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Hu Lei: Created page with "==Final Exam Paper== ===Fenghuang Ancient Town=== ====Geographical Overview==== Fenghuang Ancient Town is located in Fenghuang County, in the southwest of Xiangxi Tujia and..."

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Hu Lei:

== Guo Yurong 期末论文 ==

==Final Exam Paper==

===Fenghuang Ancient Town===

====Geographical Overview====

Fenghuang Ancient Town is located in Fenghuang County, in the southwest of Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province. Situated at the heart of the border area connecting Hunan, Guizhou, and Chongqing, it covers a total area of approximately 10 square kilometers, with a core urban area of 1.8 square kilometers. It is one of the most completely preserved and uniquely styled ethnic minority ancient towns in Southwest China. Its name, “Fenghuang”(Phoenix), originates from its geographical resemblance to a soaring phoenix. Historically, during the Ming Dynasty, a military camp named “Fenghuangying”(Phoenix Camp) was established here at Fenghuang Mountain. The Qing Dynasty later changed it to “Fenghuangting”(Phoenix Sub-prefecture), leading to the name Fenghuang Ancient Town that persists today. Fenghuang Ancient Town has been a major transportation hub and commercial center in Southwest China since ancient times. Its unique location combines the cultural charm of Hunan, Guizhou, and Chongqing.. Walking through its streets, one encounters the vibrant atmosphere of multi-ethnic integration. The terrain is predominantly mountainous and hilly, with higher elevations in the northwest and lower in the southeast, creating a protective ring of mountains around the town. The average altitude is about 500 meters. A subtropical monsoon humid climate contributes to a mild, moist, and livable environment throughout the four seasons. As a National AAAA-level Tourist Attraction and a Famous Chinese Historical and Cultural City, it holds the poetic title of “China’s Most Beautiful Small Town” while also exuding a rich sense of everyday life. Its layout follows the natural landscape of the Tuo River, where the folk customs of the Miao and Tujia ethnic groups blend deeply with the architectural charm of Han Chinese structures.

==== Historical and Cultural Heritage ====

The history of Fenghuang Ancient Town can be traced back to the pre-Qin era, evolving through the Han, Three Kingdoms, Ming, and Qing dynasties. From the Ming Dynasty military camp “Fenghuangying” to a Qing Dynasty commercial hub, to today’s cultural tourism landmark, centuries of development are embedded within every brick and tile. Founded in the 35th year of the Jiajing reign of the Ming Dynasty (1556 AD), the ancient town has undergone over 500 years of change while still retaining its complete traditional Ming and Qing layout and character. The famous “Nine Scenic Spots of Fenghuang Ancient Town” includes the ancient buildings of East Gate Tower, Tuo River Boating, Hongqiao, Chongde Hall, Fenghuang Ancient Town Museum , Yang Family Ancestral Hall, Shen Congwen’s Former Residence, Xiong Xiling’s Former Residence and Wanshou Palace, reflecting the vicissitudes of time.

The emergence of the renowned writer and historian Shen Congwen brought Fenghuang Ancient Town fame not only nationwide but also worldwide. The architectural design of “Shen Congwen’s Former Residence” is a typical example of a Xiangxi-style Ming and Qing quadrangle courtyard. Built in the 5th year of the Tongzhi reign of the Qing Dynasty (1866), Shen Congwen spent his childhood and teenage years here. The landscape, customs, and daily life of Fenghuang profoundly influenced his writing, becoming a vital source for his literary world. As a cultural site, the residence maintains a simple, unadorned layout, preserving original wooden lattice windows, grey-tiled roofs, white walls, and courtyard patios. Exhibits inside include photographs of Shen Congwen’s life, original manuscripts, published editions of his works, and some personal items like his desk and inkstone. Detailed introductions are provided for his representative works such as “Border Town”, “Random Sketches on a Trip to Hunan” and “Long River” showcasing the poetic beauty and humanistic concern of the Xiangxi world depicted in his writings. The Fenghuang of the rainy season resembles the town described in Shen Congwen’s “Border Town”: “Waiting for a city’s misty rain, to ferry a lifetime’s destined love.” It leaves an impression of stunning scenery: crystal-clear rivers, melodious bird songs, the white pagoda standing at the foot of the mountain, elegant ancient stilted houses, and a few small boats floating peacefully on the calm river surface. His quote, “In my life, I have crossed many bridges, seen many clouds, and drunk many kinds of wine, but I have loved only one person who was at her best age.” has endeared many to Shen Congwen, and through his “Border Town” to Fenghuang Ancient Town itself.

==== Architectural Features and Cultural Landscapes ====

The architecture of Fenghuang Ancient Town represents a perfect harmony between landscape and human culture, blending the styles of the Miao, Tujia, and Han ethnic groups, with thoughtful design evident in every scene. The Tuo River is the soul of the ancient town. Originating from Fanjing Mountain in Guizhou, this river flows through the town, dividing it into north and south banks, sketching a breathtaking picture of “mountains embracing waters”. “Tuo” in the Miao language means snake, and “Tuo River” refers to its winding, snake-like course. The Tuo River is the mother river of Fenghuang Ancient Town. Morning mist lingering over its waters, one feels as if drifting through the poetic charm of Fenghuang, a paradise on earth. This is Shen Congwen’s hometown and it was along the Tuo River that he once sailed by boat to pursue his studies elsewhere. The “Border Town” in his writings is even more picturesque. The Tuo River is most tranquil in the early morning, with a faint mist hovering over the surface and morning light scattering golden sparkles on the water. Local residents slowly paddle small wooden boats; the soft sound of oars blending with distant Miao folk songs instantly washes away travel fatigue, embodying serenity. Tired from walking, one can find a teahouse by the river, order a cup of local Maojian tea, watch pedestrians crossing the river via stepping stones (Tiaoyan), feel the gentle breeze, and relax completely. The Tuo River in the evening possesses even more charm, as the setting sun dyes the water orange, creating a stunning night view.

The stilted houses (Diaojiaolou) are iconic structures. Rows upon rows line both banks of the Tuo River. Thousands of these wooden buildings cling to the mountainsides and overhang the water, built on stilts. The elevated ground floor provides storage and protection against dampness, while the upper floors feature exquisitely carved doors and windows with vivid patterns of flowers, birds, dragons, and phoenixes, showcasing both practicality and aesthetic appeal, a testament to the architectural wisdom of the ethnic minorities. Riverside stilted house guesthouses offer panoramic views of the Tuo River right from the window. Sitting on a wicker chair on the balcony in the afternoon, sipping tea, watching people pass by, and listening to vendors’ calls, time seems to slow down. Most of these stilted houses were built during the Ming and Qing periods and have been well-preserved through centuries, thanks to their unique wooden structures and careful maintenance by generations of residents.

The ancient stone bridges are another distinctive feature. Over 30 Ming and Qing stone arch bridges span the Tuo River, among which the Hongqiao is the most representative. This 112-meter-long covered bridge (Fengyuqiao) from the Ming Dynasty is paved with bluestone slabs. Its wooden corridors and pavilions on both sides are adorned with exquisite carvings, and the pillars feature vivid folk motifs. Benches under the corridors are often occupied by elderly locals chatting and enjoying the cool air, full of the atmosphere of everyday life.

==== Folk Culture and Regional Characteristics ====

As a multi-ethnic settlement, the ancient town boasts rich and diverse folk cultures. The Miao Drum Dance is a highly representative local art form. Dancers clad in splendid Miao’s dress move with vigorous, lively steps to powerful drumbeats, demonstrating strength and beauty while conveying the enthusiasm and vitality of the Miao people. The Tujia Hand-Waving Dance (Baishouwu) is also unique, with dancers forming a circle, coordinating hand and foot movements with large, simple, and earnest gestures that depict labor scenes and daily life. Furthermore, the town preserves traditional wedding customs like “Crying Marriage”(Kujia), where the bride, before departing, sings instead of cries to express her reluctance to leave her family, with touching, sorrowful melodies.

Fenghuang Ancient Town has a long history of traditional handicrafts, notably exquisite silverware making. Local silversmiths employ techniques like chasing, openwork, and filigree to create beautifully shaped silver ornaments such as crowns, necklaces, and bracelets. Patterns often feature dragons, phoenixes, flowers, birds, fish, and insects, symbolizing good fortune. Tie-dye (Zaran) craftsmanship is equally outstanding. Through unique tying and dyeing methods, naturally gradient patterns form on the fabric, with antique and elegant colors. The resulting clothing and headscarves possess distinct ethnic flair. Hand embroidery is also notable for its delicate needlework and bright colors, commonly used to decorate clothing and household items.

Moreover, the local cuisine is distinctive. Signature dishes are a must-try: “Blood Cake Duck” (Xueba Ya) features tender local duck stewed to perfection with glutinous rice blood cakes that are chewy and flavorful, paired with local chili peppers offering moderate spiciness and rich taste—truly memorable. “Fenghuang Cured Meat” (Fenghuang Larou) has firm texture, rich smoky aroma, and a savory taste when steamed and sliced, full of a flavor of home. “Sour Soup Fish” (Suan Tang Yu) uses fresh fish from the Tuo River, paired with a special Miao sour soup. The sour taste is mellow and the fish meat is fresh and tender. A sip of sour soup brings warmth to the heart, satisfying the taste buds Ang embodying the lifestyle of Xiangxi people.

Fenghuang Ancient Town is a mysterious historical and cultural city bearing a wealth of historical and cultural heritage and unique ethnic customs. Here, one can appreciate the distinctive charm of the Xiangxi region and experience its multi-ethnic integrated culture. Whether strolling along the riverbank or wandering through ancient lanes, one can feel a sense of tranquility and peace. It is like a heavy history book waiting to be read, and like a splendid scroll unfolding before the world. Let us step into Fenghuang Ancient Town to explore the beauty and mystery hidden deep within time.

===References===

[1] 高月仙. 凤凰古城：沱江畔的千年梦境[J]. 金桥, 2025(09): 82-85.

[2] 刘萌萌. 寻觅湘西：凤凰古城的人文记忆[J]. 社区文化, 2025(06): 132-145.

[3] 臧美莹. 凤凰古城[J]. 青年文学家, 2022(19): 92-93.

[4] 沈从文. 边城[M]. 北京: 人民文学出版社, 2018.

[5] 湖南省凤凰县地方志编纂委员会. 凤凰县志[M]. 长沙: 湖南人民出版社, 2010.

[6] 张成渝. 中国历史文化名城保护与旅游发展研究——以凤凰古城为例[J]. 城市规划, 2015(08): 78-85.

[7] 李娟. 湘西凤凰古城民俗文化活态传承研究[J]. 民族文学研究, 2017(03): 123-130.

===Terms===

Tuo River 沱江

East Gate Tower 东门城楼

Hongqiao 虹桥

Fenghuang Ancient Town Museum （凤凰）古城博物馆

Border Town 《边城》

Random Sketches on a Trip to Hunan 《湘行散记》

Long River 《长河》

Ancient Stone Bridge 古石桥

Stepping Stones 跳岩

Tujia Hand-Waving Dance 土家族摆手舞

Tie-Dye 扎染

Miao Drum Dance 苗族鼓舞

Crying Marriage 哭嫁

Openwork 镂空（银饰制作工艺）

Blood Cake Duck 血粑鸭

Fenghuang Cured Meat 凤凰腊肉

===Questions===

1. What are the two main ethnic minorities in Fenghuang Ancient Town?

2. What is the mother river of Fenghuang Ancient Town?

3. What does the “Nine Scenic Spots of Fenghuang” includes?

4. Why is Fenghuang Ancient Town named “Fenghuang”(Phoenix)?

5. Who is the most famous writer from Fenghuang Ancient Town, and which book of him depicts the town?

===Answers===

1. The Miao people and the Tujia people.

2. The Tuo River.

3. The universally recognized core version includes Shen Congwen’s Former Residence, Xiong Xiling’s Former Residence, Yang Family Ancestral Hall, East Gate Tower, Tuo River Boating, Wanshou Palace, Chongde Hall, Fenghuang Ancient Town Museum and Hongqiao.

4. Firstly, the town’s unique geographical location and terrain resemble a soaring phoenix. Secondly, due to historical evolution: during the Ming Dynasty, a military camp named “Fenghuangying” (Phoenix Camp) was established here, and the Qing Dynasty later renamed it “Fenghuangting” (Phoenix Sub-prefecture). The name has been preserved to this day, forming a dual origin of terrain and history.

5. The most famous writer is Shen Congwen. His book “Border Town” (Bian Cheng) takes Fenghuang Ancient Town as its prototype, depicting the town’s landscapes, customs, and daily life.

==凤凰古城==

===地理位置概况===

凤凰古城坐落于湖南省湘西土家族苗族自治州西南部的凤凰县境内，地处湘黔渝三地交界核心，总面积约10平方千米，核心城区1.8平方千米，是中国西南地区保存最完整、风貌最独特的少数民族古城之一。因为独特的地理位置，酷似一只展翅飞翔的凤凰，所以有了凤凰一词。还因为政治历史的沿革，明朝在凤凰山设凤凰营；清朝改凤凰营为凤凰厅，凤凰古城直至今日。凤凰古城自古便是西南交通要道与商贸重镇，独特区位让它兼具湘黔渝三地文化韵味，行走其间，多民族交融的鲜活气息扑面而来。这里以山地、丘陵为主，西北高、东南低的地势让群山如屏障般环抱古城，平均海拔约500米，亚热带季风湿润气候造就了四季温和湿润的宜居环境。作为国家AAAA级旅游景区、中国历史文化名城，它既有“中国最美小城”的诗意光环，更藏着浓郁的烟火质感。依托沱江山水自然布局，苗族、土家族民俗与汉族建筑韵味深度交融。

===文脉相传的历史底蕴===

凤凰古城的历史可追溯至先秦，历经汉、三国、明清等朝代变迁，从明代军事营堡“凤凰营”，到清代商贸重镇，再到如今的文旅标杆，数百年发展历程藏于一砖一瓦之间。始建于明代嘉靖三十五年（1556年）的古城，历经五百多年历史变迁，城内仍然保留完整的明清传统格局和风貌。著名的“凤凰九景”包括东门城楼、沱江泛舟、虹桥、崇德堂、古城博物馆、杨家祠堂、沈从文故居、熊希龄故居、万寿宫等古建筑，透着岁月的沧桑。

著名作家、历史学家沈从文的出现，使凤凰古城不仅闻名全国，而且蜚声世界。“沈从文故居”的建筑设计，属于典型的湘西明清四合院形式。故居始建于清同治五年(1866年)，沈从文在此度过童年与少年时光，凤凰古城的山水风情和民俗生活深刻影响了他的创作，成为其文学世界的重要源泉。作为一个人文景点，故居陈列布局简约质朴，保留着当年的木格花窗，青瓦白墙与天井院落。屋内展有沈从文生平照片，手稿原件，著作版本及部分私人用品，如书桌，砚台等。其中《边城》，《湘行散记》，《长河》等代表作均有详实介绍，展现了其笔下湘西世界的诗意与人文关怀。雨季的凤凰城，就像沈从文的《边城》：“等一城烟雨，渡一世情缘”所描绘的的凤凰古城，给人景色很美的印象，清澈见底的河流，清脆悦耳的鸟鸣，屹立于山脚的白塔，古朴典雅的吊脚楼和平静河面上的几叶扁舟。“我这一辈子走过许多地方的桥，看过许多次数的云，喝过许多种类的酒，却只爱过一个正当最好年龄的人。”有很多人因为这一句话，而喜欢上沈从文，又因为他的《边城》而喜欢上了凤凰古城。

===建筑风貌与人文景观===

凤凰古城的建筑是山水与人文的完美契合，融合苗、土家、汉三族风格，每一处景观都藏着巧思。沱江是古城的灵魂，这条发源于贵州梵净山的河流穿城而过，将古城分为南北两岸，勾勒出“山环水绕”的绝美画卷。沱”在苗语里是蛇的意思，沱江意指弯弯曲曲的像蛇一样游走的河流。沱江是凤凰古城的母亲河，晨雾萦绕沱江水，遨游在凤凰的诗情画意中，仿佛在世外桃源人间仙境。这里是沈从文的故乡，当年沈从文就是乘船沿沱江而下外出求学，沈从文笔下的这座“边城”更是如诗如画。清晨的沱江最是静谧，江面泛着淡淡雾气，晨光洒在水面上闪着细碎金光，当地居民撑着小木船缓缓划过，船桨划水的轻响与远处苗家山歌交织，瞬间卸下旅途疲惫，尽显岁月静好。走累了便寻一家临江小茶馆，点一杯本地毛尖，看行人踩着跳岩往来，任清风拂面，整个人都彻底放松下来。傍晚的沱江更具韵味，夕阳西下时江水被染成橘红色，形成绝美的夜景。

吊脚楼作为标志性建筑，沱江两岸鳞次栉比，上千栋木质建筑依山傍水、悬空而建，底层架空防潮储物，上层门窗雕刻精美，花鸟、龙凤纹样栩栩如生，兼具实用性与观赏性，尽显少数民族建筑智慧。临江吊脚楼民宿推窗便是沱江全景，木质栏杆带着天然纹理，午后坐在阳台藤椅上品茶，看行人往来、听摊贩吆喝，时光仿佛慢了下来。这些吊脚楼多为明清时期建造，历经数百年风雨仍完好保存，靠的是独特木质结构与居民世代精心维护。

古石桥是古城另一特色，30余座明清石拱桥横跨沱江，其中虹桥最具代表性。这座全长112米的明代风雨桥，桥面铺着青石板，两侧木构廊亭雕刻精美，廊柱民俗图案生动鲜活，廊下长椅常有老人闲聊纳凉，满是烟火气息。

===民俗文化与地域特色===

作为多民族聚居地，古城民俗文化丰富多彩，苗族鼓舞是当地极具代表性的艺术形式。舞者身着绚丽苗族服饰，在铿锵有力的鼓点中，通过明快奔放的动作展现力量与美感，传递着苗族人民的热情与活力。土家族的摆手舞也独具特色，舞者围成圆圈，手脚配合，摆动幅度大，动作朴实，展现出劳动场景与生活风貌。此外，古城还保留着传统的婚嫁习俗，如哭嫁，新娘出嫁前以歌代哭，倾诉对亲人的不舍，曲调哀婉动人。

凤凰古城的传统手工艺历史悠久，银饰制作工艺精湛。当地银匠运用錾刻、镂空、花丝等技法，打造出造型精美的银饰，如银冠、银项圈、银手镯等，纹饰多以龙凤、花鸟、鱼虫为主题，寓意吉祥。扎染工艺同样出色，通过独特的扎结、染色手法，在布料上形成自然晕染的图案，色彩古朴典雅，制作出的服饰、头巾别具民族风情。手工刺绣也颇具特色，针法细腻，绣品色彩鲜艳，常被用于装饰服饰和生活用品。

除此之外，饮食文化同样独具特色，招牌血粑鸭必尝无疑，本地土鸭软烂入味，鸭血糯米血粑糯弹鲜香，搭配本地辣椒，辣度适中极具风味，让人回味无穷；凤凰腊肉肉质紧实，熏香浓郁，蒸热切片咸香适口，满是家乡味道；酸汤鱼选用沱江鲜鱼，搭配苗族特制酸汤，酸味醇厚、鱼肉鲜嫩，一口酸汤暖意直达心底，每一种美食都满足味蕾，更藏着湘西人的生活气息。

凤凰古城是一座充满神秘色彩的历史文化名城，它承载着丰富的历史文化遗产和独特的民族风情。在这里，你可以领略到湘西地区的独特魅力，感受到多民族的融合文化。无论是在江边漫步，还是在古老的街巷中穿梭，都能感受到一种宁静与祥和。它就像一本厚重的历史书，等待着人们去翻阅；又像一幅绚丽的画卷，展现在世人面前。让我们走进凤凰古城，去探寻那时光深处的美丽与神秘。

==参考文献==

[1] 高月仙. 凤凰古城：沱江畔的千年梦境[J]. 金桥, 2025(09): 82-85.

