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User:Kong Xiangya

2025-12-21T13:45:27Z

Kong Xiangya: /* Writing Brush */

I am Kong Xiangya, a postgraduate of Hunan Normal University. I major in English translation and I will study for three years in this university. I come from Anhui province and I start my university life in Qingdao city, Shandong province. I have learned several courses about translation and I really enjoy the courses and life here in Hunan province.

==Final Exam Paper==

===The Four Treasures of the Study===

====Brief Introduction of the Four Treasures of the Study====

The name of "study" can be dated back to the Northern and Southern Dynasties of China, particularly referring to the scholar's study. Writing brush, ink, paper and ink stone comprise of "The Four Treasures of the Study", which are unique tools for calligraphy and painting only in China. Most ancient Chinese scholars are proficient in calligraphy, painting or both, so it has played a crucial role in their creation. In addition to these four major treasures, there are still pertinent study tools, including brush pot, brush holder, brush washer, seal, and paperweight and the like. It closely connects with people's daily and social life, enjoys long development history and deep cultural deposit, and embodies the Chinese culture. Its most famous place of origin is Xuancheng city, Anhui province. Xuancheng has been a famous city in Jiangnan area since ancient times, which is the birthplace of Xuan paper, Xuan writing brush, Hui ink, and Xuan inkstone. In 2004, it was awarded the title of "Hometown of China's Four Treasures of the Study" by the China Association of Four Treasures of the Study.

====Origin and Development of the Four Treasures of the Study====

=====Writing Brush=====

The origin of Chinese writing brush is quite early. Judging from the uncut oracle bone script, primitive writing brush might appeared in Xia and Shang Dynasties. And judegd from the pattern of painted pottery from the Neolithic Period, its appearance can even date back 5000 years early. In the Spring and Autumn and the Warring States period, people of every countries started to produce and apply writing brush. And it had different names： "bulv" in Wu State, "fu" in Yan State, "xing" in Chu State, and "bi" in Qin State. (Mu Xin, 2022, 04)

After Emperor Qin Shi Huang unified the whole country, the name "bi" became the general name and has been used until now. Legend had it that the brush used today was invented by Meng Tian, a general of the Qin state during the Warring States period. The tip of the writing brush is made of animal fur and the tube is made of bamboo. It is a traditional writing tool and gradually turns into painting tool. Writing brush is also called hao, which can be divided into three types: soft hao, hard hao and mixed hao. The soft hao is made of goat fur, soft and rounded with poor elasticity. The hard hao is made of rabbit spine fur and weasel tail fur, which is elastic but has poor water absorption. And mixed hao combines the soft and hard hao, achieving a balance of suppleness and firmness. And Hu writing brush is regarded as "the crown of all writing brushes". Legend has it that Meng Tian, a renowned general of the Qin State, once lived in Shanlian County, Huzhou, where he refined the brush-making techniques. His creation became known as the "Huzhou writing brush" in later generations. (Yi Dou, 2022, 05)

=====Ink=====

Natural ink or nearly natural ink were the main pigment for writing before the invention of man-made ink. The trace of primitive ink can be found in many items, like prehistoric painted pottery patterns, oracle bone inscriptions from the Shang and Zhou dynasties, bamboo and wooden slips. And the Han dynasty witnessed the birth of man-made ink. This ink, with high quality, is taken from turpentine smoke and was initially kneaded by hand and later made in mold. It involved several procedures in the whole production process, especially a molding process. Carving a mold is a crucial step and also an artistic and creative process. The shapes of ink generally include square, rectangular, circular, elliptical, irregular. And the ink mold usually includes six facets: front, back, top, bottom, left and right. And the following steps are putting the refined ink into ink mold, beating the mold to compact it and finally producing a regular shape and tight texture ink. The inscription is mostly engraved on the side for easy replacement when reusing the ink mold.

The most famous ink is Hui ink and is mainly manufactured in ancient Huizhou area, and the production history can date back to Tang dynasty. Hui ink is a special pigment mainly used for traditional calligraphy and painting, made from turpentine smoke, China wood oil smoke, lacquer smoke, and glue as the main raw materials. There are eight processes in ancient ink making, and nine processes in modern ink making. The pine soot ink, which is made from the ash of pine trees that have been burned to remove the rosin, is suitable for writing; The ink made from the smoke of animal or plant oil is mostly used in Chinese painting. When writing in the paper, the ink looks like paint. Besides, the black ink can remain unfading for long time. It is also featured by rich fragrance and smooth texture. Hui ink was successfully granted the title of national geographical indication protection products in December 2015.

=====Paper=====

Paper is one of the four great inventions in ancient China. In the Eastern Han dynasty, Cailun refined the papermaking craft and successfully made both light and cheap paper, and he summarized a relatively complete set of papermaking methods. The most noted paper was Xuan paper initially made in Jing county, Xuanzhou in the Tang dynasty, so it was named Xuan paper. It can be divided into raw and cooked Xuan paper due to different production methods. Unprocessed raw Xuan paper has extremely strong water absorption capacity, causing blurry ink, so it is more suitable for the cursive script and running script in calligraphy. However, the addition of potassium alum in the production process of cooked Xuan paper results in a harder texture and reduced water absorption, so it is more prone to tear. It is this character that makes it more suitable for traditional Chinese realistic painting rather than freehand brush work, and suitable for neat and rigorous small regular script, seal script and clerical script. (Wang Jianfei, He Chunlian, 2024, 03)

Besides, its raw material is closely connected with local geographical environment, and the major material is the bark from local common elm tree Qingtan. It is known as the "king of paper" and "paper with a thousand years of life" due to the characteristics of pure white color and dense texture, smooth and tough texture, not rotting and not easily fading, anti-aging and long lifespan. It also shows a special permeability that the ink marks remain clear when one finishes writing, so it becomes a unique handicraft of China. In 2006, the craft of making Xuan paper was listed as the first batch of national intangible cultural heritage representative work. On September 30, 2009, UNESCO announced the art of making Xuan paper as a representative work of the intangible cultural heritage of humanity.

=====Inkstone=====

The inkstone was revered by ancient people as "the foremost of the Four Treasures of the Study." Ink needs to be rubbed with water before using and the right tool involved in this processing is inkstone. The origin of inkstones dates back to early times, probably in the Yin and Shang dynasties. During that period, bronze ware was highly developed and pottery and stone were readily available. Inkstones gradually got popular with the application of ink. During the Sui and Tang dynasties, pottery inkstones were popular across the country, and the most famous was produced in Guozhou. Later, various stones that suitable for making inkstone were discovered in many areas, so stones had become the major source for inkstones. The most famous Chinese four inkstones are Tao inkstone, Duan inkstone, She inkstone and Chengni inkstone, which are made form Tao river stone, Duan stone, She stone and Chengni stone respectively. They both have delicate texture, show smoothness with pure luster, and are wasy to rub ink without absorbing water. There are two special procedures during rubing ink:xia mo and fa mo, which refer to the process that ink blocks are ground into ink in a fast speed, and the process that ink fuse in the water fast and form stable structure respectively. And the focus of the first process is moderate speed, and moderate thickness for the second. In this way, the ink and the inkstone will shine brightly. But often those who are quickly in "xia mo" producing thicker ink, while those who are well in "fa mo" producing ink slowly. So, inkstones with excellent "xia mo" and "fa mo" quality are extremely precious. Duan Yan and She Yan were selected as the first batch of national intangible cultural heritage in 2006, and Chengni Yan was selected as a representative project of national intangible cultural heritage in 2008.

