https://bou.de/u/api.php?action=feedcontributions&feedformat=atom&user=Du+YuanChina Studies Wiki - User contributions [en]2026-04-04T03:38:40ZUser contributionsMediaWiki 1.35.14https://bou.de/u/index.php?title=File:Changde_spicy_salted_duck.pptx&diff=170157File:Changde spicy salted duck.pptx2025-07-05T03:46:14Z<p>Du Yuan: Du Yuan uploaded a new version of &quot;File:Changde spicy salted duck.pptx&quot;</p>
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<div></div>Du Yuanhttps://bou.de/u/index.php?title=File:Changde_spicy_salted_duck.pptx&diff=170156File:Changde spicy salted duck.pptx2025-07-05T03:45:33Z<p>Du Yuan: </p>
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<div></div>Du Yuanhttps://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=170155Chinese Language and Culture, Spring 20252025-07-05T03:45:10Z<p>Du Yuan: /* Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations */</p>
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<div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br />
<br />
=Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br />
<br />
==What we learn in this class==<br />
*We learn about Chinese culture from international, especially Western perspective. <br />
*We learn about cultural phenomena, traditional Chinese culture.<br />
*We learn English and Chinese terminology in the area of Chinese culture.<br />
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br />
*We learn how to determine the location and role of Chinese culture within global culture.<br />
*We learn basics of theories and models of intercultural communication and comparison.<br />
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br />
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br />
<br />
==Students' contribution==<br />
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br />
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br />
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI<br />
<br />
==Textbook==<br />
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br />
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==Agreement on use of classroom time==<br />
Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br />
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<br />
----<br />
==Homework for every session==<br />
Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br />
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==Teacher presentation: Introduction to Culture==<br />
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br />
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==Homework for Session 2==<br />
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation"). <br />
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Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br />
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1. Geographic Nature as a Basis for Cultural Development 17<br />
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2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br />
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3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br />
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4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br />
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5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br />
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6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br />
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7. Animals: Panda 71 <br />
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8. Architecture 78<br />
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9. Architecture: The Forbidden City 89<br />
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10. Architecture: Four Famous Bridges 102<br />
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11. Architecture: Four Great Pavilions 113<br />
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12. Architecture: Shengjing Imperial Palace 124<br />
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13. Architecture: Three Great Towers in China 131<br />
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14. Architecture: Fengshui in Chinese Architecture 145 <br />
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15. Army and weapons: Chinese Ancient Weapons 154<br />
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16. Army and weapons: Terracotta Army 163<br />
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17. Astrology: Chinese Astrology 170<br />
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18. Astrology: Calendar, The 24 Solar Terms 178<br />
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19. Astrology: Twelve Animals of the Chinese Zodiac 188<br />
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20. Beverages: Milk Tea 197<br />
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21. Beverages: Tea 203 (Zhang Mai)<br />
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22. Beverages: The Liquor Culture of Ancient China 209<br />
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23. Body movement performance: Chinese Lion Dancing 218<br />
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24. Body movement performance: Stilts 223<br />
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25. Body movement performance: Traditional Chinese Dance 230<br />
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26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br />
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27. Chinese Writing: Calligraphy 246 (Tang Yan)<br />
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28. Chinese Writing: The Evolution of Calligraphy 252<br />
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29. Chinese Writing: Chinese Characters 262<br />
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30. Chinese Writing: Chinese Characters and Scripts 276<br />
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31. Clothing: Chinese Clothing 283<br />
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32. Clothing: Batik (Lanran) 291<br />
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33. Clothing: Cheongsam 301 <br />
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34. Confucianism: Confucian Culture 309 <br />
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35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br />
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36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br />
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37. Confucianism: Classical Philosophy - Reading The Analects 339 <br />
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38. Education: Ancient Chinese Education 350<br />
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39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br />
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40. Education: Modern Chinese Education System 371<br />
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41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br />
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42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br />
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43. Facial Make-up 406<br />
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44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br />
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45. Facial Make-up: Face Changing in Sichuan Opera 431<br />
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46. Fine Arts: Painting 440<br />
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47. Fine Arts: Bada Shanren and Qi Baishi 445<br />
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48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br />
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49. Fine Arts: Seal-cutting 459<br />
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50. Games: Go 围棋 462（Zhao Qi）<br />
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51. Games: Kite Flying 468<br />
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52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br />
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53. Garden Culture: Gardens 505<br />
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54. Garden Culture: Bonsai (Penjing) 511<br />
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55. Garden Culture: The Summer Palace 519（Li Mei）<br />
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56. Garden Culture: Qingming Riverside Landscspe Garden 526<br />
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57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br />
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58. History: Carl and Cixi 548<br />
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59. Interieur: The Folding Screen 552<br />
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60. Landscapes and Tourism: Four Buddhist Shrines 561<br />
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61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br />
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62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br />
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63. Landscapes and Tourism: Mogao Grottoes 593<br />
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64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br />
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65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br />
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66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br />
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67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br />
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68. Language: Chinese Language 649<br />
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69. Language: Chinese Dialects 660<br />
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70. Language: Chinese Folk Argot 669<br />
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71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br />
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72. Literature: Ancient literature - Chinese Mythology 688<br />
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73. Literature: Ancient literature - Classical Literature 699<br />
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74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br />
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75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br />
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76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br />
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77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br />
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78. Literature: Ancient literature: Yuefu 765<br />
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79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br />
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80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br />
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81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br />
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82. Literature: Premodern literature: Tang-Song 794<br />
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83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br />
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84. Literature: Modern Literature 832<br />
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85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br />
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86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br />
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87. Literature: Contemporary Literature 859<br />
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88. Martial Arts: Huo Yuanjia 865<br />
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89. Martial Arts: Qigong 868<br />
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90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br />
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91. Martial Arts: Wushu 885<br />
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92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br />
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93. Medicine: Traditional Chinese Medicine (TCM) 900 <br />
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94. Medicine: TCM - Acupuncture and Moxibustion 907<br />
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95. Medicine: TCM - Diagnosis and Pharmacology 912<br />
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96. Medicine: TCM - The Development of Chinese Medicine 917<br />
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97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br />
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98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br />
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99. Minority cultures: The Ethnic Minorities’ Costumes 941<br />
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100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br />
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101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br />
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102. Music and instruments: Guzheng 975<br />
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103. Music and instruments: Pipa 986<br />
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104. Mythology: Gods and Immortals 996<br />
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105. Mythology: Huli-jing 1005<br />
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106. National Symbols: National Anthem 1018<br />
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107. National Symbols: National Flag 1026 （Liao Zuoyun）<br />
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108. Opera: Peking Opera 1035<br />
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109. Opera: Peking Opera Acrobatics 1043<br />
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110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br />
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111. Opera: Tea-picking Opera 1055<br />
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112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br />
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113. Philosophical Schools: Four Main Philosophical Schools 1076<br />
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114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br />
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115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br />
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116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br />
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117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br />
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118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br />
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119. Philosophy: Chinese Traditional Cultivation Culture 1129<br />
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120. Religion: Traditional Chinese Funeral Culture 1141<br />
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121. Religion: Buddhism 1155<br />
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122. Religion: Daoism 1170<br />
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123. Religion: Christianity 1175<br />
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124. Religion: Islam 1181<br />
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125. Science and Technology: Ancient Science and Technology 1185<br />
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126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br />
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127. Science and Technology: Compass 1217<br />
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128. Science and Technology: TikTok (Douyin) 1226<br />
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129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br />
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130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br />
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131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br />
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132. Silk and porcelain: Porcelain 1277<br />
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133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br />
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134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br />
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135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br />
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136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br />
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137. Social: The Long-life Lock 1308<br />
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138. Social: Round Table Culture 1317 (Wu Jiating)<br />
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139. Stage entertainment: Crosstalk 相声 1325<br />
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140. Stage entertainment: Shadow Play 1332<br />
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141. Traditional Crafts: Carving 1340<br />
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142. Traditional Crafts: Chinese Jade Culture 1348<br />
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143. Traditional Crafts: Cloisonne 1363 <br />
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144. Traditional Crafts: Embroidery 1369<br />
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145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br />
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146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br />
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147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br />
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148. Traditional Crafts: Handcraft - Chinese Knots 1409<br />
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149. Traditional Crafts: Lacquerware 1418<br />
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150. Traditional Crafts: The Kingfisher Craft点翠 1423<br />
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151. Traditional Cuisine: Chinese Dining Etiquette 1436<br />
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152. Traditional Cuisine: Chopsticks 1450<br />
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153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br />
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154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br />
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155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br />
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156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br />
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157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br />
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158. Traditional Cuisine: The Art of Chinese Cooking 1508<br />
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159. Traditional Cuisine: Two Famous Dishes 1514<br />
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160. Traditional Festivals 1518……<br />
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161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br />
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162. Traditional Festivals: Spring Festival Couplets 1538<br />
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163. Westernization: The Eastward Spread of Western Learning 1544<br />
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164. Westernization: The Westernization Movement 1550<br />
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165. Worship: Chinese Incense Culture 1558 (She Xiao)<br />
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166. Economy: Chinese Currency Changes 1569<br />
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167. History: Wang Shouren 1573 Lv Jiahao<br />
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168. Martial Arts: Chinese Swordsman Spirit 1582<br />
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169. Cuisine: Luosifen 1593 （Chen Sisi)<br />
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170. Fine Arts: Chinese Paper Cutting 1601 <br />
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171. Science and Technology: Taobao(淘宝) 1611<br />
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172. Traditional Craft: Bronze 1623<br />
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173. Entertainment: Deyunshe 德云社 1631<br />
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174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br />
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175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br />
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176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br />
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177. stage entertainment:Yuan drama 1676<br />
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178. Music and instruments: Erhu 1685<br />
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179. Traditional and Modern Views on Marriage and Love 1694 (Liu Yunxi)<br />
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180. Traditional Cuisine: Tangyuan 1701<br />
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181. Animals：Golden Monkey 1712（Xiao Yawen）<br />
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182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br />
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183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br />
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184. The Chinese tradition of ancestor worship 1740<br />
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185. Opera: Huangmei opera 1752 （Chu Hanqi）<br />
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186. The “reference” of Chinese Music 1759<br />
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187. Chinese Folk Art:Lion Dance 1767<br />
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188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br />
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189. Clothing: Vintage Clothing 1790<br />
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190. Fine arts:Kunqu Opera 1798<br />
<br />
191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br />
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192. National Belief: the Chinese Dream 1818<br />
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193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
<br />
194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br />
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195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br />
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196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
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197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br />
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198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br />
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199. Traditional Crafts: Dough Sculpture 面塑 1845<br />
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200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br />
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201. The culture of Grass cloth 夏布 1845 <br />
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202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br />
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203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br />
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204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
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205. Bride-price（彩礼） 1845 <br />
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206. Chinese science fiction movies 中国科幻片 1845<br />
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207. Shandong cuisine鲁菜 1845(Lu Wei)<br />
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208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)<br />
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209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br />
<br />
210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br />
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211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br />
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212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br />
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213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br />
<br />
214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845 (Cai Yichun)<br />
<br />
215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br />
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216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br />
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217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br />
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218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br />
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219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br />
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220. Rice cake (年糕) 1845 （Dong Jiating）<br />
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221. Zhongyuan festival 1845 （Ou Huang）<br />
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222. Dulong: Facial tattoo (独龙族：纹面) 1845<br />
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223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br />
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224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br />
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225. "Cun Chao": China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br />
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226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br />
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227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)<br />
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228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br />
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229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br />
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230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br />
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231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br />
<br />
232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br />
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233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br />
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234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br />
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235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br />
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236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br />
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237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br />
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238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br />
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239. Female Emperor---Wu Zetian 1845 (Song Xin)<br />
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240. Clay sculpture (泥塑） 1845 (Chen Lin)<br />
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241. Abacus (中国珠算） 1845<br />
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242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br />
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243. Chinese name（中国姓名文化） 1845 <br />
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244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br />
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245. Douzhi (豆汁) 1845(Li Linyao) <br />
<br />
246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br />
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247. Carved lacquer（雕漆） 1845 （Liu Qi）<br />
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248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br />
<br />
249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br />
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250. Language: Hakka Dialect（客家话） 1845<br />
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251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br />
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252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br />
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253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br />
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254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br />
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255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br />
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256. Danmu (弹幕） 1845 (Zhou Le)<br />
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257. Yangshao Culture（仰韶文化） 1845<br />
<br />
258. Indigo Dyeing (蓝染) 1845<br />
<br />
259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br />
<br />
<br />
260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br />
<br />
261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br />
<br />
262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br />
<br />
263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br />
<br />
264. Single bamboo drifting（独竹漂） 1845<br />
<br />
265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br />
<br />
266. Hui Culture (徽文化) 1845(Liu Jianan)<br />
<br />
267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br />
<br />
268. Table Manners 1845（Luo Yan）<br />
<br />
269. Music of the Mongol nationality (蒙古族音乐) 1845<br />
<br />
270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br />
<br />
271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br />
<br />
272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br />
<br />
273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)[[File:Changsha Stinky Tofu.pptx]]<br />
<br />
274. God of Wealth(财神) 1845 <br />
<br />
275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br />
<br />
276. Nail art（美甲） 1845 （Luo Jiaxin）<br />
<br />
277. Mirror (镜子) 1845 (Cheng Sixiang) <br />
<br />
278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br />
<br />
279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br />
<br />
280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br />
<br />
281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br />
<br />
282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br />
<br />
283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br />
<br />
=Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br />
==Teacher presentation: Introduction to Culture==<br />
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
==Topics for today==<br />
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br />
<br />
You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br />
<br />
Please remember that you have to indicate the 10 topics for Friday on the course website under "Session 2" with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br />
<br />
27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br />
<br />
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br />
<br />
55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br />
<br />
76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br />
<br />
85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br />
<br />
Tea Latte Art (Xiang Jianning)<br />
<br />
Topic 7<br />
<br />
Topic 8<br />
<br />
Topic 9<br />
<br />
Topic 10<br />
<br />
=Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br />
==Presentations==<br />
1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br />
<br />
2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br />
<br />
3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br />
<br />
4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br />
<br />
5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br />
<br />
6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br />
<br />
7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br />
<br />
==Notes on presentations==<br />
Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br />
<br />
1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. "Black tea" (in English all "hong cha" is called "black tea"), British tea culture (add milk)<br />
<br />
2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br />
<br />
3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br />
<br />
4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br />
<br />
5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br />
<br />
6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br />
<br />
7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br />
<br />
==Student grades: 平时成绩/签到==<br />
<br />
<br />
75/103 students, 24级 MA翻译, class representative: Zhang Jiaxin<br />
# Jin Yichen <br />
# lu jiahui <br />
# li yuan<br />
# cao yuan<br />
# xiao luyu<br />
# zhang jiaxin +5<br />
# ye sitong<br />
# zhao yashi<br />
# jiang xinyue<br />
# yan xiang<br />
# fei xinyu <br />
# zhang qi<br />
# dai shiru<br />
# zhang zixi<br />
# zheng kaiwu<br />
# cai yichun<br />
# yang jing<br />
# liao dan<br />
# luo yan<br />
# qin yi<br />
# shao keyuan<br />
# cao chunyang<br />
# xu yangyang<br />
# liao zuoyun<br />
# cheng sixiang<br />
# du jiangping<br />
# liu qi<br />
# miao yunlong<br />
# huang qiaoqiao<br />
# chen lin<br />
# duan binyao<br />
# li ting<br />
# zeng zhi<br />
# xing xueqing<br />
# luo jingyan<br />
# liu shutian<br />
# gao xiaoqing<br />
# chen zhen<br />
# luo guoqiang -1-1-1<br />
# she xiao <br />
# he yunfeng <br />
# liu ying<br />
# du yuan <br />
# li jiayi <br />
# tao yao <br />
# xu xinwen <br />
# ou huang <br />
# liu peini<br />
# jiang ziqiang<br />
# zhang huifang<br />
# liu chao<br />
# liu yunxi <br />
# luo jiaxin<br />
# li mei<br />
# zeng xiaohui<br />
# huang yixuan<br />
# chen anqi<br />
# chen ting<br />
# zhang mai<br />
# yuan xiaolin -1-1<br />
# li mingfeng<br />
# dai yexun-1-1<br />
# yang pei -1<br />
# tang yan<br />
# xiang jianning-1<br />
# liu chang -1<br />
# wang yuxin<br />
# lv jiahao-1<br />
# dong jiating<br />
# lu wei<br />
# yang yue<br />
# guo cili<br />
# shen shuai<br />
# Ouyang yihong<br />
# li zihan -1<br />
# zuo fang<br />
# fu sihui<br />
# xiao zixin -1<br />
# zhou tianyi -1<br />
# qi zhiyang -1-1<br />
# liu pei <br />
# gong wei<br />
# chen sisi<br />
# huang sinan<br />
# xiao yikang<br />
# yu jingfang<br />
# luo sicheng<br />
# yang jiahong<br />
# yan jidong<br />
# xiao yawen<br />
# geng hongmei<br />
# zhou le<br />
# qiu ping<br />
# wang huaixing<br />
# wang xinyu<br />
# chu hanqi<br />
# wu jiating<br />
# zhang meiling<br />
# liu jianan<br />
# song xin<br />
# zhao qi<br />
# zheng jinlian<br />
# li linyao<br />
<br />
=Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br />
#Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]<br />
#Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]<br />
#Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br />
#Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br />
#Topic 182: Chinese Economy: rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]<br />
#Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin) [[Media:Tanghulu_Spring_2025.pptx]]<br />
#Topic 138: Social: Round Table Culture 1317 (Wu Jiating) [[Media:Round_Table_Culture_Spring_2025.pptx]]<br />
#Topic 174: Jiaozi (Liu Pei) [[Media:Dumplings_Spring_2025.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)<br />
<br />
=Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br />
#Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]<br />
#Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]<br />
# Topic 131: Silk and porcelain: Silk (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]<br />
# Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]<br />
# Topic 169: Cuisine: Luosifen 1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]<br />
# Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]<br />
# Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]<br />
# Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]<br />
<br />
=Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br />
<br />
#Topic 188:Mobile Games 手游 1783 （Du Jiangping）[[Media:Mobile Games.pdf]]<br />
#Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）)[[Media:Aesthetic_ideals_and_social_customs-_The_Culture_of_Flowers.pptx]]<br />
#Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
#Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]<br />
#Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]<br />
#Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]<br />
#Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）<br />
#Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
=HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br />
清明节4月4日——4月6日<br />
=Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=<br />
#Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）<br />
#Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]<br />
#Topic 181:Animals：Golden Monkey(Xiao Yawen)<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)[[Media:Chinese_Electtic_Vehicles_Geng_hongmei.pptx]]<br />
#Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
#Topic 220:Rice cake 年糕 (Dong Jiating)<br />
#Topic 208:Chinese traditional ornament: Buyao(Yang Jing)<br />
#Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]<br />
#Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]<br />
<br />
=Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br />
#Topic 213: Chinese Dreamcore (Zhang Zixi)[[Media:Chinese Dreamcore.pptx]]<br />
#Topic 215: Live-streaming e-commerce (Tao Yao)[[Media:Live-Streaming E-Commerce.pptx]]<br />
#Topic 216: The Story of Ming Lan (Ye Sitong)[[Media:The Story of Minglan.pptx]]<br />
#Topic 218: Guangdong Herbal tea (Gao Xiaoqing)<br />
#Topic 219: Chinese traditional art form：Seal carving（篆刻） (Huang Qiaoqiao)[[Media:Seal carving.pptx]]<br />
#Topic 207: Shan Dong Cuisine (Lu Wei) [[Media:Lu_Wei-207-Shandong_Cuisine.pptx]]<br />
#Topic 221: Zhongyuan Festival (Ou Huang)[[Media:The Zhongyuan Festival.pptx]]<br />
#Topic 223: The Return of the Pearl Princess (Lu Jiahui)[[Media:The Return of the Pearl Princess.pptx]]<br />
<br />
=Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br />
#Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)[[Media:ChaBaiXi.pptx]]<br />
#Topic 225: Cun Chao": China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br />
#Topic 227: Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)[[Media:Chinese_Bossy_Fictions_and_Microdramas.pptx]]<br />
#Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]<br />
#Topic 230: Gayageum（伽倻琴）(Zhang Meiling) [[Media:Gayageum.pptx]]<br />
#Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)<br />
#Topic 232: Sun Wukong(Li Yuan)[[Media:0425 Sun Wukong.pptx]]<br />
#Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]<br />
#Topic 235: Bamboo Weaving(Chen Anqi)<br />
#Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)[[Media:Harbin Ice and Snow World.pptx]]<br />
<br />
==Please enroll in ai platform==<br />
Please enroll (register) in the platform https://dcg.de/ai/<br />
<br />
=HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br />
劳动节5月1日——5月5日<br />
<br />
=Session 12 Tue May 06 10:00-11:40 room 613 - Student presentations=<br />
#Topic 238: Three Famous Chinese Mountains(Liu Chang)<br />
#Topic 239: Female emperor-Wu Zetian(女皇武则天)(Song Xin) [[Media:Wu Zetian.pptx]]<br />
#Topic 240: Clay sculpture (泥塑）(Chen Lin)[[Media:Clay Sculpture.pptx]]<br />
#Topic 242: Hunan Rice Noodles(Gong Wei)[[Media:Hunan Rice Noodles.pptx]]<br />
#Topic 244: Chinese Popular Memes(中国网络流行热梗）(Xiao Yikang)[[Media:Chinese popular Memes.pptx]] <br />
#Topic 245: Douzhi (豆汁)(Li Linyao)[[Media:Douzhi.pptx]]<br />
#Topic 246: New Year Wood-block Paintings(Du Yuan)[[Media:Du Yuan New Year Wood-block Painting.pptx]]<br />
#Topic 247: Carved lacquer（雕漆）(Liu Qi)[[Media:Carved lacquer.pptx]]<br />
#Topic 237: Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)(Li Zihan)<br />
<br />
==Regarding Wu Zetian‘s blank Steele==<br />
关于武则天的“无字碑”（又称“无字碑记”）为何没有刻字，学界和民间流传着几种主要的假设：<br />
#功过自有后人评说（最广为流传）：武则天希望后世自己来评价她的一生，不愿由自己或当时的人定论。这种说法强调了她的自信与超越常规。<br />
#避讳批评或争议：武则天是中国历史上唯一的女皇帝，争议颇多。她可能认为无论写什么内容都容易引发非议，因此选择不刻字以避免争议。<br />
#彰显佛教思想：她信奉佛教，而佛教讲究“空”与“无”，无字碑可能象征“空性”或“无常”，体现她的宗教哲学。<br />
#未来自我书写：也有人猜测她原计划晚年或死前再刻碑文，但去世后未及实现，遂留下空碑。<br />
#彰显权力与独特性：无字碑作为一种非同寻常的表达形式，也可视为权力和个性的象征，显示她与众不同的统治地位。<br />
<br />
⸻<br />
<br />
English Translation:<br />
<br />
There are several main hypotheses about why Wu Zetian’s stele (often called the “Wordless Stele”) bears no inscription:<br />