[2] 刘萌萌. 寻觅湘西：凤凰古城的人文记忆[J]. 社区文化, 2025(06): 132-145.

[3] 臧美莹. 凤凰古城[J]. 青年文学家, 2022(19): 92-93.

[4] 沈从文. 边城[M]. 北京: 人民文学出版社, 2018.

[5] 湖南省凤凰县地方志编纂委员会. 凤凰县志[M]. 长沙: 湖南人民出版社, 2010.

[6] 张成渝. 中国历史文化名城保护与旅游发展研究——以凤凰古城为例[J]. 城市规划, 2015(08): 78-85.

[7] 李娟. 湘西凤凰古城民俗文化活态传承研究[J]. 民族文学研究, 2017(03): 123-130.

==术语==

Tuo River 沱江

East Gate Tower 东门城楼

Hongqiao 虹桥

Fenghuang Ancient Town Museum （凤凰）古城博物馆

Border Town 《边城》

Random Sketches on a Trip to Hunan 《湘行散记》

Long River 《长河》

Ancient Stone Bridge 古石桥

Stepping Stones 跳岩

Tujia Hand-Waving Dance 土家族摆手舞

Tie-Dye 扎染

Miao Drum Dance 苗族鼓舞

Crying Marriage 哭嫁

Openwork 镂空（银饰制作工艺）

Blood Cake Duck 血粑鸭

Fenghuang Cured Meat 凤凰腊肉

==问题==

1. 凤凰古城的主要少数民族有哪两个？

2. 凤凰古城的母亲河是什么河？

3. 凤凰九景包括哪些？

4. 凤凰古城为什么取名叫“凤凰”？

5. 凤凰古城最著名的作家是谁？他的哪一本书描绘了凤凰古城？

==答案==

1. 苗族、土家族。

2. 沱江。

3. 通常认为是沈从文故居、熊希龄故居、杨家祠堂、东门城楼、沱江泛舟、万寿宫、崇德堂、古城博物馆、虹桥。

4. 一是因古城独特的地理位置与地形酷似一只展翅飞翔的凤凰；二是历史沿革因素，明朝在此设立“凤凰营”，清朝将其改为“凤凰厅”，名称沿用至今，形成“地形+历史”双重命名原因。

5. 答案：最著名的作家是沈从文。他的《边城》以凤凰古城为原型，描绘了古城及周边的山水风情、民俗生活。

Talk:Main Page

2026-02-02T17:54:14Z

Hu Lei: /* Guo Yurong 期末论文 */ new section

==Final Exam Paper==

===Fenghuang Ancient Town===

====Geographical Overview====

Fenghuang Ancient Town is located in Fenghuang County, in the southwest of Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province. Situated at the heart of the border area connecting Hunan, Guizhou, and Chongqing, it covers a total area of approximately 10 square kilometers, with a core urban area of 1.8 square kilometers. It is one of the most completely preserved and uniquely styled ethnic minority ancient towns in Southwest China. Its name, “Fenghuang”(Phoenix), originates from its geographical resemblance to a soaring phoenix. Historically, during the Ming Dynasty, a military camp named “Fenghuangying”(Phoenix Camp) was established here at Fenghuang Mountain. The Qing Dynasty later changed it to “Fenghuangting”(Phoenix Sub-prefecture), leading to the name Fenghuang Ancient Town that persists today. Fenghuang Ancient Town has been a major transportation hub and commercial center in Southwest China since ancient times. Its unique location combines the cultural charm of Hunan, Guizhou, and Chongqing.. Walking through its streets, one encounters the vibrant atmosphere of multi-ethnic integration. The terrain is predominantly mountainous and hilly, with higher elevations in the northwest and lower in the southeast, creating a protective ring of mountains around the town. The average altitude is about 500 meters. A subtropical monsoon humid climate contributes to a mild, moist, and livable environment throughout the four seasons. As a National AAAA-level Tourist Attraction and a Famous Chinese Historical and Cultural City, it holds the poetic title of “China’s Most Beautiful Small Town” while also exuding a rich sense of everyday life. Its layout follows the natural landscape of the Tuo River, where the folk customs of the Miao and Tujia ethnic groups blend deeply with the architectural charm of Han Chinese structures.

==== Historical and Cultural Heritage ====

The history of Fenghuang Ancient Town can be traced back to the pre-Qin era, evolving through the Han, Three Kingdoms, Ming, and Qing dynasties. From the Ming Dynasty military camp “Fenghuangying” to a Qing Dynasty commercial hub, to today’s cultural tourism landmark, centuries of development are embedded within every brick and tile. Founded in the 35th year of the Jiajing reign of the Ming Dynasty (1556 AD), the ancient town has undergone over 500 years of change while still retaining its complete traditional Ming and Qing layout and character. The famous “Nine Scenic Spots of Fenghuang Ancient Town” includes the ancient buildings of East Gate Tower, Tuo River Boating, Hongqiao, Chongde Hall, Fenghuang Ancient Town Museum , Yang Family Ancestral Hall, Shen Congwen’s Former Residence, Xiong Xiling’s Former Residence and Wanshou Palace, reflecting the vicissitudes of time.

The emergence of the renowned writer and historian Shen Congwen brought Fenghuang Ancient Town fame not only nationwide but also worldwide. The architectural design of “Shen Congwen’s Former Residence” is a typical example of a Xiangxi-style Ming and Qing quadrangle courtyard. Built in the 5th year of the Tongzhi reign of the Qing Dynasty (1866), Shen Congwen spent his childhood and teenage years here. The landscape, customs, and daily life of Fenghuang profoundly influenced his writing, becoming a vital source for his literary world. As a cultural site, the residence maintains a simple, unadorned layout, preserving original wooden lattice windows, grey-tiled roofs, white walls, and courtyard patios. Exhibits inside include photographs of Shen Congwen’s life, original manuscripts, published editions of his works, and some personal items like his desk and inkstone. Detailed introductions are provided for his representative works such as “Border Town”, “Random Sketches on a Trip to Hunan” and “Long River” showcasing the poetic beauty and humanistic concern of the Xiangxi world depicted in his writings. The Fenghuang of the rainy season resembles the town described in Shen Congwen’s “Border Town”: “Waiting for a city’s misty rain, to ferry a lifetime’s destined love.” It leaves an impression of stunning scenery: crystal-clear rivers, melodious bird songs, the white pagoda standing at the foot of the mountain, elegant ancient stilted houses, and a few small boats floating peacefully on the calm river surface. His quote, “In my life, I have crossed many bridges, seen many clouds, and drunk many kinds of wine, but I have loved only one person who was at her best age.” has endeared many to Shen Congwen, and through his “Border Town” to Fenghuang Ancient Town itself.

==== Architectural Features and Cultural Landscapes ====

The architecture of Fenghuang Ancient Town represents a perfect harmony between landscape and human culture, blending the styles of the Miao, Tujia, and Han ethnic groups, with thoughtful design evident in every scene. The Tuo River is the soul of the ancient town. Originating from Fanjing Mountain in Guizhou, this river flows through the town, dividing it into north and south banks, sketching a breathtaking picture of “mountains embracing waters”. “Tuo” in the Miao language means snake, and “Tuo River” refers to its winding, snake-like course. The Tuo River is the mother river of Fenghuang Ancient Town. Morning mist lingering over its waters, one feels as if drifting through the poetic charm of Fenghuang, a paradise on earth. This is Shen Congwen’s hometown and it was along the Tuo River that he once sailed by boat to pursue his studies elsewhere. The “Border Town” in his writings is even more picturesque. The Tuo River is most tranquil in the early morning, with a faint mist hovering over the surface and morning light scattering golden sparkles on the water. Local residents slowly paddle small wooden boats; the soft sound of oars blending with distant Miao folk songs instantly washes away travel fatigue, embodying serenity. Tired from walking, one can find a teahouse by the river, order a cup of local Maojian tea, watch pedestrians crossing the river via stepping stones (Tiaoyan), feel the gentle breeze, and relax completely. The Tuo River in the evening possesses even more charm, as the setting sun dyes the water orange, creating a stunning night view.

The stilted houses (Diaojiaolou) are iconic structures. Rows upon rows line both banks of the Tuo River. Thousands of these wooden buildings cling to the mountainsides and overhang the water, built on stilts. The elevated ground floor provides storage and protection against dampness, while the upper floors feature exquisitely carved doors and windows with vivid patterns of flowers, birds, dragons, and phoenixes, showcasing both practicality and aesthetic appeal, a testament to the architectural wisdom of the ethnic minorities. Riverside stilted house guesthouses offer panoramic views of the Tuo River right from the window. Sitting on a wicker chair on the balcony in the afternoon, sipping tea, watching people pass by, and listening to vendors’ calls, time seems to slow down. Most of these stilted houses were built during the Ming and Qing periods and have been well-preserved through centuries, thanks to their unique wooden structures and careful maintenance by generations of residents.

The ancient stone bridges are another distinctive feature. Over 30 Ming and Qing stone arch bridges span the Tuo River, among which the Hongqiao is the most representative. This 112-meter-long covered bridge (Fengyuqiao) from the Ming Dynasty is paved with bluestone slabs. Its wooden corridors and pavilions on both sides are adorned with exquisite carvings, and the pillars feature vivid folk motifs. Benches under the corridors are often occupied by elderly locals chatting and enjoying the cool air, full of the atmosphere of everyday life.

==== Folk Culture and Regional Characteristics ====

As a multi-ethnic settlement, the ancient town boasts rich and diverse folk cultures. The Miao Drum Dance is a highly representative local art form. Dancers clad in splendid Miao’s dress move with vigorous, lively steps to powerful drumbeats, demonstrating strength and beauty while conveying the enthusiasm and vitality of the Miao people. The Tujia Hand-Waving Dance (Baishouwu) is also unique, with dancers forming a circle, coordinating hand and foot movements with large, simple, and earnest gestures that depict labor scenes and daily life. Furthermore, the town preserves traditional wedding customs like “Crying Marriage”(Kujia), where the bride, before departing, sings instead of cries to express her reluctance to leave her family, with touching, sorrowful melodies.

Fenghuang Ancient Town has a long history of traditional handicrafts, notably exquisite silverware making. Local silversmiths employ techniques like chasing, openwork, and filigree to create beautifully shaped silver ornaments such as crowns, necklaces, and bracelets. Patterns often feature dragons, phoenixes, flowers, birds, fish, and insects, symbolizing good fortune. Tie-dye (Zaran) craftsmanship is equally outstanding. Through unique tying and dyeing methods, naturally gradient patterns form on the fabric, with antique and elegant colors. The resulting clothing and headscarves possess distinct ethnic flair. Hand embroidery is also notable for its delicate needlework and bright colors, commonly used to decorate clothing and household items.

Moreover, the local cuisine is distinctive. Signature dishes are a must-try: “Blood Cake Duck” (Xueba Ya) features tender local duck stewed to perfection with glutinous rice blood cakes that are chewy and flavorful, paired with local chili peppers offering moderate spiciness and rich taste—truly memorable. “Fenghuang Cured Meat” (Fenghuang Larou) has firm texture, rich smoky aroma, and a savory taste when steamed and sliced, full of a flavor of home. “Sour Soup Fish” (Suan Tang Yu) uses fresh fish from the Tuo River, paired with a special Miao sour soup. The sour taste is mellow and the fish meat is fresh and tender. A sip of sour soup brings warmth to the heart, satisfying the taste buds Ang embodying the lifestyle of Xiangxi people.

Fenghuang Ancient Town is a mysterious historical and cultural city bearing a wealth of historical and cultural heritage and unique ethnic customs. Here, one can appreciate the distinctive charm of the Xiangxi region and experience its multi-ethnic integrated culture. Whether strolling along the riverbank or wandering through ancient lanes, one can feel a sense of tranquility and peace. It is like a heavy history book waiting to be read, and like a splendid scroll unfolding before the world. Let us step into Fenghuang Ancient Town to explore the beauty and mystery hidden deep within time.

===References===

[1] 高月仙. 凤凰古城：沱江畔的千年梦境[J]. 金桥, 2025(09): 82-85.

[2] 刘萌萌. 寻觅湘西：凤凰古城的人文记忆[J]. 社区文化, 2025(06): 132-145.

[3] 臧美莹. 凤凰古城[J]. 青年文学家, 2022(19): 92-93.

[4] 沈从文. 边城[M]. 北京: 人民文学出版社, 2018.

[5] 湖南省凤凰县地方志编纂委员会. 凤凰县志[M]. 长沙: 湖南人民出版社, 2010.

[6] 张成渝. 中国历史文化名城保护与旅游发展研究——以凤凰古城为例[J]. 城市规划, 2015(08): 78-85.

[7] 李娟. 湘西凤凰古城民俗文化活态传承研究[J]. 民族文学研究, 2017(03): 123-130.

===Terms===

Tuo River 沱江

East Gate Tower 东门城楼

Hongqiao 虹桥

Fenghuang Ancient Town Museum （凤凰）古城博物馆

Border Town 《边城》

Random Sketches on a Trip to Hunan 《湘行散记》

Long River 《长河》

Ancient Stone Bridge 古石桥

Stepping Stones 跳岩

Tujia Hand-Waving Dance 土家族摆手舞

Tie-Dye 扎染

Miao Drum Dance 苗族鼓舞

Crying Marriage 哭嫁

Openwork 镂空（银饰制作工艺）

Blood Cake Duck 血粑鸭

Fenghuang Cured Meat 凤凰腊肉

===Questions===

1. What are the two main ethnic minorities in Fenghuang Ancient Town?

2. What is the mother river of Fenghuang Ancient Town?

3. What does the “Nine Scenic Spots of Fenghuang” includes?

4. Why is Fenghuang Ancient Town named “Fenghuang”(Phoenix)?

5. Who is the most famous writer from Fenghuang Ancient Town, and which book of him depicts the town?

===Answers===

1. The Miao people and the Tujia people.

2. The Tuo River.

3. The universally recognized core version includes Shen Congwen’s Former Residence, Xiong Xiling’s Former Residence, Yang Family Ancestral Hall, East Gate Tower, Tuo River Boating, Wanshou Palace, Chongde Hall, Fenghuang Ancient Town Museum and Hongqiao.

4. Firstly, the town’s unique geographical location and terrain resemble a soaring phoenix. Secondly, due to historical evolution: during the Ming Dynasty, a military camp named “Fenghuangying” (Phoenix Camp) was established here, and the Qing Dynasty later renamed it “Fenghuangting” (Phoenix Sub-prefecture). The name has been preserved to this day, forming a dual origin of terrain and history.

5. The most famous writer is Shen Congwen. His book “Border Town” (Bian Cheng) takes Fenghuang Ancient Town as its prototype, depicting the town’s landscapes, customs, and daily life.

==凤凰古城==

===地理位置概况===

凤凰古城坐落于湖南省湘西土家族苗族自治州西南部的凤凰县境内，地处湘黔渝三地交界核心，总面积约10平方千米，核心城区1.8平方千米，是中国西南地区保存最完整、风貌最独特的少数民族古城之一。因为独特的地理位置，酷似一只展翅飞翔的凤凰，所以有了凤凰一词。还因为政治历史的沿革，明朝在凤凰山设凤凰营；清朝改凤凰营为凤凰厅，凤凰古城直至今日。凤凰古城自古便是西南交通要道与商贸重镇，独特区位让它兼具湘黔渝三地文化韵味，行走其间，多民族交融的鲜活气息扑面而来。这里以山地、丘陵为主，西北高、东南低的地势让群山如屏障般环抱古城，平均海拔约500米，亚热带季风湿润气候造就了四季温和湿润的宜居环境。作为国家AAAA级旅游景区、中国历史文化名城，它既有“中国最美小城”的诗意光环，更藏着浓郁的烟火质感。依托沱江山水自然布局，苗族、土家族民俗与汉族建筑韵味深度交融。

===文脉相传的历史底蕴===

凤凰古城的历史可追溯至先秦，历经汉、三国、明清等朝代变迁，从明代军事营堡“凤凰营”，到清代商贸重镇，再到如今的文旅标杆，数百年发展历程藏于一砖一瓦之间。始建于明代嘉靖三十五年（1556年）的古城，历经五百多年历史变迁，城内仍然保留完整的明清传统格局和风貌。著名的“凤凰九景”包括东门城楼、沱江泛舟、虹桥、崇德堂、古城博物馆、杨家祠堂、沈从文故居、熊希龄故居、万寿宫等古建筑，透着岁月的沧桑。

著名作家、历史学家沈从文的出现，使凤凰古城不仅闻名全国，而且蜚声世界。“沈从文故居”的建筑设计，属于典型的湘西明清四合院形式。故居始建于清同治五年(1866年)，沈从文在此度过童年与少年时光，凤凰古城的山水风情和民俗生活深刻影响了他的创作，成为其文学世界的重要源泉。作为一个人文景点，故居陈列布局简约质朴，保留着当年的木格花窗，青瓦白墙与天井院落。屋内展有沈从文生平照片，手稿原件，著作版本及部分私人用品，如书桌，砚台等。其中《边城》，《湘行散记》，《长河》等代表作均有详实介绍，展现了其笔下湘西世界的诗意与人文关怀。雨季的凤凰城，就像沈从文的《边城》：“等一城烟雨，渡一世情缘”所描绘的的凤凰古城，给人景色很美的印象，清澈见底的河流，清脆悦耳的鸟鸣，屹立于山脚的白塔，古朴典雅的吊脚楼和平静河面上的几叶扁舟。“我这一辈子走过许多地方的桥，看过许多次数的云，喝过许多种类的酒，却只爱过一个正当最好年龄的人。”有很多人因为这一句话，而喜欢上沈从文，又因为他的《边城》而喜欢上了凤凰古城。

===建筑风貌与人文景观===

凤凰古城的建筑是山水与人文的完美契合，融合苗、土家、汉三族风格，每一处景观都藏着巧思。沱江是古城的灵魂，这条发源于贵州梵净山的河流穿城而过，将古城分为南北两岸，勾勒出“山环水绕”的绝美画卷。沱”在苗语里是蛇的意思，沱江意指弯弯曲曲的像蛇一样游走的河流。沱江是凤凰古城的母亲河，晨雾萦绕沱江水，遨游在凤凰的诗情画意中，仿佛在世外桃源人间仙境。这里是沈从文的故乡，当年沈从文就是乘船沿沱江而下外出求学，沈从文笔下的这座“边城”更是如诗如画。清晨的沱江最是静谧，江面泛着淡淡雾气，晨光洒在水面上闪着细碎金光，当地居民撑着小木船缓缓划过，船桨划水的轻响与远处苗家山歌交织，瞬间卸下旅途疲惫，尽显岁月静好。走累了便寻一家临江小茶馆，点一杯本地毛尖，看行人踩着跳岩往来，任清风拂面，整个人都彻底放松下来。傍晚的沱江更具韵味，夕阳西下时江水被染成橘红色，形成绝美的夜景。