====Influence and Value====

The "Four Treasures of the Study" are not only study items with profound practical value, but also works of art that integrate painting, calligraphy, sculpture, decoration and so on. In 2007, the Institute of the History of Science and Technology of the Chinese Academy of Sciences and the China Four Treasures of the Study Association applied the Four Treasures of the Study to UNESCO as world-class intangible cultural heritage. They come together to form a unique traditional calligraphy art with individual function and emphasis. So they are not only appreciated by national people but also win foreigner's heart. (Mu Xin, 2022, 04)

They also symbolize human quality. The sharp writing brush tip symbolizes the literati's alertness and observation of the world; The neat and regular nib symbolize a gentleman's strict self-disciple and grand aspiration; The round and solid brush symbolizes people's loyalty and honesty. Ink embodies fine talent and quality, keeps silent exterior but has interior judgement, and influences people silently, which are all the reflection of the integrity of gentlemen. The square and flexible paper not only represents words and paintings, but also spreads aspirations and achievements, which just like the great land that embraces and develops everything. This is a praise for the paper's virtues of being flexible, implicit and explicit. And ink stone with excellent texture, lasting reputation reflects the cultural tradition of the harmony between man and nature, and therefore is praised by the literati. (Dong Xiuxiu, Yang Jian, 2022, 24)

The literati not only collect the Four Treasures of the Study, but also pass them down to their descendants. This is not only a way to inherit the family's cultural beliefs, but also highlights their reverence for culture. After all, "the rulers understand the role of culture in maintaining national stability, and the common people realize that culture can bring prosperity to their families"，"Passing down writing tools to the family is, in essence, passing down culture to the family"。 Even in some areas, the study tools such as brush, ink, paper and inkstone are used as dowry for daughters. (Huang Peng, 2013)

Writing brush, ink, paper, and ink stone are not only cultural symbols and artistic carriers in contemporary times, but also continue to convey the wisdom and aesthetics of Chinese civilization through education, innovation, and the reconstruction of lifestyles, becoming an important support for the spiritual world of modern people. They not only impart calligraphy skills, but also cultivate aesthetic character and a sense of cultural identity. At the same time, traditional writing activities promote intergenerational communication and cultural transmission, allowing ancient art to flourish in modern society.

===Terms and Expressions===

The Four Treasures of Study 文房四宝

Hu writing brush 湖笔

Hui ink stick 徽墨

Xuan paper 宣纸

Tao inkstone 洮砚

Duan inkstone 端砚

She inkstone 歙砚

Chengni inkstone 澄泥砚

turpentine smoke 松烟

China wood oil smoke 桐油烟

the process that ink blocks are ground into ink in a fast speed 下墨

the process that ink fuse in the water fast and form stable structure 发墨

ink mold 墨模

===Reference===
1. Mu Xin 木心.（2022）文房四宝:挥毫游走处，沁满那笔墨人间 [The Four Treasures of the Study: With a brush and brush, one can immerse oneself in the world of calligraphy and painting]. 中国制笔 Chinese writing brush mading,(04)41-45.

2. Yi Dou 伊兜.（2022）说说文房四宝 [On the Four Treasures of the Study]. 新少年 New Youth,(05):4-7.

3. Wang Jianfei, He Chunlian 王剑飞,何春莲.（2024）论中国墨在印刷出版史上的精神标识价值 [On the Spiritual Significance of China Ink in the History of Printing and Publishing]. 印刷文化（中英文）Printing Culture (Chinese and English),(03):53-65.

4. Dong Xiuxiu, Yang Jian 董秀秀,杨健.（2022）唐宋文学中文房四宝的文化意蕴及社会风貌 [The Cultural Implications and Social Landscape of the Four Treasures of the Study in Tang and Song Literature]. 滁州学院学报 Journal of Chuzhou University,24(03):46-50.

5. Huang Peng 黄鹏．（2013）书斋的瑰宝：笔墨纸砚［The Treasures of the Study: Brush, Ink, Paper, and Inkstone］．北京：文津出版社 Beijing: Wenjin Publishing House，p22．

===Questions===
1.When does the name of the Four Treasures of the Study appear?

2.How many kinds of writing brush?

3.Who invited the writing brushes?

4.What are the two procedures of grinding ink?

5.How many kinds of Hui ink?

6.Which are the four famous inkstones?

===Answers===
1.Northern and Southern Dynasties.

2.Three.

3.Meng Tian.

4.Fa mo and xia mo.

5.There are two kinds.

6.Tao inkstone, Duan inkstone, She inkstone, Chengni inkstone.

==期末论文==

===笔墨纸砚===

1.文房四宝概述

“文房”之名，起于中国历史上南北朝时期，专指文人书房而言。笔、墨、纸、砚合称“文房四宝”，是中国独有的书法绘画工具。中国古代文人基本上都是或能书，或能画，或既能书又能画的，因此它们在古代文人的创作过程中发挥着至关重要的作用。文房用具除四宝之外，还有笔筒，笔架，笔洗，印章，印泥，镇纸等等必备用品。文房四宝历史悠久，文化底蕴深厚，与人们的日常生活及社会生活息息相关，是中国文化的代表。其最著名的产地是安徽宣城。宣城自古是江南名郡，是宣纸、宣笔、徽墨、宣砚的原产地，2004年被中国文房四宝协会授予“中国文房四宝之乡”称号。

2.文房四宝的起源与发展

2.1 笔
中国的书写用笔起源很早。根据未经刀刻过的甲骨文字判断，夏商时期就已经有原始的笔了。如果再从新石器时期彩陶上面的花纹图案来看，笔的产生还可以追溯到五千多年以前。到春秋战国时期，各国都已经制作和使用书写用笔了。那时笔的名称繁多：吴国叫“不律”，燕国叫“弗”，楚国叫“幸”，秦国叫“笔”。（木心.2022,04）

