China Studies Wiki - User contributions [en]

20201228 cult

2020-12-31T01:53:26Z

HATHITHUHANG2: /* Ha, Thi Thu Hang */

==Alsied, Saffana==

==Cao Runxin 曹润鑫==
1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。

The Tao Te Ching is one of the greatest masterpieces in Chinese history and has had a profound impact on traditional philosophy, science, politics and religion.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 04:17, 28 December 2020 (UTC)

2.《论语》多为语录，但都辞约义富，有些语句、篇章形象生动。

The Analects are mostly discourses, but all of them are rich in diction and meaning, and some of them are vividly illustrated.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 04:17, 28 December 2020 (UTC)

3.《坛经》的思想对禅宗发展起到了重要作用。中国佛教著作被尊称为“经”的，仅此一部。

The ideas of The Sutra played an important role in the development of Zen Buddhism. This is the only Chinese Buddhist work to be honoured as a 'sutra'.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 04:17, 28 December 2020 (UTC)

4.林语堂将中国人旷怀达观，陶情遣兴的生活方式，和浪漫高雅的东方情调皆诉诸笔下，向西方人娓娓道出了一个可供仿效的“生活最高典型”的模式。

Lin Yutang's writing brings to life the Chinese way of life, with its open-mindedness and optimism, as well as the romantic elegance of the East, and presents to Westerners a model of the 'highest form of life' to be emulated.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 04:17, 28 December 2020 (UTC)

==Chen Han 陈涵==

==Chen Jingjing 陈静静==

==Dashkin, Gennadii==

1.When people see some things as beautiful, other things become ugly. When people see some things as good, other things become bad.

当人们将某些事物视为美丽时，其他事物则变得丑陋。当人们将某些事情视为好事时，其他事情则变得不好。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:26, 27 December 2020 (UTC)

2.In China, the work has been by many attributed to Confucius himself, but the philological investigations to date do not allow to go back to a reliable source, partly because of the devastating book burning of 213 BC by the First Emperor Qin Shi Huang.

在中国，许多人把这本书归功于孔子本人，但迄今为止的语言研究还不能追溯到可靠的来源，部分原因是秦始皇秦始皇于公元前213年毁灭性地烧毁了这本书。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:26, 27 December 2020 (UTC)

3.One realizes it, while another is ignorant of it.

一个人意识到了这一点，而另一个人则一无所知。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:26, 27 December 2020 (UTC)

有人意识到了这一点，但另一个人却对此一无所知。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:46, 28 December 2020 (UTC)

4.Perhaps I don’t understand economics, but economics does not understand me, either.

也许我不了解经济学，但经济学却不了解也了解我.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:26, 27 December 2020 (UTC)

我或许不懂经济学，但经济学也不懂我。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:46, 28 December 2020 (UTC)

==Chen Yongxiang 陈永相==
1. 道可道，非常道；名可名，非常名。

The Tao that can be trodden is not the enduring and unchanging Tao.

The name that can be named is not the enduring and unchanging name.

2. 子曰：“学而时习之，不亦悦乎？有朋自远方来，不亦乐乎？人不知而不愠，不亦君子乎？”

The Master said, To learn and at due times to repeat what one has learnt, is that not after all a pleasure? That friends should come to one from afar, is this not after all delightful? To remain unsound even though one's merits are unrecognized by others, is that not after all what is expected of a gentleman?

3. 菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。

No such thing as the Budhi tree,

Nor a mirror stand that can be.

There is nothing in the first place,

Whereon can the dust and dirt creep?

4. 生之享受包括许多东西：我们本身的享受、家庭生活的享受，树木、花朵、云霞、溪流、瀑布，以及大自然的形形色色，都足以称为享受；此外又有诗歌、艺术、沉思、友情、谈天、读书等的享受，后者的这些都是心灵交流的不同表现。

The enjoyment of life covers many things: the enjoyment of ourselves, of home life, of trees, flowers, clouds, winding rivers and falling cataracts and the myriad things in Nature, and then the enjoyment of poetry, art, contemplation, friendship, conversation, and reading, which are all some form or other of the communion of spirits.
--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:26, 27 December 2020 (UTC)

The enjoyment of life includes many things: our own enjoyment, the enjoyment of family life, trees, flowers, clouds, streams, waterfalls, and all kinds of nature are enough to be called enjoyment; in addition, there are poetry, art, contemplation, the enjoyment of friendship, chatting, reading, etc., the latter are all different manifestations of spiritual communication.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:54, 27 December 2020 (UTC)

==Ding Daifeng 丁代凤==

1.老子曾做过周朝守藏史，后退隐，作《道德经》，其思想的核心是“道”。

Lao Zi once worked as an archivist in the imperial library of the Zhou Dynasty before he retired from public life. It is widely believed that he was the author of Tao Te Ching and the core of Lao Zi's thought is "Tao".--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)

Lao Zi once worked as an archivist in the imperial library of the Zhou Dynasty before he lived in seclusion. It is widely believed that he was the author of Tao Te Ching and the core of his thoughts is "Tao".--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)

Lao Zi once worked as an archivist in the imperial library of the Zhou Dynasty before his retirement. Later he created the Tao Te Ching, of which the core thought is "Tao".--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:09, 27 December 2020 (UTC)

2.《论语》记录了孔子的言行。它涵盖了广泛的主题，从政治、哲学、文学和艺术到教育再到道德修养。

The Analects of Confucius records the words and deeds of Confucius. It covers a wide variety of subjects, ranging from politics, philosophy, literature and art to education to moral cultivation.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)

The Analects of Confucius records the words and deeds of Confucius. It covers a wide variety of subjects, ranging from politics, philosophy, literature to art,and from education to moral cultivation.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)

The Analects recorded Confucius' words and deeds. It covers a wide range of topics, from politics, philosophy, literature and art to education to moral cultivation.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:09, 27 December 2020 (UTC)

3.惠能禅学思想的主要特点是“识心见性”和“顿悟成佛”。

The main features of Hui Neng's Zen thoughts are "knowing the heart and seeing the nature" and "becoming Buddha by epiphany".--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)

Hui Neng's Zen thoughts are characterized by "knowing the heart and seeing the nature" and "becoming Buddha by epiphany".--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)

4.《生活的艺术》是一本洗涤心灵的书籍，是一杯好茶，是一种良药。阅读此书能使我们被尘沙玷污的心灵洗涤，使我们能在嚣闹的城市中得到宁静。

The Importance of Living is a book for washing the soul, a good cup of tea and a good medicine. Reading this book can wash our hearts polluted by dust and sand, and make us get peace in the noisy city.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)

The Importance of Living is a book for refreshing the soul, a good cup of tea and a good medicine. Reading this book can purify our hearts tarnished by dust and sand, and make us get peace in the noisy city.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)

The Importance of Living is a book that cleanses the mind, a cup of good tea and a good medicine. Reading this book can wash our hearts stained with dust and allow us to find peace in noisy cities--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:09, 27 December 2020 (UTC)

==Gan Fengyu 甘奉玉==
1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。

Tao Te Ching is one of the greatest masterpieces in Chinese history, which has a profound influence on traditional philosophy, science, politics and religion. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)

As one of the greatest masterpieces in Chinese history, Tao Te Ching has a profound influence on traditional philosophy, science, politics and religion.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC)

2.《论语》较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。

The Analects embodies the political ideas, ethical thought, moral concepts and educational principles of Confucius and Confucianism. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)

The Analects embodies the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and Confucianism.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC)

3.《慧能经》主张世上一切事物空幻不实，即对于现实世界不应执著或留恋。

The Sutra of Hui-neng holds that everything in the world is empty and unreal, that is, it should not be persistent or nostalgic for the real world.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)

The Sutra of Hui-neng holds that everything in the world is illusory, that is, it should not be persistent or nostalgic for the real world.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC)

4.《生活的艺术》是林语堂旅美专事创作后的第一部书，该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周。

The Importance of Living is Lin Yutang's first book, which was published in the United States in 1937 and topped the bestseller list for 52 weeks.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)

The Importance of Living is Lin Yutang's first book after his study in the United States, which was published in the United States in 1937 and topped the bestseller list for 52 weeks.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC)

==Gao Mingzhu 高明珠==

==Grosheva, Anna==

1. Yet mystery and manifestations arise from the same source. This source is called darkness.

然而神秘和表现来自同一来源。这种来源称为黑暗。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:34, 27 December 2020 (UTC)

2. Started during the Spring and Autumn Period, the work of collection and organization of Confucian teachings was probably completed during the Warring States Period, although the precise date of publication of the complete work is unknown.

春秋时期开始，儒家教义的收集和整理工作可能是在战国时期完成的，尽管确切的出版日期尚不清楚。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:34, 27 December 2020 (UTC)

3. Through ten chapters, the Platform Sutra cites and explains a wide range of Mahayana Buddhist scriptures.

在十章中，《纲经》引用并解释了大乘佛教经文。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:34, 27 December 2020 (UTC)

4. The ancient people who desired to have a clear moral harmony in the world would first order their national life.

希望在世界上建立清晰的道德和睦的远古民族首先会下定民族生活。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:34, 27 December 2020 (UTC)

==Gu Dongfang 顾东方==

==Guan Qinqing 管钦清==

1.《论语》是儒家的经典著作之一，它是对孔子及其弟子的言行和对话的记录。众所周知，孔子是一位伟大的思想家和哲学家，他的思想被发展成了的儒家哲学体系。《论语》是儒家思想的代表作，数个世纪以来，《论语》一直极大地影响着中国人的哲学观和道德观，它也影响着其他亚洲国家人民的哲学观和道德观。

The Analects of Confucius is one of the Confucius classics and is a record of the words and acts of Confucius and his disciples,as well as the conversations they held.It's
well known that Confucius is agreat ideologist and philosopher,and his thoughts have been developed into a system of philosophyknownasConfucianism.The Analects ofConfucius
is a representative work of Confucianism.For centuries, it has been heavily influencing the philosophy and moral outlook of Chinese people and that of the people of other Asian countries as well.

2.慧能的两个核心理念成为了正统佛教的精髓要义，其一，“无论社会阶层，无论精神文化，一切众生皆有佛性”；其二，“醒觉并非依靠冥想渐悟，而是一种瞬间的顿悟。”

His two key ideas became the essence of orthodox Buddhism, namely that "all people,regardless of their social, culturalor spiritual condition, possess the Buddha nature" and that "awakening is not a meditation but a sudden, instantaneous process."

3.一次，学生子贡问孔子：“有一言而可以终身行之者乎？”子曰：“其恕乎。己所不欲，勿施于人。”

Once,Zi Gong, one of Confucius’ disciples, asked the philosopher: “Is there any one word that can guide one throughout his life?”Confucius answered:“
Maybe it’s magnanimity! What you do not want done to yourself, do not do to others.”

Once upon a time,Zi Gong, a student of Confucius, asked him, "Is there one word that can be acted upon for life?" Confucius replied, "Its forgiveness. Do not impose on others what you yourself do not desire."--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:52, 28 December 2020 (UTC)

4.《生活的艺术》是林语堂旅美专事创作后的第一部书，也是继《吾国与吾民》之后再获成功的又一英文作品。该书于1937年在美国出版，接连再版四十余次，并为十余种文字所翻译。

"The Art of Life" is the first book created by Lin Yutang in the United States, and it is also another English work that has achieved success after "My Country and My People". The book was published in the United States in 1937, reprinted more than forty times, and translated into more than ten languages.--[[User:Guan Qinqing|Guan Qinqing]]

==Gui Yizhi 桂一枝==

==Guirou, Barthelemy==

1. Laozi in the Tao Te Ching explains that the Tao is not a "name" for a "thing" but the underlying natural order of the Universe whose ultimate essence is difficult to circumscribe due to it being non-conceptual yet evident in one's being of aliveness.

《道德经》中的老子解释道是不是“事物”的“名称”，而是宇宙的内在自然秩序，由于其非概念性但在生命力中很明显，其最终本质很难被限制。

2. Analects is the China’s sacred book, the representative work of Confucianism. A collection of answers of dialogues between Confucius and his disciples.

《论语》是中国的圣书，是儒家的代表作。孔子与门徒之间对话的答案的集合。

《论语》是中国的圣书，是儒家的代表作。孔子与门徒对话的答案集。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:38, 27 December 2020 (UTC)

3. Lin Yutang was a Chinese inventor, linguist, novelist, philosopher, and translator. His informal but polished style in both Chinese and English made him one of the most influential writers of his generation, and his compilations and translations of classic Chinese texts into English were bestsellers in the West.

林语堂是中国发明家，语言学家，小说家，哲学家和翻译家。他的中英文不拘一格但又优美的风格使他成为这一代人中最有影响力的作家之一，他将经典的中国文字汇编和翻译成英文在西方是畅销书。--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 14:36, 27 December 2020 (UTC)

==Guo Lu 郭露==

==Ha, Thi Thu Hang==

1. The reasonable attitude is, since we’ve got this human nature, let’s start with it. Besides, there is no escaping from it anyway.

合理的态度是，既然我们具有这种人性，那么我们就开始吧

2. The Chinese go so far as to assume that Heaven of God Himself is quite a reasonable being, that if you live reasonably, according to your best lights, you have nothing to fear, that peace of conscience is the greatest of all gifts, and that a man with a clear conscience need not be afraid even of ghosts.

中国人甚至认为神自己的天堂是一个相当合理的存在，如果您按照自己的最佳生活合理地生活，您就没什么可担心的，良心安宁是所有礼物中最大的，并且一个有明确良知的人甚至不必惧怕鬼魂。

3. Plato thought “ideas” were immortal, but individual souls were either base or noble, according as they loved justice, learning, temperance and beauty or not.

柏拉图认为“思想”是不朽的，但根据他们是否爱正义，学习，节制和美丽，个体灵魂要么基本要么高尚。--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 01:53, 31 December 2020 (UTC)

==He Changqi 何长琦==
1.张骞出使西域本为贯彻汉武帝联合大月氏抗击匈奴之战略意图，但出使西域后汉夷文化交往频繁，中原文明通过“丝绸之路”迅速向四周传播。

Zhang Qian's mission to the West was intended to implement Emperor Wu's strategic intent of uniting the Yuezhi to fight the Xiongnu, but after his mission to the West, there were frequent cultural exchanges between the Han and the Yi, and Chinese civilization spread rapidly in all directions through the Silk Road

2.郑和秉承“抚外夷以礼，导人向善”，的涉外原则，沿途将中国的历法文化、中国的衣冠礼仪等中华先进文化的传播，致使远夷之人仰慕中华文化，也使当地文明程度得以提升，由点到面地推动了人类社会的发展与文明的进程。

During his voyage, Zheng He adhered to the principle of "fostering foreigners with rituals and guiding them towards goodness" . He spread Chinese calendar culture, Chinese clothing and rituals, and other advanced Chinese culture along the way, which led to the admiration of foreigners for Chinese culture and the enhancement of local civilisation, contributing to the development of human society and the progress of civilisation.

3.洋务运动虽然在客观上刺激中国资本主义发展、并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。

Although the foreign affairs movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted foreign capitalist economic imports , it did not put China on the road to wealth and power.--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 06:02, 28 December 2020 (UTC)

==Hu Baihui 胡百辉==

1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。

The land Silk Road originated from the Western Han Dynasty (202-8 BC) when Emperor Wu of Han Dynasty sent Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, and to connect Mediterranean countries.

2.海上丝绸之路形成于汉武帝时期。南海航线从中国出发，向西航行，是海上丝绸之路的主线。

The maritime silk road was formed in the time of Emperor Wu of Han Dynasty. The South China Sea route, which starts from China and sails westward, is the mainstream of the maritime silk road.

3.苏曼殊浪漫主义不是西学东渐的直接产物，而是固有文化生态发生结构变动之结果。

The formation of Su Manshu's romantic style was not the direct result of the eastward spread of Western learning but was the natural outcome of structural change in China's innate cultural ecosystem.

4.洋务派是中国近代最早的全面系统地接触近代科学技术的一个政治派别。

Advocates of the westernization movement was the first political school that touched modern science and technology comprehensively and systematically in China.

==Hu Jin 胡瑾==
1. 《道德经》简称老子，是中国的经典文本。根据传统，它是由公元前6世纪的圣人老子所写，老子是周朝的一位记录者，在中国广为人知。尽管最早出土的文字可以追溯到公元前4世纪晚期，但文字的真正作者和撰写或编纂日期仍有争议。

1. The Tao Te Ching simply referred to as the Laozi，is a Chinese classic text. According to tradition, it was written around 6th century BC by the sage Laozi, a record-keeper at the Zhou dynasty court, by whose name the text is known in China. The text's true authorship and date of composition or compilation are still debated, although the oldest excavated text dates back to the late 4th century BC.

2. 《论语》是儒家学派的经典著作之一，由孔子的弟子及其再传弟子编撰而成。它以语录体和对话文体为主，记录了孔子及其弟子言行，集中体现了孔子的政治主张、论理思想、道德观念及教育原则等。

2. The Analects is one of the classical works of Confucianism, compiled by the disciples of Confucius and his disciples. It is mainly in the style of discourses and dialogues, recording the words and deeds of Confucius and his disciples, concentrating on Confucius' political ideas, theoretical thoughts, moral concepts and educational principles.

3. 《慧能经》附有慧能对《金刚经》的逐条注释——这是它有史以来第一次出版的英文译本。他的谈话集也被称为《六祖坛经》，是唯一的禅宗记录，一般被尊称为经，或经文。

3. The Sutra of Hui-neng is here accompanied by Hui-neng's verse-by-verse commentary on the Diamond Sutra—in its very first published English translation ever.This collection of his talks, also known as the Platform or Altar Sutra, is the only Zen record of its kind to be generally honored with the appellation sutra, or scripture.

4. 《生活的艺术》是林语堂旅美专事创作后的第一部书，也是继之后再获成功的又一英文作品。该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周，且接连再版四十余次，并为十余种文字所翻译。

4. “The Art of Living” was Lin Yutang's first book after he had traveled to the U.S. and was another successful work in English. It was published in the United States in 1937 and topped the American bestseller list for 52 weeks the following year, and was reprinted more than forty times and translated into more than a dozen languages.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 07:31, 25 December 2020 (UTC)

"The Art of Living" was the first book created by Lin Yutang in the United States, and it is also another English work that has been successful since then. The book was published in the United States in 1937, and it ranked first in the United States bestseller list for 52 weeks in the following year,and has been republished more than forty times, and has been translated for more than ten languages.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:57, 27 December 2020 (UTC)

4. 《生活的艺术》是林语堂旅美专事创作后的第一部书，也是继《吾国与吾民》之后再获成功的又一英文作品。该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周，且接连再版四十余次，并为十余种文字所翻译。

''The Art of Living'' was Lin Yutang's first book after he had traveled to the U.S. and was another successful English work after ''My Country and My People''. It was published in the United States in 1937 and topped the American bestseller list for 52 weeks at the following year. Besides, it was reprinted more than forty times and translated into more than a dozen languages.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:20, 26 December 2020 (UTC)Mo Ling

==Jiang Fengyi 蒋凤仪==

==Jiang Qiwei 蒋淇玮==

==Kang Haoyu 康浩宇==
1. 《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。、

Tao Te Ching is one of the greatest masterpieces in Chinese history, which has a profound impact on traditional philosophy, science, politics and religion. --[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:20, 28 December 2020 (UTC)

2.《论语》中保留了一些人们对孔子师徒的批评讽刺，有的作了辩驳，有的没有回答。

The Analects of Confucius retains some criticisms and ironies of Confucius' teachers and disciples, some of which have made refutation, while others have not.

The Analects of Confucius retains some criticism and satire of Confucius and his disciples, some of which are refuted, and some of which are not answered.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 04:51, 28 December 2020 (UTC)

3. 慧能的禅法以定慧为本，认为觉性本有，烦恼本无。

Huineng's Zen method is based on determining wisdom, thinking that awareness is inherent, but troubles are not.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:20, 28 December 2020 (UTC)

4. 《活着》是作家余华的代表作之一，讲述了在大时代背景下，随着内战、三反五反，大跃进，文化大革命等社会变革，徐福贵的人生和家庭不断经受着苦难，到了最后所有亲人都先后离他而去，仅剩下年老的他和一头老牛相依为命。

Living is one of Yu Hua's representative works, which tells how Xu Fugui's life and family are constantly suffering with the civil war, the three anti-five evils, the Great Leap Forward, the Cultural Revolution and other social changes. In the end, all his relatives have left him one after another, leaving only an old cow.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:20, 28 December 2020 (UTC)

==Lei Fangyuan 雷方圆==
1.《道德经》九九八十一章，可理解为《道经》（上篇）和《德经》（下篇）两个部分，言简意赅、博大精深。大至宇宙、小至微尘，大无其外，小无其内；有修身、用人、治国。

The eighty-one chapters of the Tao Te Ching, which can be understood as two parts, the Tao Te Ching (upper part) and the De Te Ching (lower part), are concise and profound. It is as big as the universe and as small as the dust; there is no outside of the big and no inside of the small; there is the cultivation of the body, the use of people and the governance of the country.

2.《论语》是儒家经典之一，是一部以记言为主的语录体散文集，主要以语录和对话文体的形式记录了孔子及其弟子的言行，集中体现了孔子的政治、审美、道德伦理和功利等价值思想。

The Analects, one of the classics of Confucianism, is mainly a collection of essays in the form of discourses and dialogues, recording the words and deeds of Confucius and his disciples, concentrating on the political, aesthetic, moral, ethical and utilitarian values of Confucius.

3.相传，有一位名叫慧能的砍柴夫，虽然目不识丁，却开创了佛教的南禅宗派，提出“人人皆有佛性”，进而确立“顿悟成佛”之学。

According to legend, an illiterate woodsman called Huineng founded the "Sudden Enlightenment" or the Southern Chan School of Buddhism and propounded the idea that everyone possesses "the Buddha nature."

4.生活是10%的经历，和90%的态度。我们无时无刻不在书写我们的生活经历，我们可以选择生活的台词。当下，我们可以放下自我怀疑、愤怒、沮丧。当下，我们可以选择幸福。

Life is 10% what happens to you and 90% how you interpret it and put it into perspective.Right now we're writing our life stories, and we can choose how the script will read. Right now we can put behind us self-doubt, anger, frustration. Right now, we can choose happiness.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 15:18, 27 December 2020 (UTC)

Life is 10% experience and 90% attitude. Right now we're experiencing our life, and we can choose how to live. Right now we can put behind our self-doubt, anger, frustration. Right now, we can choose happiness.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:22, 28 December 2020 (UTC)

==Lei Kuangxi 雷旷溪==
1、丝绸之路被认为是连结亚欧大陆的古代东西方文明的交汇之路，而丝绸则是最具代表性的货物。数千年来，游牧民族或部落、商人、教徒、外交家、士兵和学术考察者沿着丝绸之路四处活动。

The Silk Road is considered to be the ancient crossroads of eastern and western civilizations linking Asia and Europe, with Silk being the most iconic cargo. For thousands of years, nomadic peoples or tribes, merchants, religious, diplomats, soldiers and academic researchers moved around along the Silk Road.

2、郑和七次奉旨率船队远航西洋，航线从西太平洋穿越印度洋，直达西亚和非洲东岸，途经30多个国家和地区。他的航行比哥伦布发现美洲大陆早87年，比达·伽马早92年，比麦哲伦早114年。在世界航海史上，他开辟了贯通太平洋西部与印度洋等大洋的直达航线。

Zheng He was ordered to lead seven voyages to the Atlantic Ocean, with routes from the western Pacific Ocean across the Indian Ocean to West Asia and the east coast of Africa, passing through more than 30 countries and regions. His voyage was 87 years before Columbus discovered the American continent, 92 years before Da Gama, and 114 years before Magellan. In the history of world navigation, he opened up a direct route through the western Pacific Ocean and the Indian Ocean and other great oceans.

3、西学书籍的翻译和著述，是西学东渐相当重要的媒介，在当时出现了大量的由教士及士大夫合著合译的书籍，但这些书籍未能受到当时一般社会的重视，也未能打入晚明已十分发达的商业出版界，因此虽西学书籍有刻印出版，但主要仍仅流通于少数有兴趣的士大夫阶层。

The translation and writing of books on Western studies was an important medium for the gradual expansion of Western studies to the east. A large number of books co-authored and translated by clergy and scholars emerged at that time, but these books were not taken seriously by the general society at that time, nor did they penetrate into the commercial publishing world, which was already well developed in the late Ming Dynasty.

4、随着军事工业的创办，洋务派认识到，强大的国防基础在于整个国家经济的发展，要求能源、钢铁等工业与之配套。同时，为了维护民族利益，也必须发展民族经济，与洋人"商战"、"争利"。于是，他们提出了求富的口号，民用工业和新式交通运输业也发展起来了。

With the founding of the military industry, the School of Westernization realized that the basis of a strong national defense lay in the development of the entire national economy, requiring energy, steel and other industries to go along with it. At the same time, in order to safeguard national interests, it was also necessary to develop the national economy and to "negotiate" and "compete for profits" with the foreigners. Thus, they put forward the slogan of seeking wealth, and the civil industry and new transportation industry were developed.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 14:10, 26 December 2020 (UTC)Lei Kuangxi

==Li Lili 李丽丽==
1. 写于两千多年前的《道德经》是真正的精神文学经典之一。它是一个培养和平、宁静和同情的指南。
Written more than two thousand years ago, the Tao Te Ching is one of the true classics of spiritual literature. It is a guide to cultivating peace, serenity, and compassion.

The Tao Te Ching, written more than two thousand years ago, is one of the true spiritual literature classics. It is a guide to cultivate peace, tranquility and compassion.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:35, 27 December 2020 (UTC)

2.《论语》写于春秋战国时期（约公元前479年至公元前221年），被认为是儒家思想最具代表性的著作之一，至今仍对中国文化和东亚产生了重大影响。
Written during the Period of Spring and Autumn and Warring States Period (ca. 479 BC - 221 BC), the Analects are considered among the most representative works of Confucian thought, and still have a great influence on Chinese culture and East Asia.

3.慧能（638-713）也许是禅宗中最受人喜爱和尊敬的人物。他本是一个目不识丁的樵夫，却一下子获得了觉悟，成为中国禅宗的第六宗师，被誉为“顿悟派”的创始人。
Hui-neng (638–713) is perhaps the most beloved and respected figure in Zen Buddhism. An illiterate woodcutter who attained enlightenment in a flash, he became the Sixth Patriarch of Chinese Zen, and is regarded as the founder of the "Sudden Enlightenment" school.

4.生活的艺术是对现代世界令人眼花缭乱的节奏的一种讽刺、诙谐的解毒剂。
The Importance of Living is a wry, witty antidote to the dizzying pace of the modern world.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:35, 27 December 2020 (UTC)

The art of living is an ironic and witty antidote to the dazzling rhythm of the modern world.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:35, 27 December 2020 (UTC)

==Li Liqin 李丽琴==

1. 《道德经》是道家经典著作，在国内外影响巨大。这本书代表了世界轴心时代东方哲学的最高成就。上世纪，《道德经》大量翻译和出版，成为除《圣经》外翻译版本最多的著作。

As a classic of the Taoist, the Tao Te Ching exerts a significant influence both home and abroad. It represents the highest achievement of Eastern philosophy in the Axial Age of the world. In the last century, Tao Te Ching was translated and published successively, which makes it the most widely translated text except the Bible. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:40, 28 December 2020 (UTC)

2. 孔子强调善良、责任和社会秩序的重要性。孔子的教育思想极大地丰富了人类的精神宝库。

Confucius stressed the importance of kindness, duty and order in society. Education thought of Confucius has greatly enriched the treasure house of the human spirit. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:40, 28 December 2020 (UTC)

3. 慧能是禅宗南宗的创始人，南禅宗是中国佛教的典型代表。慧能在菩提树下曾作一首诗：“菩提本无树，明镜亦非台．本来无一物，何处惹尘埃。”

Huineng was the founder of the South-Zen, which was the model representative of Chinese Buddhism.Once upon a time, he made a poem under the bodhi tree:" there is no bodhi tree, mirror nor stand. Original none thing, where the dust alight."--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:40, 28 December 2020 (UTC)

4. 在林语堂的散文理论中，“幽默”、“性灵”、“闲适”是其三个重要概念。林语堂是现代文学史上一位重要的理论家，他在翻译文本中建构着自己作为族裔散居者的跨文化身份。

In Lin Yutang's prose theory, "humor", "formal personality", "leisureliness and comfort" is its three important concepts. In modern literary history, Lin Yutang is an important theoretician and forms his cross-cultural identity as a diaspora in his translation text.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:40, 28 December 2020 (UTC)

==Liu Liu 刘柳==

1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。

As one of the greatest masterpieces in Chinese history, ''Tao Te Ching'' has a profound impact on traditional philosophy, science, politics, and religion.

Tao Te Ching, as one of the greatest masterpieces in Chinese history, has a profound impact on traditional philosophy, science, politics and religion.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)

2.孔子因材施教，对于不同的对象，考虑其不同的素质、优点和缺点、进德修业的具体情况，给予不同的教诲，表现了诲人不倦的可贵精神。

Confucius taught students in accordance with their aptitude. He gave different instructions to different students, taking into account their different qualities, strengths and weaknesses, and the specific circumstances of their advancement and cultivation, showing the valuable spirit of tireless teaching.

Confucius taught students in accordance with their aptitude. For different objects, he considered their different qualities, advantages and disadvantages, and the specific situation of moral education, and gave different instructions, which showed the valuable spirit of tireless teaching.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)

3.近年来，中国大多数学者都认为《坛经》的基本内容代表了慧能思想，同时其中也有后人增益的成分。

In recent years, most Chinese scholars believe that the basic content of the ''The Sutra of Huineng'' represents the thought of Huineng, while there are also some elements of later additions to it.

In recent years, most Chinese scholars believe that the basic content of Tanjing represents Huineng's thought, and it also contains the later additions.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)

4.《生活的艺术》是林语堂旅美专事创作后的第一部书，也是继《吾国与吾民》之后再获成功的又一英文作品。该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周，且接连再版四十余次，被翻译为十余种文字全球发行。

''The Importance of Living'' was the first book after Lin Yutang had traveled to the United States and was another successful work in English after ''My Country and My People''. It was published in the United States in 1937 and topped the American bestseller list for 52 weeks the following year, and was republished more than forty times and translated into more than a dozen languages for global distribution.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:14, 25 December 2020 (UTC)

''The Art of Life'' is the first book written by Lin Yutang after his trip to the United States. It is also another successful English work after ''My Country and My People''. The book was published in the United States in 1937. The following year, it ranked the top of the best seller list in the United States for 52 weeks. It has been reprinted for more than 40 times and has been translated into more than 10 languages for global distribution.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)

==Liu Ou 刘欧==

==Liu Yi 刘艺==
1、传统的丝绸之路，起自中国古代都城长安，经中亚国家、阿富汗、伊朗、伊拉克、叙利亚等而达地中海，以罗马为终点，全长6440公里。这条路被认为是连结亚欧大陆的古代东西方文明的交汇之路，而丝绸则是最具代表性的货物。

The traditional Silk Road, which started from Chang'an, the ancient capital of China, and reached the Mediterranean Sea via Central Asian countries, Afghanistan, Iran, and Syria, and ended in Rome, was 6,440 kilometers long. This road is considered to be the intersection of ancient eastern and western civilizations linking Asia and Europe, and silk is the most representative cargo. The road reached the Mediterranean Sea from Iraq, Syria, etc. and ended in Rome, with a total length of 6,440 kilometers. This road is considered to be the crossroads of ancient civilizations between East and West, linking Asia and Europe, and silk is the most representative cargo.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)

The traditional Silk Road started in the ancient Chinese capital of Chang'an, and reached the Mediterranean through Central Asian countries, Afghanistan, Iran, Iraq, Syria, etc., ending in Rome, with a total length of 6,440 kilometers. This road is considered to be the intersection of the ancient Eastern and Western civilizations connecting Asia and Europe, and silk is the most representative goods.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:59, 27 December 2020 (UTC)

2、东海航线，也叫“东方海上丝路”。春秋战国时期，齐国在胶东半岛开辟了“循海岸水行”直通辽东半岛、朝鲜半岛、日本列岛直至东南亚的黄金通道。唐代，山东半岛和江浙沿海的中韩日海上贸易逐渐兴起。宋代，宁波成为中韩日海上贸易的主要港口。

The East Sea Route, also known as the "Eastern Sea Silk Road". During the Spring and Autumn Period and the Warring States Period, the State of Qi opened up a golden route on the Jiaodong Peninsula, which led to the Liaodong Peninsula, the Korean Peninsula, the Japanese islands and Southeast Asia. During the Tang Dynasty, the maritime trade between China, Korea and Japan on the Shandong Peninsula and the coast of Jiangsu and Zhejiang gradually emerged. During the Song Dynasty, Ningbo became the main port for maritime trade between China, Korea and Japan.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)

3、东学西渐指的是一个和西学东渐互相补充的东西方文化交流过程。东学西渐有一千多年的历史，对世界文化的发展有十分深远的影响。

Eastern learning and Western learning refers to a process of cultural exchange between East and West that complements Western learning and Eastern learning. With a history of over a thousand years, East to West has had a profound impact on the development of world culture.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)

4、洋务运动虽然在客观上刺激中国资本主义发展、并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。

Although the foreign affairs movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic import of foreign capitalism, it did not put China on the road to wealth and power.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)

Although the Westernization Movement objectively stimulated the development of Chinese capitalism and resisted the economic input of foreign capitalism to a certain extent, it did not make China prosperous and strong.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:52, 27 December 2020 (UTC)

==Liu Yiyu 刘怡瑜==

==Lo, Minh Thao==

==Lou Cancan 娄灿灿==
1 《道德经》是中国古代哲学著作。又称《老子》，被道教作为重要经典收入道藏。共81章，分上、下篇。此刻通行本上篇言道，下篇言德。其中有不少和生活有关的处世哲理。

Tao Te Ching is an ancient Chinese philosophical work.Also known as Laozi, Taoism as an important classic into the Collection of Taoism. A total of 81 chapters, divided into the first and second. At this moment, the first text of the passage, the next text of virtue.There are a lot of life related philosophy.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 15:17, 27 December 2020 (UTC)

2 《论语》，是孔子弟子及再传弟子记录孔子及其弟子言行而编成的语录文集，成书于战国前期。全书共20篇492章，以语录体为主，叙事体为辅，较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。

The Analects of Confucius is a collection of quotations compiled by Confucius and his disciples to record their words and deeds. It was written in the early period of the Warring States Period. The book consists of 20 chapters, with quotations as the main body and narration as the auxiliary body, which mainly reflects the political propositions, ethical thoughts, moral concepts and educational principles of Confucius and The Confucian school.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 15:17, 27 December 2020 (UTC)

3 慧能俗姓卢，原籍河北范阳（今北京大兴）。他的父亲贬官到了岭南新州（今广东新兴），生下了慧能。慧能年轻时父亲去世，家境贫寒，靠打柴卖柴来养活母亲。

Hui Neng was born in Fanyang, Hebei province (now Daxing, Beijing).His father moved to New South Wales in the Lingnan region and gave birth to Huineng. When Huineng was young, her father died and her family was poor, so she sold firewood to support her mother.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 15:17, 27 December 2020 (UTC)

4 林语堂早年留学美国、德国，获哈佛大学文学硕士，莱比锡大学语言学博士。回国后在清华大学、北京大学、厦门大学任教。1945年赴新加坡筹建南洋大学，任校长。曾任联合国教科文组织美术与文学主任、国际笔会副会长等职。

Lin Yutang studied in the United States and Germany in his early years. He received his MA from Harvard University and his PhD in Linguistics from the University of Leipzig.After returning to China, he taught in Tsinghua University, Peking University and Xiamen University. In 1945, he went to Singapore to establish Nanyang University and became its president.He has served as director of Fine Arts and Literature of UNESCO and vice President of the International Pen Association.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 15:17, 27 December 2020 (UTC)

==Luo Weijia 罗维嘉==

==Luo Yuqing 罗雨晴==

1.《道德经》内容涵盖哲学、伦理学、政治学、军事学等诸多学科，被后人尊奉为治国、齐家、修身、为学的宝典。它对中国的哲学、科学、政治、宗教等产生了深远的影响，体现了古代中国人的一种世界观和人生观。

Tao Te Ching covers philosophy, ethics, political science, military science and many other disciplines, and is respected as a treasure of governing the country, regulating the family, cultivating self-cultivation and learning. It has a profound influence on Chinese philosophy, science, politics and religion, and embodies a world outlook and outlook on life of ancient Chinese.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:40, 27 December 2020 (UTC)

2.《论语》内容涉及政治、教育、文学、哲学以及立身处世的道理等多方面。早在春秋后期孔子设坛讲学时期，其主体内容就已初始创成。

The content of the Analects of Confucius involves politics, education, literature, philosophy and the truth of life. As early as the Late Spring and Autumn Period when Confucius set up a lecture platform, its main content had been initially created--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:40, 27 December 2020 (UTC)

3.经文主要记载慧能的生平事迹和言教。根据“自性本清净”之说，宣扬“明心见性”“顿悟成佛”的基本思想。《坛经》的思想对禅宗发展起到了重要作用。

The text mainly records Huineng's life story and teachings. According to the theory of "self nature is pure", it advocates the basic ideas of "find one’s ture self" and "insight into Buddhism". The thought of ''Tanjing'' played an important role in the development of Zen.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:40, 27 December 2020 (UTC)

4.本书是一种私人的供状，供认我自己的思想和生活所得的经验。我不想发表客观意见，也不想创立不朽真理。我实在瞧不起自许的客观哲学。

This book is a personal confession of my own thoughts and experiences. I don't want to be objective and create immortal truth because I really despise the objective philosophy of self promise.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:40, 27 December 2020 (UTC)

==Mo Ling 莫玲==

1.“道”作为《道德经》中最抽象的概念范畴，是天地万物生成的动力源。

The way, as the most abstract concept in Tao Te Ching, is the power source for the creation of all things.

As the most abstract conceptual category in Tao Te Ching, "Tao" is the source of power for the creation of heaven and earth.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:21, 26 December 2020 (UTC)Xiao Shuangling

2.《论语》主要以语录和对话文体的形式记录了孔子及其弟子的言行，集中体现了孔子的政治、审美、道德伦理和功利等价值思想。

The Analects of Confucius mainly records the words and deeds of Confucius and his disciples in the form of quotations and dialogues, which embodies Confucius' political, aesthetic, moral and utilitarian values.

3.若欲修行，在家亦得，不由在寺。

If people are sincerely keen on the practice,it is no need for them to practise in the temple and they can be successful even at home.

If you want to practice, you can get it at home, so you can't help but stay at the temple.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:37, 27 December 2020 (UTC)

4.林语堂的翻译特点是通畅易懂，少用“行语”，中等文化的读者都能看懂。

The translation works of Lin Yutang are characterized by fluency and transparency since he hardly adopt jargons,so that his works can be understood by less-educated readers.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:11, 26 December 2020 (UTC)Mo Ling

==Ngo, Thi Minh Huong==

==Ouyang Ling 欧阳玲==

==Peng Ruihong 彭锐宏==

1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。据联合国教科文组织统计，《道德经》是除了《圣经》以外被译成外国文字发布量最多的文化名著。

The Tao Te Ching is one of the greatest masterpieces in Chinese history and has had a profound impact on traditional philosophy, science, politics, and religion. According to UNESCO, the Tao Te Ching is the most translated and published cultural masterpiece in foreign languages, except for the Bible.

2.《论语》内容涉及政治、教育、文学、哲学以及立身处世的道理等多方面。早在春秋后期孔子设坛讲学时期，其主体内容就已初始创成。

The Analects covers politics, education, literature, philosophy, and the principles of living in the world. The main content of the Analects was first created as early as the late Spring and Autumn Period when Confucius set up a forum to teach.

3.禅宗六祖惠能大师的思想不仅影响了整个中国，而且传播到世界各地。西方学术界把六祖惠能大师与孔子、老子并誉为“东方三大圣人”。

The ideas of the Sixth Patriarch of Zen Buddhism, Master Huineng, have not only influenced the whole of China, but have also spread throughout the world. Western scholars regard Master Huineng as one of the "Three Great Sages of the East" along with Confucius and Laozi.

4.生命的意义经常与哲学、宗教的存在、意识（自觉）、幸福等概念交集在一起，还会涉及到其他的一些领域，如象征符号、实体论、价值、目的、道德、善与恶、自由意志（自愿）、上帝观、神的存在、灵魂、来世等。

The meaning of life is often intertwined with philosophical and religious concepts of existence, consciousness (self-awareness), and happiness, and will involve other areas such as symbolism, substantivism, value, purpose, morality, good and evil, free will (voluntariness), the concept of God, the existence of God, the soul, the afterlife, etc.

==Phyo, Su Kyi==

1-道德经，也被称为老子或老子，是中国传统文字，传统上被认为是公元前6世纪的圣人老子。文章的作者，撰写日期和编辑日期受到争议。

The Tao Te Ching, also known as Lao Tzu or Laozi, is a Chinese classic text traditionally credited to the 6th-century BC sage Laozi. The text's authorship, date of composition and date of compilation are debated.

The ''Tao Te Ching'', also known as Laozi, is a Chinese classic text traditionally credited to the 6th-century BC sage Laozi. The text's authorship, date of composition and date of compilation are debated.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:08, 27 December 2020 (UTC)

2-《论语》约写于公元前500年，传统上归功于孔子。这段文字是由他的学生们在他去世后三十到五十年的时间内写的。

The Analects, were written about 500 BC and are traditionally attributed to Confucius. The text was written by his students over a time period spanning the thirty to fifty years following his death.

''The Analects'', was written about 500 BC and was traditionally attributed to Confucius. The text was written by his disciples over a time period spanning the thirty to fifty years following his death.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:08, 27 December 2020 (UTC)

''The Analects'', was written in about 500 BC and was traditionally attributed to Confucius. The text was written by his disciples over a period of time spanning the thirty to fifty years following his death.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:35, 27 December 2020 (UTC)

3-大建会能，又称禅宗第六祖或禅宗第六祖，是中国禅宗早期历史中的半传奇人物，但却是中心人物。根据传统，他是一个没有受过教育的外行，在听到《金刚经》后突然醒悟。

Dajian Huineng, also commonly known as the Sixth Patriarch or Sixth Ancestor of Chan, is a semi-legendary but central figure in the early history of Chinese Chan Buddhism. According to tradition he was an uneducated layman who suddenly attained awakening upon hearing the Diamond Sutra.

Dajian Huineng, also commonly known as the Sixth Patriarch or Sixth Ancestor of Zen, is a semi-legendary but central figure in the early history of Chinese Zen Buddhism. According to the tradition, he was an uneducated layman who suddenly awakened upon hearing the contents of ''Diamond Sutra''.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:08, 27 December 2020 (UTC)

4-林语堂是中国发明家，语言学家，小说家，哲学家和翻译家。他的中英文不拘一格但又优美的风格使他成为这一代人中最有影响力的作家之一，他将经典的中国文字汇编和翻译成英文在西方是畅销书。

Lin Yutang was a Chinese inventor, linguist, novelist, philosopher, and translator. His informal but polished style in both Chinese and English made him one of the most influential writers of his generation, and his compilations and translations of classic Chinese texts into English were bestsellers in the West.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 07:07, 27 December 2020 (UTC)Phyo Su Kyi

==Pingki, Tanchangya==

==Qu Miao 瞿淼==
1、据联合国教科文组织统计，《道德经》是除了《圣经》以外被译成外国文字发布量最多的文化名著。

According to UNESCO, ''the Tao Te Ching'' is the most widely translated cultural masterpiece in foreign languages after the ''Bible''.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)

2、孔子是当时社会上最博学者之一，在世时就被尊奉为“天纵之圣”“天之木铎”，更被后世统治者尊为孔圣人、至圣、至圣先师、大成至圣文宣王先师、万世师表。

Confucius was one of the most famous scholars in the society at that time. He was honored as "the sage of Heaven" and "the Wooden priest of Heaven" when he was alive. He was also honored as the sage of Confucius, the most holy, the most holy Teacher of Confucius, the most holy Master of Dacheng, the king of Wenxuan and the master of all ages by later rulers.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)

3、经文主要记载慧能的生平事迹和言教。根据“自性本清净”之说，宣扬“明心见性”“顿悟成佛”的基本思想。

The sutra mainly records Huineng's life story and his teachings. According to the theory of "self-nature is pure and pure", it advocates the basic idea of "seeing nature with clear heart" and "becoming Buddha with enlightenment".--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)

4、林语堂在书中谈论了庄子的淡泊，赞扬了陶渊明的闲适，诵读了《归去来兮辞》，讲解了《圣经》故事，以及中国人如何品茗，如何行酒令，如何观山，如何玩水，如何看云，如何鉴石，如何养花、蓄鸟、赏雪、听雨、吟风、弄月等等。

Lin yutang talked about in the book zhuangzi's indifferent, praised tao yuanming's leisurely, read the "I'm going home!", explained the bible stories, and how the Chinese tea, how do drinkers' wager game, how to view mountain, how to play water, how to look at the cloud, how to guide, how to grow flowers, birds, snow, rain, song of the wind, to month, and so on.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)

==Rajabov, Anushervon==

1. Zhang Qian’s missions to the Western Regions led to the opening of the Silk Road.

张干对西部地区的访问导致了丝绸之路的开通。

2. They traded Chinese silk, porcelain and tea with local inhabitants in return for jewelry, spices and medicines.

他们与当地居民交换中国丝绸，瓷器和茶，以换取珠宝，香料和药品。

3. Matteo Ricci also drew many world maps, the most popular of which, “Great Universal Geographic Map”, was printed and published by Li Zhizao (1565-1630) in the 13th year of Emperor Wanli’s reign (1602).

利玛窦也绘制了许多世界地图，其中最流行的是“大通用地理地图”，由李治造（1565-1630）在万历三年（1602）出版并出版。

4. After the Second Opium War (1856-1860), Yi Xin (Prince Gong) and local officials realized that China had lagged far behind the West in weaponry and military technology, and advocated learning advanced production technology and troop training methods from the West so as to build a modern national defense.

第二次鸦片战争（1856-1860）之后，巩义王子和当地官员意识到中国在武器装备和军事技术方面远远落后于西方，并主张从西方学习先进的生产技术和部队训练方法，以便建立现代国防。--[[User:RAJABOV ANUSHERVON 10|RAJABOV ANUSHERVON 10]] ([[User talk:RAJABOV ANUSHERVON 10|talk]]) 04:51, 28 December 2020 (UTC)

==Seydou, Sagara==

==Shi Haiyao 石海瑶==
1.法律制度是治国者统治人民的工具，是统治者为了保障自身的利益与维持社会秩序建构的国家机器，所以老子极力反对这些措施与法令制度。

The legal system is the ruler's tool for ruling the people, and is the state machine constructed by the ruler to protect his own interests and maintain social order. Therefore, Laozi strongly opposed these measures and decrees.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:34, 27 December 2020 (UTC)

2.《论语》是中国读书人的基础语言，并影响着全社会的思维结构。中国文化是儒、道、佛三教的合流，但是，这三教在中国文化中的地位决不是三足鼎立的，儒家文化绝对是中国文化的主流，从汉代开始，它就是无可争议的主流意识形态。

The Analects is the basic language of Chinese scholars and influences the thinking structure of the whole society. Chinese culture is an amalgamation of Confucianism, Taoism and Buddhism. However, these three religions are by no means a triumvirate in Chinese culture; Confucianism is definitely the mainstream of Chinese culture, and it has been the undisputed dominant ideology since the Han Dynasty.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:34, 27 December 2020 (UTC)

3.在我国佛教的发展历史上，惠能可以说是影响最大的高僧。南北朝初期达摩祖师入中土，开创禅宗。

In the history of Buddhism in China, the Huineng can be said to be the most influential monk. At the beginning of the Southern and Northern Dynasties, Dharma entered China and started Zen Buddhism.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:34, 27 December 2020 (UTC)

4.《生活的艺术》一书，是汇集了许多中西思想家的思想, 再经过林语堂深思熟虑，书写自己的观念与真理的书。

''The Art of Living'' is a book that brings together the thoughts of many Chinese and Western thinkers, and then, after Lin Yutang's careful consideration, he writes his own concepts and truths.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:34, 27 December 2020 (UTC)

==Si Yu 司妤==

1.虽然丝绸之路是沿线各国共同促进经贸发展的产物，但很多人认为，中国的张骞两次通西域，开辟了中外交流的新纪元。从此，这条路线被作为“国道”踩了出来，各国使者、商人、传教士等沿着张骞开通的道路，来往络绎不绝。

The Silk Road is the product of joint economic and trade development of countries along the route, but many people think that Zhang Qian’s traveling to the West for two times launched a new era for China and foreign exchanges. Since then, this route was deemed as “international route” as envoys, merchants and missionaries came and went along the route opened by Zhang Qian.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)

2.通过海上丝绸之路，中国还传播着民族工艺和儒道思想，对"海上丝路"沿线国家和地区以及欧洲各地产生不同程度的影响，甚至掀起了"中国热"。其中，瓷器和茶叶对世界有着很大的影响。

China spread its national craft, Confucianism and Taoism through the Maritime Silk Road, impacting countries along the route and European regions of varying degrees and even created “China fever”. Among them, porcelains and Tea have great influence upon the world.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)

3.甲午战争以后，中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。他们向西方学习大量的自然科学和社会科学的知识，政治上也要求改革。

Because of the First Sino-Japanese War, the Chinese people faced the fate of losing their country and families. Thus many scholars started to learn from western countries more positively and comprehensively, and a number of thinkers emerged, such as Liang Qichao, Kang Youwei and Tan Sitong. They learned a great amount of knowledge of natural science and social science and asked political reforms.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)

4.在洋务运动存续的35年里，文化出版事业的发展达到了一个前所未有的水平。京师同文馆、上海广方言馆以及江南制造局的译书馆，是当时翻译西方的中心。译书经历了由单纯的西方科技著作和书籍，向自然科学和社会科学，人文科学等著作并重，甚至后者略占上风的过程。

During the 35 years of The Westernization Movement, the development of culture and publishing reached an unprecedented level. The Tongwenguan in Beijing, the Guangfangyanguan in Shanghai and the Yishuguan of the Jiangnan Manufacturing Bureau were the center of translating western works. The translation of books has gone through a process from purely Western scientific and technical works and books to works on natural sciences and social sciences and humanities, with the latter even slightly prevailing.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)

==Tan Yuanyuan 谭媛媛==

1.汉武帝刘彻即位时，张骞已在朝廷担任名为“郎”的侍从官。据史书记载，他“为人强力，宽大信人”。即具有坚韧不拔、心胸开阔，并能以信义待人的优良品质。建元三年，即公元前138年，张骞“以郎应募，使月氏”。“郎”，是皇帝的侍从官，没有固定职务，又随时可能被选授重任。

When Emperor Wu of Han Dynasty Liu Che assumed the throne, Zhang Qian was already working at the court as a retainer named "Lang". According to historical records, he was "a strong, generous and trustworthy". In other words, he was tough, open-minded, and could treat people with faith and justice. In the third year of Jian Yuan, that is, 138 B.C., Zhang Qian was recruited to make a mission to the Moon Dynasty. The "Lang", the emperor's retainer, has no fixed position, and may be chosen at any time to reappoint.

2.有观点认为，明初时海外威胁受到重视，故有郑和下西洋之事。然而，或许郑和过于成功了，“他的海军满载荣誉胜利归来，并确认帝国没有来自海上的威胁”，因此“郑和与他的随从也可以说失去了继续远航的意义。”

It has been argued that the overseas threat was taken seriously at the beginning of the Ming Dynasty, hence Zheng He's voyage to the West. However, perhaps Zheng He was too successful, "his navy returned triumphantly laden with glory and confirmed that there was no threat to the empire from the sea", so "Zheng He and his entourage could be said to have lost the point of continuing their voyage".

3.甲午战争以后，由于中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。他们向西方学习大量的自然科学和社会科学的知识，政治上也要求改革。这一时期大量的西方知识传入中国，影响非常广泛。许多人以转译日本人所著的西学书籍来接受西学。进入民国时期，由于对政治的不满又进一步导致知识分子们提出全盘西化的主张，在五四时期这种思想造成了很大的影响。这一波的西学东渐，一直持续到当代而未止。

After the First Sino-Japanese War, as China was facing the fate of national ruin, many learned people began to learn more actively and comprehensively from the West, and a group of thinkers emerged, such as Liang Qichao, Kang Youwei and Tan Sitong. They learned a lot of natural and social science knowledge from the West, and also demanded reforms in politics. A great deal of Western knowledge was introduced into China during this period, and its influence was very widespread. Many people embraced Western learning by translating Western books written by the Japanese. In the Republican period, dissatisfaction with politics further led intellectuals to advocate wholesale Westernization, which had a great impact in the May Fourth period. This wave of Western learning continued into contemporary times.

4.洋务派前期创办的军事工业，经费由清政府调拨，产品分配给军队使用，管理方式是封建衙门式的。虽然这些企业采用机器生产，但本质上属于带有资本主义因素的封建官办企业。

The military industries founded by the foreign affairs faction in the early period were financed by the Qing government, and the products were allocated to the army for use, and managed in a feudal government office style. Although these enterprises adopted machine production, they were essentially feudal government-run enterprises with capitalist elements.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:23, 25 December 2020 (UTC)

==Tang Bei 汤蓓==

==Tang Yiran 汤伊然==
1.据联合国教科文组织统计，《道德经》是除了《圣经》以外被译成外国文字发布量最多的文化名著。

According to UNESCO, the Tao Te Ching is the most widely translated and published cultural masterpiece in foreign languages, except for the Bible.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 07:52, 28 December 2020 (UTC)

2.《论语》是儒家经典之一，是一部以记言为主的语录体散文集，主要以语录和对话文体的形式记录了孔子及其弟子的言行，集中体现了孔子的政治、审美、道德伦理和功利等价值思想。

The Analects, one of the classics of Confucianism, is a collection of essays in the form of discourses and dialogues, which mainly record the words and actions of Confucius and his disciples, concentrating on Confucius' political, aesthetic, moral, ethical and utilitarian values.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 07:52, 28 December 2020 (UTC)

3.慧能的禅法以定慧为本，认为觉性本有，烦恼本无。

Huineng's Zen method is based on the principle of determination and wisdom, which holds that consciousness is inherent and worries are not.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 07:52, 28 December 2020 (UTC)

4.人类的智慧对宇宙开始在发出疑问，探索它的秘密，而寻觅它的意义。

Human wisdom began to question the universe, to explore its secrets, and to search for its meaning.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 07:52, 28 December 2020 (UTC)

==Wang Meiling 王美玲==

==Wang Xuan 王轩==
1. 《道德经》主要论述“道”与“德”：“道”不仅是宇宙之道、自然之道，也是个体修行即修道的方法；“德”不是通常以为的道德或德行，而是修道者所应必备的特殊的世界观、方法论以及为人处世之方法。
Tao Te Ching mainly discusses "Tao" and "de": Tao is not only the way of the universe and nature, but also the way of individual practice, that is, the way of cultivating Tao; "de" is not usually thought of as morality or virtue, but a special world outlook, methodology and way of dealing with people.

2. 《论语》是孔子及其弟子的语录结集，由孔子弟子及再传弟子编写而成。孔子开创了私人讲学的风气，相传他有弟子三千，贤弟子七十二人。孔子去世后，其弟子及再传弟子把孔子及其弟子的言行语录和思想记录下来，整理编成了儒家经典《论语》。
The Analects of Confucius is a collection of quotations from Confucius and his disciples, which was compiled by Confucius and his disciples. According to legend, Confucius had seventy-two disciples and created a private atmosphere of teaching. After the death of Confucius, his disciples and his disciples recorded the words, deeds, quotations and thoughts of Confucius and his disciples and compiled them into the Confucian classic The Analects of Confucius.

3. 《道德经》主张世上一切事物空幻不实，“实相者则是非相”，认为应“离一切诸相”而“无所住”，即对于现实世界不应执著或留恋。
Tao Te Ching claims that all things in the world are illusory and unreal, and that those who are real are non real. He thinks that they should be "separated from all aspects" and "have no place to live", that is, they should not be persistent or nostalgic about the real world.

4. 科学家假设生命的意义是可决定的，透过了解宇宙运作的规则，人类是可能了解生命的意义，但不能解析生命潜在价值所在。科学的价值在于，一方面能够提供更多的工具与方法使得人类对问题有更深的了解；但另一方面，科学的发展与社会的进步、人类智慧的演化发展是不同步的，即客观存在与主观能动性永远存在差距。
Scientists assume that the meaning of life is determinable. By understanding the rules of the operation of the universe, it is possible for human beings to understand the meaning of life, but they cannot analyze the potential value of life. The value of science lies in that, on the one hand, it can provide more tools and methods to enable human beings to have a deeper understanding of problems; on the other hand, the development of science is not synchronized with the progress of society and the evolution and development of human wisdom, that is, there is always a gap between objective existence and subjective initiative.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:29, 28 December 2020 (UTC)Wang Xuan

==Wu Qiong 吴琼==

==Wu Yilu 吴一露==
1. 《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。据联合国教科文组织统计，《道德经》是除了《圣经》以外被译成外国文字发布量最多的文化名著。

The Tao Te Ching is one of the greatest masterpieces in Chinese history and has had a profound impact on traditional philosophy, science, politics, and religion. According to UNESCO, the Tao Te Ching is the most translated and published cultural masterpiece into foreign languages, except for the Bible.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)

2. 《论语》内容涉及政治、教育、文学、哲学以及立身处世的道理等多方面。早在春秋后期孔子设坛讲学时期，其主体内容就已初始创成。

The Analects covers politics, education, literature, philosophy, and the principles of living in the world. As early as the late Spring and Autumn period, when Confucius set up a forum to teach, the main content of the Analects was already in its infancy.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)

3.《六祖坛经》记载惠能一生得法传法的事迹及启导门徒的言教,内容丰富,文字通俗,是研究禅宗思想渊源的重要依据。

The Sutra of Hui-neng is a richly written account of Hui-neng's life and teachings of his disciples, also working as an important basis for studying the origins of Zen’s thought.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)

4. 读书使人得到一种优雅和风味，这就是读书的整个目的。读书并不是要“改进心智”，若是如此，一切读书的乐趣便丧失净尽了。

4. Reading gives one a grace and flavor, and that is the whole purpose of reading. Reading is not to "improve the mind"; if it were, all the pleasure of reading would be lost.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)

Reading gives people an elegance and flavor, which is the whole purpose of reading.Reading is not meant to " improve the mind "; if so, all the pleasure of reading is lost.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:37, 27 December 2020 (UTC)

==Wu Zijia 吴子佳==
1.老子说：“上善若水”-—水具有最高的善。老子以水来作比喻，突出他的“不争”哲学思想，与恶意争斗的丛林法则相区别。

1.The highest good is like water, according to Laozi. By making a comparison with water, the ancient philosopher stressed the idea of “not to strive” which stands in stark contrast with the law of the jungle marked by malicious rivalry.

2.孔子修史书，编纂《春秋》，整理古代文献，在文化的继承和发扬上有着卓越的贡献。孔子去世后，弟子们将他的言论编成了《论语》一书。孔子修史书，编纂《春秋》，整理古代文献，在文化的继承和发扬上有着卓越的贡献。孔子去世后，弟子们将他的言论编成了《论语》一书。

2.Confucius revised history books, wrote the Spring and Autumn Annals, and organized ancient texts, which contributed to the development of the Chinese culture. After his death, his students collected his sayings into a book:''the Analects of Confucius''.

3. 道可道,非常道;名可名,非常名.

3.The way that can be told of is not an unvarying names;The names that can be named are not unvarying names.

4.林语堂(1894—1976)，原名玉堂，福建省龙溪县人。现代散文家、小说家，曾留学美国、德国，获哲学博士学位。1922年回国后，在北京大学、北京女子师范大学任教。曾是鲁迅主持的《语丝》撰稿人。

4.Lin Yutang (1894 -- 1976), formerly known as Yutang, was born in Longxi County, Fujian Province.He is a modern essayist, novelist, and has studied abroad in the United States, Germany, and a doctor in philosophy.After returning to China in 1922, he taught in Peking University and Beijing Women's Normal University.He used to be a writer of Threads hosted by Lu Xun.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 16:39, 27 December 2020 (UTC)Wu Zijia

==Xiao Shuangling 肖双玲==
1.老子认为世界上的任何事物都是相比较而存在的。美丑、善恶、有无、难易、长短都是相互依存的，有此才有彼，有是才有非，有善才有恶。表面看来，正相反对的两个方面是相互对立的，而实际上又是相互包含、相互渗透的。

1.Laozi believes that everything in the world exists by comparison. Beauty and ugliness, good and evil, existence and existence, difficulty and difficulty, length and length are interdependent. There is one and there is another, there is yes and there is no, there is good and there is evil. On the surface, the two opposite aspects are opposite, but in fact they are mutually contained and permeated.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:16, 26 December 2020 (UTC)Xiao Shuangling

2.《论语》既是语录体又是若干断片的篇章集合体。这些篇章的排列不一定有什么道理；就是前后两章间，也不一定有什么关联。而且这些断片的篇章绝不是一个人的手笔。

2.The Analects of Confucius is a collection of quotations and fragments. The arrangement of these chapters does not necessarily make sense; Even between the two chapters, there is not necessarily a connection. And these fragmentary passages are not the work of one man.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:16, 26 December 2020 (UTC)Xiao Shuangling

3.毛泽东还谈到过惠能的思想在佛教史上的地位。他说，惠能主张佛性人人皆有，创顿悟成佛之学，一方面使繁琐的佛教简易化，一方面也使从印度传入的佛教中国化。因此，他被视为禅宗的真正创始人。

3.Mao Zedong also talked about the position of Huineng's thought in the history of Buddhism. He said that Huineng advocates that everyone has the Buddha nature and creates the theory of enlightenment to become a Buddha, which, on the one hand, simplifies the tedious Buddhism and, on the other hand, makes the Buddhism introduced from India Chinese. Therefore, he is regarded as the real founder of Zen.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:16, 26 December 2020 (UTC)Xiao Shuangling

4.林语堂早年已立志发明“中文打字机”。当时科学严谨的汉字检索系统仍未建立起来；又由于汉字本身是符号文字而非字母文字，长期以来人们对制成中文打字机的可能性多持怀疑态度。

4.In his early years, Lin yutang aspired to invent the "Chinese typewriter". At that time, the scientific and rigorous Chinese character retrieval system had not yet been established. Because Chinese characters are symbolic characters rather than alphabetic characters, people have long been skeptical of the possibility of making Chinese typewriters.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:14, 26 December 2020 (UTC)Xiao Shuangling

==Xiao Ting 肖婷==
1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。据联合国教科文组织统计，《道德经》是除了《圣经》以外被译成外国文字发布量最多的文化名著。

The Tao Te Ching is one of the greatest masterpieces in Chinese history and has had a profound impact on traditional philosophy, science, politics, and religion . According to UNESCO, the Tao Te Ching is the most popular translated and published cultural masterpiece in foreign languages, except for the Bible.

2.《论语》中的第一句话就是“学而时习之，不亦说乎？”可见，孔子狠强调学用结合、学以致用、言行相符。

The opening sentence of The Analects of Confucius says, “It is indeed a pleasure to acquire knowledge and, as you go on acquiring, to put into practice what you have acquired.” From here we see that Confucius emphasized the integration of learning with application and the consistence of words and actions.

3.经文主要记载慧能的生平事迹和言教。《坛经》的思想对禅宗发展起到了重要作用。中国佛教著作被尊称为“经”的，仅此一部。

The sutra mainly records Huineng's life story and his teachings. The ideas of the Tanjing played an important role in the development of Zen Buddhism. This is the only Chinese Buddhist work that has been honored as a "sutra".

4.1939年，林语堂在美国纽约的世界笔会上发表了一篇《希特勒与魏忠贤》的演讲。他说，当今德国人有人把希特勒比为耶稣，由此他想起中国明朝有一位读书人倡议一说，称颂魏忠贤与孔夫子应当有同样的地位。

In 1939, Lin Yutang made a speech entitled “Hitler and Wei Zhongxian” at a PEN meeting held in New York City. reminded him of a Chinese scholar of the Ming Dynasty, who advocated that Wei Zhongxian, the then dictatorial chief palace eunuch, be ranked as equal of Confucius--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:29, 27 December 2020 (UTC)Xiao Ting

==Xie Fan 解帆==

==Xu Jia 徐佳==

1.《道德经》主要论述“道”与“德”：“道”不仅是宇宙之道、自然之道，也是个体修行即修道的方法；“德”不是通常以为的道德或德行，而是修道者所应必备的特殊的世界观、方法论以及为人处世之方法。

Tao Te Ching mainly discusses "Dao" and "De" : "Dao" is not only the way of universe and nature, but also the method of individual cultivation; "De" is not the morality or virtue as commonly thought, but the special world view, methodology and way of dealing with people that a monastic should have.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia

2.《论语》是儒家经典之一，是一部以记言为主的语录体散文集，主要以语录和对话文体的形式记录了孔子及其弟子的言行，集中体现了孔子的政治、审美、道德伦理和功利等价值思想。

The Analects, one of the Confucian classics，is a collection of quotations and essays, which records the words and deeds of Confucius and his students. It embodies Confucius' thoughts in politics, aesthetics, moral ethics and utilitarianism.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia

3.《坛经》的思想对禅宗发展起到了重要作用。中国佛教著作被尊称为“经”的，仅此一部。

The Sutra of Huineng, the only one Buddist work that has been honored as "sutra", contributes a lot to the development of Zen.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia

The Sutra of Hui-neng, the only Chinese Buddist work that has been honored as "sutra", played an important role in the development of Zen Buddhism.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:32, 27 December 2020 (UTC)

4.林语堂在书中谈论了庄子的淡泊，赞扬了陶渊明的闲适，诵读了《归去来辞》，还讲解了《圣经》故事，谈及中国人如何品茗，如何行酒令，如何观山，如何玩水，如何看云，如何鉴石，如何养花、蓄鸟、赏雪、听雨、吟风、弄月，等等。

In his book, Lin talked about the unworldliness of Chuang Tzu, praised the leusure of Tao Yuanming，and read one of Tao's prose named On Returning Home. He also explained the stories of the Bible, talked about how the Chinese people taste tea,play drinking games, watch mountains and waters, observe clouds and rocks, raise flowers and birds, enjoy the snow, listen to rain, and enjoy the air and the moon.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia

In the book, Lin Yutang talks about Zhuangzi's indifference, praises Tao Yuanming's leisure, reads the song of returning home, and explains the story of the Bible. He talks about how Chinese people drink tea, how to drink, how to watch mountains, how to play with water, how to see clouds, how to learn from stones, how to raise flowers, keep birds, watch snow, listen to rain, recite wind, and play with the moon, and so on.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:34, 27 December 2020 (UTC)

==Xu Jing 许静==

==Yang Chenting 杨晨婷==

==Yang Hairong 杨海容==

==Yang Hui 阳慧==
1.丝绸之路全程，从西安经安西、喀什噶尔、撒马尔罕和塞流西亚，直至推罗，直线距离是4200英里，如果加上沿途绕弯的地方，总共约有6000英里，相当于赤道的四分之一。

The Silk Road runs from Xi'an through Anxi, Kashgar, Samarkand and Seleucia to Tyre at a straight distance of 4200 miles, or about 6000 miles, or a quarter of the equator, if combined with the curving.

2.海上丝绸之路是指古代中国与世界其他地区进行经济文化交流交往的海上通道。2000 多年前，一条以中国徐闻港、合浦港等港口为起点的海上丝绸之路成就了世界性的贸易网络。

Maritime Silk Road refers to ancient China and the rest of the world for economic and cultural exchanges of the sea channel.More than 2000 years ago, a maritime Silk Road, which started with ports such as China's Xuwen Port and Hepu Port, became a worldwide trading network.

3.随着西学大举东来，国内知识分子的大力鼓吹，使得妇女问题开始受到社会的重视。

With the western learning coming to the east in a large scale, the domestic intellectuals advocated vigorously, so that women's issues began to receive social attention.

4.自全球化进程不断加快以来，中国教育已无可避免地成为世界教育的一部分。西学的存在,对我国教育界的认识论和理论体系，带来了什么挑战和启示呢?

Since the accelerating process of globalization, China's education has inevitably become a part of the world's education.What challenges and enlightenment does the existence of western learning bring to the epistemology and theoretical system of education in China?
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:27, 27 December 2020 (UTC)

==Yang Yue 杨悦==

==Yang Ziling 杨子泠==

==Yi Zichu 义子楚==

==You Yuting 游雨婷==
1.唐代，因皇帝与老子同姓李氏，故大力提倡道教，设置崇玄学，令生徒论习《道德经》。

In the Tang Dynasty, the emperor and Lao Zi shared the same surname, Li, so he strongly advocated Taoism, set up the worship of metaphysics, and ordered students to study Tao Te Ching and Taoist scholars.

2.《论语》较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。

The Analects of Confucius shows the political propositions, ethical thoughts, moral concepts and educational principles of Confucius and The Confucian School.

3.慧能的禅法以定慧为本，认为觉性本有，烦恼本无。

Hui-neng's Zen method is based on meditation and wisdom, believing that there is awareness instead of worry.

4.林语堂先生在该书中将旷怀达观，陶情遣兴的中国人的生活方式，向西方人娓娓道出了一个可供仿效的"生活最高典型"的模式，

In this book, Mr. Lin Yutang fully conveys the life style of the Chinese people, and describes to westerners a model of "the highest model of life" that can be followed.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 05:00, 28 December 2020 (UTC)

==Yu Ni 余妮==
1.以“道”解释宇宙万物的演变，即“道生一，一生二，二生三，三生万物”，“道”乃“夫莫之命而常自然”，因而“人法地，地法天，天法道，道法自然”。

He used "Tao" to explain the evolution of all things in the universe, that is, "Tao generates one, two, two generates three, three generates all things", "Tao" is "Fu Mo's life is always natural", so "man follows earth, earth follows heaven, heaven follows Tao, Tao follows nature".--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)

2.《论语》内容涉及政治、教育、文学、哲学以及立身处世的道理等多方面。早在春秋后期孔子设坛讲学时期，其主体内容就已初始创成;孔子去世以后，他的弟子和再传弟子代代传授他的言论，并逐渐将这些口头记诵的语录言行记录下来。

The content of the Analects of Confucius involves politics, education, literature, philosophy and the truth of life. As early as the late spring and Autumn period when Confucius set up an altar to give lectures, its main content had been initially created; after Confucius died, his disciples and his disciples taught him his words from generation to generation, and gradually recorded these oral quotations, words and deeds.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)

3.慧能的禅法以定慧为本，认为觉性本有，烦恼本无。直接契证觉性，便是顿悟。他说自心既不攀缘善恶，也不可沉空守寂，即须广学多闻，识自本心，达诸佛理。

Huineng's Zen is based on Dinghui. He thinks that consciousness is there and worry is not. The direct evidence of consciousness is epiphany. He said that the self mind should neither climb up to good and evil, nor sink into silence. That is to say, it is necessary to learn a lot, to know the self mind, and to reach all Buddhist principles.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)

4.只有快乐的哲学，才是真正深湛的哲学；西方那些严肃的哲学理论，我想还不曾开始了解人生的真义哩。在我看来，哲学的唯一效用是叫我们对人生抱一种比一般人较轻松较快乐的态度。——林语堂《生活的艺术》

Only the philosophy of happiness is really profound philosophy; I don't think those serious western philosophical theories have begun to understand the true meaning of life. In my opinion, the only effect of philosophy is to make us have a more relaxed and happy attitude towards life than ordinary people. ——The Importance of Living by Lin Yutang--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)

==Yuan Tianyi 袁天翼==

幽默大师林语堂以人生优游者的独特视角，诠释中国人“生活的艺术”，展现出诗样人生、才情人生、幽默人生、智慧人生的别样风情。

Humorist Lin Yutang interprets the "importance of life" of The Chinese people from a unique perspective of a good traveler in life, showing a unique style of poetic life, talented life, humorous life and intelligent life.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:40, 29 December 2020 (UTC)

慧能的禅法以定慧为本，认为觉性本有，烦恼本无。

Huineng's Zen method is based on meditation and wisdom, believing that there is awareness instead of worry.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:40, 29 December 2020 (UTC)

《论语》内容涉及政治、教育、文学、哲学以及立身处世的道理等多方面。

The contents of ''The Analects of Confucius'' involves politics, education, literature, philosophy and the principles of life.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:40, 29 December 2020 (UTC)

《道德经》对中国的哲学、科学、政治、宗教等产生了深远的影响，体现了古代中国人的一种世界观和人生观。

''Tao Te Ching'' has had a profound impact on Chinese philosophy, science, politics and religion, reflecting an ancient Chinese world view and outlook on life.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:40, 29 December 2020 (UTC)

==Zeng Liang 曾良==
1.天下皆知美之为美，斯恶已；皆知善之为善，斯不善已。
It is because every one under Heaven recognizes beauty as beauty that the idea of ugliness exists. And equally if every one recognized virtue as virtue this would merely create fresh conceptions of wickedness.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 15:46, 27 December 2020 (UTC)

2.有朋自远方来，不亦说乎？
Is it not delightful to have friends coming from distant quaters?--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 15:46, 27 December 2020 (UTC)

Isn't it your pleasure to welcome your friends coming far from you?--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 03:24, 29 December 2020 (UTC)

3.经文主要记载慧能的生平事迹和言教。《坛经》的思想对禅宗发展起到了重要作用。
The Sutra of Huineng mainly recorded life stories and teachings of Huineng. The thoughts in it played an important part in the development of Zen Buddhism.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 15:46, 27 December 2020 (UTC)

4.林语堂在书中谈论了庄子的淡泊，赞扬了陶渊明的闲适。
Ling Yutang talked about Zhuangzi’s indifference to fame and wealth, and spoke highly of Tao Yuanming’s leisure.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 15:46, 27 December 2020 (UTC)

==Zeng Xinyuan 曾心媛==

==Zhang Hui 张慧==

1.张骞出使西域,接触到西域各国的风土人情，是汉朝开始对西域各国有所了解，使汉朝与西域建立了友好关系，为后来西汉政府设置西域都护府，使西域正式归西汉政府管辖打下了基础。

Zhang Qian’s mission to the Western Regions brought in contact with the customs of the Western Regions. It was the Han dynasty that began to understand the Western Regions countries, which enabled the Han dynasty to establish friendly relations with the Western Regions. Later, the Western Han government set up the Western Regions Protectorate and made the Western Regions officially returned to the Western Han government. Jurisdiction laid the foundation.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)

Zhang Qian's mission to the Western Regions brought him into contact with the customs and traditions of the countries in the Western Regions, and enabled the Han Dynasty to establish friendly relations with the Western Regions, which later laid the foundation for the Western Han government to set up the Western Regions Capital Protection Office, making the Western Regions officially under the jurisdiction of the Western Han government.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)

2.海上丝绸之路自秦汉时期开通以来，一直是沟通东西方经济文化交流的重要桥梁，而东南亚地区自古就是海上丝绸之路的重要枢纽和组成部分。

Since the opening of the Maritime Silk Road during the Qin and Han Dynasties, it has always been an important bridge for the economic and cultural exchanges between the East and the West. Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)

Since the opening of the Maritime Silk Road during the Qin and Han dynasties, it has been an important bridge to bridge the economic and cultural exchanges between the East and the West, and the Southeast Asian region has been an important hub and part of the Maritime Silk Road since ancient times.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)

3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展。

Western learning has brought various new academic achievements in modern Western modern times into China, deeply affecting the development of various academics, and many disciplines that are not valued or even existed in traditional China have also been developed under this influence.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)

The gradual expansion of Western learning brought various new achievements in modern Western scholarship into China, which deeply influenced the development of various academic disciplines, and many disciplines that were not valued or even did not exist in traditional China also developed under this influence.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)

4.洋务运动虽然在客观上刺激中国资本主义发展、并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。

Although the Westernization Movement objectively stimulated the development of Chinese capitalism, and to a certain extent resisted the economic import of foreign capitalism, it did not make China embark on a path of prosperity.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)

Although the foreign affairs movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic import of foreign capitalism, it did not put China on the road to wealth and power.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)

==Zhang Ling 张玲==

==Zhang Peiwen 张佩闻==

==Zhang Weihong 张维虹==

==Zhang Yinliu 张银柳==
1.汉通西域，虽然起初是出于军事目的，但西域开通以后，它的影响，远远超出了军事范围。

Although Zhang Qian's mission to the Western Region was originally for military purposes, after the opening of the Western Region, its influence far exceeded the military scope.

2.海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称"海上陶瓷之路"和"海上香料之路"。

The Maritime Silk Road was a maritime passage for communication, trade and cultural exchanges between China and foreign countries in ancient times. It was also called the "Maritime Ceramic Road" and the "Maritime Spice Road".

3.徐光启毕生致力于科学技术的研究，勤奋著述，是介绍和吸收欧洲科学技术的积极推动者，为17世纪中西文化交流作出了重要贡献。

Xu Guangqi devoted his life to the research of science and technology and wrote diligently. He was an active promoter of introducing and absorbing European science and technology, and made important contributions to the cultural exchanges between China and the West in the 17th century.

4.曾国藩治军把选将作为第一要务，他说，“行军之道，择将为先。”他的选将标准是德才兼备，智勇双全，而把德放在首位。

Zeng Guofan regards the election of generals as the first priority. He said, "The wisedom to march is to choose warriors first." His selection criteria is to have both ability and political integrity, wisdom and courage, and morality is the first priority.
--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 04:14, 28 December 2020 (UTC)

==Zhang Yu 张瑜==
1.除了朴素的唯物主义观点，《道德经》一书中还包括大量朴素辩证法观点，如一切事物均具有正反两面。

In addition to the simple materialistic view, ''Tao Te Ching'' also includes a large number of simple dialectical views, such as all things have positive and negative sides.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)

Apart from the simple materialistic views, ''Tao Te Ching'' also includes a large number of simple dialectical views, for example, every coin has two sides.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)

2.《论语》较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。

''The Analects'' embodies the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and the Confucianism in a more concentrated manner.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)

''The Analects'' embodies the political views, ethical thoughts, moral ideas and educational principles of Confucius and the Confucianism in a relatively concentrated manner.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)

3.经文主要记载慧能的生平事迹和言教。《坛经》的思想对禅宗发展起到了重要作用。

The Sutra mainly records the life story and teachings of Hui-neng. ''The Sutra of Hui-neng'' played an important role in the development of Zen Buddhism.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)

The Sutra mainly recorded the life story and teachings of Hui-neng. The thought in ''The Sutra of Hui-neng'' played an important role in the development of Zen Buddhism.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)

4.林语堂先生在《生活的艺术》中将中国人旷怀达观、陶情遣兴的生活方式和浪漫高雅的东方情调充分传达出来。

In ''The Importance of Living'', Lin Yutang fully conveys the Chinese way of life of being open-minded and broad-minded, and the romantic and elegant oriental sentiment.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)

In ''The Importance of Living'', Lin Yutang fully conveys the Chinese lifestyle of open-mindedness and broad-mindedness, and the oriental sentiment of romance and elegance.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)

==Zhang Yujie 张毓婕==
1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响.

"Tao De Jing" is one of the greatest masterpieces in Chinese history, which has had a profound impact on traditional philosophy, science, politics, religion, etc.

"Tao De Jing" is one of the greatest masterpieces in Chinese history, which has had a profound impact on traditional philosophy, science, politics and religion, etc.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:45, 27 December 2020 (UTC)

2.《论语》，是孔子弟子及再传弟子记录孔子及其弟子言行而编成的语录文集，较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。

"The Analects of Confucius" is a collection of quotations compiled by Confucius and his disciples to record the words and deeds of Confucius and his disciples, which more concentratedly embodies the political views, ethics, moral concepts and educational principles of Confucius and Confucianism.

''The Analects of Confucius''is a collection of quotations compiled byConfucius' disciples and their retransmitters to record the words and deeds of Confucius and his disciples, which more concentratedly embodies the political views, ethics, moral concepts and educational principles of Confucius and Confucianism.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:45, 27 December 2020 (UTC)

3.《坛经》是禅宗的主要经典之一,主要记载慧能的生平事迹和言教.

The Tantra is one of the main Zen classics, mainly recording the life deeds and teachings of Huineng.

The ''Tantra'' is one of the main classics of Zen , mainly recording the life deeds and teachings of Huineng.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:45, 27 December 2020 (UTC)

4.林语堂的翻译特点是通畅易懂，中等文化的读者都能看懂，这也是他探索的结果。

Lin Yutang's translation features are easy to understand and can be understood by readers of intermediate culture. This is also the result of his exploration.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:31, 27 December 2020 (UTC)

Lin Yutang's translation is characterized by its fluency and comprehensiveness, which is also the result of his exploration.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:45, 27 December 2020 (UTC)

==Zhang Yuxing 张宇星==

==Zhao Xi 赵茜==

==Zhao Xiaoyan 赵晓燕==

1.先秦时期，连接中国东西方交流的通道已经存在，丝绸正式西传始于西汉通西域，丝绸之路真正形成始于西汉张骞凿空。

The pre-Qin period, connecting China's East and West exchange channel has existed, the official western transmission of silk began in the Western Han Dynasty through the Western Regions, the Silk Road really formed from the Western Han Dynasty Zhang Qian chiseling.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)

In the pre-Qin period, a channel connecting China's east and west already existed. The official spread of silk to the west began in the Western Han Dynasty, and the real formation of the Silk Road began when Zhang Qian's hollowed out in the Western Han Dynasty.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)

2.海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称"海上陶瓷之路"和“海上香料之路”，1913年由法国的东方学家沙畹首次提及。

The Maritime Silk Road, also known as the "Maritime Route of Ceramics" and the "Maritime Route of Spices", was first mentioned by the French orientalist Chavannes in 1913, and is a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)

The Maritime Silk Road was an ancient maritime channel for communication and cultural exchanges between China and foreign countries. It was also called the "Sea Ceramic Road" and "Sea Spice Road". It was first mentioned in 1913 by the French orientalist Shawan.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)

3.明代万历年间，以利玛窦为代表的西书七千部传教士来华传教，同时带来西方科技、文化等。这对中国传统思想文化有所触动。

During the Wanli period of the Ming Dynasty, the seven thousand missionaries of the Western Book, represented by Matteo Ricci, came to China to preach, and at the same time brought Western technology and culture. This has touched the traditional Chinese thought and culture.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)

During the Wanli period of the Ming Dynasty, 7,000 missionaries represented by Matteo Ricci came to China to preach, and at the same time brought Western technology and culture. This has touched traditional Chinese thought and culture.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)

4.洋务运动，又称自强运动，是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。

The Foreign Affairs Movement, also known as the Self-Strengthening Movement, was a self-help movement conducted by the Foreign Affairs faction of the late Qing Dynasty from the 1860s to the 1990s to introduce Western military equipment, machinery production and science and technology to save the Qing Dynasty.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)

The Westernization Movement, also known as the Self-Strengthening Movement, was a self-rescue movement carried out by the Westernization Movement from the 1860s to the late Qing Dynasty that introduced Western military equipment, machine production, and science and technology to save the Qing rule.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)

==Zhou Yiwen 周艺文==

1.老子生于春秋战国时期，当时的环境是周朝势微，各诸侯为了争夺霸主地位，战争不断。严酷的动乱与变迁，让老子目睹到民间疾苦，作为周朝的守藏史，于是他提出了治国安民的一系列主张。

Laozi was born in the Spring and Autumn Period and the Warring States Period. At that time, the Zhou Dynasty was in a weak state. As the official historian of Zhou Dynasty, Lao Zi put forward a series of propositions of governing the country and keeping the people safe.

2.作为儒家经典的《论语》，其内容博大精深，包罗万象，《论语》的思想主要有三个既各自独立又紧密相依的范畴：伦理道德范畴——仁，社会政治范畴——礼，认识方法论范畴——中庸。

As a Confucian classic, the Analects of Confucius has a broad and profound content and is all-embracing. The thoughts of the Analects of Confucius mainly consist of three independent and closely related categories: ethical and moral category -- benevolence, social and political category -- rites, and cognitive methodology category -- the doctrine of the mean.

3.慧能偈曰：
菩提本无树，明镜亦非台。
本来无一物，何处惹尘埃？

My stanza read:
There is no Bodhi-tree,
Nor there’s a mirror bright.
Since all is void in fact,
Say, where can dust alight?

