https://bou.de/u/api.php?action=feedcontributions&feedformat=atom&user=Geng+Hongmei 2026-04-04T05:21:51Z User contributions MediaWiki 1.35.14 https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=170167 2025-07-05T15:02:36Z

<p>Geng Hongmei: /* Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations */</p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203 (Zhang Mai)<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309 <br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462（Zhao Qi）<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900 <br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317 (Wu Jiating)<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> <br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> <br /> 143. Traditional Crafts: Cloisonne 1363 <br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br /> <br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> <br /> 157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558 (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. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845(Li Linyao) <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845 （Liu Qi）<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br /> <br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)[[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 &quot;Session 2&quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br /> <br /> 27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br /> <br /> Tea Latte Art (Xiang Jianning)<br /> <br /> Topic 7<br /> <br /> Topic 8<br /> <br /> Topic 9<br /> <br /> Topic 10<br /> <br /> =Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br /> ==Presentations==<br /> 1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br /> <br /> 2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br /> <br /> 3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br /> <br /> 4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br /> <br /> 5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br /> <br /> 6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br /> <br /> 7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br /> <br /> ==Notes on presentations==<br /> Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br /> <br /> 1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &quot;Black tea&quot; (in English all &quot;hong cha&quot; is called &quot;black tea&quot;), British tea culture (add milk)<br /> <br /> 2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br /> <br /> 3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br /> <br /> 4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br /> <br /> 5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br /> <br /> 6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br /> <br /> 7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br /> <br /> ==Student grades: 平时成绩/签到==<br /> <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_Game.pptx]]<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)[[Media:Chinese_Electtic_Vehicles_Geng_hongmei.pptx]]<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)[[Media:Chinese Traditional Ornament-Buyao.pptx]]<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&quot;: China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br /> #Topic 227: Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;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) [[Media:Eight Characters.pptx]]<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 /> #&lt;nowiki&gt;Topic 274:&lt;/nowiki&gt; God of wealth(Liu Ying)<br /> #Topic 275: Zhua zhou (抓周）(Zeng Xiaohui) [[Media:Zhuazhou.pptx]]<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 /> &lt;span style=&quot;color:red&quot;&gt;Please upload your ppt if you not have done so so far.&lt;/span&gt;<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 &quot;good&quot; or &quot;best&quot;, but did it instead use vocabulary like &quot;fascinating&quot;, &quot;surprising&quot; 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 &lt;span style=&quot;color:red&quot;&gt;<br /> '''New deadline to fulfill these more specified requirements: June 20, 2025'''.&lt;/span&gt;<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 /> <br /> ===Sections===<br /> Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.<br /> <br /> The AI statement should look like this:<br /> <br /> I hereby guarantee that I have not used the help of AI to write my final paper in this course.<br /> <br /> or, if you actually use AI<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;'''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: &quot;...&quot; I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: &quot;....&quot; or manually correcting the following references: ... Written the following passage new: ...).<br /> <br /> 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 &quot;(Wang 2020, 445)&quot; 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.&lt;/span&gt;<br /> <br /> [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168441 2025-06-10T15:26:51Z

<p>Geng Hongmei: /* 醴陵釉裏五彩磁器 */</p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> #对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> #醴陵釉下五彩瓷的烧制过程是怎样的？<br /> #醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> #熊希龄和吴寿祺<br /> #拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> #第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> ==='''AI声明'''===<br /> <br /> 我使用了Deepseek和Chatgpt帮助我完成期末论文。<br /> <br /> '''中文部分'''：我对Deepseek下达指令，要求其围绕“醴陵釉下五彩瓷”主题为我提供大纲方向。在它生成大纲后比对知网中的论文以及课本中的文章确定大纲为“一、起源与发展。二、烧制工艺与艺术特点。三、艺术内涵与文化价值”。完成论文后将论文发到Deepseek，要求其帮助我设定几个问题，Deepseek生成了五个问题，我参考其表述最后自己想出了三个新的问题并自己回答。<br /> <br /> '''英语部分'''：我使用Chatgpt将论文翻译为了英语，但由于我是日语专业的学生，看不懂AI译后的英语，所以无法确定英语译文正确与否。只在最关键的词语“釉下五彩瓷”上要求AI确定正确性，并要求它告知翻译为“Underglaze Five-Color Porcelain”的原因。Chatgpt搜寻结果表示，醴陵釉下五彩瓷在巴拿马太平洋万国博览会上斩获金奖时就是采用的这一翻译，因而确定下这一关键词的翻译。另外问题与答案也是由Chatgpt翻译的<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> [[File:pic.jpg]]<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Questions''' ===<br /> <br /> #Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> #What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> #What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''Answers''' ===<br /> <br /> #Xiong Xiling and Wu Shouqi.<br /> #After the clay body is shaped (thrown or molded), it is first bisque-fired at 800°C. Then, using techniques such as double-line outlining and wash-color filling, the design is painted. A layer of transparent glaze is applied, and the piece is fired at a high temperature of 1350°C to 1410°C to produce the finished work.<br /> #First, it is non-toxic, acid-resistant, alkali-resistant, wear-resistant, and permanently colorfast.Second, the surface is smooth and glossy, crystal-clear and lustrous, elegantly bright, and moist in appearance, giving a rich sense of beauty.Third, the patterns are vibrant yet tasteful, subtle yet expressive, with rich color variations, especially the use of light application and shading techniques that create a gentle, three-dimensional visual effect.<br /> <br /> === '''References''' ===<br /> <br /> [1]Qu Wenkang.The Role of the &quot;Outline and Wash&quot; Technique in Shaping the Color Layers of Liling Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]Yu Lei.A Brief Discussion on the Influence of Glaze on the Pigments of Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]The Firing Techniques of Liling Underglaze Five-Color Porcelain[J].Hunan Agriculture,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]Deng Hanyu.A Study on the Development of Hunan’s Underglaze Five-Color Porcelain Industry in the Late Qing Dynasty[J].Collection,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]Zhang Zongdeng,Zhang Hongying.An Analysis of the Decorative Artistic Features of Liling Underglaze Five-Color Porcelain[J].China Ceramics,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> === '''AI statement''' ===<br /> <br /> '''Chinese Section''': I used Deepseek to assist with my term paper by instructing it to provide an outline focused on the theme of &quot;Liling Underglaze Five-Color Porcelain.&quot; After it generated the outline, I compared it with papers from CNKI and relevant textbook content, and finalized the structure as: (1) Origin and Development, (2) Firing Techniques and Artistic Features, and (3) Artistic Connotation and Cultural Value. After completing the paper, I submitted it to Deepseek again and asked it to generate some questions. Deepseek produced five questions, which I used as a reference. I then came up with three new questions of my own and answered them independently.<br /> <br /> '''English Section''': I used ChatGPT to translate the paper into English. However, since I am a Japanese major and do not understand English well, I was unable to verify the accuracy of the AI-generated translation. I only asked the AI to ensure the correct translation of the most critical term, “釉下五彩瓷,” and to explain the reason behind translating it as “Underglaze Five-Color Porcelain.” ChatGPT’s search results indicated that this was the translation used when Liling Underglaze Five-Color Porcelain won a gold medal at the Panama-Pacific International Exposition, so I confirmed this term based on that evidence. The questions and answers were also translated by ChatGPT.<br /> <br /> == '''醴陵釉裏五彩磁器''' ==<br /> <br /> 醴陵釉裏五彩磁器（れいりょうゆうりごさいじき）は、中国湖南省醴陵市で生産される磁器である。白磁の素地に複数の高温釉下彩顔料で文様を描き、透明釉をかけて高温焼成した美しい磁器である。その釉色は水晶のように澄み淡雅で、胎土の美しさ、釉薬の美しさ、技術の美しさ、造形の美しさ、文様の美しさを兼ね備えている。「玉のごとく白く、鏡のごとく明るく、紙のごとく薄く、磬（けい）のごとく澄んだ音がする」ことで世界に知られ、「東洋陶磁芸術の頂点」と称賛されている。今日では、釉裏五彩磁器は高級芸術品として集められるだけでなく、日用食器や装飾磁器などとして現代生活に溶け込み、世界150以上の国・地域に輸出され、中華文化を世界に伝える重要な役割を担っている。<br /> <br /> === '''一、起源と発展''' ===<br /> <br /> 醴陵の磁器製作の歴史は後漢時代にさかのぼるが、釉裏五彩磁器が盛んになったのは清末民初のことである。1905年、湖南省出身の熊希齢が醴陵に「湖南磁業学堂」と「湖南磁業製造公司」を創設した。1908年、醴陵窯は釉裏単彩・二彩・三彩といった伝統技法の限界を突破し、釉裏五彩磁器の焼成に成功した。その後わずか数年で醴陵磁業は飛躍的な発展を遂げた。1915年、その代表作『扁豆双禽瓶』が「パナマ太平洋万国博覧会」で金賞を受賞し、一躍世界的名声を獲得、世界レベルの名磁としての地位を確立している。<br /> <br /> しかし1930～40年代、戦乱により醴陵磁業は壊滅的な打撃を受け、湖南磁業公司は倒産した。釉裏五彩磁器の技術の失伝という危機を目前にして、1955年、湖南省陶磁器研究所が山村で吳壽祺氏を探し当てた。吳氏の研究・実験への参加により、絶滅寸前だった釉裏五彩磁器は息を吹き返しただけでなく、顔料の種類、装飾技法、題材、生産規模なども大きく発展した。<br /> <br /> 1958年、醴陵は毛沢東主席ら国家指導者向け生活用磁器を開発した。その精緻な釉裏五彩と卓越した品質は高い評価を得た。それ以来、釉裏五彩磁器は国家用磁器・賓客用食器・国賓贈答品に選ばれ、「国磁（国の磁器）」という誉れを獲得している。醴陵窯も「赤い官窯」とも呼ばれるようになった。2008年、釉裏五彩磁器焼成技術は第2批国家級無形文化遺産に登録し、2013年、醴陵窯遺跡は国務院により第7批全国重点文物保護単位に指定された。<br /> <br /> ==='''二、焼成技法と芸術的特徴'''===<br /> <br /> 醴陵釉裏五彩磁器の魅力は、複雑で精巧な独自の技法に由来する。原料となる陶土・釉薬・顔料は全て醴陵産である。素地には醴陵特産のカオリンを水簸・陳腐させた後、轆轤成形または鋳込み成形する。成形後、800℃で素焼し強度を高める。そして、職人が特製の高温釉下彩顔料を用い、「双勾分水填彩法」などの技法で文様を釉裏に描く。素地の吸水性を利用して濃淡豊かな色階を生み出し、水墨画のようなぼかし効果を実現できる。彩絵後、均一に透明釉を施し、1350℃～1410℃の高温で焼成する。釉層の下から鮮やかな文様が浮かび上がってくる。<br /> <br /> 釉裏五彩磁器は広く称賛される三大特徴を持つ：一、無毒・耐酸性・耐アルカリ性・耐磨耗性に優れ、永不褪色（色褪せしない）。二、画面は滑らかで光沢があり、質感は透明感・潤い・清雅な明るさに満ち、瑞々しい。きらめく水々しさが独特の美意識を醸し出す。三、文様は多彩でありながら俗っぽさがなく、淡彩ながら神韻を帯びる。特に「薄く施し淡く染める（薄施淡染）」技法により、牡丹などの複雑な文様に優美な立体感が生まれる。<br /> <br /> ==='''三、芸術的内包と文化的価値'''===<br /> <br /> 醴陵釉裏五彩磁器は深い文化的背景と独自の芸術的価値を担う。中国近代陶磁史における自主技術革新の模範であり、釉裏彩が単色・二彩中心だった歴史的枠組みを打ち破り、中国釉裏彩磁芸術を新たな頂点へ導いた。中華民族の知恵と創造力の結晶である。その純白の胎土と潤いある釉肌は、東洋審美が求める「玉質感」を完璧に体現している。透明釉の下で、含蓄ある内面的輝きと華やかな視覚効果を両立させ、東洋の写意精神と西洋の色彩科学が融合した産物といえる。芸術的魅力は、中国書画の意境と陶磁の立体形態が見事に融合する点にある。文様題材は多岐にわたり：牡丹の気品、竹の清雅、山水の幽玄などの草花風景が躍動する一方、「竹林の七賢」「寒江独釣」などの人物・詩句が文人の気骨を伝えている。伝統文化の現代的継承の模範である。さらに特筆すべきは「一色にして五彩を成す」独特の効果だ。釉層の屈折により、単一顔料がグラデーションを生み（例：青が空色・湖青・藍紫へと変化）、「見える旋律」と称される層次を形成している。<br /> <br /> 釉裏五彩磁器は醴陵、ひいては湖南省を代表する文化シンボルかつ重要な経済産業であり、地域経済発展と文化発信に多大な貢献をしている。その誕生と発展は、材料科学・工芸技術・芸術創造の完璧な融合を体現している。この伝統技術は中国無形文化遺産の重要代表であるだけでなく、世界陶磁史においても無視できない一章である。<br /> <br /> 醴陵窯に揺らめく炎は千年を超える。陶器から粗磁、そして精緻潤沢な釉裏五彩磁器へ、代々の陶工が受け継いできたのは、日々研鑽される技だけではない。卓越を求め、一層の精緻を追い求める「工匠の精神」そのものである。中国人民の勤勉と知恵を宿した醴陵釉裏五彩磁器は、今後も陶磁芸術の頂点へ挑み続けるであろう。<br /> <br /> ==='''専門用語'''===<br /> <br /> 釉裏五彩磁器　　　　　　　釉下五彩瓷<br /> <br /> 素焼　　　　　　　　　　　素烧<br /> <br /> 特製の高温釉下彩顔料　　　特制的高温釉下彩料<br /> <br /> 醴陵窯　　　　　　　　　　醴陵窑<br /> <br /> ==='''質問'''===<br /> <br /> #醴陵釉裏五彩磁器にとって最も重要な二人は？<br /> #醴陵釉裏五彩磁器の焼成プロセスは？<br /> #醴陵釉裏五彩磁器の主な特徴は？<br /> <br /> ==='''回答'''===<br /> <br /> #熊希齢と吳壽祺<br /> #轆轤成形した後は800℃で素焼し、「そして「双勾分水填彩法」などの方法により彩絵し、透明釉掛ける。最後に、1350℃～1410℃の高温で焼成する。<br /> #無毒・耐酸・耐アルカリ・耐磨耗で色褪せしない。画面が滑らかで光沢・潤い・清雅な明るさ・瑞々しい質感を持つ。多彩でありながら俗っぽさがなく、淡彩ながら神韻を帯びる。<br /> <br /> ==='''参考文献'''===<br /> <br /> 参考文献<br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168407 2025-06-07T15:50:29Z

<p>Geng Hongmei: /* 醴陵釉裏五彩磁器 */</p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> #对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> #醴陵釉下五彩瓷的烧制过程是怎样的？<br /> #醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> #熊希龄和吴寿祺<br /> #拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> #第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> ==='''AI声明'''===<br /> <br /> 我使用了Deepseek和Chatgpt帮助我完成期末论文。<br /> <br /> '''中文部分'''：我对Deepseek下达指令，要求其围绕“醴陵釉下五彩瓷”主题为我提供大纲方向。在它生成大纲后比对知网中的论文以及课本中的文章确定大纲为“一、起源与发展。二、烧制工艺与艺术特点。三、艺术内涵与文化价值”。完成论文后将论文发到Deepseek，要求其帮助我设定几个问题，Deepseek生成了五个问题，我参考其表述最后自己想出了三个新的问题并自己回答。<br /> <br /> '''英语部分'''：我使用Chatgpt将论文翻译为了英语，但由于我是日语专业的学生，看不懂AI译后的英语，所以无法确定英语译文正确与否。只在最关键的词语“釉下五彩瓷”上要求AI确定正确性，并要求它告知翻译为“Underglaze Five-Color Porcelain”的原因。Chatgpt搜寻结果表示，醴陵釉下五彩瓷在巴拿马太平洋万国博览会上斩获金奖时就是采用的这一翻译，因而确定下这一关键词的翻译。另外问题与答案也是由Chatgpt翻译的<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> [[File:pic.jpg]]<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Questions''' ===<br /> <br /> #Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> #What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> #What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''Answers''' ===<br /> <br /> #Xiong Xiling and Wu Shouqi.<br /> #After the clay body is shaped (thrown or molded), it is first bisque-fired at 800°C. Then, using techniques such as double-line outlining and wash-color filling, the design is painted. A layer of transparent glaze is applied, and the piece is fired at a high temperature of 1350°C to 1410°C to produce the finished work.<br /> #First, it is non-toxic, acid-resistant, alkali-resistant, wear-resistant, and permanently colorfast.Second, the surface is smooth and glossy, crystal-clear and lustrous, elegantly bright, and moist in appearance, giving a rich sense of beauty.Third, the patterns are vibrant yet tasteful, subtle yet expressive, with rich color variations, especially the use of light application and shading techniques that create a gentle, three-dimensional visual effect.<br /> <br /> === '''References''' ===<br /> <br /> [1]Qu Wenkang.The Role of the &quot;Outline and Wash&quot; Technique in Shaping the Color Layers of Liling Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]Yu Lei.A Brief Discussion on the Influence of Glaze on the Pigments of Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]The Firing Techniques of Liling Underglaze Five-Color Porcelain[J].Hunan Agriculture,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]Deng Hanyu.A Study on the Development of Hunan’s Underglaze Five-Color Porcelain Industry in the Late Qing Dynasty[J].Collection,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]Zhang Zongdeng,Zhang Hongying.An Analysis of the Decorative Artistic Features of Liling Underglaze Five-Color Porcelain[J].China Ceramics,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> === '''AI statement''' ===<br /> <br /> '''Chinese Section''': I used Deepseek to assist with my term paper by instructing it to provide an outline focused on the theme of &quot;Liling Underglaze Five-Color Porcelain.&quot; After it generated the outline, I compared it with papers from CNKI and relevant textbook content, and finalized the structure as: (1) Origin and Development, (2) Firing Techniques and Artistic Features, and (3) Artistic Connotation and Cultural Value. After completing the paper, I submitted it to Deepseek again and asked it to generate some questions. Deepseek produced five questions, which I used as a reference. I then came up with three new questions of my own and answered them independently.<br /> <br /> '''English Section''': I used ChatGPT to translate the paper into English. However, since I am a Japanese major and do not understand English well, I was unable to verify the accuracy of the AI-generated translation. I only asked the AI to ensure the correct translation of the most critical term, “釉下五彩瓷,” and to explain the reason behind translating it as “Underglaze Five-Color Porcelain.” ChatGPT’s search results indicated that this was the translation used when Liling Underglaze Five-Color Porcelain won a gold medal at the Panama-Pacific International Exposition, so I confirmed this term based on that evidence. The questions and answers were also translated by ChatGPT.<br /> <br /> == '''醴陵釉裏五彩磁器''' ==<br /> 醴陵釉裏五彩磁器（れいりょうゆうりごさいじき）は、中国湖南省醴陵市で生産される磁器である。白磁の素地に複数の高温釉下彩顔料で文様を描き、透明釉をかけて高温焼成した美しい磁器である。その釉色は水晶のように澄み淡雅で、胎土の美しさ、釉薬の美しさ、技術の美しさ、造形の美しさ、文様の美しさを兼ね備えている。「玉のごとく白く、鏡のごとく明るく、紙のごとく薄く、磬（けい）のごとく澄んだ音がする」ことで世界に知られ、「東洋陶磁芸術の頂点」と称賛されている。今日では、釉裏五彩磁器は高級芸術品として集められるだけでなく、日用食器や装飾磁器などとして現代生活に溶け込み、世界150以上の国・地域に輸出され、中華文化を世界に伝える重要な役割を担っている。</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168406 2025-06-07T15:42:24Z