秦始皇统一全国以后，“笔”就成了定名，一直沿用至今。传说，现在所用的毛笔是由战国时期的秦国大将蒙恬发明的。毛笔的笔头是用兽毛做的，笔管用竹子等制成，它是传统的书写工具，后来又慢慢成为绘画工具。笔亦称毫，有软毫、硬毫和兼毫。软毫主要用山羊毛所制，柔软圆润，弹性较差；硬毫则用兔脊毛和黄鼠狼尾毛等制成，有弹性，吸水性较差；软毫和硬毫杂在一起，不软不硬、刚柔并济的就是兼毫了。湖笔被誉为“笔中之冠”。据说秦朝大将蒙恬曾居于湖州的善琏县改良毛笔，制成后人所说的“湖笔”。（伊兜,2022,05）

2.2 墨
在人工制墨发明之前，一般利用天然墨或半天然墨来做为书写材料。史前的彩陶纹饰、商周的甲骨文、竹木简牍等到处留下了原始用墨的遗痕。至汉代，终于开始出现了人工墨品。这种墨原料取自松烟，最初是用手捏合而成，后来用模制，墨质坚实。从制成烟料到最后完成出品，其中还要经过多道工序，并有一个模压成形的过程。墨模的雕刻就是一项重要的工序，也是一个艺术性的创造过程。墨之造型大致有方、长方、圆、椭圆、不规则形等。墨模一般是由正、背、上、下、左、右六块组成。内置墨剂，合紧锤砸成品。款识大多刻于侧面，以便于重复使用墨模时，容易更换。最著名的墨是徽墨，产地集中在古徽州地区，其生产可溯源至唐代末期。徽墨是以松烟、桐油烟、漆烟、胶为主要原料制作而成的一种主要供传统书法、绘画使用的特种颜料，古代制墨有八道工序，现代制墨有九道工序。以去掉松香的松树烧出的烟灰作为原料的松烟墨，适合用来书写；以动物或植物油等取烟制成的油烟墨，多用于绘制中国画。徽墨有落纸如漆，色泽黑润，经久不褪，纸笔不胶，香味浓郁，丰肌腻理等特点。2015年12月，徽墨成功获批国家地理标志保护产品称号。

2.3 纸
纸是中国古代四大发明之一。东汉时期，蔡伦改进造纸术，成功地制造了一种轻便又经济的纸张，并总结出一套较为完善的造纸方法。最著名的纸是宣纸，原产于唐代宣州所辖泾县，故名宣纸。宣纸因制作方法不同，可分为生宣、熟宣。未经特殊加工的生宣吸水能力极强，导致其上的墨水模糊，更适宜书法中的草书、行书等字体。然而，熟宣在生产过程中加入了钾明矾，导致质地更硬，吸水能力降低，这意味着它更容易撕裂。这一特点使得熟宣更适合工笔画而非写意画，更适宜小楷、篆隶等工整严谨的字体。（王剑飞,何春莲,2024,03）。

宣纸所用的材料与泾县的地理环境息息相关。该地区常见的榆树青檀的树皮被用作制作宣纸的主要材料。宣纸具有洁白稠密、质地绵韧、不蛀不腐、不易变色等特性，又耐老化、寿命长，所以有“纸中之王”、“纸寿千年”的美誉。宣纸有独特的渗透性能，一笔落成，墨韵清晰，属于中国独特的手工艺品。2006年，宣纸制作技艺成为首批国家级非物质文化遗产代表作。2009年9月30日，联合国教科文组织公布宣纸制作技艺为人类非物质文化遗产代表作。

2.4 砚
砚被古人誉为“文房四宝之首”。因为墨须加水发磨才能调用，而发墨之石刑则是砚。砚的起源甚早，大概在殷商初期就已见雏形。殷商时，青铜器十分发达，且陶石随手可得，砚就随着墨的使用而逐渐成形。隋唐时期，天下陶砚盛行，而其中又以虢州所产最负盛名，并且各地相继发现适合制砚的石料，开始了以石为主的砚台制作。最著名的是四大名砚，即洮砚、端砚、歙砚、澄泥砚，采用甘肃脂洮的洮河石、广东端州的端石、安徽歙县的歙石、山西新绛的澄泥石制作而成。它们的普遍特点是质细地腻、润泽净纯、晶莹平滑、纹理色秀、易发墨而不吸水。墨锭在砚石上研磨构成了独特的艺术过程，被称为“下墨”与“发墨”。下墨讲求快慢得宜，发墨讲究粗细适中。这样，墨色才能如油般光泽，砚中生光发艳。但往往下墨快的发墨粗，发墨好的下墨慢。所以，下墨发墨均佳的砚极其珍贵。端砚和歙砚于2006年入选第一批国家级非物质文化遗产名录，澄泥砚于2008年入选国家级非物质文化遗产代表项目目录。

3.影响和价值

“文房四宝”不仅是具有极强的实用价值的文具用品，也是融绘画、书法、雕刻、装饰等为一体的艺术品。在2007年，中国科学院科技史所、中国文房四宝协会，向联合国教科文组织申报笔墨纸砚为世界级“非物质文化遗产”。笔、墨、纸、砚，各有各的用途，各有各的讲究，合起来是整个一套，再写出的文字，综合成为独特的传统书法艺术。它不但为中国自我欣赏，而且深得世界各国人们的瞩目与珍爱。（木心，2022,04）

文房四宝同样也是品德的象征。毛笔笔尖锐利，象征着文人要保持敏锐，善意观察万物；笔头整齐均匀，象征君子严于律己，立志高远；笔毫圆实，象征为人忠厚老实；墨含章蕴藻，知白守黑，润万物无声，便是一种君子风骨的体现。纸方正柔韧，承载文字书画，流传志向功勋，犹如包揽万物的大地，厚德载物。这是对纸能舒能卷，能隐能显的品德的赞扬。至于砚，玉德金声，流芳万世，体现出天人合一的文化传统，因而受到文人的歌颂。（董秀秀,杨健,2022,24）

文人不仅收藏文房四宝，甚至将其传给子孙后代，这不仅是传承家族文化信仰，更凸显对文化的崇敬，因为“统治者知道文化对于安邦之国的作用，老百姓明白文化可以使家族发达”，“以书具传家，就是以文化传家”。甚至在一些地区将笔墨纸砚等文房用具作为女儿的嫁妆。（黄鹏，2013）

笔墨纸砚在当代不仅是文化符号与艺术载体，更通过教育、创新和生活方式的重构，持续传递着中华文明的智慧与审美，成为现代人精神世界的重要支撑。它们不仅传授书法技艺，更培养了审美品格与文明认同感。同时传统书写活动促进了代际交流与文化传递，让古老艺术在现代社会绽放活力。

User:Kong Xiangya

2025-12-21T13:43:19Z

Kong Xiangya: /* Reference */

I am Kong Xiangya, a postgraduate of Hunan Normal University. I major in English translation and I will study for three years in this university. I come from Anhui province and I start my university life in Qingdao city, Shandong province. I have learned several courses about translation and I really enjoy the courses and life here in Hunan province.