吊脚楼作为标志性建筑，沱江两岸鳞次栉比，上千栋木质建筑依山傍水、悬空而建，底层架空防潮储物，上层门窗雕刻精美，花鸟、龙凤纹样栩栩如生，兼具实用性与观赏性，尽显少数民族建筑智慧。临江吊脚楼民宿推窗便是沱江全景，木质栏杆带着天然纹理，午后坐在阳台藤椅上品茶，看行人往来、听摊贩吆喝，时光仿佛慢了下来。这些吊脚楼多为明清时期建造，历经数百年风雨仍完好保存，靠的是独特木质结构与居民世代精心维护。

古石桥是古城另一特色，30余座明清石拱桥横跨沱江，其中虹桥最具代表性。这座全长112米的明代风雨桥，桥面铺着青石板，两侧木构廊亭雕刻精美，廊柱民俗图案生动鲜活，廊下长椅常有老人闲聊纳凉，满是烟火气息。

===民俗文化与地域特色===

作为多民族聚居地，古城民俗文化丰富多彩，苗族鼓舞是当地极具代表性的艺术形式。舞者身着绚丽苗族服饰，在铿锵有力的鼓点中，通过明快奔放的动作展现力量与美感，传递着苗族人民的热情与活力。土家族的摆手舞也独具特色，舞者围成圆圈，手脚配合，摆动幅度大，动作朴实，展现出劳动场景与生活风貌。此外，古城还保留着传统的婚嫁习俗，如哭嫁，新娘出嫁前以歌代哭，倾诉对亲人的不舍，曲调哀婉动人。

凤凰古城的传统手工艺历史悠久，银饰制作工艺精湛。当地银匠运用錾刻、镂空、花丝等技法，打造出造型精美的银饰，如银冠、银项圈、银手镯等，纹饰多以龙凤、花鸟、鱼虫为主题，寓意吉祥。扎染工艺同样出色，通过独特的扎结、染色手法，在布料上形成自然晕染的图案，色彩古朴典雅，制作出的服饰、头巾别具民族风情。手工刺绣也颇具特色，针法细腻，绣品色彩鲜艳，常被用于装饰服饰和生活用品。

除此之外，饮食文化同样独具特色，招牌血粑鸭必尝无疑，本地土鸭软烂入味，鸭血糯米血粑糯弹鲜香，搭配本地辣椒，辣度适中极具风味，让人回味无穷；凤凰腊肉肉质紧实，熏香浓郁，蒸热切片咸香适口，满是家乡味道；酸汤鱼选用沱江鲜鱼，搭配苗族特制酸汤，酸味醇厚、鱼肉鲜嫩，一口酸汤暖意直达心底，每一种美食都满足味蕾，更藏着湘西人的生活气息。

凤凰古城是一座充满神秘色彩的历史文化名城，它承载着丰富的历史文化遗产和独特的民族风情。在这里，你可以领略到湘西地区的独特魅力，感受到多民族的融合文化。无论是在江边漫步，还是在古老的街巷中穿梭，都能感受到一种宁静与祥和。它就像一本厚重的历史书，等待着人们去翻阅；又像一幅绚丽的画卷，展现在世人面前。让我们走进凤凰古城，去探寻那时光深处的美丽与神秘。

==参考文献==

[1] 高月仙. 凤凰古城：沱江畔的千年梦境[J]. 金桥, 2025(09): 82-85.

[2] 刘萌萌. 寻觅湘西：凤凰古城的人文记忆[J]. 社区文化, 2025(06): 132-145.

[3] 臧美莹. 凤凰古城[J]. 青年文学家, 2022(19): 92-93.

[4] 沈从文. 边城[M]. 北京: 人民文学出版社, 2018.

[5] 湖南省凤凰县地方志编纂委员会. 凤凰县志[M]. 长沙: 湖南人民出版社, 2010.

[6] 张成渝. 中国历史文化名城保护与旅游发展研究——以凤凰古城为例[J]. 城市规划, 2015(08): 78-85.

[7] 李娟. 湘西凤凰古城民俗文化活态传承研究[J]. 民族文学研究, 2017(03): 123-130.

==术语==

Tuo River 沱江

East Gate Tower 东门城楼

Hongqiao 虹桥

Fenghuang Ancient Town Museum （凤凰）古城博物馆

Border Town 《边城》

Random Sketches on a Trip to Hunan 《湘行散记》

Long River 《长河》

Ancient Stone Bridge 古石桥

Stepping Stones 跳岩

Tujia Hand-Waving Dance 土家族摆手舞

Tie-Dye 扎染

Miao Drum Dance 苗族鼓舞

Crying Marriage 哭嫁

Openwork 镂空（银饰制作工艺）

Blood Cake Duck 血粑鸭

Fenghuang Cured Meat 凤凰腊肉

==问题==

1. 凤凰古城的主要少数民族有哪两个？

2. 凤凰古城的母亲河是什么河？

3. 凤凰九景包括哪些？

4. 凤凰古城为什么取名叫“凤凰”？

5. 凤凰古城最著名的作家是谁？他的哪一本书描绘了凤凰古城？

==答案==

1. 苗族、土家族。

2. 沱江。

3. 通常认为是沈从文故居、熊希龄故居、杨家祠堂、东门城楼、沱江泛舟、万寿宫、崇德堂、古城博物馆、虹桥。

4. 一是因古城独特的地理位置与地形酷似一只展翅飞翔的凤凰；二是历史沿革因素，明朝在此设立“凤凰营”，清朝将其改为“凤凰厅”，名称沿用至今，形成“地形+历史”双重命名原因。

5. 答案：最著名的作家是沈从文。他的《边城》以凤凰古城为原型，描绘了古城及周边的山水风情、民俗生活。

== Guo Yurong 期末论文 ==

==Final Exam Paper==

===Fenghuang Ancient Town===

====Geographical Overview====

Fenghuang Ancient Town is located in Fenghuang County, in the southwest of Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province. Situated at the heart of the border area connecting Hunan, Guizhou, and Chongqing, it covers a total area of approximately 10 square kilometers, with a core urban area of 1.8 square kilometers. It is one of the most completely preserved and uniquely styled ethnic minority ancient towns in Southwest China. Its name, “Fenghuang”(Phoenix), originates from its geographical resemblance to a soaring phoenix. Historically, during the Ming Dynasty, a military camp named “Fenghuangying”(Phoenix Camp) was established here at Fenghuang Mountain. The Qing Dynasty later changed it to “Fenghuangting”(Phoenix Sub-prefecture), leading to the name Fenghuang Ancient Town that persists today. Fenghuang Ancient Town has been a major transportation hub and commercial center in Southwest China since ancient times. Its unique location combines the cultural charm of Hunan, Guizhou, and Chongqing.. Walking through its streets, one encounters the vibrant atmosphere of multi-ethnic integration. The terrain is predominantly mountainous and hilly, with higher elevations in the northwest and lower in the southeast, creating a protective ring of mountains around the town. The average altitude is about 500 meters. A subtropical monsoon humid climate contributes to a mild, moist, and livable environment throughout the four seasons. As a National AAAA-level Tourist Attraction and a Famous Chinese Historical and Cultural City, it holds the poetic title of “China’s Most Beautiful Small Town” while also exuding a rich sense of everyday life. Its layout follows the natural landscape of the Tuo River, where the folk customs of the Miao and Tujia ethnic groups blend deeply with the architectural charm of Han Chinese structures.

==== Historical and Cultural Heritage ====

The history of Fenghuang Ancient Town can be traced back to the pre-Qin era, evolving through the Han, Three Kingdoms, Ming, and Qing dynasties. From the Ming Dynasty military camp “Fenghuangying” to a Qing Dynasty commercial hub, to today’s cultural tourism landmark, centuries of development are embedded within every brick and tile. Founded in the 35th year of the Jiajing reign of the Ming Dynasty (1556 AD), the ancient town has undergone over 500 years of change while still retaining its complete traditional Ming and Qing layout and character. The famous “Nine Scenic Spots of Fenghuang Ancient Town” includes the ancient buildings of East Gate Tower, Tuo River Boating, Hongqiao, Chongde Hall, Fenghuang Ancient Town Museum , Yang Family Ancestral Hall, Shen Congwen’s Former Residence, Xiong Xiling’s Former Residence and Wanshou Palace, reflecting the vicissitudes of time.

The emergence of the renowned writer and historian Shen Congwen brought Fenghuang Ancient Town fame not only nationwide but also worldwide. The architectural design of “Shen Congwen’s Former Residence” is a typical example of a Xiangxi-style Ming and Qing quadrangle courtyard. Built in the 5th year of the Tongzhi reign of the Qing Dynasty (1866), Shen Congwen spent his childhood and teenage years here. The landscape, customs, and daily life of Fenghuang profoundly influenced his writing, becoming a vital source for his literary world. As a cultural site, the residence maintains a simple, unadorned layout, preserving original wooden lattice windows, grey-tiled roofs, white walls, and courtyard patios. Exhibits inside include photographs of Shen Congwen’s life, original manuscripts, published editions of his works, and some personal items like his desk and inkstone. Detailed introductions are provided for his representative works such as “Border Town”, “Random Sketches on a Trip to Hunan” and “Long River” showcasing the poetic beauty and humanistic concern of the Xiangxi world depicted in his writings. The Fenghuang of the rainy season resembles the town described in Shen Congwen’s “Border Town”: “Waiting for a city’s misty rain, to ferry a lifetime’s destined love.” It leaves an impression of stunning scenery: crystal-clear rivers, melodious bird songs, the white pagoda standing at the foot of the mountain, elegant ancient stilted houses, and a few small boats floating peacefully on the calm river surface. His quote, “In my life, I have crossed many bridges, seen many clouds, and drunk many kinds of wine, but I have loved only one person who was at her best age.” has endeared many to Shen Congwen, and through his “Border Town” to Fenghuang Ancient Town itself.

==== Architectural Features and Cultural Landscapes ====

The architecture of Fenghuang Ancient Town represents a perfect harmony between landscape and human culture, blending the styles of the Miao, Tujia, and Han ethnic groups, with thoughtful design evident in every scene. The Tuo River is the soul of the ancient town. Originating from Fanjing Mountain in Guizhou, this river flows through the town, dividing it into north and south banks, sketching a breathtaking picture of “mountains embracing waters”. “Tuo” in the Miao language means snake, and “Tuo River” refers to its winding, snake-like course. The Tuo River is the mother river of Fenghuang Ancient Town. Morning mist lingering over its waters, one feels as if drifting through the poetic charm of Fenghuang, a paradise on earth. This is Shen Congwen’s hometown and it was along the Tuo River that he once sailed by boat to pursue his studies elsewhere. The “Border Town” in his writings is even more picturesque. The Tuo River is most tranquil in the early morning, with a faint mist hovering over the surface and morning light scattering golden sparkles on the water. Local residents slowly paddle small wooden boats; the soft sound of oars blending with distant Miao folk songs instantly washes away travel fatigue, embodying serenity. Tired from walking, one can find a teahouse by the river, order a cup of local Maojian tea, watch pedestrians crossing the river via stepping stones (Tiaoyan), feel the gentle breeze, and relax completely. The Tuo River in the evening possesses even more charm, as the setting sun dyes the water orange, creating a stunning night view.

The stilted houses (Diaojiaolou) are iconic structures. Rows upon rows line both banks of the Tuo River. Thousands of these wooden buildings cling to the mountainsides and overhang the water, built on stilts. The elevated ground floor provides storage and protection against dampness, while the upper floors feature exquisitely carved doors and windows with vivid patterns of flowers, birds, dragons, and phoenixes, showcasing both practicality and aesthetic appeal, a testament to the architectural wisdom of the ethnic minorities. Riverside stilted house guesthouses offer panoramic views of the Tuo River right from the window. Sitting on a wicker chair on the balcony in the afternoon, sipping tea, watching people pass by, and listening to vendors’ calls, time seems to slow down. Most of these stilted houses were built during the Ming and Qing periods and have been well-preserved through centuries, thanks to their unique wooden structures and careful maintenance by generations of residents.

The ancient stone bridges are another distinctive feature. Over 30 Ming and Qing stone arch bridges span the Tuo River, among which the Hongqiao is the most representative. This 112-meter-long covered bridge (Fengyuqiao) from the Ming Dynasty is paved with bluestone slabs. Its wooden corridors and pavilions on both sides are adorned with exquisite carvings, and the pillars feature vivid folk motifs. Benches under the corridors are often occupied by elderly locals chatting and enjoying the cool air, full of the atmosphere of everyday life.

==== Folk Culture and Regional Characteristics ====

As a multi-ethnic settlement, the ancient town boasts rich and diverse folk cultures. The Miao Drum Dance is a highly representative local art form. Dancers clad in splendid Miao’s dress move with vigorous, lively steps to powerful drumbeats, demonstrating strength and beauty while conveying the enthusiasm and vitality of the Miao people. The Tujia Hand-Waving Dance (Baishouwu) is also unique, with dancers forming a circle, coordinating hand and foot movements with large, simple, and earnest gestures that depict labor scenes and daily life. Furthermore, the town preserves traditional wedding customs like “Crying Marriage”(Kujia), where the bride, before departing, sings instead of cries to express her reluctance to leave her family, with touching, sorrowful melodies.

Fenghuang Ancient Town has a long history of traditional handicrafts, notably exquisite silverware making. Local silversmiths employ techniques like chasing, openwork, and filigree to create beautifully shaped silver ornaments such as crowns, necklaces, and bracelets. Patterns often feature dragons, phoenixes, flowers, birds, fish, and insects, symbolizing good fortune. Tie-dye (Zaran) craftsmanship is equally outstanding. Through unique tying and dyeing methods, naturally gradient patterns form on the fabric, with antique and elegant colors. The resulting clothing and headscarves possess distinct ethnic flair. Hand embroidery is also notable for its delicate needlework and bright colors, commonly used to decorate clothing and household items.

Moreover, the local cuisine is distinctive. Signature dishes are a must-try: “Blood Cake Duck” (Xueba Ya) features tender local duck stewed to perfection with glutinous rice blood cakes that are chewy and flavorful, paired with local chili peppers offering moderate spiciness and rich taste—truly memorable. “Fenghuang Cured Meat” (Fenghuang Larou) has firm texture, rich smoky aroma, and a savory taste when steamed and sliced, full of a flavor of home. “Sour Soup Fish” (Suan Tang Yu) uses fresh fish from the Tuo River, paired with a special Miao sour soup. The sour taste is mellow and the fish meat is fresh and tender. A sip of sour soup brings warmth to the heart, satisfying the taste buds Ang embodying the lifestyle of Xiangxi people.

Fenghuang Ancient Town is a mysterious historical and cultural city bearing a wealth of historical and cultural heritage and unique ethnic customs. Here, one can appreciate the distinctive charm of the Xiangxi region and experience its multi-ethnic integrated culture. Whether strolling along the riverbank or wandering through ancient lanes, one can feel a sense of tranquility and peace. It is like a heavy history book waiting to be read, and like a splendid scroll unfolding before the world. Let us step into Fenghuang Ancient Town to explore the beauty and mystery hidden deep within time.

===References===

[1] 高月仙. 凤凰古城：沱江畔的千年梦境[J]. 金桥, 2025(09): 82-85.

[2] 刘萌萌. 寻觅湘西：凤凰古城的人文记忆[J]. 社区文化, 2025(06): 132-145.

[3] 臧美莹. 凤凰古城[J]. 青年文学家, 2022(19): 92-93.

[4] 沈从文. 边城[M]. 北京: 人民文学出版社, 2018.

[5] 湖南省凤凰县地方志编纂委员会. 凤凰县志[M]. 长沙: 湖南人民出版社, 2010.

[6] 张成渝. 中国历史文化名城保护与旅游发展研究——以凤凰古城为例[J]. 城市规划, 2015(08): 78-85.

[7] 李娟. 湘西凤凰古城民俗文化活态传承研究[J]. 民族文学研究, 2017(03): 123-130.

===Terms===

Tuo River 沱江

East Gate Tower 东门城楼

Hongqiao 虹桥

Fenghuang Ancient Town Museum （凤凰）古城博物馆

Border Town 《边城》

Random Sketches on a Trip to Hunan 《湘行散记》

Long River 《长河》

Ancient Stone Bridge 古石桥

Stepping Stones 跳岩

Tujia Hand-Waving Dance 土家族摆手舞

Tie-Dye 扎染

Miao Drum Dance 苗族鼓舞

Crying Marriage 哭嫁

Openwork 镂空（银饰制作工艺）

Blood Cake Duck 血粑鸭

Fenghuang Cured Meat 凤凰腊肉

===Questions===

1. What are the two main ethnic minorities in Fenghuang Ancient Town?

2. What is the mother river of Fenghuang Ancient Town?

3. What does the “Nine Scenic Spots of Fenghuang” includes?

4. Why is Fenghuang Ancient Town named “Fenghuang”(Phoenix)?

5. Who is the most famous writer from Fenghuang Ancient Town, and which book of him depicts the town?

===Answers===

1. The Miao people and the Tujia people.

2. The Tuo River.

3. The universally recognized core version includes Shen Congwen’s Former Residence, Xiong Xiling’s Former Residence, Yang Family Ancestral Hall, East Gate Tower, Tuo River Boating, Wanshou Palace, Chongde Hall, Fenghuang Ancient Town Museum and Hongqiao.

4. Firstly, the town’s unique geographical location and terrain resemble a soaring phoenix. Secondly, due to historical evolution: during the Ming Dynasty, a military camp named “Fenghuangying” (Phoenix Camp) was established here, and the Qing Dynasty later renamed it “Fenghuangting” (Phoenix Sub-prefecture). The name has been preserved to this day, forming a dual origin of terrain and history.

5. The most famous writer is Shen Congwen. His book “Border Town” (Bian Cheng) takes Fenghuang Ancient Town as its prototype, depicting the town’s landscapes, customs, and daily life.

