天，红军师长贺锦斋用这首桑植民歌与爱妻戴桂香生离死别，她终生素衣守寡，6多年里几乎每天都去丈夫坟前唱这首歌，每天摘一两片马桑叶，直到离世，她留下的一口木箱，装的全是马桑叶。（王胤，试述桑植民歌歌词的语言艺术，37）
清代同治年间的《桑植县志》载：“雍正五年（1727年），邑人张宏毅偕侄崇周、仕周在县城西捐地创建武庙，有歌楼。”1942年版的《桑植县志》印证了这一说法：雍正五年，邑人张宏在城西捐地创建武庙，有歌舞楼，白叟黄童尽歌舞。乾隆年间的《桑植县志》记载：“土家正月赛灯、摆手、唱摆手歌，为秋千之戏，至正月十六为止。”此外，清嘉庆二年桑植河口人沙文清创作了《挽友人》称：“日边飞送燕歌声，疑信偏教旅梦惊。”其“越歌，为丧歌”说明了桑植民歌在清代已经较为普及。（只宠迩一人，baidu.com）
在近代中国，著名的开国将领贺龙在桑植“两把菜刀闹革命”，建立了以桑植为核心的湘鄂革命根据地。云、贵、川、滇、鄂、桂、赣等地的红军在此集结，带来了各地民歌，和桑植民歌融合在一起，推动了桑植民歌的发展。桑植民歌也收到时代影响，创作了许多反映军民感情的歌曲，如《门口挂盏灯》等。
新中国成立后，中国政府先后组织文艺工作者搜集桑植民歌，共计有10000余支。20世纪50年代，桑植民歌就唱到省垣京城。60年代，桑植县文化馆搜集整理民歌1万多首。
1987年湖南民间歌舞团前往波兰参加国际民间歌舞晚会，首次将桑植民歌推向国际舞台；2004年，歌唱家宋祖英在维也纳金色大厅举行个人独唱音乐会，演唱《马桑树儿搭灯台》；2008年，歌唱家雷佳将《马桑树儿搭灯台》收录至《中华五十六民族之歌》，作为国礼赠送给参加奥运会的各个国家。
2006年5月20日，桑植民歌经中华人民共和国国务院批准列入第一批国家级非物质文化遗产名录，项目编号：Ⅱ-10。

== Division ==

== Protection ==

== Conclusion ==

== Terms and expressions ==

== Questions ==

--[[User:Mou Yihong|Mou Yihong]] ([[User talk:Mou Yihong|talk]]) 08:35, 7 June 2024 (UTC)=Mou Yihong |Music and instrument: Ancient Chinese pentatonic scale--Gong,Shang,Jue,Zhi,Yu=

Abstract

This paper examines the ancient Chinese pentatonic scale, comprising the notes Gong, Shang, Jue, Zhi, and Yu. We delve into the historical background, musical characteristics, and instrumental applications of this scale in traditional Chinese music. By exploring the role of these five notes in various musical genres and instruments, we aim to provide a comprehensive understanding of the pentatonic scale in ancient Chinese music and its cultural significance.

Introduction:

The ancient Chinese pentatonic scale, consisting of Gong, Shang, Jue, Zhi, and Yu, is a fundamental component of traditional Chinese music. This scale, with its unique sound and symbolism, has been utilized in various forms of Chinese music for centuries. It is not only a musical construct but also deeply intertwined with Chinese culture, philosophy, and cosmology. This paper explores the pentatonic scale in ancient Chinese music, focusing on its historical evolution, musical characteristics, and instrumental applications.

Historical Background:

The pentatonic scale in ancient Chinese music dates back to the prehistoric era, where it was likely first used in primitive folk music and rituals. Over time, this scale became a fundamental component of traditional Chinese musical theory and practice. The earliest recorded mention of the five notes, Gong, Shang, Jue, Zhi, and Yu, appears in ancient texts such as the "Book of Rites" and the "Book of Songs." These notes were associated with the five elements of nature (earth, metal, wood, fire, and water) and the five directions (center, west, east, south, and north), reflecting the ancient Chinese belief in the interconnectedness of all things in the universe.Gong, the first note, represents the element of earth and is characterized by its stability and grounding sound. Shang, the second note, corresponds to metal and has a bright and resonant sound. Jue, the third note, represents wood and is associated with a clear and piercing tone. Zhi, the fourth note, corresponds to fire and is known for its lively and energetic sound. Yu, the final note, represents water and is characterized by its smooth and flowing melody.

Musical Characteristics:

The pentatonic scale in ancient Chinese music is characterized by its simplicity, purity, and balance. Each note in the scale has a unique sound and symbolism, creating a harmonious and balanced musical structure. The ancient Chinese five tones, namely Gong, Shang, Jue, Zhi, and Yu, correspond to the Western musical scales as follows: Gong to C, Shang to D, Jue to E, Zhi to F, and Yu to G. These correspondences are based on the perceived similarity in pitch and musical characteristics between the two systems.The ancient Chinese musical scale having two fewer notes than the Western scale is not a matter of mathematical or physical limitation but rather a result of cultural and aesthetic preferences. The five-tone system in ancient China was based on the concept of "five elements" (wood, fire, earth, metal, water) and their corresponding relationships with the human body and nature. This system emphasized balance, harmony, and simplicity, which were reflected in the musical scale as well. The two omitted notes, Fa and Si, in the Western scale are considered semi-tones, and their absence in the ancient Chinese scale contributes to a more harmonious and balanced sound.The lack of semi-tones in the ancient Chinese scale has a profound impact on the character and expression of Chinese music. It contributes to a more serene, harmonious, and meditative quality that is often associated with traditional Chinese melodies. The absence of sharp dissonances and the emphasis on balance and simplicity allow the music to flow smoothly and evoke deep emotional responses. This unique aesthetic is a defining characteristic of Chinese music and has influenced its development and evolution throughout history.In summary, the ancient Chinese five-tone system, while differing from the Western scale in terms of note count, possesses its own unique aesthetic value and influence on Chinese music. Its simplicity, balance, and harmonious sound have contributed significantly to the rich cultural heritage of Chinese music.

Instrumental Applications:

The pentatonic scale has been utilized in various traditional Chinese musical instruments, including the zither (guqin), the bamboo flute (dizi), and the pipa. These instruments have unique playing techniques and expressive capabilities that bring out the distinctive sounds and characteristics of the five notes. The zither, for example, utilizes plucking and finger-pressing techniques to create the rich and resonant tones of the pentatonic scale. The bamboo flute, on the other hand, relies on breath control and fingering to produce the clear and piercing melodies of the scale. The pipa, a four-stringed plucked instrument, utilizes plucking and strumming techniques to create a lively and energetic soundscape within the pentatonic scale.

Cultural Significance:

The pentatonic scale in ancient Chinese music is not merely a musical construct; it is also deeply rooted in Chinese culture and philosophy. The five notes correspond to the five elements of nature and the five directions, reflecting the ancient Chinese belief in the interconnectedness of all things in the universe. The pentatonic scale also embodies the Chinese concept of harmony and balance, representing the harmonious coexistence of different elements and forces in nature. This cultural significance has been passed down through generations, influencing the development and evolution of traditional Chinese music and instruments.

Conclusion:

The ancient Chinese pentatonic scale of Gong, Shang, Jue, Zhi, and Yu is a unique and fundamental component of traditional Chinese music. This paper has explored the historical background, musical characteristics, and instrumental applications of this scale, revealing its deep connections with Chinese culture and philosophy. By understanding the pentatonic scale and its role in traditional Chinese music, we gain a deeper appreciation of the richness and complexity of this ancient musical tradition.

=Yu Xinzhong | Social Phenomenon: Modern China's Inter-provincial Migration=

'''Overview:'''

The phenomenon of population migration has been very common in ancient China, but since modern China, especially after the reform and opening up, the inter-provincial migration of China’s population has become unprecedentedly common. The main reason for that is absolutely economy. Such waves of migration have brought significant economic benefits to the regions where the population moves in, but at the same time, they have also given rise to a series of economic, social, and cultural issues. In the process of migrating to improve their standard of living, migrants also undergo certain hardships.

'''The Process of The Migration'''

=Song Chengshuang |=

Chinese tradition culture：Zan hairpin flower

Many tourists have recently come to Quanzhou to experience the XunPu women's hairpin flowers because of this saying, "Adorn yourself with flowers in this life, be beautiful in the next". Quanzhou is a city with a long history and culture in China, with mountains and seas, rich cultural heritage and historical heritage. "Zanhua" is also one of the characteristic cultures of the local XunPu Village. Hairpin flower is actually a type of ancient Chinese headwear, usually fixed on a bun by an ivory hairpin, and then wrapped with flowers in nature or flowers made of other materials. The Zanhua culture has a long history of two to three thousand years and is one of the national intangible cultural heritages.

Cultural customs

As for why it is necessary to hairpin and Zanhua, some people say that the locals initially used animal bones such as fish, sheep, and cows to hairpin, which preserves the ancient custom of "bone needles to secure hair". Others say that "Zanhua Wei" originates from the custom of Central Asian women wearing flowers, which is brought back by the exchange of the Maritime Silk Road during the Song and Yuan dynasties. XunPu women are known for their qualities of Diligent Housekeeping. In order to facilitate their work at the seaside, they wear a large train top, wide tube pants, headwear such as "Zanhua Wei" and earrings such as "DingXianggou", which have become typical features of XunPu women. The headwear and folk culture of the XunPu women record their optimistic attitude towards life, and it is every woman's longing and pursuit of beauty. In addition, it is also a microcosm of ocean culture and the Maritime Silk Road. With its unique geographical environment and cultural characteristics, XunPu embodies the philosophical idea of "Heaven and Man are united as One" in which foreign culture coexists with local culture. [1]

Historical development

Zanhua originated in the Qin and Han dynasties, became popular in the Tang dynasty, flourished in the Song, Yuan, and Ming dynasties, and gradually declined during the Qing dynasty.

（1） The Zanhua Culture Before the Tang Dynasty

The Zanhua culture has a long and rich history, and its development can be traced back to the Warring States period. At that time, although the Zanhua Culture had not yet formed, people began to use flowers as headwear to express their inner emotions. During the Qin and Han dynasties, the trend of hairpin flowers gradually emerged. Especially in the Han Dynasty, women in the Sichuan regions regarded hairpin flowers as fashionable, which is evidenced by the Eastern Han Dynasty pottery figurines with mirrors unearthed in Chengdu. From the Wei, Jin, Southern and Northern Dynasties to the Tang Dynasty, the trend of hairpin flowers became increasingly fierce.

（2） The Zanhua Culture of the Tang Dynasty

The Tang Dynasty was the golden period of Zanhua culture, and both the royal nobles and common people were enthusiastic about hairpin flowers on their heads, forming a unique social trend. The high attire flower bun of Tang Dynasty women was particularly popular, which not only was gorgeous and eye-catching, but also laid the foundation for the popularity of the "flower crown" in the Song Dynasty. In the painting of Portrait of a Flower-wearing Maid, the author uses the elements of flowers to depict the wealth and prestige of aristocratic women in the palace, reflecting the Zanhua Culture at that time. In the painting, except for the maidservants, five noble women are adorned with hairpins on their heads, using vigorous and clean brushstrokes, appearing incredibly beautiful and radiant. In addition, the Zanhua Culture during the Double Ninth Festival also adds to the festive atmosphere. [2] Wang Wei wrote in his poem "Memories of Shandong Brothers on September 9th": " I know from afar where my brothers are climbing high, but one less person is missing when they wore with Cornus officinalisu everywhere." Here, "wore Cornus officinalis" expresses the custom of the Zanhua Culture during the Double Ninth Festival. On the Double Ninth Festival, besides wearing Cornus officinalis, people also have the custom of wearing chrysanthemums. During the Double Ninth Festival, when people climb high to play, they usually have to put chrysanthemums all over their heads to go home.

（3） The Zanhua Culture of the Song Dynasty

In the Song Dynasty, the hairpin culture reached its peak, men's hairpin became popular and became a court etiquette at that time. Compared with the Tang Dynasty, it was more common for men in the Song Dynasty to hairpin flowers, and it was not limited to festivals or celebrations. In the Song Dynasty, people believed that wearing flowers on the head was auspicious, so during that period, when encountering major events, the emperor and officials would wear flowers. During the reign of Emperor SongTaizong, a banquet and flower were held for the annual Jinshi ceremony, and people had to hairpin flowers as rewards. At the same time, women in the Song Dynasty were also enthusiastic about using flowers to dress themselves up. They would choose suitable flowers according to seasonal changes and display different styles. The love for hairpin flowers among literati in the Song Dynasty also reached a climax. They believed that wearing flowers on their heads not only looked beautiful, but also reflected the elegance and taste of literati. Su Shi, a great poet in the Song Dynasty, was very fond of hairpin flowers. He once said, "When people grow old, they should not be ashamed of hairpin flower. Flowers should be ashamed of on the head of old people.” The hairpin flowers of Song Dynasty poets not only reflect the aesthetic taste and characteristics of the time, but also reflect the open and free mentality of the entire society, containing rich humanistic spirit."

（4） The Zanhua Culture After the Song Dynasty

In the Yuan, Ming, and Qing dynasties, the custom of hairpin flowers evolved. Although it was not as popular as in the Song dynasty, it still remained within a certain social class and specific festival celebrations. For example, the records of the Zanhua Culture in the Ming Dynasty mainly appeared in social activities such as the Spring Festival, imperial examinations, wedding customs, expeditions, and leisure activities. [3] And with the development of makeup technology, hairpins are more often combined with hairstyles and makeup, becoming a part of overall image design.

（5） The Zanhua Culture in the Modern and contemporary times

From modern times to today, the tradition of hairpin flowers has been preserved in some regions and specific contexts, such as the bride's wedding headwear, folk festival activities, and the costumes of characters in traditional Chinese opera performances and has evolved into hairpin flower ornaments made from various materials such as flowers and silk flowers.

The significance of hairpin flowers

（1） Decorative

Hairpins initially appeared as headwear, reflecting personal elegance and lifestyle, especially for women who show beauty through hairpins.

（2） Symbolic significance

Different flowers have their own meanings, such as peonies symbolizing wealth and auspiciousness, and plum blossoms symbolizing pride and a clear breeze. Wearing them can express the wearer's emotional support or pursuit of beautiful qualities.

（3） Social status markers

In certain historical periods, hairpins became makers of status and identity. For example, during the Song Dynasty, emperors gave flowers to officials, and officials of different levels received flowers of different materials and colors. As a result, hairpins had the function of distinguishing between official ranks.

From ancient times to the present, hairpin flowers not only have ornamental value, but also represent traditional culture and epitome of Eastern aesthetics. People of different ages, regardless of gender, continue this long-standing tradition of meticulously embellishing themselves with clusters of flowers, living seriously, and striving to live beautifully. The Zanhua Culture blooms with a timeless fragrance, as well as a rich life belonging to ordinary people. With the changing times, hairpin flower is not only a decoration, but also a symbol of cultural inheritance, carrying people's longing and pursuit for a better life. In modern society, hairpin flower has also become artworks and collectibles, showcasing the fusion of tradition and modernity. Both classical and modern styles of hairpins reflect the vastness and profundity of Chinese culture, as well as the charm of traditional aesthetics.

References:

[1]袁晓鹏.泉州蟳埔女头饰民俗文化的美学思想研究[J].戏剧之家,2015,(22):247.

[2]张轶梁.《簪花仕女图》的簪花艺术表现及文化传承[J].东方收藏,2023,(09):33-35

[3] 庞雅静 .《簪花仕女图》的色彩美研究 [J]. 美与时代（中），2022（08）：63-65.

=Tan Yalan |Xiangdao=
Please start to write now.

=Xiao Ye |The Imperial Civil Examination System=
==Introduction==
The imperial civil examination system is an ancient Chinese system of selecting officials through examinations. From its inception to its abolition in 1905, it had a long history of more than 1,200 years and had a profound impact on the society at that time. It was considered to be the fairest way of talent selection that could be adopted in the feudal era, but in the later stages of development, its drawbacks gradually came to the fore, and its negative effects became more and more significant. In addition, ancient Japan, Korea, Vietnam and other countries that had close exchanges with China were also deeply influenced by the imperial civil examination system. To this day, the imperial civil examination system still has profound cultural value and significance.(Baidu Encyclopedia：The imperial civil examination system）
==The development of the imperial civil examination system==
The origin of the imperial civil examination system is controversial in historical circles, with various claims ranging from the Han, Sui, to the Tang dynasties. The mainstream view, however, is that the system was initiated during the Sui Dynasty and further developed and perfected during the Tang.
1 Sui Dynasty: Establishment of the imperial civil examination system
Before the Sui Dynasty, the official selection systems were largely corrupt. For instance, the “Nine Ranks system” during the Wei, Jin, and Southern and Northern Dynasties was based on family background and social status rather than ability. During its implementation, it was unable to escape the notion of class privilege and lacked standardized regulations, leading to widespread corruption among officials. After the establishment of the Sui Dynasty, Emperor Wen of Sui fully recognized the shortcomings of the previous official selection systems and abolished the Nine Ranks system. He began to use a system of specialized examinations to select officials. During the reign of Emperor Yang of Sui, the jinshi,(the highest level and the most difficult of imperial civil examinations) was established for the first time, marking the formation of the civil service examination system.
2 Tang Dynasty: The Perfection of the Examination System
The Tang Dynasty inherited and improved the imperial civil examination system of the Sui Dynasty. It was manifested in the following: Emperor Taizong of the Tang Dynasty increased the number of subjects to be examined, with the two subjects of jinshi and mingjing as the main subjects; Emperor Wu Zetian expanded the number of people who could be selected for the imperial examinations, and created the military examination and the palace examination; Emperor Xuanzong of the Tang Dynasty appointed high-ranking officials to preside over the examinations, and raised the status of the imperial civil examination system.
3 Northern Song Dynasty: Development and Reform of the Imperial civil Examination System
The examination system in the early years of the Northern Song Dynasty saw further development compared to the Tang Dynasty, mainly reflected in the following aspects: First, the examination process was strictly regulated, with the exam divided into three levels: the county examination, the provincial examination, and the palace examination, which became a fixed institution. Second, the number of examination subjects was simplified, with the jinshi subject becoming the most important. Third, the “anonymizing method” was implemented in the examination process to prevent corruption by examiners. Fourth, the number of candidates admitted was expanded.
During the mid-Northern Song Dynasty, Wang Anshi implemented reforms and made changes to the content of the imperial civil examination system. He abolished the subjects that required rote memorization, such as the Mingjing subject and so on, and the jinshi subject no longer included poetry and prose, focusing instead on the study of classics and contemporary affairs. He established the Mingfa subject, which was specifically focused on the examination of laws, regulations, and legal cases. However, with the failure of the reforms, these measures were also repealed.
4 The Ming and Qing dynasties: the rigidity of the imperial examination system
In order to strictly control the thinking of the scholars, the imperial civil examination system of the Ming Dynasty underwent significant changes from content to form. The examination was based only on the Four Books and Five Classics of Confucianism. Candidates were not allowed to express their own opinions. The style of the answer sheet was strictly regulated, and the essay was mechanically divided into eight parts, which was called “Stereotyped Writing”. This severely restricted people's thinking, stifled intellectual ingenuity and creativity, ossified thinking, and seriously impeded the development of Chinese science and culture.
5 Late Qing Dynasty: Abolition of the Imperial civil Examination System
In the 1898 Hundred Days Reform, Emperor Guangxu issued an edict to "abandon the eight-legged essay and replace it with policy essays". After the failure of the Hundred Days Reform, in 1905, the Qing government announced the abolition of the imperial civil examination system. From then on, the imperial civil examination system came to an end.(Lin,33-34)

=Li Sijin |Literature:Qu Yuan=
==Introduction==
Qu Yuan is a famous great patriotic poet in Chinese history, the founder of Chinese romantic literature, and the founder and representative writer of "Chu Ci". 2,300 years ago, the great patriotic poet Qu Yuan threw himself into the Miluo River. The spirit of Qu Yuan has been continuously interpreted since the Han Dynasty, showing distinctive characteristics of the times in each era; The activities and festivals commemorating Qu Yuan have become important cultural traditions of the Chinese nation, and people have increased their sense of belonging and identity through commemorating Qu Yuan. The spirit of Qu Yuan has been widely disseminated and recognized abroad, and the Chinese Dragon Boat Festival has been included in the "Representative List of Intangible Cultural Heritage".

==Main Part==
In 340 B.C., Qu Yuan was born in the state of Chu. When he was young, he received a good education and had a big ambition. After entering politics, he advocated for "good governance", advocating for internal governance with clear laws and external alliances to resist the state of Qin. Later, he was marginalized by the aristocracy and exiled to the region of the Yuan and Xiang rivers. However, like a warrior, he steadfastly upheld his ideals, practiced the ways of a nobleman, never allowing worldly corruption to tarnish his lofty and noble character. In 278 BC, when there was no way to serve the country , Qu Yuan committed suicide in the Miluo River in complete despair.
1.Qu Yuan's virtue

Qu Yuan used his own name to reflect the moral standards he pursued. According to the opening of "Li Sao," "My father gave me the name 'Zheng Ze,' and called me 'Ling Jun'." "Zheng Ze" signifies integrity and righteousness, adhering strictly to principles of conduct: "Ling Jun" denotes intelligence, wisdom, fairness, and justice. In the "Song of the Orange Tree," he further exemplifies his character by the steadfastness of the orange tree: for the sake of his noble ideals, he would never compromise, even unto death. Qu Yuan's eternal aspiration lies in his literary works and political ambitions, all of which stand on the side of the people. His greatness lies in his unwavering compassion for the country and its people, and his profound love for his homeland. The reason his deeds and works are intertwined with the daily lives of the people and have become a significant commemoration of a traditional festival is because his words and actions overflow with boundless love for the motherland, the people, and the native culture. Deeply embedded within them lies the enduring strength of national spirit and culture. "No one in the country knows me, why cling to the old capital?" Qu Yuan once pondered the question of "why not leave the country," but ultimately, he did not embark on distant travels, which truly reflects his steadfastness to his spiritual and cultural heritage.

2.Qu Yuan's political advocacy and contributions

Qu Yuan was a great politician. On the one hand, he set up the ideal and ambition of "good governance" very early, and the political goal for which he fought for all his life. He advocated internal governance with clear laws and the reform of politics. At this time, Qu Yuan, who was honest, upright and selfless, was supported by King, and the six reform measures he carried out made the state of Chu stronger and stronger. On the other hand, Qu Yuan advocated external alliances to resist the state of Qin. His foreign policy made the state of Chu once present a situation of national wealth and strong army.

3.Qu Yuan's poems

Poet is Qu Yuan's primary label throughout the ages. Qu Yuan integrated his life with his homeland, and his specific works are full of deep feelings for his country, which are worthy of praise and learning for future generations.From his life and works, people have summarized and continuously expounded the "Qu Yuan spirit", and with the changes of the times, it has been constantly endowed with new connotations of the times. He recounted in "Li Sao": "Long did I sigh and wipe away my tears, to see my people bowed by griefs and fears." The poet expressed deep sympathy for the difficult life of the people. And this kind of love and sorrow intertwined also made Qu Yuan refuse to leave his hometown until he died. His feelings for the country and the people also erupted uncontrollably in a series of poetic works such as "Jiu Ge" and "Jiu Zhang". Therefore, Qu Yuan's poetry has incomparable cultural value.

4.The embodiment of Qu Yuan's spirit in modern times

Today, during the Dragon Boat Festival, various regions across China highlight the theme of honoring Qu Yuan, praising his upright path and his spirit of patriotism and love for the people. Through storytelling about the festival and Qu Yuan, reciting poetry, and participating in dragon boat races, they lead the public in learning about traditional culture and nurturing patriotic sentiments.Since the 18th National Congress of the Communist Party of China, he has praised his honest and noble personality on different occasions, andhas repeatedly quoted famous sentences from Qu Yuan's poems to expound his thoughts.Today, as we commemorate Qu Yuan, we honor the traditional Chinese scholar's spirit of confronting life and death, boldly striking at the unknown, represented by Qu Yuan's "Questions to Heaven" spirit. In his epic poem "Questions to Heaven," Qu Yuan delves from the separation of heaven and earth, the changes of yin and yang, to natural phenomena like the sun, moon, and stars, directly questioning mythological legends and historical tales of sages and villains, prosperity and decline. Through his inquiries, he expresses his cosmological, historical, and political views. Not confined by doctrines but driven by reality, daring to question and critique, such exploratory spirit is truly admirable.This shows the Chinese's critical spirit of existing traditional concepts and the spirit of exploring scientific truth. Today, we commemorate Qu Yuan to honor the loyal and unswerving patriotic spirit of Qu Yuan. Qu Yuan's name has become an important label for patriotism. The greatest charm of Qu Yuan's personality lies in the spiritual core with the spirit of patriotism as the core, which allowed him to transcend the value pursuit of scholars at that time to abandon the country and pursue profits, closely link personal ideals with the destiny of the nation, and strive to unite and struggle for the realization of the people's yearning for a better life. Today, we commemorate Qu Yuan to honor the perseverance and struggle spirit of Qu Yuan. Qu Yuan has been worried the Chu State all his life, whether he is in the imperial court or not, he does not forget to think about the country and the people.Unwilling to take a detour, nor willing to compromise, he finally proved his loyalty with his life, and he never regretted it.

==Conclusion==
"Qu Yuan," as a spiritual symbol, plays an extraordinary role in the construction of the Chinese national community consciousness, spanning from the past to the present and even into the future. Without a great sage like Qu Yuan, the entire Chinese scholarly community would inevitably lack a certain spiritual strength, and Chinese history would lose many tragic hues.

==Terms and Expressions==
Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录

good governance 美政

==Questions==
#Who is the founder and representative writer of "Chu Ci"?
#What is Qu Yuan's political advocacy?
#What is the meaning of Qu Yuan's name?
#How Qu Yuan's spirit is embodied in his poetry?
#What is the meaning of "Questions to Heaven"?

==References==
[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84.

[2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。

[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190.

[4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.