4.幽默大师林语堂以人生优游者的独特视角，诠释中国人“生活的艺术”，展现出诗样人生、才情人生、幽默人生、智慧人生的别样风情。

Lin Yutang, a humorist, interprets the "art of life" of The Chinese people from the unique perspective of a good traveler in life, showing a unique style of poetic life, talented life, humorous life and intelligent life.
--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:29, 27 December 2020 (UTC)

==Zhou Yuanqu 周园曲==

1.《道德经》是中国古代先秦诸子分家前的一部著作，是道家哲学思想的重要来源。

1.The Tao Te Ching is a work before the division of pre-Qin scholars in ancient China, and is an important source of Taoist philosophy.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:07, 28 December 2020 (UTC)

2.《论语》以语录体为主，叙事体为辅，较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。

2.The Analects is mainly based on the quotation style, supplemented by the narrative style, which more concentratedly reflects the political propositions, ethics, moral concepts and educational principles of Confucius and Confucianism.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:07, 28 December 2020 (UTC)

3.经文主要记载慧能的生平事迹和言教。根据“自性本清净”之说，宣扬“明心见性”“顿悟成佛”的基本思想。《坛经》的思想对禅宗发展起到了重要作用。中国佛教著作被尊称为“经”的，仅此一部。

3.The scriptures mainly record the life deeds and teachings of Huineng. According to the theory of "self-nature is pure", it promotes the basic idea of "understanding the mind and seeing the nature" and "understanding to become a Buddha". The idea of "Tan Sutra" played an important role in the development of Zen. This is the only one that is honored as the "Sutra" in Chinese Buddhist works.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:07, 28 December 2020 (UTC)

4.林语堂将中国人旷怀达观，陶情遣兴的生活方式和浪漫高雅的东方情调皆诉诸笔下，向西方人娓娓道出了一个可供仿效的完美生活方式的范本、快意人生的典型，展现出诗样人生、才情人生、幽默人生、智慧人生的别样风情。

4Lin Yutang appealed to the Chinese people's open mindedness, Tao Qingqianxing's lifestyle and romantic and elegant oriental sentiment, and he presented a model of perfect lifestyle and a model of happy life that can be imitated to Westerners. Shows the unique style of poetic life, talented life, humorous life, and wise life.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:07, 28 December 2020 (UTC).

==Zhu Meimei 祝美梅==

《道德经》与中医渊源颇深, 其中许多论点与中医理论有相通之处。

Tao Te Ching is deeply connected with Traditional Chinese medicine, and many of its arguments have something in common with Chinese medicine theories.

《论语》是儒家经典之一，是一部以记言为主的语录体散文集，主要以语录和对话文体的形式记录了孔子及其弟子的言行。

The Analects is one of the classic works of Confucianism. It is a collection of opinion records of prose writings, mainly in the form of quotations and dialogues, recording the words and deeds of Confucius and his disciples.

《坛经》是佛学中国化、大众化最为成功的典型之一。

The Sutra of Hui-neng is one of the most successful representative of sinicization and popularization of Buddhism.

其实,生活于我无意义,快乐地过好每一天最为重要。应该说,这种感受得益于林语堂的《生活的艺术》一书。
In fact, while life is meaningless, what matters to me is leading a happy life everyday. This comprehension should be credited to the The Importance of Living written by Lin Yutang. --[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:34, 28 December 2020 (UTC)

==Zhu Xu 朱旭==
1.《道德经》不仅在中国影响深远而广泛，而且漂洋过海，传遍了世界五大洲，深受外围人的青眯，引起浓厚的学习兴趣和研究热情。他们赞誉《道德经》为“东方智慧的结晶”。当代西方流行广泛的一句话，就是老子是国际性的，目前研究老子思想已成为一种国际性的文化现象。

''The Tao Te Ching'' not only has a far-reaching influence in China, but also has spread all over the five continents of the world. They praised''the Tao te ching'' for the “crystallization of Eastern Wisdom. A popular saying in the west today is that Laozi is international, and the study of Oigo’s thought has become an international cultural phenomenon.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)

''Tao Te Ching'' not only has exerted a far-reaching influence in China, but also has spread all over the five continents of the world. They praised''Tao te ching'' for the “crystallization of Eastern Wisdom. A popular saying in the west today is that Laozi is international, and the study of Laozi’s thought has become an international cultural phenomenon.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 04:09, 28 December 2020 (UTC)

2.作为儒家最经典和最受欢迎的著作，《论语》不仅是中国传统最核心的作品之一，而且是中国人伦理道德标准和行为准则的核心。《论语》中蕴含的儒家思想是中华民族的宝贵财富。自从16世纪末以来，《论语》被中西方学者源源不断地翻译，并且传播到世界各地。

As the most classical and popular works of Confucianism, ''the Analects'' is not only one of the core works of Chinese tradition, but also the core of Chinese ethical standards and codes of conduct. The Confucian thought contained in ''the Analects'' is the precious wealth of the Chinese nation. Since the end of the 16th century, ''the Analects'' has been continuously translated by Chinese and Western scholars and spread all over the world.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)

3.《慧能经》不仅是研究惠能思想的重要资料,而且是具有中国特色的佛教禅宗一派的重要经典,在中国佛教思想史、哲学史上具有深远的影响。

''The Sutra of Huineng'' is not only an important material to study Huineng’s thought, but also an important classic of Zen Buddhism with Chinese characteristics. It has a far-reaching influence on the history of Chinese Buddhist thought and philosophy.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)

4.《生活的艺术》是一本与你畅谈如何听风赏月的家常闲聊，又是一本关乎生活态度甚至生活智慧的严肃论文。林语堂从生活、家庭、文化、旅行、思想、宗教等方面探讨人必须学会享受生命。

''The Importance of Living'' is a book about how to feel the wind, enjoy the moon. It is also a serious essay about life attitude and even life wisdom. Lin Yutang analyzed from the aspects of life, family, culture, travel, thought, religion and so on. Then he drew a conclusion that people must learn to enjoy life.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)

==Zou Xinyu 邹鑫雨==
1.《道德经》的语言非常讲究艺术性，运用了多种修辞方式，使词句准确、鲜明、生动，富有说理性和感染力。

The language of ''Tao Te Ching'' is very artistic and uses a variety of rhetorical methods to make words and sentences accurate, clear, vivid, rational and appealing.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 06:18, 28 December 2020 (UTC)Zou Xinyu

2.《论语》反映了孔子的教育原则。孔子因材施教，对于不同的对象，考虑其不同的素质、优点和缺点、进德修业的具体情况，给予不同的教诲，表现了诲人不倦的可贵精神。

''The Analects'' reflects the educational principles of Confucius. Confucius taught in accordance with his aptitude, considering his different qualities, strengths and weaknesses, and the specific circumstances of pursuing his ethics, and giving different teachings to different objects, showing his tireless and precious spirit.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 06:18, 28 December 2020 (UTC)Zou Xinyu

3.毛泽东还谈到过惠能的思想在佛教史上的地位。他说，惠能主张佛性人人皆有，创顿悟成佛之学，一方面使繁琐的佛教简易化，一方面也使从印度传入的佛教中国化。

Mao Zedong also talked about the position of Huineng's thought in the history of Buddhism. He said that Huineng advocated that everyone has Buddha nature, and to create the learning of enlightenment and Buddhahood, on the one hand, it simplified the tedious Buddhism, on the other hand, it also made the Buddhism introduced from India sinicized.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 06:18, 28 December 2020 (UTC)Zou Xinyu

4.《生活的艺术》一书，是汇集了许多中西思想家的思想在经过林语堂熟思滤过写来自己的观念与真理的书。

''The Importance of Living'' is a book that brings together the ideas and truths of many Chinese and Western thinkers who have been filtered through Lin Yutang's thinking.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 06:18, 28 December 2020 (UTC)Zou Xinyu

==Zubareva, Ekaterina==

20201221 cult

2020-12-28T05:19:42Z

HATHITHUHANG2: /* Ha, Thi Thu Hang */

==Alsied, Saffana==
1. Their king was killed and his skull turned into a drinking vessel. As a result, the Rouzhi fled and bore a constant grudge against the Xiongnu. At this time, the Han became increasingly strong, and Emperor Wu was determined to defeat the Xiongnu.--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 12:11, 25 December 2020 (UTC)

他们的国王被杀，他的头骨变成了饮酒器。结果，柔脂逃走了，对熊怒不断地怀恨在心。这时，汉人变得越来越强大，吴皇帝决心打败匈奴。

他们的国王被杀，他的头骨变成了饮酒器。结果，大月氏逃走了，却仍然对匈奴怀恨在心。这时，汉朝变得越来越强大，汉武帝决定攻打匈奴。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:52, 27 December 2020 (UTC)

2.They even carried on their ships many foreign heads of state and envoys to China. On the voyage of 1423 alone, they brought 1,200 envoys from 16 countries to China, some of whom even preferred not to go back. --[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 12:11, 25 December 2020 (UTC)

他们甚至还搭载了许多外国国家元首和特使前往中国。仅在1423年的航行中，他们就将来自16个国家的1200名使节带到了中国，其中一些人甚至不愿回国。

3.In the second half of the 16th century, foreign missionaries from the Society of Jesus came to China. They spread religious doctrines on the one hand and introduced on the other hand works on astronomy, mathematics, physics, geography, paintings, and music to China. Meanwhile, they brought to the West Chinese Confucian and Daoist doctrines, and made contributions to cultural exchanges between China and the West.

16世纪下半叶，耶稣会的外国传教士来到中国。他们一方面传播宗教学说，另一方面向中国介绍天文学，数学，物理学，地理，绘画和音乐方面的著作。同时，他们把西方的儒道思想带到了西方，为中西文化交流做出了贡献。

16世纪下半叶，耶稣会的外国传教士来到中国。他们一方面传播宗教学说，另一方面把天文学，数学，物理学，地理，绘画和音乐方面的著作引入中国。同时，他们把中国的儒家和道家思想带到了西方，为中西文化交流做出了贡献。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:52, 27 December 2020 (UTC)

4.After the Second Opium War (1856-1860), Yi Xin (Prince Gong) and local officials realized that China had lagged far behind the West in weaponry and military technology, and advocated learning advanced production technology and troop training methods from the West so as to build a modern national defense. Known as the School of Westernization, these people launched a movement to learn from Western powers.

第二次鸦片战争（1856-1860）之后，巩义王子和当地官员意识到中国在武器装备和军事技术方面远远落后于西方，并主张从西方学习先进的生产技术和部队训练方法，以便建立现代国防。这些人被称为洋务派，他们发起了向西方列强学习的运动。

第二次鸦片战争（1856-1860）之后，奕䜣（恭亲王）和国内官员意识到中国在武器装备和军事技术方面远远落后于西方，因而他们主张从西方学习先进的生产技术和部队训练方法，旨在建立一支现代化的国防军队。这些人被称为洋务派，他们发起了一场向西方列强学习的运动。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 11:40, 26 December 2020 (UTC)Mo Ling

==Cao Runxin 曹润鑫==
1.传统的丝绸之路，起自中国古代都城长安，经中亚国家、阿富汗、伊朗、伊拉克、叙利亚等而达地中海，以罗马为终点，全长6440公里。

The traditional Silk Road starts in Chang'an, the ancient capital of China, and reaches the Mediterranean Sea via the Central Asian countries, Afghanistan, Iran, Iraq and Syria, ending in Rome, a total length of 6,440 kilometres.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 03:55, 28 December 2020 (UTC)

2.海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。

The Maritime Silk Road was formed during the Qin and Han dynasties, developed during the Three Kingdoms to the Sui dynasty, flourished during the Tang and Song dynasties, and transformed during the Ming and Qing dynasties, making it the oldest known maritime route.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 03:55, 28 December 2020 (UTC)

3.此时的西学传入，主要以传教士和一些中国人对西方科学著作的翻译为主。

The introduction of Western learning at this time was dominated by the translation of Western scientific works by missionaries and some Chinese.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 03:55, 28 December 2020 (UTC)

4.当时时期主要特点就是整体化和近代化。近代化就是资本主义代替封建专制，这是历史的必然。这也是洋务运动试图走近代化的道理，在世界整体化的趋势下，中国比较被动的卷入。

The main characteristic of the period was holism and modernisation. Modernisation is the replacement of feudal autocracy by capitalism, which is a historical necessity. This was also the rationale behind the attempts of the Westernization Movement to modernise, with China being more passively involved in the trend towards the globalisation of the world as a whole.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 04:01, 28 December 2020 (UTC)

==Chen Han 陈涵==

1.汉政府在西域设置常驻官员，派士卒屯田，设校尉统领保护，使汉族同新疆少数民族交往更加密切。汉朝在西域设立西域都护府为标志，丝绸之路进入繁荣时代。

The government of the Han Dynasty set up permanent officials in the Western Regions, dispatched soldiers to garrison the fields, and assigned a captain to lead the protection, so that the Han people had closer exchanges with ethnic minorities in Xinjiang. Marked by the establishment of Protectorate of the Western Regions by the Han Dynasty, the Silk Road entered the era of prosperity. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)

2.三国时代，魏、蜀、吴均有丝绸生产，而吴雄踞江东，汉末三国正处在海上丝绸之路从陆地转向海洋的承前启后与最终形成的关键时期。

During the Three Kingdoms Period, the states of Wei, Shu and Wu all produced silk. And Wu stood firmly on the east bank of the Yangtze River. In the late Han Dynasty, the three states were at a crucial period when the Maritime Silk Road shifted from the land to the sea and eventually took shape. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)

3.澳门由于在明嘉靖年间由朝廷让与葡萄牙人，因此在明末清初的西学东渐中，西方传教士常以澳门为中继站，而一些学术思想亦经由此逐渐传入中国内地，而许多与西人打交道的中国人亦在澳门及广州等地学习西方语言及文化。

Since Macau was ceded to the Portuguese by the imperial court during the years of Jaijing in the Ming Dynasty, Western missionaries often regarded it as a transition for eastward spreading of Western learning during the late Ming and early Qing dynasties, and some academic ideas were gradually introduced to the Chinese mainland, while many Chinese who had dealings with Westerners also learned Western languages and cultures in Macau and Guangzhou. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)

4.洋务派后期创办的民用工业，投资大多采取官督商办和官商合办形式，产品主要作为商品投放市场，管理上采取劳动雇佣制，所以其本质上属于带有封建因素的资本主义性质的企业。

The civil industry founded by Westernization Group in the late period of the Movement was funded mostly by taking the government-supervised and merchant-managed form and the government-merchant cooperation. Its products were mainly put on the market as commodities and its management adopted the labor-employment system, so that it belongs to capitalist enterprises in essence featuring feudalism. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)

==Chen Jingjing 陈静静==

1.丝绸之路不仅是古代亚欧互通有无的商贸大道，还是促进亚欧各国和中国的友好往来，沟通东西方文化的友谊之路。

The Silk Road is a commercial avenue for exchanges between Asia and Europe in ancient times as well as a road of frienndship that promotes friendly exchanges between Asian and European countries and China.

The Silk Road is not only a commercial avenue for exchanges of needed goods between ancient Asia and Europe, but also a road of friendship that promotes friendly communications, and cultural exchanges between China and European countries.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)

2.在群星璀璨的中华英杰中，郑和不但以先于西方人航海，胜于西方人的航海技术受到国际社会的关注，而且以其所代表的一种文化精神得到人们的关注。

Among the distinguished Chinese heroes, Zheng He not only got the attention for his sailing sills which precended and surpassed Westerns, but also attracted people's attention with the cultural spirit he represented.

Among the distinguished Chinese heroes, Zheng He received international concerns not only because of his navigation skills which surpassed the Westerners, but also for a cultural spirit he represented.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)

3.西学东渐意味着以西方之学术，灌输于中国，使中国日趋于文明富强之境。

The eastwars spread of western learning means instilling in China with Weastern academics so as to make China more civilized and prosperous.

The Eastward Spread of Western Learning means to instill western academics into China so as to make it more civilized and prosperous.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)

4.处于传统国家和农业文明体系下的中国在面对经过资产阶级革命后的现代国家和工业文明的英国的挑战时显得不堪一击。

Under the traditional agricultural civilization system, China was such vulnerable to the challenges from England, which was already a modern and highly industrilized country after the bourgeois revolution. --[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 12:15, 27 December 2020 (UTC)Chen Jingjing

Under the traditional agricultural system, China was too vulnerable to face challenges from the British, which was already a modern and highly industrialized country after the bourgeois revolution.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)

==Dashkin, Gennadii==

1.In 119 BC, Zhang Qian set off on his second journey to the Western Regions.

公元前119年，张谦出发了他的第二次西域之旅--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)

2.While Zheng's fleet showed off Chinese might and naval prowess, orthodox Chinese histories depict him as never engaging in gunboat diplomacy, rather developing friendships with foreign leaders.

郑的舰队展示了中国的威力和海军实力，而正统的中国历史则将他描绘为从未从事炮舰外交，而是与外国领导人发展友谊。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)

3.The eastward transmission of Western learning refers to the transmission of Western cultures in China in the mid-1800s.

西方学习向东传播是指1800年代中期西方文化在中国的传播--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)

4.China has always been a planned economy where the government played a big role in deciding how the country should be controlled.

中国一直是计划经济国家，政府在决定如何控制国家方面发挥着重要作用。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)

==Chen Yongxiang 陈永相==

==Ding Daifeng 丁代凤==

1.丝绸之路沿途的大批历史文物、引人入胜的自然风景以及富有情趣的地方文化，使这一长途远游成了世界上最精彩的旅游项目之一。

A wealth of historical relics, fascinating scenery and interesting local cultures along the Silk Road make this long trip one of the world’s most exciting tourist attractions.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)

A vast batch of historical relics, fascinating scenery and interesting local cultures along the Silk Road enable this long trip to be one of the world’s most exciting tourist attractions.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 11:54, 27 December 2020 (UTC)

2.作为一个具有野心的拥有回族血统的穆斯林太监、一个典型的游离于儒家学者精英体制之外的人，郑和在1405到1433年间七下西洋，其中六次都在永乐帝的支持下进行。

An ambitious Muslim eunuch of Hui descent, a quintessential outsider in the establishment of Confucian scholar elites, Zheng He led seven expeditions from 1405 to 1433 with six of them under the auspices of Yongle.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)

As an ambitious Muslim eunuch of Hui descent and a quintessential outsider in the establishment of Confucian scholar elites, Zheng He led seven expeditions from 1405 to 1433, with six expeditions under the auspices of Yongle.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:26, 26 December 2020 (UTC)

3.从19世纪下半叶到20世纪初,伴随着“西学东渐”的进程,西方妇女生活现状、人权思想及女权理论渐次传入中国,引起了中国思想界的关注。

From the second half of 19th century to the beginning of 20th century, with the progress of the eastward spread of western learning, western women's living situations, thoughts of human rights and feminist theories were gradually introduced into China and attracted the attention of the Chinese ideological circle.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)

4.在具有现代性思维的汉家学者的引导下，人们学习了西方的科学和语言，一些大城市开设了特殊的学校，军械库、工厂和船坞也参照西方的模型得到了建造。

Under the direction of modern-thinking Han officials, western science and languages were studied, special schools were opened in the larger cities, and arsenals, factories, and shipyards were established according to western models.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)

Under the guidance of the Han scholars with modern thinking, people learned the science and language of the west opened special schools in some big cities. Armouries, factories and docks were also built with reference to Western models.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 11:54, 27 December 2020 (UTC)

==Gan Fengyu 甘奉玉==
1.张骞被誉为伟大的外交家、探险家，是“第一个睁开眼睛看世界的中国人”、“丝绸之路的开拓者”、“东方的哥伦布”。

Zhang Qian, rated as a great diplomat and explorer, is "the first Chinese to open his eyes to see the world "," the pioneer of the Silk Road" and "Columbus of the East ". --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)

2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举，对中外经济、文化交往起到了积极作用。

Zheng He's voyage to the West was an unprecedented feat in the history of world navigation in the early 15th century and played a positive role in economic and cultural exchanges between China and foreign countries.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)

3.西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。

The Eastward World Spread of Western Learning refers to the historical process of spreading western academic thought to China from the late Ming Dynasty to modern times. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)

The Eastward World Spread of Western learning refers to the historical process from the late Ming Dynasty to modern times when western academic thoughts spread to China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:08, 27 December 2020 (UTC)

4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。

Westernization Movement, also known as self-strengthening movement. It is a self-help movement that introduced western military equipment, machine production and science and technology to save the rule of Qing Dynasty from 1860s to 1990s by Westernization School. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)

==Gao Mingzhu 高明珠==
1、张骞出使西域这一历史事件具有特殊的历史意义。张骞对开辟从中国通往西域的丝绸之路有卓越贡献，至今举世称道。

Zhang Qian’s westward travel is of historic and special significance in Chinese history. Zhang Qian made excellent contributions to the opening of the Silk Road from China to “The Western Regions”, which is even praised by today’s world.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)

2、陆路是中西往来的最古老的通道，其主要工具是马和骆驼。但牲畜负载有限，费用巨大。此外沿途自然条件艰险，安全没有保障。所以当航海技术发展起来以后，海路在中西交通中所起的作用越来越重要。

Land route is the oldest access between China and“The Western Regions” and the major transportation tools were horses and camels. However, the load of those livestock was limited and cost much. Besides, the natural environment along the land route was hard and dangerous, making travelers lost security assurance.Therefore, with the development of seamanship, sea route began to play an increasingly important role in the communications between China and “The Western Regions”. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)

3、明万历年间，随着耶稣会传教士的到来，对中国的学术思想有所触动。传教士在传播基督教的教义同时，也传入大量科学技术。当时中国一些士大夫及皇帝接受了科学技术上的知识，但是在思想上基本没有受到影响。

During Wanli period of Ming Dynasty, as the coming of Jesuit missionaries in China, Chinese academic thought was slightly effected by western thought. At the same time of the spreading of Christian doctrines by those missionaries, a large amount of science and technology was introduced into China. Back then, Chinese emperor and some officials accepted knowledge of western science and technology,but their thought didn’t be influenced by the knowledge.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)

4、洋务运动进行30多年虽然没有使中国富强起来，但洋务运动引进了西方先进的科学技术，使中国出现了第一批近代企业，在客观上为中国民族资本主义的产生和发展起到了促进作用。

The westernization movement which lasted for over 30 years did not make China become richer or stronger, but it introduced the advanced western science and technology which stimulated the emergence of the first modern enterprises, objectively promoting the emergence and development of Chinese national capitalism. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)

==Grosheva, Anna==

1. To Zhang's surprise, satisfied with their life, the Da Yuezhi people refused to make an alliance against the Huns.

令张某惊讶的是，大月之人对自己的生活感到满意，拒绝与匈奴结盟。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)

2. He is thought to have become interested in Buddhist teachings later in life and died in India.

人们认为他晚年对佛教教义感兴趣，并在印度去世。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)

3. This study analyzes four stages of the development of modern sports in Shanghai: germination, growth, thriving, and depression.

这项研究分析了上海现代体育发展的四个阶段：发芽，成长，繁荣和沮丧。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)

4. By the time the Europeans launched an intensive drive to incorporate China at the beginning of the 1840s, the capitalist world economy was already completing the incorporation of other major new zones.

到1840年代初欧洲人开始大力整合中国时，资本主义世界经济已经在完成其他主要新地区的整合。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)

==Gu Dongfang 顾东方==

==Guan Qinqing 管钦清==

1.丝绸之路是我国古代一条连接中国和欧亚大陆的交通线路，由于这条商路以丝绸贸易为主，故称为“丝绸之路”。

The Silk Road is a traffic route in the ancienttimes connecting China and Eurasia. This trade route focuses on the trade of silk, hencethe name "theSilk Road".

2.“丝绸之路”是指起始于古代中国，连接亚洲、非洲和欧洲的古代路上商业贸易路线。狭义上讲指陆上丝绸之路。广义上讲分为陆上丝绸之路和海上丝绸之路。“陆上丝绸之路”形成于于公元前2世纪与公元1世纪间，直至16世纪仍保留使用，以西汉时期长安为起点(东汉时为洛阳)，经河西走廊到敦煌。“海上丝绸之路”形成于秦汉时期。

The "Silk Road" refers to the ancient commercial trade routes starting from China and connecting Asia,Africa and Europe.In a broad sense,it is divided intothe silk road on the land and silk road on the sea.The "land silk road"opened between the 2nd century BC and the 1st century AD and remained in use until the 16th century.It started from Chang'an in the Western Han Dynasty(or Luoyang in the Eastern Han Dynasty)to Dunhuang via the Gansu Corridor. The "silk road on the sea" formed in the Qin and Han Dynasty.

3.在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。

The rising modern press deeplytransformed the traditional aesthetic mechanism from thecontent to the form. Then themodern press has facilitated the modern reforms of Chinese esthetics.

4.洋务运动是部分先进的中国人探索中国近代化的过程。太平天国运动加速了中国近代历史的进程，推动了洋务运动的勃兴。

Westernization Movement is the process in which some Chinese with advanced knowledge explore how to modernize China.The Taiping movement accelerated the progress of
China's modernhistory andpromoted the Westernization movement.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 02:18, 28 December 2020 (UTC)

==Gui Yizhi 桂一枝==
1.尽管此次出使西域的主要目的并未完成，但是张骞充分了解了西域各地的风土人情，第一次给中国皇帝带回一了关于印度、中东以及欧洲诸国的消息。

Although the main objective of his expedition was not achieved，he documented the cultures and lifestyles of the peoples of the Western Regions，and for the first time，the Chinese emperor was informed about India，the Middle East and even some European countries.

2.郑和是中国明朝的宦官，也是一位航海探险家，他率领着满载瓷器的船队抵达了非洲和阿拉伯半岛，把长颈鹿带回了中国，同时也在东南亚航道的沿岸修建了城寨。

When Zheng He, the seafaring eunuch explorer of the Chinese Ming dynastic court, guided boats packed with porcelain to Africa and the Arabian Peninsula, he brought giraffes back to China and founded stockades along the shipping lanes of Southeast Asia.

3.“东学西渐”为欧洲启蒙运动送去了灵感，“西学东渐”也对中国和东方国家的文明产生了积极影响。

The introduction of the Chinese culture created inspiration for the Enlightenment in Europe, the Eastward spread of Western learning impacted positively on the Chinese and other Oriental civilizations.

4.在具有现代性思维的汉家学者的引导下，人们学习了西方的科学和语言，一些大城市开设了特殊的学校，军械库、工厂和船坞也参照西方的模型得到了建造。

Under the direction of modern-thinking Han officials, Western science and languages were studied, special schools were opened in the larger cities, and arsenals, factories, and shipyards were established according to Western models.--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 04:57, 28 December 2020 (UTC)

==Guirou, Barthelemy==

1. The Silk Road was an ancient network of trade routes, formally established during the Han Dynasty of China, which linked the regions of the ancient world in commerce between 130 BCE-1453 CE.

丝绸之路是一条古老的贸易路线网，在中国汉朝期间正式建立，它连接了公元前130年至1453年之间的古代世界贸易地区。

2. The maritime Silk Road was a conduit for trade and cultural exchange between China's south-eastern coastal areas and foreign countries. There were two major routes: the East China Sea Silk Route and the South China Sea Silk Route .

海上丝绸之路是中国东南沿海地区与外国之间进行贸易和文化交流的渠道。有两条主要路线：东中国海丝绸之路和南中国海丝绸之路。

3. The Westernization Movement, also called the Self-Strengthening Movement, was championed by some Qing government officials from the early 1860s to the middle 1890s. Its aim was to introduce Western technology and modern industrial equipment. This nationwide movement failed because its advocates were unwilling to disturb the status quo of the ruling class. The Sino-Japanese War, which began in 1804 and ended with the annihilation of China’s Beiyang Fleet, exposed the utter failure of the three-decade-long Westernization Movement. As a result, reform-minded Chinese had to seek new ways to save the nation.

自1860年代初至1890年代中期，一些清政府官员就发起了洋务运动，也被称为自强运动。其目的是引进西方技术和现代工业设备。这项全国性运动失败了，因为其拥护者不愿打扰统治阶级的现状。抗日战争始于1804年，结束于北洋舰队的歼灭。这场长达3年之久的洋务运动彻底失败了。结果，具有改革意识的中国人不得不寻求新的方法来拯救国家。--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 14:17, 27 December 2020 (UTC)

==Guo Lu 郭露==

1. 丝绸之路是古代横贯亚欧的通道。其起点一般认为是长安（今西安），其实它随朝代更替政治中心转移而变化。长安（今西安）、洛阳、平城（今大同）、汴梁（今开封）、北京曾先后为丝路起点。

The Silk Road is an ancient across of asia-europe. Its starting point is usually ascribed to Changan (now xian), actually the starting point is changed according to the changed political center. Changan (now Xian), Luoyang, Pingcheng (now Datong), Bianliang (today Kaifeng), and Beijing has been the starting point of the Silk Road.

The Silk Road was an ancient crossing between Asia and Europe. Its starting point is generally considered to be Chang'an (present-day Xi'an). In fact, it changes with the change of the political center of dynasties. Chang'an (present-day Xi'an), Luoyang, Pingcheng (present-day Datong), Wei Liang (now Kaifeng), Beijing has been the starting point of silk road.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:09, 27 December 2020 (UTC)

2. 海上丝绸之路较之陆上，有共性，也有特性；有优势和潜力，也有难度和挑战。要推进21世纪海上丝绸之路建设，要在对接合作上下功夫。

Compared with the Silk Road, the Maritime Silk Road shares similarities but also has its unique characters. It has its own set of advantages, potentials, as well as difficulties and challenges. Going forward, I believe the success of the Maritime Silk Road of the 21st Century would require effective efforts to coordinate our cooperation.

Compared with the Silk Road, the Maritime Silk Road shares similarities but also has its unique characteristics. It has its own set of advantages, potentials, as well as difficulties and challenges. Going forward, the success of the Maritime Silk Road of the 21st Century would require effective efforts to coordinate cooperation.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:14, 25 December 2020 (UTC)

3. 在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。

The rising modern press during the period of the Eastward Spread of Western Learning deeply transformed the traditional aesthetic mechanism from the content to the form. Then the modern press has facilitated the modern reforms of Chinese esthetics.

4. 这场运动由士大夫们领导，比如李鸿章（1823——1901）和左宗棠（1812——1885），他们曾在太平起义中与政府军作战。1861到1894年间，现在成为大臣们的这些人负责建立了现代的机构，发展基础工业、通信和交通业并是军队现代化。

The movement was championed by scholar-generals like Li Hongzhang (1823—1901) and Zuo Zongtang (1812—1885), who had fought with the government forces in the Taiping Rebellion. From 1861 to 1894, leaders such as these, now turned scholar-administrators, were responsible for establishing modem institutions, developing basic industries, communications, and transportation, and modernizing the military.
--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:01, 24 December 2020 (UTC)

==Ha, Thi Thu Hang==

1. In 139 BC, Zhang Qian traveled westward through the Xiongnu territory. He was captured and detained for over 10 years, yet he and his party escaped at last and resumed their journey toward the Darouzhi.

公元前139年，张潜西行穿越匈奴领土。他被捕并被拘留了十多年，但他和他的同伙终于逃脱了，恢复了前往大柔芝的旅程。

2. The Darouzhi had settled down in the rich and fertile Am River Valley, and their king had no wish to avenge his father’s death by attacking the Xiongnu.

达柔治人定居在肥沃的安姆河谷，他们的国王不希望通过袭击匈奴来为他的父亲报仇。

3. During the reign of Emperor Wu, Han sailboats succeeded in opening up a route to the Indian Ocean via the South China Sea, and conducted regular trade with coastal countries.

吴帝统治期间，汉帆船成功地开辟了一条经由南中国海通往印度洋的航线，并与沿海国家进行了定期贸易。--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 05:19, 28 December 2020 (UTC)

==He Changqi 何长琦==

==Hu Baihui 胡百辉==

==Hu Jin 胡瑾==

==Jiang Fengyi 蒋凤仪==

==Jiang Qiwei 蒋淇玮==
1.张骞（前164年-前114年），字子文，西汉外交家、探险家，是“丝绸之路的开拓者”“东方的哥伦布”。前139年，张骞奉汉武帝之命，出使西域，打通了汉朝通往西域的道路，即赫赫有名的丝绸之路，促进了东西方文明的交流。汉武帝以军功封其为博望侯。史学家司马迁高度称赞了其出使西域。

Zhang Qian( B.C. 164- B.C. 114), whose style name is Ziwen, was the diplomat and explorer in Western Han dynasty. He was called as the pioneer of the Silk Road and the Columbus of the East. In B.C. 139, at the command of Emperor Wu of Western Han dynasty, Zhang Qian visited Western Regions and carved out a way, advancing the communication between the Eastern and Western civilization. Therefore, Emperor Wu of the Han dynasty granted him the title of Marquis Bowang with military merit. And Historian Sima Qian highly praised his work.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)

2.海上丝绸之路是古代中国与外国交通贸易和文化交往的海上通道，分为东海航线和南海航线两条线路，主要以南海为中心。海上丝路萌芽于商周，发展于春秋战国，形成于秦汉，兴于唐宋，转变于明清，是已知最为古老的海上航线。海上丝绸之路途经100多个国家和地区，是中国与外国贸易往来和文化交流的海上大通道，推动了沿线各国的共同发展。

The Maritime Silk Road was a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries. It was divided into two routes, the East China Sea route and the South China Sea route, with the South China Sea as the center. The Maritime Silk Road originated in the Shang and Zhou dynasties, developed in the Spring and Autumn and Warring States periods, formed in the Qin and Han dynasties, flourished in the Tang and Song dynasties, and transformed in the Ming and Qing dynasties. And it is the oldest known maritime route. The Maritime Silk Road, passing through more than 100 countries and regions, is a major maritime corridor for trade and cultural exchanges between China and foreign countries and has promoted the common development of countries along the route.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)

The Maritime Silk Road was a maritime passage for communication and cultural exchanges between China and foreign countries in ancient times. Divided into two routes, the East China Sea and the South China Sea, with the South China Sea as the center. The Maritime Silk Road sprouted in the Shang and Zhou Dynasties, developed in the Spring and Autumn Period and Warring States Period, formed in the Qin and Han Dynasties, prospered in the Tang and Song Dynasties, and transformed in the Ming and Qing Dynasties. It is the oldest known maritime route. The Maritime Silk Road passes through more than 100 countries and regions. It is a major maritime channel for trade and cultural exchanges between China and foreign countries, and promotes the common development of countries along the route.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:40, 27 December 2020 (UTC)

3.西学东渐是指近代西方学术思想向中国传播的历史过程，通常而言是指在明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思想的传入。

The Eastward Spread of Western Learning refers to the historical process of the spread of western academic ideas to China in modern times. Generally speaking, it is the introduction of academic ideas from Europe and America in the late Ming and early Qing dynasties and the early Ming and Early Ming Dynasties.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)

4.洋务运动是19世纪60到90年代晚清洋务派进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。前期，洋务派以“自强”为旗号，创办了一批近代军事工业。后期，以“求富”为旗号，兴办了一批民用工业。甲午中日战争中，北洋海军全军覆没，洋务运动宣告破产。洋务运动虽然没有使中国富强起来，但期间引进了西方先进的科学技术，客观上促进了民族资本主义的产生和发展。

The Westernization Movement was a self-help movement carried out by the Westernization Group of the Qing Dynasty from the 1960s to the late 1990s, which introduced western military equipment, machine production and science and technology to save the Qing dynasty. In the early stage, the Westernization Movement established a number of modern military industries under the banner of "self-improvement". In the later period, under the banner of "seeking wealth", lots of civil industries were set up. In the Sino-Japanese War of 1894-1895, the entire Beiyang Navy was wiped out, and the Westernization Movement was bankrupt. Although Westernization Movement did not make China rich and powerful, it drew in advanced science and technology from the West, which objectively promoted the emergence and development of national capitalism.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)

==Kang Haoyu 康浩宇==

==Lei Fangyuan 雷方圆==
1.人们通常讲"丝绸之路"的开端,都是从汉代张骞通西域开始,他的"凿空"事业居功至伟,标志着"丝绸之路"的正式开通。

People usually talk about the beginning of the "Silk Road", are from the Han Dynasty, Zhang Qian through the Western Regions began, his "chiseling" business is a great credit, marking the official opening of the "Silk Road".

2.在15世纪的明朝永乐时期,郑和七下西洋,将先进的中华物质文化、精神文化和政教文化远播海外,谱写了人类航海史上的新篇章,稳定了当时的东南亚国际秩序,开辟了中国—印度洋航路,将古代海上丝绸之路推向鼎盛。

In the 15th century, during the Yongle period of the Ming Dynasty, Zheng He made seven trips to the West, spreading advanced Chinese material, spiritual, political and religious culture overseas, writing a new chapter in the history of human navigation, stabilizing the international order in Southeast Asia at that time, opening up the China-Indian Ocean route, and bringing the ancient Maritime Silk Road to its heyday.

During the Yongle period of the Ming Dynasty in the 15th century, Zheng He made seven voyages to the West, spreading advanced Chinese material culture, spiritual culture, and political and religious culture abroad, writing a new chapter in the history of human navigation, stabilizing the international order of Southeast Asia at that time, and opening up The China-Indian Ocean Route pushed the ancient Maritime Silk Road to its peak.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:50, 27 December 2020 (UTC)

3.近代的西学东渐,对中国社会产生了广泛而深远的影响,改变了中国人对外部世界的认识。几乎所有的西学门类,以及各种各样的思潮、学说、观念都先后传入中国,在新与旧、古与今、中与外的碰撞中,中国的各种学术得到了极大的开拓和发展。

The Western learning in modern times had a wide and far-reaching impact on Chinese society and changed the Chinese people's understanding of the outside world. Almost all the Western disciplines, as well as all kinds of ideas, doctrines and concepts, were introduced to China one after another, and in the collision between the old and the new, the ancient and the modern, and the Chinese and the foreign, Chinese scholarship was greatly developed.

The spread of western learning in modern times has had a broad and far-reaching impact on Chinese society, and changed the Chinese people's understanding of the outside world. Almost all Western learning disciplines, as well as various ideological trends, doctrines, and concepts have been introduced to China. In the collision of new and old, ancient and modern, and China and foreign countries, various academic studies in China have been greatly developed. And development.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:50, 27 December 2020 (UTC)

4.洋务运动是我国近代教育史的开端,可以说,它不仅是对我国传统教育的一次重要变革,更是我国现代教育制度萌芽的一个重要时期。
The westernization movement is the beginning of China's modern education history, it can be said that it is not only an important change to China's traditional education, but also an important period for the sprouting of China's modern education system.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:17, 27 December 2020 (UTC)

The Westernization Movement is the beginning of modern education history in our country. It can be said that it is not only an important change to our traditional education, but also an important period of the germination of our modern education system.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:50, 27 December 2020 (UTC)

==Lei Kuangxi 雷旷溪==

==Li Lili 李丽丽==
1.1417年，永乐皇帝下令郑和将使节送回国内。郑和和他的舰队再次回到海上启航，进行他的第五次远征（1417-1419）。他在许多相同的地方停留，包括爪哇岛、苏门答腊岛，还为他遇到的不同的统治者带来了信件和财富。

By 1417, the Yongle Emperor ordered Zheng He to return the envoys home. Once more back on the seas, Zheng He and his large fleet set sail for his fifth expedition (1417-1419). He stopped in many of the same places, including Java, Sumatra, and also brought letters and riches to the different rulers Zheng He met.

In 1417, Emperor Yongle ordered Zheng He to send the envoys back home. Zheng He and his fleet returned to sea again to set sail on his fifth expedition (1417-1419). He stopped at many of the same places, including Java and Sumatra, and also brought letters and wealth to the different rulers he met. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)

2.海上丝绸之路从福建泉州开始, 是秦汉时期形成、三国时期发展到隋朝、盛唐宋朝、明清衰落的最早航程航线。

Starting from Quanzhou Fujian Province, the maritime Silk Road was the earliest voyage route that was formed in the Qin and Han dynasties, developed from the Three Kingdoms Period to the Sui Dynasty, flourished in the Tang and Song dynasties, and fell into decline in the Ming and Qing dynasties.

The Maritime Silk Road began in Quanzhou, Fujian Province, and was the earliest voyage route formed during the Qin and Han dynasties, developed during the Three Kingdoms Period to the Sui dynasty, flourished in the Tang and Song dynasties, and fell into decline in the Ming and Qing dynasties. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)

3.西学东渐不仅客观上促成了马克思主义哲学在中国的广泛传播, 构成了马克思主义哲学中国化的一个重要历史前提, 而且引发了中国哲学历史发展过程中的重大变革, 推动了中国哲学从古代传统向近代传统的转变。

The spread of Western learning to the East objectively promoted the dissemination of Marxist philosophy, forming an important historical precondition for its Sinicization. Moreover, it triggered a great transformation in the historical development of Chinese philosophy and facilitated its transition from an ancient to an early modern tradition.

The eastward spread of Western learning has not only objectively contributed to the widespread dissemination of Marxist philosophy in China, constituting an important historical premise for the Chineseization of Marxist philosophy, but also triggered a major change in the historical development of Chinese philosophy, promoting the transformation of Chinese philosophy from the ancient to the modern tradition. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)

4.鸦片战争、不平等条约和19世纪中叶的大规模起义的残酷现实，使清朝朝臣和官员认识到壮大中国的必要性。自19世纪40年代以来，中国学者和官员一直在研究和翻译“西学”。

The rude realities of the Opium War, the unequal treaties, and the mid- 19th century mass uprisings caused Qing courtiers and officials to recognize the need to strengthen China. Chinese scholars and officials had been examining and translating "Western Learning" since the 1840s.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:05, 25 December 2020 (UTC)

The harsh realities of the Opium War, the unequal treaties, and the mass uprisings of the mid-19th century made courtiers and officials of the Qing Dynasty realize the need to strengthen China. Since the 1840s, Chinese scholars and officials had been studying and translating "Western Learning". --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)

==Li Liqin 李丽琴==

1. 汉通西域，虽然起初是出于军事目的，但西域开通以后，它的影响，远远超出了军事范围。这条通道，就是后世闻名的“丝绸之路”。丝绸之路则成为“一带一路”的重要历史符号，使得我们高举和平发展的旗帜，积极发展与沿线国家的经济合作伙伴关系。

Although the missions to the western Regions in the Han Dynasty were originally aimed for military purposes, their influence went far beyond the military scope. This passageway was later known as the Silk Road. The silk road has become an important historical symbol of "One Belt And One Road", which makes us hold high the banner of peaceful development and actively develop economic partnership with countries along the route.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)

2. 郑和当时率领着世界上最强大的船队下西洋，带去的不是血与火、掠夺与殖民，而是瓷器、丝绸、茶叶。下西洋是世界航海史上的壮举，现在东南亚一带还有许多几年内郑和的建筑物，表达了人们对他的尊敬。

Leading the most powerful fleet in the world, Zheng He made seven voyages to the Western Seas, bringing there porcelain, silk and tea, rather than bloodshed, plundering or colonialism. Zheng He's voyages were a great feat in the world's navigation history. There are still many buildings in present Southeast Asia dedicated to his memory.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)

3. 自十七世纪开始的西学东渐，对明清之际实学思潮的兴起起到了催生作用。

Since the 17th century, the west knowledge spread to the east gradually, which accelerated the rise of ideological trend during the period of Ming and Qing dynasty.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)

Eastward Spread of Western Learning starting from the 17th century accelerated the rise of ideological trend during the period of Ming and Qing dynasties.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:04, 27 December 2020 (UTC)

4. 洋务运动的历史作用不仅仅表现在经济上，其对中国近代思想启蒙的影响也是巨大的。洋务教育是洋务派为了满足洋务运动的需要，培养洋务人才进行的教育变革。

The effect of Westernization Movement in history is not only on economy but also greatly on contemporary ideological enllightenment in China. Westernization education was an education reformation launched by Westernization Faction intending to meet the needs of cultivating new-type talents.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)

The historical role of the foreign affairs movement is not only in the economy, but also in the enlightenment of modern Chinese thought. Westernization education is the educational reform carried out by Westernization Faction in order to meet the needs of cultivating new-type talents.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:12, 27 December 2020 (UTC)

==Liu Liu 刘柳==

1.张骞先后两次出使西域，打开了中国与中亚、西亚、南亚以至通往欧洲的陆路交通，从此中国人通过这条通道向西域和中亚等国出售丝绸、茶叶、漆器和其他产品，同时从欧洲、西亚和中亚引进宝石、玻璃器等产品。

Zhang Qian has made two missions to the Western Regions, opening up the land transportation between China and Central Asia, West Asia, South Asia and even Europe. Since then, the Chinese have sold silk, tea, lacquerware and other products to the Western Regions and Central Asia and other countries through this road, while importing gems, glassware and other products from Europe, West Asia and Central Asia.

2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。

The Maritime Silk Road was a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries, which was mainly centered on the South China Sea, so it was also known as the South China Sea Silk Road. The Maritime Silk Road was formed during the Qin and Han Dynasties, developed during the Three Kingdoms to the Sui Dynasty, flourished during the Tang and Song Dynasties, and transformed during the Ming and Qing Dynasties, which is the oldest maritime route known to people.

3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术活动的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展。

The Eastward Spread of Western Learning brought various new academic achievements in modern West into China, which deeply influenced the development of various academic activities, and many academic disciplines that were not valued or even did not exist in traditional China also developed under this influence.

4.洋务运动虽然在客观上刺激了中国资本主义发展，并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。

Although the Westernization Movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic input of foreign capitalism, it did not make China become prosperous and strong.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 06:42, 25 December 2020 (UTC)

==Liu Ou 刘欧==

==Liu Yi 刘艺==

==Liu Yiyu 刘怡瑜==

==Lo, Minh Thao==

==Lou Cancan 娄灿灿==
1 陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。东汉时期丝绸之路的起点在洛阳，它的最初作用是运输中国古代出产的丝绸。

The Overland Silk Road originated from the Western Han Dynasty (202-8 BC), when Emperor Wudi of the Han Dynasty sent Zhang Qian on a mission to the western Regions. Starting from the capital Chang 'an (now Xi 'an), it passed through Gansu and Xinjiang, reached central Asia and West Asia, and connected the Mediterranean countries on land. In the Eastern Han Dynasty, the starting point of the Silk Road was Luoyang. Its primary function was to transport silk produced in ancient China.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)

2 郑和具备军事才能，并且得到朱棣的信任。在朱棣决策下西洋时，郑和正当壮年。朱棣曾询问袁忠彻以郑和率军出使是否合适，袁忠彻认为合适。

Zheng He had military talents and Zhu Di trusted him. When Zhu Di was planning to the West, Zheng He was in his prime. Zhu Di had asked Yuan Zhongche whether Zheng was the right person on such massion. Yuan Zhongche thought he was appropriate.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)

3 徐光启较早师从利玛窦学习西方的天文、历法、数学、测量和水利等科学技术，毕生致力于科学技术的研究，勤奋著述，是介绍和吸收欧洲科学技术的积极推动者，为17世纪中西文化交流作出了重要贡献。

Xu Guangqi studied western science and technology such as astronomy, calendar, mathematics, measurement and water conservancy under Matteo Ricci. He devoted his whole life to the research of science and technology and wrote assiduously. He was an active promoter in introducing and absorbing European science and technology and made important contributions to the cultural exchanges between China and the West in the 17th century.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)

4 曾国藩的崛起，对清王朝的政治、军事、文化、经济等方面都产生了深远的影响。在曾国藩的倡议下，建造了中国第一艘轮船，建立了第一所兵工学堂，印刷翻译了第一批西方书籍，安排了第一批赴美留学生。

Zeng Guofan's rise had a profound influence on the politics, military affairs, culture and economy of the Qing Dynasty. At Zeng's initiative, He built China's first ship, established the first military academy, printed and translated the first batch of Western books, and arranged for the first batch of overseas students to go to the United States.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)

==Luo Weijia 罗维嘉==
1.丝绸之路沿途的大批历史文物、引人入胜的自然风景以及富有情趣的地方文化，使这一长途远游成了世界上最精彩的旅游项目之一。
A wealth of historical relics, fascinating scenery and interesting local cultures along the Silk Road make this long trip one of the world’s most exciting tourist attractions.

2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举，对中外经济、文化交往起到了积极作用。
Zheng He's voyage to the West was an unprecedented feat in the history of world navigation in the early 15th century and played a positive role in economic and cultural exchanges between China and foreign countries.

3.西学东渐是指近代西方学术思想向中国传播的历史过程。
The Eastward Spread of Western Learning refers to the historical process of the spread of western academic ideas to China in modern times.

4.洋务运动虽然在客观上刺激了中国资本主义发展，并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。
Although the Westernization Movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic input of foreign capitalism, it did not make China become prosperous and strong.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:28, 27 December 2020 (UTC)

==Luo Yuqing 罗雨晴==

1.传统的丝绸之路，起自中国古代都城长安，经中亚国家、阿富汗、伊朗、伊拉克、叙利亚等而达地中海，以罗马为终点。

The traditional silk road starts from Chang'an, the ancient capital of China, and reaches the Mediterranean Sea through Central Asian countries, Afghanistan, Iran, Iraq, Syria, etc. with Rome as the end point.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)

2.在地文航海技方面，郑和下西洋的地文航海技术，是以海洋科学知识和航海图为依据，运用了航海罗盘、计程仪、测深仪等航海仪器，按照海图、针路簿记载来保证船舶的航行路线。

In terms of geographical navigation technology, Zheng He's geographical navigation technology was based on marine scientific knowledge and nautical charts. He used navigational instruments such as compass, log and depth sounder to ensure the navigation route of the ship according to the records of charts and needle books.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)

3.甲午战争以后，由于中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。

After the Sino Japanese War, because China was facing with the fate of national destruction, many people of insight began to learn from the West more actively and comprehensively, and a group of thinkers such as Liang Qichao, Kang Youwei and Tan Sitong appeared.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)

4.经过两次鸦片战争的失败，以及太平天国的打击，清朝内外交困，清朝的一部分官僚开始认识到西方坚船利炮的威力。为了解除内忧外患，实现富国强兵，以维护清朝统治，开始学习西方文化及先进的技术，这样一部分人被称为洋务派。

After the defeat of the two Opium Wars and the attack of the Taiping Heavenly Kingdom, the Qing Dynasty was beset by internal and external troubles, and some of the bureaucrats in the Qing Dynasty began to realize the power of the western strong ships and cannons. In order to relieve domestic and foreign troubles, enrich the country and strengthen the army, and maintain the rule of the Qing Dynasty, they began to learn western culture and advanced technology.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)

==Mo Ling 莫玲==

1.汉通西域，虽然起初是出于军事目的，但丝绸之路开通以后，它的影响，远远超出了军事范围。

Although the Han Dynasty connected with the Western Regions for military purposes at first, its influence was far beyond the military scope after the opening of the Silk Road.

Although the Han Dynasty connected with the Western Regions for military purposes at first, its influence was far-reaching, well beyond the military scope after the opening of the Silk Road.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:38, 26 December 2020 (UTC)

2.明初工商业的恢复和发展，宋、元以来中国海外贸易的发达，对外移民的增加，所有这一切，都为郑和下“西洋”准备了坚实的经济基础和物质条件。

The recovery and development of industry and Commerce in the early Ming Dynasty, the development of China's overseas trade since the song and Yuan Dynasties, and the increase of foreign immigrants all prepared a solid economic foundation and material conditions for Zheng He's "western" voyage.

3.利玛窦向中国社会传播了西方的几何学、地理学知识以及人文主义的观点，开了晚明士大夫学习西学的风气。

Matteo Ricci spread the western knowledge of geometry, geography and humanism to the Chinese society, which initiated the practice for the literati to absorb western learnings in the late Ming Dynasty.

Ricci spread western knowledge of geometry and geography as well as humanist views to Chinese society, opening the way for scholars in the late Ming Dynasty to absorb western studies.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:07, 26 December 2020 (UTC)

4.江南制造局虽是清末洋务派创办的规模最大的兵工厂，但是技术上仍是由外国技师垄断．

Although Jiangnan Manufacturing Bureau was the largest arms factory founded by Westernization Group in the late Qing Dynasty, it was still monopolized by foreign technicians in the aspect of technique.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 11:33, 26 December 2020 (UTC)Mo Ling

Although Jiangnan Manufacturing Bureau was the largest arsenal founded by the Westernization Group in the late Qing Dynasty, the technology was still monopolized by foreign technicians.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:07, 26 December 2020 (UTC)

==Ngo, Thi Minh Huong==

==Ouyang Ling 欧阳玲==
1.建元二年（前139年），张骞率领100多名随行人员，由匈奴人堂邑父为向导从长安出发前往西域。西行进入河西走廊。这一地区自月氏人西迁后，已完全为匈奴人所控制。正当张骞一行匆匆穿过河西走廊时，不幸碰上匈奴的骑兵，他们全部被抓获。

In the second year of Jianyuan(139 B.C.), Zhang Qian set off to the Western Regions leading an entourage of more than 100 men from Chang'an under the guidance of Tang Yifu who is a Hun. They travelled westward into the Hexi Corridor which had been completely controlled by the Huns since they moved westward. When they tried to hurry through this region, unfortunately they met the Hun cavalry, and they were all captured.

2.郑和下西洋所到之处主要是开展贸易活动，以“朝贡贸易”为基本形式，同时推行“官方贸易”、带动“民间互市”等。

Zheng He's voyages are mainly to carry out trade activities, during which they took "tribute trade" as the basic activity, and at the same time promoted "official trade" and "non-governmental trade".

3.在明末清初的一波西学东渐中，传教士扮演著相当重要的角色，当时主要以天主教耶稣会为主的传教士们，在试图将天主教传入中国的同时，引介了西方的科技学术思想，译著了大量的西方学术相关书籍。

From the late Ming Dynasty to the early Qing Dynasty, missionaries played an important role in the Eastward Spread of Western Learning. While trying to introduce Catholicism into China, the missionaries mainly composed of the Catholic Jesuits introduced western scientific and technological thoughts and translated a large number of western academic books.

4.在洋务运动存续的35年里，文化出版事业的发展达到了一个前所未有的水平。译书经历了由单纯的西方科技著作和书籍，向自然科学和社会科学，人文科学等著作并重，甚至后者略占上风的过程。

During the 35 years of Westernization Movement, the development of cultural publishing reached an unprecedentedly high level. The translation of books experienced a process from the dominance of western scientific and technological works to the emphasis laid equally on works of natural and social sciences and humanities, and even the latter took the majority.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 12:15, 24 December 2020 (UTC)

1. In the second year of Jian Yuan (139 BC), Zhang Qian led more than 100 serve men, with the Xiongnu man Tang Yi as the guide, to set off from Chang’ an to the West. This area has been completely controlled by the Xiongnu since the westward migration of the Ziyue people. Just as Zhang Qian passed through the Hexi Corridor, they unfortunately ran into the Xiongnu cavalry, who captured them all.

2. Zheng He mainly carried out trade activities in all the places he visited, taking “tribute trade” as the basic form. At the same time, he also promoted “official trade” and “private mutual market”.

3. In the wave of Western learning in the late Ming and early Qing dynasties, missionaries played an important role, mainly the Jesuit missionaries, who tried to introduce Catholicism into China, introduced Western scientific and academic ideas, and translated a large number of Western academic books.

4. During the 35 years’ Westernization Movement, the development of publishing reached an unprecedented level. The translation of books went through a process from purely Western scientific and technological works and books to works on natural sciences and social sciences, humanities, etc., with the latter even slightly prevailing.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:54, 25 December 2020 (UTC)Yang chenting

==Peng Ruihong 彭锐宏==

==Phyo, Su Kyi==
1-张谦出生于西汉（公元前206年至公元24年）的城固县（今陕西省城固县）。他是中国历史上杰出的使节和探险家，开辟了古老的丝绸之路，并带来了有关西部地区的可靠信息.

Zhang Qian was born in Chenggu (the present Chenggu County of Shaanxi Province) of Western Han Dynasty (206 BC-24 AD). He was an outstanding envoy and explorer in Chinese history, opening up the ancient Silk Road and bringing reliable information about the Western Regions.

Zhang Qian was born in Chenggu (the present Chenggu County of Shaanxi Province) of Western Han Dynasty (206 B.C.-24 A.D.). He was an outstanding envoy and explorer in Chinese history, opening up the ancient Silk Road and bringing reliable information about the Western Regions to China.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)

2-郑和（1371-1433）是一位伟大的中国探险家和舰队司令。他进行了七次主要探险，以探索中国皇帝的世界并在新地区建立中国贸易。

Zheng He (1371 - 1433) was a great Chinese explorer and fleet commander. He went on seven major expeditions to explore the world for the Chinese emperor and to establish Chinese trade in new areas.

Zheng He, a great Chinese explorer and fleet captain, has carrried out 7 major explorations to broaden Chinese emperor's world and establish Chinese trade in new regions.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:02, 24 December 2020 (UTC)

3-西方的儒道教说，为中西文化交流做出了贡献。

The West Chinese Confucian and Daoist doctrines, and made contributions to cultural exchange between China and the West.

The Chinese Confucian and Daoist doctrines in the West, and made contributions to cultural exchange between China and the West.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)

4-自强运动，又称为洋务运动（西洋运动或西洋运动）（约1861年至1895年），是鸦片战争的军事灾难后在清朝后期在中国发起的体制改革时期。

The Self-Strengthening Movement, also known as the Westernization or Western Affairs Movement ( c. 1861–1895), was a period of institutional reforms initiated in China during the late Qing dynasty following the military disasters of the Opium Wars.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 09:43, 24 December 2020 (UTC)Phyo Su Kyi

The Self-Strengthening Movement, also known as the Westernization Movenment or Western Affairs Movement ( c. 1861–1895), was a period of institutional reforms initiated in China during the late Qing Dynasty following the military disasters of the Opium Wars.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)

==Pingki, Tanchangya==

==Qu Miao 瞿淼==
1、丝绸之路是起始于古代中国，连接亚洲、非洲和欧洲的古代陆上商业贸易路线，最初的作用是运输古代中国出产的丝绸、瓷器等商品，后来成为东方与西方之间在经济、政治、文化等诸多方面进行交流的主要道路。

The Silk Road was an ancient overland commercial and trade route connecting Asia, Africa and Europe that started from ancient China. Its initial function was to transport commodities such as silk and porcelain produced in ancient China. Later, it became the main road for economic, political and cultural exchanges between the East and the West.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)

2、郑和下西洋，是15世纪初叶世界航海史上的空前壮举，对中外经济、文化交往起到了积极作用；郑和本人，也在这一历史事件中展现出其外交才能、军事谋略以及精神品质，并赢得世人的尊重和纪念。晚清以降，郑和研究获得迅速发展，但不少重要课题仍无定论。

Zheng He's voyages to the West were an unprecedented feat in the maritime history of the world at the beginning of the 15th century, which played a positive role in the economic and cultural exchanges between China and foreign countries. Zheng himself showed his diplomatic skills, military strategies and spiritual qualities in this historical event, and won the respect and memory of the world. Since the late Qing Dynasty, the study of Zheng has achieved rapid development, but many important issues are still not conclusive.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)

3、徐光启，上海人，是自李时珍后的明代又一位杰出的科学家。他生于嘉靖41年即公元1562年，父亲是个小商人，家里有一点土地，但日子过得并不宽裕，所以徐光启从小就从事农业生产劳动，这对他后来的成长有很大影响。

Xu Guangqi, a Native of Shanghai, was another outstanding scientist in the Ming Dynasty after Li Shizhen. He was born in 1562, the year of the 41st emperor jiajing. His father was a merchant and his family had a little land, but his life was not very well-off. Therefore, Xu Guangqi was engaged in agricultural production and labor from an early age, which had a great influence on his later growth.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)

4、曾国藩的崛起，对清王朝的政治、军事、文化、经济等方面都产生了深远的影响。在曾国藩的倡议下，建造了中国第一艘轮船，建立了第一所兵工学堂，印刷翻译了第一批西方书籍，安排了第一批赴美留学生。

Zeng Guofan's rise had a profound influence on the politics, military affairs, culture and economy of the Qing Dynasty. At Zeng's initiative, He built China's first ship, established the first military academy, printed and translated the first batch of Western books, and arranged for the first batch of overseas students to go to the United States.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)

==Rajabov, Anushervon==

==Seydou, Sagara==

==Shi Haiyao 石海瑶==
1.丝绸之路促进了中外经济文化的交流，也密切了汉族与沿途的其他少数民族的关系，促进了我国西北地区的开发。

The Silk Road has enhanced economic and cultural exchanges between China and foreign countries, as well as closer relations between the Han nationality and other minorities along the route, and promoted the development of the northwest China.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)

2.21世纪海上丝绸之路的战略合作伙伴并不仅限与东盟，而是增进同沿边国家和地区的交往，串起连通东盟、南亚、西亚、北非、欧洲等各大经济板块的市场链，发展面向南海、太平洋和印度洋的战略合作经济带，以亚欧非经济贸易一体化为发展的长期目标。

The strategic partners of the Maritime Silk Road in the 21st century are not only limited to ASEAN, but also to promote exchanges with countries and regions along the border, linking the market chains of ASEAN, South Asia, West Asia, North Africa, Europe and other major economic sectors, and developing a strategic cooperative economic belt for the South China Sea, the Pacific Ocean and the Indian Ocean, with Asia-Europe and Africa economic and trade integration as the long-term goal of development.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)

3.发生在明末清初并且延续到清朝中叶，伴随着耶稣会士来华传教而展开的西方科技传入中国的历史事件，被称为西学东渐第一波。它给中国科技发展带来了全新的可能性。

The historical event of the introduction of Western science and technology into China, which took place in the late Ming and early Qing dynasties and lasted until the middle of the Qing dynasty, accompanied by the Jesuits' mission to China, is known as the first wave of The Eastward Spread of Western Learning. It brings new possibilities to the development of science and technology in China.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)

4.洋务运动虽然有种种缺陷和弊端，但主要历史作用是积极的，是中国近代史上的一次进步运动。它促进了民族资本主义的发展，延缓了而不是加速了中国半殖民地化的进程。

Although the Westernization Movement has various defects and drawbacks, its main historical role is positive. As a progressive movement in the modern history of China, it promoted the development of national capitalism and delayed rather than accelerated the process of China's semi-colonization.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)

==Si Yu 司妤==

==Tan Yuanyuan 谭媛媛==

==Tang Bei 汤蓓==

==Tang Yiran 汤伊然==

==Wang Meiling 王美玲==
1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。

The land Silk Road originated from the Western Han Dynasty (BC 202-AD 8 ) when Emperor Wu of Han Dynasty dispatched Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, with connection to Mediterranean countries.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)

2.向西航行的郑和七下西洋：这是明朝政府组织的大规模航海活动，曾到达亚洲、非洲39个国家和地区，这对后来达·伽马开辟欧洲到印度的地方航线，以及对麦哲伦的环球航行，都具有先导作用。

Westward sailing of Zheng He's seven voyages was a large-scale sailing activity organized by the Ming government, which travelled 39 countries and regions in Asia and Africa, which had a pioneering effect on the Da Gamma’s opening up the local route from Europe to India, as well as on Magellan's worldwide voyage.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)

3.西学东渐所造成中国思想文化的影响和变化之大，在中国历史上只有百家争鸣可以与之媲美。中国人经过西学的洗礼，对于世界、历史发展、政治、经济、社会、自然界万事的看法，都有了巨大的改变。

The impact and the changes in Chinese thought and culture caused by Western learning can be rivaled only by the Hundred Schools of Thought in the history of China. After the baptism of Western learning, tremendous changes have been made on Chinese people's views on the world, historical development, politics, economy, society, and the whole nature.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)

4.清政府统治集团内的一些开明人士为了维护清政府的封建统治，而采取了一系列“自强”“求富”的措施，虽然其目的是为了维护封建统治，但这一运动是符合历史潮流的。

Some enlightened people in the Qing government adopted a series of measures for "self-improvement" and "seeking wealth" in order to maintain the feudal rule of the Qing government. Although they were aimed to maintain the feudal government, this movement was in line with the historical trend.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)

==Wang Xuan 王轩==
1. 张骞出使西域，既是一次极为艰险的外交旅行，同时也是一次卓有成效的科学考察。张骞对广阔的西域进行了实地的调查研究工作。
Zhang Qian's mission to the western regions was not only an extremely difficult diplomatic trip, but also an effective scientific investigation. Zhang Qian made a field investigation on the vast western regions.

Zhang Qian's mission to the Western Regions was not only an extremely difficult and dangerous diplomatic trip, but also a fruitful scientific investigation. Zhang Qian conducted field investigation and research work on the vast Western Regions.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling

2. 十五世纪初期，郑和下西洋作为军事史上一项意义重大的事件，当前学术界从郑和下西洋的政治、经济及文化等角度对该事件的作用及影响进行了分析，鲜少从历史意义层面进行研究。郑和七次下西洋所到达的地区、实施的措施在人类航行史上占据至关重要的地位，了解郑和下西洋的历史意义非常必要。
At the beginning of the 15th century, Zheng He's voyages to the West was a significant event in the military history. At present, the academic circles have analyzed the role and influence of Zheng He's voyages from the political, economic and cultural perspectives, but rarely from the perspective of historical significance. The area Zheng He arrived at and the measures he took during his seven voyages to the West occupy an important position in the history of human navigation. It is necessary to understand the historical significance of Zheng He's voyages to the West.

At the beginning of the 15th century, Zheng He's voyages to the West was a significant event in the military history. At present, the academia have analyzed the role and influence of Zheng He's voyages from the political, economic and cultural perspectives, but rarely from the perspective of historical significance. The area Zheng He arrived at and the measures he took during his seven voyages to the West occupy an important position in the history of human navigation. It is necessary to understand the historical significance of Zheng He's voyages to the West.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:49, 26 December 2020 (UTC)

3. 明代万历年间，以利玛窦为代表的西方传教士来华传教，同时带来西方科技、文化等。这对中国传统思想文化有所触动。此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。
During the Wanli period of the Ming Dynasty, Western missionaries represented by Matteo Ricci came to China to preach, bringing Western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, Western science and technology began to develop rapidly, while the development of science and technology in China was relatively slow, lagging behind Europe in the same period.

During the Wanli period of Ming Dynasty, western missionaries represented by Matteo Ricci came to China to preach and bring western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, western science and technology began to develop rapidly, while The development of Science and technology in China was relatively slow and lagged behind that in Europe at the same time.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling

4. 随着经济全球化的发展，国与国之间的界限已经减少了。中国不断引进西方的文化，外国也不断引进中国的文化。在这个过程中，中国从最原始的封建社会，也逐步走向西化。
With the development of economic globalization, the boundaries between countries have been reduced. China is constantly introducing western culture, and foreign countries are also constantly introducing Chinese culture. In this process, China gradually moved from the most primitive feudal society to Westernization.
--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 10:38, 26 December 2020 (UTC)Wang Xuan

With the development of economic globalization, the boundaries between countries have been reduced. China continues to introduce Western culture, and foreign countries continue to introduce Chinese culture. In this process, China has gradually moved from the most primitive feudal society to Westernization.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling

==Wu Qiong 吴琼==

==Wu Yilu 吴一露==

==Wu Zijia 吴子佳==

==Xiao Shuangling 肖双玲==
1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。东汉时期丝绸之路的起点在洛阳。它的最初作用是运输中国古代出产的丝绸。

1.The land Silk Road originated from the Western Han Dynasty (202-8 BC) when Emperor Wu of Han Dynasty sent Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, and to connect Mediterranean countries. The starting point of the Silk Road in the Eastern Han Dynasty was Luoyang. Its original function was to transport silk from ancient China.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling

2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。

2.The "maritime Silk Road" is a maritime channel for communication, trade and cultural exchanges between ancient China and foreign countries. The road is mainly centered on the South China Sea, so it is also called the South China Sea Silk Road. The maritime silk road was formed in the Qin and Han Dynasties, developed from the Three Kingdoms to the Sui Dynasty, flourished in the Tang and Song Dynasties, and transformed into the Ming and Qing Dynasties. It is the oldest known maritime route.

3.除了传教士之外，许多来华的官员、探险家等也成为传入西学的重要媒介，例如将领戈登对于中国洋务时期军事的影响。主持海关总税务司的赫德对于西方管理制度的引入，以及译介书籍、最早西方军乐队的引入都有影响。

3.Besides missionaries, many officials and explorers who came to China also became important media for the introduction of Western learning, such as general Gordon's influence on China's military during the Westernization period. Hurd, who presided over the General Revenue Department of customs, had an influence on the introduction of Western management system, the translation of books and the introduction of the earliest Western military band.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling

4.洋务运动内容涉及军事、政治、经济、外交等，以“自强”为名，兴办军事工业并围绕军事工业开办其他企业，建立新式武器装备的陆海军。洋务派经营的这些近代企业，是在不改变封建统治为前提下所办企业，具有很强的对外依赖性、封建性和一定程度的垄断性。

4.The Westernization Movement involved military affairs, politics, economy, diplomacy and so on. In the name of "self-improvement", the Westernization Movement set up military industry and other enterprises around the military industry to establish the army and Navy with new weapons and equipment. These modern enterprises managed by the Westernization clique were established on the premise of not changing the feudal rule, and had strong external dependence, feudalism and a certain degree of monopoly.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling

==Xiao Ting 肖婷==
1.2100多年前，中国汉代的张骞两次出使中亚，开启了中国同中亚各国友好交往的大门，开辟出一条横贯东西、连接欧亚的丝绸之路。千百年来，在这条古老的丝绸之路上，各国人民共同谱写出千古传诵的友好篇章。

The Silk Road first emerged more than 2,100 years ago during the Han Dynasty (206 BC-AD 24) after China's imperial envoy Zhang Qian twice visited Central Asia. It became a bridge between East and West, opening the door to friendly engagement between China and Central Asia. For two millennia, countless tales of everlasting friendship between peoples have been woven into this ancient network.

2.中国走的是一条和平发展之路。作为拥有五千年文明积淀的东方大国，中国人历来崇尚以和为贵，从来就没有对外扩张的基因。600多年前，郑和率领当时世界上最强大的船队七次远航太平洋和西印度洋，到访30多个国家和地区，没有侵占一寸土地。这对于当年热衷于殖民扩张的西方国家来说，简直是不可思议，但中国确实做到了。

China follows a path of peaceful development. China is a big country in the East with a five-thousand-year civilization. The Chinese believe in peace. There’s not a single bone of making external expansionism in the body of the Chinese. As early as over six hundred years ago, the Chinese navigator Zheng He led the biggest fleet in the world to the Pacific and west Indian Oceans on seven expeditions, visiting over thirty countries and regions, not taking a single inch of land. That was actually quite inconceivable for those Western powers who were busy making colonial expansion, but the Chinese did that.

3.在19世纪的西学东渐中，基督新教的教士也开始进入中国，天主教士也随口岸的开放来往各地，他们成立教会学校、医院，并开设印书馆、设立期刊、并译著大量各种书籍。对于西学的传入有很大贡献。

In the 19th century, Protestant priests also began to enter China, and Catholics also came with the opening of the ports. They established schools and hospitals, printed books, set up periodicals, and translated a large number of books. They contributed greatly to the Eastward Spread of Western learning。

4.在新航路的开辟，文艺复兴，宗教改革运动，资产阶级革命，产业革命的推动下，至洋务运动发生时，资本主义世界体系已初步完成，人类进入了一个新时期，这也是历史发展的必然。

Driven by the opening of new routes, the Renaissance, the Reformation, the bourgeois revolution, the industrial revolution, and by the time of the foreign affairs movement, the capitalist world system had been initially completed and mankind had entered a new period, which was a natural development of history.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:04, 27 December 2020 (UTC)Xiao Ting

==Xie Fan 解帆==
1.张骞第一次虽然没有完成出使目的，但是对西域诸国的山川地理、风土民情等重要信息，有了非常细致全面的掌握。

Although Zhang Qian did not reach the destination for the first time, he had a very detailed and comprehensive grasp of important information such as mountains, rivers, geography, people and local conditions of the western countries.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)

Although Zhang Qian did not arrive at the destination for the first time, he had a very detailed and comprehensive grasp of important information such as mountains, rivers, geography, people and local conditions of many western countries.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)

2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举。郑和本人也在这一历史事件中展现出其外交才能、军事谋略以及精神品质，并赢得世人的尊重和纪念。

Zheng He's voyage was an unprecedented achievement in the world's maritime history in the early 15th century. Zheng He, showed his diplomatic skills, military strategies and spiritual qualities in this historical event, and won the respect and honor of the world.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:06, 25 December 2020 (UTC)

Zheng He's voyage was an unprecedented achievement in the world's maritime history in the early 15th century. Zheng He himself showed his diplomatic skills, military strategies and spiritual qualities in this historical event who has won the respect and honor of the world.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)

3.甲午战争以后，由于中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。

After the War of 1894, as China was reduced to separation, many people of insight began to learn from the West more actively and comprehensively. At that time appeared Liang Qichao, Kang Youwei, Tan Si-tong and other thinkers.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)

After the War of 1894, as China was reduced to separation, many people of insight began to learn from the Western countries more actively and comprehensively. At that time appeared Liang Qichao, Kang Youwei, Tan Si-tong and other thinkers.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)

4.戊戌变法是一次具有爱国救亡意义的变法维新运动，是中国近代史上一次重要的政治改革，也是一次思想启蒙运动。

The Hundred Days' Reform is a movement with the significance of patriotic salvation, an important political reform in modern China's history, as well as an ideological enlightenment movement.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)

The Hundred Days' Reform is a movement with the significance of patriotic salvation, a significant political reform in modern China's history, as well as an ideological enlightenment movement.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)

==Xu Jia 徐佳==

1.丝绸之路是古代中国联系中亚、西亚、非洲和欧洲的交通要道。19世纪，德国一个地理学家首次使用“丝绸之路”这一术语，一直沿用到今天。期初，它指从中国新疆到中亚的陆地通道。

The Silk Road was a general name for the ancient strategic transportation channel which started from China and passed through Central Asia, West Asia, Africa and Europe. In the 19th century, when the name of Silk Road was first used by a German geographer, it just included the land road from China’s Xinjiang to Central Asia.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia

2.海上丝绸之路在时间和空间上经过了长期的发展，在东方各国共同的经营下，形成了东方历史上一道独特而壮丽的风景，至今仍然承载着东方文明的传统。

The Maritime Silk Road has gone through long-term development in time and space. Under the joint management of eastern countries, it has formed a unique and magnificent scenery in the history of the East and still carries the tradition of eastern civilization.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia

3.中华文明是古代六大原生文明之一，由于所处的独特地理位置，中华文明的发展一直具有极强的独立性，较少受到其他文明的影响。但随着历史向前发展，中国与世界的联系也更为密切，直到明末清初“西学东渐”，中国人才第一次系统地接触到西方文明。

The Chinese civilization is one of the six ancient civilizations. Due to its unique geographical location, the development of the Chinese civilization has always been highly independent and less influenced by other civilizations. As history progressed, however, China became more connected with the rest of the world. It was not until the eastward spread of western learning in the late Ming and early Qing Dynasty that Chinese people formed systematic knowledge about western civilization.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia

The Chinese civilization is one of the six ancient civilizations. Due to its unique geographical location, the development of the Chinese civilization has always been highly independent and less influenced by other civilizations. As history moving forward, however, China became more connected with the rest of the world. It was not until the eastward spread of western learning in the late Ming and early Qing Dynasty that Chinese people formed systematic knowledge about western civilization.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:09, 27 December 2020 (UTC)Xiao Ting

4.洋务运动创办了近代中国由国人自办的最早一批军用和民用近代企业，揭开了中国资本主义生产方式的序幕。

The Westernization Movement established the first modern military and civilian enterprises run by Chinese people in modern China, which provided an opening for capitalist production in China.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia

The Westernization Movement established the first bunch of modern military and civilian enterprises run by Chinese people in modern China, which provided an opening for capitalist production in China.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:09, 27 December 2020 (UTC)Xiao Ting

==Xu Jing 许静==
1.今人回顾历史，“张骞通西域”已是一段家喻户晓的美谈，张骞也成为历史记载的第一位出使西域的中原人。

As we look back on history, the story of Zhang Qian's visit to the Western Regions is a well-known story, and Zhang Qian became the first Chinese to travel to the Western Regions in history.

2.海上丝绸之路的极盛时期出现在元明两代，明代早期的郑和曾经七次下西洋。这种密切交流一直持续到明代中期。后来，清政府采取了闭关锁国的政策，才让海上丝绸之路失去了夺目的光彩。

The heyday of the Maritime Silk Road came during the Yuan and Ming Dynasties, when Zheng He made seven trips to the West in the early Ming Dynasty. This close exchange continued until the mid-Ming Dynasty. It was only later that the Qing government adopted a policy of seclusion that caused the Maritime Silk Road to lose its dazzling lustre.

3.西学东渐是指从明朝末年到近代的西方学术思想向中国传播的历史过程，虽然也可以泛指自上古以来一直到到当代的各种西方事物传入中国，但通常而言是指明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思传入。

Although the Eastward Spread of Western Learning can also be used to refer to the introduction of Western ideas into China from ancient times to the present day, it is usually used to refer to the introduction of European and American ideas during the late Ming and early Qing dynasties and the late Qing and early Republican periods.

4.洋务运动直接继承了林则徐、魏源的“中学为体、西学为用”的学西方思想，并把这种思想付诸实践，所以洋务运动开始是顺应历史潮流的，只是在后来发展过程中，应该继续变革而不去变革，致使其以违反历史潮流而结束。

The Westernization Movement directly inherited Lin Zexu's and Wei Yuan's idea of learning from the West, and put this idea into practice, so it was in line with the historical trend at the beginning, but later in the process of development, it should have continued to change but did not do so, resulting in the end of the movement against the historical trend. --[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 04:18, 28 December 2020 (UTC)

==Yang Chenting 杨晨婷==

1. 丝绸之路经济带，是在古丝绸之路概念基础上形成的一个新的经济发展区域。包括西北五省区陕西、甘肃、青海、宁夏、新疆。

1. Silk Road Economic Belt is a new economic development region formed on the basis of the ancient Silk Road. It includes the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang.

The Silk Road Economic Belt is a new economic development region based on the ancient Silk Road. It includes the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang. --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:03, 24 December 2020 (UTC)

The Silk Road Economic Belt is a new economic development region based on the ancient one. It covers the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:08, 25 December 2020 (UTC)

2. 海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称"海上陶瓷之路"和“海上香料之路”，1913年由法国的东方学家沙畹首次提及。

2. Maritime Silk Road is a maritime route of trade and cultural exchanges between ancient China and foreign countries, also known as “Maritime Ceramic Road” and “Maritime Spice Road”, first mentioned by the French orientalist Chavan in 1913.

The Maritime Silk Road was an ancient maritime channel for communication and cultural exchanges between China and foreign countries. It was also called the "Sea Ceramic Road" and "Sea Spice Road". It was first mentioned in 1913 by the French orientalist Shawan.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:30, 27 December 2020 (UTC)

3. 西学东渐是指从明朝末年到近代的西方学术思想向中国传播的历史过程，虽然也可以泛指自上古以来一直到到当代的各种西方事物传入中国，但通常而言是指明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思传入。

3. The Eastward Spread of Western Learning is a historical process of spreading Western academic thought to China from the late Ming Dynasty to modern times. Although it can also refer to the introduction of various Western things into China from ancient times to contemporary times, but usually refers to the introduction of academic thought from Europe and the United States in the late Ming and early Qing dynasties.

Western learning refers to the historical process of the dissemination of Western academic thought to China from the end of the Ming Dynasty to modern times. Although it can also refer to the introduction of various Western things from ancient times to the present time into China, it usually refers to the end. During the early Qing Dynasty and the late Qing Dynasty and the early Republican period, academic ideas were introduced into Europe and the United States.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:30, 27 December 2020 (UTC)

4. 鸦片战争后，他们的基本思想就是了解夷情,“师夷长技以制夷”。这些卓识远见表明近代向西方学习的思潮的始初就和爱国精神交融在一起。

4. After the Opium War, their basic idea was to understand the situation of the barbarians and “learn from them in order to control them”. These insights show that the modern trend of learning from the West was intertwined with the spirit of patriotism from the very beginning.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 02:34, 24 December 2020 (UTC)Yang Chenting

==Yang Hairong 杨海容==

1.明代中期以后，政府采取了闭关锁国的政策，与此同时，造船技术和航海技术不断发展，海上交通代之而起，使丝绸之路贸易全面走向衰落。

After the mid-Ming Dynasty, the government adopted a policy of shutting down the country. At the same time, shipbuilding technology and navigation technology continued to develop, and maritime traffic took its place, causing the Silk Road trade to decline in an all-round way.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)

After the middle of Ming Dynasty, the government adopted the policy of self-seclusion. At the same time, the shipbuilding technology and navigation technology developed continuously, and the maritime transportation replaced it, which made the Silk Road trade decline in an all-round way.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:55, 27 December 2020 (UTC)

2.郑和，这位航海史上的先驱，以智慧为舵，扬起和平的风帆，缔造了世界航海业发展的里程碑，厚植了“一带一路”的文化底色与民心基石，书写了中国同其他国家友好交往的千古佳话。

Zheng He, a pioneer in the history of navigation, took wisdom as the rudder and raised the sail of peace. He created a milestone in the development of the world’s navigation industry. An eternal story of friendly exchanges between countries.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)

3.利玛窦向中国社会传播了西方的几何学、地理学知识以及人文主义的观点，开了晚明士大夫学习西学的风气。

Matteo Ricci spread Western geometry, geography knowledge, and humanistic views to Chinese society, and developed the ethos of scholar-officials in the late Ming Dynasty to learn Western studies.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)

Matteo Ricci spread the Western knowledge of geometry, geography and humanism to the Chinese society, which opened the atmosphere for the literati to learn western learning in the late Ming Dynasty.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:55, 27 December 2020 (UTC)

==Yang Hui 阳慧==

==Yang Yue 杨悦==
1、丝绸之路经过亚洲、中东、北非和欧洲。几个世纪以来，丝绸之路是东西方交流的最重要的线路。尽管名字叫丝绸之路，人们进行贸易的商品却不仅仅是丝绸。玄奘和马可·波罗都留下了他们丝绸之路之旅的详尽记录。

The Silk Road went through Asia, the Middle East, North Africa and Europe. For centuries, the Silk Road was the most important line of communication connecting East and West. Although it's called the Silk Road, people traded much more than silk. Both Xuan Zang and Marco Polo left detailed records of their journeys along the Silk Road.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)

The Silk Road passes through Asia, the Middle East, North Africa and Europe. For centuries, the Silk Road has been the most important route for exchanges between East and West. Although it is called the Silk Road, the goods people trade are not just silk. Both Xuanzang and Marco Polo kept detailed records of their Silk Road journey. --[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:31, 27 December 2020 (UTC)

2、郑和（1317-1435）是中国最有名的探险家之一。1405至1433年间，郑和完成了七次著名的航行。他游览了亚洲和非洲的许多国家。郑和还从他游览的国家带回来很多礼物，像药品，珍珠和珍禽异兽。

Zheng He (1371-1435) was one of China's most famous explorers. Zheng He completed seven famous voyages between 1405 and 1433. He visited many countries in Asia and Africa. Zheng He also brought back many gifts from the countries he visited, such as medicines, pearls and strange animals.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)

As one of China's most famous explorers,Zheng He completed seven famous voyages between 1405 and 1433. He visited many countries in Asia and Africa. Zheng He also brought back many gifts from the countries he visited, such as medicines, pearls and strange animals.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:11, 27 December 2020 (UTC)

3、在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。

The rising modern press deeply transformed the traditional aesthetic mechanism from the content to the form. Then the modern press has facilitated the modern reforms of Chinese esthetics.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)

The modern newspapers and periodicals that emerged in the tide of western learning changed the traditional aesthetic mechanism, and caused a fundamental change in aesthetics from content to form, thus contributing to the modern transformation of Chinese aesthetics.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:31, 27 December 2020 (UTC)

4、洋务运动是部分先进的中国人探索中国近代化的过程。太平天国运动加速了中国近代历史的进程，推动了洋务运动的勃兴。洋务运动的历史作用不仅仅表现在经济上，其对中国近代思想启蒙的影响也是巨大的。

Westernization Movement is the process in which some Chinese with advanced knowledge explore how to modernize China. The Taiping movement accelerated the progress of China's modern history and promoted the Westernization movement. The effect of Westernization Movement in history is not only on economy but also greatly on contemporary ideological enlightenment in China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)

==Yang Ziling 杨子泠==
1. 张骞是丝绸之路的开拓者，被誉为“第一个睁开眼睛看世界的中国人”。他将中原文明传播至西域，又从西域诸国引进了汗血马、葡萄、苜蓿、石榴、胡麻等物种到中原，促进了东西方文明的交流。
Zhang Qian is a pioneer of the Silk Road, known as "the first Chinese to open his eyes to see the world". He spread the civilization of the Central Plains to the western regions, and introduced species such as Ferghana horse, grapes, alfalfa, pomegranates and flax to the Central Plains, which promoted the exchange of eastern and Western civilizations.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 04:51, 28 December 2020 (UTC)

2. 郑和每下西洋都带着一支威武雄壮的仪仗队，每到一国登陆时，前呼后拥，彩旗飘扬，服饰灿烂，刀光剑影，使人望而生畏，从而展示中国的富强。
Every time Zheng He went to the west, he carried a powerful and majestic guard of honor. When he landed in a country, he was surrounded by people, with colorful flags flying, splendid costumes and swords, which made people awe at the sight and showed China's prosperity.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 04:51, 28 December 2020 (UTC)

3. 西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。其虽然亦可以泛指自上古以来一直到当代的各种西方事物传入中国，但通常而言是指在明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思想的传入。
The spread of Western learning to the East refers to the historical process of the spread of western academic thoughts to China from the late Ming Dynasty to modern times. Although it can generally refer to the introduction of various Western things into China from ancient times to the present, it usually refers to the introduction of academic ideas from Europe and the United States in the late Ming and early Qing Dynasties and the late Qing and early Republic of China.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 04:51, 28 December 2020 (UTC)

4. 在曾国藩的倡议下，建造了中国第一艘轮船，建立了第一所兵工学堂，印刷翻译了第一批西方书籍，安排了第一批赴美留学生。
At the initiative of Zeng Guofan, China's first ship was built, the first military academy was established, the first batch of Western books was printed and translated, and the first batch of students was arranged to study in the United States.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 04:51, 28 December 2020 (UTC)

==Yi Zichu 义子楚==
1公元前2世纪，中国就开始开辟通往西域的丝绸之路。汉代使节(envoy)张骞于公元前138年和 119年两次出使西域。
In the 2nd century BC, China began working on the Silk Road leading to the Western Regions. In138 BC and 119 BC, envoy Zhang Qian of the Han Dynasty made a trip to these regions respectively.