==凤凰古城==

===地理位置概况===

凤凰古城坐落于湖南省湘西土家族苗族自治州西南部的凤凰县境内，地处湘黔渝三地交界核心，总面积约10平方千米，核心城区1.8平方千米，是中国西南地区保存最完整、风貌最独特的少数民族古城之一。因为独特的地理位置，酷似一只展翅飞翔的凤凰，所以有了凤凰一词。还因为政治历史的沿革，明朝在凤凰山设凤凰营；清朝改凤凰营为凤凰厅，凤凰古城直至今日。凤凰古城自古便是西南交通要道与商贸重镇，独特区位让它兼具湘黔渝三地文化韵味，行走其间，多民族交融的鲜活气息扑面而来。这里以山地、丘陵为主，西北高、东南低的地势让群山如屏障般环抱古城，平均海拔约500米，亚热带季风湿润气候造就了四季温和湿润的宜居环境。作为国家AAAA级旅游景区、中国历史文化名城，它既有“中国最美小城”的诗意光环，更藏着浓郁的烟火质感。依托沱江山水自然布局，苗族、土家族民俗与汉族建筑韵味深度交融。

===文脉相传的历史底蕴===

凤凰古城的历史可追溯至先秦，历经汉、三国、明清等朝代变迁，从明代军事营堡“凤凰营”，到清代商贸重镇，再到如今的文旅标杆，数百年发展历程藏于一砖一瓦之间。始建于明代嘉靖三十五年（1556年）的古城，历经五百多年历史变迁，城内仍然保留完整的明清传统格局和风貌。著名的“凤凰九景”包括东门城楼、沱江泛舟、虹桥、崇德堂、古城博物馆、杨家祠堂、沈从文故居、熊希龄故居、万寿宫等古建筑，透着岁月的沧桑。

著名作家、历史学家沈从文的出现，使凤凰古城不仅闻名全国，而且蜚声世界。“沈从文故居”的建筑设计，属于典型的湘西明清四合院形式。故居始建于清同治五年(1866年)，沈从文在此度过童年与少年时光，凤凰古城的山水风情和民俗生活深刻影响了他的创作，成为其文学世界的重要源泉。作为一个人文景点，故居陈列布局简约质朴，保留着当年的木格花窗，青瓦白墙与天井院落。屋内展有沈从文生平照片，手稿原件，著作版本及部分私人用品，如书桌，砚台等。其中《边城》，《湘行散记》，《长河》等代表作均有详实介绍，展现了其笔下湘西世界的诗意与人文关怀。雨季的凤凰城，就像沈从文的《边城》：“等一城烟雨，渡一世情缘”所描绘的的凤凰古城，给人景色很美的印象，清澈见底的河流，清脆悦耳的鸟鸣，屹立于山脚的白塔，古朴典雅的吊脚楼和平静河面上的几叶扁舟。“我这一辈子走过许多地方的桥，看过许多次数的云，喝过许多种类的酒，却只爱过一个正当最好年龄的人。”有很多人因为这一句话，而喜欢上沈从文，又因为他的《边城》而喜欢上了凤凰古城。

===建筑风貌与人文景观===

凤凰古城的建筑是山水与人文的完美契合，融合苗、土家、汉三族风格，每一处景观都藏着巧思。沱江是古城的灵魂，这条发源于贵州梵净山的河流穿城而过，将古城分为南北两岸，勾勒出“山环水绕”的绝美画卷。沱”在苗语里是蛇的意思，沱江意指弯弯曲曲的像蛇一样游走的河流。沱江是凤凰古城的母亲河，晨雾萦绕沱江水，遨游在凤凰的诗情画意中，仿佛在世外桃源人间仙境。这里是沈从文的故乡，当年沈从文就是乘船沿沱江而下外出求学，沈从文笔下的这座“边城”更是如诗如画。清晨的沱江最是静谧，江面泛着淡淡雾气，晨光洒在水面上闪着细碎金光，当地居民撑着小木船缓缓划过，船桨划水的轻响与远处苗家山歌交织，瞬间卸下旅途疲惫，尽显岁月静好。走累了便寻一家临江小茶馆，点一杯本地毛尖，看行人踩着跳岩往来，任清风拂面，整个人都彻底放松下来。傍晚的沱江更具韵味，夕阳西下时江水被染成橘红色，形成绝美的夜景。

吊脚楼作为标志性建筑，沱江两岸鳞次栉比，上千栋木质建筑依山傍水、悬空而建，底层架空防潮储物，上层门窗雕刻精美，花鸟、龙凤纹样栩栩如生，兼具实用性与观赏性，尽显少数民族建筑智慧。临江吊脚楼民宿推窗便是沱江全景，木质栏杆带着天然纹理，午后坐在阳台藤椅上品茶，看行人往来、听摊贩吆喝，时光仿佛慢了下来。这些吊脚楼多为明清时期建造，历经数百年风雨仍完好保存，靠的是独特木质结构与居民世代精心维护。

古石桥是古城另一特色，30余座明清石拱桥横跨沱江，其中虹桥最具代表性。这座全长112米的明代风雨桥，桥面铺着青石板，两侧木构廊亭雕刻精美，廊柱民俗图案生动鲜活，廊下长椅常有老人闲聊纳凉，满是烟火气息。

===民俗文化与地域特色===

作为多民族聚居地，古城民俗文化丰富多彩，苗族鼓舞是当地极具代表性的艺术形式。舞者身着绚丽苗族服饰，在铿锵有力的鼓点中，通过明快奔放的动作展现力量与美感，传递着苗族人民的热情与活力。土家族的摆手舞也独具特色，舞者围成圆圈，手脚配合，摆动幅度大，动作朴实，展现出劳动场景与生活风貌。此外，古城还保留着传统的婚嫁习俗，如哭嫁，新娘出嫁前以歌代哭，倾诉对亲人的不舍，曲调哀婉动人。

凤凰古城的传统手工艺历史悠久，银饰制作工艺精湛。当地银匠运用錾刻、镂空、花丝等技法，打造出造型精美的银饰，如银冠、银项圈、银手镯等，纹饰多以龙凤、花鸟、鱼虫为主题，寓意吉祥。扎染工艺同样出色，通过独特的扎结、染色手法，在布料上形成自然晕染的图案，色彩古朴典雅，制作出的服饰、头巾别具民族风情。手工刺绣也颇具特色，针法细腻，绣品色彩鲜艳，常被用于装饰服饰和生活用品。

除此之外，饮食文化同样独具特色，招牌血粑鸭必尝无疑，本地土鸭软烂入味，鸭血糯米血粑糯弹鲜香，搭配本地辣椒，辣度适中极具风味，让人回味无穷；凤凰腊肉肉质紧实，熏香浓郁，蒸热切片咸香适口，满是家乡味道；酸汤鱼选用沱江鲜鱼，搭配苗族特制酸汤，酸味醇厚、鱼肉鲜嫩，一口酸汤暖意直达心底，每一种美食都满足味蕾，更藏着湘西人的生活气息。

凤凰古城是一座充满神秘色彩的历史文化名城，它承载着丰富的历史文化遗产和独特的民族风情。在这里，你可以领略到湘西地区的独特魅力，感受到多民族的融合文化。无论是在江边漫步，还是在古老的街巷中穿梭，都能感受到一种宁静与祥和。它就像一本厚重的历史书，等待着人们去翻阅；又像一幅绚丽的画卷，展现在世人面前。让我们走进凤凰古城，去探寻那时光深处的美丽与神秘。

==参考文献==

[1] 高月仙. 凤凰古城：沱江畔的千年梦境[J]. 金桥, 2025(09): 82-85.

[2] 刘萌萌. 寻觅湘西：凤凰古城的人文记忆[J]. 社区文化, 2025(06): 132-145.

[3] 臧美莹. 凤凰古城[J]. 青年文学家, 2022(19): 92-93.

[4] 沈从文. 边城[M]. 北京: 人民文学出版社, 2018.

[5] 湖南省凤凰县地方志编纂委员会. 凤凰县志[M]. 长沙: 湖南人民出版社, 2010.

[6] 张成渝. 中国历史文化名城保护与旅游发展研究——以凤凰古城为例[J]. 城市规划, 2015(08): 78-85.

[7] 李娟. 湘西凤凰古城民俗文化活态传承研究[J]. 民族文学研究, 2017(03): 123-130.

==术语==

Tuo River 沱江

East Gate Tower 东门城楼

Hongqiao 虹桥

Fenghuang Ancient Town Museum （凤凰）古城博物馆

Border Town 《边城》

Random Sketches on a Trip to Hunan 《湘行散记》

Long River 《长河》

Ancient Stone Bridge 古石桥

Stepping Stones 跳岩

Tujia Hand-Waving Dance 土家族摆手舞

Tie-Dye 扎染

Miao Drum Dance 苗族鼓舞

Crying Marriage 哭嫁

Openwork 镂空（银饰制作工艺）

Blood Cake Duck 血粑鸭

Fenghuang Cured Meat 凤凰腊肉

==问题==

1. 凤凰古城的主要少数民族有哪两个？

2. 凤凰古城的母亲河是什么河？

3. 凤凰九景包括哪些？

4. 凤凰古城为什么取名叫“凤凰”？

5. 凤凰古城最著名的作家是谁？他的哪一本书描绘了凤凰古城？

==答案==

1. 苗族、土家族。

2. 沱江。

3. 通常认为是沈从文故居、熊希龄故居、杨家祠堂、东门城楼、沱江泛舟、万寿宫、崇德堂、古城博物馆、虹桥。

4. 一是因古城独特的地理位置与地形酷似一只展翅飞翔的凤凰；二是历史沿革因素，明朝在此设立“凤凰营”，清朝将其改为“凤凰厅”，名称沿用至今，形成“地形+历史”双重命名原因。

5. 答案：最著名的作家是沈从文。他的《边城》以凤凰古城为原型，描绘了古城及周边的山水风情、民俗生活。

2025-12-30T14:26:24Z

Hu Lei:

Hello,everyone. I am Hu Lei from Changsha, Hunan Province. As an outgoing and positive girl,I like making friends with differet people and then go out with them to enjoy beautiful landscapes around us and live a meaningful life. What's more, I put an emphasis on my study,always ready to use knowledge to make myself be better.

==Final Exam Paper==

===Changsha Dialect===

====A Brief Overview of the Changsha Dialect====

The Changsha dialect(Changsha hua) is a variety of Chinese spoken primarily in the urban core of Changsha City, Hunan Province, and its immediate surrounding areas. Linguistically, it is classified under Xiang Chinese, specifically as a representative dialect of the New Xiang Chinese subgroup. New Xiang dialects, prevalent in the Changsha-Zhuzhou-Xiangtan metropolitan region and northern Hunan, have undergone significant historical influence from Mandarin and Gan dialects. (Baidu Encyclopedia 百度百科：New Xiang，新湘语)

There are certain regional differences within the Changsha dialect. For instance, the dialects in most of Ningxiang City and the eastern part of Liuyang City are significantly different from that of the urban area. The dialect in the eastern part of Liuyang even belongs to the Gan and Hakka language groups and is not mutually intelligible with the Changsha dialect. However, the Changsha dialect is highly similar to the dialects of the urban areas of Xiangtan and Zhuzhou, which are also part of the Changsha-Zhuzhou-Xiangtan urban agglomeration, and they can be mutually understood.（Baidu Encyclopedia 百度百科：Changsha dialect，长沙话）Even within Changsha's urban area, subtle dialectal differences exist. For example, traditional pronunciations in some words differed between the "Hedong" area (east bank of the Xiang River, the core of the old Changsha prefectural city) and the "Hexi" area (west bank of the Xiang Rive, around Yuelu Mountain). With urban expansion and population integration, these accent distinctions based on historical city districts have gradually blurred among younger generations, yet they remain important cases for observing the social dimensions of language change in dialect research.

The formation of the Changsha dialect is closely related to the city's historical status. As an ancient city with over 3,000 years of history, Changsha has long been the political, economic, and cultural center of Hunan, granting its dialect authority and representativeness within Xiang Chinese. Historically, population movements such as the "Jiangxi Fills Huguang" migration during the Ming and Qing dynasties, the Taiping Rebellion in modern times, and multiple population shifts during the War of Resistance against Japan have all influenced the phonology and vocabulary of the Changsha dialect to varying degrees. This resulted in a language that retains archaic Xiang substratum features while incorporating elements from Gan and Southwestern Mandarin. (A Study of the Changsha Dialect 1999)

====Distinctive Characteristics of the Changsha Dialect====

The charm of the Changsha dialect lies in its vivid vocabulary, flexible grammatical structures and unique phonetic characteristics.

=====Vivid and Figurative Vocabulary=====

The vocabulary of the Changsha dialect resembles a lively scroll painting of urban life. The word "Bàmán" transcends its literal meaning of "forcing" or "barely managing" and embodies the Hunan people's spirit of tenacity, perseverance, and daring to be pioneers. "Tángkè" is an affectionate term for "wife," carrying a strong sense of everyday life and family warmth. "Liǎopiě" describes something as simple and straightforward; "Xì yázi" is a loving term for children. These words are not only practical but also contain the unique life philosophy and attitudes of the Changsha people. Many words in the Changsha dialect directly reflect the unique local lifestyle, historical memory, and values. For instance, the term "jiěshǒu" ( literally "to untie hands"), now a euphemism for using the toilet, originated from the Ming-Qing migration period when bound migrants requested to have their hands untied for relief. It is a living linguistic fossil of the "Jiangxi Fills Huguang" migration history. "qiā" , as the universal verb for "to eat," is used with extremely high frequency, forming a series of vivid expressions like "qiāfàn" (eat meal), "qiāchá" (drink tea), and "qiākuī" (suffer a loss), highlighting the centrality of food culture in civilian life.

=====Flexible Grammar and Morphology=====

The grammatical structure of the Changsha dialect is equally distinctive. The prolific use of the suffix "-zi" far exceeds the scope of Mandarin, with expressions like "lǎoshǔzi" (mouse) and "chuānggézi" ( window) full of local flavor. Its aspectual system is particularly exquisite and complex; the compound use of aspect markers like "gà" and "dá" can express a meaning that this thing has been finished, which makes Chnagsha dialect a hotspot in grammatical research. (A study on the generation grammar of dialectic physical characteristics in Changsha 2022) In interrogative sentences, "bō" is commonly used instead of Mandarin's "mā". For example, "nǐ hǎo bō?" means “How are you?”. In comparative sentences, structures like "A连不赢B" or "A有得B果/搞手" are often used, contrasting sharply with Mandarin's "A不如B" (A is not as good as B). These grammatical phenomena are key to delineating its typological features.

The rules of tone sandhi are also unique, often influenced by grammatical structure and showing regular changes in different constructions. Its core mechanism is that the tone of the preceding syllable is frequently modified by the tone of the following syllable, resulting in fixed tonal patterns. The most classic and widespread rule is: when two rising-tone syllables (shang sheng, tone value 41) are connected, the first syllable's tone changes to the low falling tone (yang qu, tone value 21). For instance, “lao³⁴ shu³⁴” is pronounced as “lao²¹ shu³⁴”, and “hen³⁴ hao³⁴” as “hen²¹ hao³⁴”. This pattern is nearly universal. Furthermore, when two high falling-tone syllables (yin qu, 45) are connected, the first syllable often becomes a high level tone. For example, “shi⁴⁵ jie⁴⁵ ” become “shi³³ jie⁴⁵ ”. When two mid-rising-tone syllables (yang ping, 13) are connected, the first syllable often changes to a low level tone, as in “ cha¹³ bei³³” becoming “cha²² bei³³”. These sandhi phenomena are more systematic in the traditional (old-school) pronunciation. In the modern (new-school) variety, influenced by Mandarin, they are sometimes simplified. Mastering these rules, especially the "first law" concerning rising-tone sandhi, is key to speaking the Changsha dialect with authenticity and perceiving its unique rhythmic character.

=====Unique Phonetic Traits=====

A key phonetic feature of the Changsha dialect is the devoicing of the historical voiced obstruents in level-tone characters into unaspirated voiceless initials. For instance, characters like "牌" (pái) and "败" (bài), which have different initials in Mandarin, share the same unaspirated initial in Changsha. (Xu, Chenzi 2025, 5) Its tonal system preserves the checked tone (entering tone), resulting in a system of four tone categories split into six distinct pitch contours, though the stop endings associated with the entering tone have been lost. The dialect also exhibits literary and colloquial readings for many characters. Contemporary changes include the merger of historical alveolar sibilants and palatals, as observed in the speech of younger generations.

In terms of auditory perception, the Changsha dialect has a clear rhythm, relatively large tonal, and a fast speaking pace, forming a unique melodic beauty. Intergenerational differences are evident: the Old Changsha dialect retains a more complete system, while the New Changsha dialect has undergone simplification due to the influence of Mandarin. The "Plastic Mandarin" popular among young people is an interesting product of the contact and blending between the dialect and Mandarin.（Baidu Encyclopedia 百度百科：Changsha dialect，长沙话）

====The Value and Significance of the Changsha Dialect====

Preserving and studying the Changsha dialect holds multidimensional value in the contemporary era.

=====Academic value: A "precious sample" for linguistic research=====

Strategically located at the intersection of several major dialect groups, the Changsha dialect provides crucial data for studying Chinese historical phonology, dialect geography, and language contact. Its specific sound changes offer key evidence for reconstructing the history of Chinese. It is now part of the national Chinese Language Resources Protection Project, which documents it scientifically in audio-visual databases for future research.（Changsha government website，2024，08）

=====Cultural value: A "living fossil" and pillar of identity=====
The dialect acts as an oral archive of Changsha's history, social changes, and folk wisdom. For locals and the diaspora, it is the sound of hometown, the most direct emotional bond that fosters a profound sense of cultural identity and belonging. The Changsha dialect is the core vehicle for the intangible cultural heritage of Hunan. National-level intangible cultural heritage items like Xiang Opera and Changsha Storytelling , and provincial-level items like Changsha Flower Drum Opera and Changsha Nursery Rhymes, are all deeply rooted in the soil of the Changsha dialect. These art forms not only rely on the dialect for performance and transmission but also elevate the dialect itself into an artistic language, through singing, recitation, acting, and acrobatics. (Changsha government website, 2024, 08)

=====Social value: A soft power for harmony and tourism=====

The social value of the Changsha dialect is deeply rooted in its role as an invisible bond of urban life. It not only serves as a "social code" that fosters trust and intimacy among locals in daily interactions, instantly bridging the distance between fellow townspeople and strengthening community identity, but it also carries the transmission of family memories and local knowledge across generations. This allows local values and life wisdom to be naturally passed down within families and neighborhoods. In the public sphere, the dialect becomes a unique medium for dialogue between local culture and the wider world—it shapes Changsha's vibrant, bold, and earthy urban character through the melodies of Huagu Opera, the calls of street vendors, and the humor in self-media content, attracting curiosity and integration from outsiders. At the same time, amid the pressure of Mandarin promotion, the very persistence of the dialect reflects society's conscious protection of cultural diversity. Its evolution, such as the phenomenon of "Plastic Mandarin," has become a vivid lens through which to observe language contact and social change. It can be said that the existence of the Changsha dialect allows this modern metropolis to retain recognizable warmth and voice amidst rapid development, sustaining the emotional roots and cultural confidence of a local community.

====Conclusion: Preserve the local accent and carry forward the cultural heritage====

Nowadays, with Mandarin being highly popularized, the survival space of Changsha dialect has been squeezed, but it has also given rise to new awareness and practices for its protection. From systematic research in the academic circle to the voluntary inheritance among the people, from the wonderful performances on the stage of intangible cultural heritage to the persistent use in daily life, Changsha dialect is continuing its vitality in various ways.

This continuation is not only about the language itself, but also about the cultural roots and spiritual traits of a city. When we hear the elders telling stories in Changsha dialect under Yuelu Mountain and children playing and singing in the local language by the Xiang River, what we hear is not just sounds, but the cultural heartbeat of a city that transcends time and space, which is the unique voice that Changsha offers to the world, and also the eternal echo of nostalgia in the hearts of the people of Changsha.

As a native of Changsha, I recognize that I am both a living vessel and a crucial actor in the safeguarding and revitalization of the Changsha dialect. In the rhythms of daily life, I can consciously engage more with elders in our local tongue, listening to and recording fading colloquialisms, nursery rhymes, and old stories, ensuring the dialect is passed down within the warmth of family and avoids generational rupture. I can intentionally use the dialect naturally in gatherings with friends and community events, sustaining its vitality in social settings, and perhaps even share its charm in engaging ways through short videos or podcasts. I can actively appreciate and support local arts like Huagu Opera and storytelling, attending performances to help keep these dialect-based arts alive on stage. Every time I speak an authentic phrase of Changsha dialect, I am not merely communicating—I am transmitting a unique way of thinking and an emotional bond. When I patiently explain the stories and humor behind local expressions to the next generation or friends from elsewhere, I am building bridges for the memory of this city. Each seemingly small act of persistence and practice on my part sends a message to the world: the voice of Changsha deserves to be attentively heard and enduringly preserved.