[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

==Translation==

Introduction

屈原是中国历史上一位著名的伟大的爱国诗人，中国浪漫主义文学的奠基人，“楚辞”的创立者和代表作家。2300年前，伟大的爱国诗人屈原在汨罗江自杀殉国。屈原精神自汉代以来不断被阐释，在每个时代都展现出鲜明的时代特征；纪念屈原的活动和节日成为重要的中华民族文化传统，人们通过纪念屈原增加了归属感、认同感；屈原精神在国外得到广泛传播和认可，中国端午节被列入“非物质文化遗产代表作名录”。

Main part

公元前340年,屈原出生于楚国,少年曾受过良好教育，志向远大，从政后提倡“美政”，主张对内修明法度，对外联齐抗秦，后遭贵族排挤，被流放至沅湘流域。但他坚守自我理想，践行君子之道，绝不允许世俗的秽气玷污自己美好的品格。公元前278年，在报国无路的情况下，屈原极度绝望，自杀于汨罗江。1.屈原的美德屈原用自己的名字反映追求的道德标准。据《离骚》开篇，“父亲把我的名取为正则，把我的字叫作灵均。”“正则”即正直、正派，恪守做人原则；“灵均”指聪颖、智慧、公平、公正。在《橘颂》中，他又以橘树的“独立不迁”体现自己的人格情操：为了心中美好的理想，绝不同流合污，纵然死去也不后悔。屈原的千古之志，在于其文学作品和政治抱负无不站在人民的立场上。他的伟大之处，在于始终怀着强烈的忧国忧民的悲悯之心，始终怀着强烈的爱国之情。他的事迹和作品之所以能和民众日常生活结合在一起，并成为一个重要传统节日的主要纪念对象，就是因为他的言行流露着对祖国、对人民、对故土文化无限的爱，其中深深蕴藏着民族精神和文化的持久力量。“国无人莫我知兮，又何怀乎故都？”屈原亦曾考虑过“何不去国”的问题，但他最终没有去国远游，这正体现了他对精神和文化的坚守。2.屈原的政治主张及贡献屈原是一名伟大的政治家。一方面，他很早就树立了“美政”的理想抱负，及为之奋斗终生的政治目标。他主张对内修明法度，改革政治。此时，清正廉洁、刚正无私的屈原得到国君支持，其开展的六条变法改革图强措施，让楚国日益强大起来。另一方面，屈原对外主张联齐抗秦。他的外交政策，使得楚国一度呈现出一个国富兵强的局面。3.屈原的诗歌诗人是屈原横贯古今的首要标签。屈原将自己的生命与故土融为一体，在其具体的作品中充斥着对家国深厚的情感，值得后世传颂学习。从他的生平和作品中，人们总结并不断阐发出“屈原精神”，随着时代的变迁，不断地赋予新的时代内涵。他在《离骚》中述说着：“长太息以掩涕兮,哀民生之多艰!”诗人对人民艰难的生活深表同情。且这种热爱与忧患交织着的情感也使屈原至死不肯离乡他就。”他对国家和人民的这种感情在《九歌》《九章》等一系列诗歌作品中，也毫不节制地喷发而出。因此，屈原的诗歌有着无法比拟的文化价值。4.屈原精神在现代的体现今日，每逢端午节，中国各地都突出祭祀屈原的主题，歌颂屈原正道直行、爱国爱民的精神，通过讲述端午节与屈原的故事、开展诗词吟诵和进行赛龙舟等活动，引领公众学习传统文化，厚植家国情怀。党的十八大以来，习近平总书记曾在不同场合多次赞叹其心忧家国、清正高洁的人格魅力，并先后多次引用屈原诗歌中的名句来阐述思想。今天我们纪念屈原，是纪念屈原代表的传统中国士人直面生死、敢向未知勇猛叩击的“天问”精神。在长诗《天问》中，屈原从天地离分、阴阳变化、日月星辰等自然现象，一直问到神话传说乃至圣贤凶顽和治乱兴衰的历史故事，并从设问中表达自己的宇宙观念、历史观念和政治主张。这表现了中国人对既有传统观念的批判精神和对科学真理的探索精神。今天我们纪念屈原，是纪念屈原代表的忠贞不渝的爱国精神。屈原的名字已成为爱国主义的重要标签。屈原人格最大魅力就在于以爱国主义精神为核心的精神内核，让他超越了当时士大夫普遍弃国逐利的价值追求，把个人理想同民族命运紧密联系在一起，为实现人民对美好生活的向往而努力团结奋斗。今天我们纪念屈原，是纪念屈原代表的锲而不舍的奋斗精神。屈原一生都在为楚国操心，无论是否处在朝廷，都不忘忧心国家与人民。不愿迂回，也不愿妥协，最后用生命证明了自己的一腔忠义，也不曾后悔。

conclusion

“屈原”作为一种精神符号对中华民族共同体意识的构建，从过去到现在以至未来都发挥着非比寻常的作用。倘若没有屈原这样一位伟大的先贤，那么整个中国士人群体势必会缺少一种精神的力量，而中国历史也会失掉不少悲壮的色彩。文明弦歌终不绝，屈子精神永流传。守正不守旧，尊古不复古，这是我们对传统文化充满自信的表达。

Terms and expressions

Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录good governance 美政Questions1.“楚辞”的创立者和代表作家是谁？2.屈原的政治主张是什么？3.屈原名字的内涵是什么？4.屈原的精神是怎样在他诗歌里体现的？5.“天问精神”是什么意思？

References[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84. [2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190. [4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

=Luo Yang |Games: pitch-pot game(touhu)=
==Introduction==
Pitch-pot game is a ceremonial game played by ancient people during banquets. During the game, a specially made pot is used, and the guests take turns throwing arrows into it. The one who hits the most wins, while the loser drinks. As a classic entertainment activity in Chinese traditional culture, Pitch-pot is not only a competitive game but also a social way of interaction with significant cultural symbolism. With a long history, it embodies rich philosophical thoughts and moral teachings, exerting a profound influence on Chinese etiquette and culture.
==The Evolution and Revival of Touhu Culture==
===Origin and Development===
The renowned Han dynasty writer Zheng Xuan mentioned in his work "The Book of Rites - Pitch-pot," that "Pitch-pot evolved from the archery rituals of the Shang and Zhou dynasties." Archery was one of the six arts for noblemen, and the archery rituals evolved into essential etiquette for banquets. However, due to the limited space of the courtyard, or the people who were unfit for archery, the activity of using bristles instead of arrows, pots instead of targets, and throwing instead of shooting emerged, transforming "banquet archery" into "banquet pitching."

After a long period of development and evolution, Pitch-pot transitioned from an exclusive elegant entertainment for the upper class to the common people, becoming popular among the general public. The earliest literary record of Pitch-pot activity appeared in the "Zuo Zhuan". In the "Zuo Zhuan - The Twelfth Year of Duke Zhao," it was recorded: "The Marquis of Jin entertained the Marquis of Qi, and Zhongxing Muzi played pitch-pot." In the twelfth year of Duke Zhao (around 530 BC), pitch-pot activities were still entertainment at ruling class banquets. At that time, Pitch-pot could be considered as a ritual, inheriting the form and ethical ideas of archery, to some extent reflecting the ethical rules of status hierarchy.

By the Warring States period, pitch-pot gradually became popular among the common people, allowing both men and women to participate, enhancing the entertainment aspect of pitch-pot. During the reign of Emperor Wu of the Han dynasty, the imperial household official Guo was particularly skilled in Pitch-pot. He improved the rules and equipment used in pitch-pot, leading to its wider dissemination among the common people. Until the Song dynasty, Prime Minister Sima Guang opposed the excessive entertainment aspect of Pitch-pot, proposing a return to its ceremonial function, limiting the richness of Pitch-pot skills. In the Ming and Qing dynasties, although Pitch-pot games were still popular among the literati, its overall development slowed down. With the introduction of modern Western sports at the end of the Qing dynasty, pitch-pot game declined and withdrew from the historical stage.

===Cultural significance===
The early practice of Touhu had a complete ceremonial process. As the sport became more entertaining over time, the ceremonial aspects were reduced. However, it is undeniable that the ceremonial culture and the spirit of sports competition within it still have strong guiding significance for the revival of traditional culture today.

Touhu embodies the traditional Chinese culture of moderation and can cultivate both the body and mind. From the perspective of external human behavior, Touhu also provides guidance for people's behavior, requiring people to follow certain standards and methods in handling affairs. Those who participate in this activity all uphold a cautious and respectful attitude. The host and the guest need to demonstrate their courteous demeanor through the ceremonial three invitations and three refusals. The attendants of the host and the guest also need to complete the prescribed sections according to the shooting ceremony, and must not be arrogant, negligent, distracted, turn their backs on the game while standing, or discuss other matters on the scene, etc., to show the seriousness of this activity. From the perspective of the inner state of a person, it is necessary to accompany the game of Touhu with elegant songs, requiring participants to pay attention to rhythm and rhyme, and to act according to the sound; in this process, the upper and lower parts of the human body are in a coordinated state, embodying the combination of movement and stillness, and the pursuit of harmony between man and the outside world.

Unlike other throwing sports overseas, Touhu does not achieve competition through physical confrontation, but emphasizes rationality and moral cultivation. Touhu is a typical representative of the gentleman's competition, requiring one to strive for victory through their own efforts in the competition, while also giving enough respect to the opponent. The Analects of Confucius describes it this way: a gentleman should value self-cultivation and not easily compete with others for superiority. If one must compete with others, they can participate in the shooting ceremony or Touhu. One should strive for victory in the competition, and when they win, they should bow to the opponent to show respect, rather than being complacent. In the competition, one continuously improves their personal cultivation level, using sports as a way to urge individuals to continuously improve their cultivation. This is also consistent with the modern competitive sports concept of "friendship first, competition second".

===Inheritance and promotion===
In the sports and cultural ecology of contemporary China, Western sports have long occupied the mainstream position, and China's traditional sports has been marginalized. In recent years, with the rise of the national fitness wave, people have paid more attention to the content and quality of sports activities. This has created a rare opportunity for the revival of pitching pots. However, we do not need to copy the development model of ancient pitching pots, but to promote its combination with modern entertainment while retaining its own cultural value. For the general public, the fun of sports activities is ranked first, followed by its cultural value. Therefore, we can make bold innovations in pitching pots, increase its gameplay, or expand the scale of the game, so that it can be transformed from a two-person round-based game to a multi-person competition, attracting more people to participate in the sport of pitching pots.

In addition to improving and innovating pitching pots, we should also actively promote the spread of pitching pots at home and abroad. Although there are many pitching pot activities in China, most of them are personal organizations of pitch pot enthusiasts. If we want to make pitch pots a trend in society, multi-party cooperation is strongly needed. First of all, the government should play a guiding role, provide policy guarantees and economic support for pitching pots, and lay the foundation for the healthy development of this project. Secondly, we should make full use of education as an effective platform to let children get in touch with it from an early age and cultivate their interest. Finally, vigorous publicity by the media is indispensable. Through the Internet, we call on the whole society to pay attention to the development of folk sports and enhance the people's cultural confidence and cultural identity.

==Conclusion==
Pitch-pot, a treasure in China's excellent traditional culture, not only inherits the rituals of archery and the etiquette of self-cultivation, but also integrates the essence of Chinese civilization. Under the call of national rejuvenation in the new era, developing pitch-pot is of great significance to the revival of Chinese traditional sports culture and today's leisure sports. We have the responsibility to inherit it and promote its dissemination, so that more people can enjoy this precious humanistic practice of the ancestors of China.
==Terms and Expressions==
Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

==Questions==
# How did Pitch-pot evolve from archery rituals?
# What cultural values does Pitch-pot embody?
# What are the challenges and opportunities in reviving Pitch-pot?
# Why is Pitch-pot's development significant to Chinese traditional sports culture?
# What roles do the government, education, and media play in promoting Pitch-pot?

==References==
You Qianxin, Lian Menglong, Li Ning. Research on the development of ancient leisure sports pitch pot movement. Sports Science and Technology Bulletin, 2020, 28 ( 10 ): 134-135

Zhang Guoquan. ' Touhu ' and the inheritance of ancient ritual and music spirit. Lantai World, 2014, ( 04 ): 106-107.

Zhang Yong, Deng Lixing. Research on the rise and fall of the development of ancient Chinese pots. Journal of Yulin Normal University ( Natural Science Edition ), 2007, ( 05 ): 119 - 121.

Hao Jinfang.Touhu cultural historical changes and inheritance. Shandong Sport University, 2014.

==Translation==
投壶

投壶是古人宴会时礼节性的游戏。游戏时设特制之壶，宾主以次投矢其中，中多者为胜，负者饮。作为中国传统文化中的一项经典娱乐活动，投壶不仅是一种竞技游戏，更是一种独具文化象征意义的社交方式。它历史悠久，蕴含着丰富的哲学思想和道德教化功能，对中国礼仪文化影响深远。

起源及发展

汉代著名文学家郑玄在他所著的《礼记·投壶》中说道：“投壶是从商周时期射礼演化而来的。”射，是君子六艺的一种，由此衍生出来的射礼成为了宴会中必备的礼仪。然而，由于弓、箭数量和宴会场地的限制，或者一些嘉宾不擅长射箭，就出现了以棘代矢，以壶代靶，以投代射的投壶活动，使“宴射”变成了“宴投”。
经过漫长的发展和演变后，投壶由上层社会专属的高雅娱乐走向民间，受到广大平民百姓的喜爱。投壶活动的文献记载最早出现于《左传》。《左传·昭公十二年》载：“晋侯以齐侯宴，中行穆子相，投壶。”在昭公十二年（公元前530年）的时侯，投壶活动还是统治阶层宴会上的娱乐。当时投壶可以被称为是投壶礼仪, 是对射礼从形式到伦理思想的继承, 一定程度上体现地位尊卑的伦理法则。到了战国时期，民间开始逐渐流行投壶，男女皆可参加，增加了投壶的娱乐性。汉武帝时期，郭舍人尤其擅长投壶，他改良了投壶的规则和所用器具，使投壶在民间得到了更为广泛的传播。直到宋代，丞相司马光反对投壶的过度娱乐化，提出要回归它的礼仪功能，限制了投壶技艺的丰富性。明清时期，投壶游戏虽然还流行于士大夫之间，但它整体的发展已趋于缓慢，随着清末西方现代体育运动的传入，投壶走向衰落，退出了历史舞台。

文化意义

投壶早期具有完善的礼仪流程，在后世的发展中，随着投壶运动娱乐性的不断加强, 礼仪则相应地减少。但不可否认的是，其中的礼仪文化以及体育竞技精神对于当下传统文化的复兴仍然有较强的指导意义。
投壶体现了中国传统的中庸文化，能够修养身心。从人的外在行为方面看, 投壶也对人的行为方式做出了指引, 要求人们在事务的处理方面遵循一定的标准与方法。参与到这项活动中的人都秉持着谨慎恭敬的态度, 宾主之间需要通过礼节性的三请三辞来展现双方儒雅揖让的风度。宾主的侍从也都要根据射礼程序完成所规定的节数, 在整个活动过程中做到不可傲慢、不能懈怠、不准分散精力和心神旁顾、不准在站立时背对赛局、不能在现场对他事进行谈论等一系列要求, 以表示此项活动的郑重。从人的内心状态来看, 投壶时需要用雅歌进行伴奏，要求参与者讲求节奏与韵律,循声而发; 在这个过程中, 人的身体上下都处于协调状态,体现着动静结合,追求人与外界的和谐。
与海外的投掷游戏不同的是，投壶并非通过身体对抗来实现竞争，而更强调理性和道德修养。投壶运动是君子之争的典型代表,要求在比赛中通过自己的努力来争取胜利,同时也要给予对手足够的尊重。《论语》中对其做出了这样的表述:君子要重视修身养性,不能与人轻易争高低,如果一定要与人相争,便可以进行射礼或投壶。在比赛中要争取胜利,而在取得优胜时要向对手作揖表示尊重,而不是意得志满。在比赛当中不断提高个人修养水平，将体育运动作为督促个人不断提升修养的途径,这也与现代竞技体育“友谊第一，比赛第二”的理念相一致。

传承和推广

当代中国的体育文化生态中，西方体育长期占据主流阵地，中国的传统体育文化被边缘化。近年来，随着全民健身浪潮的兴起，人们越来越重视体育活动的内容和质量。这为复兴投壶创造了不可多得的机会。但是，我们并不需要照搬古代投壶的发展模式，而是要在保留它自身文化价值的同时，促进它与现代休闲娱乐相结合。对于广大群众而言，体育活动的趣味性是排在首位的，其次才是它的文化价值。因此，我们可以对投壶进行大胆创新，增加它的玩法，或扩大比赛的规模，让它从双人回合制比赛变成多人对抗赛，吸引更多人参与到投壶运动中。
除了对投壶进行改良与创新外，我们也要积极推动投壶的海内外传播。虽然国内有不少投壶活动，但大多是投壶爱好者的个人组织。要想让投壶在社会范围内形成风潮，离不开多方合作。首先，政府要发挥导向作用，为投壶提供政策保障和经济支持，为这一项目的健康发展奠定基础。其次，要充分利用教育这一有效的平台，让孩子们从小接触投壶文化，培养他们对它的兴趣。最后，媒体的大力宣传是必不可少的。通过网络呼吁全社会关注民间运动的发展，提高民众的文化自信和文化认同感。

总结

投壶，这一中华优秀传统文化中的瑰宝，不仅继承了射礼的仪节和正己修身的礼义，更融入了华夏文明的精华积淀。在新时代民族复兴的号召下，发展投壶运动对于中国传统体育文化的复兴对当今休闲体育的发展有着重要意义。我们有责任传承投壶并推广它的传播,让更多人享受到这项华夏先民的珍贵人文实践成果。

术语和表达

Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

问题

#投壶是如何从射礼演变而来的？

#投壶体现了什么文化价值观？

#恢复投壶的挑战和机遇是什么？

#为什么投壶的发展对中国传统体育文化具有重要意义？

#政府、学校和媒体在宣传方面扮演了什么角色？

=Lin Ruyin |Folk Art:Piaose=
==Brief Introduction==
==History==
==Factions==
Yakou Piaose,Nan Lang, Zhong Shan

Wuchuan Piaose

Fushi Piaose,Tai Shan

Hetian Gao Jing
==Current Situation==

=Pan Tong |=
Introduction:

Jingdezhen Porcelain refers to the porcelain produced in the city of Jingdezhen, Jiangxi Province, China. Because of its excellent quality, Jingdezhen has won the reputation of “Porcelain Capital”. The history of porcelain production there can be traced back to the Han Dynasty, with the real boom beginning in the Song Dynasty and peaking in the Ming and Qing dynasties. Jingdezhen has been supported by its porcelain industry for thousands of years. With unique cultural symbolism and influence, it is still the most influential porcelain historical and cultural city in the world.

Development History:

(1) The First Show of Force: Han to Five Dynasties

Historical records, “Xinping smelt pottery, began in the Han Dynasty”. At this time the pottery “itself coarse, the body is very thick, the glaze color is light and brown”, not sold far.

Tang Dynasty, Jingdezhen porcelain has a greater impact in the country. According to the record, “Tang Wude years, the town people Tao Yu carried porcelain into the Guanzhong, known as fake jade, and tribute to the dynasty, so Changnanzhen porcelain world famous.”

Five Dynasties, Jingdezhen porcelain production has reached a considerable scale. The main products are celadon and white porcelain, they are the earlier mature porcelain we can see now.

(2) Strong Rise: Song and Yuan Dynasties

Before the Song Dynasty, Jingdezhen produced mostly white porcelain, with little decorative patterns and paintings. Song clan moved south, a large number of literati, skilled craftsmen also moved to the south of the Yangtze River. Jingdezhen absorbed and assimilated from the other places' famous kilns of excellent workmanship. Jingdezhen porcelain technical force has been enriched, and also because of the original light, elegant, beautiful shadow blue porcelain and famous all over the world.

Yuan dynasty is the innovation period of Jingdezhen Porcelain. New varieties of blue and white porcelain in the technical maturity, opened up by the plain porcelain to colored porcelain of the new era.

(3)Stepping up to the Peak: Ming and Qing Dynasties

Jingdezhen Porcelain in the early Qing Dynasty, whether it is the official kilns or folk kilns; whether it is product modeling, decorative techniques, themes or styles, have reached a state of extreme prosperity.

(4)Porcelain Veins Pass on: Modern and Contemporary Periods

In the Republican period, “Zhushan eight friends”, with traditional painting and calligraphy into porcelain famille rose paintings, created a new Famille-rose porcelain on the ground. After the founding of new China, the establishment of the “ten porcelain factory”. porcelains industry structure changed, from the royal porcelain development to multi-discipline porcelain production. After the reform and opening up, porcelain production into a new era, innovative new colors, techniques and materials. Traditional porcelain art revitalization.

Four Characteristics of Jingdezhen Porcelain

The four characteristics of Jingdezhen Porcelain is sorted by the feelings of people observing the porcelain from afar and near.

White as jade: Jingdezhen porcelain is milky white, soft luster, warm and moist as jade. In the Tang Dynasty, it was known as “fake jade”.

Bright as a mirror: Jingdezhen porcelain glaze is smooth, crystal clear, like a brilliant mirror.

Thin as paper: Jingdezhen porcelain is light in texture and translucent in shadow. Ming dynasty Hao Shijiu creation burned the Luan Mu Cup. It is as thin as cicada's wing, one only weighs half a baht (about 1.1 grams).

Sound like a chime: Jingdezhen porcelain is crisp and clear. With a finger gently buckle, can be heard “thud” sound, like a musical instrument to play a beautiful chime sound.

Four Famous Porcelains

Jingdezhen porcelain variety, but to the Blue-white porcelain, Famille-rose porcelain, Color-glazed porcelain and Linglong porcelain the most prestigious, known as “Jingdezhen four famous porcelain”. Each of the four famous porcelains excels in its own way.

(1)Blue-white porcelain is the most representative porcelain of Jingdezhen, belonging to the underglaze colored porcelain. Primitive blue-white porcelain has been seen in the Tang and Song dynasties. Mature blue-white porcelain appeared in the Yuan Dynasty Hutian kiln in Jingdezhen. It became popular during the Yuan and Ming Dynasties and was exported worldwide, reaching its peak in the Qing Dynasty. Its thin, translucent quality and exotic motifs made it very valuable throughout Europe.

=Lei Huiting |=
Please start to write now.
=Lu Yixuan |=
==Introduction==
1.Introduction

Poetry, painting, and calligraphy: Known as the "Three Perfections," these genres were regarded as the ultimate expressions of Chinese literati culture during the Ming dynasty (1369-1644). Members of the Wu School, centered on the affluent city of Suzhou and nearby towns, earned admiration for their interpretations of these art forms. Painting with Words celebrates Wu School works, examining the relationships among their imagery, brushstrokes, and, especially, words.

==Main Part==

2.A Cultural Center

Situated on flat fertile land between Lake Tai and the Yangzi River, Suzhou (present-day Jiangsu province) is one of the oldest cities in the Yangzi delta. Before the Ming dynasty (1369-1644), when it became a leading center of literati culture, Suzhou had enjoyed a prominent political, economic, and cultural position for most of its two thousand-year history. The city was a major transportation hub on the Grand Canal, which stretched 1,100 miles between the former imperial capital Hangzhou to the south and the Ming imperial capital in Beijing far north. Besides the capital, during the fifteenth and sixteenth centuries Suzhou was the largest urban center in the Ming empire and perhaps the entire world.

Shaped like a rectangle, Suzhou was dotted with temples and spacious residences boasting elegant walled gardens. A grid of anals and paved streets, including as many as three hundred stone bridges, crisscrossed the city, which was surrounded by a moat and a towering outer wall. Beyond its water buffer, the city spilled into the surrounding suburbs but soon gave way to a prosperous countryside of small lakes and ponds, rice paddies, and agricultural fields. Rustic villages and temples were nestled in the landscape; larger satellite townships rose farther off. An area of low-forested hills stood to the west of Suzhou, overlooking the broad expanse of Lake Tai and its several nearby islands. Local poets and artists frequently ventured to such rural and suburban locations and even chose these easily accessible sites for their private retreats and retirement homes.

3.Wen Zhengming: Leader of the Wu School

An outstanding painter and calligrapher and an important trendsetter in his time, Wen Zhengming (1470-1559) was the unrivaled leader of the Wu School for much of its neyday during the first sixty years of the sixteenth century. Born to a modestly successful scholar-official family, Wen was a late bloomer in the arts; he was particularly poor at calligraphy in his youth. But he persevered, studying painting with Shen Zhou, who is often considered the Wu School's spiritual founder. Eventually, Wen mastered a wide range of painting styles and developed his own powerful, influential approach to calligraphy.

In 1527, when he returned to Suzhou after an unhappy three-year stint at the imperial court, Wen built a studio on his family's land. For the next thirty-two years, he devoted himself wholeheartedly to the life of a gentleman-scholar in retirement: reading, writing, painting, composing poetry, and socializing with likeminded friends. Wen's pivotal importance to the Wu School is magnified by the length of his extraordinary career, his wide circle of friends and acquaintances, and the artistic renown of his many students, including his two sons and a nephew and extending to several generations of Wens.

4.At Court and Beyond

During the fifteenth century, many leading gentleman artists of Suzhou spent a good part of their adult lives either serving at court in the imperial capital, Beijing, or out on provincial assignments. Often, they only returned home occasionally or after retirement. Several, such as Xia Chang (1388-1470), Xu Youzhen (1407-1472), and Wu Kuan (1435-1504), embraced these roles,distinguishing themselves in the national jinshi (advanced scholar) examinations and rising to high government offices. As artists, these men were known primarily as poets and calligraphers-except for Xia, who was also a master of the gentlemanly art of ink-bamboo painting.

The lifestyles of Liu Jue (1410-1472) and Shen Zhou (1427-1509) signaled a major alternative to serving at court. Liu only served in the capital for some eight years; Shen opted out entirely. Instead, they spent their lives in and around Suzhou, happily engaged in scholarly and artistic pursuits within their gardens and estates. Occasionally they visited friends, making communal forays into nature and to local scenic or historical sites. This lifestyle became a hallmark of Wu School gentleman artists.

Many Wu School artists were related by blood, marriage, and other formal relationships. They may have been family friends or schoolmates, taken their examinations together, studied as teacher and student, or done business as patron and client. The artists' relationships carried over into their poetry and artworks, which often were inherently personal in nature.

5.The Gentleman in Retirement

Often hailed as the spiritual founder of the Wu School, the painter, poet, and calligrapher Shen Zhou (1427-1509) came from a well-connected lineage of gentleman artists who lived in the Suzhou suburb of Xiangcheng. Both his father and uncle were landscape painters. Shen rejected the official career path followed by most of his peers in favor of a life of art and personal fulfillment. Following his example, many later Wu School artists made the same choice.

For gentleman artists in fifteenth- and sixteenth-century Suzhou, retirement consisted of socializing with other literati, refined activities such as art collecting, and a love of creature comforts such as elegant private gardens. These examples of his paintings and calligraphy reveal aspects of Shen's life in retirement: engaging with likeminded friends, observing and commentating on everyday life, and spending time alone at home or in favorite pastimes, such as wandering the hills to find inspiration for poetry or a place to play his qin.

Shen is said to have had an open, generous character. His palpable enjoyment of nature imbues each painting and poem in this section, graciously inviting us to join in. Owing to Shen's enduring influence and that of his immediate followers, these amiable qualities have come to characterize Wu School literati art.

6.In Full Flower

The Wu School rose to its artistic zenith during the first half of the sixteenth century, led by three of its brightest stars: Wen Zhengming (1470-1559), Tang Yin (1470-1524), and Qiu Ying (ca. 1494-1552). Together with the older Shen Zhou (1427-1509), this group is known as the "Four Great Artists of the Ming." Shen and Wen exemplified the Wu School ideal of the gentleman artist, while Tang and Qiu epitomized the accomplished Suzhou professional. Qiu was solely a painter; the other three developed distinct styles of painting, calligraphy, and poetry.

Although the Four Great Painters came from different social and economic backgrounds-and more than sixty-five years separated the oldest from the youngest-their lives and art intersected repeatedly. Wen and Tang had been friends since they were teenagers, and they both studied literati painting with Shen. Tang also studied under a local professional painter named Zhou Chen (ca. 1450-ca.1535), to whom he and Wen later recommended the young painting phenomenon Qiu Ying.

Such teacher-student and patron-client relationships were key to an artist's development and career in sixteenth-century Suzhou. Wen in particular had both a large number of outstanding students and a wide circle of local connections. Several of Wen's students and protégés went on to develop careers and styles of their own, among them the two brilliant calligraphers Wang Chong (1494-1533) and Chen Shun (1483-1544), both of whom died before their former master.

Despite their differences in style, approach, and social standing, professional artists and gentleman artists were codependent. Thematically, professional artists drew their material from the literature and history at he core of the literati tradition; in turn, literati artists wrote out the appropriate texts in fine calligraphy to accompany the professional artists' paintings. A primary distinction between the two groups was that the gentleman artist was also a calligrapher and a poet in his own right, and the fundamental purpose of his art was personal self-expression, usually prompted by an occasion or recent event. In some cases, one gentleman artist might have written a scroll of poetry for a friend or as a calligraphic exercise. Other times, individuals from both groups would collaborate on a scroll or contributed to a collective project.

7.The Followers

Known for decades as the Wu School's leader, Wen Zhengming (1470-1559) remained active as an artist until he died at age eighty-nine. By that time, several of his most outstanding followers had already passed away. Other artists, however, continued to work in styles heavily influenced by Wen Zhengming's approach well into the final quarter of the sixteenth century. Among these were his two talented sons, Wen Peng (1498-1573) and Wen Jia (1501-1583), who directly emulated their father and shared many of his interests and concerns. Qian Gu (1508-after 1574) also faithfully adhered to the styles that Wen Zhengming had developed and promoted.