#“Let future generations judge” (most popular view): Wu Zetian may have wanted her life and legacy to be judged by later generations rather than writing her own praise. This interpretation highlights her confidence and forward-thinking.<br />
#To avoid criticism or controversy: As the only female emperor in Chinese history, Wu Zetian was a controversial figure. She may have felt that any written content could provoke criticism, so she left it blank.<br />
#Reflecting Buddhist philosophy: A devout Buddhist, she may have chosen to leave the stele blank as a symbol of “emptiness” or impermanence, ideas central to Buddhist thought.<br />
#Intended to write later: Some believe she planned to inscribe it later in life but passed away before doing so, leaving the monument unfinished.<br />
#Symbol of power and uniqueness: A blank stele could also serve as a unique and powerful statement, emphasizing her exceptional status and breaking with traditional forms.<br />
<br />
=Session 13 Fri May 09 14:30-16:10 room 613 - Student presentations=<br />
#Topic 248: Jing Gang Mountain (井冈山）(Yu Jingfang) [[Media:Jing_Gang_Mountain_Spring_2025.pptx]]<br />
#Topic 251: Rice noodle roll (Li Mingfeng)[[Media:Rice_Noodle_Roll.pptx]]<br />
#Topic 252: Traditional Cuisine: Northeastern Chinese Cuisine (Liu Shutian)<br />
#Topic 253: Yuelu Mountain (Chen Ting) [[Media:Yuelu_Mountain.pptx]]<br />
#Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional_Crafts_Tie-Dye.pptx]]<br />
#Topic 255: Chinese-style sun protection (Zhao Yashi)[[ File:Chinese-style Sun Protection.pdf]]<br />
#Topic 256: Danmu（弹幕）(Zhou Le)[[Media:Danmu.pptx]]<br />
#Topic 259: Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua (Zhou Tianyi)<br />
#Topic 214: Luban China's inventor (Cai Yichun)<br />
<br />
=Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br />
#Topic 262: The Four Pillars of Destiny(Li Jiayi)<br />
#Topic 263: Shaolin Temple(Zuo Fang)<br />
#Topic 265: Cuisine: Changde spicy salted duck(Xing Xueqing)[[Media:Changde spicy salted duck.pptx]]<br />
#15:25-15:30 Topic 266: Hui Culture (徽文化)(Liu Jianan)[[Media:Hui Culture.pptx]]<br />
#15:30- Topic 267: Ma Zu Culture (妈祖文化)(Yan Jidong)[[Media:Mazu culture.pptx]]<br />
#15:35- Topic 268: Table manner(Luo Yan)[[Media:Table manner.pptx]]<br />
#15:40- Topic 270: Yingge Dance(Jiang Xinyue)[[Media:Yingge Dance.pptx]]<br />
#15:45- Topic 271: Palace Lantern(Shao Keyuan)<br />
#15:50- Topic 272: Chinese Endearing Terms(Zeng Zhi)[[Media:Chinese Endearing Terms.pptx]]<br />
<br />
15:55-16:10 Check final exam paper topics<br />
<br />
=Session 15 Tue May 27 10:00-11:30 中和楼 213 (moved from Fri May 30 14:30-16:10 room 613) - Student presentations=<br />
#Topic 273: Changsha Stinky Tofu（长沙臭豆腐）(Luo Sicheng)[[Media:Changsha Stinky Tofu.pptx]]<br />
#<nowiki>Topic 274:</nowiki> God of wealth(Liu Ying)<br />
#Topic 275: Zhua zhou (抓周）(Zeng Xiaohui)<br />
#Topic 276: Nail art(Luo Jiaxin)[[Media:Nail_Art.pptx]]<br />
#Topic 277: Mirror(Cheng Sixiang)[[Media:Mirror_Cheng Sixiang.pptx]]<br />
#Topic 278: The Beef Board Noodles(Yan Xiang)[[Media:Beef Board Noodles.pptx]]<br />
#Topic 279: Huo Qubing(Luo Jingyan)<br />
#Topic 280: Chinese Courtyard Houses（中国四合院）(Guo Cili)[[Media:Chinese Courtyard Houses-Guo Cili.pptx]]<br />
#Topic 281: yangqin(Dai Yexun)<br />
<br />
=Session 16 Fri Jun 6 14:30-16:10 room 613=<br />
#Topic 282: Black Myth: Wukong (Chen Zhen)<br />
#Topic 283: Guangdong Morning Tea Culture (Yuan Xiaolin)[[Media:Guangdong_Morning_Tea.pptx]]<br />
#Topic 283: Guangdong Morning Tea Culture （广东早茶文化）(Zheng Jinlian)[[Media:Guangdong Morning Tea Culture-Zheng Jinlian.pptx]]<br />
#Topic:(Luo Guoqiang) Liuyang Fireworks <br />
<br />
“When flaming trees join silver flowers in one blaze, and bridges of stars unlock their iron gates,” fireworks have, since ancient times, embodied humanity’s yearning for prosperity and blessings. These luminous spectacles paint the night sky with dreamlike beauty, symbolizing hopes for a better life. When it comes to fireworks, one cannot overlook Liuyang, a city renowned as the “Home of Chinese Fireworks.” With over a thousand years of craftsmanship, Liuyang has given birth to fireworks that captivate the world.<br />
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The origins of Liuyang fireworks can be traced back to the Tang Dynasty. Legend has it that Li Tian, revered as the “Forefather Saint of Firecrackers,” filled bamboo tubes with gunpowder to dispel plagues. The explosive force and resulting smoke were believed to purify the environment, marking the rudiments of firecrackers. Through generations of inheritance and innovation, Liuyang’s artisans continuously refined their craft. From the rudimentary bamboo-tube firecrackers of old times to the “string firecrackers” wrapped in paper and hemp stems during the Song Dynasty, and finally to today’s vibrant, intricately designed displays, Liuyang fireworks chronicle the evolution of traditional Chinese craftsmanship. During the Ming and Qing dynasties, Liuyang’s fireworks industry thrived, becoming a cornerstone of local handicrafts and expanding its reach nationwide and abroad. In the first year of the Yongzheng reign of the Qing Dynasty, Liuyang firecrackers were selected as imperial tributes, a testament to their superior quality. By the Qianlong era, they dominated the Hunan region, and during the Guangxu period, exports reached Asian countries like Japan, India, and Korea.<br />
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A millennium of heritage has not only bestowed profound cultural depth upon Liuyang fireworks but also forged their unique brand identity. In 2006, the art of Liuyang fireworks craftsmanship was inscribed on China’s first batch of National Intangible Cultural Heritage lists, acknowledging its invaluable cultural significance. Today, Liuyang stands as the world’s largest production, trade, and research hub for fireworks. Home to over 400 manufacturing enterprises and thousands of associated businesses, it generates an annual output value exceeding 50 billion RMB, accounting for 70% of China’s total fireworks exports. These products reach more than 100 countries across the Americas, Europe, and Southeast Asia, solidifying Liuyang’s reputation as the global epicenter of fireworks.<br />
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However, the modern era presents new challenges for the fireworks industry. Safety and environmental protection have emerged as critical constraints. Historically, Liuyang’s fireworks relied on family-run workshops, posing significant safety risks. To address this, the local government relocated enterprises to mountainous areas, promoting industrial standardization, scale, and modernization. Leveraging big data and AI, they established comprehensive, intelligent supervision systems to ensure safety at every production stage. In terms of environmental protection, Liuyang’s enterprises collaborated with prestigious universities, such as Nanjing University of Science and Technology and Beijing Institute of Technology, to develop new materials, techniques, and products. Their efforts have led to the creation of low-smoke, sulfur-free, and low-dust fireworks, redefining the industry’s ecological footprint.<br />
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In response to market shifts and technological advancements, a new generation of Liuyang’s “fireworks innovators” drives industry transformation. They have introduced products like “Urban Fireworks,” designed for urban settings. These safe, eco-friendly items blend aesthetic appeal with social interactivity, winning favor among young consumers. Innovating sales strategies, they integrate online and offline channels, utilizing “new retail” stores, Vlogs, and video platforms to reach wider audiences. Additionally, Liuyang has developed a “fireworks economy,” integrating pyrotechnics with cultural tourism. Since 2023, weekly weekend fireworks show at the Sky Theater have hosted over a hundred events, attracting 5 million visitors and generating 15 billion yuan in revenue. These shows combine cutting-edge technologies like drones and AI with cultural IPs, creating immersive experiences that have transformed Liuyang fireworks from a regional brand into a global cultural icon.<br />
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Emerging from the depths of history, Liuyang fireworks embrace the new era with innovation as their brush and culture as their ink. Against the backdrop of safety and sustainability, they paint a future more resplendent than ever. Serving as Liuyang’s cultural ambassador and a vivid example of traditional Chinese culture’s modern evolution, Liuyang fireworks continue to shine brightly, a timeless beacon of human ingenuity.<br />
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浏阳烟花<br />
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“火树银花合，星桥铁锁开。” 烟花，自古以来就承载着人们对美好生活的向往与祝福，在夜空中绽放出如梦如幻的美景。而提及烟花，就不得不提湖南浏阳 —— 这座被誉为 “中国烟花之乡” 的城市，它以千余年的烟花制作历史，孕育出了享誉全球的浏阳烟花。<br />
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浏阳烟花的历史，最早可追溯到唐代。相传，“爆竹祖师” 李畋为驱散疫病，将火药装填于竹筒之中，利用爆炸产生的气浪与硝烟来改善环境，这便是鞭炮的雏形。此后，经过历代浏阳人的传承与创新，烟花制作工艺不断改进。从最初简单的竹筒爆竹，发展到宋代用纸筒和麻茎裹火药编成的 “编炮”，再到后来色彩斑斓、造型各异的烟花，浏阳烟花的发展历程见证了中国传统手工艺的演变与进步。到了明清时期，浏阳烟花的生产已颇具规模，成为当地重要的手工行业，并逐渐走向全国乃至世界。清雍正元年，浏阳鞭炮因其制作精良，被选为贡品，这无疑是对其品质的极高赞誉。至乾隆年间，浏阳花炮已称雄于湖南的三湘四水；光绪年间，更是达到极盛时期，产品远销日本、印度、朝鲜等亚洲国家。<br />
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千年的历史传承，不仅让浏阳烟花积累了深厚的文化底蕴，更铸就了其独特的品牌魅力。2006 年，浏阳花炮制作技艺列入第一批国家级非物质文化遗产名录，这是对浏阳烟花文化价值的高度认可。如今，浏阳已成为全球最大的烟花爆竹生产贸易基地和科研中心，拥有 400 余家烟花生产企业及上千家产业链上下游企业，花炮年产值超 500 亿元，出口占全国出口总量的 70%，产品销往美洲、欧洲、东南亚等 100 多个国家和地区，“世界烟花看浏阳” 的美誉名副其实。<br />
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然而，随着时代的发展，烟花产业也面临着诸多挑战。安全与环保，成为了制约其发展的两大关键因素。过去，浏阳烟花多以家庭式作坊生产为主，安全隐患较大。为了改变这一现状，浏阳市政府果断采取措施，将烟花企业 “赶上山”，推动产业向工厂化、规模化、标准化发展。同时，借助大数据监控和人工智能平台，实现了对烟花爆竹生产全过程、全方位、智能化的安全监管。在环保方面，浏阳烟花企业积极开展科研攻关，与南京理工大学、北京理工大学等高等院校广泛合作，研发新材料、新工艺、新产品，致力于打造低碳、绿色、环保的烟花新形象。如今，微烟、无硫、少尘已成为浏阳烟花生产的关键词。<br />
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面对市场变化和技术革新，新一代浏阳 “烟花人” 积极创新，推动烟花产业转型升级。一方面，他们重新定义产品，推出了 “城市烟花” 等适合城市休闲场景的新产品，这类产品安全性高、污染小，且有颜值与社交属性，深受年轻消费者喜爱。另一方面，创新销售方式，通过打造 “新零售” 门店、拍摄 Vlog、搭建视频号矩阵等线上线下融合的方式，让烟花走进更多消费者的世界。此外，浏阳还大力发展 “烟花经济”，将烟花与文化旅游产业深度融合。自 2023 年以来，每周六在天空剧院推出的周末焰火秀，已累计举办各类焰火燃放活动百余场，吸引游客 500 万人次，拉动消费 150 亿元。创意焰火秀通过与无人机、AI 等新科技相结合，以及融入国风、虚拟人物、热门影视等 IP 元素，为观众带来了一场场精彩纷呈的沉浸式视觉盛宴，也让浏阳花炮实现了从区域性品牌向国际知名 IP 的蝶变升级。<br />
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从历史深处走来的浏阳烟花，在新时代的浪潮中，正以创新为笔，以文化为墨，在安全与环保的底色上，描绘出更加绚烂多彩的未来画卷。它不仅是浏阳的城市名片，更是中国传统文化在现代社会中传承与发展的生动例证，绽放永不落幕的璀璨光芒。<br />
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=Deadline extended to June 20, 2025 - Final Exam=<br />
<span style="color:red">Please upload your ppt if you not have done so so far.</span><br />
[[Media:282_Black_Myth_Wukong_Chen_Zhen.pptx]]<br />
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Topic 196:[[Media:Chinese_Electtic_Vehicles_Geng_hongmei.pptx]]<br />
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[[Media:ChaBaiXi.pptx]]<br />
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==Grading Criteria for Powerpoint Presentations==<br />
#Was the presentation based on scientific facts, did the presenter also conduct some research on the topic and did he/she also add her own experience or her own opinion/perspective and marking the two different perspectives as factual/subjective? Did the presentation avoid absolute judgments like "good" or "best", but did it instead use vocabulary like "fascinating", "surprising" etc. and also indicated to whom it is fascinating/surprising etc. and why?<br />
#Was the presentation successful? Did it catch the attention of the audience over the whole time? Was the presenter persuading? Was the audience excited/fascinated? Did the audience learn something? (Or was the audience bored and talked the whole time without paying attention to the presenter?)<br />
#Formal things: Was the speaker good to hear (loud/clear)? Did he make a self-confident impression and did he know his topic? Did the speaker speak freely and not read out? Where there meaningful pictures and graphs on the slides and only a few keywords, well sorted by numbers or bullet points (or was the powerpoint merely a text desert of small size script with the script being copied onto the slides)?<br />
#Was the presentation appropriate to the topic?<br />
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?<br />
#Was the presentation not too short and not too long in time, but as long as the other presentations, so that all presentations of the day could be presented?<br />
#Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?<br />
#Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?<br />
#Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?<br />
#Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?<br />
#Did you present your ppt file in the full screen mode?<br />
#Did you arrive early in classroom to copy your file onto the desktop of the class computer and did you check it and also any embedded or accompanying video files etc. if everything works properly including sound?<br />
#Did the presentation avoid deadly mistakes like plagiarism, using ai without indicating it (if you use ai to create the presentation, you need to indicate the platform and the full prompt you gave to ai and the main adjustments you did to the prompt), using ideology, patriotism, politics, religious beliefs, advertisement for products, ignorance (e.g. that a cultural phenomenon is wide spread in Asia and the origin is unclear, but claiming it was Chinese and originated in China), racism, prejudices, telling lies, spreading false rumors etc.?<br />
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==How to write your final exam paper?==<br />
Most of you have written their papers. However, please watch these guidelines, add page numbers to the paper sources you use, add answers to the questions and follow the special rules for ai usage if you used ai. Just write it like the other chapters in the textbook on your personal wiki homepage beneath the learning progress diary until <span style="color:red"><br />
'''New deadline to fulfill these more specified requirements: June 20, 2025'''.</span><br />
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About 1000 words in English, followed by a Chinese translation (no machine translation). You can also write in Chinese and translate into English. Both texts need to be like the other papers in the textbook.<br />
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===Sections===<br />
Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.<br />
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The AI statement should look like this:<br />
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I hereby guarantee that I have not used the help of AI to write my final paper in this course.<br />
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or, if you actually use AI<br />
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<span style="color:red">'''How about letting AI write for me?'''<br />
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Your AI statement in the References section needs to look like this:<br />
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To help me to write my final paper, I have used the following AI chatbot: ... I have prompted the chatbot with the following prompt: "..." I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: "...." or manually correcting the following references: ... Written the following passage new: ...).<br />
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If you use AI, not your paper will be graded, but your prompt and adjustments<br />
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===References===<br />
*Please add the sources in the form "(Wang 2020, 445)" behind each paragraph and with a long entry in the References section.<br />
*In the References section, please add at least 1-2 Western sources. It is always good to relate the Chinese tradition to similar traditions in other countries.<br />
*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.<br />
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===Formatting===<br />
*Please also add free lines at places where you want to have a line break, e.g. after a header.</span><br />
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[[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>Du Yuanhttps://bou.de/u/index.php?title=File:Du_Yuan_New_Year_Wood-block_Painting.pptx&diff=170153File:Du Yuan New Year Wood-block Painting.pptx2025-07-05T03:37:30Z<p>Du Yuan: </p>
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<div></div>Du Yuanhttps://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=170152Chinese Language and Culture, Spring 20252025-07-05T03:37:03Z<p>Du Yuan: /* Session 12 Tue May 06 10:00-11:40 room 613 - Student presentations */</p>
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<div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br />
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=Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br />
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==What we learn in this class==<br />
*We learn about Chinese culture from international, especially Western perspective. <br />
*We learn about cultural phenomena, traditional Chinese culture.<br />
*We learn English and Chinese terminology in the area of Chinese culture.<br />
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br />
*We learn how to determine the location and role of Chinese culture within global culture.<br />
*We learn basics of theories and models of intercultural communication and comparison.<br />
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br />
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br />
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==Students' contribution==<br />
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br />
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br />
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI<br />
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==Textbook==<br />
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br />
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==Agreement on use of classroom time==<br />
Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br />
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==Homework for every session==<br />
Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br />
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==Teacher presentation: Introduction to Culture==<br />
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br />
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==Homework for Session 2==<br />
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation"). <br />
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Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br />
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1. Geographic Nature as a Basis for Cultural Development 17<br />
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2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br />
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3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br />
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4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br />
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5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br />
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6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br />
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7. Animals: Panda 71 <br />
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8. Architecture 78<br />
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9. Architecture: The Forbidden City 89<br />
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10. Architecture: Four Famous Bridges 102<br />
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11. Architecture: Four Great Pavilions 113<br />
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12. Architecture: Shengjing Imperial Palace 124<br />
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13. Architecture: Three Great Towers in China 131<br />
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14. Architecture: Fengshui in Chinese Architecture 145 <br />
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15. Army and weapons: Chinese Ancient Weapons 154<br />
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16. Army and weapons: Terracotta Army 163<br />
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17. Astrology: Chinese Astrology 170<br />
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18. Astrology: Calendar, The 24 Solar Terms 178<br />
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19. Astrology: Twelve Animals of the Chinese Zodiac 188<br />
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20. Beverages: Milk Tea 197<br />
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21. Beverages: Tea 203 (Zhang Mai)<br />
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22. Beverages: The Liquor Culture of Ancient China 209<br />
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23. Body movement performance: Chinese Lion Dancing 218<br />
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24. Body movement performance: Stilts 223<br />
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25. Body movement performance: Traditional Chinese Dance 230<br />
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26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br />
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27. Chinese Writing: Calligraphy 246 (Tang Yan)<br />
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28. Chinese Writing: The Evolution of Calligraphy 252<br />
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29. Chinese Writing: Chinese Characters 262<br />
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30. Chinese Writing: Chinese Characters and Scripts 276<br />
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31. Clothing: Chinese Clothing 283<br />
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32. Clothing: Batik (Lanran) 291<br />
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33. Clothing: Cheongsam 301 <br />
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34. Confucianism: Confucian Culture 309 <br />
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35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br />
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36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br />
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37. Confucianism: Classical Philosophy - Reading The Analects 339 <br />
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38. Education: Ancient Chinese Education 350<br />
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39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br />
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40. Education: Modern Chinese Education System 371<br />
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41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br />
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42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br />
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43. Facial Make-up 406<br />
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44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br />
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45. Facial Make-up: Face Changing in Sichuan Opera 431<br />
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46. Fine Arts: Painting 440<br />
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47. Fine Arts: Bada Shanren and Qi Baishi 445<br />
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48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br />
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49. Fine Arts: Seal-cutting 459<br />
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50. Games: Go 围棋 462（Zhao Qi）<br />
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51. Games: Kite Flying 468<br />
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52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br />
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53. Garden Culture: Gardens 505<br />
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54. Garden Culture: Bonsai (Penjing) 511<br />
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55. Garden Culture: The Summer Palace 519（Li Mei）<br />
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56. Garden Culture: Qingming Riverside Landscspe Garden 526<br />
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57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br />
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58. History: Carl and Cixi 548<br />
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59. Interieur: The Folding Screen 552<br />
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60. Landscapes and Tourism: Four Buddhist Shrines 561<br />
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61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br />
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62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br />
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63. Landscapes and Tourism: Mogao Grottoes 593<br />
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64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br />
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65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br />
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66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br />
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67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br />
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68. Language: Chinese Language 649<br />
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69. Language: Chinese Dialects 660<br />
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70. Language: Chinese Folk Argot 669<br />
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71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br />
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72. Literature: Ancient literature - Chinese Mythology 688<br />
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73. Literature: Ancient literature - Classical Literature 699<br />
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74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br />
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75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br />
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76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br />
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77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br />
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78. Literature: Ancient literature: Yuefu 765<br />
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79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br />
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80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br />
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81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br />
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82. Literature: Premodern literature: Tang-Song 794<br />
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83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br />
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84. Literature: Modern Literature 832<br />
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85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br />
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86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br />
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87. Literature: Contemporary Literature 859<br />
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88. Martial Arts: Huo Yuanjia 865<br />
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89. Martial Arts: Qigong 868<br />
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90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br />
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91. Martial Arts: Wushu 885<br />
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92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br />
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93. Medicine: Traditional Chinese Medicine (TCM) 900 <br />
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94. Medicine: TCM - Acupuncture and Moxibustion 907<br />
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95. Medicine: TCM - Diagnosis and Pharmacology 912<br />
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96. Medicine: TCM - The Development of Chinese Medicine 917<br />
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97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br />
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98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br />
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99. Minority cultures: The Ethnic Minorities’ Costumes 941<br />
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100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br />
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101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br />
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102. Music and instruments: Guzheng 975<br />
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103. Music and instruments: Pipa 986<br />
<br />
104. Mythology: Gods and Immortals 996<br />
<br />
105. Mythology: Huli-jing 1005<br />
<br />
106. National Symbols: National Anthem 1018<br />
<br />
107. National Symbols: National Flag 1026 （Liao Zuoyun）<br />
<br />
108. Opera: Peking Opera 1035<br />
<br />
109. Opera: Peking Opera Acrobatics 1043<br />
<br />
110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br />
<br />
111. Opera: Tea-picking Opera 1055<br />
<br />
112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br />
<br />
113. Philosophical Schools: Four Main Philosophical Schools 1076<br />
<br />
114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br />
<br />
115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br />
<br />
116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br />
<br />
117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br />
<br />
118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br />
<br />
119. Philosophy: Chinese Traditional Cultivation Culture 1129<br />
<br />
120. Religion: Traditional Chinese Funeral Culture 1141<br />
<br />
121. Religion: Buddhism 1155<br />
<br />
122. Religion: Daoism 1170<br />
<br />
123. Religion: Christianity 1175<br />
<br />
124. Religion: Islam 1181<br />
<br />
125. Science and Technology: Ancient Science and Technology 1185<br />
<br />
126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br />
<br />
127. Science and Technology: Compass 1217<br />
<br />
128. Science and Technology: TikTok (Douyin) 1226<br />
<br />
129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br />
<br />
130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br />
<br />
131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br />
<br />
132. Silk and porcelain: Porcelain 1277<br />
<br />
133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br />
<br />
134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br />
<br />
135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br />
<br />
136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br />
<br />
137. Social: The Long-life Lock 1308<br />
<br />
138. Social: Round Table Culture 1317 (Wu Jiating)<br />
<br />
139. Stage entertainment: Crosstalk 相声 1325<br />
<br />
140. Stage entertainment: Shadow Play 1332<br />
<br />
141. Traditional Crafts: Carving 1340<br />
<br />
142. Traditional Crafts: Chinese Jade Culture 1348<br />
<br />
143. Traditional Crafts: Cloisonne 1363 <br />
<br />
144. Traditional Crafts: Embroidery 1369<br />
<br />
145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br />
<br />
146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br />
<br />
147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br />
<br />
148. Traditional Crafts: Handcraft - Chinese Knots 1409<br />
<br />
149. Traditional Crafts: Lacquerware 1418<br />
<br />
150. Traditional Crafts: The Kingfisher Craft点翠 1423<br />
<br />
151. Traditional Cuisine: Chinese Dining Etiquette 1436<br />
<br />
152. Traditional Cuisine: Chopsticks 1450<br />
<br />
153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br />
<br />
154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br />
<br />
155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br />
<br />
<br />
156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br />
<br />
157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br />
<br />
158. Traditional Cuisine: The Art of Chinese Cooking 1508<br />
<br />
159. Traditional Cuisine: Two Famous Dishes 1514<br />
<br />
160. Traditional Festivals 1518……<br />
<br />
161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br />
<br />
162. Traditional Festivals: Spring Festival Couplets 1538<br />
<br />
163. Westernization: The Eastward Spread of Western Learning 1544<br />
<br />
164. Westernization: The Westernization Movement 1550<br />
<br />
165. Worship: Chinese Incense Culture 1558 (She Xiao)<br />
<br />
166. Economy: Chinese Currency Changes 1569<br />
<br />
167. History: Wang Shouren 1573 Lv Jiahao<br />
<br />
168. Martial Arts: Chinese Swordsman Spirit 1582<br />
<br />
169. Cuisine: Luosifen 1593 （Chen Sisi)<br />
<br />
170. Fine Arts: Chinese Paper Cutting 1601 <br />
<br />
171. Science and Technology: Taobao(淘宝) 1611<br />
<br />
172. Traditional Craft: Bronze 1623<br />
<br />
173. Entertainment: Deyunshe 德云社 1631<br />
<br />
174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br />
<br />
175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br />
<br />
176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br />
<br />
177. stage entertainment:Yuan drama 1676<br />
<br />
178. Music and instruments: Erhu 1685<br />
<br />
179. Traditional and Modern Views on Marriage and Love 1694 (Liu Yunxi)<br />
<br />
180. Traditional Cuisine: Tangyuan 1701<br />
<br />
181. Animals：Golden Monkey 1712（Xiao Yawen）<br />
<br />
182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br />
<br />
183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br />
<br />
184. The Chinese tradition of ancestor worship 1740<br />
<br />
185. Opera: Huangmei opera 1752 （Chu Hanqi）<br />
<br />
186. The “reference” of Chinese Music 1759<br />
<br />
187. Chinese Folk Art:Lion Dance 1767<br />
<br />
188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br />
<br />
189. Clothing: Vintage Clothing 1790<br />
<br />
190. Fine arts:Kunqu Opera 1798<br />
<br />
191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br />
<br />
192. National Belief: the Chinese Dream 1818<br />
<br />
193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
<br />
194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br />
<br />
195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br />
<br />
196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br />
<br />
198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br />
<br />
199. Traditional Crafts: Dough Sculpture 面塑 1845<br />
<br />
200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br />
<br />
201. The culture of Grass cloth 夏布 1845 <br />
<br />
202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br />
<br />
203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br />
<br />
204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
<br />
205. Bride-price（彩礼） 1845 <br />
<br />
206. Chinese science fiction movies 中国科幻片 1845<br />
<br />
207. Shandong cuisine鲁菜 1845(Lu Wei)<br />
<br />
208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)<br />
<br />
209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br />
<br />
210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br />
<br />
211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br />
<br />
212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br />
<br />
213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br />
<br />
214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845 (Cai Yichun)<br />
<br />
215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br />
<br />
216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br />
<br />
217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br />
<br />
218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br />
<br />
219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br />
<br />
220. Rice cake (年糕) 1845 （Dong Jiating）<br />
<br />
221. Zhongyuan festival 1845 （Ou Huang）<br />
<br />
222. Dulong: Facial tattoo (独龙族：纹面) 1845<br />
<br />
223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br />
<br />
224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br />
<br />
225. "Cun Chao": China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br />
<br />
226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br />
<br />
227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)<br />
<br />
228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br />
<br />
229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br />
<br />
230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br />
<br />
231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br />
<br />
232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br />
<br />
233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br />
<br />
234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br />
<br />
235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br />
<br />
236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br />
<br />
237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br />
<br />
238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br />
<br />
239. Female Emperor---Wu Zetian 1845 (Song Xin)<br />
<br />
240. Clay sculpture (泥塑） 1845 (Chen Lin)<br />
<br />
241. Abacus (中国珠算） 1845<br />
<br />
242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br />
<br />
243. Chinese name（中国姓名文化） 1845 <br />
<br />
244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br />
<br />
245. Douzhi (豆汁) 1845(Li Linyao) <br />
<br />
246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br />
<br />
247. Carved lacquer（雕漆） 1845 （Liu Qi）<br />
<br />
248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br />
<br />
249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br />
<br />
250. Language: Hakka Dialect（客家话） 1845<br />
<br />
251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br />
<br />
252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br />
<br />
253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br />
<br />
254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br />
<br />
255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br />
<br />
256. Danmu (弹幕） 1845 (Zhou Le)<br />
<br />
257. Yangshao Culture（仰韶文化） 1845<br />
<br />
258. Indigo Dyeing (蓝染) 1845<br />
<br />
259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br />
<br />
<br />
260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br />
<br />
261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br />
<br />
262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br />
<br />
263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br />
<br />
264. Single bamboo drifting（独竹漂） 1845<br />
<br />
265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br />
<br />
266. Hui Culture (徽文化) 1845(Liu Jianan)<br />
<br />
267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br />
<br />
268. Table Manners 1845（Luo Yan）<br />
<br />
269. Music of the Mongol nationality (蒙古族音乐) 1845<br />
<br />
270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br />
<br />
271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br />
<br />
272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br />
<br />
273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)[[File:Changsha Stinky Tofu.pptx]]<br />
<br />
274. God of Wealth(财神) 1845 <br />
<br />
275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br />
<br />
276. Nail art（美甲） 1845 （Luo Jiaxin）<br />
<br />
277. Mirror (镜子) 1845 (Cheng Sixiang) <br />
<br />
278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br />
<br />
279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br />
<br />
280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br />
<br />
281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br />
<br />
282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br />
<br />
283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br />
<br />
=Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br />
==Teacher presentation: Introduction to Culture==<br />
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
==Topics for today==<br />
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br />
<br />
You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br />
<br />
Please remember that you have to indicate the 10 topics for Friday on the course website under "Session 2" with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br />
<br />
27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br />
<br />
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br />
<br />
