https://bou.de/u/api.php?action=feedcontributions&feedformat=atom&user=Huang+Qiaoqiao 2026-04-04T07:55:46Z User contributions MediaWiki 1.35.14 https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=170131 2025-06-22T05:40:31Z

<p>Huang Qiaoqiao: </p> <hr /> <div>'''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> <br /> ----<br /> '''Main Story'''<br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> <br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> ----<br /> '''Lingnan Culture''' <br /> <br /> Produced by Shenzhen Song and Dance Theatre, the drama vividly portrays Lingnan culture besides the Wing Chun Kung Fu. For instance, the Gambiered Canton Gauze. Actors wear garments made from this ancient silk, dyed with Dioscorea cirrhosa sap for a mottled, matte texture. Yip Man’s deliberately wrinkled robe signifies his humble beginnings, contrasting with rivals, sleek attire—underscoring “true skills needs no finery.” <br /> <br /> In a poignant duet, Yip Man and his wife Yongcheng tug at a gauze shawl; its slow fall symbolizes separation, conveying resilience in turmoil. When Yip Man touches the fabric, his trembling hands universally express his love and longing. <br /> <br /> There is also Arcaded Buildings. Set designs feature tilted pillars, stained glass windows, and ivy-covered brick walls, recreating Guangzhou’s historic streets. These structures authentically frame Lingnan’s urban landscape and cultural spirit.<br /> <br /> ----<br /> '''Terms and Expressions '''<br /> <br /> 双线叙事 dual narrative <br /> <br /> 咏春拳 Wing Chun<br /> <br /> 中线理论 centerline theory<br /> <br /> 短桥窄马 short bridges and narrow stance<br /> <br /> 连消带打 simultaneous defense/offense<br /> <br /> 寸劲 inch power/ short-distance power<br /> <br /> 木人桩wooden dummy <br /> <br /> 香云纱 Gambiered Canton Gauze<br /> <br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''Questions'''<br /> <br /> 1. Why is Gambiered Canton Gauze more than a costume, but an emotional symbol?<br /> <br /> 2. What non-architectural roles do the arcaded buildings play in the drama?<br /> <br /> 3. What are the two storylines?<br /> <br /> 4. Who bears the responsibility when traditions like Wing Chun become intangible cultural heritage?<br /> <br /> 5. Would adding local elements such as European martial arts strengthen or weaken cultural identity in an adaptation?<br /> <br /> 6. What is the modern relevance of “resolving conflict through martial virtue”?<br /> <br /> '''Answers'''<br /> <br /> 1. In the drama, it symbolizes the character's identity, sense of regional belonging, and adherence to tradition. The character conveys emotions like nostalgia for their hometown and family heritage through wearing Xiangyunsha costumes.<br /> <br /> 2. It serves as the setting where characters act, interact, and where conflicts unfold, while simultaneously enhancing the regional ambiance of the dance drama. It symbolizes the distinctive regional cultural characteristics of the Lingnan area, providing the cultural context for the story.<br /> <br /> 3. One storyline follows the experiences of characters like Yip Man in inheriting Wing Chun; the other depicts the process of the film crew shooting the movie &quot;Wing Chun&quot; on set.<br /> <br /> 4. The responsibility for inheritance lies with multiple stakeholders, including Wing Chun inheritors, governmental cultural departments, cultural institutions, and the general public.<br /> <br /> 5. It might weaken the authentic recognition of traditional Wing Chun culture; therefore, the methods of integration need to be handled cautiously.<br /> <br /> 6. It advocates for resolving conflicts peacefully and with restraint. In contemporary society, both at the level of international relations and individual interactions, it reminds people to avoid escalating conflicts, maintain harmony and stability, and promote mutual understanding and peaceful coexistence.<br /> <br /> ----<br /> '''References'''<br /> <br /> Tang Qilin, Luo Sihan(2025) 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[A Study of the Dual Narrative in Dance Drama— A Case Study of Wing Chun]. 新传奇(11):67-69.<br /> <br /> Jiang Lu(2025)姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[Innovative Expression of Chinese Excellent Traditional Culture in the Dance <br /> <br /> Drama Wing Chun under the Concept of &quot;Integration of Martial Arts and Dance&quot;].当代音乐(02):151-153.<br /> <br /> Li Qingqing(2024) 李青青.舞剧《咏春》中香云纱的运用[The Application of Xiangyunsha in the Dance Drama Wing Chun].染整技术46(11):90-92.<br /> <br /> Liu Shasha(2024)刘莎莎.深圳原创舞剧《咏春》将赴海外演出[Original Shenzhen Dance Drama Wing Chun to Tour Overseas].深圳特区报07-08(A01).<br /> <br /> Zhou Yali, Han Zhen(2024) 周莉亚,韩真.舞剧《咏春》创作手记[Creative Notes of the Dance Drama Wing Chun].当代舞蹈艺术研究9(01):129-135.<br /> <br /> ----<br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> <br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> <br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> <br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。<br /> <br /> ----<br /> '''术语'''<br /> <br /> 双线叙事 dual narrative <br /> <br /> 咏春拳 Wing Chun<br /> <br /> 中线理论 centerline theory<br /> <br /> 短桥窄马 short bridges and narrow stance<br /> <br /> 连消带打 simultaneous defense/offense<br /> <br /> 寸劲 inch power/ short-distance power<br /> <br /> 木人桩wooden dummy <br /> <br /> 香云纱 Gambiered Canton Gauze<br /> <br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''问题'''<br /> <br /> 1. 为什么香云纱不仅是戏服，更是情感载体？<br /> <br /> 2. 广式骑楼在剧中承担了哪些非建筑功能？<br /> <br /> 3. 舞剧有哪两条故事线？<br /> <br /> 4. 当传统文化（如咏春拳）成为世界非物质文化遗产，传承责任在谁？<br /> <br /> 5. 如果改编《咏春》加入本地元素如欧洲武术，会增强还是削弱文化认同？<br /> <br /> 6. “以武止戈”精神在当代社会有何现实意义？<br /> <br /> '''答案'''<br /> <br /> 1. 香云纱的制作工艺复杂独特，承载着岭南地区的历史与文化记忆。剧中它象征着角色的身份、地域归属感以及对传统的坚守，角色通过身着香云纱戏服传递对家乡眷恋、家族传承等情感。<br /> <br /> 2. 作为人物活动、交流、冲突展开的场所，同时烘托舞剧的地域氛围，象征岭南地区地域文化特色，为故事提供文化内涵背景。<br /> <br /> 3. 一条是叶问等人物在咏春拳传承中的经历；另一条是电影片场中剧组人员拍摄电影《咏春》的过程。<br /> <br /> 4. 传承责任在咏春拳传承人、政府文化部门、文化机构以及社会大众等多主体。<br /> <br /> 5. 可能会削弱对传统咏春文化的纯粹认同，需谨慎处理融合方式。<br /> <br /> 6. 倡导和平、克制地解决冲突，在当代社会的国际关系和个人层面，提醒人们避免冲突升级，维护和谐稳定，促进相互理解与和平共处。<br /> ----<br /> '''参考文献'''<br /> <br /> 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[J].新传奇,2025,(11):67-69.<br /> <br /> 姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[J].当代音乐,2025,(02):151-153.<br /> <br /> 李青青.舞剧《咏春》中香云纱的运用[J].染整技术,2024,46(11):90-92.<br /> <br /> 刘莎莎.深圳原创舞剧《咏春》将赴海外演出[N].深圳特区报,2024-07-08(A01).<br /> <br /> 周莉亚,韩真.舞剧《咏春》创作手记[J].当代舞蹈艺术研究,2024,9(01):129-135.<br /> <br /> <br /> '''AI Statement'''<br /> <br /> To help me to write my final paper, I have used the AI chatbot deepseek. I have prompted the chatbot with the following prompt: &quot;Please help polish my paper. Fix grammar and enhance lexical precision&quot; I found the following problems with the outcome: The terms are not consistent and may be confused to readers. I have adjusted the output by the following measures: revising prompt as: &quot;Please ensure terminological consistency in your polished text. you may search information in related texts, choose the best version and keep it the same in the whole paper&quot;.</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=170130 2025-06-22T05:39:27Z

<p>Huang Qiaoqiao: </p> <hr /> <div>'''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> <br /> ----<br /> '''Main Story'''<br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> <br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> ----<br /> '''Lingnan Culture''' <br /> <br /> Produced by Shenzhen Song and Dance Theatre, the drama vividly portrays Lingnan culture besides the Wing Chun Kung Fu. For instance, the Gambiered Canton Gauze. Actors wear garments made from this ancient silk, dyed with Dioscorea cirrhosa sap for a mottled, matte texture. Yip Man’s deliberately wrinkled robe signifies his humble beginnings, contrasting with rivals, sleek attire—underscoring “true skills needs no finery.” <br /> <br /> In a poignant duet, Yip Man and his wife Yongcheng tug at a gauze shawl; its slow fall symbolizes separation, conveying resilience in turmoil. When Yip Man touches the fabric, his trembling hands universally express his love and longing. <br /> <br /> There is also Arcaded Buildings. Set designs feature tilted pillars, stained glass windows, and ivy-covered brick walls, recreating Guangzhou’s historic streets. These structures authentically frame Lingnan’s urban landscape and cultural spirit.<br /> <br /> ----<br /> '''Terms and Expressions '''<br /> <br /> 双线叙事 dual narrative <br /> <br /> 咏春拳 Wing Chun<br /> <br /> 中线理论 centerline theory<br /> <br /> 短桥窄马 short bridges and narrow stance<br /> <br /> 连消带打 simultaneous defense/offense<br /> <br /> 寸劲 inch power/ short-distance power<br /> <br /> 木人桩wooden dummy <br /> <br /> 香云纱 Gambiered Canton Gauze<br /> <br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''Questions'''<br /> <br /> 1. Why is Gambiered Canton Gauze more than a costume, but an emotional symbol?<br /> <br /> 2. What non-architectural roles do the arcaded buildings play in the drama?<br /> <br /> 3. What are the two storylines?<br /> <br /> 4. Who bears the responsibility when traditions like Wing Chun become intangible cultural heritage?<br /> <br /> 5. Would adding local elements such as European martial arts strengthen or weaken cultural identity in an adaptation?<br /> <br /> 6. What is the modern relevance of “resolving conflict through martial virtue”?<br /> <br /> '''Answers'''<br /> <br /> 1. In the drama, it symbolizes the character's identity, sense of regional belonging, and adherence to tradition. The character conveys emotions like nostalgia for their hometown and family heritage through wearing Xiangyunsha costumes.<br /> <br /> 2. It serves as the setting where characters act, interact, and where conflicts unfold, while simultaneously enhancing the regional ambiance of the dance drama. It symbolizes the distinctive regional cultural characteristics of the Lingnan area, providing the cultural context for the story.<br /> <br /> 3. One storyline follows the experiences of characters like Yip Man in inheriting Wing Chun; the other depicts the process of the film crew shooting the movie &quot;Wing Chun&quot; on set.<br /> <br /> 4. The responsibility for inheritance lies with multiple stakeholders, including Wing Chun inheritors, governmental cultural departments, cultural institutions, and the general public.<br /> <br /> 5. It might weaken the authentic recognition of traditional Wing Chun culture; therefore, the methods of integration need to be handled cautiously.<br /> <br /> 6. It advocates for resolving conflicts peacefully and with restraint. In contemporary society, both at the level of international relations and individual interactions, it reminds people to avoid escalating conflicts, maintain harmony and stability, and promote mutual understanding and peaceful coexistence.<br /> <br /> ----<br /> '''References'''<br /> <br /> Tang Qilin, Luo Sihan(2025) 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[A Study of the Dual Narrative in Dance Drama— A Case Study of Wing Chun]. 新传奇(11):67-69.<br /> <br /> Jiang Lu(2025)姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[Innovative Expression of Chinese Excellent Traditional Culture in the Dance <br /> <br /> Drama Wing Chun under the Concept of &quot;Integration of Martial Arts and Dance&quot;].当代音乐(02):151-153.<br /> <br /> Li Qingqing(2024) 李青青.舞剧《咏春》中香云纱的运用[The Application of Xiangyunsha in the Dance Drama Wing Chun].染整技术46(11):90-92.<br /> <br /> Liu Shasha(2024)刘莎莎.深圳原创舞剧《咏春》将赴海外演出[Original Shenzhen Dance Drama Wing Chun to Tour Overseas].深圳特区报07-08(A01).<br /> <br /> Zhou Yali, Han Zhen(2024) 周莉亚,韩真.舞剧《咏春》创作手记[Creative Notes of the Dance Drama Wing Chun].当代舞蹈艺术研究9(01):129-135.<br /> <br /> ----<br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> <br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> <br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> <br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。<br /> <br /> ----<br /> '''术语'''<br /> <br /> 双线叙事 dual narrative <br /> <br /> 咏春拳 Wing Chun<br /> <br /> 中线理论 centerline theory<br /> <br /> 短桥窄马 short bridges and narrow stance<br /> <br /> 连消带打 simultaneous defense/offense<br /> <br /> 寸劲 inch power/ short-distance power<br /> <br /> 木人桩wooden dummy <br /> <br /> 香云纱 Gambiered Canton Gauze<br /> <br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''问题'''<br /> <br /> 1. 为什么香云纱不仅是戏服，更是情感载体？<br /> <br /> 2. 广式骑楼在剧中承担了哪些非建筑功能？<br /> <br /> 3. 舞剧有哪两条故事线？<br /> <br /> 4. 当传统文化（如咏春拳）成为世界非物质文化遗产，传承责任在谁？<br /> <br /> 5. 如果改编《咏春》加入本地元素如欧洲武术，会增强还是削弱文化认同？<br /> <br /> 6. “以武止戈”精神在当代社会有何现实意义？<br /> <br /> '''答案'''<br /> <br /> 1. 香云纱的制作工艺复杂独特，承载着岭南地区的历史与文化记忆。剧中它象征着角色的身份、地域归属感以及对传统的坚守，角色通过身着香云纱戏服传递对家乡眷恋、家族传承等情感。<br /> <br /> 2. 作为人物活动、交流、冲突展开的场所，同时烘托舞剧的地域氛围，象征岭南地区地域文化特色，为故事提供文化内涵背景。<br /> <br /> 3. 一条是叶问等人物在咏春拳传承中的经历；另一条是电影片场中剧组人员拍摄电影《咏春》的过程。<br /> <br /> 4. 传承责任在咏春拳传承人、政府文化部门、文化机构以及社会大众等多主体。<br /> <br /> 5. 可能会削弱对传统咏春文化的纯粹认同，需谨慎处理融合方式。<br /> <br /> 6. 倡导和平、克制地解决冲突，在当代社会的国际关系和个人层面，提醒人们避免冲突升级，维护和谐稳定，促进相互理解与和平共处。<br /> ----<br /> '''参考文献'''<br /> <br /> 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[J].新传奇,2025,(11):67-69.<br /> <br /> 姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[J].当代音乐,2025,(02):151-153.<br /> <br /> 李青青.舞剧《咏春》中香云纱的运用[J].染整技术,2024,46(11):90-92.<br /> <br /> 刘莎莎.深圳原创舞剧《咏春》将赴海外演出[N].深圳特区报,2024-07-08(A01).<br /> <br /> 周莉亚,韩真.舞剧《咏春》创作手记[J].当代舞蹈艺术研究,2024,9(01):129-135.<br /> <br /> To help me to write my final paper, I have used the AI chatbot deepseek. I have prompted the chatbot with the following prompt: &quot;Please help polish my paper. Fix grammar and enhance lexical precision&quot; I found the following problems with the outcome: The terms are not consistent and may be confused to readers. I have adjusted the output by the following measures: revising prompt as: &quot;Please ensure terminological consistency in your polished text. you may search information in related texts, choose the best version and keep it the same in the whole paper&quot;.</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=170129 2025-06-22T05:06:03Z