Other gentleman artists advanced Wen Zhengming's legacy in new directions, such as Lu Zhi (1496-1576), who developed a unique, almost luminous style of landscape painting. The flourishing professional painter Xie Shichen (1487-after 1567) incorporated elements from other popular styles, but he continued to draw inspiration and material CAa from literati culture and to rely on gentleman artists for calligraphic contributions to his scrolls. Wen Zhengming's influence even extended to the generation of his great-grandson Wen Zhenmeng (1574-1636), a calligrapher. He and other local gentleman artists carried on producing collective scrolls and albums inspired by traditional themes,such as the "Eight Views of Xiao Xiang," as well as by contemporary occasions.

Still, Wen Zhengming's death deprived the Wu School of both its center of gravity and its leading light, and the vitality and prominence of Suzhou painting and calligraphy ultimately waned. By the early seventeenth century, the city's economic clout also had diminished, owing in part to the rise of nearby Shanghai and other towns in the Yangzi delta region. Competing centers of artistic production diluted and eventually eclipsed the city's premier cultural status. By the 1630s, the Wu School, though still highly influential, had given up its role as a dominant force.

==Conclusion==
==Terms and Expressions==
==Questions==
==References==

=Li Yanran |=
==Introduction==
A thangka (also known as tangka, thankga, or Tibetan scroll painting) is a classical and stylized form of Nepalese and Tibetan painting. These intricate artworks typically depict Buddhist deities, scenes, or mandalas. Thangkas are traditionally painted on cotton or silk appliqué and are often used as aids for meditation or teaching. They communicate profound meanings related to Buddhist philosophy through their detailed compositions. When not on display, thangkas are kept unframed and rolled up, similar to Chinese scroll paintings.

==Main Part==
===History and Origins===
The history of Tangka painting is deeply intertwined with the spread of Buddhism in Tibet. The earliest Tangka paintings date back to the reign of King Songtsen Gampo (618-650 AD), who played a pivotal role in establishing Buddhism in Tibet. Over the centuries, Tangka painting evolved, influenced by Indian, Nepalese, and Chinese artistic traditions. The creation of Tangka paintings flourished particularly during the Tibetan Renaissance in the 11th century, a period marked by the revival of Buddhist scholarship and artistic endeavors.

During the early stages, Tangka painting primarily depicted deities and mandalas, serving as tools for teaching and meditation. The construction of the first Buddhist temples in Tibet, such as the Jokhang Temple in Lhasa, further stimulated the development of religious art, including Tangka painting. These temples became centers of artistic activity, where local artists learned from foreign masters and began to develop their distinctive styles.

The period between the 8th and 11th centuries saw significant contributions to Tangka painting from Indian and Nepalese artists. The renowned Indian Buddhist scholar and artist, Atisha (982-1054 AD), played a crucial role during this period. Invited to Tibet by King Jangchub O, Atisha brought with him a wealth of artistic and spiritual knowledge, which greatly influenced Tibetan art and Tangka painting.

The Tibetan Renaissance in the 11th century marked a pivotal moment in the history of Tangka painting. This era was characterized by a resurgence of Buddhist scholarship, the translation of Buddhist texts, and the establishment of new monastic institutions. The renaissance period saw the synthesis of various artistic traditions into a distinctly Tibetan style, marked by vibrant colors, intricate details, and profound spiritual symbolism.

During the 14th to 17th centuries, the Ming dynasty in China established close diplomatic and cultural relations with Tibet. This period saw the exchange of artistic techniques and motifs between the two regions, further enriching the Tangka painting tradition. Tibetan artists adopted Chinese landscape techniques and the use of silk, while maintaining their unique iconographic and symbolic elements.

The 17th century onward witnessed the formalization of Tangka painting schools and lineages, each with its unique style and approach. Prominent schools include the Menri (Sman-ri) school, founded by Menla Dondrub in the 15th century, known for its classical and refined style, and the Khyenri (mKhyen-ri) school, founded by Khyentse Chenmo in the 15th century, recognized for its bold and expressive style.

The preservation and continuity of Tangka painting faced challenges in the 20th century due to political changes and cultural upheavals. However, efforts by Tibetan communities in exile and international interest in Tibetan culture have helped sustain and revive this ancient art form. Today, Tangka painting continues to thrive as both a spiritual practice and an art form, preserving the rich heritage of Tibetan Buddhism.

===Symbolism and Themes===
Tangka paintings are rich in symbolism and often depict deities, mandalas, historical events, and teachings of Buddhism. Each element in a Tangka painting carries specific meanings and serves as a visual aid for meditation and contemplation.
====Deities and Bodhisattvas====
Tangka paintings frequently portray Buddhas, Bodhisattvas, and protective deities. These figures are depicted with specific hand gestures (mudras), postures (asanas), and attributes that symbolize various aspects of Buddhist teachings. For example, Avalokiteshvara, the Bodhisattva of Compassion, is often shown with multiple arms, each holding different objects representing his compassionate activities.
====Mandalas====
Mandalas are intricate geometric designs that represent the universe and serve as tools for meditation. They are often used in Tangka paintings to depict sacred spaces and cosmological concepts. The central figure in a mandala is usually a deity, surrounded by concentric circles and squares filled with symbolic elements.
====Historical and Mythological Scenes====
Tangka paintings also narrate stories from the life of the Buddha, the exploits of various saints and yogis, and mythological tales. These narrative paintings serve an educational purpose, conveying moral and spiritual lessons.
====Symbols and Iconography====
Common symbols in Tangka paintings include the lotus flower (purity), the vajra (indestructibility), and the wheel of Dharma (teachings of the Buddha). Each symbol is meticulously placed to enhance the painting’s spiritual message.
===Cultural and Religious Significance===
Tangka paintings are not merely decorative objects; they hold deep religious and cultural significance. In Tibetan Buddhism, Tangka paintings are used as aids for visualization during meditation. Practitioners focus on the image of a deity, internalizing its qualities and receiving blessings. The detailed iconography serves as a guide for spiritual practice and contemplation.

Moreover, Tangka paintings are used in religious ceremonies and rituals. They are often displayed in monasteries, temples, and private homes, where they serve as objects of veneration. During festivals, such as the Tibetan New Year (Losar), large Tangka paintings are unfurled on hillsides, allowing devotees to receive blessings from the sacred images.

Tangka paintings also play a crucial role in preserving and transmitting Tibetan culture and religious teachings. Each painting is a repository of iconographic and symbolic knowledge, passed down through generations of artists and practitioners. The continuity of this artistic tradition reflects the resilience and adaptability of Tibetan culture in the face of historical challenges.

==Conclusion==

==Terms and Expressions==
==Questions==
==References==

=Duan Siya |Striking iron flower=
==Introduction==
Iron flowers , also known as iron trees , are traditional folk fireworks popular in the Henan and Shanxi regions and are one of China's national intangible cultural heritages .Striking iron flower,a traditional firework that has been passed down in the Yu-Jin region, began in the Northern Song Dynasty, flourished in the Ming and Qing Dynasties. It is mostly popular in the middle and lower reaches of the Yellow River, with Henan and Shanxi being the most. In the 1000-year-old folk art of "Striking Iron Flowers" (打铁花), molten iron is struck with wooden rods to create sparks cascading through the sky like blossoming flowers.
==Main Part==
The "Iron Flower Striking" originated from the ritual activities of the craftsmen. In the Ming Dynasty, the iron-making industry flourished. With the aim to celebrate the harvest and pray for peace, the blacksmiths created a bright sparkling effect by striking the iron in the production. During the Ming and Qing Dynasties, with the support from government and all walks of life, the Queshan Iron Flower reached its peak. It expanded from the original Taoist rituals such as the birthdays of the Jade Emperor and the Queen Mother to general festivities, such as wishing for a new life, getting promoted and getting married.

In the process of local circulation, Queshan Iron Flower has absorbed various artistic elements such as firecrackers, dragon lanterns and brass instruments. It has gradually formed a unique performance style of grandeur, magnificence and auspiciousness.

In June 2008, the iron flower art submitted by Queshan County, Henan Province was approved by the State Council to be included in the second batch of national intangible cultural heritage list .

Before striking the flowers, they all kneel inside the shrine to ask the gods for safety and to avoid burns. A six-meter-high double-layer flower shed is set up in an open space. The shed is densely covered with fresh willow branches and tied with fireworks, firecrackers and goods, known as the "trellis", A six-meter-high old pole is erected in the middle of the shed, making the total height of the flower shed reach more than ten meters.

A furnace is set up next to it to melt iron liquid. More than ten performers take turns to use flower sticks to hit the iron liquid with a temperature of more than a thousand degrees onto the shed, forming iron flowers more than ten meters high. The iron flowers then ignite fireworks and firecrackers, and are accompanied by the "dragon through the flowers" performance.

The flower stick used by the iron flower maker is a fresh willow stick that is as thick as a fist and more than a foot long. There is a circular pit with a diameter of 3 cm at the top of the stick to hold the iron liquid. When making iron flowers, the flower beater wears an inverted gourd ladle on his head (for protection), is topless, holds an upper stick filled with iron juice in one hand, and a lower stick without iron juice in the other hand, and quickly runs to the bottom of the flower shed, using the lower stick to hit the upper stick. A dozen flower beaters take turns, one after another, moving back and forth between the furnace and the flower shed. One stick of iron flowers soars into the sky, and another stick follows, one after another ...The scene is spectacular, presenting the characteristics of thrilling, exciting, festive and lively.

With temperatures of molten iron soaring to 1600°C, artisans bear countless scars across their bodies. In order to minimize injuries to the smiths, the ironwork is mostly performed in winter, when the weather is cold and the scattered ironwork can cool down more quickly, thus better guaranteeing the safety of the smiths. In the process of beating iron flowers, smiths will wear some specific protective clothing. Traditionally, there are mainly Taiji pattern helmet, Taoist style cotton protective cap with shawl, protective shoes, red or yellow cotton belt, etc. The protective shoes include legs, knee pads, foot pads, all three must be a one-piece type, so as to achieve the best protective effect.

Some smiths choose to go bare-chested to increase the shock of the scene.

Behind the brilliance, the risks are not known to all. The molten iron needs to be heated to more than 1600 degrees Celsius. Therefore, performers need to be very careful in the strength and angle . In that case, the iron splashes are high enough and well dispersed to make brilliant iron flowers. Insufficient force or an inaccurate strike position may result in burns to oneself.

==Conclusion==
The technique of striking iron flowers has a long history, and the performance is magnificent and grandiose. The splendor of modern fireworks and the mystery of traditional art are integrated, which is breathtaking. It embraces Taoist culture, trade customs, folk crafts, which not only enriches the folk art treasury of China, but also plays an important role in enhancing national pride and strengthening national cohesion.

==Terms and Expressions==

==Questions==
==References==

Cult Ov 2 Fin Exam 2024

2024-06-08T15:11:05Z

Chu Shoujuan: /* Conclusion */

Back to [[Cult_Ov_2_2024|Course Homepage]].

'''Comments for everybody'''
*Please add the sources in the form "(Wang 2020, 445)" behind each paragraph and with a long entry in the References section.
*In the References section, please add at least 1-2 Western sources.
*In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.
*Please also add free lines at places where you want to have a line break, e.g. after a header.

Please write here a textbook chapter about a Chinese cultural phenomenon until June 15 and start writing now, with unlimited revisions possible until June 15. When you find your topic listed here it means it has been approved by the teacher. It can be either in traditional culture or today. It cannot be a topic already published in the textbook.

Please do not forget to put it into context and relation in the beginning, e.g. where it emerged and how it spread, if it is unique to Chinese or Asian cultures, if it is well-known or exotic, when it occured and how it developed throughout history.

Please write 1000 English words, and on top of it write Terms and Expressions, Questions, References. The References should contain also paper books or papers and also at least one Western source. You also need to provide a Chinese version of the text and questions.

=Tu Hairong |=
1.1 Introduction

1.2 Historical Background

1.3 Traditional Customs and Practices

1.4 Contemporary Celebrations

1.5 Cultural and Social Impact

1.6 Conclusion

1.7 Terms and Expressions

1.8 Questions

1.9 References

=Chen Zhuo |Chinese Painting: A Thousand Miles of Rivers and Mountains=
==Introduction==

"A Thousand Miles of Rivers and Mountains" is a masterpiece by Wang Ximeng, a painter of the Northern Song Dynasty. This painting, known for its magnificent depiction of China’s natural landscapes, epitomizes the peak of traditional Chinese landscape painting, particularly in the genre of green landscape painting. The painting is not only a representative of green landscape painting but also a treasure of traditional Chinese painting art.
==Wang Ximeng: The Prodigy Painter==
Wang Ximeng (1096-?), a famous painter in the late Northern Song Dynasty, is renowned for his painting "A Thousand Miles of Rivers and Mountains." In his teens, he entered the palace ‘painting school’ as a student but was not initially outstanding. However, under the personal tutelage of Emperor Huizong, his skills flourished remarkably. Emperor Huizong, himself an accomplished artist and patron of the arts, saw great potential in Wang Ximeng and invested time in his education. By the age of eighteen, Wang had completed his magnum opus, "A Thousand Miles of Rivers and Mountains," a testament to both his natural talent and rigorous training. (from baidu)

==The Historical Context of the Northern Song Dynasty==
The Northern Song Dynasty (960-1127) was a period marked by significant cultural, economic, and technological advancements in China. Following the chaotic Five Dynasties and Ten Kingdoms period, the Northern Song era brought stability and prosperity, with remarkable developments in agriculture, commerce, and urbanization. The political structure, heavily influenced by Confucian ideals, promoted intellectual and artistic endeavors. During this golden age, the arts, including painting, literature, and calligraphy, reached new heights, with scholars and artists enjoying substantial support from the state. (from baidu)

==Artistic Brilliance and Technical Mastery==
"A Thousand Miles of Rivers and Mountains" exemplifies the sophisticated techniques and aesthetic principles of Song Dynasty landscape painting. Spanning over 11 meters in length, this handscroll painting captures an expansive and varied landscape with meticulous brushwork and a harmonious color palette. Wang Ximeng’s use of the blue-green landscape technique, employing mineral pigments like malachite and azurite, imbues the painting with a vibrant yet serene quality.
The painting’s composition is both grand and intricate. The undulating mountains, rendered with fine brushstrokes and detailed texture, create a sense of depth and three-dimensionality. The depiction of water bodies, including rivers, waterfalls, and streams, adds a dynamic element to the landscape, reflecting the natural beauty of Jiangnan, a region known for its picturesque scenery. The architectural elements, such as pavilions and thatched cottages, are meticulously detailed, showcasing the architectural style of the time
Wang Ximeng’s use of color is a defining feature of the painting. The blue-green technique, utilizing mineral pigments, gives the painting its distinctive and vibrant appearance. The use of these pigments, combined with careful layering and shading, creates a sense of depth and luminosity. The ochre background provides a warm contrast to the cooler tones of the landscape, enhancing the overall harmony of the composition. (Qin, Shuhai. Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". 36-38.)

==Detailed Analysis of Key Sections==
To further appreciate the intricacies of "A Thousand Miles of Rivers and Mountains," it is essential to examine specific sections of the painting in greater detail. Each segment reveals Wang Ximeng’s exceptional skill and the painting’s profound cultural significance.
The central section of the painting features towering mountains, their peaks shrouded in mist. Wang Ximeng’s use of varying brushstrokes and ink washes creates a sense of depth and texture, making the mountains appear both majestic and ethereal. The fine chapping technique used to depict the rock surfaces adds to the realism and complexity of the landscape. Water is a prominent element in the painting, depicted with a fluidity and grace that contrasts with the solidity of the mountains. The rivers and streams wind through the landscape, reflecting the light and adding movement to the scene. The waterfalls, with their cascading waters, are rendered with a dynamic energy, capturing the viewer’s attention and drawing the eye through the composition. Scattered throughout the landscape are various architectural structures, including pavilions, temples, and bridges. These buildings, though small, are rendered with meticulous detail, reflecting the architectural style and construction techniques of the Northern Song period. The placement of these structures within the landscape highlights the harmonious relationship between human habitation and the natural environment. The human figures in the painting, while small in scale, are depicted with individuality and character. Fishermen, scholars, and travelers are shown engaging in their daily activities, adding a narrative dimension to the landscape. These figures not only populate the scene but also serve to emphasize the scale and grandeur of the natural surroundings.
(Feng, Haitao. Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). 22-28, 38-39. )

==Symbolism and Cultural Connotations==
Beyond its visual splendor, "A Thousand Miles of Rivers and Mountains" is rich in cultural symbolism. The landscape, architecture, and figures within the painting reflect the ancient Chinese literati’s philosophy and aesthetics. The painting embodies the Daoist ideal of harmony between humans and nature, a central theme in Chinese culture. The serene and idyllic scenery represents a utopian vision, an escape from the political and social turmoil of the era.
The figures in the painting, although small in scale, are portrayed with remarkable individuality. Fishermen, travelers, and hermits are depicted engaging in various activities, symbolizing different aspects of life and society. These figures not only add a narrative dimension to the painting but also emphasize the close relationship between people and their natural environment.
The painting reflects the Daoist and Confucian ideals that were prevalent during the Northern Song Dynasty. The harmonious integration of human and natural elements embodies the Daoist concept of harmony with nature. At the same time, the depiction of scholars and hermits in the landscape reflects the Confucian value placed on intellectual and contemplative pursuits.
(Lin, Shunyang & Xu, Hui. Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". 12, 114-116.)

==Impact and Legacy==
Wang Ximeng’s "A Thousand Miles of Rivers and Mountains" is a milestone in the history of Chinese landscape painting. Its innovative techniques, grand composition, and rich colors influenced generations of artists. The painting set a new standard for green landscape painting, inspiring many subsequent artists to adopt and adapt its techniques and style.
The painting’s influence extends beyond China. It is celebrated internationally as a masterpiece of Chinese art, showcasing the depth and sophistication of traditional Chinese culture. The painting’s ability to convey a sense of timeless beauty and tranquility has earned it a place among the most revered works of art in the world.
==Conclusion==
"A Thousand Miles of Rivers and Mountains" by Wang Ximeng is not merely a landscape painting; it is a profound expression of the Northern Song Dynasty’s cultural and artistic achievements. Through its exquisite details and grand vision, the painting encapsulates the harmony between nature and humanity, a core value of Chinese philosophy. Wang Ximeng’s masterpiece continues to inspire and captivate audiences, a testament to the enduring power of art to transcend time and space.
==Terminology==
A Thousand Miles of Rivers and Mountains 千里江山图
Wang Ximeng 王希孟
the Northern Song Dynasty 北宋朝
the palace ‘painting school 宫中“画学”
tutelage 侍奉
Emperor Huizong 宋徽宗
magnum opus 杰作
Five Dynasties and Ten Kingdoms 五代十国
blue-green landscape 青绿山水
malachite 石青
azurite 石绿
Jiangnan 江南
thatched cottages 茅屋
==Questions==
1. What is the significance of Wang Ximeng's "A Thousand Miles of Rivers and Mountains"?
2. How did Emperor Huizong influence Wang Ximeng's artistic development?
3. What advancements in society and culture occurred during the Northern Song Dynasty?
4. What are the main elements depicted in "A Thousand Miles of Rivers and Mountains"?
5. How does the painting reflect the cultural and philosophical ideals of the Northern Song Dynasty?
6. What impact has "A Thousand Miles of Rivers and Mountains" had on subsequent generations of artists?

==References==
#https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
#https://www.dpm.org.cn/collection/paint/228354.html
#http://www.chinashj.com/sh-gdhh/10245.html
#http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
#Lin, Shunyang & Xu, Hui. (2022). Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". Beauty and Times (China), 12, 114-116.
#Feng, Haitao. (2023). Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). Art Research, (01), 22-28, 38-39.
#Qin, Shuhai. (2023). Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". Oriental Collection, (09), 36-38.
#Xiao, Pengfei. (2023). On the Realm of Wang Ximeng’s "A Thousand Miles of Rivers and Mountains". Journal of Fuyang Vocational and Technical College, (02), 76-78.

==简介==

《千里江山图》是北宋画家王希孟的杰作。这幅画以其壮丽的中国自然景观描绘而闻名，堪称传统中国山水画的巅峰，特别是在青绿山水画领域。此画不仅是青绿山水画的代表作，也是传统中国绘画艺术的瑰宝。

==天才画家王希孟==

王希孟（1096-?），是北宋末年的著名画家，以其作品《千里江山图》闻名。在十几岁时，他进入宫中的“画学”学习，但起初并不出众。然而，在宋徽宗的亲自指导下，他的技艺得到了显著提升。宋徽宗本人是一个才华横溢的艺术家，也好支持别人搞艺术，他看到了王希孟的巨大潜力，投入了大量时间来培养他。在十八岁时，王希孟完成了他的杰作《千里江山图》，这不仅证明了他的天赋，也展示了他经过严格训练所取得的成果。

==北宋时期的历史背景==

北宋（960-1127）是中国文化、经济和技术显著进步的时期。在经历了混乱的五代十国时期之后，北宋带来了稳定和繁荣，在农业、商业和城市化方面取得了显著发展。以儒家思想为主导的政治结构促进了知识和艺术的发展。在这个黄金时代，绘画、文学和书法等艺术达到了新的高度，学者和艺术家得到了国家的极大支持。

==精湛技术==

《千里江山图》展示了宋代山水画的复杂技艺和美学原则。画卷长达11米以上，捕捉了广阔多样的景观，以细腻的笔触和和谐的色彩表现出来。王希孟采用了青绿山水技法，使用石青和石绿等矿物颜料，使这幅画充满了生机和宁静。
画面的构图既宏大又复杂。起伏的群山通过细腻的笔触和细致的纹理描绘出深度和三维感。水体的描绘，包括河流、瀑布和溪流，为景观增添了动态元素，反映了以风景如画著称的江南的自然美。建筑元素如亭台和茅屋细致入微，展示了当时的建筑风格。

==象征意义和文化内涵==

《千里江山图》不仅在视觉上引人入胜，还充满了文化象征意义。画中的山水、建筑和人物反映了古代文人雅士的哲学和美学。这幅画体现了人与自然和谐的道家理想，这是中国文化的核心主题。宁静而田园的景色代表了一种乌托邦愿景，是对时代政治和社会动荡的逃避。

画中的人物虽然规模较小，但刻画得极具个性。渔夫、旅行者和隐士从事各种活动，象征着生活和社会的不同方面。这些人物不仅为画面增添了叙事维度，还强调了人与自然环境的紧密关系。

==影响==

王希孟的《千里江山图》是中国山水画史上的一座里程碑。其创新的技法、宏大的构图和丰富的色彩影响了几代艺术家。这幅画为青绿山水画设定了新的标准，激励了许多后来的艺术家采用和改编其技法和风格。

这幅画的影响不止于国内。它作为中国艺术的杰作在国际上备受赞誉，展示了传统中国文化的深度和复杂性。画作所传达的美和宁静感使其成为世界上最受尊敬的艺术作品之一。

==结论==

王希孟的《千里江山图》不仅仅是一幅山水画；它还是北宋文化和艺术成就的深刻表达。通过其精美的细节和宏大的视野，这幅画捕捉了自然与人类和谐的核心价值。《千里江山图》继续激发和吸引观众，证明了艺术跨越时间和空间的持久力量。

==参考文献==
#https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
#https://www.dpm.org.cn/collection/paint/228354.html
#http://www.chinashj.com/sh-gdhh/10245.html
#http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
#林顺洋 & 徐辉.(2022).《千里江山图》的美学思想及艺术价值. 美与时代(中)(12),114-116.
#冯海涛.(2023).画式——《千里江山图》卷中的绘画语言研究（上）. 美术研究(01),22-28+38-39.
#秦树梅.(2023).《千里江山图》画法研究. 东方收藏(09),36-38.
#肖鹏飞.(2023).论王希孟《千里江山图》之境. 阜阳职业技术学院学报(02),76-78.

==问题==
#王希孟的《千里江山图》有何重要意义？
#宋徽宗如何影响王希孟的艺术发展？
#北宋时期社会和文化有哪些进步？
#《千里江山图》描绘了哪些主要元素？
#这幅画如何反映北宋的文化和哲学理想？
#《千里江山图》对后世艺术家产生了怎样的影响？

=Wu Liping | Festival：Qixi Festival=

==Introduction==
Qixi Festival, also known as Qiqiao Festival, Qijie Festival, Daughter's Day, Qiqiao Festival, Qinianghui Festival, Qixi Festival, Ox and Bull Mother's Day, Qiaoxi Festival, etc., is a traditional Chinese folk festival. Qixi Festival evolved from the worship of stars. It is the birthday of the seventh sister in the traditional sense. Because the worship of the "seventh sister" was held on the night of July 7th, it was called "Qixi Festival". Worshiping the seventh sister, praying for blessings and wishing, begging for skillful art, sitting and watching Morning Glory Vega, praying for marriage, storing Qixi water, etc. are the traditional customs of Qixi Festival. After historical development, Qixi Festival has been given the beautiful love legend of "Cowherd and Weaver Girl", making it a festival symbolizing love. Therefore, it is regarded as the most romantic traditional festival in China, and has produced the cultural meaning of "Chinese Valentine's Day" in modern times.

==Origin==
1.The Legend of the Cowherd and the Weaver Girl
Qixi Festival is one of the traditional festivals in China. "Xi" is the origin of the evening festival. Qixi Festival is the night on the seventh day of the seventh lunar month. Qixi Festival originated from the legend of the Cowherd and the Weaver Girl. The cowherd is a young herder, and the weaver girl is a fairy in the sky. The weaver girl felt that there was no freedom in the sky and came to the world. With the help of the old cow, the cowherd met the weaver girl and soon fell in love and got married, giving birth to a man and a woman. But one day, the Queen Mother took the Weaver Girl away. When the cowherd carried the two children to the sky to chase the weaver girl, the Queen Mother drew a galaxy with the jade hairpin on her head. The galaxy was long and wide, and the cowherd could not pass, so they were separated. The Queen Mother only allows the Cowherd and the Weaver Girl to meet once every year on the seventh day of July. Every night on the seventh day of the seventh month, groups of magpies fly to build a bridge for the Cowherd and the Weaver Girl and let them meet on the bridge. This is the origin of the Qixi Festival.

2.Worship of natural celestial phenomena
As early as ancient times, the ancients who pursued order not only planned the sky in an orderly manner, but also corresponded the stars to the ground area one by one. This correspondence is called "star division" in terms of astronomy and "division" in terms of the ground. . In short, the ancients corresponded each constellation in the sky to the physical geographical area on the ground one by one. The purpose of the ancient star division and division was mainly to cooperate with the astrology theory for celestial occupation. In the ancient star system, "Ox" consists of six stars, located on the east coast of the Milky Way, like two inverted triangles, one up and down, very characteristic, but the upper triangle is larger and brighter. The small triangle below is located on the ecliptic. These stars form a cow with two horns on its head but only three feet, so the ancients called it "the morning ox." The three stars of "Weaver Girl" are located in the north of the cow house. Among them, the "Weaver Girl One" star is the fifth bright star in the sky, so it is often directly called "Weaver Vega". People call "Oxus" and "Weaver Vega" together as "Cowherd and Weaver Girl". It is said that on the seventh day of July every year, the Cowherd and the Weaver Girl meet at the Magpie Bridge in the sky. Later, the folk gave further play to the story and gave the "Cowherd and Weaver Girl" a beautiful love legend. And in order to have the dexterity of the weaver girl, the girls work on that day, so that day is also called the Begging Festival.

3.Time digital worship
"Chinese Valentine's Day" is the seventh day of the month and the seventh day. In ancient times, the ancients combined the sun and moon with the five planets of water, fire, wood, gold and earth as "Seven Yao." The seventh day of July is related to the ancients' worship of numbers and time. In ancient times, the "sevenfold" of the first month, February 2, March 3, May 5, June 6, July 7 and September 9 were listed as auspicious days. In ancient China, the "heavy day" was regarded as a day of "the communication between heaven and earth" and "the communication between heaven and man". Seven is the number of beads in each column of the abacus, which is romantic and rigorous, giving people a mysterious beauty. "Seven" and "Ji" are homophonic, and "Seven" also means double good luck, which is an auspicious day.