<p>Geng Hongmei: </p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> #对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> #醴陵釉下五彩瓷的烧制过程是怎样的？<br /> #醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> #熊希龄和吴寿祺<br /> #拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> #第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> ==='''AI声明'''===<br /> <br /> 我使用了Deepseek和Chatgpt帮助我完成期末论文。<br /> <br /> '''中文部分'''：我对Deepseek下达指令，要求其围绕“醴陵釉下五彩瓷”主题为我提供大纲方向。在它生成大纲后比对知网中的论文以及课本中的文章确定大纲为“一、起源与发展。二、烧制工艺与艺术特点。三、艺术内涵与文化价值”。完成论文后将论文发到Deepseek，要求其帮助我设定几个问题，Deepseek生成了五个问题，我参考其表述最后自己想出了三个新的问题并自己回答。<br /> <br /> '''英语部分'''：我使用Chatgpt将论文翻译为了英语，但由于我是日语专业的学生，看不懂AI译后的英语，所以无法确定英语译文正确与否。只在最关键的词语“釉下五彩瓷”上要求AI确定正确性，并要求它告知翻译为“Underglaze Five-Color Porcelain”的原因。Chatgpt搜寻结果表示，醴陵釉下五彩瓷在巴拿马太平洋万国博览会上斩获金奖时就是采用的这一翻译，因而确定下这一关键词的翻译。另外问题与答案也是由Chatgpt翻译的<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> [[File:pic.jpg]]<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Questions''' ===<br /> <br /> #Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> #What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> #What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''Answers''' ===<br /> <br /> #Xiong Xiling and Wu Shouqi.<br /> #After the clay body is shaped (thrown or molded), it is first bisque-fired at 800°C. Then, using techniques such as double-line outlining and wash-color filling, the design is painted. A layer of transparent glaze is applied, and the piece is fired at a high temperature of 1350°C to 1410°C to produce the finished work.<br /> #First, it is non-toxic, acid-resistant, alkali-resistant, wear-resistant, and permanently colorfast.Second, the surface is smooth and glossy, crystal-clear and lustrous, elegantly bright, and moist in appearance, giving a rich sense of beauty.Third, the patterns are vibrant yet tasteful, subtle yet expressive, with rich color variations, especially the use of light application and shading techniques that create a gentle, three-dimensional visual effect.<br /> <br /> === '''References''' ===<br /> <br /> [1]Qu Wenkang.The Role of the &quot;Outline and Wash&quot; Technique in Shaping the Color Layers of Liling Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]Yu Lei.A Brief Discussion on the Influence of Glaze on the Pigments of Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]The Firing Techniques of Liling Underglaze Five-Color Porcelain[J].Hunan Agriculture,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]Deng Hanyu.A Study on the Development of Hunan’s Underglaze Five-Color Porcelain Industry in the Late Qing Dynasty[J].Collection,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]Zhang Zongdeng,Zhang Hongying.An Analysis of the Decorative Artistic Features of Liling Underglaze Five-Color Porcelain[J].China Ceramics,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> === '''AI statement''' ===<br /> <br /> '''Chinese Section''': I used Deepseek to assist with my term paper by instructing it to provide an outline focused on the theme of &quot;Liling Underglaze Five-Color Porcelain.&quot; After it generated the outline, I compared it with papers from CNKI and relevant textbook content, and finalized the structure as: (1) Origin and Development, (2) Firing Techniques and Artistic Features, and (3) Artistic Connotation and Cultural Value. After completing the paper, I submitted it to Deepseek again and asked it to generate some questions. Deepseek produced five questions, which I used as a reference. I then came up with three new questions of my own and answered them independently.<br /> <br /> '''English Section''': I used ChatGPT to translate the paper into English. However, since I am a Japanese major and do not understand English well, I was unable to verify the accuracy of the AI-generated translation. I only asked the AI to ensure the correct translation of the most critical term, “釉下五彩瓷,” and to explain the reason behind translating it as “Underglaze Five-Color Porcelain.” ChatGPT’s search results indicated that this was the translation used when Liling Underglaze Five-Color Porcelain won a gold medal at the Panama-Pacific International Exposition, so I confirmed this term based on that evidence. The questions and answers were also translated by ChatGPT.<br /> <br /> == '''醴陵釉裏五彩磁器''' ==</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168405 2025-06-07T14:50:56Z

<p>Geng Hongmei: /* Answers */</p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> #对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> #醴陵釉下五彩瓷的烧制过程是怎样的？<br /> #醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> #熊希龄和吴寿祺<br /> #拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> #第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> ==='''AI声明'''===<br /> <br /> 我使用了Deepseek和Chatgpt帮助我完成期末论文。<br /> <br /> '''中文部分'''：我对Deepseek下达指令，要求其围绕“醴陵釉下五彩瓷”主题为我提供大纲方向。在它生成大纲后比对知网中的论文以及课本中的文章确定大纲为“一、起源与发展。二、烧制工艺与艺术特点。三、艺术内涵与文化价值”。完成论文后将论文发到Deepseek，要求其帮助我设定几个问题，Deepseek生成了五个问题，我参考其表述最后自己想出了三个新的问题并自己回答。<br /> <br /> '''英语部分'''：我使用Chatgpt将论文翻译为了英语，但由于我是日语专业的学生，看不懂AI译后的英语，所以无法确定英语译文正确与否。只在最关键的词语“釉下五彩瓷”上要求AI确定正确性，并要求它告知翻译为“Underglaze Five-Color Porcelain”的原因。Chatgpt搜寻结果表示，醴陵釉下五彩瓷在巴拿马太平洋万国博览会上斩获金奖时就是采用的这一翻译，因而确定下这一关键词的翻译。另外问题与答案也是由Chatgpt翻译的<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> [[File:pic.jpg]]<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Questions''' ===<br /> <br /> #Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> #What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> #What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''Answers''' ===<br /> <br /> #Xiong Xiling and Wu Shouqi.<br /> #After the clay body is shaped (thrown or molded), it is first bisque-fired at 800°C. Then, using techniques such as double-line outlining and wash-color filling, the design is painted. A layer of transparent glaze is applied, and the piece is fired at a high temperature of 1350°C to 1410°C to produce the finished work.<br /> #First, it is non-toxic, acid-resistant, alkali-resistant, wear-resistant, and permanently colorfast.Second, the surface is smooth and glossy, crystal-clear and lustrous, elegantly bright, and moist in appearance, giving a rich sense of beauty.Third, the patterns are vibrant yet tasteful, subtle yet expressive, with rich color variations, especially the use of light application and shading techniques that create a gentle, three-dimensional visual effect.<br /> <br /> === '''References''' ===<br /> <br /> [1]Qu Wenkang.The Role of the &quot;Outline and Wash&quot; Technique in Shaping the Color Layers of Liling Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]Yu Lei.A Brief Discussion on the Influence of Glaze on the Pigments of Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]The Firing Techniques of Liling Underglaze Five-Color Porcelain[J].Hunan Agriculture,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]Deng Hanyu.A Study on the Development of Hunan’s Underglaze Five-Color Porcelain Industry in the Late Qing Dynasty[J].Collection,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]Zhang Zongdeng,Zhang Hongying.An Analysis of the Decorative Artistic Features of Liling Underglaze Five-Color Porcelain[J].China Ceramics,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> === '''AI statement''' ===<br /> <br /> '''Chinese Section''': I used Deepseek to assist with my term paper by instructing it to provide an outline focused on the theme of &quot;Liling Underglaze Five-Color Porcelain.&quot; After it generated the outline, I compared it with papers from CNKI and relevant textbook content, and finalized the structure as: (1) Origin and Development, (2) Firing Techniques and Artistic Features, and (3) Artistic Connotation and Cultural Value. After completing the paper, I submitted it to Deepseek again and asked it to generate some questions. Deepseek produced five questions, which I used as a reference. I then came up with three new questions of my own and answered them independently.<br /> <br /> '''English Section''': I used ChatGPT to translate the paper into English. However, since I am a Japanese major and do not understand English well, I was unable to verify the accuracy of the AI-generated translation. I only asked the AI to ensure the correct translation of the most critical term, “釉下五彩瓷,” and to explain the reason behind translating it as “Underglaze Five-Color Porcelain.” ChatGPT’s search results indicated that this was the translation used when Liling Underglaze Five-Color Porcelain won a gold medal at the Panama-Pacific International Exposition, so I confirmed this term based on that evidence. The questions and answers were also translated by ChatGPT.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168404 2025-06-07T14:50:31Z

<p>Geng Hongmei: /* Question */</p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> #对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> #醴陵釉下五彩瓷的烧制过程是怎样的？<br /> #醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> #熊希龄和吴寿祺<br /> #拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> #第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> ==='''AI声明'''===<br /> <br /> 我使用了Deepseek和Chatgpt帮助我完成期末论文。<br /> <br /> '''中文部分'''：我对Deepseek下达指令，要求其围绕“醴陵釉下五彩瓷”主题为我提供大纲方向。在它生成大纲后比对知网中的论文以及课本中的文章确定大纲为“一、起源与发展。二、烧制工艺与艺术特点。三、艺术内涵与文化价值”。完成论文后将论文发到Deepseek，要求其帮助我设定几个问题，Deepseek生成了五个问题，我参考其表述最后自己想出了三个新的问题并自己回答。<br /> <br /> '''英语部分'''：我使用Chatgpt将论文翻译为了英语，但由于我是日语专业的学生，看不懂AI译后的英语，所以无法确定英语译文正确与否。只在最关键的词语“釉下五彩瓷”上要求AI确定正确性，并要求它告知翻译为“Underglaze Five-Color Porcelain”的原因。Chatgpt搜寻结果表示，醴陵釉下五彩瓷在巴拿马太平洋万国博览会上斩获金奖时就是采用的这一翻译，因而确定下这一关键词的翻译。另外问题与答案也是由Chatgpt翻译的<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> [[File:pic.jpg]]<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Questions''' ===<br /> <br /> #Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> #What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> #What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''Answers''' ===<br /> <br /> #Xiong Xiling and Wu Shouqi.<br /> #After the clay body is shaped (thrown or molded), it is first bisque-fired at 800°C. Then, using techniques such as double-line outlining and wash-color filling, the design is painted. A layer of transparent glaze is applied, and the piece is fired at a high temperature of 1350°C to 1410°C to produce the finished work.<br /> #First, it is non-toxic, acid-resistant, alkali-resistant, wear-resistant, and permanently colorfast.<br /> <br /> Second, the surface is smooth and glossy, crystal-clear and lustrous, elegantly bright, and moist in appearance, giving a rich sense of beauty.<br /> <br /> Third, the patterns are vibrant yet tasteful, subtle yet expressive, with rich color variations, especially the use of light application and shading techniques that create a gentle, three-dimensional visual effect.<br /> <br /> === '''References''' ===<br /> <br /> [1]Qu Wenkang.The Role of the &quot;Outline and Wash&quot; Technique in Shaping the Color Layers of Liling Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]Yu Lei.A Brief Discussion on the Influence of Glaze on the Pigments of Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]The Firing Techniques of Liling Underglaze Five-Color Porcelain[J].Hunan Agriculture,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]Deng Hanyu.A Study on the Development of Hunan’s Underglaze Five-Color Porcelain Industry in the Late Qing Dynasty[J].Collection,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]Zhang Zongdeng,Zhang Hongying.An Analysis of the Decorative Artistic Features of Liling Underglaze Five-Color Porcelain[J].China Ceramics,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> === '''AI statement''' ===<br /> <br /> '''Chinese Section''': I used Deepseek to assist with my term paper by instructing it to provide an outline focused on the theme of &quot;Liling Underglaze Five-Color Porcelain.&quot; After it generated the outline, I compared it with papers from CNKI and relevant textbook content, and finalized the structure as: (1) Origin and Development, (2) Firing Techniques and Artistic Features, and (3) Artistic Connotation and Cultural Value. After completing the paper, I submitted it to Deepseek again and asked it to generate some questions. Deepseek produced five questions, which I used as a reference. I then came up with three new questions of my own and answered them independently.<br /> <br /> '''English Section''': I used ChatGPT to translate the paper into English. However, since I am a Japanese major and do not understand English well, I was unable to verify the accuracy of the AI-generated translation. I only asked the AI to ensure the correct translation of the most critical term, “釉下五彩瓷,” and to explain the reason behind translating it as “Underglaze Five-Color Porcelain.” ChatGPT’s search results indicated that this was the translation used when Liling Underglaze Five-Color Porcelain won a gold medal at the Panama-Pacific International Exposition, so I confirmed this term based on that evidence. The questions and answers were also translated by ChatGPT.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168403 2025-06-07T14:48:21Z

<p>Geng Hongmei: /* AI statement */</p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> #对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> #醴陵釉下五彩瓷的烧制过程是怎样的？<br /> #醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> #熊希龄和吴寿祺<br /> #拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> #第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> ==='''AI声明'''===<br /> <br /> 我使用了Deepseek和Chatgpt帮助我完成期末论文。<br /> <br /> '''中文部分'''：我对Deepseek下达指令，要求其围绕“醴陵釉下五彩瓷”主题为我提供大纲方向。在它生成大纲后比对知网中的论文以及课本中的文章确定大纲为“一、起源与发展。二、烧制工艺与艺术特点。三、艺术内涵与文化价值”。完成论文后将论文发到Deepseek，要求其帮助我设定几个问题，Deepseek生成了五个问题，我参考其表述最后自己想出了三个新的问题并自己回答。<br /> <br /> '''英语部分'''：我使用Chatgpt将论文翻译为了英语，但由于我是日语专业的学生，看不懂AI译后的英语，所以无法确定英语译文正确与否。只在最关键的词语“釉下五彩瓷”上要求AI确定正确性，并要求它告知翻译为“Underglaze Five-Color Porcelain”的原因。Chatgpt搜寻结果表示，醴陵釉下五彩瓷在巴拿马太平洋万国博览会上斩获金奖时就是采用的这一翻译，因而确定下这一关键词的翻译。另外问题与答案也是由Chatgpt翻译的<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> [[File:pic.jpg]]<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> #Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> #What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> #What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]Qu Wenkang.The Role of the &quot;Outline and Wash&quot; Technique in Shaping the Color Layers of Liling Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]Yu Lei.A Brief Discussion on the Influence of Glaze on the Pigments of Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]The Firing Techniques of Liling Underglaze Five-Color Porcelain[J].Hunan Agriculture,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]Deng Hanyu.A Study on the Development of Hunan’s Underglaze Five-Color Porcelain Industry in the Late Qing Dynasty[J].Collection,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]Zhang Zongdeng,Zhang Hongying.An Analysis of the Decorative Artistic Features of Liling Underglaze Five-Color Porcelain[J].China Ceramics,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> === '''AI statement''' ===<br /> <br /> '''Chinese Section''': I used Deepseek to assist with my term paper by instructing it to provide an outline focused on the theme of &quot;Liling Underglaze Five-Color Porcelain.&quot; After it generated the outline, I compared it with papers from CNKI and relevant textbook content, and finalized the structure as: (1) Origin and Development, (2) Firing Techniques and Artistic Features, and (3) Artistic Connotation and Cultural Value. After completing the paper, I submitted it to Deepseek again and asked it to generate some questions. Deepseek produced five questions, which I used as a reference. I then came up with three new questions of my own and answered them independently.<br /> <br /> '''English Section''': I used ChatGPT to translate the paper into English. However, since I am a Japanese major and do not understand English well, I was unable to verify the accuracy of the AI-generated translation. I only asked the AI to ensure the correct translation of the most critical term, “釉下五彩瓷,” and to explain the reason behind translating it as “Underglaze Five-Color Porcelain.” ChatGPT’s search results indicated that this was the translation used when Liling Underglaze Five-Color Porcelain won a gold medal at the Panama-Pacific International Exposition, so I confirmed this term based on that evidence. The questions and answers were also translated by ChatGPT.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168402 2025-06-07T14:47:58Z