55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br />
<br />
76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br />
<br />
85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br />
<br />
Tea Latte Art (Xiang Jianning)<br />
<br />
Topic 7<br />
<br />
Topic 8<br />
<br />
Topic 9<br />
<br />
Topic 10<br />
<br />
=Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br />
==Presentations==<br />
1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br />
<br />
2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br />
<br />
3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br />
<br />
4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br />
<br />
5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br />
<br />
6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br />
<br />
7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br />
<br />
==Notes on presentations==<br />
Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br />
<br />
1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. "Black tea" (in English all "hong cha" is called "black tea"), British tea culture (add milk)<br />
<br />
2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br />
<br />
3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br />
<br />
4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br />
<br />
5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br />
<br />
6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br />
<br />
7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br />
<br />
==Student grades: 平时成绩/签到==<br />
<br />
<br />
75/103 students, 24级 MA翻译, class representative: Zhang Jiaxin<br />
# Jin Yichen <br />
# lu jiahui <br />
# li yuan<br />
# cao yuan<br />
# xiao luyu<br />
# zhang jiaxin +5<br />
# ye sitong<br />
# zhao yashi<br />
# jiang xinyue<br />
# yan xiang<br />
# fei xinyu <br />
# zhang qi<br />
# dai shiru<br />
# zhang zixi<br />
# zheng kaiwu<br />
# cai yichun<br />
# yang jing<br />
# liao dan<br />
# luo yan<br />
# qin yi<br />
# shao keyuan<br />
# cao chunyang<br />
# xu yangyang<br />
# liao zuoyun<br />
# cheng sixiang<br />
# du jiangping<br />
# liu qi<br />
# miao yunlong<br />
# huang qiaoqiao<br />
# chen lin<br />
# duan binyao<br />
# li ting<br />
# zeng zhi<br />
# xing xueqing<br />
# luo jingyan<br />
# liu shutian<br />
# gao xiaoqing<br />
# chen zhen<br />
# luo guoqiang -1-1-1<br />
# she xiao <br />
# he yunfeng <br />
# liu ying<br />
# du yuan <br />
# li jiayi <br />
# tao yao <br />
# xu xinwen <br />
# ou huang <br />
# liu peini<br />
# jiang ziqiang<br />
# zhang huifang<br />
# liu chao<br />
# liu yunxi <br />
# luo jiaxin<br />
# li mei<br />
# zeng xiaohui<br />
# huang yixuan<br />
# chen anqi<br />
# chen ting<br />
# zhang mai<br />
# yuan xiaolin -1-1<br />
# li mingfeng<br />
# dai yexun-1-1<br />
# yang pei -1<br />
# tang yan<br />
# xiang jianning-1<br />
# liu chang -1<br />
# wang yuxin<br />
# lv jiahao-1<br />
# dong jiating<br />
# lu wei<br />
# yang yue<br />
# guo cili<br />
# shen shuai<br />
# Ouyang yihong<br />
# li zihan -1<br />
# zuo fang<br />
# fu sihui<br />
# xiao zixin -1<br />
# zhou tianyi -1<br />
# qi zhiyang -1-1<br />
# liu pei <br />
# gong wei<br />
# chen sisi<br />
# huang sinan<br />
# xiao yikang<br />
# yu jingfang<br />
# luo sicheng<br />
# yang jiahong<br />
# yan jidong<br />
# xiao yawen<br />
# geng hongmei<br />
# zhou le<br />
# qiu ping<br />
# wang huaixing<br />
# wang xinyu<br />
# chu hanqi<br />
# wu jiating<br />
# zhang meiling<br />
# liu jianan<br />
# song xin<br />
# zhao qi<br />
# zheng jinlian<br />
# li linyao<br />
<br />
=Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br />
#Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]<br />
#Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]<br />
#Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br />
#Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br />
#Topic 182: Chinese Economy: rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]<br />
#Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin) [[Media:Tanghulu_Spring_2025.pptx]]<br />
#Topic 138: Social: Round Table Culture 1317 (Wu Jiating) [[Media:Round_Table_Culture_Spring_2025.pptx]]<br />
#Topic 174: Jiaozi (Liu Pei) [[Media:Dumplings_Spring_2025.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)<br />
<br />
=Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br />
#Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]<br />
#Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]<br />
# Topic 131: Silk and porcelain: Silk (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]<br />
# Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]<br />
# Topic 169: Cuisine: Luosifen 1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]<br />
# Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]<br />
# Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]<br />
# Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]<br />
<br />
=Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br />
<br />
#Topic 188:Mobile Games 手游 1783 （Du Jiangping）[[Media:Mobile Games.pdf]]<br />
#Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）)[[Media:Aesthetic_ideals_and_social_customs-_The_Culture_of_Flowers.pptx]]<br />
#Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
#Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]<br />
#Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]<br />
#Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]<br />
#Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）<br />
#Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
=HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br />
清明节4月4日——4月6日<br />
=Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=<br />
#Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）<br />
#Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]<br />
#Topic 181:Animals：Golden Monkey(Xiao Yawen)<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)[[Media:Chinese_Electtic_Vehicles_Geng_hongmei.pptx]]<br />
#Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
#Topic 220:Rice cake 年糕 (Dong Jiating)<br />
#Topic 208:Chinese traditional ornament: Buyao(Yang Jing)<br />
#Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]<br />
#Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]<br />
<br />
=Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br />
#Topic 213: Chinese Dreamcore (Zhang Zixi)[[Media:Chinese Dreamcore.pptx]]<br />
#Topic 215: Live-streaming e-commerce (Tao Yao)[[Media:Live-Streaming E-Commerce.pptx]]<br />
#Topic 216: The Story of Ming Lan (Ye Sitong)[[Media:The Story of Minglan.pptx]]<br />
#Topic 218: Guangdong Herbal tea (Gao Xiaoqing)<br />
#Topic 219: Chinese traditional art form：Seal carving（篆刻） (Huang Qiaoqiao)[[Media:Seal carving.pptx]]<br />
#Topic 207: Shan Dong Cuisine (Lu Wei) [[Media:Lu_Wei-207-Shandong_Cuisine.pptx]]<br />
#Topic 221: Zhongyuan Festival (Ou Huang)[[Media:The Zhongyuan Festival.pptx]]<br />
#Topic 223: The Return of the Pearl Princess (Lu Jiahui)[[Media:The Return of the Pearl Princess.pptx]]<br />
<br />
=Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br />
#Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)[[Media:ChaBaiXi.pptx]]<br />
#Topic 225: Cun Chao": China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br />
#Topic 227: Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)[[Media:Chinese_Bossy_Fictions_and_Microdramas.pptx]]<br />
#Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]<br />
#Topic 230: Gayageum（伽倻琴）(Zhang Meiling) [[Media:Gayageum.pptx]]<br />
#Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)<br />
#Topic 232: Sun Wukong(Li Yuan)[[Media:0425 Sun Wukong.pptx]]<br />
#Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]<br />
#Topic 235: Bamboo Weaving(Chen Anqi)<br />
#Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)[[Media:Harbin Ice and Snow World.pptx]]<br />
<br />
==Please enroll in ai platform==<br />
Please enroll (register) in the platform https://dcg.de/ai/<br />
<br />
=HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br />
劳动节5月1日——5月5日<br />
<br />
=Session 12 Tue May 06 10:00-11:40 room 613 - Student presentations=<br />
#Topic 238: Three Famous Chinese Mountains(Liu Chang)<br />
#Topic 239: Female emperor-Wu Zetian(女皇武则天)(Song Xin) [[Media:Wu Zetian.pptx]]<br />
#Topic 240: Clay sculpture (泥塑）(Chen Lin)[[Media:Clay Sculpture.pptx]]<br />
#Topic 242: Hunan Rice Noodles(Gong Wei)[[Media:Hunan Rice Noodles.pptx]]<br />
#Topic 244: Chinese Popular Memes(中国网络流行热梗）(Xiao Yikang)[[Media:Chinese popular Memes.pptx]] <br />
#Topic 245: Douzhi (豆汁)(Li Linyao)[[Media:Douzhi.pptx]]<br />
#Topic 246: New Year Wood-block Paintings(Du Yuan)[[Media:Du Yuan New Year Wood-block Painting.pptx]]<br />
#Topic 247: Carved lacquer（雕漆）(Liu Qi)[[Media:Carved lacquer.pptx]]<br />
#Topic 237: Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)(Li Zihan)<br />
<br />
==Regarding Wu Zetian‘s blank Steele==<br />
关于武则天的“无字碑”（又称“无字碑记”）为何没有刻字，学界和民间流传着几种主要的假设：<br />
#功过自有后人评说（最广为流传）：武则天希望后世自己来评价她的一生，不愿由自己或当时的人定论。这种说法强调了她的自信与超越常规。<br />
#避讳批评或争议：武则天是中国历史上唯一的女皇帝，争议颇多。她可能认为无论写什么内容都容易引发非议，因此选择不刻字以避免争议。<br />
#彰显佛教思想：她信奉佛教，而佛教讲究“空”与“无”，无字碑可能象征“空性”或“无常”，体现她的宗教哲学。<br />
#未来自我书写：也有人猜测她原计划晚年或死前再刻碑文，但去世后未及实现，遂留下空碑。<br />
#彰显权力与独特性：无字碑作为一种非同寻常的表达形式，也可视为权力和个性的象征，显示她与众不同的统治地位。<br />
<br />
⸻<br />
<br />
English Translation:<br />
<br />
There are several main hypotheses about why Wu Zetian’s stele (often called the “Wordless Stele”) bears no inscription:<br />
#“Let future generations judge” (most popular view): Wu Zetian may have wanted her life and legacy to be judged by later generations rather than writing her own praise. This interpretation highlights her confidence and forward-thinking.<br />
#To avoid criticism or controversy: As the only female emperor in Chinese history, Wu Zetian was a controversial figure. She may have felt that any written content could provoke criticism, so she left it blank.<br />
#Reflecting Buddhist philosophy: A devout Buddhist, she may have chosen to leave the stele blank as a symbol of “emptiness” or impermanence, ideas central to Buddhist thought.<br />
#Intended to write later: Some believe she planned to inscribe it later in life but passed away before doing so, leaving the monument unfinished.<br />
#Symbol of power and uniqueness: A blank stele could also serve as a unique and powerful statement, emphasizing her exceptional status and breaking with traditional forms.<br />
<br />
=Session 13 Fri May 09 14:30-16:10 room 613 - Student presentations=<br />
#Topic 248: Jing Gang Mountain (井冈山）(Yu Jingfang) [[Media:Jing_Gang_Mountain_Spring_2025.pptx]]<br />
#Topic 251: Rice noodle roll (Li Mingfeng)[[Media:Rice_Noodle_Roll.pptx]]<br />
#Topic 252: Traditional Cuisine: Northeastern Chinese Cuisine (Liu Shutian)<br />
#Topic 253: Yuelu Mountain (Chen Ting) [[Media:Yuelu_Mountain.pptx]]<br />
#Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional_Crafts_Tie-Dye.pptx]]<br />
#Topic 255: Chinese-style sun protection (Zhao Yashi)[[ File:Chinese-style Sun Protection.pdf]]<br />
#Topic 256: Danmu（弹幕）(Zhou Le)[[Media:Danmu.pptx]]<br />
#Topic 259: Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua (Zhou Tianyi)<br />
#Topic 214: Luban China's inventor (Cai Yichun)<br />
<br />
=Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br />
#Topic 262: The Four Pillars of Destiny(Li Jiayi)<br />
#Topic 263: Shaolin Temple(Zuo Fang)<br />
#Topic 265: Cuisine: Changde spicy salted duck(Xing Xueqing)<br />
#15:25-15:30 Topic 266: Hui Culture (徽文化)(Liu Jianan)[[Media:Hui Culture.pptx]]<br />
#15:30- Topic 267: Ma Zu Culture (妈祖文化)(Yan Jidong)[[Media:Mazu culture.pptx]]<br />
#15:35- Topic 268: Table manner(Luo Yan)[[Media:Table manner.pptx]]<br />
#15:40- Topic 270: Yingge Dance(Jiang Xinyue)[[Media:Yingge Dance.pptx]]<br />
#15:45- Topic 271: Palace Lantern(Shao Keyuan)<br />
#15:50- Topic 272: Chinese Endearing Terms(Zeng Zhi)[[Media:Chinese Endearing Terms.pptx]]<br />
<br />
15:55-16:10 Check final exam paper topics<br />
<br />
=Session 15 Tue May 27 10:00-11:30 中和楼 213 (moved from Fri May 30 14:30-16:10 room 613) - Student presentations=<br />
#Topic 273: Changsha Stinky Tofu（长沙臭豆腐）(Luo Sicheng)[[Media:Changsha Stinky Tofu.pptx]]<br />
#<nowiki>Topic 274:</nowiki> God of wealth(Liu Ying)<br />
#Topic 275: Zhua zhou (抓周）(Zeng Xiaohui)<br />
#Topic 276: Nail art(Luo Jiaxin)[[Media:Nail_Art.pptx]]<br />
#Topic 277: Mirror(Cheng Sixiang)[[Media:Mirror_Cheng Sixiang.pptx]]<br />
#Topic 278: The Beef Board Noodles(Yan Xiang)[[Media:Beef Board Noodles.pptx]]<br />
#Topic 279: Huo Qubing(Luo Jingyan)<br />
#Topic 280: Chinese Courtyard Houses（中国四合院）(Guo Cili)[[Media:Chinese Courtyard Houses-Guo Cili.pptx]]<br />
#Topic 281: yangqin(Dai Yexun)<br />
<br />
=Session 16 Fri Jun 6 14:30-16:10 room 613=<br />
#Topic 282: Black Myth: Wukong (Chen Zhen)<br />
#Topic 283: Guangdong Morning Tea Culture (Yuan Xiaolin)[[Media:Guangdong_Morning_Tea.pptx]]<br />
#Topic 283: Guangdong Morning Tea Culture （广东早茶文化）(Zheng Jinlian)[[Media:Guangdong Morning Tea Culture-Zheng Jinlian.pptx]]<br />
#Topic:(Luo Guoqiang) Liuyang Fireworks <br />
<br />
“When flaming trees join silver flowers in one blaze, and bridges of stars unlock their iron gates,” fireworks have, since ancient times, embodied humanity’s yearning for prosperity and blessings. These luminous spectacles paint the night sky with dreamlike beauty, symbolizing hopes for a better life. When it comes to fireworks, one cannot overlook Liuyang, a city renowned as the “Home of Chinese Fireworks.” With over a thousand years of craftsmanship, Liuyang has given birth to fireworks that captivate the world.<br />
<br />
The origins of Liuyang fireworks can be traced back to the Tang Dynasty. Legend has it that Li Tian, revered as the “Forefather Saint of Firecrackers,” filled bamboo tubes with gunpowder to dispel plagues. The explosive force and resulting smoke were believed to purify the environment, marking the rudiments of firecrackers. Through generations of inheritance and innovation, Liuyang’s artisans continuously refined their craft. From the rudimentary bamboo-tube firecrackers of old times to the “string firecrackers” wrapped in paper and hemp stems during the Song Dynasty, and finally to today’s vibrant, intricately designed displays, Liuyang fireworks chronicle the evolution of traditional Chinese craftsmanship. During the Ming and Qing dynasties, Liuyang’s fireworks industry thrived, becoming a cornerstone of local handicrafts and expanding its reach nationwide and abroad. In the first year of the Yongzheng reign of the Qing Dynasty, Liuyang firecrackers were selected as imperial tributes, a testament to their superior quality. By the Qianlong era, they dominated the Hunan region, and during the Guangxu period, exports reached Asian countries like Japan, India, and Korea.<br />
<br />
A millennium of heritage has not only bestowed profound cultural depth upon Liuyang fireworks but also forged their unique brand identity. In 2006, the art of Liuyang fireworks craftsmanship was inscribed on China’s first batch of National Intangible Cultural Heritage lists, acknowledging its invaluable cultural significance. Today, Liuyang stands as the world’s largest production, trade, and research hub for fireworks. Home to over 400 manufacturing enterprises and thousands of associated businesses, it generates an annual output value exceeding 50 billion RMB, accounting for 70% of China’s total fireworks exports. These products reach more than 100 countries across the Americas, Europe, and Southeast Asia, solidifying Liuyang’s reputation as the global epicenter of fireworks.<br />
<br />
However, the modern era presents new challenges for the fireworks industry. Safety and environmental protection have emerged as critical constraints. Historically, Liuyang’s fireworks relied on family-run workshops, posing significant safety risks. To address this, the local government relocated enterprises to mountainous areas, promoting industrial standardization, scale, and modernization. Leveraging big data and AI, they established comprehensive, intelligent supervision systems to ensure safety at every production stage. In terms of environmental protection, Liuyang’s enterprises collaborated with prestigious universities, such as Nanjing University of Science and Technology and Beijing Institute of Technology, to develop new materials, techniques, and products. Their efforts have led to the creation of low-smoke, sulfur-free, and low-dust fireworks, redefining the industry’s ecological footprint.<br />
<br />
In response to market shifts and technological advancements, a new generation of Liuyang’s “fireworks innovators” drives industry transformation. They have introduced products like “Urban Fireworks,” designed for urban settings. These safe, eco-friendly items blend aesthetic appeal with social interactivity, winning favor among young consumers. Innovating sales strategies, they integrate online and offline channels, utilizing “new retail” stores, Vlogs, and video platforms to reach wider audiences. Additionally, Liuyang has developed a “fireworks economy,” integrating pyrotechnics with cultural tourism. Since 2023, weekly weekend fireworks show at the Sky Theater have hosted over a hundred events, attracting 5 million visitors and generating 15 billion yuan in revenue. These shows combine cutting-edge technologies like drones and AI with cultural IPs, creating immersive experiences that have transformed Liuyang fireworks from a regional brand into a global cultural icon.<br />
<br />
Emerging from the depths of history, Liuyang fireworks embrace the new era with innovation as their brush and culture as their ink. Against the backdrop of safety and sustainability, they paint a future more resplendent than ever. Serving as Liuyang’s cultural ambassador and a vivid example of traditional Chinese culture’s modern evolution, Liuyang fireworks continue to shine brightly, a timeless beacon of human ingenuity.<br />
<br />
浏阳烟花<br />
<br />
“火树银花合，星桥铁锁开。” 烟花，自古以来就承载着人们对美好生活的向往与祝福，在夜空中绽放出如梦如幻的美景。而提及烟花，就不得不提湖南浏阳 —— 这座被誉为 “中国烟花之乡” 的城市，它以千余年的烟花制作历史，孕育出了享誉全球的浏阳烟花。<br />
<br />
浏阳烟花的历史，最早可追溯到唐代。相传，“爆竹祖师” 李畋为驱散疫病，将火药装填于竹筒之中，利用爆炸产生的气浪与硝烟来改善环境，这便是鞭炮的雏形。此后，经过历代浏阳人的传承与创新，烟花制作工艺不断改进。从最初简单的竹筒爆竹，发展到宋代用纸筒和麻茎裹火药编成的 “编炮”，再到后来色彩斑斓、造型各异的烟花，浏阳烟花的发展历程见证了中国传统手工艺的演变与进步。到了明清时期，浏阳烟花的生产已颇具规模，成为当地重要的手工行业，并逐渐走向全国乃至世界。清雍正元年，浏阳鞭炮因其制作精良，被选为贡品，这无疑是对其品质的极高赞誉。至乾隆年间，浏阳花炮已称雄于湖南的三湘四水；光绪年间，更是达到极盛时期，产品远销日本、印度、朝鲜等亚洲国家。<br />
<br />
千年的历史传承，不仅让浏阳烟花积累了深厚的文化底蕴，更铸就了其独特的品牌魅力。2006 年，浏阳花炮制作技艺列入第一批国家级非物质文化遗产名录，这是对浏阳烟花文化价值的高度认可。如今，浏阳已成为全球最大的烟花爆竹生产贸易基地和科研中心，拥有 400 余家烟花生产企业及上千家产业链上下游企业，花炮年产值超 500 亿元，出口占全国出口总量的 70%，产品销往美洲、欧洲、东南亚等 100 多个国家和地区，“世界烟花看浏阳” 的美誉名副其实。<br />
<br />
然而，随着时代的发展，烟花产业也面临着诸多挑战。安全与环保，成为了制约其发展的两大关键因素。过去，浏阳烟花多以家庭式作坊生产为主，安全隐患较大。为了改变这一现状，浏阳市政府果断采取措施，将烟花企业 “赶上山”，推动产业向工厂化、规模化、标准化发展。同时，借助大数据监控和人工智能平台，实现了对烟花爆竹生产全过程、全方位、智能化的安全监管。在环保方面，浏阳烟花企业积极开展科研攻关，与南京理工大学、北京理工大学等高等院校广泛合作，研发新材料、新工艺、新产品，致力于打造低碳、绿色、环保的烟花新形象。如今，微烟、无硫、少尘已成为浏阳烟花生产的关键词。<br />
<br />
面对市场变化和技术革新，新一代浏阳 “烟花人” 积极创新，推动烟花产业转型升级。一方面，他们重新定义产品，推出了 “城市烟花” 等适合城市休闲场景的新产品，这类产品安全性高、污染小，且有颜值与社交属性，深受年轻消费者喜爱。另一方面，创新销售方式，通过打造 “新零售” 门店、拍摄 Vlog、搭建视频号矩阵等线上线下融合的方式，让烟花走进更多消费者的世界。此外，浏阳还大力发展 “烟花经济”，将烟花与文化旅游产业深度融合。自 2023 年以来，每周六在天空剧院推出的周末焰火秀，已累计举办各类焰火燃放活动百余场，吸引游客 500 万人次，拉动消费 150 亿元。创意焰火秀通过与无人机、AI 等新科技相结合，以及融入国风、虚拟人物、热门影视等 IP 元素，为观众带来了一场场精彩纷呈的沉浸式视觉盛宴，也让浏阳花炮实现了从区域性品牌向国际知名 IP 的蝶变升级。<br />
<br />
从历史深处走来的浏阳烟花，在新时代的浪潮中，正以创新为笔，以文化为墨，在安全与环保的底色上，描绘出更加绚烂多彩的未来画卷。它不仅是浏阳的城市名片，更是中国传统文化在现代社会中传承与发展的生动例证，绽放永不落幕的璀璨光芒。<br />
<br />
=Deadline extended to June 20, 2025 - Final Exam=<br />
<span style="color:red">Please upload your ppt if you not have done so so far.</span><br />
[[Media:282_Black_Myth_Wukong_Chen_Zhen.pptx]]<br />
<br />
Topic 196:[[Media:Chinese_Electtic_Vehicles_Geng_hongmei.pptx]]<br />
<br />
[[Media:ChaBaiXi.pptx]]<br />
<br />
==Grading Criteria for Powerpoint Presentations==<br />
#Was the presentation based on scientific facts, did the presenter also conduct some research on the topic and did he/she also add her own experience or her own opinion/perspective and marking the two different perspectives as factual/subjective? Did the presentation avoid absolute judgments like "good" or "best", but did it instead use vocabulary like "fascinating", "surprising" etc. and also indicated to whom it is fascinating/surprising etc. and why?<br />
#Was the presentation successful? Did it catch the attention of the audience over the whole time? Was the presenter persuading? Was the audience excited/fascinated? Did the audience learn something? (Or was the audience bored and talked the whole time without paying attention to the presenter?)<br />
#Formal things: Was the speaker good to hear (loud/clear)? Did he make a self-confident impression and did he know his topic? Did the speaker speak freely and not read out? Where there meaningful pictures and graphs on the slides and only a few keywords, well sorted by numbers or bullet points (or was the powerpoint merely a text desert of small size script with the script being copied onto the slides)?<br />
#Was the presentation appropriate to the topic?<br />
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?<br />
#Was the presentation not too short and not too long in time, but as long as the other presentations, so that all presentations of the day could be presented?<br />
#Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?<br />
#Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?<br />
#Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?<br />
#Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?<br />
#Did you present your ppt file in the full screen mode?<br />
#Did you arrive early in classroom to copy your file onto the desktop of the class computer and did you check it and also any embedded or accompanying video files etc. if everything works properly including sound?<br />
#Did the presentation avoid deadly mistakes like plagiarism, using ai without indicating it (if you use ai to create the presentation, you need to indicate the platform and the full prompt you gave to ai and the main adjustments you did to the prompt), using ideology, patriotism, politics, religious beliefs, advertisement for products, ignorance (e.g. that a cultural phenomenon is wide spread in Asia and the origin is unclear, but claiming it was Chinese and originated in China), racism, prejudices, telling lies, spreading false rumors etc.?<br />
<br />
==How to write your final exam paper?==<br />
Most of you have written their papers. However, please watch these guidelines, add page numbers to the paper sources you use, add answers to the questions and follow the special rules for ai usage if you used ai. Just write it like the other chapters in the textbook on your personal wiki homepage beneath the learning progress diary until <span style="color:red"><br />
'''New deadline to fulfill these more specified requirements: June 20, 2025'''.</span><br />
<br />
About 1000 words in English, followed by a Chinese translation (no machine translation). You can also write in Chinese and translate into English. Both texts need to be like the other papers in the textbook.<br />
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===Sections===<br />
Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.<br />
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The AI statement should look like this:<br />
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I hereby guarantee that I have not used the help of AI to write my final paper in this course.<br />
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or, if you actually use AI<br />
<br />
<span style="color:red">'''How about letting AI write for me?'''<br />
<br />
Your AI statement in the References section needs to look like this:<br />
<br />
To help me to write my final paper, I have used the following AI chatbot: ... I have prompted the chatbot with the following prompt: "..." I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: "...." or manually correcting the following references: ... Written the following passage new: ...).<br />
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If you use AI, not your paper will be graded, but your prompt and adjustments<br />
<br />
===References===<br />
*Please add the sources in the form "(Wang 2020, 445)" behind each paragraph and with a long entry in the References section.<br />
*In the References section, please add at least 1-2 Western sources. It is always good to relate the Chinese tradition to similar traditions in other countries.<br />
*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.<br />
<br />
===Formatting===<br />
*Please also add free lines at places where you want to have a line break, e.g. after a header.</span><br />
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[[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168504User:Du Yuan2025-06-13T05:06:41Z<p>Du Yuan: /* 人工智能声明 */</p>
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<div>==Tea Whisking==<br />
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===The History of Tea Whisking===<br />
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Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
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[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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===The Steps of Tea Whisking===<br />
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The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
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The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
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Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
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The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as water tea-ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
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===The Modern Inheritance and Development of Tea Whisking===<br />
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The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
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Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
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As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
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===Reference===<br />
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[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
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[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese Agricultural History, 44(02):3–13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
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[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
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[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
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[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizTo-GGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
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[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
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[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
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[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
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[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
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===Terms and Expressions===<br />
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Tea Whisking - 点茶 <br />
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Clinging to the bowl - 咬盏<br />
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Warming the tea bowl - 熁盏<br />
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Tea froth art - 茶百戏<br />
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Tea froth - 汤花 <br />
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Mixing the paste - 调膏 <br />
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Whisking - 击拂<br />
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Water tea-ink painting - 水丹青<br />
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Four Principles and Seven Rules - 四规七则 <br />
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===Questions===<br />
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1.In which dynasty did Tea Whisking reach its peak?<br />
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2.What is the cultural significance of Tea Whisking?<br />
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3.What are the main steps of Tea Whisking?<br />
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4.Why is it necessary to warm the tea bowl before Tea Whisking?<br />
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5.What are making the paste and whisking, and what roles do they play in Tea Whisking?<br />
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6.How did Tea Whisking spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
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===Answers===<br />
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1.In the Song Dynasty.<br />
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2.It was a medium of cultural interaction, reflecting the Song literati's pursuit of an elegant lifestyle and connotations of self-cultivation and refinement.<br />
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3.Water preparation, roasting tea, grinding tea, sifting tea, warming the tea bowl, mixing the paste, and whisking.<br />
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4.To maintain the tea's warmth and stabilize the foam.<br />
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5.Mixing the paste is adding a little boiling water to tea powder in the bowl to form a thick paste. Whisking is rhythmically whisking with a bamboo whisk after seven rounds of water addition to create dense foam. They are core techniques to blend powder and water and achieve the ideal tea froth.<br />
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6.Traveling monks like Eisai brought it to Japan during the Kamakura period, becoming the origin of the Japanese tea ceremony and influencing its "Four Principles and Seven Rules".<br />
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===AI statement===<br />
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1. In the translation of the terminology ‘咬盏’‘调膏’‘水丹青’‘茶百戏’‘熁盏’ and so on.However,in the first translation, ai translated ‘咬盏’ as Biting the bowl, and ‘水丹青’ as Water ink painting. After I looked up the information and discussed with ai the meanings of ‘咬盏’and ‘水丹青’. But after I looked up the information and discussed with the AI about the meaning of “biting to the bowl” and “water ink painting”, we revised it to “Clinging to the bowl” and “Water tea-ink painting” <br />
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2. Because my own translation was not smooth and academic enough. Therefore, I gave the AI instructions: You are now working as a tea expert who is fluent in Chinese and English, and now you are doing the work of spreading the history of the development of the Chinese tea industry. Please revise the English propaganda article based on the already translated Song Dynasty tea ordering article to make the content of the article easy to understand, and the steps described need to be clear and concise. If you have any feeling that the logic is not fluent or there is a problem with the connection of the content you can raise it and discuss with me"<br />
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==点茶==<br />
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===点茶的历史===<br />
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茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
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点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
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[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
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===点茶的现代传承发展===<br />
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宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
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[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
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[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
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[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
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[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
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[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizToGGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
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[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
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[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
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===生词表===<br />
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点茶 - Tea Whisking<br />
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咬盏 - Clinging to the bowl<br />
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熁盏 - Warming the tea bowl<br />
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茶百戏 - Tea froth art<br />
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汤花 - Tea froth<br />
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调膏 - Mixing the paste<br />
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击拂 - Whisking<br />
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水丹青 - Water tea-ink painting<br />
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四规七则 - Four Principles and Seven Rules<br />
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===问题===<br />
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1.点茶在哪个朝代达到鼎盛时期？<br />
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2.点茶的文化意义是什么？ <br />
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3.点茶的主要步骤有哪些？<br />
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4.为什么在点茶前需要“熁盏”？<br />
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5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
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6.点茶是如何传播到日本的？对日本茶道产生了什么影响？<br />
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===回答===<br />
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1.点茶在宋代达到巅峰。<br />
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2.点茶是文人文化互动的媒介，体现了宋代文人对雅致生活的追求，蕴含修身养性的内涵。<br />
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3.主要步骤包括备水、烤茶、碾茶、筛茶、温碗、调膏、击拂。<br />
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4.温碗是为了保持茶的温度并稳定泡沫。<br />
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5.调膏是在碗中用少量沸水将茶粉调成浓稠茶膏；击拂是分七次加水后用茶筅有节奏地搅拌，形成浓密泡沫。二者是让茶粉与水充分混合、达成理想茶沫的核心步骤。<br />
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6.南宋僧人荣西等在日本镰仓时期将点茶传入日本，成为日本茶道的起源，并影响其 “四规七则”。<br />
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===人工智能声明===<br />
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1.在翻译专业术语“咬盏”“调膏”“水丹青”“茶百戏”“熁盏”等。在第一次翻译时，ai将“咬盏”翻译为Biting the bowl，将“水丹青”译为Water ink painting.后来在我查找了资料并与ai讨论了咬盏与水丹青的含义后。我们将其修改为Clinging to the bowl和Water tea-ink painting。<br />
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2.自己翻译的语言不都通顺和学术。给了AI指令：你现在作为一个精通中英文的茶艺专家，现在正在做传播中国茶业发展史的工作。你需要翻译一篇文章给外国的游客宋朝特有的点茶，文章内容需要通俗易懂，描述的步骤要清晰明了。如你有任何觉得逻辑不通顺或者内容衔接有问题的地方可以提出来并与我讨论”</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168503User:Du Yuan2025-06-13T05:03:27Z<p>Du Yuan: /* AI statement */</p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
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Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
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[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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===The Steps of Tea Whisking===<br />
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The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
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The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
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Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
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The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as water tea-ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
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===The Modern Inheritance and Development of Tea Whisking===<br />
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The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
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Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
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As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
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===Reference===<br />
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[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese Agricultural History, 44(02):3–13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
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[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
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[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
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[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizTo-GGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
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[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
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[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
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[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
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[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
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Tea Whisking - 点茶 <br />
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Clinging to the bowl - 咬盏<br />
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Warming the tea bowl - 熁盏<br />
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Tea froth art - 茶百戏<br />
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Tea froth - 汤花 <br />
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Mixing the paste - 调膏 <br />
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Whisking - 击拂<br />
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Water tea-ink painting - 水丹青<br />
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Four Principles and Seven Rules - 四规七则 <br />
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===Questions===<br />
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1.In which dynasty did Tea Whisking reach its peak?<br />
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2.What is the cultural significance of Tea Whisking?<br />
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3.What are the main steps of Tea Whisking?<br />
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4.Why is it necessary to warm the tea bowl before Tea Whisking?<br />
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5.What are making the paste and whisking, and what roles do they play in Tea Whisking?<br />
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6.How did Tea Whisking spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
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===Answers===<br />
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1.In the Song Dynasty.<br />
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2.It was a medium of cultural interaction, reflecting the Song literati's pursuit of an elegant lifestyle and connotations of self-cultivation and refinement.<br />
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3.Water preparation, roasting tea, grinding tea, sifting tea, warming the tea bowl, mixing the paste, and whisking.<br />
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4.To maintain the tea's warmth and stabilize the foam.<br />
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5.Mixing the paste is adding a little boiling water to tea powder in the bowl to form a thick paste. Whisking is rhythmically whisking with a bamboo whisk after seven rounds of water addition to create dense foam. They are core techniques to blend powder and water and achieve the ideal tea froth.<br />
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6.Traveling monks like Eisai brought it to Japan during the Kamakura period, becoming the origin of the Japanese tea ceremony and influencing its "Four Principles and Seven Rules".<br />
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===AI statement===<br />
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1. In the translation of the terminology ‘咬盏’‘调膏’‘水丹青’‘茶百戏’‘熁盏’ and so on.However,in the first translation, ai translated ‘咬盏’ as Biting the bowl, and ‘水丹青’ as Water ink painting. After I looked up the information and discussed with ai the meanings of ‘咬盏’and ‘水丹青’. But after I looked up the information and discussed with the AI about the meaning of “biting to the bowl” and “water ink painting”, we revised it to “Clinging to the bowl” and “Water tea-ink painting” <br />
<br />