==Activities on the day==
Activities on the day
1.Couple dating
Chinese Valentine's Day is commonly known as Valentine's Day in China, so couple dating is one of the most common ways to celebrate Chinese Valentine's Day. Couples may choose to have a romantic dinner on this day, enjoy the moon together, or participate in activities on the theme of Qixi Festival to express their love and care for each other
2.Xiangqiao Hui
In Yixing, Jiangsu Province, there is a custom of Qixi Xiangqiao Festival. Every year on the Chinese Valentine's Day, people come to participate and build incense bridges. The so-called incense bridge is a bridge four or five meters long and about half a meter wide made of all kinds of thick and long wrapping incense (paper-wrapped thread incense). It is decorated with a railing made of five-color threads. At night, people sacrifice the double stars, beg for good fortune, and then burn the incense bridge, symbolizing that the double stars have crossed the incense bridge and met happily. This incense bridge is derived from the legendary legend of Magpie Bridge.

3.Take Dew
In rural areas of Zhejiang, it is popular to use washbasins to receive dew. Legend has it that the dew on the Qixi Festival is the tears when the Cowherd and the Weaver Girl meet. If you wipe it on your eyes and hands, you can make your eyes clear and your hands fast.

4.Wear a needle and beg for cleverness
Wearing needles, also known as "matching tricks", is women's competition to wear needles. They tie colored threads and wear seven-hole needles. The faster they wear, the more clever they wear, the more clever they are. Those who wear slowly are called "losing tricks". "People who lose cleverness" should give gifts prepared in advance to the clever. Xijing Miscellany said: "Han Cai girls often wear seven-hole needles in the open building on July 7th, and people get used to it”

==Cultural significance and development of Qixi Festival==
1.Inheritance of traditional culture: As a part of Chinese traditional culture, Qixi Festival has inherited ancient myths and beautiful blessings through generations.
2.Multicultural integration: In contemporary society, Qixi Festival integrates the customs of different regions and cultures, forming a variety of forms of celebration.
3. Changes in personal values: With the rapid development of society, people's concepts of love and marriage are also changing. As a symbol of love, Qixi Festival represents the change of values that people pursue in love.The cultural evolution of Qixi Festival not only retains traditional customs, but also blends with modern society, reflecting the diversity and vitality of Chinese culture. We look forward to the continuous evolution and development of Qixi Festival in the future and become a cultural feast of tradition and modernity.

==Conclusion==
As a traditional Chinese festival, Qixi Festival carries ancient myths and legends and beautiful blessings. With the progress of society and the evolution of culture, Qixi Festival has become more romantic and diversified in modern times. Traditional Qixi customs such as begging for tricks and enjoying the moon still exist, but modern society gives Qixi Festival more meaning and expression. To sum up, the Seven Festivals is not only a traditional festival, but also a festival with rich cultural significance and historical traditions. It embodies the Chinese nation's unremitting self-improvement, diligence and wisdom, creative courage, and the continuous pursuit of a happy life.

==Terms and Expressions==
the Cowboy and the Weaver Girl 牛郎织女
：the Queen of Heaven 王母娘娘
magpie bridge 鹊桥
ecliptic 黄道：
Seven Luminaries 七曜
Heavenly Palace 天宫
Altair 牵牛星
Vega 织女星
Miscellanies of Xijing 《西京杂记

==Questions==
Qustions:
1. What is the name of Qixi Festival?
2. What day does the Chinese Valentine's Day take place?
3. What are the origins of Qixi Festival?
4. What are the common Qixi Festival activities?
5.What is the impact of Qixi Festival on today's society?

=Luo Jiayi | Music and instruments：Yuge（Fishing song）=
==Overview==
Fishing song, also known as Yuge, is a unique Chinese folk song sung by fishermen in China's coastal areas, lakes and harbors. The most widely circulated one is the Tang Dynasty poet Zhang Zhihe's ''Fisherman's Song'':

In front of western hills white egrets fly up and down

Over peach-mirrored stream, where perches are full grown.

In a broad-brimmed blue hat

And green straw cloak, I’d fain

Go fishing careless of the slanting wind and rain.

There are many types and quantities of fishing songs. When and where it originated, there is no way to know. But it is certain that in the Han Dynasty, there was a large number of documentary records of fishing songs. In 2014, the fishing songs (Dongting Fishing Songs and Shanwei Fishing Songs) were approved by the State Council to be included in the fourth batch of national intangible cultural heritage lists. In 2021, Fishing Songs (Shengsi Fishing Songs) were approved by the State Council to be included in the expanded list of representative items of national intangible cultural heritage.

渔歌是一种特有的中国民歌，由中国沿海地区以及湖泊港湾渔民所唱。流传最广泛的当属唐代诗人张志和的《渔歌子》：西塞山前白鹭飞，桃花流水鳜鱼肥。青箬笠，绿蓑衣，斜风细雨不须归。渔歌种类繁多、数量庞大，到底起源于何时何地，已无从考究。但可以确定的是在汉代，渔歌已有大量的文献记载。2014年，渔歌（洞庭渔歌、汕尾渔歌）经国务院批准列入第四批国家级非物质文化遗产名录。2021年，渔歌（嵊泗渔歌）经国务院批准列入国家级非物质文化遗产代表性项目名录扩展项目名录。

==Classification of fishing songs==
Fishing songs can be classified by region. For example, the fishing songs popular in Shanwei, Guangdong Province are collectively referred to as Shanwei Fishing Songs, and there are also fishing songs in Huidong, Guangdong, which belong to the same kind in Shanwei; popular in Yueyang, Hunan Province, Dongting Lake, collectively known as Dongting Fishing Song. The fishing songs popular in Shengsi, Zhoushan, Zhejiang Province, are called Shengsi Fishing Song.

Fishing songs can also be divided into two categories: deep-sea fishing songs and shallow-sea fishing songs. The former is sung by fishermen working in the deep sea, similar to salty water songs. The latter is sung by the women of the fishermen by the sea. It usually refers mainly to shallow-sea fishing songs.

What is more, fishing songs can be classified according to their form, which are divided into three types: work songs, folk songs, and ditty.

渔歌可以按地域来分类。如流行于广东汕尾市的渔歌，统称为汕尾渔歌，而在广东的惠东也有渔歌，属于汕尾市同类；如流行于湖南省岳阳市岳阳楼区洞庭湖边的，则统称为洞庭渔歌；如流行于浙江省舟山市嵊泗县的渔歌，则称为嵊泗渔歌。

渔歌也可以分深海渔歌和浅海渔歌两类。前者是深海作业渔民所唱，近似咸水歌；后者是海边渔家妇女所唱。通常主要指浅海渔歌。

渔歌还可以按其按形式来分类，分为号子、山歌、小调三种类型。

==Characteristics of fishing songs==
The content of fishing songs is rich and colorful, and it is mainly divided into five categories, namely labor, life, love, folk customs and sacrifices. (Li 2008, 51)The labor category, represented by ''The Boatman's Work Song'', mostly describes the spontaneous organization of fishermen in production and life, such as fiber pulling, net collection, etc., with a sonorous rhythm and full of dynamics. In the life category, it mainly expresses the joys and sorrows in the hearts of fishermen, and its representative works include ''How can there be more tears in the river''. Love, mostly men and women pour out their love for each other. Affected by the water, their marriage and love are in the boat, which gave birth to a large number of songs, such as ''Bachelor Marrying'' and so on. Folk customs, more reflect the survival skills of fishermen, and the cultivation of excellent moral qualities such as the education of children, and the representative works include ''My Thousands of Fishing Songs''. Sacrificial category, the content is mainly for the fishermen to pray for the god of water and the dragon king to bless favourable conditions and the boat is safe, the representative works are ''Dongting Immortal'' and so on.（Xu Hao,Liu Jiwen 2020, 121-122）

The lyrics of fishing songs are generally in the format of seven-character sentences, two sentences are one paragraph, and there are also four or eight sentences in a paragraph. In the four sentences, there are also five-character sentences or three-character sentences as the starting sentence, and the last three words of the second or fourth sentence are often repeated with padding words, or the whole sentence is repeated.

The expression forms of fishing songs include humming, singing in unison, singing in unison with the lead singer, blowing, duet, singing and dancing, pure natural harmony singing, playing and singing, etc. The dragging and repetition in the singing are the most basic and significant characteristics that distinguish fishing songs from other folk songs.

渔歌的内容丰富多彩，主要分为五大类，即劳动类、生活类、爱情类、民俗类和祭祀类。(Li 2008, 51)劳动类，以《船工号子》为代表，多形容渔民在生产生活中的自发组织劳动，如拉纤、收网等，节奏铿锵，富于动感；生活类，则主要表达渔民内心的喜怒哀乐，代表作有《河水哪有我的眼泪多》等；爱情类，多为男女之间互相倾诉爱慕之情，受水域影响，婚姻、恋爱均在船间，由此萌生出大量歌曲作品，如《光棍娶亲》等；风俗民俗类，更多反映渔民的生存技巧，及对子女的教育等优秀道德品质的培养，代表作有《我的渔歌万万千》等；祭祀类，内容主要为渔民祈求水神、龙王保佑风调雨顺、行船平安，代表作有《洞庭仙》等。（Xu Hao,Liu Jiwen 2020, 121-122）

渔歌的歌词格式一般为七字句，两句一首，间有四句或八句一首。四句中也有用五字句或三字句作起句的，第二句或第四句的最后三字常加上衬词重复，或整句重复。

渔歌的表现形式有哼唱、齐唱、领和式齐唱、吹奏、对唱、歌舞、纯自然和声演唱、弹唱等。而唱腔曲调上的“拖音”和“复沓”是渔歌有别于其他民歌品种最基本、最显著的特征。

==The value of fishing songs==
The fishing song itself has a high aesthetic value of musical art, which is mainly reflected in its unique style and rich forms of expression. It contains the cultural genes of traditional music, and provides a rich source of original materials and inspiration for music creation.(Wang 2009, 25)

In contemporary times, the more important thing about the fishing song is its historical, cultural and folk value. Fishermen living by the water's edge can learn about the humanistic history, folk customs, social outlook of their hometown, and the way of life, thoughts and feelings, spiritual pursuits, and values of fishermen through fishing songs, so as to gain a sense of identity of local cultural identity. (Chen 2023, 74-75)In addition, this kind of value is also reflected in the true record and effective continuation of traditional fishing culture. Through fishing songs, people can understand the ocean, tide, meteorology, fishing flooding, fish, fishing, breeding, processing, trade and other fishery knowledge and inherit the fishing culture of the fishing area.(Jin 2009, 90/ Fang 2023, 24-25)

In addition, the fishing song also has scientific, economic and practical value. Only by transforming it from a folk art resource into a cultural productive force and bringing economic benefits can the reproduction of folk art producers be guaranteed, and correspondingly more funds will be invested in the protection and development of folk art.(Jinling Li 2022, Volume 4.0, Issue 5.0)

渔歌本身具有很高的音乐艺术审美价值，主要体现在它独特的风格和丰富的表现形态上。它蕴含着传统音乐的文化基因，为音乐创作提供了丰富的原始素材和灵感源泉。(Wang 2009, 25)

在当代，渔歌更重要的是它的历史文化民俗价值。生活在水边的渔民，通过渔歌了解自己家乡的人文历史、民俗风情、社会面貌和渔民的生活方式、思想感情、精神追求、价值观念，从而获得本土文化身份的认同感。(Chen 2023, 74-75)除此之外，它的这种价值还体现在对传统渔俗文化的真实记录和有效延续上，人们通过渔歌，可以了解海洋、潮汛、气象、渔汛、鱼类、捕捞、养殖、加工、贸易等渔业知识，传承渔区渔俗文化。(Jin 2009, 90/ Fang 2023, 24-25)

此外，渔歌也有科学经济实用价值。只有将其从民俗艺术资源转换为文化生产力,带来经济效益,才能保证民俗艺术生产者的再生产,相应地就会有更多的资金投入到民俗艺术的保护和发展上。(Jinling Li 2022, Volume 4.0, Issue 5.0)

==Terms and Expressions==
Fishing songs 渔歌

''Fisherman's Song'' 《渔歌子》

Dongting Fishing Songs 洞庭渔歌

Shanwei Fishing Songs 汕尾渔歌

Shengsi Fishing Songs 嵊泗渔歌

The fourth batch of national intangible cultural heritage list 第四批国家级非物质文化遗产名录

Expanded list of representative items of national intangible cultural heritage 国家级非物质文化遗产代表性项目名录扩展项目名录

Deep-sea fishing songs 深海渔歌

Shallow-sea fishing songs 浅海渔歌

Salty water songs 咸水歌

Work songs 号子

Folk songs 山歌

Ditty 小调

''The Boatman's Work Song'' 《船工号子》

''How can there be more tears in the river'' 《河水哪有我的眼泪多》

''Bachelor Marrying'' 《光棍娶亲》

''My Thousands of Fishing Songs'' 《我的渔歌万万千》

''Dongting Immortal'' 《洞庭仙》

Padding words 衬词
==Questions==
（1）What are the types of fishing songs classified by region? Please name two.

（2）Are fishing songs an intangible cultural heritage?

（3）What is the value of fishing songs?

（1）渔歌按地域分类有哪几种？请举出两个。

（2）渔歌属于非物质文化遗产吗？

（3）当代的渔歌具有什么价值？
==References==
李琳(Li Lin). 环洞庭湖民歌中的民俗及其文化内涵(Folklore and Its Cultural Connotation in Folk Songs Around Dongting Lake)[J]. 湖南农业大学学报(社会科学版)(Journal of Hunan Agricultural University (Social Science)),2008,(05):50-53.

许昊,柳集文(Xu Hao,Liu Jiwen). 传统音乐类非物质文化遗产的生存现状与整合传播——基于湖南岳阳洞庭渔歌的考察(The Survival Status and Integrated Dissemination of Traditional Music Intangible Cultural Heritage: An Investigation Based on Dongting Fishing Songs in Yueyang, Hunan Province)[J]. 新媒体研究(Journal of New Media Research),2020,6(07):121-124.

王晓淮(Wang Xiaohuai). 关于当代原生态民歌发展及意义的思考(Reflections on the Development and Significance of Contemporary Original Ecological Folk Songs)[J]. 歌海(Ge Hai),2009,(04):24-25.

陈辉(Chen Hui). 渔俗文化的历史记忆——浙东渔歌的功能与价值(Historical Memory of Fishing Culture: The Function and Value of Fishing Songs in Eastern Zhejiang)[J]. 浙江艺术职业学院学报(Journal of Zhejiang Vocational College of Art),2023,21(04):70-76.

金成辉(Jin Chenghui). 民俗艺术资源的价值要素探析(Analysis on the Value Factors of Folk Art Resources)[J]. 艺术探索(Art Exploration),2009,23(05):90-91.

方从戎(Fang Congrong). 湖南洞庭渔歌的文化内涵及其生存现状(The Cultural Connotation and Survival Status of Dongting Fishing Songs in Hunan Province)[J]. 中国民族博览(China Nationalities Expo),2023,(18):24-26.

Jinling Li. Research on the Development of Intangible Cultural Heritage Traditional Handicraft Education Inheritance and Socialization Inheritance(非物质文化遗产的发展研究传统手工艺教育传承与社会化传承)[J]. International Journal of Frontiers in Sociology(国际社会学前沿杂志), 2022, Volume 4.0 , Issue 5.0.

=Xie Xianglin |Education:Chicken Child(Fired-up Child)=
==The Origin and Meaning==
In recent years, with the popularity of the TV series ‘A Little Dilemma’, ‘education anxiety’ has become a hot topic nowadays, and the new word ‘chicken child’ has therefore come into the public eye.The drama is set in the context of primary school and reflects the current educational context where children's education is highly competitive.
Chicken child means a child who has been over-motivated and spurred on by their parents in terms of learning and forced to be fired up.Chicken child, in Chinese is ‘鸡娃’. Chicken, ‘鸡’ is homophonous with the character ‘激’which means motivating or stimulating, so Chicken Child has the meaning of a child who is motivated and spurred on.
On the other hand,in China in the 1960s, there was a form of chicken blood therapy, in which fresh chicken blood was drawn and injected into a person's veins, which would leave them refreshed and free of any illness. It's pseudo-science, but the term chicken blood has been passed down and given the meaning of a person's sudden excitement about something.So ‘Chicken Child’ borrowed this meaning to denote a child who is forced by his parents to be excited about learning.Based on its meaning, the term has also been translated as Fired-up Child.（Ding Miaomiao. 2022，Imago Literature Creation）

==Causes of the Chicken Child==
The causes of the chicken child are complex and involve many aspects.
===Education system===
The National College Entrance Examination, as the only examination that determines university entrance, makes parents and students focus all their energy on exam-oriented education. In addition, two important exams, the Junior High School Entrance Examination and the High School Entrance Examination, largely determine how high or low a child's educational starting point will be. These examinations in China make children and their parents anxious, fearing that they will fall behind on any rung of the ladder. Although in recent years the policy of reducing the burden one after another, the effect of reducing the burden is not obvious. Even though the The Double Reduction Policy has alleviated parents‘ educational anxiety to a certain extent, the problem of parents’ educational anxiety will not be reduced as long as there is the existence of exam-oriented education and the selection system of the National College Entrance Examination according to the scores.
===Ideological Tradition===
China's ideological tradition of‘expecting a son to become a dragon and a daughter to become a phoenix’ is the most ardent hope of every Chinese parent for their children. Therefore, most parents will focus all their energy, financial and material resources on their children, so that they can have better conditions and resources to improve social status and change the fate of the family. Education, on the other hand, is the most effective and fair of all avenues. Some scholars have pointed out that the direct cause of parents’ educational anxiety is their educational expectations and requirements for their children. (Fu Qiwen ,Ye Xiangxiang,Zou Simin ,Gong Xue. Secondary school students)
===Economic Factors===
In Professor Fabrizio's eyes, chicken child is not the fault of parents, but the result of economic inequality. In addition to contributing to a shift in cultural values, the increase in economic inequality has also changed parental behaviour. In particular, parents increasingly believe that the basis of their children's success will depend on educational achievement. In a world where parents are tightly connected with their children in interests, parents will be more concerned about their children's place in the social hierarchy, and will therefore be motivated to invest more in pushing their children to adopt success-oriented behaviors. (Tencent News.2021)

==Specific Manifestations in Society==
Firstly, there is intense subject tuition. Children attend a variety of tuition classes after school and on weekends, covering a wide range of subjects such as Maths, English and Physics, with a view to improving their academic performance. Secondly, they enroll in a wide range of interest classes. Apart from subject tuition, parents would also arrange for their children to attend interest classes in music, dance, sports and so on, in the expectation that they could develop in an all-round way. Thirdly, strict time management. Children's schedules are so tight that they have little free time, and all their activities revolve around learning and skill enhancement. Fourthly, the high-pressure family environment, where parents have very high expectations and demands on their children's academic performance, leading to a tense family atmosphere and greater psychological pressure on the children.
Changsha, for example, has the four most prestigious high schools in Hunan: The First High School of Changsha, Changjun High School of Changsha, Yali Middle School, and The High School Attached to Hunan Normal University. In addition, other schools are divided into various echelons, and it is often rumored that ‘Entering XXX school is a step into the door of Universities listed in Project 985, 211’. For this reason, parents and students try to get into the best high school possible. According to the Chinese education system, children only start learning English in the third grade of primary school. But here, there are children who have been attending English interest classes since they were a few years old. Some even learn a second or third foreign language. In addition to the basic curriculum, children also have to learn programming, Olympiads, etc. to have as much competitive capital as possible. At the age of primary school and junior high school, age of nature of to play, it is difficult to say that there are children who love to take the initiative to learn, so all of the above mentioned can not ignore the role of the parents . This is the specific embodiment of the chicken child, rather than children play initiative to learn, it is the parents play initiative to let them learn.

==The Double Reduction Policy==
The implementation of the ‘Double Reduction’ policy is intended to alleviate the phenomenon of ‘chicken children’, reduce the academic burden on students and promote equity in education. The ‘Double Reduction’ policy is an important education reform measure introduced by the Chinese government in 2021. The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training, issued in July 2021, aims to reduce the burden of homework and out-of-school training for primary and secondary school students. The core elements of this policy include reducing the amount of homework, regulating the operation of out-of-school training organizations, and reducing the educational anxiety of students and parents.
However, the policy has faced some challenges and backlash in its implementation, and the demand and competitive mentality of parents and students for educational resources still exists. Achieving the policy's goals will require concerted efforts by the government, schools, and families to enhance the equitable distribution of educational resources, improve the quality of public education, change parents' concepts of education, and promote the all-round development and physical and mental health of students. (Baidu Encyclopedia)

==Similar phenomena abroad==
As a matter of fact, there are similar educational anxieties abroad. Similar to the chicken child, there are ‘Helicopter Parents’ and ‘Tiger Parenting’ .
Helicopter parents refer to parents who are overly concerned about their children's behaviour, learning and development. They hover around their children like helicopters, always ready to intervene and interfere in their children's lives.
Tiger-Parenting is derived from the book ‘The Battle Hymn of the Tiger Mother’ by Amy Chua, a Chinese-American writer. Tiger-Parenting emphasizes rigour and high standards, and parents expect their children to achieve excellent results, often through coercion, threats and punishment, in order to motivate their children to learn and perform. And the term actually originated in China. The origin of the term, ‘Battle Hymn of the Tiger Mother’, is about how the author, a Chinese mother, fired up her children to become chicken child. Tiger-Parenting became a sensation in the education world and led to a great debate about the educational methods of China and the United States.(Woran Zhang. 2023.)

==Summary==
The essence of chicken children lies in parents' excessive concern about their children's studies and performance, as well as their excessive expectations of their children's future development. This phenomenon reflects the unequal distribution of educational resources and opportunities in society, as well as parents' anxiety and distrust of their children's future in a highly competitive social environment. Chicken-child behaviour is often accompanied by negative consequences such as excessive learning pressure, lack of autonomy and mental health problems, and may also lead to a waste of educational resources and a lack of educational equity.

==Terms and Expressions==
Chicken Child(Fired-up Child) 鸡娃
A Little Dilemma 《小别离》
chicken blood therapy 鸡血疗法
National College Entrance Examination 高考
exam-oriented education 应试教育
Junior High School Entrance Examination 小升初考试
High School Entrance Examination 中考
The Double Reduction Policy 双减政策
The First High School of Changsha 长沙市第一中学
Changjun High School of Changsha 长郡高级中学
Yali Middle School 雅礼中学
The High School Attached to Hunan Normal University 湖南师范大学附属中学
The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
Helicopter Parents 直升机式家长
Tiger Parenting 虎妈式教育
The Battle Hymn of the Tiger Mother 《虎妈战歌》

==Question==
#How did the word ‘chickenshit’ come about?
#What are the causes of the chicken child phenomenon?
#What are the concrete manifestations of the chicken child in the society?
#Why is it necessary to implement the ‘Double Reduction Policy’?
#Where did the term ‘tiger mother education’ originate?

==References==
#Ding Miaomiao. An analysis of the network buzzword ‘chicken child’. Journal of literature and creativity,2022,(29):111-113.
#FU Qiwen, YE Xiangxiang, ZOU Simin, GONG Xue. A review of research on the current situation of parents' educational anxiety and countermeasures in the context of burden reduction. A review of parental education anxiety and countermeasures in the context of burden reduction.
#Tencent News.2021.Economists tell you that chicken children are not your fault_Tencent News (qq.com)
#General Office of the CPC Central Committee, General Office of the State Council . Opinions on Further Reducing the Burden of Homework on Students in Compulsory Education and the Burden of Out-of-School Training .
#Baidu Encyclopedia. Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Off-Campus Training_Baidu Encyclopedia (baidu.com)
#Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.

==Translation==
教育：鸡娃
1.鸡娃的由来及含义
近年来，随着电视剧《小别离》的热播，“教育焦虑 ”成为时下的热门话题，“鸡娃 ”这个新词也因此进入公众视野。这部电视剧以小学为背景，反映了当下儿童教育竞争激烈的教育背景。
鸡娃是指在学习方面被家长过度激励和鞭策，被迫发奋学习的孩子。“鸡” 与 “激”同音，“激” 的意思是激励或刺激，所以 ”鸡娃 "有激励和鞭策孩子的意思。
另一方面，在 20 世纪 60 年代的中国，有一种鸡血疗法，即抽取新鲜鸡血注入人的血管，使人神清气爽，百病不生。虽然是伪科学，但鸡血一词却流传了下来，并被赋予了一个人突然对某件事情感到兴奋的含义，所以 “鸡娃”借用了这一含义来表示被父母逼着对学习感到兴奋的孩子。(丁苗苗. 2022,今古文创)

2.鸡娃现象的成因
鸡娃现象的产生成因复杂，涉及许多方面。
A. 教育体制
全国高考作为决定大学入学的唯一考试，使家长和学生把全部精力都放在应试教育上。此外，初中入学考试和高中入学考试这两次重要的考试在很大程度上决定了孩子教育起点的高低。在中国，这些考试让孩子和家长们焦虑不安，生怕自己在哪个阶梯上掉队。虽然近年来减负政策陆续出台，但减负效果并不明显。即使 “双减 ”政策在一定程度上缓解了家长的教育焦虑，但只要存在应试教育和高考唯分数论的选拔制度，家长的教育焦虑问题就不会减少。
B. 思想传统
望子成龙、望女成凤 "是中国的思想传统，也是每个中国家长对子女最殷切的期望。因此，大多数父母都会把所有的精力、财力、物力都集中在子女身上，让子女有更好的条件和资源来提高社会地位，改变家庭命运。而教育则是所有途径中最有效、最公平的途径。有学者指出，造成家长教育焦虑的直接原因是家长对子女的教育期望和要求。 (付启文、叶湘湘、邹思敏、龚雪.中学生）。
C.经济因素
在 Fabrizio 教授眼中，“鸡娃 ”不是父母的错，而是经济不平等的结果。除了导致文化价值观的转变，经济不平等的加剧也改变了父母的行为。尤其是，家长们越来越相信，子女成功的基础取决于教育成就。在父母与子女利益紧密相连的世界里，父母会更加关注子女在社会等级中的位置，因此会有动力投入更多，促使子女采取以成功为导向的行为。(腾讯新闻.2021）

3.鸡娃在社会中的具体显现
一是高强度的学科补习，孩子们在放学后和周末参加各种补习班，涵盖数学、英语、物理等多个学科，以期提高他们的学术成绩。二，报广泛的兴趣班。除了学科补习，家长还会安排孩子参加音乐、舞蹈、体育等兴趣班，期望他们能够全面发展。三是严格的时间管理，孩子们的日程安排得非常紧凑，几乎没有自由时间，所有的活动都围绕着学习和技能提升。四是高压的家庭环境，家长对孩子的学习成绩和表现有着非常高的期望和要求，导致家庭氛围紧张，孩子面临较大的心理压力。
就拿长沙举例，拥有湖南四大名校长沙市第一中学、长沙市长郡中学、长沙市雅礼中学、湖南师范大学附属中学。除此以外，其它学校还分出了各种梯队，常有流言说“上了xxx学校就是一脚迈进了985、211的门”。为此家长学生为了尽可能进入更好的高中挤破了头。按中国教育制度，孩子小学三年级才开始学英语。但是在这里，有的是从几岁开始就上英语兴趣班的娃娃。更有甚者，还学了第二门、第三门外语。除基本的课程外，孩子还要学编程，奥数等，尽可能有更多竞争的资本。在小学、初中的年纪，正是天性爱玩的时候，难说有孩子是热爱主动学习的，所以以上所说种种家长在其中的作用是不可忽略的。这正是鸡娃，与其说是孩子在发挥主动性学习，不如说是家长发挥主动性让他们学习。

4.双减政策
“双减”政策的实施意在缓解“鸡娃”现象，减轻学生的学业负担，促进教育公平。“双减”政策是中国政府在2021年推出的一项重要教育改革措施，2021年7月发布的《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》，旨在减轻中小学生的作业负担和校外培训负担。这一政策的核心内容包括减少家庭作业量、规范校外培训机构的运营、以及减轻学生和家长的教育焦虑。
然而，政策在实施过程中面临一些挑战和反弹，家长和学生对教育资源的需求和竞争心理依然存在。要实现政策目标，需政府、学校和家庭多方协同努力，加强教育资源的公平分配，提升公立教育质量，转变家长的教育观念，促进学生的全面发展和身心健康。(百度百科)

5.国外的相似现象
事实上，国外也有类似的教育焦虑存在。与鸡娃相似的，如“直升机式”家长和“虎妈式”教育。
直升机家长（Helicopter Parents）是指过度关注孩子的行为、学习和发展的家长，他们像直升机一样“盘旋”在孩子的周围，时刻准备介入和干预孩子的生活。
“虎妈式”教育（Tiger-Parenting）源自美国华裔作家蔡美儿（Amy Chua）的著作《虎妈战歌》。虎妈式教育强调严格要求和高标准，家长们期望孩子取得优异的成绩，通常通过强迫、威胁和惩罚来促使孩子学习和表现。而严格来说，这个词也起源于中国。因为个词的起源《虎妈战歌》正是讲的作者作为华裔妈妈如何“鸡娃”的。虎妈的教育方法轰动了教育界，并引起关于中美教育方法的大讨论。
(Woran Zhang.2023.World Journal of Educational Research）

6.总结
鸡娃的本质在于家长过度关注孩子的学习和成绩，以及对孩子未来发展的过度期待。这种现象反映了社会对教育资源和机会的不均等分配，以及家长对孩子未来竞争激烈的社会环境的焦虑和不信任。鸡娃行为常常伴随着过度的学习压力、缺乏自主性、心理健康问题等负面影响，同时也可能导致教育资源的浪费和教育公平的缺失。

术语：
Chicken Child(Fired-up Child) 鸡娃
A Little Dilemma 《小别离》
chicken blood therapy 鸡血疗法
National College Entrance Examination 高考
exam-oriented education 应试教育
Junior High School Entrance Examination 小升初考试
High School Entrance Examination 中考
The Double Reduction Policy 双减政策
The First High School of Changsha 长沙市第一中学
Changjun High School of Changsha 长郡高级中学
Yali Middle School 雅礼中学
The High School Attached to Hunan Normal University 湖南师范大学附属中学
The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
Helicopter Parents 直升机式家长
Tiger Parenting 虎妈式教育
The Battle Hymn of the Tiger Mother 《虎妈战歌》

问题:
#“鸡娃”这个词是如何而来？
#鸡娃现象的成因有哪些方面？
#鸡娃在社会中的具体体现有哪些？
#为什么要实行“双减政策”？
#虎妈教育这个词起源于哪？

参考文献：
#丁苗苗. 网络流行语“鸡娃”探析. 今古文创,2022,(29):111-113.
#付惜文 ,叶湘湘,邹思敏 ,龚雪.减负背景下家长教育焦虑现状及对策的研究综述.中学生
#腾讯新闻.2021.经济学家告诉你，鸡娃不是你的错_腾讯新闻 (qq.com)
#中共中央办公厅、国务院办公厅.《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
#百度百科。关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见_百度百科 (baidu.com)
#Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.World Journal of Educational Research(5)

=Yang Zixuan | Chinese Science Fiction:''The Three-Body Problem''=

==Introduction==

''The Three-Body Problem'' is a series of long science fiction novels written by Liu Cixin, consisting of ''The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever''. The first installment was serialized since May 2006 in ''Science Fiction World'' magazine. The series of novels tells the story of the exchange of information between the human civilization on Earth and the three-body civilization, the life-and-death struggle, and the rise and fall of the two civilizations in the universe. The first installment was translated by Liu Yukun and won the 73rd Hugo Award for Best Long Story.