==Final Exam Paper==

===The Four Treasures of the Study===

====Brief Introduction of the Four Treasures of the Study====

The name of "study" can be dated back to the Northern and Southern Dynasties of China, particularly referring to the scholar's study. Writing brush, ink, paper and ink stone comprise of "The Four Treasures of the Study", which are unique tools for calligraphy and painting only in China. Most ancient Chinese scholars are proficient in calligraphy, painting or both, so it has played a crucial role in their creation. In addition to these four major treasures, there are still pertinent study tools, including brush pot, brush holder, brush washer, seal, and paperweight and the like. It closely connects with people's daily and social life, enjoys long development history and deep cultural deposit, and embodies the Chinese culture. Its most famous place of origin is Xuancheng city, Anhui province. Xuancheng has been a famous city in Jiangnan area since ancient times, which is the birthplace of Xuan paper, Xuan writing brush, Hui ink, and Xuan inkstone. In 2004, it was awarded the title of "Hometown of China's Four Treasures of the Study" by the China Association of Four Treasures of the Study.

====Origin and Development of the Four Treasures of the Study====

=====Writing Brush=====

The origin of Chinese writing brush is quite early. Judging from the uncut oracle bone script, primitive writing brush might appeared in Xia and Shang Dynasties. And judegd from the pattern of painted pottery from the Neolithic Period, its appearance can even date back 5000 years early. In the Spring and Autumn and the Warring States period, people of every countries started to produce and apply writing brush. And it had different names："bulv" in Wu State, "fu" in Yan State, "xing" in Chu State, and "bi" in Qin State. (Mu Xin, 2022, 04)

After Emperor Qin Shi Huang unified the whole country, the name "bi" became the general name and has been used until now. Legend had it that the brush used today was invented by Meng Tian, a general of the Qin state during the Warring States period. The tip of the writing brush is made of animal fur and the tube is made of bamboo. It is a traditional writing tool and gradually turns into painting tool. Writing brush is also called hao, which can be divided into three types: soft hao, hard hao and mixed hao. The soft hao is made of goat fur, soft and rounded with poor elasticity. The hard hao is made of rabbit spine fur and weasel tail fur, which is elastic but has poor water absorption. And mixed hao combines the soft and hard hao, achieving a balance of suppleness and firmness. And Hu writing brush is regarded as "the crown of all writing brushes". Legend has it that Meng Tian, a renowned general of the Qin State, once lived in Shanlian County, Huzhou, where he refined the brush-making techniques. His creation became known as the "Huzhou writing brush" in later generations. (Yi Dou, 2022, 05)

=====Ink=====

Natural ink or nearly natural ink were the main pigment for writing before the invention of man-made ink. The trace of primitive ink can be found in many items, like prehistoric painted pottery patterns, oracle bone inscriptions from the Shang and Zhou dynasties, bamboo and wooden slips. And the Han dynasty witnessed the birth of man-made ink. This ink, with high quality, is taken from turpentine smoke and was initially kneaded by hand and later made in mold. It involved several procedures in the whole production process, especially a molding process. Carving a mold is a crucial step and also an artistic and creative process. The shapes of ink generally include square, rectangular, circular, elliptical, irregular. And the ink mold usually includes six facets: front, back, top, bottom, left and right. And the following steps are putting the refined ink into ink mold, beating the mold to compact it and finally producing a regular shape and tight texture ink. The inscription is mostly engraved on the side for easy replacement when reusing the ink mold.

The most famous ink is Hui ink and is mainly manufactured in ancient Huizhou area, and the production history can date back to Tang dynasty. Hui ink is a special pigment mainly used for traditional calligraphy and painting, made from turpentine smoke, China wood oil smoke, lacquer smoke, and glue as the main raw materials. There are eight processes in ancient ink making, and nine processes in modern ink making. The pine soot ink, which is made from the ash of pine trees that have been burned to remove the rosin, is suitable for writing; The ink made from the smoke of animal or plant oil is mostly used in Chinese painting. When writing in the paper, the ink looks like paint. Besides, the black ink can remain unfading for long time. It is also featured by rich fragrance and smooth texture. Hui ink was successfully granted the title of national geographical indication protection products in December 2015.

=====Paper=====

Paper is one of the four great inventions in ancient China. In the Eastern Han dynasty, Cailun refined the papermaking craft and successfully made both light and cheap paper, and he summarized a relatively complete set of papermaking methods. The most noted paper was Xuan paper initially made in Jing county, Xuanzhou in the Tang dynasty, so it was named Xuan paper. It can be divided into raw and cooked Xuan paper due to different production methods. Unprocessed raw Xuan paper has extremely strong water absorption capacity, causing blurry ink, so it is more suitable for the cursive script and running script in calligraphy. However, the addition of potassium alum in the production process of cooked Xuan paper results in a harder texture and reduced water absorption, so it is more prone to tear. It is this character that makes it more suitable for traditional Chinese realistic painting rather than freehand brush work, and suitable for neat and rigorous small regular script, seal script and clerical script. (Wang Jianfei, He Chunlian, 2024, 03)

Besides, its raw material is closely connected with local geographical environment, and the major material is the bark from local common elm tree Qingtan. It is known as the "king of paper" and "paper with a thousand years of life" due to the characteristics of pure white color and dense texture, smooth and tough texture, not rotting and not easily fading, anti-aging and long lifespan. It also shows a special permeability that the ink marks remain clear when one finishes writing, so it becomes a unique handicraft of China. In 2006, the craft of making Xuan paper was listed as the first batch of national intangible cultural heritage representative work. On September 30, 2009, UNESCO announced the art of making Xuan paper as a representative work of the intangible cultural heritage of humanity.

=====Inkstone=====

The inkstone was revered by ancient people as "the foremost of the Four Treasures of the Study." Ink needs to be rubbed with water before using and the right tool involved in this processing is inkstone. The origin of inkstones dates back to early times, probably in the Yin and Shang dynasties. During that period, bronze ware was highly developed and pottery and stone were readily available. Inkstones gradually got popular with the application of ink. During the Sui and Tang dynasties, pottery inkstones were popular across the country, and the most famous was produced in Guozhou. Later, various stones that suitable for making inkstone were discovered in many areas, so stones had become the major source for inkstones. The most famous Chinese four inkstones are Tao inkstone, Duan inkstone, She inkstone and Chengni inkstone, which are made form Tao river stone, Duan stone, She stone and Chengni stone respectively. They both have delicate texture, show smoothness with pure luster, and are wasy to rub ink without absorbing water. There are two special procedures during rubing ink:xia mo and fa mo, which refer to the process that ink blocks are ground into ink in a fast speed, and the process that ink fuse in the water fast and form stable structure respectively. And the focus of the first process is moderate speed, and moderate thickness for the second. In this way, the ink and the inkstone will shine brightly. But often those who are quickly in "xia mo" producing thicker ink, while those who are well in "fa mo" producing ink slowly. So, inkstones with excellent "xia mo" and "fa mo" quality are extremely precious. Duan Yan and She Yan were selected as the first batch of national intangible cultural heritage in 2006, and Chengni Yan was selected as a representative project of national intangible cultural heritage in 2008.