<p>Geng Hongmei: /* AI声明 */</p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> #对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> #醴陵釉下五彩瓷的烧制过程是怎样的？<br /> #醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> #熊希龄和吴寿祺<br /> #拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> #第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> ==='''AI声明'''===<br /> <br /> 我使用了Deepseek和Chatgpt帮助我完成期末论文。<br /> <br /> '''中文部分'''：我对Deepseek下达指令，要求其围绕“醴陵釉下五彩瓷”主题为我提供大纲方向。在它生成大纲后比对知网中的论文以及课本中的文章确定大纲为“一、起源与发展。二、烧制工艺与艺术特点。三、艺术内涵与文化价值”。完成论文后将论文发到Deepseek，要求其帮助我设定几个问题，Deepseek生成了五个问题，我参考其表述最后自己想出了三个新的问题并自己回答。<br /> <br /> '''英语部分'''：我使用Chatgpt将论文翻译为了英语，但由于我是日语专业的学生，看不懂AI译后的英语，所以无法确定英语译文正确与否。只在最关键的词语“釉下五彩瓷”上要求AI确定正确性，并要求它告知翻译为“Underglaze Five-Color Porcelain”的原因。Chatgpt搜寻结果表示，醴陵釉下五彩瓷在巴拿马太平洋万国博览会上斩获金奖时就是采用的这一翻译，因而确定下这一关键词的翻译。另外问题与答案也是由Chatgpt翻译的<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> [[File:pic.jpg]]<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> #Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> #What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> #What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]Qu Wenkang.The Role of the &quot;Outline and Wash&quot; Technique in Shaping the Color Layers of Liling Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]Yu Lei.A Brief Discussion on the Influence of Glaze on the Pigments of Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]The Firing Techniques of Liling Underglaze Five-Color Porcelain[J].Hunan Agriculture,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]Deng Hanyu.A Study on the Development of Hunan’s Underglaze Five-Color Porcelain Industry in the Late Qing Dynasty[J].Collection,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]Zhang Zongdeng,Zhang Hongying.An Analysis of the Decorative Artistic Features of Liling Underglaze Five-Color Porcelain[J].China Ceramics,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> === '''AI statement''' ===<br /> <br /> Chinese Section: I used Deepseek to assist with my term paper by instructing it to provide an outline focused on the theme of &quot;Liling Underglaze Five-Color Porcelain.&quot; After it generated the outline, I compared it with papers from CNKI and relevant textbook content, and finalized the structure as: (1) Origin and Development, (2) Firing Techniques and Artistic Features, and (3) Artistic Connotation and Cultural Value. After completing the paper, I submitted it to Deepseek again and asked it to generate some questions. Deepseek produced five questions, which I used as a reference. I then came up with three new questions of my own and answered them independently.<br /> <br /> English Section: I used ChatGPT to translate the paper into English. However, since I am a Japanese major and do not understand English well, I was unable to verify the accuracy of the AI-generated translation. I only asked the AI to ensure the correct translation of the most critical term, “釉下五彩瓷,” and to explain the reason behind translating it as “Underglaze Five-Color Porcelain.” ChatGPT’s search results indicated that this was the translation used when Liling Underglaze Five-Color Porcelain won a gold medal at the Panama-Pacific International Exposition, so I confirmed this term based on that evidence. The questions and answers were also translated by ChatGPT.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168401 2025-06-07T14:47:16Z

<p>Geng Hongmei: /* References */</p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> #对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> #醴陵釉下五彩瓷的烧制过程是怎样的？<br /> #醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> #熊希龄和吴寿祺<br /> #拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> #第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> ==='''AI声明'''===<br /> <br /> 我使用了Deepseek和Chatgpt帮助我完成期末论文。<br /> <br /> 中文部分：我对Deepseek下达指令，要求其围绕“醴陵釉下五彩瓷”主题为我提供大纲方向。在它生成大纲后比对知网中的论文以及课本中的文章确定大纲为“一、起源与发展。二、烧制工艺与艺术特点。三、艺术内涵与文化价值”。完成论文后将论文发到Deepseek，要求其帮助我设定几个问题，Deepseek生成了五个问题，我参考其表述最后自己想出了三个新的问题并自己回答。<br /> <br /> 英语部分：我使用Chatgpt将论文翻译为了英语，但由于我是日语专业的学生，看不懂AI译后的英语，所以无法确定英语译文正确与否。只在最关键的词语“釉下五彩瓷”上要求AI确定正确性，并要求它告知翻译为“Underglaze Five-Color Porcelain”的原因。Chatgpt搜寻结果表示，醴陵釉下五彩瓷在巴拿马太平洋万国博览会上斩获金奖时就是采用的这一翻译，因而确定下这一关键词的翻译。另外问题与答案也是由Chatgpt翻译的<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> [[File:pic.jpg]]<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> #Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> #What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> #What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]Qu Wenkang.The Role of the &quot;Outline and Wash&quot; Technique in Shaping the Color Layers of Liling Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]Yu Lei.A Brief Discussion on the Influence of Glaze on the Pigments of Underglaze Five-Color Porcelain[J].Ceramic Science and Art,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]The Firing Techniques of Liling Underglaze Five-Color Porcelain[J].Hunan Agriculture,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]Deng Hanyu.A Study on the Development of Hunan’s Underglaze Five-Color Porcelain Industry in the Late Qing Dynasty[J].Collection,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]Zhang Zongdeng,Zhang Hongying.An Analysis of the Decorative Artistic Features of Liling Underglaze Five-Color Porcelain[J].China Ceramics,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> === '''AI statement''' ===<br /> <br /> Chinese Section: I used Deepseek to assist with my term paper by instructing it to provide an outline focused on the theme of &quot;Liling Underglaze Five-Color Porcelain.&quot; After it generated the outline, I compared it with papers from CNKI and relevant textbook content, and finalized the structure as: (1) Origin and Development, (2) Firing Techniques and Artistic Features, and (3) Artistic Connotation and Cultural Value. After completing the paper, I submitted it to Deepseek again and asked it to generate some questions. Deepseek produced five questions, which I used as a reference. I then came up with three new questions of my own and answered them independently.<br /> <br /> English Section: I used ChatGPT to translate the paper into English. However, since I am a Japanese major and do not understand English well, I was unable to verify the accuracy of the AI-generated translation. I only asked the AI to ensure the correct translation of the most critical term, “釉下五彩瓷,” and to explain the reason behind translating it as “Underglaze Five-Color Porcelain.” ChatGPT’s search results indicated that this was the translation used when Liling Underglaze Five-Color Porcelain won a gold medal at the Panama-Pacific International Exposition, so I confirmed this term based on that evidence. The questions and answers were also translated by ChatGPT.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168400 2025-06-07T14:02:12Z

<p>Geng Hongmei: </p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> #对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> #醴陵釉下五彩瓷的烧制过程是怎样的？<br /> #醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> #熊希龄和吴寿祺<br /> #拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> #第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> ==='''AI声明'''===<br /> <br /> 我使用了Deepseek和Chatgpt帮助我完成期末论文。<br /> <br /> 中文部分：我对Deepseek下达指令，要求其围绕“醴陵釉下五彩瓷”主题为我提供大纲方向。在它生成大纲后比对知网中的论文以及课本中的文章确定大纲为“一、起源与发展。二、烧制工艺与艺术特点。三、艺术内涵与文化价值”。完成论文后将论文发到Deepseek，要求其帮助我设定几个问题，Deepseek生成了五个问题，我参考其表述最后自己想出了三个新的问题并自己回答。<br /> <br /> 英语部分：我使用Chatgpt将论文翻译为了英语，但由于我是日语专业的学生，看不懂AI译后的英语，所以无法确定英语译文正确与否。只在最关键的词语“釉下五彩瓷”上要求AI确定正确性，并要求它告知翻译为“Underglaze Five-Color Porcelain”的原因。Chatgpt搜寻结果表示，醴陵釉下五彩瓷在巴拿马太平洋万国博览会上斩获金奖时就是采用的这一翻译，因而确定下这一关键词的翻译。另外问题与答案也是由Chatgpt翻译的<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> [[File:pic.jpg]]<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> #Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> #What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> #What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168399 2025-06-07T14:01:14Z

<p>Geng Hongmei: /* 问题 */</p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> #对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> #醴陵釉下五彩瓷的烧制过程是怎样的？<br /> #醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> 1.熊希龄和吴寿祺<br /> <br /> 2.拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> <br /> 3.第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> ==='''AI声明'''===<br /> <br /> 我使用了Deepseek和Chatgpt帮助我完成期末论文。<br /> <br /> 中文部分：我对Deepseek下达指令，要求其围绕“醴陵釉下五彩瓷”主题为我提供大纲方向。在它生成大纲后比对知网中的论文以及课本中的文章确定大纲为“一、起源与发展。二、烧制工艺与艺术特点。三、艺术内涵与文化价值”。完成论文后将论文发到Deepseek，要求其帮助我设定几个问题，Deepseek生成了五个问题，我参考其表述最后自己想出了三个新的问题并自己回答。<br /> <br /> 英语部分：我使用Chatgpt将论文翻译为了英语，但由于我是日语专业的学生，看不懂AI译后的英语，所以无法确定英语译文正确与否。只在最关键的词语“釉下五彩瓷”上要求AI确定正确性，并要求它告知翻译为“Underglaze Five-Color Porcelain”的原因。Chatgpt搜寻结果表示，醴陵釉下五彩瓷在巴拿马太平洋万国博览会上斩获金奖时就是采用的这一翻译，因而确定下这一关键词的翻译。另外问题与答案也是由Chatgpt翻译的<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> [[File:pic.jpg]]<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> 1.Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> <br /> 2.What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> <br /> 3.What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168398 2025-06-07T14:00:51Z

<p>Geng Hongmei: /* 问题 */</p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> #对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> #醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> #醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> 1.熊希龄和吴寿祺<br /> <br /> 2.拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> <br /> 3.第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> ==='''AI声明'''===<br /> <br /> 我使用了Deepseek和Chatgpt帮助我完成期末论文。<br /> <br /> 中文部分：我对Deepseek下达指令，要求其围绕“醴陵釉下五彩瓷”主题为我提供大纲方向。在它生成大纲后比对知网中的论文以及课本中的文章确定大纲为“一、起源与发展。二、烧制工艺与艺术特点。三、艺术内涵与文化价值”。完成论文后将论文发到Deepseek，要求其帮助我设定几个问题，Deepseek生成了五个问题，我参考其表述最后自己想出了三个新的问题并自己回答。<br /> <br /> 英语部分：我使用Chatgpt将论文翻译为了英语，但由于我是日语专业的学生，看不懂AI译后的英语，所以无法确定英语译文正确与否。只在最关键的词语“釉下五彩瓷”上要求AI确定正确性，并要求它告知翻译为“Underglaze Five-Color Porcelain”的原因。Chatgpt搜寻结果表示，醴陵釉下五彩瓷在巴拿马太平洋万国博览会上斩获金奖时就是采用的这一翻译，因而确定下这一关键词的翻译。另外问题与答案也是由Chatgpt翻译的<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> [[File:pic.jpg]]<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> 1.Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> <br /> 2.What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> <br /> 3.What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168397 2025-06-07T13:58:38Z

<p>Geng Hongmei: /* AI声明 */</p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> 1.熊希龄和吴寿祺<br /> <br /> 2.拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> <br /> 3.第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> ==='''AI声明'''===<br /> <br /> 我使用了Deepseek和Chatgpt帮助我完成期末论文。<br /> <br /> 中文部分：我对Deepseek下达指令，要求其围绕“醴陵釉下五彩瓷”主题为我提供大纲方向。在它生成大纲后比对知网中的论文以及课本中的文章确定大纲为“一、起源与发展。二、烧制工艺与艺术特点。三、艺术内涵与文化价值”。完成论文后将论文发到Deepseek，要求其帮助我设定几个问题，Deepseek生成了五个问题，我参考其表述最后自己想出了三个新的问题并自己回答。<br /> <br /> 英语部分：我使用Chatgpt将论文翻译为了英语，但由于我是日语专业的学生，看不懂AI译后的英语，所以无法确定英语译文正确与否。只在最关键的词语“釉下五彩瓷”上要求AI确定正确性，并要求它告知翻译为“Underglaze Five-Color Porcelain”的原因。Chatgpt搜寻结果表示，醴陵釉下五彩瓷在巴拿马太平洋万国博览会上斩获金奖时就是采用的这一翻译，因而确定下这一关键词的翻译。另外问题与答案也是由Chatgpt翻译的<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> [[File:pic.jpg]]<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> 1.Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> <br /> 2.What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> <br /> 3.What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168396 2025-06-07T13:57:06Z

<p>Geng Hongmei: </p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> 1.熊希龄和吴寿祺<br /> <br /> 2.拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> <br /> 3.第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> ==='''AI声明'''===<br /> <br /> 我使用了Deepseek和Chatgpt帮助我完成期末论文。<br /> <br /> 中文部分：我对Deepseek下达指令，要求其围绕“醴陵釉下五彩瓷”主题为我提供大纲方向。在它生成大纲后比对知网中的论文以及课本中的文章确定大纲为“一、起源与发展。二、烧制工艺与艺术特点。三、艺术内涵与文化价值”。完成论文后将论文发到Deepseek，要求其帮助我设定几个问题，Deepseek生成了五个问题，我参考其表述最后自己想出了三个新的问题并自己回答。<br /> <br /> 英语部分：我使用Chatgpt将论文翻译为了英语，但由于我是日语专业的学生，看不懂AI译后的英语，所以无法确定英语译文正确与否。只在最关键的词语“釉下五彩瓷”上要求AI确定正确性，并要求它告知翻译为“Underglaze Five-Color Porcelain”的原因。Chatgpt搜寻结果表示，醴陵釉下五彩瓷在巴拿马太平洋万国博览会上斩获金奖时就是采用的这一翻译，因而确定下这一关键词的翻译。<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> [[File:pic.jpg]]<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> 1.Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> <br /> 2.What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> <br /> 3.What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168395 2025-06-07T13:55:15Z

<p>Geng Hongmei: /* 参考文献 */</p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> 1.熊希龄和吴寿祺<br /> <br /> 2.拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> <br /> 3.第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> ==='''AI声明'''===<br /> <br /> 我使用了Deepseek和Chatgpt帮助我完成期末论文。<br /> <br /> 中文部分：我对Deepseek下达指令，要求其围绕“醴陵釉下五彩瓷”主题为我提供大纲方向。在它生成大纲后比对知网中的论文以及课本中的文章确定大纲为“一、起源与发展。二、烧制工艺与艺术特点。三、艺术内涵与文化价值”。完成论文后将论文发到Deepseek，要求其帮助我设定几个问题，Deepseek生成了五个问题，我参考其表述最后自己想出了三个新的问题并自己回答。<br /> <br /> 英语部分：我使用Chatgpt将论文翻译为了英语，但由于我是日语专业的学生，看不懂AI译后的英语，所以无法确定英语译文正确与否。只在最关键的词语“釉下五彩瓷”上要求AI确定正确性，并要求它告知翻译为“Underglaze Five-Color Porcelain”的原因。Chatgpt搜寻结果表示，醴陵釉下五彩瓷在巴拿马太平洋万国博览会上斩获金奖时就是采用的这一翻译，因而确定下这一关键词的翻译。<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> 1.Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> <br /> 2.What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> <br /> 3.What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168380 2025-06-07T08:45:38Z

<p>Geng Hongmei: /* References */</p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> 1.熊希龄和吴寿祺<br /> <br /> 2.拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> <br /> 3.第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> 1.Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> <br /> 2.What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> <br /> 3.What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168378 2025-06-07T08:44:55Z

<p>Geng Hongmei: /* 参考文献 */</p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> 1.熊希龄和吴寿祺<br /> <br /> 2.拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> <br /> 3.第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycItFNXzN1DNvhThtHvmOhnzIIRvqbO6C_ElqfDxBiOomiIyAQ4HZ4WHUk8S3bgyD6cr3sYodEhV8NjZ99dNpTJ9sFCHCvA8XrL_YL0JJ-3LYRfAI9v8RP_jFfdAfytgniGlKRWNgKtlPUx8C-J6NqvsSFra3ph7KomY=&amp;uniplatform=NZKPT<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsAfkO567z0bCeuNp5XAsVPOIYtzQvLub0xh5DKgw41nkh5A_Cc1I8s0Y7TIYjKCBz3k4SL-7frRQiY6Lq8GVG916w7E1dHBPxExIUD80gLXJ10bmJ1797tWdOYY573OVozWp22TUNbqPzgX9uWORPXsIuaspV9CxU=&amp;uniplatform=NZKPT<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIvS5Dd_MagJAynVcOgCSubxhFRNpfJdObTYMpl-9HfuqNPLVey6rXbYOJy2oLc24FPRGcGF8MIPlP8AkddJoJQzUYB97flR0_KtdqOOcjuWuu7-xUUDJYwFL4Oy41efoRsf49lYEbSBt4Jz5gkQTpD7bnAUTsvkoN0=&amp;uniplatform=NZKPT<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIs2vzd4vCZj_NiqUphCifMV9m5IYlaMfqkv-jN-G9hZMuM6OfGapEtQYHU7uEHOXxk2tlMZ2IeXGIYKO5GDx1Js260kkEkAXEvE-Mk1lp6-C2nKBRwV5-mBpDXvIF1iSCxUt59SEFTuiBEyMFdo3wJ4k7FbWe7c9fY=&amp;uniplatform=NZKPT<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIskCjyWeglvK3NSblRNRjWI6bMM-d4GbIU11tC3EVgMZogQd3o2nDLCxRpcTbMCzPN5rAYfirwNJ4YeLqS7lv_jsy9UVs082B2KDHfKHrJ_xw9GZuqa8dzuC9mmCKl_r__CCRD8aHt5lwrdX2viVDJg&amp;uniplatform=NZKPT<br /> <br /> [6]https://baike.baidu.com/item/%E9%86%B4%E9%99%B5%E9%87%89%E4%B8%8B%E4%BA%94%E5%BD%A9%E7%93%B7%E5%99%A8/3280636<br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> 1.Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> <br /> 2.What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> <br /> 3.What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> <br /> [6]湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=168369 2025-06-07T07:45:18Z

<p>Geng Hongmei: /* 问题 */</p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''答案'''===<br /> <br /> 1.熊希龄和吴寿祺<br /> <br /> 2.拉胚成型后先800℃素烧，用双勾分水填色等技法彩绘，再覆一层透明釉，以1350℃-1410℃高温烧制。<br /> <br /> 3.第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富。<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> <br /> [6]湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.<br /> <br /> <br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> 1.Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> <br /> 2.What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> <br /> 3.What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> <br /> [6]湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.</div>

Geng Hongmei https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=168368 2025-06-07T07:16:15Z