Liu Cixin, born in Beijing in June 1963, is originally from Luoshan County, Xinyang City, Henan Province, and a native of Yangquan, Shanxi Province. He graduated from the North China University of Water Conservancy and Hydropower and is a senior engineer as well as a science fiction writer. Liu Cixin is one of the representative writers of Chinese science fiction, and his works have been awarded the Galaxy Award for Chinese Science Fiction for the years 1999-2006, and he has won many other important awards at home and abroad, such as Zhao Shuli Literary Award and Chinese Science Fiction Nebula Award, etc. He is also a member of the Chinese Science Fiction Association.

==Main Part==

===The Place and Influence of ''The Three Body Problem'' in Chinese Science Fiction Literature===

The success of ''The Three-Body Problem'' series has greatly contributed to the popularization and prosperity of science fiction literature in China. More and more readers have begun to pay attention to and fall in love with science fiction literature and the quantity and quality of science fiction works have been significantly improved. With its unique scientific concepts, rich imagination and profound insight into human nature, society and civilization, ''The Three-Body Problem'' series has provided new ideas and directions for the creation of Chinese science fiction literature. More and more writers have begun to try to combine scientific theories with storylines, tap into human culture and historical connotations, and explore new ways of literary expression. ''The Three-Body Problem'' has also inspired the creative enthusiasm of Chinese science fiction writers, and more and more writers have begun to try their hand at science fiction literature, injecting new vitality into Chinese science fiction literature. Meanwhile, more writers are encouraged to pursue depth and breadth to enhance the overall level of Chinese science fiction literature.

The international success of ''The Three-Body Problem'' series has raised the status and influence of Chinese science fiction literature. Chinese science fiction literature has begun to receive attention and recognition from the international community, opening up a new way for the international dissemination of Chinese culture. The success of the "The Three-Body Problem" series has enhanced the cultural confidence of Chinese science fiction writers. They began to face international readers and judges with more confidence, showing the unique charm and depth of Chinese science fiction literature. At the same time, "The Three-Body Problem" also shows the world the creativity and thinking power of Chinese people, and wins more praise and respect for the international dissemination of Chinese culture.

===''The Three-Body Problem'' embodies Chinese cultural values===

'''The belief that man can win'''

"For more than 5,000 years, the Chinese people, in the course of exploring nature and seeking survival, have honed the spiritual character of robustness, diligence and courage, positivity and perseverance. In the face of difficulties, we believe that man will prevail over God. Flooding, do not ask the prophet, their own dredging; disease epidemic, do not seek miracles, their own taste of all kinds of herbs; Houyi shoot the sun, Jingwei fill in the sea, Yugongyishan ...... these ancient myths are embedded in the Chinese people's philosophy of survival and spiritual strength.

In "The Three-Body Problem", there is a huge gap between the scientific and technological levels of human civilization and that of the three-body civilization. ''The Three-Body Problem'' sends out only two "Homo sapiens" to interfere with all the particle gas pedals on Earth, making it difficult for humans to take a further step forward in basic science. The three-body world also sends the most contemptuous message to human beings - "you are bugs". The gap between bugs and human beings is much larger than the gap between Earth and The Three-Body Problem, but human beings have not completely eliminated bugs by using all sorts of methods, and the three-body people seem to have forgotten one thing, that bugs have never been truly defeated. Even though human beings are as weak as ants in front of the three-body world, human beings have never given up the struggle, which is exactly the vivid embodiment of the spirit of resilience in the bones of the Chinese people.

'''Planning a profound legacy for future generations'''

The concept of the family has an important place in traditional Chinese culture. In the traditional Chinese political structure, the family and the state are isomorphic: the "family" is the small "state" and the "state" is the big "family". The "family" is the small "state" and the "state" is the big "family". The family-centered culture of Chinese society has given rise to a whole set of ways of thinking and living, and the heroes in "The Three-Body Problem" often have the traditional meaning of "father and ruler", they are cold and rational, and they are able to save the day when there is a crisis, and they act as the "head of the family". As the "head of the family" of human beings, they shoulder the heavy burden of resisting foreign enemies and continuing human civilization, and almost all of them end up sacrificing their lives for the survival of the whole human race. The spirit of family inheritance extends to the country and becomes the historical inheritance of the Chinese nation that has lasted for thousands of years. In "The Three-Body Problem", many of the plans designed by mankind to resist alien invasions lasted for dozens to hundreds of years, and only a nation with a civilized history of 5,000 years would be more inclined to design and imagine these plans that need to be passed down from one generation to the next, and the novel has an epic feel to it as a result. In the setting, the three-body fleet arrived on Earth after 400 years, accordingly, the human struggle with the three-body world strategy is also measured in hundreds of years, for example, the use of the "hibernation" technology of the Pacific Air Force to send talents to the future, the bunker program, the black field program, the development of curvature drive spaceships, and so on.

'''Chinese characters'''

There are also uniquely Chinese protagonists in ''The Three-Body Problem'' that readers remember, such as Wang Miao, Zhang Beihai, and Cheng Xin all of whom are characters that appear more frequently in Amazon reader book reviews.

Zhang Beihai is a very typical Chinese soldier, he is strong and intelligent, with a strong sense of justice, and comes from a military family. His father is a member of the future history school, who predicts that mankind will lose the battle of Armageddon, and he hints at the end of the battle with the cryptic words "think more". Inheriting his father's legacy, Beihai leaves behind a spark of hope for mankind in the midst of an inevitable war. One reader commented that Zhang Beihai "came up with a shocking and inhumane solution to save mankind at the most critical moment". Readers resonate with the human rationality of Zhang Beihai in the context of the book, and at the same time gain a new understanding of the Chinese people's heightened sense of mission, dedication, and spirit of sacrifice.

Cheng Xin has been described by readers in English-speaking areas as "the best protagonist in the series, she is the most memorable. Maybe not the best, but she's the character that is most likely to remain unique in your mind." Each of Ching-Hsin's choices does indeed implement the concept of "goodness" in the moral system that human society has constructed. Respecting human life, loving and caring for all people, Cheng Xin has practiced her concept of "humanity", which in Cheng Xin's context is of course the same as "goodness"! --In Cheng Xin's context, "humanity" is of course the same as "goodness" - rather, Cheng Xin redefines "humanity" through her choices, and in the end, it is this "humanity" that Cheng Xin truly protects, rather than humanity itself. For Cheng Xin, the loss of humanity is the loss of everything.

==Conclusion==

''The Three-Body Problem'' series of novels is the undoubted masterpiece of Chinese science fiction writer Liu Cixin. With its unique scientific setting, rich characterisation and profound philosophical reflections, the series shows the struggles and choices of human civilisation in the face of invasion by an alien civilisation, and at the same time explores the grandeur of the universe and the insignificance of human beings. ''The Three-Body Problem'' is not a copy of foreign sci-fi works; it uses Chinese narrative methods to win wide acclaim from readers around the world, and has become the brightest star in contemporary Chinese sci-fi literature.

==Terms and Expreesions==

The Three-Body Problem 《三体》

The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever 《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》

Science Fiction World 《科幻世界》

the Galaxy Award for Chinese Science Fiction 中国科幻小说银河奖

Zhao Shuli Literary Award 赵树理文学奖

Chinese Science Fiction Nebula Award 华语科幻星云奖

"hibernation" technology 冬眠技术

the bunker program 掩体计划

the black field program 黑域计划

curvature drive spaceships 曲率驱动飞船

==Questions==

1. How does the international success of ''The Three-Body Problem'' affect Chinese science fiction literature?

2. How does ''The Three-Body Problem'' reflect Chinese cultural values?

3. Which character in Three Bodies do you appreciate most? Why?

1.《三体》在国际上的成功对中国科幻文学有何影响？

2.《三体》是如何体现中国文化价值观的？

3.你最欣赏《三体》中的哪个角色？为什么?

==References==

LI Jianfu 李建福, GAO Xuying 高序莹. Analyzing the Realism Thought and Chinese Narrative in Liu Cixin's ''The Three-Body Problem'' 浅析刘慈欣《三体》中的现实主义思想及中国叙事. Modern Communication现代交际,2023,(06):89-97+123-124.

Xie Zhonghui 解仲慧. "The Loss and Reinvention of the Hero--The Thought of Humanity in ''The Three-Body Problem'' “英雄”的失落与重塑——论《三体》中的人性之思. Masterpiece Appreciation 名作欣赏,2024(15):143-146.

Cui Bo 崔波, Chen Zixin 陈子馨. Research on the Overseas Diffusion Mechanism of Chinese Literary Works--An Examination Based on ''The Three-Body Problem'' 中国文学作品的海外扩散机制研究——基于《三体》的考察. Digital Publishing Research 数字出版研究,2024,3(01):104-112.

==Translation==

'''中国科幻小说：《三体》'''

'''简要介绍'''

《三体》是由刘慈欣创作的系列长篇科幻小说，由《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》组成。第一部于2006年5月起在《科幻世界》杂志上连载。该系列小说讲述了地球人类文明和三体文明的信息交流、生死搏杀及两个文明在宇宙中的兴衰历程。其第一部经过刘宇昆翻译后获得了第73届雨果奖最佳长篇小说奖。

刘慈欣，1963年6月出生于北京市，祖籍河南省信阳市罗山县，山西阳泉人。他毕业于华北水利水电大学，是一名高级工程师，同时也是科幻作家。刘慈欣是中国科幻小说代表作家之一，作品蝉联1999年-2006年中国科幻小说银河奖，并多次获得其他国内外重要奖项，如赵树理文学奖、华语科幻星云奖等。

'''《三体》在中国科幻文学中的地位和影响'''

《三体》系列的成功极大地推动了中国科幻文学的普及和繁荣。越来越多的读者开始关注和喜爱科幻文学，科幻作品的数量和质量也得到了显著提升。《三体》系列以其独特的科学理念、丰富的想象力和对人性、社会、文明的深刻洞察，为中国科幻文学的创作提供了新的思路和方向。越来越多的作家开始尝试将科学理论与故事情节相结合，挖掘人类文化和历史内涵，探索新的文学表达方式。《三体》也激发了中国科幻作家的创作热情，越来越多的作家开始尝试科幻文学的创作，为中国科幻文学注入了新的活力。同时鼓励更多的作家追求深度和广度，提升中国科幻文学的整体水平。

《三体》系列在国际上的成功提升了中国科幻文学的地位和影响力。中国科幻文学开始受到国际社会的关注和认可，为中国文化的国际传播开辟了新的途径。《三体》系列的成功增强了中国科幻作家的文化自信。他们开始更加自信地面对国际读者和评委，展现中国科幻文学的独特魅力和深度。同时，《三体》也向世界展示了中国人的创造力和思考力，为中国文化的国际传播赢得了更多的赞誉和尊重。

'''《三体》体现中国文化价值观'''

人定胜天的信念

“天行健，君子以自强不息”，五千多年来，中华民族在探索自然、谋求生存的过程中历练出刚健有为、勤劳勇敢、积极向上、坚忍不拔的精神品格。在困难面前，我们相信人定胜天。洪水泛滥，不问先知，自己疏通河渠；疾病流行，不求神迹，自己尝遍百草；后羿射日、精卫填海、愚公移山……这些上古神话中蕴含着中国人的生存哲学和精神力量。

在《三体》中，人类文明和三体文明的科技水平差距巨大，三体仅派出两颗“智子”就能干扰地球所有的粒子加速器，使人类基础科学再难前进一步。三体世界还向人类发来最蔑视的信息——“你们是虫子”。虫子与人类的差距远大于地球与三体的差距，但是人类使用各种办法都没有彻底消灭虫子，三体人似乎忘了一件事，虫子从来就没有被真正战胜过。即使人类在三体世界面前如蝼蚁般弱小，但是人类从未放弃斗争，这恰恰是中国人骨子里坚韧精神的生动体现。

为子孙后代计深远的传承

家庭观念在中国传统文化中有着重要的地位。在中国传统的政治构造中，家国是同构的：“家”是小“国”，“国”是大“家”。中国社会以家庭为中心的文化衍生出一整套思维和生活方式，《三体》中的英雄形象往往都具有传统意义上“君父形象”的意味，他们冷峻理性，在危机时力挽狂澜，作为人类的“大家长”肩负着抵抗外敌、延续人类文明的重担，最后的结局也几乎都是舍生取义，为整个人类的生存牺牲自己。家族传承精神扩大到国家就变为中华民族绵延数千年的历史传承。《三体》中人类为抵御外星入侵设计的许多计划都延续几十到上百年，只有拥有五千年文明历史的民族才会更偏向于设计与想象出这些需要代代相传的计划，小说也因此具有一种史诗感。在设定上，三体舰队于400年后到达地球，相应的人类与三体世界的斗争策略也以百年计，比如太空军利用“冬眠”技术向未来输送人才，掩体计划、黑域计划、研制曲率驱动飞船，等等。

中国式角色

《三体》中也有独特的中国式主角被读者所牢记，如汪淼、章北海和程心都是亚马逊读者书评中出现频次较高的角色。

章北海是非常典型的中国军人形象，他坚强智慧，胸怀大义，出身军人世家。章北海的父亲是未来史学派成员，预判末日之战中人类必败，他用极为隐晦的话“要多想”向章北海暗示末日之战的结局。章北海继承父亲的遗志，在必败的战争中为人类留下希望的火种。有读者评论称章北海“在最危急的时刻想出一个令人震惊的、非人道的解决方案来拯救人类”，读者在结合书中背景后，对章北海身上的人类理性一面产生共鸣，同时也对中国人高度的使命感、奉献精神和牺牲精神产生新的认识。

而程心被英语地区读者称为“该系列中最好的主角，她是最令人难忘的。或许不是最好的，但她是最容易在你的脑海中保持独特的角色。”程心的每一次选择确实都贯彻了人类社会所构建的道德体系中的“善”这一理念。尊重人的生命，博爱、关怀所有人，程心切身践行了她理念中的“人性”，在程心的语境里，“人性”当然等同于“善”——毋宁说，程心通过她的选择重新定义了“人性”，程心最后真正保护了的，也就是这样的“人性”，而非人类本身。对于程心来说，失去人性，才是失去一切。

'''总结'''

《三体》系列小说是中国科幻作家刘慈欣毫无疑问的代表作。该系列作品以其独特的科学设定、丰富的人物塑造和深邃的哲学思考，展现了人类文明在面对外星文明入侵时的挣扎与抉择，同时探讨了宇宙的宏大和人类的渺小。《三体》不是对外国科幻作品的复制，它用中国叙事，赢得了全球读者的广泛赞誉，成为当代中国科幻文学中最璀璨的明星。

=Chu Shoujuan |Ganshi in Xiangxi: The Cycle of Life and Death under Ancient Witchcraft=
==Introduction==
Xiangxi, a mysterious land in the western part of China's Hunan Province, has been one of the cradles of witchcraft culture since ancient times. In this deep land of mountains and streams, there is an ancient and mysterious legend - Ganshi in Xiangxi. This is a strange ceremony to bring the bodies of people who died in a foreign land back to their hometown and bury them in the ground, and it is called "Three Evils of Xiangxi" with Gu Du and Luo Hua Dong Nv. (Baidu Baike Ganshi in Xiangxi)

==Main Part==
The origin of Ganshi in Xiangxi can be traced back to ancient times. According to folklore, thousands of years ago, Chi You led soldiers in fierce battles with rival tribes. And then the battlefield was littered with corpses and blood flowed like stream. After the war, Chi You could not bear his soldiers to die in a foreign land, so he asked his tactician to use magic to let the dead soldiers return home. The tactician dressed up as Chi You, silently reciting incantations and praying to the gods, and those who had originally fallen to the ground actually stood up, followed the guidance of the "Fu Jie" and walked south. This is the earliest legend of Ganshi in Xiangxi. (Wang Yanan 2018, 186)

However, it was in the middle of the Qing Dynasty that Ganshi in Xiangxi really formed a profession and was widely spread among the people. At that time, people in Xiangxi took the bodies of their relatives who had died abroad back to their hometowns for burial as a show of filial piety. However, due to the long road, inconvenient transportation, coupled with the complex terrain of the Xiangxi area and the rugged mountain road, it was extremely difficult to transport the body. Therefore, some people who knew witchcraft would use the "Occult Arts" to "drive" the body back to their hometown. These people are called "Ganshi Jiang", they hold "Chen Zhou Fu", and the mouth mutters words, leading the body in the night forward. (Liang Xu 2014, 2)

The ritual of Ganshi in Xiangxi is full of mystery. The Ganshi Jiang usually sets out at night, dressed in Taoist robes and carrying a dementor bell, followed by a string of bodies strung together with straw ropes. Instead of using lanterns, they use bells in their hands and incantations in their mouths to find their way. As the body walks, it wears a tall felt hat, and a yellow paper with a mark on its forehead was draped over its face to conceal it. Such a scene, in the mountains of Xiangxi, appears particularly strange and mysterious. (Baidu Baike Ganshi in Xiangxi)

Ganshi in Xiangxi ritual although mysterious, but not without trace. According to relevant literature records, there is a saying of "Three Rush and Three not Rush" in Xiangxi. Those who have been beheaded, hanged, or killed in cages can be driven away, because these people are forced to die, die unconvinced, and miss both home and love ones. Those who die of illness, those who hang themselves voluntarily or throw themselves into a river, and those who are burned by lightning with incomplete limbs could not be driven away. This is because the person who die of illness has spent the rest of his life, and his soul has been hooked by the impermanent ghost to Yama. The souls of those who hang their necks or throw themselves into a river are "being replaced" and are being handed over. And those who die when lightning strikes fire are sinful and cannot be driven away. (Lu Qun 2007, 56-57)

With the development of science and technology, people have gradually explored the mystery of Ganshi. Ganshi does not mean that the body will actually walk on its own, but that someone will carry it on his back. First, Ganshi Jiang removes the head and limbs from the deceased, and then coates them with embalming agents, so that for a period of time, it can not decompose. At the same time, in order to prevent excessive inquiry into their profession, they would choose to wear Taoist robes and carry a dementor bell and travel at night. When the body is delivered to the home of the deceased, people, out of awe and comforted at seeing the deceased, no longer doubt whether the body is intact or whether the removal of the body is a hoax. (Zhang Dawei 2016, 18-22)

==Conclusion==
Although Ganshi in Xiangxi is full of mystery and horror, it also reflects people's respect and nostalgia for the deceased. In the land of Xiangxi, driving dead bodies is not only a profession, but also a cultural inheritance and belief. Nowadays, with the progress of science and technology and the convenience of transportation, Ganshi has gradually fades out of people's vision. However, the legends and stories about Ganshi in Xiangxi are still spread among the mountains and rivers of Xiangxi, becoming an eternal legend in this land.

湘西赶尸：古老巫术下的生死轮回

介绍

湘西，这片位于中国湖南省西部的神秘土地，自古便是巫文化的发源地之一。在这片崇山峻岭、溪流纵横的深邃之地，流传着一个古老而神秘的传说——湘西赶尸。这是一种将客死异乡之人的尸体带回家乡，让他们入土为安的奇特仪式，与蛊毒、落花洞女并称“湘西三邪”。（百度百科湘西赶尸）

主体部分

湘西赶尸的起源，可追溯到遥远的古代。据民间传说，几千年前，蚩尤率兵与敌对部族激战，战场上尸横遍野，血流成河。战后，蚩尤不忍战士们客死他乡，便请军师施展法术，让战死的将士们魂归故里。军师装扮成蚩尤的模样，默念咒语，祷告神灵，那些原本倒在地上的尸体竟然站了起来，跟随“符节”的指引，向南而行。这便是湘西赶尸最早的传说。（王亚男 2018，186）

然而，湘西赶尸真正形成一种职业，并在民间广为流传，则是在清朝中期。当时，湘西地区的人们将客死他乡的亲人尸体运回家乡安葬，以示孝道。但由于路途遥远，交通不便，加之湘西地区地形复杂，山路崎岖，运送尸体极为困难。于是，一些懂得巫术的人便利用“秘术”，将尸体“赶”回家乡。这些人被称为“赶尸匠”，他们手持“辰州符”，口中念念有词，引领着尸体在夜色中前行。（梁谞 2014，2）

湘西赶尸的仪式充满了神秘色彩。赶尸匠一般选择夜晚出发，身穿道袍，手持摄魂铃，身后跟着一串用草绳串联的尸体。他们不打灯笼，只靠手中的铃铛和口中的咒语辨别方向。尸体在行走时，头戴高筒毡帽，额上压着画着符的黄纸，垂在脸上，以遮盖面容。这样的场景，在湘西的深山中，显得尤为诡异和神秘。（百度百科湘西赶尸）

湘西赶尸的仪式虽然神秘，但并非无迹可寻。据有关文献记载，湘西赶尸有“三赶，三不赶”之说。凡是被砍头、受绞刑、站笼站死的尸体可以赶，因为这些人是被迫死的，死得不服气，既思念家乡又惦念亲人。而病死的、投河吊颈自愿而亡的、雷打火烧肢体不全的尸体则不能赶。这是因为病死的人已享尽天年，其魂魄已被无常鬼勾至阎罗王处；投河吊颈者的魂魄是“被替代”的，正在交接中；而雷打火烧而亡者则属罪孽深重之人，无法驱赶。（陆群 2007，56-57）

随着科学技术的发展，人们逐渐探寻到了“赶尸”的奥秘。“赶尸”并不是尸体真的会自己走路，而是有人将它背着走。赶尸匠先将死者的头部和四肢截下来，然后涂上防腐药剂，这样就能保持一段时间不腐烂。同时，为了防止旁人对他们职业的过分探究，他们会选择身着道袍，手拿摄魂铃，晚上赶路。等到尸体送到死者家中时，人们出于对死者的敬畏和见到死者后的安慰,便不再去怀疑尸体是否完整，赶尸是否是个骗局了。（张达玮 2016，18-22）

结论

湘西赶尸虽然充满了神秘和恐怖色彩，但它也体现了人们对逝者的尊重和怀念之情。在湘西这片土地上，赶尸不仅是一种职业，更是一种文化传承和信仰体现。如今，随着科技的进步和交通的便利，湘西赶尸已经逐渐淡出了人们的视野。但那些关于湘西赶尸的传说和故事，却仍然流传在湘西的山水之间，成为这片土地上永恒的传说。

==Terms and Expressions==
==Questions==
#What are the "Three evils of Xiangxi"?
#Which legend does the "corpse drive" come from?
#Why doesn't the body rot?
#“湘西三邪”是什么？
#“赶尸”起源于哪个传说？
#为什么尸体不会腐烂？

==References==
[1]Wang Yanan王亚男. 湘西赶尸文化探秘(Ganshi in Xiangxi culture exploration) [J]. 电脑迷(computerite), (2018),(02): 186.
[2]Lu Qun陆群. 神秘的湘西赶尸(Mysterious Ganshi in Xiangxi) [J]. 文史博览(Extensive literature and history), 2007, (05): 56-57.
[3]Zhang Dawei张达玮. 湘西赶尸的宗教与伦理意蕴——兼论原始信仰作为人的存在方式(On the Religious and Ethical Implications of Ganshi in Xiangxi----Concurrently Discuss Primitive Belief as a Way of Human Existence) [J]. 黔南民族师范学院学报(Journal of Qiannan Teachers College for Nationalities), 2016, 36 (04): 18-22.

=Jiang Rui |=
=Li Xun | Chinese Animation =
==Overview==
In ''Cambridge Advanced Learner's Dictionary'', the word “animation” means moving picture. Here, Chinese animation refers to animation produced by Chinese. (mainland). Chinese animation originated in the 1920s. In 1922, the first advertising animation in China, ''Shu Zhen Dong Chinese Typewriter'', was produced. In 1926, the first animated film in China, ''Da Nao Studio'', was produced. In 1935, the first audio animated film in China, ''Camel Dancing'', was produced, opening a page in the history of Chinese animation. In the 1940s, the Wan brothers created the first feature film of Chinese animation, ''Princess Iron Fan'', which was released in Southeast Asia and Japan and received warm welcome, laying a good foundation for Chinese animation to go international. Between the 1950s and the 1980s, China entered a golden era of animation. In this period, there were mainly three kinds of traditional animation before the technique of computer animation be widely used, including paper-cut animation, water ink animation and puppet animation. Chinese animation has had an unparalleled glory, which also proves that Chinese animation has strength and has artistic laws suitable for its development. Looking at the development of Chinese animation over the past few decades, it can be seen that Chinese animation has always been committed to a path with its own characteristics. (Chinese animation Baidu bai ke (baidu.com)) (Luo Hong 2011 335) (Luo Hong 2011 6)

==Traditional Elements==
Most Chinese animations are set against the background of mythological tales or ancient history, and thus involve many traditional Chinese elements. Among them, some animation works are made completely according to the original mythology, and some fabricate a story that has never existed before, but most are adapted from existing myths or historical events.