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2. Because my own translation was not smooth and academic enough. Therefore, I gave the AI instructions: You are now working as a tea expert who is fluent in Chinese and English, and now you are doing the work of spreading the history of the development of the Chinese tea industry. Please revise the English propaganda article based on the already translated Song Dynasty tea ordering article to make the content of the article easy to understand, and the steps described need to be clear and concise. If you have any feeling that the logic is not fluent or there is a problem with the connection of the content you can raise it and discuss with me"<br />
<br />
==点茶==<br />
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===点茶的历史===<br />
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茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
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点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
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[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
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===点茶的现代传承发展===<br />
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宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
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===参考文献===<br />
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[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
<br />
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[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
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[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizToGGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
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[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
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[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
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[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
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===生词表===<br />
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点茶 - Tea Whisking<br />
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咬盏 - Clinging to the bowl<br />
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熁盏 - Warming the tea bowl<br />
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茶百戏 - Tea froth art<br />
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汤花 - Tea froth<br />
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调膏 - Mixing the paste<br />
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击拂 - Whisking<br />
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水丹青 - Water tea-ink painting<br />
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四规七则 - Four Principles and Seven Rules<br />
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===问题===<br />
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1.点茶在哪个朝代达到鼎盛时期？<br />
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2.点茶的文化意义是什么？ <br />
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3.点茶的主要步骤有哪些？<br />
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4.为什么在点茶前需要“熁盏”？<br />
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5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
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6.点茶是如何传播到日本的？对日本茶道产生了什么影响？<br />
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===回答===<br />
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1.点茶在宋代达到巅峰。<br />
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2.点茶是文人文化互动的媒介，体现了宋代文人对雅致生活的追求，蕴含修身养性的内涵。<br />
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3.主要步骤包括备水、烤茶、碾茶、筛茶、温碗、调膏、击拂。<br />
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4.温碗是为了保持茶的温度并稳定泡沫。<br />
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5.调膏是在碗中用少量沸水将茶粉调成浓稠茶膏；击拂是分七次加水后用茶筅有节奏地搅拌，形成浓密泡沫。二者是让茶粉与水充分混合、达成理想茶沫的核心步骤。<br />
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6.南宋僧人荣西等在日本镰仓时期将点茶传入日本，成为日本茶道的起源，并影响其 “四规七则”。<br />
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===人工智能声明===<br />
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1.在翻译专业术语“咬盏”“调膏”“水丹青”“茶百戏”“熁盏”等。在第一次翻译时，ai将“咬盏”翻译为Biting the bowl，将“水丹青”译为Water ink painting.后来在我查找了资料并与ai讨论了咬盏与水丹青的含义后。我们将其修改为Clinging to the bowl和Water tea-ink painting<br />
2.自己翻译的语言不都通顺和学术。给了AI指令：你现在作为一个精通中英文的茶艺专家，现在正在做传播中国茶业发展史的工作。你需要翻译一篇文章给外国的游客宋朝特有的点茶，文章内容需要通俗易懂，描述的步骤要清晰明了。如你有任何觉得逻辑不通顺或者内容衔接有问题的地方可以提出来并与我讨论”</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168502User:Du Yuan2025-06-13T05:02:37Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
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===The History of Tea Whisking===<br />
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Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
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The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
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The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
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Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
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The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as water tea-ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
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===The Modern Inheritance and Development of Tea Whisking===<br />
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The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
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Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
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As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
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===Reference===<br />
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[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
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[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese Agricultural History, 44(02):3–13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
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[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
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[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
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[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizTo-GGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
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[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
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[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
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[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
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[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
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===Terms and Expressions===<br />
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Tea Whisking - 点茶 <br />
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Clinging to the bowl - 咬盏<br />
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Warming the tea bowl - 熁盏<br />
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Tea froth art - 茶百戏<br />
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Tea froth - 汤花 <br />
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Mixing the paste - 调膏 <br />
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Whisking - 击拂<br />
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Water tea-ink painting - 水丹青<br />
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Four Principles and Seven Rules - 四规七则 <br />
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===Questions===<br />
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1.In which dynasty did Tea Whisking reach its peak?<br />
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2.What is the cultural significance of Tea Whisking?<br />
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3.What are the main steps of Tea Whisking?<br />
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4.Why is it necessary to warm the tea bowl before Tea Whisking?<br />
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5.What are making the paste and whisking, and what roles do they play in Tea Whisking?<br />
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6.How did Tea Whisking spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
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===Answers===<br />
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1.In the Song Dynasty.<br />
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2.It was a medium of cultural interaction, reflecting the Song literati's pursuit of an elegant lifestyle and connotations of self-cultivation and refinement.<br />
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3.Water preparation, roasting tea, grinding tea, sifting tea, warming the tea bowl, mixing the paste, and whisking.<br />
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4.To maintain the tea's warmth and stabilize the foam.<br />
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5.Mixing the paste is adding a little boiling water to tea powder in the bowl to form a thick paste. Whisking is rhythmically whisking with a bamboo whisk after seven rounds of water addition to create dense foam. They are core techniques to blend powder and water and achieve the ideal tea froth.<br />
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6.Traveling monks like Eisai brought it to Japan during the Kamakura period, becoming the origin of the Japanese tea ceremony and influencing its "Four Principles and Seven Rules".<br />
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===AI statement===<br />
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1. In the translation of the terminology ‘咬盏’‘调膏’‘水丹青’‘茶百戏’‘熁盏’ and so on.However,in the first translation, ai translated ‘咬盏’ as Biting the bowl, and ‘水丹青’ as Water ink painting. After I looked up the information and discussed with ai the meanings of ‘咬盏’and ‘水丹青’. But after I looked up the information and discussed with the AI about the meaning of “biting to the bowl” and “water ink painting”, we revised it to “Clinging to the bowl” and “Water tea-ink painting” <br />
2. Because my own translation was not smooth and academic enough. Therefore, I gave the AI instructions: You are now working as a tea expert who is fluent in Chinese and English, and now you are doing the work of spreading the history of the development of the Chinese tea industry. Please revise the English propaganda article based on the already translated Song Dynasty tea ordering article to make the content of the article easy to understand, and the steps described need to be clear and concise. If you have any feeling that the logic is not fluent or there is a problem with the connection of the content you can raise it and discuss with me"<br />
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==点茶==<br />
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===点茶的历史===<br />
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茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
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点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
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[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
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===点茶的现代传承发展===<br />
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宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
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===参考文献===<br />
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[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
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[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
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[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
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[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
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[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizToGGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
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[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
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[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
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[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===生词表===<br />
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点茶 - Tea Whisking<br />
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咬盏 - Clinging to the bowl<br />
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熁盏 - Warming the tea bowl<br />
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茶百戏 - Tea froth art<br />
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汤花 - Tea froth<br />
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调膏 - Mixing the paste<br />
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击拂 - Whisking<br />
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水丹青 - Water tea-ink painting<br />
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四规七则 - Four Principles and Seven Rules<br />
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===问题===<br />
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1.点茶在哪个朝代达到鼎盛时期？<br />
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2.点茶的文化意义是什么？ <br />
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3.点茶的主要步骤有哪些？<br />
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4.为什么在点茶前需要“熁盏”？<br />
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5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
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6.点茶是如何传播到日本的？对日本茶道产生了什么影响？<br />
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===回答===<br />
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1.点茶在宋代达到巅峰。<br />
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2.点茶是文人文化互动的媒介，体现了宋代文人对雅致生活的追求，蕴含修身养性的内涵。<br />
<br />
3.主要步骤包括备水、烤茶、碾茶、筛茶、温碗、调膏、击拂。<br />
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4.温碗是为了保持茶的温度并稳定泡沫。<br />
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5.调膏是在碗中用少量沸水将茶粉调成浓稠茶膏；击拂是分七次加水后用茶筅有节奏地搅拌，形成浓密泡沫。二者是让茶粉与水充分混合、达成理想茶沫的核心步骤。<br />
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6.南宋僧人荣西等在日本镰仓时期将点茶传入日本，成为日本茶道的起源，并影响其 “四规七则”。<br />
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===人工智能声明===<br />
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1.在翻译专业术语“咬盏”“调膏”“水丹青”“茶百戏”“熁盏”等。在第一次翻译时，ai将“咬盏”翻译为Biting the bowl，将“水丹青”译为Water ink painting.后来在我查找了资料并与ai讨论了咬盏与水丹青的含义后。我们将其修改为Clinging to the bowl和Water tea-ink painting<br />
2.自己翻译的语言不都通顺和学术。给了AI指令：你现在作为一个精通中英文的茶艺专家，现在正在做传播中国茶业发展史的工作。你需要翻译一篇文章给外国的游客宋朝特有的点茶，文章内容需要通俗易懂，描述的步骤要清晰明了。如你有任何觉得逻辑不通顺或者内容衔接有问题的地方可以提出来并与我讨论”</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168501User:Du Yuan2025-06-13T05:00:28Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
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Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
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The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
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The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
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Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
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The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as water tea-ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
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The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
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Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
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As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
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===Reference===<br />
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[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese Agricultural History, 44(02):3–13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
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[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
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[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizTo-GGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
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[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
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[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
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Tea Whisking - 点茶 <br />
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Clinging to the bowl - 咬盏<br />
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Warming the tea bowl - 熁盏<br />
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Tea froth art - 茶百戏<br />
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Tea froth - 汤花 <br />
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Mixing the paste - 调膏 <br />
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Whisking - 击拂<br />
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Water tea-ink painting - 水丹青<br />
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Four Principles and Seven Rules - 四规七则 <br />
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===Questions===<br />
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1.In which dynasty did Tea Whisking reach its peak?<br />
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2.What is the cultural significance of Tea Whisking?<br />
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3.What are the main steps of Tea Whisking?<br />
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4.Why is it necessary to warm the tea bowl before Tea Whisking?<br />
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5.What are making the paste and whisking, and what roles do they play in Tea Whisking?<br />
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6.How did Tea Whisking spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
===Answers===<br />
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1.In the Song Dynasty.<br />
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2.It was a medium of cultural interaction, reflecting the Song literati's pursuit of an elegant lifestyle and connotations of self-cultivation and refinement.<br />
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3.Water preparation, roasting tea, grinding tea, sifting tea, warming the tea bowl, mixing the paste, and whisking.<br />
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4.To maintain the tea's warmth and stabilize the foam.<br />
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5.Mixing the paste is adding a little boiling water to tea powder in the bowl to form a thick paste. Whisking is rhythmically whisking with a bamboo whisk after seven rounds of water addition to create dense foam. They are core techniques to blend powder and water and achieve the ideal tea froth.<br />
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6.Traveling monks like Eisai brought it to Japan during the Kamakura period, becoming the origin of the Japanese tea ceremony and influencing its "Four Principles and Seven Rules".<br />
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===AI statement===<br />
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1. In the translation of the terminology ‘咬盏’‘调膏’‘水丹青’‘茶百戏’‘熁盏’ and so on.However,in the first translation, ai translated ‘咬盏’ as Biting the bowl, and ‘水丹青’ as Water ink painting. After I looked up the information and discussed with ai the meanings of ‘咬盏’and ‘水丹青’. But after I looked up the information and discussed with the AI about the meaning of “biting to the bowl” and “water ink painting”, we revised it to “Clinging to the bowl” and “Water tea-ink painting” <br />
2. Because my own translation was not smooth and academic enough. Therefore, I gave the AI instructions: You are now working as a tea expert who is fluent in Chinese and English, and now you are doing the work of spreading the history of the development of the Chinese tea industry. Please revise the English propaganda article based on the already translated Song Dynasty tea ordering article to make the content of the article easy to understand, and the steps described need to be clear and concise. If you have any feeling that the logic is not fluent or there is a problem with the connection of the content you can raise it and discuss with me"<br />
<br />
<br />
==点茶==<br />
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===点茶的历史===<br />
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茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
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点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
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[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
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===点茶的现代传承发展===<br />
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宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
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===参考文献===<br />
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[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
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[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
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[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
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[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
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[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizToGGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
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[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
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[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
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[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
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[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
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===生词表===<br />
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点茶 - Tea Whisking<br />
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咬盏 - Clinging to the bowl<br />
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熁盏 - Warming the tea bowl<br />
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茶百戏 - Tea froth art<br />
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汤花 - Tea froth<br />
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调膏 - Mixing the paste<br />
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击拂 - Whisking<br />
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水丹青 - Water tea-ink painting<br />
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四规七则 - Four Principles and Seven Rules<br />
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===问题===<br />
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1.点茶在哪个朝代达到鼎盛时期？<br />
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2.点茶的文化意义是什么？ <br />
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3.点茶的主要步骤有哪些？<br />
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4.为什么在点茶前需要“熁盏”？<br />
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5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
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6.点茶是如何传播到日本的？对日本茶道产生了什么影响？<br />
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===回答===<br />
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1.点茶在宋代达到巅峰。<br />
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2.点茶是文人文化互动的媒介，体现了宋代文人对雅致生活的追求，蕴含修身养性的内涵。<br />
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3.主要步骤包括备水、烤茶、碾茶、筛茶、温碗、调膏、击拂。<br />
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4.温碗是为了保持茶的温度并稳定泡沫。<br />
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5.调膏是在碗中用少量沸水将茶粉调成浓稠茶膏；击拂是分七次加水后用茶筅有节奏地搅拌，形成浓密泡沫。二者是让茶粉与水充分混合、达成理想茶沫的核心步骤。<br />
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6.南宋僧人荣西等在日本镰仓时期将点茶传入日本，成为日本茶道的起源，并影响其 “四规七则”。<br />
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===人工智能声明===<br />
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1.在翻译专业术语“咬盏”“调膏”“水丹青”“茶百戏”“熁盏”等。在第一次翻译时，ai将“咬盏”翻译为Biting the bowl，将“水丹青”译为Water ink painting.后来在我查找了资料并与ai讨论了咬盏与水丹青的含义后。我们将其修改为Clinging to the bowl和Water tea-ink painting<br />
2.自己翻译的语言不都通顺和学术。给了AI指令：你现在作为一个精通中英文的茶艺专家，现在正在做传播中国茶业发展史的工作。你需要翻译一篇文章给外国的游客宋朝特有的点茶，文章内容需要通俗易懂，描述的步骤要清晰明了。如你有任何觉得逻辑不通顺或者内容衔接有问题的地方可以提出来并与我讨论”</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168500User:Du Yuan2025-06-13T04:51:57Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
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===The History of Tea Whisking===<br />
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Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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===The Steps of Tea Whisking===<br />
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The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
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The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
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Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
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The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as water tea-ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
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===The Modern Inheritance and Development of Tea Whisking===<br />
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The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
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Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
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As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
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===Reference===<br />
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[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
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[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese Agricultural History, 44(02):3–13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
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[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
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[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
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[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizTo-GGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
<br />
[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
----<br />
<br />
<br />
Tea Whisking - 点茶 <br />
<br />
Clinging to the bowl - 咬盏<br />
<br />
Warming the tea bowl - 熁盏<br />
<br />
Tea froth art - 茶百戏<br />
<br />
Tea froth - 汤花 <br />
<br />
Mixing the paste - 调膏 <br />
<br />
Whisking - 击拂<br />
<br />
Water tea-ink painting - 水丹青<br />
<br />
Four Principles and Seven Rules - 四规七则 <br />
<br />
===Questions===<br />
----<br />
<br />
1.In which dynasty did Tea Whisking reach its peak?<br />
<br />
2.What is the cultural significance of Tea Whisking?<br />
<br />
3.What are the main steps of Tea Whisking?<br />
<br />
4.Why is it necessary to warm the tea bowl before Tea Whisking?<br />
<br />
5.What are making the paste and whisking, and what roles do they play in Tea Whisking?<br />
<br />
6.How did Tea Whisking spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
===Answers===<br />
----<br />
1.In the Song Dynasty.<br />
<br />
2.It was a medium of cultural interaction, reflecting the Song literati's pursuit of an elegant lifestyle and connotations of self-cultivation and refinement.<br />
<br />
3.Water preparation, roasting tea, grinding tea, sifting tea, warming the tea bowl, mixing the paste, and whisking.<br />
<br />
4.To maintain the tea's warmth and stabilize the foam.<br />
<br />
5.Mixing the paste is adding a little boiling water to tea powder in the bowl to form a thick paste. Whisking is rhythmically whisking with a bamboo whisk after seven rounds of water addition to create dense foam. They are core techniques to blend powder and water and achieve the ideal tea froth.<br />
<br />
6.Traveling monks like Eisai brought it to Japan during the Kamakura period, becoming the origin of the Japanese tea ceremony and influencing its "Four Principles and Seven Rules".<br />
<br />
===AI statement===<br />
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1. In the translation of the terminology ‘咬盏’‘调膏’‘水丹青’‘茶百戏’‘熁盏’ and so on.However,in the first translation, ai translated ‘咬盏’ as Biting the bowl, and ‘水丹青’ as Water ink painting. After I looked up the information and discussed with ai the meanings of ‘咬盏’and ‘水丹青’. But after I looked up the information and discussed with the AI about the meaning of “biting to the bowl” and “water ink painting”, we revised it to “Clinging to the bowl” and “Water tea-ink painting” <br />
2. Because my own translation was not smooth and academic enough. Therefore, I gave the AI instructions: You are now working as a tea expert who is fluent in Chinese and English, and now you are doing the work of spreading the history of the development of the Chinese tea industry. Please revise the English propaganda article based on the already translated Song Dynasty tea ordering article to make the content of the article easy to understand, and the steps described need to be clear and concise. If you have any feeling that the logic is not fluent or there is a problem with the connection of the content you can raise it and discuss with me"<br />
<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
<br />
[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizToGGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water tea-ink painting<br />
<br />
四规七则 - Four Principles and Seven Rules<br />
<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？<br />
<br />
===回答===<br />
----<br />
1.点茶在宋代达到巅峰。<br />
<br />
2.点茶是文人文化互动的媒介，体现了宋代文人对雅致生活的追求，蕴含修身养性的内涵。<br />
<br />
3.主要步骤包括备水、烤茶、碾茶、筛茶、温碗、调膏、击拂。<br />
<br />
4.温碗是为了保持茶的温度并稳定泡沫。<br />
<br />
5.调膏是在碗中用少量沸水将茶粉调成浓稠茶膏；击拂是分七次加水后用茶筅有节奏地搅拌，形成浓密泡沫。二者是让茶粉与水充分混合、达成理想茶沫的核心步骤。<br />
<br />
6.南宋僧人荣西等在日本镰仓时期将点茶传入日本，成为日本茶道的起源，并影响其 “四规七则”。<br />
<br />
===人工智能声明===<br />
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1.在翻译专业术语“咬盏”“调膏”“水丹青”“茶百戏”“熁盏”等。在第一次翻译时，ai将“咬盏”翻译为Biting the bowl，将“水丹青”译为Water ink painting.后来在我查找了资料并与ai讨论了咬盏与水丹青的含义后。我们将其修改为Clinging to the bowl和Water tea-ink painting<br />
2.自己翻译的语言不都通顺和学术。给了AI指令：你现在作为一个精通中英文的茶艺专家，现在正在做传播中国茶业发展史的工作。你需要翻译一篇文章给外国的游客宋朝特有的点茶，文章内容需要通俗易懂，描述的步骤要清晰明了。如你有任何觉得逻辑不通顺或者内容衔接有问题的地方可以提出来并与我讨论”</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168499User:Du Yuan2025-06-13T04:51:09Z<p>Du Yuan: </p>
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<div>==Tea Whisking==<br />
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===The History of Tea Whisking===<br />
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Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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===The Steps of Tea Whisking===<br />
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The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
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The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
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Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
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The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as water tea-ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
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===The Modern Inheritance and Development of Tea Whisking===<br />
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The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
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Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
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As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
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===Reference===<br />
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[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
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[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese Agricultural History, 44(02):3–13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
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[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
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[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
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[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizTo-GGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
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[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
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[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
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[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
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[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
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===Terms and Expressions===<br />
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Tea Whisking - 点茶 <br />
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Clinging to the bowl - 咬盏<br />
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Warming the tea bowl - 熁盏<br />
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Tea froth art - 茶百戏<br />
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Tea froth - 汤花 <br />
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Mixing the paste - 调膏 <br />
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Whisking - 击拂<br />
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Water tea-ink painting - 水丹青<br />
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Four Principles and Seven Rules - 四规七则 <br />
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===Questions===<br />
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1.In which dynasty did Tea Whisking reach its peak?<br />
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2.What is the cultural significance of Tea Whisking?<br />
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3.What are the main steps of Tea Whisking?<br />
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4.Why is it necessary to warm the tea bowl before Tea Whisking?<br />
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5.What are making the paste and whisking, and what roles do they play in Tea Whisking?<br />
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6.How did Tea Whisking spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
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===Answers===<br />
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1.In the Song Dynasty.<br />
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2.It was a medium of cultural interaction, reflecting the Song literati's pursuit of an elegant lifestyle and connotations of self-cultivation and refinement.<br />
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3.Water preparation, roasting tea, grinding tea, sifting tea, warming the tea bowl, mixing the paste, and whisking.<br />
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4.To maintain the tea's warmth and stabilize the foam.<br />
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5.Mixing the paste is adding a little boiling water to tea powder in the bowl to form a thick paste. Whisking is rhythmically whisking with a bamboo whisk after seven rounds of water addition to create dense foam. They are core techniques to blend powder and water and achieve the ideal tea froth.<br />
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6.Traveling monks like Eisai brought it to Japan during the Kamakura period, becoming the origin of the Japanese tea ceremony and influencing its "Four Principles and Seven Rules".<br />
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===AI statement===<br />
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1. In the translation of the terminology ‘咬盏’‘调膏’‘水丹青’‘茶百戏’‘熁盏’ and so on.However,in the first translation, ai translated ‘咬盏’ as Biting the bowl, and ‘水丹青’ as Water ink painting. After I looked up the information and discussed with ai the meanings of ‘咬盏’and ‘水丹青’. But after I looked up the information and discussed with the AI about the meaning of “biting to the bowl” and “water ink painting”, we revised it to “Clinging to the bowl” and “Water tea-ink painting” <br />
2. Because my own translation was not smooth and academic enough. Therefore, I gave the AI instructions: You are now working as a tea expert who is fluent in Chinese and English, and now you are doing the work of spreading the history of the development of the Chinese tea industry. Please revise the English propaganda article based on the already translated Song Dynasty tea ordering article to make the content of the article easy to understand, and the steps described need to be clear and concise. If you have any feeling that the logic is not fluent or there is a problem with the connection of the content you can raise it and discuss with me"<br />
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==点茶==<br />
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===点茶的历史===<br />
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茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
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点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
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[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
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===点茶的现代传承发展===<br />
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宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
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===参考文献===<br />
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[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
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[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizToGGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===生词表===<br />
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点茶 - Tea Whisking<br />
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咬盏 - Clinging to the bowl<br />
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熁盏 - Warming the tea bowl<br />
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茶百戏 - Tea froth art<br />
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汤花 - Tea froth<br />
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调膏 - Mixing the paste<br />
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击拂 - Whisking<br />
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水丹青 - Water tea-ink painting<br />
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四规七则 - Four Principles and Seven Rules<br />
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===问题===<br />
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1.点茶在哪个朝代达到鼎盛时期？<br />
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2.点茶的文化意义是什么？ <br />
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3.点茶的主要步骤有哪些？<br />
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4.为什么在点茶前需要“熁盏”？<br />
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5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
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6.点茶是如何传播到日本的？对日本茶道产生了什么影响？<br />
<br />
===回答===<br />
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1.点茶在宋代达到巅峰。<br />
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2.点茶是文人文化互动的媒介，体现了宋代文人对雅致生活的追求，蕴含修身养性的内涵。<br />
<br />
3.主要步骤包括备水、烤茶、碾茶、筛茶、温碗、调膏、击拂。<br />
<br />
4.温碗是为了保持茶的温度并稳定泡沫。<br />
<br />
5.调膏是在碗中用少量沸水将茶粉调成浓稠茶膏；击拂是分七次加水后用茶筅有节奏地搅拌，形成浓密泡沫。二者是让茶粉与水充分混合、达成理想茶沫的核心步骤。<br />
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6.南宋僧人荣西等在日本镰仓时期将点茶传入日本，成为日本茶道的起源，并影响其 “四规七则”。<br />
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===人工智能声明===<br />
----</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168497User:Du Yuan2025-06-12T15:57:44Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
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Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
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The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
<br />
The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
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Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
<br />
The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as water tea-ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
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The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
<br />
Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
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As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
===Reference===<br />
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[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese Agricultural History, 44(02):3–13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizTo-GGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
<br />
[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