<p>Geng Hongmei: /* Deadline extended to June 20, 2025 - Final Exam */</p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203 (Zhang Mai)<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309 <br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462（Zhao Qi）<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900 <br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317 (Wu Jiating)<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> <br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> <br /> 143. Traditional Crafts: Cloisonne 1363 <br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br /> <br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> <br /> 157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558 (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. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845(Li Linyao) <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845 （Liu Qi）<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br /> <br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)[[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 &quot;Session 2&quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br /> <br /> 27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br /> <br /> Tea Latte Art (Xiang Jianning)<br /> <br /> Topic 7<br /> <br /> Topic 8<br /> <br /> Topic 9<br /> <br /> Topic 10<br /> <br /> =Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br /> ==Presentations==<br /> 1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br /> <br /> 2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br /> <br /> 3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br /> <br /> 4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br /> <br /> 5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br /> <br /> 6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br /> <br /> 7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br /> <br /> ==Notes on presentations==<br /> Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br /> <br /> 1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &quot;Black tea&quot; (in English all &quot;hong cha&quot; is called &quot;black tea&quot;), British tea culture (add milk)<br /> <br /> 2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br /> <br /> 3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br /> <br /> 4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br /> <br /> 5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br /> <br /> 6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br /> <br /> 7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br /> <br /> ==Student grades: 平时成绩/签到==<br /> <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）<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)[[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)<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:Shandong Cuisine]]<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&quot;: China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br /> #Topic 227: Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;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)<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 /> =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)<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)<br /> #Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional Crafts Tie-Dye.pptx]]<br /> #Topic 255: Chinese-style sun protection (Zhao Yashi)<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)<br /> #15:40- Topic 270: Yinge Dance(Jiang Xinyue)<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 /> #&lt;nowiki&gt;Topic 274:&lt;/nowiki&gt; 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)<br /> #Topic 278: The Beef Board Noodles(Yan Xiang)<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)<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 /> &lt;span style=&quot;color:red&quot;&gt;Please upload your ppt if you not have done so so far.&lt;/span&gt;<br /> [[Media:282_Black_Myth_Wukong_Chen_Zhen.pptx]]<br /> <br /> Topic 196:[[Media:Chinese_Electtic_Vehicles_Geng_hongmei.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 &quot;good&quot; or &quot;best&quot;, but did it instead use vocabulary like &quot;fascinating&quot;, &quot;surprising&quot; 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 &lt;span style=&quot;color:red&quot;&gt;<br /> '''New deadline to fulfill these more specified requirements: June 20, 2025'''.&lt;/span&gt;<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 /> <br /> ===Sections===<br /> Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.<br /> <br /> The AI statement should look like this:<br /> <br /> I hereby guarantee that I have not used the help of AI to write my final paper in this course.<br /> <br /> or, if you actually use AI<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;'''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: &quot;...&quot; I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: &quot;....&quot; or manually correcting the following references: ... Written the following passage new: ...).<br /> <br /> 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 &quot;(Wang 2020, 445)&quot; 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.&lt;/span&gt;<br /> <br /> [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Geng Hongmei https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=168367 2025-06-07T07:15:11Z

<p>Geng Hongmei: /* Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations */</p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203 (Zhang Mai)<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309 <br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462（Zhao Qi）<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900 <br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317 (Wu Jiating)<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> <br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> <br /> 143. Traditional Crafts: Cloisonne 1363 <br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br /> <br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> <br /> 157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558 (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. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845(Li Linyao) <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845 （Liu Qi）<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br /> <br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)[[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 &quot;Session 2&quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br /> <br /> 27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br /> <br /> Tea Latte Art (Xiang Jianning)<br /> <br /> Topic 7<br /> <br /> Topic 8<br /> <br /> Topic 9<br /> <br /> Topic 10<br /> <br /> =Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br /> ==Presentations==<br /> 1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br /> <br /> 2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br /> <br /> 3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br /> <br /> 4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br /> <br /> 5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br /> <br /> 6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br /> <br /> 7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br /> <br /> ==Notes on presentations==<br /> Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br /> <br /> 1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &quot;Black tea&quot; (in English all &quot;hong cha&quot; is called &quot;black tea&quot;), British tea culture (add milk)<br /> <br /> 2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br /> <br /> 3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br /> <br /> 4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br /> <br /> 5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br /> <br /> 6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br /> <br /> 7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br /> <br /> ==Student grades: 平时成绩/签到==<br /> <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）<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)[[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)<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:Shandong Cuisine]]<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&quot;: China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br /> #Topic 227: Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;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)<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 /> =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)<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)<br /> #Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional Crafts Tie-Dye.pptx]]<br /> #Topic 255: Chinese-style sun protection (Zhao Yashi)<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)<br /> #15:40- Topic 270: Yinge Dance(Jiang Xinyue)<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 /> #&lt;nowiki&gt;Topic 274:&lt;/nowiki&gt; 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)<br /> #Topic 278: The Beef Board Noodles(Yan Xiang)<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)<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 /> &lt;span style=&quot;color:red&quot;&gt;Please upload your ppt if you not have done so so far.&lt;/span&gt;<br /> [[Media:282_Black_Myth_Wukong_Chen_Zhen.pptx]]<br /> <br /> [[Media:Chinese_Electtic_Vehicles_Geng_hongmei.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 &quot;good&quot; or &quot;best&quot;, but did it instead use vocabulary like &quot;fascinating&quot;, &quot;surprising&quot; 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 &lt;span style=&quot;color:red&quot;&gt;<br /> '''New deadline to fulfill these more specified requirements: June 20, 2025'''.&lt;/span&gt;<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 /> <br /> ===Sections===<br /> Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.<br /> <br /> The AI statement should look like this:<br /> <br /> I hereby guarantee that I have not used the help of AI to write my final paper in this course.<br /> <br /> or, if you actually use AI<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;'''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: &quot;...&quot; I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: &quot;....&quot; or manually correcting the following references: ... Written the following passage new: ...).<br /> <br /> 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 &quot;(Wang 2020, 445)&quot; 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.&lt;/span&gt;<br /> <br /> [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Geng Hongmei https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=168366 2025-06-07T07:13:10Z

<p>Geng Hongmei: /* Deadline extended to June 20, 2025 - Final Exam */</p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203 (Zhang Mai)<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309 <br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462（Zhao Qi）<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900 <br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317 (Wu Jiating)<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> <br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> <br /> 143. Traditional Crafts: Cloisonne 1363 <br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br /> <br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> <br /> 157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558 (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. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845(Li Linyao) <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845 （Liu Qi）<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br /> <br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)[[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 &quot;Session 2&quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br /> <br /> 27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br /> <br /> Tea Latte Art (Xiang Jianning)<br /> <br /> Topic 7<br /> <br /> Topic 8<br /> <br /> Topic 9<br /> <br /> Topic 10<br /> <br /> =Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br /> ==Presentations==<br /> 1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br /> <br /> 2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br /> <br /> 3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br /> <br /> 4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br /> <br /> 5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br /> <br /> 6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br /> <br /> 7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br /> <br /> ==Notes on presentations==<br /> Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br /> <br /> 1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &quot;Black tea&quot; (in English all &quot;hong cha&quot; is called &quot;black tea&quot;), British tea culture (add milk)<br /> <br /> 2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br /> <br /> 3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br /> <br /> 4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br /> <br /> 5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br /> <br /> 6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br /> <br /> 7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br /> <br /> ==Student grades: 平时成绩/签到==<br /> <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）<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)[[Media:Seal carving.pptx]]<br /> #Topic 207: Shan Dong Cuisine (Lu Wei) [[Media:Shandong Cuisine]]<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&quot;: China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br /> #Topic 227: Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;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)<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 /> =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)<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)<br /> #Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional Crafts Tie-Dye.pptx]]<br /> #Topic 255: Chinese-style sun protection (Zhao Yashi)<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)<br /> #15:40- Topic 270: Yinge Dance(Jiang Xinyue)<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 /> #&lt;nowiki&gt;Topic 274:&lt;/nowiki&gt; 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)<br /> #Topic 278: The Beef Board Noodles(Yan Xiang)<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)<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 /> &lt;span style=&quot;color:red&quot;&gt;Please upload your ppt if you not have done so so far.&lt;/span&gt;<br /> [[Media:282_Black_Myth_Wukong_Chen_Zhen.pptx]]<br /> <br /> [[Media:Chinese_Electtic_Vehicles_Geng_hongmei.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 &quot;good&quot; or &quot;best&quot;, but did it instead use vocabulary like &quot;fascinating&quot;, &quot;surprising&quot; 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 &lt;span style=&quot;color:red&quot;&gt;<br /> '''New deadline to fulfill these more specified requirements: June 20, 2025'''.&lt;/span&gt;<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 /> <br /> ===Sections===<br /> Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.<br /> <br /> The AI statement should look like this:<br /> <br /> I hereby guarantee that I have not used the help of AI to write my final paper in this course.<br /> <br /> or, if you actually use AI<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;'''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: &quot;...&quot; I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: &quot;....&quot; or manually correcting the following references: ... Written the following passage new: ...).<br /> <br /> 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 &quot;(Wang 2020, 445)&quot; 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.&lt;/span&gt;<br /> <br /> [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Geng Hongmei https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=168365 2025-06-07T07:12:09Z

<p>Geng Hongmei: /* Deadline extended to June 20, 2025 - Final Exam */</p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203 (Zhang Mai)<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309 <br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462（Zhao Qi）<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900 <br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317 (Wu Jiating)<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> <br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> <br /> 143. Traditional Crafts: Cloisonne 1363 <br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br /> <br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> <br /> 157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558 (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. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845(Li Linyao) <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845 （Liu Qi）<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br /> <br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)[[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 &quot;Session 2&quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br /> <br /> 27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br /> <br /> Tea Latte Art (Xiang Jianning)<br /> <br /> Topic 7<br /> <br /> Topic 8<br /> <br /> Topic 9<br /> <br /> Topic 10<br /> <br /> =Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br /> ==Presentations==<br /> 1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br /> <br /> 2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br /> <br /> 3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br /> <br /> 4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br /> <br /> 5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br /> <br /> 6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br /> <br /> 7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br /> <br /> ==Notes on presentations==<br /> Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br /> <br /> 1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &quot;Black tea&quot; (in English all &quot;hong cha&quot; is called &quot;black tea&quot;), British tea culture (add milk)<br /> <br /> 2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br /> <br /> 3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br /> <br /> 4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br /> <br /> 5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br /> <br /> 6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br /> <br /> 7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br /> <br /> ==Student grades: 平时成绩/签到==<br /> <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）<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)[[Media:Seal carving.pptx]]<br /> #Topic 207: Shan Dong Cuisine (Lu Wei) [[Media:Shandong Cuisine]]<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&quot;: China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br /> #Topic 227: Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;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)<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 /> =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)<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)<br /> #Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional Crafts Tie-Dye.pptx]]<br /> #Topic 255: Chinese-style sun protection (Zhao Yashi)<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)<br /> #15:40- Topic 270: Yinge Dance(Jiang Xinyue)<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 /> #&lt;nowiki&gt;Topic 274:&lt;/nowiki&gt; 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)<br /> #Topic 278: The Beef Board Noodles(Yan Xiang)<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)<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 /> &lt;span style=&quot;color:red&quot;&gt;Please upload your ppt if you not have done so so far.&lt;/span&gt;<br /> [[Media:282_Black_Myth_Wukong_Chen_Zhen.pptx]]<br /> <br /> [[Chinese_Electtic_Vehicles_Geng_hongmei.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 &quot;good&quot; or &quot;best&quot;, but did it instead use vocabulary like &quot;fascinating&quot;, &quot;surprising&quot; 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 &lt;span style=&quot;color:red&quot;&gt;<br /> '''New deadline to fulfill these more specified requirements: June 20, 2025'''.&lt;/span&gt;<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 /> <br /> ===Sections===<br /> Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.<br /> <br /> The AI statement should look like this:<br /> <br /> I hereby guarantee that I have not used the help of AI to write my final paper in this course.<br /> <br /> or, if you actually use AI<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;'''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: &quot;...&quot; I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: &quot;....&quot; or manually correcting the following references: ... Written the following passage new: ...).<br /> <br /> 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 &quot;(Wang 2020, 445)&quot; 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.&lt;/span&gt;<br /> <br /> [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Geng Hongmei https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=168364 2025-06-07T07:00:24Z

<p>Geng Hongmei: /* Deadline extended to June 20, 2025 - Final Exam */</p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203 (Zhang Mai)<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309 <br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462（Zhao Qi）<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900 <br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317 (Wu Jiating)<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> <br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> <br /> 143. Traditional Crafts: Cloisonne 1363 <br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br /> <br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> <br /> 157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558 (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. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845(Li Linyao) <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845 （Liu Qi）<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br /> <br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)[[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 &quot;Session 2&quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br /> <br /> 27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br /> <br /> Tea Latte Art (Xiang Jianning)<br /> <br /> Topic 7<br /> <br /> Topic 8<br /> <br /> Topic 9<br /> <br /> Topic 10<br /> <br /> =Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br /> ==Presentations==<br /> 1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br /> <br /> 2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br /> <br /> 3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br /> <br /> 4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br /> <br /> 5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br /> <br /> 6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br /> <br /> 7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br /> <br /> ==Notes on presentations==<br /> Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br /> <br /> 1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &quot;Black tea&quot; (in English all &quot;hong cha&quot; is called &quot;black tea&quot;), British tea culture (add milk)<br /> <br /> 2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br /> <br /> 3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br /> <br /> 4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br /> <br /> 5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br /> <br /> 6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br /> <br /> 7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br /> <br /> ==Student grades: 平时成绩/签到==<br /> <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）<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)[[Media:Seal carving.pptx]]<br /> #Topic 207: Shan Dong Cuisine (Lu Wei) [[Media:Shandong Cuisine]]<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&quot;: China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br /> #Topic 227: Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;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)<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 /> =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)<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)<br /> #Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional Crafts Tie-Dye.pptx]]<br /> #Topic 255: Chinese-style sun protection (Zhao Yashi)<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)<br /> #15:40- Topic 270: Yinge Dance(Jiang Xinyue)<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 /> #&lt;nowiki&gt;Topic 274:&lt;/nowiki&gt; 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)<br /> #Topic 278: The Beef Board Noodles(Yan Xiang)<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)<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 /> &lt;span style=&quot;color:red&quot;&gt;Please upload your ppt if you not have done so so far.&lt;/span&gt;<br /> [[Media:282_Black_Myth_Wukong_Chen_Zhen.pptx]]<br /> [[Chinese_Electtic_Vehicles__Geng_hongmei.pptx]]<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 &quot;good&quot; or &quot;best&quot;, but did it instead use vocabulary like &quot;fascinating&quot;, &quot;surprising&quot; 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 &lt;span style=&quot;color:red&quot;&gt;<br /> '''New deadline to fulfill these more specified requirements: June 20, 2025'''.&lt;/span&gt;<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 /> <br /> ===Sections===<br /> Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.<br /> <br /> The AI statement should look like this:<br /> <br /> I hereby guarantee that I have not used the help of AI to write my final paper in this course.<br /> <br /> or, if you actually use AI<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;'''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: &quot;...&quot; I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: &quot;....&quot; or manually correcting the following references: ... Written the following passage new: ...).<br /> <br /> 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 &quot;(Wang 2020, 445)&quot; 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.&lt;/span&gt;<br /> <br /> [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Geng Hongmei https://bou.de/u/index.php?title=File:Chinese_Electtic_Vehicles_Geng_hongmei.pptx&diff=168363 2025-06-07T06:57:00Z

<p>Geng Hongmei: </p> <hr /> <div></div>

Geng Hongmei https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=167874 2025-06-05T14:00:21Z