====Influence and Value====

The "Four Treasures of the Study" are not only study items with profound practical value, but also works of art that integrate painting, calligraphy, sculpture, decoration and so on. In 2007, the Institute of the History of Science and Technology of the Chinese Academy of Sciences and the China Four Treasures of the Study Association applied the Four Treasures of the Study to UNESCO as world-class intangible cultural heritage. They come together to form a unique traditional calligraphy art with individual function and emphasis. So they are not only appreciated by national people but also win foreigner's heart. (Mu Xin, 2022, 04)

They also symbolize human quality. The sharp writing brush tip symbolizes the literati's alertness and observation of the world; The neat and regular nib symbolize a gentleman's strict self-disciple and grand aspiration; The round and solid brush symbolizes people's loyalty and honesty. Ink embodies fine talent and quality, keeps silent exterior but has interior judgement, and influences people silently, which are all the reflection of the integrity of gentlemen. The square and flexible paper not only represents words and paintings, but also spreads aspirations and achievements, which just like the great land that embraces and develops everything. This is a praise for the paper's virtues of being flexible, implicit and explicit. And ink stone with excellent texture, lasting reputation reflects the cultural tradition of the harmony between man and nature, and therefore is praised by the literati. (Dong Xiuxiu, Yang Jian, 2022, 24)

The literati not only collect the Four Treasures of the Study, but also pass them down to their descendants. This is not only a way to inherit the family's cultural beliefs, but also highlights their reverence for culture. After all, "the rulers understand the role of culture in maintaining national stability, and the common people realize that culture can bring prosperity to their families"，"Passing down writing tools to the family is, in essence, passing down culture to the family"。 Even in some areas, the study tools such as brush, ink, paper and inkstone are used as dowry for daughters. (Huang Peng, 2013)

Writing brush, ink, paper, and ink stone are not only cultural symbols and artistic carriers in contemporary times, but also continue to convey the wisdom and aesthetics of Chinese civilization through education, innovation, and the reconstruction of lifestyles, becoming an important support for the spiritual world of modern people. They not only impart calligraphy skills, but also cultivate aesthetic character and a sense of cultural identity. At the same time, traditional writing activities promote intergenerational communication and cultural transmission, allowing ancient art to flourish in modern society.

===Terms and Expressions===

The Four Treasures of Study 文房四宝

Hu writing brush 湖笔

Hui ink stick 徽墨

Xuan paper 宣纸

Tao inkstone 洮砚

Duan inkstone 端砚

She inkstone 歙砚

Chengni inkstone 澄泥砚

turpentine smoke 松烟

China wood oil smoke 桐油烟

the process that ink blocks are ground into ink in a fast speed 下墨

the process that ink fuse in the water fast and form stable structure 发墨

ink mold 墨模

===Reference===
1. Mu Xin 木心.（2022）文房四宝:挥毫游走处，沁满那笔墨人间 [The Four Treasures of the Study: With a brush and brush, one can immerse oneself in the world of calligraphy and painting]. 中国制笔 Chinese writing brush mading,(04)41-45.

2. Yi Dou 伊兜.（2022）说说文房四宝 [On the Four Treasures of the Study]. 新少年 New Youth,(05):4-7.

3. Wang Jianfei, He Chunlian 王剑飞,何春莲.（2024）论中国墨在印刷出版史上的精神标识价值 [On the Spiritual Significance of China Ink in the History of Printing and Publishing]. 印刷文化（中英文）Printing Culture (Chinese and English),(03):53-65.

4. Dong Xiuxiu, Yang Jian 董秀秀,杨健.（2022）唐宋文学中文房四宝的文化意蕴及社会风貌 [The Cultural Implications and Social Landscape of the Four Treasures of the Study in Tang and Song Literature]. 滁州学院学报 Journal of Chuzhou University,24(03):46-50.

5. Huang Peng 黄鹏．（2013）书斋的瑰宝：笔墨纸砚［The Treasures of the Study: Brush, Ink, Paper, and Inkstone］．北京：文津出版社 Beijing: Wenjin Publishing House，p22．

===Questions===
1.When does the name of the Four Treasures of the Study appear?

2.How many kinds of writing brush?

3.Who invited the writing brushes?

4.What are the two procedures of grinding ink?

5.How many kinds of Hui ink?

6.Which are the four famous inkstones?

===Answers===
1.Northern and Southern Dynasties.

2.Three.

3.Meng Tian.

4.Fa mo and xia mo.

5.There are two kinds.

6.Tao inkstone, Duan inkstone, She inkstone, Chengni inkstone.

==期末论文==

===笔墨纸砚===

1.文房四宝概述

“文房”之名，起于中国历史上南北朝时期，专指文人书房而言。笔、墨、纸、砚合称“文房四宝”，是中国独有的书法绘画工具。中国古代文人基本上都是或能书，或能画，或既能书又能画的，因此它们在古代文人的创作过程中发挥着至关重要的作用。文房用具除四宝之外，还有笔筒，笔架，笔洗，印章，印泥，镇纸等等必备用品。文房四宝历史悠久，文化底蕴深厚，与人们的日常生活及社会生活息息相关，是中国文化的代表。其最著名的产地是安徽宣城。宣城自古是江南名郡，是宣纸、宣笔、徽墨、宣砚的原产地，2004年被中国文房四宝协会授予“中国文房四宝之乡”称号。

2.文房四宝的起源与发展

2.1 笔
中国的书写用笔起源很早。根据未经刀刻过的甲骨文字判断，夏商时期就已经有原始的笔了。如果再从新石器时期彩陶上面的花纹图案来看，笔的产生还可以追溯到五千多年以前。到春秋战国时期，各国都已经制作和使用书写用笔了。那时笔的名称繁多：吴国叫“不律”，燕国叫“弗”，楚国叫“幸”，秦国叫“笔”。（木心.2022,04）

秦始皇统一全国以后，“笔”就成了定名，一直沿用至今。传说，现在所用的毛笔是由战国时期的秦国大将蒙恬发明的。毛笔的笔头是用兽毛做的，笔管用竹子等制成，它是传统的书写工具，后来又慢慢成为绘画工具。笔亦称毫，有软毫、硬毫和兼毫。软毫主要用山羊毛所制，柔软圆润，弹性较差；硬毫则用兔脊毛和黄鼠狼尾毛等制成，有弹性，吸水性较差；软毫和硬毫杂在一起，不软不硬、刚柔并济的就是兼毫了。湖笔被誉为“笔中之冠”。据说秦朝大将蒙恬曾居于湖州的善琏县改良毛笔，制成后人所说的“湖笔”。（伊兜,2022,05）