In the 2nd century BC, China began working on the Silk Road leading to the Western Regions. In 138 BC and 119 BC, envoy Zhang Qian of the Han Dynasty made a trip to these regions respectively.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 04:56, 28 December 2020 (UTC)

2，西汉时期,中国的商船队就到达了印度和斯里兰卡(Sri Lanka),用中国的丝绸换取了琉璃(colored glaze)、珍珠等物品。
In the Western Han Dynasty, China's merchant fleets sailed to as far as India and Sri Lanka to trade China's silk for colored glazes, pearls and other products.

In the Western Han Dynasty, China's merchant fleets sailed to as far as India and Sri Lanka to trade China's silk for colored glazes, pearls and other products.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 04:56, 28 December 2020 (UTC)

3，唐代是中国历史上对外交流的活跃期。据史料记载，与唐代通使交好的国家多达70多个,那时候的首都长安云集了来自各国的使臣、商人和留学生。这种大交流使中华文化远播世界,也促进了各国文化和物产传入中国。
The Tang Dynasty saw dynamic interactions between China and other countries. According to historical documents, th Tang Dynasty exchanged envoys with over 70 countries, and Chang' an, the capital of Tang, bustled with envoys, merchants and students from other countries. 'Exchanges of this magnitude helped the spread of the Chinese culture to the rest of the world and the introduction of the culture and products from other countries into China.

The Tang Dynasty saw dynamic interactions between China and other countries. According to historical documents, the Tang Dynasty exchanged envoys with over 70 countries, and Chang' an, the capital of Tang, bustled with envoys, merchants and students from other countries. Exchanges of this magnitude helped the spread of the Chinese culture to the rest of the world and the introduction of the culture and products from other countries into China.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 04:56, 28 December 2020 (UTC)

==You Yuting 游雨婷==

1.张骞出使西域本为贯彻汉武帝联合大月氏抗击匈奴之战略意图，但出使西域后汉夷文化交往频繁，中原文明通过"丝绸之路"迅速向四周传播。

Zhang Qian's mission to the Western regions was to implement the strategic intention of emperor Wudi of the Han Dynasty to unite with the Yuezhi clan to fight against the Xiongnu. However, after his mission to the Western regions, there were frequent cultural exchanges between the Han and The Barbarians, and the civilization of the Central Plains rapidly spread around through the "Silk Road".

2.海上丝绸之路自秦汉时期开通以来，一直是沟通东西方经济文化交流的重要桥梁，而东南亚地区自古就是海上丝绸之路的重要枢纽和组成部分。

Since its opening in the Qin and Han Dynasties, the Maritime Silk Road has been a significant bridge for economic and cultural exchanges between the East and the West, and Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.

3.西学东渐所造成中国思想文化的影响和变化之大，在中国历史上只有百家争鸣可以与之媲美。

The influence and change of Chinese ideology and culture brought by the eastward dissemination of Western learning can only be matched by the contention of a hundred schools of thought in Chinese history.

4.洋务运动推动了近代中国生产力的发展，促使了中国民族资本主义的产生。

Westernization movement advanced the development of productive forces in modern China and the emergence of Chinese national capitalism.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:47, 26 December 2020 (UTC)

1.Zhang Qian's mission to the Western regions was originally to implement the strategic intention of emperor Wudi of the Han Dynasty to unite with the Yuezhi clan to fight against the Xiongnu. However, after his mission to the Western regions, there were frequent cultural exchanges between the Han and the Barbarians, and the civilization of the Central Plains rapidly spread around through the "Silk Road".--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)

2.Since the opening of the Maritime Silk Road in Qin and Han Dynasties, it has been a significant bridge for economic and cultural exchanges between the East and the West, and Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)

3.In Chinese history, only contention of a hundred schools of thought can match the great influence and change of Chinese ideology and culture caused by the the eastward spreading of western learning.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)

4.The Westernization Movement promoted the development of productive forces in modern China and the emergence of Chinese national capitalism.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)

==Yu Ni 余妮==

1."海上丝绸之路"是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。

The "South China Sea Silk Road" is also known as the Maritime Cultural Communication Center of China. The maritime silk road was formed in the Qin and Han Dynasties, developed from the Three Kingdoms to the Sui Dynasty, flourished in the Tang and Song Dynasties, and transformed into the Ming and Qing Dynasties. It is the oldest known maritime route.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)

2.郑和下西洋是中国古代规模最大、船只最多（240多艘）、海员最多、时间最久的海上航行，比欧洲国家航海时间早几十年，是明朝强盛的直接体现。

Zheng He's voyages to the West were the largest, the largest number of ships (more than 240), the largest number of seafarers and the longest voyages in ancient China. They were decades earlier than those of European countries. They were the direct manifestation of the prosperity of the Ming Dynasty.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)

3.明代万历年间，以利玛窦为代表的西方传教士来华传教，同时带来西方科技、文化等。这对中国传统思想文化有所触动。此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。传教士在传播基督教的教义同时，也传入大量科学技术。

During the Wanli period of the Ming Dynasty, Western missionaries represented by Matteo Ricci came to China to preach, bringing Western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, Western science and technology began to develop rapidly, while the development of science and technology in China was relatively slow, lagging behind Europe in the same period. Missionaries not only spread Christian doctrine, but also introduced a lot of science and technology.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)

4.洋务运动的最根本的指导思想是"自强"、"求富"。其分类思想就是"师夷制夷" 、"中体西用" 八个字。前四个字"师夷制夷" 表明洋务运动与外国资本主义侵略者的关系，即学习西方的长技用以抵制西方的侵略。

The most fundamental guiding ideology of Westernization Movement is "self strengthening" and "seeking wealth". Its classification thought is "learning from foreigners, controlling foreigners" and "Chinese style and western use". The first four words "learning from foreigners and controlling foreigners" indicate the relationship between the Westernization Movement and foreign capitalist invaders, that is, learning from Western long-term skills to resist Western aggression.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)

==Yuan Tianyi 袁天翼==

唐代丝绸之路的畅通繁荣，也进一步促进了东西方思想文化交流，对以后相互的社会和民族意识形态发展，产生了很多积极、深远的影响。

The smooth and prosperous development of the Silk Road in the Tang Dynasty also further accelerated the ideological and cultural exchanges between the East and the West, causing a lot of positive and far-reaching influences on the development of mutual social and national ideologies in the future.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)

宋代海上丝绸之路的持续发展，大大增加了朝廷和港市的财政深收入，一定程度上促进了经济发展和城市化生活，也为中外文化交流提供了便利条件。

The continuous development of the Maritime Silk Road in the Song Dynasty greatly increased the deep financial income of the imperial court and the port city, promoted the economic development and urban life to a certain extent, and also provided convenient conditions for the cultural exchanges between China and foreign countries.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)

西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展，

The eastward spread of Western learning brought various new academic achievements of modern Western learning into China, which deeply influenced the development of various academic disciplines. Under such an influence, many disciplines that were not valued or even did not exist in traditional China also developed.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)

甲午中日战争中，北洋海军全军覆没，标志着清朝海军实力的完全丧失，也标志着35年的洋务运动宣告破产。

The total annihilation of the Beiyang Navy in the Sino-Japanese War marked the complete loss of naval power in the Qing Dynasty and the bankruptcy of the 35-year-old Westernization Movement.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)

==Zeng Liang 曾良==
1.公元前123年，张骞随大将军卫青出使匈奴，在他的引导下，平息了多年来北方匈奴对汉王朝的骚扰，张骞因此被封为博望侯。

In 123 B. C. , Zhang Qian followed General Wei Qing in a major military raid against the Xiongnu. His guidance led to a number of victories, which succeeded in ending the harassment by the Xiongnu of the Han Dynasty. Zhang Qian was therefore conferred the title of Marquis of Bowang.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)

In 123 B.C., Zhang Qian accompanied the great general Wei Qing on a mission to the Xiongnu. Under his guidance, the Xiongnu harassment of the Han dynasty in the north for many years was quelled, and Zhang Qian was thus made the Marquis of Bowang.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)

2.郑和的船队由三百艘大船及三万多名水兵组成，船队中最大的一艘船被称为“宝船”，其船身长达133米，船桅多达九根，可搭载一千人。郑和和汉人与穆斯林船员一起打开了中国在非洲、印度及东南亚的贸易航线。

Zheng He’s fleet had more than 300 ships and 30,000 sailors. The largest vessels, 133-meter-long “treasure ships”, had up to nine masts and could carry a thousand people. Along with a Han and Muslim crew, Zheng opened up trade routes in Africa, India, and Southeast Asia.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)

Zheng He's fleet consisted of 300 ships and more than 30,000 sailors, the largest ship in the fleet was called the "treasure ship", with a hull length of 133 meters and as many as nine masts, which could carry 1,000 people. Zheng He and the Chinese and Muslim crews together opened up Chinese trade routes in Africa, India and Southeast Asia.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)

Zheng He’s fleet had more than 300 ships and 30,000 sailors. The largest vessels(also called “treasure ships”),133-meter-long ,had up to nine masts and could carry a thousand people. Along with a Han and Muslim crew, Zheng opened up trade routes in Africa, India, and Southeast Asia.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:26, 25 December 2020 (UTC)

3.清末时，在“西学东渐”浪潮的冲击下，传统儿童教育踏入近代的门槛。

In late Qing dynasty, impacted by the wave of “ The Eastward Spread of Western Learning”, traditional children education stepped into the threshold of modern education. --[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)

At the end of the Qing Dynasty, under the impact of the wave of "Western learning", traditional children's education entered the threshold of modern times.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)

4.西进运动促进了农业、工业、交通业的飞速发展，也促进了美国城市化的进程。

The Westernization Movement promoted the rapid devepment of agrilucture, industry, transportation and the urbanization process of the United States as well. --[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)

The westward movement contributed to the rapid development of agriculture, industry, and transportation, as well as to the urbanization of the United States.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)

==Zeng Xinyuan 曾心媛==

丝绸之路是汉唐千余年间中外经济、文化交流的重要通道，为汉朝的强大，乃至整个中华民族的强大奠定了坚实的基础。
Silk Road, a significant path of economic and cultural exchanges between China and foreign countries during the Han and Tang Dynasty, which lasted for over thousand years, laying a solid foundation for greatness of the Han Dynasty, and even that of the whole Chinese nation.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)

回望历史，浩浩荡荡，郑和七下西洋堪称中国“海上丝绸之路”最壮丽的诗篇，也是人类航海史第一个高峰。
Looking back at the history, Zheng He’s seven voyages to the wast was the most magnificent poem of China’s “Maritime Silk Road”, as well as the first peak in the history of human navigation.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)

鸦片战争后，他们的基本思想就是了解夷情,“师夷长技以制夷”。
After the Opium War, their basic idea was to understand the situation of foreigners and "learn from the advanced technologies in the West in order to resist the invasion of the Western powers.”--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)

洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。
Westernization Movement, also known as self-improvement movement, was a self-saving movement that westernization school in the late Qing Dynasty introduced western military equipments, machine production, science and technology to save the rule of Qing Dynasty from 1860s to 1990s.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)

==Zhang Hui 张慧==

==Zhang Ling 张玲==

1. 丝绸之路全长约7000公里，经由这条线路所进行的贸易中，中国的丝绸最具代表性，因此得名“丝绸之路”。

The total length of the silk road is about 7000 km. Among the trade carried out along this route, China's silk is the most representative, so it is named the "Silk Road". --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)

2. 在中国，作为国家的政治任务，郑和下西洋对于中国的经济的刺激作用微乎其微。而在西方，东方的商品和航海贸易的利润直接加速了资本主义的原始积累。

In China, as a national political task, Zheng He's Voyages had little stimulating effect on China's economy. However, in the west, the profits from the eastern commodity and maritime trade directly accelerated the primitive accumulation of capitalism. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)

3. 甲午战争以后，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。他们向西方学习大量的自然科学和社会科学的知识，政治上也要求改革。这一时期大量的西方知识传入中国，影响非常广泛。

After the Sino-Japanese War of 1894-1895, many people with breadth of vision began to learn from the West more actively and comprehensively, and a group of thinkers such as Liang Qichao, Kang Youwei and Tan Sitong appeared. They learned a lot from the West about natural science and social science, and demanded political reform. During this period, a large amount of Western knowledge was introduced into China, and its influence was very extensive. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)

4. 洋务运动前期，洋务派以“自强”为旗号，采用西方先进生产技术，创办了一批近代军事工业。

In the early stage of Westernization Movement, the School of Westernization established a number of modern military industries under the banner of "self-improvement" and adopting advanced western production technology. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)

In the early stage of Westernization Movement, under the banner of "self-improvement",the School of Westernization adopted advanced western production technology and established a number of modern military industries.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:21, 27 December 2020 (UTC)

==Zhang Peiwen 张佩闻==

==Zhang Weihong 张维虹==

1. 陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。

The overland Silk Road originated in the Western Han Dynasty (202-8 years ago). Emperor Wu of the Han Dynasty sent Zhang Qian to the Western Regions to open up an overland route starting from the capital Chang'an (now Xi'an), passing through Gansu and Xinjiang, to Central and West Asia, and connecting Mediterranean countries.

2. 郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险

Zheng He's voyage to the West was the largest sea voyage in ancient China with the largest number of ships and sailors and the longest time. It was also the largest series of sea explorations in world history before the voyage of the great geographical discovery in Europe at the end of the 15th century.

3. 尽管如此，纵观中国近代西学东渐的历史,它的成就是巨大的。虽然经历了由表及里、由浅入深的艰难探索和吸收过程,但毕竟使中国的近代化历程大大加速,客观上加快了清王朝灭亡的脚步,为中国早日推翻一个旧世界,建立一个新世界奠定了基础。但墨守成规、亦步亦趋的学习心理使中国的每一步学习都事倍功半,成效大打折扣.学习中的'一边倒'现象和盲目照搬现象使中国的西学东渐走了许多弯路,学习中的'急功近利'思想也是造成西学东渐成效甚微的重要原因。

In spite of this, looking at the history of the spread of western learning to the east in modern China, its achievements are huge. Although it has gone through a difficult process of exploration and absorption from the outside to the inside and from the shallow to the deep, it has greatly accelerated China's modernization process, objectively accelerated the pace of the demise of the Qing Dynasty, and laid a foundation for China to overthrow an old world and establish a new world as soon as possible. However, the learning psychology of sticking to the rules and following the same trend makes every step of China's learning get twice the result with half the effort and the effect is greatly reduced. The phenomenon of "one-sided" and blind copying in learning have led to many detours in the spread of western learning to the east in China, and the thought of "eager for quick success and instant benefits" in learning is also an important reason for the little effect of the spread of western learning to the east.

4. 洋务运动后期，洋务派为解决军事工业资金、燃料、运输等方面的困难，打出“求富”的旗号，兴办了一批民用工业。

In the late period of the Westernization Movement, in order to solve the difficulties in capital, fuel and transportation of military industry, the Westernization Movement set up a number of civilian industries under the banner of "seeking wealth".
--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 03:18, 28 December 2020 (UTC) Zhang Weihong

==Zhang Yinliu 张银柳==

==Zhang Yu 张瑜==
1.通过张骞的外交实践，构建了汉朝与西方国家友好交往的桥梁，促进了东西方文化、经济的交流和发展，为中国汉代昌盛和后世的对外开放奠定了坚实的基础。

Through Zhang Qian's diplomatic practice, he built a bridge of friendly relations between the Han Dynasty and the West, promoting cultural and economic exchanges and development between the East and the West, and laying a solid foundation for the prosperity of the Han Dynasty and the opening up of China to the outside world in later generations.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)

2.郑和下西洋折射出的中国先进航海科技光辉，表现了中国古代人的伟大智慧，从而创造了郑和下西洋的伟大航程。

Zheng He's voyage to the West reflected the glory of China's advanced navigation technology and demonstrated the great wisdom of ancient Chinese people, thus creating the great voyage of Zheng He to the West.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)

3.西学东渐，是指从明朝末年到近代的西方学术思想向中国传播的历史过程。

The Eastward Spread of Western learning refers to the historical process of the spread of Western academic thoughts to China from the end of the Ming Dynasty to modern times.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)

4.甲午中日战争中，北洋海军全军覆没，标志着清朝海军实力的完全丧失，也标志着35年的洋务运动宣告破产。

In the Sino-Japanese War of the First Sino-Japanese War, the Beiyang Navy was wiped out, marking the complete loss of the Qing Dynasty's naval power and the bankruptcy of the 35-year Westernization Movement.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)

==Zhang Yujie 张毓婕==
1.东汉时期丝绸之路的起点在洛阳，它的最初作用是运输中国古代出产的丝绸。

The starting point of the Silk Road in the Eastern Han Dynasty was Luoyang. Its original function was to transport silk produced in ancient China.

2.海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称"海上陶瓷之路"和“海上香料之路”

The Maritime Silk Road was a maritime passage for communication, trade and cultural exchanges between China and foreign countries in ancient times. It was also called the "Maritime Ceramic Road" and the "Sea Spice Road".

3.西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。

The spread of Western learning to the east refers to the historical process of the spread of Western academic thought to China from the late Ming Dynasty to modern times.

4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。

The Westernization Movement, also known as the self-improvement movement. It was a self-rescue movement carried out by the Westernization School in the late Qing Dynasty from the 1860s to the 1990s to bring in Western military equipment, machine production, and science and technology to save the Qing Dynasty.

==Zhang Yuxing 张宇星==

1. 张骞出使西域本为贯彻汉武帝联合大月氏抗击匈奴之战略意图，但出使西域后汉夷文化交往频繁，中原文明通过“丝绸之路”迅速向四周传播。

Zhang Wei out of the Western Region to carry out the Han Wu Emperor United Moon's strategic intention to fight against the Hunnu, but out of the Western Region after the Hanyi cultural exchanges frequent, the Central Plains civilization through the "Silk Road" spread rapidly around.

2. 郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险。

Zheng He's Voyage to the West Was the largest, largest and longest maritime voyage in ancient China, and the largest series of maritime expeditions in the history of the world before the great geographical discovery of Europe at the end of the 15th century.

3. 在明末清初的一波西学东渐中，传教士扮演著相当重要的角色，当时主要以天主教耶稣会为主的传教士们（较晚亦有方济各会、多明我会等的教士），在试图将天主教传入中国的同时，引介了西方的科技学术思想，译著了大量的西方学术相关书籍。

Missionaries played a very important role in a wave of Western studies in the late Ming and early Qing years, when the missionaries, mainly Catholic Jesuits (later franciscans, polyseigns, etc.), introduced Western scientific and technological academic ideas and translated a large number of Western academic books while trying to introduce Catholicism to China.

4. 甲午战争的结果给中华民族带来空前严重的民族危机，大大加深了中国社会半殖民地化的程度；另一方面则使日本国力更为强大，为其跻身列强奠定了重要基础。

The result of the Sino-Japanese War brought unprecedented serious national crisis to the Chinese nation, which greatly deepened the degree of semi-colonization of Chinese society, and on the other hand, made Japan stronger and laid an important foundation for its ranks among the great power.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:22, 26 December 2020 (UTC)

==Zhao Xi 赵茜==
1.“丝绸之路”是指起始于古代中国，连接亚洲、非洲和欧洲的古代陆上商业贸易路线。

Silk Road refers to the ancient land trade route which started in the ancient China and connected Asia, Africa and Europe.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)

Silk Road refers to the ancient land trade route which originated from ancient China and connected Asia, Africa and Europe.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)

2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。

Maritime Silk Road is the sea-lane by through which ancient China traded and did cultural exchanges with other countries. This Silk Road is mainly centered with the South China Sea, thus is called the South China Sea Silk Road as well. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)

Maritime Silk Road is the sea route through which ancient China traded and did cultural exchanges with foreign countries. This Silk Road centered on the South China Sea, thus being called the South China Sea Silk Road as well.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)

3.西学东渐，是指从明朝末年到近代的西方学术思想向中国传播的历史过程。

Eastward Spread of Western Learning refers to the historic process of the spread of western academic thought to China from the end of Ming Dynasty and the modern times.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)

Eastward Spread of Western Learning refers to the historic course of the spread of western academic thought to China from the end of Ming Dynasty to the modern times.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)

4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。

Westernization Movement, also known as Self-strengthening Movement, is a self-helping movement carried out by the late Qing dynasty in the 1860s and 1990s to introduce Western military equipment, machine production and science and technology to save the Qing dynasty.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)

Westernization Movement, also known as Self-strengthening Movement, was a self-helping movement carried out by the westernization group of the late Qing dynasty from the 1860s to 1990s for introducing Western military equipment, machine production and science and technology to China to save the Qing government.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)

==Zhao Xiaoyan 赵晓燕==

==Zhou Yiwen 周艺文==

1.张骞到大宛后，向大宛国王说明了自己出使月氏的使命和沿途种种遭遇，希望大宛能派人相送，并表示今后如能返回汉朝，一定奏明汉皇，送他很多财物，重重酬谢。大宛王本来早就风闻东方汉朝的富庶，很想与汉朝通使往来，但苦于匈奴的中梗阻碍，未能实现。汉使的意外到来，使他非常高兴。

After arriving in Dayuan, Zhang Qian explained to the king of Dawan his mission and experiences along the way, and hoped that Dawan could send men to escort him to the Darouzhi. He also said that if he could return to the Han Dynasty in the future, he would tell the emperor of Han and implore him to send a lot of wealth and rewards to the The the king of Dawan. The King of Dawan had long heard of the wealth of the Han Dynasty and wanted to communicate with Han, but he failed to do so because of the hindrance from the Xiongnu. The unexpected arrival of han Emissary made him very happy.

2.郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险。

Zheng He's expeditions were the largest in ancient China, with the largest number of ships and sailors and the longest time. They were also the largest series of maritime expeditions in the history of the world before the voyages of European geographical discoveries at the end of the 15th century.

3.此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。传教士在传播基督教的教义同时，也传入大量科学技术。

At this time, western science and technology began to develop rapidly, while the development of Science and technology in China was relatively slow and lagged behind that in Europe at the same time. Missionaries spread the Christian doctrine, but also spread a lot of science and technology.

4.为了解除内忧外患，实现富国强兵，以维护清朝统治，开始学习西方文化及先进的技术，这样一部分人被称为洋务派。

In order to relieve domestic troubles and foreign invasion, enrich the country and strengthen the army to maintain the rule of Qing dynasty, some people began to learn Western culture and advanced technology, so they were called westernization Group.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:00, 27 December 2020 (UTC)

==Zhou Yuanqu 周园曲==

1.张骞先后两次出使西域，打开了中国与中亚、西亚、南亚以至通往欧洲的陆路交通，从此中国人通过这条通道向西域和中亚等国出售丝绸、茶叶、漆器和其他产品，同时从欧洲、西亚和中亚引进宝石、玻璃器等产品。

1.Zhang Qian made two missions to the Western Regions, opening up land transportation between China and Central Asia, West Asia, South Asia, and even to Europe. From then on, the Chinese used this channel to sell silk, tea, lacquerware and other products to the Western Regions and Central Asia. At the same time introduce gems, glassware and other products from Europe, West Asia and Central Asia.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:00, 28 December 2020 (UTC)

2.郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险。

2.Zheng He's voyage to the West was the largest sea voyage in ancient China, the largest number of ships and seafarers, and the longest time. It was also the largest series of sea expeditions in the history of the world before the voyage of the great geographical discovery in Europe at the end of the 15th century.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:00, 28 December 2020 (UTC)

3.西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。其虽然亦可以泛指自上古以来一直到当代的各种西方事物传入中国，但通常而言是指在明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思想的传入。

3.The spread of Western learning to the east refers to the historical process of the spread of Western academic thought to China from the late Ming Dynasty to modern times. Although it can also generally refer to the introduction of various Western things into China from ancient times to the present, it usually refers to the academic thoughts in Europe and the United States during the two periods of the late Ming and early Qing and the late Qing and the early Republic. Incoming.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:00, 28 December 2020 (UTC)

4.洋务运动的内容之一是创办新式学校，选送留学生出国深造，培养翻译人才、军事人才和科技人才。1862年在北京设立的京师同文馆，就是中国最早的官办新式学校。

One of the contents of the Westernization Movement was to establish new schools, select and send overseas students to study abroad, and train translators, military talents and scientific and technological talents. The Jingshi Tongwenguan, established in Beijing in 1862, was the earliest government-run new school in China.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:00, 28 December 2020 (UTC)

==Zhu Meimei 祝美梅==

不仅是中国与这些国家进行交流，通过丝路，印度、东南亚、中东、非洲和欧洲之间的贸易交流也迅速活跃起来。

The Silk Road not only deepen exchanges between China and these countries, but also gave an impetus to trades between India, Southeast Asia, the Middle East, Africa and Europe.

郑和下西洋的路线，被称为海上丝绸之路，那是一条向往陌生的海岸线的开放之路。

The sailing routes of Zheng He, also known as the Maritime Silk Road, was an open road symbolizing people's aspiration to unfamiliar coastlines.

明末清初,西方传教士来华传教,掀起了西学东渐的第一次高潮。

In the late Ming and early Qing dynasty, lots of western missionaries came to China , which brought the first upsurge of the Eastward spread of Western learning.

洋务运动的主要人物具有典型性和代表性的是张之洞和李鸿章。

The main figures of the Westernization Movement are Zhang Zhidong and Li Hongzhang.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:06, 28 December 2020 (UTC)

==Zhu Xu 朱旭==
1.唐代丝绸之路的畅通繁荣，也进一步促进了东西方思想文化交流，对以后相互的社会和民族意识形态发展，产生了很多积极、深远的影响。

The prosperous Silk Road in the Tang dynasty also further promoted the exchange of thoughts and cultures between the east and the west, and had a lot of positive and far-reaching effects on the later development of both side’s social and national ideologies.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)

2.欧洲人相继进行全球性海上扩张活动，特别是地理大发现，开启了大航海时代，开辟了世界性海洋贸易新时代。西欧商人的海上扩张，改变了传统海上丝绸之路以和平贸易为基调的特性，商业活动常常伴随着战争硝烟和武装抢劫。

The European maritime expansion around the world, especially the discovery of the Age of Discovery, ushered in a new era of world trade in the oceans. The maritime expansion of western european merchants, often accompanied by war and armed robbery, changed the traditional sea route of Silk Road of peaceful trade.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)

3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展,但许多传统的学术受到西学的冲击。

The Eastward Spread of Western Learning brought to China various new academic achievements in modern times, deeply affecting the development of various academic disciplines. Many subjects which were not valued or even did not exist in traditional China were also developed under this influence. On the contrary many traditional academies have been impacted by Western academies.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)

4.洋务运动是近代教育的开端。要开始洋务运动，兴办洋务就必须要有精通洋务的人才，但是中国传统的科举制教育却远远无法满足洋务运动对人才的需要。因此兴办新式学堂，派遣留学生，就成了洋务运动进行下去的一项重要的举措。

Westernization Movement was the beginning of modern education. In order to start the Westernization Movement, it is necessary to have people who are proficient in Westernization, but the traditional imperial examination system in China can not meet the needs of the Westernization Movement. Therefore, the establishment of new schools and the dispatch of foreign students has become an important initiative of the Westernization Movement.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)

==Zou Xinyu 邹鑫雨==

==Zubareva, Ekaterina==

1.Today, Zhang Qian's travels are associated with the major route of transcontinental trade, the Silk Road. His missions opened trade routes between East and West and exposed different products and kingdoms to each other through trade.

今天，张谦的旅行与跨大陆贸易的主要路线“丝绸之路”相关。他的任务打开了东西方之间的贸易路线，并通过贸易使不同的产品和王国相互接触。 --[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)

2.Zheng He generally sought to attain his goals through diplomacy, and his large army awed most would-be enemies into submission. However, a contemporary reported that Zheng He "walked like a tiger" and did not shrink from violence when he considered it necessary to impress foreign peoples with China's military might.

郑和通常试图通过外交来实现自己的目标，他的大部队敬畏大多数可能成为敌人的敌人。然而，当代报道说，郑和“走得像老虎一样”，当他认为有必要用中国的军事力量打动外国人民时，并没有因为暴力而退缩。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)

3.With the Jesuits coming to China to preach, the historical event of the introduction of Western science and technology into China was called the first wave of the introduction of Western learning to the East.

随着耶稣会士来到中国讲道，西方科学技术传入中国的历史性事件被称为第一波西方知识向东方传入的浪潮。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)

4.By the time the Europeans launched an intensive drive to incorporate China at the beginning of the 1840s, the capitalist world economy was already completing the incorporation of other major new zones into its division of labour.

到1840年代初欧洲人开始大力整合中国时，资本主义世界经济已经在将其他主要的新地区纳入其劳动分工中。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)

20201214 cult

2020-12-20T16:51:22Z

HATHITHUHANG2: /* Ha, Thi Thu Hang */

==Alsied, Saffana==

==Cao Runxin 曹润鑫==
1.儒家精神有其相对稳定、不易改变的一面。它不完全受社会形态的影响，有较为普遍的适应性，可以跨越不同社会历史时期，被不同政治制度、不同经济形态和不同文化背景下的人们所接受。

The spirit of Confucianism is relatively stable and unchangeable. It is not entirely influenced by social forms and has a more universal adaptability, and can be accepted across different socio-historical periods and by people in different political systems, different economic forms and different cultural backgrounds.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 05:33, 20 December 2020 (UTC)

2.道家从维护个人利益的角度出发，在经济理论、社会实践方面创立了“人本”的思想观点，主张通过维护每个人的个人利益来达到社会的和谐繁荣。

From the perspective of protecting the interests of the individual, Taoism has created a "humanistic" ideology in economic theory and social practice, advocating that social harmony and prosperity can be achieved by protecting the individual interests of each person.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 05:33, 20 December 2020 (UTC)

==Chen Han 陈涵==

1.儒家思想精髓在于它的社会伦理思想，正是封建社会伦理观从国家统治阶级的高度期望出发将人们生活现实中的行为规范用通俗的语言规范起来，让农民成为社会道德思想的奴隶，而这种封建伦理观作为封建统治阶级上层建筑社会意识中的最广泛影响治理社会群众基础的核心，从而完成对国家社会双重治理的理想效果。

The essence of Confucianism lies in its social ethical thought. It is the thought of feudal society that regulates the behavior norms of people’s lives in popular language from the high expectations of the country’s ruling class, making the peasants be enslaved to social ethics. As the core of the social consciousness of the feudal ruling class superstructure, which has the most extensive influence on governing the society and the people, it has achieved the ideal effect of dual governance of the state and society. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:04, 18 December 2020 (UTC)

2.道教把生命看得极为重要，修道就是要长生不死，主张通过修炼来延长生命的长度，提高生命存在的质量，以达到生命的永恒。道教主张以清净无为、不争寡欲的态度对待世俗生活，以“我命在我不在天”的精神进行修炼，通过各种道术修炼，与道合一，成为长生不死的神仙。

Taoism regards life as extremely important and practicing Taoism is to become immortal. It advocates to extend the length of life and improve the quality of life by practicing, so as to achieve eternity of life. Taoism holds an attitude of purity and non-contentiousness towards worldly life, and cultivation in the spirit of "I am the master of my fate", so that through various Taoist practices, one can unite with the Tao and become an immortal deity. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:04, 18 December 2020 (UTC)

==Chen Jingjing 陈静静==

1.孔子生而七漏，头上圩顶，而又因其母曾祷于尼丘山，故名“丘”，字“仲尼”。

Confucius was born terribly ugly with a bump on the head, and as his mother once prayed on Mount Niqiu for his birth, he is named “Qiu” with the word “Zhongni”.

2.道家认为只有老百姓认可的平等才幸福，人们想要没有徭役租赋负担，“内足衣食之用，外无势利之争”的社会

Taoism claims that only the sort of equality that the ordinary people recognized will bring true happiness. People are yearn to be free from labour rent and taxes and to live in a society with adequate food and clothes and no struggle for power and gains.

==Dashkin, Gennadii==

1. It's generally believed that when Confucius was in his late 60s, he returned to his hometown Qufu in Shandong Province. For several years in his early 70s, he taught a group of disciples who later propagated his beliefs and developed their own philosophies.

人们普遍认为，孔子在六十多岁时回到了他的家乡山东曲阜。在70年代初期的几年中，他教过一群门徒，后来这些人传播了自己的信仰并发展了自己的哲学。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 14:07, 19 December 2020 (UTC)

我们通常认为，孔子在六十多岁时回到了他的家乡山东曲阜。在七十多岁的前几年，他教过一群门徒，后来这些人传播了他的信仰并发展了自己的哲学。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 02:14, 20 December 2020 (UTC)

2. Consequently, many leaders of Taoism had gained great respects from the imperial governments.

因此，许多道教领袖得到了帝王政府的尊敬。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 14:07, 19 December 2020 (UTC)

因此，许多道教领袖都受到了朝政的尊敬。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 02:14, 20 December 2020 (UTC)

==Chen Yongxiang 陈永相==
1. 孔子提出“有教无类”，认为人人都应该受教育。在教育实践中创立了灵活多样的教学方法，提倡“学”与“思”的结合、学习与复习的结合以及教与学的结合，讲求因材施教和启发式教学等等。

Confucius maintained the idea that everyone has the right to be educated despite class differences. In teaching practice, Confucius adopted flexible teaching methods which involve the combinations of learning and thinking, learning and reviewing as well as teaching and learning. He strived for educating students in accordance with their aptitude and adopted a heuristic style of teaching.

Confucius put forward "there is no kind of education," and believed that everyone should be educated. In educational practice, flexible and diverse teaching methods have been created, advocating the combination of "learning" and "thinking", the combination of learning and review, and the combination of teaching and learning, and emphasis on teaching students in accordance with their aptitude and heuristic teaching, etc.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:11, 19 December 2020 (UTC)

2. 道家强调自由、自然、修身养性，甚至追求永生。道教对中国文化的许多领域都产生了深刻而持久的影响，包括艺术、哲学、医学和美食，并在东亚地区广泛流传。

Daoism emphasizes freedom, nature, self-cultivation and even pursues immortality. Daoism has had a deep and lasting influence in many fields of Chinese culture, including the arts, philosophy, medicine, and cuisine. It has also spread widely throughout East Asia.--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:18, 19 December 2020 (UTC)

Taoism emphasizes freedom, nature, self-cultivation, and even the pursuit of immortality. Taoism has had a profound and lasting influence on many areas of Chinese culture, including art, philosophy, medicine, and gastronomy, and it has spread widely in East Asia.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:11, 19 December 2020 (UTC)

==Ding Daifeng 丁代凤==

1.孔子的哲学思想强调个人美德和政治原则、和谐的社会秩序以及公正和真诚的社会环境。

The philosophy of Confucius emphasized personal and governmental morality, correctness of social relationships, justice and sincerity. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:23, 20 December 2020 (UTC)

The philosophy of Confucius emphasizes on personal morality, political principles, harmonious social order, justice, and sincere social environment.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:30, 20 December 2020 (UTC)

2.老子是中国历史上伟大的哲学家、作家。他不仅是道家的创始人，也成为了道教中供奉的一位神祇。

Laozi is a great philosopher and writer in Chinese ancient history. He is not only the founder of philosophical Daoism, but also worshipped as a deity in religious Daoism. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:23, 20 December 2020 (UTC)

Laozi, a great philosopher and writer in Chinese history, had not only became the founder of Taoism, but also a deity worshipped by Taoism.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:30, 20 December 2020 (UTC)

==Gan Fengyu 甘奉玉==
1.儒家思想以传统封建社会为物质承担者，传统封建社会以儒家思想为精神承担者，传统社会的瓦解，致使孔子圣人权威丧失。

The Confucianism takes traditional feudal society as material undertaker while the latter takes the former as sipiritual undertaker. Therefore, the disintegration of traditional society causes the Sage Confucius to lose his authority.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 05:00, 20 December 2020 (UTC)

Confucianism takes the traditional feudal society as its material undertaker, while the traditional feudal society takes Confucianism as its spiritual undertaker. The collapse of the traditional society leads to the loss of Confucius’ authority.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:31, 20 December 2020 (UTC)

2.道家作为一种思想流派，崇尚大道，主张“惟道是从、道法自然”，主要从事的是学术活动和政治文化活动，奉《道德经》、《庄子》、《黄帝四经》等为经典。

As a school of thought, Taoism advocates the great truth and follows the principle of nature. It is mainly for academic, political and cultural activities and regards Tao Te Ching,Chuang-tzu and Huang Di Si Jing as classics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 05:00, 20 December 2020 (UTC)

Taoism, a school of thought, advocates the great truth and follows the principle of nature. It mainly serves academic, political and cultural activities and regards Tao Te Ching, Chuang-tzu and Four Classics of the Yellow Emperor as classics.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:31, 20 December 2020 (UTC)

==Gao Mingzhu 高明珠==
1、“儒学”、“儒家”、“儒教”这些概念要分清。儒学作为一种学说，儒家作为一个阶层，儒教作为一种信仰，三者需要区分开来。

We should clearly distinguish the three concepts ---- Confucianism, Confucianist, Confucian religion, among which Confucianism is a theory and Confucianist is a strata and Confucian religion is a religion. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:44, 18 December 2020 (UTC)

The concepts of "Confucianism", "Confucianism" and "Confucianism" must be distinguished. Confucianism as a doctrine, Confucianism as a class, and Confucianism as a belief, the three need to be distinguished.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 08:57, 20 December 2020 (UTC)

2、在我国优秀传统文化中，道家思想蕴含了和谐理想、平等观念、诚信美德等诸多伦理智慧，这些思想很多都与社会主义核心价值观具有相通性，它们为社会主义核心价值观构筑了坚实的文化沃土。

In Chinese excellent traditional cultures, Taoism contains such ethics and wisdom as the desire for harmony, the idea of equality and the virtue of honesty, many of which have commonalities with the core values of socialism and have laid a solid cultural foundation for the core values of socialism. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:44, 18 December 2020 (UTC)

In Chinese excellent traditional culture, Taoism contains many ethical wisdoms, such as the ideal of harmony, the concept of equality, and the virtue of honesty. Many of these ideas have similarities with the core socialist values. They have built a solid cultural fertile ground for the core socialist values.

In my country’s excellent traditional culture, Taoism contains many ethical wisdoms, such as the ideal of harmony, the concept of equality, and the virtue of honesty. Many of these ideas have similarities with the core socialist values. They have built a solid cultural fertile ground for the core socialist values.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 08:57, 20 December 2020 (UTC)

==Grosheva, Anna==

1. Confucianism is the main ancient philosophy of China. It implicitly embodies key aspects of Chinese culture. Confucian beliefs have constantly changed and developed over the past 2,500 years.
儒学是中国的主要古代哲学。它隐含了中国文化的关键方面。在过去的2500年中，儒家信仰不断变化和发展。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:56, 19 December 2020 (UTC)

2. During its popularization since its birth, Taoism had long been a kind of high-level culture, and widely pursued by the upper-class society.
道教自诞生之日起就一直是一种高级文化，并受到上层社会的广泛追捧。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:56, 19 December 2020 (UTC)

==Gu Dongfang 顾东方==

==Guan Qinqing 管钦清==

==Gui Yizhi 桂一枝==

1. 四书五经是儒家施行其儒学教化的重要教科书，中国古代文人科举做官的必读书。

The Four Books and The Five Classics are the most important textbooks for the Confucian scholars to disseminate the educational thoughts of the Confucian School and a must for ancient scholars who had to pass the imperial competitive examination to become government officials.

2.道，代表宇宙本体和法则的统一，高度的抽象性与普遍意义是它的特点。

Tao, which refers to the integration of the noumenon and rules of the cosmos, is characterized by its deep abstraction and universal significance.--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 12:33, 20 December 2020 (UTC)

==Guirou, Barthelemy==

==Guo Lu 郭露==
1. 孔子是我国古代伟大的思想家和教育家,儒家学派创始人,世界最著名的文化名人之一。孔子的言行思想主要载于语录体散文集《论语》。

Confucius was a great thinker of ancient China and educator, he is also the founder of Confucianism and one of the world's most famous cultural figures. His words and deeds were mainly recorded in his work ''The Analects''.

Confucius is a great thinker and educator in ancient China, he is also the founder of Confucianism and one of the world's most famous cultural figures. His words and deeds were mainly recorded in his work ''The Analects''.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:44, 18 December 2020 (UTC)

2.道教(或道教)是指各种相关的中国哲学传统和概念的英文名称。这些传统影响了东亚两千多年，有些还在国际上传播。道家的礼教和伦理强调 "道 "的三宝，即“慈、俭、让”。道家思想注重 "无为"、"人本"、"虚无"。无为常常被错误地翻译为（"无所作为"），这种错误由于非道家学者的翻译而广泛传播。道教强调人与自然的联系。道教认为，这种联系减少了对规则和秩序的需要，使人更好地理解世界。

Taoism (or Daoism) is the English name referring to a variety of related Chinese philosophical traditions and concepts. These traditions influenced East Asia for over two thousand years and some have spread internationally. Taoist propriety and ethics emphasize the Three Jewels of the Tao; namely, compassion, moderation, and humility. Taoist thought focuses on wu wei (" action that does not involve struggle or excessive effort" ) spontaneity, humanism, and emptiness. Wu wei is often incorrectly translated as ("non-action") and this error has propagated widely as a result of translations made by academics who are non practising Taoists. An emphasis is placed on the link between people and nature. Taoism teaches that this link lessened the need for rules and order, and leads one to a better understanding of the world.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:12, 17 December 2020 (UTC)

==Ha, Thi Thu Hang==

1.Although Confucianism became the official ideology of the Chinese state, it never turned into an established religion with a church and priesthood.

尽管儒学成为中华民族的官方意识形态，但它从来没有发展成为具有教会和神职人员的宗教。

2.The Four Books form the basis of Confucianism.

这四本书构成了儒学的基础。

3.In education, Confucius upheld the theory that “in education, there is no class distinction.

在教育方面，孔子坚持“在教育中没有阶级区别的理论”。--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:51, 20 December 2020 (UTC)

==He Changqi 何长琦==

==Hu Baihui 胡百辉==
1.孔子是中国儒学的创始人。两千余年来，儒家思想对中国的影响不仅体政治、政治、文化等方面，也体每一个中国人的行为和思维方式之中。

Confucius is the founder of Confucianism in China. For more than two thousand years, the influence of Confucianism on China is not only in politics, politics, culture and so on, but also in the behavior and mode of thinking of every Chinese.

Confucius is the founder of Confucianism in China. For more than two thousand years, the influence of his Confucianism on China is not only in politics,culture and so on, but also in the behavior and mode of thinking of every Chinese.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 04:34, 20 December 2020 (UTC)

2.道教在世界宗教中是独一无二的，因为它没有官方的教条和教义。它最重要的文本是《道德经》和《庄子》，这两本书可能被认为是文学或哲学作品，而不是宗教文本。

Daoism is unique among world religions in that it has no official dogma or doctrine. Its most important texts are The Tao Te Ching and The Chuang Tzu, both of which might be considered works of literature or philosophy more than religious texts. --[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:56, 18 December 2020 (UTC)

Daoism is unique among world religions in that it has no official dogma or doctrine. Its most important texts are The Tao Te Ching and The Chuang Tzu, both of which might be considered works of literature or philosophy instead of religious texts.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:04, 19 December 2020 (UTC)

Daoism is unique among world religions in that it has no official dogma or doctrine. Its most important texts are The Tao Te Ching and The Chuang Tzu, both of which might be considered as works of literature or philosophy rather than religious texts.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 04:34, 20 December 2020 (UTC)

==Hu Jin 胡瑾==
1. 孔子是儒家学派的创始人，也是春秋时期人本主义思想的集大成者。儒家思想已成为我们文化遗产中的一部分。

Confucius was the founder of the Confucian school and the main Humanist thinker of the Spring and Autumn Period. Confucian ideas have become part of our cultural inheritance.

Confucius was the founder of the Confucianism and the major Humanist thinker in the Spring and Autumn Period, whose ideas have become part of our cultural inheritance.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:06, 18 December 2020 (UTC)

Confucius was the founder of the Confucian school and a master of humanistic thoughts in the Spring and Autumn Period. And Confucianism has become a part of our cultural inheritance.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 05:01, 19 December 2020 (UTC)

2. 传统上，道教是归因于三个来源，最古老的是黄帝传说，但最著名的是老子的《道德经》。第三个来源就是庄子的作品。道教的最初来源据说是古代的《易经》。

Traditionally, Taoism has been attributed to three sources, the oldest being the legendary ‘Yellow Emperor’, but the most famous is Lao Zi's Tao Teh Ching. The third source is Chuang Tzu's work. However, the original source of Taoism is said to be the Book of Changes.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 08:48, 18 December 2020 (UTC)

==Jiang Fengyi 蒋凤仪==

孔子在中国历史上最早提出人的天赋素质相近，个性差异主要是因为后天教育与社会环境影响（“性相近也，习相远也”）。因而人人都可能受教育，人人都应该受教育。

Confucius was the first Chinese to argue that human beings are endowed with similar qualities, and personality differences are mainly due to the influence of education and social environment ("By nature men are similar to one another, but learning and practice make them different."). Thus, everyone could be and should be educated.

庄子在哲学思想上继承和发展了老子“道法自然”的思想观点，使道家真正成为一个学派，他自己也成为了道家的重要代表人物，与老子并称“道家之祖”。

Zhuangzi inherited and developed Laozi's philosophical idea of "the natural law", making Taoism an academic school, and he himself became an important representative of Taoism, known as "the ancestor of Taoism" together with Laozi.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:54, 18 December 2020 (UTC)

Zhuangzi inherited and developed Laozi's idea of "Tao following nature" in philosophy, making Taoism a school of thought. He himself became an important representative of Taoism and was called "the ancestor of Taoism" with Laozi.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 09:05, 18 December 2020 (UTC)

==Jiang Qiwei 蒋淇玮==

1.儒家思想是先秦诸子百家学说之一，由孔子于公元前5世纪创立，是中国影响力最大的流派，也是中国古代的主流意识。儒家思想的内涵丰富复杂，在广泛汲取古代典籍精华的基础上逐步发展出基础理论和思想，即讲大一统、讲君臣父子。由程朱理学、陆王心学到废除封建君主专制制度等，都体现了儒家思想的内容。

Confucianism is one of the various schools of thought in pre-Qin period, established by Confucius in the 5th century BC. It is the most influential school in China and the mainstream ideology in ancient China. The connotation of Confucianism is rich and complex. On the basis of extensively absorbing the essence of ancient classics, it has gradually developed the basic theories and thoughts, namely, the great unification and the emperor and the subjects just like father and sons. Besides, the philosophy of Cheng and Zhu, the philosophy of Lu and Wang, the abolition of the feudal autocratic monarchy, and so on are all the embodiment of Confucianism.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:48, 19 December 2020 (UTC)

2.道家思想是无所不能、永恒不灭，有辩证法因素和无神论倾向，是老子总结古老的道家思想所形成的完整系统理论，它以“道”为最高哲学范畴，认为“道”是世界的最高真理，是宇宙万物的本源，也是宇宙万物赖以生存的依据。其主流派有黄老学派，鬼谷子纵横家、修真派、法家学派、玄学、杨朱学派。无为、不争，是老子对君王的告诫，汉文帝、唐太宗、宋仁宗、明太祖等皆以道家思想治国，使人民从前朝苛政之后得以休养生息。

Taoism, omnipotent and eternal, with a tendency to dialectical factors and atheism, is a complete system of theories formed by Lao Zi by summarizing ancient Taoist thoughts. It takes "Tao" as the highest philosophy and truth, the origin of the universe, and also the basis for the existence of the universe. Its main schools are Huang Lao school, Guiguzi school, Xiuzhen school, Legalist school, metaphysics, and Yang Zhu school. Lao Zi persuaded emperors to do nothing and fight for nothing. And Emperor Wen of the Han Dynasty, Emperor Taizong of the Tang Dynasty, Emperor Renzong of the Song Dynasty and Emperor Taizu of the Ming Dynasty all ruled with Taoist thoughts, so that people could recover from the tyranny of the previous dynasty.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:48, 19 December 2020 (UTC)

==Kang Haoyu 康浩宇==
1. 理学是中国古代最为精致、最为完备的理论体系，其影响至深至巨。理学的天理是道德神学，同时成为儒家神权和王权的合法性依据，至南宋末期被采纳为官方哲学。

Neo-Confucianism is the most exquisite and complete theoretical system in ancient China, and its influence is profound and enormous. The natural principle of Neo-Confucianism is moral theology, which has become the legal basis of Confucian theocracy and kingship, and was adopted as official philosophy at the end of Southern Song Dynasty.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:02, 19 December 2020 (UTC)

2. 古代道家崇尚自然，有辩证法的因素和无神论的倾向，但是主张清静无为，反对斗争。

Ancient Taoism advocates nature, has dialectic factors and atheism tendency, but advocates quietism and opposes struggle.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:02, 19 December 2020 (UTC)

==Lei Fangyuan 雷方圆==

==Lei Kuangxi 雷旷溪==
1、儒家学派的创始人孔子第一次打破了旧统治阶级垄断教育的局面，变“学在官府”为“有教无类”，使传统文化教育播及到整个民族。因此儒家思想有了坚实的民族心理基础，为全社会所接受并逐步儒化了全社会。但是儒学在历史上也多次遭受严重冲击，近至满清的文字狱，毁古书严重的《四库全书》，远至秦始皇焚书令等。

Confucius, the founder of the Confucian school, broke the monopoly of the old ruling class on education for the first time, changed the "learning in the government" to "teaching without class", and spread traditional culture and education to the whole nation. As a result, Confucianism had a solid national psychological foundation and was accepted by society as a whole, which gradually became Confucianized. However, Confucianism has also suffered many serious impacts in history, from the Manchu Qing dynasty's written jails to the destruction of ancient books in the Siku Quanshu, and the Qin Shihuang's book burning order.

Confucius, the founder of the Confucian school, broke the monopoly of education by the old ruling class for the first time, changing "study in the government" to "education without class", so that traditional cultural education spread to the entire nation. Therefore, Confucianism has a solid national psychological foundation, accepted by the whole society and gradually Confucianized the whole society. However, Confucianism has also suffered severe impacts in history many times, as far as the Manchu literary prison, the "Siku Quanshu", which has severely destroyed ancient books, and as far as the book burning order of Qin Shihuang.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 14:11, 19 December 2020 (UTC)

2、一般认为道家思想的特征之一，是通过各种修炼而达到永恒不死的至高完美境界，“因而开创了中医养生学” ；又从炼丹实践中发明了火药，中国四大发明都与道教有关。从养生学源流的角度说：寿命无限。

It is generally believed that one of the characteristics of Taoist thought is to achieve the supreme perfection of eternal immortality through various cultivations, thus it creating the science of Chinese medicine and health and from the practice of alchemy, gunpowder was invented, and the four major inventions of China are all related to Taoism. From the perspective of the source of health science:it means infinite life span.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 08:35, 18 December 2020 (UTC)Lei Kuangxi

==Li Lili 李丽丽==

1.董仲舒顺应汉武帝强权的需要，倡导“罢黜百家，独尊儒家”的思想。
Dong Zhongshu adapted to the needs of Emperor Wu of Han Dynasty to strengthen power, and advocated the idea of "deposing hundreds of schools and respecting Confucianism only". --[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:49, 18 December 2020 (UTC)Li Lili

2.道家以“道”为核心，是“诸子百家”中一门极为重要的哲学流派，存在于中华各文化领域，对中国乃至世界的文化都产生了巨大的影响。
Taoism, with "Tao" as its core， is a very important philosophical school in "various schools of thought". It exists in all cultural fields of China and has a great impact on Chinese and even the world culture.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:49, 18 December 2020 (UTC)Li Lili

==Li Liqin 李丽琴==
1. 儒家在先秦时期和诸子百家地位平等，秦始皇焚书坑儒后，使儒家遭受重创。而后汉武帝为了维护封建专制统治，听从董仲舒“罢黜百家，独尊儒术”的建议，对思想实施钳制，使儒家重新兴起。历经两千多年的发展演变，儒学文化构建起完整的思想体系，涉及政治、教育、道德伦理、行为准则、生活技艺等诸多方面，长期涵养国人的智慧和心灵，形成固定思维、心理以及生存模式，可谓根深蒂固。

Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of "banishing other schools of thought and worshiping Confucianism only" and imposed restrictions on thought, which led to the revival of Confucian school. After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:17, 16 December 2020 (UTC)

2. 《老子》是道家学派的主要著作之一，它的产生丰富了我国传统文化和思想宝库。老子是道家思想的创始人，他提出了许多重要的范畴和观点，在中国哲学史上独放异彩，并给予后世以深远影响。

''Laozi'' is one of the main works of the Taoist School; its production enriches our country's traditional culture and stock house of thoughts. Lao Zi, the founder of the Taoism, proposed a lot of important views and conceptions which have original enchantment in Chinese philosophy, and influence the afterworld deeply. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:17, 16 December 2020 (UTC)

''Laozi'' is one of the main works of the Taoism and its production enriches our traditional culture and the treasury of thoughts. Lao Zi, the founder of the Taoism, proposed many important views and conceptions which have original enchantment in Chinese philosophy, and have a far-reaching influence on the afterworld.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:36, 17 December 2020 (UTC)

==Liu Liu 刘柳==

1.人道主义是人类永恒的主题，对于任何社会，任何时代，任何一个政府都是适用的，而秩序和制度社会则是建立人类文明社会的基本要求。

Humanity is the eternal theme of humanity, applicable to any society, any era, any government, while order and institutional society are the basic requirements for building a civilized human society.

Humanitarianism is the eternal theme of humanity, applicable to any society, any era, any government, while order and institutional society are the basic requirements for building a civilized human society.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:14, 17 December 2020 (UTC)Xiao Shuangling

Humanity is the eternal theme of human society, and it is applicable to any society, any era, and any government. Order and institution is the basic requirement for building a civilized human society.
----

2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。

Among the five major religions in China, Taoism is the only religion that originated in China and was founded by Chinese people, so it is also known as a native religion.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 06:38, 17 December 2020 (UTC)

Among the five major religions in China, Taoism is the only one that originated in China and was founded by the Chinese, so it is also known as a native religion.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:14, 17 December 2020 (UTC)Xiao Shuangling

==Liu Ou 刘欧==

==Liu Yi 刘艺==
1、孔子的大同社会、小康社会理想对中国后世影响深远。后来不同历史时期，不同阶段的思想家提出不同内容的憧憬蓝图和奋斗目标，这种思想对进步思想家、改革家也有一定启发，洪秀全、康有为、谭嗣同和孙中山都受其影响。

Confucius' ideal of a commonwealth society and a moderately prosperous society had a profound influence on later generations in China. Later on, thinkers at different stages of history put forward different content of visionary blueprints and goals to strive for, and such ideas also inspired progressive thinkers and reformers, with Hong Xiuquan, Kang Youwei, Tan Sitong and Sun Yat-sen being influenced by them.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:35, 16 December 2020 (UTC)

The social ideal of a commonwealth society and a moderately prosperous society from Confucius has posed profound impacts on China's future generations. Later, even in sundry historical times, miscellaneous idealists put forward different blueprints and struggle goals, which indicated that Confucius ideal has inspired advanced idealists and refomers, including Hong Xiuquan, Kang Youwei, Tan Sitong and Sun Zhongshan.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:20, 17 December 2020 (UTC)

2、新中国成立后，对旧社会道教中存在的一些不合理制度和陋习进行了改革，道教的面目为之一新。中国道教协会的成立实现了全国道教徒的大联合，广大爱国道教徒开始为发展道教事业共同努力。道教在反右斗争、大跃进、人民公社化等政治运动中受到波及。

After the founding of New China, some unreasonable systems and bad practices that existed in Taoism in the old society were reformed, and Taoism took on a new face. The establishment of the Chinese Taoist Association realized the unification of Taoists nationwide, and the majority of patriotic Taoists began to work together for the development of Taoism. Taoism was affected by political movements such as the anti-rightist struggle, the Great Leap Forward, and the Communization of the People's Commune.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:35, 16 December 2020 (UTC)

After the founding of the People's Republic of China, Taoism was out of some unreasonable systems and bad practices in the old society were reformed and it then took on a new face. The establishment of the Chinese Taoist Association promoted the unification of Taoists nationwide, and the majority of patriotic Taoists began to work together for the development of Taoism. However, Taoism was affected by political movements such as the anti-rightist struggle, the Great Leap Forward, and the Communization of the People's Commune.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 05:06, 17 December 2020 (UTC)

==Liu Yiyu 刘怡瑜==
从鸦片战争到戊戌变法是新儒学的准备阶段，这一阶段主要表现为儒家学者在西方文明冲击之下被动接受西方文明的一些内容以求自强。
The period from the Opium War to the Hundred Days Reform was the preparatory period of Neo-Confucianism,which was characterized by the passive acceptance of some elements of Western civilization by Confucian scholars in order to strengthen themselves under the impact of Western civilization.

道教源于神仙思想和神仙方术。虽神仙方术没有系统的理论，但神仙家信仰的方术被道教承袭，神仙方术演化为道教的修炼方术，神仙方士演化为道家的道士。
Taoism originated from the idea of the divine immortals and the divine immortal arts. Given the fact that there is no systematic theory of divine and immortalism, the divine and immortalist beliefs were inherited by Taoism. The divine and immortalist prescriptions evolved into Taoist cultivation prescriptions, and the divine and immortalist practitioners evolved into Taoist priests.--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:21, 18 December 2020 (UTC)

==Lo, Minh Thao==

==Lou Cancan 娄灿灿==
1 孔子（公元前551～公元前479）名丘，字仲尼，是中华文化思想的集大成者，儒家学说的创始人。我国古代伟大的思想家、政治家、教育家。他的哲学思想提倡“仁义”，“礼乐”，“德治教化”,儒学思想渗入中国人的生活，文化领域中，同时也影响了世界上其它地区的大部分人近两千年。

Confucius (551BC-479 BC), whose name is Qiu, courtesy name Zhong Ni, is the master of Chinese culture and thought and the founder of Confucianism. He is a great thinker, statesman and educator in ancient China. His philosophy advocated "benevolence and righteousness", "rites and music", and "moral education". Confucianism permeated the life and culture of the Chinese people, and also influenced most people in other parts of the world for nearly two thousand years.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:40, 19 December 2020 (UTC)

2 在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。

Among the five major religions in China, Taoism is the only one that originated in China and was founded by the Chinese, so it is also known as the native religion. Taoism had a profound influence on the politics, economy and culture of ancient China and was one of the three spiritual pillars of the ruling class. After the founding of the People's Republic of China, Taoism gained a new life through the democratic reform of the religious system and gradually embarked on the road to adapt to the socialist society. Since the reform and opening up, under the guidance of the religious policies of the Party and the government in the new era, Taoism in China has taken on an unprecedented new look and made positive contributions to promoting economic development, social harmony, reunification of the motherland and world peace.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:14, 19 December 2020 (UTC)

==Luo Weijia 罗维嘉==

==Luo Yuqing 罗雨晴==

1.在大同的世界里，天下的人，不止以自己的家人为亲，不止以自己的父母儿女为爱，而是相互敬爱，爱天下所有的人。使老有所终，壮有所用，孩子们都能获得温暖与关怀，孤独的人与残疾者都有所依靠，男人各自有自己的事情，女人有满意的归宿。

Love each other not only in our family, but also in the world. Make the old have a home, strong and useful, children can get warmth and care, lonely people and the disabled can rely on others, men have their own businesses, women have a satisfactory home.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:51, 19 December 2020 (UTC)

2.儒家认为平等是来自于人性，人性是善良的那么人类社会也应该是善良的，既被证成的平等；而道家认为过去平等已经有很好的发展成果，那么在现有的平等认知基础上现在以及未来社会应该发展的更好才是，但是儒家礼教阶层阻碍了人类发展并成为窃国诸侯剥削百姓的大旗，所以要非仁绝礼消解各种意识形态，得到一个人类都满意的社会，既被承认的平等。

Confucianism believes that equality comes from human nature, and human nature is good, so human society should also be good, which is proved to be equality; while Taoism believes that equality has achieved good results in the past, then on the basis of the existing equality cognition, the society should develop better now and in the future. However, the Confucian ethical class hindered the development of human beings and became the banner of exploiting the common people by the feudal lords，therefore, it is necessary to eliminate all kinds of ideologies without benevolence, to achieve a society that is satisfactory to all human beings, which is already recognized as equality.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:51, 19 December 2020 (UTC)

==Mo Ling 莫玲==

1.君子坦荡荡，小人长戚戚。

A gentleman is open and poised; while a petty man is unhappy and worried.

The gentleman is calm and at ease, while the small man is always full of anxiety. --[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:45, 17 December 2020 (UTC)

2.人法地，地法天，天法道，道法自然。

The person reflects the earth.The earth reflects heaven. Heaven reflects the Way. And the Way reflects its own nature.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:46, 17 December 2020 (UTC)Mo Ling

Men must conform to the earth, earth to heaven, heaven to Tao and Tao to nature.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:45, 17 December 2020 (UTC)

==Ngo, Thi Minh Huong==

==Ouyang Ling 欧阳玲==

1. 经由董仲舒重新解释和发挥的儒教教义，十分重视礼仪制度的建设，特别是其中祭天、祭祖的礼仪制度建设。完备而复杂的礼仪制度有助于人们养成遵守秩序、安分守己的习惯，这正是儒教重视礼仪的重要目的之一。

Dong Zhongshu's reinterpretation of Confucian doctrines attached great importance to the construction of ritual system, especially that of offering sacrifices to heaven and ancestors. A complete and complex ritual system helps people to develop the habit of abiding by order and bahaving properly, which is one of the important purposes for Confucianism to emphasize rites.

Dong Zhongshu's reinterpretation of Confucian doctrines attached great importance to the construction of ritual system, especially that of offering sacrifices to heaven and ancestors. A complete and complex ritual system helps people to develop the habit of abiding by order and conducting themselves, which is one of the important purposes for Confucianism to emphasize rites.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:17, 19 December 2020 (UTC)

2. 道家以道为世界的本原，以柔弱因循为道的作用，在政治上主张无为而治，因为对道和无为的理解不同，所以内部又划分为不同派别，不同的学派之间思想重心也不同，或偏于治国，或偏于治身等。

Daoists regard Tao as the origin of the world. In politics, they uphold that Tao is to conform to the nature and advocated governing by doing nothing. According to the understanding of Tao and doing nothing, there are different denominations of Daoism focusing on different thoughts, some of which focus on governing and some on self-cultivation.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:25, 17 December 2020 (UTC)

==Peng Ruihong 彭锐宏==

1.儒家原先是先秦诸子百家之一，其创始人是孔子。儒家在先秦时期和诸子百家地位平等。而后汉武帝为了维护封建专制统治，听从董仲舒"罢黜百家，独尊儒术"的建议，对思想实施钳制，使儒家重新兴起。

Confucianism was originally one of the hundred schools of pre-Qin scholars, whose founder was Confucius. In the pre-Qin period, Confucianism had equal status with all scholars. In order to maintain the feudal autocratic rule, Emperor Wu of the Han Dynasty followed Dong Zhongshu's suggestion of "removing a hundred schools of thought and respecting Confucianism", and imposed a restraint on ideology, which revived Confucianism.

2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。

Among the five major religions in my country, Taoism is the only religion that originated in China and was founded by the Chinese, so it is also called a local religion. Taoism had a profound impact on the politics, economy and culture of our country in ancient times, and it is one of the three spiritual pillars of the ruling class.

==Phyo, Su Kyi==
1-儒家通过等级制度的传播而传播。这种宗教是由于中国人对邻国的影响而传承的。儒家思想从其在山东的地盘传到了中国的北部和南部地区。

Confucianism diffused through hierarchical diffusion. This religion was passed on through the Chinese's influence on their neighboring countries. Confucianism spread from its hearth in the Shandong province into China's northern and southern territories.

2-道教或道教是中国血统的哲学传统，强调与道家和谐相处。道是大多数中国哲学流派的基本思想。然而，在道教中，它表示的原则是存在的一切的来源，模式和实质。

Taoism, or Daoism, is a philosophical tradition of Chinese origin which emphasizes living in harmony with the Tao. The Tao is a fundamental idea in most Chinese philosophical schools; in Taoism, however, it denotes the principle that is the source, pattern and substance of everything that exists. --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:43, 18 December 2020 (UTC)Su kyi

==Pingki, Tanchangya==
1. 孔子出生于2500年前。孔子是17世纪的耶稣会传教士，他称他为孔子。
Confucius was born over 2,500 years ago. Confucius was the Jesuit missionaries of the 17th century who called him Confucius and this latinate name has since become known to the west.

2. 儒家思想是中国古代的一种信仰体系，即人类从根本上讲是善良，可教和可改进的。
Confucianism is an ancient Chinese belief system that human beings are fundamentally good and teachable and improvable.

3. 道教是中国两种伟大的本土哲学传统之一。老子，准子和道教描述了自汉末以来各种所谓的“宗教”运动。
Daoism is one of the two great indigenous philosophical traditions in China. Laozi, Zhunzi and Daojiao describe various so-called "religious" movements since the end of Han Dynasty.

4. 道教甚至没有说出一位开国思想家所建立的传统，甚至是通过一个共同的信念，即一位名叫老子的老师创立了这所学校并写下了它的主要著作，称为道德经，有时也被称为老子。
Daoism does not name a tradition constituted by a founding thinker even through the common belief is that a teacher named Laozi originated the school and wrote it's major work, called the Daodejing， sometimes known as the Laozi.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 13:35, 20 December 2020 (UTC)

==Qu Miao 瞿淼==

==Rajabov, Anushervon==

1. Confucius is regarded as a great philosopher and a great sage of ancient China.

孔子是中国古代的伟大哲学家和圣贤。

2. Confucianism, a major official system of thought in China, originated from the teachings of Confucius.

儒家思想是中国的主要官方思想体系，它源于孔子的教.

3. Daoism has a god for almost everything: the sun, the moon, stars, wind, rain, thunder, lightening, mountains and rivers.

道教几乎所有的事物都有上帝-太阳，月亮，星星，风，雨，雷声，闪电，山脉和河流。

4. Daoism was also associated with alchemy, which was at one time a practical way of seeking the elixir of life by the transmutation of base matter into gold.

道教还与炼金术有关，炼金术曾经是一种通过将基础物质转化为黄金来寻求生命之药的实用方法。--[[User:RAJABOV ANUSHERVON 10|RAJABOV ANUSHERVON 10]] ([[User talk:RAJABOV ANUSHERVON 10|talk]]) 12:32, 20 December 2020 (UTC)

==Seydou, Sagara==
1Confucianism is often characterized as a system of social and ethical philosophy rather than a religion. In fact, Confucianism built on an ancient religious foundation to establish the social values, institutions, and transcendent ideals of traditional Chinese society.
2 Confucius father died when he was too young and he was teaching moral and physical training.
3 Daoism is a philosophy, a religion, and a way of life that arose in the 6th century BCE in what is now the eastern Chinese province of Henan. It has strongly influenced the culture and religious life of China and other East Asian countries ever since.
1儒教通常被描述为一种社会和伦理哲学体系，而不是一种宗教体系。实际上，儒家思想建立在古老的宗教基础上，旨在确立中国传统社会的社会价值观，制度和超越理想.
2孔子的父亲在年纪轻轻的时候就去世了，当时他正在教道德和体育锻炼.
3道教是公元前6世纪在现在的中国东部河南省兴起的一种哲学，一种宗教和一种生活方式. 从那以后，它对中国和其他东亚国家的文化和宗教生活产生了深远的影响.

==Shi Haiyao 石海瑶==

==Si Yu 司妤==

1.在汉代的儒家思想普及过程中，很多社会问题得到解决。儒家思想倾向于施用仁政管理国家，政治家们以此为根据，限制土地过分集中，建立完善的道德体系。

Many social issues were settled during the popularization of Confucianism in the Han Dynasty. Confucianism claimed benevolent governance in managing the country, according to which politicians limited the centralization of lands and built a comprehensive moral system.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 06:55, 20 December 2020 (UTC)

During the popularization of Confucianism in the Han Dynasty, many social problems were resolved. Confucianism tended to use benevolent governance to manage the country. Politicians used this as a basis to limit the excessive concentration of land and establish a sound moral system. --[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 11:17, 20 December 2020 (UTC)

2.道家认为过去平等已经有很好的发展成果，那么在现有的平等认知基础上现在以及未来社会应该发展的更好才是，但是儒家礼教阶层阻碍了人类发展并成为窃国诸侯剥削百姓的大旗，所以要非仁绝礼消解各种意识形态，得到一个人类都满意的社会，既被承认的平等。

Taoism proposed that equality had gained fine development in the past, on which equality in contemporary and future society should have a better development. But Confucianism’s feudalism and ethical codes hindered the human growth and became the banner of theft and exploitation of the people by the vassals, so it is necessary to dissolve the various ideologies of non-benevolence and ritual to get a society that is satisfactory to all human beings, namely, recognized equality.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 06:55, 20 December 2020 (UTC)

==Tan Yuanyuan 谭媛媛==

1. 董仲舒提出“春秋大一统”和“罢黜百家，独尊儒术”，强调以儒家思想为国家的哲学根本，杜绝其他思想体系。汉武帝采纳了他的主张。从此儒学成为正统思想，研究四书五经的经学也成为了显学。此时，孔子已死三百余年。董仲舒在具体的政策上将道家，阴阳家和儒家中有利于封建帝王统治的部分加以发展，形成了新儒家思想。

Dong Zhongshu proposed the "Great Unification of the Spring and Autumn Period" and the "Dismissal of the Hundred Schools and Exclusive Respect for Confucianism", emphasizing Confucianism as the philosophical foundation of the state and the elimination of other systems of thought. Emperor Wu of Han Dynasty adopted his ideas. From then on, Confucianism became the orthodoxy, and the study of the Four Books and Five Classics became a prominent school. At this time, Confucius had been dead for more than 300 years. Dong Zhongshu developed the parts of Taoism, Yin and Yang and Confucianism that were beneficial to the rule of the feudal emperor in his specific policies, forming Neo-Confucianism.

Dong Zhongshu proposed the "Great Unification of the Nation" and the "Dismissal of the Hundred Schools and Exclusive Respect for Confucianism", emphasizing Confucianism as the philosophical foundation of the state and the elimination of other systems of thought. Emperor Wu of Han Dynasty adopted his ideas. From then on, Confucianism became the orthodoxy, and the study of the Four Books and Five Classics became a prominent school. At this time, Confucius had been dead for more than 300 years. Dong Zhongshu developed the parts of Taoism, Yin and Yang School and Confucianism that were beneficial to the rule of the feudal emperor in his specific policies, forming Neo-Confucianism.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:25, 19 December 2020 (UTC)

2. “道”是中国古代哲学的重要范畴，用以说明世界的本原、本体、规律或原理。在中国哲学史上，“道”这一范畴为道家首先提出。道的原始涵义指道路、坦途，以后逐渐发展为道理，用以表达事物的规律性。这一变化经历了相当长的历史过程。春秋后期，老子最先把道看作是宇宙的本原和普遍规律，成为道家的创始人。以后，在不同的哲学体系中其涵义虽有不同，但基本上成为世界本原、本体、规律或原理的代名词。

"Tao" is an important category in ancient Chinese philosophy, which is used to describe the origin, essence, law or principle of the world. In the history of Chinese philosophy, the category of "Tao" was first introduced by the Taoists. The original meaning of Dao refers to the path, the straight path, and later it gradually developed into reason, which is used to express the regularity of things. This change has gone through a rather long historical process. In the late Spring and Autumn period, Laozi first regarded Tao as the origin and universal law of the universe and became the founder of Taoism. Later, although its meaning differs in different philosophical systems, it basically became a synonym for the origin of the world, the essence, the law or the principle.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 03:59, 17 December 2020 (UTC)

==Tang Bei 汤蓓==

1.孔子于公元前551年出生于现在的山东省，是中国古代著名的哲学家、政治家和教育家，也是儒家思想的创始人，“仁”和“礼”是其两大核心思想。孔子的儒家思想对中国和周边国家及地区乃至世界都有着深远的影响。2004年中国政府为了向外推广给汉语和传播中国文化，在海外建立了第一所“孔子学院”。

Confucius was born in 551 B.C. in the place where it is in Shangdong province now. He was a famous philosopher, statesman, educator in ancient China, and also the founder of Confucianism. “Humaneness” and “rites” are two of his core thoughts. Confucianism has had far-reaching influence on China, the surrounding countries and areas, and even the whole world. And in 2004, the Chinese government established the first Confucius Institute overseas for the purpose of promoting Chinese language and publicizing Chinese culture.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:53, 20 December 2020 (UTC)

2.老子是中国古代著名的思想家、哲学家，是道家思想的创始人，也是世界百位历史名人之一。《道德经》是老子唯一的著作。朴素辩证法是老子哲学思想的精髓，而“无为”是其政治思想核心。即使在21世纪的今天，大至国家大家，小到个人的行为处事，老子的思想依然对社会有着深远的影响。

As the founder of Taoism, Laozi was a philosopher and thinker in ancient China, and he is one of the world’s 100 great eminent figures in history. Naive Dialectic is the essence of Laozi’s philosophical ideas, while non-action is the core of his political thoughts. Even in the 21th century, his thoughts still have pervasive influence on socirties, from such important things as state affairs to such trivial things as individual styles.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:53, 20 December 2020 (UTC)

==Tang Yiran 汤伊然==

==Wang Meiling 王美玲==

1.儒家思想指的是儒家学派的思想，由春秋末期思想家孔子所创立。孔子创立的儒家学说在总结、概括和继承了夏、商、周三代尊尊亲亲传统文化的基础上形成的一个完整的思想体系。

Confucianism refers to the thought of Confucianism, which was founded by the thinker Confucius in the late Spring and Autumn period. The Confucianism established by Confucius is a complete ideological system based on the summary, generalization and inheritance of the traditional culture of respecting relatives in Xia, Shang and Zhou Dynasties.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:23, 18 December 2020 (UTC)

Confucianism refers to the thoughts of Confucianism, which was founded by Confucius，the thinker, in the late Spring and Autumn period. The Confucianism established by Confucius is a complete ideological system based on the summary, generalization and inheritance of the traditional culture of respecting relatives in Xia, Shang and Zhou Dynasties.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 07:04, 20 December 2020 (UTC)

2.道家的起源，可以一直追溯到春秋战国时期。道家思想的形成是以总结、发展、写著典籍为主要路径，每一次思想的跳跃都经历了极其长时间的众人积累，这也再一次的凸显了道家的生命力。

The origin of Taoism can be traced back to the spring and Autumn period and the Warring States period. Taoist thought is formed with summary, development, and writings of classics as the main path. Every leap of thought has experienced an extremely long time of mass accumulation, which once again highlights the vitality of Taoism.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:23, 18 December 2020 (UTC)

The origin of Taoism can be traced back to the Spring and Autumn period and the Warring States period. Taoism is formed with summary, development, and writings of classics as the main path. Every leap of thought has experienced an extremely long time of mass accumulation, which highlights the vitality of Taoism once again.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 13:43, 20 December 2020 (UTC)--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 13:43, 20 December 2020 (UTC)Xiao Ting

==Wang Xuan 王轩==
1. 孔子创立了以仁为核心的道德学说，他自己也是一个很善良的人，富有同情心，乐于助人，待人真诚、宽厚。“己所不欲，勿施于人”、“君子成人之美，不成人之恶”、“躬自厚而薄责于人”等等，都是他的做人准则。

Confucius founded the moral theory with benevolence as the core. He was also a very kind person, full of compassion, willing to help others, sincere and generous. "Don't do to others what you don't want to do to others", "the beauty of a gentleman, the evil of a man who is not a man", "bow oneself to thick and thin blame to others", and so on, are his principles of conduct.

Confucius founded the moral theory with benevolence as the core. He himself was also a very kind person full of compassion who is willing to help others with sincerity and generousity. "Don't do to others what you don't want to do to others", "the beauty of a gentleman, the evil of a man who is not a man", "bow oneself to thick and thin blame to others", and so on, are his principles of conduct.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:34, 18 December 2020 (UTC)

2. 新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。

After the founding of the people's Republic of China, through the democratic reform of the religious system, Chinese Taoism gained a new life and gradually embarked on the road to adapt to the socialist society. Since the reform and opening up, under the guidance of the party and the government's religious policy in the new period, Chinese Taoism has shown an unprecedented new atmosphere, and has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 02:06, 18 December 2020 (UTC)Wang Xuan

After the founding of the people's Republic of Chin, Chinese Taoism has gained a new life and gradually embarked on the road to adapt to the socialist society through its democratic reform of the religious system. Since the reform and opening up, under the guidance of the Party and the Chinese Government's religious policy in the new period, Chinese Taoism has shown an unprecedented new atmosphere, and has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:29, 18 December 2020 (UTC)

==Wu Qiong 吴琼==

1. 孔子创建了对中国及其周边国家具有深远影响的儒家学派。他学而不厌,海人不倦,首开私人讲学,是中国历史上致力于教育事业的第一人。
Confucius founded the school of Confucianism, which had a profound influence on China and its neighboring countries. He was the first person in Chinese history to devote himself to the cause of education, as he never tired of learning and never tired of the sea.

Confucius founded the school of Confucianism, profoundly influencing China and its neighboring countries. He was the first Chinese throughout history to devote himself to the cause of education, for never being tired of learning and teaching. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 08:33, 18 December 2020 (UTC)

1.孔子创建了对中国及其周边国家具有深远影响的儒家学派。他学而不厌,诲人不倦,首开私人讲学,是中国历史上致力于教育事业的第一人。
Confucius founded the school of Confucianism, which had a profound impact on China and its neighboring countries. He was the first person in Chinese history dedicating himself to the cause of education, as he never tired of learning and teaching.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 07:01, 20 December 2020 (UTC)

2. 道家以道为世界的本原，以柔弱因循为道的作用，在政治上主张无为而治，因为对道和无为的理解不同，所以内部又划分为不同派别，不同的学派之间思想重心也不同，或偏于治国，或偏于治身等。
Taoism takes the Tao as the origin of the world, and the role of the Tao is to be soft and follow the path. In politics, Taoism advocates the rule of inaction, and because of the different understanding of the Tao and inaction, it is divided into different schools, and the focus of thought differs between different schools, either favoring the rule of the state, or favoring the rule of the body, etc.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:08, 17 December 2020 (UTC)

==Wu Yilu 吴一露==
1.发愤忘食，乐以忘忧，不知老之将至云尔。

One studies too hard to have meal and indulges himself in knowledge too elated to worry，even failing to .aware the pending oldness.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 06:57, 20 December 2020 (UTC)

2.一般认为道家思想的特征之一，是通过各种修炼而达到永恒不死的至高完美境界，“因而开创了中医养生学” ；又从炼丹实践中发明了火药，中国四大发明都与道教有关。

Generally, it is believed that one of the features of Taoism is to reach the ultimate perfect of immortality through various ways of practice. So the science of health maintenance of traditional Chinese medicine was established; in addition, gunpowder originated from alchemy practice, actually, the four ancient Chinese inventions are all related to Taoism.
--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 06:57, 20 December 2020 (UTC)

==Wu Zijia 吴子佳==

1.孔子（前 551—前 479）名丘，字仲尼，中国古代著名的思想家、教育家。他生活在天下失序的社会状态中，以济世爱民为己任，赋予天与人以全新的含义，形成了以“仁”为核心，以“礼”为形式的儒家理论体系，力图实现圣君、贤臣、良民的太平盛世的理想。

1.Confucius (551 BC – 479 BC), given name Qiu and capping name Zhongni, was a renowned philosopher and educator in ancient China. Living in a chaotic society, he assumed responsibility of transforming society and caring for the people, and redefined the concepts of Tian (Heaven) and Ren (Humanity). In the end, he developed a set of doctrines now known as Confucianism whose core value is Ren (Humanness / Benevolence) and outward expression is Li (Rituals), to achieve his dream of a peaceful and prosperous society consisting of sage-kings, capable ministers and well-behaved subjects.

2.老子哲学并不是弱者的哲学，他的哲学中充满了力量感。老子认为，水在柔弱宁静中，积聚了强大的力量，可以冲破世界上的一切障碍。

2.Laozi’s philosophy is not for the weak; it gives a strong sense of strength. Laozi believed that weak and calm as it may seem, water collects great strength that helps it break down all barriers.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:03, 20 December 2020 (UTC)Wu Zijia

==Xiao Shuangling 肖双玲==

1.中庸精神随着时间的推移，其价值和重要性必将日益显现出来，这一点已经有所表现。中庸之道是世界上最具有连续性的文化，也是中国众多文化流派中最具有价值的核心精神和观念。

1.With the passage of time, the value and importance of the spirit of the mean will become increasingly apparent, which has already been demonstrated. The Golden Mean is the most continuous culture in the world and the most valuable core spirit and concept among many cultural schools in China.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:48, 17 December 2020 (UTC)Xiao Shuangling

With the passage of time, the value and importance of the spirit of the mean, already demonstrated, will become increasingly apparent. The Golden Mean is the most continuous culture in the world and the most valuable core spirit and concept among many cultural schools in China.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 02:27, 18 December 2020 (UTC)Wang Xuan

2.道教文学艺术就是以宣传道教教义、神仙长生思想以及反映其宗教生活为题材的内容的各种形式的文学艺术作品。文学艺术可以扩大道教的社会影响，进而提高道教的宗教素质。反过来，道教的神仙信仰也给中国文学艺术的发展巨大的影响。

2.Taoist literature and art are literary and artistic works in various forms that promote Taoist doctrines, the thoughts of immortal longevity, and reflect their religious life. Literature and art can expand the social influence of Taoism, thereby improving the religious quality of Taoism. In turn, Taoist belief in immortals has also had a huge impact on the development of Chinese literature and art.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:48, 17 December 2020 (UTC)Xiao Shuangling

==Xiao Ting 肖婷==
1.儒家思想对中国文化的影响很深。传统的责任感思想、节制思想和忠孝思想，都是它和封建统治结合的结果，因此，儒家思想是连同我们当代在内的主流思想。儒学在中国存在几千年，对于中国的政治、经济等各个方面依然存在巨大的潜在影响。

Confucianism has had a profound influence on Chinese culture。The traditional ideas of responsibility, moderation, and loyalty and filial piety are the result of its combination with feudal rule, and thus Confucianism is the dominant ideology along with our contemporary times. Confucianism has existed in China for thousands of years and still has a huge potential influence on all aspects of Chinese politics and economy.