===References===

·Baidu Encyclopedia 百度百科：New Xiang，新湘语 https://baike.baidu.com/item/新湘语

·Baidu Encyclopedia 百度百科：Changsha dialect，长沙话 https://baike.baidu.com/item/长沙话/6215118?fromtitle=长沙方言&fromid=1955629&fr=aladdin

·Bao Houxing 鲍厚星. (1999). 长沙方言研究 [A Study of the Changsha Dialect]. Hunan: Hunan Education Press 湖南教育出版社.

·Lu Man 鲁曼. (2022). 长沙方言体貌特征的生成语法研究 [A study on the generation grammar of dialectic physical characteristics in Changsha]. Beijing: China Social Sciences Academy Press 北京中国社会科学出版社.

·Xu Chenzi 许陈子.（2025）. 塑料般的声调：韵律中的地域特色. [Plastic Mandarin tones: regional identity in prosody] 语音学 Phonetica (32) 331-362.

·长沙市政府门户网站，长沙市教育局对长沙市十六届人大四次会议第208号建议的答复，http://jyj.changsha.gov.cn/zfxxgk/fdzdgk/jyhtabl/rdjy/gkxx/202408/t20240813_11520320.html

===Terms and Expressions===

Xiang Chinese 湘语

New Xiang 新湘语

Mandarin 官话方言

Gan dialects 赣方言

Voiced obstruents 全浊声母

Devoicing 清化

Unaspirated voiceless initials 不送气清音

Entering tone (Checked tone)入声

Four tone categories, six contours 四声六调

Literary and colloquial readings 文白异读

Merger of alveolar and palatal sibilants尖团合流

Merger of retroflex and alveolar initials 平翘舌合并

Tone sandhi 连读变调

Prolific use of the suffix “-zi” “子”尾词泛化

Aspectual system 体貌系统

Aspect markers 体标记

Characteristic lexicon 特色词汇

Old/New Changsha speech 老派/新派发音

Plastic Mandarin (Supǔ) 塑料普通话

Intangible Cultural Heritage (ICH) 非物质文化遗产

Xiang Opera 湘剧
Changsha Storytelling 长沙弹词

Huagu Opera 花鼓戏

Nursery Rhymes 童谣
Sound of hometown / Local accent 乡音

Living fossil 活化石

Audio archive有声档案

Identity 身份认同

Cultural identity 文化认同

Chinese Language Resources Protection Project 中国语言资源保护工程

Language contact语言接触

===Questions===

Q1: How is the Changsha dialect classified within Chinese dialectology, and what is one of its core
phonetic features?

Q2: Provide two examples of highly characteristic Changsha dialect vocabulary and explain their meanings.

Q3: As a vehicle for cultural heritage, which intangible cultural heritage forms rely on the Changsha dialect?

Q4: What are the social practicalities of preserving the Changsha dialect?

Q5: What are some national-level measures taken to protect the Changsha dialect?

===Answers===

A1: It is classified as a Xiang Chinese dialect, specifically of the New Xiang type. A core feature is the devoicing of Middle Chinese voiced obstruents into unaspirated voiceless initials in certain tonal categories.

A2:Examples are:
1)`Bàmán` (霸蛮): Signifying tenacious perseverance and spirit.
2) `Tángkè` (堂客): An affectionate, everyday term for "wife." Others include `liǎopiě` (convenient) and `xì yázi` (child).

A3: Key forms include: Xiang Opera and Changsha Storytelling (National-level ICH), and Changsha Flower Drum Opera and Changsha Nursery Rhymes (Provincial-level ICH). The dialect is essential to their performance and transmission.

A4: Preservation strengthens local cultural identity and community bonds. It also serves as unique cultural capital that boosts the city's profile for tourism and cultural exchange, making it more attractive as an international destination.

A5: Primary measures include:
1)Its inclusion in the Chinese Language Resources Protection Project for systematic documentation.
2)The support and recognition of related Intangible Cultural Heritage items.
3) The promotion of academic research and publication of studies on the dialect.

==长沙方言==

===长沙方言概述===

长沙方言主要通行于湖南省长沙市的中心城区及其紧邻区域。从语言学分类上看，它属于湘语，是新湘语的代表性方言。新湘语在长株潭都市圈及湘北地区普遍使用，在历史上深受官话和赣语的影响。（百度百科：新湘语）

长沙方言内部存在一定的地域差异。例如，宁乡市大部分地区及浏阳市东部地区的方言与城区方言差异显著。浏阳东部的方言甚至属于赣语和客家语系，与长沙方言无法互通。然而，长沙方言与同样属于长株潭城市群的湘潭、株洲城区方言高度相似，彼此可以互相理解。（百度百科：长沙话）即使在长沙市区内部，也存在细微的方言差异。例如，历史上“河东”地区（湘江东岸，原长沙府城核心区）与“河西”地区（湘江西岸，岳麓山周边）在一些词语的发音上曾有区别。随着城市扩张和人口融合，这种基于历史城区形成的口音差异在年轻一代中已逐渐模糊，但它们依然是方言研究中观察语言变化社会维度的重要案例。

长沙方言的形成与这座城市的历史地位密切相关。作为一座拥有三千多年建城史的古城，长沙长期是湖南的政治、经济、文化中心，这赋予了其方言在湘语体系内的权威性和代表性。历史上，明清时期的“江西填湖广”移民运动、近代的太平天国战争以及抗战时期的多次人口流动，均在不同程度上影响了长沙方言的音系和词汇，使其在保留古湘语底层特征的同时，也融入了赣语、西南官话等成分。（《长沙方言研究》 1999）

===长沙方言的显著特点===

长沙方言的魅力在于其生动的词汇、灵活的语法结构和独特的语音特征。

====生动形象的词汇====

长沙方言的词汇宛如一幅鲜活的城市生活画卷。词语“霸蛮”超越了“强迫”或“勉强应付”的字面意思，体现了湖南人坚韧不拔、敢为人先的精神。“堂客”是对“妻子”的亲昵称呼，充满了浓厚的生活气息和家庭温情。“潦撇”形容事情简单爽利；“细伢子”是对小孩的昵称。这些词语不仅实用，更蕴含着长沙人独特的生活哲学与态度。许多长沙方言词汇直接反映了本地独特的生活方式、历史记忆与价值观。例如，“解手”一词现为“上厕所”的委婉说法，字面意为“解开手”，其起源可追溯至明清移民时期，被捆绑押送的移民请求解开手上的绳索以便方便，是“江西填湖广”移民史在语言中的活态化石。“呷”作为“吃”的通用动词，使用频率极高，构成了“呷饭”、“呷茶”、“呷亏”等一系列生动表达，凸显了饮食文化在市民生活中的核心地位。

====灵活多变的语法与形态====

长沙方言的语法结构同样别具一格。后缀“-子”的广泛使用远超普通话范围，“老鼠子”、“窗格子”等表达充满了乡土气息。其体貌系统尤为精妙复杂；体标记如“咖”和“哒”的复合使用可以表达“某物已被完成”的含义，这使得长沙方言成为语法研究的热点。（《长沙方言体貌特征的生成语法研究》2022）在疑问句中，常用“啵”替代普通话的“吗”。例如，“你好啵？”意为“你好吗？”。在比较句中，常使用“A连不赢B”或“A有得B果/搞手”等结构，与普通话的“A不如B”（A没有B好）形成鲜明对比。这些语法现象是勾勒其方言类型特征的关键。

连读变调的规则也很独特，常受语法结构影响，在不同构式中呈现规律性变化。其核心机制是，前一个音节的声调常因后一个音节的影响而发生规律性改变，形成固定的变调模式。最经典、最普遍的规律是：当两个上声音节相连时，第一个音节的声调变为阳去调。例如，“老鼠”读作“劳鼠”，“很好”读作“痕好”。这一模式几乎普遍适用。此外，当两个阴去音节相连时，第一个音节常变为高平调。例如，“世界”变为“诗界”。当两个阳平音节相连时，第一个音节常变为低平调，如“茶杯”的“茶”字升调消失。这些变调现象在传统（老派）发音中更为系统。在现代（新派）变体中，受普通话影响，有时会有所简化。掌握这些规则，尤其是关于上声变调的“第一定律”，是地道说出长沙话、感知其独特韵律的关键。

====独特的语音特征====

长沙方言一个关键的语音特征是古全浊声母平声字清化为不送气清音。例如，在普通话中声母不同的“牌”和“败”，在长沙话中拥有相同的不送气清声母。（许陈子 2025, 5）其声调系统保留了入声，形成了四声六调的基本格局，尽管与入声相关的塞音韵尾已经脱落。方言中还存在许多文白异读现象。当代的变化包括古精组字与见组细音字声母的合流，这体现在年轻一代的语音中。

在听觉感知上，长沙方言节奏清晰，声调起伏相对较大，语速较快，形成了一种独特的旋律美。代际差异明显：老派长沙话保留了更完整的系统，而新派长沙话因受普通话影响已发生简化。年轻人中流行的“塑料普通话”是方言与普通话接触融合的有趣产物。（百度百科：长沙话）

===长沙方言的价值与意义===

在当代，保护和研究长沙方言具有多维度价值。

====学术价值：语言研究的“珍贵样本”====

长沙方言地处几大汉语方言区交汇处，为研究汉语历史音韵、方言地理和语言接触提供了关键数据。其具体的音变规律为重构汉语历史提供了重要证据。它现已纳入国家语言资源保护工程，通过音像数据库进行科学记录，以供未来研究。（长沙市政府网站，2024年08月）

====文化价值：“活化石”与身份认同支柱====

方言是长沙历史、社会变迁和民间智慧的口头档案。对本地人和在外游子而言，它是乡音，是培养深刻文化认同感和归属感的最直接情感纽带。长沙方言是湖南非物质文化遗产的核心载体。国家级非遗如湘剧、长沙弹词，省级非遗如长沙花鼓戏、长沙童谣，都深深植根于长沙方言的土壤。这些艺术形式不仅依赖方言进行表演和传播，更通过唱、念、做、打将方言本身提升为一种艺术语言。（长沙市政府网站，2024年08月）

====社会价值：促进和谐与旅游的软实力====

长沙方言的社会价值深深植根于其作为城市生活无形纽带的作用。它不仅是日常交往中增进本地人间信任与亲密感、瞬间拉近同乡距离、增强社区认同的“社交密码”，还承载着代际间家族记忆与地方性知识的传递。这使得本地价值观和生活智慧得以在家庭和邻里间自然传承。在公共领域，方言成为本地文化与更广阔世界对话的独特媒介——它通过花鼓戏的旋律、街头小贩的叫卖声以及自媒体内容的幽默，塑造了长沙充满活力、泼辣且接地气的城市性格，吸引着外来者的好奇与融入。同时，在普通话推广普及的压力下，方言本身的存续也反映了社会对文化多样性的自觉保护。其演变，例如“塑料普通话”现象，已成为观察语言接触与社会变迁的生动视角。可以说，长沙方言的存在，使得这座现代化大都市在飞速发展中仍保留着可辨识的温情与乡音，维系着一个地方共同体的情感根脉与文化自信。

===结语：保护乡音，传承文脉===

如今，在普通话高度普及的背景下，长沙方言的生存空间受到挤压，但也催生了对其保护的新认知与实践。从学术界的系统研究到民间的自觉传承，从非遗舞台上的精彩演绎到日常生活中的坚持使用，长沙方言正以多种方式延续其生命力。

这种延续不仅关乎语言本身，更关乎一座城市的文化根脉与精神特质。当我们在岳麓山下听到老人用长沙话讲述故事，在湘江边听到孩童用乡音嬉戏歌唱，我们听到的不仅仅是声音，更是一座城市超越时空的文化心跳——这是长沙呈现给世界的独特声音，也是镌刻在长沙人心中的永恒乡愁。

作为一名长沙人，我深知自己既是承载者，也是守护与活化长沙方言的关键行动者。在日常生活的节奏中，我可以有意识地多与长辈用乡音交谈，聆听并记录那些渐行渐远的俗语、童谣和老故事，确保方言在家庭的温暖中得以传递，避免代际断层。我可以在与朋友聚会、参与社区活动时，自然地使用方言，维持其在社交场合的活力，甚至可以通过短视频、播客等有趣方式分享方言的魅力。我可以积极欣赏和支持花鼓戏、弹词等本土艺术，通过观看演出帮助这些基于方言的艺术在舞台上保持生命力。每一次说出地道的长沙话，我不仅是在交流，更是在传递一种独特的思维方式与情感纽带。当我向下一代或来自他乡的朋友耐心解释方言表达背后的故事与幽默时，我是在为这座城市记忆搭建桥梁。我每一个看似微小的坚持与实践，都在向世界传递一个信息：长沙的声音，值得被认真倾听，并长久留存。

===参考文献===

·Baidu Encyclopedia 百度百科：New Xiang，新湘语 https://baike.baidu.com/item/新湘语

·Baidu Encyclopedia 百度百科：Changsha dialect，长沙话 https://baike.baidu.com/item/长沙话/6215118?fromtitle=长沙方言&fromid=1955629&fr=aladdin

·Bao Houxing 鲍厚星. (1999). 长沙方言研究 [A Study of the Changsha Dialect]. Hunan: Hunan Education Press 湖南教育出版社.

·Lu Man 鲁曼. (2022). 长沙方言体貌特征的生成语法研究 [A study on the generation grammar of dialectic physical characteristics in Changsha]. Beijing: China Social Sciences Academy Press 北京中国社会科学出版社.

·Xu Chenzi 许陈子.（2025）. 塑料般的声调：韵律中的地域特色. [Plastic Mandarin tones: regional identity in prosody] 语音学 Phonetica (32) 331-362.

·长沙市政府门户网站，长沙市教育局对长沙市十六届人大四次会议第208号建议的答复，http://jyj.changsha.gov.cn/zfxxgk/fdzdgk/jyhtabl/rdjy/gkxx/202408/t20240813_11520320.html

===术语和表达===

湘语 Xiang Chinese

新湘语 New Xiang

官话方言 Mandarin

赣方言 Gan dialects

全浊声母 Voiced obstruents

清化 Devoicing

不送气清音 Unaspirated voiceless initials

入声 Entering tone (Checked tone)

四声六调 Four tone categories, six contours

文白异读 Literary and colloquial readings

尖团合流 Merger of alveolar and palatal sibilants

平翘舌合并 Merger of retroflex and alveolar initials

连读变调 Tone sandhi

“子”尾词泛化 Prolific use of the suffix “-zi”

体貌系统 Aspectual system

体标记 Aspect markers

特色词汇 Characteristic lexicon

老派/新派发音 Old/New Changsha speech

塑料普通话 Plastic Mandarin

非物质文化遗产 Intangible Cultural Heritage (ICH)

湘剧 Xiang Opera

长沙弹词 Changsha Storytelling

花鼓戏 Huagu Opera

童谣 Nursery Rhymes

乡音 Sound of hometown / Local accent

活化石 Living fossil

有声档案 Audio archive

身份认同 Identity

文化认同 Cultural identity

中国语言资源保护工程 Chinese Language Resources Protection Project

语言接触 Language contact

===问题===

问题1：长沙方言在中国方言学中属于哪一类？其核心语音特征之一是什么？

问题 2：请提供两个极具特色的长沙方言词汇，并解释其含义。

问题 3：作为文化遗产的载体，哪些非物质文化遗产形式依赖于长沙方言？

问题 4：保护长沙方言的社会实用性体现在哪些方面？

问题 5：为保护长沙方言，国家层面采取了哪些措施？

===答案===

1、它被归类为湘语方言，具体属于新湘语类型。其核心特征是在某些声调类别中，将中古汉语的浊塞音清化为不送气清音声母。

2、例如：
1）“霸蛮”：表示坚韧不拔的毅力和精神。
2）“堂客”：对妻子亲切、日常的称呼。还有“便利”和“细伢子”（孩子）。

3、主要形式包括：湘剧和长沙弹词（国家级非物质文化遗产），以及长沙花鼓戏和长沙童谣（省级非物质文化遗产）。方言对于它们的表演和传承至关重要。

4、保护工作强化了当地的文化认同感和社区联系。它还作为一种独特的文化资本，提升了城市的旅游形象和文化影响力，使其更具吸引力，成为国际旅游目的地。

6、主要措施包括：
1）将其纳入中国语言资源保护工程，进行系统性记录。
2）对相关非物质文化遗产项目予以支持和认可。
3）推动学术研究，出版有关该方言的研究成果。

File:Fengshui in Architecture 2025.pptx

2025-11-07T15:48:27Z

Hu Lei:

File:Science and Technology(PDD).pptx

2025-11-07T15:44:19Z

Hu Lei:

Chinese Language and Culture - 2025

2025-11-07T15:42:39Z

Hu Lei: /* 2025-10-30 (周四) - Completed */

Contents from spring (will be updated for fall):

Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!