<p>Geng Hongmei: </p> <hr /> <div>Final Exam Paper Titles<br /> #https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Hairpin Flowers ok<br /> #https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok<br /> #https://bou.de/u/wiki/User:Zeng_Zhi 手串文化 Bead Bracelet Culture ok<br /> #https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok<br /> #https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok<br /> #https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)<br /> #https://bou.de/u/wiki/User:Liu_Qi 劝酒文化 Toast-urging ok<br /> #https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok<br /> #https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Huang_Yixuan2 中国守艺人 The keepers of Tradition: China's Heritage Guardians<br /> #https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳 ''The Book of Changes'' and Yin-Yang ok<br /> #https://bou.de/u/wiki/User:Liao_Dan 吊脚楼 Stilted Building<br /> #https://bou.de/u/wiki/User:Zheng_Jinlian 广东新会陈皮 Guangdong Xinhui dried tangerine peel ok<br /> #https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok<br /> #https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok<br /> #https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok<br /> #https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok<br /> #https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok<br /> #https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Fireworks ok<br /> #https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok<br /> #https://bou.de/u/wiki/User:Song_Xin 剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects<br /> #https://bou.de/u/wiki/User:Cao_Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city ok<br /> #https://bou.de/u/wiki/User:Jin_Yichen 吴越文化 Wuyue Culture ok<br /> #https://bou.de/u/wiki/User:Ye_Sitong 温州话 Wenzhou Dialect ok<br /> #https://bou.de/u/wiki/User:Xiao_Luyu 封神演义 Chinese classical novel The Investiture of the Gods ok<br /> #https://bou.de/u/wiki/User:Zhang_Qi 福建线面 Fujian Thin Noddles ok<br /> #https://bou.de/u/wiki/User:Zheng_Kaiwu 工夫茶 Kanghu tea ok<br /> #https://bou.de/u/wiki/User:Luo_Jingyan 油纸伞 折扇 Folding Fan<br /> #https://bou.de/u/wiki/User:Luo_Sicheng 惊鸿舞 Flying Wild Goose Dance ok<br /> #https://bou.de/u/wiki/User:Liu_Jianan 安徽名酒—古井贡酒 Famous Anhui Liquor-Gujing Tribute Liquor<br /> #https://bou.de/u/wiki/User:Chen_Lin 服美役 beauty duty ok<br /> #https://bou.de/u/wiki/User:Tang_Yan 道州理学文化 Neo-Confucian Culture in Daozhou ok<br /> #https://bou.de/u/wiki/User:Qin_Yi 胶东花饽饽 Jiao Dong Huabobo ok<br /> #https://bou.de/u/wiki/User:Chen_Zhen 玄奘 Xuanzang ok<br /> #https://bou.de/u/wiki/User:Ou_Huang 浏阳花炮制作技艺 Liuyang Fireworks Making Technique ok<br /> #https://bou.de/u/wiki/User:Luo_Yan 成人礼 Chinese Coming-of-Age Ceremony ok<br /> #https://bou.de/u/wiki/User:Lv_Jiahao 越剧 Opera:Yue Opera Pleaes check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Wang_Yuxin 中国古法酿酒 Traditional Chinese Brewing Techniques ok<br /> #https://bou.de/u/wiki/User:Dai_Yexun 粤剧 Opera:Cantonese opera Please check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Yan_Jidong 闽南文化 Hokkien culture ok.<br /> #https://bou.de/u/wiki/User:Qiu_Ping 重阳节 Chung Yeung Festival ok<br /> #https://bou.de/u/wiki/User:He_Yunfeng 献哈达 Etiquette: Offering Hada(Khata) Scarf ok<br /> #https://bou.de/u/wiki/User:Zhou_Le 榨辣椒 Pressing pepper ok<br /> #https://bou.de/u/wiki/User:Huang_Qiaoqiao 舞剧《咏春》 Dance Drama Wing Chun ok<br /> #https://bou.de/u/wiki/User:Duan_Binyao 古诗十九首 Nineteen Old Poems ok<br /> #https://bou.de/u/wiki/User:Li_Linyao 傣族泼水节 Dai Water-Splashing Festival ok<br /> #https://bou.de/u/wiki/User:Xiao_Yikang 赣东北特色腌制食品 Northeastern Jiangxi Specialty Fermented food ok<br /> #https://bou.de/u/wiki/User:Gao_Xiaoqing 粽子 Zongzi ok<br /> #https://bou.de/u/wiki/User:Zhang_Meiling 东北秧歌 Northeast Yangko ok<br /> #https://bou.de/u/wiki/User:Huang_Sinan 春晚 Spring Festival Gala ok<br /> #https://bou.de/u/wiki/User:Du_Jiangping 楚辞 The Songs of Chu ok, but check if not yet explained under 'Qu Yuan'<br /> #https://bou.de/u/wiki/User:Jiang_Ziqiang 抛绣球 Zhuang Custom of Throwing the Embroidered Ball for Courtship ok<br /> #https://bou.de/u/wiki/User:Zeng_Xiaohui 中秋, but check if not yet explained under 'festivals' in the book节 Mid-autumn Festival ok, but check if not yet explained under 'festivals' in the book<br /> #https://bou.de/u/wiki/User:Geng_Hongmei 醴陵釉下五彩瓷 Liling Underglaze Five-Color Porcelain ok<br /> #https://bou.de/u/wiki/User:Yang_Yue2 现代文学：许渊冲 Modern Literature: Xv Yuanchong ok<br /> #https://bou.de/u/wiki/User:Chen_Anqi 螺钿 Luodian ok<br /> #https://bou.de/u/wiki/User:Yang_Jing 粮画 The Grain Paintings ok<br /> #https://bou.de/u/wiki/User:Dai_Shiru 李白 Li Bai NO, is already in the book<br /> #https://bou.de/u/wiki/User:Yu_Jingfang 傩文化 Nuo culture ok<br /> #https://bou.de/u/wiki/User:Li_Mingfeng 编钟 Chinese Ancient Instrument: Bianzhong ok<br /> #https://bou.de/u/wiki/User:Chen_Ting 湘西泡菜 Xiangxi Pickles ok<br /> #https://bou.de/u/wiki/User:Gong_Wei 桃源擂茶 Taoyuan Lei Cha ok<br /> #https://bou.de/u/wiki/User:Yang_Jiahong2 闽南红砖古厝 Southern Fujian Red Brick Ancient Houses ok<br /> #https://bou.de/u/wiki/User:Wang_Huaixing 长白山 Mount Changbai ok<br /> #https://bou.de/u/wiki/User:Xiang_Jianning 马面裙 Horse face skirt ok<br /> #https://bou.de/u/wiki/User:Zhao_Qi 动画片：《虹猫蓝兔七侠传》 Chinese wuxia animation: Howie &amp; Landau Seven Chivalrous Biography ok<br /> #https://bou.de/u/wiki/User:Zhang_Zixi 叶子戏 Yezi Xi ok<br /> #https://bou.de/u/wiki/User:Shao_Keyuan 殷墟 The Yin Ruins ok<br /> #https://bou.de/u/wiki/User:Dong_Jiating 麻辣烫 Malatang ok<br /> #https://bou.de/u/wiki/User:Ouyang_Yihong 辣条 Spicy Gluten Strips ok<br /> #https://bou.de/u/wiki/User:Lu_Wei 蛋炒饭 Egg-fried Rice ok<br /> #https://bou.de/u/wiki/User:Xing_Xueqing 桃花源 The Peach Garden ok<br /> #https://bou.de/u/wiki/User:Wang_Xinyu 赣南客家围屋 Hakka Tulou in Southern Jiangxi ok<br /> #https://bou.de/u/wiki/User:Yuan_Xiaolin 新中式 new Chinese style clothes ok<br /> #https://bou.de/u/wiki/User:Chu_Hanqi 翠兰 Cui Lan（a kind of tea) ok<br /> #https://bou.de/u/wiki/User:Wu_Jiating 瓦罐汤 Clay Pot ok<br /> #https://bou.de/u/wiki/User:Jiang_Xinyue 灵隐寺 Lingyin Temple ok<br /> #https://bou.de/u/wiki/User:Xu_Xinwen 十二生肖Chinese Zodiac ok, but please check if already in book<br /> #https://bou.de/u/wiki/User:Liu_Pei 南岳衡山 Mount Heng ok<br /> #https://bou.de/u/wiki/User:Xiao_Zixin 恋与深空 Love and Deepspace ok<br /> #https://bou.de/u/wiki/User:Liu_Shutian 中医脉象Traditional Chinese Medicine Pulse ok<br /> #https://bou.de/u/wiki/User:Li_Jiayi 哈尔滨啤酒 Harbin Beer ok<br /> #https://bou.de/u/wiki/User:Qi_Zhiyang 漆扇 Lacquer Fan ok<br /> #https://bou.de/u/wiki/User:Chen_Sisi 永州石雕 Yongzhou Stone Carving ok<br /> #https://bou.de/u/wiki/User:Yan_Xiang 阜阳美食-格拉条 Fuyang Cuisine-Gelatiao ok<br /> #https://bou.de/u/wiki/User:Zuo_Fang 四羊方尊 Four-ram Square Zun (cultural artifact) ok<br /> #https://bou.de/u/wiki/User:Liu_Yunxi 邵阳米粉 Shaoyang Rice Noodles ok<br /> #https://bou.de/u/wiki/User:Luo_Jiaxin 腊八节 Laba Festival ok<br /> #https://bou.de/u/wiki/User:Fei_Xinyu 中国古代战车 Army and weapons: Ancient Chinese Chariots ok<br /> #https://bou.de/u/wiki/User:Liu_Chang 朝鲜族象帽舞 Xiangmao Dance of the Korean Ethnic Group ok<br /> #https://bou.de/u/wiki/User:Zhao_Yashi 中国民族舞：傣族舞 Chinese Folk Dance: Dai Ethnic Dance ok<br /> #https://bou.de/u/wiki/User:Xiao_Yawen 醴陵炒粉 Liling Fried Rice Noodles<br /> #https://bou.de/u/wiki/User:Li_Yuan2 吴桥杂技 Wuqiao Acrobatics ok<br /> #https://bou.de/u/wiki/User:Guo_Cili 热干面 Hot Dry Noodles ok<br /> #https://bou.de/u/wiki/User:Li_Zihan 豆豉 Fermented Soya Beans ok<br /> #https://bou.de/u/wiki/User:Zhou_Tianyi 汨罗长乐故事会 Changle Taige Storytelling Festival ok<br /> #https://bou.de/u/wiki/User:She_Xiao 文房四宝 Four Treasures of the Study ok<br /> #https://bou.de/u/wiki/User:Cai_Yichun 汤显祖 Tangxianzu ok<br /> #https://bou.de/u/wiki/User:Shen_Shuai 咏春拳 Wing Chun Kung Fu ok<br /> #https://bou.de/u/wiki/User:Fu_Sihui 中国皮影戏 Chinese Shadow Puppetry NO, THIS IS ALREADY IN THE BOOK<br /> #https://bou.de/u/wiki/User:Luo_Guoqiang 浏阳烟花 Liuyang Fireworks ok</div>

Geng Hongmei https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=167871 2025-06-05T13:59:01Z

<p>Geng Hongmei: </p> <hr /> <div>Final Exam Paper Titles<br /> #https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Hairpin Flowers ok<br /> #https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok<br /> #https://bou.de/u/wiki/User:Zeng_Zhi 手串文化 Bead Bracelet Culture ok<br /> #https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok<br /> #https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok<br /> #https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)<br /> #https://bou.de/u/wiki/User:Liu_Qi 劝酒文化 Toast-urging ok<br /> #https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok<br /> #https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Huang_Yixuan2 中国守艺人 The keepers of Tradition: China's Heritage Guardians<br /> #https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳 ''The Book of Changes'' and Yin-Yang ok<br /> #https://bou.de/u/wiki/User:Liao_Dan 吊脚楼 Stilted Building<br /> #https://bou.de/u/wiki/User:Zheng_Jinlian 广东新会陈皮 Guangdong Xinhui dried tangerine peel ok<br /> #https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok<br /> #https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok<br /> #https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok<br /> #https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok<br /> #https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok<br /> #https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Fireworks ok<br /> #https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok<br /> #https://bou.de/u/wiki/User:Song_Xin 剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects<br /> #https://bou.de/u/wiki/User:Cao_Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city ok<br /> #https://bou.de/u/wiki/User:Jin_Yichen 吴越文化 Wuyue Culture ok<br /> #https://bou.de/u/wiki/User:Ye_Sitong 温州话 Wenzhou Dialect ok<br /> #https://bou.de/u/wiki/User:Xiao_Luyu 封神演义 Chinese classical novel The Investiture of the Gods ok<br /> #https://bou.de/u/wiki/User:Zhang_Qi 福建线面 Fujian Thin Noddles ok<br /> #https://bou.de/u/wiki/User:Zheng_Kaiwu 工夫茶 Kanghu tea ok<br /> #https://bou.de/u/wiki/User:Luo_Jingyan 油纸伞 折扇 Folding Fan<br /> #https://bou.de/u/wiki/User:Luo_Sicheng 惊鸿舞 Flying Wild Goose Dance ok<br /> #https://bou.de/u/wiki/User:Liu_Jianan 安徽名酒—古井贡酒 Famous Anhui Liquor-Gujing Tribute Liquor<br /> #https://bou.de/u/wiki/User:Chen_Lin 服美役 beauty duty ok<br /> #https://bou.de/u/wiki/User:Tang_Yan 道州理学文化 Neo-Confucian Culture in Daozhou ok<br /> #https://bou.de/u/wiki/User:Qin_Yi 胶东花饽饽 Jiao Dong Huabobo ok<br /> #https://bou.de/u/wiki/User:Chen_Zhen 玄奘 Xuanzang ok<br /> #https://bou.de/u/wiki/User:Ou_Huang 浏阳花炮制作技艺 Liuyang Fireworks Making Technique ok<br /> #https://bou.de/u/wiki/User:Luo_Yan 成人礼 Chinese Coming-of-Age Ceremony ok<br /> #https://bou.de/u/wiki/User:Lv_Jiahao 越剧 Opera:Yue Opera Pleaes check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Wang_Yuxin 中国古法酿酒 Traditional Chinese Brewing Techniques ok<br /> #https://bou.de/u/wiki/User:Dai_Yexun 粤剧 Opera:Cantonese opera Please check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Yan_Jidong 闽南文化 Hokkien culture ok.<br /> #https://bou.de/u/wiki/User:Qiu_Ping 重阳节 Chung Yeung Festival ok<br /> #https://bou.de/u/wiki/User:He_Yunfeng 献哈达 Etiquette: Offering Hada(Khata) Scarf ok<br /> #https://bou.de/u/wiki/User:Zhou_Le 榨辣椒 Pressing pepper ok<br /> #https://bou.de/u/wiki/User:Huang_Qiaoqiao 舞剧《咏春》 Dance Drama Wing Chun ok<br /> #https://bou.de/u/wiki/User:Duan_Binyao 古诗十九首 Nineteen Old Poems ok<br /> #https://bou.de/u/wiki/User:Li_Linyao 傣族泼水节 Dai Water-Splashing Festival ok<br /> #https://bou.de/u/wiki/User:Xiao_Yikang 赣东北特色腌制食品 Northeastern Jiangxi Specialty Fermented food ok<br /> #https://bou.de/u/wiki/User:Gao_Xiaoqing 粽子 Zongzi ok<br /> #https://bou.de/u/wiki/User:Zhang_Meiling 东北秧歌 Northeast Yangko ok<br /> #https://bou.de/u/wiki/User:Huang_Sinan 春晚 Spring Festival Gala ok<br /> #https://bou.de/u/wiki/User:Du_Jiangping 楚辞 The Songs of Chu ok, but check if not yet explained under 'Qu Yuan'<br /> #https://bou.de/u/wiki/User:Jiang_Ziqiang 抛绣球 Zhuang Custom of Throwing the Embroidered Ball for Courtship ok<br /> #https://bou.de/u/wiki/User:Zeng_Xiaohui 中秋, but check if not yet explained under 'festivals' in the book节 Mid-autumn Festival ok, but check if not yet explained under 'festivals' in the book<br /> #https://bou.de/u/wiki/User:Geng_Hongmei 醴陵釉下五彩瓷 Liling Underglaze Five-Color Porcelain <br /> #https://bou.de/u/wiki/User:Yang_Yue2 现代文学：许渊冲 Modern Literature: Xv Yuanchong ok<br /> #https://bou.de/u/wiki/User:Chen_Anqi 螺钿 Luodian ok<br /> #https://bou.de/u/wiki/User:Yang_Jing 粮画 The Grain Paintings ok<br /> #https://bou.de/u/wiki/User:Dai_Shiru 李白 Li Bai NO, is already in the book<br /> #https://bou.de/u/wiki/User:Yu_Jingfang 傩文化 Nuo culture ok<br /> #https://bou.de/u/wiki/User:Li_Mingfeng 编钟 Chinese Ancient Instrument: Bianzhong ok<br /> #https://bou.de/u/wiki/User:Chen_Ting 湘西泡菜 Xiangxi Pickles ok<br /> #https://bou.de/u/wiki/User:Gong_Wei 桃源擂茶 Taoyuan Lei Cha ok<br /> #https://bou.de/u/wiki/User:Yang_Jiahong2 闽南红砖古厝 Southern Fujian Red Brick Ancient Houses ok<br /> #https://bou.de/u/wiki/User:Wang_Huaixing 长白山 Mount Changbai ok<br /> #https://bou.de/u/wiki/User:Xiang_Jianning 马面裙 Horse face skirt ok<br /> #https://bou.de/u/wiki/User:Zhao_Qi 动画片：《虹猫蓝兔七侠传》 Chinese wuxia animation: Howie &amp; Landau Seven Chivalrous Biography ok<br /> #https://bou.de/u/wiki/User:Zhang_Zixi 叶子戏 Yezi Xi ok<br /> #https://bou.de/u/wiki/User:Shao_Keyuan 殷墟 The Yin Ruins ok<br /> #https://bou.de/u/wiki/User:Dong_Jiating 麻辣烫 Malatang ok<br /> #https://bou.de/u/wiki/User:Ouyang_Yihong 辣条 Spicy Gluten Strips ok<br /> #https://bou.de/u/wiki/User:Lu_Wei 蛋炒饭 Egg-fried Rice ok<br /> #https://bou.de/u/wiki/User:Xing_Xueqing 桃花源 The Peach Garden ok<br /> #https://bou.de/u/wiki/User:Wang_Xinyu 赣南客家围屋 Hakka Tulou in Southern Jiangxi ok<br /> #https://bou.de/u/wiki/User:Yuan_Xiaolin 新中式 new Chinese style clothes ok<br /> #https://bou.de/u/wiki/User:Chu_Hanqi 翠兰 Cui Lan（a kind of tea) ok<br /> #https://bou.de/u/wiki/User:Wu_Jiating 瓦罐汤 Clay Pot ok<br /> #https://bou.de/u/wiki/User:Jiang_Xinyue 灵隐寺 Lingyin Temple ok<br /> #https://bou.de/u/wiki/User:Xu_Xinwen 十二生肖Chinese Zodiac ok, but please check if already in book<br /> #https://bou.de/u/wiki/User:Liu_Pei 南岳衡山 Mount Heng ok<br /> #https://bou.de/u/wiki/User:Xiao_Zixin 恋与深空 Love and Deepspace ok<br /> #https://bou.de/u/wiki/User:Liu_Shutian 中医脉象Traditional Chinese Medicine Pulse ok<br /> #https://bou.de/u/wiki/User:Li_Jiayi 哈尔滨啤酒 Harbin Beer ok<br /> #https://bou.de/u/wiki/User:Qi_Zhiyang 漆扇 Lacquer Fan ok<br /> #https://bou.de/u/wiki/User:Chen_Sisi 永州石雕 Yongzhou Stone Carving ok<br /> #https://bou.de/u/wiki/User:Yan_Xiang 阜阳美食-格拉条 Fuyang Cuisine-Gelatiao ok<br /> #https://bou.de/u/wiki/User:Zuo_Fang 四羊方尊 Four-ram Square Zun (cultural artifact) ok<br /> #https://bou.de/u/wiki/User:Liu_Yunxi 邵阳米粉 Shaoyang Rice Noodles ok<br /> #https://bou.de/u/wiki/User:Luo_Jiaxin 腊八节 Laba Festival ok<br /> #https://bou.de/u/wiki/User:Fei_Xinyu 中国古代战车 Army and weapons: Ancient Chinese Chariots ok<br /> #https://bou.de/u/wiki/User:Liu_Chang 朝鲜族象帽舞 Xiangmao Dance of the Korean Ethnic Group ok<br /> #https://bou.de/u/wiki/User:Zhao_Yashi 中国民族舞：傣族舞 Chinese Folk Dance: Dai Ethnic Dance ok<br /> #https://bou.de/u/wiki/User:Xiao_Yawen 醴陵炒粉 Liling Fried Rice Noodles<br /> #https://bou.de/u/wiki/User:Li_Yuan2 吴桥杂技 Wuqiao Acrobatics ok<br /> #https://bou.de/u/wiki/User:Guo_Cili 热干面 Hot Dry Noodles ok<br /> #https://bou.de/u/wiki/User:Li_Zihan 豆豉 Fermented Soya Beans ok<br /> #https://bou.de/u/wiki/User:Zhou_Tianyi 汨罗长乐故事会 Changle Taige Storytelling Festival ok<br /> #https://bou.de/u/wiki/User:She_Xiao 文房四宝 Four Treasures of the Study ok<br /> #https://bou.de/u/wiki/User:Cai_Yichun 汤显祖 Tangxianzu ok<br /> #https://bou.de/u/wiki/User:Shen_Shuai 咏春拳 Wing Chun Kung Fu ok<br /> #https://bou.de/u/wiki/User:Fu_Sihui 中国皮影戏 Chinese Shadow Puppetry NO, THIS IS ALREADY IN THE BOOK<br /> #https://bou.de/u/wiki/User:Luo_Guoqiang 浏阳烟花 Liuyang Fireworks ok</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=167865 2025-06-05T13:51:15Z