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Tea Whisking - 点茶 <br />
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Clinging to the bowl - 咬盏<br />
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Warming the tea bowl - 熁盏<br />
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Tea froth art - 茶百戏<br />
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Tea froth - 汤花 <br />
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Mixing the paste - 调膏 <br />
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Whisking - 击拂<br />
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Water tea-ink painting - 水丹青<br />
<br />
Four Principles and Seven Rules - 四规七则 <br />
<br />
===Questions===<br />
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1.In which dynasty did Tea Whisking reach its peak?<br />
<br />
2.What is the cultural significance of Tea Whisking?<br />
<br />
3.What are the main steps of Tea Whisking?<br />
<br />
4.Why is it necessary to warm the tea bowl before Tea Whisking?<br />
<br />
5.What are making the paste and whisking, and what roles do they play in Tea Whisking?<br />
<br />
6.How did Tea Whisking spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
===Answers===<br />
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1.In the Song Dynasty.<br />
<br />
2.It was a medium of cultural interaction, reflecting the Song literati's pursuit of an elegant lifestyle and connotations of self-cultivation and refinement.<br />
<br />
3.Water preparation, roasting tea, grinding tea, sifting tea, warming the tea bowl, mixing the paste, and whisking.<br />
<br />
4.To maintain the tea's warmth and stabilize the foam.<br />
<br />
5.Mixing the paste is adding a little boiling water to tea powder in the bowl to form a thick paste. Whisking is rhythmically whisking with a bamboo whisk after seven rounds of water addition to create dense foam. They are core techniques to blend powder and water and achieve the ideal tea froth.<br />
<br />
6.Traveling monks like Eisai brought it to Japan during the Kamakura period, becoming the origin of the Japanese tea ceremony and influencing its "Four Principles and Seven Rules".<br />
<br />
===AI statement===<br />
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1.在翻译专业术语“咬盏”“调膏”“水丹青”“茶百戏”“熁盏”等。但是在第一次翻译时，ai将“咬盏”翻译为Biting the bowl，将“水丹青”译为Water ink painting.但是在我查找了资料并与ai讨论了咬盏与水丹青的含义后。我们将其修改为Clinging to the bowl和Water tea-ink painting<br />
2.自己翻译的语言不都通顺和学术。给了AI指令：你现在作为一个精通中英文的茶艺专家，现在正在做传播中国茶业发展史的工作。你需要翻译一篇文章给外国的游客宋朝特有的点茶，文章内容需要通俗易懂，描述的步骤要清晰明了。如你有任何觉得逻辑不通顺或者内容衔接有问题的地方可以提出来并与我讨论”<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
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茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
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点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
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[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
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===点茶的现代传承发展===<br />
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宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
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===参考文献===<br />
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[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
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[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
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[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
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[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
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[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizToGGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
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[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
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[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
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[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
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[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
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===生词表===<br />
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点茶 - Tea Whisking<br />
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咬盏 - Clinging to the bowl<br />
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熁盏 - Warming the tea bowl<br />
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茶百戏 - Tea froth art<br />
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汤花 - Tea froth<br />
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调膏 - Mixing the paste<br />
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击拂 - Whisking<br />
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水丹青 - Water tea-ink painting<br />
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四规七则 - Four Principles and Seven Rules<br />
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===问题===<br />
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1.点茶在哪个朝代达到鼎盛时期？<br />
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2.点茶的文化意义是什么？ <br />
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3.点茶的主要步骤有哪些？<br />
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4.为什么在点茶前需要“熁盏”？<br />
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5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
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6.点茶是如何传播到日本的？对日本茶道产生了什么影响？<br />
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===回答===<br />
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1.点茶在宋代达到巅峰。<br />
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2.点茶是文人文化互动的媒介，体现了宋代文人对雅致生活的追求，蕴含修身养性的内涵。<br />
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3.主要步骤包括备水、烤茶、碾茶、筛茶、温碗、调膏、击拂。<br />
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4.温碗是为了保持茶的温度并稳定泡沫。<br />
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5.调膏是在碗中用少量沸水将茶粉调成浓稠茶膏；击拂是分七次加水后用茶筅有节奏地搅拌，形成浓密泡沫。二者是让茶粉与水充分混合、达成理想茶沫的核心步骤。<br />
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6.南宋僧人荣西等在日本镰仓时期将点茶传入日本，成为日本茶道的起源，并影响其 “四规七则”。</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168496User:Du Yuan2025-06-12T14:11:05Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
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===The History of Tea Whisking===<br />
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Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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===The Steps of Tea Whisking===<br />
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The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
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The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
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Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
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The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as water tea-ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
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===The Modern Inheritance and Development of Tea Whisking===<br />
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The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
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Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
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As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
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===Reference===<br />
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[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
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[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese Agricultural History, 44(02):3–13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
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[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
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[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizTo-GGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
<br />
[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
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<br />
<br />
Tea Whisking - 点茶 <br />
<br />
Clinging to the bowl - 咬盏<br />
<br />
Warming the tea bowl - 熁盏<br />
<br />
Tea froth art - 茶百戏<br />
<br />
Tea froth - 汤花 <br />
<br />
Mixing the paste - 调膏 <br />
<br />
Whisking - 击拂<br />
<br />
Water tea-ink painting - 水丹青<br />
<br />
Four Principles and Seven Rules - 四规七则 <br />
<br />
===Questions===<br />
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<br />
1.In which dynasty did Tea Whisking reach its peak?<br />
<br />
2.What is the cultural significance of Tea Whisking?<br />
<br />
3.What are the main steps of Tea Whisking?<br />
<br />
4.Why is it necessary to warm the tea bowl before Tea Whisking?<br />
<br />
5.What are making the paste and whisking, and what roles do they play in Tea Whisking?<br />
<br />
6.How did Tea Whisking spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
===Answers===<br />
----<br />
1.In the Song Dynasty.<br />
<br />
2.It was a medium of cultural interaction, reflecting the Song literati's pursuit of an elegant lifestyle and connotations of self-cultivation and refinement.<br />
<br />
3.Water preparation, roasting tea, grinding tea, sifting tea, warming the tea bowl, mixing the paste, and whisking.<br />
<br />
4.To maintain the tea's warmth and stabilize the foam.<br />
<br />
5.Mixing the paste is adding a little boiling water to tea powder in the bowl to form a thick paste. Whisking is rhythmically whisking with a bamboo whisk after seven rounds of water addition to create dense foam. They are core techniques to blend powder and water and achieve the ideal tea froth.<br />
<br />
6.Traveling monks like Eisai brought it to Japan during the Kamakura period, becoming the origin of the Japanese tea ceremony and influencing its "Four Principles and Seven Rules".<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
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茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
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点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
<br />
[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
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宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizToGGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
四规七则 - Four Principles and Seven Rules<br />
<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？<br />
<br />
===回答===<br />
----<br />
1.点茶在宋代达到巅峰。<br />
<br />
2.点茶是文人文化互动的媒介，体现了宋代文人对雅致生活的追求，蕴含修身养性的内涵。<br />
<br />
3.主要步骤包括备水、烤茶、碾茶、筛茶、温碗、调膏、击拂。<br />
<br />
4.温碗是为了保持茶的温度并稳定泡沫。<br />
<br />
5.调膏是在碗中用少量沸水将茶粉调成浓稠茶膏；击拂是分七次加水后用茶筅有节奏地搅拌，形成浓密泡沫。二者是让茶粉与水充分混合、达成理想茶沫的核心步骤。<br />
<br />
6.南宋僧人荣西等在日本镰仓时期将点茶传入日本，成为日本茶道的起源，并影响其 “四规七则”。</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168493User:Du Yuan2025-06-12T04:55:09Z<p>Du Yuan: /* Answers */</p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
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Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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===The Steps of Tea Whisking===<br />
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The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
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The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
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Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
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The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as water tea-ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
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The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
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Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
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As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
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===Reference===<br />
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[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese Agricultural History, 44(02):3–13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizTo-GGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
<br />
[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
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Tea Whisking - 点茶 <br />
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Clinging to the bowl - 咬盏<br />
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Warming the tea bowl - 熁盏<br />
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Tea froth art - 茶百戏<br />
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Tea froth - 汤花 <br />
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Mixing the paste - 调膏 <br />
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Whisking - 击拂<br />
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Water tea-ink painting - 水丹青<br />
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Four Principles and Seven Rules - 四规七则 <br />
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===Questions===<br />
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1.In which dynasty did Tea Whisking reach its peak?<br />
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2.What is the cultural significance of Tea Whisking?<br />
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3.What are the main steps of Tea Whisking?<br />
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4.Why is it necessary to warm the tea bowl before Tea Whisking?<br />
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5.What are making the paste and whisking, and what roles do they play in Tea Whisking?<br />
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6.How did Tea Whisking spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
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===Answers===<br />
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1.In the Song Dynasty.<br />
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2.It was a medium of cultural interaction, reflecting the Song literati's pursuit of an elegant lifestyle and connotations of self-cultivation and refinement.<br />
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3.Water preparation, roasting tea, grinding tea, sifting tea, warming the tea bowl, mixing the paste, and whisking.<br />
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4.To maintain the tea's warmth and stabilize the foam.<br />
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5.Mixing the paste is adding a little boiling water to tea powder in the bowl to form a thick paste. Whisking is rhythmically whisking with a bamboo whisk after seven rounds of water addition to create dense foam. They are core techniques to blend powder and water and achieve the ideal tea froth.<br />
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6.Traveling monks like Eisai brought it to Japan during the Kamakura period, becoming the origin of the Japanese tea ceremony and influencing its "Four Principles and Seven Rules".<br />
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==点茶==<br />
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===点茶的历史===<br />
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茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
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点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
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[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
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===点茶的现代传承发展===<br />
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宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
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===参考文献===<br />
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[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
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===生词表===<br />
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点茶 - Tea Whisking<br />
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咬盏 - Clinging to the bowl<br />
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熁盏 - Warming the tea bowl<br />
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茶百戏 - Tea froth art<br />
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汤花 - Tea froth<br />
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调膏 - Mixing the paste<br />
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击拂 - Whisking<br />
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水丹青 - Water ink painting<br />
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四规七则 - Four Principles and Seven Rules<br />
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===问题===<br />
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1.点茶在哪个朝代达到鼎盛时期？<br />
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2.点茶的文化意义是什么？ <br />
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3.点茶的主要步骤有哪些？<br />
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4.为什么在点茶前需要“熁盏”？<br />
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5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
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6.点茶是如何传播到日本的？对日本茶道产生了什么影响？<br />
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===回答===<br />
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1.点茶在宋代达到巅峰。<br />
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2.点茶是文人文化互动的媒介，体现了宋代文人对雅致生活的追求，蕴含修身养性的内涵。<br />
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3.主要步骤包括备水、烤茶、碾茶、筛茶、温碗、调膏、击拂。<br />
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4.温碗是为了保持茶的温度并稳定泡沫。<br />
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5.调膏是在碗中用少量沸水将茶粉调成浓稠茶膏；击拂是分七次加水后用茶筅有节奏地搅拌，形成浓密泡沫。二者是让茶粉与水充分混合、达成理想茶沫的核心步骤。<br />
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6.南宋僧人荣西等在日本镰仓时期将点茶传入日本，成为日本茶道的起源，并影响其 “四规七则”。</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168492User:Du Yuan2025-06-12T04:50:11Z<p>Du Yuan: /* 回答 */</p>
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<div>==Tea Whisking==<br />
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===The History of Tea Whisking===<br />
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Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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===The Steps of Tea Whisking===<br />
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The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
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The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
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Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
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The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as water tea-ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
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The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
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Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
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As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
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===Reference===<br />
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[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
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[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese Agricultural History, 44(02):3–13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
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[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
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[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
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[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizTo-GGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
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[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
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[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
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[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
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[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
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===Terms and Expressions===<br />
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Tea Whisking - 点茶 <br />
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Clinging to the bowl - 咬盏<br />
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Warming the tea bowl - 熁盏<br />
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Tea froth art - 茶百戏<br />
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Tea froth - 汤花 <br />
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Mixing the paste - 调膏 <br />
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Whisking - 击拂<br />
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Water tea-ink painting - 水丹青<br />
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Four Principles and Seven Rules - 四规七则 <br />
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===Questions===<br />
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1.In which dynasty did Tea Whisking reach its peak?<br />
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2.What is the cultural significance of Tea Whisking?<br />
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3.What are the main steps of Tea Whisking?<br />
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4.Why is it necessary to warm the tea bowl before Tea Whisking?<br />
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5.What are making the paste and whisking, and what roles do they play in Tea Whisking?<br />
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6.How did Tea Whisking spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
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===Answers===<br />
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==点茶==<br />
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===点茶的历史===<br />
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茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
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点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
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[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
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===点茶的现代传承发展===<br />
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宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
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===参考文献===<br />
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[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
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===生词表===<br />
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点茶 - Tea Whisking<br />
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咬盏 - Clinging to the bowl<br />
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熁盏 - Warming the tea bowl<br />
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茶百戏 - Tea froth art<br />
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汤花 - Tea froth<br />
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调膏 - Mixing the paste<br />
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击拂 - Whisking<br />
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水丹青 - Water ink painting<br />
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四规七则 - Four Principles and Seven Rules<br />
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===问题===<br />
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1.点茶在哪个朝代达到鼎盛时期？<br />
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2.点茶的文化意义是什么？ <br />
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3.点茶的主要步骤有哪些？<br />
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4.为什么在点茶前需要“熁盏”？<br />
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5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
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6.点茶是如何传播到日本的？对日本茶道产生了什么影响？<br />
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===回答===<br />
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1.点茶在宋代达到巅峰。<br />
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2.点茶是文人文化互动的媒介，体现了宋代文人对雅致生活的追求，蕴含修身养性的内涵。<br />
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3.主要步骤包括备水、烤茶、碾茶、筛茶、温碗、调膏、击拂。<br />
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4.温碗是为了保持茶的温度并稳定泡沫。<br />
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5.调膏是在碗中用少量沸水将茶粉调成浓稠茶膏；击拂是分七次加水后用茶筅有节奏地搅拌，形成浓密泡沫。二者是让茶粉与水充分混合、达成理想茶沫的核心步骤。<br />
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6.南宋僧人荣西等在日本镰仓时期将点茶传入日本，成为日本茶道的起源，并影响其 “四规七则”。</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168491User:Du Yuan2025-06-12T03:00:49Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
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Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
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The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
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The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
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Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
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The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as water tea-ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
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The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
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Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
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As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
===Reference===<br />
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[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYiOVqs6ASYGAdut6AgVMHbCEGzUWr30Ug5NkN4KktrRxUA44sBmwEcQUsow2Rz7kCkUknu3GAn-ZyVb3_txFLPcN7wPwt6u_CIHNvWPS-vfuwNl141Rgb1LaNL-8I6fki_Cfs-kWY5ZOt0dapetbe-lSQSjc61GSLrHgPIpFDig==&uniplatform=NZKPT&language=CHS]<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese Agricultural History, 44(02):3–13.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SE2kuPYh1EPEfVVImvQIOCVDyRI0Jyzp3O9SxTc8ZFKmGXwH55RSs4MZKa8gReFh6dBSbRwx8QP5ggNkIA7sM6ugHuscEcYhBPOvChSnAyFNYDWQi9v9wcfK1REZy1dyF-54UKetP0xk4jCUNUDHGxEim0L8VSMvz5Ur0lXYEvo1A==&uniplatform=NZKPT&language=CHS]<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFYxGUadT10Al6FHz7CAoR1BXSjml3pawmFs6mpZfrA_QpjA85XwjoJcKu2o2BnAOJY3ErfFpjq3biOZaMGL1u4mE0sM-vJVYdFHt6f8Y5ekmNu2EFkpDX9Bs4NbONGojTV2WIIn7Eq5jiw7pjq_kxDfzpp7Pui-OlUClfTl_kXBA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SGLfz80hg0fuJ14pvrXJYZbUgapfPcmGCBvDVSJeiSnt2F2d6c6hq7YFdSuXPuNy0hFJcGgqObU_JjpMfrwMDcDg77urWOcmRhL9DGhlNMX4f5t_dbxLZc6jvEex-zBHMeaYFSlLryCUVy95LvymhkX_f7hwdZiDoQHcJneYgL9LFwZOA8dyLmu&uniplatform=NZKPT&language=CHS]<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFuAX3f4YHizTo-GGzvZG1qkbOznYO7x0_KJ0BgJgY0UgYHpsDwFCCmKneysX0cxGdZahALaUkkmEmcaFdxj4B5EEd8TJXqQflPyuRZMqncr5usyTYc_bDPOoTqwZMXp_WbOjM4yNMjn1m2PJcsQ1AHHBtTww-JmHRsrvxOcut7zA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SEY9uajlj2ScoMQh58Rb7Vgo6zuA0k-RcXOsnOhcuOV9gppjKTeEVfEjGXyErup8NssQdFbX7FOTzdGw2N7KsANFcTGouzrhzKKGGxCmYZjS630N5ROMHLHsn8hk8Yi8QOSicWXGz_65gIukDNSFHydIDiTWMU5y-kVnoulhTy63Q==&uniplatform=NZKPT&language=CHS]<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SFT9Ya4a0MaZ3RFg2VyudeAW5EizioOjmCbYyLpajVNhNAOp5Cxy2DMpIr7_lWEqY1OWnK4qAejf4m5H4DuEHwNjE6O_1f8NuzLnPyod8oZDjX1_qeIfdtVw_RDMSLe9vOv8cM7b0XtJQpBErsirgDMy1yL8nzANG89XmQcTKivPA==&uniplatform=NZKPT&language=CHS]<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.[https://yclib.hunnu.edu.cn/vpn/1008/https/NNYHGLUDN3WXTLUPMW4A/kcms2/article/abstract?v=ywQ10qv17SHUB9a2YYUuOKwM68GbKvmyWwGYAl89DNODHE-0A9bP37Iw6cmILRuvZCIx3LlzmwYtI3keAiMMFnAXbwu0Svo7b_C33QfitYvYgMXbSjr7k9L0_m938J-RN9uOzned76nbq1hvtKn3s8Lr3lCfrzgqTdgh2WESTJdvzu-CgOjAgw==&uniplatform=NZKPT&language=CHS]<br />
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[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
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Tea Whisking - 点茶 <br />
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Clinging to the bowl - 咬盏<br />
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Warming the tea bowl - 熁盏<br />
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Tea froth art - 茶百戏<br />
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Tea froth - 汤花 <br />
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Mixing the paste - 调膏 <br />
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Whisking - 击拂<br />
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Water tea-ink painting - 水丹青<br />
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Four Principles and Seven Rules - 四规七则 <br />
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===Questions===<br />
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1.In which dynasty did Tea Whisking reach its peak?<br />
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2.What is the cultural significance of Tea Whisking?<br />
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3.What are the main steps of Tea Whisking?<br />
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4.Why is it necessary to warm the tea bowl before Tea Whisking?<br />
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5.What are making the paste and whisking, and what roles do they play in Tea Whisking?<br />
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6.How did Tea Whisking spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
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===Answers===<br />
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==点茶==<br />
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===点茶的历史===<br />
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茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
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点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
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[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
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其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
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===点茶的现代传承发展===<br />
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宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
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===参考文献===<br />
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[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===生词表===<br />
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点茶 - Tea Whisking<br />
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咬盏 - Clinging to the bowl<br />
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熁盏 - Warming the tea bowl<br />
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茶百戏 - Tea froth art<br />
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汤花 - Tea froth<br />
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调膏 - Mixing the paste<br />
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击拂 - Whisking<br />
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水丹青 - Water ink painting<br />
<br />
四规七则 - Four Principles and Seven Rules<br />
<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？<br />
<br />
===回答===<br />
----</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168247User:Du Yuan2025-06-06T07:12:28Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
----<br />
<br />
Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
----<br />
<br />
The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
<br />
The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
<br />
Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
<br />
The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as water tea-ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
----<br />
<br />
The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
<br />
Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
<br />
As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
===Reference===<br />
----<br />
<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese <br />
Agricultural History, 44(02):3–13.<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
<br />
[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
----<br />
<br />
<br />
Tea Whisking - 点茶 <br />
<br />
Clinging to the bowl - 咬盏<br />
<br />
Warming the tea bowl - 熁盏<br />
<br />
Tea froth art - 茶百戏<br />
<br />
Tea froth - 汤花 <br />
<br />
Mixing the paste - 调膏 <br />
<br />
Whisking - 击拂<br />
<br />
Water tea-ink painting - 水丹青<br />
<br />
Four Principles and Seven Rules - 四规七则 <br />
<br />
===Questions===<br />
----<br />
<br />
1.In which dynasty did Tea Whisking reach its peak?<br />
<br />
2.What is the cultural significance of Tea Whisking?<br />
<br />
3.What are the main steps of Tea Whisking?<br />
<br />
4.Why is it necessary to warm the tea bowl before Tea Whisking?<br />
<br />
5.What are making the paste and whisking, and what roles do they play in Tea Whisking?<br />
<br />
6.How did Tea Whisking spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
<br />
[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
四规七则 - Four Principles and Seven Rules<br />
<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168246User:Du Yuan2025-06-06T07:08:01Z<p>Du Yuan: /* 生词表 */</p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
----<br />
<br />
Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
----<br />
<br />
The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
<br />
The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
<br />
Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
<br />
The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as water tea-ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
----<br />
<br />
The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
<br />
Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
<br />
As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
===Reference===<br />
----<br />
<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese <br />
Agricultural History, 44(02):3–13.<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
<br />
[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
----<br />
<br />
<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water tea-ink painting<br />
<br />
===Questions===<br />
----<br />
<br />
1.In which dynasty did dian cha (Tea Whisking) reach its peak?<br />
<br />
2.What is the cultural significance of dian cha (Tea Whisking)?<br />
<br />
3.What are the main steps of dian cha (Tea Whisking)?<br />
<br />
4.Why is it necessary to warm the tea bowl (xie zhan) before dian cha (Tea Whisking)?<br />
<br />
5.What are tiao gao (making the paste) and ji fu (whisking), and what roles do they play in dian cha (Tea Whisking)?<br />
<br />
6.How did dian cha (Tea Whisking) spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
<br />
[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168245User:Du Yuan2025-06-06T07:07:25Z<p>Du Yuan: /* Tea Whisking */</p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
----<br />
<br />
Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
----<br />
<br />
The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
<br />
The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
<br />
Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
<br />
The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as water tea-ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
----<br />
<br />
The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
<br />
Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
<br />
As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
===Reference===<br />
----<br />
<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese <br />
Agricultural History, 44(02):3–13.<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
<br />
[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
----<br />
<br />
<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water tea-ink painting<br />
<br />
===Questions===<br />
----<br />
<br />
1.In which dynasty did dian cha (Tea Whisking) reach its peak?<br />
<br />
2.What is the cultural significance of dian cha (Tea Whisking)?<br />
<br />
3.What are the main steps of dian cha (Tea Whisking)?<br />
<br />
4.Why is it necessary to warm the tea bowl (xie zhan) before dian cha (Tea Whisking)?<br />
<br />
5.What are tiao gao (making the paste) and ji fu (whisking), and what roles do they play in dian cha (Tea Whisking)?<br />
<br />
6.How did dian cha (Tea Whisking) spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
<br />
[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168243User:Du Yuan2025-06-06T07:00:18Z<p>Du Yuan: /* Tea Whisking */</p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
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<br />
Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
----<br />
<br />
The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
<br />
The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
<br />
Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
<br />
The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as patterned tea or water tea-ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
----<br />
<br />
The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
<br />
Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
<br />
As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
===Reference===<br />
----<br />
<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese <br />
Agricultural History, 44(02):3–13.<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
<br />
[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
----<br />
<br />
<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water tea-ink painting<br />
<br />
分茶 - Patterned tea<br />
<br />
===Questions===<br />
----<br />
<br />
1.In which dynasty did dian cha (Tea Whisking) reach its peak?<br />
<br />
2.What is the cultural significance of dian cha (Tea Whisking)?<br />
<br />
3.What are the main steps of dian cha (Tea Whisking)?<br />
<br />
4.Why is it necessary to warm the tea bowl (xie zhan) before dian cha (Tea Whisking)?<br />
<br />
5.What are tiao gao (making the paste) and ji fu (whisking), and what roles do they play in dian cha (Tea Whisking)?<br />
<br />
6.How did dian cha (Tea Whisking) spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
<br />
[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168234User:Du Yuan2025-06-06T06:50:39Z<p>Du Yuan: /* The Steps of Tea Whisking */</p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
----<br />
<br />
Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
----<br />
<br />
The technique of Tea Whisking involves multiple meticulous steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
<br />
The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
<br />
Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
<br />
The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as patterned tea or water ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
----<br />
<br />
The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
<br />
Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
<br />
As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
===Reference===<br />
----<br />
<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese <br />
Agricultural History, 44(02):3–13.<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
<br />
[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
----<br />
<br />
<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
<br />
===Questions===<br />
----<br />
<br />
1.In which dynasty did dian cha (Tea Whisking) reach its peak?<br />
<br />
2.What is the cultural significance of dian cha (Tea Whisking)?<br />
<br />
3.What are the main steps of dian cha (Tea Whisking)?<br />
<br />
4.Why is it necessary to warm the tea bowl (xie zhan) before dian cha (Tea Whisking)?<br />
<br />
5.What are tiao gao (making the paste) and ji fu (whisking), and what roles do they play in dian cha (Tea Whisking)?<br />
<br />
6.How did dian cha (Tea Whisking) spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
<br />
[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168223User:Du Yuan2025-06-06T06:37:18Z<p>Du Yuan: /* The Steps of Tea Whisking */</p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
----<br />
<br />
Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
----<br />
<br />
The technique of Tea Whisking involves multiple meticulous and interconnected steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
<br />
The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
<br />
Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
<br />
The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as patterned tea or water ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
----<br />
<br />
The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
<br />
Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
<br />
As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
===Reference===<br />