=Overview about this semester's student presentations=

== 📅 Presentation Schedule ==

=== 2025-10-16 (周四) - Completed ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Luó Yǔyān || 罗语嫣 || 202570081748 || 275. Zhuazhou [[Media:Zhuazhou_2025.pptx]]
|-
| 2 || Qū Yuèníng || 曲悦宁 || 202570081750 || 267. Mazu culture
|-
| 3 || Lǐ Zhuóshàn || 李卓善 || 202570081692 || 282. Black Myth: Wukong
|-
| 4 || Zhāng Mǐnjié || 张敏杰 || 202570081730 || 153. Traditional Cuisine: Eight Major Cuisines of China [[Media:Eight Major Cuisines of China_2025.pptx]]
|-
| 5 || Qín Míngwén || 秦铭雯 || 202570081704 || 19. Twelve Animals of the Chinese Zodiac
|-
| 6 || Zēng Lín || 曾琳 || 202570081670 || 27. Chinese Writing: Calligraphy [[Media: calligraphy 2025.pptx]]
|-
| 7 || Dèng Xuě || 邓雪 || 202570081742 || Panda
|-
| 8 || Guō Xiǎopèi || 郭晓佩 || 202570081678 || 25. Body movements performance: traditional Chinese dance
|-
| 9 || Zhāng Xiāorán || 张潇然 || 202570081759 || Chinese Ancient Weapons
|}

=== 2025-10-23 (周四) - Completed ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Zēng Língkǎi || 曾凌楷 || 202570081774 || 213. Chinese Dreamcore (中式梦核)
|-
| 2 || Chén Kěxīn || 陈可心 || 202570081671 || The Five Famous Mountains [Media:The_Five_Famous_Mountains_2025.pptx]
|-
| 3 || Liú Jiāqí || 刘嘉琪 || 202570081696 || Chinese liquor culture
|-
| 4 || Wáng Guóshū || 王国姝 || 202570081753 || Red envelope and lucky money
|-
| 5 || Chén Qiānyùn || 陈仟运 || 202570081673 || 203. Chinese horror movies 中式恐怖片 [[Media:Chinese_horror_movies_2025.pptx]]
|-
| 6 || Hé Yí || 何怡 || 202570081743 || 262. The four pillars of destiny [[Media:The four pillars of destiny.pptx]]
|-
| 7 || Zhāng Méiróng || 张梅容 || 202570081729 || 227. Chinese Bossy Fictions & Micro-drama (中国式霸总小说&短剧)
|-
| 8 || Lǐ Wénqīng || 李文清 || 202570081690 || 132. Porcelain
|-
| 9 || Liú Zǐlíng || 刘紫玲 || 202570081699 || 185. Opera: Huangmei opera 黄梅戏
|}

=== 2025-10-24 (周五) - Completed ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Wēng Lánlín || 翁岚淋 || 202570081712 || 217. Cha Bai Xi / Tea Latte Art (茶百戏) [[Media:Cha_Bai_Xi_2025.pptx]]
|-
| 2 || Huáng Yàngyàng || 黄样样 || 202570081682 || 234. Dragon Lantern Dance [[Media:Dragondance.pptx]]
|-
| 3 || Lǐ Yòu || 李又 || 202570081691 || Kite-flying (放风筝)
|-
| 4 || Mǎ Yījiāo || 马一礁 || 202570081700 || 242. Hunan Rice Noodles (湖南米粉)
|-
| 5 || Zhū Zhū || 朱珠 || 202570081738 || 37. Confucianism: Classical Philosophy-Reading the Analects
|-
| 6 || Wáng Rǎnrǎn || 王冉冉 || 202570081709 || Shandong cuisine 鲁菜
|-
| 7 || Yáng Shūwén || 杨淑雯 || 202570081722 || Traditional Cuisine: Breakfast Culture of Wuhan
|-
| 8 || Méi Xīléi || 梅希雷 || 202570081701 || 69. Language: Chinese Dialects
|-
| 9 || Liú Huì || 刘慧 || 202570081695 || 204. Stand-up Comedy [[Media:Stand-up Comedy.pptx]]
|}

=== 2025-10-30 (周四) - Completed ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Cáo Wén || 曹文 || 202570081669 || 171. Science and Technology: Taobao（淘宝）
|-
| 2 || Chén Míngbō || 陈明菠 || 202570081672 || Education: training Schools
|-
| 3 || Dèng Xīnyǔ || 邓欣雨 || 202570081674 || 253. Yuelu mountain 岳麓山[[Media:Yuelu Mountain（岳麓山）.pptx]]
|-
| 4 || Dèng Xīn || 邓鑫 || 202570081675 || 196. Science and Technology: The culture of Chinese Electric Vehicles
|-
| 5 || Fāng Xiān || 方鲜 || 202570081676 || 100. Money Culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty)
|-
| 6 || Fú Róng || 符蓉 || 202570081677 || 225. "Cun Chao": China's village football league（"村超"：中国乡村足球联赛）
|-
| 7 || Guō Yùróng || 郭玉熔 || 202570081679 || 14. Architecture: Fengshui in Chinese architecture [[Media:Fengshui_in_Architecture_2025.pptx]]
|-
| 8 || Hè Jìngtóng || 贺婧童 || 202570081680 || 13. Three Great Towers in China
|-
| 9 || Hú Lěi || 胡磊 || 202570081681 || 193. Science and Technology: Buy together (PDD)[[Media:Science and Technology(PDD).pptx]]
|-
| 10 || Huáng Yáo || 黄瑶 || 202570081683 || Cheongsam
|-
| 11 || Martin Woesler || 吴漠汀 || xxx || Teacher presentation [[Media:02.pptx]]
|}

=== 2025-11-06 (周四) - 共 9 个演讲 ===

周四换成：6 Wáng Zǐxīn 王紫新 202570081710 138.Round Table Culture；

周五换成：7 Líng Xīaoyáo 凌逍遥 202570081693 43.Chinese Folk Argot

Teacher presentation [[Media:02a.pptx]]

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Huáng Yīlín || 黄伊琳 || 202570081684 || Chinese incense culture
|-
| 2 || Jiǎng Kèyǔ || 蒋克雨 || 202570081686 || 221. Zhongyuan festival
|-
| 3 || Kǒng Xiángyǎ || 孔祥雅 || 202570081687 || 266. Hui culture
|-
| 4 || Lǐ Mèngxiá || 李孟霞 || 202570081688 || 243. Chinese names
|-
| 5 || Lǐ Pàn || 李盼 || 202570081689 || 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China
|-
| 6 || Wáng Zǐxīn || 王紫新 || 202570081710 || 138.Round Table Culture [[Media:Round_Table_Culture_2025.pptx]]
|-
| 7 || Liú Dān || 刘丹 || 202570081694 || 232. Sun Wukong (孙悟空) [[Media:Sun_Wukong_2025.pptx]]
|-
| 8 || Liú Xīn || 刘欣 || 202570081697 || 170. Paper cutting
|-
| 9 || Liú Yuán || 刘缘 || 202570081698 || Language: Hakka Dialect 1845
|}

=== 2025-11-07 (周五) - 共 10 个演讲 ===

Forum Discussion: Concept of Tianxia https://dcg.de/ai/uni/chinese_language_culture.php#tianxia

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Pān Liànyàn || 潘恋艳 || 202570081702 || 283. Guangdong Morning Tea Culture 广东早茶
|-
| 2 || Péng Xiāngrú || 彭湘茹 || 202570081703 || 5. Aesthetic ideals and social customs: Crying Marriage of Tujia
|-
| 3 || Qū Yìyǐng || 曲奕颖 || 202570081705 || 216. The Story of Ming Lan 知否知否应是绿肥红瘦
|-
| 4 || Rèn Yàrú || 任亚茹 || 202570081706 || 63. Mogao Grottoes
|-
| 5 || Rèn Yíngyíng || 任盈盈 || 202570081707 || 263. Shaolin Temple
|-
| 6 || Shū Yǔlù || 舒雨璐 || 202570081708 || 133. Silk and porcelain: Celadon and Celadon Song《青花瓷》
|-
| 7 || Líng Xiāoyáo || 凌逍遥 || 202570081693 || 70. Chinese folk argot
|-
| 8 || Wèi Fāngxīn || 魏方鑫 || 202570081711 || 152. Traditional Cuisine: Chopsticks
|-
| 9 || Wú Hóngpíng || 吴洪萍 || 202570081713 || 31. Chinese clothing
|-
| 10 || Xiàng Xīnlěi || 向馨磊 || 202570081714 || 179. Traditional and Modern Views on Marriage and Love
|}

=== 2025-11-13 (周四) - 共 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Xiàng Xuěbīng || 向雪冰 || 202570081715 || TBD - Xiàng Xuěbīng
|-
| 2 || Xiào Sūqín || 肖苏秦 || 202570081716 || 197. Chinese tradition culture: The culture of Ronghua-Velvet Flowers 绒花
|-
| 3 || Xióng Ruòyáo || 熊若瑶 || 202570081717 || 169. Cuisine: Luosifen
|-
| 4 || Yán Zhéwén || 严哲文 || 202570081718 || 9. Architecture: The Forbidden City
|-
| 5 || Yáng Hàodān || 杨皓丹 || 202570081719 || 209. Tofu meatball with pig blood(猪血丸子）
|-
| 6 || Yáng Jīnyǔ || 杨金雨 || 202570081720 || 96. Medicine: TCM - The Development of Chinese Medicine
|-
| 7 || Yáng Jìngwèi || 杨婧蔚 || 202570081721 || 45. Facial Make-up: Face Changing in Sichuan Opera
|-
| 8 || Yáng Xīrán || 杨晰然 || 202570081723 || 191. Aesthetic ideals and social customs: The Culture of Flowers
|-
| 9 || Yáng Yǔxuān || 杨宇轩 || 202570081724 || 20. Milk tea 奶茶
|-
| 10 || Yì Yǎlán || 易雅兰 || 202570081725 || Bamboo Weaving 竹编
|}

=== 2025-11-20 (周四) - 共 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Yú Chēn || 余琛 || 202570081726 || 174. Traditional Cuisine: Jiaozi 饺子
|-
| 2 || Yuè Ziháo || 岳子豪 || 202570081727 || 108. Opera: Peking Opera (京剧)
|-
| 3 || Zhāng Lì || 张丽 || 202570081728 || 180. Tangyuan (汤圆)
|-
| 4 || Zhāng Shuàichāo || 张帅超 || 202570081731 || Ancient Chinese education
|-
| 5 || Zhāng Yǔméng || 张雨蒙 || 202570081732 || 208. Chinese traditional ornament: Buyao (步摇)
|-
| 6 || Zhào Jǐntāo || 赵锦涛 || 202570081733 || Culture of Chinese Electric Car
|-
| 7 || Zhào Mǐn || 赵敏 || 202570081734 || Gender: Wu Zetian: The Only Female Emperor of Imperial China
|-
| 8 || Zhào Yíxiāo || 赵怡潇 || 202570081735 || 205. Bride-price
|-
| 9 || Zhèng Shān || 郑珊 || 202570081736 || 278. The Beef Board Noodle
|-
| 10 || Zhōu Wénxuān || 周文萱 || 202570081737 || 23. Body movement performance: Chinese Lion Dancing
|}

=== 2025-11-27 (周四) - 共 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Zhù Yèhuī || 祝烨晖 || 202570081739 || 251. Rice Noodle Roll 肠粉
|-
| 2 || Chén Yǎqí || 陈雅琪 || 202570081740 || 157. Traditional Cuisine—hotpot
|-
| 3 || Chén Yǔfēi || 陈宇飞 || 202570081741 || 91. Martial Arts: Wushu
|-
| 4 || Hé Yǐng || 何颖 || 202570081744 || 276. Nail art (美甲)
|-
| 5 || Huáng Yǎqiàn || 黄雅倩 || 202570081745 || 93. Medicine: Traditional Chinese Medicine (TCM)
|-
| 6 || Lín Zhǐyí || 林芷怡 || 202570081746 || 92. Frolics of the Five Animals (wuqinxi)
|-
| 7 || Liú Kāngyí || 刘康怡 || 202570081747 || 112. Huagu Opera (花鼓戏)
|-
| 8 || Lǚ Píng || 吕萍 || 202570081749 || 102. Music and instruments: guzheng
|-
| 9 || Shěn Yàn || 沈燕 || 202570081751 || 241. Abacus (珠算)
|-
| 10 || Tán Tíngtíng || 谭婷婷 || 202570081752 || 202. The Legend of Zhen Huan《甄嬛传》
|}

=== 2025-12-04 (周四) - 共 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Wèi Méng || 魏萌 || 202570081754 || Zhang Zhongjing
|-
| 2 || Xiè Xuán || 谢璇 || 202570081755 || 02. Aesthetic ideals and social customs: Chinese marriage customs (中式婚礼)
|-
| 3 || Yáng Tíng || 杨婷 || 202570081756 || 254. Traditional Crafts: Tie-Dye
|-
| 4 || Yáng Yǔqíng || 杨雨晴 || 202570081757 || 259. Female writers
|-
| 5 || Yáng Yuàn || 杨媛 || 202570081758 || 188. Science and Technology: Mobile Games (手游)
|-
| 6 || Zhāng Yuè || 张悦 || 202570081760 || 265. Cuisine: changed spicy salted duck
|-
| 7 || Zhōu Xuán || 周璇 || 202570081761 || 186. The "reference" of Chinese Music (中国音乐的"借鉴")
|-
| 8 || Zhōu Yáng || 周洋 || 202570081762 || 148. Handcraft—Chinese knots
|-
| 9 || Guō Yǔtíng || 郭雨婷 || 202570081763 || 238. Three famous chinese mountains 中国三山
|-
| 10 || Jiāng Wǎnlíng || 姜宛灵 || 202570081685 || 1.Geographic Nature as a Basis for Cultural Development
|}

=== 2025-12-11 (周四) - 共 9 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Lǐ Fán || 李凡 || 202570081764 || TBD - Lǐ Fán
|-
| 2 || Péng Lùxī || 彭露曦 || 202570081765 || 250. Language: Hakka Dialect (客家话)
|-
| 3 || Hú Mínghào || 胡明浩 || 202570081766 || 270. The Yingge Dance (英歌舞)
|-
| 4 || Huáng Lèlè || 黄乐乐 || 202570081767 || 179. Traditional and modern views on marriage and love
|-
| 5 || Jiāng Jiāyǔ || 姜佳宇 || 202570081768 || 224. Jiangxi Cuisine (赣菜)
|-
| 6 || Liáng Yǔtóng || 梁羽彤 || 202570081769 || 256. Danmu (弹幕)
|-
| 7 || Péng Ruǐmiáo || 彭蕊苗 || 202570081770 || 213. Chinese Dreamcore (中式梦核)
|-
| 8 || Qín Níng || 秦宁 || 202570081771 || 212. Education: training Schools (教育：补习班)
|-
| 9 || Wú Jǐnxuán || 吴瑾璇 || 202570081772 || 274. God of Wealth (财神)
|}

=== 2025-12-18 (周四) - 共 8 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Yǐn Ziháo || 尹子豪 || 202570081773 || TBD - Yǐn Ziháo
|-
| 2 || Chén Yǔjiā || 陈雨佳 || 202570081775 || 203. Beverages: Tea
|-
| 3 || Wāng Jīnyán || 汪金妍 || 202570081776 || 158. Traditional Cuisine: The Art of Chinese Cooking
|-
| 4 || Yì Yǔtíng || 易雨婷 || 202570081777 || 268. Table manners
|-
| 5 || Hán Jiāyàn || 韩佳燕 || 202570081778 || 236. Landscapes and Tourism: Harbin Ice and Snow World
|-
| 6 || Liào Rútíng || 廖如婷 || 202570081779 || 169. Cuisine: Luosifen
|-
| 7 || Wáng Huìān || 王慧安 || 202570081780 || 128. TikTok (Douyin)
|-
| 8 || Wú Héng || 吴姮 || 202570081781 || 215. Live Streaming E-commerce (直播电商)
|}

=Session 1 Thu Sep 25 19:00-21:35 room 613 - Organizational issues=

==What we learn in this class==
*We learn about Chinese culture from international, especially Western perspective.
*We learn about cultural phenomena, traditional Chinese culture.
*We learn English and Chinese terminology in the area of Chinese culture.
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.
*We learn how to determine the location and role of Chinese culture within global culture.
*We learn basics of theories and models of intercultural communication and comparison.
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).

==Students' contribution==
*Every student needs to prepare the textbook texts of the respective chapters in the textbook ahead each week of class.
*Every student selects a topic, prepares 1 pptx presentations of 5 min. (without AI, and please indicate references and an AI statement at the end of the presentation) and a interactive quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are 283 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.

==Agreement on use of classroom time==
Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)

----
==Homework for every session==
Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Lang_Cult_2025.pptx]]

[[Media:02_Chin_Lang_Cult_2025.pptx]]

==Homework for Session 2==
Please register on the Wiki and wait for the teacher to approve. You can click on https://bou.de/u and then "Register" in the top right corner, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions. More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation").

==Prepare ppt (10 students)==
Grading Criteria for Powerpoint Presentations

Was the presentation based on scientific facts, did the presenter also conduct some research on the topic and did he/she also add her own experience or her own opinion/perspective and marking the two different perspectives as factual/subjective? Did the presentation avoid absolute judgments like "good" or "best", but did it instead use vocabulary like "fascinating", "surprising" etc. and also indicated to whom it is fascinating/surprising etc. and why?

Was the presentation successful? Did it catch the attention of the audience over the whole time? Was the presenter persuading? Was the audience excited/fascinated? Did the audience learn something? (Or was the audience bored and talked the whole time without paying attention to the presenter?)

Formal things: Was the speaker good to hear (loud/clear)? Did he make a self-confident impression and did he know his topic? Did the speaker speak freely and not read out? Where there meaningful pictures and graphs on the slides and only a few keywords, well sorted by numbers or bullet points (or was the powerpoint merely a text desert of small size script with the script being copied onto the slides)?

Was the presentation appropriate to the topic?

Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?

Was the presentation not too short and not too long in time, but as long as the other presentations, so that all presentations of the day could be presented?

Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?

Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?

Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?

Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?

Did you present your ppt file in the full screen mode?

Did you arrive early in classroom to copy your file onto the desktop of the class computer and did you check it and also any embedded or accompanying video files etc. if everything works properly including sound?

Did the presentation avoid deadly mistakes like plagiarism, using ai without indicating it (if you use ai to create the presentation, you need to indicate the platform and the full prompt you gave to ai and the main adjustments you did to the prompt), using ideology, patriotism, politics, religious beliefs, advertisement for products, ignorance (e.g. that a cultural phenomenon is wide spread in Asia and the origin is unclear, but claiming it was Chinese and originated in China), racism, prejudices, telling lies, spreading false rumors etc.?

Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on, plus an interactive quiz: The first ten presenters will have to present in two weeks!

1. Geographic Nature as a Basis for Cultural Development 17

2. Aesthetic ideals and social customs: Chinese Marriage Customs 22

3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31

4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40

5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49

6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203 (Zhang Mai)

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236

27. Chinese Writing: Calligraphy 246 (Tang Yan)

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339

38. Education: Ancient Chinese Education 350

39. Education: Historical Figures, The Four Talented Women of Ancient China 361

40. Education: Modern Chinese Education System 371

41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386

42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395

43. Facial Make-up 406

44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413

45. Facial Make-up: Face Changing in Sichuan Opera 431

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462（Zhao Qi）

51. Games: Kite Flying 468

52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

55. Garden Culture: The Summer Palace 519（Li Mei）

56. Garden Culture: Qingming Riverside Landscspe Garden 526

57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

61. Landscapes and Tourism: Four State-Level Cultural Relics 573

62. Landscapes and Tourism: Landscape, Five Famous Mountains 585

63. Landscapes and Tourism: Mogao Grottoes 593

64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)

65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621

66. Landscapes and Tourism: The Ancient Tea Horse Road 635

67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

71. Literature: Ancient literature - Chinese Classical Fairy Tales 681

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

74. Literature: Ancient Literature - Four satirical novels in ancient China 706

75. Literature: Ancient literature: Four Folk Stories of Ancient China 715

76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)

77. Literature: Ancient Literature: The Classic of Mountains and Seas 748

78. Literature: Ancient literature: Yuefu 765

79. Literature: Premodern literature - China's Four Great Classical Novels 773

80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780

81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786

82. Literature: Premodern literature: Tang-Song 794

83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823

84. Literature: Modern Literature 832

85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）

86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873

91. Martial Arts: Wushu 885

92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

96. Medicine: TCM - The Development of Chinese Medicine 917

97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924

98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934

99. Minority cultures: The Ethnic Minorities’ Costumes 941

100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952

101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026 （Liao Zuoyun）

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)

111. Opera: Tea-picking Opera 1055

112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064

113. Philosophical Schools: Four Main Philosophical Schools 1076

114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087

115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093

116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099

117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106

118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235

130. Science and Technology: Four Domestic Mobile Phone Companies 1257

131. Silk and porcelain: Silk 1272 (Fei Xinyu)

132. Silk and porcelain: Porcelain 1277

133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)

134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291

135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296

136. Silk Road - by land and by sea: Zheng He's Voyages 1300

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317 (Wu Jiating)

139. Stage entertainment: Crosstalk 相声 1325

140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348

143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373

146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）

147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)

157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558 (She Xiao)

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573 Lv Jiahao

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593 （Chen Sisi)

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）

175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655

176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694 (Liu Yunxi)

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712（Xiao Yawen）

182. Chinese Economy: rich businessmen 1719 (Fu Sihui)

183. Opera: Chinese Local Operas 1727 （Wang Xinyu）

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752 （Chu Hanqi）

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)

194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845

195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)

196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)

197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845

198. Stage entertainment: Northeast Errenzhuan (二人转) 1845

199. Traditional Crafts: Dough Sculpture 面塑 1845

200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845

201. The culture of Grass cloth 夏布 1845

202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)

203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)

204. Stand-up comedy 单口喜剧 1845（Huang Sinan）

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845(Lu Wei)

208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)

209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）

210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845

211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845

212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)

213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)

214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845 (Cai Yichun)

215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)

216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)

217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)

218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)

219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)

220. Rice cake (年糕) 1845 （Dong Jiating）

221. Zhongyuan festival 1845 （Ou Huang）

222. Dulong: Facial tattoo (独龙族：纹面) 1845

223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）

224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)

225. "Cun Chao": China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)

226. Landscapes and Tourism: Junshan Island (君山岛) 1845

227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)

228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

230. Gayageum（伽倻琴） 1845 (Zhang Meiling)

231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)

232. Sun Wukong（孙悟空） 1845 （Li Yuan2）

233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)

234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）

235. Bamboo Weaving (竹编） 1845 (Chen Anqi)

236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)

237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）

238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）

239. Female Emperor---Wu Zetian 1845 (Song Xin)

240. Clay sculpture (泥塑） 1845 (Chen Lin)

241. Abacus (中国珠算） 1845

242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)

243. Chinese name（中国姓名文化） 1845

244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)

245. Douzhi (豆汁) 1845(Li Linyao)

246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）

247. Carved lacquer（雕漆） 1845 （Liu Qi）

248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）

249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845

250. Language: Hakka Dialect（客家话） 1845

251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )

252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）

253. Yuelu Mountain (岳麓山) 1845（Chen Ting）

254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）

255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)

260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao)

261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845

262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845

263. Shaolin Temple (少林寺) 1845 (Zuo Fang)

264. Single bamboo drifting（独竹漂） 1845

265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）

266. Hui Culture (徽文化) 1845(Liu Jianan)

267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)

268. Table Manners 1845（Luo Yan）

269. Music of the Mongol nationality (蒙古族音乐) 1845

270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)

271. Palace Lantern（宫灯） 1845 （Shao Keyuan）

272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）

273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)[[File:Changsha Stinky Tofu.pptx]]

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）

277. Mirror (镜子) 1845 (Cheng Sixiang)

278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)

279. Huo Qubing (霍去病） 1845 （Luo Jingyan）

280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)

281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）

282. Black Myth: Wukong（黑神话悟空） 1845 (Chen Zhen)

283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）

=Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=
==Teacher presentation: Introduction to Culture==
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]

==Topics for today==
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)

You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?