<p>Huang Qiaoqiao: </p> <hr /> <div>'''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> <br /> ----<br /> '''Main Story'''<br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> <br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> ----<br /> '''Lingnan Culture''' <br /> <br /> Produced by Shenzhen Song and Dance Theatre, the drama vividly portrays Lingnan culture besides the Wing Chun Kung Fu. For instance, the Gambiered Canton Gauze. Actors wear garments made from this ancient silk, dyed with Dioscorea cirrhosa sap for a mottled, matte texture. Yip Man’s deliberately wrinkled robe signifies his humble beginnings, contrasting with rivals, sleek attire—underscoring “true skills needs no finery.” <br /> <br /> In a poignant duet, Yip Man and his wife Yongcheng tug at a gauze shawl; its slow fall symbolizes separation, conveying resilience in turmoil. When Yip Man touches the fabric, his trembling hands universally express his love and longing. <br /> <br /> There is also Arcaded Buildings. Set designs feature tilted pillars, stained glass windows, and ivy-covered brick walls, recreating Guangzhou’s historic streets. These structures authentically frame Lingnan’s urban landscape and cultural spirit.<br /> <br /> ----<br /> '''Terms and Expressions '''<br /> <br /> 双线叙事 dual narrative <br /> <br /> 咏春拳 Wing Chun<br /> <br /> 中线理论 centerline theory<br /> <br /> 短桥窄马 short bridges and narrow stance<br /> <br /> 连消带打 simultaneous defense/offense<br /> <br /> 寸劲 inch power/ short-distance power<br /> <br /> 木人桩wooden dummy <br /> <br /> 香云纱 Gambiered Canton Gauze<br /> <br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''Questions'''<br /> <br /> 1. Why is Gambiered Canton Gauze more than a costume, but an emotional symbol?<br /> <br /> 2. What non-architectural roles do the arcaded buildings play in the drama?<br /> <br /> 3. What are the two storylines?<br /> <br /> 4. Who bears the responsibility when traditions like Wing Chun become intangible cultural heritage?<br /> <br /> 5. Would adding local elements such as European martial arts strengthen or weaken cultural identity in an adaptation?<br /> <br /> 6. What is the modern relevance of “resolving conflict through martial virtue”?<br /> <br /> '''Answers'''<br /> <br /> 1. In the drama, it symbolizes the character's identity, sense of regional belonging, and adherence to tradition. The character conveys emotions like nostalgia for their hometown and family heritage through wearing Xiangyunsha costumes.<br /> <br /> 2. It serves as the setting where characters act, interact, and where conflicts unfold, while simultaneously enhancing the regional ambiance of the dance drama. It symbolizes the distinctive regional cultural characteristics of the Lingnan area, providing the cultural context for the story.<br /> <br /> 3. One storyline follows the experiences of characters like Yip Man in inheriting Wing Chun; the other depicts the process of the film crew shooting the movie &quot;Wing Chun&quot; on set.<br /> <br /> 4. The responsibility for inheritance lies with multiple stakeholders, including Wing Chun inheritors, governmental cultural departments, cultural institutions, and the general public.<br /> <br /> 5. It might weaken the authentic recognition of traditional Wing Chun culture; therefore, the methods of integration need to be handled cautiously.<br /> <br /> 6. It advocates for resolving conflicts peacefully and with restraint. In contemporary society, both at the level of international relations and individual interactions, it reminds people to avoid escalating conflicts, maintain harmony and stability, and promote mutual understanding and peaceful coexistence.<br /> <br /> ----<br /> '''References'''<br /> <br /> Tang Qilin, Luo Sihan(2025) 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[A Study of the Dual Narrative in Dance Drama— A Case Study of Wing Chun]. 新传奇(11):67-69.<br /> <br /> Jiang Lu(2025)姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[Innovative Expression of Chinese Excellent Traditional Culture in the Dance <br /> <br /> Drama Wing Chun under the Concept of &quot;Integration of Martial Arts and Dance&quot;].当代音乐(02):151-153.<br /> <br /> Li Qingqing(2024) 李青青.舞剧《咏春》中香云纱的运用[The Application of Xiangyunsha in the Dance Drama Wing Chun].染整技术46(11):90-92.<br /> <br /> Lu Mengjie(2024) 陆梦婕.舞剧中“旋转舞台”的运用分析[Analysis of the Application of &quot;Rotating Stage&quot; in Dance Drama].当代音乐(10):135-137.<br /> <br /> Liu Shasha(2024)刘莎莎.深圳原创舞剧《咏春》将赴海外演出[Original Shenzhen Dance Drama Wing Chun to Tour Overseas].深圳特区报07-08(A01).<br /> <br /> Zhou Yali, Han Zhen(2024) 周莉亚,韩真.舞剧《咏春》创作手记[Creative Notes of the Dance Drama Wing Chun].当代舞蹈艺术研究9(01):129-135.<br /> <br /> ----<br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> <br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> <br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> <br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。<br /> <br /> ----<br /> '''术语'''<br /> <br /> 双线叙事 dual narrative <br /> <br /> 咏春拳 Wing Chun<br /> <br /> 中线理论 centerline theory<br /> <br /> 短桥窄马 short bridges and narrow stance<br /> <br /> 连消带打 simultaneous defense/offense<br /> <br /> 寸劲 inch power/ short-distance power<br /> <br /> 木人桩wooden dummy <br /> <br /> 香云纱 Gambiered Canton Gauze<br /> <br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''问题'''<br /> <br /> 1. 为什么香云纱不仅是戏服，更是情感载体？<br /> <br /> 2. 广式骑楼在剧中承担了哪些非建筑功能？<br /> <br /> 3. 舞剧有哪两条故事线？<br /> <br /> 4. 当传统文化（如咏春拳）成为世界非物质文化遗产，传承责任在谁？<br /> <br /> 5. 如果改编《咏春》加入本地元素如欧洲武术，会增强还是削弱文化认同？<br /> <br /> 6. “以武止戈”精神在当代社会有何现实意义？<br /> <br /> '''答案'''<br /> <br /> 1. 香云纱的制作工艺复杂独特，承载着岭南地区的历史与文化记忆。剧中它象征着角色的身份、地域归属感以及对传统的坚守，角色通过身着香云纱戏服传递对家乡眷恋、家族传承等情感。<br /> <br /> 2. 作为人物活动、交流、冲突展开的场所，同时烘托舞剧的地域氛围，象征岭南地区地域文化特色，为故事提供文化内涵背景。<br /> <br /> 3. 一条是叶问等人物在咏春拳传承中的经历；另一条是电影片场中剧组人员拍摄电影《咏春》的过程。<br /> <br /> 4. 传承责任在咏春拳传承人、政府文化部门、文化机构以及社会大众等多主体。<br /> <br /> 5. 可能会削弱对传统咏春文化的纯粹认同，需谨慎处理融合方式。<br /> <br /> 6. 倡导和平、克制地解决冲突，在当代社会的国际关系和个人层面，提醒人们避免冲突升级，维护和谐稳定，促进相互理解与和平共处。<br /> ----<br /> '''参考文献'''<br /> <br /> 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[J].新传奇,2025,(11):67-69.<br /> <br /> 姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[J].当代音乐,2025,(02):151-153.<br /> <br /> 李青青.舞剧《咏春》中香云纱的运用[J].染整技术,2024,46(11):90-92.<br /> <br /> 陆梦婕.舞剧中“旋转舞台”的运用分析[J].当代音乐,2024,(10):135-137.<br /> <br /> 刘莎莎.深圳原创舞剧《咏春》将赴海外演出[N].深圳特区报,2024-07-08(A01).<br /> <br /> 周莉亚,韩真.舞剧《咏春》创作手记[J].当代舞蹈艺术研究,2024,9(01):129-135.</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=170128 2025-06-22T04:51:09Z

<p>Huang Qiaoqiao: </p> <hr /> <div>'''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> <br /> ----<br /> '''Main Story'''<br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> <br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> ----<br /> '''Lingnan Culture''' <br /> <br /> Produced by Shenzhen Song and Dance Theatre, the drama vividly portrays Lingnan culture besides the Wing Chun Kung Fu. For instance, the Gambiered Canton Gauze. Actors wear garments made from this ancient silk, dyed with Dioscorea cirrhosa sap for a mottled, matte texture. Yip Man’s deliberately wrinkled robe signifies his humble beginnings, contrasting with rivals, sleek attire—underscoring “true skills needs no finery.” <br /> <br /> In a poignant duet, Yip Man and his wife Yongcheng tug at a gauze shawl; its slow fall symbolizes separation, conveying resilience in turmoil. When Yip Man touches the fabric, his trembling hands universally express his love and longing. <br /> <br /> There is also Arcaded Buildings. Set designs feature tilted pillars, stained glass windows, and ivy-covered brick walls, recreating Guangzhou’s historic streets. These structures authentically frame Lingnan’s urban landscape and cultural spirit.<br /> <br /> ----<br /> '''Terms and Expressions '''<br /> <br /> 双线叙事 dual narrative <br /> <br /> 咏春拳 Wing Chun<br /> <br /> 中线理论 centerline theory<br /> <br /> 短桥窄马 short bridges and narrow stance<br /> <br /> 连消带打 simultaneous defense/offense<br /> <br /> 寸劲 inch power/ short-distance power<br /> <br /> 木人桩wooden dummy <br /> <br /> 香云纱 Gambiered Canton Gauze<br /> <br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''Questions'''<br /> <br /> 1. Why is Gambiered Canton Gauze more than a costume, but an emotional symbol?<br /> <br /> 2. What non-architectural roles do the arcaded buildings play in the drama?<br /> <br /> 3. What are the two storylines?<br /> <br /> 4. Who bears the responsibility when traditions like Wing Chun become intangible cultural heritage?<br /> <br /> 5. Would adding local elements such as European martial arts strengthen or weaken cultural identity in an adaptation?<br /> <br /> 6. What is the modern relevance of “resolving conflict through martial virtue”?<br /> <br /> ----<br /> '''References'''<br /> <br /> Tang Qilin, Luo Sihan(2025) 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[A Study of the Dual Narrative in Dance Drama— A Case Study of Wing Chun]. 新传奇(11):67-69.<br /> <br /> Jiang Lu(2025)姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[Innovative Expression of Chinese Excellent Traditional Culture in the Dance <br /> <br /> Drama Wing Chun under the Concept of &quot;Integration of Martial Arts and Dance&quot;].当代音乐(02):151-153.<br /> <br /> Li Qingqing(2024) 李青青.舞剧《咏春》中香云纱的运用[The Application of Xiangyunsha in the Dance Drama Wing Chun].染整技术46(11):90-92.<br /> <br /> Lu Mengjie(2024) 陆梦婕.舞剧中“旋转舞台”的运用分析[Analysis of the Application of &quot;Rotating Stage&quot; in Dance Drama].当代音乐(10):135-137.<br /> <br /> Liu Shasha(2024)刘莎莎.深圳原创舞剧《咏春》将赴海外演出[Original Shenzhen Dance Drama Wing Chun to Tour Overseas].深圳特区报07-08(A01).<br /> <br /> Zhou Yali, Han Zhen(2024) 周莉亚,韩真.舞剧《咏春》创作手记[Creative Notes of the Dance Drama Wing Chun].当代舞蹈艺术研究9(01):129-135.<br /> <br /> ----<br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> <br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> <br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> <br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。<br /> <br /> ----<br /> '''术语'''<br /> <br /> 双线叙事 dual narrative <br /> <br /> 咏春拳 Wing Chun<br /> <br /> 中线理论 centerline theory<br /> <br /> 短桥窄马 short bridges and narrow stance<br /> <br /> 连消带打 simultaneous defense/offense<br /> <br /> 寸劲 inch power/ short-distance power<br /> <br /> 木人桩wooden dummy <br /> <br /> 香云纱 Gambiered Canton Gauze<br /> <br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''问题'''<br /> <br /> 1. 为什么香云纱不仅是戏服，更是情感载体？<br /> <br /> 2. 广式骑楼在剧中承担了哪些非建筑功能？<br /> <br /> 3. 舞剧有哪两条故事线？<br /> <br /> 4. 当传统文化（如咏春拳）成为世界非物质文化遗产，传承责任在谁？<br /> <br /> 5. 如果改编《咏春》加入本地元素如欧洲武术，会增强还是削弱文化认同？<br /> <br /> 6. “以武止戈”精神在当代社会有何现实意义？<br /> <br /> ----<br /> '''参考文献'''<br /> <br /> 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[J].新传奇,2025,(11):67-69.<br /> <br /> 姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[J].当代音乐,2025,(02):151-153.<br /> <br /> 李青青.舞剧《咏春》中香云纱的运用[J].染整技术,2024,46(11):90-92.<br /> <br /> 陆梦婕.舞剧中“旋转舞台”的运用分析[J].当代音乐,2024,(10):135-137.<br /> <br /> 刘莎莎.深圳原创舞剧《咏春》将赴海外演出[N].深圳特区报,2024-07-08(A01).<br /> <br /> 周莉亚,韩真.舞剧《咏春》创作手记[J].当代舞蹈艺术研究,2024,9(01):129-135.</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=170127 2025-06-22T04:50:27Z