2.2 墨
在人工制墨发明之前，一般利用天然墨或半天然墨来做为书写材料。史前的彩陶纹饰、商周的甲骨文、竹木简牍等到处留下了原始用墨的遗痕。至汉代，终于开始出现了人工墨品。这种墨原料取自松烟，最初是用手捏合而成，后来用模制，墨质坚实。从制成烟料到最后完成出品，其中还要经过多道工序，并有一个模压成形的过程。墨模的雕刻就是一项重要的工序，也是一个艺术性的创造过程。墨之造型大致有方、长方、圆、椭圆、不规则形等。墨模一般是由正、背、上、下、左、右六块组成。内置墨剂，合紧锤砸成品。款识大多刻于侧面，以便于重复使用墨模时，容易更换。最著名的墨是徽墨，产地集中在古徽州地区，其生产可溯源至唐代末期。徽墨是以松烟、桐油烟、漆烟、胶为主要原料制作而成的一种主要供传统书法、绘画使用的特种颜料，古代制墨有八道工序，现代制墨有九道工序。以去掉松香的松树烧出的烟灰作为原料的松烟墨，适合用来书写；以动物或植物油等取烟制成的油烟墨，多用于绘制中国画。徽墨有落纸如漆，色泽黑润，经久不褪，纸笔不胶，香味浓郁，丰肌腻理等特点。2015年12月，徽墨成功获批国家地理标志保护产品称号。

2.3 纸
纸是中国古代四大发明之一。东汉时期，蔡伦改进造纸术，成功地制造了一种轻便又经济的纸张，并总结出一套较为完善的造纸方法。最著名的纸是宣纸，原产于唐代宣州所辖泾县，故名宣纸。宣纸因制作方法不同，可分为生宣、熟宣。未经特殊加工的生宣吸水能力极强，导致其上的墨水模糊，更适宜书法中的草书、行书等字体。然而，熟宣在生产过程中加入了钾明矾，导致质地更硬，吸水能力降低，这意味着它更容易撕裂。这一特点使得熟宣更适合工笔画而非写意画，更适宜小楷、篆隶等工整严谨的字体。（王剑飞,何春莲,2024,03）。

宣纸所用的材料与泾县的地理环境息息相关。该地区常见的榆树青檀的树皮被用作制作宣纸的主要材料。宣纸具有洁白稠密、质地绵韧、不蛀不腐、不易变色等特性，又耐老化、寿命长，所以有“纸中之王”、“纸寿千年”的美誉。宣纸有独特的渗透性能，一笔落成，墨韵清晰，属于中国独特的手工艺品。2006年，宣纸制作技艺成为首批国家级非物质文化遗产代表作。2009年9月30日，联合国教科文组织公布宣纸制作技艺为人类非物质文化遗产代表作。

2.4 砚
砚被古人誉为“文房四宝之首”。因为墨须加水发磨才能调用，而发墨之石刑则是砚。砚的起源甚早，大概在殷商初期就已见雏形。殷商时，青铜器十分发达，且陶石随手可得，砚就随着墨的使用而逐渐成形。隋唐时期，天下陶砚盛行，而其中又以虢州所产最负盛名，并且各地相继发现适合制砚的石料，开始了以石为主的砚台制作。最著名的是四大名砚，即洮砚、端砚、歙砚、澄泥砚，采用甘肃脂洮的洮河石、广东端州的端石、安徽歙县的歙石、山西新绛的澄泥石制作而成。它们的普遍特点是质细地腻、润泽净纯、晶莹平滑、纹理色秀、易发墨而不吸水。墨锭在砚石上研磨构成了独特的艺术过程，被称为“下墨”与“发墨”。下墨讲求快慢得宜，发墨讲究粗细适中。这样，墨色才能如油般光泽，砚中生光发艳。但往往下墨快的发墨粗，发墨好的下墨慢。所以，下墨发墨均佳的砚极其珍贵。端砚和歙砚于2006年入选第一批国家级非物质文化遗产名录，澄泥砚于2008年入选国家级非物质文化遗产代表项目目录。

3.影响和价值

“文房四宝”不仅是具有极强的实用价值的文具用品，也是融绘画、书法、雕刻、装饰等为一体的艺术品。在2007年，中国科学院科技史所、中国文房四宝协会，向联合国教科文组织申报笔墨纸砚为世界级“非物质文化遗产”。笔、墨、纸、砚，各有各的用途，各有各的讲究，合起来是整个一套，再写出的文字，综合成为独特的传统书法艺术。它不但为中国自我欣赏，而且深得世界各国人们的瞩目与珍爱。（木心，2022,04）

文房四宝同样也是品德的象征。毛笔笔尖锐利，象征着文人要保持敏锐，善意观察万物；笔头整齐均匀，象征君子严于律己，立志高远；笔毫圆实，象征为人忠厚老实；墨含章蕴藻，知白守黑，润万物无声，便是一种君子风骨的体现。纸方正柔韧，承载文字书画，流传志向功勋，犹如包揽万物的大地，厚德载物。这是对纸能舒能卷，能隐能显的品德的赞扬。至于砚，玉德金声，流芳万世，体现出天人合一的文化传统，因而受到文人的歌颂。（董秀秀,杨健,2022,24）

文人不仅收藏文房四宝，甚至将其传给子孙后代，这不仅是传承家族文化信仰，更凸显对文化的崇敬，因为“统治者知道文化对于安邦之国的作用，老百姓明白文化可以使家族发达”，“以书具传家，就是以文化传家”。甚至在一些地区将笔墨纸砚等文房用具作为女儿的嫁妆。（黄鹏，2013）

笔墨纸砚在当代不仅是文化符号与艺术载体，更通过教育、创新和生活方式的重构，持续传递着中华文明的智慧与审美，成为现代人精神世界的重要支撑。它们不仅传授书法技艺，更培养了审美品格与文明认同感。同时传统书写活动促进了代际交流与文化传递，让古老艺术在现代社会绽放活力。

User:Kong Xiangya

2025-12-21T13:39:49Z

Kong Xiangya: /* Terms and Expressions */

I am Kong Xiangya, a postgraduate of Hunan Normal University. I major in English translation and I will study for three years in this university. I come from Anhui province and I start my university life in Qingdao city, Shandong province. I have learned several courses about translation and I really enjoy the courses and life here in Hunan province.