Please remember that you have to indicate the 10 topics for Friday on the course website under "Session 2" with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.

27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]

52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]

55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]

76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]

85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]

Tea Latte Art (Xiang Jianning)

Topic 7

Topic 8

Topic 9

Topic 10

=Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=
==Presentations==
1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86

2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]

3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]

4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]

5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]

6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]

7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_New_Great_Inventions_Spring_2025.pptx]]

==Notes on presentations==
Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.

1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. "Black tea" (in English all "hong cha" is called "black tea"), British tea culture (add milk)

2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism

3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money

4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union

5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers

6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87

7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86

==Student grades: 平时成绩/签到==

75/103 students, 24级 MA翻译, class representative: Zhang Jiaxin
# Jin Yichen
# lu jiahui
# li yuan
# cao yuan
# xiao luyu
# zhang jiaxin +5
# ye sitong
# zhao yashi
# jiang xinyue
# yan xiang
# fei xinyu
# zhang qi
# dai shiru
# zhang zixi
# zheng kaiwu
# cai yichun
# yang jing
# liao dan
# luo yan
# qin yi
# shao keyuan
# cao chunyang
# xu yangyang
# liao zuoyun
# cheng sixiang
# du jiangping
# liu qi
# miao yunlong
# huang qiaoqiao
# chen lin
# duan binyao
# li ting
# zeng zhi
# xing xueqing
# luo jingyan
# liu shutian
# gao xiaoqing
# chen zhen
# luo guoqiang -1-1-1
# she xiao
# he yunfeng
# liu ying
# du yuan
# li jiayi
# tao yao
# xu xinwen
# ou huang
# liu peini
# jiang ziqiang
# zhang huifang
# liu chao
# liu yunxi
# luo jiaxin
# li mei
# zeng xiaohui
# huang yixuan
# chen anqi
# chen ting
# zhang mai
# yuan xiaolin -1-1
# li mingfeng
# dai yexun-1-1
# yang pei -1
# tang yan
# xiang jianning-1
# liu chang -1
# wang yuxin
# lv jiahao-1
# dong jiating
# lu wei
# yang yue
# guo cili
# shen shuai
# Ouyang yihong
# li zihan -1
# zuo fang
# fu sihui
# xiao zixin -1
# zhou tianyi -1
# qi zhiyang -1-1
# liu pei
# gong wei
# chen sisi
# huang sinan
# xiao yikang
# yu jingfang
# luo sicheng
# yang jiahong
# yan jidong
# xiao yawen
# geng hongmei
# zhou le
# qiu ping
# wang huaixing
# wang xinyu
# chu hanqi
# wu jiating
# zhang meiling
# liu jianan
# song xin
# zhao qi
# zheng jinlian
# li linyao

=Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=
#Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]
#Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]
#Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]
#Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]
#Topic 182: Chinese Economy: rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]
#Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin) [[Media:Tanghulu_Spring_2025.pptx]]
#Topic 138: Social: Round Table Culture 1317 (Wu Jiating) [[Media:Round_Table_Culture_Spring_2025.pptx]]
#Topic 174: Jiaozi (Liu Pei) [[Media:Dumplings_Spring_2025.pptx]]
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)

=Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=
#Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]
#Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]
# Topic 131: Silk and porcelain: Silk (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]
# Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine.pptx]]
# Topic 169: Cuisine: Luosifen 1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]
# Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]
# Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]
# Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]

=Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=

#Topic 188:Mobile Games 手游 1783 （Du Jiangping）[[Media:Mobile_Game.pptx]]
#Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）)[[Media:Aesthetic_ideals_and_social_customs-_The_Culture_of_Flowers.pptx]]
#Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)
#Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]
#Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]
#Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]
#Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）)[[Media: Huangmei Opera.pptx]]
#Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)[[Media:Chinese_Electtic_Vehicles_Geng_hongmei.pptx]]

=HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=
清明节4月4日——4月6日
=Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=
#Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）
#Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]
#Topic 181:Animals：Golden Monkey(Xiao Yawen)
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)[[Media:Chinese_Electtic_Vehicles_Geng_hongmei.pptx]]
#Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）
#Topic 220:Rice cake 年糕 (Dong Jiating)
#Topic 208:Chinese traditional ornament: Buyao(Yang Jing)[[Media:Chinese Traditional Ornament-Buyao.pptx]]
#Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]
#Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]

=Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=
#Topic 213: Chinese Dreamcore (Zhang Zixi)[[Media:Chinese Dreamcore.pptx]]
#Topic 215: Live-streaming e-commerce (Tao Yao)[[Media:Live-Streaming E-Commerce.pptx]]
#Topic 216: The Story of Ming Lan (Ye Sitong)[[Media:The Story of Minglan.pptx]]
#Topic 218: Guangdong Herbal tea (Gao Xiaoqing)
#Topic 219: Chinese traditional art form：Seal carving（篆刻） (Huang Qiaoqiao)[[Media:Seal carving.pptx]]
#Topic 207: Shan Dong Cuisine (Lu Wei) [[Media:Lu_Wei-207-Shandong_Cuisine.pptx]]
#Topic 221: Zhongyuan Festival (Ou Huang)[[Media:The Zhongyuan Festival.pptx]]
#Topic 223: The Return of the Pearl Princess (Lu Jiahui)[[Media:The Return of the Pearl Princess.pptx]]

=Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=
#Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)[[Media:ChaBaiXi.pptx]]
#Topic 225: Cun Chao": China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)
#Topic 227: Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)[[Media:Chinese_Bossy_Fictions_and_Microdramas.pptx]]
#Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]
#Topic 230: Gayageum（伽倻琴）(Zhang Meiling) [[Media:Gayageum.pptx]]
#Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)[[Media:The Plague and Couplets in Chinese Garden.pptx]]
#Topic 232: Sun Wukong(Li Yuan)[[Media:0425 Sun Wukong.pptx]]
#Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]
#Topic 235: Bamboo Weaving(Chen Anqi)[[Media:Bamboo Weaving.pptx]]
#Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)[[Media:Harbin Ice and Snow World.pptx]]

==Please enroll in ai platform==
Please enroll (register) in the platform https://dcg.de/ai/

=HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=
劳动节5月1日——5月5日

=Session 12 Tue May 06 10:00-11:40 room 613 - Student presentations=
#Topic 238: Three Famous Chinese Mountains(Liu Chang)
#Topic 239: Female emperor-Wu Zetian(女皇武则天)(Song Xin) [[Media:Wu Zetian.pptx]]
#Topic 240: Clay sculpture (泥塑）(Chen Lin)[[Media:Clay Sculpture.pptx]]
#Topic 242: Hunan Rice Noodles(Gong Wei)[[Media:Hunan Rice Noodles.pptx]]
#Topic 244: Chinese Popular Memes(中国网络流行热梗）(Xiao Yikang)[[Media:Chinese popular Memes.pptx]]
#Topic 245: Douzhi (豆汁)(Li Linyao)[[Media:Douzhi.pptx]]
#Topic 246: New Year Wood-block Paintings(Du Yuan)[[Media:Du Yuan New Year Wood-block Painting.pptx]]
#Topic 247: Carved lacquer（雕漆）(Liu Qi)[[Media:Carved lacquer.pptx]]
#Topic 237: Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)(Li Zihan)

==Regarding Wu Zetian‘s blank Steele==
关于武则天的“无字碑”（又称“无字碑记”）为何没有刻字，学界和民间流传着几种主要的假设：
#功过自有后人评说（最广为流传）：武则天希望后世自己来评价她的一生，不愿由自己或当时的人定论。这种说法强调了她的自信与超越常规。
#避讳批评或争议：武则天是中国历史上唯一的女皇帝，争议颇多。她可能认为无论写什么内容都容易引发非议，因此选择不刻字以避免争议。
#彰显佛教思想：她信奉佛教，而佛教讲究“空”与“无”，无字碑可能象征“空性”或“无常”，体现她的宗教哲学。
#未来自我书写：也有人猜测她原计划晚年或死前再刻碑文，但去世后未及实现，遂留下空碑。
#彰显权力与独特性：无字碑作为一种非同寻常的表达形式，也可视为权力和个性的象征，显示她与众不同的统治地位。

⸻

English Translation:

There are several main hypotheses about why Wu Zetian’s stele (often called the “Wordless Stele”) bears no inscription:
#“Let future generations judge” (most popular view): Wu Zetian may have wanted her life and legacy to be judged by later generations rather than writing her own praise. This interpretation highlights her confidence and forward-thinking.
#To avoid criticism or controversy: As the only female emperor in Chinese history, Wu Zetian was a controversial figure. She may have felt that any written content could provoke criticism, so she left it blank.
#Reflecting Buddhist philosophy: A devout Buddhist, she may have chosen to leave the stele blank as a symbol of “emptiness” or impermanence, ideas central to Buddhist thought.
#Intended to write later: Some believe she planned to inscribe it later in life but passed away before doing so, leaving the monument unfinished.
#Symbol of power and uniqueness: A blank stele could also serve as a unique and powerful statement, emphasizing her exceptional status and breaking with traditional forms.

=Session 13 Fri May 09 14:30-16:10 room 613 - Student presentations=
#Topic 248: Jing Gang Mountain (井冈山）(Yu Jingfang) [[Media:Jing_Gang_Mountain_Spring_2025.pptx]]
#Topic 251: Rice noodle roll (Li Mingfeng)[[File:Rice Noodle Roll.pptx]]
#Topic 252: Traditional Cuisine: Northeastern Chinese Cuisine (Liu Shutian)[[Media:Northeastern Chinese Cuisine.pptx]]
#Topic 253: Yuelu Mountain (Chen Ting) [[Media:Yuelu_Mountain.pptx]]
#Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional_Crafts_Tie-Dye.pptx]]
#Topic 255: Chinese-style sun protection (Zhao Yashi)[[ File:Chinese-style Sun Protection.pdf]]
#Topic 256: Danmu（弹幕）(Zhou Le)[[Media:Danmu.pptx]]
#Topic 259: Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua (Zhou Tianyi)[[Media:Voices of Chinese Female Writers.pptx]]
#Topic 214: Luban China's inventor (Cai Yichun)[[Media:Luban_China's_Inventor.pptx]]

=Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=
#Topic 262: The Four Pillars of Destiny(Li Jiayi) [[Media:Eight Characters.pptx]]
#Topic 263: Shaolin Temple(Zuo Fang) [[Media:Shaolin Temple.pptx]]
#Topic 265: Cuisine: Changde spicy salted duck(Xing Xueqing)[[Media:Changde spicy salted duck.pptx]]
#15:25-15:30 Topic 266: Hui Culture (徽文化)(Liu Jianan)[[Media:Hui Culture.pptx]]
#15:30- Topic 267: Ma Zu Culture (妈祖文化)(Yan Jidong)[[Media:Mazu culture.pptx]]
#15:35- Topic 268: Table manner(Luo Yan)[[Media:Table manner.pptx]]
#15:40- Topic 270: Yingge Dance(Jiang Xinyue)[[Media:Yingge Dance.pptx]]
#15:45- Topic 271: Palace Lantern(Shao Keyuan)[[Media:Palace_Lantern.pptx]]
#15:50- Topic 272: Chinese Endearing Terms(Zeng Zhi)[[Media:Chinese Endearing Terms.pptx]]

15:55-16:10 Check final exam paper topics

=Session 15 Tue May 27 10:00-11:30 中和楼 213 (moved from Fri May 30 14:30-16:10 room 613) - Student presentations=
#Topic 273: Changsha Stinky Tofu（长沙臭豆腐）(Luo Sicheng)[[Media:Changsha Stinky Tofu.pptx]]
#<nowiki>Topic 274:</nowiki> God of wealth(Liu Ying)[[Media:God of Wealth.pptx]]
#Topic 275: Zhua zhou (抓周）(Zeng Xiaohui) [[Media:Zhuazhou.pptx]]
#Topic 276: Nail art(Luo Jiaxin)[[Media:Nail_Art.pptx]]
#Topic 277: Mirror(Cheng Sixiang)[[Media:Mirror_Cheng Sixiang.pptx]]
#Topic 278: The Beef Board Noodles(Yan Xiang)[[Media:Beef Board Noodles.pptx]]
#Topic 279: Huo Qubing(Luo Jingyan)
#Topic 280: Chinese Courtyard Houses（中国四合院）(Guo Cili)[[Media:Chinese Courtyard Houses-Guo Cili.pptx]]
#Topic 281: yangqin(Dai Yexun)[[Media:Yangqin.pptx]]

=Session 16 Fri Jun 6 14:30-16:10 room 613=
#Topic 282: Black Myth: Wukong (Chen Zhen)
#Topic 283: Guangdong Morning Tea Culture (Yuan Xiaolin)[[Media:Guangdong_Morning_Tea.pptx]]
#Topic 283: Guangdong Morning Tea Culture （广东早茶文化）(Zheng Jinlian)[[Media:Guangdong Morning Tea Culture-Zheng Jinlian.pptx]]
#Topic:(Luo Guoqiang) Liuyang Fireworks

Liuyang Fireworks
“When flaming trees join silver flowers in one blaze, and bridges of stars unlock their iron gates,” fireworks have, since ancient times, embodied humanity’s yearning for prosperity and blessings. These luminous spectacles paint the night sky with dreamlike beauty, symbolizing hopes for a better life. When it comes to fireworks, one cannot overlook Liuyang, a city renowned as the “Home of Chinese Fireworks.” With over a thousand years of craftsmanship, Liuyang has given birth to fireworks that captivate the world.
The origins of Liuyang fireworks can be traced back to the Tang Dynasty. Legend has it that Li Tian, revered as the “Forefather Saint of Firecrackers,” filled bamboo tubes with gunpowder to dispel plagues. The explosive force and resulting smoke were believed to purify the environment, marking the embryo of firecrackers. Through generations of inheritance and innovation, Liuyang’s artisans continuously refined their craft. From the rudimentary bamboo-tube firecrackers of old times to the “string firecrackers” wrapped in paper and hemp stems during the Song Dynasty, and finally to today’s vibrant, intricately designed displays, Liuyang fireworks chronicle the evolution of traditional Chinese craftsmanship. During the Ming and Qing dynasties, Liuyang’s fireworks industry thrived, becoming a cornerstone of local handicrafts and expanding its reach nationwide and abroad. In the first year of the Yongzheng reign of the Qing Dynasty, Liuyang firecrackers were selected as imperial tributes, a testament to their superior quality. By the Qianlong era, they dominated the Hunan region, and during the Guangxu period, exports reached Asian countries like Japan, India, and Korea.
A millennium of heritage has not only bestowed profound cultural depth upon Liuyang fireworks but also forged their unique brand identity. In 2006, the art of Liuyang fireworks craftsmanship was inscribed on China’s first batch of National Intangible Cultural Heritage lists, acknowledging its invaluable cultural significance. Today, Liuyang stands as the world’s largest production, trade, and research hub for fireworks. Home to over 400 manufacturing enterprises and thousands of associated businesses, it generates an annual output value exceeding 50 billion RMB, accounting for 70% of China’s total fireworks exports. These products reach more than 100 countries across the Americas, Europe, and Southeast Asia, solidifying Liuyang’s reputation as the global epicenter of fireworks.
However, the modern era presents new challenges for the fireworks industry. Safety and environmental protection have emerged as critical constraints. Historically, Liuyang’s fireworks relied on family-run workshops, posing significant safety risks. To address this, the local government relocated enterprises to mountainous areas, promoting industrial standardization, scale, and modernization. Leveraging big data and AI, they established comprehensive, intelligent supervision systems to ensure safety at every production stage. In terms of environmental protection, Liuyang’s enterprises collaborated with prestigious universities, such as Nanjing University of Science and Technology and Beijing Institute of Technology, to develop new materials, techniques, and products. Their efforts have led to the creation of low-smoke, sulfur-free, and low-dust fireworks, redefining the industry’s ecological footprint.
In response to market shifts and technological advancements, a new generation of Liuyang’s “fireworks innovators” drives industry transformation. They have introduced products like “Urban Fireworks,” designed for urban settings. These safe, eco-friendly items blend aesthetic appeal with social interactivity, winning favor among young consumers. Innovating sales strategies, they integrate online and offline channels, utilizing “new retail” stores, Vlogs, and video platforms to reach wider audiences. Additionally, Liuyang has developed a “fireworks economy,” integrating pyrotechnics with cultural tourism. Since 2023, weekly weekend fireworks show at the Sky Theater have hosted over a hundred events, attracting 5 million visitors and generating 15 billion yuan in revenue. These shows combine cutting-edge technologies like drones and AI with cultural IPs, creating immersive experiences that have transformed Liuyang fireworks from a regional brand into a global cultural icon.
Emerging from the depths of history, Liuyang fireworks embrace the new era with innovation as their brush and culture as their ink. Against the backdrop of safety and sustainability, they paint a future more resplendent than ever. Serving as Liuyang’s cultural ambassador and a vivid example of traditional Chinese culture’s modern evolution, Liuyang fireworks continue to shine brightly, a timeless beacon of human ingenuity.