<p>Huang Qiaoqiao: </p> <hr /> <div>'''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> <br /> ----<br /> '''Main Story'''<br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> <br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> ----<br /> '''Lingnan Culture''' <br /> <br /> Produced by Shenzhen Song and Dance Theatre, the drama vividly portrays Lingnan culture besides the Wing Chun Kung Fu. For instance, the Gambiered Canton Gauze. Actors wear garments made from this ancient silk, dyed with Dioscorea cirrhosa sap for a mottled, matte texture. Yip Man’s deliberately wrinkled robe signifies his humble beginnings, contrasting with rivals, sleek attire—underscoring “true skills needs no finery.” <br /> <br /> In a poignant duet, Yip Man and his wife Yongcheng tug at a gauze shawl; its slow fall symbolizes separation, conveying resilience in turmoil. When Yip Man touches the fabric, his trembling hands universally express his love and longing. <br /> <br /> There is also Arcaded Buildings. Set designs feature tilted pillars, stained glass windows, and ivy-covered brick walls, recreating Guangzhou’s historic streets. These structures authentically frame Lingnan’s urban landscape and cultural spirit.<br /> <br /> ----<br /> '''Terms and Expressions '''<br /> <br /> <br /> 双线叙事 dual narrative <br /> <br /> 咏春拳 Wing Chun<br /> <br /> 中线理论 centerline theory<br /> <br /> 短桥窄马 short bridges and narrow stance<br /> <br /> 连消带打 simultaneous defense/offense<br /> <br /> 寸劲 inch power/ short-distance power<br /> <br /> 木人桩wooden dummy <br /> <br /> 香云纱 Gambiered Canton Gauze<br /> <br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''Questions'''<br /> <br /> 1. Why is Gambiered Canton Gauze more than a costume, but an emotional symbol?<br /> <br /> 2. What non-architectural roles do the arcaded buildings play in the drama?<br /> <br /> 3. What are the two storylines?<br /> <br /> 4. Who bears the responsibility when traditions like Wing Chun become intangible cultural heritage?<br /> <br /> 5. Would adding local elements such as European martial arts strengthen or weaken cultural identity in an adaptation?<br /> <br /> 6. What is the modern relevance of “resolving conflict through martial virtue”?<br /> <br /> ----<br /> '''References'''<br /> <br /> Tang Qilin, Luo Sihan(2025) 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[A Study of the Dual Narrative in Dance Drama— A Case Study of Wing Chun]. 新传奇(11):67-69.<br /> <br /> Jiang Lu(2025)姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[Innovative Expression of Chinese Excellent Traditional Culture in the Dance <br /> <br /> Drama Wing Chun under the Concept of &quot;Integration of Martial Arts and Dance&quot;].当代音乐(02):151-153.<br /> <br /> Li Qingqing(2024) 李青青.舞剧《咏春》中香云纱的运用[The Application of Xiangyunsha in the Dance Drama Wing Chun].染整技术46(11):90-92.<br /> <br /> Lu Mengjie(2024) 陆梦婕.舞剧中“旋转舞台”的运用分析[Analysis of the Application of &quot;Rotating Stage&quot; in Dance Drama].当代音乐(10):135-137.<br /> <br /> Liu Shasha(2024)刘莎莎.深圳原创舞剧《咏春》将赴海外演出[Original Shenzhen Dance Drama Wing Chun to Tour Overseas].深圳特区报07-08(A01).<br /> <br /> Zhou Yali, Han Zhen(2024) 周莉亚,韩真.舞剧《咏春》创作手记[Creative Notes of the Dance Drama Wing Chun].当代舞蹈艺术研究9(01):129-135.<br /> <br /> ----<br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> <br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> <br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> <br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。<br /> <br /> ----<br /> '''术语'''<br /> <br /> 双线叙事 dual narrative <br /> <br /> 咏春拳 Wing Chun<br /> <br /> 中线理论 centerline theory<br /> <br /> 短桥窄马 short bridges and narrow stance<br /> <br /> 连消带打 simultaneous defense/offense<br /> <br /> 寸劲 inch power/ short-distance power<br /> <br /> 木人桩wooden dummy <br /> <br /> 香云纱 Gambiered Canton Gauze<br /> <br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''问题'''<br /> <br /> 1. 为什么香云纱不仅是戏服，更是情感载体？<br /> <br /> 2. 广式骑楼在剧中承担了哪些非建筑功能？<br /> <br /> 3. 舞剧有哪两条故事线？<br /> <br /> 4. 当传统文化（如咏春拳）成为世界非物质文化遗产，传承责任在谁？<br /> <br /> 5. 如果改编《咏春》加入本地元素如欧洲武术，会增强还是削弱文化认同？<br /> <br /> 6. “以武止戈”精神在当代社会有何现实意义？<br /> <br /> ----<br /> '''参考文献'''<br /> <br /> 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[J].新传奇,2025,(11):67-69.<br /> <br /> 姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[J].当代音乐,2025,(02):151-153.<br /> <br /> 李青青.舞剧《咏春》中香云纱的运用[J].染整技术,2024,46(11):90-92.<br /> <br /> 陆梦婕.舞剧中“旋转舞台”的运用分析[J].当代音乐,2024,(10):135-137.<br /> <br /> 刘莎莎.深圳原创舞剧《咏春》将赴海外演出[N].深圳特区报,2024-07-08(A01).<br /> <br /> 周莉亚,韩真.舞剧《咏春》创作手记[J].当代舞蹈艺术研究,2024,9(01):129-135.</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=170126 2025-06-22T04:48:21Z

<p>Huang Qiaoqiao: </p> <hr /> <div><br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> <br /> ----<br /> '''Main Story'''<br /> <br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> <br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> ----<br /> <br /> '''Lingnan Culture''' <br /> <br /> Produced by Shenzhen Song and Dance Theatre, the drama vividly portrays Lingnan culture besides the Wing Chun Kung Fu. For instance, the Gambiered Canton Gauze. Actors wear garments made from this ancient silk, dyed with Dioscorea cirrhosa sap for a mottled, matte texture. Yip Man’s deliberately wrinkled robe signifies his humble beginnings, contrasting with rivals, sleek attire—underscoring “true skills needs no finery.” <br /> <br /> In a poignant duet, Yip Man and his wife Yongcheng tug at a gauze shawl; its slow fall symbolizes separation, conveying resilience in turmoil. When Yip Man touches the fabric, his trembling hands universally express his love and longing. <br /> <br /> There is also Arcaded Buildings. Set designs feature tilted pillars, stained glass windows, and ivy-covered brick walls, recreating Guangzhou’s historic streets. These structures authentically frame Lingnan’s urban landscape and cultural spirit.<br /> <br /> ----<br /> '''Terms and Expressions '''<br /> <br /> <br /> 双线叙事 dual narrative <br /> <br /> 咏春拳 Wing Chun<br /> <br /> 中线理论 centerline theory<br /> <br /> 短桥窄马 short bridges and narrow stance<br /> <br /> 连消带打 simultaneous defense/offense<br /> <br /> 寸劲 inch power/ short-distance power<br /> <br /> 木人桩wooden dummy <br /> <br /> 香云纱 Gambiered Canton Gauze<br /> <br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''Questions'''<br /> <br /> 1. Why is Gambiered Canton Gauze more than a costume, but an emotional symbol?<br /> <br /> 2. What non-architectural roles do the arcaded buildings play in the drama?<br /> <br /> 3. What are the two storylines?<br /> <br /> 4. Who bears the responsibility when traditions like Wing Chun become intangible cultural heritage?<br /> <br /> 5. Would adding local elements such as European martial arts strengthen or weaken cultural identity in an adaptation?<br /> <br /> 6. What is the modern relevance of “resolving conflict through martial virtue”?<br /> <br /> ----<br /> '''References'''<br /> <br /> Tang Qilin, Luo Sihan(2025) 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[A Study of the Dual Narrative in Dance Drama— A Case Study of Wing Chun]. 新传奇(11):67-69.<br /> <br /> Jiang Lu(2025)姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[Innovative Expression of Chinese Excellent Traditional Culture in the Dance <br /> <br /> Drama Wing Chun under the Concept of &quot;Integration of Martial Arts and Dance&quot;].当代音乐(02):151-153.<br /> <br /> Li Qingqing(2024) 李青青.舞剧《咏春》中香云纱的运用[The Application of Xiangyunsha in the Dance Drama Wing Chun].染整技术46(11):90-92.<br /> <br /> Lu Mengjie(2024) 陆梦婕.舞剧中“旋转舞台”的运用分析[Analysis of the Application of &quot;Rotating Stage&quot; in Dance Drama].当代音乐(10):135-137.<br /> <br /> Liu Shasha(2024)刘莎莎.深圳原创舞剧《咏春》将赴海外演出[Original Shenzhen Dance Drama Wing Chun to Tour Overseas].深圳特区报07-08(A01).<br /> <br /> Zhou Yali, Han Zhen(2024) 周莉亚,韩真.舞剧《咏春》创作手记[Creative Notes of the Dance Drama Wing Chun].当代舞蹈艺术研究9(01):129-135.<br /> <br /> ----<br /> <br /> <br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> <br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> <br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> <br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。<br /> <br /> ----<br /> '''术语'''<br /> <br /> 双线叙事 dual narrative <br /> <br /> 咏春拳 Wing Chun<br /> <br /> 中线理论 centerline theory<br /> <br /> 短桥窄马 short bridges and narrow stance<br /> <br /> 连消带打 simultaneous defense/offense<br /> <br /> 寸劲 inch power/ short-distance power<br /> <br /> 木人桩wooden dummy <br /> <br /> 香云纱 Gambiered Canton Gauze<br /> <br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''问题'''<br /> <br /> 1. 为什么香云纱不仅是戏服，更是情感载体？<br /> <br /> 2. 广式骑楼在剧中承担了哪些非建筑功能？<br /> <br /> 3. 舞剧有哪两条故事线？<br /> <br /> 4. 当传统文化（如咏春拳）成为世界非物质文化遗产，传承责任在谁？<br /> <br /> 5. 如果改编《咏春》加入本地元素如欧洲武术，会增强还是削弱文化认同？<br /> <br /> 6. “以武止戈”精神在当代社会有何现实意义？<br /> <br /> ----<br /> '''参考文献'''<br /> <br /> 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[J].新传奇,2025,(11):67-69.<br /> <br /> 姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[J].当代音乐,2025,(02):151-153.<br /> <br /> 李青青.舞剧《咏春》中香云纱的运用[J].染整技术,2024,46(11):90-92.<br /> <br /> 陆梦婕.舞剧中“旋转舞台”的运用分析[J].当代音乐,2024,(10):135-137.<br /> <br /> 刘莎莎.深圳原创舞剧《咏春》将赴海外演出[N].深圳特区报,2024-07-08(A01).<br /> <br /> 周莉亚,韩真.舞剧《咏春》创作手记[J].当代舞蹈艺术研究,2024,9(01):129-135.</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=170125 2025-06-22T04:45:21Z