For example, China's early animations such as ''Uproar in Heaven'', ''Nezha Conquers the Dragon King'', and ''Princess Iron Fan'' are all adapted from the long novel ''Journey to the West''. However, the character Nezha was not originally from China at the earliest, but from Indian Buddhist mythology, but it was introduced to China relatively early, and there are records about Nezha in many dynasties:

Jin Dynasty:''The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter'' records:"Vaisravana, the king of heaven, gave birth to Narakuja (that is, Nezha), and all the heavenly beings were extremely happy. The king gave birth to a crown prince today, in the Kapilavastu kingdom, and all the people were also so happy." In the earliest written records of Buddhism, Nezha is a just god of war who is deeply loved by the public. Once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise.

Tang Dynasty:''The Sea of Meanings of the Shurangama Sutra'' records:"The crown prince of the king of heaven is like that of Nezha and the like, assisting in governing and controlling, grasping ghosts and protecting the world and benefiting people."

Song Dynasty:''The Jiatai Pudeng Record'' records:"Nezha has ten faces and ten eyes moving, and the formless spiritual light blocks the sun wheel."

Since the Jin Dynasty, there have been descriptions of Nezha almost in every dynasty. In ''The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter'', Nezha is described as "once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise", while in the animation work ''Nezha: Birth of the Demon Child'', Nezha was born as a "demon child" with a bad nature. Once born, it caused the fear and disgust of the people, and the director's intention of such an adaptation is probably to pave the way for Nezha to sacrifice his life to save everyone at the end, thereby highlighting Nezha's kind character. Therefore, this work conveys such a concept: even if it is a demon, there is kindness. Such a concept is very common in Chinese culture. In ''Journey to the West'', many monsters seem to be very evil, but they haven't done anything extremely heinous. Generally, they just steal things and rob, at least they are aboveboard. On the contrary, in human society, there are all kinds of calculations, conspiracies, and framings, which are simply more evil than monsters; the first is to lament the sinister nature of human society, and the second is to abandon the "label of the evil", that is, there is no absolute evil. This is exactly the value that many Chinese writers want to express through monsters.

Coincidentally, there is also a shadow of this value in the animation ''Fox Spirit Matchmaker''. In this animation, humans and monsters coexist in the world, and it describes some kind-hearted monsters who do not hesitate to sacrifice themselves to protect others and some humans who murder monsters for power. And this animation also involves some other traditional Chinese elements. It mainly tells a series of interesting and mysterious stories that occur in the process of the fox spirit who takes on the profession of matchmaker pulling the red thread for the lovers in the previous life. And the word "matchmaker" comes from ''Romance of the Western Chamber'' created by Wang Shifu, a dramatist in the Yuan Dynasty. In ''Romance of the Western Chamber'', there is a maidservant in the prime minister's mansion named "Hongniang". She not only has to take care of Miss Cui Yingying's daily life, but also monitors Miss on the order of the old lady and reports immediately if there is any bad tendency. But after Hongniang saw Miss Yingying's mind towards Zhang Sheng, she still broke through the shackles of feudal ethics and risked being punished by the old lady to help Miss Yingying and Zhang Sheng, and finally made the lovers become a couple under the matchmaking of Hongniang. Since then,"Hongniang" has referred to those who match men and women to become husband and wife. And "pulling the red thread" is a metaphor for "facilitating marriage".

In addition, there are also some Chinese ancient poems and some original poems in ''Fox Spirit Matchmaker''. For example,"Ask what on earth love is, which directly makes it difficult for the magpie bridge to cross the pain of lovesickness, and directly makes it difficult for the butterfly to pick the sweetness of the same heart". This sentence is adapted from Yuan Haowen's ''Moliyu·Yanqiu Ci'' in the Jin Dynasty. Another example is "On the seventh day of July, at the bamboo pavilion by the Huai River, the scabbard and the flute depend on each other, without regret or complaint". This sentence is written by the author of ''Fox Spirit Matchmaker''. These poems endow this animated work with a romantic atmosphere and enhance its artistic quality, making it more ornamental and aesthetically valuable.

==Influence From Abroad==
==Animation Production Techniques==
==Terms And Expressions==
==Questions==
==Translation==
===概述===
在《剑桥高级学习者词典》中，“动画”一词意为移动的图片。在这里，中国动画指的是（中国大陆）中国人制作的动画。中国动画起源于20世纪20年代。1922年，中国第一部广告动画《舒振东华文打字机》制作完成。1926年，中国第一部动画片《大闹画室》制作完成。1935年，中国第一部有声动画影片《骆驼献舞》制作完成，翻开了中国动画历史的一页。20世纪40年代，万氏兄弟创作了中国动画的第一部故事片《铁扇公主》，该片在东南亚和日本上映并受到热烈欢迎，为中国动画走向国际奠定了良好基础。20世纪50年代至80年代，中国进入了动画的黄金时代。在这一时期，在计算机动画技术被广泛应用之前，主要有三种传统动画类型，包括剪纸动画、水墨动画和木偶动画。中国动画曾有过无与伦比的辉煌，这也证明了中国动画有实力且有适合自身发展的艺术规律。纵观中国动画在过去几十年的发展，可以看出中国动画一直致力于走一条具有自身特色的道路。（中国动画百度百科）（罗虹 2011年6页）（罗虹 2011年335页）
===传统元素===
中国动漫大多以神话传说或者是古代历史为背景，因此涉及许多中国传统元素。其中，有些动漫作品完全按照原神话来制作，还有一些编造出一个从来没有的故事，但大多数是根据已有神话或历史事件改编。
比如中国早期的动画《大闹天宫》，《哪吒闹海》，《铁扇公主》都是由长篇小说《西游记》改编。然而，哪吒这一人物最早并非出自中国，而是出自印度佛教神话，但传入中国较早，多个朝代都有关于哪吒的记载：

晋代：《佛所行赞经·第一生品》记载：“毗沙门天王，生那罗鸠婆（即哪吒），一切诸天众，皆悉大欢喜，王今生太子，迦毗罗卫国，一切诸人民，欢喜亦如是。”哪吒在佛教最早的文字记载中是一位深受大众欢迎的正义战神，一出生就让天地间的一切天众神佛及百姓为之欢颂。
唐代：《首楞严经义海》记载：“天王太子即那吒之类，辅政统摄，跨握鬼物，护世益人。”
宋代：《嘉泰普灯录》记载：“那吒十面十眸动，无相灵光翳日轮。”

从晋代开始，几乎历朝历代都有对哪吒的描述。在《佛所行赞经·第一生品》中，哪吒被描述为“一出生就让天地间的一切天众神佛及百姓为之欢颂”，而在动漫作品《哪吒之魔童降世》中，哪吒是作为一个“魔童”降世的，天性恶劣，一出生就引起了百姓的恐惧和厌恶，而导演如此改编的用意，大概是为了为哪吒在最后舍命救众人做铺垫，以此凸显哪吒善良的品格。因此，这部作品传达出这样一个观念：即使是妖魔，也有善良的。这样的观念，在中国文化中很常见。《西游记》中有许多妖怪都是看似很恶，但并没做过什么罪大恶极的事，一般都是偷偷东西以及抢劫，至少光明磊落。反观人类社会，各种算计，阴谋，陷害，简直比妖怪还恶；第一是感慨人类社会的险恶，二是对“恶人标签”的摒弃，即不存在绝对的恶人。这正是许多中国作家想要通过妖怪表达的价值观。

无独有偶，在动漫《狐妖小红娘》中也有这种价值观的影子。在这部动漫中，人与妖共存于世间，描写了一些善良的为了保护别人而不惜牺牲自己的妖怪和一些为了力量而谋害妖怪的人类。而这部动漫还涉及另一些中国传统元素。它主要讲述了以红娘为职业的狐妖，在为前世恋人牵红线的过程中发生的一系列有趣、神秘的故事。而“红娘”一词，来源于元代杂剧家王实甫创作的《崔莺莺待月西厢记》。在《崔莺莺待月西厢记》中有一个相国府的婢女名叫“红娘”，她不仅要照顾崔莺莺小姐的饮食起居，同时也奉老夫人之命监视小姐，有不良倾向要随时汇报。但是当红娘看出了莺莺小姐对张生的心思之后，还是突破了封建礼教的束缚，冒着被老夫人责罚的风险帮助莺莺小姐和张生，终在红娘的撮合下使有情人终成眷属。此后，“红娘”便指那些撮合男女双方成为夫妻的人。而“牵红线”便是“促成姻缘”的比喻。

另外，《狐妖小红娘》中还有一些中国古诗词以及一些原创诗词，比如“问世间情为何物，直教鹊桥难渡相思苦，直教化蝶难采同心甜”，这一句改编自金代元好问的《摸鱼儿·雁丘词》;又如“七月初七，淮水竹亭，鞘笛相依，无怨无悔”，这一句是原创。这些诗词赋予这部动画作品一种浪漫的氛围，提升了它的艺术品质，使其更具观赏性和审美价值。

=Zhu Ran |Military-style Travel=
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==Introduction==
==Main Part==
==Conclusion==
==Terms and Expressions==
==Questions==
==References==

=Long Yuhan |=
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=Pei Xinxian |=
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=Hu Yujie |=Cuisine：Hunan cuisine, one of the eight major cuisines
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=Li Shujing |Music and Instruments: Suona Horn=
==Introduction==
Suona, Chinese double-reed woodwind instrument, the most commonly used double-reed instrument. Similar to the shawm, the suona originated in Arabia; it has been widely used in China since the 16th century. The reed is affixed to a conical wooden body covered by a copper tube with eight finger holes (seven in front and one in back), to which is fitted a brass bell. Its range is generally about two octaves, and it comes in many sizes. The suona is characterized by its shrill and penetrating sound and the frequent use of tonguing in performance. It is much used in military music ensembles and religious processions and as a stage instrument in Chinese operas.
==Position in Chinese Folk Music==

The original suona is a musical instrument spread in Persia and Arabia, and even its name is a transliteration of the ancient Persian word Surnā. Suona appeared in China around the third century AD. There are already images of suona playing in the Jiyue murals in Cave 38 of Kizil Grottoes in Baicheng, Xinjiang. In the Jin and Yuan dynasties more than 700 years ago, it spread to the Central Plains of China. During the Ming and Qing dynasties, it was widely used in folk music bands for weddings and funerals, and was also used as an accompaniment for folk songs, dances and operas.

"Birds Paying Homage to the Phoenix", originally named "Ten Scenes", is the most representative among many suona tunes, demonstrating the expressiveness of the suona to an extreme. In the sound of "Birds Paying Homage to the Phoenix", there are warbler singing and dancing, birds and flowers, contributing to a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.birds and flowers, a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.

As a traditional folk instrumental music performance art and one of the most valuable intangible cultural heritages with folk art charm, suona art plays an important role in Chinese folklore. Suona is believed to ward off evil spirits and bring good luck, making it a common choice for auspicious occasions like New Year celebrations, birthdays, marriage ceremonies and harvest festivals. Meanwhile, suona is often used in funeral ceremonies, accompanying the procedures of wake, condoling and burial, and in some places, suona is also used in grave digging ceremonies. Suona's deep tones evoke emotions ranging from joy and celebration to sorrow and remembrance, reflecting the complex tapestry of human experiences.

Except its significance, the precious cultural value of suona can not be ignored, which can be concluded as historical value, artistic value, folklore value and humanistic value.

After hundreds of years of cultural exchanges and integration between the north and the south, suona has formed its unique characteristics and customs. Through the long historical development, people can appreciate the developing path and passing on traditions of Chinese folk music. In terms of craftsmanship, suona is crafted from materials like bronze or brass, showcasing the skills of metalworkers from different periods. They have evolved over time, with modern versions incorporating improvements in design and playing techniques, while still maintaining their traditional essence.

In summary, the artistic value of the suona lies in its ability to express human emotions, convey stories, showcase virtuosity, represent diverse regional cultures, and serve as a cultural symbol within Chinese society. Take the regional diversity for example, suona exists in several variations across China, each with its distinct style and local nuances. Each region in China has its own style of playing the suona, like the famous "Lanzhou Suona" from Gansu Province or "Huangmei Suona" from Anhui. These local variations carry rich cultural heritage and are an expression of regional identity. These regional differences reflect the country's rich cultural diversity and contribute to the overall artistic richness of the instrument.

Besides being used in Chinese traditional ceremonies, suona has other values in different aspects. During village gatherings or agricultural rituals, suona bands are common, providing entertainment and a sense of unity among community members. In some cases, the suona is believed to have spiritual properties, believed to ward off evil spirits or bring blessings through its music.
Overall, suona plays a vital role in Chinese folk culture, serving as a connection to the past, a source of communal joy, and an integral part of diverse local traditions.

Suona embodies a deep connection to human values such as cultural continuity, emotional expression, resilience, storytelling, and the pursuit of harmony, making it a valuable aspect of our collective humanistic heritage. During community gatherings and ceremonies, suona's sound unites people and creates a sense of unity, reinforcing the importance of social cohesion and shared experiences. What’s more, the use of suona in traditional Chinese music often reflects the harmony between man and nature, symbolizing the balance sought in human life and the environment.

In China, the traditional suona is mainly used in weddings, funerals and other ceremonies in rural areas. However, with the acceleration of urbanization and the influence of western culture, the living space of suona is becoming narrower and narrower. It is necessary to open up new space for the inheritance and development of suona.

To some extent, the expansion of new media channels can reduce suona's dependence on wedding and funeral ceremonies, weaken its functional limitations, and develop its modern musical attributes and characteristics. With the development of new media technology, the communication advantages of platforms such as Douyin, Kuaishou and XiaoHongshu continue to be highlighted, with fast communication speed, wide dissemination range, strong interaction and wide audience, which are deeply loved by young people. Inheriting suona skills through new media channels can not only broaden the spreading space of suona, but also improve the spreading effect.

The inheritance and innovation of suona cannot be separated from talents, and the development of suona can be injected with fresh blood through innovative talent training mode. Suona artists must break the barriers between families and factions, learn from each other, and form a joint effort to cultivate the next generation. Meanwhile, suona artists should strengthen the consciousness of people's culture, realize the importance of protecting these instrumental music cultures, and establish a system of inheritance and protection. While maintaining traditional cultural characteristics, we try to integrate fresh cultural elements into it to make it more in line with modern aesthetics and awaken the cultural emotions of the whole people.

At the same time, the inheritance and development of suona cannot be separated from the support of the government. The promulgation of the intangible cultural heritage regulations protects this intangible cultural heritage project to a certain extent, but it is far from enough. A series of relevant measures should be introduced to implement the policy in detail. The decline of suona is the decline of traditional folk culture from the root. Local governments should protect suona culture from the root, organize various forms of folk culture programs, so as to give suona culture more opportunities to be displayed and give it more official recognition.

==Conclusion==
==Terms and Expressions==
==Questions==
==References==
https://www.britannica.com/art/suona

=Chen Jiawen |=
Please start to write now.

=Xiang Lu |=Music: Sang Zhi Folk Songs

== Introduction ==
桑植县，隶属于湖南省张家界市，位于湖南西北边陲, 是贺龙元帅的故乡、红二方面军长征出发地, 拥有中国首批、湖南省首个国家级自然保护区八大公山原始森林，被纳入中国“人与生物圈保护区（MAB）”和“中国具有全球意义的17个生物多样性关键地区之一”。
桑植民歌，湖南省桑植县地方传统音乐，国家级非物质文化遗产之一。

== Development ==
桑植民歌起源于原始农耕时期先民日常生产生活中的歌谣，是湖南省桑植县百姓在长期的生活实践中创造、传唱、累积起来的民间音乐文化品种，已有2000多年的历史。桑植民歌节奏明快、旋律优美、曲调丰富、形式多，现存民歌一万余首，著名歌曲有《马桑树儿搭灯台》、《冷水泡茶慢慢浓》、《门口挂盏灯》等。
屈原在《九歌》中写道：“捐余玦兮江中，遗余佩兮醴浦。”《九歌•湘人》中更是记载到：“沅有茝兮醴有兰，思公子兮未敢言。荒忽兮远望，观流水兮湲”，“成礼兮会鼓，传芭兮代舞，姱女倡兮容与。春兰兮秋菊，长无绝兮终古”，这是最早与桑植以及桑植民歌有关的文字。此处的“醴”便是指现在的澧水。澧水是湖南的四大水系之一，在常德市澧县小渡囗注入洞庭湖。
《后汉书·马援传》记载：“二十四年，武威将军刘尚击武陵五溪蛮夷，深入，军没，援因复请行。”“贼每升险鼓噪，援辄曳足以观之，左右哀其壮意，莫不为之流涕。”名将相单程凭借天险据守数月后将马援军队困在沅江南岸的壶头山，马援望江兴叹，一筹莫展，“升险鼓噪” 的典故由此而来。其中“鼓噪”在当时也称“蛮歌”，随后演变成如今的桑植民歌。（王胤，试述桑植民歌歌词的语言艺术，33）
明代，桑植土司率桑植数干土家儿郎应朝廷之召远赴江浙、朝鲜三度抗倭。在抗击倭寇（13-16世纪的日本海盗），的过程中，《马桑树儿搭灯台》应运而生。关于马桑树有两种说法：一说是传说中的马桑树儿高大挺拔，男女双方依依不舍，马桑树下送情人远去；二说是痴情男女搭建树台，台上放置一盏油灯，在灯下写信，心系远方。这就烘托出一对坠入爱河的青年男女分手时的不舍情绪，在1928年的夏天，红军师长贺锦斋用这首桑植民歌与爱妻戴桂香生离死别，她终生素衣守寡，6多年里几乎每天都去丈夫坟前唱这首歌，每天摘一两片马桑叶，直到离世，她留下的一口木箱，装的全是马桑叶。（王胤，试述桑植民歌歌词的语言艺术，37）
清代同治年间的《桑植县志》载：“雍正五年（1727年），邑人张宏毅偕侄崇周、仕周在县城西捐地创建武庙，有歌楼。”1942年版的《桑植县志》印证了这一说法：雍正五年，邑人张宏在城西捐地创建武庙，有歌舞楼，白叟黄童尽歌舞。乾隆年间的《桑植县志》记载：“土家正月赛灯、摆手、唱摆手歌，为秋千之戏，至正月十六为止。”此外，清嘉庆二年桑植河口人沙文清创作了《挽友人》称：“日边飞送燕歌声，疑信偏教旅梦惊。”其“越歌，为丧歌”说明了桑植民歌在清代已经较为普及。（只宠迩一人，baidu.com）
在近代中国，著名的开国将领贺龙在桑植“两把菜刀闹革命”，建立了以桑植为核心的湘鄂革命根据地。云、贵、川、滇、鄂、桂、赣等地的红军在此集结，带来了各地民歌，和桑植民歌融合在一起，推动了桑植民歌的发展。桑植民歌也收到时代影响，创作了许多反映军民感情的歌曲，如《门口挂盏灯》等。
新中国成立后，中国政府先后组织文艺工作者搜集桑植民歌，共计有10000余支。20世纪50年代，桑植民歌就唱到省垣京城。60年代，桑植县文化馆搜集整理民歌1万多首。
1987年湖南民间歌舞团前往波兰参加国际民间歌舞晚会，首次将桑植民歌推向国际舞台；2004年，歌唱家宋祖英在维也纳金色大厅举行个人独唱音乐会，演唱《马桑树儿搭灯台》；2008年，歌唱家雷佳将《马桑树儿搭灯台》收录至《中华五十六民族之歌》，作为国礼赠送给参加奥运会的各个国家。
2006年5月20日，桑植民歌经中华人民共和国国务院批准列入第一批国家级非物质文化遗产名录，项目编号：Ⅱ-10。

== Division ==

== Protection ==

== Conclusion ==

== Terms and expressions ==

== Questions ==

--[[User:Mou Yihong|Mou Yihong]] ([[User talk:Mou Yihong|talk]]) 08:35, 7 June 2024 (UTC)=Mou Yihong |Music and instrument: Ancient Chinese pentatonic scale--Gong,Shang,Jue,Zhi,Yu=

Abstract

This paper examines the ancient Chinese pentatonic scale, comprising the notes Gong, Shang, Jue, Zhi, and Yu. We delve into the historical background, musical characteristics, and instrumental applications of this scale in traditional Chinese music. By exploring the role of these five notes in various musical genres and instruments, we aim to provide a comprehensive understanding of the pentatonic scale in ancient Chinese music and its cultural significance.

Introduction:

The ancient Chinese pentatonic scale, consisting of Gong, Shang, Jue, Zhi, and Yu, is a fundamental component of traditional Chinese music. This scale, with its unique sound and symbolism, has been utilized in various forms of Chinese music for centuries. It is not only a musical construct but also deeply intertwined with Chinese culture, philosophy, and cosmology. This paper explores the pentatonic scale in ancient Chinese music, focusing on its historical evolution, musical characteristics, and instrumental applications.

Historical Background:

The pentatonic scale in ancient Chinese music dates back to the prehistoric era, where it was likely first used in primitive folk music and rituals. Over time, this scale became a fundamental component of traditional Chinese musical theory and practice. The earliest recorded mention of the five notes, Gong, Shang, Jue, Zhi, and Yu, appears in ancient texts such as the "Book of Rites" and the "Book of Songs." These notes were associated with the five elements of nature (earth, metal, wood, fire, and water) and the five directions (center, west, east, south, and north), reflecting the ancient Chinese belief in the interconnectedness of all things in the universe.Gong, the first note, represents the element of earth and is characterized by its stability and grounding sound. Shang, the second note, corresponds to metal and has a bright and resonant sound. Jue, the third note, represents wood and is associated with a clear and piercing tone. Zhi, the fourth note, corresponds to fire and is known for its lively and energetic sound. Yu, the final note, represents water and is characterized by its smooth and flowing melody.

Musical Characteristics:

The pentatonic scale in ancient Chinese music is characterized by its simplicity, purity, and balance. Each note in the scale has a unique sound and symbolism, creating a harmonious and balanced musical structure. The ancient Chinese five tones, namely Gong, Shang, Jue, Zhi, and Yu, correspond to the Western musical scales as follows: Gong to C, Shang to D, Jue to E, Zhi to F, and Yu to G. These correspondences are based on the perceived similarity in pitch and musical characteristics between the two systems.The ancient Chinese musical scale having two fewer notes than the Western scale is not a matter of mathematical or physical limitation but rather a result of cultural and aesthetic preferences. The five-tone system in ancient China was based on the concept of "five elements" (wood, fire, earth, metal, water) and their corresponding relationships with the human body and nature. This system emphasized balance, harmony, and simplicity, which were reflected in the musical scale as well. The two omitted notes, Fa and Si, in the Western scale are considered semi-tones, and their absence in the ancient Chinese scale contributes to a more harmonious and balanced sound.The lack of semi-tones in the ancient Chinese scale has a profound impact on the character and expression of Chinese music. It contributes to a more serene, harmonious, and meditative quality that is often associated with traditional Chinese melodies. The absence of sharp dissonances and the emphasis on balance and simplicity allow the music to flow smoothly and evoke deep emotional responses. This unique aesthetic is a defining characteristic of Chinese music and has influenced its development and evolution throughout history.In summary, the ancient Chinese five-tone system, while differing from the Western scale in terms of note count, possesses its own unique aesthetic value and influence on Chinese music. Its simplicity, balance, and harmonious sound have contributed significantly to the rich cultural heritage of Chinese music.

Instrumental Applications:

The pentatonic scale has been utilized in various traditional Chinese musical instruments, including the zither (guqin), the bamboo flute (dizi), and the pipa. These instruments have unique playing techniques and expressive capabilities that bring out the distinctive sounds and characteristics of the five notes. The zither, for example, utilizes plucking and finger-pressing techniques to create the rich and resonant tones of the pentatonic scale. The bamboo flute, on the other hand, relies on breath control and fingering to produce the clear and piercing melodies of the scale. The pipa, a four-stringed plucked instrument, utilizes plucking and strumming techniques to create a lively and energetic soundscape within the pentatonic scale.

Cultural Significance:

The pentatonic scale in ancient Chinese music is not merely a musical construct; it is also deeply rooted in Chinese culture and philosophy. The five notes correspond to the five elements of nature and the five directions, reflecting the ancient Chinese belief in the interconnectedness of all things in the universe. The pentatonic scale also embodies the Chinese concept of harmony and balance, representing the harmonious coexistence of different elements and forces in nature. This cultural significance has been passed down through generations, influencing the development and evolution of traditional Chinese music and instruments.

Conclusion:

The ancient Chinese pentatonic scale of Gong, Shang, Jue, Zhi, and Yu is a unique and fundamental component of traditional Chinese music. This paper has explored the historical background, musical characteristics, and instrumental applications of this scale, revealing its deep connections with Chinese culture and philosophy. By understanding the pentatonic scale and its role in traditional Chinese music, we gain a deeper appreciation of the richness and complexity of this ancient musical tradition.

=Yu Xinzhong | Social Phenomenon: Modern China's Inter-provincial Migration=

'''Overview:'''

The phenomenon of population migration has been very common in ancient China, but since modern China, especially after the reform and opening up, the inter-provincial migration of China’s population has become unprecedentedly common. The main reason for that is absolutely economy. Such waves of migration have brought significant economic benefits to the regions where the population moves in, but at the same time, they have also given rise to a series of economic, social, and cultural issues. In the process of migrating to improve their standard of living, migrants also undergo certain hardships.

'''The Process of The Migration'''

=Song Chengshuang |=

Chinese tradition culture：Zan hairpin flower

Many tourists have recently come to Quanzhou to experience the XunPu women's hairpin flowers because of this saying, "Adorn yourself with flowers in this life, be beautiful in the next". Quanzhou is a city with a long history and culture in China, with mountains and seas, rich cultural heritage and historical heritage. "Zanhua" is also one of the characteristic cultures of the local XunPu Village. Hairpin flower is actually a type of ancient Chinese headwear, usually fixed on a bun by an ivory hairpin, and then wrapped with flowers in nature or flowers made of other materials. The Zanhua culture has a long history of two to three thousand years and is one of the national intangible cultural heritages.

Cultural customs

As for why it is necessary to hairpin and Zanhua, some people say that the locals initially used animal bones such as fish, sheep, and cows to hairpin, which preserves the ancient custom of "bone needles to secure hair". Others say that "Zanhua Wei" originates from the custom of Central Asian women wearing flowers, which is brought back by the exchange of the Maritime Silk Road during the Song and Yuan dynasties. XunPu women are known for their qualities of Diligent Housekeeping. In order to facilitate their work at the seaside, they wear a large train top, wide tube pants, headwear such as "Zanhua Wei" and earrings such as "DingXianggou", which have become typical features of XunPu women. The headwear and folk culture of the XunPu women record their optimistic attitude towards life, and it is every woman's longing and pursuit of beauty. In addition, it is also a microcosm of ocean culture and the Maritime Silk Road. With its unique geographical environment and cultural characteristics, XunPu embodies the philosophical idea of "Heaven and Man are united as One" in which foreign culture coexists with local culture. [1]

Historical development

Zanhua originated in the Qin and Han dynasties, became popular in the Tang dynasty, flourished in the Song, Yuan, and Ming dynasties, and gradually declined during the Qing dynasty.

（1） The Zanhua Culture Before the Tang Dynasty

The Zanhua culture has a long and rich history, and its development can be traced back to the Warring States period. At that time, although the Zanhua Culture had not yet formed, people began to use flowers as headwear to express their inner emotions. During the Qin and Han dynasties, the trend of hairpin flowers gradually emerged. Especially in the Han Dynasty, women in the Sichuan regions regarded hairpin flowers as fashionable, which is evidenced by the Eastern Han Dynasty pottery figurines with mirrors unearthed in Chengdu. From the Wei, Jin, Southern and Northern Dynasties to the Tang Dynasty, the trend of hairpin flowers became increasingly fierce.