<p>Geng Hongmei: </p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> [[File:pic 2.jpg]]<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> [[File:pic 3.jpg]]<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> <br /> [6]湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.<br /> <br /> <br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> 1.Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> <br /> 2.What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> <br /> 3.What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> <br /> [6]湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.</div>

Geng Hongmei https://bou.de/u/index.php?title=File:Pic_3.jpg&diff=167862 2025-06-05T13:49:40Z

<p>Geng Hongmei: </p> <hr /> <div></div>

Geng Hongmei https://bou.de/u/index.php?title=File:Pic_2.jpg&diff=167859 2025-06-05T13:49:11Z

<p>Geng Hongmei: </p> <hr /> <div></div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=167022 2025-05-30T06:59:33Z

<p>Geng Hongmei: </p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> [[File:pic.jpg]]<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> <br /> [6]湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.<br /> <br /> <br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> 1.Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> <br /> 2.What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> <br /> 3.What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> <br /> [6]湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=167021 2025-05-30T06:58:59Z

<p>Geng Hongmei: </p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> [[File:pic.jpg]]<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> <br /> [6]湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.<br /> <br /> <br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> 1.Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> <br /> 2.What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> <br /> 3.What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> <br /> [6]湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.</div>

Geng Hongmei https://bou.de/u/index.php?title=File:Pic.jpg&diff=167020 2025-05-30T06:58:18Z

<p>Geng Hongmei: </p> <hr /> <div></div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=167019 2025-05-30T06:55:05Z

<p>Geng Hongmei: </p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''参考文献'''===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> <br /> [6]湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.<br /> <br /> <br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> 1.Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> <br /> 2.What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> <br /> 3.What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> [1]瞿文康.勾线分水技法对醴陵釉下五彩瓷色彩层次的塑造[J].陶瓷科学与艺术,2025,59(02):110-112.DOI:10.13212/j.cnki.csa.2025.02.102.<br /> <br /> [2]喻磊.浅谈釉料对釉下五彩瓷颜料的作用与影响[J].陶瓷科学与艺术,2024,58(11):80-81.DOI:10.13212/j.cnki.csa.2024.11.051.<br /> <br /> [3]醴陵釉下五彩瓷烧制技艺[J].湖南农业,2024,(08):53.<br /> <br /> [4]邓涵宇.晚清湖南釉下五彩瓷业发展研究[J].收藏,2024,(04):100-102.<br /> <br /> [5]张宗登,张红颖.醴陵釉下五彩瓷的装饰艺术特征探析[J].中国陶瓷,2007,(10):56-57+65.DOI:10.16521/j.cnki.issn.1001-9642.2007.10.018.<br /> <br /> [6]湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=167018 2025-05-30T06:01:17Z

<p>Geng Hongmei: </p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''参考文献'''===<br /> <br /> 1.湖南省地方志编纂委员会.《湖南省志·轻工业志》.湖南人民出版社,1990.<br /> <br /> 2.陈扬龙.《醴陵釉下五彩瓷》.湖南美术出版社,2009.<br /> <br /> 3.邓文科.《醴陵釉下彩瓷》.湖南陶瓷,1985(2):1-8.<br /> <br /> 4.中国陶瓷工业协会.《中国陶瓷》期刊.<br /> <br /> 5.罗学正.论釉下五彩瓷装饰艺术特色.中国陶瓷,2007,43(11):62-64<br /> <br /> 6.刘劲松.醴陵釉下五彩瓷的历史演进与工艺特征探析.陶瓷学报,2015,36(6):735-740<br /> <br /> 7.湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.<br /> <br /> <br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze five-color porcelain produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coded with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is held as the pinnacle of Oriental ceramic art. Today, Liling underglaze five-color porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.<br /> <br /> === '''Terms and Expressions''' ===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> === '''Question''' ===<br /> <br /> 1.Who are the two figures crucial to the development of Liling Underglaze Five-Color Porcelain?<br /> <br /> 2.What is the firing process of Liling Underglaze Five-Color Porcelain?<br /> <br /> 3.What are the main characteristics of Liling Underglaze Five-Color Porcelain?<br /> <br /> === '''References''' ===<br /> <br /> 1.湖南省地方志编纂委员会.《湖南省志·轻工业志》.湖南人民出版社,1990.<br /> <br /> 2.陈扬龙.《醴陵釉下五彩瓷》.湖南美术出版社,2009.<br /> <br /> 3.邓文科.《醴陵釉下彩瓷》.湖南陶瓷,1985(2):1-8.<br /> <br /> 4.中国陶瓷工业协会.《中国陶瓷》期刊.<br /> <br /> 5.罗学正.论釉下五彩瓷装饰艺术特色.中国陶瓷,2007,43(11):62-64<br /> <br /> 6.刘劲松.醴陵釉下五彩瓷的历史演进与工艺特征探析.陶瓷学报,2015,36(6):735-740<br /> <br /> 7.湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=167010 2025-05-30T02:04:16Z

<p>Geng Hongmei: /* Liling Underglaze Five-Color Porcelain */</p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''参考文献'''===<br /> <br /> 1.湖南省地方志编纂委员会.《湖南省志·轻工业志》.湖南人民出版社,1990.<br /> <br /> 2.陈扬龙.《醴陵釉下五彩瓷》.湖南美术出版社,2009.<br /> <br /> 3.邓文科.《醴陵釉下彩瓷》.湖南陶瓷,1985(2):1-8.<br /> <br /> 4.中国陶瓷工业协会.《中国陶瓷》期刊.<br /> <br /> 5.罗学正.论釉下五彩瓷装饰艺术特色.中国陶瓷,2007,43(11):62-64<br /> <br /> 6.刘劲松.醴陵釉下五彩瓷的历史演进与工艺特征探析.陶瓷学报,2015,36(6):735-740<br /> <br /> 7.湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.<br /> <br /> <br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling underglaze Five-color Porcelain produced in Liling City,Hunan Province,China,is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies.These are then coded with a transparent glaze and fired at high temperatures.Its glaze is crystal-clear and elegantly subtle,combining the beauty of the body,glaze,craftsmanship,shape,and decoration.Renowned for being “white as jade,bright as a mirror,thin as paper,and resonant as a chime,”it is held as the pinnacle of Oriental ceramic art.Today,Liling underglaze Five-color Porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''I. Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''II. Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''III. Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=167005 2025-05-29T16:01:40Z

<p>Geng Hongmei: </p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''参考文献'''===<br /> <br /> 1.湖南省地方志编纂委员会.《湖南省志·轻工业志》.湖南人民出版社,1990.<br /> <br /> 2.陈扬龙.《醴陵釉下五彩瓷》.湖南美术出版社,2009.<br /> <br /> 3.邓文科.《醴陵釉下彩瓷》.湖南陶瓷,1985(2):1-8.<br /> <br /> 4.中国陶瓷工业协会.《中国陶瓷》期刊.<br /> <br /> 5.罗学正.论釉下五彩瓷装饰艺术特色.中国陶瓷,2007,43(11):62-64<br /> <br /> 6.刘劲松.醴陵釉下五彩瓷的历史演进与工艺特征探析.陶瓷学报,2015,36(6):735-740<br /> <br /> 7.湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.<br /> <br /> <br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==<br /> <br /> Liling Underglaze Five-Color Porcelain, produced in Liling City, Hunan Province, China, is a refined type of porcelain featuring intricate decorations painted with multiple high-temperature underglaze pigments on white porcelain bodies. These are then coated with a transparent glaze and fired at high temperatures. Its glaze is crystal-clear and elegantly subtle, combining the beauty of the body, glaze, craftsmanship, shape, and decoration. Renowned for being “white as jade, bright as a mirror, thin as paper, and resonant as a chime,” it is hailed as the pinnacle of Oriental ceramic art. Today, Liling Underglaze Five-Color Porcelain is not only a sought-after collectible art form but also integrated into modern life. Its products include daily-use wares and decorative ceramics, exported to over 150 countries and regions worldwide, becoming a vital medium for cultural exchange.<br /> <br /> ==='''I. Origins and Development'''===<br /> <br /> The history of porcelain-making in Liling dates back to the Eastern Han Dynasty, but the rise of underglaze five-color porcelain began in the late Qing Dynasty and early Republic of China. In 1905, Xiong Xiling, a native of Fenghuang, Hunan, led the establishment of the “Hunan Ceramics School” and the “Hunan Ceramics Manufacturing Company” in Liling. By 1908, Liling kilns had overcome the limitations of traditional underglaze monochrome, two-color, and three-color techniques and successfully produced underglaze five-color porcelain. Within just a few years, the porcelain industry in Liling experienced a rapid transformation. In 1915, the representative piece “Double Birds with Hyacinth Bean Vase” won a gold medal at the Panama-Pacific International Exposition, propelling Liling porcelain to international fame and establishing its status as a world-class ceramic art.<br /> <br /> However, in the 1930s and 1940s, consecutive wars severely damaged the Liling porcelain industry. The Hunan Ceramics Company collapsed, and the underglaze five-color technique nearly disappeared. In 1955, the Hunan Ceramic Research Institute located Mr. Wu Shouqi in a remote village. With his involvement in research and experimentation, the dying art of underglaze five-color porcelain was revitalized and saw great advances in pigment variety, decorative techniques, thematic content, and production scale.<br /> <br /> In 1958, Liling began producing daily-use porcelain for Chairman Mao Zedong and other national leaders. The exquisite underglaze decorations and exceptional quality were highly praised. Since then, Liling Underglaze Five-Color Porcelain has been selected as state-use ware, national banquet ware, and diplomatic gifts, earning the reputation of “National Porcelain”, and the Liling kilns were known as the “Red Official Kiln.” In 2008, its crafting technique was listed in the second batch of National Intangible Cultural Heritage. In 2013, the Liling Kilns were declared a National Key Cultural Relic Protection Unit by the State Council.<br /> <br /> ==='''II. Firing Techniques and Artistic Features'''===<br /> <br /> The charm of Liling Underglaze Five-Color Porcelain lies in its complex and exquisite craftsmanship, which is both distinctive and technically demanding. The porcelain body material, glaze, and pigments are all made from high-quality local raw materials. The raw porcelain body is shaped from Liling’s unique kaolin clay, refined and aged through soaking and fermentation, then formed by wheel-throwing or slip casting. The shaped ware undergoes biscuit firing at 800°C to increase strength. Next, artisans use special high-temperature underglaze pigments and techniques like double-line outlining and wash-color filling to embed paintings beneath the glaze. By leveraging the absorbency of the body, they create layered and subtle tonal variations, achieving an ink-wash-like artistic effect. After painting, a transparent glaze is uniformly applied, and the ware is fired at 1350°C–1410°C, allowing the vibrant images to emerge from beneath the glaze layer.<br /> <br /> Liling Underglaze Five-Color Porcelain is celebrated for three major characteristics:<br /> 1.Non-toxic,acid-resistant,alkali-resistant,wear-resistant,and permanently colorfast.<br /> 2. The surface is smooth and glossy, crystal-clear, and elegantly bright, with a sense of richness and moisture; it appears sparkling and lively, offering a visually pleasing experience.<br /> 3. The patterns are colorful yet tasteful, subtle yet vivid, with a rich range of hues. Especially notable is the “light application and soft shading” technique, which imparts a gentle three-dimensional quality to intricate motifs like peonies.<br /> <br /> ==='''III. Artistic Connotation and Cultural Value'''===<br /> <br /> Liling Underglaze Five-Color Porcelain embodies deep cultural heritage and unique artistic value. As a paradigm of independent innovation in modern Chinese ceramic history, it broke the tradition of monochrome and bichrome underglaze decoration, elevating China’s underglaze ceramic art to new heights. It reflects the ingenuity and creativity of the Chinese people. The pure white body and lustrous glaze exemplify the Eastern aesthetic ideal of jade-like quality, while the translucent glaze enhances a restrained yet vibrant visual effect—a synthesis of Eastern expressive spirit and Western color science.<br /> <br /> Its artistic charm lies in the perfect fusion of Chinese ink painting aesthetics with the three-dimensional form of ceramics. Its decorative themes are extensive: from lush peonies and elegant bamboo to misty landscapes and poetic figures like “The Seven Sages of the Bamboo Grove” and “Solitary Angler on a Cold River”, they reflect the refined tastes of literati and are outstanding examples of living traditional culture.<br /> <br /> Particularly admired is the “five-color spectrum” effect. Due to glaze refraction, a single pigment can display a range of hues—for instance, blue may appear as sky blue, lake blue, or indigo—creating layered tonal variation, earning it the nickname: “a visible melody.”<br /> <br /> As the most representative cultural symbol of Liling and Hunan Province, and a key economic industry, Liling Underglaze Five-Color Porcelain plays a vital role in promoting local development and expanding cultural influence. Its emergence and evolution showcase the perfect blend of material science, craftsmanship, and artistic creation. This traditional craft is not only a crucial part of China’s intangible cultural heritage but also a significant chapter in global ceramic history.<br /> <br /> The flames of the Liling kiln have danced for millennia—from primitive pottery to coarse ware, and now to the delicate and lustrous underglaze five-color porcelain. What generations of artisans have passed down is not only increasingly refined skills but also the spirit of dedication to excellence and mastery. Embodying the wisdom and diligence of the Chinese people, Liling Underglaze Five-Color Porcelain continues to strive toward new heights in ceramic art.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=167004 2025-05-29T15:58:29Z

<p>Geng Hongmei: </p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> ==='''一、起源与发展'''===<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> ==='''术语'''===<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> ==='''问题'''===<br /> <br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> ==='''参考文献'''===<br /> <br /> 1.湖南省地方志编纂委员会.《湖南省志·轻工业志》.湖南人民出版社,1990.<br /> <br /> 2.陈扬龙.《醴陵釉下五彩瓷》.湖南美术出版社,2009.<br /> <br /> 3.邓文科.《醴陵釉下彩瓷》.湖南陶瓷,1985(2):1-8.<br /> <br /> 4.中国陶瓷工业协会.《中国陶瓷》期刊.<br /> <br /> 5.罗学正.论釉下五彩瓷装饰艺术特色.中国陶瓷,2007,43(11):62-64<br /> <br /> 6.刘劲松.醴陵釉下五彩瓷的历史演进与工艺特征探析.陶瓷学报,2015,36(6):735-740<br /> <br /> 7.湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.<br /> <br /> <br /> <br /> == '''Liling Underglaze Five-Color Porcelain''' ==</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=167003 2025-05-29T15:55:55Z

<p>Geng Hongmei: </p> <hr /> <div><br /> <br /> == '''醴陵釉下五彩瓷''' ==<br /> <br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> <br /> ==='''一、起源与发展'''===<br /> <br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> ==='''二、烧制工艺与艺术特点'''===<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> ==='''三、艺术内涵与文化价值'''===<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> '''术语'''<br /> <br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> '''问题'''<br /> <br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> '''参考文献'''<br /> <br /> 1.湖南省地方志编纂委员会.《湖南省志·轻工业志》.湖南人民出版社,1990.<br /> <br /> 2.陈扬龙.《醴陵釉下五彩瓷》.湖南美术出版社,2009.<br /> <br /> 3.邓文科.《醴陵釉下彩瓷》.湖南陶瓷,1985(2):1-8.<br /> <br /> 4.中国陶瓷工业协会.《中国陶瓷》期刊.<br /> <br /> 5.罗学正.论釉下五彩瓷装饰艺术特色.中国陶瓷,2007,43(11):62-64<br /> <br /> 6.刘劲松.醴陵釉下五彩瓷的历史演进与工艺特征探析.陶瓷学报,2015,36(6):735-740<br /> <br /> 7.湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=167002 2025-05-29T15:53:47Z

<p>Geng Hongmei: </p> <hr /> <div><br /> '''醴陵釉下五彩瓷'''<br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> '''一、起源与发展'''<br /> <br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> '''二、烧制工艺与艺术特点'''<br /> <br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> '''三、艺术内涵与文化价值'''<br /> <br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> '''术语'''<br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> <br /> Biscuit Firing 素烧<br /> <br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> <br /> Liling Kiln 醴陵窑<br /> <br /> '''问题'''<br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> <br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> <br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> '''参考文献'''<br /> 1.湖南省地方志编纂委员会.《湖南省志·轻工业志》.湖南人民出版社,1990.<br /> 2.陈扬龙.《醴陵釉下五彩瓷》.湖南美术出版社,2009.<br /> 3.邓文科.《醴陵釉下彩瓷》.湖南陶瓷,1985(2):1-8.<br /> 4.中国陶瓷工业协会.《中国陶瓷》期刊.<br /> 5.罗学正.论釉下五彩瓷装饰艺术特色.中国陶瓷,2007,43(11):62-64<br /> 6.刘劲松.醴陵釉下五彩瓷的历史演进与工艺特征探析.陶瓷学报,2015,36(6):735-740<br /> 7.湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=167001 2025-05-29T15:51:17Z

<p>Geng Hongmei: </p> <hr /> <div><br /> '''醴陵釉下五彩瓷'''<br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> <br /> '''一、起源与发展'''<br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> <br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> <br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> <br /> '''二、烧制工艺与艺术特点'''<br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> <br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> <br /> '''三、艺术内涵与文化价值'''<br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> <br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> <br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> '''术语'''<br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> Biscuit Firing 素烧<br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> Liling Kiln 醴陵窑<br /> <br /> '''问题'''<br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> '''参考文献'''<br /> 1.湖南省地方志编纂委员会.《湖南省志·轻工业志》.湖南人民出版社,1990.<br /> 2.陈扬龙.《醴陵釉下五彩瓷》.湖南美术出版社,2009.<br /> 3.邓文科.《醴陵釉下彩瓷》.湖南陶瓷,1985(2):1-8.<br /> 4.中国陶瓷工业协会.《中国陶瓷》期刊.<br /> 5.罗学正.论釉下五彩瓷装饰艺术特色.中国陶瓷,2007,43(11):62-64<br /> 6.刘劲松.醴陵釉下五彩瓷的历史演进与工艺特征探析.陶瓷学报,2015,36(6):735-740<br /> 7.湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=167000 2025-05-29T15:46:07Z