<p>Huang Qiaoqiao: </p> <hr /> <div><br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> <br /> ----<br /> '''Main Story'''<br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> ----<br /> <br /> '''Lingnan Culture''' <br /> Produced by Shenzhen Song and Dance Theatre, the drama vividly portrays Lingnan culture besides the Wing Chun Kung Fu. For instance, the Gambiered Canton Gauze. Actors wear garments made from this ancient silk, dyed with Dioscorea cirrhosa sap for a mottled, matte texture. Yip Man’s deliberately wrinkled robe signifies his humble beginnings, contrasting with rivals, sleek attire—underscoring “true skills needs no finery.” <br /> <br /> In a poignant duet, Yip Man and his wife Yongcheng tug at a gauze shawl; its slow fall symbolizes separation, conveying resilience in turmoil. When Yip Man touches the fabric, his trembling hands universally express his love and longing. <br /> <br /> There is also Arcaded Buildings. Set designs feature tilted pillars, stained glass windows, and ivy-covered brick walls, recreating Guangzhou’s historic streets. These structures authentically frame Lingnan’s urban landscape and cultural spirit.<br /> <br /> ----<br /> '''Terms and Expressions '''<br /> <br /> 双线叙事 dual narrative <br /> <br /> 咏春拳 Wing Chun<br /> <br /> 中线理论 centerline theory<br /> <br /> 短桥窄马 short bridges and narrow stance<br /> <br /> 连消带打 simultaneous defense/offense<br /> <br /> 寸劲 inch power/ short-distance power<br /> <br /> 木人桩wooden dummy <br /> <br /> 香云纱 Gambiered Canton Gauze<br /> <br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''Questions'''<br /> 1. Why is Gambiered Canton Gauze more than a costume, but an emotional symbol?<br /> 2. What non-architectural roles do the arcaded buildings play in the drama?<br /> 3. What are the two storylines?<br /> 4. Who bears the responsibility when traditions like Wing Chun become intangible cultural heritage?<br /> 5. Would adding local elements such as European martial arts strengthen or weaken cultural identity in an adaptation?<br /> 6. What is the modern relevance of “resolving conflict through martial virtue”?<br /> <br /> ----<br /> '''References'''<br /> Tang Qilin, Luo Sihan(2025) 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[A Study of the Dual Narrative in Dance Drama— A Case Study of Wing Chun]. 新传奇(11):67-69.<br /> Jiang Lu(2025)姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[Innovative Expression of Chinese Excellent Traditional Culture in the Dance Drama Wing Chun under the Concept of &quot;Integration of Martial Arts and Dance&quot;].当代音乐(02):151-153.<br /> Li Qingqing(2024) 李青青.舞剧《咏春》中香云纱的运用[The Application of Xiangyunsha in the Dance Drama Wing Chun].染整技术46(11):90-92.<br /> Lu Mengjie(2024) 陆梦婕.舞剧中“旋转舞台”的运用分析[Analysis of the Application of &quot;Rotating Stage&quot; in Dance Drama].当代音乐(10):135-137.<br /> Liu Shasha(2024)刘莎莎.深圳原创舞剧《咏春》将赴海外演出[Original Shenzhen Dance Drama Wing Chun to Tour Overseas].深圳特区报07-08(A01).<br /> Zhou Yali, Han Zhen(2024) 周莉亚,韩真.舞剧《咏春》创作手记[Creative Notes of the Dance Drama Wing Chun].当代舞蹈艺术研究9(01):129-135.<br /> <br /> <br /> <br /> <br /> ----<br /> <br /> <br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。<br /> <br /> ----<br /> '''术语'''<br /> 双线叙事 dual narrative <br /> <br /> 咏春拳 Wing Chun<br /> <br /> 中线理论 centerline theory<br /> <br /> 短桥窄马 short bridges and narrow stance<br /> <br /> 连消带打 simultaneous defense/offense<br /> <br /> 寸劲 inch power/ short-distance power<br /> <br /> 木人桩wooden dummy <br /> <br /> 香云纱 Gambiered Canton Gauze<br /> <br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''问题'''<br /> 1. 为什么香云纱不仅是戏服，更是情感载体？<br /> 2. 广式骑楼在剧中承担了哪些非建筑功能？<br /> 3. 舞剧有哪两条故事线？<br /> 4. 当传统文化（如咏春拳）成为世界非物质文化遗产，传承责任在谁？<br /> 5. 如果改编《咏春》加入本地元素如欧洲武术，会增强还是削弱文化认同？<br /> 6. “以武止戈”精神在当代社会有何现实意义？<br /> <br /> ----<br /> '''参考文献'''<br /> 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[J].新传奇,2025,(11):67-69.<br /> 姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[J].当代音乐,2025,(02):151-153.<br /> 李青青.舞剧《咏春》中香云纱的运用[J].染整技术,2024,46(11):90-92.<br /> 陆梦婕.舞剧中“旋转舞台”的运用分析[J].当代音乐,2024,(10):135-137.<br /> 刘莎莎.深圳原创舞剧《咏春》将赴海外演出[N].深圳特区报,2024-07-08(A01).<br /> 周莉亚,韩真.舞剧《咏春》创作手记[J].当代舞蹈艺术研究,2024,9(01):129-135.</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=167455 2025-06-04T12:20:54Z

<p>Huang Qiaoqiao: </p> <hr /> <div><br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> <br /> ----<br /> '''Main Story'''<br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> ----<br /> <br /> '''Lingnan Culture''' <br /> Produced by Shenzhen Song and Dance Theatre, the drama vividly portrays Lingnan culture besides the Wing Chun Kung Fu. For instance, the Gambiered Canton Gauze. Actors wear garments made from this ancient silk, dyed with Dioscorea cirrhosa sap for a mottled, matte texture. Yip Man’s deliberately wrinkled robe signifies his humble beginnings, contrasting with rivals, sleek attire—underscoring “true skills needs no finery.” <br /> <br /> In a poignant duet, Yip Man and his wife Yongcheng tug at a gauze shawl; its slow fall symbolizes separation, conveying resilience in turmoil. When Yip Man touches the fabric, his trembling hands universally express his love and longing. <br /> <br /> There is also Arcaded Buildings. Set designs feature tilted pillars, stained glass windows, and ivy-covered brick walls, recreating Guangzhou’s historic streets. These structures authentically frame Lingnan’s urban landscape and cultural spirit.<br /> <br /> ----<br /> '''Terms and Expressions '''<br /> <br /> 双线叙事 dual narrative <br /> 咏春拳 Wing Chun<br /> 中线理论 centerline theory<br /> 短桥窄马 short bridges and narrow stance<br /> 连消带打 simultaneous defense/offense<br /> 寸劲 inch power/ short-distance power<br /> 木人桩wooden dummy <br /> 香云纱 Gambiered Canton Gauze<br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''Questions'''<br /> 1. Why is Gambiered Canton Gauze more than a costume, but an emotional symbol?<br /> 2. What non-architectural roles do the arcaded buildings play in the drama?<br /> 3. What are the two storylines?<br /> 4. Who bears the responsibility when traditions like Wing Chun become intangible cultural heritage?<br /> 5. Would adding local elements such as European martial arts strengthen or weaken cultural identity in an adaptation?<br /> 6. What is the modern relevance of “resolving conflict through martial virtue”?<br /> <br /> ----<br /> '''References'''<br /> Tang Qilin, Luo Sihan(2025) 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[A Study of the Dual Narrative in Dance Drama— A Case Study of Wing Chun]. 新传奇(11):67-69.<br /> Jiang Lu(2025)姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[Innovative Expression of Chinese Excellent Traditional Culture in the Dance Drama Wing Chun under the Concept of &quot;Integration of Martial Arts and Dance&quot;].当代音乐(02):151-153.<br /> Li Qingqing(2024) 李青青.舞剧《咏春》中香云纱的运用[The Application of Xiangyunsha in the Dance Drama Wing Chun].染整技术46(11):90-92.<br /> Lu Mengjie(2024) 陆梦婕.舞剧中“旋转舞台”的运用分析[Analysis of the Application of &quot;Rotating Stage&quot; in Dance Drama].当代音乐(10):135-137.<br /> Liu Shasha(2024)刘莎莎.深圳原创舞剧《咏春》将赴海外演出[Original Shenzhen Dance Drama Wing Chun to Tour Overseas].深圳特区报07-08(A01).<br /> Zhou Yali, Han Zhen(2024) 周莉亚,韩真.舞剧《咏春》创作手记[Creative Notes of the Dance Drama Wing Chun].当代舞蹈艺术研究9(01):129-135.<br /> <br /> <br /> <br /> <br /> ----<br /> <br /> <br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。<br /> <br /> ----<br /> '''术语'''<br /> 双线叙事 dual narrative <br /> 咏春拳 Wing Chun<br /> 中线理论 centerline theory<br /> 短桥窄马 short bridges and narrow stance<br /> 连消带打 simultaneous defense/offense<br /> 寸劲 inch power/ short-distance power<br /> 木人桩wooden dummy <br /> 香云纱 Gambiered Canton Gauze<br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''问题'''<br /> 1. 为什么香云纱不仅是戏服，更是情感载体？<br /> 2. 广式骑楼在剧中承担了哪些非建筑功能？<br /> 3. 舞剧有哪两条故事线？<br /> 4. 当传统文化（如咏春拳）成为世界非物质文化遗产，传承责任在谁？<br /> 5. 如果改编《咏春》加入本地元素如欧洲武术，会增强还是削弱文化认同？<br /> 6. “以武止戈”精神在当代社会有何现实意义？<br /> <br /> ----<br /> '''参考文献'''<br /> 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[J].新传奇,2025,(11):67-69.<br /> 姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[J].当代音乐,2025,(02):151-153.<br /> 李青青.舞剧《咏春》中香云纱的运用[J].染整技术,2024,46(11):90-92.<br /> 陆梦婕.舞剧中“旋转舞台”的运用分析[J].当代音乐,2024,(10):135-137.<br /> 刘莎莎.深圳原创舞剧《咏春》将赴海外演出[N].深圳特区报,2024-07-08(A01).<br /> 周莉亚,韩真.舞剧《咏春》创作手记[J].当代舞蹈艺术研究,2024,9(01):129-135.</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=File:Dance_Drama_Wing_Chun.jpg&diff=167454 2025-06-04T12:20:06Z

<p>Huang Qiaoqiao: </p> <hr /> <div></div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=167453 2025-06-04T12:19:46Z

<p>Huang Qiaoqiao: </p> <hr /> <div><br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> [[File:Dance Drama Wing Chun.jpg]]<br /> <br /> ----<br /> '''Main Story'''<br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> ----<br /> <br /> '''Lingnan Culture''' <br /> Produced by Shenzhen Song and Dance Theatre, the drama vividly portrays Lingnan culture besides the Wing Chun Kung Fu. For instance, the Gambiered Canton Gauze. Actors wear garments made from this ancient silk, dyed with Dioscorea cirrhosa sap for a mottled, matte texture. Yip Man’s deliberately wrinkled robe signifies his humble beginnings, contrasting with rivals, sleek attire—underscoring “true skills needs no finery.” <br /> <br /> In a poignant duet, Yip Man and his wife Yongcheng tug at a gauze shawl; its slow fall symbolizes separation, conveying resilience in turmoil. When Yip Man touches the fabric, his trembling hands universally express his love and longing. <br /> <br /> There is also Arcaded Buildings. Set designs feature tilted pillars, stained glass windows, and ivy-covered brick walls, recreating Guangzhou’s historic streets. These structures authentically frame Lingnan’s urban landscape and cultural spirit.<br /> <br /> ----<br /> '''Terms and Expressions '''<br /> <br /> 双线叙事 dual narrative <br /> 咏春拳 Wing Chun<br /> 中线理论 centerline theory<br /> 短桥窄马 short bridges and narrow stance<br /> 连消带打 simultaneous defense/offense<br /> 寸劲 inch power/ short-distance power<br /> 木人桩wooden dummy <br /> 香云纱 Gambiered Canton Gauze<br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''Questions'''<br /> 1. Why is Gambiered Canton Gauze more than a costume, but an emotional symbol?<br /> 2. What non-architectural roles do the arcaded buildings play in the drama?<br /> 3. What are the two storylines?<br /> 4. Who bears the responsibility when traditions like Wing Chun become intangible cultural heritage?<br /> 5. Would adding local elements such as European martial arts strengthen or weaken cultural identity in an adaptation?<br /> 6. What is the modern relevance of “resolving conflict through martial virtue”?<br /> <br /> ----<br /> '''References'''<br /> Tang Qilin, Luo Sihan(2025) 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[A Study of the Dual Narrative in Dance Drama— A Case Study of Wing Chun]. 新传奇(11):67-69.<br /> Jiang Lu(2025)姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[Innovative Expression of Chinese Excellent Traditional Culture in the Dance Drama Wing Chun under the Concept of &quot;Integration of Martial Arts and Dance&quot;].当代音乐(02):151-153.<br /> Li Qingqing(2024) 李青青.舞剧《咏春》中香云纱的运用[The Application of Xiangyunsha in the Dance Drama Wing Chun].染整技术46(11):90-92.<br /> Lu Mengjie(2024) 陆梦婕.舞剧中“旋转舞台”的运用分析[Analysis of the Application of &quot;Rotating Stage&quot; in Dance Drama].当代音乐(10):135-137.<br /> Liu Shasha(2024)刘莎莎.深圳原创舞剧《咏春》将赴海外演出[Original Shenzhen Dance Drama Wing Chun to Tour Overseas].深圳特区报07-08(A01).<br /> Zhou Yali, Han Zhen(2024) 周莉亚,韩真.舞剧《咏春》创作手记[Creative Notes of the Dance Drama Wing Chun].当代舞蹈艺术研究9(01):129-135.<br /> <br /> <br /> <br /> <br /> ----<br /> <br /> <br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。<br /> <br /> ----<br /> '''术语'''<br /> 双线叙事 dual narrative <br /> 咏春拳 Wing Chun<br /> 中线理论 centerline theory<br /> 短桥窄马 short bridges and narrow stance<br /> 连消带打 simultaneous defense/offense<br /> 寸劲 inch power/ short-distance power<br /> 木人桩wooden dummy <br /> 香云纱 Gambiered Canton Gauze<br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''问题'''<br /> 1. 为什么香云纱不仅是戏服，更是情感载体？<br /> 2. 广式骑楼在剧中承担了哪些非建筑功能？<br /> 3. 舞剧有哪两条故事线？<br /> 4. 当传统文化（如咏春拳）成为世界非物质文化遗产，传承责任在谁？<br /> 5. 如果改编《咏春》加入本地元素如欧洲武术，会增强还是削弱文化认同？<br /> 6. “以武止戈”精神在当代社会有何现实意义？<br /> <br /> ----<br /> '''参考文献'''<br /> 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[J].新传奇,2025,(11):67-69.<br /> 姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[J].当代音乐,2025,(02):151-153.<br /> 李青青.舞剧《咏春》中香云纱的运用[J].染整技术,2024,46(11):90-92.<br /> 陆梦婕.舞剧中“旋转舞台”的运用分析[J].当代音乐,2024,(10):135-137.<br /> 刘莎莎.深圳原创舞剧《咏春》将赴海外演出[N].深圳特区报,2024-07-08(A01).<br /> 周莉亚,韩真.舞剧《咏春》创作手记[J].当代舞蹈艺术研究,2024,9(01):129-135.</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=167452 2025-06-04T12:17:19Z