（2） The Zanhua Culture of the Tang Dynasty

The Tang Dynasty was the golden period of Zanhua culture, and both the royal nobles and common people were enthusiastic about hairpin flowers on their heads, forming a unique social trend. The high attire flower bun of Tang Dynasty women was particularly popular, which not only was gorgeous and eye-catching, but also laid the foundation for the popularity of the "flower crown" in the Song Dynasty. In the painting of Portrait of a Flower-wearing Maid, the author uses the elements of flowers to depict the wealth and prestige of aristocratic women in the palace, reflecting the Zanhua Culture at that time. In the painting, except for the maidservants, five noble women are adorned with hairpins on their heads, using vigorous and clean brushstrokes, appearing incredibly beautiful and radiant. In addition, the Zanhua Culture during the Double Ninth Festival also adds to the festive atmosphere. [2] Wang Wei wrote in his poem "Memories of Shandong Brothers on September 9th": " I know from afar where my brothers are climbing high, but one less person is missing when they wore with Cornus officinalisu everywhere." Here, "wore Cornus officinalis" expresses the custom of the Zanhua Culture during the Double Ninth Festival. On the Double Ninth Festival, besides wearing Cornus officinalis, people also have the custom of wearing chrysanthemums. During the Double Ninth Festival, when people climb high to play, they usually have to put chrysanthemums all over their heads to go home.

（3） The Zanhua Culture of the Song Dynasty

In the Song Dynasty, the hairpin culture reached its peak, men's hairpin became popular and became a court etiquette at that time. Compared with the Tang Dynasty, it was more common for men in the Song Dynasty to hairpin flowers, and it was not limited to festivals or celebrations. In the Song Dynasty, people believed that wearing flowers on the head was auspicious, so during that period, when encountering major events, the emperor and officials would wear flowers. During the reign of Emperor SongTaizong, a banquet and flower were held for the annual Jinshi ceremony, and people had to hairpin flowers as rewards. At the same time, women in the Song Dynasty were also enthusiastic about using flowers to dress themselves up. They would choose suitable flowers according to seasonal changes and display different styles. The love for hairpin flowers among literati in the Song Dynasty also reached a climax. They believed that wearing flowers on their heads not only looked beautiful, but also reflected the elegance and taste of literati. Su Shi, a great poet in the Song Dynasty, was very fond of hairpin flowers. He once said, "When people grow old, they should not be ashamed of hairpin flower. Flowers should be ashamed of on the head of old people.” The hairpin flowers of Song Dynasty poets not only reflect the aesthetic taste and characteristics of the time, but also reflect the open and free mentality of the entire society, containing rich humanistic spirit."

（4） The Zanhua Culture After the Song Dynasty

In the Yuan, Ming, and Qing dynasties, the custom of hairpin flowers evolved. Although it was not as popular as in the Song dynasty, it still remained within a certain social class and specific festival celebrations. For example, the records of the Zanhua Culture in the Ming Dynasty mainly appeared in social activities such as the Spring Festival, imperial examinations, wedding customs, expeditions, and leisure activities. [3] And with the development of makeup technology, hairpins are more often combined with hairstyles and makeup, becoming a part of overall image design.

（5） The Zanhua Culture in the Modern and contemporary times

From modern times to today, the tradition of hairpin flowers has been preserved in some regions and specific contexts, such as the bride's wedding headwear, folk festival activities, and the costumes of characters in traditional Chinese opera performances and has evolved into hairpin flower ornaments made from various materials such as flowers and silk flowers.

The significance of hairpin flowers

（1） Decorative

Hairpins initially appeared as headwear, reflecting personal elegance and lifestyle, especially for women who show beauty through hairpins.

（2） Symbolic significance

Different flowers have their own meanings, such as peonies symbolizing wealth and auspiciousness, and plum blossoms symbolizing pride and a clear breeze. Wearing them can express the wearer's emotional support or pursuit of beautiful qualities.

（3） Social status markers

In certain historical periods, hairpins became makers of status and identity. For example, during the Song Dynasty, emperors gave flowers to officials, and officials of different levels received flowers of different materials and colors. As a result, hairpins had the function of distinguishing between official ranks.

From ancient times to the present, hairpin flowers not only have ornamental value, but also represent traditional culture and epitome of Eastern aesthetics. People of different ages, regardless of gender, continue this long-standing tradition of meticulously embellishing themselves with clusters of flowers, living seriously, and striving to live beautifully. The Zanhua Culture blooms with a timeless fragrance, as well as a rich life belonging to ordinary people. With the changing times, hairpin flower is not only a decoration, but also a symbol of cultural inheritance, carrying people's longing and pursuit for a better life. In modern society, hairpin flower has also become artworks and collectibles, showcasing the fusion of tradition and modernity. Both classical and modern styles of hairpins reflect the vastness and profundity of Chinese culture, as well as the charm of traditional aesthetics.

References:

[1]袁晓鹏.泉州蟳埔女头饰民俗文化的美学思想研究[J].戏剧之家,2015,(22):247.

[2]张轶梁.《簪花仕女图》的簪花艺术表现及文化传承[J].东方收藏,2023,(09):33-35

[3] 庞雅静 .《簪花仕女图》的色彩美研究 [J]. 美与时代（中），2022（08）：63-65.

=Tan Yalan |Xiangdao=
Please start to write now.

=Xiao Ye |The Imperial Civil Examination System=
==Introduction==
The imperial civil examination system is an ancient Chinese system of selecting officials through examinations. From its inception to its abolition in 1905, it had a long history of more than 1,200 years and had a profound impact on the society at that time. It was considered to be the fairest way of talent selection that could be adopted in the feudal era, but in the later stages of development, its drawbacks gradually came to the fore, and its negative effects became more and more significant. In addition, ancient Japan, Korea, Vietnam and other countries that had close exchanges with China were also deeply influenced by the imperial civil examination system. To this day, the imperial civil examination system still has profound cultural value and significance.(Baidu Encyclopedia：The imperial civil examination system）
==The development of the imperial civil examination system==
The origin of the imperial civil examination system is controversial in historical circles, with various claims ranging from the Han, Sui, to the Tang dynasties. The mainstream view, however, is that the system was initiated during the Sui Dynasty and further developed and perfected during the Tang.
1 Sui Dynasty: Establishment of the imperial civil examination system
Before the Sui Dynasty, the official selection systems were largely corrupt. For instance, the “Nine Ranks system” during the Wei, Jin, and Southern and Northern Dynasties was based on family background and social status rather than ability. During its implementation, it was unable to escape the notion of class privilege and lacked standardized regulations, leading to widespread corruption among officials. After the establishment of the Sui Dynasty, Emperor Wen of Sui fully recognized the shortcomings of the previous official selection systems and abolished the Nine Ranks system. He began to use a system of specialized examinations to select officials. During the reign of Emperor Yang of Sui, the jinshi,(the highest level and the most difficult of imperial civil examinations) was established for the first time, marking the formation of the civil service examination system.
2 Tang Dynasty: The Perfection of the Examination System
The Tang Dynasty inherited and improved the imperial civil examination system of the Sui Dynasty. It was manifested in the following: Emperor Taizong of the Tang Dynasty increased the number of subjects to be examined, with the two subjects of jinshi and mingjing as the main subjects; Emperor Wu Zetian expanded the number of people who could be selected for the imperial examinations, and created the military examination and the palace examination; Emperor Xuanzong of the Tang Dynasty appointed high-ranking officials to preside over the examinations, and raised the status of the imperial civil examination system.
3 Northern Song Dynasty: Development and Reform of the Imperial civil Examination System
The examination system in the early years of the Northern Song Dynasty saw further development compared to the Tang Dynasty, mainly reflected in the following aspects: First, the examination process was strictly regulated, with the exam divided into three levels: the county examination, the provincial examination, and the palace examination, which became a fixed institution. Second, the number of examination subjects was simplified, with the jinshi subject becoming the most important. Third, the “anonymizing method” was implemented in the examination process to prevent corruption by examiners. Fourth, the number of candidates admitted was expanded.
During the mid-Northern Song Dynasty, Wang Anshi implemented reforms and made changes to the content of the imperial civil examination system. He abolished the subjects that required rote memorization, such as the Mingjing subject and so on, and the jinshi subject no longer included poetry and prose, focusing instead on the study of classics and contemporary affairs. He established the Mingfa subject, which was specifically focused on the examination of laws, regulations, and legal cases. However, with the failure of the reforms, these measures were also repealed.
4 The Ming and Qing dynasties: the rigidity of the imperial examination system
In order to strictly control the thinking of the scholars, the imperial civil examination system of the Ming Dynasty underwent significant changes from content to form. The examination was based only on the Four Books and Five Classics of Confucianism. Candidates were not allowed to express their own opinions. The style of the answer sheet was strictly regulated, and the essay was mechanically divided into eight parts, which was called “Stereotyped Writing”. This severely restricted people's thinking, stifled intellectual ingenuity and creativity, ossified thinking, and seriously impeded the development of Chinese science and culture.
5 Late Qing Dynasty: Abolition of the Imperial civil Examination System
In the 1898 Hundred Days Reform, Emperor Guangxu issued an edict to "abandon the eight-legged essay and replace it with policy essays". After the failure of the Hundred Days Reform, in 1905, the Qing government announced the abolition of the imperial civil examination system. From then on, the imperial civil examination system came to an end.(Lin,33-34)

=Li Sijin |Literature:Qu Yuan=
==Introduction==
Qu Yuan is a famous great patriotic poet in Chinese history, the founder of Chinese romantic literature, and the founder and representative writer of "Chu Ci". 2,300 years ago, the great patriotic poet Qu Yuan threw himself into the Miluo River. The spirit of Qu Yuan has been continuously interpreted since the Han Dynasty, showing distinctive characteristics of the times in each era; The activities and festivals commemorating Qu Yuan have become important cultural traditions of the Chinese nation, and people have increased their sense of belonging and identity through commemorating Qu Yuan. The spirit of Qu Yuan has been widely disseminated and recognized abroad, and the Chinese Dragon Boat Festival has been included in the "Representative List of Intangible Cultural Heritage".

==Main Part==
In 340 B.C., Qu Yuan was born in the state of Chu. When he was young, he received a good education and had a big ambition. After entering politics, he advocated for "good governance", advocating for internal governance with clear laws and external alliances to resist the state of Qin. Later, he was marginalized by the aristocracy and exiled to the region of the Yuan and Xiang rivers. However, like a warrior, he steadfastly upheld his ideals, practiced the ways of a nobleman, never allowing worldly corruption to tarnish his lofty and noble character. In 278 BC, when there was no way to serve the country , Qu Yuan committed suicide in the Miluo River in complete despair.
1.Qu Yuan's virtue

Qu Yuan used his own name to reflect the moral standards he pursued. According to the opening of "Li Sao," "My father gave me the name 'Zheng Ze,' and called me 'Ling Jun'." "Zheng Ze" signifies integrity and righteousness, adhering strictly to principles of conduct: "Ling Jun" denotes intelligence, wisdom, fairness, and justice. In the "Song of the Orange Tree," he further exemplifies his character by the steadfastness of the orange tree: for the sake of his noble ideals, he would never compromise, even unto death. Qu Yuan's eternal aspiration lies in his literary works and political ambitions, all of which stand on the side of the people. His greatness lies in his unwavering compassion for the country and its people, and his profound love for his homeland. The reason his deeds and works are intertwined with the daily lives of the people and have become a significant commemoration of a traditional festival is because his words and actions overflow with boundless love for the motherland, the people, and the native culture. Deeply embedded within them lies the enduring strength of national spirit and culture. "No one in the country knows me, why cling to the old capital?" Qu Yuan once pondered the question of "why not leave the country," but ultimately, he did not embark on distant travels, which truly reflects his steadfastness to his spiritual and cultural heritage.

2.Qu Yuan's political advocacy and contributions

Qu Yuan was a great politician. On the one hand, he set up the ideal and ambition of "good governance" very early, and the political goal for which he fought for all his life. He advocated internal governance with clear laws and the reform of politics. At this time, Qu Yuan, who was honest, upright and selfless, was supported by King, and the six reform measures he carried out made the state of Chu stronger and stronger. On the other hand, Qu Yuan advocated external alliances to resist the state of Qin. His foreign policy made the state of Chu once present a situation of national wealth and strong army.

3.Qu Yuan's poems

Poet is Qu Yuan's primary label throughout the ages. Qu Yuan integrated his life with his homeland, and his specific works are full of deep feelings for his country, which are worthy of praise and learning for future generations.From his life and works, people have summarized and continuously expounded the "Qu Yuan spirit", and with the changes of the times, it has been constantly endowed with new connotations of the times. He recounted in "Li Sao": "Long did I sigh and wipe away my tears, to see my people bowed by griefs and fears." The poet expressed deep sympathy for the difficult life of the people. And this kind of love and sorrow intertwined also made Qu Yuan refuse to leave his hometown until he died. His feelings for the country and the people also erupted uncontrollably in a series of poetic works such as "Jiu Ge" and "Jiu Zhang". Therefore, Qu Yuan's poetry has incomparable cultural value.

4.The embodiment of Qu Yuan's spirit in modern times

Today, during the Dragon Boat Festival, various regions across China highlight the theme of honoring Qu Yuan, praising his upright path and his spirit of patriotism and love for the people. Through storytelling about the festival and Qu Yuan, reciting poetry, and participating in dragon boat races, they lead the public in learning about traditional culture and nurturing patriotic sentiments.Since the 18th National Congress of the Communist Party of China, he has praised his honest and noble personality on different occasions, andhas repeatedly quoted famous sentences from Qu Yuan's poems to expound his thoughts.Today, as we commemorate Qu Yuan, we honor the traditional Chinese scholar's spirit of confronting life and death, boldly striking at the unknown, represented by Qu Yuan's "Questions to Heaven" spirit. In his epic poem "Questions to Heaven," Qu Yuan delves from the separation of heaven and earth, the changes of yin and yang, to natural phenomena like the sun, moon, and stars, directly questioning mythological legends and historical tales of sages and villains, prosperity and decline. Through his inquiries, he expresses his cosmological, historical, and political views. Not confined by doctrines but driven by reality, daring to question and critique, such exploratory spirit is truly admirable.This shows the Chinese's critical spirit of existing traditional concepts and the spirit of exploring scientific truth. Today, we commemorate Qu Yuan to honor the loyal and unswerving patriotic spirit of Qu Yuan. Qu Yuan's name has become an important label for patriotism. The greatest charm of Qu Yuan's personality lies in the spiritual core with the spirit of patriotism as the core, which allowed him to transcend the value pursuit of scholars at that time to abandon the country and pursue profits, closely link personal ideals with the destiny of the nation, and strive to unite and struggle for the realization of the people's yearning for a better life. Today, we commemorate Qu Yuan to honor the perseverance and struggle spirit of Qu Yuan. Qu Yuan has been worried the Chu State all his life, whether he is in the imperial court or not, he does not forget to think about the country and the people.Unwilling to take a detour, nor willing to compromise, he finally proved his loyalty with his life, and he never regretted it.

==Conclusion==
"Qu Yuan," as a spiritual symbol, plays an extraordinary role in the construction of the Chinese national community consciousness, spanning from the past to the present and even into the future. Without a great sage like Qu Yuan, the entire Chinese scholarly community would inevitably lack a certain spiritual strength, and Chinese history would lose many tragic hues.

==Terms and Expressions==
Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录

good governance 美政

==Questions==
#Who is the founder and representative writer of "Chu Ci"?
#What is Qu Yuan's political advocacy?
#What is the meaning of Qu Yuan's name?
#How Qu Yuan's spirit is embodied in his poetry?
#What is the meaning of "Questions to Heaven"?

==References==
[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84.

[2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。

[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190.

[4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.

[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

==Translation==

Introduction

屈原是中国历史上一位著名的伟大的爱国诗人，中国浪漫主义文学的奠基人，“楚辞”的创立者和代表作家。2300年前，伟大的爱国诗人屈原在汨罗江自杀殉国。屈原精神自汉代以来不断被阐释，在每个时代都展现出鲜明的时代特征；纪念屈原的活动和节日成为重要的中华民族文化传统，人们通过纪念屈原增加了归属感、认同感；屈原精神在国外得到广泛传播和认可，中国端午节被列入“非物质文化遗产代表作名录”。

Main part

公元前340年,屈原出生于楚国,少年曾受过良好教育，志向远大，从政后提倡“美政”，主张对内修明法度，对外联齐抗秦，后遭贵族排挤，被流放至沅湘流域。但他坚守自我理想，践行君子之道，绝不允许世俗的秽气玷污自己美好的品格。公元前278年，在报国无路的情况下，屈原极度绝望，自杀于汨罗江。1.屈原的美德屈原用自己的名字反映追求的道德标准。据《离骚》开篇，“父亲把我的名取为正则，把我的字叫作灵均。”“正则”即正直、正派，恪守做人原则；“灵均”指聪颖、智慧、公平、公正。在《橘颂》中，他又以橘树的“独立不迁”体现自己的人格情操：为了心中美好的理想，绝不同流合污，纵然死去也不后悔。屈原的千古之志，在于其文学作品和政治抱负无不站在人民的立场上。他的伟大之处，在于始终怀着强烈的忧国忧民的悲悯之心，始终怀着强烈的爱国之情。他的事迹和作品之所以能和民众日常生活结合在一起，并成为一个重要传统节日的主要纪念对象，就是因为他的言行流露着对祖国、对人民、对故土文化无限的爱，其中深深蕴藏着民族精神和文化的持久力量。“国无人莫我知兮，又何怀乎故都？”屈原亦曾考虑过“何不去国”的问题，但他最终没有去国远游，这正体现了他对精神和文化的坚守。2.屈原的政治主张及贡献屈原是一名伟大的政治家。一方面，他很早就树立了“美政”的理想抱负，及为之奋斗终生的政治目标。他主张对内修明法度，改革政治。此时，清正廉洁、刚正无私的屈原得到国君支持，其开展的六条变法改革图强措施，让楚国日益强大起来。另一方面，屈原对外主张联齐抗秦。他的外交政策，使得楚国一度呈现出一个国富兵强的局面。3.屈原的诗歌诗人是屈原横贯古今的首要标签。屈原将自己的生命与故土融为一体，在其具体的作品中充斥着对家国深厚的情感，值得后世传颂学习。从他的生平和作品中，人们总结并不断阐发出“屈原精神”，随着时代的变迁，不断地赋予新的时代内涵。他在《离骚》中述说着：“长太息以掩涕兮,哀民生之多艰!”诗人对人民艰难的生活深表同情。且这种热爱与忧患交织着的情感也使屈原至死不肯离乡他就。”他对国家和人民的这种感情在《九歌》《九章》等一系列诗歌作品中，也毫不节制地喷发而出。因此，屈原的诗歌有着无法比拟的文化价值。4.屈原精神在现代的体现今日，每逢端午节，中国各地都突出祭祀屈原的主题，歌颂屈原正道直行、爱国爱民的精神，通过讲述端午节与屈原的故事、开展诗词吟诵和进行赛龙舟等活动，引领公众学习传统文化，厚植家国情怀。党的十八大以来，习近平总书记曾在不同场合多次赞叹其心忧家国、清正高洁的人格魅力，并先后多次引用屈原诗歌中的名句来阐述思想。今天我们纪念屈原，是纪念屈原代表的传统中国士人直面生死、敢向未知勇猛叩击的“天问”精神。在长诗《天问》中，屈原从天地离分、阴阳变化、日月星辰等自然现象，一直问到神话传说乃至圣贤凶顽和治乱兴衰的历史故事，并从设问中表达自己的宇宙观念、历史观念和政治主张。这表现了中国人对既有传统观念的批判精神和对科学真理的探索精神。今天我们纪念屈原，是纪念屈原代表的忠贞不渝的爱国精神。屈原的名字已成为爱国主义的重要标签。屈原人格最大魅力就在于以爱国主义精神为核心的精神内核，让他超越了当时士大夫普遍弃国逐利的价值追求，把个人理想同民族命运紧密联系在一起，为实现人民对美好生活的向往而努力团结奋斗。今天我们纪念屈原，是纪念屈原代表的锲而不舍的奋斗精神。屈原一生都在为楚国操心，无论是否处在朝廷，都不忘忧心国家与人民。不愿迂回，也不愿妥协，最后用生命证明了自己的一腔忠义，也不曾后悔。

conclusion

“屈原”作为一种精神符号对中华民族共同体意识的构建，从过去到现在以至未来都发挥着非比寻常的作用。倘若没有屈原这样一位伟大的先贤，那么整个中国士人群体势必会缺少一种精神的力量，而中国历史也会失掉不少悲壮的色彩。文明弦歌终不绝，屈子精神永流传。守正不守旧，尊古不复古，这是我们对传统文化充满自信的表达。

Terms and expressions

Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录good governance 美政Questions1.“楚辞”的创立者和代表作家是谁？2.屈原的政治主张是什么？3.屈原名字的内涵是什么？4.屈原的精神是怎样在他诗歌里体现的？5.“天问精神”是什么意思？

References[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84. [2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190. [4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

=Luo Yang |Games: pitch-pot game(touhu)=
==Introduction==
Pitch-pot game is a ceremonial game played by ancient people during banquets. During the game, a specially made pot is used, and the guests take turns throwing arrows into it. The one who hits the most wins, while the loser drinks. As a classic entertainment activity in Chinese traditional culture, Pitch-pot is not only a competitive game but also a social way of interaction with significant cultural symbolism. With a long history, it embodies rich philosophical thoughts and moral teachings, exerting a profound influence on Chinese etiquette and culture.
==The Evolution and Revival of Touhu Culture==
===Origin and Development===
The renowned Han dynasty writer Zheng Xuan mentioned in his work "The Book of Rites - Pitch-pot," that "Pitch-pot evolved from the archery rituals of the Shang and Zhou dynasties." Archery was one of the six arts for noblemen, and the archery rituals evolved into essential etiquette for banquets. However, due to the limited space of the courtyard, or the people who were unfit for archery, the activity of using bristles instead of arrows, pots instead of targets, and throwing instead of shooting emerged, transforming "banquet archery" into "banquet pitching."

After a long period of development and evolution, Pitch-pot transitioned from an exclusive elegant entertainment for the upper class to the common people, becoming popular among the general public. The earliest literary record of Pitch-pot activity appeared in the "Zuo Zhuan". In the "Zuo Zhuan - The Twelfth Year of Duke Zhao," it was recorded: "The Marquis of Jin entertained the Marquis of Qi, and Zhongxing Muzi played pitch-pot." In the twelfth year of Duke Zhao (around 530 BC), pitch-pot activities were still entertainment at ruling class banquets. At that time, Pitch-pot could be considered as a ritual, inheriting the form and ethical ideas of archery, to some extent reflecting the ethical rules of status hierarchy.

By the Warring States period, pitch-pot gradually became popular among the common people, allowing both men and women to participate, enhancing the entertainment aspect of pitch-pot. During the reign of Emperor Wu of the Han dynasty, the imperial household official Guo was particularly skilled in Pitch-pot. He improved the rules and equipment used in pitch-pot, leading to its wider dissemination among the common people. Until the Song dynasty, Prime Minister Sima Guang opposed the excessive entertainment aspect of Pitch-pot, proposing a return to its ceremonial function, limiting the richness of Pitch-pot skills. In the Ming and Qing dynasties, although Pitch-pot games were still popular among the literati, its overall development slowed down. With the introduction of modern Western sports at the end of the Qing dynasty, pitch-pot game declined and withdrew from the historical stage.

===Cultural significance===
The early practice of Touhu had a complete ceremonial process. As the sport became more entertaining over time, the ceremonial aspects were reduced. However, it is undeniable that the ceremonial culture and the spirit of sports competition within it still have strong guiding significance for the revival of traditional culture today.

Touhu embodies the traditional Chinese culture of moderation and can cultivate both the body and mind. From the perspective of external human behavior, Touhu also provides guidance for people's behavior, requiring people to follow certain standards and methods in handling affairs. Those who participate in this activity all uphold a cautious and respectful attitude. The host and the guest need to demonstrate their courteous demeanor through the ceremonial three invitations and three refusals. The attendants of the host and the guest also need to complete the prescribed sections according to the shooting ceremony, and must not be arrogant, negligent, distracted, turn their backs on the game while standing, or discuss other matters on the scene, etc., to show the seriousness of this activity. From the perspective of the inner state of a person, it is necessary to accompany the game of Touhu with elegant songs, requiring participants to pay attention to rhythm and rhyme, and to act according to the sound; in this process, the upper and lower parts of the human body are in a coordinated state, embodying the combination of movement and stillness, and the pursuit of harmony between man and the outside world.

Unlike other throwing sports overseas, Touhu does not achieve competition through physical confrontation, but emphasizes rationality and moral cultivation. Touhu is a typical representative of the gentleman's competition, requiring one to strive for victory through their own efforts in the competition, while also giving enough respect to the opponent. The Analects of Confucius describes it this way: a gentleman should value self-cultivation and not easily compete with others for superiority. If one must compete with others, they can participate in the shooting ceremony or Touhu. One should strive for victory in the competition, and when they win, they should bow to the opponent to show respect, rather than being complacent. In the competition, one continuously improves their personal cultivation level, using sports as a way to urge individuals to continuously improve their cultivation. This is also consistent with the modern competitive sports concept of "friendship first, competition second".

===Inheritance and promotion===
In the sports and cultural ecology of contemporary China, Western sports have long occupied the mainstream position, and China's traditional sports has been marginalized. In recent years, with the rise of the national fitness wave, people have paid more attention to the content and quality of sports activities. This has created a rare opportunity for the revival of pitching pots. However, we do not need to copy the development model of ancient pitching pots, but to promote its combination with modern entertainment while retaining its own cultural value. For the general public, the fun of sports activities is ranked first, followed by its cultural value. Therefore, we can make bold innovations in pitching pots, increase its gameplay, or expand the scale of the game, so that it can be transformed from a two-person round-based game to a multi-person competition, attracting more people to participate in the sport of pitching pots.

In addition to improving and innovating pitching pots, we should also actively promote the spread of pitching pots at home and abroad. Although there are many pitching pot activities in China, most of them are personal organizations of pitch pot enthusiasts. If we want to make pitch pots a trend in society, multi-party cooperation is strongly needed. First of all, the government should play a guiding role, provide policy guarantees and economic support for pitching pots, and lay the foundation for the healthy development of this project. Secondly, we should make full use of education as an effective platform to let children get in touch with it from an early age and cultivate their interest. Finally, vigorous publicity by the media is indispensable. Through the Internet, we call on the whole society to pay attention to the development of folk sports and enhance the people's cultural confidence and cultural identity.

==Conclusion==
Pitch-pot, a treasure in China's excellent traditional culture, not only inherits the rituals of archery and the etiquette of self-cultivation, but also integrates the essence of Chinese civilization. Under the call of national rejuvenation in the new era, developing pitch-pot is of great significance to the revival of Chinese traditional sports culture and today's leisure sports. We have the responsibility to inherit it and promote its dissemination, so that more people can enjoy this precious humanistic practice of the ancestors of China.
==Terms and Expressions==
Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

==Questions==
# How did Pitch-pot evolve from archery rituals?
# What cultural values does Pitch-pot embody?
# What are the challenges and opportunities in reviving Pitch-pot?
# Why is Pitch-pot's development significant to Chinese traditional sports culture?
# What roles do the government, education, and media play in promoting Pitch-pot?

==References==
You Qianxin, Lian Menglong, Li Ning. Research on the development of ancient leisure sports pitch pot movement. Sports Science and Technology Bulletin, 2020, 28 ( 10 ): 134-135

Zhang Guoquan. ' Touhu ' and the inheritance of ancient ritual and music spirit. Lantai World, 2014, ( 04 ): 106-107.

Zhang Yong, Deng Lixing. Research on the rise and fall of the development of ancient Chinese pots. Journal of Yulin Normal University ( Natural Science Edition ), 2007, ( 05 ): 119 - 121.

Hao Jinfang.Touhu cultural historical changes and inheritance. Shandong Sport University, 2014.