==Final Exam Paper==

===The Four Treasures of the Study===

====Brief Introduction of the Four Treasures of the Study====

The name of "study" can be dated back to the Northern and Southern Dynasties of China, particularly referring to the scholar's study. Writing brush, ink, paper and ink stone comprise of "The Four Treasures of the Study", which are unique tools for calligraphy and painting only in China. Most ancient Chinese scholars are proficient in calligraphy, painting or both, so it has played a crucial role in their creation. In addition to these four major treasures, there are still pertinent study tools, including brush pot, brush holder, brush washer, seal, and paperweight and the like. It closely connects with people's daily and social life, enjoys long development history and deep cultural deposit, and embodies the Chinese culture. Its most famous place of origin is Xuancheng city, Anhui province. Xuancheng has been a famous city in Jiangnan area since ancient times, which is the birthplace of Xuan paper, Xuan writing brush, Hui ink, and Xuan inkstone. In 2004, it was awarded the title of "Hometown of China's Four Treasures of the Study" by the China Association of Four Treasures of the Study.

====Origin and Development of the Four Treasures of the Study====

=====Writing Brush=====

The origin of Chinese writing brush is quite early. Judging from the uncut oracle bone script, primitive writing brush might appeared in Xia and Shang Dynasties. And judegd from the pattern of painted pottery from the Neolithic Period, its appearance can even date back 5000 years early. In the Spring and Autumn and the Warring States period, people of every countries started to produce and apply writing brush. And it had different names："bulv" in Wu State, "fu" in Yan State, "xing" in Chu State, and "bi" in Qin State. (Mu Xin, 2022, 04)

After Emperor Qin Shi Huang unified the whole country, the name "bi" became the general name and has been used until now. Legend had it that the brush used today was invented by Meng Tian, a general of the Qin state during the Warring States period. The tip of the writing brush is made of animal fur and the tube is made of bamboo. It is a traditional writing tool and gradually turns into painting tool. Writing brush is also called hao, which can be divided into three types: soft hao, hard hao and mixed hao. The soft hao is made of goat fur, soft and rounded with poor elasticity. The hard hao is made of rabbit spine fur and weasel tail fur, which is elastic but has poor water absorption. And mixed hao combines the soft and hard hao, achieving a balance of suppleness and firmness. And Hu writing brush is regarded as "the crown of all writing brushes". Legend has it that Meng Tian, a renowned general of the Qin State, once lived in Shanlian County, Huzhou, where he refined the brush-making techniques. His creation became known as the "Huzhou writing brush" in later generations. (Yi Dou, 2022, 05)

=====Ink=====

Natural ink or nearly natural ink were the main pigment for writing before the invention of man-made ink. The trace of primitive ink can be found in many items, like prehistoric painted pottery patterns, oracle bone inscriptions from the Shang and Zhou dynasties, bamboo and wooden slips. And the Han dynasty witnessed the birth of man-made ink. This ink, with high quality, is taken from turpentine smoke and was initially kneaded by hand and later made in mold. It involved several procedures in the whole production process, especially a molding process. Carving a mold is a crucial step and also an artistic and creative process. The shapes of ink generally include square, rectangular, circular, elliptical, irregular. And the ink mold usually includes six facets: front, back, top, bottom, left and right. And the following steps are putting the refined ink into ink mold, beating the mold to compact it and finally producing a regular shape and tight texture ink. The inscription is mostly engraved on the side for easy replacement when reusing the ink mold.

The most famous ink is Hui ink and is mainly manufactured in ancient Huizhou area, and the production history can date back to Tang dynasty. Hui ink is a special pigment mainly used for traditional calligraphy and painting, made from turpentine smoke, China wood oil smoke, lacquer smoke, and glue as the main raw materials. There are eight processes in ancient ink making, and nine processes in modern ink making. The pine soot ink, which is made from the ash of pine trees that have been burned to remove the rosin, is suitable for writing; The ink made from the smoke of animal or plant oil is mostly used in Chinese painting. When writing in the paper, the ink looks like paint. Besides, the black ink can remain unfading for long time. It is also featured by rich fragrance and smooth texture. Hui ink was successfully granted the title of national geographical indication protection products in December 2015.

=====Paper=====

Paper is one of the four great inventions in ancient China. In the Eastern Han dynasty, Cailun refined the papermaking craft and successfully made both light and cheap paper, and he summarized a relatively complete set of papermaking methods. The most noted paper was Xuan paper initially made in Jing county, Xuanzhou in the Tang dynasty, so it was named Xuan paper. It can be divided into raw and cooked Xuan paper due to different production methods. Unprocessed raw Xuan paper has extremely strong water absorption capacity, causing blurry ink, so it is more suitable for the cursive script and running script in calligraphy. However, the addition of potassium alum in the production process of cooked Xuan paper results in a harder texture and reduced water absorption, so it is more prone to tear. It is this character that makes it more suitable for traditional Chinese realistic painting rather than freehand brush work, and suitable for neat and rigorous small regular script, seal script and clerical script. (Wang Jianfei, He Chunlian, 2024, 03)

Besides, its raw material is closely connected with local geographical environment, and the major material is the bark from local common elm tree Qingtan. It is known as the "king of paper" and "paper with a thousand years of life" due to the characteristics of pure white color and dense texture, smooth and tough texture, not rotting and not easily fading, anti-aging and long lifespan. It also shows a special permeability that the ink marks remain clear when one finishes writing, so it becomes a unique handicraft of China. In 2006, the craft of making Xuan paper was listed as the first batch of national intangible cultural heritage representative work. On September 30, 2009, UNESCO announced the art of making Xuan paper as a representative work of the intangible cultural heritage of humanity.

=====Inkstone=====

The inkstone was revered by ancient people as "the foremost of the Four Treasures of the Study." Ink needs to be rubbed with water before using and the right tool involved in this processing is inkstone. The origin of inkstones dates back to early times, probably in the Yin and Shang dynasties. During that period, bronze ware was highly developed and pottery and stone were readily available. Inkstones gradually got popular with the application of ink. During the Sui and Tang dynasties, pottery inkstones were popular across the country, and the most famous was produced in Guozhou. Later, various stones that suitable for making inkstone were discovered in many areas, so stones had become the major source for inkstones. The most famous Chinese four inkstones are Tao inkstone, Duan inkstone, She inkstone and Chengni inkstone, which are made form Tao river stone, Duan stone, She stone and Chengni stone respectively. They both have delicate texture, show smoothness with pure luster, and are wasy to rub ink without absorbing water. There are two special procedures during rubing ink:xia mo and fa mo, which refer to the process that ink blocks are ground into ink in a fast speed, and the process that ink fuse in the water fast and form stable structure respectively. And the focus of the first process is moderate speed, and moderate thickness for the second. In this way, the ink and the inkstone will shine brightly. But often those who are quickly in "xia mo" producing thicker ink, while those who are well in "fa mo" producing ink slowly. So, inkstones with excellent "xia mo" and "fa mo" quality are extremely precious. Duan Yan and She Yan were selected as the first batch of national intangible cultural heritage in 2006, and Chengni Yan was selected as a representative project of national intangible cultural heritage in 2008.