Confucianism has had a profound influence on Chinese culture. The traditional ideas of responsibility, moderation, and loyalty and filial piety are the result of its combination with feudal rule, and thus Confucianism has been the dominant ideology along with our contemporary times. Confucianism has existed in China for thousands of years and still has maintain a huge potential influence on all aspects of Chinese politics and economy.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:48, 18 December 2020 (UTC)

2．和谐文化建设是构建社会主义和谐社会的要义之一。中国传统道教文化对中国社会产生了深远的影响。在当今构建和谐社会的进程中,道教文化依然有其独特的存在价值。

The building of a harmonious culture is one of the essentials for building a harmonious socialist society. The traditional Chinese Taoist culture has had a profound influence on Chinese society. In the process of building a harmonious society today, Taoist culture still has its unique value to exist.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 09:14, 17 December 2020 (UTC)Xiao Ting

The construction of a harmonious culture is one of the essentials of a harmonious socialist society. Taoist culture, a traditional Chinese culture, has exerted a profound influence on Chinese society. It still embraces unique value in today's building of a harmonious society. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:29, 17 December 2020 (UTC)

==Xie Fan 解帆==
1.孔子学院是中外合作建立的非营利性教育机构，致力于适应世界各国（地区）人民对汉语学习的需要，增进世界各国（地区）人民对中国语言文化的了解。

Confucius Institutes are non-profit educational institutions jointly established by China and other countries. They are dedicated to meeting the needs of people in all countries (regions) for Chinese learning and promoting their understanding of Chinese language and culture.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 08:24, 18 December 2020 (UTC)

The Confucius Institute is a non-profit educational institution established through Sino-foreign cooperation, dedicated to meeting the needs of people around the world for Chinese language learning and enhancing their understanding of Chinese language and culture.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:57, 18 December 2020 (UTC)

2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。

Since the reform and opening up, under the guidance of the religious policies of the CPC and the government in the new era, Taoism in China has shown an unprecedented look and made positive contributions to promoting economic development, social harmony, reunification of the country and world peace.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 08:24, 18 December 2020 (UTC)

Since the reform and opening up, under the guidance of the Party and the government's religious policies in the new era, Chinese Taoism has taken on a new and unprecedented appearance, making positive contributions to the economic development, social harmony, reunification of the motherland and world peace.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:57, 18 December 2020 (UTC)

==Xu Jia 徐佳==
1. 孔子去世后，其弟子及再传弟子把孔子及其弟子的言行语录和思想记录下来，整理编成《论语》。该书被奉为儒家经典。

After the death of Confucius, his students wrote down all conversations they had with their teacher and then compiled them into the Analects, which has been regarded as a classic of Confucianism.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:40, 18 December 2020 (UTC)Xu Jia

After the death of Confucius, his disciples and re-disciples recorded the words and thoughts of Confucius and his disciples and compiled them into the ''Analects'', which is regarded as a classic of Confucianism.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:06, 18 December 2020 (UTC)

2. 《老子》书提出以“道”为核心的哲学思想体系。它以道为宇宙的根本，阐述了道的本质、特点及其运动变化的规律。

The book Laozi establishes a philosophical system of thought with the Tao as its core. It takes Tao as the root of the universe, and explains the nature and characteristics of Tao and its laws of movement and change.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:40, 18 December 2020 (UTC)Xu Jia

The book, ''Laozi'', presents a philosophical system of thought with the Tao as its core. It takes Tao as the root of the universe, and explains the nature and characteristics of Tao and its laws of movement and change.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:06, 18 December 2020 (UTC)

==Xu Jing 许静==
因此古儒实际上是在一个礼崩乐坏的时代，努力复兴西周价值的这样一个学派。离开了对西周这一套的分析，我们是没有办法认识古儒的。

Thus ancient Confucianism was in fact a school of thought striving to revive the values of the Western Zhou at a time when rituals and music were in ruins. It can not be fully understood without an analysis of Western Zhou.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 10:08, 20 December 2020 (UTC)

老子说：“上善若水，水善利万物而不争。”水无常形，顺势而为，为而不争，方达所愿。可以削平山川却堵不住流水。“不争先”不是不求上进，而是尊重自然规律，不破坏均衡，不因小失大、迷失自我。

Lao Tzu said, "Water is good for it is good for all things but does not compete." Water has no permanent form. It follows the trend and does not struggle to reach its destination. While it is possible to cut down mountains water can not be blocked. "It is not a matter of not striving for advancement, but of respecting the laws of nature, not destroying the balance, not losing oneself for the sake of minor things.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 10:08, 20 December 2020 (UTC)

==Yang Chenting 杨晨婷==

1. 南北朝时期（420一589）是道教进一步充实完善的时代，是道教走上成熟的时代，出现了众多的道教改革家、理论家，他们的活动对后世道教有着重要的影响。

1. The Southern and Northern Dynasties period (420-589) was a time when Taoism was further enriched, a time when Taoism came to maturity and numerous Taoist reformers and theorists emerged, having an important influence on the development of Taoism.

Taoism was further developed and came to maturity in the Southern and Northern Dynastie(420-589) when numerous Taoist reformers and theorists emerged and their activities had an important influence on the development of Taoism.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:47, 18 December 2020 (UTC)Xu Jia

2. 曲阜孔庙为纪念孔夫子而兴建，千百年来屡毁屡建，到今天已经发展成超过100座殿堂的建筑群。

2. The Confucius Temple in Qufu was built to commemorate Confucius, which has been destroyed and built again and again over the centuries. Today, it has grown into a building complex of over 100 palaces today.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:19, 17 December 2020 (UTC)Yang Chenting

The Confucius Temple in Qufu was built to commemorate Confucius, which has been destroyed and rebuilt again and again over the past centuries. Today, it has grown into a building complex of over 100 palaces.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:49, 17 December 2020 (UTC)Mo Ling

==Yang Hairong 杨海容==

1.儒家的“德治”主义就是主张以道德去感化教育人。儒家认为，无论人性善恶，都可以用道德去感化教育人。这种教化方式，是一种心理上的改造，使人心良善，知道耻辱而无奸邪之心。
The Confucian "rule of virtue" doctrine advocates the use of morality to influence and educate people. Confucianism believes that no matter what human nature is good or bad, morality can be used to influence and educate people. This way of enlightenment is a kind of psychological transformation, making people good-hearted, knowing the shame and not being evil.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:41, 18 December 2020 (UTC)

Confucian doctrine of "rule of virtue" advocates the use of morality to influence and educate people. Confucianism believes that no matter what human nature is, good or evil, morality can be used to influence and educate people. This way of enlightenment is a kind of psychological transformation, making people kind-hearted and knowing the shame but not being evil.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:17, 20 December 2020 (UTC)

2.“己所不欲，勿施于人”、“躬自厚而薄责于人” 等，都是孔子的做人准则。
"Do not do to others what you do not want to do to others", "self-respect and responsibilities to others" are all Confucius’s principles of life.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:41, 18 December 2020 (UTC)

"Do not do to others what you do not want to do to yourself" and "self-respect and responsibilities to others" are both Confucius's codes of conduct.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:17, 20 December 2020 (UTC)

3.认为天地万物都有"道"而派生，即所谓"一生二，二生三，三生万物"，社会人生都应法"道"而行，最后回归自然。
It is believed that all things in heaven and earth are derived from "Tao", which is the so-called "One life two, two life three, three life all things", social life should follow the law "Tao" and finally return to nature.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:41, 18 December 2020 (UTC)

It is believed that all things in heaven and earth are derived from "Tao", which is the so-called "Two in one, three in two, three in all". Social life should all follow the law "Tao" and finally return to nature.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:17, 20 December 2020 (UTC)

==Yang Hui 阳慧==
1.孔子追求的“礼”，是西周时的等级名分制度。为了实现“礼”，孔子进一步提出了“正名”的主张。

Confucius's pursuit of " rites " is the Western Zhou Dynasty hierarchy system.In order to realize the " rites ", Confucius further put forward the " rectification of name ".

The "ritual" pursued by Confucius was the hierarchical system of the Western Zhou Dynasty. In order to realize "li", Confucius further proposed the idea of "rectification of name".--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:59, 19 December 2020 (UTC)

2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象,为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。

Since the reform and opening-up, under the guidance of the religious policies of the Party and the government in the new period, Chinese Taoism has taken on an unprecedented new look and made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:39, 18 December 2020 (UTC)

Since the introduction of reform and opening-up, under the guidance of the religious policies of the Party and the government in the new period, Chinese Taoism has taken on an unprecedented new look and made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 07:11, 20 December 2020 (UTC)

==Yang Yue 杨悦==

1、孔子是中国思想史上第一个把道德作为做人和治国首要条件和最高标准提出来的哲人。道德的核心是仁。儒家提倡人与人之间的仁和礼。今天，在中国和其他许多国家，儒学的研究正在迅速增长。

Confucius was the first philosopher in China's ideological history to propose moral standards as the prior criterion for man's behaviour and governing a country.The core of morality is benevolence. Confucianism advocates benevolence and courtesy among people. Today, in China and many other countries, the study of Confucianism is rapidly growing.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:29, 17 December 2020 (UTC)

Confucius was the first philosopher in the history of Chinese thought to put morality as the primary and highest standard for being a man and governing a country. The core of morality is benevolence. Confucianism advocates benevolence and etiquette among people. Today, in China and many other countries, the study of Confucianism is growing rapidly. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:04, 17 December 2020 (UTC)

2、道教是中国固有的一种宗教，距今已有1800余年的历史。它深深扎根于中华沃土之中，具有鲜明的中国特色,并对中华文化的各个层面产生了深远影响。

Taoism, an inherent religion of China, has a history of over 1800 years. It is deeply rooted in the Chinese fertile soil with distinct Chinese characteristics, and have a profound impact on all levels of Chinese culture.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:29, 17 December 2020 (UTC)

Taoism is a religion inherent in China, with a history of more than 1,800 years. It is deeply rooted in the fertile soil of China, with distinctive Chinese characteristics, and a profound impact on overall Chinese culture. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:04, 17 December 2020 (UTC)

==Yang Ziling 杨子泠==

孔子在卫国住了约10个月，因有人在卫灵公面前进谗言，卫灵公对孔子起了疑心，派人公开监视孔子的行动，因此孔子带弟子离开卫国，打算去陈国。

Confucius lived in Wei State for about 10 months. Due to someone advancing slander in front of Duke Ling of Wei, he became suspicious of Confucius and sent people to publicly monitor Confucius. Therefore, Confucius led his disciples to leave Wei and planned to go to Chen State. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:00, 17 December 2020 (UTC)

道教继承和发展了先秦道家思想，将“道”作为最高信仰，从中演化出最高经典，最上道术及最高的神灵，构建了庞大的经典道术神仙体系。

Daoism inherited and developed Taoism thought in the pre-Qin period, taking "Dao" as the highest belief, evolving from it the highest classics, the highest Daoism and the supreme gods, and building a huge system of classic Daoism gods. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:00, 17 December 2020 (UTC)

1. Confucius stayed in Wei for about 10 months, but when someone slandered him in front of Duke Weiling, he became suspicious of Confucius and sent people to monitor his movements openly. Therefore, Confucius left Wei with his disciples to Chen.

2. Inheriting and developing the pre-Qin dynasty Taoist thought, it holds “Tao” as the highest belief, evolving the highest classics, the highest Taoist arts and the highest deities, forming a huge system of classical Taoist arts and deities.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:22, 17 December 2020 (UTC)Yang Chenting

==Yi Zichu 义子楚==

==You Yuting 游雨婷==

1.在长期的教学实践活动中，孔子积累和总结了很多教学经验。他主张因材施教，根据学生的不同特点分别指导。

In the long-term teaching practice, Confucius has accumulated and summarized a lot of teaching experience. He advocated teaching students in accordance with their aptitude and instructing them separately according to their different features.

In the long-term teaching practice activities, Confucius has accumulated and summed up a lot of teaching experience. He advocates teaching students in accordance with their aptitude and guiding students according to their different characteristics.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 14:01, 19 December 2020 (UTC)

2.作为一种宗教实体，道教不仅有其独特的经典教义、神仙信仰和仪式活动，而且还有其宗教传承、教团组织、科戒制度、宗教活动场所。

As a religious entity, Taoism not only has its unique classical doctrine, immortal belief and ritual activities, but also has its religious inheritance, organization of religious groups, system of discipline and places for religious activities.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:27, 18 December 2020 (UTC)

==Yu Ni 余妮==
1.孔子的经济思想最主要的是重义轻利、“见利思义”的义利观与“富民”思想。这也是儒家经济思想的主要内容，对后世有较大的影响。

The most important economic thought of Confucius is the value of justice over profit, the view of righteousness and benefit, and the thought of enriching the people. This is also the main content of Confucian economic thought, which has great influence on later generations.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 06:42, 18 December 2020 (UTC)

Confucius'economic thought mainly consists of the concept of justice and benefit, the concept of justice and benefit and the thought of enriching the people.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:41, 18 December 2020 (UTC)

2.道教哲学和宗教已经渗透到所有受中国影响的亚洲文化中，尤其是越南、日本和韩国的文化。在受中国文化影响的地区，各种宗教习俗让人想起道教，这表明他们与中国游客和移民的早期接触还没有被阐明。

Daoist philosophy and religion have found their way into all Asian cultures influenced by China, especially those of Vietnam, Japan, and Korea. Various religious practices reminiscent of Daoism in such areas of Chinese cultural influence indicate early contacts with Chinese travelers and immigrants that have yet to be elucidated.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 06:42, 18 December 2020 (UTC)

Daoist philosophy and religion have infiltrated all Asian cultures influenced by China, especially those of Vietnam, Japan, and Korea. Various religious practices reminiscent of Daoism in such areas of Chinese cultural influence indicate early contacts with Chinese travelers and immigrants that have yet to be elucidated.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:31, 18 December 2020 (UTC)

==Yuan Tianyi 袁天翼==

解放前的道教中充满着浓厚的封建气息，对广大道教徒进行爱国主义教育，改革宫观封建经济，废除道教中的封建残余，与反动会道门划清界限，成为道教在新中国面临的重大任务。

Taoism before liberation was represents strong feudal atmosphere. It became a major task for Taoism in New China to carry out patriotic education for the majority of Taoists, reform the feudal economy of the palace, abolish the remnants of feudalism in Taoism, and draw a clear line with the reactionary Taoist doors.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:11, 17 December 2020 (UTC)

Taoism before liberation was in strong feudal atmosphere. Therefore, it became a major task for Taoism in New China to carry out patriotic education for the majority of Taoists, reform the feudal economy of the palace, abolish the remnants of feudalism in Taoism, and draw a clear line with the reactionary Taoist doors.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:11, 17 December 2020 (UTC)--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:29, 17 December 2020 (UTC)

孔子，姓孔，名丘，字仲尼，公元前551年，出生于春秋后期的鲁国。

Confucius is known as Kong Qiu, a combination of his surname and his given name, and he is also named as Zhongni, which is his courtesy name.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:11, 17 December 2020 (UTC)

==Zeng Liang 曾良==
1.儒教是孔子所创立、孟子所发展、荀子所集其大成，之后延绵不断，为历代儒客推崇，至今仍有一定生命力的学术流派。
Confucianism is an academic school which was founded by Confucius, developed by Mencius, and epitomized by Xuncius. It has continued to be admired by scholars of Confucianism and remined vitality until today.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:59, 20 December 2020 (UTC)

Confucianism is an academic school which was founded by Confucius, developed by Mencius, and epitomized by Xuncius. It has been further developed and admired by scholars of Confucianism in all ages and still has vitality at present.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:32, 20 December 2020 (UTC)

2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。
Among the five major religions in our country, Taoism is the only one that originated in China and was founded by Chinese, so it is also called a local religion of China.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:59, 20 December 2020 (UTC)

==Zeng Xinyuan 曾心媛==

儒家在先秦时期和诸子百家地位平等。而后汉武帝为了维护封建专制统治，听从董仲舒"罢黜百家，独尊儒术"的建议，对思想实施钳制，使儒家重新兴起。
Confucianism had equal status with other schools of thought in the pre Qin period. In order to maintain the feudal autocratic rule, Emperor Wu of the Han Dynasty followed Dong Zhongshu's suggestion of "deposing hundreds of schools of thought and respecting Confucianism alone", so as to reinvigorate Confucianism.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:11, 20 December 2020 (UTC)

在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。
Among the five major religions in China, Taoism is the only religion originated in China and founded by Chinese people, so it is also known as local religion.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:11, 20 December 2020 (UTC)

==Zhang Hui 张慧==

1.身处乱世的孔子所主张的仁政没有施展的空间，但在治理鲁国的三个月中，使强大的齐国也畏惧孔子的才能，足见孔子无愧于杰出政治家的称号。

The benevolent government advocated by Confucius in troubled times has no room for display, but during the three months of ruling Lu State, the powerful Qi State also feared Confucius’ talents, which shows that Confucius deserves the title of outstanding statesman.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:06, 17 December 2020 (UTC)

In the troubled times, Confucius' benevolent rule had no room to be exercised, but in the three months he ruled the state of Lu, he made even the powerful state of Qi fear Confucius' talent, which shows that Confucius deserves the title of outstanding statesman.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:13, 17 December 2020 (UTC)

In the troubled times, Confucius' benevolent rule had no room to give free play, but during the three months he governed the state of Lu, his talent made even the powerful state of Qi fear, which serves to show that Confucius deserves the title of outstanding statesman.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:26, 20 December 2020 (UTC)

2.道教继承和发展了先秦道家思想，将“道”作为最高信仰，从中演化出最高经典，最上道术及最高的神灵，构建了庞大的经典道术神仙体系。

Taoism inherited and developed Taoism thought in the pre-Qin period, taking "Tao" as the highest belief, and evolving from it the highest classics, the highest Taoism and the highest gods, and building a huge system of classic Taoism gods.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:06, 17 December 2020 (UTC)

Taoism inherited and developed Taoist thought from the pre-Qin dynasty, taking "Tao" as the highest belief, evolving from it the highest classics, the highest Taoist arts and the highest deities, and building a huge system of classical Taoist deities.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:13, 17 December 2020 (UTC)

==Zhang Ling 张玲==

1. 孔子63岁时，曾这样形容自己：“发愤忘食，乐以忘忧，不知老之将至。”当时孔子已带领弟子周游列国9个年头，历尽艰辛，不仅未得到诸侯的任用，还险些丧命，但孔子并不灰心，仍然乐观向上，坚持自己的理想，甚至是明知其不可为而为之。

When Confucius was 63 years old, he used to describe himself as, "(One is) so engrossed in his studies that he forgets to have his meals on time; so cheerful that he forgets all his worries; so youthful that he forgets his actual age." At that time, Confucius had guided his disciples to travel around the various states and nations for nine years. He had not been appointed by the feudal lord, but he almost died. However, he was not disheartened. He was still optimistic and insisted on his ideal even he knew it was impossible. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 04:05, 17 December 2020 (UTC)

When Confucius was 63 years old, he used to describe himself as, "(One is) so engrossed in his studies that he forgets to have his meals on time; so cheerful that he forgets all his worries; so youthful that he forgets his actual age." At that time, Confucius had guided his disciples to travel around the various states and nations for nine years. He had not been appointed by the feudal lord, and even almost died. However, he was not disheartened. He was still optimistic and insisted on his ideal even he knew it was impossible.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 06:52, 18 December 2020 (UTC)

2. 作为中华文化最重要的两翼，道家和儒家的关系比较复杂，它们之间有互相学习的一面，也有互相对立的一面。

As the two most important components of Chinese culture, Daoism and Confucianism have a complicated relationship, with both learning from each other and opposing each other. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 04:05, 17 December 2020 (UTC)

As the two most important wings of Chinese culture, Taoism and Confucianism have a complex relationship. Specifically, they are mutually reinforcing and antagonistic.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:34, 17 December 2020 (UTC)

==Zhang Peiwen 张佩闻==
道教是中国的本土宗教，道教主张天人合一，东汉末年出现大量的道教组织。

Taoism is China's indigenous religion advocating the unity of heaven and man.The end of the Eastern Han Dynasty appeared a large number of Taoist organizations.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:26, 18 December 2020 (UTC)

Taoism is an indigenous religion of China and it advocates the unity of heaven and man. A large number of Taoist organizations appeared in the late Eastern Han Dynasty. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:19, 18 December 2020 (UTC)

儒学思想，是先秦诸子百家学说之一。儒学文化是以儒家学说为指导思想的文化宗派，为春秋时期孔丘所创。

Confucianism is one of the schools of thought in the pre-Qin dynasty. Confucianism is a school of culture guided by Confucianism. It was created by Confucius in the Spring and Autumn Period.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:26, 18 December 2020 (UTC)

Confucianism is one of the schools of thought in the pre-Qin periods. Confucian culture is a cultural sect with Confucianism as its guiding ideology, created by Confucius during the Spring and Autumn Period. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:19, 18 December 2020 (UTC)

Confucianism is one of the schools of thought in the pre-Qin periods. Confucian culture is guided by Confucianism and created by Confucius during the Spring and Autumn Period.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:50, 20 December 2020 (UTC)

==Zhang Weihong 张维虹==

==Zhang Yinliu 张银柳==

==Zhang Yu 张瑜==
1.儒家经书是四书五经，但儒家早期以五经为主，在佛教禅宗的挑战下，宋代程朱理学以四书取代五经的地位。

The Confucian scriptures are the Four Books and Five Classics. However, the early Confucianism was dominated by the Five Classics. Under the challenge of Zen Buddhism, the neo-Confucianism of Song Dynasty replaced the Five Classics with the Four Books.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:22, 17 December 2020 (UTC)

The Confucian scriptures are the Four Books and Five Classics, but the early Confucianism was dominated by the Five Classics. Under the challenge of Buddhist Zen Buddhism, the Song Dynasty's Cheng-Zhu Theory replaced the status of the Five Classics with the Four Books.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:13, 17 December 2020 (UTC)

The scriptures of confucianism are the Four Books and Five Classics, in which the majority is the latter one at the prelimetary stage, but then the Four Books got the upper hand under the theory of Chen-zhu in the Song Dynasty.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:41, 18 December 2020 (UTC)

2.春秋时期，老子总结了古老的道家思想的精华，形成了道家完整系统的理论，标志着道家思想已经正式成型。道家是对中华哲学、文学、科技、艺术、音乐、养生、宗教等影响最深远的学派。

During the Spring and Autumn Period, Laozi summarized the essence of ancient Taoist thought and formed a complete and systematic theory of Daoism, marking the formal formation of Daoism. Daoism is the school of thought that has had the most profound influence on Chinese philosophy, literature, science and technology, art, music, health care and religion.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:22, 17 December 2020 (UTC)

During the Spring and Autumn Period, Laozi summarized the essence of ancient Taoist thought and formed a complete and systematic theory of Taoism, marking the formal formation of Taoist thought. Taoism is the school of thought that has had the most profound influence on Chinese philosophy, literature, science and technology, art, music, health care and religion.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:13, 17 December 2020 (UTC)

==Zhang Yujie 张毓婕==
孔子是中国古代思想家、政治家、教育家，儒家学派创始人。

Confucius is an ancient Chinese thinker, statesman, educator, and founder of the Confucian school.

在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。

Among the five major religions in my country, Taoism is the only religion that originated in China and was founded by the Chinese, so it is also called a local religion。

==Zhang Yuxing 张宇星==

1. 孔子是中国著名的思想家、教育家、政治家，与弟子周游列国十四年，晚年修订六经，即《诗》《书》《礼》《乐》《易》《春秋》。

Confucius was a famous Chinese thinker, educator and statesman who traveled around ancient China with his disciples for 14 years and revised the Six Classics in his later years, namely, The Book of Songs, The Book of History, The Book of Rites, The Book of Music, The Book of Changes, and The Spring and Autumn Annuals.

2. 庄子的文章，想象奇幻，构思巧妙，多彩的思想世界和文学意境，文笔汪洋恣肆，具有浪漫主义的艺术风格，瑰丽诡谲，意出尘外，乃先秦诸子文章的典范之作。

Zhuangzi's writings are full of fantastical imagination, ingenious ideas, colorful world of thought and literary contexts, and unrestrained writing. They also fall to a romantic artistic style which is magnificent and deceitful, boasting for masterpieces among those in the pre-Qin plutocrats.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:19, 20 December 2020 (UTC)

==Zhao Xi 赵茜==
儒学,儒学亦称儒家学说，起源于东周春秋时期，自汉朝汉武帝时期起，成为中国社会的正统思想。

Confucianism, known as Confucian School, originated from Spring and Autumn Period in the Eastern Zhou Dynasty and became orthodox of the society in China since the reign of Hanwu Emperor of the Han Dynasty. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:17, 20 December 2020 (UTC)

在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。

Among the five major religions, Daoism is the only religion which originated from China and was founded by Chinese. Therefore, it was called native religion as well.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:17, 20 December 2020 (UTC)

==Zhao Xiaoyan 赵晓燕==
1.孔子是当时社会上最博学者之一，在世时就被尊奉为“天纵之圣”“天之木铎”，更被后世统治者尊为孔圣人、至圣、至圣先师、大成至圣文宣王先师、万世师表。

Confucius was one of the most knowledgeable people in the society at that time, and he was honored as "the sage of heaven" and "the mudor of heaven" during his lifetime.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:09, 17 December 2020 (UTC)

Confucius was one of the most erudite scholars in society at that time. He was honored as the "Sage of Heaven" and "Wood Duo of Heaven" when he was alive. The most sacred Wenxuan Wang Xianshi, Wanshishishi.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:16, 17 December 2020 (UTC)

Confucius was one of the most knowledgeable people in the society at that time, and he was honored as "the sage from heaven" and is honored as "the mudor of heaven" nowadays.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 04:05, 17 December 2020 (UTC)

2.道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。

Taoism has had a profound impact on the politics, economy and culture of our ancient times and was one of the three spiritual pillars of the ruling class.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:09, 17 December 2020 (UTC)

Taoism had a profound impact on the politics, economy and culture of our country in ancient times, and it is one of the three spiritual pillars of the ruling class.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:16, 17 December 2020 (UTC)

==Zhou Yiwen 周艺文==

1.孔子是儒家学派创始人，他提出“仁”，具有古典人道主义的性质：主张“礼”，维护周礼这是孔子政治思想中的保守部分。儒家文化后来发展成为中国古代正统文化。

Confucius is the founder of The Confucian school, he proposed "benevolence", with the nature of classical humanitarianism: advocated "rites" and maintained the Rites of Zhou, which is the conservative part of Confucius' political thought. Confucian culture later developed into the orthodox culture of ancient China

2.道家所主张的“道”，是指天地万物的本质及其自然循环的规律。自然界万物处于经常的运动变化之中，道即是其基本法则。

The "Tao" advocated by Taoism refers to the nature of the universe and the law of its natural cycle. Everything in nature is in constant motion and change, and tao is its fundamental law.
--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 14:58, 20 December 2020 (UTC)

==Zhou Yuanqu 周园曲==

==Zhu Meimei 祝美梅==

==Zhu Xu 朱旭==
1.孔子的美学思想核心为“美”和“善”的统一，也是形式与内容的统一。孔子提倡“诗教”，即把文学艺术和政治道德结合起来，把文学艺术当作改变社会和政治的手段，陶冶情操的重要方式。并且孔子认为，一个完人，应该在诗、礼、乐修身成性。孔子的美学思想对后世的文艺理论影响巨大。

The core of Confucius’s aesthetic thought is the unity of “beauty” and “Goodness” , as well as the unity of form and content. Confucius advocated “Poetic Education” , that is, the combination of literature and art and political morality, literature and art as a means to change society and politics, an important way to cultivate sentiment. And Confucius thought, a perfect person, should be in poetry, ritual, music self cultivation. Confucius’s aesthetic thought had a great influence on the literary theory of later ages.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 14:30, 20 December 2020 (UTC)

2.老子思想的核心是道，道的本性即是自然，出于对自然的推崇，老子也很推崇素朴和稚拙。古朴、稚拙作为一种美的形态，在中国古代一直受到人们普遍的赞颂，与此对立的华艳轻浮，历来为人们所蔑视，这一倾向即受到老子思想的影响。古朴、稚拙之外，老子也很推崇恬淡。平淡之美，也为很多人所崇尚，在宋代更成为一种审美风尚。

The core of Lao Zi's thought is "Tao", which essential is nature. Due to his extol the nature, Lao Zi also praise simplicity and naivety. simplicity and naivety, as a type of beauty, always be admired during Chinese ancient time. On its oppsite, extravagance and flippancy Has always been despised by people. this tendency was influenced by Laozi's thought. In addition tosimplicity and naivety, Laotse also highly praised plain. Plain Beauty, also for many people advocate. Moreover in the Song dynasty it become an aesthetic trend.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 14:30, 20 December 2020 (UTC)

==Zou Xinyu 邹鑫雨==

==Zubareva, Ekaterina==

1.Confucianism, the way of life propagated by Confucius (6th–5th century BCE) and followed by the Chinese people for more than two millennia.

儒教，是孔子（公元前6至5世纪）传播的生活方式，其后是中国人传播了两千多年。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 11:05, 20 December 2020 (UTC)

儒家思想由孔子（公元前6-5世纪）传播一种生活方式，中国人已遵循的两千多年。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:22, 20 December 2020 (UTC)

2.Taoism, indigenous religion-philosophical tradition that has shaped Chinese life for more than 2000 years.

道教是一种固有的宗教哲学传统，已经改变了中国2000多年的生活。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 11:05, 20 December 2020 (UTC)

道教是中国的本土宗教，也是一种哲学传统，影响了中国2000多年。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:22, 20 December 2020 (UTC)

20201215 cultexam 1

2020-12-20T09:39:05Z

HATHITHUHANG2: /* Outside of China */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Chinese Astrology - Alsied, Saffana==
"Chinese Astrology"--[[User:SAFFANA ALSIED ,Student No:......... Major...........

===The History===

So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the source is coming from ?

===The Five Elements And YIN/YANG===

Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. where is the quotation please?

A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. where is the quotation please?

===THE FORCES OF YIN / YANG===

Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.

A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. where the source is coming please?

Chinese astrology was invented to achieve the two following goals;

1.) To predict the future,

2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.

According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. where the source is coming please ?

Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. quotation please?

The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.quotation please?

You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.

===Terms and Expressions===

1. Chinese Astrology 中国占星学

2. Chinese Zodiac 中国十二生肖

3. Agricultural calendar 农业日历

4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）

5. The Oriental philosophy 东方哲学

===Questions===

1-Why was Chinese astrology invented?

2-How Chinese astrology relates to a person’s divine destiny?

3-What important role does the Chinese zodiac play in Chinese culture?

4- What is Chinese astrology based on?

5-Is Chinese astrology accurate?

===Answers===
1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.

2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.

3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.

4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.

5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.

===References===

Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9

何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591

Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.

Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.

""Almanac" "lunar" zodiac beginning of spring as the boundary dislocation? — China Network". 16 February 2009. Retrieved 5 January 2011.

Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.

"Five Elements(Wu Xing)". YourChineseAstrology.com

==Spring Festival Couplets - Cao Runxin 曹润鑫 - 202070080634 - 英语口译 ==
[[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]

===Spring Festival Couplets===
Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).

Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. Pasting the Spring Festival Couplets on gateposts or doors is one of the most common and important customs when Chinese People celebrate Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China. With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).

Spring Couplets originated from Taofu, an inscription on boards made of peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).

The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).

There are rules not only for pasting the couplets, but also for how to remove them, and these traditions vary in different areas of China. In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

===References===

*Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.
*Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.
*Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.
*Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.

===Terms and Expressions ===
Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联

Paste 贴

Horizontal scroll 横联

Upper scroll 上联

Lower scroll 下联

===Questions ===
1.What’s the purpose of pasting Spring Festival Couplets?

2.What’s the historical origin of Spring Festival Couplets?

3.How to read the Spring Festival Couplets?

4.How to do with the Old Couplets?

===Answers ===
1.To expresses people’s delight in the festival and wishes for a better life in the coming year.

2.It originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.

3.First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.

4.Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.

==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - 英语笔译==

[[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]

===Guzheng===

''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument and was widespread at that time. Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese. (Wang Xiaohong, Gu Haijun 2019, 69)

There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).

The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were originally made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. Since the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)

[[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&z=0&ipn=d&word=古筝&step_word=&hs=0&pn=27&spn=0&di=9900&pi=0&rn=1&tn=baiduimagedetail&is=0%2C0&istype=2&ie=utf-8&oe=utf-8&in=&cl=2&lm=-1&st=-1&cs=3246661627%2C3658564396&os=3335747328%2C3552694810&simid=0%2C0&adpicid=0&lpn=0&ln=1718&fr=&fmq=1607348039297_R&fm=result&ic=&s=undefined&hd=&latest=&copyright=&se=&sme=&tab=0&width=&height=&face=undefined&ist=&jit=&cg=&bdtype=0&oriquery=&objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&gsm=1c&rpstart=0&rpnum=0&islist=&querylist=&force=undefined]for original source.]]

The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke a sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)

Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several new schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school (Cao Yue 2002, 84).

In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated in a TV show — ''National Music Ceremony'', which is a large-scale original Chinese classical music competition show. In a performance, Wang merged the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'' by playing the ''guzheng'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)

From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.

===References===

*Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.
*Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.
*Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165.
*Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.
*Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.
*Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.
*Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.

===Terms and Expressions===

*Meng Tian 蒙恬
*Zhao Lin 赵璘
*''Records on Words'' 《因话录》
*anterior mountain 前岳山
*posterior mountain 后岳山
*''Yan Zhu'' 雁柱
*string pegs 弦钉
*turning box 调音盒
*zither feet 琴足
*paulownia 桐木
*mahogany 红木
*''Dai Mao'' 玳瑁
*''Yi Jia'' 义甲
*''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹
*''High Mountains and Running Water'' 《高山流水》
*''The Autumn Moon in the Han Palace'' 《汉宫秋月》
*''Jackdaw Playing in the Water'' 《寒鸦戏水》
*''The Tune of Liu Qing Niang'' 《柳青娘》
*Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香
*Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望
*''National Music Ceremony'' 《国乐大典》

===Questions===

1. What kind of musical instrument does the ''guzheng'' belong to?

2. Why the ''guzheng'' is deeply loved by Chinese?

3. Who is Meng Tian?

4. According to the legend, how did the ''se'' develop into the ''zheng''?

5. How many strings does the ''guzheng'' have? How long is the guzheng?

6. What is the function of movable bridges?

7. What are used by ''guzheng'' performers to play the instrument? And What are they also called?

8. In ancient times, what materials were the fingerpicks made of?

9. Generally speaking, how does the players strike notes?

10. What styles can ''guzheng'' be divided into?

11. Which school does ''The Autumn Moon in the Han Palace'' belong to?

12. Do you know any other ''guzheng'' music? Please list some pieces.

===Answers===

1. It belongs to plucked stringed instruments.

2. It has beautiful timbre, broad range, rich performance skills and strong expressive power.

3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.

4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part.

5. It usually has 21 strings and is 163 centimeters long.

6. They are moved to change the timbres.

7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.

8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.

9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges.

10. The Northern school and the Southern school.

11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.

12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).

==Facial Make-up - Chen Jingjing 陈静静 - 202070080581 - 英语笔译==
===Facial makeup===

Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up.(Wang Hai 2018, 62)

The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)

People hold different views when speaking of the origin of the facial makeup. It is said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)

The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou wear their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk characteristics. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)

Red

Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.

Black

Black facial makeup gives people the impression that the actor is serious,courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.

White

White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Hui.

Blue

Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.

Purple

Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.

Golden

Golden facial makeup symbolizes dignity and power fitting roles like supernatural being such as Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).

The features of facial makeup are mainly as follows:
First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.
It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and strong vitality. Out of curiosity and affection for facial makeup in Chinese opera, a great many foreign friends and Chinese of insight start to explore the mystery of it.(Cao Juan, 2019, 61)

===Terms and Expressions===

painted face 花脸

clown 丑角

Sheng 生

Dan 旦

Jing 净

Chou 丑

Qingyi 青衣

xiaosheng 小生

laosheng 老生

wusheng 武生

Gao Changgong 高长恭

legend，romance 传奇剧

Erlang Shen, Erlang 二郎神

Tathagata, Buddha 如来佛

Sakyamuni 释迦牟尼

Water Margin of the Marsh 水浒传

===Questions===

1.How many types are character roles divided into in Beijing opera?

2.What are the differences bbetween Sheng and Dan?

3.What are the special features of Chou?

4.What is the function of facial mask in Beijing opera?

5.What are the main features of facial makeup?

6.What are the characteristics of characters wearing blue facial makeup?

===Answers===

1.Four types:Sheng, Dan, Jing and Chou.

2.Sheng refers to male roles while Dan refers to female roles.

3.A patch of white powder is wiped on their nose.

4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.

5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.

6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly

===References===

He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.

Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.

Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.

==Literature, Science Fiction, and Fantasy - Dashkin, Gennadii - Student No.201911080001. Major - Comparative Literature and Cross-Cultural Studies==

=== Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===

Nowadays, modern literature is one of the most interesting and gorgeous sides of worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that the modern generation in the whole world prefers to read something about the future. Something, that can help to understand what will be next. And that is why one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broaden our mental horizons.

====1.Liu Cixin（刘慈欣）====

Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976). (Alexandra Alter, How Chinese Sci-Fi Conquered America 2019, 1)

Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written, and naive, and decided that he did not deserve publication. However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel "Supernova Era". Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence. (Liu Cixin, Supernova Era 2019,352)

Liu's first books were warmly received in China, but nevertheless, the real success came to the author only in 2006, when he published the first part of his trilogy "Memory of the Earth's Past" - the novel "The Problem of Three Bodies" in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as "The Three-Body Problem," although this is not formally true.In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus, and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus. The novel gain such a great popularity that famous people like Barack Obama and Marc Zuckerberg recommended it to every single person in order to understand the perhaps future and how to avoid the negative contact with aliens.[https://www.nytimes.com/2017/01/16/books/obamas-secret-to-surviving-the-white-house-years-books.html]

Liu Cixin is definitely a unique writer, with his own style, philosophy, and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics but also to science fiction literature.[https://vc.ru/books/73785-lyudi-nadeyutsya-chto-moya-kniga-stanet-kitayskimi-zvezdnymi-voynami-lyu-cysin-o-razvitii-fantastiki-kitaya]
Also Liu Cixin is a big fan of reading books and he sometimes recommend not only to read classical sci-fi novels but also modern authors like Chen Qiufan, Derek Kunsken and so on.

====2.Chen Qiufan (陈楸帆） ====

Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.(Chen Qiufan,Waste Tide, 2019,3)

Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu, and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.

His debut book was ''The Empty Wave'', "combining realism and allegory to represent the hybridity of humans and machines." Chen Qiufan's novels and stories won three Galaxy Awards and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish, and Russian. His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of human progress.

Chen Qiufan is a constant consumer of entertainment and literature. He watches at least 100 new films and reads at least 50 books a year. He was recently recruited into the development of a television series called Eros, which will launch in 2019-2020. He compares it to Netflix's dystopian show Black Mirror. Chen travels frequently between Beijing, Shanghai and Hong Kong for various projects and literary festivals.[https://fanzon-portal.ru/press-center/redaction-material/kto-takoy-chen-tsyufan/]

====3.Rebecca F. Kuang (匡蘦秀)====

When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.Quang grew up in Dallas, Texas, and later went to Georgetown University in large part because of the college's discussion team. Kuang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.

Her debut novel, The Opium War, is a war fantasy setting inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological, and philosophical realities of China of the chosen era.

The last news about R.F.Kuang is that she wrote a short tale for an anthology of Star Wars saga, which was published in November. She wrote about this news in her Twitter[https://twitter.com/kuangrf/status/1327367219341385729]

===Terms and Expressions===

1. Science fiction - 科幻

2. Fantasy - 奇幻

3. Horizon - 地平线

4. Broad - 拓宽

5. Hybrid - 杂种

6. The plot - 情节

7. Garbage - 垃圾堆

8. Heyday - 壮年

9. Supernova - 超新星

===Questions===

1. What was the first book written by Liu Cixin?

2. What is the most popular trilogy of books written by Liu Cixin?

3. Who is called Chinese William Gibson?

4. What is Rebecca Quang's Opium War plot based on?

===Answers===

1. Supernova Era

2. Memory of the Earth's Past

3. Chen Qiufan (陈楸帆）

4. The plot is largely based on the history of China in the middle of the 20th century.

===References===

1. Alexandra Alter, How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html

2. Liu Cixin, Supernova Era, 2019. 352 pp.

3. Chen Qiufan, Waste Tide, 2019. 342 pp.

4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.

==Stilts - Chen Yongxiang 陈永相英语笔译 202070080582==
[[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&fm=26&gp=0.jpg] for original source.]]

===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===

<center>Chen Yongxiang 陈永相英语笔译 202070080582</center>

====Introduction====

Stilt is one of the folk dances of the Han nationality in our country, which is called "Stilt Yangko" in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near. (Huo Linmo,2018)

Stilt is one of the folk dances of the ''Han'' nationality in our country, which is called "Stilt Yangko" in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from "Tongle Gaojiaohui"(同乐高脚会）founded in the Qianlong period of the Qing Dynasty and bestowed by Emperor Qianlong. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing over 250 years ago. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage. (Xingxing,2019)

As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the "Tongle Gaojiaohui"(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performing techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic in these funny characters. (Xingxing,2019)

The only serious character among the 13 roles is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords are his signature tricks. Others like the young boy, a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He plays the trick of going fishing because that's his character setting. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to accompany the performance and amuse the audience. (Xingxing,2019)

The show of Kylin Songzi (麒麟送子), which indicates good luck and peace, marks the end of the whole performance. Tuotou lies down flat, the young boy riding on his waist like a living lion. Mr. Plaster and young master raise their waists with Yupo dancing Yangko behind. Fisherman uses his ribbon to drag Tuotou who holds the ribbon in his mouth. When it's done, the show is over. That's the whole performance. (Xingxing,2019)

The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who holds the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

As a renowned fair, Miliangtun Village Stilts is characterized by risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. (Xingxing,2019)

Legs and feet of stilt-walkers must be agile. Jumping the large bench is quite demanding that normal players can hardly accomplish. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. Stilt-walkers control the balance with waist. They must bend their knees slightly and keep moving when walking on stilts. The upper body and their feet must be coordinated, and swing from side to side to ensure the balance when stepping on the wooden stilts. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing. (Xingxing,2019)

Miliangtun Village Stilts as a renowned fair,are known for the features of risky tricks, various skills and great difficulty. There are stunning tricks such as ''Yasha Searches the Sea'', ''Su Qin Carries Swords'', squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, and the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

There is strict inheritance relationship and etiquette in the stilt fair, which will set up inheritors, presidents, team leaders, and team members. As the distinctive folklore in Wangzuo Town, Fengtai District, Beijing, Miliangtun Village Stilts stands out among the stilt fairs and enjoys great popularity from peers and the public. It is visually stunning, technically accomplished and naturally funny, which is divided into lead in, head stilts command, and separation performance, forming into a fixed set of performance routines after long-term drills since the establishment. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.(Sun Miao,2018)

There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilt is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilt has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

====Terms and Expressions====

Miliangtun (village name) 米粮屯

stilts 高跷

intangible cultural heritage 非物质文化遗产

folk dance 民间舞蹈

Toutou 陀头

Laozuozi 老坐子

young boy 小二哥

young master 公子

Mr.Plaster 药先生

Choupo 丑婆

fisherman渔翁

Yupo 渔婆

wood-cutter 柴翁

handsome and ugly drum-players 俊鼓和丑鼓

handsome and ugly gong-players 俊锣和丑锣

====Questions====

1. Where does Miliangtun Village Stilts originate?

2. How many years of history does Miliangtun Village Stilts have?

3. How many roles in Miliangtun Village Stilts?

4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?

5. How long is the shortest and the longest stilts?

====Answers====

1. Wangzuo Town, Fengtai District, Beijing.

2. More than 250 years.

3. 13.

4. In 2006.

5. The shortest stilt is two feet long, and the longest reaches over five feet.

====References====

Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.

Sun Miao 孙淼. (2018). "一跷多艺": 胜芳高跷会的舞体表征与比较研究. ["Multi-skills with one stilt": A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.

Xingxing 邢星. (2019). 米粮屯高跷 Miliangtun Village Stilts. https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin

Intangible cultural heritage Miliangtun Village Stilts. (2019). https://baijiahao.baidu.com/s?id=1643344511003907548&wfr=spider&for=pc

--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)

==Chinese Lion Dancing - Ding Daifeng 丁代凤 202070080583 英语笔译==

===Introduction===

Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)

Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)

When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.

When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)

There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)

There are a number of stories about the origin of lion dance. Here is one of the sayings. That is, during the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:52, 20 December 2020 (UTC)

In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)

In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:52, 20 December 2020 (UTC)

===Northern lion dancing===

The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)

The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)

===Southern lion dancing===

Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called "Liu Bei lion", "Guan Gong lion" and "Zhang Fei lion", which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)

Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called "Liu Bei lion", "Guan Gong lion" and "Zhang Fei lion", which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)

Dancers usually perform the traditional custom of “Cai Qing”, literally meaning "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)

Dancers usually perform the traditional custom of "Cai Qing", literally meaning "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:54, 20 December 2020 (UTC)

In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)

In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:54, 20 December 2020 (UTC)

===Terms and Expressions===

Western Regions 西域

mount 坐骑

Manjusri Bodhisattva 文殊菩萨

gong 锣

northern lion dancing 南狮

southern lion dancing 北狮

colorful silk ball 绣球

wooden stakes 木桩

spiritual resemblance神似

Liu Bei lion 刘备狮

Guan Gong lion 关公狮

Zhang Fei lion 张飞狮

sworn brothers 结义兄弟

horse stances 马步

Cai Qing 采青

lettuces 生菜

===Questions===

1. How long is the history of lion dance in China?

2. Why did people gradually accept lion as a sacred animal?

3. Why did people use lion dance to celebrate the New Year?

4. What is the main difference between southern lion dancing and northern lion dancing?

5. What is the center of southern lion dancing?

6. How many colors are there in the heads of southern lions? And what are they?

7. What is “Cai Qing”? And what do you know about “Cai Qing”?

===Answers===

1. It is with a history of about 2000 years.

2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.

3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.

4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.

5. It is in southern China’s Guangdong province.

6. The head of southern lion has three colors, namely black, red and yellow.

7. It means "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming.

===References===

Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.

Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.

Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.

Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.

==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==
===A. The Eight Tang-Song Prose Masters===
[[File:Tang Song Ba Da Jia.jpg]]

===Brief Introduction of The Eight Tang-Song Prose Masters===

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and "Three Su"(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called "Three Su". What's more, Su Xun is their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and "Three Su"(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called "Three Su". What's more, Su Xun is their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)

In a word, they all advocated prose and opposed parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their successive waves of innovation of ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

In a word, they all advocated prose and opposed parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their successive waves of innovation of ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''1. Han Yu'''
[[File:Han Yu.jpg]]

Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)

Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was a native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasties. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was a native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as "The Decline of Eight Generations" by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasties. Han Yu was called "Han Liu" with Liu Zongyuan, and his proses were juxtaposed with Du Fu's poems as "Du poem Han pen" by Du Mu. He enjoyed the fame as "The Article Giant" and "Admired Literate of One Hundred Generations" with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory.(Hou Benta 2014, 135)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)

Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

'''2. Liu Zongyuan'''
[[File:Liu Zongyuan.jpg]]

Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong ", " Mr. Hedong ", also known as" Liu Liuzhou " because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.

Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong, now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong", " Mr. Hedong ", also known as "Liu Liuzhou" because of his official end of feudal provincial of Liuzhou. He was born in Chang'an and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)

Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong, now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong", " Mr. Hedong ", also known as "Liu Liuzhou" because of his official end of feudal provincial of Liuzhou. He was born in Chang'an and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

He was juxtaposed with Han Yu as "Han Liu ", with Liu Yuxi as " Liu Liu ", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu ". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives. (Zhou Zhenfu 2016, 26)

He was juxtaposed with Han Yu as "Han Liu", with Liu Yuxi as "Liu Liu", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives. (Zhou Zhenfu 2016, 26)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)

He was juxtaposed with Han Yu as "Han Liu", with Liu Yuxi as "Liu Liu", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives.(Zhou Zhenfu 2016, 26)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)

He was a philosopher and litterateur with many wise ideas, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude to writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)

He was a deep-thignking philosopher and great litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude to writing. That means, it is important for the writer to have highly moral cultivation.(Zhangjian 2019, 1)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

'''3. Ouyang Xiu'''
[[File:Ouyang Xiu.jpg]]

Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.

Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousand volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was a native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Mianyang city in Sichuan province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the "Liu Yi scholar", which means that he had ten thousand volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk man alone. He was born in Mianzhou, now Mianyang city in Sichuan province, whose hometown is Jizhou Yongfeng, now Yongfeng county of Ji'an city in Jiangxi province.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.

Ouyang Xiu’s poems, Cis and proses were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was one of his representatives.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Ouyang Xiu's poem, Ci and prose were all the crown of that time. His poem was smooth, lyrical and euphemistic with a similar prose style, which stresses on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was one of his representatives.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)

Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang xiu not only drove away the old style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu's ancient prose, and pioneered the Northern Song Dynasty poetry innovation movement. As the leader of this movement, he not only drove away the old style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height.(Hou Benta 2014, 136)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

'''4. Su Xun'''
[[File:Su Xun.jpg]]

Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.

Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. He married Mrs. Cheng at the age of 19. Later when he was 27, he determined to study hard. After a decade of hard work, he made huge academic progress.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. At the age of 19, he married Mrs. Cheng. Later when he was 27, he determined to study hard. After a decade of hard work, he made huge progress in his academic field.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Su Xun was a man of political ambition. He said that the main purpose of his works was "to speak for the world ", to" apply to the present ". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)

Su Xun was a man of political ambition. He said that the main purpose of his works was "to speak for the world", to "apply to the present". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Xun was a man full of political ambition. He said that the main purpose of his works was "to speak for the world", to "apply to the present". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor.Owing to his great understanding of social reality, he was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''5. Su Shi'''
[[File:Su Shi.jpg]]

Su Shi, with a fame as " Dongpo Jushi ", was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .

Su Shi, with a fame as " Dongpo Jushi ", was a native in Meishan in Sichuan. He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Shi, with a fame as "Dongpo Jushi", was a native in Meishan in Sichuan. He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".(Zhou Zhenfu 2016, 28)

Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding men in literary and artistic attainments in thousands of years of Chinese history. He was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".(Zhou Zhenfu 2016, 28)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding men in literary and artistic attainments in thousands of years of Chinese history. He was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".(Zhou Zhenfu 2016, 28)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.

Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage.(Zhangjian 2019, 1) Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage.(Zhangjian 2019, 1) Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called "Su Men Four bachelors".--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''6. Su Zhe'''
[[File:Su Zhe.jpg]]

Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)

Su Zhe was born in Meishan, Meizhou, now Sichuan province. In the the second year of Jiayou(AD 1057), Su Shi, together with his brother, climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode, such as The "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Zhe was born in Meishan, Meizhou, now Sichuan province. In the the second year of Jiayou(AD 1057), Su Zhe, together with his brother Su Shi, climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He performed well in politics and history and discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode, such as his work the "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''7. Wang Anshi'''
[[File:Wang Anshi.jpg]]

Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .

Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo. He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo. He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)

Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature should aim to serve the society first. That means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature should aim to serve the society first. That means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary opinions of enlightenment of political decrees for world use.(Zhou Zhenfu 2016, 30)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''8. Zeng Gong'''
[[File:Zeng Gong.jpg]]

Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng" , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.

Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In the second year of Jiayou(AD 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng", including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In the second year of Jiayou(AD 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng", including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.

Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text.(Zhangjian 2019,1) His prose was natural and simple with little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative.(Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text.(Zhangjian 2019,1) His prose was natural and simple with little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative.(Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''9. Comparison between the Ancient Prose Movement and Renaissance'''

Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)

Although there were seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their cultures respectively.(Lu Sihong 2016, 71)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Although there were seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their cultures respectively.(Lu Sihong 2016, 71)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Comparison in ideology:

The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.

The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.(Wang Yaping 2001, 8) Their premise and foundation are their own classical thoughts.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.(Wang Yaping 2001, 8) Their premise and foundation are their own classical thoughts.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Comparison in writing style:

The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)

The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of in Tang and Song Dynasties studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Comparison in literary form:

The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :" Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)

The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language.(He Lei 2017, 159) Although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theories and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said: "Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

The Ancient Prose Movement not only corrected the floating and rigid writing style of the Six Dynasties, but also laid a good foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language.(He Lei 2017, 159) Although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theories and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said: "Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

===B. Terms and Expressions===
The Eight Tang-Song Prose Masters 唐宋八大家

Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》

Ancient Prose Movement 古文运动

parallel prose 骈文

The Decline of Eight Generations 文起八代之衰

The Article Giant 文章巨公

Admired Literate of One Hundred Generations 百代文宗

Han Changli Collection 《韩昌黎集》

External collection 《外集》

The Teacher's Theory《师说》

Pre-Qin and Han Dynasties 先秦两汉时期

writing in classical Chinese 文言文

feudal provincial of Liuzhou 柳州刺史

official supervisor of imperial censor 监察御史

Liu He Dong Colloection 《柳河东集》

Northern Song Dynasty 北宋

a thousand volumes of collections of inscriptions 金石遗文一千卷

Xia, Shang, Zhou Dynasties 三代

the crown of that time 一时之冠

Southern Tang Dynasty 南唐

Yu Feng 余风

The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》

the Northern Song Dynasty poetry innovation movement北宋诗文革新运动

Heng Lun 《衡论》

Duke Jingguo 荆国公

The Book to the Emperor 《上皇帝书》

Dongpo Jushi 东坡居士

Ci writer 词人

Unconstrained Ci School豪放派

literary and artistic attainments 文学艺术造诣

the first all-round talent in ancient China 中国古代第一全才

Su Men Four bachelors 苏门四学士

the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》

The New Theory《新论》

On the Six Kingdoms 《六国论》

Ode 赋

The Ode to Ink bamboo 《墨竹赋》

Seven Zengs of Nanfeng 南丰七曾

the doctrine before the text先道后文

the Book to Ouyang She Ren 《上欧阳舍人书》

the Book to Bachelor Cai 《上蔡学士书》

the Six Dynasties 六朝

===C. Questions===
1.Who are the pioneers of the Ancient Prose Movement?

2.Which kind of prose they advocate in the Ancient Prose Movement?

3.Do you know any representatives of Liu Zongyuan?

4.Why Ouyang Xiu is called "Liu Yi Scholar"?

5.What’s the relationship among Su Xun, Su Shi and Su Zhe?

6.Who are the "Seven Zengs of Nanfeng"?

7.Do you know any about the Renaissance?

===D. Answers===

1.Han Yu and Liu Zongyuan.

2.The prose of Pre-Qin and Han Dynasties.

3.The "Liu He Dong Colloection".

4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.

5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.

6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.

7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.

===References===
Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.

Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.

He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.

Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.

Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.

Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).

Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).

Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.

Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.

==Music, Instruments, Pipa - Gao Mingzhu 高明珠 - 202070080585 - Translation 英语笔译==
[Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)

Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu

===1. A Brief Introduction===

[[File:1.jpg|250px|thumb|left|The structure of Pipa. image from 360Baike. Click[https://image.so.com/view?q=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&src=srp&correct=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&ancestor=list&cmsid=b749b87b72b5c9427d6560a39d41548f&cmras=6&cn=0&gn=0&kn=0&crn=0&bxn=0&fsn=60&cuben=0&pornn=0&manun=0&adstar=0&clw=247#id=22b2926be2637560e928bbc9318219fb&currsn=0&ps=58&pc=58]for original source.]]

Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The "Pin(品，those wooden strips on Pipa’s face plate for pressing)" and "Xiang（相, those horizontal strips on Pipa’s neck for pressing）" are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)

Pipa belongs to plucked stringed instruments. It is made of wood or bamboo, and its speaker box is half pear-shaped with 4 strings on it which was made of silk initially while being made of steel wire, steel rope or nylon now. The "Pin(品，those wooden strips on Pipa’s face plate for pressing)" and "Xiang（相, those horizontal strips on Pipa’s neck for pressing)" are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly and presses the strings with the left hand and plays them with the right hand. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:43, 18 December 2020 (UTC)

===2.The Development of Pipa===

The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)

The development of The Chinese pipa has gone through four stages: First, the Qu Xiang pipa (curving-neck pipa) was introduced to China during the Eastern Jin Dynasty and became an important instrument. In the second stage, the art of pipa reached its peak in the Tang Dynasty, making a breakthrough in timbre and performance techniques and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)

During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one way to play pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16)

During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)

During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)

During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. And it was replaced by Chinese traditional instrument playing style with a major breakthrough in playing skills and artistic expression. During this period, pipa was still played mainly by plucking the strings, but its initial plucking style had transitioned to finger-playing, and the posture of playing the pipa changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)

During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the range of the audience of pipa performance changed from small to large. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)

During the Song and Yuan Dynasties, the methods and playing skills of pipa performance were more mature, and its playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. (Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)

During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)

During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing the pipa also kept vertical. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement in their performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so the common people without cultural accumulation often cannot appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)

===3.Pipa Schools and Their Chracteristics===

The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)

The formation of Pipa schools in China was due to the southwards moving of the economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)

(1)The Wuxi school

The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)

The Wuxi School belongs to the Northern School and differs from the Southern School in terms of finger rotation method. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)

(2)The Pinghu school

The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as " paired butterfly flying" .(Deng Sijia 2020,10)

The most distinctive performing techniques of the pipa are the Pinghu school's rotation method of the right hand fingers. It also has other characteristic techniques such as " paired butterfly flying" .(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)

(3)The Pudong School

Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)

Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both civil and military; In terms of playing skills, it has its own characteristics, including parallel string and rolling of four strings.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)

(4)The Chongming school

The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)

The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, the Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuity in the slow, the order in the fast, and soft and lively sound. In terms of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)

(5)The Shanghai school

This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)

===4.Traditional Pipa Music===

Traditional pipa music can be divided into military songs, literary songs and military-literary songs.

Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are "Ambush on All Sides", "Bury Me High", "Hai Qing Hunting the Swan", "General Order in the Han Dynasty". [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)

Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are "Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" and so on.

Literary song emphasizes the expression of the left-hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound inner talking or the artistic conception that people are looking forward to in a simple and moving melody or in a beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are "Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" and so on. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:04, 18 December 2020 (UTC)

Military-literary song is the combination of martial song and literary song. The representative songs are "The Spring Snow", "High Mountain and Flowing Water", "Dragon Boat", "Flute and Drum at Sunset" and so on.

===5.References=== [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)

*[1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020

*[2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.

*[3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.

*[4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.

[Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)

===6.Terms and Expressions===

*弹拨乐器—plucked instruments

*汉化—Chinesization

*套曲—divertimentoes

*游牧民族—nomad tribe

*宫廷乐—court music

*轮指法—tremolo

*音色—timbre

*曲目—repertoire

*并弦—parallel string

*指法—fingering techniques

===7.Questions===

1、How many stages did pipa go through during its development?

2、What characteristics did pipa have during Wei and Jin dynasties?

3、What changes had been made to pipa during Ming and Qing dynasties?

4、How many schools does pipa have and what are they?

5、Can you list at least 3 representative repertoires of literary songs played by pipa?

===8.Answers===

1、Four.

2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.

3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics.

4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school.

5、"Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" .

[Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)
===Terms and Expressions===

==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001. Major - Comparative Literature and Cross-Cultural Studies--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:14, 17 December 2020 (UTC)==

=== Huli-jing figure in Chinese mythology and its analogs in Japan and Korea ===

The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?

'''1. Huli-jing (狐狸精) in China'''

First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.

People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.

People, especially women, believed that due to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to resist the representatives of the Huli Jing cult, but it was only during the Song dynasty reign. That time the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not fully eradicated in other parts of China. Probably, a more competent decision in between acolytes area was made to give the werefox woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.

The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.

The theme of fatal love in the stories of werefoxes appear as a continuous line in Pu Songling tales. This suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their savage ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.
A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled "Good Hunt". The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.

In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film "Painted Skin (畫皮)", where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.

In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.

Quite a lot of information about werewolf foxes can be obtained from the TV series "The Legend of the Nine-Tailed Fox" released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.

Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.

To sum up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the ancient Chinese dynasties, the image of werefoxes has been predominantly negative and associated with deceit, seduction, and intrigue. But further the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.

'''2. Kitsune (キツネ) in Japan'''

In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari ("Fox-messenger") and the Chinese, who considered foxes to be werewolves, a genus close to demons.

Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.

Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.

Kitsunes are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari is sometimes depicted as a fox by himself. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold.

'''3. Kumiho (구미호) in Korea'''

Kumiho - (구 "ku" - nine, 미 "mi" - tail, 호 "ho" - fox - "fox with nine tails") is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.

In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.

===Terms and Expressions===

Shape shifter – 成精

Creature –生物

Seductive –诱人的

Damnation –诅咒

Metaphor –隐喻

Ascribe –属性

Indigenous –土着

Deity – 反面人物

Liver – 肝脏

===References===

1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.

2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.

3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.

===Questions===

1. What was the attitude towards the Huli Jing in Ancient China?

2. Can we characterize Kitsune as a positive or negative character?

3. Could Kumiho become human forever?

===Answers===

1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.

2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.

3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.
References ..................

==Chinese Characters - Gu Dongfang 顾东方 - 202070080635 - Interpretation 英语口译==
===Chinese Characters===

===Origin===

Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）

===Evolution of Chinese characters===
[[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]
Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)

===Ancient Chinese characters===

====Oracle bone script====

Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).

====Bronze script====

In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.（ Yu Xinjia and Xue Ruijia，2005）

====Seal script====
Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly.
The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.（ Yu Xinjia and Xue Ruijia，2005）

Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) began to be used in Qin State.
and all of the above three points ignored the quote, please add them up.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:23, 18 December 2020 (UTC)

===Modern characters===
====Clerical script====

After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.
From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.（ Yu Xinjia and Xue Ruijia，2005）

After the unification of China, the seal script was still popular, but could not satisfy the needs of people.Because of its lengthened and curved lines, it took more time to write.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:29, 18 December 2020 (UTC)

====Regular script====

Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.

Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people for generations even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage. （ Yu Xinjia and Xue Ruijia，2005）
===Formation of Chinese characters===

====Pictograms====

Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for "sun," 月 (yuè) for "moon," and 木 (mù) for "tree."

====Pictophonetic compounds====

Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.（ Yu Xinjia and Xue Ruijia，2005）
====Ideograph ====

Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for "knife," placing an indicator in the knife makes 刃 (rèn), an ideogram for "blade." Other common examples are 上 (shàng) for "up" and 下 (xià) for "down." This category is small, as most concepts can be represented by characters in other categories.（ Yu Xinjia and Xue Ruijia，2005）
====Logical aggregates====

Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng) bright, which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:54, 18 December 2020 (UTC)

====Associate transformation====

Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning "elderly person," but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.（ Yu Xinjia and Xue Ruijia，2005）

Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)

===Simplification of Chinese characters===

The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)
===Terms and expressions===

1.Oracle Bone Inscriptions 甲骨文

2.Bronze Inscriptions 金文

3.Small seal characters 小篆

4.Official script 隶书

5.Regular script 楷书

6.Cursive writing 草书

7.Cang Jie 仓颉

8.Clerical script 楷书

9.Su Shi 苏轼

10. Wang Xizhi 王羲之

11.Ou Yangxun 欧阳询

12.Yan Zhenqing 颜真卿

13.Pictograms 象形

14. Pictophonetic compounds 指事

15.Ideograph 会意

16.Logical aggregates 形声

17.Associate transformation 转注

18.Borrowing 假借

===Question===
1.How many Chinese characters are there?

2.How many letters are in the Chinese alphabet?

3. How many formations of Chinese characters? What are they?

===Answers===
1. According to the latest statics, there are nearly 91251 Chinese characters recorded .

2. There are 26 letters in Chinese alphabet.

3. Six formations are included in Chinese characters system, and they are Pictograms
Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing

===References===

1.王显春. 汉字的起源[M]. 学林出版社, 2002.

2.刘又辛. "关于汉字发展史的几个问题(上)." 语文建设 12(1998):34-37.

3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188

4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.

==Handcraft - Chinese Knots - Guan Qinqing 管钦清 - Student No.20207080586 - 英语笔译==

===A.Chinese Knots===

====1.A Brief Introduction about Chinese Knots====

The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.（Li Ku 2016，125）

The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization. It
originally evolved from the sewing of the Paleolithic period, into the ritual memorial of the Han Dynasty, and then into today's decorative craft. The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronze of the Warring States Period.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decoration and aesthetics,which
earned the knot its name.（Li Lifang & Sun Jianjun 2002,38）

The Chinese knot continued to become a popular art in the Qing Dynasty. Now, Chinese knots are often used as interior decorations, gifts between relatives and friends and
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decorations and aesthetics, which
earned the knot as its name.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

====2.The Classification of Chinese Knots====

There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥
结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井
结）,Cross Knot(十字结） and Ping Knot（平结）.（Li Ku 2016，125）

There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot. They are Double Coin Knot(双钱结）, Good Luck Knot（吉祥
结）, Chinese Button Knot（纽扣结）, Sauvastika Knot（万字结）, Oxalis Knot（酢浆草结）, Pan Chang Knot（盘长结）, Round Brocade Knot（团锦结）, Caisson Celling Knot（藻井
结）, Cross Knot(十字结） and Ping Knot（平结）.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot.

Here, we mainly introduce three main Chinese knots, which are the Double Coin Knot, the Good Luck Knot and the Pan Chang Knot.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

=====2.1.The Double Coin Knot=====

Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. Money in China not only represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called "luck money".（ Li Lifang & Sun Jianjun 2002，40）

Ancient coins are closely related to a country’s history, culture, politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views on coins are not limited on their prices but values, which can be seen in the auspicious characters and patterns cast on many ancient coins. Money in China not only represents the value of a certain currency, but also something of good luck. On every Chinese New Year's Eve, children can receive the so-called "luck money". --[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:50, 19 December 2020 (UTC)

Therefore, for the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes "good things come in pairs". This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful patterns, such as clouds and Perfect Knots，etc. （Li Ku 2016，126）

Therefore, for the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes "good things come in pairs". This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful patterns, such as clouds and Perfect Knots，etc.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:51, 19 December 2020 (UTC)

=====2.2.The Good Luck Knot=====

As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.
And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.（Wu Hongfang 2004,120）

As for the Good Luck Knot,it is an extension of the cross knot, and one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.
And the knot shape is beautiful, varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:53, 19 December 2020 (UTC)

=====2.3.The Pan Chang Knot=====

Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the
avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.（Li Lifang & Sun Jianjun 2002，44）

Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the
avenue and is therefore highly valued by Chinese people.As is a symbol of the origin of all things, Pan Chang (盘长）is one of the most important basic knots. It is
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:56, 19 December 2020 (UTC)

====3.The Knitting Method of Chinese Knots====

The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.（Xu Xing 2004,46）

The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots. The combination technique means to use thread extension to flexibly combine various knots, so as to make a group of varied knots.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:58, 19 December 2020 (UTC)

The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.（Xu Xing 2004,47）

The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art. --[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:58, 19 December 2020 (UTC)

====4.The Cultural Connotations of Chinese Knots====

Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of
rope and thread.In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". In addition, Chinese people are descendants of
Dragons.（Wang Mizhu &Sun Sun& Qu Hongjian 2014,44）

Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of
rope and thread. In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". In addition, Chinese people are descendants of
Dragons.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:00, 19 December 2020 (UTC)

Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of
"knot", which means reunion and happiness. Many of the Chinese words composed of "结"（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交
（making friends), and 永结同心（tie the knot),etc. "结"(knot) is also homonymous with "吉"（ausipiciousness), so people even think that "knot" is a symbol of good luck.

Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of
"knot", which means reunion and happiness. Many of the Chinese words composed of "结"（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交
（making friends), and 永结同心（tie the knot),etc. "结"(knot) is also homonymous with "吉"（ausipiciousness), so people even think that "knot" is a symbol of good luck.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:00, 19 December 2020 (UTC)

====5.Comparisons between Chinese Knots and Cross Necklaces====

=====5.1.Different Cultural Connotations=====

From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of
Christianity. The cross, derived from the Latin "crux", means "fork".It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient
Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross
ornaments in the west as cross necknaces are usually used to represent love and salvation.（Wang Mizhu &Sun Sun& Qu Hongjian 2014,45）

From the above, we can see that the Chinese knot have many meanings, such as good luck, love, unity and so on. The cross necklace, however, is symbolic of Christianity. The cross, derived from the Latin "crux", means "fork".It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners. Therefore,such cross ornaments in the west as cross necknaces are usually used to represent love and salvation.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:02, 19 December 2020 (UTC)

=====5.2.Different Shapes=====

Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have
different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.（Xu Xing 2004,47）

Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:04, 19 December 2020 (UTC)

====6.References====

*Li Ku 李库. (2016). 符号学视角下的中国结解读 [The Analysis of Chinese Knots from the Perspective of Semiology ]. ''艺海'' Yi Hai (08) 125-126.

*Li Lifang & Sun Jianjun 李立芳，孙建君. (2002). ''民间绳结'' [Folk Knots]. Wuhan: Hubei Fine Arts Publishing House 湖北美术出版社.

*Xu Xing 许星. (2004). 路论中国结 [On the Chinese Knots]. ''丝绸'' The Silk (02) 46-47.

*Wu Hongfang 邬红芳. (2004). 中国结的意象美学特征 [The Rhetorical-Beauty of Chinese Knots]. ''装饰'' Decoration (09) 120-121.

*Wang Mizhu &Sun Sun& Qu Hongjian王眯珠,孙荪,曲洪建. (2014). 怀旧心理与创新意识对中国结的影响分析[The Analysis of the Impact on Chinese Knots from Reminiscence and Consciousness of Innovation ]. ''丝绸'' The Silk (11) 43-50.

===B. Terms and Expressions===

Double Coin Knot 双钱结

Good Luck Knot 吉祥结

Chinese Button Knot 纽扣结

Sauvastika Knot 万字结

Oxalis Knot 酢浆草结

Pan Chang Knot 盘长结

Round Brocade Knot 团锦结

Caisson Celling Knot 藻井结

Cross Knot 十字结

Ping Knot 平结

tie the knot 永结同心

luck money 压岁钱

the bishop's identity 主教职权

===C. Questions===

1. What is the Chinese knot?

2. Do you know the names of the main Chinese knots? What are they?

3. What do "绳" and "结" mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)

===Answers===

1.The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.

2.There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot,Good Luck Knot,Chinese Button Kno,Sauvastika Knot,Oxalis Knot,Pan Chang Knot,Round Brocade Knot,Caisson Celling Knot,Cross Knot and Ping Knot.

3.In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of "knot", which means reunion and happiness.

==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:19, 20 December 2020 (UTC)the right order of your title should be category, topic, name, student number

[[File:Chinese Mythology.jpg|thumb|right|Panku]]

===Introduction===

The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.

===A. Panku Created the World===

In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).

At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 "li" (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).
Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.

===B. NuWa Created Human Beings===

[[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]

Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).

As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.

During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:09, 20 December 2020 (UTC)the source is missing

===C. Fushi Taught the People===

In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .

Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing "trigrams", in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This "trigrams" was also a mean to interpret future and consult oracle about the right ways to follow.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:24, 20 December 2020 (UTC)to write the in the way of (Irene Dea Collier 2001, 35-36),that's better.

Finally, Fushi gave his last gift (music) in order people can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a "pipa" (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history. Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:02, 20 December 2020 (UTC)the source is missing.

===D. Water War===

Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and described as a very big giants with different shapes, Gong shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).

Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:22, 20 December 2020 (UTC)to write the in the way of (Irene Dea Collier 2001, 48-49),that's better.

In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:25, 20 December 2020 (UTC)the source is missing.

===E. Terms and Expressions===

Chinese Mythology 中国神话

Panku 盤古

Yin/Yang 陰陽 / 阴阳

Nuwa 女媧

Fushi 伏羲

Water War 水战

===F. Questions===

1. Why an egg a good symbol for the beginning of the world?

2. Why Nuwa decided to create human beings?

3. What did Fushi taught to people?

4. What was the cause of Gong and Zurong’s war and who won?

===G. Answers===

1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.

2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.

3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.

4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.

===References===

1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.

2. Irene Dea Collier. (2001). "Chinese Mythology". Library of Congress Cataloging-in-Publication Data.

3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg

4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:04, 20 December 2020 (UTC)the way of reference-listing is not standard.

==Gods and Immortals - Gui Yizhi 桂一枝 202070080587 英语笔译==

===Chinese gods and immortals===

====Chinese mythology system====

Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.(Lü & Gong 2014, p. 71 )

Chinese mythology is a mythology that has been passed down in oral form or literature records, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.(Lü & Gong 2014, 71 )--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.(Yang, An & Turner 2005, p.4)

Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.(Yang, An & Turner 2005, 4)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).1987.(Bai 1987, pp. 34-40)

The Ancient mythologies are myths about the origin of human or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).1987.(Bai 1987, 34-40)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.(Olson & Stuart 2002, pp. 27-28)

Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.(Olson & Stuart 2002, 27-28)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her.(Buddhism, p37)

At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her.(Buddhism, 37)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

====神 shén, 帝 dì and 仙 xiān====

Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between "god" and "deity". dì, sometimes translated as "thearch", implies a manifested or incarnate "godly" power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".(Hu, 2020)

Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between "god" and "deity". dì, sometimes translated as "thearch", implies a manifested or incarnate "godly" power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".(Hu, 2020)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.(Fowler & Jeanine 2005, pp. 200-201)

There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.(Fowler & Jeanine 2005, pp. 200-201)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

====Eight immortals====

The Eight Immortals are a group of legendary xian ("immortals") in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.(Yang,Deng & Wang 1987, pp. 40-45)

The Eight Immortals are a group of legendary xian ("immortals") in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.(Yang,Deng & Wang, 1987 40-45)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism.(Yang,Deng & Wang 1987, pp. 45-50)

The Immortals are Lü Dongbin (吕洞宾), He Xiangu (何仙姑), Zhang Guolao (张果老), Lan Caihe (蓝采和), Li Tieguai (李铁拐), Zhongli Quan (钟离权), Han Xiangzi (韩湘子), Cao
Guojiu (曹国舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism.(Yang,Deng & Wang 1987, pp. 45-50) --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- "The Eight Immortals cross the sea, each reveals its divine powers" (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.(Little, Stephen 2000,pp. 313, 319–334)

The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- "The Eight Immortals cross the sea, each reveals its divine powers" (八仙过海，各显神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.(Little, Stephen 2000,pp. 313, 319–334)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

===Terms and Expressions===

immortals 仙

mythology 神话，神话学

cosmology 宇宙论，宇宙观

monolithic 整体（式）的

the Battle of Zhuolu 涿鹿之战

pantheistic 泛神论的

polytheistic 多神论的

Three Pure Ones 三清

anthropomorphic 人格化的

tutelary 守护神

deity 神

Buddha 佛

Shakyamuni 释迦牟尼

Amitabha 阿弥陀佛

Amitāyus 无量寿佛

celestial 天的

Bodhisattva 菩萨

Pure Land 极乐世界

vessels 法器

Covert Eight Immortals 暗八仙

Taoist 道家的，道士

===Questions===

1. What are the topics of the Ancient mythology?

2. What are the differences among shén, dì and xiān?

3. What do the Eight immortals represent respectively?

===Answers===
1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.

2. shén and dì corresponds to the distinction in Western cultures between "god" and "deity". The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".

3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.

===References===

[1]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.

[2]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.

[3]Bai Yang. Chinese Huamn History. Time Literature & Art Press, 1987.

[4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear & Company.

[5]Buddhism, the Fulfilment of Hinduism

[6]Hu Yanan. From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty [D].Harbin Normal University,2020.

[7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.

[8]Yang Erzeng, Deng Zhimo, Wang Xiangxu. A Full Story Book of Eight Immortals. Spring Breeze Literature & Are Press,1987.

[9]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago.

[1]Lü, Daji; Gong, Xuezeng. (2014). ''Marxism and Religion.'' Religious Studies in Contemporary China. Brill.

[2]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). ''Handbook of Chinese Mythology''. New York, NY: Oxford University Press.

[3]Bai Yang. (1987). ''Chinese Huamn History''. Time Literature & Art Press.

[4]Olson, Stuart Alve. (2002). ''Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun''. Bear & Company.

[5]Buddhism, the Fulfilment of Hinduism

[6]Hu Yanan.(2020). ''From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty'' [D].Harbin Normal University.

[7]Fowler, Jeanine D. (2005). ''An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality''. Sussex Academic Press.

[8]Yang Erzeng, Deng Zhimo, Wang Xiangxu. (1987). ''A Full Story Book of Eight Immortals''. Spring Breeze Literature & Are Press.

[9]Little, Stephen (2000). ''Taoism and the Arts of China.'' The Art Institute of Chicago.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

==Literature, Tang and Song - Guo Lu 郭露 202070080588 MTI==
[suggestion:Literature, Tang and Song - Guo Lu 郭露 202070080588, here, your major is missing.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

===Classical Prose Movement of late Tang Dynasty and Song Dynasty===

====Introduction====

“The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its depth.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, and it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)
[suggestion:……and Confucianism Renaissance as its deep. Here, "deep" may be replaced by "depth".
The word “Gu Wen” was first introduced by Han Yu, (Here, you can add a word "and")it indicates the prose in the pre-Qin period and Han Dynasty.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====Development====

The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)
[suggestion:(Here, "Both" can be replaced by "They both".)Both were enthusiastic to promote the movement……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)
[suggestion:However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. (Here, this sentence doesn't have a predicate, so you may change the word "writing" into "wrote".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65)

====Representatives====

'''1.Han Yu'''

Han Yu (768–824), courtesy name Tuizhi, is also known for his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the "Eight Great Prose Masters of the Tang and Song"，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)
[suggestion:Han Yu (768 – Here, you may delete the space.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC) 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. (And this sentence doesn't have a predicate, so you may add "is" before the word "also", and "for" after "known".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)

'''2.Liu Zongyuan'''

Liu Zongyuan (773–819), courtesy name Zihou, is also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese litterateur, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is "Jiangxue". (Yang Shengli 2020, 42-44)
[suggestion:(773 – Here, you may delete the space. 819);(And this sentence doesn't have a predicate, so you may add "is" before the word "also", and "for" after "known".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

'''3.Ouyang Xiu'''

Ouyang Xiu (1007–1072), courtesy name Yong Shu, is also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)
[suggestion:(1007 – Here, you may delete the space. 1072);(And this sentence doesn't have a predicate, so you may add "is" before the word "also", and "for" after "known".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)

Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)
[suggestion:Except(Here, you may change "Except" into "Besides".) for Han Yu, Liu Zongyuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====Masterworks====

Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)
[suggestion:Except for(Here, you may change "Except for" into "Besides".) the works of Han Yu, Liu Zong Yuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====Influence====

The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)

====Terms and Expressions====

The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家

Classical Prose Movement 古文运动

''Eight Records of Excursions in Yongzhou'' 《永州八记》

''On Teachers'' 《师说》

''New Book of Tang'' 《新唐书》

''Historical Records of the Five Dynasties'' 《新五代史》

''Zuiweng Tingji'' 《醉翁亭记》

''Shang Zhongyong'' 《伤仲永》

''On Jia Yi'' 《贾谊论》

''First Ode to the Red Cliff'' 《赤壁赋》

====Questions====

1. Who were the first promoters of the Classical Prose Movement?

2. What does the Classical Prose Movement mean?

3. What's political and religious purposes of the Classical Prose Movement?

====Answers====

1. The first promoters of this movement were Han Yu and Liu Zongyuan.

2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.

3. The reason why Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.
[suggestion: The reason what…….(Here, you may change "what" into "why".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====References====

Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.

Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.

Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.

Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.

Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.

Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.

Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.

==The tradition of Red Envelope and Lucky Money - HA, THI THU HANG - 201921080008 - Comparative Literature and Cross-Cultural Studies==

[[File:chinese-new-year-red-pockets-design.jpg|250px|thumb|left|Red Enverlop]]

===The Chinese Red Envelope and Lucky Money Tradition===

In Chinese and other East and Southeast Asian societies, Red Envelopes, also called Red Packets, Lucky Money, or ''Hóngbāo'' ( 红包 ) in Chinese, ''Li shi'' / ''Lìxì'' in Vietnamese are popular monetary gift given during holidays or special occasions or festivals such as weddings, graduation, senior people's birthday parties or the birthday of a child, visit a newborn baby, etc in China, Vietnam, Korea, Japan, and some other Asian countries, especially widely seen during the Lunar New Year Festival. During the Lunar New Year, the adult, parents and grandparents gift with the red envelops for kids, which have money stuffed into. It is a traditional way to wish good luck and share blessings.

The Lucky Money tradition began in the Han Dynasty. Rather than real money, they were small collectibles in the form of coins to ward off evil spirits. Auspicious phrases and symbols were engraved onto the surface. "worldwide peace" ( 天下太平 / ''Tiān xià tài píng''), “longevity and fortune” ( 千秋万岁 / ''Qiān qiū wàn suì''), dragons and phoenixes were common.

These coins were tied together with red string. The practice transitioned to be wrapped in Red Paper and now, put into Red Envelopes.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

====The Legend====

In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called ''Sui'' ( 祟 ) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called ''Shou Sui'' ( 守祟 ).

One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone in the village knew about the stories. Since then, when Lunar New Year comes, people will give children "red paper wrapped copper money" with a belief that the money will protect children from being harmed.

There are also other legends about this custom related to the son of Yang Guifei of the Tang Dynasty - China and the Qin Dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

====The Tradition====

The Chinese custom of Lucky Money is called ''Hóngbāo'' ( 红包 ). Chinese people really like red, so the Lucky Money is always red, symbolizing luck and happiness. The Red Envelope is called ''Yāsuìqián'' ( 压岁钱 ), which means "suppressing ghosts money". Those who receive a Red Envelope are wished another safe and pea. Sending Red Envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese Lucky Money must avoid the number 4 ( 四 / ''si'') and be sealed - that means no 4, 40, or 400 amounts - as the pronunciation of four in Chinese sounds like the word for death ( 死/ ''si''). However, amounts including the number 8 ( 八 / ''ba'') will bring good luck and prosperity ( 发财 / ''fa'').

There are rules on how to properly receive an Envelope. Traditionally, children would kneel to receive their ''Hóngbāo'' from older family members, and this is still practiced in some areas of China. Red Envelopes are also always given and received with both hands, and should never be opened immediately and in the presence of the present-giver. After receiving the Lucky Money, the children have to put it all under the pillow after about a week to open it. The meaning of this is for the Lucky Money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese Lucky Money.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

'''Alipay and WeChat Red Envelope'''

[[File:chinese-new-year-red-pockets.jpg|300px|thumb|Right|Red Envelope - How much to give who - [[https://www.chinahighlights.com/travelguide/festivals/red-envelop.htm]]]]

Moving on from the traditional Red Envelope, in the 21st century, many people exchange digital Red Envelopes instead of the traditional paper ones. These are virtual packets of very real cash, transferred directly to friends' and family's smartphones. Users can even send digital ''Hóngbāo'' to their favorite celebrities using apps such as Alipay, WeChat and the Weibo Red Envelope. WeChat Red Packet is an online money transfer with a colorful message via WeChat (a messaging Chinese app). In recent years, it has become popular among young people to send "Red Envelopes" via WeChat as a greeting. It has become a new way to greet friends or relatives during the Chinese New Year period.

While the tradition centers on children, Red Envelopes are given to friends, family, colleagues and many other relatives - and different amounts of money are customary for each relation. For example, parents and grandparents get the most, but employees and even casual acquaintances can expect a Red Envelope.

====Outside of China====

The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent. Each country has different ways of Lucky Money and changes over time, but the basic custom of Lucky Money is to want to send wishes of peace to all relatives and friends in the New Year.

[[File:LunarNewYearinVietnam.jpg|250px|thumb|Right|Lunar New Year: ''Lì xì'' in Vietnam]]
In Vietnam, Lucky Money is called ''Lì xì/Tiền mừng tuổi'' and very typical. On the first day of the Lunar New Year - one of the great holidays of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give Lucky Money to the children with the message of good luck, good care and good study. Today, the tradition of Lucky Money in Vietnam is also expanded in the direction that children give Lucky Money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.

[[File:Otoshidama.jpg|200px|thumb|left|''Otoshidama'' in Japan]]
In Japan, Lucky Money is called ''Otoshidama'' (お年玉). Unlike other countries, the amount of Japanese Lucky Money depends on the child's age, the relationship of the family. ''Otoshidama'' Red Envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese Red Envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the Lucky Money will be written on the Red Envelope to show respect for the recipient. The message of each ''Otoshidama'' Red Envelopes is a wish for a warm, peaceful and lucky New Year.

[[File:Sabae.jpg|200px|thumb|right|''Sabae'' in Korea]]
In Korea, Lucky Money is called ''Sabae''. On the New Year's day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive Lucky Money together with wishes for health and peace in the New Year. The Lucky Money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems, etc.

[[File:Green Envelope-giving.jpg|200px|thumb|left|''Green Envelope-giving'']]
The Lucky Money tradition has also crossed cultural and religious boundaries, and ''Green Envelope-giving'' has even become a practice during the Islamic holiday of Eid al-Fitr across Southeast Asia. It is also widely practiced by the Chinese and Southeast Asian diaspora across the world.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

===Terms and Expressions===

Lucky Money 利市/ Lì shì

Red Envelope 红包/ Hóngbāo

Worldwide Peace 天下太平/ Tiān xià tài píng

Longevity and Fortune 千秋万岁/ Qiān qiū wàn suì

Suppressing Ghosts Money/ Suppressing Sui Money 压岁钱/ Yā suì qián

Sui 祟

Shou Sui 守祟

===Questions===

1. Do you know the origin of giving Lunar New Year's Lucky Money to children?

2. Is the Lucky Money tradition exist in other countries than China?

3. What are the rules on giving-receiving Red Envelopes?

4. On what occasions people giving-receiving Red Envelopes?

5. Do you ever receive a Red Envelope? On what occasion?

===Answers===

1. It began in the Han Dynasty and to protect children from being harmed.

2. Yes. It is very polupar in Vietnam (''Lìxì''), Japan (''Otoshidama''), Korea (''Sabae''), and some other Southeast Asian countries.

3. The giving amount of money must avoid the number 4 that sounds like the word of death in Chinese. The children, after receiving the Red Envelope, do not open it immediatedly and in the presence of the present-giver, but have to put it under the pillow after about a week to open it.

4. Red Envelopes are most commonly associated with New Year, but they also turn up as part of many other occasions as a way of sharing good luck and blessings, like births, weddings, graduation, senior people's birthday parties or the birthday of a child, visit a newborn baby, etc.