==Translation==
投壶

投壶是古人宴会时礼节性的游戏。游戏时设特制之壶，宾主以次投矢其中，中多者为胜，负者饮。作为中国传统文化中的一项经典娱乐活动，投壶不仅是一种竞技游戏，更是一种独具文化象征意义的社交方式。它历史悠久，蕴含着丰富的哲学思想和道德教化功能，对中国礼仪文化影响深远。

起源及发展

汉代著名文学家郑玄在他所著的《礼记·投壶》中说道：“投壶是从商周时期射礼演化而来的。”射，是君子六艺的一种，由此衍生出来的射礼成为了宴会中必备的礼仪。然而，由于弓、箭数量和宴会场地的限制，或者一些嘉宾不擅长射箭，就出现了以棘代矢，以壶代靶，以投代射的投壶活动，使“宴射”变成了“宴投”。
经过漫长的发展和演变后，投壶由上层社会专属的高雅娱乐走向民间，受到广大平民百姓的喜爱。投壶活动的文献记载最早出现于《左传》。《左传·昭公十二年》载：“晋侯以齐侯宴，中行穆子相，投壶。”在昭公十二年（公元前530年）的时侯，投壶活动还是统治阶层宴会上的娱乐。当时投壶可以被称为是投壶礼仪, 是对射礼从形式到伦理思想的继承, 一定程度上体现地位尊卑的伦理法则。到了战国时期，民间开始逐渐流行投壶，男女皆可参加，增加了投壶的娱乐性。汉武帝时期，郭舍人尤其擅长投壶，他改良了投壶的规则和所用器具，使投壶在民间得到了更为广泛的传播。直到宋代，丞相司马光反对投壶的过度娱乐化，提出要回归它的礼仪功能，限制了投壶技艺的丰富性。明清时期，投壶游戏虽然还流行于士大夫之间，但它整体的发展已趋于缓慢，随着清末西方现代体育运动的传入，投壶走向衰落，退出了历史舞台。

文化意义

投壶早期具有完善的礼仪流程，在后世的发展中，随着投壶运动娱乐性的不断加强, 礼仪则相应地减少。但不可否认的是，其中的礼仪文化以及体育竞技精神对于当下传统文化的复兴仍然有较强的指导意义。
投壶体现了中国传统的中庸文化，能够修养身心。从人的外在行为方面看, 投壶也对人的行为方式做出了指引, 要求人们在事务的处理方面遵循一定的标准与方法。参与到这项活动中的人都秉持着谨慎恭敬的态度, 宾主之间需要通过礼节性的三请三辞来展现双方儒雅揖让的风度。宾主的侍从也都要根据射礼程序完成所规定的节数, 在整个活动过程中做到不可傲慢、不能懈怠、不准分散精力和心神旁顾、不准在站立时背对赛局、不能在现场对他事进行谈论等一系列要求, 以表示此项活动的郑重。从人的内心状态来看, 投壶时需要用雅歌进行伴奏，要求参与者讲求节奏与韵律,循声而发; 在这个过程中, 人的身体上下都处于协调状态,体现着动静结合,追求人与外界的和谐。
与海外的投掷游戏不同的是，投壶并非通过身体对抗来实现竞争，而更强调理性和道德修养。投壶运动是君子之争的典型代表,要求在比赛中通过自己的努力来争取胜利,同时也要给予对手足够的尊重。《论语》中对其做出了这样的表述:君子要重视修身养性,不能与人轻易争高低,如果一定要与人相争,便可以进行射礼或投壶。在比赛中要争取胜利,而在取得优胜时要向对手作揖表示尊重,而不是意得志满。在比赛当中不断提高个人修养水平，将体育运动作为督促个人不断提升修养的途径,这也与现代竞技体育“友谊第一，比赛第二”的理念相一致。

传承和推广

当代中国的体育文化生态中，西方体育长期占据主流阵地，中国的传统体育文化被边缘化。近年来，随着全民健身浪潮的兴起，人们越来越重视体育活动的内容和质量。这为复兴投壶创造了不可多得的机会。但是，我们并不需要照搬古代投壶的发展模式，而是要在保留它自身文化价值的同时，促进它与现代休闲娱乐相结合。对于广大群众而言，体育活动的趣味性是排在首位的，其次才是它的文化价值。因此，我们可以对投壶进行大胆创新，增加它的玩法，或扩大比赛的规模，让它从双人回合制比赛变成多人对抗赛，吸引更多人参与到投壶运动中。
除了对投壶进行改良与创新外，我们也要积极推动投壶的海内外传播。虽然国内有不少投壶活动，但大多是投壶爱好者的个人组织。要想让投壶在社会范围内形成风潮，离不开多方合作。首先，政府要发挥导向作用，为投壶提供政策保障和经济支持，为这一项目的健康发展奠定基础。其次，要充分利用教育这一有效的平台，让孩子们从小接触投壶文化，培养他们对它的兴趣。最后，媒体的大力宣传是必不可少的。通过网络呼吁全社会关注民间运动的发展，提高民众的文化自信和文化认同感。

总结

投壶，这一中华优秀传统文化中的瑰宝，不仅继承了射礼的仪节和正己修身的礼义，更融入了华夏文明的精华积淀。在新时代民族复兴的号召下，发展投壶运动对于中国传统体育文化的复兴对当今休闲体育的发展有着重要意义。我们有责任传承投壶并推广它的传播,让更多人享受到这项华夏先民的珍贵人文实践成果。

术语和表达

Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

问题

#投壶是如何从射礼演变而来的？

#投壶体现了什么文化价值观？

#恢复投壶的挑战和机遇是什么？

#为什么投壶的发展对中国传统体育文化具有重要意义？

#政府、学校和媒体在宣传方面扮演了什么角色？

=Lin Ruyin |Folk Art:Piaose=
==Brief Introduction==
==History==
==Factions==
Yakou Piaose,Nan Lang, Zhong Shan

Wuchuan Piaose

Fushi Piaose,Tai Shan

Hetian Gao Jing
==Current Situation==

=Pan Tong |=
Introduction:

Jingdezhen Porcelain refers to the porcelain produced in the city of Jingdezhen, Jiangxi Province, China. Because of its excellent quality, Jingdezhen has won the reputation of “Porcelain Capital”. The history of porcelain production there can be traced back to the Han Dynasty, with the real boom beginning in the Song Dynasty and peaking in the Ming and Qing dynasties. Jingdezhen has been supported by its porcelain industry for thousands of years. With unique cultural symbolism and influence, it is still the most influential porcelain historical and cultural city in the world.

Development History:

(1) The First Show of Force: Han to Five Dynasties

Historical records, “Xinping smelt pottery, began in the Han Dynasty”. At this time the pottery “itself coarse, the body is very thick, the glaze color is light and brown”, not sold far.

Tang Dynasty, Jingdezhen porcelain has a greater impact in the country. According to the record, “Tang Wude years, the town people Tao Yu carried porcelain into the Guanzhong, known as fake jade, and tribute to the dynasty, so Changnanzhen porcelain world famous.”

Five Dynasties, Jingdezhen porcelain production has reached a considerable scale. The main products are celadon and white porcelain, they are the earlier mature porcelain we can see now.

(2) Strong Rise: Song and Yuan Dynasties

Before the Song Dynasty, Jingdezhen produced mostly white porcelain, with little decorative patterns and paintings. Song clan moved south, a large number of literati, skilled craftsmen also moved to the south of the Yangtze River. Jingdezhen absorbed and assimilated from the other places' famous kilns of excellent workmanship. Jingdezhen porcelain technical force has been enriched, and also because of the original light, elegant, beautiful shadow blue porcelain and famous all over the world.

Yuan dynasty is the innovation period of Jingdezhen Porcelain. New varieties of blue and white porcelain in the technical maturity, opened up by the plain porcelain to colored porcelain of the new era.

(3)Stepping up to the Peak: Ming and Qing Dynasties

Jingdezhen Porcelain in the early Qing Dynasty, whether it is the official kilns or folk kilns; whether it is product modeling, decorative techniques, themes or styles, have reached a state of extreme prosperity.

(4)Porcelain Veins Pass on: Modern and Contemporary Periods

In the Republican period, “Zhushan eight friends”, with traditional painting and calligraphy into porcelain famille rose paintings, created a new Famille-rose porcelain on the ground. After the founding of new China, the establishment of the “ten porcelain factory”. porcelains industry structure changed, from the royal porcelain development to multi-discipline porcelain production. After the reform and opening up, porcelain production into a new era, innovative new colors, techniques and materials. Traditional porcelain art revitalization.

Four Characteristics of Jingdezhen Porcelain

The four characteristics of Jingdezhen Porcelain is sorted by the feelings of people observing the porcelain from afar and near.

White as jade: Jingdezhen porcelain is milky white, soft luster, warm and moist as jade. In the Tang Dynasty, it was known as “fake jade”.

Bright as a mirror: Jingdezhen porcelain glaze is smooth, crystal clear, like a brilliant mirror.

Thin as paper: Jingdezhen porcelain is light in texture and translucent in shadow. Ming dynasty Hao Shijiu creation burned the Luan Mu Cup. It is as thin as cicada's wing, one only weighs half a baht (about 1.1 grams).

Sound like a chime: Jingdezhen porcelain is crisp and clear. With a finger gently buckle, can be heard “thud” sound, like a musical instrument to play a beautiful chime sound.

Four Famous Porcelains

Jingdezhen porcelain variety, but to the Blue-white porcelain, Famille-rose porcelain, Color-glazed porcelain and Linglong porcelain the most prestigious, known as “Jingdezhen four famous porcelain”. Each of the four famous porcelains excels in its own way.

(1)Blue-white porcelain is the most representative porcelain of Jingdezhen, belonging to the underglaze colored porcelain. Primitive blue-white porcelain has been seen in the Tang and Song dynasties. Mature blue-white porcelain appeared in the Yuan Dynasty Hutian kiln in Jingdezhen. It became popular during the Yuan and Ming Dynasties and was exported worldwide, reaching its peak in the Qing Dynasty. Its thin, translucent quality and exotic motifs made it very valuable throughout Europe.

=Lei Huiting |=
Please start to write now.
=Lu Yixuan |=
==Introduction==
1.Introduction

Poetry, painting, and calligraphy: Known as the "Three Perfections," these genres were regarded as the ultimate expressions of Chinese literati culture during the Ming dynasty (1369-1644). Members of the Wu School, centered on the affluent city of Suzhou and nearby towns, earned admiration for their interpretations of these art forms. Painting with Words celebrates Wu School works, examining the relationships among their imagery, brushstrokes, and, especially, words.

==Main Part==

2.A Cultural Center

Situated on flat fertile land between Lake Tai and the Yangzi River, Suzhou (present-day Jiangsu province) is one of the oldest cities in the Yangzi delta. Before the Ming dynasty (1369-1644), when it became a leading center of literati culture, Suzhou had enjoyed a prominent political, economic, and cultural position for most of its two thousand-year history. The city was a major transportation hub on the Grand Canal, which stretched 1,100 miles between the former imperial capital Hangzhou to the south and the Ming imperial capital in Beijing far north. Besides the capital, during the fifteenth and sixteenth centuries Suzhou was the largest urban center in the Ming empire and perhaps the entire world.

Shaped like a rectangle, Suzhou was dotted with temples and spacious residences boasting elegant walled gardens. A grid of anals and paved streets, including as many as three hundred stone bridges, crisscrossed the city, which was surrounded by a moat and a towering outer wall. Beyond its water buffer, the city spilled into the surrounding suburbs but soon gave way to a prosperous countryside of small lakes and ponds, rice paddies, and agricultural fields. Rustic villages and temples were nestled in the landscape; larger satellite townships rose farther off. An area of low-forested hills stood to the west of Suzhou, overlooking the broad expanse of Lake Tai and its several nearby islands. Local poets and artists frequently ventured to such rural and suburban locations and even chose these easily accessible sites for their private retreats and retirement homes.

3.Wen Zhengming: Leader of the Wu School

An outstanding painter and calligrapher and an important trendsetter in his time, Wen Zhengming (1470-1559) was the unrivaled leader of the Wu School for much of its neyday during the first sixty years of the sixteenth century. Born to a modestly successful scholar-official family, Wen was a late bloomer in the arts; he was particularly poor at calligraphy in his youth. But he persevered, studying painting with Shen Zhou, who is often considered the Wu School's spiritual founder. Eventually, Wen mastered a wide range of painting styles and developed his own powerful, influential approach to calligraphy.

In 1527, when he returned to Suzhou after an unhappy three-year stint at the imperial court, Wen built a studio on his family's land. For the next thirty-two years, he devoted himself wholeheartedly to the life of a gentleman-scholar in retirement: reading, writing, painting, composing poetry, and socializing with likeminded friends. Wen's pivotal importance to the Wu School is magnified by the length of his extraordinary career, his wide circle of friends and acquaintances, and the artistic renown of his many students, including his two sons and a nephew and extending to several generations of Wens.

4.At Court and Beyond

During the fifteenth century, many leading gentleman artists of Suzhou spent a good part of their adult lives either serving at court in the imperial capital, Beijing, or out on provincial assignments. Often, they only returned home occasionally or after retirement. Several, such as Xia Chang (1388-1470), Xu Youzhen (1407-1472), and Wu Kuan (1435-1504), embraced these roles,distinguishing themselves in the national jinshi (advanced scholar) examinations and rising to high government offices. As artists, these men were known primarily as poets and calligraphers-except for Xia, who was also a master of the gentlemanly art of ink-bamboo painting.

The lifestyles of Liu Jue (1410-1472) and Shen Zhou (1427-1509) signaled a major alternative to serving at court. Liu only served in the capital for some eight years; Shen opted out entirely. Instead, they spent their lives in and around Suzhou, happily engaged in scholarly and artistic pursuits within their gardens and estates. Occasionally they visited friends, making communal forays into nature and to local scenic or historical sites. This lifestyle became a hallmark of Wu School gentleman artists.

Many Wu School artists were related by blood, marriage, and other formal relationships. They may have been family friends or schoolmates, taken their examinations together, studied as teacher and student, or done business as patron and client. The artists' relationships carried over into their poetry and artworks, which often were inherently personal in nature.

5.The Gentleman in Retirement

Often hailed as the spiritual founder of the Wu School, the painter, poet, and calligrapher Shen Zhou (1427-1509) came from a well-connected lineage of gentleman artists who lived in the Suzhou suburb of Xiangcheng. Both his father and uncle were landscape painters. Shen rejected the official career path followed by most of his peers in favor of a life of art and personal fulfillment. Following his example, many later Wu School artists made the same choice.

For gentleman artists in fifteenth- and sixteenth-century Suzhou, retirement consisted of socializing with other literati, refined activities such as art collecting, and a love of creature comforts such as elegant private gardens. These examples of his paintings and calligraphy reveal aspects of Shen's life in retirement: engaging with likeminded friends, observing and commentating on everyday life, and spending time alone at home or in favorite pastimes, such as wandering the hills to find inspiration for poetry or a place to play his qin.

Shen is said to have had an open, generous character. His palpable enjoyment of nature imbues each painting and poem in this section, graciously inviting us to join in. Owing to Shen's enduring influence and that of his immediate followers, these amiable qualities have come to characterize Wu School literati art.

6.In Full Flower

The Wu School rose to its artistic zenith during the first half of the sixteenth century, led by three of its brightest stars: Wen Zhengming (1470-1559), Tang Yin (1470-1524), and Qiu Ying (ca. 1494-1552). Together with the older Shen Zhou (1427-1509), this group is known as the "Four Great Artists of the Ming." Shen and Wen exemplified the Wu School ideal of the gentleman artist, while Tang and Qiu epitomized the accomplished Suzhou professional. Qiu was solely a painter; the other three developed distinct styles of painting, calligraphy, and poetry.

Although the Four Great Painters came from different social and economic backgrounds-and more than sixty-five years separated the oldest from the youngest-their lives and art intersected repeatedly. Wen and Tang had been friends since they were teenagers, and they both studied literati painting with Shen. Tang also studied under a local professional painter named Zhou Chen (ca. 1450-ca.1535), to whom he and Wen later recommended the young painting phenomenon Qiu Ying.

Such teacher-student and patron-client relationships were key to an artist's development and career in sixteenth-century Suzhou. Wen in particular had both a large number of outstanding students and a wide circle of local connections. Several of Wen's students and protégés went on to develop careers and styles of their own, among them the two brilliant calligraphers Wang Chong (1494-1533) and Chen Shun (1483-1544), both of whom died before their former master.

Despite their differences in style, approach, and social standing, professional artists and gentleman artists were codependent. Thematically, professional artists drew their material from the literature and history at he core of the literati tradition; in turn, literati artists wrote out the appropriate texts in fine calligraphy to accompany the professional artists' paintings. A primary distinction between the two groups was that the gentleman artist was also a calligrapher and a poet in his own right, and the fundamental purpose of his art was personal self-expression, usually prompted by an occasion or recent event. In some cases, one gentleman artist might have written a scroll of poetry for a friend or as a calligraphic exercise. Other times, individuals from both groups would collaborate on a scroll or contributed to a collective project.

7.The Followers

Known for decades as the Wu School's leader, Wen Zhengming (1470-1559) remained active as an artist until he died at age eighty-nine. By that time, several of his most outstanding followers had already passed away. Other artists, however, continued to work in styles heavily influenced by Wen Zhengming's approach well into the final quarter of the sixteenth century. Among these were his two talented sons, Wen Peng (1498-1573) and Wen Jia (1501-1583), who directly emulated their father and shared many of his interests and concerns. Qian Gu (1508-after 1574) also faithfully adhered to the styles that Wen Zhengming had developed and promoted.

Other gentleman artists advanced Wen Zhengming's legacy in new directions, such as Lu Zhi (1496-1576), who developed a unique, almost luminous style of landscape painting. The flourishing professional painter Xie Shichen (1487-after 1567) incorporated elements from other popular styles, but he continued to draw inspiration and material CAa from literati culture and to rely on gentleman artists for calligraphic contributions to his scrolls. Wen Zhengming's influence even extended to the generation of his great-grandson Wen Zhenmeng (1574-1636), a calligrapher. He and other local gentleman artists carried on producing collective scrolls and albums inspired by traditional themes,such as the "Eight Views of Xiao Xiang," as well as by contemporary occasions.

Still, Wen Zhengming's death deprived the Wu School of both its center of gravity and its leading light, and the vitality and prominence of Suzhou painting and calligraphy ultimately waned. By the early seventeenth century, the city's economic clout also had diminished, owing in part to the rise of nearby Shanghai and other towns in the Yangzi delta region. Competing centers of artistic production diluted and eventually eclipsed the city's premier cultural status. By the 1630s, the Wu School, though still highly influential, had given up its role as a dominant force.

==Conclusion==
==Terms and Expressions==
==Questions==
==References==

=Li Yanran |=
==Introduction==
A thangka (also known as tangka, thankga, or Tibetan scroll painting) is a classical and stylized form of Nepalese and Tibetan painting. These intricate artworks typically depict Buddhist deities, scenes, or mandalas. Thangkas are traditionally painted on cotton or silk appliqué and are often used as aids for meditation or teaching. They communicate profound meanings related to Buddhist philosophy through their detailed compositions. When not on display, thangkas are kept unframed and rolled up, similar to Chinese scroll paintings.

==Main Part==
===History and Origins===
The history of Tangka painting is deeply intertwined with the spread of Buddhism in Tibet. The earliest Tangka paintings date back to the reign of King Songtsen Gampo (618-650 AD), who played a pivotal role in establishing Buddhism in Tibet. Over the centuries, Tangka painting evolved, influenced by Indian, Nepalese, and Chinese artistic traditions. The creation of Tangka paintings flourished particularly during the Tibetan Renaissance in the 11th century, a period marked by the revival of Buddhist scholarship and artistic endeavors.

During the early stages, Tangka painting primarily depicted deities and mandalas, serving as tools for teaching and meditation. The construction of the first Buddhist temples in Tibet, such as the Jokhang Temple in Lhasa, further stimulated the development of religious art, including Tangka painting. These temples became centers of artistic activity, where local artists learned from foreign masters and began to develop their distinctive styles.

The period between the 8th and 11th centuries saw significant contributions to Tangka painting from Indian and Nepalese artists. The renowned Indian Buddhist scholar and artist, Atisha (982-1054 AD), played a crucial role during this period. Invited to Tibet by King Jangchub O, Atisha brought with him a wealth of artistic and spiritual knowledge, which greatly influenced Tibetan art and Tangka painting.

The Tibetan Renaissance in the 11th century marked a pivotal moment in the history of Tangka painting. This era was characterized by a resurgence of Buddhist scholarship, the translation of Buddhist texts, and the establishment of new monastic institutions. The renaissance period saw the synthesis of various artistic traditions into a distinctly Tibetan style, marked by vibrant colors, intricate details, and profound spiritual symbolism.

During the 14th to 17th centuries, the Ming dynasty in China established close diplomatic and cultural relations with Tibet. This period saw the exchange of artistic techniques and motifs between the two regions, further enriching the Tangka painting tradition. Tibetan artists adopted Chinese landscape techniques and the use of silk, while maintaining their unique iconographic and symbolic elements.

The 17th century onward witnessed the formalization of Tangka painting schools and lineages, each with its unique style and approach. Prominent schools include the Menri (Sman-ri) school, founded by Menla Dondrub in the 15th century, known for its classical and refined style, and the Khyenri (mKhyen-ri) school, founded by Khyentse Chenmo in the 15th century, recognized for its bold and expressive style.

The preservation and continuity of Tangka painting faced challenges in the 20th century due to political changes and cultural upheavals. However, efforts by Tibetan communities in exile and international interest in Tibetan culture have helped sustain and revive this ancient art form. Today, Tangka painting continues to thrive as both a spiritual practice and an art form, preserving the rich heritage of Tibetan Buddhism.

===Symbolism and Themes===
Tangka paintings are rich in symbolism and often depict deities, mandalas, historical events, and teachings of Buddhism. Each element in a Tangka painting carries specific meanings and serves as a visual aid for meditation and contemplation.
====Deities and Bodhisattvas====
Tangka paintings frequently portray Buddhas, Bodhisattvas, and protective deities. These figures are depicted with specific hand gestures (mudras), postures (asanas), and attributes that symbolize various aspects of Buddhist teachings. For example, Avalokiteshvara, the Bodhisattva of Compassion, is often shown with multiple arms, each holding different objects representing his compassionate activities.
====Mandalas====
Mandalas are intricate geometric designs that represent the universe and serve as tools for meditation. They are often used in Tangka paintings to depict sacred spaces and cosmological concepts. The central figure in a mandala is usually a deity, surrounded by concentric circles and squares filled with symbolic elements.
====Historical and Mythological Scenes====
Tangka paintings also narrate stories from the life of the Buddha, the exploits of various saints and yogis, and mythological tales. These narrative paintings serve an educational purpose, conveying moral and spiritual lessons.
====Symbols and Iconography====
Common symbols in Tangka paintings include the lotus flower (purity), the vajra (indestructibility), and the wheel of Dharma (teachings of the Buddha). Each symbol is meticulously placed to enhance the painting’s spiritual message.
===Cultural and Religious Significance===
Tangka paintings are not merely decorative objects; they hold deep religious and cultural significance. In Tibetan Buddhism, Tangka paintings are used as aids for visualization during meditation. Practitioners focus on the image of a deity, internalizing its qualities and receiving blessings. The detailed iconography serves as a guide for spiritual practice and contemplation.

Moreover, Tangka paintings are used in religious ceremonies and rituals. They are often displayed in monasteries, temples, and private homes, where they serve as objects of veneration. During festivals, such as the Tibetan New Year (Losar), large Tangka paintings are unfurled on hillsides, allowing devotees to receive blessings from the sacred images.

Tangka paintings also play a crucial role in preserving and transmitting Tibetan culture and religious teachings. Each painting is a repository of iconographic and symbolic knowledge, passed down through generations of artists and practitioners. The continuity of this artistic tradition reflects the resilience and adaptability of Tibetan culture in the face of historical challenges.

==Conclusion==

==Terms and Expressions==
==Questions==
==References==

=Duan Siya |Striking iron flower=
==Introduction==
Iron flowers , also known as iron trees , are traditional folk fireworks popular in the Henan and Shanxi regions and are one of China's national intangible cultural heritages .Striking iron flower,a traditional firework that has been passed down in the Yu-Jin region, began in the Northern Song Dynasty, flourished in the Ming and Qing Dynasties. It is mostly popular in the middle and lower reaches of the Yellow River, with Henan and Shanxi being the most. In the 1000-year-old folk art of "Striking Iron Flowers" (打铁花), molten iron is struck with wooden rods to create sparks cascading through the sky like blossoming flowers.
==Main Part==
The "Iron Flower Striking" originated from the ritual activities of the craftsmen. In the Ming Dynasty, the iron-making industry flourished. With the aim to celebrate the harvest and pray for peace, the blacksmiths created a bright sparkling effect by striking the iron in the production. During the Ming and Qing Dynasties, with the support from government and all walks of life, the Queshan Iron Flower reached its peak. It expanded from the original Taoist rituals such as the birthdays of the Jade Emperor and the Queen Mother to general festivities, such as wishing for a new life, getting promoted and getting married.

In the process of local circulation, Queshan Iron Flower has absorbed various artistic elements such as firecrackers, dragon lanterns and brass instruments. It has gradually formed a unique performance style of grandeur, magnificence and auspiciousness.

In June 2008, the iron flower art submitted by Queshan County, Henan Province was approved by the State Council to be included in the second batch of national intangible cultural heritage list .

Before striking the flowers, they all kneel inside the shrine to ask the gods for safety and to avoid burns. A six-meter-high double-layer flower shed is set up in an open space. The shed is densely covered with fresh willow branches and tied with fireworks, firecrackers and goods, known as the "trellis", A six-meter-high old pole is erected in the middle of the shed, making the total height of the flower shed reach more than ten meters.

A furnace is set up next to it to melt iron liquid. More than ten performers take turns to use flower sticks to hit the iron liquid with a temperature of more than a thousand degrees onto the shed, forming iron flowers more than ten meters high. The iron flowers then ignite fireworks and firecrackers, and are accompanied by the "dragon through the flowers" performance.

The flower stick used by the iron flower maker is a fresh willow stick that is as thick as a fist and more than a foot long. There is a circular pit with a diameter of 3 cm at the top of the stick to hold the iron liquid. When making iron flowers, the flower beater wears an inverted gourd ladle on his head (for protection), is topless, holds an upper stick filled with iron juice in one hand, and a lower stick without iron juice in the other hand, and quickly runs to the bottom of the flower shed, using the lower stick to hit the upper stick. A dozen flower beaters take turns, one after another, moving back and forth between the furnace and the flower shed. One stick of iron flowers soars into the sky, and another stick follows, one after another ...The scene is spectacular, presenting the characteristics of thrilling, exciting, festive and lively.

With temperatures of molten iron soaring to 1600°C, artisans bear countless scars across their bodies. In order to minimize injuries to the smiths, the ironwork is mostly performed in winter, when the weather is cold and the scattered ironwork can cool down more quickly, thus better guaranteeing the safety of the smiths. In the process of beating iron flowers, smiths will wear some specific protective clothing. Traditionally, there are mainly Taiji pattern helmet, Taoist style cotton protective cap with shawl, protective shoes, red or yellow cotton belt, etc. The protective shoes include legs, knee pads, foot pads, all three must be a one-piece type, so as to achieve the best protective effect.

Some smiths choose to go bare-chested to increase the shock of the scene.

Behind the brilliance, the risks are not known to all. The molten iron needs to be heated to more than 1600 degrees Celsius. Therefore, performers need to be very careful in the strength and angle . In that case, the iron splashes are high enough and well dispersed to make brilliant iron flowers. Insufficient force or an inaccurate strike position may result in burns to oneself.

==Conclusion==
The technique of striking iron flowers has a long history, and the performance is magnificent and grandiose. The splendor of modern fireworks and the mystery of traditional art are integrated, which is breathtaking. It embraces Taoist culture, trade customs, folk crafts, which not only enriches the folk art treasury of China, but also plays an important role in enhancing national pride and strengthening national cohesion.

==Terms and Expressions==

==Questions==
==References==