<p>Geng Hongmei: </p> <hr /> <div><br /> '''醴陵釉下五彩瓷'''<br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> '''一、起源与发展'''<br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> '''二、烧制工艺与艺术特点'''<br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> '''三、艺术内涵与文化价值'''<br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> 术语<br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> Biscuit Firing 素烧<br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> Liling Kiln 醴陵窑<br /> <br /> 问题<br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> 参考文献<br /> 1.湖南省地方志编纂委员会.《湖南省志·轻工业志》.湖南人民出版社,1990.<br /> 2.陈扬龙.《醴陵釉下五彩瓷》.湖南美术出版社,2009.<br /> 3.邓文科.《醴陵釉下彩瓷》.湖南陶瓷,1985(2):1-8.<br /> 4.中国陶瓷工业协会.《中国陶瓷》期刊.<br /> 5.罗学正.论釉下五彩瓷装饰艺术特色.中国陶瓷,2007,43(11):62-64<br /> 6.刘劲松.醴陵釉下五彩瓷的历史演进与工艺特征探析.陶瓷学报,2015,36(6):735-740<br /> 7.湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=166999 2025-05-29T15:44:20Z

<p>Geng Hongmei: </p> <hr /> <div><br /> '''== 醴陵釉下五彩瓷 =='''<br /> <br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> '''== 一、起源与发展 =='''<br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> '''== 二、烧制工艺与艺术特点 =='''<br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> '''== 三、艺术内涵与文化价值 =='''<br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> 术语<br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> Biscuit Firing 素烧<br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> Liling Kiln 醴陵窑<br /> <br /> 问题<br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> 参考文献<br /> 1.湖南省地方志编纂委员会.《湖南省志·轻工业志》.湖南人民出版社,1990.<br /> 2.陈扬龙.《醴陵釉下五彩瓷》.湖南美术出版社,2009.<br /> 3.邓文科.《醴陵釉下彩瓷》.湖南陶瓷,1985(2):1-8.<br /> 4.中国陶瓷工业协会.《中国陶瓷》期刊.<br /> 5.罗学正.论釉下五彩瓷装饰艺术特色.中国陶瓷,2007,43(11):62-64<br /> 6.刘劲松.醴陵釉下五彩瓷的历史演进与工艺特征探析.陶瓷学报,2015,36(6):735-740<br /> 7.湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=166998 2025-05-29T15:36:02Z

<p>Geng Hongmei: </p> <hr /> <div>醴陵釉下五彩瓷<br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> 一、起源与发展<br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> 二、烧制工艺与艺术特点<br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> 三、艺术内涵与文化价值<br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。<br /> <br /> 术语<br /> Underglaze Five-Color Porcelain 釉下五彩瓷<br /> Biscuit Firing 素烧<br /> Special High-temperature underglaze pigments 特制的高温釉下彩料<br /> Liling Kiln 醴陵窑<br /> <br /> 问题<br /> 1.对醴陵釉下五彩瓷来说至关重要的两个人是谁？<br /> 2.醴陵釉下五彩瓷的烧制过程是怎样的？<br /> 3.醴陵釉下五彩瓷的主要特点是什么？<br /> <br /> 参考文献<br /> 1.湖南省地方志编纂委员会.《湖南省志·轻工业志》.湖南人民出版社,1990.<br /> 2.陈扬龙.《醴陵釉下五彩瓷》.湖南美术出版社,2009.<br /> 3.邓文科.《醴陵釉下彩瓷》.湖南陶瓷,1985(2):1-8.<br /> 4.中国陶瓷工业协会.《中国陶瓷》期刊.<br /> 5.罗学正.论釉下五彩瓷装饰艺术特色.中国陶瓷,2007,43(11):62-64<br /> 6.刘劲松.醴陵釉下五彩瓷的历史演进与工艺特征探析.陶瓷学报,2015,36(6):735-740<br /> 7.湖南瓷业学堂史料选编.醴陵市政协文史资料委员会编.</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=166995 2025-05-29T14:45:46Z

<p>Geng Hongmei: </p> <hr /> <div>醴陵釉下五彩瓷<br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> 一、起源与发展<br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> 二、烧制工艺与艺术特点<br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> 三、艺术内涵与文化价值<br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。更令人称道的是其“色分五彩”的独特效果。因釉层折射，单一颜料可呈现深浅渐变，如蓝色可幻化为天青、湖蓝、靛紫，层次分明，被誉为“看得见的旋律”。<br /> 釉下五彩瓷是醴陵乃至湖南省最具代表性的文化符号和重要的经济产业，对促进地方经济发展、扩大文化影响力作用巨大。其诞生和发展深刻体现了材料科学、工艺技术与艺术创作的完美结合。这一传统技艺不仅是中国非物质文化遗产的重要代表，更是世界陶瓷史上不可忽视的篇章。<br /> 醴陵窑中的火焰跳跃了千年，从陶瓷到粗瓷，再到细腻莹润的釉下五彩瓷，一代代制瓷匠人传承至今的不仅是日益精巧的技艺，更是他们追求卓越、精益求精的工匠精神。蕴含着中国人民勤劳智慧的醴陵釉下五彩瓷，将继续向陶瓷艺术的高峰不断攀登。</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=166993 2025-05-29T14:05:48Z

<p>Geng Hongmei: </p> <hr /> <div>醴陵釉下五彩瓷<br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”如今，醴陵釉下五彩瓷不仅作为高端艺术品收藏，更融入现代生活，产品涵盖日用器皿、陈设瓷等，销往全球150多个国家和地区，成为中华文化对外交流的重要载体。<br /> 一、起源与发展<br /> 醴陵制瓷历史可追溯至东汉时期，但釉下五彩瓷的兴盛则始于清末民初。湖南凤凰籍人士熊希龄于1905年牵头再醴陵创办“湖南瓷业学堂”和“湖南瓷业制造公司”。1908年，醴陵窑突破了釉下单彩、两彩、三彩等传统技艺的局限，成功烧制出釉下五彩瓷。短短数年间，醴陵瓷业实现了飞跃式发展。1915年，醴陵釉下五彩瓷的代表作《扁豆双禽瓶》在“巴拿马太平洋万国博览会”上斩获金奖，从此蜚声海内外，奠定了其世界级名瓷的地位。<br /> 然而上世纪三四十年代，连年战争使醴陵瓷业遭遇毁灭性打击，湖南瓷业公司倒闭，釉下五彩瓷技术濒临失传。1955年，湖南陶瓷研究所在偏僻山村寻访到了吴寿祺先生，在吴老的参与研究、试验下，濒临灭绝的釉下五彩瓷不仅恢复了活力，而且在色料品种、装饰手法、题材内容以及制作规模等方面都有了很大发展。<br /> 1958年，醴陵为毛泽东主席等国家领导人研制生活用瓷，其精美的釉下五彩瓷和卓越的品质受到高度赞誉。此后，醴陵釉下五彩瓷被选为国家用瓷、国宴瓷及国礼瓷，赢得了“国瓷”之美誉，醴陵窑也被称为“红色官窑”。2008年醴陵釉下五彩瓷烧制技艺被列入第二批国家级非物质文化遗产名录。2013年，醴陵窑被国务院公布为第七批全国重点文物保护单位。<br /> 二、烧制工艺与艺术特点<br /> 醴陵釉下五彩瓷的魅力源于其复杂精湛且独具特色的工艺，制瓷填料、釉料和颜料均选用醴陵本地优质原料制作而成。生坯选用醴陵特有的高岭土，经淘洗、陈腐后拉坯或注浆成型。坯件成型后先经800℃素烧，以提高坯件的强度。之后，匠人使用特制的高温釉下彩料，运用双勾分水填色等技法将画面溶于釉下，利用坯体的吸水性，形成深浅不一、层次丰富的色阶，达到水墨渲染般的艺术效果。彩绘完成后，均匀施覆一层透明釉，而后以1350℃-1410℃高温烧制出成品，使五颜六色的画面从釉层中显现出来。<br /> 釉下五彩瓷有着广为人称道的三大特点。第一、无毒、耐酸、耐碱、耐磨损，永不褪色。第二、画面平滑光亮、晶莹润泽、清雅明快，具有饱满的水分感；亮晶晶、水灵灵，能给人一种美感享受。第三、纹样五彩缤纷，艳而不俗，淡而有神，色彩变化丰富，尤其“薄施淡染”技法使牡丹等复杂纹饰呈现柔美立体感。<br /> 三、艺术内涵与文化价值<br /> 醴陵釉下五彩瓷承载着深厚的文化底蕴和独特的艺术价值，它是中国近代陶瓷史上自主创新的典范，打破了历史上釉下彩以单色、双色为主的格局，将中国釉下彩瓷艺术推向了新的高峰，体现了中华民族的智慧和创造力。其洁白的胎体、润泽的釉面完美诠释了东方审美中对玉质感的追求，透明釉的映衬下，呈现出含蓄内敛又绚丽多彩的视觉效果，是东方写意精神与西方色彩科学结合的产物。其艺术魅力，在于将中国书画的意境与陶瓷的立体形态完美融合，纹样题材包罗万象：既有牡丹雍容、翠竹清雅、山水空濛等山水花草跃然瓷上，又有“竹林七贤”“寒江独钓”等人物诗词道尽文人风骨，是传统文化在当代活态传承的典范。</div>

Geng Hongmei https://bou.de/u/index.php?title=User:Geng_Hongmei&diff=166980 2025-05-29T12:08:57Z

<p>Geng Hongmei: </p> <hr /> <div>醴陵釉下五彩瓷<br /> 醴陵釉下五彩瓷，产自中国湖南省醴陵市，是一种在白瓷胎上以多种高温釉下彩料绘画纹饰，再罩透明釉经高温烧成的精美瓷器。其釉色晶莹淡雅，集胎质美、釉色美、工艺美、器形美、彩饰美于一体，因“白如玉、明如镜、薄如纸、声如磬”闻名于世，被誉为“东方陶瓷艺术的高峰。”</div>

Geng Hongmei https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=166979 2025-05-29T11:50:15Z

<p>Geng Hongmei: </p> <hr /> <div>Final Exam Paper Titles<br /> #https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Zang Flowers ok<br /> #https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok<br /> #https://bou.de/u/wiki/User:Zeng_Zhi 手串文化 Bead Bracelet Culture ok<br /> #https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok<br /> #https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok<br /> #https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)<br /> #https://bou.de/u/wiki/User:Liu_Qi 劝酒文化 Toast-urging ok<br /> #https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok<br /> #https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Huang_Yixuan2 中国守艺人 The keepers of Tradition: China's Heritage Guardians<br /> #https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳八卦 ''The Book of Changes''and Yin-Yang ok<br /> #https://bou.de/u/wiki/User:Liao_Dan 吊脚楼 Stilted Building<br /> #https://bou.de/u/wiki/User:Zheng_Jinlian 广东新会陈皮 Guangdong Xinhui dried tangerine peel ok<br /> #https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok<br /> #https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok<br /> #https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok<br /> #https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok<br /> #https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok<br /> #https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Fireworks ok<br /> #https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok<br /> #https://bou.de/u/wiki/User:Song_Xin 剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects<br /> #https://bou.de/u/wiki/User:Cao_Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city ok<br /> #https://bou.de/u/wiki/User:Jin_Yichen 吴越文化 Wuyue Culture ok<br /> #https://bou.de/u/wiki/User:Ye_Sitong 温州话 Wenzhou Dialect ok<br /> #https://bou.de/u/wiki/User:Xiao_Luyu 封神演义 Chinese classical novel The Investiture of the Gods ok<br /> #https://bou.de/u/wiki/User:Zhang_Qi 福建线面 Fujian Thin Noddles ok<br /> #https://bou.de/u/wiki/User:Zheng_Kaiwu 工夫茶 Kanghu tea ok<br /> #https://bou.de/u/wiki/User:Luo_Jingyan 油纸伞 折扇 Folding Fan<br /> #https://bou.de/u/wiki/User:Luo_Sicheng 惊鸿舞 Flying Wild Goose Dance ok<br /> #https://bou.de/u/wiki/User:Liu_Jianan 安徽名酒—古井贡酒 Famous Anhui Liquor-Gujing Tribute Liquor<br /> #https://bou.de/u/wiki/User:Chen_Lin 服美役 beauty duty ok<br /> #https://bou.de/u/wiki/User:Tang_Yan 道州理学文化 Neo-Confucian Culture in Daozhou ok<br /> #https://bou.de/u/wiki/User:Qin_Yi 胶东花饽饽 Jiao Dong Huabobo ok<br /> #https://bou.de/u/wiki/User:Chen_Zhen 玄奘 Xuanzang ok<br /> #https://bou.de/u/wiki/User:Ou_Huang 浏阳花炮制作技艺 Liuyang Fireworks Making Technique ok<br /> #https://bou.de/u/wiki/User:Luo_Yan 成人礼：冠礼和笄礼 Traditional Chinese coming-of-age ceremony：Guan Li and Ji Li ok<br /> #https://bou.de/u/wiki/User:Lv_Jiahao 越剧 Opera:Yue Opera Pleaes check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Wang_Yuxin 中国古法酿酒 Traditional Chinese Brewing Techniques ok<br /> #https://bou.de/u/wiki/User:Dai_Yexun 粤剧 Opera:Cantonese opera Please check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Yan_Jidong 闽南文化 Hokkien culture ok.<br /> #https://bou.de/u/wiki/User:Qiu_Ping 重阳节 Chung Yeung Festival ok<br /> #https://bou.de/u/wiki/User:He_Yunfeng 献哈达 Etiquette:Offering Hada(Khata) Scarf<br /> #https://bou.de/u/wiki/User:Zhou_Le 榨辣椒 Pressing pepper<br /> #https://bou.de/u/wiki/User:Huang_Qiaoqiao 舞剧《咏春》 Dance Drama Wing Chun<br /> #https://bou.de/u/wiki/User:Duan_Binyao 古诗十九首 Nineteen Old Poems<br /> #https://bou.de/u/wiki/User:Li_Linyao 傣族泼水节 Dai Water-Splashing Festival<br /> #https://bou.de/u/wiki/User:Xiao_Yikang 赣东北特色腌制食品 Northeastern Jiangxi Specialty Fermented food<br /> #https://bou.de/u/wiki/User:Gao_Xiaoqing 粽子 Zongzi<br /> #https://bou.de/u/wiki/User:Zhang_Meiling 秧歌 Yangko<br /> #https://bou.de/u/wiki/User:Huang_Sinan 春晚 Spring Festival Gala<br /> #https://bou.de/u/wiki/User:Du_Jiangping 楚辞 The Songs of Chu<br /> #https://bou.de/u/wiki/User:Jiang_Ziqiang 抛绣球 Zhuang Custom of Throwing the Embroidered Ball for Courtship<br /> #https://bou.de/u/wiki/User:Zeng_Xiaohui 中秋节 Mid-autumn Festival<br /> #https://bou.de/u/wiki/User:Geng_Hongmei 醴陵釉下五彩瓷 Liling Underglaze Five-Color Porcelain<br /> #https://bou.de/u/wiki/User:Yang_Yue2 现代文学：许渊冲 Modern Literature: Xv Yuanchong<br /> #https://bou.de/u/wiki/User:Chen_Anqi 螺钿 Luodian<br /> #https://bou.de/u/wiki/User:Yang_Jing 粮画 The Grain Paintings<br /> #https://bou.de/u/wiki/User:Dai_Shiru 李白 Li Bai<br /> #https://bou.de/u/wiki/User:Yu_Jingfang 傩文化 Nuo culture<br /> #https://bou.de/u/wiki/User:Li_Mingfeng 编钟 Chinese Ancient Instrument:Bianzhong<br /> #https://bou.de/u/wiki/User:Chen_Ting 湘西泡菜 Xiangxi Kimchi<br /> #https://bou.de/u/wiki/User:Gong_Wei 桃源擂茶 Taoyuan Lei Cha<br /> #https://bou.de/u/wiki/User:Yang_Jiahong2 闽南红砖古厝 Southern Fujian Red Brick Ancient Houses<br /> #https://bou.de/u/wiki/User:Wang_Huaixing 长白山 Mount Changbai<br /> #https://bou.de/u/wiki/User:Xiang_Jianning 马面裙 Horse face skirt<br /> #https://bou.de/u/wiki/User:Zhao_Qi 动画片：《虹猫蓝兔七侠传》 Chinese wuxia animation: Howie &amp; Landau Seven Chivalrous Biography<br /> #https://bou.de/u/wiki/User:Zhang_Zixi 叶子戏 Yezi Xi<br /> #https://bou.de/u/wiki/User:Shao_Keyuan 殷墟 The Yin Ruins<br /> #https://bou.de/u/wiki/User:Dong_Jiating 麻辣烫 Malatang<br /> #https://bou.de/u/wiki/User:Ouyang_Yihong 辣条 Spicy Gluten Strips<br /> #https://bou.de/u/wiki/User:Lu_Wei 蛋炒饭 Egg-fried Rice<br /> #https://bou.de/u/wiki/User:Xing_Xueqing 桃花源 The Peach Garden<br /> #https://bou.de/u/wiki/User:Wang_Xinyu 赣南客家围屋 Hakka Tulou in Southern Jiangxi<br /> #https://bou.de/u/wiki/User:Yuan_Xiaolin 新中式 new Chinese style clothes<br /> #https://bou.de/u/wiki/User:Chu_Hanqi 翠兰 Cui Lan（a kind of tea)<br /> #https://bou.de/u/wiki/User:Wu_Jiating 瓦罐汤 Clay Pot <br /> #https://bou.de/u/wiki/User:Jiang_Xinyue 灵隐寺 Lingyin Temple<br /> #https://bou.de/u/wiki/User:Xu_Xinwen 十二生肖Chinese Zodiac<br /> #https://bou.de/u/wiki/User:Liu_Pei 南岳衡山 Mount Heng<br /> #https://bou.de/u/wiki/User:Xiao_Zixin 恋与深空 Love and Deepspace<br /> #https://bou.de/u/wiki/User:Liu_Shutian 中医脉象Traditional Chinese Medicine Pulse<br /> #https://bou.de/u/wiki/User:Li_Jiayi 哈尔滨啤酒 Harbin Beer<br /> #https://bou.de/u/wiki/User:Qi_Zhiyang 漆扇 Lacquer Fan<br /> #https://bou.de/u/wiki/User:Chen_Sisi 永州石雕 Yongzhou Stone Carving<br /> #https://bou.de/u/wiki/User:Yan_Xiang 阜阳美食-格拉条 Fuyang Cuisine-Gelatiao<br /> #https://bou.de/u/wiki/User:Zuo_Fang 四羊方尊 Four-ram Square Zun( cultural artifact)<br /> #https://bou.de/u/wiki/User:Liu_Yunxi 邵阳米粉 Shaoyang Rice Noodles<br /> #https://bou.de/u/wiki/User:Luo_Jiaxin 腊八节 Laba Festival<br /> #https://bou.de/u/wiki/User:Fei_Xinyu 中医：气血津液理论与养生保健 TCM -Qi and Blood Theory and Health Preservation<br /> #https://bou.de/u/wiki/User:Liu_Chang 朝鲜族象帽舞 Xiangmao Dance of the Korean Ethnic Group<br /> #https://bou.de/u/wiki/User:Zhao_Yashi 中国民族舞：傣族舞 Chinese Folk Dance: Dai Ethic Dance<br /> #https://bou.de/u/wiki/User:Xiao_Yawen 醴陵瓷器 Liling porcelain<br /> #https://bou.de/u/wiki/User:Li_Yuan2 吴桥杂技 Wuqiao Acrobatics<br /> #https://bou.de/u/wiki/User:Guo_Cili 热干面 Hot Dry Noodles<br /> #https://bou.de/u/wiki/User:Li_Zihan 豆豉 Fermented Soya Beans<br /> #https://bou.de/u/wiki/User:Zhou_Tianyi 汨罗长乐故事会 Changle Taige Storytelling Festival<br /> #https://bou.de/u/wiki/User:She_Xiao 文房四宝 Four Treasures of the Study<br /> #https://bou.de/u/wiki/User:Cai_Yichun 汤显祖 Tangxianzu<br /> #https://bou.de/u/wiki/User:Shen_Shuai 咏春拳 Wing Chun Kung Fu<br /> #https://bou.de/u/wiki/User:Fu_Sihui 中国皮影戏 Chinese Shadow Puppetry<br /> #https://bou.de/u/wiki/User:Luo_Guoqiang 浏阳烟花 Liuyang Fireworks</div>