<p>Huang Qiaoqiao: </p> <hr /> <div><br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> <br /> ----<br /> '''Main Story'''<br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> ----<br /> <br /> '''Lingnan Culture''' <br /> Produced by Shenzhen Song and Dance Theatre, the drama vividly portrays Lingnan culture besides the Wing Chun Kung Fu. For instance, the Gambiered Canton Gauze. Actors wear garments made from this ancient silk, dyed with Dioscorea cirrhosa sap for a mottled, matte texture. Yip Man’s deliberately wrinkled robe signifies his humble beginnings, contrasting with rivals, sleek attire—underscoring “true skills needs no finery.” <br /> <br /> In a poignant duet, Yip Man and his wife Yongcheng tug at a gauze shawl; its slow fall symbolizes separation, conveying resilience in turmoil. When Yip Man touches the fabric, his trembling hands universally express his love and longing. <br /> <br /> There is also Arcaded Buildings. Set designs feature tilted pillars, stained glass windows, and ivy-covered brick walls, recreating Guangzhou’s historic streets. These structures authentically frame Lingnan’s urban landscape and cultural spirit.<br /> <br /> ----<br /> '''Terms and Expressions '''<br /> <br /> 双线叙事 dual narrative <br /> 咏春拳 Wing Chun<br /> 中线理论 centerline theory<br /> 短桥窄马 short bridges and narrow stance<br /> 连消带打 simultaneous defense/offense<br /> 寸劲 inch power/ short-distance power<br /> 木人桩wooden dummy <br /> 香云纱 Gambiered Canton Gauze<br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''Questions'''<br /> 1. Why is Gambiered Canton Gauze more than a costume, but an emotional symbol?<br /> 2. What non-architectural roles do the arcaded buildings play in the drama?<br /> 3. What are the two storylines?<br /> 4. Who bears the responsibility when traditions like Wing Chun become intangible cultural heritage?<br /> 5. Would adding local elements such as European martial arts strengthen or weaken cultural identity in an adaptation?<br /> 6. What is the modern relevance of “resolving conflict through martial virtue”?<br /> <br /> ----<br /> '''References'''<br /> Tang Qilin, Luo Sihan(2025) 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[A Study of the Dual Narrative in Dance Drama— A Case Study of Wing Chun]. 新传奇(11):67-69.<br /> Jiang Lu(2025)姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[Innovative Expression of Chinese Excellent Traditional Culture in the Dance Drama Wing Chun under the Concept of &quot;Integration of Martial Arts and Dance&quot;].当代音乐(02):151-153.<br /> Li Qingqing(2024) 李青青.舞剧《咏春》中香云纱的运用[The Application of Xiangyunsha in the Dance Drama Wing Chun].染整技术46(11):90-92.<br /> Lu Mengjie(2024) 陆梦婕.舞剧中“旋转舞台”的运用分析[Analysis of the Application of &quot;Rotating Stage&quot; in Dance Drama].当代音乐(10):135-137.<br /> Liu Shasha(2024)刘莎莎.深圳原创舞剧《咏春》将赴海外演出[Original Shenzhen Dance Drama Wing Chun to Tour Overseas].深圳特区报07-08(A01).<br /> Zhou Yali, Han Zhen(2024) 周莉亚,韩真.舞剧《咏春》创作手记[Creative Notes of the Dance Drama Wing Chun].当代舞蹈艺术研究9(01):129-135.<br /> <br /> <br /> <br /> <br /> ----<br /> <br /> <br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。<br /> <br /> ----<br /> '''术语'''<br /> 双线叙事 dual narrative <br /> 咏春拳 Wing Chun<br /> 中线理论 centerline theory<br /> 短桥窄马 short bridges and narrow stance<br /> 连消带打 simultaneous defense/offense<br /> 寸劲 inch power/ short-distance power<br /> 木人桩wooden dummy <br /> 香云纱 Gambiered Canton Gauze<br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''问题'''<br /> 1. 为什么香云纱不仅是戏服，更是情感载体？<br /> 2. 广式骑楼在剧中承担了哪些非建筑功能？<br /> 3. 舞剧有哪两条故事线？<br /> 4. 当传统文化（如咏春拳）成为世界非物质文化遗产，传承责任在谁？<br /> 5. 如果改编《咏春》加入本地元素如欧洲武术，会增强还是削弱文化认同？<br /> 6. “以武止戈”精神在当代社会有何现实意义？<br /> <br /> ----<br /> '''参考文献'''<br /> 汤其林,罗思涵.初探舞剧的双线叙事结构——以舞剧《咏春》为例[J].新传奇,2025,(11):67-69.<br /> 姜璐.“武舞融合”理念下舞剧《咏春》对中华优秀传统文化的创新性表达[J].当代音乐,2025,(02):151-153.<br /> 李青青.舞剧《咏春》中香云纱的运用[J].染整技术,2024,46(11):90-92.<br /> 陆梦婕.舞剧中“旋转舞台”的运用分析[J].当代音乐,2024,(10):135-137.<br /> 刘莎莎.深圳原创舞剧《咏春》将赴海外演出[N].深圳特区报,2024-07-08(A01).<br /> 周莉亚,韩真.舞剧《咏春》创作手记[J].当代舞蹈艺术研究,2024,9(01):129-135.</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=167449 2025-06-04T11:59:25Z

<p>Huang Qiaoqiao: </p> <hr /> <div><br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> <br /> ----<br /> '''Main Story'''<br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> ----<br /> <br /> '''Lingnan Culture''' <br /> Produced by Shenzhen Song and Dance Theatre, the drama vividly portrays Lingnan culture besides the Wing Chun Kung Fu. For instance, the Gambiered Canton Gauze. Actors wear garments made from this ancient silk, dyed with Dioscorea cirrhosa sap for a mottled, matte texture. Yip Man’s deliberately wrinkled robe signifies his humble beginnings, contrasting with rivals, sleek attire—underscoring “true skills needs no finery.” <br /> <br /> In a poignant duet, Yip Man and his wife Yongcheng tug at a gauze shawl; its slow fall symbolizes separation, conveying resilience in turmoil. When Yip Man touches the fabric, his trembling hands universally express his love and longing. <br /> <br /> There is also Arcaded Buildings. Set designs feature tilted pillars, stained glass windows, and ivy-covered brick walls, recreating Guangzhou’s historic streets. These structures authentically frame Lingnan’s urban landscape and cultural spirit.<br /> <br /> ----<br /> '''Terms and Expressions '''<br /> <br /> 双线叙事 dual narrative <br /> 咏春拳 Wing Chun<br /> 中线理论 centerline theory<br /> 短桥窄马 short bridges and narrow stance<br /> 连消带打 simultaneous defense/offense<br /> 寸劲 inch power/ short-distance power<br /> 木人桩wooden dummy <br /> 香云纱 Gambiered Canton Gauze<br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''Questions'''<br /> 1. Why is Gambiered Canton Gauze more than a costume, but an emotional symbol?<br /> 2. What non-architectural roles do the arcaded buildings play in the drama?<br /> 3. What are the two storylines?<br /> 4. Who bears the responsibility when traditions like Wing Chun become intangible cultural heritage?<br /> 5. Would adding local elements such as European martial arts strengthen or weaken cultural identity in an adaptation?<br /> 6. What is the modern relevance of “resolving conflict through martial virtue”?<br /> <br /> ----<br /> '''References'''<br /> <br /> <br /> ----<br /> <br /> <br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。<br /> <br /> ----<br /> '''术语'''<br /> 双线叙事 dual narrative <br /> 咏春拳 Wing Chun<br /> 中线理论 centerline theory<br /> 短桥窄马 short bridges and narrow stance<br /> 连消带打 simultaneous defense/offense<br /> 寸劲 inch power/ short-distance power<br /> 木人桩wooden dummy <br /> 香云纱 Gambiered Canton Gauze<br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''问题'''<br /> 1. 为什么香云纱不仅是戏服，更是情感载体？<br /> 2. 广式骑楼在剧中承担了哪些非建筑功能？<br /> 3. 舞剧有哪两条故事线？<br /> 4. 当传统文化（如咏春拳）成为世界非物质文化遗产，传承责任在谁？<br /> 5. 如果改编《咏春》加入本地元素如欧洲武术，会增强还是削弱文化认同？<br /> 6. “以武止戈”精神在当代社会有何现实意义？<br /> <br /> ----<br /> '''参考文献'''</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=167443 2025-06-04T11:40:11Z

<p>Huang Qiaoqiao: </p> <hr /> <div><br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> <br /> ----<br /> '''Main Story'''<br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> ----<br /> <br /> '''Lingnan Culture''' <br /> Produced by Shenzhen Song and Dance Theatre, the drama vividly portrays Lingnan culture besides the Wing Chun Kung Fu. For instance, the Gambiered Canton Gauze. Actors wear garments made from this ancient silk, dyed with Dioscorea cirrhosa sap for a mottled, matte texture. Yip Man’s deliberately wrinkled robe signifies his humble beginnings, contrasting with rivals, sleek attire—underscoring “true skills needs no finery.” <br /> <br /> In a poignant duet, Yip Man and his wife Yongcheng tug at a gauze shawl; its slow fall symbolizes separation, conveying resilience in turmoil. When Yip Man touches the fabric, his trembling hands universally express his love and longing. <br /> <br /> There is also Arcaded Buildings. Set designs feature tilted pillars, stained glass windows, and ivy-covered brick walls, recreating Guangzhou’s historic streets. These structures authentically frame Lingnan’s urban landscape and cultural spirit.<br /> <br /> <br /> ----<br /> <br /> <br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。<br /> <br /> ----<br /> '''术语'''<br /> 双线叙事 dual narrative <br /> 咏春拳 Wing Chun<br /> 中线理论 centerline theory<br /> 短桥窄马 short bridges and narrow stance<br /> 连消带打 simultaneous defense/offense<br /> 寸劲 inch power/ short-distance power<br /> 木人桩wooden dummy <br /> 香云纱 Gambiered Canton Gauze<br /> 广式骑楼 arcaded building <br /> <br /> ----<br /> '''参考文献'''</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=167442 2025-06-04T11:31:31Z

<p>Huang Qiaoqiao: </p> <hr /> <div><br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> <br /> ----<br /> '''Main Story'''<br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> ----<br /> <br /> '''Lingnan Culture''' <br /> Produced by Shenzhen Song and Dance Theatre, the drama vividly portrays Lingnan culture besides the Wing Chun Kung Fu. For instance, the Gambiered Canton Gauze. Actors wear garments made from this ancient silk, dyed with Dioscorea cirrhosa sap for a mottled, matte texture. Yip Man’s deliberately wrinkled robe signifies his humble beginnings, contrasting with rivals, sleek attire—underscoring “true skills needs no finery.” <br /> <br /> In a poignant duet, Yip Man and his wife Yongcheng tug at a gauze shawl; its slow fall symbolizes separation, conveying resilience in turmoil. When Yip Man touches the fabric, his trembling hands universally express his love and longing. <br /> <br /> There is also Arcaded Buildings. Set designs feature tilted pillars, stained glass windows, and ivy-covered brick walls, recreating Guangzhou’s historic streets. These structures authentically frame Lingnan’s urban landscape and cultural spirit.<br /> <br /> <br /> ----<br /> <br /> <br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=167441 2025-06-04T11:20:11Z

<p>Huang Qiaoqiao: </p> <hr /> <div><br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> <br /> ----<br /> '''Synopsis'''<br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> <br /> <br /> <br /> ----<br /> <br /> '''Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=167440 2025-06-04T11:19:06Z

<p>Huang Qiaoqiao: </p> <hr /> <div>'''<br /> Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> <br /> ----<br /> '''Synopsis'''<br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> <br /> <br /> <br /> ----<br /> <br /> '''<br /> Dance Drama ''Wing Chun'' 舞剧《咏春》'''<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=167439 2025-06-04T11:17:36Z

<p>Huang Qiaoqiao: </p> <hr /> <div><br /> Dance Drama ''Wing Chun'' 舞剧《咏春》<br /> <br /> ''Wing Chun'', drawing inspiration from martial arts grandmaster ''Yip Man'', has won worldwide acclaim in its efforts to promote Lingnan culture and convey a a sense of justice and responsibility in society.<br /> <br /> ----<br /> '''Synopsis'''<br /> <br /> ''Wing Chun'' centers on a dual narrative that interweaves traditional martial arts spirit with contemporary dreams across time and space. It’s both an epic tribute to heroes and an ode to ordinary people.<br /> <br /> The drama unfolds through two parallel storylines. The first one is Yip Man’s legacy in the mid-20th century. He journeys to Hong Kong carrying the “Wing Chun Hall” plaque. In a martial arts district dominated by rival schools (Bagua Palm, Tai Chi, Southern Praying Mantis), he challenges convention with Wing Chun, ultimately breaking barriers to spread the art. The second one is about a film crew, who faces financial crisis and disbandment while filming Wing Chun. Lighting technician Dachun and his colleagues persevere through artistic struggles. Rotating stages and light projections seamlessly bridge these timelines, creating a cross-era dialogue.<br /> <br /> ----<br /> '''Yip Man and Wing Chun'''<br /> Yip Man (1893-1972), a pivotal figure in Wing Chun’s history, trained in Foshan under master Chan Wah-shun before refining his skills in Hong Kong with Leung Bik (son of Wing Chun patriarch Leung Jan). In 1949, he settled in Hong Kong and revolutionized martial arts by teaching Wing Chun publicly-transforming it from a regional practice into global phenomenon.<br /> <br /> Wing Chun Kungfu focuses on center-line theory, close-range combat and simultaneous defense and offense. It employs concise, powerful moves like elbow strikes and short-distance explosive force instead of high kicks. Wooden dummy training cultivates reflexes while embodying eastern philosophy—harmony in balance.<br /> <br /> In the dance drama, Wing Chun is reimagined through dance. Wooden dummies become abstract spatial installations. “Eight Slashing Knives” sequences use blade arcs to symbolize cutting through illusion. Group combat scenes showcase clashes with Bagua Palm and Tai Chi, highlighting martial arts diversity. Yip Man’s journey reflects both personal mastery and Chinese cultural heritage.<br /> <br /> <br /> <br /> <br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=167418 2025-06-04T09:14:10Z

<p>Huang Qiaoqiao: </p> <hr /> <div>Dance Drama ''Wing Chun'' 舞剧《咏春》<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。香云纱是用薯莨汁手工染制的，自带深浅不一的斑驳纹理和哑光质感。叶问的长衫特意保留香云纱天然的褶皱感，洗旧效果凸显他初到香港时的清贫，而与武馆掌门的光滑绸缎形成对比，暗示“真功夫不靠华服”的侠义精神。<br /> <br /> 叶问与妻子永成的双人舞中，一条香云纱披肩被两人反复拉扯——妻子甩出的披肩犹如挽留的手，叶问松手时布料缓缓坠落，像要中断的缘分，薄薄一层纱演绎出乱世夫妻的无奈。即使不懂丝绸工艺，当看到叶问抚摸妻子留下的香云纱时颤抖的手，全世界都明白“他在思念”。<br /> <br /> 另外舞台布景上，十分引人注目的是背景中的广东老式骑楼，倾斜交错的骑楼廊柱、斑驳的彩色玻璃窗、爬着藤蔓的砖墙，复刻了广州老城的肌理，生动展现了了岭南风貌。</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=167369 2025-06-03T13:31:46Z