5. Yes. Red Envelope, or Lucky Money, or ''Lìxì'' is very typical in the Lunar New Year in my country Vietnam.

===References===

Red Envelope[https://en.wikipedia.org/wiki/Red_envelope]

Fefe Ho - Red Pockets[https://chinesenewyear.net/red-pockets/]

Cindy Tang - Red Envelopes/Packets (Hongbao) - Amount, Symbols and How to Give [https://www.chinahighlights.com/travelguide/festivals/red-envelop.htm]

Chinese Red Envelope [https://www.travelchinaguide.com/essential/holidays/new-year/red-envelope.htm]--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

==Calendar, The 24 Solar Terms - He Changqi 何长琦 student No. and 专业 are missing --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:37, 17 December 2020 (UTC)==

==='''The Twenty-four Solar Terms'''===
==='''The Twenty-four Solar Terms'''===[maybe this should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)

===1. The orgin and development of the twenty-four solar terms===
===1. The Orgin and Development of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)

“The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）

"The 24 solar terms" is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）[suggestion:the quotation mark in English and in Chinese should be distinguished.In Chinese, it is “”;in English, it is ""]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)

By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）

By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature in the Warring States period, the complete 24 solar terms were basically formed. During the Qin and Han dynasties, a complete system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）[suggestion:the last sentence is too long to read.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:42, 17 December 2020 (UTC)

===2. The definition and classification of the 24 solar terms===
===2. The Definition and Classification of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)

"The 24 solar term" is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)[suggestion:it will be better if you use Arabic numerals or its English version uniformly in the whole passage; please pay attention to the difference of quotation mark in Chinese and English.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)

A solar term that starts in the early part of a month is called jie (节), and one that starts in the middle part of a month is called qi (气). (Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it.) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)[maybe there is a wrong word "meddle", it should be "middle" .]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)

The 8 solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the 4 solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)[suggestion:it will be better if a uniform numeral format is used.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

===3.Folklore of the 24 solar terms===
===3.Folklore of the 24 Solar Terms===[the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)

The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the "whipping of the spring bull" at the beginning of spring and the "tailing festival" at the end of the cold season.((Ding Yiming. Chang He 2020)) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of "the unity of heaven and man, in accordance with the four seasons", the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc.

The folklore of the 24 solar terms is divided into three aspects: festival folklore, lifestyle customs and food customs. Festive customs such as the "whipping of the spring bull" at the beginning of spring and the "tailing festival" at the end of the cold season.(Ding Yiming, Chang He 2020) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of "the unity of heaven and man, in accordance with the four seasons", the 24 solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. [suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)

These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of "biting the spring" on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)

These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of the Begining of Spring, he will have good luck in the future. In many parts of China, people observe the custom of "biting the spring" on the first day of the Begining of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of the Begining of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan, Zou Yating 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:08, 17 December 2020 (UTC)

===4.Importance and values of of the 24 solar terms===
===4.Importance and Values of the 24 Solar Terms===[suggestion:it will be better if the first letters are capitalized; the "of" should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

===4.1 Importance in ancient times===
====4.1 Importance in Ancient Times====[the subtitle should add a mark as "="]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.

The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.[suggestion:quotation is missing.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that "if the agricultural time is not violated, there will be sufficient grain supply." (Mencius - Liang Huiwang). (Wang Jiahua 2019)

Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is the most basic function of the 24 solar terms. Agricultural production is an economic activity carried out by humanity in accordance with natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that "if the agricultural time is not violated, there will be sufficient grain supply." (Mencius - Liang Huiwang). (Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and an important manifestation and part of their colourful lives.(Wang Jiahua 2019)

Secondly, the 24 solar terms were also regarded as important time points in the daily life of ancient people. Thirdly, for the ancient ancestors, the 24 solar terms were more than a time system, they were also a connotation of life, an important manifestation and part of their colourful lives.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

For example, the "Four Beginnings"(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)

For example, the "Four Beginnings"(四立)-- the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter-- have always been important festivals in history. At these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival. Spring Festival, Dragon Boat Festival, Mid-Autumn Festival and Tomb Sweeping Festival are known as China's four traditional festivals .(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

===4.2 Values in modern society===
====4.2 Values in Modern Society====[suggestion:it will be better if the first letters are capitalized; the subtitle should add a mark as "="]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming. Chang He 2020)

In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming, Chang He 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

It still has its practical values in modern society.Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)

It still has its practical values in modern society.Firstly, as a time-honoured knowledge system and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations. Specifically, respecting nature, adapting to the time of the day, venerating ancestors, showing filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature.(Wang Jiahua 2019)

Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and the harmonious relationship between man and nature.(Wang Jiahua 2019) [suggestion:maybe it will be better if "reflect" is deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)

===Terms and Expressions===

the Beginning of Spring 立春

Beginning of Autumn 立秋

Rain Water 雨水

End of Heat 处暑

Insects Awakening 惊蛰

White Dew 白露

Spring Equinox 春分

Autumnal Equinox 秋分

Fresh Green 清明

Cold Dew 寒露

Grain Rain 谷雨

First Frost 霜降

Beginning of Summer 立夏

Beginning of Winter 立冬

Lesser Fullness 小满

Light Snow 小雪

Grain in Ear 芒种

Heavy Snow 大雪

Summer Solstice 夏至

Winter Solstice 冬至

Lesser Heat 大暑

Lesser Cold 小寒

Greater Heat 立春

Greater Cold 大寒

===Questions===

1.1.What are the first four solar terms measured by ancient Chinese people?
1.What are the first four solar terms measured by ancient Chinese people?--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

2.Where does the 24 solar terms originate from?

3. What are the eight solar terms that reflect seasonal changes？

4.When was the 24 solar terms included in the World Intangible Cultural Heritage List?

5.What are the food customs in the Beginning of Spring?

6.Do you konw any other folklore of the 24 solar terms?

===Answers===

1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.

2.It originated in the Yellow River valley.

3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice

4.In 2016.

5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.

6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the "Sage of Medicine", invented the "jiaozi" to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as "dumpling" or jiaozi. Today there is still a saying that goes "Eat dumplings on Start of Winter Day, or your ears will be frostbitten."

===References===

Yuan Jix. 袁济喜. (2016). "中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)

Wang Jiahua. 王加华.（2019.9.20）"China Social Science Network" http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml

Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）"Chinanews" http://www.chinanews.com/cul/2020/11-17/9340057.shtml

He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html

==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==

===Collection of Yue Fu Poetry《乐府诗集》===

====Introduction====

'''1.Brief introduction'''

''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. "Yuefu", originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)

''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre-Qin to the end of Tang Dynasty. "Yuefu", originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name. (Wu Ting 2007, 20)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)

'''2.About the author'''

Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation. (Wu Ting 2007, 22)

'''3.Content introduction'''

It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, "Yuefu Poetry Collection" is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties. (Wu Ting 2007, 30)

====Masterpieces====

'''1.''The Peacock Flies to Southeast'''''

''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed. (Wu Ting 2007, 36)

''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for free love and happy life is placed. (Wu Ting 2007, 36)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

'''2.''Mulan Poetry'''''

''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. "Mulan is a girl" is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)

''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man and joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for a reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. "Mulan is a girl" is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality. Therefore, it has strong artistic appeal. (Wu Ting 2007, 41)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

====Evaluation====

'''1.Contributions'''

The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as "Moshangsang", "dongmenxing", were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former.(Yu Yizhi 2002, 105)

The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of the Han Dynasty, such as "Moshangsang", "dongmenxing", were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. (Yu Yizhi 2002, 105) --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)

''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in the singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literary history and music history. There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but the narrative is attached to the lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time. (Yu Yizhi 2002, 105)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

'''2.Shortcomings'''

There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)

There are some imperfections in ''Collection of Yue Fu Poetry''. For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as ancient Chinese literature, this giant has made a certain contribution. (Yu Yizhi 2002, 107)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

===References===
Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)

Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.

Wu Ting 吴婷. (2007). 乐府诗集引用的音乐文献研究 [A study of music documents cited in ''Collection of Yuefu Poertry''].Nanchang:Nanchang University 南昌大学 (12) 20-41.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

Yu Yizhi 喻意志. (2002). 乐府诗集成书研究 [A study on the compilation of the ''Collection of Yuefu Poetry'']. Shanghai: Shanghai Normal University 上海师范大学 (10)105-107.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)

===Terms and Expressions===

''Collection of Yue Fu Poetry''《乐府诗集》

Jiaomiao songs郊庙歌辞

Yanshe songs燕射歌辞

Guchui drum songs鼓吹曲辞

Hengchui songs横吹曲辞

Xianghe songs相和歌辞

''The Peacock Flies to Southeast'' 《孔雀东南飞》

''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)

===Questions===

1.When was Yuefu Poetry compiled？

2.Which institution did "Yuefu" belong to?

3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)

===Answers===

1.In Song Dynasty.

2.It belongs to the institution in charge of music.

3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)

==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==

===Eight Major Cuisines of China===

====1. A Brief Introduction About Chinese Cuisine====
1. A Brief Introduction About Chinese Cuisines--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 07:16, 19 December 2020 (UTC)

As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the "four major cuisines." By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the "eight major cuisines" of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)

====2. The Classification of Chinese Cuisines====

China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)

China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavors. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted. (Shi Hongmei 2009, 34)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:25, 19 December 2020 (UTC)

=====2.1 Shandong Cuisine=====
Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)

Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Besides, Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:27, 19 December 2020 (UTC)

=====2.2 Sichuan Cuisine=====
Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one
of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)

Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical and exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:30, 19 December 2020 (UTC)

=====2.3 Guangdong Cuisine=====
Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)

Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables, which originate from other parts of the world. It doesn't use much spice, just bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:32, 19 December 2020 (UTC)

=====2.4 Fujian Cuisine=====
Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their "pickled taste". (Shi Hongmei 2009, 55)

Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct feature is their "pickled taste". (Shi Hongmei 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:34, 19 December 2020 (UTC)

=====2.5 Jiangsu Cuisine=====
Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)

Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh, sweet and delicate. Jiangsu Cuisine is well-known for its careful selection of ingredients, its methodology of meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:38, 19 December 2020 (UTC)

=====2.6 Zhejiang Cuisine=====
Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)

Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. And Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:43, 19 December 2020 (UTC)

=====2.7 Hunan Cuisine=====
Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)

Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessities in this division. (Shi Hongmei 2009, 65)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:44, 19 December 2020 (UTC)

=====2.8 Anhui Cuisine=====
Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)

Anhui Cuisine focuses much more on the temperature in cooking. Its major cooking methods are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:46, 19 December 2020 (UTC)

====3. A Comparison of Chinese-Western Diet Culture====

Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)

Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. So there are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)

Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China. But it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)

However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to both their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)

There are also differences in the names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo Meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

====References====

Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.

Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.

Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.

Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．

Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.

===Terms and Expressions===

pot-stewed fowl 卤味

stewing and simmering 炖，煨

prickly ash 花椒

fermented soybean 豆鼓

Braised Dongpo Pork 东坡肉

Buddha Jumps over the Wall 佛跳墙

Kung Pao Chicken 宫保鸡丁

Bean Sauce Tofu 麻婆豆腐

===Questions===
1. How many types of cuisines are there in china?

2. What’s differences between Chinese and western diets?

3. What is the origin of Dongpo Meat?

===Answers===
1. Eight

2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes.

3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.

==Folk Art Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting ==

Chinese Paper Cutting 剪纸

===Text===

====Introduction====

With a long history, paper-cutting could be dated back to 2000 years ago in China according to the archaeological records. It originated in ancient ancestor worship activities in which people pray for their ancestors and god. Later, with the widespread paper-cutting techniques and people’s growing love for it, it gradually served as the decorations for the doors, walls, mirrors, lanterns and so on. Nowadays, paper-cutting has already become an integral part of Chinese traditional culture and serves as a window of the Chinese folk culture. (Jiao 2016: 3)

====History====

[[File:The easiest Paper-cutting found in Turfan.jpg|250px|thumb|right| The easiest Paper-cutting found in Turfan, image from www.Chinawriter.com.cn Click[http://www.chinawriter.com.cn/n1/2019/0115/c404102-30538973.html] for original source.]]

The skill of cutting and carving appeared way before the invention of paper, and a number of materials, from the bark, leaves and animal skin, to later silk, were cut into certain shapes to decorate, which laid a solid foundation for the art of paper-cutting. (Li & Zhang 2015: 7)

As the paper is not easy to preserve, few of the paper works could survive to modern times. “The earliest such work surviving are five examples dating from the Northern Dynasties period (386-581), unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.” (Folk Handicrafts)

In the Tang dynasty the custom of paper-cutting began to be popular, and the handicraft man cut paper to different shapes, and each owns its name. Namely, the shape of square was named “Fangsheng”, the flower-shaped “Huasheng”, the people-' shaped “Rensheng”. Two pieces of “Huasheng”, which were the remains in the Tang Dynasty, are preserved now in Shōsō-in in Japan. (Li & Zhang 2015: 7-8)

By the Song Dynasty, with the prosperous development of economy and culture, in addition to daily decoration, paper-cutting was used for crafts such as porcelain and blue calico. (Li & Zhang 2015: 8)

The art of paper-cutting became mature in Yuan, Ming, and Qing dynasties. There emerged well designed paper-cutting works in the Yuan dynasty, and collectors began to collect paper-cutting works as artwork. By the Ming Dynasty, the application of paper-cutting became even wider, with clip gauze lantern as a representative. It is a lantern with paper-cutting clipped in, candlelight reflecting the pattern. (Li & Zhang 2015: 8)

Since its birth, the art of paper-cutting has never been interrupted. In its long history, it evolved in art and pottery, printing, dyeing, and other art intertwined, being an indispensable part of people’s life. (Li & Zhang 2015: 8)

====Five Regions====

The distribution area of Chinese folk paper-cutting, according to the historical changes, geography, ecological environment changes, cultural development differences and paper-cutting itself in the aesthetics, style of mutual influence and so on, for a comprehensive consideration, can be divided into five regions. (Wang 2006:106)

Northeast Changbai Mountains area: It mainly covers the Changbai Mountain area in Heilongjiang Province and Liaoning Province. As the birthplace of the nation of Man, the paper-cutting here herited the culture and customs of Man. (Wang 2006:106)

Yellow river basin area: With the north of Shaanxi' paper-cutting as the center, it is simple but more expressive because of its rough lines and designs. (Wang 2006:106)

Yangtze River basin area: It covers paper-cutting in the Provinces of Sichuan, Hubei, Hunan and Jiangsu. Influenced by folk farming culture and the Confucian culture in the Han dynasty, paper-cutting in this region is in the rough in shape but bears a sense of delicacy. (Wang 2006:106)

The southeastern coastal area: It is highlighted by the paper-cutting of Zhejiang and Fujian provinces. This region, more affluent. Paper-cutting creation, especially in Zhejiang Jinhua, Guangdong Foshan as the representative, in the history of cultural development, the vein is also more distinct, its aesthetic interest tends to be elegant and common appreciated. (Wang 2006:106)

Southwestern minority areas: It is characterized by paper-cutting in the minorities in Provinces of Yunan and Guizhou. Many paper cuttings are combined with embroidery patterns. The religious beliefs of this region obviously involved in the art of paper-cutting. (Wang 2006:107)

====Techniques====

[[File: dyed papercutting.jpg|200px|thumb|left| dyed-colored paper-cutting, image from 360baike. Click [https://baike.so.com/doc/2408800-2546694.html] for original source.]]

There are various ways to make paper-cutting works, include folding paper-cutting, smoked paper-cutting, color-blocking paper-cutting, and copper-lined paper-cutting, but the most common ones are mono-colored and dot-colored. (Li & Zhang 2015: 8)

Mono-colored paper-cutting refers to paper-cuttings cut or curved with a single-colored paper, mostly in red. Since ancient times, the Chinese revered red, whenever there are grand celebration ceremonies or festivals, red is the main color, featuring warmth, passion and also brightness and happiness. However, mono-colored paper-cutting is also available in black or other colors, which are used according to different circumstances and situations, among which white paper-cutting is mostly used as the base sample for embroidery. (Li & Zhang 2015: 8)

Dyed paper-cutting is also called dotted paper cuttings. The paper is mostly Xuan paper, a kind of thin white paper that absorbs water easily. Twenty or thirty pieces of such paper are put into a pile and the pattern is carved out with a knife. Then the mass of paper is dyed. The colors become rich and elegant after dying, with endless changes and a strong local flavor. The dyed paper-cutting is mainly found in Hebei, Shanxi, and Guangdong province, among which the dotted paper cuttings in the Wei County, Hebei is very unique. (Li & Zhang 2015: 8)

====Themes====

Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, birds and animals, twelve zodiac animals, pavilions, totem worship, and religious belief. Its connection with the major festivals and traditional customs finds its full expression in every aspect of life. Paper-cutting is an essential folk activity in the villages. Traditionally, on the 23rd day of the twelfth lunar month, women "drop their hoes and pick up scissors to cut papers"; on the 28th, flowers are pasted on the windows. On this day, every family paste window decorations, new year’s pictures, and Spring Festival couplets to create a lively environment for the new year. (Li & Zhang 2015: 8)

It is the rural working women who are the majority of creators of the delicate paper-cutting. When they were five or six years old or seven or eight years old, they began to follow their mothers and grandmothers to learn paper-cutting. Mothers would pass on their treasured paper-cutting patterns to their daughters and daughters-in-law as family heirlooms. This is how China’s folk paper-cutting has been passed down from generation to generation. They are devoutly devoted to the paper-cutting that are rich in connotations such as prosperity, peace and good fortune, happiness, health, and longevity. It is the inheritance of this spirit that has enabled the art of paper-cutting to last for thousands of years. (Li & Zhang 2015: 9)

===References===

Li Youyou & Zhang JIngjuan 李有有&张静娟. (2015) 剪纸 [paper-cut] 北京中国旅游出版社 Beijing: China Travel & Tourism Press.

Lu Zhongmin. (2002) Folk Handicrafts. Beijing: Foreign Language Press.

Wang Minbo 王敏伯. (2006) 中国民间剪纸史[The History of Chinese Folk Paper-cut Arts] 杭州: 中国美术学院出版社 Hangzhou: China Academy of Art Press.

===Terms and Expressions===

color-blocking paper-cutting 拼色剪纸

copper-lined paper-cutting 铜衬剪纸

dyed paper-cutting 点染剪纸

mono-colored paper-cutting 单色剪纸

smoked paper-cutting熏样剪纸

Shōsō-in 正仓院

Spring Festival couplets 春联

totem worship图腾崇拜

Turfan吐鲁番

===Questions===

1. Where was the earliest paper-cutting found in China?

2. How many regions the distribution of Paper-cutting can be divided into?

3. Which two types of paper-cutting are the most common ones?

4. What could be the themes of the paper-cutting?

===Answers===

1. They were unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.

2. Northeast Changbai Mountains area, Yellow river basin area, Yangtze River basin area, The southeastern coastal area, and Southwestern minority areas.

3.Mono-colored paper-cutting and dyed paper-cutting.

4. Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, twelve zodiac animals, pavilions, totem worship, and religious belief.

==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==

===The Chinese Medical Sage - Zhang Zhongjing===

Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)

Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who was respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)

Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)

This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Later, people called the doctor who sat in the drugstore to treat patients "the doctor sitting in the hall", in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)

Later, people called the doctor who sat in the drugstore to treat patients "the doctor sitting in the hall", in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)

When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

There is a Chinese saying that goes, " Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms)." But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)

There is a Chinese saying that goes, " Eating dumplings in the Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms)." But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)

When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called " Cold Dispelling Jiaoer Soup". Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)

Back home, Mr.Zhang was still concerned about the poor. So he developed a recipe to help them ward off cold, called " Cold Dispelling Jiaoer Soup". Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the "Cold Dispelling Jiaoer Soup" for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. "Cold Dispelling Jiaoer Soup" is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)

Zhang Zhongjing passed away on the Winter Solstice, and he distributed the "Cold Dispelling Jiaoer Soup" for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. "Cold Dispelling Jiaoer Soup" is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

In fact, the way of making "Cold Dispelling Jiaoer Soup" is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it "Jiao Er". ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying " not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold." (首都医药 2003, 40)

In fact, the way of making "Cold Dispelling Jiaoer Soup" is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrapping the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it "Jiao Er". ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying " not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold." (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)

At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

[[File:Zhang_Zhongjing.jpg]]

===References===

(2003). 张仲景故乡的二十四个故事(六) 饺子的来历[J] [Twenty-four Stories of Zhang Zhongjing's Hometown (VI) The Origin of Dumpling]. ''首都医药'' Capital Medicine (17) 40.

Zhang Maoyun 张茂云. (2014). 伤寒杂病论成书年代及仲景生平年代考历[J] [Journal on the Written Time of ''Treatise on Febrile and Miscellaneous Diseases'' and the Lifeyime of Zhang Zhongjing]. ''中国中医药现代远程教育'' Chinese Medicine Modern Distance Education of China (04) 19-20.

Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. (2013). “医圣”张仲景[J] ["Medical Sage" Zhang Zhongjing]. ''中国卫生人才'' China Health Human Resources (07) 88-89.

Zhang Deli 张德礼. (2019). 心系百姓的“医圣”张仲景[J] [People's Medical Sage Zhang Zhongjing]. ''现代班组'' Morden Group (05) 37.

Tan Rongzhou 覃荣周. (2013). 张仲景对我国医学发展的历史贡献[J] [Zhang Zhongjing's Historical Contribution to the Development of Chinese Medicine]. ''兰台世界'' Lantai World (07) 55-56.

Zhao Qingxin 赵清新. (1999). 万世医宗张仲景[J] ["Medical Sage" Zhang Zhongjing]. ''解放军健康'' PLA Health (05) 36.

Tian Yi 天一. (2020). 张仲景:“医圣”之名传天下[J] [Zhang Zhongjing: the Name of "Medical Sage" Spreads all over the World]. ''月读'' Monthly Read (03) 4-13.

===Terms and Expressions===

medical sage 医圣

''Treatise on Febrile and Miscellaneous Diseases''《伤寒杂病论》

treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治

yamen 衙门

Great Cold ( 24th solar term ) 大寒

Slight Cold ( 23rd solar term ) 小寒

look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切

Cold Dispelling Jiaoer Soup 祛寒娇耳汤

===Questions===

1. What's the honorable title Zhang Zhongjing addressed as?

2. What's the official role Zhang once taken?

3. When would Zhang treat patients for free at yamen?

4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?

5. What's the relationship between Zhang Zhongjing and dumplings?

===Answers===

1. Chinese Medical Sage.

2. Changsha magistrate.

3. He treated patients for free on the first and fifteenth days of every lunar month.

4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.

5. Dumplings are derived from the recipe " Cold Dispelling Jiaoer Soup" developed by Zhang Zhongjing.

--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)

20201215 cultexam 1

2020-12-20T09:34:30Z

HATHITHUHANG2: /* The tradition of Red Envelope and Lucky Money - HA, THI THU HANG - 201921080008 - Comparative Literature and Cross-Cultural Studies */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Chinese Astrology - Alsied, Saffana==
"Chinese Astrology"--[[User:SAFFANA ALSIED ,Student No:......... Major...........

===The History===

So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the source is coming from ?

===The Five Elements And YIN/YANG===

Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. where is the quotation please?

A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. where is the quotation please?

===THE FORCES OF YIN / YANG===

Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.

A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. where the source is coming please?

Chinese astrology was invented to achieve the two following goals;

1.) To predict the future,

2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.

According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. where the source is coming please ?

Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. quotation please?

The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.quotation please?

You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.

===Terms and Expressions===

1. Chinese Astrology 中国占星学

2. Chinese Zodiac 中国十二生肖

3. Agricultural calendar 农业日历

4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）

5. The Oriental philosophy 东方哲学

===Questions===

1-Why was Chinese astrology invented?

2-How Chinese astrology relates to a person’s divine destiny?

3-What important role does the Chinese zodiac play in Chinese culture?

4- What is Chinese astrology based on?

5-Is Chinese astrology accurate?

===Answers===
1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.

2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.

3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.

4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.

5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.

===References===

Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9

何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591

Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.

Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.

""Almanac" "lunar" zodiac beginning of spring as the boundary dislocation? — China Network". 16 February 2009. Retrieved 5 January 2011.

Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.

"Five Elements(Wu Xing)". YourChineseAstrology.com

==Spring Festival Couplets - Cao Runxin 曹润鑫 - 202070080634 - 英语口译 ==
[[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]

===Spring Festival Couplets===
Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).

Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. Pasting the Spring Festival Couplets on gateposts or doors is one of the most common and important customs when Chinese People celebrate Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China. With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).

Spring Couplets originated from Taofu, an inscription on boards made of peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).

The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).

There are rules not only for pasting the couplets, but also for how to remove them, and these traditions vary in different areas of China. In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

===References===

*Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.
*Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.
*Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.
*Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.

===Terms and Expressions ===
Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联

Paste 贴

Horizontal scroll 横联

Upper scroll 上联

Lower scroll 下联

===Questions ===
1.What’s the purpose of pasting Spring Festival Couplets?

2.What’s the historical origin of Spring Festival Couplets?

3.How to read the Spring Festival Couplets?

4.How to do with the Old Couplets?

===Answers ===
1.To expresses people’s delight in the festival and wishes for a better life in the coming year.

2.It originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.

3.First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.

4.Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.

==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - 英语笔译==

[[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]

===Guzheng===

''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument and was widespread at that time. Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese. (Wang Xiaohong, Gu Haijun 2019, 69)

There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).

The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were originally made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. Since the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)

[[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&z=0&ipn=d&word=古筝&step_word=&hs=0&pn=27&spn=0&di=9900&pi=0&rn=1&tn=baiduimagedetail&is=0%2C0&istype=2&ie=utf-8&oe=utf-8&in=&cl=2&lm=-1&st=-1&cs=3246661627%2C3658564396&os=3335747328%2C3552694810&simid=0%2C0&adpicid=0&lpn=0&ln=1718&fr=&fmq=1607348039297_R&fm=result&ic=&s=undefined&hd=&latest=&copyright=&se=&sme=&tab=0&width=&height=&face=undefined&ist=&jit=&cg=&bdtype=0&oriquery=&objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&gsm=1c&rpstart=0&rpnum=0&islist=&querylist=&force=undefined]for original source.]]

The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke a sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)

Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several new schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school (Cao Yue 2002, 84).

In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated in a TV show — ''National Music Ceremony'', which is a large-scale original Chinese classical music competition show. In a performance, Wang merged the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'' by playing the ''guzheng'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)

From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.

===References===

*Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.
*Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.
*Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165.
*Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.
*Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.
*Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.
*Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.

===Terms and Expressions===

*Meng Tian 蒙恬
*Zhao Lin 赵璘
*''Records on Words'' 《因话录》
*anterior mountain 前岳山
*posterior mountain 后岳山
*''Yan Zhu'' 雁柱
*string pegs 弦钉
*turning box 调音盒
*zither feet 琴足
*paulownia 桐木
*mahogany 红木
*''Dai Mao'' 玳瑁
*''Yi Jia'' 义甲
*''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹
*''High Mountains and Running Water'' 《高山流水》
*''The Autumn Moon in the Han Palace'' 《汉宫秋月》
*''Jackdaw Playing in the Water'' 《寒鸦戏水》
*''The Tune of Liu Qing Niang'' 《柳青娘》
*Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香
*Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望
*''National Music Ceremony'' 《国乐大典》

===Questions===

1. What kind of musical instrument does the ''guzheng'' belong to?

2. Why the ''guzheng'' is deeply loved by Chinese?

3. Who is Meng Tian?

4. According to the legend, how did the ''se'' develop into the ''zheng''?

5. How many strings does the ''guzheng'' have? How long is the guzheng?

6. What is the function of movable bridges?

7. What are used by ''guzheng'' performers to play the instrument? And What are they also called?

8. In ancient times, what materials were the fingerpicks made of?

9. Generally speaking, how does the players strike notes?

10. What styles can ''guzheng'' be divided into?

11. Which school does ''The Autumn Moon in the Han Palace'' belong to?

12. Do you know any other ''guzheng'' music? Please list some pieces.

===Answers===

1. It belongs to plucked stringed instruments.

2. It has beautiful timbre, broad range, rich performance skills and strong expressive power.

3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.

4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part.

5. It usually has 21 strings and is 163 centimeters long.

6. They are moved to change the timbres.

7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.

8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.

9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges.

10. The Northern school and the Southern school.

11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.

12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).

==Facial Make-up - Chen Jingjing 陈静静 - 202070080581 - 英语笔译==
===Facial makeup===

Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up.(Wang Hai 2018, 62)

The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)

People hold different views when speaking of the origin of the facial makeup. It is said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)

The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou wear their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk characteristics. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)

Red

Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.

Black

Black facial makeup gives people the impression that the actor is serious,courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.

White

White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Hui.

Blue

Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.

Purple

Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.

Golden

Golden facial makeup symbolizes dignity and power fitting roles like supernatural being such as Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).

The features of facial makeup are mainly as follows:
First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.
It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and strong vitality. Out of curiosity and affection for facial makeup in Chinese opera, a great many foreign friends and Chinese of insight start to explore the mystery of it.(Cao Juan, 2019, 61)

===Terms and Expressions===

painted face 花脸

clown 丑角

Sheng 生

Dan 旦

Jing 净

Chou 丑

Qingyi 青衣

xiaosheng 小生

laosheng 老生

wusheng 武生

Gao Changgong 高长恭

legend，romance 传奇剧

Erlang Shen, Erlang 二郎神

Tathagata, Buddha 如来佛

Sakyamuni 释迦牟尼

Water Margin of the Marsh 水浒传

===Questions===

1.How many types are character roles divided into in Beijing opera?

2.What are the differences bbetween Sheng and Dan?

3.What are the special features of Chou?

4.What is the function of facial mask in Beijing opera?

5.What are the main features of facial makeup?

6.What are the characteristics of characters wearing blue facial makeup?

===Answers===

1.Four types:Sheng, Dan, Jing and Chou.

2.Sheng refers to male roles while Dan refers to female roles.

3.A patch of white powder is wiped on their nose.

4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.

5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.

6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly

===References===

He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.

Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.

Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.

==Literature, Science Fiction, and Fantasy - Dashkin, Gennadii - Student No.201911080001. Major - Comparative Literature and Cross-Cultural Studies==

=== Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===

Nowadays, modern literature is one of the most interesting and gorgeous sides of worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that the modern generation in the whole world prefers to read something about the future. Something, that can help to understand what will be next. And that is why one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broaden our mental horizons.

====1.Liu Cixin（刘慈欣）====

Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976). (Alexandra Alter, How Chinese Sci-Fi Conquered America 2019, 1)

Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant.

Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written, and naive, and decided that he did not deserve publication. However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel "Supernova Era". Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence. (Liu Cixin, Supernova Era 2019,352)

Liu's first books were warmly received in China, but nevertheless, the real success came to the author only in 2006, when he published the first part of his trilogy "Memory of the Earth's Past" - the novel "The Problem of Three Bodies" in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as "The Three-Body Problem," although this is not formally true.

In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus, and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus. The novel gain such a great popularity that famous people like Barack Obama and Marc Zuckerberg recommended it to every single person in order to understand the perhaps future and how to avoid the negative contact with aliens.[https://www.nytimes.com/2017/01/16/books/obamas-secret-to-surviving-the-white-house-years-books.html]

Liu Cixin is definitely a unique writer, with his own style, philosophy, and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics but also to science fiction literature.
Also Liu Cixin is a big fan of reading books and he sometimes recommend not only to read classical sci-fi novels but also modern authors like Chen Qiufan, Derek Kunsken and so on.

====2.Chen Qiufan (陈楸帆） ====

Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.

Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu, and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.

His debut book was ''The Empty Wave'', "combining realism and allegory to represent the hybridity of humans and machines." Chen Qiufan's novels and stories won three Galaxy Awards and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish, and Russian.

His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of human progress.

Chen Qiufan is a constant consumer of entertainment and literature. He watches at least 100 new films and reads at least 50 books a year. He was recently recruited into the development of a television series called Eros, which will launch in 2019-2020. He compares it to Netflix's dystopian show Black Mirror. Chen travels frequently between Beijing, Shanghai and Hong Kong for various projects and literary festivals.[https://fanzon-portal.ru/press-center/redaction-material/kto-takoy-chen-tsyufan/]

====3.Rebecca F. Kuang (匡蘦秀)====

When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.

Quang grew up in Dallas, Texas, and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.

Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.

Her debut novel, The Opium War, is a war fantasy setting inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological, and philosophical realities of China of the chosen era.

The last news about R.F.Kuang is that she wrote a short tale for an anthology of Star Wars saga, which was published in November. She wrote about this news in her Twitter[https://twitter.com/kuangrf/status/1327367219341385729]

===Terms and Expressions===

1. Science fiction - 科幻

2. Fantasy - 奇幻

3. Horizon - 地平线

4. Broad - 拓宽

5. Hybrid - 杂种

6. The plot - 情节

7. Garbage - 垃圾堆

8. Heyday - 壮年

9. Supernova - 超新星

===Questions===

1. What was the first book written by Liu Cixin?

2. What is the most popular trilogy of books written by Liu Cixin?

3. Who is called Chinese William Gibson?

4. What is Rebecca Quang's Opium War plot based on?

===Answers===

1. Supernova Era

2. Memory of the Earth's Past

3. Chen Qiufan (陈楸帆）

4. The plot is largely based on the history of China in the middle of the 20th century.

===References===

1. Alexandra Alter, How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html

2. Liu Cixin, Supernova Era, 2019. 352 pp.

3. Chen Qiufan, Waste Tide, 2019. 342 pp.

4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.

==Stilts - Chen Yongxiang 陈永相英语笔译 202070080582==
[[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&fm=26&gp=0.jpg] for original source.]]

===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===

<center>Chen Yongxiang 陈永相英语笔译 202070080582</center>

====Introduction====

Stilt is one of the folk dances of the Han nationality in our country, which is called "Stilt Yangko" in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near. (Huo Linmo,2018)

Stilt is one of the folk dances of the ''Han'' nationality in our country, which is called "Stilt Yangko" in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from "Tongle Gaojiaohui"(同乐高脚会）founded in the Qianlong period of the Qing Dynasty and bestowed by Emperor Qianlong. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing over 250 years ago. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage. (Xingxing,2019)

As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the "Tongle Gaojiaohui"(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performing techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic in these funny characters. (Xingxing,2019)

The only serious character among the 13 roles is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords are his signature tricks. Others like the young boy, a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He plays the trick of going fishing because that's his character setting. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to accompany the performance and amuse the audience. (Xingxing,2019)

The show of Kylin Songzi (麒麟送子), which indicates good luck and peace, marks the end of the whole performance. Tuotou lies down flat, the young boy riding on his waist like a living lion. Mr. Plaster and young master raise their waists with Yupo dancing Yangko behind. Fisherman uses his ribbon to drag Tuotou who holds the ribbon in his mouth. When it's done, the show is over. That's the whole performance. (Xingxing,2019)

The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who holds the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

As a renowned fair, Miliangtun Village Stilts is characterized by risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. (Xingxing,2019)

Legs and feet of stilt-walkers must be agile. Jumping the large bench is quite demanding that normal players can hardly accomplish. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. Stilt-walkers control the balance with waist. They must bend their knees slightly and keep moving when walking on stilts. The upper body and their feet must be coordinated, and swing from side to side to ensure the balance when stepping on the wooden stilts. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing. (Xingxing,2019)

Miliangtun Village Stilts as a renowned fair,are known for the features of risky tricks, various skills and great difficulty. There are stunning tricks such as ''Yasha Searches the Sea'', ''Su Qin Carries Swords'', squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, and the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

There is strict inheritance relationship and etiquette in the stilt fair, which will set up inheritors, presidents, team leaders, and team members. As the distinctive folklore in Wangzuo Town, Fengtai District, Beijing, Miliangtun Village Stilts stands out among the stilt fairs and enjoys great popularity from peers and the public. It is visually stunning, technically accomplished and naturally funny, which is divided into lead in, head stilts command, and separation performance, forming into a fixed set of performance routines after long-term drills since the establishment. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.(Sun Miao,2018)

There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilt is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilt has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

====Terms and Expressions====

Miliangtun (village name) 米粮屯

stilts 高跷

intangible cultural heritage 非物质文化遗产

folk dance 民间舞蹈

Toutou 陀头

Laozuozi 老坐子

young boy 小二哥

young master 公子

Mr.Plaster 药先生

Choupo 丑婆

fisherman渔翁

Yupo 渔婆

wood-cutter 柴翁

handsome and ugly drum-players 俊鼓和丑鼓

handsome and ugly gong-players 俊锣和丑锣

====Questions====

1. Where does Miliangtun Village Stilts originate?

2. How many years of history does Miliangtun Village Stilts have?

3. How many roles in Miliangtun Village Stilts?

4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?

5. How long is the shortest and the longest stilts?

====Answers====

1. Wangzuo Town, Fengtai District, Beijing.

2. More than 250 years.

3. 13.

4. In 2006.

5. The shortest stilt is two feet long, and the longest reaches over five feet.

====References====

Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.

Sun Miao 孙淼. (2018). "一跷多艺": 胜芳高跷会的舞体表征与比较研究. ["Multi-skills with one stilt": A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.

Xingxing 邢星. (2019). 米粮屯高跷 Miliangtun Village Stilts. https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin

Intangible cultural heritage Miliangtun Village Stilts. (2019). https://baijiahao.baidu.com/s?id=1643344511003907548&wfr=spider&for=pc

--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)

==Chinese Lion Dancing - Ding Daifeng 丁代凤 202070080583 英语笔译==

===Introduction===

Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)

Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)

When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.

When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)

There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)

There are a number of stories about the origin of lion dance. Here is one of the sayings. That is, during the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:52, 20 December 2020 (UTC)

In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)

In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:52, 20 December 2020 (UTC)

===Northern lion dancing===

The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)

The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)

===Southern lion dancing===

Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called "Liu Bei lion", "Guan Gong lion" and "Zhang Fei lion", which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)

Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called "Liu Bei lion", "Guan Gong lion" and "Zhang Fei lion", which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)

Dancers usually perform the traditional custom of “Cai Qing”, literally meaning "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)

Dancers usually perform the traditional custom of "Cai Qing", literally meaning "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:54, 20 December 2020 (UTC)

In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)

In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:54, 20 December 2020 (UTC)

===Terms and Expressions===

Western Regions 西域

mount 坐骑

Manjusri Bodhisattva 文殊菩萨

gong 锣

northern lion dancing 南狮

southern lion dancing 北狮

colorful silk ball 绣球

wooden stakes 木桩

spiritual resemblance神似

Liu Bei lion 刘备狮

Guan Gong lion 关公狮

Zhang Fei lion 张飞狮

sworn brothers 结义兄弟

horse stances 马步

Cai Qing 采青

lettuces 生菜

===Questions===

1. How long is the history of lion dance in China?

2. Why did people gradually accept lion as a sacred animal?

3. Why did people use lion dance to celebrate the New Year?

4. What is the main difference between southern lion dancing and northern lion dancing?

5. What is the center of southern lion dancing?

6. How many colors are there in the heads of southern lions? And what are they?

7. What is “Cai Qing”? And what do you know about “Cai Qing”?

===Answers===

1. It is with a history of about 2000 years.

2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.

3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.

4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.

5. It is in southern China’s Guangdong province.

6. The head of southern lion has three colors, namely black, red and yellow.

7. It means "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming.

===References===

Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.

Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.

Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.

Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.

==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==
===A. The Eight Tang-Song Prose Masters===
[[File:Tang Song Ba Da Jia.jpg]]

===Brief Introduction of The Eight Tang-Song Prose Masters===

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and "Three Su"(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called "Three Su". What's more, Su Xun is their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and "Three Su"(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called "Three Su". What's more, Su Xun is their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)

In a word, they all advocated prose and opposed parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their successive waves of innovation of ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

In a word, they all advocated prose and opposed parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their successive waves of innovation of ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''1. Han Yu'''
[[File:Han Yu.jpg]]

Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)

Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was a native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasties. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was a native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as "The Decline of Eight Generations" by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasties. Han Yu was called "Han Liu" with Liu Zongyuan, and his proses were juxtaposed with Du Fu's poems as "Du poem Han pen" by Du Mu. He enjoyed the fame as "The Article Giant" and "Admired Literate of One Hundred Generations" with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory.(Hou Benta 2014, 135)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)

Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

'''2. Liu Zongyuan'''
[[File:Liu Zongyuan.jpg]]

Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong ", " Mr. Hedong ", also known as" Liu Liuzhou " because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.

Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong, now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong", " Mr. Hedong ", also known as "Liu Liuzhou" because of his official end of feudal provincial of Liuzhou. He was born in Chang'an and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)

Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong, now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong", " Mr. Hedong ", also known as "Liu Liuzhou" because of his official end of feudal provincial of Liuzhou. He was born in Chang'an and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

He was juxtaposed with Han Yu as "Han Liu ", with Liu Yuxi as " Liu Liu ", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu ". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives. (Zhou Zhenfu 2016, 26)

He was juxtaposed with Han Yu as "Han Liu", with Liu Yuxi as "Liu Liu", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives. (Zhou Zhenfu 2016, 26)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)

He was juxtaposed with Han Yu as "Han Liu", with Liu Yuxi as "Liu Liu", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives.(Zhou Zhenfu 2016, 26)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)

He was a philosopher and litterateur with many wise ideas, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude to writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)

He was a deep-thignking philosopher and great litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude to writing. That means, it is important for the writer to have highly moral cultivation.(Zhangjian 2019, 1)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

'''3. Ouyang Xiu'''
[[File:Ouyang Xiu.jpg]]

Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.

Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousand volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was a native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Mianyang city in Sichuan province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the "Liu Yi scholar", which means that he had ten thousand volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk man alone. He was born in Mianzhou, now Mianyang city in Sichuan province, whose hometown is Jizhou Yongfeng, now Yongfeng county of Ji'an city in Jiangxi province.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.

Ouyang Xiu’s poems, Cis and proses were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was one of his representatives.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Ouyang Xiu's poem, Ci and prose were all the crown of that time. His poem was smooth, lyrical and euphemistic with a similar prose style, which stresses on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was one of his representatives.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)

Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang xiu not only drove away the old style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu's ancient prose, and pioneered the Northern Song Dynasty poetry innovation movement. As the leader of this movement, he not only drove away the old style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height.(Hou Benta 2014, 136)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

'''4. Su Xun'''
[[File:Su Xun.jpg]]

Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.

Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. He married Mrs. Cheng at the age of 19. Later when he was 27, he determined to study hard. After a decade of hard work, he made huge academic progress.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. At the age of 19, he married Mrs. Cheng. Later when he was 27, he determined to study hard. After a decade of hard work, he made huge progress in his academic field.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Su Xun was a man of political ambition. He said that the main purpose of his works was "to speak for the world ", to" apply to the present ". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)

Su Xun was a man of political ambition. He said that the main purpose of his works was "to speak for the world", to "apply to the present". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Xun was a man full of political ambition. He said that the main purpose of his works was "to speak for the world", to "apply to the present". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor.Owing to his great understanding of social reality, he was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''5. Su Shi'''
[[File:Su Shi.jpg]]

Su Shi, with a fame as " Dongpo Jushi ", was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .

Su Shi, with a fame as " Dongpo Jushi ", was a native in Meishan in Sichuan. He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Shi, with a fame as "Dongpo Jushi", was a native in Meishan in Sichuan. He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".(Zhou Zhenfu 2016, 28)

Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding men in literary and artistic attainments in thousands of years of Chinese history. He was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".(Zhou Zhenfu 2016, 28)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding men in literary and artistic attainments in thousands of years of Chinese history. He was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".(Zhou Zhenfu 2016, 28)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.

Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage.(Zhangjian 2019, 1) Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage.(Zhangjian 2019, 1) Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called "Su Men Four bachelors".--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''6. Su Zhe'''
[[File:Su Zhe.jpg]]

Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)

Su Zhe was born in Meishan, Meizhou, now Sichuan province. In the the second year of Jiayou(AD 1057), Su Shi, together with his brother, climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode, such as The "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Zhe was born in Meishan, Meizhou, now Sichuan province. In the the second year of Jiayou(AD 1057), Su Zhe, together with his brother Su Shi, climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He performed well in politics and history and discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode, such as his work the "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''7. Wang Anshi'''
[[File:Wang Anshi.jpg]]

Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .

Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo. He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo. He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)

Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature should aim to serve the society first. That means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature should aim to serve the society first. That means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary opinions of enlightenment of political decrees for world use.(Zhou Zhenfu 2016, 30)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''8. Zeng Gong'''
[[File:Zeng Gong.jpg]]

Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng" , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.

Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In the second year of Jiayou(AD 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng", including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In the second year of Jiayou(AD 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng", including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.

Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text.(Zhangjian 2019,1) His prose was natural and simple with little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative.(Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text.(Zhangjian 2019,1) His prose was natural and simple with little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative.(Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''9. Comparison between the Ancient Prose Movement and Renaissance'''

Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)

Although there were seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their cultures respectively.(Lu Sihong 2016, 71)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Although there were seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their cultures respectively.(Lu Sihong 2016, 71)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Comparison in ideology:

The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.

The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.(Wang Yaping 2001, 8) Their premise and foundation are their own classical thoughts.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.(Wang Yaping 2001, 8) Their premise and foundation are their own classical thoughts.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Comparison in writing style:

The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)

The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of in Tang and Song Dynasties studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Comparison in literary form:

The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :" Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)

The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language.(He Lei 2017, 159) Although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theories and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said: "Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

The Ancient Prose Movement not only corrected the floating and rigid writing style of the Six Dynasties, but also laid a good foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language.(He Lei 2017, 159) Although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theories and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said: "Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

===B. Terms and Expressions===
The Eight Tang-Song Prose Masters 唐宋八大家

Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》

Ancient Prose Movement 古文运动

parallel prose 骈文

The Decline of Eight Generations 文起八代之衰

The Article Giant 文章巨公

Admired Literate of One Hundred Generations 百代文宗

Han Changli Collection 《韩昌黎集》

External collection 《外集》

The Teacher's Theory《师说》

Pre-Qin and Han Dynasties 先秦两汉时期

writing in classical Chinese 文言文

feudal provincial of Liuzhou 柳州刺史

official supervisor of imperial censor 监察御史

Liu He Dong Colloection 《柳河东集》

Northern Song Dynasty 北宋

a thousand volumes of collections of inscriptions 金石遗文一千卷

Xia, Shang, Zhou Dynasties 三代

the crown of that time 一时之冠

Southern Tang Dynasty 南唐

Yu Feng 余风

The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》

the Northern Song Dynasty poetry innovation movement北宋诗文革新运动

Heng Lun 《衡论》

Duke Jingguo 荆国公

The Book to the Emperor 《上皇帝书》

Dongpo Jushi 东坡居士

Ci writer 词人

Unconstrained Ci School豪放派

literary and artistic attainments 文学艺术造诣

the first all-round talent in ancient China 中国古代第一全才

Su Men Four bachelors 苏门四学士

the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》

The New Theory《新论》

On the Six Kingdoms 《六国论》

Ode 赋

The Ode to Ink bamboo 《墨竹赋》

Seven Zengs of Nanfeng 南丰七曾

the doctrine before the text先道后文

the Book to Ouyang She Ren 《上欧阳舍人书》

the Book to Bachelor Cai 《上蔡学士书》

the Six Dynasties 六朝

===C. Questions===
1.Who are the pioneers of the Ancient Prose Movement?

2.Which kind of prose they advocate in the Ancient Prose Movement?

3.Do you know any representatives of Liu Zongyuan?

4.Why Ouyang Xiu is called "Liu Yi Scholar"?

5.What’s the relationship among Su Xun, Su Shi and Su Zhe?

6.Who are the "Seven Zengs of Nanfeng"?

7.Do you know any about the Renaissance?

===D. Answers===

1.Han Yu and Liu Zongyuan.

2.The prose of Pre-Qin and Han Dynasties.

3.The "Liu He Dong Colloection".

4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.

5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.

6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.

7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.

===References===
Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.

Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.

He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.

Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.

Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.

Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).

Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).

Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.

Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.

==Music, Instruments, Pipa - Gao Mingzhu 高明珠 - 202070080585 - Translation 英语笔译==
[Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)

Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu

===1. A Brief Introduction===

[[File:1.jpg|250px|thumb|left|The structure of Pipa. image from 360Baike. Click[https://image.so.com/view?q=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&src=srp&correct=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&ancestor=list&cmsid=b749b87b72b5c9427d6560a39d41548f&cmras=6&cn=0&gn=0&kn=0&crn=0&bxn=0&fsn=60&cuben=0&pornn=0&manun=0&adstar=0&clw=247#id=22b2926be2637560e928bbc9318219fb&currsn=0&ps=58&pc=58]for original source.]]

Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The "Pin(品，those wooden strips on Pipa’s face plate for pressing)" and "Xiang（相, those horizontal strips on Pipa’s neck for pressing）" are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)

Pipa belongs to plucked stringed instruments. It is made of wood or bamboo, and its speaker box is half pear-shaped with 4 strings on it which was made of silk initially while being made of steel wire, steel rope or nylon now. The "Pin(品，those wooden strips on Pipa’s face plate for pressing)" and "Xiang（相, those horizontal strips on Pipa’s neck for pressing)" are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly and presses the strings with the left hand and plays them with the right hand. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:43, 18 December 2020 (UTC)

===2.The Development of Pipa===

The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)

The development of The Chinese pipa has gone through four stages: First, the Qu Xiang pipa (curving-neck pipa) was introduced to China during the Eastern Jin Dynasty and became an important instrument. In the second stage, the art of pipa reached its peak in the Tang Dynasty, making a breakthrough in timbre and performance techniques and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)

During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one way to play pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16)

During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)

During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)

During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. And it was replaced by Chinese traditional instrument playing style with a major breakthrough in playing skills and artistic expression. During this period, pipa was still played mainly by plucking the strings, but its initial plucking style had transitioned to finger-playing, and the posture of playing the pipa changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)

During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the range of the audience of pipa performance changed from small to large. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)

During the Song and Yuan Dynasties, the methods and playing skills of pipa performance were more mature, and its playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. (Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)

During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)

During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing the pipa also kept vertical. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement in their performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so the common people without cultural accumulation often cannot appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)

===3.Pipa Schools and Their Chracteristics===

The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)

The formation of Pipa schools in China was due to the southwards moving of the economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)

(1)The Wuxi school

The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)

The Wuxi School belongs to the Northern School and differs from the Southern School in terms of finger rotation method. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)

(2)The Pinghu school

The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as " paired butterfly flying" .(Deng Sijia 2020,10)

The most distinctive performing techniques of the pipa are the Pinghu school's rotation method of the right hand fingers. It also has other characteristic techniques such as " paired butterfly flying" .(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)

(3)The Pudong School

Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)

Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both civil and military; In terms of playing skills, it has its own characteristics, including parallel string and rolling of four strings.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)

(4)The Chongming school

The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)

The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, the Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuity in the slow, the order in the fast, and soft and lively sound. In terms of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)

(5)The Shanghai school

This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)

===4.Traditional Pipa Music===

Traditional pipa music can be divided into military songs, literary songs and military-literary songs.

Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are "Ambush on All Sides", "Bury Me High", "Hai Qing Hunting the Swan", "General Order in the Han Dynasty". [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)

Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are "Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" and so on.

Literary song emphasizes the expression of the left-hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound inner talking or the artistic conception that people are looking forward to in a simple and moving melody or in a beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are "Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" and so on. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:04, 18 December 2020 (UTC)

Military-literary song is the combination of martial song and literary song. The representative songs are "The Spring Snow", "High Mountain and Flowing Water", "Dragon Boat", "Flute and Drum at Sunset" and so on.

===5.References=== [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)

*[1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020

*[2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.

*[3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.

*[4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.

[Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)

===6.Terms and Expressions===

*弹拨乐器—plucked instruments

*汉化—Chinesization

*套曲—divertimentoes

*游牧民族—nomad tribe

*宫廷乐—court music

*轮指法—tremolo

*音色—timbre

*曲目—repertoire

*并弦—parallel string

*指法—fingering techniques

===7.Questions===

1、How many stages did pipa go through during its development?

2、What characteristics did pipa have during Wei and Jin dynasties?

3、What changes had been made to pipa during Ming and Qing dynasties?

4、How many schools does pipa have and what are they?

5、Can you list at least 3 representative repertoires of literary songs played by pipa?

===8.Answers===

1、Four.

2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.

3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics.

4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school.

5、"Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" .

[Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)
===Terms and Expressions===

==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001. Major - Comparative Literature and Cross-Cultural Studies--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:14, 17 December 2020 (UTC)==

=== Huli-jing figure in Chinese mythology and its analogs in Japan and Korea ===

The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?

'''1. Huli-jing (狐狸精) in China'''

First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.

People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.

People, especially women, believed that due to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to resist the representatives of the Huli Jing cult, but it was only during the Song dynasty reign. That time the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not fully eradicated in other parts of China. Probably, a more competent decision in between acolytes area was made to give the werefox woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.

The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.

The theme of fatal love in the stories of werefoxes appear as a continuous line in Pu Songling tales. This suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their savage ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.
A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled "Good Hunt". The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.

In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film "Painted Skin (畫皮)", where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.

In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.

Quite a lot of information about werewolf foxes can be obtained from the TV series "The Legend of the Nine-Tailed Fox" released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.

Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.

To sum up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the ancient Chinese dynasties, the image of werefoxes has been predominantly negative and associated with deceit, seduction, and intrigue. But further the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.

'''2. Kitsune (キツネ) in Japan'''

In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari ("Fox-messenger") and the Chinese, who considered foxes to be werewolves, a genus close to demons.

Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.

Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.

Kitsunes are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari is sometimes depicted as a fox by himself. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold.

'''3. Kumiho (구미호) in Korea'''

Kumiho - (구 "ku" - nine, 미 "mi" - tail, 호 "ho" - fox - "fox with nine tails") is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.

In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.

===Terms and Expressions===

Shape shifter – 成精

Creature –生物

Seductive –诱人的

Damnation –诅咒

Metaphor –隐喻

Ascribe –属性

Indigenous –土着

Deity – 反面人物

Liver – 肝脏

===References===

1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.

2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.

3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.

===Questions===

1. What was the attitude towards the Huli Jing in Ancient China?

2. Can we characterize Kitsune as a positive or negative character?

3. Could Kumiho become human forever?

===Answers===

1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.

2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.

3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.
References ..................

==Chinese Characters - Gu Dongfang 顾东方 - 202070080635 - Interpretation 英语口译==
===Chinese Characters===

===Origin===

Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）

===Evolution of Chinese characters===
[[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]
Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)

===Ancient Chinese characters===

====Oracle bone script====

Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).

====Bronze script====

In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.（ Yu Xinjia and Xue Ruijia，2005）

====Seal script====
Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly.
The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.（ Yu Xinjia and Xue Ruijia，2005）

Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) began to be used in Qin State.
and all of the above three points ignored the quote, please add them up.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:23, 18 December 2020 (UTC)

===Modern characters===
====Clerical script====

After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.
From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.（ Yu Xinjia and Xue Ruijia，2005）

After the unification of China, the seal script was still popular, but could not satisfy the needs of people.Because of its lengthened and curved lines, it took more time to write.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:29, 18 December 2020 (UTC)

====Regular script====

Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.

Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people for generations even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage. （ Yu Xinjia and Xue Ruijia，2005）
===Formation of Chinese characters===

====Pictograms====

Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for "sun," 月 (yuè) for "moon," and 木 (mù) for "tree."

====Pictophonetic compounds====

Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.（ Yu Xinjia and Xue Ruijia，2005）
====Ideograph ====

Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for "knife," placing an indicator in the knife makes 刃 (rèn), an ideogram for "blade." Other common examples are 上 (shàng) for "up" and 下 (xià) for "down." This category is small, as most concepts can be represented by characters in other categories.（ Yu Xinjia and Xue Ruijia，2005）
====Logical aggregates====

Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng) bright, which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:54, 18 December 2020 (UTC)

====Associate transformation====

Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning "elderly person," but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.（ Yu Xinjia and Xue Ruijia，2005）

Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)

===Simplification of Chinese characters===

The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)
===Terms and expressions===

1.Oracle Bone Inscriptions 甲骨文

2.Bronze Inscriptions 金文

3.Small seal characters 小篆

4.Official script 隶书

5.Regular script 楷书

6.Cursive writing 草书

7.Cang Jie 仓颉

8.Clerical script 楷书

9.Su Shi 苏轼

10. Wang Xizhi 王羲之

11.Ou Yangxun 欧阳询

12.Yan Zhenqing 颜真卿

13.Pictograms 象形

14. Pictophonetic compounds 指事

15.Ideograph 会意

16.Logical aggregates 形声

17.Associate transformation 转注

18.Borrowing 假借

===Question===
1.How many Chinese characters are there?

2.How many letters are in the Chinese alphabet?

3. How many formations of Chinese characters? What are they?

===Answers===
1. According to the latest statics, there are nearly 91251 Chinese characters recorded .

2. There are 26 letters in Chinese alphabet.

3. Six formations are included in Chinese characters system, and they are Pictograms
Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing

===References===

1.王显春. 汉字的起源[M]. 学林出版社, 2002.

2.刘又辛. "关于汉字发展史的几个问题(上)." 语文建设 12(1998):34-37.

3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188

4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.

==Handcraft - Chinese Knots - Guan Qinqing 管钦清 - Student No.20207080586 - 英语笔译==

===A.Chinese Knots===

====1.A Brief Introduction about Chinese Knots====

The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.（Li Ku 2016，125）

The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization. It
originally evolved from the sewing of the Paleolithic period, into the ritual memorial of the Han Dynasty, and then into today's decorative craft. The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronze of the Warring States Period.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decoration and aesthetics,which
earned the knot its name.（Li Lifang & Sun Jianjun 2002,38）

The Chinese knot continued to become a popular art in the Qing Dynasty. Now, Chinese knots are often used as interior decorations, gifts between relatives and friends and
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decorations and aesthetics, which
earned the knot as its name.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

====2.The Classification of Chinese Knots====

There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥
结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井
结）,Cross Knot(十字结） and Ping Knot（平结）.（Li Ku 2016，125）

There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot. They are Double Coin Knot(双钱结）, Good Luck Knot（吉祥
结）, Chinese Button Knot（纽扣结）, Sauvastika Knot（万字结）, Oxalis Knot（酢浆草结）, Pan Chang Knot（盘长结）, Round Brocade Knot（团锦结）, Caisson Celling Knot（藻井
结）, Cross Knot(十字结） and Ping Knot（平结）.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot.

Here, we mainly introduce three main Chinese knots, which are the Double Coin Knot, the Good Luck Knot and the Pan Chang Knot.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

=====2.1.The Double Coin Knot=====

Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. Money in China not only represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called "luck money".（ Li Lifang & Sun Jianjun 2002，40）

Ancient coins are closely related to a country’s history, culture, politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views on coins are not limited on their prices but values, which can be seen in the auspicious characters and patterns cast on many ancient coins. Money in China not only represents the value of a certain currency, but also something of good luck. On every Chinese New Year's Eve, children can receive the so-called "luck money". --[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:50, 19 December 2020 (UTC)

Therefore, for the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes "good things come in pairs". This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful patterns, such as clouds and Perfect Knots，etc. （Li Ku 2016，126）

Therefore, for the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes "good things come in pairs". This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful patterns, such as clouds and Perfect Knots，etc.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:51, 19 December 2020 (UTC)

=====2.2.The Good Luck Knot=====

As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.
And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.（Wu Hongfang 2004,120）

As for the Good Luck Knot,it is an extension of the cross knot, and one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.
And the knot shape is beautiful, varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:53, 19 December 2020 (UTC)

=====2.3.The Pan Chang Knot=====

Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the
avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.（Li Lifang & Sun Jianjun 2002，44）

Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the
avenue and is therefore highly valued by Chinese people.As is a symbol of the origin of all things, Pan Chang (盘长）is one of the most important basic knots. It is
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:56, 19 December 2020 (UTC)

====3.The Knitting Method of Chinese Knots====

The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.（Xu Xing 2004,46）

The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots. The combination technique means to use thread extension to flexibly combine various knots, so as to make a group of varied knots.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:58, 19 December 2020 (UTC)

The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.（Xu Xing 2004,47）

The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art. --[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:58, 19 December 2020 (UTC)

====4.The Cultural Connotations of Chinese Knots====

Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of
rope and thread.In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". In addition, Chinese people are descendants of
Dragons.（Wang Mizhu &Sun Sun& Qu Hongjian 2014,44）

Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of
rope and thread. In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". In addition, Chinese people are descendants of
Dragons.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:00, 19 December 2020 (UTC)

Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of
"knot", which means reunion and happiness. Many of the Chinese words composed of "结"（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交
（making friends), and 永结同心（tie the knot),etc. "结"(knot) is also homonymous with "吉"（ausipiciousness), so people even think that "knot" is a symbol of good luck.

Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of
"knot", which means reunion and happiness. Many of the Chinese words composed of "结"（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交
（making friends), and 永结同心（tie the knot),etc. "结"(knot) is also homonymous with "吉"（ausipiciousness), so people even think that "knot" is a symbol of good luck.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:00, 19 December 2020 (UTC)

====5.Comparisons between Chinese Knots and Cross Necklaces====

=====5.1.Different Cultural Connotations=====

From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of
Christianity. The cross, derived from the Latin "crux", means "fork".It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient
Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross
ornaments in the west as cross necknaces are usually used to represent love and salvation.（Wang Mizhu &Sun Sun& Qu Hongjian 2014,45）

From the above, we can see that the Chinese knot have many meanings, such as good luck, love, unity and so on. The cross necklace, however, is symbolic of Christianity. The cross, derived from the Latin "crux", means "fork".It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners. Therefore,such cross ornaments in the west as cross necknaces are usually used to represent love and salvation.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:02, 19 December 2020 (UTC)

=====5.2.Different Shapes=====

Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have
different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.（Xu Xing 2004,47）

Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:04, 19 December 2020 (UTC)

====6.References====

*Li Ku 李库. (2016). 符号学视角下的中国结解读 [The Analysis of Chinese Knots from the Perspective of Semiology ]. ''艺海'' Yi Hai (08) 125-126.

*Li Lifang & Sun Jianjun 李立芳，孙建君. (2002). ''民间绳结'' [Folk Knots]. Wuhan: Hubei Fine Arts Publishing House 湖北美术出版社.

*Xu Xing 许星. (2004). 路论中国结 [On the Chinese Knots]. ''丝绸'' The Silk (02) 46-47.

*Wu Hongfang 邬红芳. (2004). 中国结的意象美学特征 [The Rhetorical-Beauty of Chinese Knots]. ''装饰'' Decoration (09) 120-121.

*Wang Mizhu &Sun Sun& Qu Hongjian王眯珠,孙荪,曲洪建. (2014). 怀旧心理与创新意识对中国结的影响分析[The Analysis of the Impact on Chinese Knots from Reminiscence and Consciousness of Innovation ]. ''丝绸'' The Silk (11) 43-50.

===B. Terms and Expressions===

Double Coin Knot 双钱结

Good Luck Knot 吉祥结

Chinese Button Knot 纽扣结

Sauvastika Knot 万字结

Oxalis Knot 酢浆草结

Pan Chang Knot 盘长结

Round Brocade Knot 团锦结

Caisson Celling Knot 藻井结

Cross Knot 十字结

Ping Knot 平结

tie the knot 永结同心

luck money 压岁钱

the bishop's identity 主教职权

===C. Questions===

1. What is the Chinese knot?

2. Do you know the names of the main Chinese knots? What are they?

3. What do "绳" and "结" mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)

===Answers===

1.The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.

2.There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot,Good Luck Knot,Chinese Button Kno,Sauvastika Knot,Oxalis Knot,Pan Chang Knot,Round Brocade Knot,Caisson Celling Knot,Cross Knot and Ping Knot.

3.In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of "knot", which means reunion and happiness.

==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:19, 20 December 2020 (UTC)the right order of your title should be category, topic, name, student number

[[File:Chinese Mythology.jpg|thumb|right|Panku]]

===Introduction===

The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.

===A. Panku Created the World===

In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).

At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 "li" (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).
Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.

===B. NuWa Created Human Beings===

[[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]

Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).

As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.

During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:09, 20 December 2020 (UTC)the source is missing

===C. Fushi Taught the People===

In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .

Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing "trigrams", in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This "trigrams" was also a mean to interpret future and consult oracle about the right ways to follow.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:24, 20 December 2020 (UTC)to write the in the way of (Irene Dea Collier 2001, 35-36),that's better.

Finally, Fushi gave his last gift (music) in order people can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a "pipa" (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history. Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:02, 20 December 2020 (UTC)the source is missing.

===D. Water War===

Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and described as a very big giants with different shapes, Gong shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).

Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:22, 20 December 2020 (UTC)to write the in the way of (Irene Dea Collier 2001, 48-49),that's better.

In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:25, 20 December 2020 (UTC)the source is missing.

===E. Terms and Expressions===

Chinese Mythology 中国神话

Panku 盤古

Yin/Yang 陰陽 / 阴阳

Nuwa 女媧

Fushi 伏羲

Water War 水战

===F. Questions===

1. Why an egg a good symbol for the beginning of the world?

2. Why Nuwa decided to create human beings?

3. What did Fushi taught to people?

4. What was the cause of Gong and Zurong’s war and who won?

===G. Answers===

1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.

2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.

3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.

4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.

===References===

1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.

2. Irene Dea Collier. (2001). "Chinese Mythology". Library of Congress Cataloging-in-Publication Data.

3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg

4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:04, 20 December 2020 (UTC)the way of reference-listing is not standard.

==Gods and Immortals - Gui Yizhi 桂一枝 202070080587 英语笔译==

===Chinese gods and immortals===

====Chinese mythology system====

Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.(Lü & Gong 2014, p. 71 )

Chinese mythology is a mythology that has been passed down in oral form or literature records, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.(Lü & Gong 2014, 71 )--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.(Yang, An & Turner 2005, p.4)

Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.(Yang, An & Turner 2005, 4)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).1987.(Bai 1987, pp. 34-40)

The Ancient mythologies are myths about the origin of human or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).1987.(Bai 1987, 34-40)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.(Olson & Stuart 2002, pp. 27-28)

Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.(Olson & Stuart 2002, 27-28)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her.(Buddhism, p37)

At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her.(Buddhism, 37)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

====神 shén, 帝 dì and 仙 xiān====

Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between "god" and "deity". dì, sometimes translated as "thearch", implies a manifested or incarnate "godly" power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".(Hu, 2020)

Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between "god" and "deity". dì, sometimes translated as "thearch", implies a manifested or incarnate "godly" power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".(Hu, 2020)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.(Fowler & Jeanine 2005, pp. 200-201)

There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.(Fowler & Jeanine 2005, pp. 200-201)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

====Eight immortals====

The Eight Immortals are a group of legendary xian ("immortals") in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.(Yang,Deng & Wang 1987, pp. 40-45)

The Eight Immortals are a group of legendary xian ("immortals") in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.(Yang,Deng & Wang, 1987 40-45)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism.(Yang,Deng & Wang 1987, pp. 45-50)

The Immortals are Lü Dongbin (吕洞宾), He Xiangu (何仙姑), Zhang Guolao (张果老), Lan Caihe (蓝采和), Li Tieguai (李铁拐), Zhongli Quan (钟离权), Han Xiangzi (韩湘子), Cao
Guojiu (曹国舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism.(Yang,Deng & Wang 1987, pp. 45-50) --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- "The Eight Immortals cross the sea, each reveals its divine powers" (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.(Little, Stephen 2000,pp. 313, 319–334)

The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- "The Eight Immortals cross the sea, each reveals its divine powers" (八仙过海，各显神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.(Little, Stephen 2000,pp. 313, 319–334)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

===Terms and Expressions===

immortals 仙

mythology 神话，神话学

cosmology 宇宙论，宇宙观

monolithic 整体（式）的

the Battle of Zhuolu 涿鹿之战

pantheistic 泛神论的

polytheistic 多神论的

Three Pure Ones 三清

anthropomorphic 人格化的

tutelary 守护神

deity 神

Buddha 佛

Shakyamuni 释迦牟尼

Amitabha 阿弥陀佛

Amitāyus 无量寿佛

celestial 天的

Bodhisattva 菩萨

Pure Land 极乐世界

vessels 法器

Covert Eight Immortals 暗八仙

Taoist 道家的，道士

===Questions===

1. What are the topics of the Ancient mythology?

2. What are the differences among shén, dì and xiān?

3. What do the Eight immortals represent respectively?

===Answers===
1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.

2. shén and dì corresponds to the distinction in Western cultures between "god" and "deity". The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".

3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.

===References===

[1]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.

[2]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.

[3]Bai Yang. Chinese Huamn History. Time Literature & Art Press, 1987.

[4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear & Company.

[5]Buddhism, the Fulfilment of Hinduism

[6]Hu Yanan. From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty [D].Harbin Normal University,2020.

[7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.

[8]Yang Erzeng, Deng Zhimo, Wang Xiangxu. A Full Story Book of Eight Immortals. Spring Breeze Literature & Are Press,1987.

[9]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago.

[1]Lü, Daji; Gong, Xuezeng. (2014). ''Marxism and Religion.'' Religious Studies in Contemporary China. Brill.

[2]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). ''Handbook of Chinese Mythology''. New York, NY: Oxford University Press.

[3]Bai Yang. (1987). ''Chinese Huamn History''. Time Literature & Art Press.

[4]Olson, Stuart Alve. (2002). ''Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun''. Bear & Company.

[5]Buddhism, the Fulfilment of Hinduism

[6]Hu Yanan.(2020). ''From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty'' [D].Harbin Normal University.

[7]Fowler, Jeanine D. (2005). ''An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality''. Sussex Academic Press.

[8]Yang Erzeng, Deng Zhimo, Wang Xiangxu. (1987). ''A Full Story Book of Eight Immortals''. Spring Breeze Literature & Are Press.

[9]Little, Stephen (2000). ''Taoism and the Arts of China.'' The Art Institute of Chicago.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

==Literature, Tang and Song - Guo Lu 郭露 202070080588 MTI==
[suggestion:Literature, Tang and Song - Guo Lu 郭露 202070080588, here, your major is missing.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

===Classical Prose Movement of late Tang Dynasty and Song Dynasty===

====Introduction====

“The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its depth.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, and it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)
[suggestion:……and Confucianism Renaissance as its deep. Here, "deep" may be replaced by "depth".
The word “Gu Wen” was first introduced by Han Yu, (Here, you can add a word "and")it indicates the prose in the pre-Qin period and Han Dynasty.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====Development====

The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)
[suggestion:(Here, "Both" can be replaced by "They both".)Both were enthusiastic to promote the movement……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)
[suggestion:However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. (Here, this sentence doesn't have a predicate, so you may change the word "writing" into "wrote".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65)

====Representatives====

'''1.Han Yu'''

Han Yu (768–824), courtesy name Tuizhi, is also known for his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the "Eight Great Prose Masters of the Tang and Song"，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)
[suggestion:Han Yu (768 – Here, you may delete the space.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC) 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. (And this sentence doesn't have a predicate, so you may add "is" before the word "also", and "for" after "known".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)

'''2.Liu Zongyuan'''

Liu Zongyuan (773–819), courtesy name Zihou, is also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese litterateur, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is "Jiangxue". (Yang Shengli 2020, 42-44)
[suggestion:(773 – Here, you may delete the space. 819);(And this sentence doesn't have a predicate, so you may add "is" before the word "also", and "for" after "known".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

'''3.Ouyang Xiu'''

Ouyang Xiu (1007–1072), courtesy name Yong Shu, is also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)
[suggestion:(1007 – Here, you may delete the space. 1072);(And this sentence doesn't have a predicate, so you may add "is" before the word "also", and "for" after "known".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)

Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)
[suggestion:Except(Here, you may change "Except" into "Besides".) for Han Yu, Liu Zongyuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====Masterworks====

Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)
[suggestion:Except for(Here, you may change "Except for" into "Besides".) the works of Han Yu, Liu Zong Yuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====Influence====

The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)

====Terms and Expressions====

The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家

Classical Prose Movement 古文运动

''Eight Records of Excursions in Yongzhou'' 《永州八记》

''On Teachers'' 《师说》

''New Book of Tang'' 《新唐书》

''Historical Records of the Five Dynasties'' 《新五代史》

''Zuiweng Tingji'' 《醉翁亭记》

''Shang Zhongyong'' 《伤仲永》

''On Jia Yi'' 《贾谊论》

''First Ode to the Red Cliff'' 《赤壁赋》

====Questions====

1. Who were the first promoters of the Classical Prose Movement?

2. What does the Classical Prose Movement mean?

3. What's political and religious purposes of the Classical Prose Movement?

====Answers====

1. The first promoters of this movement were Han Yu and Liu Zongyuan.

2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.

3. The reason why Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.
[suggestion: The reason what…….(Here, you may change "what" into "why".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====References====

Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.

Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.

Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.

Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.

Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.

Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.

Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.

==The tradition of Red Envelope and Lucky Money - HA, THI THU HANG - 201921080008 - Comparative Literature and Cross-Cultural Studies==

[[File:chinese-new-year-red-pockets-design.jpg|250px|thumb|left|Red Enverlop]]

===The Chinese Red Envelope and Lucky Money Tradition===

In Chinese and other East and Southeast Asian societies, Red Envelopes, also called Red Packets, Lucky Money, or ''Hóngbāo'' ( 红包 ) in Chinese, ''Li shi'' / ''Lìxì'' in Vietnamese are popular monetary gift given during holidays or special occasions or festivals such as weddings, graduation, senior people's birthday parties or the birthday of a child, visit a newborn baby, etc in China, Vietnam, Korea, Japan, and some other Asian countries, especially widely seen during the Lunar New Year Festival. During the Lunar New Year, the adult, parents and grandparents gift with the red envelops for kids, which have money stuffed into. It is a traditional way to wish good luck and share blessings.

The Lucky Money tradition began in the Han Dynasty. Rather than real money, they were small collectibles in the form of coins to ward off evil spirits. Auspicious phrases and symbols were engraved onto the surface. "worldwide peace" ( 天下太平 / ''Tiān xià tài píng''), “longevity and fortune” ( 千秋万岁 / ''Qiān qiū wàn suì''), dragons and phoenixes were common.

These coins were tied together with red string. The practice transitioned to be wrapped in Red Paper and now, put into Red Envelopes.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

====The Legend====

In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called ''Sui'' ( 祟 ) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called ''Shou Sui'' ( 守祟 ).

One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone in the village knew about the stories. Since then, when Lunar New Year comes, people will give children "red paper wrapped copper money" with a belief that the money will protect children from being harmed.

There are also other legends about this custom related to the son of Yang Guifei of the Tang Dynasty - China and the Qin Dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

====The Tradition====

The Chinese custom of Lucky Money is called ''Hóngbāo'' ( 红包 ). Chinese people really like red, so the Lucky Money is always red, symbolizing luck and happiness. The Red Envelope is called ''Yāsuìqián'' ( 压岁钱 ), which means "suppressing ghosts money". Those who receive a Red Envelope are wished another safe and pea. Sending Red Envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese Lucky Money must avoid the number 4 ( 四 / ''si'') and be sealed - that means no 4, 40, or 400 amounts - as the pronunciation of four in Chinese sounds like the word for death ( 死/ ''si''). However, amounts including the number 8 ( 八 / ''ba'') will bring good luck and prosperity ( 发财 / ''fa'').

There are rules on how to properly receive an Envelope. Traditionally, children would kneel to receive their ''Hóngbāo'' from older family members, and this is still practiced in some areas of China. Red Envelopes are also always given and received with both hands, and should never be opened immediately and in the presence of the present-giver. After receiving the Lucky Money, the children have to put it all under the pillow after about a week to open it. The meaning of this is for the Lucky Money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese Lucky Money.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

'''Alipay and WeChat Red Envelope'''

[[File:chinese-new-year-red-pockets.jpg|300px|thumb|Right|Red Envelope - How much to give who - [[https://www.chinahighlights.com/travelguide/festivals/red-envelop.htm]]]]

Moving on from the traditional Red Envelope, in the 21st century, many people exchange digital Red Envelopes instead of the traditional paper ones. These are virtual packets of very real cash, transferred directly to friends' and family's smartphones. Users can even send digital ''Hóngbāo'' to their favorite celebrities using apps such as Alipay, WeChat and the Weibo Red Envelope. WeChat Red Packet is an online money transfer with a colorful message via WeChat (a messaging Chinese app). In recent years, it has become popular among young people to send "Red Envelopes" via WeChat as a greeting. It has become a new way to greet friends or relatives during the Chinese New Year period.

While the tradition centers on children, Red Envelopes are given to friends, family, colleagues and many other relatives - and different amounts of money are customary for each relation. For example, parents and grandparents get the most, but employees and even casual acquaintances can expect a Red Envelope.

====Outside of China====

The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent. Each country has different ways of Lucky Money and changes over time, but the basic custom of Lucky Money is to want to send wishes of peace to all relatives and friends in the New Year.

[[File:LunarNewYearinVietnam.jpg|250px|thumb|Right|Lunar New Year in Vietnam]]
In Vietnam, Lucky Money is called ''Lì xì/Tiền mừng tuổi'' and very typical. On the first day of the Lunar New Year - one of the great holidays of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give Lucky Money to the children with the message of good luck, good care and good study. Today, the tradition of Lucky Money in Vietnam is also expanded in the direction that children give Lucky Money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.

[[File:Otoshidama.jpg|200px|thumb|left|Otoshidama in Japan]]
In Japan, Lucky Money is called ''Otoshidama'' (お年玉). Unlike other countries, the amount of Japanese Lucky Money depends on the child's age, the relationship of the family. ''Otoshidama'' Red Envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese Red Envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the Lucky Money will be written on the Red Envelope to show respect for the recipient. The message of each ''Otoshidama'' Red Envelopes is a wish for a warm, peaceful and lucky New Year.

[[File:Sabae.jpg|200px|thumb|right|Sabae in Korea]]
In Korea, Lucky Money is called ''Sabae''. On the New Year's day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive Lucky Money together with wishes for health and peace in the New Year. The Lucky Money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems, etc.

[[File:Green Envelope-giving.jpg|200px|thumb|left|Green Envelope-giving]]
The Lucky Money tradition has also crossed cultural and religious boundaries, and ''Green Envelope-giving'' has even become a practice during the Islamic holiday of Eid al-Fitr across Southeast Asia. It is also widely practiced by the Chinese and Southeast Asian diaspora across the world.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

===Terms and Expressions===

Lucky Money 利市/ Lì shì

Red Envelope 红包/ Hóngbāo

Worldwide Peace 天下太平/ Tiān xià tài píng

Longevity and Fortune 千秋万岁/ Qiān qiū wàn suì

Suppressing Ghosts Money/ Suppressing Sui Money 压岁钱/ Yā suì qián

Sui 祟

Shou Sui 守祟

===Questions===

1. Do you know the origin of giving Lunar New Year's Lucky Money to children?

2. Is the Lucky Money tradition exist in other countries than China?

3. What are the rules on giving-receiving Red Envelopes?

4. On what occasions people giving-receiving Red Envelopes?

5. Do you ever receive a Red Envelope? On what occasion?

===Answers===

1. It began in the Han Dynasty and to protect children from being harmed.

2. Yes. It is very polupar in Vietnam (''Lìxì''), Japan (''Otoshidama''), Korea (''Sabae''), and some other Southeast Asian countries.

3. The giving amount of money must avoid the number 4 that sounds like the word of death in Chinese. The children, after receiving the Red Envelope, do not open it immediatedly and in the presence of the present-giver, but have to put it under the pillow after about a week to open it.

4. Red Envelopes are most commonly associated with New Year, but they also turn up as part of many other occasions as a way of sharing good luck and blessings, like births, weddings, graduation, senior people's birthday parties or the birthday of a child, visit a newborn baby, etc.

5. Yes. Red Envelope, or Lucky Money, or ''Lìxì'' is very typical in the Lunar New Year in my country Vietnam.

===References===

Red Envelope[https://en.wikipedia.org/wiki/Red_envelope]

Fefe Ho - Red Pockets[https://chinesenewyear.net/red-pockets/]

Cindy Tang - Red Envelopes/Packets (Hongbao) - Amount, Symbols and How to Give [https://www.chinahighlights.com/travelguide/festivals/red-envelop.htm]

Chinese Red Envelope [https://www.travelchinaguide.com/essential/holidays/new-year/red-envelope.htm]--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

==Calendar, The 24 Solar Terms - He Changqi 何长琦 student No. and 专业 are missing --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:37, 17 December 2020 (UTC)==

==='''The Twenty-four Solar Terms'''===
==='''The Twenty-four Solar Terms'''===[maybe this should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)

===1. The orgin and development of the twenty-four solar terms===
===1. The Orgin and Development of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)

“The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）

"The 24 solar terms" is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）[suggestion:the quotation mark in English and in Chinese should be distinguished.In Chinese, it is “”;in English, it is ""]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)

By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）

By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature in the Warring States period, the complete 24 solar terms were basically formed. During the Qin and Han dynasties, a complete system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）[suggestion:the last sentence is too long to read.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:42, 17 December 2020 (UTC)

===2. The definition and classification of the 24 solar terms===
===2. The Definition and Classification of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)

"The 24 solar term" is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)[suggestion:it will be better if you use Arabic numerals or its English version uniformly in the whole passage; please pay attention to the difference of quotation mark in Chinese and English.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)

A solar term that starts in the early part of a month is called jie (节), and one that starts in the middle part of a month is called qi (气). (Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it.) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)[maybe there is a wrong word "meddle", it should be "middle" .]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)

The 8 solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the 4 solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)[suggestion:it will be better if a uniform numeral format is used.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

===3.Folklore of the 24 solar terms===
===3.Folklore of the 24 Solar Terms===[the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)

The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the "whipping of the spring bull" at the beginning of spring and the "tailing festival" at the end of the cold season.((Ding Yiming. Chang He 2020)) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of "the unity of heaven and man, in accordance with the four seasons", the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc.

The folklore of the 24 solar terms is divided into three aspects: festival folklore, lifestyle customs and food customs. Festive customs such as the "whipping of the spring bull" at the beginning of spring and the "tailing festival" at the end of the cold season.(Ding Yiming, Chang He 2020) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of "the unity of heaven and man, in accordance with the four seasons", the 24 solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. [suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)

These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of "biting the spring" on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)

These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of the Begining of Spring, he will have good luck in the future. In many parts of China, people observe the custom of "biting the spring" on the first day of the Begining of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of the Begining of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan, Zou Yating 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:08, 17 December 2020 (UTC)

===4.Importance and values of of the 24 solar terms===
===4.Importance and Values of the 24 Solar Terms===[suggestion:it will be better if the first letters are capitalized; the "of" should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

===4.1 Importance in ancient times===
====4.1 Importance in Ancient Times====[the subtitle should add a mark as "="]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.

The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.[suggestion:quotation is missing.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that "if the agricultural time is not violated, there will be sufficient grain supply." (Mencius - Liang Huiwang). (Wang Jiahua 2019)

Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is the most basic function of the 24 solar terms. Agricultural production is an economic activity carried out by humanity in accordance with natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that "if the agricultural time is not violated, there will be sufficient grain supply." (Mencius - Liang Huiwang). (Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and an important manifestation and part of their colourful lives.(Wang Jiahua 2019)

Secondly, the 24 solar terms were also regarded as important time points in the daily life of ancient people. Thirdly, for the ancient ancestors, the 24 solar terms were more than a time system, they were also a connotation of life, an important manifestation and part of their colourful lives.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

For example, the "Four Beginnings"(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)

For example, the "Four Beginnings"(四立)-- the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter-- have always been important festivals in history. At these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival. Spring Festival, Dragon Boat Festival, Mid-Autumn Festival and Tomb Sweeping Festival are known as China's four traditional festivals .(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

===4.2 Values in modern society===
====4.2 Values in Modern Society====[suggestion:it will be better if the first letters are capitalized; the subtitle should add a mark as "="]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming. Chang He 2020)

In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming, Chang He 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

It still has its practical values in modern society.Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)

It still has its practical values in modern society.Firstly, as a time-honoured knowledge system and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations. Specifically, respecting nature, adapting to the time of the day, venerating ancestors, showing filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature.(Wang Jiahua 2019)

Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and the harmonious relationship between man and nature.(Wang Jiahua 2019) [suggestion:maybe it will be better if "reflect" is deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)

===Terms and Expressions===

the Beginning of Spring 立春

Beginning of Autumn 立秋

Rain Water 雨水

End of Heat 处暑

Insects Awakening 惊蛰

White Dew 白露

Spring Equinox 春分

Autumnal Equinox 秋分

Fresh Green 清明

Cold Dew 寒露

Grain Rain 谷雨

First Frost 霜降

Beginning of Summer 立夏

Beginning of Winter 立冬

Lesser Fullness 小满

Light Snow 小雪

Grain in Ear 芒种

Heavy Snow 大雪

Summer Solstice 夏至

Winter Solstice 冬至

Lesser Heat 大暑

Lesser Cold 小寒

Greater Heat 立春

Greater Cold 大寒

===Questions===

1.1.What are the first four solar terms measured by ancient Chinese people?
1.What are the first four solar terms measured by ancient Chinese people?--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

2.Where does the 24 solar terms originate from?

3. What are the eight solar terms that reflect seasonal changes？

4.When was the 24 solar terms included in the World Intangible Cultural Heritage List?

5.What are the food customs in the Beginning of Spring?

6.Do you konw any other folklore of the 24 solar terms?

===Answers===

1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.

2.It originated in the Yellow River valley.

3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice

4.In 2016.

5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.