Geng Hongmei https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=166561 2025-05-09T07:23:12Z

<p>Geng Hongmei: </p> <hr /> <div>Final Exam Paper Titles<br /> #https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Zang Flowers ok<br /> #https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok<br /> #https://bou.de/u/wiki/User:Zeng_Zhi 手串文化 Bead Bracelet Culture ok<br /> #https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok<br /> #https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok<br /> #https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)<br /> #https://bou.de/u/wiki/User:Liu_Qi 劝酒文化 Drinking Persuasion Culture ok<br /> #https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok<br /> #https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Huang_Yixuan2 傩戏 Nuo Opera ok, but check if not yet in the textbook<br /> #https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳八卦 ''The Book of Changes''and Yin-Yang ok<br /> #https://bou.de/u/wiki/User:Liao_Dan 吊脚楼 Stilted Building<br /> #https://bou.de/u/wiki/User:Zheng_Jinlian 陈皮 Dried Orange Peel ok<br /> #https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok<br /> #https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok<br /> #https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok<br /> #https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok<br /> #https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok<br /> #https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Flower ok<br /> #https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok<br /> #https://bou.de/u/wiki/User:Song_Xin 剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects<br /> #https://bou.de/u/wiki/User:Cao_Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city ok<br /> #https://bou.de/u/wiki/User:Jin_Yichen 吴越文化 Wuyue Culture ok<br /> #https://bou.de/u/wiki/User:Ye_Sitong 温州话 Wenzhou Dialect ok<br /> #https://bou.de/u/wiki/User:Xiao_Luyu 封神演义 Chinese classical novel The Investiture of the Gods ok<br /> #https://bou.de/u/wiki/User:Zhang_Qi 福建线面 Fujian Thin Noddles ok<br /> #https://bou.de/u/wiki/User:Zheng_Kaiwu 工夫茶 Kanghu tea ok<br /> #https://bou.de/u/wiki/User:Luo_Jingyan 油纸伞 折扇 Folding Fan<br /> #https://bou.de/u/wiki/User:Luo_Sicheng 惊鸿舞 Flying Wild Goose Dance ok<br /> #https://bou.de/u/wiki/User:Liu_Jianan 禅文化 Zen Culture （Chan Culture）Please check. I think it is already in the text book.<br /> #https://bou.de/u/wiki/User:Chen_Lin 服美役 beauty duty ok<br /> #https://bou.de/u/wiki/User:Tang_Yan 道州理学文化 Neo-Confucian Culture in Daozhou ok<br /> #https://bou.de/u/wiki/User:Qin_Yi 胶东花饽饽 Jiao Dong Huabobo ok<br /> #https://bou.de/u/wiki/User:Chen_Zhen 玄奘 Xuanzang ok<br /> #https://bou.de/u/wiki/User:Ou_Huang 浏阳花炮制作技艺 Liuyang Fireworks Making Technique ok<br /> #https://bou.de/u/wiki/User:Luo_Yan 成人礼：冠礼和笄礼 Traditional Chinese coming-of-age ceremony：Guan Li and Ji Li ok<br /> #https://bou.de/u/wiki/User:Lv_Jiahao 越剧 Opera:Yue Opera Pleaes check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Wang_Yuxin 中国古法酿酒 Traditional Chinese Brewing Techniques ok<br /> #https://bou.de/u/wiki/User:Dai_Yexun 粤剧 Opera:Cantonese opera Please check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Yan_Jidong 闽南文化 Hokkien culture ok.<br /> #https://bou.de/u/wiki/User:Qiu_Ping 重阳节 Chung Yeung Festival ok<br /> #https://bou.de/u/wiki/User:He_Yunfeng 献哈达 Tibetan Etiquette:Offering Hada(Khata)<br /> #https://bou.de/u/wiki/User:Zhou_Le 榨辣椒 Pressing pepper<br /> #https://bou.de/u/wiki/User:Huang_Qiaoqiao 舞剧《咏春》 Dance Drama Wing Chun<br /> #https://bou.de/u/wiki/User:Duan_Binyao 古诗十九首 Nineteen Old Poems<br /> #https://bou.de/u/wiki/User:Li_Linyao 泼水节 Water-Splashing Festival<br /> #https://bou.de/u/wiki/User:Xiao_Yikang 江西地方端午节传统习俗 Local Dragon Boat Festival traditions of Jiangxi<br /> #https://bou.de/u/wiki/User:Gao_Xiaoqing 粽子 Zongzi<br /> #https://bou.de/u/wiki/User:Zhang_Meiling 秧歌 Yangko<br /> #https://bou.de/u/wiki/User:Huang_Sinan 春晚 Spring Festival Gala<br /> #https://bou.de/u/wiki/User:Du_Jiangping 楚辞 The Songs of Chu<br /> #https://bou.de/u/wiki/User:Jiang_Ziqiang 抛绣球 Zhuang Custom of Throwing the Embroidered Ball for Courtship<br /> #Zeng_Xiaohui 中秋节 Mid-autumn Festival<br /> #Geng_Hongmei 醴陵釉下五彩瓷 Five-colored Under Glaze made in Liling<br /> #https://bou.de/u/wiki/User:Yang_Yue2 现代文学：许渊冲 Modern Literature: Xv Yuanchong<br /> #https://bou.de/u/wiki/User:Chen_Anqi 螺钿 Luodian<br /> #https://bou.de/u/wiki/User:Yang_Jing 粮画 The Grain Paintings</div>

Geng Hongmei https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=166556 2025-05-09T07:14:56Z

<p>Geng Hongmei: </p> <hr /> <div>Final Exam Paper Titles<br /> #https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Zang Flowers ok<br /> #https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok<br /> #https://bou.de/u/wiki/User:Zeng_Zhi 手串文化 Bead Bracelet Culture ok<br /> #https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok<br /> #https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok<br /> #https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)<br /> #https://bou.de/u/wiki/User:Liu_Qi 劝酒文化 Drinking Persuasion Culture ok<br /> #https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok<br /> #https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Huang_Yixuan2 傩戏 Nuo Opera ok, but check if not yet in the textbook<br /> #https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳八卦 ''The Book of Changes''and Yin-Yang ok<br /> #https://bou.de/u/wiki/User:Liao_Dan 吊脚楼 Stilted Building<br /> #https://bou.de/u/wiki/User:Zheng_Jinlian 陈皮 Dried Orange Peel ok<br /> #https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok<br /> #https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok<br /> #https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok<br /> #https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok<br /> #https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok<br /> #https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Flower ok<br /> #https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok<br /> #https://bou.de/u/wiki/User:Song_Xin 剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects<br /> #https://bou.de/u/wiki/User:Cao_Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city ok<br /> #https://bou.de/u/wiki/User:Jin_Yichen 吴越文化 Wuyue Culture ok<br /> #https://bou.de/u/wiki/User:Ye_Sitong 温州话 Wenzhou Dialect ok<br /> #https://bou.de/u/wiki/User:Xiao_Luyu 封神演义 Chinese classical novel The Investiture of the Gods ok<br /> #https://bou.de/u/wiki/User:Zhang_Qi 福建线面 Fujian Thin Noddles ok<br /> #https://bou.de/u/wiki/User:Zheng_Kaiwu 工夫茶 Kanghu tea ok<br /> #https://bou.de/u/wiki/User:Luo_Jingyan 油纸伞 Oil-paper Umbrellas no, this is already in the text book 折扇 Folding Fan<br /> #https://bou.de/u/wiki/User:Luo_Sicheng 惊鸿舞 Flying Wild Goose Dance ok<br /> #https://bou.de/u/wiki/User:Liu_Jianan 禅文化 Zen Culture （Chan Culture）Please check. I think it is already in the text book.<br /> #https://bou.de/u/wiki/User:Chen_Lin 服美役 beauty duty ok<br /> #https://bou.de/u/wiki/User:Tang_Yan 道州理学文化 Neo-Confucian Culture in Daozhou ok<br /> #https://bou.de/u/wiki/User:Qin_Yi 胶东花饽饽 Jiao Dong Huabobo ok<br /> #https://bou.de/u/wiki/User:Chen_Zhen 玄奘 Xuanzang ok, but please check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Ou_Huang 浏阳花炮制作技艺 Liuyang Fireworks Making Technique ok<br /> #https://bou.de/u/wiki/User:Luo_Yan 成人礼：冠礼和笄礼 Traditional Chinese coming-of-age ceremony：Guan Li and Ji Li ok<br /> #https://bou.de/u/wiki/User:Lv_Jiahao 越剧 Opera:Yue Opera Pleaes check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Wang_Yuxin 中国古法酿酒 Traditional Chinese Brewing Techniques ok<br /> #https://bou.de/u/wiki/User:Dai_Yexun 粤剧 Opera:Cantonese opera Please check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Yan_Jidong 闽南文化 Hokkien culture ok.<br /> #https://bou.de/u/wiki/User:Qiu_Ping 重阳节 Chung Yeung Festival ok<br /> #https://bou.de/u/wiki/User:He_Yunfeng 献哈达 Tibetan Etiquette:Offering Hada(Khata)<br /> #https://bou.de/u/wiki/User:Zhou_Le 榨辣椒 Pressing pepper<br /> #https://bou.de/u/wiki/User:Huang_Qiaoqiao 舞剧《咏春》 Dance Drama Wing Chun<br /> #https://bou.de/u/wiki/User:Duan_Binyao 古诗十九首 Nineteen Old Poems<br /> #https://bou.de/u/wiki/User:Li_Linyao 泼水节 Water-Splashing Festival<br /> #https://bou.de/u/wiki/User:Xiao_Yikang 江西地方端午节传统习俗 Local Dragon Boat Festival traditions of Jiangxi<br /> #https://bou.de/u/wiki/User:Gao_Xiaoqing 粽子 Zongzi<br /> #https://bou.de/u/wiki/User:Zhang_Meiling 秧歌 Yangko<br /> #https://bou.de/u/wiki/User:Huang_Sinan 春晚 Spring Festival Gala<br /> #https://bou.de/u/wiki/User:Du_Jiangping 楚辞 The Songs of Chu<br /> #https://bou.de/u/wiki/User:Jiang_Ziqiang 抛绣球 Zhuang Custom of Throwing the Embroidered Ball for Courtship<br /> #Zeng_Xiaohui 中秋节 Mid-autumn Festival<br /> #Geng Hongmei 醴陵釉下五彩瓷 Five-colored Under Glaze made in Liling</div>

Geng Hongmei https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=166555 2025-05-09T07:13:37Z

<p>Geng Hongmei: </p> <hr /> <div>[[Media:Example.ogg]]Final Exam Paper Titles<br /> #https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Zang Flowers ok<br /> #https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok<br /> #https://bou.de/u/wiki/User:Zeng_Zhi 手串文化 Bead Bracelet Culture ok<br /> #https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok<br /> #https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok<br /> #https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)<br /> #https://bou.de/u/wiki/User:Liu_Qi 劝酒文化 Drinking Persuasion Culture ok<br /> #https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok<br /> #https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Huang_Yixuan2 傩戏 Nuo Opera ok, but check if not yet in the textbook<br /> #https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳八卦 ''The Book of Changes''and Yin-Yang ok<br /> #https://bou.de/u/wiki/User:Liao_Dan 吊脚楼 Stilted Building<br /> #https://bou.de/u/wiki/User:Zheng_Jinlian 陈皮 Dried Orange Peel ok<br /> #https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok<br /> #https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok<br /> #https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok<br /> #https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok<br /> #https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok<br /> #https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Flower ok<br /> #https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok<br /> #https://bou.de/u/wiki/User:Song_Xin 剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects<br /> #https://bou.de/u/wiki/User:Cao_Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city ok<br /> #https://bou.de/u/wiki/User:Jin_Yichen 吴越文化 Wuyue Culture ok<br /> #https://bou.de/u/wiki/User:Ye_Sitong 温州话 Wenzhou Dialect ok<br /> #https://bou.de/u/wiki/User:Xiao_Luyu 封神演义 Chinese classical novel The Investiture of the Gods ok<br /> #https://bou.de/u/wiki/User:Zhang_Qi 福建线面 Fujian Thin Noddles ok<br /> #https://bou.de/u/wiki/User:Zheng_Kaiwu 工夫茶 Kanghu tea ok<br /> #https://bou.de/u/wiki/User:Luo_Jingyan 油纸伞 Oil-paper Umbrellas no, this is already in the text book 折扇 Folding Fan<br /> #https://bou.de/u/wiki/User:Luo_Sicheng 惊鸿舞 Flying Wild Goose Dance ok<br /> #https://bou.de/u/wiki/User:Liu_Jianan 禅文化 Zen Culture （Chan Culture）Please check. I think it is already in the text book.<br /> #https://bou.de/u/wiki/User:Chen_Lin 服美役 beauty duty ok<br /> #https://bou.de/u/wiki/User:Tang_Yan 道州理学文化 Neo-Confucian Culture in Daozhou ok<br /> #https://bou.de/u/wiki/User:Geng_Hongmei 花鼓戏 flower-drum opera Please check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Qin_Yi 胶东花饽饽 Jiao Dong Huabobo ok<br /> #https://bou.de/u/wiki/User:Chen_Zhen 玄奘 Xuanzang ok, but please check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Ou_Huang 浏阳花炮制作技艺 Liuyang Fireworks Making Technique ok<br /> #https://bou.de/u/wiki/User:Luo_Yan 成人礼：冠礼和笄礼 Traditional Chinese coming-of-age ceremony：Guan Li and Ji Li ok<br /> #https://bou.de/u/wiki/User:Lv_Jiahao 越剧 Opera:Yue Opera Pleaes check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Wang_Yuxin 中国古法酿酒 Traditional Chinese Brewing Techniques ok<br /> #https://bou.de/u/wiki/User:Dai_Yexun 粤剧 Opera:Cantonese opera Please check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Yan_Jidong 闽南文化 Hokkien culture ok.<br /> #https://bou.de/u/wiki/User:Qiu_Ping 重阳节 Chung Yeung Festival ok<br /> #https://bou.de/u/wiki/User:He_Yunfeng 献哈达 Tibetan Etiquette:Offering Hada(Khata)<br /> #https://bou.de/u/wiki/User:Zhou_Le 榨辣椒 Pressing pepper<br /> #https://bou.de/u/wiki/User:Huang_Qiaoqiao 舞剧《咏春》 Dance Drama Wing Chun<br /> #https://bou.de/u/wiki/User:Duan_Binyao 古诗十九首 Nineteen Old Poems<br /> #https://bou.de/u/wiki/User:Li_Linyao 泼水节 Water-Splashing Festival<br /> #https://bou.de/u/wiki/User:Xiao_Yikang 江西地方端午节传统习俗 Local Dragon Boat Festival traditions of Jiangxi<br /> #https://bou.de/u/wiki/User:Gao_Xiaoqing 粽子 Zongzi<br /> #https://bou.de/u/wiki/User:Zhang_Meiling 秧歌 Yangko<br /> #https://bou.de/u/wiki/User:Huang_Sinan 春晚 Spring Festival Gala<br /> #https://bou.de/u/wiki/User:Du_Jiangping 楚辞 The Songs of Chu<br /> #https://bou.de/u/wiki/User:Jiang_Ziqiang 抛绣球 Zhuang Custom of Throwing the Embroidered Ball for Courtship<br /> #Zeng_Xiaohui 中秋节 Mid-autumn Festival<br /> #Geng Hongmei 醴陵釉下五彩瓷 Five-colored Under Glaze made in Liling</div>

Geng Hongmei