<p>Huang Qiaoqiao: </p> <hr /> <div>Dance Drama ''Wing Chun'' 舞剧《咏春》<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> ----<br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> ----<br /> '''岭南文化的呈现'''<br /> 该剧由深圳歌舞剧院出品，剧中展现了浓重的岭南文化色彩，促进了岭南文化的传播。<br /> <br /> 除了剧中主线咏春拳以外，还特别展现了广东传统非遗香云纱。演员们穿的衣服不是普通的戏服，而是一种广东特有的古老丝绸香云纱。这种</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=167368 2025-06-03T13:22:23Z

<p>Huang Qiaoqiao: </p> <hr /> <div>Dance Drama ''Wing Chun'' 舞剧《咏春》<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> --[[User:Huang Qiaoqiao|Huang Qiaoqiao]] ([[User talk:Huang Qiaoqiao|talk]]) 13:22, 3 June 2025 (UTC)<br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。<br /> <br /> --[[User:Huang Qiaoqiao|Huang Qiaoqiao]] ([[User talk:Huang Qiaoqiao|talk]]) 13:22, 3 June 2025 (UTC)</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=167367 2025-06-03T13:21:14Z

<p>Huang Qiaoqiao: </p> <hr /> <div>Dance Drama ''Wing Chun'' 舞剧《咏春》<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> ----<br /> '''内容概览'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=166961 2025-05-28T12:13:43Z

<p>Huang Qiaoqiao: </p> <hr /> <div>Dance Drama ''Wing Chun'' 舞剧《咏春》<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> '''内容概览'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。<br /> <br /> 全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。<br /> <br /> 在舞剧《咏春》中，舞者并非直接展示武术拳法，而是以舞蹈语言重构咏春招式。木人桩化为虚实相生的空间装置，“八斩刀”舞段以刀光弧线暗喻斩断妄念的武德，群体武戏则通过八卦掌、太极拳等流派对决，展现武林生态的多元碰撞。叶问与咏春拳的故事，既是个人武学精神的写照，也是中华文化传承的缩影。</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=166819 2025-05-24T12:48:59Z

<p>Huang Qiaoqiao: </p> <hr /> <div>Dance Drama ''Wing Chun'' 舞剧《咏春》<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> '''主要内容'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。<br /> <br /> '''叶问与咏春拳'''<br /> 叶问是咏春拳承前启后的关键人物，被誉为“一代宗师”。他出生于广东佛山，自幼习武，师承咏春名家陈华顺，后赴香港求学期间得师公梁赞之子梁璧指点，融汇两脉精髓。1949年定居香港后，他打破传统武术秘传的桎梏，公开授徒，将咏春拳从岭南一隅推向世界。<br /> <br /> 咏春拳以“中线理论”为核心，强调短桥窄马、连消带打的近身实战技巧。其招式简介凌厉，摒弃高踢大摆，主张以肘抵力与寸劲在方寸间制敌。木人桩训练等科学体系既锻炼武者攻防本能，也暗含“守中致和”的东方哲学。</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=166818 2025-05-24T12:36:20Z

<p>Huang Qiaoqiao: </p> <hr /> <div>Dance Drama ''Wing Chun'' 舞剧《咏春》<br /> <br /> 舞剧《咏春》是一部以武术宗师叶问为灵感创作的舞剧，凭借其对岭南文化的弘扬与社会正义的传递赢得了全球赞誉。<br /> <br /> '''主要内容'''<br /> 舞剧《咏春》以“双线叙事”为核心，通过跨越时空的戏剧结构，将传统武术精神与当代追梦情怀交织呈现，既是一部致敬英雄的史诗，也是一曲礼赞平凡人的颂歌。全剧围绕咏春宗师叶问的传奇经历与电影《咏春》摄制组的创作历程展开，两条线索并行推进。第一条主线聚焦于20世纪中叶的叶问，他怀抱“咏春堂”牌匾远赴香港，在群雄林立的武馆街以咏春拳挑战八卦掌、太极拳、南螳螂拳等门派，最终打破门户之见，开创咏春拳的传承之路。第二条主线则围绕电影剧组的创作历程展开，灯光师大春等幕后工作者在拍摄过程中，面临资金短缺、团队解散等困境，却始终坚守对艺术的热爱。剧组与叶问的故事通过旋转舞台、光影切割等手法交替呈现，形成跨时空对话。</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=User:Huang_Qiaoqiao&diff=166817 2025-05-24T12:27:15Z

<p>Huang Qiaoqiao: </p> <hr /> <div>Dance Drama ''Wing Chun'' 舞剧《咏春》</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=File:Seal_carving.pptx&diff=166631 2025-05-14T09:23:38Z

<p>Huang Qiaoqiao: Huang Qiaoqiao uploaded a new version of &amp;quot;File:Seal carving.pptx&amp;quot;</p> <hr /> <div></div>

Huang Qiaoqiao https://bou.de/u/index.php?title=File:Seal_carving.pptx&diff=166630 2025-05-14T09:21:02Z

<p>Huang Qiaoqiao: Huang Qiaoqiao uploaded a new version of &amp;quot;File:Seal carving.pptx&amp;quot;</p> <hr /> <div></div>

Huang Qiaoqiao https://bou.de/u/index.php?title=File:Seal_carving.pptx&diff=166629 2025-05-14T09:14:15Z

<p>Huang Qiaoqiao: </p> <hr /> <div></div>

Huang Qiaoqiao https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=166628 2025-05-14T09:10:04Z

<p>Huang Qiaoqiao: /* Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations */</p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203 (Zhang Mai)<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309 <br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462（Zhao Qi）<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900 <br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317 (Wu Jiating)<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> <br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> <br /> 143. Traditional Crafts: Cloisonne 1363 <br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br /> <br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> <br /> 157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558 (She Xiao)<br /> <br /> 166. Economy: Chinese Currency Changes 1569<br /> <br /> 167. History: Wang Shouren 1573 Lv Jiahao<br /> <br /> 168. Martial Arts: Chinese Swordsman Spirit 1582<br /> <br /> 169. Cuisine: Luosifen 1593 （Chen Sisi)<br /> <br /> 170. Fine Arts: Chinese Paper Cutting 1601 <br /> <br /> 171. Science and Technology: Taobao(淘宝) 1611<br /> <br /> 172. Traditional Craft: Bronze 1623<br /> <br /> 173. Entertainment: Deyunshe 德云社 1631<br /> <br /> 174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br /> <br /> 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br /> <br /> 176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br /> <br /> 177. stage entertainment:Yuan drama 1676<br /> <br /> 178. Music and instruments: Erhu 1685<br /> <br /> 179. Traditional and Modern Views on Marriage and Love 1694 (Liu Yunxi)<br /> <br /> 180. Traditional Cuisine: Tangyuan 1701<br /> <br /> 181. Animals：Golden Monkey 1712（Xiao Yawen）<br /> <br /> 182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br /> <br /> 183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br /> <br /> 184. The Chinese tradition of ancestor worship 1740<br /> <br /> 185. Opera: Huangmei opera 1752 （Chu Hanqi）<br /> <br /> 186. The “reference” of Chinese Music 1759<br /> <br /> 187. Chinese Folk Art:Lion Dance 1767<br /> <br /> 188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br /> <br /> 189. Clothing: Vintage Clothing 1790<br /> <br /> 190. Fine arts:Kunqu Opera 1798<br /> <br /> 191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br /> <br /> 192. National Belief: the Chinese Dream 1818<br /> <br /> 193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br /> <br /> 194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br /> <br /> 195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br /> <br /> 196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> <br /> 197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br /> <br /> 198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br /> <br /> 199. Traditional Crafts: Dough Sculpture 面塑 1845<br /> <br /> 200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br /> <br /> 201. The culture of Grass cloth 夏布 1845 <br /> <br /> 202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br /> <br /> 203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br /> <br /> 204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> <br /> 205. Bride-price（彩礼） 1845 <br /> <br /> 206. Chinese science fiction movies 中国科幻片 1845<br /> <br /> 207. Shandong cuisine鲁菜 1845(Lu Wei)<br /> <br /> 208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)<br /> <br /> 209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br /> <br /> 210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br /> <br /> 211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br /> <br /> 212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br /> <br /> 213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br /> <br /> 214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845 (Cai Yichun)<br /> <br /> 215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br /> <br /> 216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br /> <br /> 217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br /> <br /> 218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br /> <br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> 220. Rice cake (年糕) 1845 （Dong Jiating）<br /> <br /> 221. Zhongyuan festival 1845 （Ou Huang）<br /> <br /> 222. Dulong: Facial tattoo (独龙族：纹面) 1845<br /> <br /> 223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br /> <br /> 224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br /> <br /> 225. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845(Li Linyao) <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845 （Liu Qi）<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br /> <br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br /> <br /> 274. God of Wealth(财神) 1845 <br /> <br /> 275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br /> <br /> 276. Nail art（美甲） 1845 （Luo Jiaxin）<br /> 277. Mirror (镜子) 1845 (Cheng Sixiang) <br /> <br /> 278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br /> <br /> 279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br /> <br /> 280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br /> <br /> 281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br /> <br /> 282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br /> <br /> 283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br /> <br /> =Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Topics for today==<br /> Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br /> <br /> You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br /> <br /> Please remember that you have to indicate the 10 topics for Friday on the course website under &quot;Session 2&quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br /> <br /> 27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br /> <br /> Tea Latte Art (Xiang Jianning)<br /> <br /> Topic 7<br /> <br /> Topic 8<br /> <br /> Topic 9<br /> <br /> Topic 10<br /> <br /> =Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br /> ==Presentations==<br /> 1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br /> <br /> 2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br /> <br /> 3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br /> <br /> 4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br /> <br /> 5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br /> <br /> 6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br /> <br /> 7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br /> <br /> ==Notes on presentations==<br /> Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br /> <br /> 1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &quot;Black tea&quot; (in English all &quot;hong cha&quot; is called &quot;black tea&quot;), British tea culture (add milk)<br /> <br /> 2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br /> <br /> 3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br /> <br /> 4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br /> <br /> 5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br /> <br /> 6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br /> <br /> 7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br /> <br /> ==Student grades: 平时成绩/签到==<br /> <br /> <br /> 75/103 students, 24级 MA翻译, class representative: Zhang Jiaxin<br /> # Jin Yichen <br /> # lu jiahui <br /> # li yuan<br /> # cao yuan<br /> # xiao luyu<br /> # zhang jiaxin +5<br /> # ye sitong<br /> # zhao yashi<br /> # jiang xinyue<br /> # yan xiang<br /> # fei xinyu <br /> # zhang qi<br /> # dai shiru<br /> # zhang zixi<br /> # zheng kaiwu<br /> # cai yichun<br /> # yang jing<br /> # liao dan<br /> # luo yan<br /> # qin yi<br /> # shao keyuan<br /> # cao chunyang<br /> # xu yangyang<br /> # liao zuoyun<br /> # cheng sixiang<br /> # du jiangping<br /> # liu qi<br /> # miao yunlong<br /> # huang qiaoqiao<br /> # chen lin<br /> # duan binyao<br /> # li ting<br /> # zeng zhi<br /> # xing xueqing<br /> # luo jingyan<br /> # liu shutian<br /> # gao xiaoqing<br /> # chen zhen<br /> # luo guoqiang -1-1<br /> # she xiao <br /> # he yunfeng <br /> # liu ying<br /> # du yuan <br /> # li jiayi <br /> # tao yao <br /> # xu xinwen <br /> # ou huang <br /> # liu peini<br /> # jiang ziqiang<br /> # zhang huifang<br /> # liu chao<br /> # liu yunxi <br /> # luo jiaxin<br /> # li mei<br /> # zeng xiaohui<br /> # huang yixuan<br /> # chen anqi<br /> # chen ting<br /> # zhang mai<br /> # yuan xiaolin -1-1<br /> # li mingfeng<br /> # dai yexun-1<br /> # yang pei -1<br /> # tang yan<br /> # xiang jianning-1<br /> # liu chang -1<br /> # wang yuxin<br /> # lv jiahao-1<br /> # dong jiating<br /> # lu wei<br /> # yang yue<br /> # guo cili<br /> # shen shuai<br /> # Ouyang yihong<br /> # li zihan -1<br /> # zuo fang<br /> # fu sihui<br /> # xiao zixin -1<br /> # zhou tianyi -1<br /> # qi zhiyang -1<br /> # liu pei <br /> # gong wei<br /> # chen sisi<br /> # huang sinan<br /> # xiao yikang<br /> # yu jingfang<br /> # luo sicheng<br /> # yang jiahong<br /> # yan jidong<br /> # xiao yawen<br /> # geng hongmei<br /> # zhou le<br /> # qiu ping<br /> # wang huaixing<br /> # wang xinyu<br /> # chu hanqi<br /> # wu jiating<br /> # zhang meiling<br /> # liu jianan<br /> # song xin<br /> # zhao qi<br /> # zheng jinlian<br /> # li linyao<br /> <br /> =Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br /> #Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]<br /> #Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]<br /> #Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br /> #Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br /> #Topic 182: Chinese Economy: rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]<br /> #Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin) [[Media:Tanghulu_Spring_2025.pptx]]<br /> #Topic 138: Social: Round Table Culture 1317 (Wu Jiating) [[Media:Round_Table_Culture_Spring_2025.pptx]]<br /> #Topic 174: Jiaozi (Liu Pei) [[Media:Dumplings_Spring_2025.pptx]]<br /> #133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)<br /> <br /> =Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br /> #Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]<br /> #Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]<br /> # Topic 131: Silk and porcelain: Silk (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]<br /> # Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]<br /> # Topic 169: Cuisine: Luosifen 1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]<br /> # Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]<br /> # Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]<br /> # Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]<br /> #133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]<br /> <br /> =Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br /> <br /> #Topic 188:Mobile Games 手游 1783 （Du Jiangping）<br /> #Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br /> #Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br /> #Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]<br /> #Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]<br /> #Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]<br /> #Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）<br /> #Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）<br /> #Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> <br /> =HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br /> 清明节4月4日——4月6日<br /> =Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=<br /> #Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）<br /> #Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]<br /> #Topic 181:Animals：Golden Monkey(Xiao Yawen)<br /> #Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> #Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> #Topic 220:Rice cake 年糕 (Dong Jiating)<br /> #Topic 208:Chinese traditional ornament: Buyao(Yang Jing)<br /> #Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]<br /> #Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]<br /> <br /> =Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br /> #Topic 213: Chinese Dreamcore (Zhang Zixi)<br /> #Topic 215: Live-streaming e-commerce (Tao Yao)[[Media:Live-Streaming E-Commerce.pptx]]<br /> #Topic 216: The Story of Ming Lan (Ye Sitong)[[Media:The Story of Minglan.pptx]]<br /> #Topic 218: Guangdong Herbal tea (Gao Xiaoqing)<br /> #Topic 219: Chinese traditional art form：Seal carving（篆刻） (Huang Qiaoqiao)[[Media:Seal carving.pptx]]<br /> #Topic 207: Shan Dong Cuisine (Lu Wei)<br /> #Topic 221: Zhongyuan Festival (Ou Huang)[[Media:The Zhongyuan Festival.pptx]]<br /> #Topic 223: The Return of the Pearl Princess (Lu Jiahui)[[Media:The Return of the Pearl Princess.pptx]]<br /> <br /> =Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br /> #Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)<br /> #Topic 225: Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br /> #Topic 227: Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)[[Media:Chinese_Bossy_Fictions_and_Microdramas.pptx]]<br /> #Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]<br /> #Topic 230: Gayageum（伽倻琴）(Zhang Meiling)<br /> #Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)<br /> #Topic 232: Sun Wukong(Li Yuan)<br /> #Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]<br /> #Topic 235: Bamboo Weaving(Chen Anqi)<br /> #Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)<br /> <br /> ==Please enroll in ai platform==<br /> Please enroll (register) in the platform https://dcg.de/ai/<br /> <br /> =HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br /> 劳动节5月1日——5月5日<br /> <br /> =Session 12 Tue May 06 10:00-11:40 room 613 - Student presentations=<br /> #Topic 238: Three Famous Chinese Mountains(Liu Chang)<br /> #Topic 239: Female emperor-Wu Zetian(女皇武则天)(Song Xin) [[Media:Wu Zetian.pptx]]<br /> #Topic 240: Clay sculpture (泥塑）(Chen Lin)[[Media:Clay Sculpture.pptx]]<br /> #Topic 242: Hunan Rice Noodles(Gong Wei)[[Media:Hunan Rice Noodles.pptx]]<br /> #Topic 244: Chinese Popular Memes(中国网络流行热梗）(Xiao Yikang)[[Media:Chinese popular Memes.pptx]] <br /> #Topic 245: Douzhi (豆汁)(Li Linyao)[[Media:Douzhi.pptx]]<br /> #Topic 246: New Year Wood-block Paintings(Du Yuan)<br /> #Topic 247: Carved lacquer（雕漆）(Liu Qi)[[Media:Carved lacquer.pptx]]<br /> #Topic 237: Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)(Li Zihan)<br /> <br /> ==Regarding Wu Zetian‘s blank Steele==<br /> 关于武则天的“无字碑”（又称“无字碑记”）为何没有刻字，学界和民间流传着几种主要的假设：<br /> #功过自有后人评说（最广为流传）：武则天希望后世自己来评价她的一生，不愿由自己或当时的人定论。这种说法强调了她的自信与超越常规。<br /> #避讳批评或争议：武则天是中国历史上唯一的女皇帝，争议颇多。她可能认为无论写什么内容都容易引发非议，因此选择不刻字以避免争议。<br /> #彰显佛教思想：她信奉佛教，而佛教讲究“空”与“无”，无字碑可能象征“空性”或“无常”，体现她的宗教哲学。<br /> #未来自我书写：也有人猜测她原计划晚年或死前再刻碑文，但去世后未及实现，遂留下空碑。<br /> #彰显权力与独特性：无字碑作为一种非同寻常的表达形式，也可视为权力和个性的象征，显示她与众不同的统治地位。<br /> <br /> ⸻<br /> <br /> English Translation:<br /> <br /> There are several main hypotheses about why Wu Zetian’s stele (often called the “Wordless Stele”) bears no inscription:<br /> #“Let future generations judge” (most popular view): Wu Zetian may have wanted her life and legacy to be judged by later generations rather than writing her own praise. This interpretation highlights her confidence and forward-thinking.<br /> #To avoid criticism or controversy: As the only female emperor in Chinese history, Wu Zetian was a controversial figure. She may have felt that any written content could provoke criticism, so she left it blank.<br /> #Reflecting Buddhist philosophy: A devout Buddhist, she may have chosen to leave the stele blank as a symbol of “emptiness” or impermanence, ideas central to Buddhist thought.<br /> #Intended to write later: Some believe she planned to inscribe it later in life but passed away before doing so, leaving the monument unfinished.<br /> #Symbol of power and uniqueness: A blank stele could also serve as a unique and powerful statement, emphasizing her exceptional status and breaking with traditional forms.<br /> <br /> =Session 13 Fri May 09 14:30-16:10 room 613 - Student presentations=<br /> #Topic 248: Jing Gang Mountain (井冈山）(Yu Jingfang) [[Media:Jing_Gang_Mountain_Spring_2025.pptx]]<br /> #Topic 251: Rice noodle roll (Li Mingfeng)[[Media:Rice_Noodle_Roll.pptx]]<br /> #Topic 252: Traditional Cuisine: Northeastern Chinese Cuisine (Liu Shutian)<br /> #Topic 253: Yuelu Mountain (Chen Ting)<br /> #Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional Crafts Tie-Dye.pptx]]<br /> #Topic 255: Chinese-style sun protection (Zhao Yashi)<br /> #Topic 256: Danmu（弹幕）(Zhou Le)[[Media:Danmu.pptx]]<br /> #Topic 259: Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua (Zhou Tianyi)<br /> #Topic 214: Luban China's inventor (Cai Yichun)<br /> <br /> =Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br /> <br /> =Session 15 Fri May 30 14:30-16:10 room 613 - Student presentations=<br /> 279. Huo Qubing （霍去病） Luo Jingyan<br /> 端午节5月31日——6月2日<br /> <br /> =Session 16 Fri Jun 28 14:30-16:10 room 613 - Final Exam=<br /> Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=166548 2025-05-09T06:58:12Z