----<br />
<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese <br />
Agricultural History, 44(02):3–13.<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
<br />
[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
----<br />
<br />
<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
<br />
===Questions===<br />
----<br />
<br />
1.In which dynasty did dian cha (Tea Whisking) reach its peak?<br />
<br />
2.What is the cultural significance of dian cha (Tea Whisking)?<br />
<br />
3.What are the main steps of dian cha (Tea Whisking)?<br />
<br />
4.Why is it necessary to warm the tea bowl (xie zhan) before dian cha (Tea Whisking)?<br />
<br />
5.What are tiao gao (making the paste) and ji fu (whisking), and what roles do they play in dian cha (Tea Whisking)?<br />
<br />
6.How did dian cha (Tea Whisking) spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
<br />
[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168221User:Du Yuan2025-06-06T06:35:41Z<p>Du Yuan: /* 点茶的步骤 */</p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
----<br />
<br />
Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
----<br />
<br />
The technique of Tea Whisking involves multiple meticulous and interconnected steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
<br />
The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
<br />
Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
<br />
The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as patterned tea or water ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
----<br />
<br />
The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
<br />
Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
<br />
As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
===Reference===<br />
----<br />
<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese <br />
Agricultural History, 44(02):3–13.<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
<br />
[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
----<br />
<br />
<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
<br />
===Questions===<br />
----<br />
<br />
1.In which dynasty did dian cha (Tea Whisking) reach its peak?<br />
<br />
2.What is the cultural significance of dian cha (Tea Whisking)?<br />
<br />
3.What are the main steps of dian cha (Tea Whisking)?<br />
<br />
4.Why is it necessary to warm the tea bowl (xie zhan) before dian cha (Tea Whisking)?<br />
<br />
5.What are tiao gao (making the paste) and ji fu (whisking), and what roles do they play in dian cha (Tea Whisking)?<br />
<br />
6.How did dian cha (Tea Whisking) spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
<br />
[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=168219User:Du Yuan2025-06-06T06:35:15Z<p>Du Yuan: /* 点茶的步骤 */</p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
----<br />
<br />
Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
----<br />
<br />
The technique of Tea Whisking involves multiple meticulous and interconnected steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
<br />
The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
<br />
Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
<br />
The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as patterned tea or water ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
----<br />
<br />
The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
<br />
Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
<br />
As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
===Reference===<br />
----<br />
<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese <br />
Agricultural History, 44(02):3–13.<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
<br />
[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
----<br />
<br />
<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
<br />
===Questions===<br />
----<br />
<br />
1.In which dynasty did dian cha (Tea Whisking) reach its peak?<br />
<br />
2.What is the cultural significance of dian cha (Tea Whisking)?<br />
<br />
3.What are the main steps of dian cha (Tea Whisking)?<br />
<br />
4.Why is it necessary to warm the tea bowl (xie zhan) before dian cha (Tea Whisking)?<br />
<br />
5.What are tiao gao (making the paste) and ji fu (whisking), and what roles do they play in dian cha (Tea Whisking)?<br />
<br />
6.How did dian cha (Tea Whisking) spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
<br />
[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=167306User:Du Yuan2025-06-02T09:13:05Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
----<br />
<br />
Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
----<br />
<br />
The technique of Tea Whisking involves multiple meticulous and interconnected steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
<br />
The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
<br />
Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
<br />
The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as patterned tea or water ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
----<br />
<br />
The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
<br />
Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
<br />
As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
===Reference===<br />
----<br />
<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese <br />
Agricultural History, 44(02):3–13.<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
<br />
[9]Encyclopedia：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
----<br />
<br />
<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
<br />
===Questions===<br />
----<br />
<br />
1.In which dynasty did dian cha (Tea Whisking) reach its peak?<br />
<br />
2.What is the cultural significance of dian cha (Tea Whisking)?<br />
<br />
3.What are the main steps of dian cha (Tea Whisking)?<br />
<br />
4.Why is it necessary to warm the tea bowl (xie zhan) before dian cha (Tea Whisking)?<br />
<br />
5.What are tiao gao (making the paste) and ji fu (whisking), and what roles do they play in dian cha (Tea Whisking)?<br />
<br />
6.How did dian cha (Tea Whisking) spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
[9] 百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=167305User:Du Yuan2025-06-02T09:09:04Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
----<br />
<br />
Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
----<br />
<br />
The technique of Tea Whisking involves multiple meticulous and interconnected steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
<br />
The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
<br />
Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
<br />
The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as patterned tea or water ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
----<br />
<br />
The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
<br />
Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
<br />
As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
===Reference===<br />
----<br />
<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese <br />
Agricultural History, 44(02):3–13.<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
<br />
[9]百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
----<br />
<br />
<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
<br />
===Questions===<br />
----<br />
<br />
1.In which dynasty did dian cha (Tea Whisking) reach its peak?<br />
<br />
2.What is the cultural significance of dian cha (Tea Whisking)?<br />
<br />
3.What are the main steps of dian cha (Tea Whisking)?<br />
<br />
4.Why is it necessary to warm the tea bowl (xie zhan) before dian cha (Tea Whisking)?<br />
<br />
5.What are tiao gao (making the paste) and ji fu (whisking), and what roles do they play in dian cha (Tea Whisking)?<br />
<br />
6.How did dian cha (Tea Whisking) spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
[[File:step.jpg]][https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]][https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=167304User:Du Yuan2025-06-02T09:07:21Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
----<br />
<br />
Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
----<br />
<br />
The technique of Tea Whisking involves multiple meticulous and interconnected steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
<br />
The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
<br />
Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
<br />
The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as patterned tea or water ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
----<br />
<br />
The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
<br />
Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
<br />
As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
===Reference===<br />
----<br />
<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese <br />
Agricultural History, 44(02):3–13.<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
<br />
[9]百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
----<br />
<br />
<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
<br />
===Questions===<br />
----<br />
<br />
1.In which dynasty did dian cha (Tea Whisking) reach its peak?<br />
<br />
2.What is the cultural significance of dian cha (Tea Whisking)?<br />
<br />
3.What are the main steps of dian cha (Tea Whisking)?<br />
<br />
4.Why is it necessary to warm the tea bowl (xie zhan) before dian cha (Tea Whisking)?<br />
<br />
5.What are tiao gao (making the paste) and ji fu (whisking), and what roles do they play in dian cha (Tea Whisking)?<br />
<br />
6.How did dian cha (Tea Whisking) spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
[[File:step.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？</div>Du Yuanhttps://bou.de/u/index.php?title=File:Step1.jpg&diff=167150File:Step1.jpg2025-05-31T13:44:54Z<p>Du Yuan: </p>
<hr />
<div></div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=167149User:Du Yuan2025-05-31T13:43:45Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
----<br />
<br />
Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
----<br />
<br />
The technique of Tea Whisking involves multiple meticulous and interconnected steps, each crucial to the final quality of the tea.<br />
[[File:step1.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
<br />
The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
<br />
Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
<br />
The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as patterned tea or water ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
----<br />
<br />
The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
<br />
Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
<br />
As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
===Reference===<br />
----<br />
<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese <br />
Agricultural History, 44(02):3–13.<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
<br />
[9]百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
----<br />
<br />
<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
<br />
===Questions===<br />
----<br />
<br />
1.In which dynasty did dian cha (Tea Whisking) reach its peak?<br />
<br />
2.What is the cultural significance of dian cha (Tea Whisking)?<br />
<br />
3.What are the main steps of dian cha (Tea Whisking)?<br />
<br />
4.Why is it necessary to warm the tea bowl (xie zhan) before dian cha (Tea Whisking)?<br />
<br />
5.What are tiao gao (making the paste) and ji fu (whisking), and what roles do they play in dian cha (Tea Whisking)?<br />
<br />
6.How did dian cha (Tea Whisking) spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
[[File:step.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？</div>Du Yuanhttps://bou.de/u/index.php?title=File:Step.jpg&diff=167148File:Step.jpg2025-05-31T13:40:34Z<p>Du Yuan: Du Yuan uploaded a new version of &quot;File:Step.jpg&quot;</p>
<hr />
<div></div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=167147User:Du Yuan2025-05-31T13:37:22Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
----<br />
<br />
Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
----<br />
<br />
The technique of Tea Whisking involves multiple meticulous and interconnected steps, each crucial to the final quality of the tea.<br />
[[File:step.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
<br />
The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
<br />
Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
<br />
The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as patterned tea or water ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
----<br />
<br />
The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
<br />
Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
<br />
As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
----<br />
<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese <br />
Agricultural History, 44(02):3–13.<br />
<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
<br />
[9]百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
----<br />
<br />
<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
<br />
===Questions===<br />
----<br />
<br />
1.In which dynasty did dian cha (Tea Whisking) reach its peak?<br />
<br />
2.What is the cultural significance of dian cha (Tea Whisking)?<br />
<br />
3.What are the main steps of dian cha (Tea Whisking)?<br />
<br />
4.Why is it necessary to warm the tea bowl (xie zhan) before dian cha (Tea Whisking)?<br />
<br />
5.What are tiao gao (making the paste) and ji fu (whisking), and what roles do they play in dian cha (Tea Whisking)?<br />
<br />
6.How did dian cha (Tea Whisking) spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
[[File:step.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
<br />
2.点茶的文化意义是什么？ <br />
<br />
3.点茶的主要步骤有哪些？<br />
<br />
4.为什么在点茶前需要“熁盏”？<br />
<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=167146User:Du Yuan2025-05-31T13:33:33Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
----<br />
<br />
Tea culture has held a pivotal position since ancient times. This culture reached its zenith during the Song Dynasty, where everyone from the imperial nobility to commoners engaged in drinking and savoring tea. The flourishing of tea culture in the Song Dynasty was not only due to the aristocracy's reverence for it but also benefited from the significant increase in tea production, the rational implementation of policies for tea farmers, and the thriving tea-horse trade, leading to unprecedented prosperity in the tea industry (Zhou Xin, 2025). Among the various tea arts, Tea Whisking stands out as a representative practice of the Song era. It was not merely part of the literati's daily life but also a vital component of their cultural activities. Scholars often gathered at tea gatherings to exchange poetry, critique tea art, and socialize, making Tea Whisking a medium of cultural interaction. The process itself was imbued with connotations of self-cultivation and refinement, reflecting the Song literati's pursuit of an elegant lifestyle. As a traditional method of tea preparation, Tea Whisking originated in the mid-to-late Tang Dynasty and became widespread during the Northern and Southern Song periods. In the long history of tea culture, Tea Whisking reached its peak during the Song Dynasty (Cheng Minsheng, 2025).<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
----<br />
<br />
The technique of Tea Whisking involves multiple meticulous and interconnected steps, each crucial to the final quality of the tea.<br />
[[File:step.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
The first step is water preparation—ideally, fresh spring water. The principle for heating water is to stop at the "second boil," when bubbles the size of fish eyes and crab eyes appear consecutively. If heated to the "third boil," the water becomes over-boiled and loses its ideal properties. For brewing, the water is set aside after reaching the second boil and used once the bubbling subsides.<br />
<br />
The next step is roasting tea, where selected tea leaves are gently roasted over low heat in a tea basket to remove excess moisture and any undesirable odors, ensuring the leaves are sufficiently dry for grinding. The third step is grinding tea, where the roasted leaves are repeatedly ground in a tea mill until they become a fine powder. This requires patience and even pressure to achieve uniform consistency. Following this is sifting tea, where the ground powder is sieved through a tea sieve to remove coarse particles and impurities, enhancing its purity and fineness (Baidu Baike).<br />
<br />
Once the tea powder is prepared, the main event—Tea Whisking—begins. Warming the tea bowl is a crucial preparatory step, where the bowl is heated, either by rinsing it with hot water or placing it over charcoal, to maintain the tea's warmth and stabilize the foam (Li He, 2024). The true artistry of Tea Whisking lies in two core techniques: mixing the paste and whisking. The tea master first rinses the bowl and bamboo whisk with boiling water to warm and clean them. A small amount of tea powder is then placed in the bowl, and a little boiling water is added to form a thick paste (this must be done in one continuous pour). Over seven rounds of water addition, the tea is swiftly and rhythmically whisked with the bamboo whisk, blending the powder and water thoroughly to create a dense, long-lasting white foam called tea froth (Zhuo Li, 2018).<br />
<br />
The whisking technique emphasizes speed and evenness, stability and gentleness, with consistent direction and moderate force. The ideal result is a bowl filled to nine-tenths, its surface as white as snow, with foam clinging steadily to the sides—a phenomenon called clinging to the bowl, regarded as the pinnacle of Tea Whisking artistry (Su Wen, 2024). Tea froth art, also known as patterned tea or water ink painting, builds upon this foundation. Using refined paste tea as the medium, clear water is employed to create intricate patterns on the tea's surface. A tea spoon serves as a "brush," painting on the "canvas" of the tea froth (Wang Liuding, 2024).<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
----<br />
<br />
The Tea Whisking technique was introduced to Japan by traveling monks, becoming the origin of the Japanese tea ceremony. During Japan's Kamakura period, the Southern Song monk Eisai brought Tea Whisking methods and tea seeds to Japan, later composing Kissa Yōjōki (Drinking Tea for Health) (Zhao Yi, Lin Yuexiu, 2023). Over time, Tea Whisking evolved into a ritualized practice. Emperor Huizong of Song distilled and promoted the tea spirit of clarity, harmony, subtlety, and tranquility, which later influenced Japan's "Four Principles and Seven Rules" of tea ceremony (Liu Zubi, 2019).<br />
<br />
Although Tea Whisking gradually declined after the Ming Dynasty, replaced by more convenient loose-leaf brewing methods, its core techniques and aesthetic spirit have been preserved and revived in certain cultural expressions. For instance, recent popular period dramas like The Story of Minglan and A Dream of Splendor have featured scenes depicting Song-era tea art. These visual representations, closely aligned with historical records, offer audiences an intuitive and vivid experience of tea aesthetics. By recreating ancient lifestyles, such works provide a rare opportunity for modern audiences to appreciate these forgotten traditions.<br />
<br />
As a quintessential skill of Song Dynasty tea culture, Tea Whisking not only demonstrates meticulous craftsmanship but also reflects the literati's aesthetic ideals and personal aspirations. Its rigorous process, rich aesthetic effects, and profound cultural significance make it a shining gem in the history of Chinese tea culture.<br />
<br />
----<br />
<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese Agricultural History, 44(02):3–13.<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
[9]百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
----<br />
<br />
<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
<br />
===Questions===<br />
----<br />
<br />
1.In which dynasty did dian cha (Tea Whisking) reach its peak?<br />
2.What is the cultural significance of dian cha (Tea Whisking)?<br />
3.What are the main steps of dian cha (Tea Whisking)?<br />
4.Why is it necessary to warm the tea bowl (xie zhan) before dian cha (Tea Whisking)?<br />
5.What are tiao gao (making the paste) and ji fu (whisking), and what roles do they play in dian cha (Tea Whisking)?<br />
6.How did dian cha (Tea Whisking) spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
7.How is dian cha (Tea Whisking) portrayed in modern film and television? Give examples.<br />
8.What are the differences between dian cha (Tea Whisking) and modern tea brewing methods?<br />
<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。<br />
[[File:step.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
----<br />
[1] 周欣. 宋代点茶对茶高值化利用的推动作用探析[J]. 中国茶叶, 2025, 47(01): 91-94.<br />
[2] 程民生. 宋代点茶兴衰与大众饮茶之崛起[J]. 中国农史, 2025, 44(02): 3-13.<br />
[3] 李贺. “宋韵文化之宋代点茶”讲座汉英交传口译报告[D]. 河南大学, 2024. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
[4] 卓力. 宋代点茶法的审美意蕴研究[D]. 四川师范大学, 2018.<br />
[5] 苏文. 宋代点茶文化的传承与发展[J]. 福建茶叶, 2024, 46(09): 173-175.<br />
[6] 王柳丁. 宋时风雅——茶汤上的水墨丹青[J]. 东方收藏, 2024, (04): 163-165.<br />
[7] 赵艺, 林玥秀. 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例[J]. 燕山论丛, 2023, (02): 31-39.<br />
[8] 刘祖陛. 宋代建茶文化初探[J]. 福建史志, 2019, (04): 1-6+63.<br />
<br />
===生词表===<br />
----<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
===问题===<br />
----<br />
1.点茶在哪个朝代达到鼎盛时期？<br />
2.点茶的文化意义是什么？ <br />
3.点茶的主要步骤有哪些？<br />
4.为什么在点茶前需要“熁盏”？<br />
5.什么是“调膏”和“击拂”？它们在点茶中的作用是什么？<br />
6.点茶是如何传播到日本的？对日本茶道产生了什么影响？<br />
7.现代影视作品中如何表现点茶？举例说明。 <br />
8.点茶与现代泡茶方式有何不同？<br />
<br />
<br />
<br />
<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
[[File:step.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=167145User:Du Yuan2025-05-31T13:07:32Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
Tea culture has held a vital place in Chinese history. It reached its peak during the Song Dynasty, when everyone—from imperial nobles to commoners—drank and appreciated tea. The prosperity of tea culture during this era was not only due to the royal court’s patronage, but also to the rapid increase in tea production, reasonable policies for tea farmers, and the booming tea-horse trade (Zhou, 2025). Among many forms of tea practice, dian cha (Tea Whisking) stood out as a representative art in the Song Dynasty. It was not only part of daily life for scholars but also an essential cultural activity. Literati often exchanged poetry and admired tea craftsmanship during tea gatherings, and dian cha (Tea Whisking) became a refined social ritual. The practice was also associated with self-cultivation and aesthetic enjoyment, reflecting the scholar-officials’ pursuit of elegant living. Originating in the mid-to-late Tang Dynasty, dian cha (Tea Whisking) became highly popular in the Song period, reaching its height in both technique and cultural meaning (Cheng, 2025).<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
The craft of dian cha (Tea Whisking) involves several precise and interconnected steps, each of which affects the quality of the final tea. First is preparing the water—ideally fresh spring water. According to tradition, tea water is best at the “second boil,” when bubbles resemble fish or crab eyes. Water boiled beyond this point becomes “overcooked.” After the second boil, the water is removed from heat and allowed to settle quietly. Next is roasting the tea leaves (zhi cha), which removes moisture and odor. Then comes grinding (nian cha), where the roasted tea is finely ground into powder, followed by sifting (luo cha) to ensure even texture and purity (Baidu Baike).<br />
Once the powder is ready, the core stage of dian cha (Tea Whisking) begins. The tea bowl is preheated (xie zhan) by rinsing with hot water or placing it over embers to stabilize the temperature and support foam formation (Li, 2024). Two central steps—tiao gao (making the paste) and ji fu (whisking)—reflect the essence of the art. First, a small amount of boiling water is poured into the bowl to mix with the powder into a thick paste. Water must be poured smoothly and continuously. Over seven pours, the tea is rapidly whisked using a bamboo whisk (cha xian) to create fine, long-lasting white foam known as “tea flowers” (Zhuo, 2018). <br />
Whisking must be quick, even, and gentle, with consistent direction and strength. The ideal result is a bowl filled to 90% with snow-like foam that clings to the bowl edge—a sign of technical mastery (Su, 2024).Cha bai xi, or tea performance art, developed from this base. It involves creating visual patterns in the tea foam using a spoon as a brush and water as ink—also known as “divided tea” or “water painting” (Wang, 2024).<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
During the Kamakura period in Japan, dian cha (Tea Whisking) was introduced through Song Dynasty monks. The monk Eisai brought both tea seeds and the method of dian cha (Tea Whisking) to Japan, and wrote Drinking Tea for Health, laying the foundation for Japanese matcha culture (Zhao & Lin, 2023). Over time, the practice became ritualized. Emperor Huizong of the Song Dynasty emphasized a tea philosophy of clarity, harmony, simplicity, and tranquility, which later evolved into Japan’s “Four Principles and Seven Rules” of the tea ceremony (Liu, 2019).<br />
Although dian cha (Tea Whisking) declined after the Ming Dynasty in favor of more convenient steeping methods, its spirit and aesthetics continue to be preserved in art and media. Recent period dramas like The Story of Minglan and A Dream of Splendor have featured scenes of Song-style tea preparation, presenting audiences with a vivid and elegant portrayal of traditional tea culture.<br />
As a representative art of Song tea culture, dian cha (Tea Whisking) reflects both technical refinement and the aesthetic ideals of the scholarly class. Its detailed process, rich visual appeal, and deep cultural significance make it a shining gem in the history of Chinese tea.<br />
<br />
===Reference===<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese Agricultural History, 44(02):3–13.<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
[9]百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
===Terms and Expressions===<br />
<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
<br />
===Questions===<br />
1.In which dynasty did dian cha (Tea Whisking) reach its peak?<br />
2.What is the cultural significance of dian cha (Tea Whisking)?<br />
3.What are the main steps of dian cha (Tea Whisking)?<br />
4.Why is it necessary to warm the tea bowl (xie zhan) before dian cha (Tea Whisking)?<br />
5.What are tiao gao (making the paste) and ji fu (whisking), and what roles do they play in dian cha (Tea Whisking)?<br />
6.How did dian cha (Tea Whisking) spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
7.How is dian cha (Tea Whisking) portrayed in modern film and television? Give examples.<br />
8.What are the differences between dian cha (Tea Whisking) and modern tea brewing methods?<br />
<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
----<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇，也得益于茶产量的大幅提升、茶农政策的合理实施以及茶马互市的蓬勃发展，其茶业发展空前繁荣（周欣，2025）。其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期（程民生，2025）。<br />
===点茶的步骤===<br />
<br />
----<br />
点茶的技艺流程涵盖多个细致且相互衔接的步骤，每一环节均对最终茶汤的品质产生关键影响。其首要步骤为备水，泡茶最好的水自然是新鲜的泉水。煮水的原则是：以鱼目、蟹眼连绎迸跃的二沸水为度。也就是说，当看到水面呈现鱼眼大小、蟹眼大小的沸泡时，就可停止加热了。待三沸后，水就偏老了。泡茶时，取二沸的水，置边上，等到水没有沸腾的声音，就可以用了。其后为炙茶，将所选茶叶置于茶笼中以文火烘烤，目的是去除多余水分及异杂气味，使茶叶更加干燥，便于后续碾磨。第三步为碾茶，茶人需将炙干后的茶叶置于茶碾中反复研磨，直至其成为细腻的茶末，此过程须保持耐心与均匀的力道，以确保茶末颗粒细致一致。紧接着是罗茶，即使用茶罗对碾磨后的茶末进行筛分，剔除粗粒及杂质，提升茶粉纯度和细腻度（百度百科）。<br />
完成茶末准备后，就进入重头戏：点茶阶段。熁盏是点茶前的重要准备，即将茶盏加热，通常通过热水温盏或置于炭火之上，提升盏壁温度，有助于保持茶汤的热度及泡沫稳定性（李贺，2024）。真正体现点茶艺术水平的，是“调膏”与“击拂”两个核心步骤。茶人需先以沸水冲淋茶盏、茶筅，使器具洁净温热，然后将碾细的茶末置于茶盏中，注入少量沸水调成稠膏（此处注水必须一气呵成，忌断续），点茶总共要注水七次，同时运用竹筅快速而有节奏地击拂茶汤，使茶末与水充分融合，打出绵密持久的白色泡沫，称为“汤花”（卓力，2018）。<br />
击拂时讲究“快而匀”“稳而柔”，方向统一，力道适中。最终茶汤九分满，盏面洁白如雪，泡沫稳定附着于盏壁，形成“咬盏”之景，古人视之为点茶技艺的极致表现（苏文，2024）。茶百戏就是在此基础上，以研膏茶为原料，用清水使茶汤变幻出图案。其又被称为“分茶”“水丹青”。它是以茶匙为“笔”蘸清水作画，以茶汤为“画布”落笔生花（王柳丁，2024）。<br />
<br />
===点茶的现代传承发展===<br />
<br />
----<br />
宋代点茶技艺通过僧人赴日传播到日本，成为“抹茶道”的源流。日本镰仓时期，南宋高僧荣西禅师将点茶法及茶籽带入日本，写成《吃茶养生记》（赵艺，林玥秀，2023）。随后，点茶逐步仪式化。宋徽宗提炼并提倡清、和、淡、静茶道精神，流传到日本，发展成日本“四规七则”的茶道（刘祖陛，2019）。<br />
尽管点茶自明代以来逐渐退出主流茶饮方式，被更为便捷的散茶、泡茶所取代，但其技艺内核与审美精神仍在某些文艺表现中被继承与再现。如近年来热播的古装剧《知否知否应是绿肥红瘦》《梦华录》中，便出现了表现宋代茶艺的画面。视觉呈现贴近历史文献中的描述，为大众提供了直观而生动的茶艺美学体验。该剧再现古人生活场景的同时，也为人们品味这些被遗忘的传统文化提供了一个难得的机会。<br />
点茶作为宋代茶文化的代表技艺，不仅在物质操作层面展现出高度精细与讲究，更在文化精神层面折射出士人阶层的审美理想与人格追求。其工艺流程的严密、审美效果的丰富、文化内涵的深厚，使之成为中华茶文化史上一颗璀璨明珠。<br />
<br />
===参考文献===<br />
<br />
===生词表===<br />
<br />
===问题===<br />
<br />
<br />
<br />
<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
[[File:step.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=167144User:Du Yuan2025-05-31T12:57:49Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
Tea culture has held a vital place in Chinese history. It reached its peak during the Song Dynasty, when everyone—from imperial nobles to commoners—drank and appreciated tea. The prosperity of tea culture during this era was not only due to the royal court’s patronage, but also to the rapid increase in tea production, reasonable policies for tea farmers, and the booming tea-horse trade (Zhou, 2025). Among many forms of tea practice, dian cha (Tea Whisking) stood out as a representative art in the Song Dynasty. It was not only part of daily life for scholars but also an essential cultural activity. Literati often exchanged poetry and admired tea craftsmanship during tea gatherings, and dian cha (Tea Whisking) became a refined social ritual. The practice was also associated with self-cultivation and aesthetic enjoyment, reflecting the scholar-officials’ pursuit of elegant living. Originating in the mid-to-late Tang Dynasty, dian cha (Tea Whisking) became highly popular in the Song period, reaching its height in both technique and cultural meaning (Cheng, 2025).<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
The craft of dian cha (Tea Whisking) involves several precise and interconnected steps, each of which affects the quality of the final tea. First is preparing the water—ideally fresh spring water. According to tradition, tea water is best at the “second boil,” when bubbles resemble fish or crab eyes. Water boiled beyond this point becomes “overcooked.” After the second boil, the water is removed from heat and allowed to settle quietly. Next is roasting the tea leaves (zhi cha), which removes moisture and odor. Then comes grinding (nian cha), where the roasted tea is finely ground into powder, followed by sifting (luo cha) to ensure even texture and purity (Baidu Baike).<br />
Once the powder is ready, the core stage of dian cha (Tea Whisking) begins. The tea bowl is preheated (xie zhan) by rinsing with hot water or placing it over embers to stabilize the temperature and support foam formation (Li, 2024). Two central steps—tiao gao (making the paste) and ji fu (whisking)—reflect the essence of the art. First, a small amount of boiling water is poured into the bowl to mix with the powder into a thick paste. Water must be poured smoothly and continuously. Over seven pours, the tea is rapidly whisked using a bamboo whisk (cha xian) to create fine, long-lasting white foam known as “tea flowers” (Zhuo, 2018). <br />
Whisking must be quick, even, and gentle, with consistent direction and strength. The ideal result is a bowl filled to 90% with snow-like foam that clings to the bowl edge—a sign of technical mastery (Su, 2024).Cha bai xi, or tea performance art, developed from this base. It involves creating visual patterns in the tea foam using a spoon as a brush and water as ink—also known as “divided tea” or “water painting” (Wang, 2024).<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
During the Kamakura period in Japan, dian cha (Tea Whisking) was introduced through Song Dynasty monks. The monk Eisai brought both tea seeds and the method of dian cha (Tea Whisking) to Japan, and wrote Drinking Tea for Health, laying the foundation for Japanese matcha culture (Zhao & Lin, 2023). Over time, the practice became ritualized. Emperor Huizong of the Song Dynasty emphasized a tea philosophy of clarity, harmony, simplicity, and tranquility, which later evolved into Japan’s “Four Principles and Seven Rules” of the tea ceremony (Liu, 2019).<br />
Although dian cha (Tea Whisking) declined after the Ming Dynasty in favor of more convenient steeping methods, its spirit and aesthetics continue to be preserved in art and media. Recent period dramas like The Story of Minglan and A Dream of Splendor have featured scenes of Song-style tea preparation, presenting audiences with a vivid and elegant portrayal of traditional tea culture.<br />
As a representative art of Song tea culture, dian cha (Tea Whisking) reflects both technical refinement and the aesthetic ideals of the scholarly class. Its detailed process, rich visual appeal, and deep cultural significance make it a shining gem in the history of Chinese tea.<br />
<br />
===Questions===<br />
Questions:<br />
1.In which dynasty did dian cha (Tea Whisking) reach its peak?<br />
2.What is the cultural significance of dian cha (Tea Whisking)?<br />
3.What are the main steps of dian cha (Tea Whisking)?<br />
4.Why is it necessary to warm the tea bowl (xie zhan) before dian cha (Tea Whisking)?<br />
5.What are tiao gao (making the paste) and ji fu (whisking), and what roles do they play in dian cha (Tea Whisking)?<br />
6.How did dian cha (Tea Whisking) spread to Japan, and what influence did it have on the Japanese tea ceremony?<br />
7.How is dian cha (Tea Whisking) portrayed in modern film and television? Give examples.<br />
8.What are the differences between dian cha (Tea Whisking) and modern tea brewing methods?<br />
<br />
===Terms and Expressions===<br />
<br />
点茶 - Tea Whisking<br />
<br />
咬盏 - Clinging to the bowl<br />
<br />
熁盏 - Warming the tea bowl<br />
<br />
茶百戏 - Tea froth art<br />
<br />
汤花 - Tea froth<br />
<br />
调膏 - Mixing the paste<br />
<br />
击拂 - Whisking<br />
<br />
水丹青 - Water ink painting<br />
<br />
分茶 - Patterned tea<br />
<br />
===Reference===<br />
[1] Zhou Xin 周欣. (2025). 宋代点茶对茶高值化利用的推动作用探析 [Analysis of Dian Cha’s Role in Promoting High-Value Utilization of Tea]. 中国茶叶 China Tea, 47(01):91–94.<br />
[2] Cheng Minsheng 程民生. (2025). 宋代点茶兴衰与大众饮茶之崛起 [The Rise and Fall of Dian Cha and the Emergence of Popular Tea Drinking in the Song Dynasty]. 中国农史 Chinese Agricultural History, 44(02):3–13.<br />
[3] Li He 李贺. (2024). “宋韵文化之宋代点茶”讲座汉英交传口译报告 ["Song-style Culture and Dian Cha" Bilingual Interpretation Report]. 河南大学 Henan University. DOI:10.27114/d.cnki.ghnau.2024.002819.<br />
[4] Zhuo Li 卓力. (2018). 宋代点茶法的审美意蕴研究 [A Study on the Aesthetic Meaning of the Dian Cha Method in the Song Dynasty]. 四川师范大学 Sichuan Normal University.<br />
[5] Su Wen 苏文. (2024). 宋代点茶文化的传承与发展 [The Inheritance and Development of Dian Cha Culture in the Song Dynasty]. 福建茶叶 Fujian Tea, 46(09):173–175.<br />
[6] Wang Liuding 王柳丁. (2024). 宋时风雅——茶汤上的水墨丹青 [The Elegance of the Song Dynasty—Ink Paintings on Tea Foam]. 东方收藏 Eastern Collection, (04):163–165.<br />
[7] Zhao Yi, Lin Yuexiu 赵艺, 林玥秀. (2023). 海上丝绸之路视域下中国茶文化东亚传播研究——以日本为例 [Research on the Spread of Chinese Tea Culture to East Asia from the Maritime Silk Road Perspective—A Case Study of Japan]. 燕山论丛 Yanshan Forum, (02):31–39.<br />
[8] Liu Zubi 刘祖陛. (2019). 宋代建茶文化初探 [A Preliminary Study of Jian Tea Culture in the Song Dynasty]. 福建史志 Fujian Chronicles, (04):1–6+63.<br />
[9]百度百科：[https://jingyan.baidu.com/article/c45ad29cc4cc47441653e202.html]<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
===点茶的步骤===<br />
<br />
===点茶的现代传承发展===<br />
<br />
<br />
<br />
<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
[[File:step.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
[[File:diancha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇也得益于茶产量的大幅提升、茶农政策的合理实施以 及茶马互市的蓬勃发展，其茶业发展空前繁荣。（周欣）其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期。（程民生）</div>Du Yuanhttps://bou.de/u/index.php?title=File:Step.jpg&diff=167143File:Step.jpg2025-05-31T12:24:15Z<p>Du Yuan: </p>
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<div></div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=167142User:Du Yuan2025-05-31T12:23:16Z<p>Du Yuan: </p>
<hr />
<div>==Tea Whisking==<br />
<br />
===The History of Tea Whisking===<br />
<br />
Tea culture has held a vital place in Chinese history. It reached its peak during the Song Dynasty, when everyone—from imperial nobles to commoners—drank and appreciated tea. The prosperity of tea culture during this era was not only due to the royal court’s patronage, but also to the rapid increase in tea production, reasonable policies for tea farmers, and the booming tea-horse trade (Zhou, 2025). Among many forms of tea practice, dian cha (Tea Whisking) stood out as a representative art in the Song Dynasty. It was not only part of daily life for scholars but also an essential cultural activity. Literati often exchanged poetry and admired tea craftsmanship during tea gatherings, and dian cha (Tea Whisking) became a refined social ritual. The practice was also associated with self-cultivation and aesthetic enjoyment, reflecting the scholar-officials’ pursuit of elegant living. Originating in the mid-to-late Tang Dynasty, dian cha (Tea Whisking) became highly popular in the Song period, reaching its height in both technique and cultural meaning (Cheng, 2025).<br />
<br />
===The Steps of Tea Whisking===<br />
<br />
The craft of dian cha (Tea Whisking) involves several precise and interconnected steps, each of which affects the quality of the final tea. First is preparing the water—ideally fresh spring water. According to tradition, tea water is best at the “second boil,” when bubbles resemble fish or crab eyes. Water boiled beyond this point becomes “overcooked.” After the second boil, the water is removed from heat and allowed to settle quietly. Next is roasting the tea leaves (zhi cha), which removes moisture and odor. Then comes grinding (nian cha), where the roasted tea is finely ground into powder, followed by sifting (luo cha) to ensure even texture and purity (Baidu Baike).<br />
Once the powder is ready, the core stage of dian cha (Tea Whisking) begins. The tea bowl is preheated (xie zhan) by rinsing with hot water or placing it over embers to stabilize the temperature and support foam formation (Li, 2024). Two central steps—tiao gao (making the paste) and ji fu (whisking)—reflect the essence of the art. First, a small amount of boiling water is poured into the bowl to mix with the powder into a thick paste. Water must be poured smoothly and continuously. Over seven pours, the tea is rapidly whisked using a bamboo whisk (cha xian) to create fine, long-lasting white foam known as “tea flowers” (Zhuo, 2018). <br />
Whisking must be quick, even, and gentle, with consistent direction and strength. The ideal result is a bowl filled to 90% with snow-like foam that clings to the bowl edge—a sign of technical mastery (Su, 2024).Cha bai xi, or tea performance art, developed from this base. It involves creating visual patterns in the tea foam using a spoon as a brush and water as ink—also known as “divided tea” or “water painting” (Wang, 2024).<br />
<br />
===The Modern Inheritance and Development of Tea Whisking===<br />
<br />
During the Kamakura period in Japan, dian cha (Tea Whisking) was introduced through Song Dynasty monks. The monk Eisai brought both tea seeds and the method of dian cha (Tea Whisking) to Japan, and wrote Drinking Tea for Health, laying the foundation for Japanese matcha culture (Zhao & Lin, 2023). Over time, the practice became ritualized. Emperor Huizong of the Song Dynasty emphasized a tea philosophy of clarity, harmony, simplicity, and tranquility, which later evolved into Japan’s “Four Principles and Seven Rules” of the tea ceremony (Liu, 2019).<br />
Although dian cha (Tea Whisking) declined after the Ming Dynasty in favor of more convenient steeping methods, its spirit and aesthetics continue to be preserved in art and media. Recent period dramas like The Story of Minglan and A Dream of Splendor have featured scenes of Song-style tea preparation, presenting audiences with a vivid and elegant portrayal of traditional tea culture.<br />
As a representative art of Song tea culture, dian cha (Tea Whisking) reflects both technical refinement and the aesthetic ideals of the scholarly class. Its detailed process, rich visual appeal, and deep cultural significance make it a shining gem in the history of Chinese tea.<br />
<br />
===Questions===<br />
<br />
==点茶==<br />
<br />
===点茶的历史===<br />
<br />
===点茶的步骤===<br />
<br />
===点茶的现代传承发展===<br />
<br />
<br />
<br />
<br />
[[File:chi.jpg]]<br />
[https://k.sina.com.cn/article_2178962994_81e0563200100eg21.html]<br />
<br />
[[File:step.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
[[File:cha.jpg]]<br />
[https://www.dpm.org.cn/subject_tea/single/detail/260797.html]<br />
<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇也得益于茶产量的大幅提升、茶农政策的合理实施以 及茶马互市的蓬勃发展，其茶业发展空前繁荣。（周欣）其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期。（程民生）</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=167054User:Du Yuan2025-05-30T12:29:36Z<p>Du Yuan: </p>
<hr />
<div>==点茶==<br />
===1、点茶的历史===<br />
===2、点茶的形成===<br />
<br />
[[File:chi.jpg]]<br />
----<br />
<br />
----<br />
<br />
<br />
[http://www.example.com link title]<br />