6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the "Sage of Medicine", invented the "jiaozi" to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as "dumpling" or jiaozi. Today there is still a saying that goes "Eat dumplings on Start of Winter Day, or your ears will be frostbitten."

===References===

Yuan Jix. 袁济喜. (2016). "中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)

Wang Jiahua. 王加华.（2019.9.20）"China Social Science Network" http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml

Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）"Chinanews" http://www.chinanews.com/cul/2020/11-17/9340057.shtml

He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html

==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==

===Collection of Yue Fu Poetry《乐府诗集》===

====Introduction====

'''1.Brief introduction'''

''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. "Yuefu", originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)

''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre-Qin to the end of Tang Dynasty. "Yuefu", originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name. (Wu Ting 2007, 20)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)

'''2.About the author'''

Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation. (Wu Ting 2007, 22)

'''3.Content introduction'''

It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, "Yuefu Poetry Collection" is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties. (Wu Ting 2007, 30)

====Masterpieces====

'''1.''The Peacock Flies to Southeast'''''

''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed. (Wu Ting 2007, 36)

''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for free love and happy life is placed. (Wu Ting 2007, 36)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

'''2.''Mulan Poetry'''''

''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. "Mulan is a girl" is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)

''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man and joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for a reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. "Mulan is a girl" is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality. Therefore, it has strong artistic appeal. (Wu Ting 2007, 41)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

====Evaluation====

'''1.Contributions'''

The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as "Moshangsang", "dongmenxing", were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former.(Yu Yizhi 2002, 105)

The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of the Han Dynasty, such as "Moshangsang", "dongmenxing", were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. (Yu Yizhi 2002, 105) --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)

''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in the singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literary history and music history. There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but the narrative is attached to the lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time. (Yu Yizhi 2002, 105)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

'''2.Shortcomings'''

There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)

There are some imperfections in ''Collection of Yue Fu Poetry''. For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as ancient Chinese literature, this giant has made a certain contribution. (Yu Yizhi 2002, 107)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

===References===
Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)

Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.

Wu Ting 吴婷. (2007). 乐府诗集引用的音乐文献研究 [A study of music documents cited in ''Collection of Yuefu Poertry''].Nanchang:Nanchang University 南昌大学 (12) 20-41.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

Yu Yizhi 喻意志. (2002). 乐府诗集成书研究 [A study on the compilation of the ''Collection of Yuefu Poetry'']. Shanghai: Shanghai Normal University 上海师范大学 (10)105-107.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)

===Terms and Expressions===

''Collection of Yue Fu Poetry''《乐府诗集》

Jiaomiao songs郊庙歌辞

Yanshe songs燕射歌辞

Guchui drum songs鼓吹曲辞

Hengchui songs横吹曲辞

Xianghe songs相和歌辞

''The Peacock Flies to Southeast'' 《孔雀东南飞》

''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)

===Questions===

1.When was Yuefu Poetry compiled？

2.Which institution did "Yuefu" belong to?

3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)

===Answers===

1.In Song Dynasty.

2.It belongs to the institution in charge of music.

3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)

==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==

===Eight Major Cuisines of China===

====1. A Brief Introduction About Chinese Cuisine====
1. A Brief Introduction About Chinese Cuisines--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 07:16, 19 December 2020 (UTC)

As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the "four major cuisines." By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the "eight major cuisines" of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)

====2. The Classification of Chinese Cuisines====

China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)

China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavors. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted. (Shi Hongmei 2009, 34)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:25, 19 December 2020 (UTC)

=====2.1 Shandong Cuisine=====
Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)

Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Besides, Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:27, 19 December 2020 (UTC)

=====2.2 Sichuan Cuisine=====
Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one
of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)

Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical and exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:30, 19 December 2020 (UTC)

=====2.3 Guangdong Cuisine=====
Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)

Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables, which originate from other parts of the world. It doesn't use much spice, just bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:32, 19 December 2020 (UTC)

=====2.4 Fujian Cuisine=====
Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their "pickled taste". (Shi Hongmei 2009, 55)

Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct feature is their "pickled taste". (Shi Hongmei 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:34, 19 December 2020 (UTC)

=====2.5 Jiangsu Cuisine=====
Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)

Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh, sweet and delicate. Jiangsu Cuisine is well-known for its careful selection of ingredients, its methodology of meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:38, 19 December 2020 (UTC)

=====2.6 Zhejiang Cuisine=====
Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)

Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. And Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:43, 19 December 2020 (UTC)

=====2.7 Hunan Cuisine=====
Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)

Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessities in this division. (Shi Hongmei 2009, 65)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:44, 19 December 2020 (UTC)

=====2.8 Anhui Cuisine=====
Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)

Anhui Cuisine focuses much more on the temperature in cooking. Its major cooking methods are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:46, 19 December 2020 (UTC)

====3. A Comparison of Chinese-Western Diet Culture====

Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)

Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. So there are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)

Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China. But it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)

However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to both their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)

There are also differences in the names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo Meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

====References====

Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.

Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.

Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.

Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．

Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.

===Terms and Expressions===

pot-stewed fowl 卤味

stewing and simmering 炖，煨

prickly ash 花椒

fermented soybean 豆鼓

Braised Dongpo Pork 东坡肉

Buddha Jumps over the Wall 佛跳墙

Kung Pao Chicken 宫保鸡丁

Bean Sauce Tofu 麻婆豆腐

===Questions===
1. How many types of cuisines are there in china?

2. What’s differences between Chinese and western diets?

3. What is the origin of Dongpo Meat?

===Answers===
1. Eight

2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes.

3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.

==Folk Art Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting ==

Chinese Paper Cutting 剪纸

===Text===

====Introduction====

With a long history, paper-cutting could be dated back to 2000 years ago in China according to the archaeological records. It originated in ancient ancestor worship activities in which people pray for their ancestors and god. Later, with the widespread paper-cutting techniques and people’s growing love for it, it gradually served as the decorations for the doors, walls, mirrors, lanterns and so on. Nowadays, paper-cutting has already become an integral part of Chinese traditional culture and serves as a window of the Chinese folk culture. (Jiao 2016: 3)

====History====

[[File:The easiest Paper-cutting found in Turfan.jpg|250px|thumb|right| The easiest Paper-cutting found in Turfan, image from www.Chinawriter.com.cn Click[http://www.chinawriter.com.cn/n1/2019/0115/c404102-30538973.html] for original source.]]

The skill of cutting and carving appeared way before the invention of paper, and a number of materials, from the bark, leaves and animal skin, to later silk, were cut into certain shapes to decorate, which laid a solid foundation for the art of paper-cutting. (Li & Zhang 2015: 7)

As the paper is not easy to preserve, few of the paper works could survive to modern times. “The earliest such work surviving are five examples dating from the Northern Dynasties period (386-581), unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.” (Folk Handicrafts)

In the Tang dynasty the custom of paper-cutting began to be popular, and the handicraft man cut paper to different shapes, and each owns its name. Namely, the shape of square was named “Fangsheng”, the flower-shaped “Huasheng”, the people-' shaped “Rensheng”. Two pieces of “Huasheng”, which were the remains in the Tang Dynasty, are preserved now in Shōsō-in in Japan. (Li & Zhang 2015: 7-8)

By the Song Dynasty, with the prosperous development of economy and culture, in addition to daily decoration, paper-cutting was used for crafts such as porcelain and blue calico. (Li & Zhang 2015: 8)

The art of paper-cutting became mature in Yuan, Ming, and Qing dynasties. There emerged well designed paper-cutting works in the Yuan dynasty, and collectors began to collect paper-cutting works as artwork. By the Ming Dynasty, the application of paper-cutting became even wider, with clip gauze lantern as a representative. It is a lantern with paper-cutting clipped in, candlelight reflecting the pattern. (Li & Zhang 2015: 8)

Since its birth, the art of paper-cutting has never been interrupted. In its long history, it evolved in art and pottery, printing, dyeing, and other art intertwined, being an indispensable part of people’s life. (Li & Zhang 2015: 8)

====Five Regions====

The distribution area of Chinese folk paper-cutting, according to the historical changes, geography, ecological environment changes, cultural development differences and paper-cutting itself in the aesthetics, style of mutual influence and so on, for a comprehensive consideration, can be divided into five regions. (Wang 2006:106)

Northeast Changbai Mountains area: It mainly covers the Changbai Mountain area in Heilongjiang Province and Liaoning Province. As the birthplace of the nation of Man, the paper-cutting here herited the culture and customs of Man. (Wang 2006:106)

Yellow river basin area: With the north of Shaanxi' paper-cutting as the center, it is simple but more expressive because of its rough lines and designs. (Wang 2006:106)

Yangtze River basin area: It covers paper-cutting in the Provinces of Sichuan, Hubei, Hunan and Jiangsu. Influenced by folk farming culture and the Confucian culture in the Han dynasty, paper-cutting in this region is in the rough in shape but bears a sense of delicacy. (Wang 2006:106)

The southeastern coastal area: It is highlighted by the paper-cutting of Zhejiang and Fujian provinces. This region, more affluent. Paper-cutting creation, especially in Zhejiang Jinhua, Guangdong Foshan as the representative, in the history of cultural development, the vein is also more distinct, its aesthetic interest tends to be elegant and common appreciated. (Wang 2006:106)

Southwestern minority areas: It is characterized by paper-cutting in the minorities in Provinces of Yunan and Guizhou. Many paper cuttings are combined with embroidery patterns. The religious beliefs of this region obviously involved in the art of paper-cutting. (Wang 2006:107)

====Techniques====

[[File: dyed papercutting.jpg|200px|thumb|left| dyed-colored paper-cutting, image from 360baike. Click [https://baike.so.com/doc/2408800-2546694.html] for original source.]]

There are various ways to make paper-cutting works, include folding paper-cutting, smoked paper-cutting, color-blocking paper-cutting, and copper-lined paper-cutting, but the most common ones are mono-colored and dot-colored. (Li & Zhang 2015: 8)

Mono-colored paper-cutting refers to paper-cuttings cut or curved with a single-colored paper, mostly in red. Since ancient times, the Chinese revered red, whenever there are grand celebration ceremonies or festivals, red is the main color, featuring warmth, passion and also brightness and happiness. However, mono-colored paper-cutting is also available in black or other colors, which are used according to different circumstances and situations, among which white paper-cutting is mostly used as the base sample for embroidery. (Li & Zhang 2015: 8)

Dyed paper-cutting is also called dotted paper cuttings. The paper is mostly Xuan paper, a kind of thin white paper that absorbs water easily. Twenty or thirty pieces of such paper are put into a pile and the pattern is carved out with a knife. Then the mass of paper is dyed. The colors become rich and elegant after dying, with endless changes and a strong local flavor. The dyed paper-cutting is mainly found in Hebei, Shanxi, and Guangdong province, among which the dotted paper cuttings in the Wei County, Hebei is very unique. (Li & Zhang 2015: 8)

====Themes====

Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, birds and animals, twelve zodiac animals, pavilions, totem worship, and religious belief. Its connection with the major festivals and traditional customs finds its full expression in every aspect of life. Paper-cutting is an essential folk activity in the villages. Traditionally, on the 23rd day of the twelfth lunar month, women "drop their hoes and pick up scissors to cut papers"; on the 28th, flowers are pasted on the windows. On this day, every family paste window decorations, new year’s pictures, and Spring Festival couplets to create a lively environment for the new year. (Li & Zhang 2015: 8)

It is the rural working women who are the majority of creators of the delicate paper-cutting. When they were five or six years old or seven or eight years old, they began to follow their mothers and grandmothers to learn paper-cutting. Mothers would pass on their treasured paper-cutting patterns to their daughters and daughters-in-law as family heirlooms. This is how China’s folk paper-cutting has been passed down from generation to generation. They are devoutly devoted to the paper-cutting that are rich in connotations such as prosperity, peace and good fortune, happiness, health, and longevity. It is the inheritance of this spirit that has enabled the art of paper-cutting to last for thousands of years. (Li & Zhang 2015: 9)

===References===

Li Youyou & Zhang JIngjuan 李有有&张静娟. (2015) 剪纸 [paper-cut] 北京中国旅游出版社 Beijing: China Travel & Tourism Press.

Lu Zhongmin. (2002) Folk Handicrafts. Beijing: Foreign Language Press.

Wang Minbo 王敏伯. (2006) 中国民间剪纸史[The History of Chinese Folk Paper-cut Arts] 杭州: 中国美术学院出版社 Hangzhou: China Academy of Art Press.

===Terms and Expressions===

color-blocking paper-cutting 拼色剪纸

copper-lined paper-cutting 铜衬剪纸

dyed paper-cutting 点染剪纸

mono-colored paper-cutting 单色剪纸

smoked paper-cutting熏样剪纸

Shōsō-in 正仓院

Spring Festival couplets 春联

totem worship图腾崇拜

Turfan吐鲁番

===Questions===

1. Where was the earliest paper-cutting found in China?

2. How many regions the distribution of Paper-cutting can be divided into?

3. Which two types of paper-cutting are the most common ones?

4. What could be the themes of the paper-cutting?

===Answers===

1. They were unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.

2. Northeast Changbai Mountains area, Yellow river basin area, Yangtze River basin area, The southeastern coastal area, and Southwestern minority areas.

3.Mono-colored paper-cutting and dyed paper-cutting.

4. Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, twelve zodiac animals, pavilions, totem worship, and religious belief.

==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==

===The Chinese Medical Sage - Zhang Zhongjing===

Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)

Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who was respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)

Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)

This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Later, people called the doctor who sat in the drugstore to treat patients "the doctor sitting in the hall", in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)

Later, people called the doctor who sat in the drugstore to treat patients "the doctor sitting in the hall", in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)

When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

There is a Chinese saying that goes, " Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms)." But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)

There is a Chinese saying that goes, " Eating dumplings in the Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms)." But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)

When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called " Cold Dispelling Jiaoer Soup". Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)

Back home, Mr.Zhang was still concerned about the poor. So he developed a recipe to help them ward off cold, called " Cold Dispelling Jiaoer Soup". Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the "Cold Dispelling Jiaoer Soup" for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. "Cold Dispelling Jiaoer Soup" is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)

Zhang Zhongjing passed away on the Winter Solstice, and he distributed the "Cold Dispelling Jiaoer Soup" for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. "Cold Dispelling Jiaoer Soup" is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

In fact, the way of making "Cold Dispelling Jiaoer Soup" is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it "Jiao Er". ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying " not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold." (首都医药 2003, 40)

In fact, the way of making "Cold Dispelling Jiaoer Soup" is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrapping the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it "Jiao Er". ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying " not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold." (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)

At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

[[File:Zhang_Zhongjing.jpg]]

===References===

(2003). 张仲景故乡的二十四个故事(六) 饺子的来历[J] [Twenty-four Stories of Zhang Zhongjing's Hometown (VI) The Origin of Dumpling]. ''首都医药'' Capital Medicine (17) 40.

Zhang Maoyun 张茂云. (2014). 伤寒杂病论成书年代及仲景生平年代考历[J] [Journal on the Written Time of ''Treatise on Febrile and Miscellaneous Diseases'' and the Lifeyime of Zhang Zhongjing]. ''中国中医药现代远程教育'' Chinese Medicine Modern Distance Education of China (04) 19-20.

Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. (2013). “医圣”张仲景[J] ["Medical Sage" Zhang Zhongjing]. ''中国卫生人才'' China Health Human Resources (07) 88-89.

Zhang Deli 张德礼. (2019). 心系百姓的“医圣”张仲景[J] [People's Medical Sage Zhang Zhongjing]. ''现代班组'' Morden Group (05) 37.

Tan Rongzhou 覃荣周. (2013). 张仲景对我国医学发展的历史贡献[J] [Zhang Zhongjing's Historical Contribution to the Development of Chinese Medicine]. ''兰台世界'' Lantai World (07) 55-56.

Zhao Qingxin 赵清新. (1999). 万世医宗张仲景[J] ["Medical Sage" Zhang Zhongjing]. ''解放军健康'' PLA Health (05) 36.

Tian Yi 天一. (2020). 张仲景:“医圣”之名传天下[J] [Zhang Zhongjing: the Name of "Medical Sage" Spreads all over the World]. ''月读'' Monthly Read (03) 4-13.

===Terms and Expressions===

medical sage 医圣

''Treatise on Febrile and Miscellaneous Diseases''《伤寒杂病论》

treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治

yamen 衙门

Great Cold ( 24th solar term ) 大寒

Slight Cold ( 23rd solar term ) 小寒

look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切

Cold Dispelling Jiaoer Soup 祛寒娇耳汤

===Questions===

1. What's the honorable title Zhang Zhongjing addressed as?

2. What's the official role Zhang once taken?

3. When would Zhang treat patients for free at yamen?

4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?

5. What's the relationship between Zhang Zhongjing and dumplings?

===Answers===

1. Chinese Medical Sage.

2. Changsha magistrate.

3. He treated patients for free on the first and fifteenth days of every lunar month.

4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.

5. Dumplings are derived from the recipe " Cold Dispelling Jiaoer Soup" developed by Zhang Zhongjing.

--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)

20201215 cultexam 1

2020-12-20T09:29:22Z

HATHITHUHANG2: /* Outside of China */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Chinese Astrology - Alsied, Saffana==
"Chinese Astrology"--[[User:SAFFANA ALSIED ,Student No:......... Major...........

===The History===

So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the source is coming from ?

===The Five Elements And YIN/YANG===

Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. where is the quotation please?

A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. where is the quotation please?

===THE FORCES OF YIN / YANG===

Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.

A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. where the source is coming please?

Chinese astrology was invented to achieve the two following goals;

1.) To predict the future,

2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.

According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. where the source is coming please ?

Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. quotation please?

The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.quotation please?

You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.

===Terms and Expressions===

1. Chinese Astrology 中国占星学

2. Chinese Zodiac 中国十二生肖

3. Agricultural calendar 农业日历

4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）

5. The Oriental philosophy 东方哲学

===Questions===

1-Why was Chinese astrology invented?

2-How Chinese astrology relates to a person’s divine destiny?

3-What important role does the Chinese zodiac play in Chinese culture?

4- What is Chinese astrology based on?

5-Is Chinese astrology accurate?

===Answers===
1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.

2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.

3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.

4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.

5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.

===References===

Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9

何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591

Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.

Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.

""Almanac" "lunar" zodiac beginning of spring as the boundary dislocation? — China Network". 16 February 2009. Retrieved 5 January 2011.

Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.

"Five Elements(Wu Xing)". YourChineseAstrology.com

==Spring Festival Couplets - Cao Runxin 曹润鑫 - 202070080634 - 英语口译 ==
[[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]

===Spring Festival Couplets===
Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).

Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. Pasting the Spring Festival Couplets on gateposts or doors is one of the most common and important customs when Chinese People celebrate Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China. With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).

Spring Couplets originated from Taofu, an inscription on boards made of peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).

The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).

There are rules not only for pasting the couplets, but also for how to remove them, and these traditions vary in different areas of China. In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

===References===

*Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.
*Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.
*Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.
*Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.

===Terms and Expressions ===
Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联

Paste 贴

Horizontal scroll 横联

Upper scroll 上联

Lower scroll 下联

===Questions ===
1.What’s the purpose of pasting Spring Festival Couplets?

2.What’s the historical origin of Spring Festival Couplets?

3.How to read the Spring Festival Couplets?

4.How to do with the Old Couplets?

===Answers ===
1.To expresses people’s delight in the festival and wishes for a better life in the coming year.

2.It originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.

3.First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.

4.Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.

==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - 英语笔译==

[[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]

===Guzheng===

''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument and was widespread at that time. Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese. (Wang Xiaohong, Gu Haijun 2019, 69)

There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).

The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were originally made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. Since the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)

[[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&z=0&ipn=d&word=古筝&step_word=&hs=0&pn=27&spn=0&di=9900&pi=0&rn=1&tn=baiduimagedetail&is=0%2C0&istype=2&ie=utf-8&oe=utf-8&in=&cl=2&lm=-1&st=-1&cs=3246661627%2C3658564396&os=3335747328%2C3552694810&simid=0%2C0&adpicid=0&lpn=0&ln=1718&fr=&fmq=1607348039297_R&fm=result&ic=&s=undefined&hd=&latest=&copyright=&se=&sme=&tab=0&width=&height=&face=undefined&ist=&jit=&cg=&bdtype=0&oriquery=&objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&gsm=1c&rpstart=0&rpnum=0&islist=&querylist=&force=undefined]for original source.]]

The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke a sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)

Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several new schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school (Cao Yue 2002, 84).

In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated in a TV show — ''National Music Ceremony'', which is a large-scale original Chinese classical music competition show. In a performance, Wang merged the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'' by playing the ''guzheng'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)

From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.

===References===

*Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.
*Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.
*Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165.
*Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.
*Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.
*Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.
*Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.

===Terms and Expressions===

*Meng Tian 蒙恬
*Zhao Lin 赵璘
*''Records on Words'' 《因话录》
*anterior mountain 前岳山
*posterior mountain 后岳山
*''Yan Zhu'' 雁柱
*string pegs 弦钉
*turning box 调音盒
*zither feet 琴足
*paulownia 桐木
*mahogany 红木
*''Dai Mao'' 玳瑁
*''Yi Jia'' 义甲
*''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹
*''High Mountains and Running Water'' 《高山流水》
*''The Autumn Moon in the Han Palace'' 《汉宫秋月》
*''Jackdaw Playing in the Water'' 《寒鸦戏水》
*''The Tune of Liu Qing Niang'' 《柳青娘》
*Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香
*Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望
*''National Music Ceremony'' 《国乐大典》

===Questions===

1. What kind of musical instrument does the ''guzheng'' belong to?

2. Why the ''guzheng'' is deeply loved by Chinese?

3. Who is Meng Tian?

4. According to the legend, how did the ''se'' develop into the ''zheng''?

5. How many strings does the ''guzheng'' have? How long is the guzheng?

6. What is the function of movable bridges?

7. What are used by ''guzheng'' performers to play the instrument? And What are they also called?

8. In ancient times, what materials were the fingerpicks made of?

9. Generally speaking, how does the players strike notes?

10. What styles can ''guzheng'' be divided into?

11. Which school does ''The Autumn Moon in the Han Palace'' belong to?

12. Do you know any other ''guzheng'' music? Please list some pieces.

===Answers===

1. It belongs to plucked stringed instruments.

2. It has beautiful timbre, broad range, rich performance skills and strong expressive power.

3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.

4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part.

5. It usually has 21 strings and is 163 centimeters long.

6. They are moved to change the timbres.

7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.

8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.

9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges.

10. The Northern school and the Southern school.

11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.

12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).

==Facial Make-up - Chen Jingjing 陈静静 - 202070080581 - 英语笔译==
===Facial makeup===

Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up.(Wang Hai 2018, 62)

The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)

People hold different views when speaking of the origin of the facial makeup. It is said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)

The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou wear their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk characteristics. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)

Red

Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.

Black

Black facial makeup gives people the impression that the actor is serious,courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.

White

White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Hui.

Blue

Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.

Purple

Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.

Golden

Golden facial makeup symbolizes dignity and power fitting roles like supernatural being such as Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).

The features of facial makeup are mainly as follows:
First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.
It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and strong vitality. Out of curiosity and affection for facial makeup in Chinese opera, a great many foreign friends and Chinese of insight start to explore the mystery of it.(Cao Juan, 2019, 61)

===Terms and Expressions===

painted face 花脸

clown 丑角

Sheng 生

Dan 旦

Jing 净

Chou 丑

Qingyi 青衣

xiaosheng 小生

laosheng 老生

wusheng 武生

Gao Changgong 高长恭

legend，romance 传奇剧

Erlang Shen, Erlang 二郎神

Tathagata, Buddha 如来佛

Sakyamuni 释迦牟尼

Water Margin of the Marsh 水浒传

===Questions===

1.How many types are character roles divided into in Beijing opera?

2.What are the differences bbetween Sheng and Dan?

3.What are the special features of Chou?

4.What is the function of facial mask in Beijing opera?

5.What are the main features of facial makeup?

6.What are the characteristics of characters wearing blue facial makeup?

===Answers===

1.Four types:Sheng, Dan, Jing and Chou.

2.Sheng refers to male roles while Dan refers to female roles.

3.A patch of white powder is wiped on their nose.

4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.

5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.

6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly

===References===

He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.

Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.

Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.

==Literature, Science Fiction, and Fantasy - Dashkin, Gennadii - Student No.201911080001. Major - Comparative Literature and Cross-Cultural Studies==

=== Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===

Nowadays, modern literature is one of the most interesting and gorgeous sides of worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that the modern generation in the whole world prefers to read something about the future. Something, that can help to understand what will be next. And that is why one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broaden our mental horizons.

====1.Liu Cixin（刘慈欣）====

Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976). (Alexandra Alter, How Chinese Sci-Fi Conquered America 2019, 1)

Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant.

Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written, and naive, and decided that he did not deserve publication. However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel "Supernova Era". Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence. (Liu Cixin, Supernova Era 2019,352)

Liu's first books were warmly received in China, but nevertheless, the real success came to the author only in 2006, when he published the first part of his trilogy "Memory of the Earth's Past" - the novel "The Problem of Three Bodies" in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as "The Three-Body Problem," although this is not formally true.

In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus, and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus. The novel gain such a great popularity that famous people like Barack Obama and Marc Zuckerberg recommended it to every single person in order to understand the perhaps future and how to avoid the negative contact with aliens.[https://www.nytimes.com/2017/01/16/books/obamas-secret-to-surviving-the-white-house-years-books.html]

Liu Cixin is definitely a unique writer, with his own style, philosophy, and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics but also to science fiction literature.
Also Liu Cixin is a big fan of reading books and he sometimes recommend not only to read classical sci-fi novels but also modern authors like Chen Qiufan, Derek Kunsken and so on.

====2.Chen Qiufan (陈楸帆） ====

Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.

Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu, and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.

His debut book was ''The Empty Wave'', "combining realism and allegory to represent the hybridity of humans and machines." Chen Qiufan's novels and stories won three Galaxy Awards and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish, and Russian.

His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of human progress.

Chen Qiufan is a constant consumer of entertainment and literature. He watches at least 100 new films and reads at least 50 books a year. He was recently recruited into the development of a television series called Eros, which will launch in 2019-2020. He compares it to Netflix's dystopian show Black Mirror. Chen travels frequently between Beijing, Shanghai and Hong Kong for various projects and literary festivals.[https://fanzon-portal.ru/press-center/redaction-material/kto-takoy-chen-tsyufan/]

====3.Rebecca F. Kuang (匡蘦秀)====

When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.

Quang grew up in Dallas, Texas, and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.

Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.

Her debut novel, The Opium War, is a war fantasy setting inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological, and philosophical realities of China of the chosen era.

The last news about R.F.Kuang is that she wrote a short tale for an anthology of Star Wars saga, which was published in November. She wrote about this news in her Twitter[https://twitter.com/kuangrf/status/1327367219341385729]

===Terms and Expressions===

1. Science fiction - 科幻

2. Fantasy - 奇幻

3. Horizon - 地平线

4. Broad - 拓宽

5. Hybrid - 杂种

6. The plot - 情节

7. Garbage - 垃圾堆

8. Heyday - 壮年

9. Supernova - 超新星

===Questions===

1. What was the first book written by Liu Cixin?

2. What is the most popular trilogy of books written by Liu Cixin?

3. Who is called Chinese William Gibson?

4. What is Rebecca Quang's Opium War plot based on?

===Answers===

1. Supernova Era

2. Memory of the Earth's Past

3. Chen Qiufan (陈楸帆）

4. The plot is largely based on the history of China in the middle of the 20th century.

===References===

1. Alexandra Alter, How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html

2. Liu Cixin, Supernova Era, 2019. 352 pp.

3. Chen Qiufan, Waste Tide, 2019. 342 pp.

4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.

==Stilts - Chen Yongxiang 陈永相英语笔译 202070080582==
[[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&fm=26&gp=0.jpg] for original source.]]

===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===

<center>Chen Yongxiang 陈永相英语笔译 202070080582</center>

====Introduction====

Stilt is one of the folk dances of the Han nationality in our country, which is called "Stilt Yangko" in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near. (Huo Linmo,2018)

Stilt is one of the folk dances of the ''Han'' nationality in our country, which is called "Stilt Yangko" in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from "Tongle Gaojiaohui"(同乐高脚会）founded in the Qianlong period of the Qing Dynasty and bestowed by Emperor Qianlong. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing over 250 years ago. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage. (Xingxing,2019)

As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the "Tongle Gaojiaohui"(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performing techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic in these funny characters. (Xingxing,2019)

The only serious character among the 13 roles is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords are his signature tricks. Others like the young boy, a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He plays the trick of going fishing because that's his character setting. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to accompany the performance and amuse the audience. (Xingxing,2019)

The show of Kylin Songzi (麒麟送子), which indicates good luck and peace, marks the end of the whole performance. Tuotou lies down flat, the young boy riding on his waist like a living lion. Mr. Plaster and young master raise their waists with Yupo dancing Yangko behind. Fisherman uses his ribbon to drag Tuotou who holds the ribbon in his mouth. When it's done, the show is over. That's the whole performance. (Xingxing,2019)

The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who holds the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

As a renowned fair, Miliangtun Village Stilts is characterized by risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. (Xingxing,2019)

Legs and feet of stilt-walkers must be agile. Jumping the large bench is quite demanding that normal players can hardly accomplish. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. Stilt-walkers control the balance with waist. They must bend their knees slightly and keep moving when walking on stilts. The upper body and their feet must be coordinated, and swing from side to side to ensure the balance when stepping on the wooden stilts. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing. (Xingxing,2019)

Miliangtun Village Stilts as a renowned fair,are known for the features of risky tricks, various skills and great difficulty. There are stunning tricks such as ''Yasha Searches the Sea'', ''Su Qin Carries Swords'', squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, and the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

There is strict inheritance relationship and etiquette in the stilt fair, which will set up inheritors, presidents, team leaders, and team members. As the distinctive folklore in Wangzuo Town, Fengtai District, Beijing, Miliangtun Village Stilts stands out among the stilt fairs and enjoys great popularity from peers and the public. It is visually stunning, technically accomplished and naturally funny, which is divided into lead in, head stilts command, and separation performance, forming into a fixed set of performance routines after long-term drills since the establishment. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.(Sun Miao,2018)

There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilt is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilt has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

====Terms and Expressions====

Miliangtun (village name) 米粮屯

stilts 高跷

intangible cultural heritage 非物质文化遗产

folk dance 民间舞蹈

Toutou 陀头

Laozuozi 老坐子

young boy 小二哥

young master 公子

Mr.Plaster 药先生

Choupo 丑婆

fisherman渔翁

Yupo 渔婆

wood-cutter 柴翁

handsome and ugly drum-players 俊鼓和丑鼓

handsome and ugly gong-players 俊锣和丑锣

====Questions====

1. Where does Miliangtun Village Stilts originate?

2. How many years of history does Miliangtun Village Stilts have?

3. How many roles in Miliangtun Village Stilts?

4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?

5. How long is the shortest and the longest stilts?

====Answers====

1. Wangzuo Town, Fengtai District, Beijing.

2. More than 250 years.

3. 13.

4. In 2006.

5. The shortest stilt is two feet long, and the longest reaches over five feet.

====References====

Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.

Sun Miao 孙淼. (2018). "一跷多艺": 胜芳高跷会的舞体表征与比较研究. ["Multi-skills with one stilt": A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.

Xingxing 邢星. (2019). 米粮屯高跷 Miliangtun Village Stilts. https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin

Intangible cultural heritage Miliangtun Village Stilts. (2019). https://baijiahao.baidu.com/s?id=1643344511003907548&wfr=spider&for=pc

--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)

==Chinese Lion Dancing - Ding Daifeng 丁代凤 202070080583 英语笔译==

===Introduction===

Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)

Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)

When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.

When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)

There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)

There are a number of stories about the origin of lion dance. Here is one of the sayings. That is, during the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:52, 20 December 2020 (UTC)

In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)

In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:52, 20 December 2020 (UTC)

===Northern lion dancing===

The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)

The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)

===Southern lion dancing===

Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called "Liu Bei lion", "Guan Gong lion" and "Zhang Fei lion", which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)

Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called "Liu Bei lion", "Guan Gong lion" and "Zhang Fei lion", which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)

Dancers usually perform the traditional custom of “Cai Qing”, literally meaning "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)

Dancers usually perform the traditional custom of "Cai Qing", literally meaning "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:54, 20 December 2020 (UTC)

In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)

In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:54, 20 December 2020 (UTC)

===Terms and Expressions===

Western Regions 西域

mount 坐骑

Manjusri Bodhisattva 文殊菩萨

gong 锣

northern lion dancing 南狮

southern lion dancing 北狮

colorful silk ball 绣球

wooden stakes 木桩

spiritual resemblance神似

Liu Bei lion 刘备狮

Guan Gong lion 关公狮

Zhang Fei lion 张飞狮

sworn brothers 结义兄弟

horse stances 马步

Cai Qing 采青

lettuces 生菜

===Questions===

1. How long is the history of lion dance in China?

2. Why did people gradually accept lion as a sacred animal?

3. Why did people use lion dance to celebrate the New Year?

4. What is the main difference between southern lion dancing and northern lion dancing?

5. What is the center of southern lion dancing?

6. How many colors are there in the heads of southern lions? And what are they?

7. What is “Cai Qing”? And what do you know about “Cai Qing”?

===Answers===

1. It is with a history of about 2000 years.

2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.

3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.

4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.

5. It is in southern China’s Guangdong province.

6. The head of southern lion has three colors, namely black, red and yellow.

7. It means "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming.

===References===

Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.

Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.

Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.

Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.

==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==
===A. The Eight Tang-Song Prose Masters===
[[File:Tang Song Ba Da Jia.jpg]]

===Brief Introduction of The Eight Tang-Song Prose Masters===

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and "Three Su"(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called "Three Su". What's more, Su Xun is their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and "Three Su"(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called "Three Su". What's more, Su Xun is their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)

In a word, they all advocated prose and opposed parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their successive waves of innovation of ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

In a word, they all advocated prose and opposed parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their successive waves of innovation of ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''1. Han Yu'''
[[File:Han Yu.jpg]]

Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)

Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was a native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasties. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was a native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as "The Decline of Eight Generations" by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasties. Han Yu was called "Han Liu" with Liu Zongyuan, and his proses were juxtaposed with Du Fu's poems as "Du poem Han pen" by Du Mu. He enjoyed the fame as "The Article Giant" and "Admired Literate of One Hundred Generations" with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory.(Hou Benta 2014, 135)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)

Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

'''2. Liu Zongyuan'''
[[File:Liu Zongyuan.jpg]]

Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong ", " Mr. Hedong ", also known as" Liu Liuzhou " because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.

Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong, now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong", " Mr. Hedong ", also known as "Liu Liuzhou" because of his official end of feudal provincial of Liuzhou. He was born in Chang'an and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)

Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong, now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong", " Mr. Hedong ", also known as "Liu Liuzhou" because of his official end of feudal provincial of Liuzhou. He was born in Chang'an and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

He was juxtaposed with Han Yu as "Han Liu ", with Liu Yuxi as " Liu Liu ", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu ". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives. (Zhou Zhenfu 2016, 26)

He was juxtaposed with Han Yu as "Han Liu", with Liu Yuxi as "Liu Liu", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives. (Zhou Zhenfu 2016, 26)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)

He was juxtaposed with Han Yu as "Han Liu", with Liu Yuxi as "Liu Liu", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives.(Zhou Zhenfu 2016, 26)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)

He was a philosopher and litterateur with many wise ideas, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude to writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)

He was a deep-thignking philosopher and great litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude to writing. That means, it is important for the writer to have highly moral cultivation.(Zhangjian 2019, 1)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

'''3. Ouyang Xiu'''
[[File:Ouyang Xiu.jpg]]

Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.

Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousand volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was a native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Mianyang city in Sichuan province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the "Liu Yi scholar", which means that he had ten thousand volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk man alone. He was born in Mianzhou, now Mianyang city in Sichuan province, whose hometown is Jizhou Yongfeng, now Yongfeng county of Ji'an city in Jiangxi province.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.

Ouyang Xiu’s poems, Cis and proses were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was one of his representatives.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Ouyang Xiu's poem, Ci and prose were all the crown of that time. His poem was smooth, lyrical and euphemistic with a similar prose style, which stresses on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was one of his representatives.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)

Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang xiu not only drove away the old style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu's ancient prose, and pioneered the Northern Song Dynasty poetry innovation movement. As the leader of this movement, he not only drove away the old style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height.(Hou Benta 2014, 136)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

'''4. Su Xun'''
[[File:Su Xun.jpg]]

Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.

Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. He married Mrs. Cheng at the age of 19. Later when he was 27, he determined to study hard. After a decade of hard work, he made huge academic progress.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. At the age of 19, he married Mrs. Cheng. Later when he was 27, he determined to study hard. After a decade of hard work, he made huge progress in his academic field.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Su Xun was a man of political ambition. He said that the main purpose of his works was "to speak for the world ", to" apply to the present ". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)

Su Xun was a man of political ambition. He said that the main purpose of his works was "to speak for the world", to "apply to the present". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Xun was a man full of political ambition. He said that the main purpose of his works was "to speak for the world", to "apply to the present". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor.Owing to his great understanding of social reality, he was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''5. Su Shi'''
[[File:Su Shi.jpg]]

Su Shi, with a fame as " Dongpo Jushi ", was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .

Su Shi, with a fame as " Dongpo Jushi ", was a native in Meishan in Sichuan. He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Shi, with a fame as "Dongpo Jushi", was a native in Meishan in Sichuan. He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".(Zhou Zhenfu 2016, 28)

Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding men in literary and artistic attainments in thousands of years of Chinese history. He was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".(Zhou Zhenfu 2016, 28)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding men in literary and artistic attainments in thousands of years of Chinese history. He was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".(Zhou Zhenfu 2016, 28)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.

Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage.(Zhangjian 2019, 1) Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage.(Zhangjian 2019, 1) Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called "Su Men Four bachelors".--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''6. Su Zhe'''
[[File:Su Zhe.jpg]]

Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)

Su Zhe was born in Meishan, Meizhou, now Sichuan province. In the the second year of Jiayou(AD 1057), Su Shi, together with his brother, climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode, such as The "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Zhe was born in Meishan, Meizhou, now Sichuan province. In the the second year of Jiayou(AD 1057), Su Zhe, together with his brother Su Shi, climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He performed well in politics and history and discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode, such as his work the "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''7. Wang Anshi'''
[[File:Wang Anshi.jpg]]

Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .

Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo. He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo. He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)

Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature should aim to serve the society first. That means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature should aim to serve the society first. That means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary opinions of enlightenment of political decrees for world use.(Zhou Zhenfu 2016, 30)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''8. Zeng Gong'''
[[File:Zeng Gong.jpg]]

Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng" , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.

Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In the second year of Jiayou(AD 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng", including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In the second year of Jiayou(AD 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng", including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.

Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text.(Zhangjian 2019,1) His prose was natural and simple with little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative.(Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text.(Zhangjian 2019,1) His prose was natural and simple with little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative.(Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''9. Comparison between the Ancient Prose Movement and Renaissance'''

Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)

Although there were seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their cultures respectively.(Lu Sihong 2016, 71)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Although there were seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their cultures respectively.(Lu Sihong 2016, 71)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Comparison in ideology:

The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.

The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.(Wang Yaping 2001, 8) Their premise and foundation are their own classical thoughts.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.(Wang Yaping 2001, 8) Their premise and foundation are their own classical thoughts.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Comparison in writing style:

The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)

The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of in Tang and Song Dynasties studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Comparison in literary form:

The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :" Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)

The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language.(He Lei 2017, 159) Although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theories and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said: "Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

The Ancient Prose Movement not only corrected the floating and rigid writing style of the Six Dynasties, but also laid a good foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language.(He Lei 2017, 159) Although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theories and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said: "Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

===B. Terms and Expressions===
The Eight Tang-Song Prose Masters 唐宋八大家

Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》

Ancient Prose Movement 古文运动

parallel prose 骈文

The Decline of Eight Generations 文起八代之衰

The Article Giant 文章巨公

Admired Literate of One Hundred Generations 百代文宗

Han Changli Collection 《韩昌黎集》

External collection 《外集》

The Teacher's Theory《师说》

Pre-Qin and Han Dynasties 先秦两汉时期

writing in classical Chinese 文言文

feudal provincial of Liuzhou 柳州刺史

official supervisor of imperial censor 监察御史

Liu He Dong Colloection 《柳河东集》

Northern Song Dynasty 北宋

a thousand volumes of collections of inscriptions 金石遗文一千卷

Xia, Shang, Zhou Dynasties 三代

the crown of that time 一时之冠

Southern Tang Dynasty 南唐

Yu Feng 余风

The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》

the Northern Song Dynasty poetry innovation movement北宋诗文革新运动

Heng Lun 《衡论》

Duke Jingguo 荆国公

The Book to the Emperor 《上皇帝书》

Dongpo Jushi 东坡居士

Ci writer 词人

Unconstrained Ci School豪放派

literary and artistic attainments 文学艺术造诣

the first all-round talent in ancient China 中国古代第一全才

Su Men Four bachelors 苏门四学士

the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》

The New Theory《新论》

On the Six Kingdoms 《六国论》

Ode 赋

The Ode to Ink bamboo 《墨竹赋》

Seven Zengs of Nanfeng 南丰七曾

the doctrine before the text先道后文

the Book to Ouyang She Ren 《上欧阳舍人书》

the Book to Bachelor Cai 《上蔡学士书》

the Six Dynasties 六朝

===C. Questions===
1.Who are the pioneers of the Ancient Prose Movement?

2.Which kind of prose they advocate in the Ancient Prose Movement?

3.Do you know any representatives of Liu Zongyuan?

4.Why Ouyang Xiu is called "Liu Yi Scholar"?

5.What’s the relationship among Su Xun, Su Shi and Su Zhe?

6.Who are the "Seven Zengs of Nanfeng"?

7.Do you know any about the Renaissance?

===D. Answers===

1.Han Yu and Liu Zongyuan.

2.The prose of Pre-Qin and Han Dynasties.

3.The "Liu He Dong Colloection".

4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.

5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.

6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.

7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.

===References===
Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.

Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.

He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.

Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.

Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.

Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).

Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).

Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.

Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.

==Music, Instruments, Pipa - Gao Mingzhu 高明珠 - 202070080585 - Translation 英语笔译==
[Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)

Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu

===1. A Brief Introduction===

[[File:1.jpg|250px|thumb|left|The structure of Pipa. image from 360Baike. Click[https://image.so.com/view?q=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&src=srp&correct=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&ancestor=list&cmsid=b749b87b72b5c9427d6560a39d41548f&cmras=6&cn=0&gn=0&kn=0&crn=0&bxn=0&fsn=60&cuben=0&pornn=0&manun=0&adstar=0&clw=247#id=22b2926be2637560e928bbc9318219fb&currsn=0&ps=58&pc=58]for original source.]]

Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The "Pin(品，those wooden strips on Pipa’s face plate for pressing)" and "Xiang（相, those horizontal strips on Pipa’s neck for pressing）" are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)

Pipa belongs to plucked stringed instruments. It is made of wood or bamboo, and its speaker box is half pear-shaped with 4 strings on it which was made of silk initially while being made of steel wire, steel rope or nylon now. The "Pin(品，those wooden strips on Pipa’s face plate for pressing)" and "Xiang（相, those horizontal strips on Pipa’s neck for pressing)" are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly and presses the strings with the left hand and plays them with the right hand. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:43, 18 December 2020 (UTC)

===2.The Development of Pipa===

The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)

The development of The Chinese pipa has gone through four stages: First, the Qu Xiang pipa (curving-neck pipa) was introduced to China during the Eastern Jin Dynasty and became an important instrument. In the second stage, the art of pipa reached its peak in the Tang Dynasty, making a breakthrough in timbre and performance techniques and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)

During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one way to play pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16)

During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)

During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)

During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. And it was replaced by Chinese traditional instrument playing style with a major breakthrough in playing skills and artistic expression. During this period, pipa was still played mainly by plucking the strings, but its initial plucking style had transitioned to finger-playing, and the posture of playing the pipa changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)

During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the range of the audience of pipa performance changed from small to large. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)

During the Song and Yuan Dynasties, the methods and playing skills of pipa performance were more mature, and its playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. (Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)

During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)

During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing the pipa also kept vertical. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement in their performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so the common people without cultural accumulation often cannot appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)

===3.Pipa Schools and Their Chracteristics===

The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)

The formation of Pipa schools in China was due to the southwards moving of the economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)

(1)The Wuxi school

The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)

The Wuxi School belongs to the Northern School and differs from the Southern School in terms of finger rotation method. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)

(2)The Pinghu school

The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as " paired butterfly flying" .(Deng Sijia 2020,10)

The most distinctive performing techniques of the pipa are the Pinghu school's rotation method of the right hand fingers. It also has other characteristic techniques such as " paired butterfly flying" .(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)

(3)The Pudong School

Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)

Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both civil and military; In terms of playing skills, it has its own characteristics, including parallel string and rolling of four strings.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)

(4)The Chongming school

The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)

The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, the Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuity in the slow, the order in the fast, and soft and lively sound. In terms of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)

(5)The Shanghai school

This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)

===4.Traditional Pipa Music===

Traditional pipa music can be divided into military songs, literary songs and military-literary songs.

Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are "Ambush on All Sides", "Bury Me High", "Hai Qing Hunting the Swan", "General Order in the Han Dynasty". [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)

Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are "Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" and so on.

Literary song emphasizes the expression of the left-hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound inner talking or the artistic conception that people are looking forward to in a simple and moving melody or in a beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are "Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" and so on. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:04, 18 December 2020 (UTC)

Military-literary song is the combination of martial song and literary song. The representative songs are "The Spring Snow", "High Mountain and Flowing Water", "Dragon Boat", "Flute and Drum at Sunset" and so on.

===5.References=== [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)

*[1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020

*[2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.

*[3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.

*[4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.

[Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)

===6.Terms and Expressions===

*弹拨乐器—plucked instruments

*汉化—Chinesization

*套曲—divertimentoes

*游牧民族—nomad tribe

*宫廷乐—court music

*轮指法—tremolo

*音色—timbre

*曲目—repertoire

*并弦—parallel string

*指法—fingering techniques

===7.Questions===

1、How many stages did pipa go through during its development?

2、What characteristics did pipa have during Wei and Jin dynasties?

3、What changes had been made to pipa during Ming and Qing dynasties?

4、How many schools does pipa have and what are they?

5、Can you list at least 3 representative repertoires of literary songs played by pipa?

===8.Answers===

1、Four.

2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.

3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics.

4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school.

5、"Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" .

[Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)
===Terms and Expressions===

==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001. Major - Comparative Literature and Cross-Cultural Studies--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:14, 17 December 2020 (UTC)==

=== Huli-jing figure in Chinese mythology and its analogs in Japan and Korea ===

The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?

'''1. Huli-jing (狐狸精) in China'''

First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.

People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.

People, especially women, believed that due to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to resist the representatives of the Huli Jing cult, but it was only during the Song dynasty reign. That time the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not fully eradicated in other parts of China. Probably, a more competent decision in between acolytes area was made to give the werefox woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.

The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.

The theme of fatal love in the stories of werefoxes appear as a continuous line in Pu Songling tales. This suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their savage ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.
A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled "Good Hunt". The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.

In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film "Painted Skin (畫皮)", where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.

In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.

Quite a lot of information about werewolf foxes can be obtained from the TV series "The Legend of the Nine-Tailed Fox" released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.

Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.

To sum up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the ancient Chinese dynasties, the image of werefoxes has been predominantly negative and associated with deceit, seduction, and intrigue. But further the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.

'''2. Kitsune (キツネ) in Japan'''

In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari ("Fox-messenger") and the Chinese, who considered foxes to be werewolves, a genus close to demons.

Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.

Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.

Kitsunes are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari is sometimes depicted as a fox by himself. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold.

'''3. Kumiho (구미호) in Korea'''

Kumiho - (구 "ku" - nine, 미 "mi" - tail, 호 "ho" - fox - "fox with nine tails") is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.

In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.

===Terms and Expressions===

Shape shifter – 成精

Creature –生物

Seductive –诱人的

Damnation –诅咒

Metaphor –隐喻

Ascribe –属性

Indigenous –土着

Deity – 反面人物

Liver – 肝脏

===References===

1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.

2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.

3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.

===Questions===

1. What was the attitude towards the Huli Jing in Ancient China?

2. Can we characterize Kitsune as a positive or negative character?

3. Could Kumiho become human forever?

===Answers===

1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.

2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.

3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.
References ..................

==Chinese Characters - Gu Dongfang 顾东方 - 202070080635 - Interpretation 英语口译==
===Chinese Characters===

===Origin===

Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）

===Evolution of Chinese characters===
[[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]
Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)

===Ancient Chinese characters===

====Oracle bone script====

Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).

====Bronze script====

In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.（ Yu Xinjia and Xue Ruijia，2005）

====Seal script====
Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly.
The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.（ Yu Xinjia and Xue Ruijia，2005）

Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) began to be used in Qin State.
and all of the above three points ignored the quote, please add them up.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:23, 18 December 2020 (UTC)

===Modern characters===
====Clerical script====

After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.
From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.（ Yu Xinjia and Xue Ruijia，2005）

After the unification of China, the seal script was still popular, but could not satisfy the needs of people.Because of its lengthened and curved lines, it took more time to write.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:29, 18 December 2020 (UTC)

====Regular script====

Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.

Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people for generations even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage. （ Yu Xinjia and Xue Ruijia，2005）
===Formation of Chinese characters===

====Pictograms====

Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for "sun," 月 (yuè) for "moon," and 木 (mù) for "tree."

====Pictophonetic compounds====

Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.（ Yu Xinjia and Xue Ruijia，2005）
====Ideograph ====

Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for "knife," placing an indicator in the knife makes 刃 (rèn), an ideogram for "blade." Other common examples are 上 (shàng) for "up" and 下 (xià) for "down." This category is small, as most concepts can be represented by characters in other categories.（ Yu Xinjia and Xue Ruijia，2005）
====Logical aggregates====

Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng) bright, which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:54, 18 December 2020 (UTC)

====Associate transformation====

Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning "elderly person," but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.（ Yu Xinjia and Xue Ruijia，2005）

Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)

===Simplification of Chinese characters===

The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)
===Terms and expressions===

1.Oracle Bone Inscriptions 甲骨文

2.Bronze Inscriptions 金文

3.Small seal characters 小篆

4.Official script 隶书

5.Regular script 楷书

6.Cursive writing 草书

7.Cang Jie 仓颉

8.Clerical script 楷书

9.Su Shi 苏轼

10. Wang Xizhi 王羲之

11.Ou Yangxun 欧阳询

12.Yan Zhenqing 颜真卿

13.Pictograms 象形

14. Pictophonetic compounds 指事

15.Ideograph 会意

16.Logical aggregates 形声

17.Associate transformation 转注

18.Borrowing 假借

===Question===
1.How many Chinese characters are there?

2.How many letters are in the Chinese alphabet?

3. How many formations of Chinese characters? What are they?

===Answers===
1. According to the latest statics, there are nearly 91251 Chinese characters recorded .

2. There are 26 letters in Chinese alphabet.

3. Six formations are included in Chinese characters system, and they are Pictograms
Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing

===References===

1.王显春. 汉字的起源[M]. 学林出版社, 2002.

2.刘又辛. "关于汉字发展史的几个问题(上)." 语文建设 12(1998):34-37.

3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188

4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.

==Handcraft - Chinese Knots - Guan Qinqing 管钦清 - Student No.20207080586 - 英语笔译==

===A.Chinese Knots===

====1.A Brief Introduction about Chinese Knots====

The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.（Li Ku 2016，125）

The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization. It
originally evolved from the sewing of the Paleolithic period, into the ritual memorial of the Han Dynasty, and then into today's decorative craft. The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronze of the Warring States Period.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decoration and aesthetics,which
earned the knot its name.（Li Lifang & Sun Jianjun 2002,38）

The Chinese knot continued to become a popular art in the Qing Dynasty. Now, Chinese knots are often used as interior decorations, gifts between relatives and friends and
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decorations and aesthetics, which
earned the knot as its name.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

====2.The Classification of Chinese Knots====

There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥
结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井
结）,Cross Knot(十字结） and Ping Knot（平结）.（Li Ku 2016，125）

There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot. They are Double Coin Knot(双钱结）, Good Luck Knot（吉祥
结）, Chinese Button Knot（纽扣结）, Sauvastika Knot（万字结）, Oxalis Knot（酢浆草结）, Pan Chang Knot（盘长结）, Round Brocade Knot（团锦结）, Caisson Celling Knot（藻井
结）, Cross Knot(十字结） and Ping Knot（平结）.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot.

Here, we mainly introduce three main Chinese knots, which are the Double Coin Knot, the Good Luck Knot and the Pan Chang Knot.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

=====2.1.The Double Coin Knot=====

Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. Money in China not only represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called "luck money".（ Li Lifang & Sun Jianjun 2002，40）

Ancient coins are closely related to a country’s history, culture, politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views on coins are not limited on their prices but values, which can be seen in the auspicious characters and patterns cast on many ancient coins. Money in China not only represents the value of a certain currency, but also something of good luck. On every Chinese New Year's Eve, children can receive the so-called "luck money". --[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:50, 19 December 2020 (UTC)

Therefore, for the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes "good things come in pairs". This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful patterns, such as clouds and Perfect Knots，etc. （Li Ku 2016，126）

Therefore, for the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes "good things come in pairs". This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful patterns, such as clouds and Perfect Knots，etc.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:51, 19 December 2020 (UTC)

=====2.2.The Good Luck Knot=====

As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.
And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.（Wu Hongfang 2004,120）

As for the Good Luck Knot,it is an extension of the cross knot, and one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.
And the knot shape is beautiful, varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:53, 19 December 2020 (UTC)

=====2.3.The Pan Chang Knot=====

Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the
avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.（Li Lifang & Sun Jianjun 2002，44）

Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the
avenue and is therefore highly valued by Chinese people.As is a symbol of the origin of all things, Pan Chang (盘长）is one of the most important basic knots. It is
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:56, 19 December 2020 (UTC)

====3.The Knitting Method of Chinese Knots====

The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.（Xu Xing 2004,46）

The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots. The combination technique means to use thread extension to flexibly combine various knots, so as to make a group of varied knots.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:58, 19 December 2020 (UTC)

The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.（Xu Xing 2004,47）

The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art. --[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:58, 19 December 2020 (UTC)

====4.The Cultural Connotations of Chinese Knots====

Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of
rope and thread.In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". In addition, Chinese people are descendants of
Dragons.（Wang Mizhu &Sun Sun& Qu Hongjian 2014,44）

Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of
rope and thread. In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". In addition, Chinese people are descendants of
Dragons.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:00, 19 December 2020 (UTC)

Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of
"knot", which means reunion and happiness. Many of the Chinese words composed of "结"（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交
（making friends), and 永结同心（tie the knot),etc. "结"(knot) is also homonymous with "吉"（ausipiciousness), so people even think that "knot" is a symbol of good luck.

Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of
"knot", which means reunion and happiness. Many of the Chinese words composed of "结"（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交
（making friends), and 永结同心（tie the knot),etc. "结"(knot) is also homonymous with "吉"（ausipiciousness), so people even think that "knot" is a symbol of good luck.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:00, 19 December 2020 (UTC)

====5.Comparisons between Chinese Knots and Cross Necklaces====

=====5.1.Different Cultural Connotations=====

From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of
Christianity. The cross, derived from the Latin "crux", means "fork".It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient
Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross
ornaments in the west as cross necknaces are usually used to represent love and salvation.（Wang Mizhu &Sun Sun& Qu Hongjian 2014,45）

From the above, we can see that the Chinese knot have many meanings, such as good luck, love, unity and so on. The cross necklace, however, is symbolic of Christianity. The cross, derived from the Latin "crux", means "fork".It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners. Therefore,such cross ornaments in the west as cross necknaces are usually used to represent love and salvation.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:02, 19 December 2020 (UTC)

=====5.2.Different Shapes=====

Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have
different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.（Xu Xing 2004,47）

Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:04, 19 December 2020 (UTC)

====6.References====

*Li Ku 李库. (2016). 符号学视角下的中国结解读 [The Analysis of Chinese Knots from the Perspective of Semiology ]. ''艺海'' Yi Hai (08) 125-126.

*Li Lifang & Sun Jianjun 李立芳，孙建君. (2002). ''民间绳结'' [Folk Knots]. Wuhan: Hubei Fine Arts Publishing House 湖北美术出版社.

*Xu Xing 许星. (2004). 路论中国结 [On the Chinese Knots]. ''丝绸'' The Silk (02) 46-47.

*Wu Hongfang 邬红芳. (2004). 中国结的意象美学特征 [The Rhetorical-Beauty of Chinese Knots]. ''装饰'' Decoration (09) 120-121.

*Wang Mizhu &Sun Sun& Qu Hongjian王眯珠,孙荪,曲洪建. (2014). 怀旧心理与创新意识对中国结的影响分析[The Analysis of the Impact on Chinese Knots from Reminiscence and Consciousness of Innovation ]. ''丝绸'' The Silk (11) 43-50.

===B. Terms and Expressions===

Double Coin Knot 双钱结

Good Luck Knot 吉祥结

Chinese Button Knot 纽扣结

Sauvastika Knot 万字结

Oxalis Knot 酢浆草结

Pan Chang Knot 盘长结

Round Brocade Knot 团锦结

Caisson Celling Knot 藻井结

Cross Knot 十字结

Ping Knot 平结

tie the knot 永结同心

luck money 压岁钱

the bishop's identity 主教职权

===C. Questions===

1. What is the Chinese knot?

2. Do you know the names of the main Chinese knots? What are they?

3. What do "绳" and "结" mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)

===Answers===

1.The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.

2.There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot,Good Luck Knot,Chinese Button Kno,Sauvastika Knot,Oxalis Knot,Pan Chang Knot,Round Brocade Knot,Caisson Celling Knot,Cross Knot and Ping Knot.

3.In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of "knot", which means reunion and happiness.

==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:19, 20 December 2020 (UTC)the right order of your title should be category, topic, name, student number

[[File:Chinese Mythology.jpg|thumb|right|Panku]]

===Introduction===

The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.

===A. Panku Created the World===

In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).

At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 "li" (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).
Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.

===B. NuWa Created Human Beings===

[[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]

Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).

As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.

During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:09, 20 December 2020 (UTC)the source is missing

===C. Fushi Taught the People===

In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .

Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing "trigrams", in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This "trigrams" was also a mean to interpret future and consult oracle about the right ways to follow.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:24, 20 December 2020 (UTC)to write the in the way of (Irene Dea Collier 2001, 35-36),that's better.

Finally, Fushi gave his last gift (music) in order people can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a "pipa" (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history. Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:02, 20 December 2020 (UTC)the source is missing.

===D. Water War===

Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and described as a very big giants with different shapes, Gong shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).

Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:22, 20 December 2020 (UTC)to write the in the way of (Irene Dea Collier 2001, 48-49),that's better.

In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:25, 20 December 2020 (UTC)the source is missing.

===E. Terms and Expressions===

Chinese Mythology 中国神话

Panku 盤古

Yin/Yang 陰陽 / 阴阳

Nuwa 女媧

Fushi 伏羲

Water War 水战

===F. Questions===

1. Why an egg a good symbol for the beginning of the world?

2. Why Nuwa decided to create human beings?

3. What did Fushi taught to people?

4. What was the cause of Gong and Zurong’s war and who won?

===G. Answers===

1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.

2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.

3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.

4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.

===References===

1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.

2. Irene Dea Collier. (2001). "Chinese Mythology". Library of Congress Cataloging-in-Publication Data.

3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg

4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:04, 20 December 2020 (UTC)the way of reference-listing is not standard.

==Gods and Immortals - Gui Yizhi 桂一枝 202070080587 英语笔译==

===Chinese gods and immortals===

====Chinese mythology system====

Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.(Lü & Gong 2014, p. 71 )

Chinese mythology is a mythology that has been passed down in oral form or literature records, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.(Lü & Gong 2014, 71 )--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.(Yang, An & Turner 2005, p.4)

Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.(Yang, An & Turner 2005, 4)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).1987.(Bai 1987, pp. 34-40)

The Ancient mythologies are myths about the origin of human or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).1987.(Bai 1987, 34-40)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.(Olson & Stuart 2002, pp. 27-28)

Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.(Olson & Stuart 2002, 27-28)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her.(Buddhism, p37)

At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her.(Buddhism, 37)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

====神 shén, 帝 dì and 仙 xiān====

Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between "god" and "deity". dì, sometimes translated as "thearch", implies a manifested or incarnate "godly" power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".(Hu, 2020)

Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between "god" and "deity". dì, sometimes translated as "thearch", implies a manifested or incarnate "godly" power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".(Hu, 2020)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.(Fowler & Jeanine 2005, pp. 200-201)

There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.(Fowler & Jeanine 2005, pp. 200-201)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

====Eight immortals====

The Eight Immortals are a group of legendary xian ("immortals") in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.(Yang,Deng & Wang 1987, pp. 40-45)

The Eight Immortals are a group of legendary xian ("immortals") in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.(Yang,Deng & Wang, 1987 40-45)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism.(Yang,Deng & Wang 1987, pp. 45-50)

The Immortals are Lü Dongbin (吕洞宾), He Xiangu (何仙姑), Zhang Guolao (张果老), Lan Caihe (蓝采和), Li Tieguai (李铁拐), Zhongli Quan (钟离权), Han Xiangzi (韩湘子), Cao
Guojiu (曹国舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism.(Yang,Deng & Wang 1987, pp. 45-50) --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- "The Eight Immortals cross the sea, each reveals its divine powers" (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.(Little, Stephen 2000,pp. 313, 319–334)

The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- "The Eight Immortals cross the sea, each reveals its divine powers" (八仙过海，各显神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.(Little, Stephen 2000,pp. 313, 319–334)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

===Terms and Expressions===

immortals 仙

mythology 神话，神话学

cosmology 宇宙论，宇宙观

monolithic 整体（式）的

the Battle of Zhuolu 涿鹿之战

pantheistic 泛神论的

polytheistic 多神论的

Three Pure Ones 三清

anthropomorphic 人格化的

tutelary 守护神

deity 神

Buddha 佛

Shakyamuni 释迦牟尼

Amitabha 阿弥陀佛

Amitāyus 无量寿佛

celestial 天的

Bodhisattva 菩萨

Pure Land 极乐世界

vessels 法器

Covert Eight Immortals 暗八仙

Taoist 道家的，道士

===Questions===

1. What are the topics of the Ancient mythology?

2. What are the differences among shén, dì and xiān?

3. What do the Eight immortals represent respectively?

===Answers===
1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.

2. shén and dì corresponds to the distinction in Western cultures between "god" and "deity". The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".

3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.

===References===

[1]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.

[2]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.

[3]Bai Yang. Chinese Huamn History. Time Literature & Art Press, 1987.

[4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear & Company.

[5]Buddhism, the Fulfilment of Hinduism

[6]Hu Yanan. From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty [D].Harbin Normal University,2020.

[7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.

[8]Yang Erzeng, Deng Zhimo, Wang Xiangxu. A Full Story Book of Eight Immortals. Spring Breeze Literature & Are Press,1987.

[9]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago.

[1]Lü, Daji; Gong, Xuezeng. (2014). ''Marxism and Religion.'' Religious Studies in Contemporary China. Brill.

[2]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). ''Handbook of Chinese Mythology''. New York, NY: Oxford University Press.

[3]Bai Yang. (1987). ''Chinese Huamn History''. Time Literature & Art Press.

[4]Olson, Stuart Alve. (2002). ''Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun''. Bear & Company.

[5]Buddhism, the Fulfilment of Hinduism

[6]Hu Yanan.(2020). ''From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty'' [D].Harbin Normal University.

[7]Fowler, Jeanine D. (2005). ''An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality''. Sussex Academic Press.

[8]Yang Erzeng, Deng Zhimo, Wang Xiangxu. (1987). ''A Full Story Book of Eight Immortals''. Spring Breeze Literature & Are Press.

[9]Little, Stephen (2000). ''Taoism and the Arts of China.'' The Art Institute of Chicago.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

==Literature, Tang and Song - Guo Lu 郭露 202070080588 MTI==
[suggestion:Literature, Tang and Song - Guo Lu 郭露 202070080588, here, your major is missing.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

===Classical Prose Movement of late Tang Dynasty and Song Dynasty===

====Introduction====

“The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its depth.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, and it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)
[suggestion:……and Confucianism Renaissance as its deep. Here, "deep" may be replaced by "depth".
The word “Gu Wen” was first introduced by Han Yu, (Here, you can add a word "and")it indicates the prose in the pre-Qin period and Han Dynasty.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====Development====

The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)
[suggestion:(Here, "Both" can be replaced by "They both".)Both were enthusiastic to promote the movement……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)
[suggestion:However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. (Here, this sentence doesn't have a predicate, so you may change the word "writing" into "wrote".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65)

====Representatives====

'''1.Han Yu'''

Han Yu (768–824), courtesy name Tuizhi, is also known for his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the "Eight Great Prose Masters of the Tang and Song"，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)
[suggestion:Han Yu (768 – Here, you may delete the space.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC) 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. (And this sentence doesn't have a predicate, so you may add "is" before the word "also", and "for" after "known".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)

'''2.Liu Zongyuan'''

Liu Zongyuan (773–819), courtesy name Zihou, is also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese litterateur, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is "Jiangxue". (Yang Shengli 2020, 42-44)
[suggestion:(773 – Here, you may delete the space. 819);(And this sentence doesn't have a predicate, so you may add "is" before the word "also", and "for" after "known".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

'''3.Ouyang Xiu'''

Ouyang Xiu (1007–1072), courtesy name Yong Shu, is also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)
[suggestion:(1007 – Here, you may delete the space. 1072);(And this sentence doesn't have a predicate, so you may add "is" before the word "also", and "for" after "known".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)

Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)
[suggestion:Except(Here, you may change "Except" into "Besides".) for Han Yu, Liu Zongyuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====Masterworks====

Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)
[suggestion:Except for(Here, you may change "Except for" into "Besides".) the works of Han Yu, Liu Zong Yuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====Influence====

The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)

====Terms and Expressions====

The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家

Classical Prose Movement 古文运动

''Eight Records of Excursions in Yongzhou'' 《永州八记》

''On Teachers'' 《师说》

''New Book of Tang'' 《新唐书》

''Historical Records of the Five Dynasties'' 《新五代史》

''Zuiweng Tingji'' 《醉翁亭记》

''Shang Zhongyong'' 《伤仲永》

''On Jia Yi'' 《贾谊论》

''First Ode to the Red Cliff'' 《赤壁赋》

====Questions====

1. Who were the first promoters of the Classical Prose Movement?

2. What does the Classical Prose Movement mean?

3. What's political and religious purposes of the Classical Prose Movement?

====Answers====

1. The first promoters of this movement were Han Yu and Liu Zongyuan.

2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.

3. The reason why Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.
[suggestion: The reason what…….(Here, you may change "what" into "why".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====References====

Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.

Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.

Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.

Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.

Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.

Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.

Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.

==The tradition of Red Envelope and Lucky Money - HA, THI THU HANG - 201921080008 - Comparative Literature and Cross-Cultural Studies==

[[File:chinese-new-year-red-pockets-design.jpg|250px|thumb|left|Red Enverlop]]

===The Chinese Red Envelope and Lucky Money Tradition===

In Chinese and other East and Southeast Asian societies, Red Envelopes, also called Red Packets, Lucky Money, or ''Hóngbāo'' ( 红包 ) in Chinese, ''Li shi'' / ''Lìxì'' in Vietnamese are popular monetary gift given during holidays or special occasions or festivals such as weddings, graduation, senior people's birthday parties or the birthday of a child, visit a newborn baby, etc in China, Vietnam, Korea, Japan, and some other Asian countries, especially widely seen during the Lunar New Year Festival. During the Lunar New Year, the adult, parents and grandparents gift with the red envelops for kids, which have money stuffed into. It is a traditional way to wish good luck and share blessings.

The Lucky Money tradition began in the Han Dynasty. Rather than real money, they were small collectibles in the form of coins to ward off evil spirits. Auspicious phrases and symbols were engraved onto the surface. "worldwide peace" ( 天下太平 / ''Tiān xià tài píng''), “longevity and fortune” ( 千秋万岁 / ''Qiān qiū wàn suì''), dragons and phoenixes were common.

These coins were tied together with red string. The practice transitioned to be wrapped in Red Paper and now, put into Red Envelopes.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

====The Legend====

In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called ''Sui'' ( 祟 ) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called ''Shou Sui'' ( 守祟 ).

One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone in the village knew about the stories. Since then, when Lunar New Year comes, people will give children "red paper wrapped copper money" with a belief that the money will protect children from being harmed.

There are also other legends about this custom related to the son of Yang Guifei of the Tang Dynasty - China and the Qin Dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

====The Tradition====

The Chinese custom of Lucky Money is called ''Hóngbāo'' ( 红包 ). Chinese people really like red, so the Lucky Money is always red, symbolizing luck and happiness. The Red Envelope is called ''Yāsuìqián'' ( 压岁钱 ), which means "suppressing ghosts money". Those who receive a Red Envelope are wished another safe and pea. Sending Red Envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese Lucky Money must avoid the number 4 ( 四 / ''si'') and be sealed - that means no 4, 40, or 400 amounts - as the pronunciation of four in Chinese sounds like the word for death ( 死/ ''si''). However, amounts including the number 8 ( 八 / ''ba'') will bring good luck and prosperity ( 发财 / ''fa'').

There are rules on how to properly receive an Envelope. Traditionally, children would kneel to receive their ''Hóngbāo'' from older family members, and this is still practiced in some areas of China. Red Envelopes are also always given and received with both hands, and should never be opened immediately and in the presence of the present-giver. After receiving the Lucky Money, the children have to put it all under the pillow after about a week to open it. The meaning of this is for the Lucky Money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese Lucky Money.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

'''Alipay and WeChat Red Envelope'''

[[File:chinese-new-year-red-pockets.jpg|300px|thumb|Right|Red Envelope - How much to give who - [[https://www.chinahighlights.com/travelguide/festivals/red-envelop.htm]]]]

Moving on from the traditional Red Envelope, in the 21st century, many people exchange digital Red Envelopes instead of the traditional paper ones. These are virtual packets of very real cash, transferred directly to friends' and family's smartphones. Users can even send digital ''Hóngbāo'' to their favorite celebrities using apps such as Alipay, WeChat and the Weibo Red Envelope. WeChat Red Packet is an online money transfer with a colorful message via WeChat (a messaging Chinese app). In recent years, it has become popular among young people to send "Red Envelopes" via WeChat as a greeting. It has become a new way to greet friends or relatives during the Chinese New Year period.

While the tradition centers on children, Red Envelopes are given to friends, family, colleagues and many other relatives - and different amounts of money are customary for each relation. For example, parents and grandparents get the most, but employees and even casual acquaintances can expect a Red Envelope.

====Outside of China====

The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent. Each country has different ways of Lucky Money and changes over time, but the basic custom of Lucky Money is to want to send wishes of peace to all relatives and friends in the New Year.

[[File:LunarNewYearinVietnam.jpg|250px|thumb|Right|Lunar New Year in Vietnam]]

In Vietnam, Lucky Money is called ''Lì xì/Tiền mừng tuổi'' and very typical. On the first day of the Lunar New Year - one of the great holidays of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give Lucky Money to the children with the message of good luck, good care and good study. Today, the tradition of Lucky Money in Vietnam is also expanded in the direction that children give Lucky Money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.

[[File:Otoshidama.jpg|200px|thumb|left|Otoshidama in Japan]]

In Japan, Lucky Money is called ''Otoshidama'' (お年玉). Unlike other countries, the amount of Japanese Lucky Money depends on the child's age, the relationship of the family. ''Otoshidama'' Red Envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese Red Envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the Lucky Money will be written on the Red Envelope to show respect for the recipient. The message of each ''Otoshidama'' Red Envelopes is a wish for a warm, peaceful and lucky New Year.

[[File:Sabae.jpg|200px|thumb|right|Sabae in Korea]]

In Korea, Lucky Money is called ''Sabae''. On the New Year's day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive Lucky Money together with wishes for health and peace in the New Year. The Lucky Money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems, etc.

[[File:Green Envelope-giving.jpg|200px|thumb|left|Green Envelope-giving]]

The Lucky Money tradition has also crossed cultural and religious boundaries, and ''Green Envelope-giving'' has even become a practice during the Islamic holiday of Eid al-Fitr across Southeast Asia. It is also widely practiced by the Chinese and Southeast Asian diaspora across the world.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

===Terms and Expressions===

Lucky Money 利市/ Lì shì

Red Envelope 红包/ Hóngbāo

Worldwide Peace 天下太平/ Tiān xià tài píng

Longevity and Fortune 千秋万岁/ Qiān qiū wàn suì

Suppressing Ghosts Money/ Suppressing Sui Money 压岁钱/ Yā suì qián

Sui 祟

Shou Sui 守祟

===Questions===

1. Do you know the origin of giving Lunar New Year's Lucky Money to children?

2. Is the Lucky Money tradition exist in other countries than China?

3. What are the rules on giving-receiving Red Envelopes?

4. On what occasions people giving-receiving Red Envelopes?

5. Do you ever receive a Red Envelope? On what occasion?

===Answers===

1. It began in the Han Dynasty and to protect children from being harmed.

2. Yes. It is very polupar in Vietnam (''Lìxì''), Japan (''Otoshidama''), Korea (''Sabae''), and some other Southeast Asian countries.

3. The giving amount of money must avoid the number 4 that sounds like the word of death in Chinese. The children, after receiving the Red Envelope, do not open it immediatedly and in the presence of the present-giver, but have to put it under the pillow after about a week to open it.

4. Red Envelopes are most commonly associated with New Year, but they also turn up as part of many other occasions as a way of sharing good luck and blessings, like births, weddings, graduation, senior people's birthday parties or the birthday of a child, visit a newborn baby, etc.

5. Yes. Red Envelope, or Lucky Money, or ''Lìxì'' is very typical in the Lunar New Year in my country Vietnam.

===References===

Red Envelope[https://en.wikipedia.org/wiki/Red_envelope]

Fefe Ho - Red Pockets[https://chinesenewyear.net/red-pockets/]

Cindy Tang - Red Envelopes/Packets (Hongbao) - Amount, Symbols and How to Give [https://www.chinahighlights.com/travelguide/festivals/red-envelop.htm]

Chinese Red Envelope [https://www.travelchinaguide.com/essential/holidays/new-year/red-envelope.htm]--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

==Calendar, The 24 Solar Terms - He Changqi 何长琦 student No. and 专业 are missing --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:37, 17 December 2020 (UTC)==

==='''The Twenty-four Solar Terms'''===
==='''The Twenty-four Solar Terms'''===[maybe this should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)

===1. The orgin and development of the twenty-four solar terms===
===1. The Orgin and Development of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)

“The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）

"The 24 solar terms" is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）[suggestion:the quotation mark in English and in Chinese should be distinguished.In Chinese, it is “”;in English, it is ""]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)

By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）

By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature in the Warring States period, the complete 24 solar terms were basically formed. During the Qin and Han dynasties, a complete system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）[suggestion:the last sentence is too long to read.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:42, 17 December 2020 (UTC)

===2. The definition and classification of the 24 solar terms===
===2. The Definition and Classification of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)

"The 24 solar term" is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)[suggestion:it will be better if you use Arabic numerals or its English version uniformly in the whole passage; please pay attention to the difference of quotation mark in Chinese and English.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)

A solar term that starts in the early part of a month is called jie (节), and one that starts in the middle part of a month is called qi (气). (Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it.) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)[maybe there is a wrong word "meddle", it should be "middle" .]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)

The 8 solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the 4 solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)[suggestion:it will be better if a uniform numeral format is used.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

===3.Folklore of the 24 solar terms===
===3.Folklore of the 24 Solar Terms===[the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)

The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the "whipping of the spring bull" at the beginning of spring and the "tailing festival" at the end of the cold season.((Ding Yiming. Chang He 2020)) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of "the unity of heaven and man, in accordance with the four seasons", the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc.

The folklore of the 24 solar terms is divided into three aspects: festival folklore, lifestyle customs and food customs. Festive customs such as the "whipping of the spring bull" at the beginning of spring and the "tailing festival" at the end of the cold season.(Ding Yiming, Chang He 2020) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of "the unity of heaven and man, in accordance with the four seasons", the 24 solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. [suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)

These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of "biting the spring" on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)

These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of the Begining of Spring, he will have good luck in the future. In many parts of China, people observe the custom of "biting the spring" on the first day of the Begining of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of the Begining of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan, Zou Yating 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:08, 17 December 2020 (UTC)

===4.Importance and values of of the 24 solar terms===
===4.Importance and Values of the 24 Solar Terms===[suggestion:it will be better if the first letters are capitalized; the "of" should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

===4.1 Importance in ancient times===
====4.1 Importance in Ancient Times====[the subtitle should add a mark as "="]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.

The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.[suggestion:quotation is missing.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that "if the agricultural time is not violated, there will be sufficient grain supply." (Mencius - Liang Huiwang). (Wang Jiahua 2019)

Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is the most basic function of the 24 solar terms. Agricultural production is an economic activity carried out by humanity in accordance with natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that "if the agricultural time is not violated, there will be sufficient grain supply." (Mencius - Liang Huiwang). (Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and an important manifestation and part of their colourful lives.(Wang Jiahua 2019)

Secondly, the 24 solar terms were also regarded as important time points in the daily life of ancient people. Thirdly, for the ancient ancestors, the 24 solar terms were more than a time system, they were also a connotation of life, an important manifestation and part of their colourful lives.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

For example, the "Four Beginnings"(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)

For example, the "Four Beginnings"(四立)-- the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter-- have always been important festivals in history. At these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival. Spring Festival, Dragon Boat Festival, Mid-Autumn Festival and Tomb Sweeping Festival are known as China's four traditional festivals .(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

===4.2 Values in modern society===
====4.2 Values in Modern Society====[suggestion:it will be better if the first letters are capitalized; the subtitle should add a mark as "="]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming. Chang He 2020)

In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming, Chang He 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

It still has its practical values in modern society.Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)

It still has its practical values in modern society.Firstly, as a time-honoured knowledge system and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations. Specifically, respecting nature, adapting to the time of the day, venerating ancestors, showing filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature.(Wang Jiahua 2019)

Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and the harmonious relationship between man and nature.(Wang Jiahua 2019) [suggestion:maybe it will be better if "reflect" is deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)

===Terms and Expressions===

the Beginning of Spring 立春

Beginning of Autumn 立秋

Rain Water 雨水

End of Heat 处暑

Insects Awakening 惊蛰

White Dew 白露

Spring Equinox 春分

Autumnal Equinox 秋分

Fresh Green 清明

Cold Dew 寒露

Grain Rain 谷雨

First Frost 霜降

Beginning of Summer 立夏

Beginning of Winter 立冬

Lesser Fullness 小满

Light Snow 小雪

Grain in Ear 芒种

Heavy Snow 大雪

Summer Solstice 夏至

Winter Solstice 冬至

Lesser Heat 大暑

Lesser Cold 小寒

Greater Heat 立春

Greater Cold 大寒

===Questions===

1.1.What are the first four solar terms measured by ancient Chinese people?
1.What are the first four solar terms measured by ancient Chinese people?--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

2.Where does the 24 solar terms originate from?

3. What are the eight solar terms that reflect seasonal changes？

4.When was the 24 solar terms included in the World Intangible Cultural Heritage List?

5.What are the food customs in the Beginning of Spring?

6.Do you konw any other folklore of the 24 solar terms?

===Answers===

1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.

2.It originated in the Yellow River valley.

3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice

4.In 2016.

5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.

6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the "Sage of Medicine", invented the "jiaozi" to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as "dumpling" or jiaozi. Today there is still a saying that goes "Eat dumplings on Start of Winter Day, or your ears will be frostbitten."

===References===

Yuan Jix. 袁济喜. (2016). "中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)

Wang Jiahua. 王加华.（2019.9.20）"China Social Science Network" http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml

Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）"Chinanews" http://www.chinanews.com/cul/2020/11-17/9340057.shtml

He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html

==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==

===Collection of Yue Fu Poetry《乐府诗集》===

====Introduction====

'''1.Brief introduction'''

''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. "Yuefu", originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)

''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre-Qin to the end of Tang Dynasty. "Yuefu", originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name. (Wu Ting 2007, 20)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)

'''2.About the author'''

Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation. (Wu Ting 2007, 22)

'''3.Content introduction'''

It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, "Yuefu Poetry Collection" is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties. (Wu Ting 2007, 30)

====Masterpieces====

'''1.''The Peacock Flies to Southeast'''''

''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed. (Wu Ting 2007, 36)

''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for free love and happy life is placed. (Wu Ting 2007, 36)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

'''2.''Mulan Poetry'''''

''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. "Mulan is a girl" is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)

''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man and joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for a reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. "Mulan is a girl" is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality. Therefore, it has strong artistic appeal. (Wu Ting 2007, 41)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

====Evaluation====

'''1.Contributions'''

The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as "Moshangsang", "dongmenxing", were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former.(Yu Yizhi 2002, 105)

The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of the Han Dynasty, such as "Moshangsang", "dongmenxing", were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. (Yu Yizhi 2002, 105) --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)

''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in the singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literary history and music history. There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but the narrative is attached to the lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time. (Yu Yizhi 2002, 105)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

'''2.Shortcomings'''

There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)

There are some imperfections in ''Collection of Yue Fu Poetry''. For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as ancient Chinese literature, this giant has made a certain contribution. (Yu Yizhi 2002, 107)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

===References===
Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)

Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.

Wu Ting 吴婷. (2007). 乐府诗集引用的音乐文献研究 [A study of music documents cited in ''Collection of Yuefu Poertry''].Nanchang:Nanchang University 南昌大学 (12) 20-41.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

Yu Yizhi 喻意志. (2002). 乐府诗集成书研究 [A study on the compilation of the ''Collection of Yuefu Poetry'']. Shanghai: Shanghai Normal University 上海师范大学 (10)105-107.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)

===Terms and Expressions===

''Collection of Yue Fu Poetry''《乐府诗集》

Jiaomiao songs郊庙歌辞

Yanshe songs燕射歌辞

Guchui drum songs鼓吹曲辞

Hengchui songs横吹曲辞

Xianghe songs相和歌辞

''The Peacock Flies to Southeast'' 《孔雀东南飞》

''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)

===Questions===

1.When was Yuefu Poetry compiled？

2.Which institution did "Yuefu" belong to?

3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)

===Answers===

1.In Song Dynasty.

2.It belongs to the institution in charge of music.

3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)

==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==

===Eight Major Cuisines of China===

====1. A Brief Introduction About Chinese Cuisine====
1. A Brief Introduction About Chinese Cuisines--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 07:16, 19 December 2020 (UTC)

As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the "four major cuisines." By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the "eight major cuisines" of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)

====2. The Classification of Chinese Cuisines====

China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)

China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavors. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted. (Shi Hongmei 2009, 34)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:25, 19 December 2020 (UTC)

=====2.1 Shandong Cuisine=====
Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)

Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Besides, Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:27, 19 December 2020 (UTC)

=====2.2 Sichuan Cuisine=====
Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one
of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)

Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical and exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:30, 19 December 2020 (UTC)

=====2.3 Guangdong Cuisine=====
Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)

Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables, which originate from other parts of the world. It doesn't use much spice, just bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:32, 19 December 2020 (UTC)

=====2.4 Fujian Cuisine=====
Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their "pickled taste". (Shi Hongmei 2009, 55)

Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct feature is their "pickled taste". (Shi Hongmei 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:34, 19 December 2020 (UTC)

=====2.5 Jiangsu Cuisine=====
Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)

Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh, sweet and delicate. Jiangsu Cuisine is well-known for its careful selection of ingredients, its methodology of meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:38, 19 December 2020 (UTC)

=====2.6 Zhejiang Cuisine=====
Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)

Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. And Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:43, 19 December 2020 (UTC)

=====2.7 Hunan Cuisine=====
Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)

Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessities in this division. (Shi Hongmei 2009, 65)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:44, 19 December 2020 (UTC)

=====2.8 Anhui Cuisine=====
Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)

Anhui Cuisine focuses much more on the temperature in cooking. Its major cooking methods are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:46, 19 December 2020 (UTC)

====3. A Comparison of Chinese-Western Diet Culture====

Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)

Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. So there are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)

Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China. But it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)

However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to both their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)

There are also differences in the names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo Meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

====References====

Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.

Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.

Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.

Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．

Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.

===Terms and Expressions===

pot-stewed fowl 卤味

stewing and simmering 炖，煨

prickly ash 花椒

fermented soybean 豆鼓

Braised Dongpo Pork 东坡肉

Buddha Jumps over the Wall 佛跳墙

Kung Pao Chicken 宫保鸡丁

Bean Sauce Tofu 麻婆豆腐

===Questions===
1. How many types of cuisines are there in china?

2. What’s differences between Chinese and western diets?

3. What is the origin of Dongpo Meat?

===Answers===
1. Eight

2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes.

3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.