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

Huang Qiaoqiao https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=166537 2025-05-09T06:45:43Z

<p>Huang Qiaoqiao: </p> <hr /> <div>Final Exam Paper Titles<br /> #https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Zang Flowers ok<br /> #https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok<br /> #https://bou.de/u/wiki/User:Zeng_Zhi 手串文化 Bead Bracelet Culture ok<br /> #https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok<br /> #https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok<br /> #https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)<br /> #https://bou.de/u/wiki/User:Liu_Qi 劝酒文化 Drinking Persuasion Culture ok<br /> #https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok<br /> #https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book<br /> #https://bou.de/u/wiki/User:Huang_Yixuan2 傩戏 Nuo Opera ok, but check if not yet in the textbook<br /> #https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳八卦 ''The Book of Changes''and Yin-Yang ok<br /> #https://bou.de/u/wiki/User:Liao_Dan 吊脚楼 Stilted Building<br /> #https://bou.de/u/wiki/User:Zheng_Jinlian 陈皮 Dried Orange Peel ok<br /> #https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok<br /> #https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok<br /> #https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok<br /> #https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok<br /> #https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok<br /> #https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Flower ok<br /> #https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok<br /> #https://bou.de/u/wiki/User:Song_Xin 剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects<br /> #https://bou.de/u/wiki/User:Cao_Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city ok<br /> #https://bou.de/u/wiki/User:Jin_Yichen 吴越文化 Wuyue Culture ok<br /> #https://bou.de/u/wiki/User:Ye_Sitong 温州话 Wenzhou Dialect ok<br /> #https://bou.de/u/wiki/User:Xiao_Luyu 封神演义 Chinese classical novel The Investiture of the Gods ok<br /> #https://bou.de/u/wiki/User:Zhang_Qi 福建线面 Fujian Thin Noddles ok<br /> #https://bou.de/u/wiki/User:Zheng_Kaiwu 工夫茶 Kanghu tea ok<br /> #https://bou.de/u/wiki/User:Luo_Jingyan 油纸伞 Oil-paper Umbrellas no, this is already in the text book<br /> #https://bou.de/u/wiki/User:Luo_Sicheng 惊鸿舞 Flying Wild Goose Dance ok<br /> #https://bou.de/u/wiki/User:Liu_Jianan 禅文化 Zen Culture （Chan Culture）Please check. I think it is already in the text book.<br /> #https://bou.de/u/wiki/User:Chen_Lin 服美役 beauty duty ok<br /> #https://bou.de/u/wiki/User:Tang_Yan 道州理学文化 Neo-Confucian Culture in Daozhou ok<br /> #https://bou.de/u/wiki/User:Geng_Hongmei 花鼓戏 flower-drum opera Please check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Qin_Yi 胶东花饽饽 Jiao Dong Huabobo ok<br /> #https://bou.de/u/wiki/User:Chen_Zhen 玄奘 Xuanzang ok, but please check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Ou_Huang 浏阳花炮制作技艺 Liuyang Fireworks Making Technique ok<br /> #https://bou.de/u/wiki/User:Luo_Yan 成人礼：冠礼和笄礼 Traditional Chinese coming-of-age ceremony：Guan Li and Ji Li ok<br /> #https://bou.de/u/wiki/User:Lv_Jiahao 越剧 Opera:Yue Opera Pleaes check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Wang_Yuxin 中国古法酿酒 Traditional Chinese Brewing Techniques ok<br /> #https://bou.de/u/wiki/User:Dai_Yexun 粤剧 Opera:Cantonese opera Please check if it is already in the text book.<br /> #https://bou.de/u/wiki/User:Yan_Jidong 闽南文化 Hokkien culture ok.<br /> #https://bou.de/u/wiki/User:Qiu_Ping 重阳节 Chung Yeung Festival ok<br /> #https://bou.de/u/wiki/User:He_Yunfeng 献哈达习俗 Custom of Offering Hada(Khata)<br /> #https://bou.de/u/wiki/User:Zhou_Le 榨辣椒 Pressing pepper<br /> #https://bou.de/u/wiki/User:Huang_Qiaoqiao 咏春 Wing Chun</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=165574 2025-03-05T10:55:21Z

<p>Huang Qiaoqiao: /* Homework for Session 2 */</p> <hr /> <div>--[[User:Miao Yunlong|Miao Yunlong]] ([[User talk:Miao Yunlong|talk]]) 13:12, 24 February 2025 (UTC)[[Media:Example.ogg]]Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203 (Zhang Mai)<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309<br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900 <br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 <br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> <br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> <br /> 143. Traditional Crafts: Cloisonne 1363<br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br /> <br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> <br /> 157. Traditional Cuisine: Hotpot 1501 <br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558<br /> <br /> 166. Economy: Chinese Currency Changes 1569<br /> <br /> 167. History: Wang Shouren 1573 Lv Jiahao<br /> <br /> 168. Martial Arts: Chinese Swordsman Spirit 1582<br /> <br /> 169. Cuisine: Luosifen 1593 <br /> <br /> 170. Fine Arts: Chinese Paper Cutting 1601 <br /> <br /> 171. Science and Technology: Taobao(淘宝) 1611<br /> <br /> 172. Traditional Craft: Bronze 1623<br /> <br /> 173. Entertainment: Deyunshe 德云社 1631<br /> <br /> 174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br /> <br /> 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br /> <br /> 176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br /> <br /> 177. stage entertainment:Yuan drama 1676<br /> <br /> 178. Music and instruments: Erhu 1685 （Lu Wei）<br /> <br /> 179. Traditional and Modern Views on Marriage and Love 1694 <br /> <br /> 180. Traditional Cuisine: Tangyuan 1701<br /> <br /> 181. Animals：Golden Monkey 1712（Xiao Yawen）<br /> <br /> 182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br /> <br /> 183. Opera: Chinese Local Operas 1727<br /> <br /> 184. The Chinese tradition of ancestor worship 1740<br /> <br /> 185. Opera: Huangmei opera 1752<br /> <br /> 186. The “reference” of Chinese Music 1759<br /> <br /> 187. Chinese Folk Art:Lion Dance 1767<br /> <br /> 188. Science and Technology: Mobile Games（手游） 1783<br /> <br /> 189. Clothing: Vintage Clothing 1790.(Chen Sisi)<br /> <br /> 190. Fine arts:Kunqu Opera 1798<br /> <br /> 191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br /> <br /> 192. National Belief: the Chinese Dream 1818<br /> <br /> 193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br /> <br /> 194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br /> <br /> 195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br /> <br /> 196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> <br /> 197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br /> <br /> 198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br /> <br /> 199. Traditional Crafts: Dough Sculpture 面塑 1845<br /> <br /> 200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br /> <br /> 201. The culture of Grass cloth 夏布 1845 <br /> <br /> 202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br /> <br /> 203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br /> <br /> 204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> <br /> 205. Bride-price（彩礼） 1845 <br /> <br /> 206. Chinese science fiction movies 中国科幻片 1845<br /> <br /> 207. Shandong cuisine鲁菜 1845<br /> <br /> 208. Chinese traditional ornament: Buyao （步摇） 1845 <br /> <br /> 209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br /> <br /> 210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br /> <br /> 211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br /> <br /> 212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan)<br /> <br /> 213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br /> <br /> 214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br /> <br /> 215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br /> <br /> 216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br /> <br /> 217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br /> <br /> 218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br /> <br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> 220. Rice cake (年糕) 1845 （Dong Jiating）<br /> <br /> 221. Zhongyuan festival 1845 （Ou Huang）<br /> <br /> 222. Dulong: Facial tattoo (独龙族：纹面) 1845<br /> <br /> 223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br /> <br /> 224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br /> <br /> 225. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845(Li Linyao) <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845 （Liu Qi）<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845（Yang Jing)<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br /> <br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Cheng Sixiang)<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br /> <br /> 274. God of Wealth(财神) 1845 （Zeng Zhi）<br /> <br /> 275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br /> <br /> 276. Nail art（美甲） 1845 （Luo Jiaxin）<br /> 277. Mirror (镜子) 1845 (Cheng Sixiang) <br /> <br /> 278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br /> <br /> 279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br /> <br /> 280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br /> <br /> 281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br /> <br /> 282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br /> <br /> 283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br /> <br /> =Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=<br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> <br /> https://zoom.us/j/5739416744?pwd=c3h5L0NnY0xCWjlEMWhuNTBMbE92UT09#success<br /> <br /> ==Topics for today==<br /> Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br /> <br /> You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br /> <br /> Please remember that you have to indicate the 10 topics for Friday on the course website under &quot;Session 2&quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.<br /> <br /> 27. Chinese Calligraphy (Tang Yan)<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br /> Tea Latte Art (Xiang Jianning)<br /> <br /> Topic 7<br /> <br /> Topic 8<br /> <br /> Topic 9<br /> <br /> Topic 10<br /> <br /> =Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=<br /> Topic 64:Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi)<br /> Topic101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br /> Topic107:National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> =Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=<br /> =Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=<br /> =Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=<br /> =HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=<br /> 清明节4月4日——4月6日<br /> =Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=<br /> =Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=<br /> =Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=<br /> 242. Hunan Rice Noodles (湖南米粉） 1845 (Gong Wei)<br /> 167. History: Wang Shouren 1573 (Lv Jiahao)<br /> <br /> =HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=<br /> 劳动节5月1日——5月5日<br /> =Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=<br /> <br /> =Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=<br /> 231. The plaque and couplet in Chinese garden（园林匾额对联）Wang Yuxin<br /> <br /> =Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=<br /> =Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=<br /> 端午节5月31日——6月2日<br /> =Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=<br /> Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=165227 2025-02-21T17:13:24Z