<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇也得益于茶产量的大幅提升、茶农政策的合理实施以 及茶马互市的蓬勃发展，其茶业发展空前繁荣。（周欣）其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期。（程民生）</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=167052User:Du Yuan2025-05-30T12:25:50Z<p>Du Yuan: </p>
<hr />
<div>==点茶==<br />
===1、点茶的历史===<br />
===2、点茶的形成===<br />
<br />
[[File:chi.jpg]]<br />
<br />
[http://www.example.com link title]<br />
<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇也得益于茶产量的大幅提升、茶农政策的合理实施以 及茶马互市的蓬勃发展，其茶业发展空前繁荣。（周欣）其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期。（程民生）</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=167051User:Du Yuan2025-05-30T12:23:22Z<p>Du Yuan: </p>
<hr />
<div>==点茶==<br />
<br />
[[File:chi.jpg]]<br />
<br />
[http://www.example.com link title]<br />
<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇也得益于茶产量的大幅提升、茶农政策的合理实施以 及茶马互市的蓬勃发展，其茶业发展空前繁荣。（周欣）其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期。（程民生）</div>Du Yuanhttps://bou.de/u/index.php?title=File:Chi.jpg&diff=167043File:Chi.jpg2025-05-30T12:14:55Z<p>Du Yuan: </p>
<hr />
<div></div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=167042User:Du Yuan2025-05-30T12:14:43Z<p>Du Yuan: </p>
<hr />
<div>'''点茶''' [[File:chi.jpg]]<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇也得益于茶产量的大幅提升、茶农政策的合理实施以 及茶马互市的蓬勃发展，其茶业发展空前繁荣。（周欣）其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期。（程民生）</div>Du Yuanhttps://bou.de/u/index.php?title=File:Diancha.jpg&diff=167038File:Diancha.jpg2025-05-30T12:07:53Z<p>Du Yuan: </p>
<hr />
<div></div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=167037User:Du Yuan2025-05-30T12:07:01Z<p>Du Yuan: </p>
<hr />
<div>'''点茶'''[[File:diancha.jpg]]<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇也得益于茶产量的大幅提升、茶农政策的合理实施以 及茶马互市的蓬勃发展，其茶业发展空前繁荣。（周欣）其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期。（程民生）</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=167036User:Du Yuan2025-05-30T12:05:29Z<p>Du Yuan: </p>
<hr />
<div>'''点茶'''[[File:Example.jpg]]<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇也得益于茶产量的大幅提升、茶农政策的合理实施以 及茶马互市的蓬勃发展，其茶业发展空前繁荣。（周欣）其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期。（程民生）</div>Du Yuanhttps://bou.de/u/index.php?title=User:Du_Yuan&diff=166861User:Du Yuan2025-05-27T03:40:25Z<p>Du Yuan: </p>
<hr />
<div>点茶<br />
茶文化自古以来就占据着举足轻重的地位。这种茶文化在宋代发展至顶峰，上至王朝贵族，下至平民百姓无一不饮茶、品茶。宋朝时期，茶文化的兴盛不仅得益于王公贵族对于茶文化的推崇也得益于茶产量的大幅提升、茶农政策的合理实施以 及茶马互市的蓬勃发展，其茶业发展空前繁荣。（周欣）其中，点茶作为宋代茶艺的代表，点茶不仅是宋代文人日常生活中的一部分，更是他们文化生活的重要组成。文人雅士常在茶会上交流诗文，品评茶艺，点茶成为了一种文化社交的方式。点茶的过程也被赋予了修身养性、陶冶情操的内涵，体现了宋代文人追求高雅生活的态度。点茶作为传统饮茶的一种方式，起源于唐中晚期，盛行于两宋时期。在茶文化历史长河中，点茶于宋朝达到最鼎盛的时期。（程民生）</div>Du Yuanhttps://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=166485Chinese Language and Culture, Spring 20252025-05-05T14:36:37Z<p>Du Yuan: /* Please enroll in ai platform */</p>
<hr />
<div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br />
<br />
=Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br />
<br />
==What we learn in this class==<br />
*We learn about Chinese culture from international, especially Western perspective. <br />
*We learn about cultural phenomena, traditional Chinese culture.<br />
*We learn English and Chinese terminology in the area of Chinese culture.<br />
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br />
*We learn how to determine the location and role of Chinese culture within global culture.<br />
*We learn basics of theories and models of intercultural communication and comparison.<br />
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br />
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br />
<br />
==Students' contribution==<br />
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br />
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br />
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI<br />
<br />
==Textbook==<br />
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br />
<br />
==Agreement on use of classroom time==<br />
Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br />
<br />
<br />
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==Homework for every session==<br />
Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br />
<br />
==Teacher presentation: Introduction to Culture==<br />
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
==Homework for Session 2==<br />
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation"). <br />
<br />
Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br />
<br />
1. Geographic Nature as a Basis for Cultural Development 17<br />
<br />
2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br />
<br />
3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br />
<br />
4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br />
<br />
5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br />
<br />
6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br />
<br />
7. Animals: Panda 71 <br />
<br />
8. Architecture 78<br />
<br />
9. Architecture: The Forbidden City 89<br />
<br />
10. Architecture: Four Famous Bridges 102<br />
<br />
11. Architecture: Four Great Pavilions 113<br />
<br />
12. Architecture: Shengjing Imperial Palace 124<br />
<br />
13. Architecture: Three Great Towers in China 131<br />
<br />
14. Architecture: Fengshui in Chinese Architecture 145 <br />
<br />
15. Army and weapons: Chinese Ancient Weapons 154<br />
<br />
16. Army and weapons: Terracotta Army 163<br />
<br />
17. Astrology: Chinese Astrology 170<br />
<br />
18. Astrology: Calendar, The 24 Solar Terms 178<br />
<br />
19. Astrology: Twelve Animals of the Chinese Zodiac 188<br />
<br />
20. Beverages: Milk Tea 197<br />
<br />
21. Beverages: Tea 203 (Zhang Mai)<br />
<br />
22. Beverages: The Liquor Culture of Ancient China 209<br />
<br />
23. Body movement performance: Chinese Lion Dancing 218<br />
<br />
24. Body movement performance: Stilts 223<br />
<br />
25. Body movement performance: Traditional Chinese Dance 230<br />
<br />
26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br />
<br />
27. Chinese Writing: Calligraphy 246 (Tang Yan)<br />
<br />
28. Chinese Writing: The Evolution of Calligraphy 252<br />
<br />
29. Chinese Writing: Chinese Characters 262<br />
<br />
30. Chinese Writing: Chinese Characters and Scripts 276<br />
<br />
31. Clothing: Chinese Clothing 283<br />
<br />
32. Clothing: Batik (Lanran) 291<br />
<br />
33. Clothing: Cheongsam 301 <br />
<br />
34. Confucianism: Confucian Culture 309 <br />
<br />
35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br />
<br />
36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br />
<br />
37. Confucianism: Classical Philosophy - Reading The Analects 339 <br />
<br />
38. Education: Ancient Chinese Education 350<br />
<br />
39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br />
<br />
40. Education: Modern Chinese Education System 371<br />
<br />
41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br />
<br />
42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br />
<br />
43. Facial Make-up 406<br />
<br />
44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br />
<br />
45. Facial Make-up: Face Changing in Sichuan Opera 431<br />
<br />
46. Fine Arts: Painting 440<br />
<br />
47. Fine Arts: Bada Shanren and Qi Baishi 445<br />
<br />
48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br />
<br />
49. Fine Arts: Seal-cutting 459<br />
<br />
50. Games: Go 围棋 462（Zhao Qi）<br />
<br />
51. Games: Kite Flying 468<br />
<br />
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br />
<br />
53. Garden Culture: Gardens 505<br />
<br />
54. Garden Culture: Bonsai (Penjing) 511<br />
<br />
55. Garden Culture: The Summer Palace 519（Li Mei）<br />
<br />
56. Garden Culture: Qingming Riverside Landscspe Garden 526<br />
<br />
57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br />
<br />
58. History: Carl and Cixi 548<br />
<br />
59. Interieur: The Folding Screen 552<br />
<br />
60. Landscapes and Tourism: Four Buddhist Shrines 561<br />
<br />
61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br />
<br />
62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br />
<br />
63. Landscapes and Tourism: Mogao Grottoes 593<br />
<br />
64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br />
<br />
65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br />
<br />
66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br />
<br />
67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br />
<br />
68. Language: Chinese Language 649<br />
<br />
69. Language: Chinese Dialects 660<br />
<br />
70. Language: Chinese Folk Argot 669<br />
<br />
71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br />
<br />
72. Literature: Ancient literature - Chinese Mythology 688<br />
<br />
73. Literature: Ancient literature - Classical Literature 699<br />
<br />
74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br />
<br />
75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br />
<br />
76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br />
<br />
77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br />
<br />
78. Literature: Ancient literature: Yuefu 765<br />
<br />
79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br />
<br />
80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br />
<br />
81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br />
<br />
82. Literature: Premodern literature: Tang-Song 794<br />
<br />
83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br />
<br />
84. Literature: Modern Literature 832<br />
<br />
85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br />
<br />
86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br />
<br />
87. Literature: Contemporary Literature 859<br />
<br />
88. Martial Arts: Huo Yuanjia 865<br />
<br />
89. Martial Arts: Qigong 868<br />
<br />
90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br />
<br />
91. Martial Arts: Wushu 885<br />
<br />
92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br />
<br />
93. Medicine: Traditional Chinese Medicine (TCM) 900 <br />
<br />
94. Medicine: TCM - Acupuncture and Moxibustion 907<br />
<br />
95. Medicine: TCM - Diagnosis and Pharmacology 912<br />
<br />
96. Medicine: TCM - The Development of Chinese Medicine 917<br />
<br />
97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br />
<br />
98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br />
<br />
99. Minority cultures: The Ethnic Minorities’ Costumes 941<br />
<br />
100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br />
<br />
101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br />
<br />
102. Music and instruments: Guzheng 975<br />
<br />
103. Music and instruments: Pipa 986<br />
<br />
104. Mythology: Gods and Immortals 996<br />
<br />
105. Mythology: Huli-jing 1005<br />
<br />
106. National Symbols: National Anthem 1018<br />
<br />
107. National Symbols: National Flag 1026 （Liao Zuoyun）<br />
<br />
108. Opera: Peking Opera 1035<br />
<br />
109. Opera: Peking Opera Acrobatics 1043<br />
<br />
110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br />
<br />
111. Opera: Tea-picking Opera 1055<br />
<br />
112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br />
<br />
113. Philosophical Schools: Four Main Philosophical Schools 1076<br />
<br />
114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br />
<br />
115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br />
<br />
116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br />
<br />
117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br />
<br />
118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br />
<br />
119. Philosophy: Chinese Traditional Cultivation Culture 1129<br />
<br />
120. Religion: Traditional Chinese Funeral Culture 1141<br />
<br />
121. Religion: Buddhism 1155<br />
<br />
122. Religion: Daoism 1170<br />
<br />
123. Religion: Christianity 1175<br />
<br />
124. Religion: Islam 1181<br />
<br />
125. Science and Technology: Ancient Science and Technology 1185<br />
<br />
126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br />
<br />
127. Science and Technology: Compass 1217<br />
<br />
128. Science and Technology: TikTok (Douyin) 1226<br />
<br />
129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br />
<br />
130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br />
<br />
131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br />
<br />
132. Silk and porcelain: Porcelain 1277<br />
<br />
133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br />
<br />
134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br />
<br />
135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br />
<br />
136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br />
<br />
137. Social: The Long-life Lock 1308<br />
<br />
138. Social: Round Table Culture 1317 (Wu Jiating)<br />
<br />
139. Stage entertainment: Crosstalk 相声 1325<br />
<br />
140. Stage entertainment: Shadow Play 1332<br />
<br />
141. Traditional Crafts: Carving 1340<br />
<br />
142. Traditional Crafts: Chinese Jade Culture 1348<br />
<br />
143. Traditional Crafts: Cloisonne 1363 <br />
<br />
144. Traditional Crafts: Embroidery 1369<br />
<br />
145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br />
<br />
146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br />
<br />
147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br />
<br />
148. Traditional Crafts: Handcraft - Chinese Knots 1409<br />
<br />
149. Traditional Crafts: Lacquerware 1418<br />
<br />
150. Traditional Crafts: The Kingfisher Craft点翠 1423<br />
<br />
151. Traditional Cuisine: Chinese Dining Etiquette 1436<br />
<br />
152. Traditional Cuisine: Chopsticks 1450<br />
<br />
153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br />
<br />
154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br />
<br />
155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br />
<br />
<br />
156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br />
<br />
157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br />
<br />
158. Traditional Cuisine: The Art of Chinese Cooking 1508<br />
<br />
159. Traditional Cuisine: Two Famous Dishes 1514<br />
<br />
160. Traditional Festivals 1518……<br />
<br />
161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br />
<br />
162. Traditional Festivals: Spring Festival Couplets 1538<br />
<br />
163. Westernization: The Eastward Spread of Western Learning 1544<br />
<br />
164. Westernization: The Westernization Movement 1550<br />
<br />
165. Worship: Chinese Incense Culture 1558 (She Xiao)<br />
<br />
166. Economy: Chinese Currency Changes 1569<br />
<br />
167. History: Wang Shouren 1573 Lv Jiahao<br />
<br />
168. Martial Arts: Chinese Swordsman Spirit 1582<br />
<br />
169. Cuisine: Luosifen 1593 （Chen Sisi)<br />
<br />
170. Fine Arts: Chinese Paper Cutting 1601 <br />
<br />
171. Science and Technology: Taobao(淘宝) 1611<br />
<br />
172. Traditional Craft: Bronze 1623<br />
<br />
173. Entertainment: Deyunshe 德云社 1631<br />
<br />
174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br />
<br />
175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br />
<br />
176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br />
<br />
177. stage entertainment:Yuan drama 1676<br />
<br />
178. Music and instruments: Erhu 1685<br />
<br />
179. Traditional and Modern Views on Marriage and Love 1694 (Liu Yunxi)<br />
<br />
180. Traditional Cuisine: Tangyuan 1701<br />
<br />
181. Animals：Golden Monkey 1712（Xiao Yawen）<br />
<br />
182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br />
<br />
183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br />
<br />
184. The Chinese tradition of ancestor worship 1740<br />
<br />
185. Opera: Huangmei opera 1752 （Chu Hanqi）<br />
<br />
186. The “reference” of Chinese Music 1759<br />
<br />
187. Chinese Folk Art:Lion Dance 1767<br />
<br />
188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br />
<br />
189. Clothing: Vintage Clothing 1790<br />
<br />
190. Fine arts:Kunqu Opera 1798<br />
<br />
191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br />
<br />
192. National Belief: the Chinese Dream 1818<br />
<br />
193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
<br />
194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br />
<br />
195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br />
<br />
196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br />
<br />
198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br />
<br />
199. Traditional Crafts: Dough Sculpture 面塑 1845<br />
<br />
200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br />
<br />
201. The culture of Grass cloth 夏布 1845 <br />
<br />
202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br />
<br />
203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br />
<br />
204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
<br />
205. Bride-price（彩礼） 1845 <br />
<br />
206. Chinese science fiction movies 中国科幻片 1845<br />
<br />
207. Shandong cuisine鲁菜 1845(Lu Wei)<br />
<br />
208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)<br />
<br />
209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br />
<br />
210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br />
<br />
211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br />
<br />
212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br />
<br />
213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br />
<br />
214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br />
<br />
215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br />
<br />
216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br />
<br />
217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br />
<br />
218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br />
<br />
219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br />
<br />
220. Rice cake (年糕) 1845 （Dong Jiating）<br />
<br />
221. Zhongyuan festival 1845 （Ou Huang）<br />
<br />
222. Dulong: Facial tattoo (独龙族：纹面) 1845<br />
<br />
223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br />
<br />
224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br />
<br />
225. "Cun Chao": China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br />
<br />
226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br />
<br />
227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)<br />
<br />
228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br />
<br />
229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br />
<br />
230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br />
<br />
231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br />
<br />
232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br />
<br />
233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br />
<br />
234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br />
<br />
235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br />
<br />
236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br />
<br />
237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br />
<br />
238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br />
<br />
239. Female Emperor---Wu Zetian 1845 (Song Xin)<br />
<br />
240. Clay sculpture (泥塑） 1845 (Chen Lin)<br />
<br />
241. Abacus (中国珠算） 1845<br />
<br />
242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br />
<br />
243. Chinese name（中国姓名文化） 1845 <br />
<br />
244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br />
<br />
245. Douzhi (豆汁) 1845(Li Linyao) <br />
<br />
246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br />
<br />
247. Carved lacquer（雕漆） 1845 （Liu Qi）<br />
<br />
248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br />
<br />
249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br />
<br />
250. Language: Hakka Dialect（客家话） 1845<br />
<br />
251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br />
<br />
252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br />
<br />
253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br />
<br />
254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br />
<br />
255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br />
<br />
256. Danmu (弹幕） 1845 (Zhou Le)<br />
<br />
257. Yangshao Culture（仰韶文化） 1845<br />
<br />
258. Indigo Dyeing (蓝染) 1845<br />
<br />
259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br />
<br />
<br />
260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br />
<br />
261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br />
<br />
262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br />
<br />
263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br />
<br />
264. Single bamboo drifting（独竹漂） 1845<br />
<br />
265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br />
<br />
266. Hui Culture (徽文化) 1845(Liu Jianan)<br />
<br />
267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br />
<br />
268. Table Manners 1845（Luo Yan）<br />
<br />
269. Music of the Mongol nationality (蒙古族音乐) 1845<br />
<br />
270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br />
<br />
271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br />
<br />
272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br />
<br />
273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br />
<br />
274. God of Wealth(财神) 1845 <br />
<br />
275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br />
<br />
276. Nail art（美甲） 1845 （Luo Jiaxin）<br />
277. Mirror (镜子) 1845 (Cheng Sixiang) <br />
<br />
278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br />
<br />
279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br />
<br />
280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br />
<br />
281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br />
<br />
282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br />
<br />
283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br />
<br />
=Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br />
==Teacher presentation: Introduction to Culture==<br />
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
==Topics for today==<br />
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br />
<br />
You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br />
<br />
Please remember that you have to indicate the 10 topics for Friday on the course website under "Session 2" with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br />
<br />
27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br />
<br />
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br />
<br />
55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br />
<br />
76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br />
<br />
85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br />
<br />
Tea Latte Art (Xiang Jianning)<br />
<br />
Topic 7<br />
<br />
Topic 8<br />
<br />
Topic 9<br />
<br />
Topic 10<br />
<br />
=Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br />
==Presentations==<br />
1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br />
<br />
2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br />
<br />
3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br />
<br />
4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br />
<br />
5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br />
<br />
6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br />
<br />
7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br />
<br />
==Notes on presentations==<br />
Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br />
<br />
1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. "Black tea" (in English all "hong cha" is called "black tea"), British tea culture (add milk)<br />
<br />
2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br />
<br />
3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br />
<br />
4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br />
<br />
5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br />
<br />
6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br />
<br />
7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br />
<br />
==Student grades: 平时成绩/签到==<br />
<br />
<br />
75/103 students, 24级 MA翻译, class representative: Zhang Jiaxin<br />
# Jin Yichen <br />
# lu jiahui <br />
# li yuan<br />
# cao yuan<br />
# xiao luyu<br />
# zhang jiaxin +5<br />
# ye sitong<br />
# zhao yashi<br />
# jiang xinyue<br />
# yan xiang<br />
# fei xinyu <br />
# zhang qi<br />
# dai shiru<br />
# zhang zixi<br />
# zheng kaiwu<br />
# cai yichun<br />
# yang jing<br />
# liao dan<br />
# luo yan<br />
# qin yi<br />
# shao keyuan<br />
# cao chunyang<br />
# xu yangyang<br />
# liao zuoyun<br />
# cheng sixiang<br />
# du jiangping<br />
# liu qi<br />
# miao yunlong<br />
# huang qiaoqiao<br />
# chen lin<br />
# duan binyao<br />
# li ting<br />
# zeng zhi<br />
# xing xueqing<br />
# luo jingyan<br />
# liu shutian<br />
# gao xiaoqing<br />
# chen zhen<br />
# luo guoqiang -1-1<br />
# she xiao <br />
# he yunfeng <br />
# liu ying<br />
# du yuan <br />
# li jiayi <br />
# tao yao <br />
# xu xinwen <br />
# ou huang <br />
# liu peini<br />
# jiang ziqiang<br />
# zhang huifang<br />
# liu chao<br />
# liu yunxi <br />
# luo jiaxin<br />
# li mei<br />
# zeng xiaohui<br />
# huang yixuan<br />
# chen anqi<br />
# chen ting<br />
# zhang mai<br />
# yuan xiaolin -1-1<br />
# li mingfeng<br />
# dai yexun-1<br />
# yang pei -1<br />
# tang yan<br />
# xiang jianning-1<br />
# liu chang -1<br />
# wang yuxin<br />
# lv jiahao-1<br />
# dong jiating<br />
# lu wei<br />
# yang yue<br />
# guo cili<br />
# shen shuai<br />
# Ouyang yihong<br />
# li zihan -1<br />
# zuo fang<br />
# fu sihui<br />
# xiao zixin -1<br />
# zhou tianyi -1<br />
# qi zhiyang -1<br />
# liu pei <br />
# gong wei<br />
# chen sisi<br />
# huang sinan<br />
# xiao yikang<br />
# yu jingfang<br />
# luo sicheng<br />
# yang jiahong<br />
# yan jidong<br />
# xiao yawen<br />
# geng hongmei<br />
# zhou le<br />
# qiu ping<br />
# wang huaixing<br />
# wang xinyu<br />
# chu hanqi<br />
# wu jiating<br />
# zhang meiling<br />
# liu jianan<br />
# song xin<br />
# zhao qi<br />
# zheng jinlian<br />
# li linyao<br />
<br />
=Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br />
#Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]<br />
#Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]<br />
#Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br />
#Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br />
#Topic 182: Chinese Economy: rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]<br />
#Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin) [[Media:Tanghulu_Spring_2025.pptx]]<br />
#Topic 138: Social: Round Table Culture 1317 (Wu Jiating) [[Media:Round_Table_Culture_Spring_2025.pptx]]<br />
#Topic 174: Jiaozi (Liu Pei) [[Media:Dumplings_Spring_2025.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)<br />
<br />
=Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br />
#Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]<br />
#Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]<br />
# Topic 131: Silk and porcelain: Silk (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]<br />
# Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]<br />
# Topic 169: Cuisine: Luosifen 1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]<br />
# Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]<br />
# Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]<br />
# Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]<br />
<br />
=Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br />
<br />
#Topic 188:Mobile Games 手游 1783 （Du Jiangping）<br />
#Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br />
#Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
#Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]<br />
#Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]<br />
#Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]<br />
#Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）<br />
#Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
=HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br />
清明节4月4日——4月6日<br />
=Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=<br />
#Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）<br />
#Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]<br />
#Topic 181:Animals：Golden Monkey(Xiao Yawen)<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
#Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
#Topic 220:Rice cake 年糕 (Dong Jiating)<br />
#Topic 208:Chinese traditional ornament: Buyao(Yang Jing)<br />
#Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]<br />
#Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]<br />
<br />
=Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br />
#Topic 213: Chinese Dreamcore (Zhang Zixi)<br />
#Topic 215: Live-streaming e-commerce (Tao Yao)[[Media:Live-Streaming E-Commerce.pptx]]<br />
#Topic 216: The Story of Ming Lan (Ye Sitong)[[Media:The Story of Minglan.pptx]]<br />
#Topic 218: Guangdong Herbal tea (Gao Xiaoqing)<br />
#Topic 219: Chinese traditional art form：Seal carving（篆刻） (Huang Qiaoqiao)<br />
#Topic 207: Shan Dong Cuisine (Lu Wei)<br />
#Topic 221: Zhongyuan Festival (Ou Huang)[[Media:The Zhongyuan Festival.pptx]]<br />
#Topic 223: The Return of the Pearl Princess (Lu Jiahui)[[Media:The Return of the Pearl Princess.pptx]]<br />
<br />
=Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br />
#Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)<br />
#Topic 225: Cun Chao": China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br />
#Topic 227: Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)[[Media:Chinese_Bossy_Fictions_and_Microdramas.pptx]]<br />
#Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]<br />
#Topic 230: Gayageum（伽倻琴）(Zhang Meiling)<br />
#Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)<br />
#Topic 232: Sun Wukong(Li Yuan)<br />
#Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]<br />
#Topic 235: Bamboo Weaving(Chen Anqi)<br />
#Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)<br />
<br />
==Please enroll in ai platform==<br />
Please enroll (register) in the platform https://dcg.de/ai/<br />
<br />
[[Media:Example.ogg]]=HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br />
劳动节5月1日——5月5日<br />
=Session 12 Fri May 09 14:30-16:<br />
----10 room 613 - Student presentations=<br />
#Topic 237: Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)(Li Zihan)<br />
#Topic 238: Three Famous Chinese Mountains(Liu Chang)<br />
#Topic 239: Female emperor-Wu Zetian(女皇武则天)(Song Xin) [[Media:Wu Zetian.pptx]]<br />
#Topic 240: Clay sculpture (泥塑）(Chen Lin)[[Media:Clay Sculpture.pptx]]<br />
#Topic 242: Hunan Rice Noodles(Gong Wei)[[Media:Hunan Rice Noodles.pptx]]<br />
#Topic 244: Chinese Popular Memes(中国网络流行热梗）(Xiao Yikang)[[Media:Chinese popular Memes.pptx]] <br />
#Topic 245: Douzhi (豆汁)(Li Linyao)[[Media:Douzhi.pptx]]<br />
#Topic 246: New Year Wood-block Paintings(Du Yuan)<br />
#Topic 247: Carved lacquer（雕漆）(Liu Qi)<br />
<br />
=Session 13 Fri May 16 14:30-16:10 room 613 - Student presentations=<br />
#Topic 248: Jing Gang Mountain (井冈山）(Yu Jingfang)<br />
#Topic 251: Rice noodle roll (Li Mingfeng)<br />
#Topic 252: Traditional Cuisine: Northeastern Chinese Cuisine (Liu Shutian)<br />
#Topic 253: Yuelu Mountain (Chen Ting)<br />
#Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)<br />
#Topic 255: Chinese-style sun protection (Zhao Yashi)<br />
#Topic 256: Danmu（弹幕）(Zhou Le)<br />
#Topic 259: Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua (Zhou Tianyi)<br />
#Topic 261: The cultural idea oft he great unification in ancient China (Cai Yichun)<br />
<br />
=Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br />
<br />
=Session 15 Fri May 30 14:30-16:10 room 613 - Student presentations=<br />
279. Huo Qubing （霍去病） Luo Jingyan<br />
端午节5月31日——6月2日<br />
<br />
=Session 16 Fri Jun 28 14:30-16:10 room 613 - Final Exam=<br />
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>Du Yuanhttps://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=166484Chinese Language and Culture, Spring 20252025-05-05T14:33:45Z<p>Du Yuan: /* HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations */</p>
<hr />
<div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br />
<br />
=Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br />
<br />
==What we learn in this class==<br />
*We learn about Chinese culture from international, especially Western perspective. <br />
*We learn about cultural phenomena, traditional Chinese culture.<br />
*We learn English and Chinese terminology in the area of Chinese culture.<br />
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br />
*We learn how to determine the location and role of Chinese culture within global culture.<br />
*We learn basics of theories and models of intercultural communication and comparison.<br />
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br />
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br />
<br />
==Students' contribution==<br />
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br />
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br />
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI<br />
<br />
==Textbook==<br />
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br />
<br />
==Agreement on use of classroom time==<br />
Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br />
<br />
<br />
----<br />
==Homework for every session==<br />
Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br />
<br />
==Teacher presentation: Introduction to Culture==<br />
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
==Homework for Session 2==<br />
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation"). <br />
<br />
Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br />
<br />
1. Geographic Nature as a Basis for Cultural Development 17<br />
<br />
2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br />
<br />
3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br />
<br />
4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br />
<br />
5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br />
<br />
6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br />
<br />
7. Animals: Panda 71 <br />
<br />
8. Architecture 78<br />
<br />
9. Architecture: The Forbidden City 89<br />
<br />
10. Architecture: Four Famous Bridges 102<br />
<br />
11. Architecture: Four Great Pavilions 113<br />
<br />
12. Architecture: Shengjing Imperial Palace 124<br />
<br />
13. Architecture: Three Great Towers in China 131<br />
<br />
14. Architecture: Fengshui in Chinese Architecture 145 <br />
<br />
15. Army and weapons: Chinese Ancient Weapons 154<br />
<br />
16. Army and weapons: Terracotta Army 163<br />
<br />
17. Astrology: Chinese Astrology 170<br />
<br />
18. Astrology: Calendar, The 24 Solar Terms 178<br />
<br />
19. Astrology: Twelve Animals of the Chinese Zodiac 188<br />
<br />
20. Beverages: Milk Tea 197<br />
<br />
21. Beverages: Tea 203 (Zhang Mai)<br />
<br />
22. Beverages: The Liquor Culture of Ancient China 209<br />
<br />
23. Body movement performance: Chinese Lion Dancing 218<br />
<br />
24. Body movement performance: Stilts 223<br />
<br />
25. Body movement performance: Traditional Chinese Dance 230<br />
<br />
26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br />
<br />
27. Chinese Writing: Calligraphy 246 (Tang Yan)<br />
<br />
28. Chinese Writing: The Evolution of Calligraphy 252<br />
<br />
29. Chinese Writing: Chinese Characters 262<br />
<br />
30. Chinese Writing: Chinese Characters and Scripts 276<br />
<br />
31. Clothing: Chinese Clothing 283<br />
<br />
32. Clothing: Batik (Lanran) 291<br />
<br />
33. Clothing: Cheongsam 301 <br />
<br />
34. Confucianism: Confucian Culture 309 <br />
<br />
35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br />
<br />
36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br />
<br />
37. Confucianism: Classical Philosophy - Reading The Analects 339 <br />
<br />
38. Education: Ancient Chinese Education 350<br />
<br />
39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br />
<br />
40. Education: Modern Chinese Education System 371<br />
<br />
41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br />
<br />
42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br />
<br />
43. Facial Make-up 406<br />
<br />
44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br />
<br />
45. Facial Make-up: Face Changing in Sichuan Opera 431<br />
<br />
46. Fine Arts: Painting 440<br />
<br />
47. Fine Arts: Bada Shanren and Qi Baishi 445<br />
<br />
48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br />
<br />
49. Fine Arts: Seal-cutting 459<br />
<br />
50. Games: Go 围棋 462（Zhao Qi）<br />
<br />
51. Games: Kite Flying 468<br />
<br />
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br />
<br />
53. Garden Culture: Gardens 505<br />
<br />
54. Garden Culture: Bonsai (Penjing) 511<br />
<br />
55. Garden Culture: The Summer Palace 519（Li Mei）<br />
<br />
56. Garden Culture: Qingming Riverside Landscspe Garden 526<br />
<br />
57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br />
<br />
58. History: Carl and Cixi 548<br />
<br />
59. Interieur: The Folding Screen 552<br />
<br />
60. Landscapes and Tourism: Four Buddhist Shrines 561<br />
<br />
61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br />
<br />
62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br />
<br />
63. Landscapes and Tourism: Mogao Grottoes 593<br />
<br />
64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br />
<br />
65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br />
<br />
66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br />
<br />
67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br />
<br />
68. Language: Chinese Language 649<br />
<br />
69. Language: Chinese Dialects 660<br />
<br />
70. Language: Chinese Folk Argot 669<br />
<br />
71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br />
<br />
72. Literature: Ancient literature - Chinese Mythology 688<br />
<br />
73. Literature: Ancient literature - Classical Literature 699<br />
<br />
74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br />
<br />
75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br />
<br />
76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br />
<br />
77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br />
<br />
78. Literature: Ancient literature: Yuefu 765<br />
<br />
79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br />
<br />
80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br />
<br />
81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br />
<br />
82. Literature: Premodern literature: Tang-Song 794<br />
<br />
83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br />
<br />
84. Literature: Modern Literature 832<br />
<br />
85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br />
<br />
86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br />
<br />
87. Literature: Contemporary Literature 859<br />
<br />
88. Martial Arts: Huo Yuanjia 865<br />
<br />
89. Martial Arts: Qigong 868<br />
<br />
90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br />
<br />
91. Martial Arts: Wushu 885<br />
<br />
92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br />
<br />
93. Medicine: Traditional Chinese Medicine (TCM) 900 <br />
<br />
94. Medicine: TCM - Acupuncture and Moxibustion 907<br />
<br />
95. Medicine: TCM - Diagnosis and Pharmacology 912<br />
<br />
96. Medicine: TCM - The Development of Chinese Medicine 917<br />
<br />
97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br />
<br />
98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br />
<br />
99. Minority cultures: The Ethnic Minorities’ Costumes 941<br />
<br />
100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br />
<br />
101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br />
<br />
102. Music and instruments: Guzheng 975<br />
<br />
103. Music and instruments: Pipa 986<br />
<br />
104. Mythology: Gods and Immortals 996<br />
<br />
105. Mythology: Huli-jing 1005<br />
<br />
106. National Symbols: National Anthem 1018<br />
<br />
107. National Symbols: National Flag 1026 （Liao Zuoyun）<br />
<br />
108. Opera: Peking Opera 1035<br />
<br />
109. Opera: Peking Opera Acrobatics 1043<br />
<br />
110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br />
<br />
111. Opera: Tea-picking Opera 1055<br />
<br />
112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br />
<br />
113. Philosophical Schools: Four Main Philosophical Schools 1076<br />
<br />
114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br />
<br />
115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br />
<br />
116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br />
<br />
117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br />
<br />
118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br />
<br />
119. Philosophy: Chinese Traditional Cultivation Culture 1129<br />
<br />
120. Religion: Traditional Chinese Funeral Culture 1141<br />
<br />
121. Religion: Buddhism 1155<br />
<br />
122. Religion: Daoism 1170<br />
<br />
123. Religion: Christianity 1175<br />
<br />
124. Religion: Islam 1181<br />
<br />
125. Science and Technology: Ancient Science and Technology 1185<br />
<br />
126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br />
<br />
127. Science and Technology: Compass 1217<br />
<br />
128. Science and Technology: TikTok (Douyin) 1226<br />
<br />
129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br />
<br />
130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br />
<br />
131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br />
<br />
132. Silk and porcelain: Porcelain 1277<br />
<br />
133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br />
<br />
134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br />
<br />