==Folk Art Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting ==

Chinese Paper Cutting 剪纸

===Text===

====Introduction====

With a long history, paper-cutting could be dated back to 2000 years ago in China according to the archaeological records. It originated in ancient ancestor worship activities in which people pray for their ancestors and god. Later, with the widespread paper-cutting techniques and people’s growing love for it, it gradually served as the decorations for the doors, walls, mirrors, lanterns and so on. Nowadays, paper-cutting has already become an integral part of Chinese traditional culture and serves as a window of the Chinese folk culture. (Jiao 2016: 3)

====History====

[[File:The easiest Paper-cutting found in Turfan.jpg|250px|thumb|right| The easiest Paper-cutting found in Turfan, image from www.Chinawriter.com.cn Click[http://www.chinawriter.com.cn/n1/2019/0115/c404102-30538973.html] for original source.]]

The skill of cutting and carving appeared way before the invention of paper, and a number of materials, from the bark, leaves and animal skin, to later silk, were cut into certain shapes to decorate, which laid a solid foundation for the art of paper-cutting. (Li & Zhang 2015: 7)

As the paper is not easy to preserve, few of the paper works could survive to modern times. “The earliest such work surviving are five examples dating from the Northern Dynasties period (386-581), unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.” (Folk Handicrafts)

In the Tang dynasty the custom of paper-cutting began to be popular, and the handicraft man cut paper to different shapes, and each owns its name. Namely, the shape of square was named “Fangsheng”, the flower-shaped “Huasheng”, the people-' shaped “Rensheng”. Two pieces of “Huasheng”, which were the remains in the Tang Dynasty, are preserved now in Shōsō-in in Japan. (Li & Zhang 2015: 7-8)

By the Song Dynasty, with the prosperous development of economy and culture, in addition to daily decoration, paper-cutting was used for crafts such as porcelain and blue calico. (Li & Zhang 2015: 8)

The art of paper-cutting became mature in Yuan, Ming, and Qing dynasties. There emerged well designed paper-cutting works in the Yuan dynasty, and collectors began to collect paper-cutting works as artwork. By the Ming Dynasty, the application of paper-cutting became even wider, with clip gauze lantern as a representative. It is a lantern with paper-cutting clipped in, candlelight reflecting the pattern. (Li & Zhang 2015: 8)

Since its birth, the art of paper-cutting has never been interrupted. In its long history, it evolved in art and pottery, printing, dyeing, and other art intertwined, being an indispensable part of people’s life. (Li & Zhang 2015: 8)

====Five Regions====

The distribution area of Chinese folk paper-cutting, according to the historical changes, geography, ecological environment changes, cultural development differences and paper-cutting itself in the aesthetics, style of mutual influence and so on, for a comprehensive consideration, can be divided into five regions. (Wang 2006:106)

Northeast Changbai Mountains area: It mainly covers the Changbai Mountain area in Heilongjiang Province and Liaoning Province. As the birthplace of the nation of Man, the paper-cutting here herited the culture and customs of Man. (Wang 2006:106)

Yellow river basin area: With the north of Shaanxi' paper-cutting as the center, it is simple but more expressive because of its rough lines and designs. (Wang 2006:106)

Yangtze River basin area: It covers paper-cutting in the Provinces of Sichuan, Hubei, Hunan and Jiangsu. Influenced by folk farming culture and the Confucian culture in the Han dynasty, paper-cutting in this region is in the rough in shape but bears a sense of delicacy. (Wang 2006:106)

The southeastern coastal area: It is highlighted by the paper-cutting of Zhejiang and Fujian provinces. This region, more affluent. Paper-cutting creation, especially in Zhejiang Jinhua, Guangdong Foshan as the representative, in the history of cultural development, the vein is also more distinct, its aesthetic interest tends to be elegant and common appreciated. (Wang 2006:106)

Southwestern minority areas: It is characterized by paper-cutting in the minorities in Provinces of Yunan and Guizhou. Many paper cuttings are combined with embroidery patterns. The religious beliefs of this region obviously involved in the art of paper-cutting. (Wang 2006:107)

====Techniques====

[[File: dyed papercutting.jpg|200px|thumb|left| dyed-colored paper-cutting, image from 360baike. Click [https://baike.so.com/doc/2408800-2546694.html] for original source.]]

There are various ways to make paper-cutting works, include folding paper-cutting, smoked paper-cutting, color-blocking paper-cutting, and copper-lined paper-cutting, but the most common ones are mono-colored and dot-colored. (Li & Zhang 2015: 8)

Mono-colored paper-cutting refers to paper-cuttings cut or curved with a single-colored paper, mostly in red. Since ancient times, the Chinese revered red, whenever there are grand celebration ceremonies or festivals, red is the main color, featuring warmth, passion and also brightness and happiness. However, mono-colored paper-cutting is also available in black or other colors, which are used according to different circumstances and situations, among which white paper-cutting is mostly used as the base sample for embroidery. (Li & Zhang 2015: 8)

Dyed paper-cutting is also called dotted paper cuttings. The paper is mostly Xuan paper, a kind of thin white paper that absorbs water easily. Twenty or thirty pieces of such paper are put into a pile and the pattern is carved out with a knife. Then the mass of paper is dyed. The colors become rich and elegant after dying, with endless changes and a strong local flavor. The dyed paper-cutting is mainly found in Hebei, Shanxi, and Guangdong province, among which the dotted paper cuttings in the Wei County, Hebei is very unique. (Li & Zhang 2015: 8)

====Themes====

Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, birds and animals, twelve zodiac animals, pavilions, totem worship, and religious belief. Its connection with the major festivals and traditional customs finds its full expression in every aspect of life. Paper-cutting is an essential folk activity in the villages. Traditionally, on the 23rd day of the twelfth lunar month, women "drop their hoes and pick up scissors to cut papers"; on the 28th, flowers are pasted on the windows. On this day, every family paste window decorations, new year’s pictures, and Spring Festival couplets to create a lively environment for the new year. (Li & Zhang 2015: 8)

It is the rural working women who are the majority of creators of the delicate paper-cutting. When they were five or six years old or seven or eight years old, they began to follow their mothers and grandmothers to learn paper-cutting. Mothers would pass on their treasured paper-cutting patterns to their daughters and daughters-in-law as family heirlooms. This is how China’s folk paper-cutting has been passed down from generation to generation. They are devoutly devoted to the paper-cutting that are rich in connotations such as prosperity, peace and good fortune, happiness, health, and longevity. It is the inheritance of this spirit that has enabled the art of paper-cutting to last for thousands of years. (Li & Zhang 2015: 9)

===References===

Li Youyou & Zhang JIngjuan 李有有&张静娟. (2015) 剪纸 [paper-cut] 北京中国旅游出版社 Beijing: China Travel & Tourism Press.

Lu Zhongmin. (2002) Folk Handicrafts. Beijing: Foreign Language Press.

Wang Minbo 王敏伯. (2006) 中国民间剪纸史[The History of Chinese Folk Paper-cut Arts] 杭州: 中国美术学院出版社 Hangzhou: China Academy of Art Press.

===Terms and Expressions===

color-blocking paper-cutting 拼色剪纸

copper-lined paper-cutting 铜衬剪纸

dyed paper-cutting 点染剪纸

mono-colored paper-cutting 单色剪纸

smoked paper-cutting熏样剪纸

Shōsō-in 正仓院

Spring Festival couplets 春联

totem worship图腾崇拜

Turfan吐鲁番

===Questions===

1. Where was the earliest paper-cutting found in China?

2. How many regions the distribution of Paper-cutting can be divided into?

3. Which two types of paper-cutting are the most common ones?

4. What could be the themes of the paper-cutting?

===Answers===

1. They were unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.

2. Northeast Changbai Mountains area, Yellow river basin area, Yangtze River basin area, The southeastern coastal area, and Southwestern minority areas.

3.Mono-colored paper-cutting and dyed paper-cutting.

4. Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, twelve zodiac animals, pavilions, totem worship, and religious belief.

==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==

===The Chinese Medical Sage - Zhang Zhongjing===

Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)

Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who was respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)

Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)

This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Later, people called the doctor who sat in the drugstore to treat patients "the doctor sitting in the hall", in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)

Later, people called the doctor who sat in the drugstore to treat patients "the doctor sitting in the hall", in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)

When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

There is a Chinese saying that goes, " Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms)." But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)

There is a Chinese saying that goes, " Eating dumplings in the Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms)." But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)

When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called " Cold Dispelling Jiaoer Soup". Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)

Back home, Mr.Zhang was still concerned about the poor. So he developed a recipe to help them ward off cold, called " Cold Dispelling Jiaoer Soup". Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the "Cold Dispelling Jiaoer Soup" for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. "Cold Dispelling Jiaoer Soup" is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)

Zhang Zhongjing passed away on the Winter Solstice, and he distributed the "Cold Dispelling Jiaoer Soup" for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. "Cold Dispelling Jiaoer Soup" is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

In fact, the way of making "Cold Dispelling Jiaoer Soup" is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it "Jiao Er". ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying " not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold." (首都医药 2003, 40)

In fact, the way of making "Cold Dispelling Jiaoer Soup" is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrapping the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it "Jiao Er". ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying " not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold." (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)

At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

[[File:Zhang_Zhongjing.jpg]]

===References===

(2003). 张仲景故乡的二十四个故事(六) 饺子的来历[J] [Twenty-four Stories of Zhang Zhongjing's Hometown (VI) The Origin of Dumpling]. ''首都医药'' Capital Medicine (17) 40.

Zhang Maoyun 张茂云. (2014). 伤寒杂病论成书年代及仲景生平年代考历[J] [Journal on the Written Time of ''Treatise on Febrile and Miscellaneous Diseases'' and the Lifeyime of Zhang Zhongjing]. ''中国中医药现代远程教育'' Chinese Medicine Modern Distance Education of China (04) 19-20.

Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. (2013). “医圣”张仲景[J] ["Medical Sage" Zhang Zhongjing]. ''中国卫生人才'' China Health Human Resources (07) 88-89.

Zhang Deli 张德礼. (2019). 心系百姓的“医圣”张仲景[J] [People's Medical Sage Zhang Zhongjing]. ''现代班组'' Morden Group (05) 37.

Tan Rongzhou 覃荣周. (2013). 张仲景对我国医学发展的历史贡献[J] [Zhang Zhongjing's Historical Contribution to the Development of Chinese Medicine]. ''兰台世界'' Lantai World (07) 55-56.

Zhao Qingxin 赵清新. (1999). 万世医宗张仲景[J] ["Medical Sage" Zhang Zhongjing]. ''解放军健康'' PLA Health (05) 36.

Tian Yi 天一. (2020). 张仲景:“医圣”之名传天下[J] [Zhang Zhongjing: the Name of "Medical Sage" Spreads all over the World]. ''月读'' Monthly Read (03) 4-13.

===Terms and Expressions===

medical sage 医圣

''Treatise on Febrile and Miscellaneous Diseases''《伤寒杂病论》

treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治

yamen 衙门

Great Cold ( 24th solar term ) 大寒

Slight Cold ( 23rd solar term ) 小寒

look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切

Cold Dispelling Jiaoer Soup 祛寒娇耳汤

===Questions===

1. What's the honorable title Zhang Zhongjing addressed as?

2. What's the official role Zhang once taken?

3. When would Zhang treat patients for free at yamen?

4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?

5. What's the relationship between Zhang Zhongjing and dumplings?

===Answers===

1. Chinese Medical Sage.

2. Changsha magistrate.

3. He treated patients for free on the first and fifteenth days of every lunar month.

4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.

5. Dumplings are derived from the recipe " Cold Dispelling Jiaoer Soup" developed by Zhang Zhongjing.

--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)

File:Green Envelope-giving.jpg

2020-12-20T09:28:18Z

HATHITHUHANG2:

20201215 cultexam 1

2020-12-20T09:27:39Z

HATHITHUHANG2: /* Outside of China */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Chinese Astrology - Alsied, Saffana==
"Chinese Astrology"--[[User:SAFFANA ALSIED ,Student No:......... Major...........

===The History===

So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the source is coming from ?

===The Five Elements And YIN/YANG===

Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. where is the quotation please?

A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. where is the quotation please?

===THE FORCES OF YIN / YANG===

Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.

A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. where the source is coming please?

Chinese astrology was invented to achieve the two following goals;

1.) To predict the future,

2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.

According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. where the source is coming please ?

Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. quotation please?

The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.quotation please?

You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.

===Terms and Expressions===

1. Chinese Astrology 中国占星学

2. Chinese Zodiac 中国十二生肖

3. Agricultural calendar 农业日历

4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）

5. The Oriental philosophy 东方哲学

===Questions===

1-Why was Chinese astrology invented?

2-How Chinese astrology relates to a person’s divine destiny?

3-What important role does the Chinese zodiac play in Chinese culture?

4- What is Chinese astrology based on?

5-Is Chinese astrology accurate?

===Answers===
1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.

2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.

3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.

4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.

5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.

===References===

Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9

何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591

Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.

Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.

""Almanac" "lunar" zodiac beginning of spring as the boundary dislocation? — China Network". 16 February 2009. Retrieved 5 January 2011.

Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.

"Five Elements(Wu Xing)". YourChineseAstrology.com

==Spring Festival Couplets - Cao Runxin 曹润鑫 - 202070080634 - 英语口译 ==
[[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]

===Spring Festival Couplets===
Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).

Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. Pasting the Spring Festival Couplets on gateposts or doors is one of the most common and important customs when Chinese People celebrate Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China. With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).

Spring Couplets originated from Taofu, an inscription on boards made of peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).

The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).

There are rules not only for pasting the couplets, but also for how to remove them, and these traditions vary in different areas of China. In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

===References===

*Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.
*Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.
*Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.
*Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.

===Terms and Expressions ===
Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联

Paste 贴

Horizontal scroll 横联

Upper scroll 上联

Lower scroll 下联

===Questions ===
1.What’s the purpose of pasting Spring Festival Couplets?

2.What’s the historical origin of Spring Festival Couplets?

3.How to read the Spring Festival Couplets?

4.How to do with the Old Couplets?

===Answers ===
1.To expresses people’s delight in the festival and wishes for a better life in the coming year.

2.It originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.

3.First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.

4.Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.

==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - 英语笔译==

[[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]

===Guzheng===

''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument and was widespread at that time. Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese. (Wang Xiaohong, Gu Haijun 2019, 69)

There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).

The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were originally made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. Since the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)

[[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&z=0&ipn=d&word=古筝&step_word=&hs=0&pn=27&spn=0&di=9900&pi=0&rn=1&tn=baiduimagedetail&is=0%2C0&istype=2&ie=utf-8&oe=utf-8&in=&cl=2&lm=-1&st=-1&cs=3246661627%2C3658564396&os=3335747328%2C3552694810&simid=0%2C0&adpicid=0&lpn=0&ln=1718&fr=&fmq=1607348039297_R&fm=result&ic=&s=undefined&hd=&latest=&copyright=&se=&sme=&tab=0&width=&height=&face=undefined&ist=&jit=&cg=&bdtype=0&oriquery=&objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&gsm=1c&rpstart=0&rpnum=0&islist=&querylist=&force=undefined]for original source.]]

The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke a sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)

Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several new schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school (Cao Yue 2002, 84).

In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated in a TV show — ''National Music Ceremony'', which is a large-scale original Chinese classical music competition show. In a performance, Wang merged the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'' by playing the ''guzheng'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)

From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.

===References===

*Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.
*Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.
*Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165.
*Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.
*Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.
*Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.
*Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.

===Terms and Expressions===

*Meng Tian 蒙恬
*Zhao Lin 赵璘
*''Records on Words'' 《因话录》
*anterior mountain 前岳山
*posterior mountain 后岳山
*''Yan Zhu'' 雁柱
*string pegs 弦钉
*turning box 调音盒
*zither feet 琴足
*paulownia 桐木
*mahogany 红木
*''Dai Mao'' 玳瑁
*''Yi Jia'' 义甲
*''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹
*''High Mountains and Running Water'' 《高山流水》
*''The Autumn Moon in the Han Palace'' 《汉宫秋月》
*''Jackdaw Playing in the Water'' 《寒鸦戏水》
*''The Tune of Liu Qing Niang'' 《柳青娘》
*Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香
*Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望
*''National Music Ceremony'' 《国乐大典》

===Questions===

1. What kind of musical instrument does the ''guzheng'' belong to?

2. Why the ''guzheng'' is deeply loved by Chinese?

3. Who is Meng Tian?

4. According to the legend, how did the ''se'' develop into the ''zheng''?

5. How many strings does the ''guzheng'' have? How long is the guzheng?

6. What is the function of movable bridges?

7. What are used by ''guzheng'' performers to play the instrument? And What are they also called?

8. In ancient times, what materials were the fingerpicks made of?

9. Generally speaking, how does the players strike notes?

10. What styles can ''guzheng'' be divided into?

11. Which school does ''The Autumn Moon in the Han Palace'' belong to?

12. Do you know any other ''guzheng'' music? Please list some pieces.

===Answers===

1. It belongs to plucked stringed instruments.

2. It has beautiful timbre, broad range, rich performance skills and strong expressive power.

3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.

4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part.

5. It usually has 21 strings and is 163 centimeters long.

6. They are moved to change the timbres.

7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.

8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.

9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges.

10. The Northern school and the Southern school.

11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.

12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).

==Facial Make-up - Chen Jingjing 陈静静 - 202070080581 - 英语笔译==
===Facial makeup===

Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up.(Wang Hai 2018, 62)

The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)

People hold different views when speaking of the origin of the facial makeup. It is said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)

The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou wear their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk characteristics. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)

Red

Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.

Black

Black facial makeup gives people the impression that the actor is serious,courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.

White

White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Hui.

Blue

Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.

Purple

Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.

Golden

Golden facial makeup symbolizes dignity and power fitting roles like supernatural being such as Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).

The features of facial makeup are mainly as follows:
First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.
It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and strong vitality. Out of curiosity and affection for facial makeup in Chinese opera, a great many foreign friends and Chinese of insight start to explore the mystery of it.(Cao Juan, 2019, 61)

===Terms and Expressions===

painted face 花脸

clown 丑角

Sheng 生

Dan 旦

Jing 净

Chou 丑

Qingyi 青衣

xiaosheng 小生

laosheng 老生

wusheng 武生

Gao Changgong 高长恭

legend，romance 传奇剧

Erlang Shen, Erlang 二郎神

Tathagata, Buddha 如来佛

Sakyamuni 释迦牟尼

Water Margin of the Marsh 水浒传

===Questions===

1.How many types are character roles divided into in Beijing opera?

2.What are the differences bbetween Sheng and Dan?

3.What are the special features of Chou?

4.What is the function of facial mask in Beijing opera?

5.What are the main features of facial makeup?

6.What are the characteristics of characters wearing blue facial makeup?

===Answers===

1.Four types:Sheng, Dan, Jing and Chou.

2.Sheng refers to male roles while Dan refers to female roles.

3.A patch of white powder is wiped on their nose.

4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.

5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.

6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly

===References===

He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.

Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.

Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.

==Literature, Science Fiction, and Fantasy - Dashkin, Gennadii - Student No.201911080001. Major - Comparative Literature and Cross-Cultural Studies==

=== Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===

Nowadays, modern literature is one of the most interesting and gorgeous sides of worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that the modern generation in the whole world prefers to read something about the future. Something, that can help to understand what will be next. And that is why one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broaden our mental horizons.

====1.Liu Cixin（刘慈欣）====

Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976). (Alexandra Alter, How Chinese Sci-Fi Conquered America 2019, 1)

Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant.

Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written, and naive, and decided that he did not deserve publication. However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel "Supernova Era". Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence. (Liu Cixin, Supernova Era 2019,352)

Liu's first books were warmly received in China, but nevertheless, the real success came to the author only in 2006, when he published the first part of his trilogy "Memory of the Earth's Past" - the novel "The Problem of Three Bodies" in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as "The Three-Body Problem," although this is not formally true.

In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus, and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus. The novel gain such a great popularity that famous people like Barack Obama and Marc Zuckerberg recommended it to every single person in order to understand the perhaps future and how to avoid the negative contact with aliens.[https://www.nytimes.com/2017/01/16/books/obamas-secret-to-surviving-the-white-house-years-books.html]

Liu Cixin is definitely a unique writer, with his own style, philosophy, and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics but also to science fiction literature.
Also Liu Cixin is a big fan of reading books and he sometimes recommend not only to read classical sci-fi novels but also modern authors like Chen Qiufan, Derek Kunsken and so on.

====2.Chen Qiufan (陈楸帆） ====

Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.

Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu, and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.

His debut book was ''The Empty Wave'', "combining realism and allegory to represent the hybridity of humans and machines." Chen Qiufan's novels and stories won three Galaxy Awards and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish, and Russian.

His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of human progress.

Chen Qiufan is a constant consumer of entertainment and literature. He watches at least 100 new films and reads at least 50 books a year. He was recently recruited into the development of a television series called Eros, which will launch in 2019-2020. He compares it to Netflix's dystopian show Black Mirror. Chen travels frequently between Beijing, Shanghai and Hong Kong for various projects and literary festivals.[https://fanzon-portal.ru/press-center/redaction-material/kto-takoy-chen-tsyufan/]

====3.Rebecca F. Kuang (匡蘦秀)====

When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.

Quang grew up in Dallas, Texas, and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.

Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.

Her debut novel, The Opium War, is a war fantasy setting inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological, and philosophical realities of China of the chosen era.

The last news about R.F.Kuang is that she wrote a short tale for an anthology of Star Wars saga, which was published in November. She wrote about this news in her Twitter[https://twitter.com/kuangrf/status/1327367219341385729]

===Terms and Expressions===

1. Science fiction - 科幻

2. Fantasy - 奇幻

3. Horizon - 地平线

4. Broad - 拓宽

5. Hybrid - 杂种

6. The plot - 情节

7. Garbage - 垃圾堆

8. Heyday - 壮年

9. Supernova - 超新星

===Questions===

1. What was the first book written by Liu Cixin?

2. What is the most popular trilogy of books written by Liu Cixin?

3. Who is called Chinese William Gibson?

4. What is Rebecca Quang's Opium War plot based on?

===Answers===

1. Supernova Era

2. Memory of the Earth's Past

3. Chen Qiufan (陈楸帆）

4. The plot is largely based on the history of China in the middle of the 20th century.

===References===

1. Alexandra Alter, How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html

2. Liu Cixin, Supernova Era, 2019. 352 pp.

3. Chen Qiufan, Waste Tide, 2019. 342 pp.

4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.

==Stilts - Chen Yongxiang 陈永相英语笔译 202070080582==
[[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&fm=26&gp=0.jpg] for original source.]]

===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===

<center>Chen Yongxiang 陈永相英语笔译 202070080582</center>

====Introduction====

Stilt is one of the folk dances of the Han nationality in our country, which is called "Stilt Yangko" in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near. (Huo Linmo,2018)

Stilt is one of the folk dances of the ''Han'' nationality in our country, which is called "Stilt Yangko" in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from "Tongle Gaojiaohui"(同乐高脚会）founded in the Qianlong period of the Qing Dynasty and bestowed by Emperor Qianlong. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing over 250 years ago. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage. (Xingxing,2019)

As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the "Tongle Gaojiaohui"(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performing techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic in these funny characters. (Xingxing,2019)

The only serious character among the 13 roles is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords are his signature tricks. Others like the young boy, a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He plays the trick of going fishing because that's his character setting. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to accompany the performance and amuse the audience. (Xingxing,2019)

The show of Kylin Songzi (麒麟送子), which indicates good luck and peace, marks the end of the whole performance. Tuotou lies down flat, the young boy riding on his waist like a living lion. Mr. Plaster and young master raise their waists with Yupo dancing Yangko behind. Fisherman uses his ribbon to drag Tuotou who holds the ribbon in his mouth. When it's done, the show is over. That's the whole performance. (Xingxing,2019)

The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who holds the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

As a renowned fair, Miliangtun Village Stilts is characterized by risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. (Xingxing,2019)

Legs and feet of stilt-walkers must be agile. Jumping the large bench is quite demanding that normal players can hardly accomplish. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. Stilt-walkers control the balance with waist. They must bend their knees slightly and keep moving when walking on stilts. The upper body and their feet must be coordinated, and swing from side to side to ensure the balance when stepping on the wooden stilts. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing. (Xingxing,2019)

Miliangtun Village Stilts as a renowned fair,are known for the features of risky tricks, various skills and great difficulty. There are stunning tricks such as ''Yasha Searches the Sea'', ''Su Qin Carries Swords'', squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, and the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

There is strict inheritance relationship and etiquette in the stilt fair, which will set up inheritors, presidents, team leaders, and team members. As the distinctive folklore in Wangzuo Town, Fengtai District, Beijing, Miliangtun Village Stilts stands out among the stilt fairs and enjoys great popularity from peers and the public. It is visually stunning, technically accomplished and naturally funny, which is divided into lead in, head stilts command, and separation performance, forming into a fixed set of performance routines after long-term drills since the establishment. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.(Sun Miao,2018)

There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilt is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilt has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

====Terms and Expressions====

Miliangtun (village name) 米粮屯

stilts 高跷

intangible cultural heritage 非物质文化遗产

folk dance 民间舞蹈

Toutou 陀头

Laozuozi 老坐子

young boy 小二哥

young master 公子

Mr.Plaster 药先生

Choupo 丑婆

fisherman渔翁

Yupo 渔婆

wood-cutter 柴翁

handsome and ugly drum-players 俊鼓和丑鼓

handsome and ugly gong-players 俊锣和丑锣

====Questions====

1. Where does Miliangtun Village Stilts originate?

2. How many years of history does Miliangtun Village Stilts have?

3. How many roles in Miliangtun Village Stilts?

4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?

5. How long is the shortest and the longest stilts?

====Answers====

1. Wangzuo Town, Fengtai District, Beijing.

2. More than 250 years.

3. 13.

4. In 2006.

5. The shortest stilt is two feet long, and the longest reaches over five feet.

====References====

Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.

Sun Miao 孙淼. (2018). "一跷多艺": 胜芳高跷会的舞体表征与比较研究. ["Multi-skills with one stilt": A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.

Xingxing 邢星. (2019). 米粮屯高跷 Miliangtun Village Stilts. https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin

Intangible cultural heritage Miliangtun Village Stilts. (2019). https://baijiahao.baidu.com/s?id=1643344511003907548&wfr=spider&for=pc

--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)

==Chinese Lion Dancing - Ding Daifeng 丁代凤 202070080583 英语笔译==

===Introduction===

Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)

Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)

When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.

When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)

There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)

There are a number of stories about the origin of lion dance. Here is one of the sayings. That is, during the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:52, 20 December 2020 (UTC)

In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)

In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:52, 20 December 2020 (UTC)

===Northern lion dancing===

The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)

The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)

===Southern lion dancing===

Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called "Liu Bei lion", "Guan Gong lion" and "Zhang Fei lion", which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)

Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called "Liu Bei lion", "Guan Gong lion" and "Zhang Fei lion", which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)

Dancers usually perform the traditional custom of “Cai Qing”, literally meaning "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)

Dancers usually perform the traditional custom of "Cai Qing", literally meaning "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:54, 20 December 2020 (UTC)

In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)

In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:54, 20 December 2020 (UTC)

===Terms and Expressions===

Western Regions 西域

mount 坐骑

Manjusri Bodhisattva 文殊菩萨

gong 锣

northern lion dancing 南狮

southern lion dancing 北狮

colorful silk ball 绣球

wooden stakes 木桩

spiritual resemblance神似

Liu Bei lion 刘备狮

Guan Gong lion 关公狮

Zhang Fei lion 张飞狮

sworn brothers 结义兄弟

horse stances 马步

Cai Qing 采青

lettuces 生菜

===Questions===

1. How long is the history of lion dance in China?

2. Why did people gradually accept lion as a sacred animal?

3. Why did people use lion dance to celebrate the New Year?

4. What is the main difference between southern lion dancing and northern lion dancing?

5. What is the center of southern lion dancing?

6. How many colors are there in the heads of southern lions? And what are they?

7. What is “Cai Qing”? And what do you know about “Cai Qing”?

===Answers===

1. It is with a history of about 2000 years.

2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.

3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.

4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.

5. It is in southern China’s Guangdong province.

6. The head of southern lion has three colors, namely black, red and yellow.

7. It means "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming.

===References===

Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.

Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.

Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.

Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.

==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==
===A. The Eight Tang-Song Prose Masters===
[[File:Tang Song Ba Da Jia.jpg]]

===Brief Introduction of The Eight Tang-Song Prose Masters===

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and "Three Su"(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called "Three Su". What's more, Su Xun is their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and "Three Su"(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called "Three Su". What's more, Su Xun is their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)

In a word, they all advocated prose and opposed parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their successive waves of innovation of ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

In a word, they all advocated prose and opposed parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their successive waves of innovation of ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''1. Han Yu'''
[[File:Han Yu.jpg]]

Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)

Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was a native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasties. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was a native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as "The Decline of Eight Generations" by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasties. Han Yu was called "Han Liu" with Liu Zongyuan, and his proses were juxtaposed with Du Fu's poems as "Du poem Han pen" by Du Mu. He enjoyed the fame as "The Article Giant" and "Admired Literate of One Hundred Generations" with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory.(Hou Benta 2014, 135)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)

Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

'''2. Liu Zongyuan'''
[[File:Liu Zongyuan.jpg]]

Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong ", " Mr. Hedong ", also known as" Liu Liuzhou " because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.

Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong, now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong", " Mr. Hedong ", also known as "Liu Liuzhou" because of his official end of feudal provincial of Liuzhou. He was born in Chang'an and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)

Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong, now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong", " Mr. Hedong ", also known as "Liu Liuzhou" because of his official end of feudal provincial of Liuzhou. He was born in Chang'an and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

He was juxtaposed with Han Yu as "Han Liu ", with Liu Yuxi as " Liu Liu ", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu ". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives. (Zhou Zhenfu 2016, 26)

He was juxtaposed with Han Yu as "Han Liu", with Liu Yuxi as "Liu Liu", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives. (Zhou Zhenfu 2016, 26)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)

He was juxtaposed with Han Yu as "Han Liu", with Liu Yuxi as "Liu Liu", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives.(Zhou Zhenfu 2016, 26)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)

He was a philosopher and litterateur with many wise ideas, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude to writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)

He was a deep-thignking philosopher and great litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude to writing. That means, it is important for the writer to have highly moral cultivation.(Zhangjian 2019, 1)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

'''3. Ouyang Xiu'''
[[File:Ouyang Xiu.jpg]]

Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.

Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousand volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was a native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Mianyang city in Sichuan province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the "Liu Yi scholar", which means that he had ten thousand volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk man alone. He was born in Mianzhou, now Mianyang city in Sichuan province, whose hometown is Jizhou Yongfeng, now Yongfeng county of Ji'an city in Jiangxi province.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.

Ouyang Xiu’s poems, Cis and proses were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was one of his representatives.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Ouyang Xiu's poem, Ci and prose were all the crown of that time. His poem was smooth, lyrical and euphemistic with a similar prose style, which stresses on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was one of his representatives.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)

Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang xiu not only drove away the old style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu's ancient prose, and pioneered the Northern Song Dynasty poetry innovation movement. As the leader of this movement, he not only drove away the old style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height.(Hou Benta 2014, 136)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

'''4. Su Xun'''
[[File:Su Xun.jpg]]

Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.

Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. He married Mrs. Cheng at the age of 19. Later when he was 27, he determined to study hard. After a decade of hard work, he made huge academic progress.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. At the age of 19, he married Mrs. Cheng. Later when he was 27, he determined to study hard. After a decade of hard work, he made huge progress in his academic field.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Su Xun was a man of political ambition. He said that the main purpose of his works was "to speak for the world ", to" apply to the present ". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)

Su Xun was a man of political ambition. He said that the main purpose of his works was "to speak for the world", to "apply to the present". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Xun was a man full of political ambition. He said that the main purpose of his works was "to speak for the world", to "apply to the present". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor.Owing to his great understanding of social reality, he was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''5. Su Shi'''
[[File:Su Shi.jpg]]

Su Shi, with a fame as " Dongpo Jushi ", was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .

Su Shi, with a fame as " Dongpo Jushi ", was a native in Meishan in Sichuan. He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Shi, with a fame as "Dongpo Jushi", was a native in Meishan in Sichuan. He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".(Zhou Zhenfu 2016, 28)

Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding men in literary and artistic attainments in thousands of years of Chinese history. He was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".(Zhou Zhenfu 2016, 28)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding men in literary and artistic attainments in thousands of years of Chinese history. He was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".(Zhou Zhenfu 2016, 28)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.

Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage.(Zhangjian 2019, 1) Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage.(Zhangjian 2019, 1) Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called "Su Men Four bachelors".--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''6. Su Zhe'''
[[File:Su Zhe.jpg]]

Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)

Su Zhe was born in Meishan, Meizhou, now Sichuan province. In the the second year of Jiayou(AD 1057), Su Shi, together with his brother, climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode, such as The "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Zhe was born in Meishan, Meizhou, now Sichuan province. In the the second year of Jiayou(AD 1057), Su Zhe, together with his brother Su Shi, climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He performed well in politics and history and discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode, such as his work the "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''7. Wang Anshi'''
[[File:Wang Anshi.jpg]]

Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .

Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo. He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo. He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)

Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature should aim to serve the society first. That means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature should aim to serve the society first. That means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary opinions of enlightenment of political decrees for world use.(Zhou Zhenfu 2016, 30)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''8. Zeng Gong'''
[[File:Zeng Gong.jpg]]

Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng" , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.

Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In the second year of Jiayou(AD 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng", including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In the second year of Jiayou(AD 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng", including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.

Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text.(Zhangjian 2019,1) His prose was natural and simple with little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative.(Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text.(Zhangjian 2019,1) His prose was natural and simple with little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative.(Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''9. Comparison between the Ancient Prose Movement and Renaissance'''

Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)

Although there were seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their cultures respectively.(Lu Sihong 2016, 71)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Although there were seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their cultures respectively.(Lu Sihong 2016, 71)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Comparison in ideology:

The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.

The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.(Wang Yaping 2001, 8) Their premise and foundation are their own classical thoughts.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.(Wang Yaping 2001, 8) Their premise and foundation are their own classical thoughts.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Comparison in writing style:

The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)

The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of in Tang and Song Dynasties studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Comparison in literary form:

The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :" Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)

The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language.(He Lei 2017, 159) Although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theories and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said: "Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

The Ancient Prose Movement not only corrected the floating and rigid writing style of the Six Dynasties, but also laid a good foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language.(He Lei 2017, 159) Although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theories and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said: "Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

===B. Terms and Expressions===
The Eight Tang-Song Prose Masters 唐宋八大家

Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》

Ancient Prose Movement 古文运动

parallel prose 骈文

The Decline of Eight Generations 文起八代之衰

The Article Giant 文章巨公

Admired Literate of One Hundred Generations 百代文宗

Han Changli Collection 《韩昌黎集》

External collection 《外集》

The Teacher's Theory《师说》

Pre-Qin and Han Dynasties 先秦两汉时期

writing in classical Chinese 文言文

feudal provincial of Liuzhou 柳州刺史

official supervisor of imperial censor 监察御史

Liu He Dong Colloection 《柳河东集》

Northern Song Dynasty 北宋

a thousand volumes of collections of inscriptions 金石遗文一千卷

Xia, Shang, Zhou Dynasties 三代

the crown of that time 一时之冠

Southern Tang Dynasty 南唐

Yu Feng 余风

The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》

the Northern Song Dynasty poetry innovation movement北宋诗文革新运动

Heng Lun 《衡论》

Duke Jingguo 荆国公

The Book to the Emperor 《上皇帝书》

Dongpo Jushi 东坡居士

Ci writer 词人

Unconstrained Ci School豪放派

literary and artistic attainments 文学艺术造诣

the first all-round talent in ancient China 中国古代第一全才

Su Men Four bachelors 苏门四学士

the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》

The New Theory《新论》

On the Six Kingdoms 《六国论》

Ode 赋

The Ode to Ink bamboo 《墨竹赋》

Seven Zengs of Nanfeng 南丰七曾

the doctrine before the text先道后文

the Book to Ouyang She Ren 《上欧阳舍人书》

the Book to Bachelor Cai 《上蔡学士书》

the Six Dynasties 六朝

===C. Questions===
1.Who are the pioneers of the Ancient Prose Movement?

2.Which kind of prose they advocate in the Ancient Prose Movement?

3.Do you know any representatives of Liu Zongyuan?

4.Why Ouyang Xiu is called "Liu Yi Scholar"?

5.What’s the relationship among Su Xun, Su Shi and Su Zhe?

6.Who are the "Seven Zengs of Nanfeng"?

7.Do you know any about the Renaissance?

===D. Answers===

1.Han Yu and Liu Zongyuan.

2.The prose of Pre-Qin and Han Dynasties.

3.The "Liu He Dong Colloection".

4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.

5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.

6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.

7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.

===References===
Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.

Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.

He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.

Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.

Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.

Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).

Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).

Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.

Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.

==Music, Instruments, Pipa - Gao Mingzhu 高明珠 - 202070080585 - Translation 英语笔译==
[Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)

Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu

===1. A Brief Introduction===

[[File:1.jpg|250px|thumb|left|The structure of Pipa. image from 360Baike. Click[https://image.so.com/view?q=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&src=srp&correct=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&ancestor=list&cmsid=b749b87b72b5c9427d6560a39d41548f&cmras=6&cn=0&gn=0&kn=0&crn=0&bxn=0&fsn=60&cuben=0&pornn=0&manun=0&adstar=0&clw=247#id=22b2926be2637560e928bbc9318219fb&currsn=0&ps=58&pc=58]for original source.]]

Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The "Pin(品，those wooden strips on Pipa’s face plate for pressing)" and "Xiang（相, those horizontal strips on Pipa’s neck for pressing）" are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)

Pipa belongs to plucked stringed instruments. It is made of wood or bamboo, and its speaker box is half pear-shaped with 4 strings on it which was made of silk initially while being made of steel wire, steel rope or nylon now. The "Pin(品，those wooden strips on Pipa’s face plate for pressing)" and "Xiang（相, those horizontal strips on Pipa’s neck for pressing)" are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly and presses the strings with the left hand and plays them with the right hand. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:43, 18 December 2020 (UTC)

===2.The Development of Pipa===

The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)

The development of The Chinese pipa has gone through four stages: First, the Qu Xiang pipa (curving-neck pipa) was introduced to China during the Eastern Jin Dynasty and became an important instrument. In the second stage, the art of pipa reached its peak in the Tang Dynasty, making a breakthrough in timbre and performance techniques and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)

During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one way to play pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16)

During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)

During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)

During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. And it was replaced by Chinese traditional instrument playing style with a major breakthrough in playing skills and artistic expression. During this period, pipa was still played mainly by plucking the strings, but its initial plucking style had transitioned to finger-playing, and the posture of playing the pipa changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)

During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the range of the audience of pipa performance changed from small to large. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)

During the Song and Yuan Dynasties, the methods and playing skills of pipa performance were more mature, and its playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. (Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)

During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)

During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing the pipa also kept vertical. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement in their performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so the common people without cultural accumulation often cannot appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)

===3.Pipa Schools and Their Chracteristics===

The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)

The formation of Pipa schools in China was due to the southwards moving of the economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)

(1)The Wuxi school

The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)

The Wuxi School belongs to the Northern School and differs from the Southern School in terms of finger rotation method. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)

(2)The Pinghu school

The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as " paired butterfly flying" .(Deng Sijia 2020,10)

The most distinctive performing techniques of the pipa are the Pinghu school's rotation method of the right hand fingers. It also has other characteristic techniques such as " paired butterfly flying" .(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)

(3)The Pudong School

Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)

Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both civil and military; In terms of playing skills, it has its own characteristics, including parallel string and rolling of four strings.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)

(4)The Chongming school

The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)

The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, the Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuity in the slow, the order in the fast, and soft and lively sound. In terms of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)

(5)The Shanghai school

This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)

===4.Traditional Pipa Music===

Traditional pipa music can be divided into military songs, literary songs and military-literary songs.

Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are "Ambush on All Sides", "Bury Me High", "Hai Qing Hunting the Swan", "General Order in the Han Dynasty". [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)

Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are "Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" and so on.

Literary song emphasizes the expression of the left-hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound inner talking or the artistic conception that people are looking forward to in a simple and moving melody or in a beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are "Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" and so on. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:04, 18 December 2020 (UTC)

Military-literary song is the combination of martial song and literary song. The representative songs are "The Spring Snow", "High Mountain and Flowing Water", "Dragon Boat", "Flute and Drum at Sunset" and so on.

===5.References=== [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)

*[1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020

*[2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.

*[3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.

*[4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.

[Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)

===6.Terms and Expressions===

*弹拨乐器—plucked instruments

*汉化—Chinesization

*套曲—divertimentoes

*游牧民族—nomad tribe

*宫廷乐—court music

*轮指法—tremolo

*音色—timbre

*曲目—repertoire

*并弦—parallel string

*指法—fingering techniques

===7.Questions===

1、How many stages did pipa go through during its development?

2、What characteristics did pipa have during Wei and Jin dynasties?

3、What changes had been made to pipa during Ming and Qing dynasties?

4、How many schools does pipa have and what are they?

5、Can you list at least 3 representative repertoires of literary songs played by pipa?

===8.Answers===

1、Four.

2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.

3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics.

4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school.

5、"Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" .

[Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)
===Terms and Expressions===

==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001. Major - Comparative Literature and Cross-Cultural Studies--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:14, 17 December 2020 (UTC)==

=== Huli-jing figure in Chinese mythology and its analogs in Japan and Korea ===

The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?

'''1. Huli-jing (狐狸精) in China'''

First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.

People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.

People, especially women, believed that due to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to resist the representatives of the Huli Jing cult, but it was only during the Song dynasty reign. That time the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not fully eradicated in other parts of China. Probably, a more competent decision in between acolytes area was made to give the werefox woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.

The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.

The theme of fatal love in the stories of werefoxes appear as a continuous line in Pu Songling tales. This suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their savage ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.
A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled "Good Hunt". The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.

In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film "Painted Skin (畫皮)", where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.

In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.

Quite a lot of information about werewolf foxes can be obtained from the TV series "The Legend of the Nine-Tailed Fox" released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.

Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.

To sum up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the ancient Chinese dynasties, the image of werefoxes has been predominantly negative and associated with deceit, seduction, and intrigue. But further the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.

'''2. Kitsune (キツネ) in Japan'''

In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari ("Fox-messenger") and the Chinese, who considered foxes to be werewolves, a genus close to demons.

Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.

Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.

Kitsunes are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari is sometimes depicted as a fox by himself. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold.

'''3. Kumiho (구미호) in Korea'''

Kumiho - (구 "ku" - nine, 미 "mi" - tail, 호 "ho" - fox - "fox with nine tails") is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.

In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.

===Terms and Expressions===

Shape shifter – 成精

Creature –生物

Seductive –诱人的

Damnation –诅咒

Metaphor –隐喻

Ascribe –属性

Indigenous –土着

Deity – 反面人物

Liver – 肝脏

===References===

1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.

2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.

3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.

===Questions===

1. What was the attitude towards the Huli Jing in Ancient China?

2. Can we characterize Kitsune as a positive or negative character?

3. Could Kumiho become human forever?

===Answers===

1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.

2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.

3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.
References ..................

==Chinese Characters - Gu Dongfang 顾东方 - 202070080635 - Interpretation 英语口译==
===Chinese Characters===

===Origin===

Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）

===Evolution of Chinese characters===
[[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]
Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)

===Ancient Chinese characters===

====Oracle bone script====

Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).

====Bronze script====

In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.（ Yu Xinjia and Xue Ruijia，2005）

====Seal script====
Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly.
The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.（ Yu Xinjia and Xue Ruijia，2005）

Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) began to be used in Qin State.
and all of the above three points ignored the quote, please add them up.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:23, 18 December 2020 (UTC)

===Modern characters===
====Clerical script====

After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.
From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.（ Yu Xinjia and Xue Ruijia，2005）

After the unification of China, the seal script was still popular, but could not satisfy the needs of people.Because of its lengthened and curved lines, it took more time to write.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:29, 18 December 2020 (UTC)

====Regular script====

Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.

Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people for generations even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage. （ Yu Xinjia and Xue Ruijia，2005）
===Formation of Chinese characters===

====Pictograms====

Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for "sun," 月 (yuè) for "moon," and 木 (mù) for "tree."

====Pictophonetic compounds====

Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.（ Yu Xinjia and Xue Ruijia，2005）
====Ideograph ====

Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for "knife," placing an indicator in the knife makes 刃 (rèn), an ideogram for "blade." Other common examples are 上 (shàng) for "up" and 下 (xià) for "down." This category is small, as most concepts can be represented by characters in other categories.（ Yu Xinjia and Xue Ruijia，2005）
====Logical aggregates====

Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng) bright, which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:54, 18 December 2020 (UTC)

====Associate transformation====

Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning "elderly person," but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.（ Yu Xinjia and Xue Ruijia，2005）

Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)

===Simplification of Chinese characters===

The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)
===Terms and expressions===

1.Oracle Bone Inscriptions 甲骨文

2.Bronze Inscriptions 金文

3.Small seal characters 小篆

4.Official script 隶书

5.Regular script 楷书

6.Cursive writing 草书

7.Cang Jie 仓颉

8.Clerical script 楷书

9.Su Shi 苏轼

10. Wang Xizhi 王羲之

11.Ou Yangxun 欧阳询

12.Yan Zhenqing 颜真卿

13.Pictograms 象形

14. Pictophonetic compounds 指事

15.Ideograph 会意

16.Logical aggregates 形声

17.Associate transformation 转注

18.Borrowing 假借

===Question===
1.How many Chinese characters are there?

2.How many letters are in the Chinese alphabet?

3. How many formations of Chinese characters? What are they?

===Answers===
1. According to the latest statics, there are nearly 91251 Chinese characters recorded .

2. There are 26 letters in Chinese alphabet.

3. Six formations are included in Chinese characters system, and they are Pictograms
Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing

===References===

1.王显春. 汉字的起源[M]. 学林出版社, 2002.

2.刘又辛. "关于汉字发展史的几个问题(上)." 语文建设 12(1998):34-37.

3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188

4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.

==Handcraft - Chinese Knots - Guan Qinqing 管钦清 - Student No.20207080586 - 英语笔译==

===A.Chinese Knots===

====1.A Brief Introduction about Chinese Knots====

The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.（Li Ku 2016，125）

The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization. It
originally evolved from the sewing of the Paleolithic period, into the ritual memorial of the Han Dynasty, and then into today's decorative craft. The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronze of the Warring States Period.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decoration and aesthetics,which
earned the knot its name.（Li Lifang & Sun Jianjun 2002,38）

The Chinese knot continued to become a popular art in the Qing Dynasty. Now, Chinese knots are often used as interior decorations, gifts between relatives and friends and
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decorations and aesthetics, which
earned the knot as its name.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

====2.The Classification of Chinese Knots====

There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥
结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井
结）,Cross Knot(十字结） and Ping Knot（平结）.（Li Ku 2016，125）

There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot. They are Double Coin Knot(双钱结）, Good Luck Knot（吉祥
结）, Chinese Button Knot（纽扣结）, Sauvastika Knot（万字结）, Oxalis Knot（酢浆草结）, Pan Chang Knot（盘长结）, Round Brocade Knot（团锦结）, Caisson Celling Knot（藻井
结）, Cross Knot(十字结） and Ping Knot（平结）.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot.

Here, we mainly introduce three main Chinese knots, which are the Double Coin Knot, the Good Luck Knot and the Pan Chang Knot.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

=====2.1.The Double Coin Knot=====

Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. Money in China not only represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called "luck money".（ Li Lifang & Sun Jianjun 2002，40）

Ancient coins are closely related to a country’s history, culture, politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views on coins are not limited on their prices but values, which can be seen in the auspicious characters and patterns cast on many ancient coins. Money in China not only represents the value of a certain currency, but also something of good luck. On every Chinese New Year's Eve, children can receive the so-called "luck money". --[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:50, 19 December 2020 (UTC)

Therefore, for the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes "good things come in pairs". This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful patterns, such as clouds and Perfect Knots，etc. （Li Ku 2016，126）

Therefore, for the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes "good things come in pairs". This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful patterns, such as clouds and Perfect Knots，etc.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:51, 19 December 2020 (UTC)

=====2.2.The Good Luck Knot=====

As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.
And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.（Wu Hongfang 2004,120）

As for the Good Luck Knot,it is an extension of the cross knot, and one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.
And the knot shape is beautiful, varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:53, 19 December 2020 (UTC)

=====2.3.The Pan Chang Knot=====

Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the
avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.（Li Lifang & Sun Jianjun 2002，44）

Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the
avenue and is therefore highly valued by Chinese people.As is a symbol of the origin of all things, Pan Chang (盘长）is one of the most important basic knots. It is
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:56, 19 December 2020 (UTC)

====3.The Knitting Method of Chinese Knots====

The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.（Xu Xing 2004,46）

The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots. The combination technique means to use thread extension to flexibly combine various knots, so as to make a group of varied knots.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:58, 19 December 2020 (UTC)

The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.（Xu Xing 2004,47）

The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art. --[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:58, 19 December 2020 (UTC)

====4.The Cultural Connotations of Chinese Knots====

Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of
rope and thread.In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". In addition, Chinese people are descendants of
Dragons.（Wang Mizhu &Sun Sun& Qu Hongjian 2014,44）

Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of
rope and thread. In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". In addition, Chinese people are descendants of
Dragons.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:00, 19 December 2020 (UTC)

Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of
"knot", which means reunion and happiness. Many of the Chinese words composed of "结"（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交
（making friends), and 永结同心（tie the knot),etc. "结"(knot) is also homonymous with "吉"（ausipiciousness), so people even think that "knot" is a symbol of good luck.

Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of
"knot", which means reunion and happiness. Many of the Chinese words composed of "结"（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交
（making friends), and 永结同心（tie the knot),etc. "结"(knot) is also homonymous with "吉"（ausipiciousness), so people even think that "knot" is a symbol of good luck.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:00, 19 December 2020 (UTC)

====5.Comparisons between Chinese Knots and Cross Necklaces====

=====5.1.Different Cultural Connotations=====

From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of
Christianity. The cross, derived from the Latin "crux", means "fork".It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient
Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross
ornaments in the west as cross necknaces are usually used to represent love and salvation.（Wang Mizhu &Sun Sun& Qu Hongjian 2014,45）

From the above, we can see that the Chinese knot have many meanings, such as good luck, love, unity and so on. The cross necklace, however, is symbolic of Christianity. The cross, derived from the Latin "crux", means "fork".It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners. Therefore,such cross ornaments in the west as cross necknaces are usually used to represent love and salvation.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:02, 19 December 2020 (UTC)

=====5.2.Different Shapes=====

Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have
different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.（Xu Xing 2004,47）

Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:04, 19 December 2020 (UTC)

====6.References====

*Li Ku 李库. (2016). 符号学视角下的中国结解读 [The Analysis of Chinese Knots from the Perspective of Semiology ]. ''艺海'' Yi Hai (08) 125-126.

*Li Lifang & Sun Jianjun 李立芳，孙建君. (2002). ''民间绳结'' [Folk Knots]. Wuhan: Hubei Fine Arts Publishing House 湖北美术出版社.

*Xu Xing 许星. (2004). 路论中国结 [On the Chinese Knots]. ''丝绸'' The Silk (02) 46-47.

*Wu Hongfang 邬红芳. (2004). 中国结的意象美学特征 [The Rhetorical-Beauty of Chinese Knots]. ''装饰'' Decoration (09) 120-121.

*Wang Mizhu &Sun Sun& Qu Hongjian王眯珠,孙荪,曲洪建. (2014). 怀旧心理与创新意识对中国结的影响分析[The Analysis of the Impact on Chinese Knots from Reminiscence and Consciousness of Innovation ]. ''丝绸'' The Silk (11) 43-50.

===B. Terms and Expressions===

Double Coin Knot 双钱结

Good Luck Knot 吉祥结

Chinese Button Knot 纽扣结

Sauvastika Knot 万字结

Oxalis Knot 酢浆草结

Pan Chang Knot 盘长结

Round Brocade Knot 团锦结

Caisson Celling Knot 藻井结

Cross Knot 十字结

Ping Knot 平结

tie the knot 永结同心

luck money 压岁钱

the bishop's identity 主教职权

===C. Questions===

1. What is the Chinese knot?

2. Do you know the names of the main Chinese knots? What are they?

3. What do "绳" and "结" mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)

===Answers===

1.The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.

2.There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot,Good Luck Knot,Chinese Button Kno,Sauvastika Knot,Oxalis Knot,Pan Chang Knot,Round Brocade Knot,Caisson Celling Knot,Cross Knot and Ping Knot.

3.In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of "knot", which means reunion and happiness.

==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:19, 20 December 2020 (UTC)the right order of your title should be category, topic, name, student number

[[File:Chinese Mythology.jpg|thumb|right|Panku]]

===Introduction===

The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.

===A. Panku Created the World===

In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).

At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 "li" (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).
Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.

===B. NuWa Created Human Beings===

[[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]

Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).

As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.

During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:09, 20 December 2020 (UTC)the source is missing

===C. Fushi Taught the People===

In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .

Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing "trigrams", in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This "trigrams" was also a mean to interpret future and consult oracle about the right ways to follow.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:24, 20 December 2020 (UTC)to write the in the way of (Irene Dea Collier 2001, 35-36),that's better.

Finally, Fushi gave his last gift (music) in order people can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a "pipa" (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history. Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:02, 20 December 2020 (UTC)the source is missing.

===D. Water War===

Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and described as a very big giants with different shapes, Gong shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).

Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:22, 20 December 2020 (UTC)to write the in the way of (Irene Dea Collier 2001, 48-49),that's better.

In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:25, 20 December 2020 (UTC)the source is missing.

===E. Terms and Expressions===

Chinese Mythology 中国神话

Panku 盤古

Yin/Yang 陰陽 / 阴阳

Nuwa 女媧

Fushi 伏羲

Water War 水战

===F. Questions===

1. Why an egg a good symbol for the beginning of the world?

2. Why Nuwa decided to create human beings?

3. What did Fushi taught to people?

4. What was the cause of Gong and Zurong’s war and who won?

===G. Answers===

1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.

2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.

3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.

4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.

===References===

1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.

2. Irene Dea Collier. (2001). "Chinese Mythology". Library of Congress Cataloging-in-Publication Data.

3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg

4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:04, 20 December 2020 (UTC)the way of reference-listing is not standard.

==Gods and Immortals - Gui Yizhi 桂一枝 202070080587 英语笔译==

===Chinese gods and immortals===

====Chinese mythology system====

Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.(Lü & Gong 2014, p. 71 )

Chinese mythology is a mythology that has been passed down in oral form or literature records, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.(Lü & Gong 2014, 71 )--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.(Yang, An & Turner 2005, p.4)

Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.(Yang, An & Turner 2005, 4)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).1987.(Bai 1987, pp. 34-40)

The Ancient mythologies are myths about the origin of human or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).1987.(Bai 1987, 34-40)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.(Olson & Stuart 2002, pp. 27-28)

Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.(Olson & Stuart 2002, 27-28)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her.(Buddhism, p37)

At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her.(Buddhism, 37)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

====神 shén, 帝 dì and 仙 xiān====

Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between "god" and "deity". dì, sometimes translated as "thearch", implies a manifested or incarnate "godly" power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".(Hu, 2020)

Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between "god" and "deity". dì, sometimes translated as "thearch", implies a manifested or incarnate "godly" power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".(Hu, 2020)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.(Fowler & Jeanine 2005, pp. 200-201)

There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.(Fowler & Jeanine 2005, pp. 200-201)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

====Eight immortals====

The Eight Immortals are a group of legendary xian ("immortals") in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.(Yang,Deng & Wang 1987, pp. 40-45)

The Eight Immortals are a group of legendary xian ("immortals") in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.(Yang,Deng & Wang, 1987 40-45)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism.(Yang,Deng & Wang 1987, pp. 45-50)

The Immortals are Lü Dongbin (吕洞宾), He Xiangu (何仙姑), Zhang Guolao (张果老), Lan Caihe (蓝采和), Li Tieguai (李铁拐), Zhongli Quan (钟离权), Han Xiangzi (韩湘子), Cao
Guojiu (曹国舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism.(Yang,Deng & Wang 1987, pp. 45-50) --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- "The Eight Immortals cross the sea, each reveals its divine powers" (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.(Little, Stephen 2000,pp. 313, 319–334)

The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- "The Eight Immortals cross the sea, each reveals its divine powers" (八仙过海，各显神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.(Little, Stephen 2000,pp. 313, 319–334)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

===Terms and Expressions===

immortals 仙

mythology 神话，神话学

cosmology 宇宙论，宇宙观

monolithic 整体（式）的

the Battle of Zhuolu 涿鹿之战

pantheistic 泛神论的

polytheistic 多神论的

Three Pure Ones 三清

anthropomorphic 人格化的

tutelary 守护神

deity 神

Buddha 佛

Shakyamuni 释迦牟尼

Amitabha 阿弥陀佛

Amitāyus 无量寿佛

celestial 天的

Bodhisattva 菩萨

Pure Land 极乐世界

vessels 法器

Covert Eight Immortals 暗八仙

Taoist 道家的，道士

===Questions===

1. What are the topics of the Ancient mythology?

2. What are the differences among shén, dì and xiān?

3. What do the Eight immortals represent respectively?

===Answers===
1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.

2. shén and dì corresponds to the distinction in Western cultures between "god" and "deity". The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".

3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.

===References===

[1]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.

[2]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.

[3]Bai Yang. Chinese Huamn History. Time Literature & Art Press, 1987.

[4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear & Company.

[5]Buddhism, the Fulfilment of Hinduism

[6]Hu Yanan. From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty [D].Harbin Normal University,2020.

[7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.

[8]Yang Erzeng, Deng Zhimo, Wang Xiangxu. A Full Story Book of Eight Immortals. Spring Breeze Literature & Are Press,1987.

[9]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago.

[1]Lü, Daji; Gong, Xuezeng. (2014). ''Marxism and Religion.'' Religious Studies in Contemporary China. Brill.

[2]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). ''Handbook of Chinese Mythology''. New York, NY: Oxford University Press.

[3]Bai Yang. (1987). ''Chinese Huamn History''. Time Literature & Art Press.

[4]Olson, Stuart Alve. (2002). ''Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun''. Bear & Company.

[5]Buddhism, the Fulfilment of Hinduism

[6]Hu Yanan.(2020). ''From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty'' [D].Harbin Normal University.

[7]Fowler, Jeanine D. (2005). ''An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality''. Sussex Academic Press.

[8]Yang Erzeng, Deng Zhimo, Wang Xiangxu. (1987). ''A Full Story Book of Eight Immortals''. Spring Breeze Literature & Are Press.

[9]Little, Stephen (2000). ''Taoism and the Arts of China.'' The Art Institute of Chicago.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

==Literature, Tang and Song - Guo Lu 郭露 202070080588 MTI==
[suggestion:Literature, Tang and Song - Guo Lu 郭露 202070080588, here, your major is missing.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

===Classical Prose Movement of late Tang Dynasty and Song Dynasty===

====Introduction====

“The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its depth.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, and it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)
[suggestion:……and Confucianism Renaissance as its deep. Here, "deep" may be replaced by "depth".
The word “Gu Wen” was first introduced by Han Yu, (Here, you can add a word "and")it indicates the prose in the pre-Qin period and Han Dynasty.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====Development====

The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)
[suggestion:(Here, "Both" can be replaced by "They both".)Both were enthusiastic to promote the movement……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)
[suggestion:However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. (Here, this sentence doesn't have a predicate, so you may change the word "writing" into "wrote".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65)

====Representatives====

'''1.Han Yu'''

Han Yu (768–824), courtesy name Tuizhi, is also known for his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the "Eight Great Prose Masters of the Tang and Song"，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)
[suggestion:Han Yu (768 – Here, you may delete the space.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC) 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. (And this sentence doesn't have a predicate, so you may add "is" before the word "also", and "for" after "known".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)

'''2.Liu Zongyuan'''

Liu Zongyuan (773–819), courtesy name Zihou, is also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese litterateur, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is "Jiangxue". (Yang Shengli 2020, 42-44)
[suggestion:(773 – Here, you may delete the space. 819);(And this sentence doesn't have a predicate, so you may add "is" before the word "also", and "for" after "known".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

'''3.Ouyang Xiu'''

Ouyang Xiu (1007–1072), courtesy name Yong Shu, is also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)
[suggestion:(1007 – Here, you may delete the space. 1072);(And this sentence doesn't have a predicate, so you may add "is" before the word "also", and "for" after "known".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)

Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)
[suggestion:Except(Here, you may change "Except" into "Besides".) for Han Yu, Liu Zongyuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====Masterworks====

Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)
[suggestion:Except for(Here, you may change "Except for" into "Besides".) the works of Han Yu, Liu Zong Yuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====Influence====

The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)

====Terms and Expressions====

The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家

Classical Prose Movement 古文运动

''Eight Records of Excursions in Yongzhou'' 《永州八记》

''On Teachers'' 《师说》

''New Book of Tang'' 《新唐书》

''Historical Records of the Five Dynasties'' 《新五代史》

''Zuiweng Tingji'' 《醉翁亭记》

''Shang Zhongyong'' 《伤仲永》

''On Jia Yi'' 《贾谊论》

''First Ode to the Red Cliff'' 《赤壁赋》

====Questions====

1. Who were the first promoters of the Classical Prose Movement?

2. What does the Classical Prose Movement mean?

3. What's political and religious purposes of the Classical Prose Movement?

====Answers====

1. The first promoters of this movement were Han Yu and Liu Zongyuan.

2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.

3. The reason why Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.
[suggestion: The reason what…….(Here, you may change "what" into "why".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====References====

Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.

Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.

Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.

Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.

Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.

Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.

Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.

==The tradition of Red Envelope and Lucky Money - HA, THI THU HANG - 201921080008 - Comparative Literature and Cross-Cultural Studies==

[[File:chinese-new-year-red-pockets-design.jpg|250px|thumb|left|Red Enverlop]]

===The Chinese Red Envelope and Lucky Money Tradition===

In Chinese and other East and Southeast Asian societies, Red Envelopes, also called Red Packets, Lucky Money, or ''Hóngbāo'' ( 红包 ) in Chinese, ''Li shi'' / ''Lìxì'' in Vietnamese are popular monetary gift given during holidays or special occasions or festivals such as weddings, graduation, senior people's birthday parties or the birthday of a child, visit a newborn baby, etc in China, Vietnam, Korea, Japan, and some other Asian countries, especially widely seen during the Lunar New Year Festival. During the Lunar New Year, the adult, parents and grandparents gift with the red envelops for kids, which have money stuffed into. It is a traditional way to wish good luck and share blessings.

The Lucky Money tradition began in the Han Dynasty. Rather than real money, they were small collectibles in the form of coins to ward off evil spirits. Auspicious phrases and symbols were engraved onto the surface. "worldwide peace" ( 天下太平 / ''Tiān xià tài píng''), “longevity and fortune” ( 千秋万岁 / ''Qiān qiū wàn suì''), dragons and phoenixes were common.

These coins were tied together with red string. The practice transitioned to be wrapped in Red Paper and now, put into Red Envelopes.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

====The Legend====

In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called ''Sui'' ( 祟 ) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called ''Shou Sui'' ( 守祟 ).

One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone in the village knew about the stories. Since then, when Lunar New Year comes, people will give children "red paper wrapped copper money" with a belief that the money will protect children from being harmed.

There are also other legends about this custom related to the son of Yang Guifei of the Tang Dynasty - China and the Qin Dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

====The Tradition====

The Chinese custom of Lucky Money is called ''Hóngbāo'' ( 红包 ). Chinese people really like red, so the Lucky Money is always red, symbolizing luck and happiness. The Red Envelope is called ''Yāsuìqián'' ( 压岁钱 ), which means "suppressing ghosts money". Those who receive a Red Envelope are wished another safe and pea. Sending Red Envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese Lucky Money must avoid the number 4 ( 四 / ''si'') and be sealed - that means no 4, 40, or 400 amounts - as the pronunciation of four in Chinese sounds like the word for death ( 死/ ''si''). However, amounts including the number 8 ( 八 / ''ba'') will bring good luck and prosperity ( 发财 / ''fa'').

There are rules on how to properly receive an Envelope. Traditionally, children would kneel to receive their ''Hóngbāo'' from older family members, and this is still practiced in some areas of China. Red Envelopes are also always given and received with both hands, and should never be opened immediately and in the presence of the present-giver. After receiving the Lucky Money, the children have to put it all under the pillow after about a week to open it. The meaning of this is for the Lucky Money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese Lucky Money.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

'''Alipay and WeChat Red Envelope'''

[[File:chinese-new-year-red-pockets.jpg|300px|thumb|Right|Red Envelope - How much to give who - [[https://www.chinahighlights.com/travelguide/festivals/red-envelop.htm]]]]

Moving on from the traditional Red Envelope, in the 21st century, many people exchange digital Red Envelopes instead of the traditional paper ones. These are virtual packets of very real cash, transferred directly to friends' and family's smartphones. Users can even send digital ''Hóngbāo'' to their favorite celebrities using apps such as Alipay, WeChat and the Weibo Red Envelope. WeChat Red Packet is an online money transfer with a colorful message via WeChat (a messaging Chinese app). In recent years, it has become popular among young people to send "Red Envelopes" via WeChat as a greeting. It has become a new way to greet friends or relatives during the Chinese New Year period.

While the tradition centers on children, Red Envelopes are given to friends, family, colleagues and many other relatives - and different amounts of money are customary for each relation. For example, parents and grandparents get the most, but employees and even casual acquaintances can expect a Red Envelope.

====Outside of China====

The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent. Each country has different ways of Lucky Money and changes over time, but the basic custom of Lucky Money is to want to send wishes of peace to all relatives and friends in the New Year.

[[File:LunarNewYearinVietnam.jpg|250px|thumb|Right|Lunar New Year in Vietnam]]

In Vietnam, Lucky Money is called ''Lì xì/Tiền mừng tuổi'' and very typical. On the first day of the Lunar New Year - one of the great holidays of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give Lucky Money to the children with the message of good luck, good care and good study. Today, the tradition of Lucky Money in Vietnam is also expanded in the direction that children give Lucky Money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.

[[File:Otoshidama.jpg|200px|thumb|left|Otoshidama in Japan]]

In Japan, Lucky Money is called ''Otoshidama'' (お年玉). Unlike other countries, the amount of Japanese Lucky Money depends on the child's age, the relationship of the family. ''Otoshidama'' Red Envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese Red Envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the Lucky Money will be written on the Red Envelope to show respect for the recipient. The message of each ''Otoshidama'' Red Envelopes is a wish for a warm, peaceful and lucky New Year.

[[File:Sabae.jpg|200px|thumb|right|Sabae in Korea]]

In Korea, Lucky Money is called ''Sabae''. On the New Year's day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive Lucky Money together with wishes for health and peace in the New Year. The Lucky Money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems, etc.

[[File:Green Envelope-giving.jpg|200px|thumb|right|Green Envelope-giving]]

The Lucky Money tradition has also crossed cultural and religious boundaries, and ''Green Envelope-giving'' has even become a practice during the Islamic holiday of Eid al-Fitr across Southeast Asia. It is also widely practiced by the Chinese and Southeast Asian diaspora across the world.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

===Terms and Expressions===

Lucky Money 利市/ Lì shì

Red Envelope 红包/ Hóngbāo

Worldwide Peace 天下太平/ Tiān xià tài píng

Longevity and Fortune 千秋万岁/ Qiān qiū wàn suì

Suppressing Ghosts Money/ Suppressing Sui Money 压岁钱/ Yā suì qián

Sui 祟

Shou Sui 守祟

===Questions===

1. Do you know the origin of giving Lunar New Year's Lucky Money to children?

2. Is the Lucky Money tradition exist in other countries than China?

3. What are the rules on giving-receiving Red Envelopes?

4. On what occasions people giving-receiving Red Envelopes?

5. Do you ever receive a Red Envelope? On what occasion?

===Answers===

1. It began in the Han Dynasty and to protect children from being harmed.

2. Yes. It is very polupar in Vietnam (''Lìxì''), Japan (''Otoshidama''), Korea (''Sabae''), and some other Southeast Asian countries.

3. The giving amount of money must avoid the number 4 that sounds like the word of death in Chinese. The children, after receiving the Red Envelope, do not open it immediatedly and in the presence of the present-giver, but have to put it under the pillow after about a week to open it.

4. Red Envelopes are most commonly associated with New Year, but they also turn up as part of many other occasions as a way of sharing good luck and blessings, like births, weddings, graduation, senior people's birthday parties or the birthday of a child, visit a newborn baby, etc.

5. Yes. Red Envelope, or Lucky Money, or ''Lìxì'' is very typical in the Lunar New Year in my country Vietnam.

===References===

Red Envelope[https://en.wikipedia.org/wiki/Red_envelope]

Fefe Ho - Red Pockets[https://chinesenewyear.net/red-pockets/]

Cindy Tang - Red Envelopes/Packets (Hongbao) - Amount, Symbols and How to Give [https://www.chinahighlights.com/travelguide/festivals/red-envelop.htm]

Chinese Red Envelope [https://www.travelchinaguide.com/essential/holidays/new-year/red-envelope.htm]--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

==Calendar, The 24 Solar Terms - He Changqi 何长琦 student No. and 专业 are missing --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:37, 17 December 2020 (UTC)==

==='''The Twenty-four Solar Terms'''===
==='''The Twenty-four Solar Terms'''===[maybe this should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)

===1. The orgin and development of the twenty-four solar terms===
===1. The Orgin and Development of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)

“The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）

"The 24 solar terms" is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）[suggestion:the quotation mark in English and in Chinese should be distinguished.In Chinese, it is “”;in English, it is ""]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)

By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）

By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature in the Warring States period, the complete 24 solar terms were basically formed. During the Qin and Han dynasties, a complete system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）[suggestion:the last sentence is too long to read.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:42, 17 December 2020 (UTC)

===2. The definition and classification of the 24 solar terms===
===2. The Definition and Classification of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)

"The 24 solar term" is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)[suggestion:it will be better if you use Arabic numerals or its English version uniformly in the whole passage; please pay attention to the difference of quotation mark in Chinese and English.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)

A solar term that starts in the early part of a month is called jie (节), and one that starts in the middle part of a month is called qi (气). (Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it.) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)[maybe there is a wrong word "meddle", it should be "middle" .]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)

The 8 solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the 4 solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)[suggestion:it will be better if a uniform numeral format is used.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

===3.Folklore of the 24 solar terms===
===3.Folklore of the 24 Solar Terms===[the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)

The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the "whipping of the spring bull" at the beginning of spring and the "tailing festival" at the end of the cold season.((Ding Yiming. Chang He 2020)) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of "the unity of heaven and man, in accordance with the four seasons", the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc.

The folklore of the 24 solar terms is divided into three aspects: festival folklore, lifestyle customs and food customs. Festive customs such as the "whipping of the spring bull" at the beginning of spring and the "tailing festival" at the end of the cold season.(Ding Yiming, Chang He 2020) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of "the unity of heaven and man, in accordance with the four seasons", the 24 solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. [suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)

These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of "biting the spring" on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)

These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of the Begining of Spring, he will have good luck in the future. In many parts of China, people observe the custom of "biting the spring" on the first day of the Begining of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of the Begining of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan, Zou Yating 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:08, 17 December 2020 (UTC)

===4.Importance and values of of the 24 solar terms===
===4.Importance and Values of the 24 Solar Terms===[suggestion:it will be better if the first letters are capitalized; the "of" should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

===4.1 Importance in ancient times===
====4.1 Importance in Ancient Times====[the subtitle should add a mark as "="]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.

The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.[suggestion:quotation is missing.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that "if the agricultural time is not violated, there will be sufficient grain supply." (Mencius - Liang Huiwang). (Wang Jiahua 2019)

Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is the most basic function of the 24 solar terms. Agricultural production is an economic activity carried out by humanity in accordance with natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that "if the agricultural time is not violated, there will be sufficient grain supply." (Mencius - Liang Huiwang). (Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and an important manifestation and part of their colourful lives.(Wang Jiahua 2019)

Secondly, the 24 solar terms were also regarded as important time points in the daily life of ancient people. Thirdly, for the ancient ancestors, the 24 solar terms were more than a time system, they were also a connotation of life, an important manifestation and part of their colourful lives.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

For example, the "Four Beginnings"(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)

For example, the "Four Beginnings"(四立)-- the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter-- have always been important festivals in history. At these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival. Spring Festival, Dragon Boat Festival, Mid-Autumn Festival and Tomb Sweeping Festival are known as China's four traditional festivals .(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

===4.2 Values in modern society===
====4.2 Values in Modern Society====[suggestion:it will be better if the first letters are capitalized; the subtitle should add a mark as "="]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming. Chang He 2020)

In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming, Chang He 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

It still has its practical values in modern society.Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)

It still has its practical values in modern society.Firstly, as a time-honoured knowledge system and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations. Specifically, respecting nature, adapting to the time of the day, venerating ancestors, showing filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature.(Wang Jiahua 2019)

Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and the harmonious relationship between man and nature.(Wang Jiahua 2019) [suggestion:maybe it will be better if "reflect" is deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)

===Terms and Expressions===

the Beginning of Spring 立春

Beginning of Autumn 立秋

Rain Water 雨水

End of Heat 处暑

Insects Awakening 惊蛰

White Dew 白露

Spring Equinox 春分

Autumnal Equinox 秋分

Fresh Green 清明

Cold Dew 寒露

Grain Rain 谷雨

First Frost 霜降

Beginning of Summer 立夏

Beginning of Winter 立冬

Lesser Fullness 小满

Light Snow 小雪

Grain in Ear 芒种

Heavy Snow 大雪

Summer Solstice 夏至

Winter Solstice 冬至

Lesser Heat 大暑

Lesser Cold 小寒

Greater Heat 立春

Greater Cold 大寒

===Questions===

1.1.What are the first four solar terms measured by ancient Chinese people?
1.What are the first four solar terms measured by ancient Chinese people?--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

2.Where does the 24 solar terms originate from?

3. What are the eight solar terms that reflect seasonal changes？

4.When was the 24 solar terms included in the World Intangible Cultural Heritage List?

5.What are the food customs in the Beginning of Spring?

6.Do you konw any other folklore of the 24 solar terms?

===Answers===

1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.

2.It originated in the Yellow River valley.

3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice

4.In 2016.

5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.

6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the "Sage of Medicine", invented the "jiaozi" to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as "dumpling" or jiaozi. Today there is still a saying that goes "Eat dumplings on Start of Winter Day, or your ears will be frostbitten."

===References===

Yuan Jix. 袁济喜. (2016). "中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)

Wang Jiahua. 王加华.（2019.9.20）"China Social Science Network" http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml

Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）"Chinanews" http://www.chinanews.com/cul/2020/11-17/9340057.shtml

He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html

==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==

===Collection of Yue Fu Poetry《乐府诗集》===

====Introduction====

'''1.Brief introduction'''

''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. "Yuefu", originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)

''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre-Qin to the end of Tang Dynasty. "Yuefu", originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name. (Wu Ting 2007, 20)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)

'''2.About the author'''

Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation. (Wu Ting 2007, 22)

'''3.Content introduction'''

It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, "Yuefu Poetry Collection" is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties. (Wu Ting 2007, 30)

====Masterpieces====

'''1.''The Peacock Flies to Southeast'''''

''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed. (Wu Ting 2007, 36)

''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for free love and happy life is placed. (Wu Ting 2007, 36)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

'''2.''Mulan Poetry'''''

''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. "Mulan is a girl" is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)

''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man and joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for a reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. "Mulan is a girl" is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality. Therefore, it has strong artistic appeal. (Wu Ting 2007, 41)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

====Evaluation====

'''1.Contributions'''

The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as "Moshangsang", "dongmenxing", were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former.(Yu Yizhi 2002, 105)

The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of the Han Dynasty, such as "Moshangsang", "dongmenxing", were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. (Yu Yizhi 2002, 105) --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)

''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in the singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literary history and music history. There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but the narrative is attached to the lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time. (Yu Yizhi 2002, 105)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

'''2.Shortcomings'''

There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)

There are some imperfections in ''Collection of Yue Fu Poetry''. For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as ancient Chinese literature, this giant has made a certain contribution. (Yu Yizhi 2002, 107)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

===References===
Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)

Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.

Wu Ting 吴婷. (2007). 乐府诗集引用的音乐文献研究 [A study of music documents cited in ''Collection of Yuefu Poertry''].Nanchang:Nanchang University 南昌大学 (12) 20-41.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

Yu Yizhi 喻意志. (2002). 乐府诗集成书研究 [A study on the compilation of the ''Collection of Yuefu Poetry'']. Shanghai: Shanghai Normal University 上海师范大学 (10)105-107.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)

===Terms and Expressions===

''Collection of Yue Fu Poetry''《乐府诗集》

Jiaomiao songs郊庙歌辞

Yanshe songs燕射歌辞

Guchui drum songs鼓吹曲辞

Hengchui songs横吹曲辞

Xianghe songs相和歌辞

''The Peacock Flies to Southeast'' 《孔雀东南飞》

''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)

===Questions===

1.When was Yuefu Poetry compiled？

2.Which institution did "Yuefu" belong to?

3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)

===Answers===

1.In Song Dynasty.

2.It belongs to the institution in charge of music.

3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)

==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==

===Eight Major Cuisines of China===

====1. A Brief Introduction About Chinese Cuisine====
1. A Brief Introduction About Chinese Cuisines--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 07:16, 19 December 2020 (UTC)

As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the "four major cuisines." By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the "eight major cuisines" of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)

====2. The Classification of Chinese Cuisines====

China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)

China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavors. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted. (Shi Hongmei 2009, 34)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:25, 19 December 2020 (UTC)

=====2.1 Shandong Cuisine=====
Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)

Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Besides, Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:27, 19 December 2020 (UTC)

=====2.2 Sichuan Cuisine=====
Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one
of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)

Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical and exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:30, 19 December 2020 (UTC)

=====2.3 Guangdong Cuisine=====
Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)

Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables, which originate from other parts of the world. It doesn't use much spice, just bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:32, 19 December 2020 (UTC)

=====2.4 Fujian Cuisine=====
Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their "pickled taste". (Shi Hongmei 2009, 55)

Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct feature is their "pickled taste". (Shi Hongmei 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:34, 19 December 2020 (UTC)

=====2.5 Jiangsu Cuisine=====
Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)

Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh, sweet and delicate. Jiangsu Cuisine is well-known for its careful selection of ingredients, its methodology of meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:38, 19 December 2020 (UTC)

=====2.6 Zhejiang Cuisine=====
Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)

Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. And Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:43, 19 December 2020 (UTC)

=====2.7 Hunan Cuisine=====
Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)

Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessities in this division. (Shi Hongmei 2009, 65)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:44, 19 December 2020 (UTC)

=====2.8 Anhui Cuisine=====
Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)

Anhui Cuisine focuses much more on the temperature in cooking. Its major cooking methods are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:46, 19 December 2020 (UTC)

====3. A Comparison of Chinese-Western Diet Culture====

Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)

Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. So there are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)

Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China. But it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)

However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to both their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)

There are also differences in the names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo Meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

====References====

Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.

Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.

Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.

Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．

Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.

===Terms and Expressions===

pot-stewed fowl 卤味

stewing and simmering 炖，煨

prickly ash 花椒

fermented soybean 豆鼓

Braised Dongpo Pork 东坡肉

Buddha Jumps over the Wall 佛跳墙

Kung Pao Chicken 宫保鸡丁

Bean Sauce Tofu 麻婆豆腐

===Questions===
1. How many types of cuisines are there in china?

2. What’s differences between Chinese and western diets?

3. What is the origin of Dongpo Meat?

===Answers===
1. Eight

2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes.

3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.

==Folk Art Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting ==

Chinese Paper Cutting 剪纸

===Text===

====Introduction====

With a long history, paper-cutting could be dated back to 2000 years ago in China according to the archaeological records. It originated in ancient ancestor worship activities in which people pray for their ancestors and god. Later, with the widespread paper-cutting techniques and people’s growing love for it, it gradually served as the decorations for the doors, walls, mirrors, lanterns and so on. Nowadays, paper-cutting has already become an integral part of Chinese traditional culture and serves as a window of the Chinese folk culture. (Jiao 2016: 3)

====History====

[[File:The easiest Paper-cutting found in Turfan.jpg|250px|thumb|right| The easiest Paper-cutting found in Turfan, image from www.Chinawriter.com.cn Click[http://www.chinawriter.com.cn/n1/2019/0115/c404102-30538973.html] for original source.]]

The skill of cutting and carving appeared way before the invention of paper, and a number of materials, from the bark, leaves and animal skin, to later silk, were cut into certain shapes to decorate, which laid a solid foundation for the art of paper-cutting. (Li & Zhang 2015: 7)

As the paper is not easy to preserve, few of the paper works could survive to modern times. “The earliest such work surviving are five examples dating from the Northern Dynasties period (386-581), unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.” (Folk Handicrafts)

In the Tang dynasty the custom of paper-cutting began to be popular, and the handicraft man cut paper to different shapes, and each owns its name. Namely, the shape of square was named “Fangsheng”, the flower-shaped “Huasheng”, the people-' shaped “Rensheng”. Two pieces of “Huasheng”, which were the remains in the Tang Dynasty, are preserved now in Shōsō-in in Japan. (Li & Zhang 2015: 7-8)

By the Song Dynasty, with the prosperous development of economy and culture, in addition to daily decoration, paper-cutting was used for crafts such as porcelain and blue calico. (Li & Zhang 2015: 8)

The art of paper-cutting became mature in Yuan, Ming, and Qing dynasties. There emerged well designed paper-cutting works in the Yuan dynasty, and collectors began to collect paper-cutting works as artwork. By the Ming Dynasty, the application of paper-cutting became even wider, with clip gauze lantern as a representative. It is a lantern with paper-cutting clipped in, candlelight reflecting the pattern. (Li & Zhang 2015: 8)

Since its birth, the art of paper-cutting has never been interrupted. In its long history, it evolved in art and pottery, printing, dyeing, and other art intertwined, being an indispensable part of people’s life. (Li & Zhang 2015: 8)

====Five Regions====

The distribution area of Chinese folk paper-cutting, according to the historical changes, geography, ecological environment changes, cultural development differences and paper-cutting itself in the aesthetics, style of mutual influence and so on, for a comprehensive consideration, can be divided into five regions. (Wang 2006:106)

Northeast Changbai Mountains area: It mainly covers the Changbai Mountain area in Heilongjiang Province and Liaoning Province. As the birthplace of the nation of Man, the paper-cutting here herited the culture and customs of Man. (Wang 2006:106)

Yellow river basin area: With the north of Shaanxi' paper-cutting as the center, it is simple but more expressive because of its rough lines and designs. (Wang 2006:106)

Yangtze River basin area: It covers paper-cutting in the Provinces of Sichuan, Hubei, Hunan and Jiangsu. Influenced by folk farming culture and the Confucian culture in the Han dynasty, paper-cutting in this region is in the rough in shape but bears a sense of delicacy. (Wang 2006:106)

The southeastern coastal area: It is highlighted by the paper-cutting of Zhejiang and Fujian provinces. This region, more affluent. Paper-cutting creation, especially in Zhejiang Jinhua, Guangdong Foshan as the representative, in the history of cultural development, the vein is also more distinct, its aesthetic interest tends to be elegant and common appreciated. (Wang 2006:106)

Southwestern minority areas: It is characterized by paper-cutting in the minorities in Provinces of Yunan and Guizhou. Many paper cuttings are combined with embroidery patterns. The religious beliefs of this region obviously involved in the art of paper-cutting. (Wang 2006:107)

====Techniques====

[[File: dyed papercutting.jpg|200px|thumb|left| dyed-colored paper-cutting, image from 360baike. Click [https://baike.so.com/doc/2408800-2546694.html] for original source.]]

There are various ways to make paper-cutting works, include folding paper-cutting, smoked paper-cutting, color-blocking paper-cutting, and copper-lined paper-cutting, but the most common ones are mono-colored and dot-colored. (Li & Zhang 2015: 8)

Mono-colored paper-cutting refers to paper-cuttings cut or curved with a single-colored paper, mostly in red. Since ancient times, the Chinese revered red, whenever there are grand celebration ceremonies or festivals, red is the main color, featuring warmth, passion and also brightness and happiness. However, mono-colored paper-cutting is also available in black or other colors, which are used according to different circumstances and situations, among which white paper-cutting is mostly used as the base sample for embroidery. (Li & Zhang 2015: 8)

Dyed paper-cutting is also called dotted paper cuttings. The paper is mostly Xuan paper, a kind of thin white paper that absorbs water easily. Twenty or thirty pieces of such paper are put into a pile and the pattern is carved out with a knife. Then the mass of paper is dyed. The colors become rich and elegant after dying, with endless changes and a strong local flavor. The dyed paper-cutting is mainly found in Hebei, Shanxi, and Guangdong province, among which the dotted paper cuttings in the Wei County, Hebei is very unique. (Li & Zhang 2015: 8)

====Themes====

Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, birds and animals, twelve zodiac animals, pavilions, totem worship, and religious belief. Its connection with the major festivals and traditional customs finds its full expression in every aspect of life. Paper-cutting is an essential folk activity in the villages. Traditionally, on the 23rd day of the twelfth lunar month, women "drop their hoes and pick up scissors to cut papers"; on the 28th, flowers are pasted on the windows. On this day, every family paste window decorations, new year’s pictures, and Spring Festival couplets to create a lively environment for the new year. (Li & Zhang 2015: 8)

It is the rural working women who are the majority of creators of the delicate paper-cutting. When they were five or six years old or seven or eight years old, they began to follow their mothers and grandmothers to learn paper-cutting. Mothers would pass on their treasured paper-cutting patterns to their daughters and daughters-in-law as family heirlooms. This is how China’s folk paper-cutting has been passed down from generation to generation. They are devoutly devoted to the paper-cutting that are rich in connotations such as prosperity, peace and good fortune, happiness, health, and longevity. It is the inheritance of this spirit that has enabled the art of paper-cutting to last for thousands of years. (Li & Zhang 2015: 9)

===References===

Li Youyou & Zhang JIngjuan 李有有&张静娟. (2015) 剪纸 [paper-cut] 北京中国旅游出版社 Beijing: China Travel & Tourism Press.