<p>Huang Qiaoqiao: /* Homework for Session 2 */</p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71<br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145<br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301<br /> <br /> 34. Confucianism: Confucian Culture 309<br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339<br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773<br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900<br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> 143. Traditional Crafts: Cloisonne 1363<br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373<br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480<br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491<br /> 157. Traditional Cuisine: Hotpot 1501<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558<br /> <br /> 166. Economy: Chinese Currency Changes 1569<br /> <br /> 167. History: Wang Shouren 1573<br /> <br /> 168. Martial Arts: Chinese Swordsman Spirit 1582<br /> <br /> 169. Cuisine: Luosifen 1593<br /> <br /> 170. Fine Arts: Chinese Paper Cutting 1601<br /> <br /> 171. Science and Technology: Taobao(淘宝) 1611<br /> <br /> 172. Traditional Craft: Bronze 1623<br /> <br /> 173. Entertainment: Deyunshe 德云社 1631<br /> <br /> 174. Traditional Cuisine: Jiaozi 1644<br /> <br /> 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br /> <br /> 176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664<br /> <br /> 177. stage entertainment:Yuan drama 1676<br /> <br /> 178. Music and instruments: Erhu 1685<br /> <br /> 179. Traditional and Modern Views on Marriage and Love 1694<br /> <br /> 180. Traditional Cuisine: Tangyuan 1701<br /> <br /> 181. Animals：Golden Monkey 1712<br /> <br /> 182. Chinese Economy: rich businessmen 1719<br /> <br /> 183. Opera: Chinese Local Operas 1727<br /> <br /> 184. The Chinese tradition of ancestor worship 1740<br /> <br /> 185. Opera: Huangmei opera 1752<br /> <br /> 186. The “reference” of Chinese Music 1759<br /> <br /> 187. Chinese Folk Art:Lion Dance 1767<br /> <br /> 188. Science and Technology: Mobile Games（手游） 1783<br /> <br /> 189. Clothing: Vintage Clothing 1790<br /> <br /> 190. Fine arts:Kunqu Opera 1798<br /> <br /> 191. Aesthetic ideals and social customs: The Culture of Flowers 1807<br /> <br /> 192. National Belief: the Chinese Dream 1818<br /> <br /> 193. Science and Technology: Buytogether（PDD) 1825<br /> <br /> 194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br /> <br /> 195. Sports: Cuju (蹴鞠) 1845<br /> <br /> 196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845<br /> <br /> 197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845<br /> <br /> 198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br /> <br /> 199. Traditional Crafts: Dough Sculpture 面塑 1845<br /> <br /> 200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845<br /> <br /> 201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)<br /> <br /> 202. The Legend of Zhen Huan 《甄嬛传》 1845 （Xing Xueqing）<br /> <br /> 203. Chinese horror movies 中式恐怖片 1845<br /> <br /> 204. Stand-up comedy 单口喜剧 1845<br /> <br /> 205. Bride-price（彩礼） 1845<br /> <br /> 206. Chinese science fiction movies 中国科幻片 1845<br /> <br /> 207. Shandong cuisine鲁菜 1845<br /> <br /> 208. Chinese traditional ornament: Buyao （步摇） 1845<br /> <br /> 209. Tofu meatball with pig blood (猪血丸子) 1845<br /> <br /> 210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br /> <br /> 211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br /> <br /> 212. Education：training Schools （教育：补习班） 1845<br /> <br /> 213. Chinese Dreamcore (中式梦核) 1845<br /> <br /> 214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br /> <br /> 215. Live Streaming E-commerce（直播电商） 1845<br /> <br /> 216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845<br /> <br /> 217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845<br /> <br /> 218. Guangdong Herbal tea（广东凉茶） 1845<br /> <br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> 220. Rice cake (年糕) 1845<br /> <br /> 221. Zhongyuan festival 1845<br /> <br /> 222. Dulong: Facial tattoo (独龙族：纹面) 1845<br /> <br /> 223. The Return of the Pearl Princess（还珠格格） 1845<br /> <br /> 224. Chinese Food：Jiangxi Cuisine（赣菜） 1845<br /> <br /> 225. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845<br /> <br /> 230. Gayageum（伽倻琴） 1845<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845<br /> <br /> 232. Sun Wukong（孙悟空） 1845<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845<br /> <br /> 235. Bamboo Weaving (竹编） 1845<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845<br /> <br /> 239. Female Emperor---Wu Zetian 1845<br /> <br /> 240. Clay sculpture (泥塑） 1845<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845<br /> <br /> 243. Chinese name（中国姓名文化） 1845<br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845<br /> <br /> 245. Douzhi (豆汁) 1845<br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845<br /> <br /> 247. Carved lacquer（雕漆） 1845<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845<br /> <br /> 256. Danmu (弹幕） 1845<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845<br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao)<br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) 1845<br /> <br /> 263. Shaolin Temple (少林寺) 1845<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845<br /> <br /> 268. Table Manners 1845<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845<br /> <br /> 271. Palace Lantern（宫灯） 1845<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845<br /> <br /> 274. God of Wealth(财神) 1845 （Zeng Zhi）<br /> <br /> 275. Zhuazhou（抓周） 1845<br /> <br /> 276. Nail art（美甲） 1845<br /> <br /> 277. Mirror (镜子) 1845<br /> <br /> 278. The Beef Board Noodle (牛肉板面) 1845<br /> <br /> 279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br /> <br /> 280. Chinese Courtyard Houses（中国四合院） 1845<br /> <br /> 281. Music and instruments: Yangqin（扬琴） 1845<br /> <br /> 282. Black Myth: Wukong（黑神话 悟空） 1845<br /> <br /> 283. Guangdong Morning Tea Culture （广东早茶文化） 1845<br /> <br /> =Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=<br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Topics for today==<br /> Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br /> <br /> =Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=<br /> =Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=<br /> =Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=<br /> =Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=<br /> =HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=<br /> 清明节4月4日——4月6日<br /> =Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=<br /> =Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=<br /> =Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=<br /> =HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=<br /> 劳动节5月1日——5月5日<br /> =Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=<br /> =Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=<br /> =Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=<br /> =Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=<br /> 端午节5月31日——6月2日<br /> =Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=<br /> Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Huang Qiaoqiao https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=165224 2025-02-21T17:08:28Z

<p>Huang Qiaoqiao: /* Homework for Session 2 */</p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br /> <br /> ==Agreement on use of classroom time==<br /> Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br /> <br /> ==Homework for every session==<br /> Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71<br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145<br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301<br /> <br /> 34. Confucianism: Confucian Culture 309<br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339<br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773<br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900<br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> 143. Traditional Crafts: Cloisonne 1363<br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373<br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480<br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491<br /> 157. Traditional Cuisine: Hotpot 1501<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558<br /> <br /> 166. Economy: Chinese Currency Changes 1569<br /> <br /> 167. History: Wang Shouren 1573<br /> <br /> 168. Martial Arts: Chinese Swordsman Spirit 1582<br /> <br /> 169. Cuisine: Luosifen 1593<br /> <br /> 170. Fine Arts: Chinese Paper Cutting 1601<br /> <br /> 171. Science and Technology: Taobao(淘宝) 1611<br /> <br /> 172. Traditional Craft: Bronze 1623<br /> <br /> 173. Entertainment: Deyunshe 德云社 1631<br /> <br /> 174. Traditional Cuisine: Jiaozi 1644<br /> <br /> 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br /> <br /> 176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664<br /> <br /> 177. stage entertainment:Yuan drama 1676<br /> <br /> 178. Music and instruments: Erhu 1685<br /> <br /> 179. Traditional and Modern Views on Marriage and Love 1694<br /> <br /> 180. Traditional Cuisine: Tangyuan 1701<br /> <br /> 181. Animals：Golden Monkey 1712<br /> <br /> 182. Chinese Economy: rich businessmen 1719<br /> <br /> 183. Opera: Chinese Local Operas 1727<br /> <br /> 184. The Chinese tradition of ancestor worship 1740<br /> <br /> 185. Opera: Huangmei opera 1752<br /> <br /> 186. The “reference” of Chinese Music 1759<br /> <br /> 187. Chinese Folk Art:Lion Dance 1767<br /> <br /> 188. Science and Technology: Mobile Games（手游） 1783<br /> <br /> 189. Clothing: Vintage Clothing 1790<br /> <br /> 190. Fine arts:Kunqu Opera 1798<br /> <br /> 191. Aesthetic ideals and social customs: The Culture of Flowers 1807<br /> <br /> 192. National Belief: the Chinese Dream 1818<br /> <br /> 193. Science and Technology: Buytogether（PDD) 1825<br /> <br /> 194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br /> <br /> 195. Sports: Cuju (蹴鞠) 1845<br /> <br /> 196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845<br /> <br /> 197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845<br /> <br /> 198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br /> <br /> 199. Traditional Crafts: Dough Sculpture 面塑 1845<br /> <br /> 200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845<br /> <br /> 201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)<br /> <br /> 202. The Legend of Zhen Huan 《甄嬛传》 1845<br /> <br /> 203. Chinese horror movies 中式恐怖片 1845<br /> <br /> 204. Stand-up comedy 单口喜剧 1845<br /> <br /> 205. Bride-price（彩礼） 1845<br /> <br /> 206. Chinese science fiction movies 中国科幻片 1845<br /> <br /> 207. Shandong cuisine鲁菜 1845<br /> <br /> 208. Chinese traditional ornament: Buyao （步摇） 1845<br /> <br /> 209. Tofu meatball with pig blood (猪血丸子) 1845<br /> <br /> 210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br /> <br /> 211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br /> <br /> 212. Education：training Schools （教育：补习班） 1845<br /> <br /> 213. Chinese Dreamcore (中式梦核) 1845<br /> <br /> 214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br /> <br /> 215. Live Streaming E-commerce（直播电商） 1845<br /> <br /> 216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845<br /> <br /> 217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845<br /> <br /> 218. Guangdong Herbal tea（广东凉茶） 1845<br /> <br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845<br /> <br /> 220. Rice cake (年糕) 1845<br /> <br /> 221. Zhongyuan festival 1845<br /> <br /> 222. Dulong: Facial tattoo (独龙族：纹面) 1845<br /> <br /> 223. The Return of the Pearl Princess（还珠格格） 1845<br /> <br /> 224. Chinese Food：Jiangxi Cuisine（赣菜） 1845<br /> <br /> 225. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845<br /> <br /> 230. Gayageum（伽倻琴） 1845<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845<br /> <br /> 232. Sun Wukong（孙悟空） 1845<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845<br /> <br /> 235. Bamboo Weaving (竹编） 1845<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845<br /> <br /> 239. Female Emperor---Wu Zetian 1845<br /> <br /> 240. Clay sculpture (泥塑） 1845<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845<br /> <br /> 243. Chinese name（中国姓名文化） 1845<br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845<br /> <br /> 245. Douzhi (豆汁) 1845<br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845<br /> <br /> 247. Carved lacquer（雕漆） 1845<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845<br /> <br /> 256. Danmu (弹幕） 1845<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845<br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao)<br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) 1845<br /> <br /> 263. Shaolin Temple (少林寺) 1845<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845<br /> <br /> 266. Hui Culture (徽文化) 1845<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845<br /> <br /> 268. Table Manners 1845<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845<br /> <br /> 271. Palace Lantern（宫灯） 1845<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845<br /> <br /> 274. God of Wealth(财神) 1845<br /> <br /> 275. Zhuazhou（抓周） 1845<br /> <br /> 276. Nail art（美甲） 1845<br /> <br /> 277. Mirror (镜子) 1845<br /> <br /> 278. The Beef Board Noodle (牛肉板面) 1845<br /> <br /> 279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br /> <br /> 280. Chinese Courtyard Houses（中国四合院） 1845<br /> <br /> 281. Music and instruments: Yangqin（扬琴） 1845<br /> <br /> 282. Black Myth: Wukong（黑神话 悟空） 1845<br /> <br /> 283. Guangdong Morning Tea Culture （广东早茶文化） 1845<br /> <br /> =Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=<br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Topics for today==<br /> Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br /> <br /> =Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=<br /> =Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=<br /> =Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=<br /> =Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=<br /> =HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=<br /> 清明节4月4日——4月6日<br /> =Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=<br /> =Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=<br /> =Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=<br /> =HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=<br /> 劳动节5月1日——5月5日<br /> =Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=<br /> =Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=<br /> =Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=<br /> =Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=<br /> 端午节5月31日——6月2日<br /> =Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=<br /> Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Huang Qiaoqiao