135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br />
<br />
136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br />
<br />
137. Social: The Long-life Lock 1308<br />
<br />
138. Social: Round Table Culture 1317 (Wu Jiating)<br />
<br />
139. Stage entertainment: Crosstalk 相声 1325<br />
<br />
140. Stage entertainment: Shadow Play 1332<br />
<br />
141. Traditional Crafts: Carving 1340<br />
<br />
142. Traditional Crafts: Chinese Jade Culture 1348<br />
<br />
143. Traditional Crafts: Cloisonne 1363 <br />
<br />
144. Traditional Crafts: Embroidery 1369<br />
<br />
145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br />
<br />
146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br />
<br />
147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br />
<br />
148. Traditional Crafts: Handcraft - Chinese Knots 1409<br />
<br />
149. Traditional Crafts: Lacquerware 1418<br />
<br />
150. Traditional Crafts: The Kingfisher Craft点翠 1423<br />
<br />
151. Traditional Cuisine: Chinese Dining Etiquette 1436<br />
<br />
152. Traditional Cuisine: Chopsticks 1450<br />
<br />
153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br />
<br />
154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br />
<br />
155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br />
<br />
<br />
156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br />
<br />
157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br />
<br />
158. Traditional Cuisine: The Art of Chinese Cooking 1508<br />
<br />
159. Traditional Cuisine: Two Famous Dishes 1514<br />
<br />
160. Traditional Festivals 1518……<br />
<br />
161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br />
<br />
162. Traditional Festivals: Spring Festival Couplets 1538<br />
<br />
163. Westernization: The Eastward Spread of Western Learning 1544<br />
<br />
164. Westernization: The Westernization Movement 1550<br />
<br />
165. Worship: Chinese Incense Culture 1558 (She Xiao)<br />
<br />
166. Economy: Chinese Currency Changes 1569<br />
<br />
167. History: Wang Shouren 1573 Lv Jiahao<br />
<br />
168. Martial Arts: Chinese Swordsman Spirit 1582<br />
<br />
169. Cuisine: Luosifen 1593 （Chen Sisi)<br />
<br />
170. Fine Arts: Chinese Paper Cutting 1601 <br />
<br />
171. Science and Technology: Taobao(淘宝) 1611<br />
<br />
172. Traditional Craft: Bronze 1623<br />
<br />
173. Entertainment: Deyunshe 德云社 1631<br />
<br />
174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br />
<br />
175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br />
<br />
176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br />
<br />
177. stage entertainment:Yuan drama 1676<br />
<br />
178. Music and instruments: Erhu 1685<br />
<br />
179. Traditional and Modern Views on Marriage and Love 1694 (Liu Yunxi)<br />
<br />
180. Traditional Cuisine: Tangyuan 1701<br />
<br />
181. Animals：Golden Monkey 1712（Xiao Yawen）<br />
<br />
182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br />
<br />
183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br />
<br />
184. The Chinese tradition of ancestor worship 1740<br />
<br />
185. Opera: Huangmei opera 1752 （Chu Hanqi）<br />
<br />
186. The “reference” of Chinese Music 1759<br />
<br />
187. Chinese Folk Art:Lion Dance 1767<br />
<br />
188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br />
<br />
189. Clothing: Vintage Clothing 1790<br />
<br />
190. Fine arts:Kunqu Opera 1798<br />
<br />
191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br />
<br />
192. National Belief: the Chinese Dream 1818<br />
<br />
193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
<br />
194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br />
<br />
195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br />
<br />
196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br />
<br />
198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br />
<br />
199. Traditional Crafts: Dough Sculpture 面塑 1845<br />
<br />
200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br />
<br />
201. The culture of Grass cloth 夏布 1845 <br />
<br />
202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br />
<br />
203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br />
<br />
204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
<br />
205. Bride-price（彩礼） 1845 <br />
<br />
206. Chinese science fiction movies 中国科幻片 1845<br />
<br />
207. Shandong cuisine鲁菜 1845(Lu Wei)<br />
<br />
208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)<br />
<br />
209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br />
<br />
210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br />
<br />
211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br />
<br />
212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br />
<br />
213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br />
<br />
214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br />
<br />
215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br />
<br />
216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br />
<br />
217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br />
<br />
218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br />
<br />
219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br />
<br />
220. Rice cake (年糕) 1845 （Dong Jiating）<br />
<br />
221. Zhongyuan festival 1845 （Ou Huang）<br />
<br />
222. Dulong: Facial tattoo (独龙族：纹面) 1845<br />
<br />
223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br />
<br />
224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br />
<br />
225. "Cun Chao": China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br />
<br />
226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br />
<br />
227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)<br />
<br />
228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br />
<br />
229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br />
<br />
230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br />
<br />
231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br />
<br />
232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br />
<br />
233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br />
<br />
234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br />
<br />
235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br />
<br />
236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br />
<br />
237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br />
<br />
238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br />
<br />
239. Female Emperor---Wu Zetian 1845 (Song Xin)<br />
<br />
240. Clay sculpture (泥塑） 1845 (Chen Lin)<br />
<br />
241. Abacus (中国珠算） 1845<br />
<br />
242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br />
<br />
243. Chinese name（中国姓名文化） 1845 <br />
<br />
244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br />
<br />
245. Douzhi (豆汁) 1845(Li Linyao) <br />
<br />
246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br />
<br />
247. Carved lacquer（雕漆） 1845 （Liu Qi）<br />
<br />
248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br />
<br />
249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br />
<br />
250. Language: Hakka Dialect（客家话） 1845<br />
<br />
251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br />
<br />
252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br />
<br />
253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br />
<br />
254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br />
<br />
255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br />
<br />
256. Danmu (弹幕） 1845 (Zhou Le)<br />
<br />
257. Yangshao Culture（仰韶文化） 1845<br />
<br />
258. Indigo Dyeing (蓝染) 1845<br />
<br />
259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br />
<br />
<br />
260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br />
<br />
261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br />
<br />
262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br />
<br />
263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br />
<br />
264. Single bamboo drifting（独竹漂） 1845<br />
<br />
265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br />
<br />
266. Hui Culture (徽文化) 1845(Liu Jianan)<br />
<br />
267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br />
<br />
268. Table Manners 1845（Luo Yan）<br />
<br />
269. Music of the Mongol nationality (蒙古族音乐) 1845<br />
<br />
270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br />
<br />
271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br />
<br />
272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br />
<br />
273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br />
<br />
274. God of Wealth(财神) 1845 <br />
<br />
275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br />
<br />
276. Nail art（美甲） 1845 （Luo Jiaxin）<br />
277. Mirror (镜子) 1845 (Cheng Sixiang) <br />
<br />
278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br />
<br />
279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br />
<br />
280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br />
<br />
281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br />
<br />
282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br />
<br />
283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br />
<br />
=Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br />
==Teacher presentation: Introduction to Culture==<br />
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
==Topics for today==<br />
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br />
<br />
You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br />
<br />
Please remember that you have to indicate the 10 topics for Friday on the course website under "Session 2" with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br />
<br />
27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br />
<br />
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br />
<br />
55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br />
<br />
76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br />
<br />
85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br />
<br />
Tea Latte Art (Xiang Jianning)<br />
<br />
Topic 7<br />
<br />
Topic 8<br />
<br />
Topic 9<br />
<br />
Topic 10<br />
<br />
=Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br />
==Presentations==<br />
1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br />
<br />
2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br />
<br />
3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br />
<br />
4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br />
<br />
5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br />
<br />
6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br />
<br />
7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br />
<br />
==Notes on presentations==<br />
Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br />
<br />
1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. "Black tea" (in English all "hong cha" is called "black tea"), British tea culture (add milk)<br />
<br />
2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br />
<br />
3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br />
<br />
4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br />
<br />
5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br />
<br />
6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br />
<br />
7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br />
<br />
==Student grades: 平时成绩/签到==<br />
<br />
<br />
75/103 students, 24级 MA翻译, class representative: Zhang Jiaxin<br />
# Jin Yichen <br />
# lu jiahui <br />
# li yuan<br />
# cao yuan<br />
# xiao luyu<br />
# zhang jiaxin +5<br />
# ye sitong<br />
# zhao yashi<br />
# jiang xinyue<br />
# yan xiang<br />
# fei xinyu <br />
# zhang qi<br />
# dai shiru<br />
# zhang zixi<br />
# zheng kaiwu<br />
# cai yichun<br />
# yang jing<br />
# liao dan<br />
# luo yan<br />
# qin yi<br />
# shao keyuan<br />
# cao chunyang<br />
# xu yangyang<br />
# liao zuoyun<br />
# cheng sixiang<br />
# du jiangping<br />
# liu qi<br />
# miao yunlong<br />
# huang qiaoqiao<br />
# chen lin<br />
# duan binyao<br />
# li ting<br />
# zeng zhi<br />
# xing xueqing<br />
# luo jingyan<br />
# liu shutian<br />
# gao xiaoqing<br />
# chen zhen<br />
# luo guoqiang -1-1<br />
# she xiao <br />
# he yunfeng <br />
# liu ying<br />
# du yuan <br />
# li jiayi <br />
# tao yao <br />
# xu xinwen <br />
# ou huang <br />
# liu peini<br />
# jiang ziqiang<br />
# zhang huifang<br />
# liu chao<br />
# liu yunxi <br />
# luo jiaxin<br />
# li mei<br />
# zeng xiaohui<br />
# huang yixuan<br />
# chen anqi<br />
# chen ting<br />
# zhang mai<br />
# yuan xiaolin -1-1<br />
# li mingfeng<br />
# dai yexun-1<br />
# yang pei -1<br />
# tang yan<br />
# xiang jianning-1<br />
# liu chang -1<br />
# wang yuxin<br />
# lv jiahao-1<br />
# dong jiating<br />
# lu wei<br />
# yang yue<br />
# guo cili<br />
# shen shuai<br />
# Ouyang yihong<br />
# li zihan -1<br />
# zuo fang<br />
# fu sihui<br />
# xiao zixin -1<br />
# zhou tianyi -1<br />
# qi zhiyang -1<br />
# liu pei <br />
# gong wei<br />
# chen sisi<br />
# huang sinan<br />
# xiao yikang<br />
# yu jingfang<br />
# luo sicheng<br />
# yang jiahong<br />
# yan jidong<br />
# xiao yawen<br />
# geng hongmei<br />
# zhou le<br />
# qiu ping<br />
# wang huaixing<br />
# wang xinyu<br />
# chu hanqi<br />
# wu jiating<br />
# zhang meiling<br />
# liu jianan<br />
# song xin<br />
# zhao qi<br />
# zheng jinlian<br />
# li linyao<br />
<br />
=Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br />
#Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]<br />
#Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]<br />
#Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br />
#Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br />
#Topic 182: Chinese Economy: rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]<br />
#Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin) [[Media:Tanghulu_Spring_2025.pptx]]<br />
#Topic 138: Social: Round Table Culture 1317 (Wu Jiating) [[Media:Round_Table_Culture_Spring_2025.pptx]]<br />
#Topic 174: Jiaozi (Liu Pei) [[Media:Dumplings_Spring_2025.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)<br />
<br />
=Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br />
#Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]<br />
#Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]<br />
# Topic 131: Silk and porcelain: Silk (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]<br />
# Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]<br />
# Topic 169: Cuisine: Luosifen 1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]<br />
# Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]<br />
# Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]<br />
# Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]<br />
<br />
=Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br />
<br />
#Topic 188:Mobile Games 手游 1783 （Du Jiangping）<br />
#Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br />
#Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
#Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]<br />
#Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]<br />
#Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]<br />
#Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）<br />
#Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
=HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br />
清明节4月4日——4月6日<br />
=Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=<br />
#Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）<br />
#Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]<br />
#Topic 181:Animals：Golden Monkey(Xiao Yawen)<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
#Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
#Topic 220:Rice cake 年糕 (Dong Jiating)<br />
#Topic 208:Chinese traditional ornament: Buyao(Yang Jing)<br />
#Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]<br />
#Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]<br />
<br />
=Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br />
#Topic 213: Chinese Dreamcore (Zhang Zixi)<br />
#Topic 215: Live-streaming e-commerce (Tao Yao)[[Media:Live-Streaming E-Commerce.pptx]]<br />
#Topic 216: The Story of Ming Lan (Ye Sitong)[[Media:The Story of Minglan.pptx]]<br />
#Topic 218: Guangdong Herbal tea (Gao Xiaoqing)<br />
#Topic 219: Chinese traditional art form：Seal carving（篆刻） (Huang Qiaoqiao)<br />
#Topic 207: Shan Dong Cuisine (Lu Wei)<br />
#Topic 221: Zhongyuan Festival (Ou Huang)[[Media:The Zhongyuan Festival.pptx]]<br />
#Topic 223: The Return of the Pearl Princess (Lu Jiahui)[[Media:The Return of the Pearl Princess.pptx]]<br />
<br />
=Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br />
#Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)<br />
#Topic 225: Cun Chao": China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br />
#Topic 227: Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)[[Media:Chinese_Bossy_Fictions_and_Microdramas.pptx]]<br />
#Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]<br />
#Topic 230: Gayageum（伽倻琴）(Zhang Meiling)<br />
#Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)<br />
#Topic 232: Sun Wukong(Li Yuan)<br />
#Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]<br />
#Topic 235: Bamboo Weaving(Chen Anqi)<br />
#Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)<br />
<br />
==Please enroll in ai platform==<br />
Please enroll (register) in the platform https://dcg.de/ai/<br />
<br />
[[Media:Example.ogg]]=HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br />
劳动节5月1日——5月5日<br />
=Session 12 Fri May 09 14:30-16:<br />
----10 room 613 - Student presentations=<br />
#Topic 237: Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)(Li Zihan)<br />
#Topic 238: Three Famous Chinese Mountains(Liu Chang)<br />
#Topic 239: Female emperor-Wu Zetian(女皇武则天)(Song Xin) [[Media:Wu Zetian.pptx]]<br />
#Topic 240: Clay sculpture (泥塑）(Chen Lin)[[Media:Clay Sculpture.pptx]]<br />
#Topic 242: Hunan Rice Noodles(Gong Wei)[[Media:Hunan Rice Noodles.pptx]]<br />
#Topic 244: Chinese Popular Memes(中国网络流行热梗）(Xiao Yikang)[[Media:Chinese popular Memes.pptx]] <br />
#Topic 245: Douzhi (豆汁)(Li Linyao)[[Media:Douzhi.pptx]]<br />
#Topic 246: New Year Wood-block Paintings(Du Yuan)[Media: New Year Wood-block Painting.pptx]<br />
#Topic 247: Carved lacquer（雕漆）(Liu Qi)<br />
<br />
=Session 13 Fri May 16 14:30-16:10 room 613 - Student presentations=<br />
#Topic 248: Jing Gang Mountain (井冈山）(Yu Jingfang)<br />
#Topic 251: Rice noodle roll (Li Mingfeng)<br />
#Topic 252: Traditional Cuisine: Northeastern Chinese Cuisine (Liu Shutian)<br />
#Topic 253: Yuelu Mountain (Chen Ting)<br />
#Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)<br />
#Topic 255: Chinese-style sun protection (Zhao Yashi)<br />
#Topic 256: Danmu（弹幕）(Zhou Le)<br />
#Topic 259: Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua (Zhou Tianyi)<br />
#Topic 261: The cultural idea oft he great unification in ancient China (Cai Yichun)<br />
<br />
=Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br />
<br />
=Session 15 Fri May 30 14:30-16:10 room 613 - Student presentations=<br />
279. Huo Qubing （霍去病） Luo Jingyan<br />
端午节5月31日——6月2日<br />
<br />
=Session 16 Fri Jun 28 14:30-16:10 room 613 - Final Exam=<br />
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>Du Yuanhttps://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=166401Chin Lang Cult Fin Exam Spring 20252025-04-26T14:56:28Z<p>Du Yuan: </p>
<hr />
<div>Final Exam Paper Titles<br />
#Liu Chao 簪花 Zang Flowers ok<br />
#Tao Yao 拔罐 Cupping Therapy<br />
#Zeng Zhi 手串文化 Bead Bracelet Culture<br />
#Zhang Jiaxin 哪吒 Cultural Implications of Nezha<br />
#Li Ting2 湘西赶尸 The Corpse of Xiangxi Technique<br />
#Liao Zuoyun 湘菜 Hunan Cuisine <br />
#Liu Qi 劝酒文化 Drinking Persuasion Culture<br />
#Zhang Huifang 蔡伦与造纸术 Cai Lun invents the paper making<br />
#Cheng Sixiang 月饼 Mooncake<br />
#Miao Yunlong 女书 Women's Script Nvshu<br />
#Huang Yixuan2 傩戏 Nuo Opera<br />
#Li Mei 《易经》与阴阳八卦 ''The Book of Changes'', Yin-Yang, and the Eight Trigrams<br />
#Liao Dan 剪纸 Paper-cutting<br />
#Zheng Jinlian 陈皮 Dried Orange Peel<br />
#Lu Jiahui 中国古代幻术 Ancient Chinese Art of Illusions<br />
#Du Yuan 点茶 Tea Whisking<br />
#Liu Ying 盲盒经济 Blind Box Economy</div>Du Yuanhttps://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=166400Chin Lang Cult Fin Exam Spring 20252025-04-26T14:55:17Z<p>Du Yuan: </p>
<hr />
<div>Final Exam Paper Titles<br />
#Liu Chao 簪花 Zang Flowers ok<br />
#Tao Yao 拔罐 Cupping Therapy<br />
#Zeng Zhi 手串文化 Bead Bracelet Culture<br />
#Zhang Jiaxin 哪吒 Cultural Implications of Nezha<br />
#Li Ting2 湘西赶尸 The Corpse of Xiangxi Technique<br />
#Liao Zuoyun 湘菜 Hunan Cuisine <br />
#Liu Qi 劝酒文化 Drinking Persuasion Culture<br />
#Zhang Huifang 蔡伦与造纸术 Cai Lun invents the paper making<br />
#Cheng Sixiang 月饼 Mooncake<br />
#Miao Yunlong 女书 Women's Script Nvshu<br />
#Huang Yixuan2 傩戏 Nuo Opera<br />
#Li Mei 《易经》与阴阳八卦 ''The Book of Changes'', Yin-Yang, and the Eight Trigrams<br />
#Liao Dan 剪纸 Paper-cutting<br />
#Zheng Jinlian 陈皮 Dried Orange Peel<br />
#Lu Jiahui 中国古代幻术 Ancient Chinese Art of Illusions<br />
#Du Yuan 点茶 Tea Whisking</div>Du Yuanhttps://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=165427Chinese Language and Culture, Spring 20252025-02-27T00:54:28Z<p>Du Yuan: /* Homework for every session */</p>
<hr />
<div>--[[User:Miao Yunlong|Miao Yunlong]] ([[User talk:Miao Yunlong|talk]]) 13:12, 24 February 2025 (UTC)[[Media:Example.ogg]]Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br />
<br />
=Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=<br />
<br />
==What we learn in this class==<br />
*We learn about Chinese culture from international, especially Western perspective. <br />
*We learn about cultural phenomena, traditional Chinese culture.<br />
*We learn English and Chinese terminology in the area of Chinese culture.<br />
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br />
*We learn how to determine the location and role of Chinese culture within global culture.<br />
*We learn basics of theories and models of intercultural communication and comparison.<br />
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br />
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br />
<br />
==Students' contribution==<br />
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br />
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br />
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI<br />
<br />
==Textbook==<br />
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br />
<br />
==Agreement on use of classroom time==<br />
Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br />
<br />
==Homework for every session==<br />
Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br />
<br />
<nowiki>Insert non-formatted text here</nowiki>==Teacher presentation: Introduction to Culture==<br />
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
[[File:Example.jpg]]==Homework for Session 2==<br />
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation"). <br />
<br />
Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br />
<br />
1. Geographic Nature as a Basis for Cultural Development 17<br />
<br />
2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br />
<br />
3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br />
<br />
4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br />
<br />
5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br />
<br />
6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br />
<br />
7. Animals: Panda 71 （Liu Yunxi）<br />
<br />
8. Architecture 78<br />
<br />
9. Architecture: The Forbidden City 89<br />
<br />
10. Architecture: Four Famous Bridges 102<br />
<br />
11. Architecture: Four Great Pavilions 113<br />
<br />
12. Architecture: Shengjing Imperial Palace 124<br />
<br />
13. Architecture: Three Great Towers in China 131<br />
<br />
14. Architecture: Fengshui in Chinese Architecture 145 <br />
<br />
15. Army and weapons: Chinese Ancient Weapons 154<br />
<br />
16. Army and weapons: Terracotta Army 163<br />
<br />
17. Astrology: Chinese Astrology 170<br />
<br />
18. Astrology: Calendar, The 24 Solar Terms 178<br />
<br />
19. Astrology: Twelve Animals of the Chinese Zodiac 188<br />
<br />
20. Beverages: Milk Tea 197<br />
<br />
21. Beverages: Tea 203<br />
<br />
22. Beverages: The Liquor Culture of Ancient China 209<br />
<br />
23. Body movement performance: Chinese Lion Dancing 218<br />
<br />
24. Body movement performance: Stilts 223<br />
<br />
25. Body movement performance: Traditional Chinese Dance 230<br />
<br />
26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br />
<br />
27. Chinese Writing: Calligraphy 246<br />
<br />
28. Chinese Writing: The Evolution of Calligraphy 252<br />
<br />
29. Chinese Writing: Chinese Characters 262<br />
<br />
30. Chinese Writing: Chinese Characters and Scripts 276<br />
<br />
31. Clothing: Chinese Clothing 283<br />
<br />
32. Clothing: Batik (Lanran) 291<br />
<br />
33. Clothing: Cheongsam 301 <br />
<br />
34. Confucianism: Confucian Culture 309<br />
<br />
35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br />
<br />
36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br />
<br />
37. Confucianism: Classical Philosophy - Reading The Analects 339 <br />
<br />
38. Education: Ancient Chinese Education 350<br />
<br />
39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br />
<br />
40. Education: Modern Chinese Education System 371<br />
<br />
41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br />
<br />
42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br />
<br />
43. Facial Make-up 406<br />
<br />
44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br />
<br />
45. Facial Make-up: Face Changing in Sichuan Opera 431<br />
<br />
46. Fine Arts: Painting 440<br />
<br />
47. Fine Arts: Bada Shanren and Qi Baishi 445<br />
<br />
48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br />
<br />
49. Fine Arts: Seal-cutting 459<br />
<br />
50. Games: Go 围棋 462<br />
<br />
51. Games: Kite Flying 468<br />
<br />
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br />
<br />
53. Garden Culture: Gardens 505<br />
<br />
54. Garden Culture: Bonsai (Penjing) 511<br />
<br />
55. Garden Culture: The Summer Palace 519（Li Mei）<br />
<br />
56. Garden Culture: Qingming Riverside Landscspe Garden 526<br />
<br />
57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br />
<br />
58. History: Carl and Cixi 548<br />
<br />
59. Interieur: The Folding Screen 552<br />
<br />
60. Landscapes and Tourism: Four Buddhist Shrines 561<br />
<br />
61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br />
<br />
62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br />
<br />
63. Landscapes and Tourism: Mogao Grottoes 593<br />
<br />
64. Landscapes and Tourism: The Culture of Mount Tai 606<br />
<br />
65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br />
<br />
66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br />
<br />
67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br />
<br />
68. Language: Chinese Language 649<br />
<br />
69. Language: Chinese Dialects 660<br />
<br />
70. Language: Chinese Folk Argot 669<br />
<br />
71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br />
<br />
72. Literature: Ancient literature - Chinese Mythology 688<br />
<br />
73. Literature: Ancient literature - Classical Literature 699<br />
<br />
74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br />
<br />
75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br />
<br />
76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br />
<br />
77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br />
<br />
78. Literature: Ancient literature: Yuefu 765<br />
<br />
79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br />
<br />
80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br />
<br />
81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br />
<br />
82. Literature: Premodern literature: Tang-Song 794<br />
<br />
83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br />
<br />
84. Literature: Modern Literature 832<br />
<br />
85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br />
<br />
86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br />
<br />
87. Literature: Contemporary Literature 859<br />
<br />
88. Martial Arts: Huo Yuanjia 865<br />
<br />
89. Martial Arts: Qigong 868<br />
<br />
90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br />
<br />
91. Martial Arts: Wushu 885<br />
<br />
92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br />
<br />
93. Medicine: Traditional Chinese Medicine (TCM) 900<br />
<br />
94. Medicine: TCM - Acupuncture and Moxibustion 907<br />
<br />
95. Medicine: TCM - Diagnosis and Pharmacology 912<br />
<br />
96. Medicine: TCM - The Development of Chinese Medicine 917<br />
<br />
97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br />
<br />
98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br />
<br />
99. Minority cultures: The Ethnic Minorities’ Costumes 941<br />
<br />
100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br />
<br />
101. Money culture: The tradition of Red Envelope and Lucky Money 962<br />
<br />
102. Music and instruments: Guzheng 975<br />
<br />
103. Music and instruments: Pipa 986<br />
<br />
104. Mythology: Gods and Immortals 996<br />
<br />
105. Mythology: Huli-jing 1005<br />
<br />
106. National Symbols: National Anthem 1018<br />
<br />
107. National Symbols: National Flag 1026<br />
<br />
108. Opera: Peking Opera 1035<br />
<br />
109. Opera: Peking Opera Acrobatics 1043<br />
<br />
110. Opera: Peking Opera Actor Mei Lanfang 1050<br />
<br />
111. Opera: Tea-picking Opera 1055<br />
<br />
112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br />
<br />
113. Philosophical Schools: Four Main Philosophical Schools 1076<br />
<br />
114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br />
<br />
115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br />
<br />
116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br />
<br />
117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br />
<br />
118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br />
<br />
119. Philosophy: Chinese Traditional Cultivation Culture 1129<br />
<br />
120. Religion: Traditional Chinese Funeral Culture 1141<br />
<br />
121. Religion: Buddhism 1155<br />
<br />
122. Religion: Daoism 1170<br />
<br />
123. Religion: Christianity 1175<br />
<br />
124. Religion: Islam 1181<br />
<br />
125. Science and Technology: Ancient Science and Technology 1185<br />
<br />
126. Science and Technology: China's Four New Inventions 1191<br />
<br />
127. Science and Technology: Compass 1217<br />
<br />
128. Science and Technology: TikTok (Douyin) 1226<br />
<br />
129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br />
<br />
130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br />
<br />
131. Silk and porcelain: Silk 1272 <br />
<br />
132. Silk and porcelain: Porcelain 1277 （Dai Shiru）<br />
<br />
133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283<br />
<br />
134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br />
<br />
135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br />
<br />
136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br />
<br />
137. Social: The Long-life Lock 1308<br />
<br />
138. Social: Round Table Culture 1317 (Li Jiayi)<br />
<br />
139. Stage entertainment: Crosstalk 相声 1325<br />
140. Stage entertainment: Shadow Play 1332<br />
<br />
141. Traditional Crafts: Carving 1340<br />
<br />
142. Traditional Crafts: Chinese Jade Culture 1348<br />
143. Traditional Crafts: Cloisonne 1363<br />
<br />
144. Traditional Crafts: Embroidery 1369<br />
<br />
145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 (Song Xin)<br />
<br />
146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br />
<br />
147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br />
<br />
148. Traditional Crafts: Handcraft - Chinese Knots 1409<br />
<br />
149. Traditional Crafts: Lacquerware 1418<br />
<br />
150. Traditional Crafts: The Kingfisher Craft点翠 1423<br />
<br />
151. Traditional Cuisine: Chinese Dining Etiquette 1436<br />
<br />
152. Traditional Cuisine: Chopsticks 1450 (Li Jiayi)<br />
<br />
153. Traditional Cuisine: Eight Major Cuisines of China 1456(Liu Peini)<br />
<br />
154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br />
<br />
155. Traditional Cuisine: Breakfast Culture of Wuhan 1480<br />
<br />
156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Zhang Huifang)<br />
157. Traditional Cuisine: Hotpot 1501 (Zheng Kaiwu)<br />
<br />
158. Traditional Cuisine: The Art of Chinese Cooking 1508<br />
<br />
159. Traditional Cuisine: Two Famous Dishes 1514<br />
<br />
160. Traditional Festivals 1518……<br />
<br />
161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br />
<br />
162. Traditional Festivals: Spring Festival Couplets 1538<br />
<br />
163. Westernization: The Eastward Spread of Western Learning 1544<br />
<br />
164. Westernization: The Westernization Movement 1550<br />
<br />
165. Worship: Chinese Incense Culture 1558<br />
<br />
166. Economy: Chinese Currency Changes 1569<br />
<br />
167. History: Wang Shouren 1573<br />
<br />
168. Martial Arts: Chinese Swordsman Spirit 1582<br />
<br />
169. Cuisine: Luosifen 1593 （Zeng Zhi）<br />
<br />
170. Fine Arts: Chinese Paper Cutting 1601 （Luo Jiaxin）<br />
<br />
171. Science and Technology: Taobao(淘宝) 1611<br />
<br />
172. Traditional Craft: Bronze 1623<br />
<br />
173. Entertainment: Deyunshe 德云社 1631<br />
<br />
174. Traditional Cuisine: Jiaozi 1644<br />
<br />
175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br />
<br />
176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 (Tao Yao)<br />
<br />
177. stage entertainment:Yuan drama 1676<br />
<br />
178. Music and instruments: Erhu 1685<br />
<br />
179. Traditional and Modern Views on Marriage and Love 1694 （Jin Yichen）<br />
<br />
180. Traditional Cuisine: Tangyuan 1701（Liu Shutian）<br />
<br />
181. Animals：Golden Monkey 1712<br />
<br />
182. Chinese Economy: rich businessmen 1719<br />
<br />
183. Opera: Chinese Local Operas 1727<br />
<br />
184. The Chinese tradition of ancestor worship 1740<br />
<br />
185. Opera: Huangmei opera 1752<br />
<br />
186. The “reference” of Chinese Music 1759<br />
<br />
187. Chinese Folk Art:Lion Dance 1767<br />
<br />
188. Science and Technology: Mobile Games（手游） 1783<br />
<br />
189. Clothing: Vintage Clothing 1790<br />
<br />
190. Fine arts:Kunqu Opera 1798<br />
<br />
191. Aesthetic ideals and social customs: The Culture of Flowers 1807<br />
<br />
192. National Belief: the Chinese Dream 1818<br />
<br />
193. Science and Technology: Buytogether（PDD) 1825<br />
<br />
194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br />
<br />
195. Sports: Cuju (蹴鞠) 1845<br />
<br />
196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845<br />
<br />
197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845<br />
<br />
198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br />
<br />
199. Traditional Crafts: Dough Sculpture 面塑 1845<br />
<br />
200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845<br />
<br />
201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)<br />
<br />
202. The Legend of Zhen Huan 《甄嬛传》 1845 （Xing Xueqing）<br />
<br />
203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br />
<br />
204. Stand-up comedy 单口喜剧 1845<br />
<br />
205. Bride-price（彩礼） 1845<br />
<br />
206. Chinese science fiction movies 中国科幻片 1845<br />
<br />
207. Shandong cuisine鲁菜 1845(Liu Peini)<br />
<br />
208. Chinese traditional ornament: Buyao （步摇） 1845 <br />
<br />
209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br />
<br />
210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br />
<br />
211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br />
<br />
212. Education：training Schools （教育：补习班） 1845<br />
<br />
213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br />
<br />
214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br />
<br />
215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br />
<br />
216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br />
<br />
217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 (Tao Yao)<br />
<br />
218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br />
<br />
219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br />
<br />
220. Rice cake (年糕) 1845(Li Linyao)<br />
<br />
221. Zhongyuan festival 1845 （Ou Huang）<br />
<br />
222. Dulong: Facial tattoo (独龙族：纹面) 1845<br />
<br />
223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br />
<br />
224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br />
<br />
225. "Cun Chao": China's village football league（“村超”：中国乡村足球联赛） 1845 <br />
<br />
226. Landscapes and Tourism: Junshan Island (君山岛) 1845（Liao Zuoyun）<br />
<br />
227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)<br />
<br />
228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br />
<br />
229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br />
<br />
230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br />
<br />
231. The plaque and couplet in Chinese garden（园林匾额对联） 1845<br />
<br />
232. Sun Wukong（孙悟空） 1845<br />
<br />
233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br />
<br />
234. Dragon Lantern Dance（舞龙灯） 1845<br />
<br />
235. Bamboo Weaving (竹编） 1845<br />
<br />
236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br />
<br />
237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845<br />
<br />
238. Three Famous Chinese Mountains(中国三山) 1845<br />
<br />
239. Female Emperor---Wu Zetian 1845 (Song Xin)<br />
<br />
240. Clay sculpture (泥塑） 1845 (Chen Lin)<br />
<br />
241. Abacus (中国珠算） 1845<br />
<br />
242. Hunan Rice Noodles（湖南米粉） 1845 <br />
<br />
243. Chinese name（中国姓名文化） 1845 (Yang Jing)<br />
<br />
244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br />
<br />
245. Douzhi (豆汁) 1845 <br />
<br />
246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br />
<br />
247. Carved lacquer（雕漆） 1845<br />
<br />
248. Jing Gang Mountain (井冈山） 1845<br />
<br />
249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br />
<br />
250. Language: Hakka Dialect（客家话） 1845<br />
<br />
251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br />
<br />
252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br />
<br />
253. Yuelu Mountain (岳麓山) 1845<br />
<br />
254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br />
<br />
255. Chinese-style sun protection (中式防晒） 1845<br />
<br />
256. Danmu (弹幕） 1845 (Zhou Le)<br />
<br />
257. Yangshao Culture（仰韶文化） 1845<br />
<br />
258. Indigo Dyeing (蓝染) 1845<br />
<br />
259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845<br />
<br />
260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br />
<br />
261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br />
<br />
262. The Four Pillars of Destiny (八字) 1845 <br />
<br />
263. Shaolin Temple (少林寺) 1845<br />
<br />
264. Single bamboo drifting（独竹漂） 1845<br />
<br />
265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br />
<br />
266. Hui Culture (徽文化) 1845(Liu Jianan)<br />
<br />
267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br />
<br />
268. Table Manners 1845（Luo Yan）<br />
<br />
269. Music of the Mongol nationality (蒙古族音乐) 1845<br />
<br />
270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br />
<br />
271. Palace Lantern（宫灯） 1845<br />
<br />
272. Chinese Term of Endearment（中国亲昵称谓） 1845<br />
<br />
273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br />
<br />
274. God of Wealth(财神) 1845 （Zeng Zhi）<br />
<br />
275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br />
<br />
276. Nail art（美甲） 1845 （Luo Jiaxin）<br />
<br />
277. Mirror (镜子) 1845<br />
<br />
278. The Beef Board Noodle (牛肉板面) 1845<br />
<br />
279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br />
<br />
280. Chinese Courtyard Houses（中国四合院） 1845<br />
<br />
281. Music and instruments: Yangqin（扬琴） 1845<br />
<br />
282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br />
<br />
283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br />
<br />
=Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=<br />
==Teacher presentation: Introduction to Culture==<br />
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
==Topics for today==<br />
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br />
<br />
You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br />
<br />
Please remember that you have to indicate the 10 topics for Friday on the course website under "Session 2" with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br />
<br />
=Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=<br />
=Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=<br />
=Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=<br />
=Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=<br />
=HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=<br />
清明节4月4日——4月6日<br />
=Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=<br />
=Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=<br />
=Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=<br />
=HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=<br />
劳动节5月1日——5月5日<br />
=Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=<br />
=Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=<br />
=Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=<br />
=Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=<br />
端午节5月31日——6月2日<br />
=Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=<br />
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>Du Yuan