Lu Zhongmin. (2002) Folk Handicrafts. Beijing: Foreign Language Press.

Wang Minbo 王敏伯. (2006) 中国民间剪纸史[The History of Chinese Folk Paper-cut Arts] 杭州: 中国美术学院出版社 Hangzhou: China Academy of Art Press.

===Terms and Expressions===

color-blocking paper-cutting 拼色剪纸

copper-lined paper-cutting 铜衬剪纸

dyed paper-cutting 点染剪纸

mono-colored paper-cutting 单色剪纸

smoked paper-cutting熏样剪纸

Shōsō-in 正仓院

Spring Festival couplets 春联

totem worship图腾崇拜

Turfan吐鲁番

===Questions===

1. Where was the earliest paper-cutting found in China?

2. How many regions the distribution of Paper-cutting can be divided into?

3. Which two types of paper-cutting are the most common ones?

4. What could be the themes of the paper-cutting?

===Answers===

1. They were unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.

2. Northeast Changbai Mountains area, Yellow river basin area, Yangtze River basin area, The southeastern coastal area, and Southwestern minority areas.

3.Mono-colored paper-cutting and dyed paper-cutting.

4. Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, twelve zodiac animals, pavilions, totem worship, and religious belief.

==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==

===The Chinese Medical Sage - Zhang Zhongjing===

Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)

Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who was respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)

Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)

This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Later, people called the doctor who sat in the drugstore to treat patients "the doctor sitting in the hall", in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)

Later, people called the doctor who sat in the drugstore to treat patients "the doctor sitting in the hall", in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)

When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

There is a Chinese saying that goes, " Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms)." But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)

There is a Chinese saying that goes, " Eating dumplings in the Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms)." But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)

When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called " Cold Dispelling Jiaoer Soup". Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)

Back home, Mr.Zhang was still concerned about the poor. So he developed a recipe to help them ward off cold, called " Cold Dispelling Jiaoer Soup". Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the "Cold Dispelling Jiaoer Soup" for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. "Cold Dispelling Jiaoer Soup" is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)

Zhang Zhongjing passed away on the Winter Solstice, and he distributed the "Cold Dispelling Jiaoer Soup" for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. "Cold Dispelling Jiaoer Soup" is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

In fact, the way of making "Cold Dispelling Jiaoer Soup" is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it "Jiao Er". ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying " not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold." (首都医药 2003, 40)

In fact, the way of making "Cold Dispelling Jiaoer Soup" is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrapping the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it "Jiao Er". ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying " not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold." (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)

At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

[[File:Zhang_Zhongjing.jpg]]

===References===

(2003). 张仲景故乡的二十四个故事(六) 饺子的来历[J] [Twenty-four Stories of Zhang Zhongjing's Hometown (VI) The Origin of Dumpling]. ''首都医药'' Capital Medicine (17) 40.

Zhang Maoyun 张茂云. (2014). 伤寒杂病论成书年代及仲景生平年代考历[J] [Journal on the Written Time of ''Treatise on Febrile and Miscellaneous Diseases'' and the Lifeyime of Zhang Zhongjing]. ''中国中医药现代远程教育'' Chinese Medicine Modern Distance Education of China (04) 19-20.

Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. (2013). “医圣”张仲景[J] ["Medical Sage" Zhang Zhongjing]. ''中国卫生人才'' China Health Human Resources (07) 88-89.

Zhang Deli 张德礼. (2019). 心系百姓的“医圣”张仲景[J] [People's Medical Sage Zhang Zhongjing]. ''现代班组'' Morden Group (05) 37.

Tan Rongzhou 覃荣周. (2013). 张仲景对我国医学发展的历史贡献[J] [Zhang Zhongjing's Historical Contribution to the Development of Chinese Medicine]. ''兰台世界'' Lantai World (07) 55-56.

Zhao Qingxin 赵清新. (1999). 万世医宗张仲景[J] ["Medical Sage" Zhang Zhongjing]. ''解放军健康'' PLA Health (05) 36.

Tian Yi 天一. (2020). 张仲景:“医圣”之名传天下[J] [Zhang Zhongjing: the Name of "Medical Sage" Spreads all over the World]. ''月读'' Monthly Read (03) 4-13.

===Terms and Expressions===

medical sage 医圣

''Treatise on Febrile and Miscellaneous Diseases''《伤寒杂病论》

treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治

yamen 衙门

Great Cold ( 24th solar term ) 大寒

Slight Cold ( 23rd solar term ) 小寒

look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切

Cold Dispelling Jiaoer Soup 祛寒娇耳汤

===Questions===

1. What's the honorable title Zhang Zhongjing addressed as?

2. What's the official role Zhang once taken?

3. When would Zhang treat patients for free at yamen?

4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?

5. What's the relationship between Zhang Zhongjing and dumplings?

===Answers===

1. Chinese Medical Sage.

2. Changsha magistrate.

3. He treated patients for free on the first and fifteenth days of every lunar month.

4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.

5. Dumplings are derived from the recipe " Cold Dispelling Jiaoer Soup" developed by Zhang Zhongjing.

--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)

20201215 cultexam 1

2020-12-20T09:20:03Z

HATHITHUHANG2: /* The tradition of Red Envelope and Lucky Money - HA, THI THU HANG - 201921080008 - Comparative Literature and Cross-Cultural Studies */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Chinese Astrology - Alsied, Saffana==
"Chinese Astrology"--[[User:SAFFANA ALSIED ,Student No:......... Major...........

===The History===

So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the source is coming from ?

===The Five Elements And YIN/YANG===

Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. where is the quotation please?

A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. where is the quotation please?

===THE FORCES OF YIN / YANG===

Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.

A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. where the source is coming please?

Chinese astrology was invented to achieve the two following goals;

1.) To predict the future,

2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.

According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. where the source is coming please ?

Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. quotation please?

The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.quotation please?

You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.

===Terms and Expressions===

1. Chinese Astrology 中国占星学

2. Chinese Zodiac 中国十二生肖

3. Agricultural calendar 农业日历

4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）

5. The Oriental philosophy 东方哲学

===Questions===

1-Why was Chinese astrology invented?

2-How Chinese astrology relates to a person’s divine destiny?

3-What important role does the Chinese zodiac play in Chinese culture?

4- What is Chinese astrology based on?

5-Is Chinese astrology accurate?

===Answers===
1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.

2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.

3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.

4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.

5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.

===References===

Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9

何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591

Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.

Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.

""Almanac" "lunar" zodiac beginning of spring as the boundary dislocation? — China Network". 16 February 2009. Retrieved 5 January 2011.

Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.

"Five Elements(Wu Xing)". YourChineseAstrology.com

==Spring Festival Couplets - Cao Runxin 曹润鑫 - 202070080634 - 英语口译 ==
[[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]

===Spring Festival Couplets===
Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).

Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. Pasting the Spring Festival Couplets on gateposts or doors is one of the most common and important customs when Chinese People celebrate Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China. With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).

Spring Couplets originated from Taofu, an inscription on boards made of peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).

The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).

There are rules not only for pasting the couplets, but also for how to remove them, and these traditions vary in different areas of China. In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)

===References===

*Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.
*Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.
*Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.
*Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.

===Terms and Expressions ===
Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联

Paste 贴

Horizontal scroll 横联

Upper scroll 上联

Lower scroll 下联

===Questions ===
1.What’s the purpose of pasting Spring Festival Couplets?

2.What’s the historical origin of Spring Festival Couplets?

3.How to read the Spring Festival Couplets?

4.How to do with the Old Couplets?

===Answers ===
1.To expresses people’s delight in the festival and wishes for a better life in the coming year.

2.It originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.

3.First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.

4.Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.

==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - 英语笔译==

[[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]

===Guzheng===

''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument and was widespread at that time. Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese. (Wang Xiaohong, Gu Haijun 2019, 69)

There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).

The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were originally made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. Since the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)

[[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&z=0&ipn=d&word=古筝&step_word=&hs=0&pn=27&spn=0&di=9900&pi=0&rn=1&tn=baiduimagedetail&is=0%2C0&istype=2&ie=utf-8&oe=utf-8&in=&cl=2&lm=-1&st=-1&cs=3246661627%2C3658564396&os=3335747328%2C3552694810&simid=0%2C0&adpicid=0&lpn=0&ln=1718&fr=&fmq=1607348039297_R&fm=result&ic=&s=undefined&hd=&latest=&copyright=&se=&sme=&tab=0&width=&height=&face=undefined&ist=&jit=&cg=&bdtype=0&oriquery=&objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&gsm=1c&rpstart=0&rpnum=0&islist=&querylist=&force=undefined]for original source.]]

The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke a sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)

Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several new schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school (Cao Yue 2002, 84).

In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated in a TV show — ''National Music Ceremony'', which is a large-scale original Chinese classical music competition show. In a performance, Wang merged the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'' by playing the ''guzheng'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)

From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.

===References===

*Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.
*Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.
*Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165.
*Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.
*Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.
*Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.
*Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.

===Terms and Expressions===

*Meng Tian 蒙恬
*Zhao Lin 赵璘
*''Records on Words'' 《因话录》
*anterior mountain 前岳山
*posterior mountain 后岳山
*''Yan Zhu'' 雁柱
*string pegs 弦钉
*turning box 调音盒
*zither feet 琴足
*paulownia 桐木
*mahogany 红木
*''Dai Mao'' 玳瑁
*''Yi Jia'' 义甲
*''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹
*''High Mountains and Running Water'' 《高山流水》
*''The Autumn Moon in the Han Palace'' 《汉宫秋月》
*''Jackdaw Playing in the Water'' 《寒鸦戏水》
*''The Tune of Liu Qing Niang'' 《柳青娘》
*Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香
*Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望
*''National Music Ceremony'' 《国乐大典》

===Questions===

1. What kind of musical instrument does the ''guzheng'' belong to?

2. Why the ''guzheng'' is deeply loved by Chinese?

3. Who is Meng Tian?

4. According to the legend, how did the ''se'' develop into the ''zheng''?

5. How many strings does the ''guzheng'' have? How long is the guzheng?

6. What is the function of movable bridges?

7. What are used by ''guzheng'' performers to play the instrument? And What are they also called?

8. In ancient times, what materials were the fingerpicks made of?

9. Generally speaking, how does the players strike notes?

10. What styles can ''guzheng'' be divided into?

11. Which school does ''The Autumn Moon in the Han Palace'' belong to?

12. Do you know any other ''guzheng'' music? Please list some pieces.

===Answers===

1. It belongs to plucked stringed instruments.

2. It has beautiful timbre, broad range, rich performance skills and strong expressive power.

3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.

4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part.

5. It usually has 21 strings and is 163 centimeters long.

6. They are moved to change the timbres.

7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.

8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.

9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges.

10. The Northern school and the Southern school.

11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.

12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).

==Facial Make-up - Chen Jingjing 陈静静 - 202070080581 - 英语笔译==
===Facial makeup===

Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up.(Wang Hai 2018, 62)

The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)

People hold different views when speaking of the origin of the facial makeup. It is said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)

The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou wear their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk characteristics. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)

Red

Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.

Black

Black facial makeup gives people the impression that the actor is serious,courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.

White

White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Hui.

Blue

Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.

Purple

Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.

Golden

Golden facial makeup symbolizes dignity and power fitting roles like supernatural being such as Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).

The features of facial makeup are mainly as follows:
First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.
It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and strong vitality. Out of curiosity and affection for facial makeup in Chinese opera, a great many foreign friends and Chinese of insight start to explore the mystery of it.(Cao Juan, 2019, 61)

===Terms and Expressions===

painted face 花脸

clown 丑角

Sheng 生

Dan 旦

Jing 净

Chou 丑

Qingyi 青衣

xiaosheng 小生

laosheng 老生

wusheng 武生

Gao Changgong 高长恭

legend，romance 传奇剧

Erlang Shen, Erlang 二郎神

Tathagata, Buddha 如来佛

Sakyamuni 释迦牟尼

Water Margin of the Marsh 水浒传

===Questions===

1.How many types are character roles divided into in Beijing opera?

2.What are the differences bbetween Sheng and Dan?

3.What are the special features of Chou?

4.What is the function of facial mask in Beijing opera?

5.What are the main features of facial makeup?

6.What are the characteristics of characters wearing blue facial makeup?

===Answers===

1.Four types:Sheng, Dan, Jing and Chou.

2.Sheng refers to male roles while Dan refers to female roles.

3.A patch of white powder is wiped on their nose.

4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.

5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.

6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly

===References===

He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.

Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.

Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.

==Literature, Science Fiction, and Fantasy - Dashkin, Gennadii - Student No.201911080001. Major - Comparative Literature and Cross-Cultural Studies==

=== Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===

Nowadays, modern literature is one of the most interesting and gorgeous sides of worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that the modern generation in the whole world prefers to read something about the future. Something, that can help to understand what will be next. And that is why one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broaden our mental horizons.

====1.Liu Cixin（刘慈欣）====

Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976). (Alexandra Alter, How Chinese Sci-Fi Conquered America 2019, 1)

Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant.

Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written, and naive, and decided that he did not deserve publication. However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel "Supernova Era". Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence. (Liu Cixin, Supernova Era 2019,352)

Liu's first books were warmly received in China, but nevertheless, the real success came to the author only in 2006, when he published the first part of his trilogy "Memory of the Earth's Past" - the novel "The Problem of Three Bodies" in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as "The Three-Body Problem," although this is not formally true.

Interesting fact: Such famous people as Barack Obama and Mark Zuckerberg called this book the best and recommended it for everyone to read.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:42, 18 December 2020 (UTC)

In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus, and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus.

Liu Cixin is definitely a unique writer, with his own style, philosophy, and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics but also to science fiction literature.

In this section, I would recommend adding authors whose books Liu Cixin recommends reading.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:42, 18 December 2020 (UTC)

====2.Chen Qiufan (陈楸帆） ====

Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.

Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu, and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.

His debut book was ''The Empty Wave'', "combining realism and allegory to represent the hybridity of humans and machines." Chen Qiufan's novels and stories won three Galaxy Awards and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish, and Russian.

His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of human progress.

An interesting fact that can also be added: In a year he watches about 100 films and reads 50 books in any way related to science fiction and Cyberpunk.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:54, 18 December 2020 (UTC)

====3.Rebecca F. Kuang (匡蘦秀)====

When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.

Quang grew up in Dallas, Texas, and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.

Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.

Her debut novel, The Opium War, is a war fantasy setting inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological, and philosophical realities of China of the chosen era.

I also suggest adding that she has been involved in several new projects at the moment, such as the well-known Star Wars. Can you write something about this?--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:54, 18 December 2020 (UTC)

Don't forget to add sources at the end of each paragraph.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:54, 18 December 2020 (UTC)

===Terms and Expressions===

1. Science fiction - 科幻

2. Fantasy - 奇幻

3. Horizon - 地平线

4. Broad - 拓宽

5. Hybrid - 杂种

6. The plot - 情节

7. Garbage - 垃圾堆

8. Heyday - 壮年

9. Supernova - 超新星

===Questions===

1. What was the first book written by Liu Cixin?

2. What is the most popular trilogy of books written by Liu Cixin?

3. Who is called Chinese William Gibson?

4. What is Rebecca Quang's Opium War plot based on?

===Answers===

1. Supernova Era

2. Memory of the Earth's Past

3. Chen Qiufan (陈楸帆）

4. The plot is largely based on the history of China in the middle of the 20th century.

===References===

1. Alexandra Alter, How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html

2. Liu Cixin, Supernova Era, 2019. 352 pp.

3. Chen Qiufan, Waste Tide, 2019. 342 pp.

4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.

==Stilts - Chen Yongxiang 陈永相英语笔译 202070080582==
[[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&fm=26&gp=0.jpg] for original source.]]

===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===

<center>Chen Yongxiang 陈永相英语笔译 202070080582</center>

====Introduction====

Stilt is one of the folk dances of the Han nationality in our country, which is called "Stilt Yangko" in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near. (Huo Linmo,2018)

Stilt is one of the folk dances of the ''Han'' nationality in our country, which is called "Stilt Yangko" in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from "Tongle Gaojiaohui"(同乐高脚会）founded in the Qianlong period of the Qing Dynasty and bestowed by Emperor Qianlong. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing over 250 years ago. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage. (Xingxing,2019)

As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the "Tongle Gaojiaohui"(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performing techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic in these funny characters. (Xingxing,2019)

The only serious character among the 13 roles is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords are his signature tricks. Others like the young boy, a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He plays the trick of going fishing because that's his character setting. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to accompany the performance and amuse the audience. (Xingxing,2019)

The show of Kylin Songzi (麒麟送子), which indicates good luck and peace, marks the end of the whole performance. Tuotou lies down flat, the young boy riding on his waist like a living lion. Mr. Plaster and young master raise their waists with Yupo dancing Yangko behind. Fisherman uses his ribbon to drag Tuotou who holds the ribbon in his mouth. When it's done, the show is over. That's the whole performance. (Xingxing,2019)

The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who holds the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

As a renowned fair, Miliangtun Village Stilts is characterized by risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. (Xingxing,2019)

Legs and feet of stilt-walkers must be agile. Jumping the large bench is quite demanding that normal players can hardly accomplish. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. Stilt-walkers control the balance with waist. They must bend their knees slightly and keep moving when walking on stilts. The upper body and their feet must be coordinated, and swing from side to side to ensure the balance when stepping on the wooden stilts. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing. (Xingxing,2019)

Miliangtun Village Stilts as a renowned fair,are known for the features of risky tricks, various skills and great difficulty. There are stunning tricks such as ''Yasha Searches the Sea'', ''Su Qin Carries Swords'', squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, and the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

There is strict inheritance relationship and etiquette in the stilt fair, which will set up inheritors, presidents, team leaders, and team members. As the distinctive folklore in Wangzuo Town, Fengtai District, Beijing, Miliangtun Village Stilts stands out among the stilt fairs and enjoys great popularity from peers and the public. It is visually stunning, technically accomplished and naturally funny, which is divided into lead in, head stilts command, and separation performance, forming into a fixed set of performance routines after long-term drills since the establishment. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.(Sun Miao,2018)

There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilt is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilt has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)

====Terms and Expressions====

Miliangtun (village name) 米粮屯

stilts 高跷

intangible cultural heritage 非物质文化遗产

folk dance 民间舞蹈

Toutou 陀头

Laozuozi 老坐子

young boy 小二哥

young master 公子

Mr.Plaster 药先生

Choupo 丑婆

fisherman渔翁

Yupo 渔婆

wood-cutter 柴翁

handsome and ugly drum-players 俊鼓和丑鼓

handsome and ugly gong-players 俊锣和丑锣

====Questions====

1. Where does Miliangtun Village Stilts originate?

2. How many years of history does Miliangtun Village Stilts have?

3. How many roles in Miliangtun Village Stilts?

4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?

5. How long is the shortest and the longest stilts?

====Answers====

1. Wangzuo Town, Fengtai District, Beijing.

2. More than 250 years.

3. 13.

4. In 2006.

5. The shortest stilt is two feet long, and the longest reaches over five feet.

====References====

Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.

Sun Miao 孙淼. (2018). "一跷多艺": 胜芳高跷会的舞体表征与比较研究. ["Multi-skills with one stilt": A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.

Xingxing 邢星. (2019). 米粮屯高跷 Miliangtun Village Stilts. https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin

Intangible cultural heritage Miliangtun Village Stilts. (2019). https://baijiahao.baidu.com/s?id=1643344511003907548&wfr=spider&for=pc

--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)

==Chinese Lion Dancing - Ding Daifeng 丁代凤 202070080583 英语笔译==

===Introduction===

Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)

Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)

When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.

When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)

There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)

There are a number of stories about the origin of lion dance. Here is one of the sayings. That is, during the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:52, 20 December 2020 (UTC)

In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)

In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:52, 20 December 2020 (UTC)

===Northern lion dancing===

The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)

The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)

===Southern lion dancing===

Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called "Liu Bei lion", "Guan Gong lion" and "Zhang Fei lion", which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)

Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called "Liu Bei lion", "Guan Gong lion" and "Zhang Fei lion", which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)

Dancers usually perform the traditional custom of “Cai Qing”, literally meaning "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)

Dancers usually perform the traditional custom of "Cai Qing", literally meaning "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:54, 20 December 2020 (UTC)

In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)

In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:54, 20 December 2020 (UTC)

===Terms and Expressions===

Western Regions 西域

mount 坐骑

Manjusri Bodhisattva 文殊菩萨

gong 锣

northern lion dancing 南狮

southern lion dancing 北狮

colorful silk ball 绣球

wooden stakes 木桩

spiritual resemblance神似

Liu Bei lion 刘备狮

Guan Gong lion 关公狮

Zhang Fei lion 张飞狮

sworn brothers 结义兄弟

horse stances 马步

Cai Qing 采青

lettuces 生菜

===Questions===

1. How long is the history of lion dance in China?

2. Why did people gradually accept lion as a sacred animal?

3. Why did people use lion dance to celebrate the New Year?

4. What is the main difference between southern lion dancing and northern lion dancing?

5. What is the center of southern lion dancing?

6. How many colors are there in the heads of southern lions? And what are they?

7. What is “Cai Qing”? And what do you know about “Cai Qing”?

===Answers===

1. It is with a history of about 2000 years.

2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.

3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.

4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.

5. It is in southern China’s Guangdong province.

6. The head of southern lion has three colors, namely black, red and yellow.

7. It means "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming.

===References===

Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.

Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.

Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.

Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.

==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==
===A. The Eight Tang-Song Prose Masters===
[[File:Tang Song Ba Da Jia.jpg]]

===Brief Introduction of The Eight Tang-Song Prose Masters===

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and "Three Su"(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called "Three Su". What's more, Su Xun is their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and "Three Su"(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called "Three Su". What's more, Su Xun is their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)

In a word, they all advocated prose and opposed parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their successive waves of innovation of ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

In a word, they all advocated prose and opposed parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their successive waves of innovation of ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''1. Han Yu'''
[[File:Han Yu.jpg]]

Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)

Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was a native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasties. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was a native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as "The Decline of Eight Generations" by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasties. Han Yu was called "Han Liu" with Liu Zongyuan, and his proses were juxtaposed with Du Fu's poems as "Du poem Han pen" by Du Mu. He enjoyed the fame as "The Article Giant" and "Admired Literate of One Hundred Generations" with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory.(Hou Benta 2014, 135)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)

Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)

Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

'''2. Liu Zongyuan'''
[[File:Liu Zongyuan.jpg]]

Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong ", " Mr. Hedong ", also known as" Liu Liuzhou " because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.

Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong, now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong", " Mr. Hedong ", also known as "Liu Liuzhou" because of his official end of feudal provincial of Liuzhou. He was born in Chang'an and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)

Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong, now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong", " Mr. Hedong ", also known as "Liu Liuzhou" because of his official end of feudal provincial of Liuzhou. He was born in Chang'an and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

He was juxtaposed with Han Yu as "Han Liu ", with Liu Yuxi as " Liu Liu ", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu ". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives. (Zhou Zhenfu 2016, 26)

He was juxtaposed with Han Yu as "Han Liu", with Liu Yuxi as "Liu Liu", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives. (Zhou Zhenfu 2016, 26)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)

He was juxtaposed with Han Yu as "Han Liu", with Liu Yuxi as "Liu Liu", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives.(Zhou Zhenfu 2016, 26)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)

He was a philosopher and litterateur with many wise ideas, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude to writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)

He was a deep-thignking philosopher and great litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude to writing. That means, it is important for the writer to have highly moral cultivation.(Zhangjian 2019, 1)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

'''3. Ouyang Xiu'''
[[File:Ouyang Xiu.jpg]]

Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.

Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousand volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was a native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Mianyang city in Sichuan province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the "Liu Yi scholar", which means that he had ten thousand volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk man alone. He was born in Mianzhou, now Mianyang city in Sichuan province, whose hometown is Jizhou Yongfeng, now Yongfeng county of Ji'an city in Jiangxi province.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.

Ouyang Xiu’s poems, Cis and proses were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was one of his representatives.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Ouyang Xiu's poem, Ci and prose were all the crown of that time. His poem was smooth, lyrical and euphemistic with a similar prose style, which stresses on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was one of his representatives.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)

Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang xiu not only drove away the old style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu's ancient prose, and pioneered the Northern Song Dynasty poetry innovation movement. As the leader of this movement, he not only drove away the old style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height.(Hou Benta 2014, 136)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:13, 20 December 2020 (UTC)

'''4. Su Xun'''
[[File:Su Xun.jpg]]

Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.

Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. He married Mrs. Cheng at the age of 19. Later when he was 27, he determined to study hard. After a decade of hard work, he made huge academic progress.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. At the age of 19, he married Mrs. Cheng. Later when he was 27, he determined to study hard. After a decade of hard work, he made huge progress in his academic field.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Su Xun was a man of political ambition. He said that the main purpose of his works was "to speak for the world ", to" apply to the present ". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)

Su Xun was a man of political ambition. He said that the main purpose of his works was "to speak for the world", to "apply to the present". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Xun was a man full of political ambition. He said that the main purpose of his works was "to speak for the world", to "apply to the present". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor.Owing to his great understanding of social reality, he was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''5. Su Shi'''
[[File:Su Shi.jpg]]

Su Shi, with a fame as " Dongpo Jushi ", was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .

Su Shi, with a fame as " Dongpo Jushi ", was a native in Meishan in Sichuan. He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Shi, with a fame as "Dongpo Jushi", was a native in Meishan in Sichuan. He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".(Zhou Zhenfu 2016, 28)

Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding men in literary and artistic attainments in thousands of years of Chinese history. He was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".(Zhou Zhenfu 2016, 28)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding men in literary and artistic attainments in thousands of years of Chinese history. He was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".(Zhou Zhenfu 2016, 28)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.

Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage.(Zhangjian 2019, 1) Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage.(Zhangjian 2019, 1) Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called "Su Men Four bachelors".--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''6. Su Zhe'''
[[File:Su Zhe.jpg]]

Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)

Su Zhe was born in Meishan, Meizhou, now Sichuan province. In the the second year of Jiayou(AD 1057), Su Shi, together with his brother, climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode, such as The "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Su Zhe was born in Meishan, Meizhou, now Sichuan province. In the the second year of Jiayou(AD 1057), Su Zhe, together with his brother Su Shi, climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He performed well in politics and history and discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode, such as his work the "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''7. Wang Anshi'''
[[File:Wang Anshi.jpg]]

Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .

Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo. He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo. He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)

Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature should aim to serve the society first. That means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature should aim to serve the society first. That means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary opinions of enlightenment of political decrees for world use.(Zhou Zhenfu 2016, 30)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''8. Zeng Gong'''
[[File:Zeng Gong.jpg]]

Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng" , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.

Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In the second year of Jiayou(AD 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng", including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In the second year of Jiayou(AD 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng", including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.

Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text.(Zhangjian 2019,1) His prose was natural and simple with little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative.(Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text.(Zhangjian 2019,1) His prose was natural and simple with little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative.(Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

'''9. Comparison between the Ancient Prose Movement and Renaissance'''

Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)

Although there were seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their cultures respectively.(Lu Sihong 2016, 71)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

Although there were seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their cultures respectively.(Lu Sihong 2016, 71)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Comparison in ideology:

The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.

The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.(Wang Yaping 2001, 8) Their premise and foundation are their own classical thoughts.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.(Wang Yaping 2001, 8) Their premise and foundation are their own classical thoughts.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Comparison in writing style:

The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)

The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of in Tang and Song Dynasties studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

Comparison in literary form:

The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :" Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)

The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language.(He Lei 2017, 159) Although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theories and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said: "Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)

The Ancient Prose Movement not only corrected the floating and rigid writing style of the Six Dynasties, but also laid a good foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language.(He Lei 2017, 159) Although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theories and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said: "Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:49, 20 December 2020 (UTC)

===B. Terms and Expressions===
The Eight Tang-Song Prose Masters 唐宋八大家

Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》

Ancient Prose Movement 古文运动

parallel prose 骈文

The Decline of Eight Generations 文起八代之衰

The Article Giant 文章巨公

Admired Literate of One Hundred Generations 百代文宗

Han Changli Collection 《韩昌黎集》

External collection 《外集》

The Teacher's Theory《师说》

Pre-Qin and Han Dynasties 先秦两汉时期

writing in classical Chinese 文言文

feudal provincial of Liuzhou 柳州刺史

official supervisor of imperial censor 监察御史

Liu He Dong Colloection 《柳河东集》

Northern Song Dynasty 北宋

a thousand volumes of collections of inscriptions 金石遗文一千卷

Xia, Shang, Zhou Dynasties 三代

the crown of that time 一时之冠

Southern Tang Dynasty 南唐

Yu Feng 余风

The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》

the Northern Song Dynasty poetry innovation movement北宋诗文革新运动

Heng Lun 《衡论》

Duke Jingguo 荆国公

The Book to the Emperor 《上皇帝书》

Dongpo Jushi 东坡居士

Ci writer 词人

Unconstrained Ci School豪放派

literary and artistic attainments 文学艺术造诣

the first all-round talent in ancient China 中国古代第一全才

Su Men Four bachelors 苏门四学士

the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》

The New Theory《新论》

On the Six Kingdoms 《六国论》

Ode 赋

The Ode to Ink bamboo 《墨竹赋》

Seven Zengs of Nanfeng 南丰七曾

the doctrine before the text先道后文

the Book to Ouyang She Ren 《上欧阳舍人书》

the Book to Bachelor Cai 《上蔡学士书》

the Six Dynasties 六朝

===C. Questions===
1.Who are the pioneers of the Ancient Prose Movement?

2.Which kind of prose they advocate in the Ancient Prose Movement?

3.Do you know any representatives of Liu Zongyuan?

4.Why Ouyang Xiu is called "Liu Yi Scholar"?

5.What’s the relationship among Su Xun, Su Shi and Su Zhe?

6.Who are the "Seven Zengs of Nanfeng"?

7.Do you know any about the Renaissance?

===D. Answers===

1.Han Yu and Liu Zongyuan.

2.The prose of Pre-Qin and Han Dynasties.

3.The "Liu He Dong Colloection".

4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.

5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.

6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.

7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.

===References===
Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.

Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.

He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.

Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.

Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.

Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).

Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).

Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.

Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.

==Music, Instruments, Pipa - Gao Mingzhu 高明珠 - 202070080585 - Translation 英语笔译==
[Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)

Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu

===1. A Brief Introduction===

[[File:1.jpg|250px|thumb|left|The structure of Pipa. image from 360Baike. Click[https://image.so.com/view?q=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&src=srp&correct=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&ancestor=list&cmsid=b749b87b72b5c9427d6560a39d41548f&cmras=6&cn=0&gn=0&kn=0&crn=0&bxn=0&fsn=60&cuben=0&pornn=0&manun=0&adstar=0&clw=247#id=22b2926be2637560e928bbc9318219fb&currsn=0&ps=58&pc=58]for original source.]]

Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The "Pin(品，those wooden strips on Pipa’s face plate for pressing)" and "Xiang（相, those horizontal strips on Pipa’s neck for pressing）" are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)

Pipa belongs to plucked stringed instruments. It is made of wood or bamboo, and its speaker box is half pear-shaped with 4 strings on it which was made of silk initially while being made of steel wire, steel rope or nylon now. The "Pin(品，those wooden strips on Pipa’s face plate for pressing)" and "Xiang（相, those horizontal strips on Pipa’s neck for pressing)" are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly and presses the strings with the left hand and plays them with the right hand. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:43, 18 December 2020 (UTC)

===2.The Development of Pipa===

The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)

The development of The Chinese pipa has gone through four stages: First, the Qu Xiang pipa (curving-neck pipa) was introduced to China during the Eastern Jin Dynasty and became an important instrument. In the second stage, the art of pipa reached its peak in the Tang Dynasty, making a breakthrough in timbre and performance techniques and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)

During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one way to play pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16)

During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)

During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)

During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. And it was replaced by Chinese traditional instrument playing style with a major breakthrough in playing skills and artistic expression. During this period, pipa was still played mainly by plucking the strings, but its initial plucking style had transitioned to finger-playing, and the posture of playing the pipa changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)

During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the range of the audience of pipa performance changed from small to large. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)

During the Song and Yuan Dynasties, the methods and playing skills of pipa performance were more mature, and its playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. (Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)

During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)

During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing the pipa also kept vertical. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement in their performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so the common people without cultural accumulation often cannot appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)

===3.Pipa Schools and Their Chracteristics===

The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)

The formation of Pipa schools in China was due to the southwards moving of the economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)

(1)The Wuxi school

The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)

The Wuxi School belongs to the Northern School and differs from the Southern School in terms of finger rotation method. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)

(2)The Pinghu school

The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as " paired butterfly flying" .(Deng Sijia 2020,10)

The most distinctive performing techniques of the pipa are the Pinghu school's rotation method of the right hand fingers. It also has other characteristic techniques such as " paired butterfly flying" .(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)

(3)The Pudong School

Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)

Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both civil and military; In terms of playing skills, it has its own characteristics, including parallel string and rolling of four strings.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)

(4)The Chongming school

The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)

The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, the Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuity in the slow, the order in the fast, and soft and lively sound. In terms of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)

(5)The Shanghai school

This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)

===4.Traditional Pipa Music===

Traditional pipa music can be divided into military songs, literary songs and military-literary songs.

Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are "Ambush on All Sides", "Bury Me High", "Hai Qing Hunting the Swan", "General Order in the Han Dynasty". [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)

Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are "Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" and so on.

Literary song emphasizes the expression of the left-hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound inner talking or the artistic conception that people are looking forward to in a simple and moving melody or in a beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are "Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" and so on. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:04, 18 December 2020 (UTC)

Military-literary song is the combination of martial song and literary song. The representative songs are "The Spring Snow", "High Mountain and Flowing Water", "Dragon Boat", "Flute and Drum at Sunset" and so on.

===5.References=== [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)

*[1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020

*[2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.

*[3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.

*[4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.

[Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)

===6.Terms and Expressions===

*弹拨乐器—plucked instruments

*汉化—Chinesization

*套曲—divertimentoes

*游牧民族—nomad tribe

*宫廷乐—court music

*轮指法—tremolo

*音色—timbre

*曲目—repertoire

*并弦—parallel string

*指法—fingering techniques

===7.Questions===

1、How many stages did pipa go through during its development?

2、What characteristics did pipa have during Wei and Jin dynasties?

3、What changes had been made to pipa during Ming and Qing dynasties?

4、How many schools does pipa have and what are they?

5、Can you list at least 3 representative repertoires of literary songs played by pipa?

===8.Answers===

1、Four.

2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.

3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics.

4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school.

5、"Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" .

[Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)
===Terms and Expressions===

==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001. Major - Comparative Literature and Cross-Cultural Studies--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:14, 17 December 2020 (UTC)==

=== Huli-jing figure in Chinese mythology and its analogs in Japan and Korea ===

The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?

'''1. Huli-jing (狐狸精) in China'''

First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.

People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.

People, especially women, believed that due to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to resist the representatives of the Huli Jing cult, but it was only during the Song dynasty reign. That time the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not fully eradicated in other parts of China. Probably, a more competent decision in between acolytes area was made to give the werefox woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.

The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.

The theme of fatal love in the stories of werefoxes appear as a continuous line in Pu Songling tales. This suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their savage ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.
A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled "Good Hunt". The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.

In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film "Painted Skin (畫皮)", where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.

In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.

Quite a lot of information about werewolf foxes can be obtained from the TV series "The Legend of the Nine-Tailed Fox" released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.

Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.

To sum up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the ancient Chinese dynasties, the image of werefoxes has been predominantly negative and associated with deceit, seduction, and intrigue. But further the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.

'''2. Kitsune (キツネ) in Japan'''

In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari ("Fox-messenger") and the Chinese, who considered foxes to be werewolves, a genus close to demons.

Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.

Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.

Kitsunes are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari is sometimes depicted as a fox by himself. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)

A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold.

'''3. Kumiho (구미호) in Korea'''

Kumiho - (구 "ku" - nine, 미 "mi" - tail, 호 "ho" - fox - "fox with nine tails") is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.

In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.

===Terms and Expressions===

Shape shifter – 成精

Creature –生物

Seductive –诱人的

Damnation –诅咒

Metaphor –隐喻

Ascribe –属性

Indigenous –土着

Deity – 反面人物

Liver – 肝脏

===References===

1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.

2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.

3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.

===Questions===

1. What was the attitude towards the Huli Jing in Ancient China?

2. Can we characterize Kitsune as a positive or negative character?

3. Could Kumiho become human forever?

===Answers===

1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.

2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.

3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.
References ..................

==Chinese Characters - Gu Dongfang 顾东方 - 202070080635 - Interpretation 英语口译==
===Chinese Characters===

===Origin===

Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）

===Evolution of Chinese characters===
[[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]
Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)

===Ancient Chinese characters===

====Oracle bone script====

Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).

====Bronze script====

In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.（ Yu Xinjia and Xue Ruijia，2005）

====Seal script====
Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly.
The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.（ Yu Xinjia and Xue Ruijia，2005）

Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) began to be used in Qin State.
and all of the above three points ignored the quote, please add them up.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:23, 18 December 2020 (UTC)

===Modern characters===
====Clerical script====

After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.
From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.（ Yu Xinjia and Xue Ruijia，2005）

After the unification of China, the seal script was still popular, but could not satisfy the needs of people.Because of its lengthened and curved lines, it took more time to write.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:29, 18 December 2020 (UTC)

====Regular script====

Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.

Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people for generations even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage. （ Yu Xinjia and Xue Ruijia，2005）
===Formation of Chinese characters===

====Pictograms====

Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for "sun," 月 (yuè) for "moon," and 木 (mù) for "tree."

====Pictophonetic compounds====

Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.（ Yu Xinjia and Xue Ruijia，2005）
====Ideograph ====

Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for "knife," placing an indicator in the knife makes 刃 (rèn), an ideogram for "blade." Other common examples are 上 (shàng) for "up" and 下 (xià) for "down." This category is small, as most concepts can be represented by characters in other categories.（ Yu Xinjia and Xue Ruijia，2005）
====Logical aggregates====

Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng) bright, which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:54, 18 December 2020 (UTC)

====Associate transformation====

Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning "elderly person," but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.（ Yu Xinjia and Xue Ruijia，2005）

Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)

===Simplification of Chinese characters===

The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)
===Terms and expressions===

1.Oracle Bone Inscriptions 甲骨文

2.Bronze Inscriptions 金文

3.Small seal characters 小篆

4.Official script 隶书

5.Regular script 楷书

6.Cursive writing 草书

7.Cang Jie 仓颉

8.Clerical script 楷书

9.Su Shi 苏轼

10. Wang Xizhi 王羲之

11.Ou Yangxun 欧阳询

12.Yan Zhenqing 颜真卿

13.Pictograms 象形

14. Pictophonetic compounds 指事

15.Ideograph 会意

16.Logical aggregates 形声

17.Associate transformation 转注

18.Borrowing 假借

===Question===
1.How many Chinese characters are there?

2.How many letters are in the Chinese alphabet?

3. How many formations of Chinese characters? What are they?

===Answers===
1. According to the latest statics, there are nearly 91251 Chinese characters recorded .

2. There are 26 letters in Chinese alphabet.

3. Six formations are included in Chinese characters system, and they are Pictograms
Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing

===References===

1.王显春. 汉字的起源[M]. 学林出版社, 2002.

2.刘又辛. "关于汉字发展史的几个问题(上)." 语文建设 12(1998):34-37.

3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188

4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.

==Handcraft - Chinese Knots - Guan Qinqing 管钦清 - Student No.20207080586 - 英语笔译==

===A.Chinese Knots===

====1.A Brief Introduction about Chinese Knots====

The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.（Li Ku 2016，125）

The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization. It
originally evolved from the sewing of the Paleolithic period, into the ritual memorial of the Han Dynasty, and then into today's decorative craft. The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronze of the Warring States Period.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decoration and aesthetics,which
earned the knot its name.（Li Lifang & Sun Jianjun 2002,38）

The Chinese knot continued to become a popular art in the Qing Dynasty. Now, Chinese knots are often used as interior decorations, gifts between relatives and friends and
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decorations and aesthetics, which
earned the knot as its name.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

====2.The Classification of Chinese Knots====

There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥
结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井
结）,Cross Knot(十字结） and Ping Knot（平结）.（Li Ku 2016，125）

There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot. They are Double Coin Knot(双钱结）, Good Luck Knot（吉祥
结）, Chinese Button Knot（纽扣结）, Sauvastika Knot（万字结）, Oxalis Knot（酢浆草结）, Pan Chang Knot（盘长结）, Round Brocade Knot（团锦结）, Caisson Celling Knot（藻井
结）, Cross Knot(十字结） and Ping Knot（平结）.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot.

Here, we mainly introduce three main Chinese knots, which are the Double Coin Knot, the Good Luck Knot and the Pan Chang Knot.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)

=====2.1.The Double Coin Knot=====

Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. Money in China not only represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called "luck money".（ Li Lifang & Sun Jianjun 2002，40）

Ancient coins are closely related to a country’s history, culture, politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views on coins are not limited on their prices but values, which can be seen in the auspicious characters and patterns cast on many ancient coins. Money in China not only represents the value of a certain currency, but also something of good luck. On every Chinese New Year's Eve, children can receive the so-called "luck money". --[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:50, 19 December 2020 (UTC)

Therefore, for the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes "good things come in pairs". This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful patterns, such as clouds and Perfect Knots，etc. （Li Ku 2016，126）

Therefore, for the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes "good things come in pairs". This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful patterns, such as clouds and Perfect Knots，etc.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:51, 19 December 2020 (UTC)

=====2.2.The Good Luck Knot=====

As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.
And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.（Wu Hongfang 2004,120）

As for the Good Luck Knot,it is an extension of the cross knot, and one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.
And the knot shape is beautiful, varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:53, 19 December 2020 (UTC)

=====2.3.The Pan Chang Knot=====

Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the
avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.（Li Lifang & Sun Jianjun 2002，44）

Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the
avenue and is therefore highly valued by Chinese people.As is a symbol of the origin of all things, Pan Chang (盘长）is one of the most important basic knots. It is
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:56, 19 December 2020 (UTC)

====3.The Knitting Method of Chinese Knots====

The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.（Xu Xing 2004,46）

The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots. The combination technique means to use thread extension to flexibly combine various knots, so as to make a group of varied knots.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:58, 19 December 2020 (UTC)

The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.（Xu Xing 2004,47）

The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art. --[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:58, 19 December 2020 (UTC)

====4.The Cultural Connotations of Chinese Knots====

Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of
rope and thread.In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". In addition, Chinese people are descendants of
Dragons.（Wang Mizhu &Sun Sun& Qu Hongjian 2014,44）

Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of
rope and thread. In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". In addition, Chinese people are descendants of
Dragons.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:00, 19 December 2020 (UTC)

Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of
"knot", which means reunion and happiness. Many of the Chinese words composed of "结"（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交
（making friends), and 永结同心（tie the knot),etc. "结"(knot) is also homonymous with "吉"（ausipiciousness), so people even think that "knot" is a symbol of good luck.

Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of
"knot", which means reunion and happiness. Many of the Chinese words composed of "结"（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交
（making friends), and 永结同心（tie the knot),etc. "结"(knot) is also homonymous with "吉"（ausipiciousness), so people even think that "knot" is a symbol of good luck.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:00, 19 December 2020 (UTC)

====5.Comparisons between Chinese Knots and Cross Necklaces====

=====5.1.Different Cultural Connotations=====

From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of
Christianity. The cross, derived from the Latin "crux", means "fork".It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient
Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross
ornaments in the west as cross necknaces are usually used to represent love and salvation.（Wang Mizhu &Sun Sun& Qu Hongjian 2014,45）

From the above, we can see that the Chinese knot have many meanings, such as good luck, love, unity and so on. The cross necklace, however, is symbolic of Christianity. The cross, derived from the Latin "crux", means "fork".It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners. Therefore,such cross ornaments in the west as cross necknaces are usually used to represent love and salvation.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:02, 19 December 2020 (UTC)

=====5.2.Different Shapes=====

Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have
different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.（Xu Xing 2004,47）

Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 16:04, 19 December 2020 (UTC)

====6.References====

*Li Ku 李库. (2016). 符号学视角下的中国结解读 [The Analysis of Chinese Knots from the Perspective of Semiology ]. ''艺海'' Yi Hai (08) 125-126.

*Li Lifang & Sun Jianjun 李立芳，孙建君. (2002). ''民间绳结'' [Folk Knots]. Wuhan: Hubei Fine Arts Publishing House 湖北美术出版社.

*Xu Xing 许星. (2004). 路论中国结 [On the Chinese Knots]. ''丝绸'' The Silk (02) 46-47.

*Wu Hongfang 邬红芳. (2004). 中国结的意象美学特征 [The Rhetorical-Beauty of Chinese Knots]. ''装饰'' Decoration (09) 120-121.

*Wang Mizhu &Sun Sun& Qu Hongjian王眯珠,孙荪,曲洪建. (2014). 怀旧心理与创新意识对中国结的影响分析[The Analysis of the Impact on Chinese Knots from Reminiscence and Consciousness of Innovation ]. ''丝绸'' The Silk (11) 43-50.

===B. Terms and Expressions===

Double Coin Knot 双钱结

Good Luck Knot 吉祥结

Chinese Button Knot 纽扣结

Sauvastika Knot 万字结

Oxalis Knot 酢浆草结

Pan Chang Knot 盘长结

Round Brocade Knot 团锦结

Caisson Celling Knot 藻井结

Cross Knot 十字结

Ping Knot 平结

tie the knot 永结同心

luck money 压岁钱

the bishop's identity 主教职权

===C. Questions===

1. What is the Chinese knot?

2. Do you know the names of the main Chinese knots? What are they?

3. What do "绳" and "结" mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)

===Answers===

1.The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.

2.There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot,Good Luck Knot,Chinese Button Kno,Sauvastika Knot,Oxalis Knot,Pan Chang Knot,Round Brocade Knot,Caisson Celling Knot,Cross Knot and Ping Knot.

3.In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of "knot", which means reunion and happiness.

==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:19, 20 December 2020 (UTC)the right order of your title should be category, topic, name, student number

[[File:Chinese Mythology.jpg|thumb|right|Panku]]

===Introduction===

The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.

===A. Panku Created the World===

In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).

At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 "li" (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).
Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.

===B. NuWa Created Human Beings===

[[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]

Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).

As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.

During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:09, 20 December 2020 (UTC)the source is missing

===C. Fushi Taught the People===

In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .

Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing "trigrams", in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This "trigrams" was also a mean to interpret future and consult oracle about the right ways to follow.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:24, 20 December 2020 (UTC)to write the in the way of (Irene Dea Collier 2001, 35-36),that's better.

Finally, Fushi gave his last gift (music) in order people can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a "pipa" (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history. Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:02, 20 December 2020 (UTC)the source is missing.

===D. Water War===

Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and described as a very big giants with different shapes, Gong shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).

Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:22, 20 December 2020 (UTC)to write the in the way of (Irene Dea Collier 2001, 48-49),that's better.

In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:25, 20 December 2020 (UTC)the source is missing.

===E. Terms and Expressions===

Chinese Mythology 中国神话

Panku 盤古

Yin/Yang 陰陽 / 阴阳

Nuwa 女媧

Fushi 伏羲

Water War 水战

===F. Questions===

1. Why an egg a good symbol for the beginning of the world?

2. Why Nuwa decided to create human beings?

3. What did Fushi taught to people?

4. What was the cause of Gong and Zurong’s war and who won?

===G. Answers===

1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.

2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.

3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.

4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.

===References===

1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.

2. Irene Dea Collier. (2001). "Chinese Mythology". Library of Congress Cataloging-in-Publication Data.

3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg

4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:04, 20 December 2020 (UTC)the way of reference-listing is not standard.

==Gods and Immortals - Gui Yizhi 桂一枝 202070080587 英语笔译==

===Chinese gods and immortals===

====Chinese mythology system====

Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.(Lü & Gong 2014, p. 71 )

Chinese mythology is a mythology that has been passed down in oral form or literature records, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.(Lü & Gong 2014, 71 )--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.(Yang, An & Turner 2005, p.4)

Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.(Yang, An & Turner 2005, 4)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).1987.(Bai 1987, pp. 34-40)

The Ancient mythologies are myths about the origin of human or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).1987.(Bai 1987, 34-40)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.(Olson & Stuart 2002, pp. 27-28)

Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.(Olson & Stuart 2002, 27-28)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her.(Buddhism, p37)

At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her.(Buddhism, 37)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

====神 shén, 帝 dì and 仙 xiān====

Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between "god" and "deity". dì, sometimes translated as "thearch", implies a manifested or incarnate "godly" power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".(Hu, 2020)

Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between "god" and "deity". dì, sometimes translated as "thearch", implies a manifested or incarnate "godly" power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".(Hu, 2020)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.(Fowler & Jeanine 2005, pp. 200-201)

There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.(Fowler & Jeanine 2005, pp. 200-201)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

====Eight immortals====

The Eight Immortals are a group of legendary xian ("immortals") in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.(Yang,Deng & Wang 1987, pp. 40-45)

The Eight Immortals are a group of legendary xian ("immortals") in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.(Yang,Deng & Wang, 1987 40-45)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism.(Yang,Deng & Wang 1987, pp. 45-50)

The Immortals are Lü Dongbin (吕洞宾), He Xiangu (何仙姑), Zhang Guolao (张果老), Lan Caihe (蓝采和), Li Tieguai (李铁拐), Zhongli Quan (钟离权), Han Xiangzi (韩湘子), Cao
Guojiu (曹国舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism.(Yang,Deng & Wang 1987, pp. 45-50) --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- "The Eight Immortals cross the sea, each reveals its divine powers" (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.(Little, Stephen 2000,pp. 313, 319–334)

The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- "The Eight Immortals cross the sea, each reveals its divine powers" (八仙过海，各显神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.(Little, Stephen 2000,pp. 313, 319–334)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

===Terms and Expressions===

immortals 仙

mythology 神话，神话学

cosmology 宇宙论，宇宙观

monolithic 整体（式）的

the Battle of Zhuolu 涿鹿之战

pantheistic 泛神论的

polytheistic 多神论的

Three Pure Ones 三清

anthropomorphic 人格化的

tutelary 守护神

deity 神

Buddha 佛

Shakyamuni 释迦牟尼

Amitabha 阿弥陀佛

Amitāyus 无量寿佛

celestial 天的

Bodhisattva 菩萨

Pure Land 极乐世界

vessels 法器

Covert Eight Immortals 暗八仙

Taoist 道家的，道士

===Questions===

1. What are the topics of the Ancient mythology?

2. What are the differences among shén, dì and xiān?

3. What do the Eight immortals represent respectively?

===Answers===
1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.

2. shén and dì corresponds to the distinction in Western cultures between "god" and "deity". The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".

3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.

===References===

[1]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.

[2]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.

[3]Bai Yang. Chinese Huamn History. Time Literature & Art Press, 1987.

[4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear & Company.

[5]Buddhism, the Fulfilment of Hinduism

[6]Hu Yanan. From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty [D].Harbin Normal University,2020.

[7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.

[8]Yang Erzeng, Deng Zhimo, Wang Xiangxu. A Full Story Book of Eight Immortals. Spring Breeze Literature & Are Press,1987.

[9]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago.

[1]Lü, Daji; Gong, Xuezeng. (2014). ''Marxism and Religion.'' Religious Studies in Contemporary China. Brill.

[2]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). ''Handbook of Chinese Mythology''. New York, NY: Oxford University Press.

[3]Bai Yang. (1987). ''Chinese Huamn History''. Time Literature & Art Press.

[4]Olson, Stuart Alve. (2002). ''Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun''. Bear & Company.

[5]Buddhism, the Fulfilment of Hinduism

[6]Hu Yanan.(2020). ''From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty'' [D].Harbin Normal University.

[7]Fowler, Jeanine D. (2005). ''An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality''. Sussex Academic Press.

[8]Yang Erzeng, Deng Zhimo, Wang Xiangxu. (1987). ''A Full Story Book of Eight Immortals''. Spring Breeze Literature & Are Press.

[9]Little, Stephen (2000). ''Taoism and the Arts of China.'' The Art Institute of Chicago.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:20, 19 December 2020 (UTC)

==Literature, Tang and Song - Guo Lu 郭露 202070080588 MTI==
[suggestion:Literature, Tang and Song - Guo Lu 郭露 202070080588, here, your major is missing.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

===Classical Prose Movement of late Tang Dynasty and Song Dynasty===

====Introduction====

“The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its depth.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, and it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)
[suggestion:……and Confucianism Renaissance as its deep. Here, "deep" may be replaced by "depth".
The word “Gu Wen” was first introduced by Han Yu, (Here, you can add a word "and")it indicates the prose in the pre-Qin period and Han Dynasty.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====Development====

The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)
[suggestion:(Here, "Both" can be replaced by "They both".)Both were enthusiastic to promote the movement……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)
[suggestion:However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. (Here, this sentence doesn't have a predicate, so you may change the word "writing" into "wrote".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65)

====Representatives====

'''1.Han Yu'''

Han Yu (768–824), courtesy name Tuizhi, is also known for his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the "Eight Great Prose Masters of the Tang and Song"，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)
[suggestion:Han Yu (768 – Here, you may delete the space.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC) 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. (And this sentence doesn't have a predicate, so you may add "is" before the word "also", and "for" after "known".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)

'''2.Liu Zongyuan'''

Liu Zongyuan (773–819), courtesy name Zihou, is also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese litterateur, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is "Jiangxue". (Yang Shengli 2020, 42-44)
[suggestion:(773 – Here, you may delete the space. 819);(And this sentence doesn't have a predicate, so you may add "is" before the word "also", and "for" after "known".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

'''3.Ouyang Xiu'''

Ouyang Xiu (1007–1072), courtesy name Yong Shu, is also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)
[suggestion:(1007 – Here, you may delete the space. 1072);(And this sentence doesn't have a predicate, so you may add "is" before the word "also", and "for" after "known".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)

Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)
[suggestion:Except(Here, you may change "Except" into "Besides".) for Han Yu, Liu Zongyuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====Masterworks====

Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)
[suggestion:Except for(Here, you may change "Except for" into "Besides".) the works of Han Yu, Liu Zong Yuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====Influence====

The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)

====Terms and Expressions====

The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家

Classical Prose Movement 古文运动

''Eight Records of Excursions in Yongzhou'' 《永州八记》

''On Teachers'' 《师说》

''New Book of Tang'' 《新唐书》

''Historical Records of the Five Dynasties'' 《新五代史》

''Zuiweng Tingji'' 《醉翁亭记》

''Shang Zhongyong'' 《伤仲永》

''On Jia Yi'' 《贾谊论》

''First Ode to the Red Cliff'' 《赤壁赋》

====Questions====

1. Who were the first promoters of the Classical Prose Movement?

2. What does the Classical Prose Movement mean?

3. What's political and religious purposes of the Classical Prose Movement?

====Answers====

1. The first promoters of this movement were Han Yu and Liu Zongyuan.

2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.

3. The reason why Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.
[suggestion: The reason what…….(Here, you may change "what" into "why".)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)

====References====

Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.

Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.

Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.

Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.

Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.

Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.

Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.

==The tradition of Red Envelope and Lucky Money - HA, THI THU HANG - 201921080008 - Comparative Literature and Cross-Cultural Studies==

[[File:chinese-new-year-red-pockets-design.jpg|250px|thumb|left|Red Enverlop]]

===The Chinese Red Envelope and Lucky Money Tradition===

In Chinese and other East and Southeast Asian societies, Red Envelopes, also called Red Packets, Lucky Money, or ''Hóngbāo'' ( 红包 ) in Chinese, ''Li shi'' / ''Lìxì'' in Vietnamese are popular monetary gift given during holidays or special occasions or festivals such as weddings, graduation, senior people's birthday parties or the birthday of a child, visit a newborn baby, etc in China, Vietnam, Korea, Japan, and some other Asian countries, especially widely seen during the Lunar New Year Festival. During the Lunar New Year, the adult, parents and grandparents gift with the red envelops for kids, which have money stuffed into. It is a traditional way to wish good luck and share blessings.

The Lucky Money tradition began in the Han Dynasty. Rather than real money, they were small collectibles in the form of coins to ward off evil spirits. Auspicious phrases and symbols were engraved onto the surface. "worldwide peace" ( 天下太平 / ''Tiān xià tài píng''), “longevity and fortune” ( 千秋万岁 / ''Qiān qiū wàn suì''), dragons and phoenixes were common.

These coins were tied together with red string. The practice transitioned to be wrapped in Red Paper and now, put into Red Envelopes.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

====The Legend====

In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called ''Sui'' ( 祟 ) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called ''Shou Sui'' ( 守祟 ).

One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone in the village knew about the stories. Since then, when Lunar New Year comes, people will give children "red paper wrapped copper money" with a belief that the money will protect children from being harmed.

There are also other legends about this custom related to the son of Yang Guifei of the Tang Dynasty - China and the Qin Dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

====The Tradition====

The Chinese custom of Lucky Money is called ''Hóngbāo'' ( 红包 ). Chinese people really like red, so the Lucky Money is always red, symbolizing luck and happiness. The Red Envelope is called ''Yāsuìqián'' ( 压岁钱 ), which means "suppressing ghosts money". Those who receive a Red Envelope are wished another safe and pea. Sending Red Envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese Lucky Money must avoid the number 4 ( 四 / ''si'') and be sealed - that means no 4, 40, or 400 amounts - as the pronunciation of four in Chinese sounds like the word for death ( 死/ ''si''). However, amounts including the number 8 ( 八 / ''ba'') will bring good luck and prosperity ( 发财 / ''fa'').

There are rules on how to properly receive an Envelope. Traditionally, children would kneel to receive their ''Hóngbāo'' from older family members, and this is still practiced in some areas of China. Red Envelopes are also always given and received with both hands, and should never be opened immediately and in the presence of the present-giver. After receiving the Lucky Money, the children have to put it all under the pillow after about a week to open it. The meaning of this is for the Lucky Money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese Lucky Money.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

'''Alipay and WeChat Red Envelope'''

[[File:chinese-new-year-red-pockets.jpg|300px|thumb|Right|Red Envelope - How much to give who - [[https://www.chinahighlights.com/travelguide/festivals/red-envelop.htm]]]]

Moving on from the traditional Red Envelope, in the 21st century, many people exchange digital Red Envelopes instead of the traditional paper ones. These are virtual packets of very real cash, transferred directly to friends' and family's smartphones. Users can even send digital ''Hóngbāo'' to their favorite celebrities using apps such as Alipay, WeChat and the Weibo Red Envelope. WeChat Red Packet is an online money transfer with a colorful message via WeChat (a messaging Chinese app). In recent years, it has become popular among young people to send "Red Envelopes" via WeChat as a greeting. It has become a new way to greet friends or relatives during the Chinese New Year period.

While the tradition centers on children, Red Envelopes are given to friends, family, colleagues and many other relatives - and different amounts of money are customary for each relation. For example, parents and grandparents get the most, but employees and even casual acquaintances can expect a Red Envelope.

====Outside of China====

The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent. Each country has different ways of Lucky Money and changes over time, but the basic custom of Lucky Money is to want to send wishes of peace to all relatives and friends in the New Year.

[[File:LunarNewYearinVietnam.jpg|250px|thumb|Right|Lunar New Year in Vietnam]]

In Vietnam, Lucky Money is called ''Lì xì/Tiền mừng tuổi'' and very typical. On the first day of the Lunar New Year - one of the great holidays of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give Lucky Money to the children with the message of good luck, good care and good study. Today, the tradition of Lucky Money in Vietnam is also expanded in the direction that children give Lucky Money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.

[[File:Otoshidama.jpg|200px|thumb|left|Otoshidama in Japan]]

In Japan, Lucky Money is called ''Otoshidama'' (お年玉). Unlike other countries, the amount of Japanese Lucky Money depends on the child's age, the relationship of the family. ''Otoshidama'' Red Envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese Red Envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the Lucky Money will be written on the Red Envelope to show respect for the recipient. The message of each ''Otoshidama'' Red Envelopes is a wish for a warm, peaceful and lucky New Year.

[[File:Sabae.jpg|200px|thumb|right|Sabae in Korea]]

In Korea, Lucky Money is called ''Sabae''. On the New Year's day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive Lucky Money together with wishes for health and peace in the New Year. The Lucky Money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems, etc.

The Lucky Money tradition has also crossed cultural and religious boundaries, and ''Green Envelope-giving'' has even become a practice during the Islamic holiday of Eid al-Fitr across Southeast Asia. It is also widely practiced by the Chinese and Southeast Asian diaspora across the world.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

===Terms and Expressions===

Lucky Money 利市/ Lì shì

Red Envelope 红包/ Hóngbāo

Worldwide Peace 天下太平/ Tiān xià tài píng

Longevity and Fortune 千秋万岁/ Qiān qiū wàn suì

Suppressing Ghosts Money/ Suppressing Sui Money 压岁钱/ Yā suì qián

Sui 祟

Shou Sui 守祟

===Questions===

1. Do you know the origin of giving Lunar New Year's Lucky Money to children?

2. Is the Lucky Money tradition exist in other countries than China?

3. What are the rules on giving-receiving Red Envelopes?

4. On what occasions people giving-receiving Red Envelopes?

5. Do you ever receive a Red Envelope? On what occasion?

===Answers===

1. It began in the Han Dynasty and to protect children from being harmed.

2. Yes. It is very polupar in Vietnam (''Lìxì''), Japan (''Otoshidama''), Korea (''Sabae''), and some other Southeast Asian countries.

3. The giving amount of money must avoid the number 4 that sounds like the word of death in Chinese. The children, after receiving the Red Envelope, do not open it immediatedly and in the presence of the present-giver, but have to put it under the pillow after about a week to open it.

4. Red Envelopes are most commonly associated with New Year, but they also turn up as part of many other occasions as a way of sharing good luck and blessings, like births, weddings, graduation, senior people's birthday parties or the birthday of a child, visit a newborn baby, etc.

5. Yes. Red Envelope, or Lucky Money, or ''Lìxì'' is very typical in the Lunar New Year in my country Vietnam.

===References===

Red Envelope[https://en.wikipedia.org/wiki/Red_envelope]

Fefe Ho - Red Pockets[https://chinesenewyear.net/red-pockets/]

Cindy Tang - Red Envelopes/Packets (Hongbao) - Amount, Symbols and How to Give [https://www.chinahighlights.com/travelguide/festivals/red-envelop.htm]

Chinese Red Envelope [https://www.travelchinaguide.com/essential/holidays/new-year/red-envelope.htm]--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)

==Calendar, The 24 Solar Terms - He Changqi 何长琦 student No. and 专业 are missing --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:37, 17 December 2020 (UTC)==

==='''The Twenty-four Solar Terms'''===
==='''The Twenty-four Solar Terms'''===[maybe this should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)

===1. The orgin and development of the twenty-four solar terms===
===1. The Orgin and Development of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)

“The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）

"The 24 solar terms" is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）[suggestion:the quotation mark in English and in Chinese should be distinguished.In Chinese, it is “”;in English, it is ""]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)

By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）

By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature in the Warring States period, the complete 24 solar terms were basically formed. During the Qin and Han dynasties, a complete system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）[suggestion:the last sentence is too long to read.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:42, 17 December 2020 (UTC)

===2. The definition and classification of the 24 solar terms===
===2. The Definition and Classification of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)

"The 24 solar term" is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)[suggestion:it will be better if you use Arabic numerals or its English version uniformly in the whole passage; please pay attention to the difference of quotation mark in Chinese and English.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)

A solar term that starts in the early part of a month is called jie (节), and one that starts in the middle part of a month is called qi (气). (Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it.) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)[maybe there is a wrong word "meddle", it should be "middle" .]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)

The 8 solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the 4 solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)[suggestion:it will be better if a uniform numeral format is used.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)

===3.Folklore of the 24 solar terms===
===3.Folklore of the 24 Solar Terms===[the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)

The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the "whipping of the spring bull" at the beginning of spring and the "tailing festival" at the end of the cold season.((Ding Yiming. Chang He 2020)) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of "the unity of heaven and man, in accordance with the four seasons", the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc.

The folklore of the 24 solar terms is divided into three aspects: festival folklore, lifestyle customs and food customs. Festive customs such as the "whipping of the spring bull" at the beginning of spring and the "tailing festival" at the end of the cold season.(Ding Yiming, Chang He 2020) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of "the unity of heaven and man, in accordance with the four seasons", the 24 solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. [suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)

These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of "biting the spring" on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)

These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of the Begining of Spring, he will have good luck in the future. In many parts of China, people observe the custom of "biting the spring" on the first day of the Begining of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of the Begining of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan, Zou Yating 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:08, 17 December 2020 (UTC)

===4.Importance and values of of the 24 solar terms===
===4.Importance and Values of the 24 Solar Terms===[suggestion:it will be better if the first letters are capitalized; the "of" should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

===4.1 Importance in ancient times===
====4.1 Importance in Ancient Times====[the subtitle should add a mark as "="]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.

The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.[suggestion:quotation is missing.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that "if the agricultural time is not violated, there will be sufficient grain supply." (Mencius - Liang Huiwang). (Wang Jiahua 2019)

Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is the most basic function of the 24 solar terms. Agricultural production is an economic activity carried out by humanity in accordance with natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that "if the agricultural time is not violated, there will be sufficient grain supply." (Mencius - Liang Huiwang). (Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and an important manifestation and part of their colourful lives.(Wang Jiahua 2019)

Secondly, the 24 solar terms were also regarded as important time points in the daily life of ancient people. Thirdly, for the ancient ancestors, the 24 solar terms were more than a time system, they were also a connotation of life, an important manifestation and part of their colourful lives.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

For example, the "Four Beginnings"(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)

For example, the "Four Beginnings"(四立)-- the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter-- have always been important festivals in history. At these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival. Spring Festival, Dragon Boat Festival, Mid-Autumn Festival and Tomb Sweeping Festival are known as China's four traditional festivals .(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

===4.2 Values in modern society===
====4.2 Values in Modern Society====[suggestion:it will be better if the first letters are capitalized; the subtitle should add a mark as "="]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming. Chang He 2020)

In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming, Chang He 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

It still has its practical values in modern society.Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)

It still has its practical values in modern society.Firstly, as a time-honoured knowledge system and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations. Specifically, respecting nature, adapting to the time of the day, venerating ancestors, showing filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature.(Wang Jiahua 2019)

Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and the harmonious relationship between man and nature.(Wang Jiahua 2019) [suggestion:maybe it will be better if "reflect" is deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)

===Terms and Expressions===

the Beginning of Spring 立春

Beginning of Autumn 立秋

Rain Water 雨水

End of Heat 处暑

Insects Awakening 惊蛰

White Dew 白露

Spring Equinox 春分

Autumnal Equinox 秋分

Fresh Green 清明

Cold Dew 寒露

Grain Rain 谷雨

First Frost 霜降

Beginning of Summer 立夏

Beginning of Winter 立冬

Lesser Fullness 小满

Light Snow 小雪

Grain in Ear 芒种

Heavy Snow 大雪

Summer Solstice 夏至

Winter Solstice 冬至

Lesser Heat 大暑

Lesser Cold 小寒

Greater Heat 立春

Greater Cold 大寒

===Questions===

1.1.What are the first four solar terms measured by ancient Chinese people?
1.What are the first four solar terms measured by ancient Chinese people?--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)

2.Where does the 24 solar terms originate from?

3. What are the eight solar terms that reflect seasonal changes？

4.When was the 24 solar terms included in the World Intangible Cultural Heritage List?

5.What are the food customs in the Beginning of Spring?

6.Do you konw any other folklore of the 24 solar terms?

===Answers===

1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.

2.It originated in the Yellow River valley.

3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice

4.In 2016.

5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.

6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the "Sage of Medicine", invented the "jiaozi" to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as "dumpling" or jiaozi. Today there is still a saying that goes "Eat dumplings on Start of Winter Day, or your ears will be frostbitten."

===References===

Yuan Jix. 袁济喜. (2016). "中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)

Wang Jiahua. 王加华.（2019.9.20）"China Social Science Network" http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml

Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）"Chinanews" http://www.chinanews.com/cul/2020/11-17/9340057.shtml

He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html

==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==

===Collection of Yue Fu Poetry《乐府诗集》===

====Introduction====

'''1.Brief introduction'''

''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. "Yuefu", originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)

''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre-Qin to the end of Tang Dynasty. "Yuefu", originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name. (Wu Ting 2007, 20)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)

'''2.About the author'''

Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation. (Wu Ting 2007, 22)

'''3.Content introduction'''

It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, "Yuefu Poetry Collection" is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties. (Wu Ting 2007, 30)

====Masterpieces====

'''1.''The Peacock Flies to Southeast'''''

''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed. (Wu Ting 2007, 36)

''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for free love and happy life is placed. (Wu Ting 2007, 36)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

'''2.''Mulan Poetry'''''

''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. "Mulan is a girl" is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)

''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man and joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for a reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. "Mulan is a girl" is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality. Therefore, it has strong artistic appeal. (Wu Ting 2007, 41)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

====Evaluation====

'''1.Contributions'''

The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as "Moshangsang", "dongmenxing", were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former.(Yu Yizhi 2002, 105)

The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of the Han Dynasty, such as "Moshangsang", "dongmenxing", were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. (Yu Yizhi 2002, 105) --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)

''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in the singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literary history and music history. There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but the narrative is attached to the lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time. (Yu Yizhi 2002, 105)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

'''2.Shortcomings'''

There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)

There are some imperfections in ''Collection of Yue Fu Poetry''. For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as ancient Chinese literature, this giant has made a certain contribution. (Yu Yizhi 2002, 107)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

===References===
Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)

Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.

Wu Ting 吴婷. (2007). 乐府诗集引用的音乐文献研究 [A study of music documents cited in ''Collection of Yuefu Poertry''].Nanchang:Nanchang University 南昌大学 (12) 20-41.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)

Yu Yizhi 喻意志. (2002). 乐府诗集成书研究 [A study on the compilation of the ''Collection of Yuefu Poetry'']. Shanghai: Shanghai Normal University 上海师范大学 (10)105-107.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)

===Terms and Expressions===

''Collection of Yue Fu Poetry''《乐府诗集》

Jiaomiao songs郊庙歌辞

Yanshe songs燕射歌辞

Guchui drum songs鼓吹曲辞

Hengchui songs横吹曲辞

Xianghe songs相和歌辞

''The Peacock Flies to Southeast'' 《孔雀东南飞》

''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)

===Questions===

1.When was Yuefu Poetry compiled？

2.Which institution did "Yuefu" belong to?

3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)

===Answers===

1.In Song Dynasty.

2.It belongs to the institution in charge of music.

3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)

==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==

===Eight Major Cuisines of China===

====1. A Brief Introduction About Chinese Cuisine====
1. A Brief Introduction About Chinese Cuisines--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 07:16, 19 December 2020 (UTC)

As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the "four major cuisines." By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the "eight major cuisines" of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)

====2. The Classification of Chinese Cuisines====

China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)

China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavors. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted. (Shi Hongmei 2009, 34)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:25, 19 December 2020 (UTC)

=====2.1 Shandong Cuisine=====
Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)

Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Besides, Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:27, 19 December 2020 (UTC)

=====2.2 Sichuan Cuisine=====
Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one
of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)

Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical and exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:30, 19 December 2020 (UTC)

=====2.3 Guangdong Cuisine=====
Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)

Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables, which originate from other parts of the world. It doesn't use much spice, just bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:32, 19 December 2020 (UTC)

=====2.4 Fujian Cuisine=====
Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their "pickled taste". (Shi Hongmei 2009, 55)

Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct feature is their "pickled taste". (Shi Hongmei 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:34, 19 December 2020 (UTC)

=====2.5 Jiangsu Cuisine=====
Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)

Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh, sweet and delicate. Jiangsu Cuisine is well-known for its careful selection of ingredients, its methodology of meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:38, 19 December 2020 (UTC)

=====2.6 Zhejiang Cuisine=====
Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)

Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. And Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:43, 19 December 2020 (UTC)

=====2.7 Hunan Cuisine=====
Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)

Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessities in this division. (Shi Hongmei 2009, 65)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:44, 19 December 2020 (UTC)

=====2.8 Anhui Cuisine=====
Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)

Anhui Cuisine focuses much more on the temperature in cooking. Its major cooking methods are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:46, 19 December 2020 (UTC)

====3. A Comparison of Chinese-Western Diet Culture====

Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)

Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. So there are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)

Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China. But it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)

However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to both their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)

There are also differences in the names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo Meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)

====References====

Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.

Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.

Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.

Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．

Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.

===Terms and Expressions===

pot-stewed fowl 卤味

stewing and simmering 炖，煨

prickly ash 花椒

fermented soybean 豆鼓

Braised Dongpo Pork 东坡肉

Buddha Jumps over the Wall 佛跳墙

Kung Pao Chicken 宫保鸡丁

Bean Sauce Tofu 麻婆豆腐

===Questions===
1. How many types of cuisines are there in china?

2. What’s differences between Chinese and western diets?

3. What is the origin of Dongpo Meat?

===Answers===
1. Eight

2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes.

3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.

==Folk Art Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting ==

Chinese Paper Cutting 剪纸

===Text===

====Introduction====

With a long history, paper-cutting could be dated back to 2000 years ago in China according to the archaeological records. It originated in ancient ancestor worship activities in which people pray for their ancestors and god. Later, with the widespread paper-cutting techniques and people’s growing love for it, it gradually served as the decorations for the doors, walls, mirrors, lanterns and so on. Nowadays, paper-cutting has already become an integral part of Chinese traditional culture and serves as a window of the Chinese folk culture. (Jiao 2016: 3)

====History====

[[File:The easiest Paper-cutting found in Turfan.jpg|250px|thumb|right| The easiest Paper-cutting found in Turfan, image from www.Chinawriter.com.cn Click[http://www.chinawriter.com.cn/n1/2019/0115/c404102-30538973.html] for original source.]]

The skill of cutting and carving appeared way before the invention of paper, and a number of materials, from the bark, leaves and animal skin, to later silk, were cut into certain shapes to decorate, which laid a solid foundation for the art of paper-cutting. (Li & Zhang 2015: 7)

As the paper is not easy to preserve, few of the paper works could survive to modern times. “The earliest such work surviving are five examples dating from the Northern Dynasties period (386-581), unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.” (Folk Handicrafts)

In the Tang dynasty the custom of paper-cutting began to be popular, and the handicraft man cut paper to different shapes, and each owns its name. Namely, the shape of square was named “Fangsheng”, the flower-shaped “Huasheng”, the people-' shaped “Rensheng”. Two pieces of “Huasheng”, which were the remains in the Tang Dynasty, are preserved now in Shōsō-in in Japan. (Li & Zhang 2015: 7-8)

By the Song Dynasty, with the prosperous development of economy and culture, in addition to daily decoration, paper-cutting was used for crafts such as porcelain and blue calico. (Li & Zhang 2015: 8)

The art of paper-cutting became mature in Yuan, Ming, and Qing dynasties. There emerged well designed paper-cutting works in the Yuan dynasty, and collectors began to collect paper-cutting works as artwork. By the Ming Dynasty, the application of paper-cutting became even wider, with clip gauze lantern as a representative. It is a lantern with paper-cutting clipped in, candlelight reflecting the pattern. (Li & Zhang 2015: 8)

Since its birth, the art of paper-cutting has never been interrupted. In its long history, it evolved in art and pottery, printing, dyeing, and other art intertwined, being an indispensable part of people’s life. (Li & Zhang 2015: 8)

====Five Regions====

The distribution area of Chinese folk paper-cutting, according to the historical changes, geography, ecological environment changes, cultural development differences and paper-cutting itself in the aesthetics, style of mutual influence and so on, for a comprehensive consideration, can be divided into five regions. (Wang 2006:106)

Northeast Changbai Mountains area: It mainly covers the Changbai Mountain area in Heilongjiang Province and Liaoning Province. As the birthplace of the nation of Man, the paper-cutting here herited the culture and customs of Man. (Wang 2006:106)

Yellow river basin area: With the north of Shaanxi' paper-cutting as the center, it is simple but more expressive because of its rough lines and designs. (Wang 2006:106)

Yangtze River basin area: It covers paper-cutting in the Provinces of Sichuan, Hubei, Hunan and Jiangsu. Influenced by folk farming culture and the Confucian culture in the Han dynasty, paper-cutting in this region is in the rough in shape but bears a sense of delicacy. (Wang 2006:106)

The southeastern coastal area: It is highlighted by the paper-cutting of Zhejiang and Fujian provinces. This region, more affluent. Paper-cutting creation, especially in Zhejiang Jinhua, Guangdong Foshan as the representative, in the history of cultural development, the vein is also more distinct, its aesthetic interest tends to be elegant and common appreciated. (Wang 2006:106)

Southwestern minority areas: It is characterized by paper-cutting in the minorities in Provinces of Yunan and Guizhou. Many paper cuttings are combined with embroidery patterns. The religious beliefs of this region obviously involved in the art of paper-cutting. (Wang 2006:107)

====Techniques====

[[File: dyed papercutting.jpg|200px|thumb|left| dyed-colored paper-cutting, image from 360baike. Click [https://baike.so.com/doc/2408800-2546694.html] for original source.]]

There are various ways to make paper-cutting works, include folding paper-cutting, smoked paper-cutting, color-blocking paper-cutting, and copper-lined paper-cutting, but the most common ones are mono-colored and dot-colored. (Li & Zhang 2015: 8)

Mono-colored paper-cutting refers to paper-cuttings cut or curved with a single-colored paper, mostly in red. Since ancient times, the Chinese revered red, whenever there are grand celebration ceremonies or festivals, red is the main color, featuring warmth, passion and also brightness and happiness. However, mono-colored paper-cutting is also available in black or other colors, which are used according to different circumstances and situations, among which white paper-cutting is mostly used as the base sample for embroidery. (Li & Zhang 2015: 8)

Dyed paper-cutting is also called dotted paper cuttings. The paper is mostly Xuan paper, a kind of thin white paper that absorbs water easily. Twenty or thirty pieces of such paper are put into a pile and the pattern is carved out with a knife. Then the mass of paper is dyed. The colors become rich and elegant after dying, with endless changes and a strong local flavor. The dyed paper-cutting is mainly found in Hebei, Shanxi, and Guangdong province, among which the dotted paper cuttings in the Wei County, Hebei is very unique. (Li & Zhang 2015: 8)

====Themes====

Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, birds and animals, twelve zodiac animals, pavilions, totem worship, and religious belief. Its connection with the major festivals and traditional customs finds its full expression in every aspect of life. Paper-cutting is an essential folk activity in the villages. Traditionally, on the 23rd day of the twelfth lunar month, women "drop their hoes and pick up scissors to cut papers"; on the 28th, flowers are pasted on the windows. On this day, every family paste window decorations, new year’s pictures, and Spring Festival couplets to create a lively environment for the new year. (Li & Zhang 2015: 8)

It is the rural working women who are the majority of creators of the delicate paper-cutting. When they were five or six years old or seven or eight years old, they began to follow their mothers and grandmothers to learn paper-cutting. Mothers would pass on their treasured paper-cutting patterns to their daughters and daughters-in-law as family heirlooms. This is how China’s folk paper-cutting has been passed down from generation to generation. They are devoutly devoted to the paper-cutting that are rich in connotations such as prosperity, peace and good fortune, happiness, health, and longevity. It is the inheritance of this spirit that has enabled the art of paper-cutting to last for thousands of years. (Li & Zhang 2015: 9)

===References===

Li Youyou & Zhang JIngjuan 李有有&张静娟. (2015) 剪纸 [paper-cut] 北京中国旅游出版社 Beijing: China Travel & Tourism Press.

Lu Zhongmin. (2002) Folk Handicrafts. Beijing: Foreign Language Press.

Wang Minbo 王敏伯. (2006) 中国民间剪纸史[The History of Chinese Folk Paper-cut Arts] 杭州: 中国美术学院出版社 Hangzhou: China Academy of Art Press.

===Terms and Expressions===

color-blocking paper-cutting 拼色剪纸

copper-lined paper-cutting 铜衬剪纸

dyed paper-cutting 点染剪纸

mono-colored paper-cutting 单色剪纸

smoked paper-cutting熏样剪纸

Shōsō-in 正仓院

Spring Festival couplets 春联

totem worship图腾崇拜

Turfan吐鲁番

===Questions===

1. Where was the earliest paper-cutting found in China?

2. How many regions the distribution of Paper-cutting can be divided into?

3. Which two types of paper-cutting are the most common ones?

4. What could be the themes of the paper-cutting?

===Answers===

1. They were unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.

2. Northeast Changbai Mountains area, Yellow river basin area, Yangtze River basin area, The southeastern coastal area, and Southwestern minority areas.

3.Mono-colored paper-cutting and dyed paper-cutting.

4. Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, twelve zodiac animals, pavilions, totem worship, and religious belief.

==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==

===The Chinese Medical Sage - Zhang Zhongjing===

Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)

Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who was respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)

Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)

This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Later, people called the doctor who sat in the drugstore to treat patients "the doctor sitting in the hall", in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)

Later, people called the doctor who sat in the drugstore to treat patients "the doctor sitting in the hall", in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)

When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

There is a Chinese saying that goes, " Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms)." But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)

There is a Chinese saying that goes, " Eating dumplings in the Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms)." But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)

When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called " Cold Dispelling Jiaoer Soup". Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)

Back home, Mr.Zhang was still concerned about the poor. So he developed a recipe to help them ward off cold, called " Cold Dispelling Jiaoer Soup". Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the "Cold Dispelling Jiaoer Soup" for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. "Cold Dispelling Jiaoer Soup" is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)

Zhang Zhongjing passed away on the Winter Solstice, and he distributed the "Cold Dispelling Jiaoer Soup" for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. "Cold Dispelling Jiaoer Soup" is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

In fact, the way of making "Cold Dispelling Jiaoer Soup" is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it "Jiao Er". ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying " not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold." (首都医药 2003, 40)

In fact, the way of making "Cold Dispelling Jiaoer Soup" is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrapping the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it "Jiao Er". ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying " not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold." (首都医药 2003, 40)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)

At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 16:54, 19 December 2020 (UTC)

[[File:Zhang_Zhongjing.jpg]]

===References===

(2003). 张仲景故乡的二十四个故事(六) 饺子的来历[J] [Twenty-four Stories of Zhang Zhongjing's Hometown (VI) The Origin of Dumpling]. ''首都医药'' Capital Medicine (17) 40.

Zhang Maoyun 张茂云. (2014). 伤寒杂病论成书年代及仲景生平年代考历[J] [Journal on the Written Time of ''Treatise on Febrile and Miscellaneous Diseases'' and the Lifeyime of Zhang Zhongjing]. ''中国中医药现代远程教育'' Chinese Medicine Modern Distance Education of China (04) 19-20.

Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. (2013). “医圣”张仲景[J] ["Medical Sage" Zhang Zhongjing]. ''中国卫生人才'' China Health Human Resources (07) 88-89.

Zhang Deli 张德礼. (2019). 心系百姓的“医圣”张仲景[J] [People's Medical Sage Zhang Zhongjing]. ''现代班组'' Morden Group (05) 37.

Tan Rongzhou 覃荣周. (2013). 张仲景对我国医学发展的历史贡献[J] [Zhang Zhongjing's Historical Contribution to the Development of Chinese Medicine]. ''兰台世界'' Lantai World (07) 55-56.

Zhao Qingxin 赵清新. (1999). 万世医宗张仲景[J] ["Medical Sage" Zhang Zhongjing]. ''解放军健康'' PLA Health (05) 36.

Tian Yi 天一. (2020). 张仲景:“医圣”之名传天下[J] [Zhang Zhongjing: the Name of "Medical Sage" Spreads all over the World]. ''月读'' Monthly Read (03) 4-13.

===Terms and Expressions===

medical sage 医圣

''Treatise on Febrile and Miscellaneous Diseases''《伤寒杂病论》

treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治

yamen 衙门

Great Cold ( 24th solar term ) 大寒

Slight Cold ( 23rd solar term ) 小寒

look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切

Cold Dispelling Jiaoer Soup 祛寒娇耳汤

===Questions===

1. What's the honorable title Zhang Zhongjing addressed as?

2. What's the official role Zhang once taken?

3. When would Zhang treat patients for free at yamen?

4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?

5. What's the relationship between Zhang Zhongjing and dumplings?

===Answers===

1. Chinese Medical Sage.

2. Changsha magistrate.

3. He treated patients for free on the first and fifteenth days of every lunar month.

4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.

5. Dumplings are derived from the recipe " Cold Dispelling Jiaoer Soup" developed by Zhang Zhongjing.

--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)