Terms and expressions
luminous 发光的
craftsmanship手艺，技艺
artisan工匠，手艺人
imperial朝廷的
leverage利用
crane无人机
resplendent辉煌的，灿烂的
beacon灯塔，信标
ingenuity心灵手巧

Questions
1.Why is Liuyang called “Home of Chinese fireworks”?
2.How did Li Tian invent the fireworks?
3.What did the locals address the environmental challenges of fireworks?
4.What do you know about the fireworks show held at the sky theater?
Answers
1.Because with over a thousand years of craftsmanship, Liuyang has given birth to fireworks that captivate the world and Liuyang stands as the world’s largest production, trade, and research hub for fireworks.
2.Li Tian filled bamboo tubes with gunpowder to dispel plagues. The explosive force and resulting smoke were believed to purify the environment, marking the embryo of firecrackers.
3.Liuyang’s enterprises collaborated with prestigious universities, such as Nanjing University of Science and Technology and Beijing Institute of Technology, to develop new materials, techniques, and products. Their efforts have led to the creation of low-smoke, sulfur-free, and low-dust fireworks, redefining the industry’s ecological footprint.
4.Since 2023, weekly weekend fireworks show at the Sky Theater have hosted over a hundred events, attracting 5 million visitors and generating 15 billion yuan in revenue.

AI Statement
In writing this paper, I utilized DeepSeek to help me with grammar refinement and lexical precision. Any errors in the text remain my responsibility.

浏阳烟花
“火树银花合，星桥铁锁开。” 烟花，自古以来就承载着人们对美好生活的向往与祝福，在夜空中绽放出如梦如幻的美景。而提及烟花，就不得不提湖南浏阳 —— 这座被誉为 “中国烟花之乡” 的城市，它以千余年的烟花制作历史，孕育出了享誉全球的浏阳烟花。
浏阳烟花的历史，最早可追溯到唐代。相传，“爆竹祖师” 李畋为驱散疫病，将火药装填于竹筒之中，利用爆炸产生的气浪与硝烟来改善环境，这便是鞭炮的雏形。此后，经过历代浏阳人的传承与创新，烟花制作工艺不断改进。从最初简单的竹筒爆竹，发展到宋代用纸筒和麻茎裹火药编成的 “编炮”，再到后来色彩斑斓、造型各异的烟花，浏阳烟花的发展历程见证了中国传统手工艺的演变与进步。到了明清时期，浏阳烟花的生产已颇具规模，成为当地重要的手工行业，并逐渐走向全国乃至世界。清雍正元年，浏阳鞭炮因其制作精良，被选为贡品，这无疑是对其品质的极高赞誉。至乾隆年间，浏阳花炮已称雄于湖南的三湘四水；光绪年间，更是达到极盛时期，产品远销日本、印度、朝鲜等亚洲国家。
千年的历史传承，不仅让浏阳烟花积累了深厚的文化底蕴，更铸就了其独特的品牌魅力。2006 年，浏阳花炮制作技艺列入第一批国家级非物质文化遗产名录，这是对浏阳烟花文化价值的高度认可。如今，浏阳已成为全球最大的烟花爆竹生产贸易基地和科研中心，拥有 400 余家烟花生产企业及上千家产业链上下游企业，花炮年产值超 500 亿元，出口占全国出口总量的 70%，产品销往美洲、欧洲、东南亚等 100 多个国家和地区，“世界烟花看浏阳” 的美誉名副其实。
然而，随着时代的发展，烟花产业也面临着诸多挑战。安全与环保，成为了制约其发展的两大关键因素。过去，浏阳烟花多以家庭式作坊生产为主，安全隐患较大。为了改变这一现状，浏阳市政府果断采取措施，将烟花企业 “赶上山”，推动产业向工厂化、规模化、标准化发展。同时，借助大数据监控和人工智能平台，实现了对烟花爆竹生产全过程、全方位、智能化的安全监管。在环保方面，浏阳烟花企业积极开展科研攻关，与南京理工大学、北京理工大学等高等院校广泛合作，研发新材料、新工艺、新产品，致力于打造低碳、绿色、环保的烟花新形象。如今，微烟、无硫、少尘已成为浏阳烟花生产的关键词。
面对市场变化和技术革新，新一代浏阳 “烟花人” 积极创新，推动烟花产业转型升级。一方面，他们重新定义产品，推出了 “城市烟花” 等适合城市休闲场景的新产品，这类产品安全性高、污染小，且有颜值与社交属性，深受年轻消费者喜爱。另一方面，创新销售方式，通过打造 “新零售” 门店、拍摄 Vlog、搭建视频号矩阵等线上线下融合的方式，让烟花走进更多消费者的世界。此外，浏阳还大力发展 “烟花经济”，将烟花与文化旅游产业深度融合。自 2023 年以来，每周六在天空剧院推出的周末焰火秀，已累计举办各类焰火燃放活动百余场，吸引游客 500 万人次，拉动消费 150 亿元。创意焰火秀通过与无人机、AI 等新科技相结合，以及融入国风、虚拟人物、热门影视等 IP 元素，为观众带来了一场场精彩纷呈的沉浸式视觉盛宴，也让浏阳花炮实现了从区域性品牌向国际知名 IP 的蝶变升级。
从历史深处走来的浏阳烟花，在新时代的浪潮中，正以创新为笔，以文化为墨，在安全与环保的底色上，描绘出更加绚烂多彩的未来画卷。它不仅是浏阳的城市名片，更是中国传统文化在现代社会中传承与发展的生动例证，绽放永不落幕的璀璨光芒。

问题
1.为什么浏阳被称为 “中国烟花之乡”？
2.李畋是如何发明烟花的？
3.当地人如何应对烟花带来的环境挑战？
4.你对天空剧院举办的烟花秀有什么了解？
答案
1.因为拥有千年以上的工艺传承，浏阳孕育出了令世界着迷的烟花，并且成为全球最大的烟花生产、贸易和研发中心。
2.李畋将火药填入竹筒中，用于驱散瘟疫。其爆炸力和产生的烟雾被认为能净化环境，这标志着鞭炮的雏形。
3.浏阳的企业与南京理工大学、北京理工大学等知名高校合作，研发新材料、新技术和新产品。他们的努力促成了低烟、无硫、低尘烟花的诞生，重新定义了行业的生态足迹。
4.自2023 年起，天空剧院每周周末举办的烟花秀已累计举办超百场活动，吸引 500 万游客，创造 150 亿元收入。

参考文献
1.谭仲池. 星空的灿烂文化. 北京：中国经济出版社，2007.
2.李秀琴. 烟花爆竹安全与管理. 北京：化学工业出版社，2007.
3.周仁友. 烟花爆竹工艺与防护. 北京：五洲传播出版社，2014.
4.姚辉. 烟火特效技术与应用. 长沙：湖南科技出版社，2009.

AI使用说明：
在写本论文时，本人使用了DeepSeek帮助修改语法和提升用词准确度。如有错误，责归本人。

=Deadline extended to June 20, 2025 - Final Exam=
<span style="color:red">Please upload your ppt if you not have done so so far.</span>
[[Media:282_Black_Myth_Wukong_Chen_Zhen.pptx]]

Topic 196:[[Media:Chinese_Electtic_Vehicles_Geng_hongmei.pptx]]

[[Media:ChaBaiXi.pptx]]

==Grading Criteria for Powerpoint Presentations==
#Was the presentation based on scientific facts, did the presenter also conduct some research on the topic and did he/she also add her own experience or her own opinion/perspective and marking the two different perspectives as factual/subjective? Did the presentation avoid absolute judgments like "good" or "best", but did it instead use vocabulary like "fascinating", "surprising" etc. and also indicated to whom it is fascinating/surprising etc. and why?
#Was the presentation successful? Did it catch the attention of the audience over the whole time? Was the presenter persuading? Was the audience excited/fascinated? Did the audience learn something? (Or was the audience bored and talked the whole time without paying attention to the presenter?)
#Formal things: Was the speaker good to hear (loud/clear)? Did he make a self-confident impression and did he know his topic? Did the speaker speak freely and not read out? Where there meaningful pictures and graphs on the slides and only a few keywords, well sorted by numbers or bullet points (or was the powerpoint merely a text desert of small size script with the script being copied onto the slides)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?
#Was the presentation not too short and not too long in time, but as long as the other presentations, so that all presentations of the day could be presented?
#Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?
#Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?
#Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?
#Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?
#Did you present your ppt file in the full screen mode?
#Did you arrive early in classroom to copy your file onto the desktop of the class computer and did you check it and also any embedded or accompanying video files etc. if everything works properly including sound?
#Did the presentation avoid deadly mistakes like plagiarism, using ai without indicating it (if you use ai to create the presentation, you need to indicate the platform and the full prompt you gave to ai and the main adjustments you did to the prompt), using ideology, patriotism, politics, religious beliefs, advertisement for products, ignorance (e.g. that a cultural phenomenon is wide spread in Asia and the origin is unclear, but claiming it was Chinese and originated in China), racism, prejudices, telling lies, spreading false rumors etc.?

Liuyang Fireworks
“When flaming trees join silver flowers in one blaze, and bridges of stars unlock their iron gates,” fireworks have, since ancient times, embodied humanity’s yearning for prosperity and blessings. These luminous spectacles paint the night sky with dreamlike beauty, symbolizing hopes for a better life. When it comes to fireworks, one cannot overlook Liuyang, a city renowned as the “Home of Chinese Fireworks.” With over a thousand years of craftsmanship, Liuyang has given birth to fireworks that captivate the world.
The origins of Liuyang fireworks can be traced back to the Tang Dynasty. Legend has it that Li Tian, revered as the “Forefather Saint of Firecrackers,” filled bamboo tubes with gunpowder to dispel plagues. The explosive force and resulting smoke were believed to purify the environment, marking the embryo of firecrackers. Through generations of inheritance and innovation, Liuyang’s artisans continuously refined their craft. From the rudimentary bamboo-tube firecrackers of old times to the “string firecrackers” wrapped in paper and hemp stems during the Song Dynasty, and finally to today’s vibrant, intricately designed displays, Liuyang fireworks chronicle the evolution of traditional Chinese craftsmanship. During the Ming and Qing dynasties, Liuyang’s fireworks industry thrived, becoming a cornerstone of local handicrafts and expanding its reach nationwide and abroad. In the first year of the Yongzheng reign of the Qing Dynasty, Liuyang firecrackers were selected as imperial tributes, a testament to their superior quality. By the Qianlong era, they dominated the Hunan region, and during the Guangxu period, exports reached Asian countries like Japan, India, and Korea.
A millennium of heritage has not only bestowed profound cultural depth upon Liuyang fireworks but also forged their unique brand identity. In 2006, the art of Liuyang fireworks craftsmanship was inscribed on China’s first batch of National Intangible Cultural Heritage lists, acknowledging its invaluable cultural significance. Today, Liuyang stands as the world’s largest production, trade, and research hub for fireworks. Home to over 400 manufacturing enterprises and thousands of associated businesses, it generates an annual output value exceeding 50 billion RMB, accounting for 70% of China’s total fireworks exports. These products reach more than 100 countries across the Americas, Europe, and Southeast Asia, solidifying Liuyang’s reputation as the global epicenter of fireworks.
However, the modern era presents new challenges for the fireworks industry. Safety and environmental protection have emerged as critical constraints. Historically, Liuyang’s fireworks relied on family-run workshops, posing significant safety risks. To address this, the local government relocated enterprises to mountainous areas, promoting industrial standardization, scale, and modernization. Leveraging big data and AI, they established comprehensive, intelligent supervision systems to ensure safety at every production stage. In terms of environmental protection, Liuyang’s enterprises collaborated with prestigious universities, such as Nanjing University of Science and Technology and Beijing Institute of Technology, to develop new materials, techniques, and products. Their efforts have led to the creation of low-smoke, sulfur-free, and low-dust fireworks, redefining the industry’s ecological footprint.
In response to market shifts and technological advancements, a new generation of Liuyang’s “fireworks innovators” drives industry transformation. They have introduced products like “Urban Fireworks,” designed for urban settings. These safe, eco-friendly items blend aesthetic appeal with social interactivity, winning favor among young consumers. Innovating sales strategies, they integrate online and offline channels, utilizing “new retail” stores, Vlogs, and video platforms to reach wider audiences. Additionally, Liuyang has developed a “fireworks economy,” integrating pyrotechnics with cultural tourism. Since 2023, weekly weekend fireworks show at the Sky Theater have hosted over a hundred events, attracting 5 million visitors and generating 15 billion yuan in revenue. These shows combine cutting-edge technologies like drones and AI with cultural IPs, creating immersive experiences that have transformed Liuyang fireworks from a regional brand into a global cultural icon.
Emerging from the depths of history, Liuyang fireworks embrace the new era with innovation as their brush and culture as their ink. Against the backdrop of safety and sustainability, they paint a future more resplendent than ever. Serving as Liuyang’s cultural ambassador and a vivid example of traditional Chinese culture’s modern evolution, Liuyang fireworks continue to shine brightly, a timeless beacon of human ingenuity.

Terms and expressions
luminous 发光的
craftsmanship手艺，技艺
artisan工匠，手艺人
imperial朝廷的
leverage利用
crane无人机
resplendent辉煌的，灿烂的
beacon灯塔，信标
ingenuity心灵手巧

Questions
1.Why is Liuyang called “Home of Chinese fireworks”?
2.How did Li Tian invent the fireworks?
3.What did the locals address the environmental challenges of fireworks?
4.What do you know about the fireworks show held at the sky theater?
Answers
1.Because with over a thousand years of craftsmanship, Liuyang has given birth to fireworks that captivate the world and Liuyang stands as the world’s largest production, trade, and research hub for fireworks.
2.Li Tian filled bamboo tubes with gunpowder to dispel plagues. The explosive force and resulting smoke were believed to purify the environment, marking the embryo of firecrackers.
3.Liuyang’s enterprises collaborated with prestigious universities, such as Nanjing University of Science and Technology and Beijing Institute of Technology, to develop new materials, techniques, and products. Their efforts have led to the creation of low-smoke, sulfur-free, and low-dust fireworks, redefining the industry’s ecological footprint.
4.Since 2023, weekly weekend fireworks show at the Sky Theater have hosted over a hundred events, attracting 5 million visitors and generating 15 billion yuan in revenue.

AI Statement
In writing this paper, I utilized DeepSeek to help me with grammar refinement and lexical precision. Any errors in the text remain my responsibility.

浏阳烟花
“火树银花合，星桥铁锁开。” 烟花，自古以来就承载着人们对美好生活的向往与祝福，在夜空中绽放出如梦如幻的美景。而提及烟花，就不得不提湖南浏阳 —— 这座被誉为 “中国烟花之乡” 的城市，它以千余年的烟花制作历史，孕育出了享誉全球的浏阳烟花。
浏阳烟花的历史，最早可追溯到唐代。相传，“爆竹祖师” 李畋为驱散疫病，将火药装填于竹筒之中，利用爆炸产生的气浪与硝烟来改善环境，这便是鞭炮的雏形。此后，经过历代浏阳人的传承与创新，烟花制作工艺不断改进。从最初简单的竹筒爆竹，发展到宋代用纸筒和麻茎裹火药编成的 “编炮”，再到后来色彩斑斓、造型各异的烟花，浏阳烟花的发展历程见证了中国传统手工艺的演变与进步。到了明清时期，浏阳烟花的生产已颇具规模，成为当地重要的手工行业，并逐渐走向全国乃至世界。清雍正元年，浏阳鞭炮因其制作精良，被选为贡品，这无疑是对其品质的极高赞誉。至乾隆年间，浏阳花炮已称雄于湖南的三湘四水；光绪年间，更是达到极盛时期，产品远销日本、印度、朝鲜等亚洲国家。
千年的历史传承，不仅让浏阳烟花积累了深厚的文化底蕴，更铸就了其独特的品牌魅力。2006 年，浏阳花炮制作技艺列入第一批国家级非物质文化遗产名录，这是对浏阳烟花文化价值的高度认可。如今，浏阳已成为全球最大的烟花爆竹生产贸易基地和科研中心，拥有 400 余家烟花生产企业及上千家产业链上下游企业，花炮年产值超 500 亿元，出口占全国出口总量的 70%，产品销往美洲、欧洲、东南亚等 100 多个国家和地区，“世界烟花看浏阳” 的美誉名副其实。
然而，随着时代的发展，烟花产业也面临着诸多挑战。安全与环保，成为了制约其发展的两大关键因素。过去，浏阳烟花多以家庭式作坊生产为主，安全隐患较大。为了改变这一现状，浏阳市政府果断采取措施，将烟花企业 “赶上山”，推动产业向工厂化、规模化、标准化发展。同时，借助大数据监控和人工智能平台，实现了对烟花爆竹生产全过程、全方位、智能化的安全监管。在环保方面，浏阳烟花企业积极开展科研攻关，与南京理工大学、北京理工大学等高等院校广泛合作，研发新材料、新工艺、新产品，致力于打造低碳、绿色、环保的烟花新形象。如今，微烟、无硫、少尘已成为浏阳烟花生产的关键词。
面对市场变化和技术革新，新一代浏阳 “烟花人” 积极创新，推动烟花产业转型升级。一方面，他们重新定义产品，推出了 “城市烟花” 等适合城市休闲场景的新产品，这类产品安全性高、污染小，且有颜值与社交属性，深受年轻消费者喜爱。另一方面，创新销售方式，通过打造 “新零售” 门店、拍摄 Vlog、搭建视频号矩阵等线上线下融合的方式，让烟花走进更多消费者的世界。此外，浏阳还大力发展 “烟花经济”，将烟花与文化旅游产业深度融合。
自 2023 年以来，每周六在天空剧院推出的周末焰火秀，已累计举办各类焰火燃放活动百余场，吸引游客 500 万人次，拉动消费 150 亿元。创意焰火秀通过与无人机、AI 等新科技相结合，以及融入国风、虚拟人物、热门影视等 IP 元素，为观众带来了一场场精彩纷呈的沉浸式视觉盛宴，也让浏阳花炮实现了从区域性品牌向国际知名 IP 的蝶变升级。
从历史深处走来的浏阳烟花，在新时代的浪潮中，正以创新为笔，以文化为墨，在安全与环保的底色上，描绘出更加绚烂多彩的未来画卷。它不仅是浏阳的城市名片，更是中国传统文化在现代社会中传承与发展的生动例证，绽放永不落幕的璀璨光芒。

问题
1.为什么浏阳被称为 “中国烟花之乡”？
2.李畋是如何发明烟花的？
3.当地人如何应对烟花带来的环境挑战？
4.你对天空剧院举办的烟花秀有什么了解？
答案
1.因为拥有千年以上的工艺传承，浏阳孕育出了令世界着迷的烟花，并且成为全球最大的烟花生产、贸易和研发中心。
2.李畋将火药填入竹筒中，用于驱散瘟疫。其爆炸力和产生的烟雾被认为能净化环境，这标志着鞭炮的雏形。
3.浏阳的企业与南京理工大学、北京理工大学等知名高校合作，研发新材料、新技术和新产品。他们的努力促成了低烟、无硫、低尘烟花的诞生，重新定义了行业的生态足迹。
4.自2023 年起，天空剧院每周周末举办的烟花秀已累计举办超百场活动，吸引 500 万游客，创造 150 亿元收入。

参考文献
1.谭仲池. 星空的灿烂文化. 北京：中国经济出版社，2007.
2.李秀琴. 烟花爆竹安全与管理. 北京：化学工业出版社，2007.
3.周仁友. 烟花爆竹工艺与防护. 北京：五洲传播出版社，2014.
4.姚辉. 烟火特效技术与应用. 长沙：湖南科技出版社，2009.

AI使用说明：
在写本论文时，本人使用了DeepSeek帮助修改语法和提升用词准确度。如有错误，责归本人。