====Influence and Value====

The "Four Treasures of the Study" are not only study items with profound practical value, but also works of art that integrate painting, calligraphy, sculpture, decoration and so on. In 2007, the Institute of the History of Science and Technology of the Chinese Academy of Sciences and the China Four Treasures of the Study Association applied the Four Treasures of the Study to UNESCO as world-class intangible cultural heritage. They come together to form a unique traditional calligraphy art with individual function and emphasis. So they are not only appreciated by national people but also win foreigner's heart. (Mu Xin, 2022, 04)

They also symbolize human quality. The sharp writing brush tip symbolizes the literati's alertness and observation of the world; The neat and regular nib symbolize a gentleman's strict self-disciple and grand aspiration; The round and solid brush symbolizes people's loyalty and honesty. Ink embodies fine talent and quality, keeps silent exterior but has interior judgement, and influences people silently, which are all the reflection of the integrity of gentlemen. The square and flexible paper not only represents words and paintings, but also spreads aspirations and achievements, which just like the great land that embraces and develops everything. This is a praise for the paper's virtues of being flexible, implicit and explicit. And ink stone with excellent texture, lasting reputation reflects the cultural tradition of the harmony between man and nature, and therefore is praised by the literati. (Dong Xiuxiu, Yang Jian, 2022, 24)

The literati not only collect the Four Treasures of the Study, but also pass them down to their descendants. This is not only a way to inherit the family's cultural beliefs, but also highlights their reverence for culture. After all, "the rulers understand the role of culture in maintaining national stability, and the common people realize that culture can bring prosperity to their families"，"Passing down writing tools to the family is, in essence, passing down culture to the family"。 Even in some areas, the study tools such as brush, ink, paper and inkstone are used as dowry for daughters. (Huang Peng, 2013)

Writing brush, ink, paper, and ink stone are not only cultural symbols and artistic carriers in contemporary times, but also continue to convey the wisdom and aesthetics of Chinese civilization through education, innovation, and the reconstruction of lifestyles, becoming an important support for the spiritual world of modern people. They not only impart calligraphy skills, but also cultivate aesthetic character and a sense of cultural identity. At the same time, traditional writing activities promote intergenerational communication and cultural transmission, allowing ancient art to flourish in modern society.

===Terms and Expressions===

The Four Treasures of Study 文房四宝

Hu writing brush 湖笔

Hui ink stick 徽墨

Xuan paper 宣纸

Tao inkstone 洮砚

Duan inkstone 端砚

She inkstone 歙砚

Chengni inkstone 澄泥砚

turpentine smoke 松烟

China wood oil smoke 桐油烟

the process that ink blocks are ground into ink in a fast speed 下墨

the process that ink fuse in the water fast and form stable structure 发墨

ink mold 墨模

===Reference===
1. Mu Xin 木心.(2022) 文房四宝:挥毫游走处，沁满那笔墨人间 [The Four Treasures of the Study: With a brush and brush, one can immerse oneself in the world of calligraphy and painting]. 中国制笔 Chinese writing brush mading,(04)41-45.

2. Yi Dou 伊兜.(2022) 说说文房四宝 [On the Four Treasures of the Study]. 新少年 New Youth,(05):4-7.

3. Wang Jianfei, He Chunlian 王剑飞,何春莲.(2024) 论中国墨在印刷出版史上的精神标识价值 [On the Spiritual Significance of China Ink in the History of Printing and Publishing].
印刷文化(中英文) Printing Culture (Chinese and English),(03):53-65.

4. Dong Xiuxiu, Yang Jian 董秀秀,杨健.(2022) 唐宋文学中文房四宝的文化意蕴及社会风貌 [The Cultural Implications and Social Landscape of the Four Treasures of the Study in Tang and Song Literature]. 滁州学院学报 Journal of Chuzhou University,24(03):46-50.

5. Huang Peng 黄鹏．(2013) 书斋的瑰宝：笔墨纸砚［The Treasures of the Study: Brush, Ink, Paper, and Inkstone］．北京：文津出版社 Beijing: Wenjin Publishing House，p22．

===Questions===
1.When does the name of the Four Treasures of the Study appear?

2.How many kinds of writing brush?

3.Who invited the writing brushes?

4.What are the two procedures of grinding ink?

5.How many kinds of Hui ink?

6.Which are the four famous inkstones?

===Answers===
1.Northern and Southern Dynasties.

2.Three.

3.Meng Tian.

4.Fa mo and xia mo.

5.There are two kinds.

6.Tao inkstone, Duan inkstone, She inkstone, Chengni inkstone.

==期末论文==

===笔墨纸砚===

1.文房四宝概述

“文房”之名，起于中国历史上南北朝时期，专指文人书房而言。笔、墨、纸、砚合称“文房四宝”，是中国独有的书法绘画工具。中国古代文人基本上都是或能书，或能画，或既能书又能画的，因此它们在古代文人的创作过程中发挥着至关重要的作用。文房用具除四宝之外，还有笔筒，笔架，笔洗，印章，印泥，镇纸等等必备用品。文房四宝历史悠久，文化底蕴深厚，与人们的日常生活及社会生活息息相关，是中国文化的代表。其最著名的产地是安徽宣城。宣城自古是江南名郡，是宣纸、宣笔、徽墨、宣砚的原产地，2004年被中国文房四宝协会授予“中国文房四宝之乡”称号。

2.文房四宝的起源与发展

2.1 笔
中国的书写用笔起源很早。根据未经刀刻过的甲骨文字判断，夏商时期就已经有原始的笔了。如果再从新石器时期彩陶上面的花纹图案来看，笔的产生还可以追溯到五千多年以前。到春秋战国时期，各国都已经制作和使用书写用笔了。那时笔的名称繁多：吴国叫“不律”，燕国叫“弗”，楚国叫“幸”，秦国叫“笔”。（木心.2022,04）

秦始皇统一全国以后，“笔”就成了定名，一直沿用至今。传说，现在所用的毛笔是由战国时期的秦国大将蒙恬发明的。毛笔的笔头是用兽毛做的，笔管用竹子等制成，它是传统的书写工具，后来又慢慢成为绘画工具。笔亦称毫，有软毫、硬毫和兼毫。软毫主要用山羊毛所制，柔软圆润，弹性较差；硬毫则用兔脊毛和黄鼠狼尾毛等制成，有弹性，吸水性较差；软毫和硬毫杂在一起，不软不硬、刚柔并济的就是兼毫了。湖笔被誉为“笔中之冠”。据说秦朝大将蒙恬曾居于湖州的善琏县改良毛笔，制成后人所说的“湖笔”。（伊兜,2022,05）

2.2 墨
在人工制墨发明之前，一般利用天然墨或半天然墨来做为书写材料。史前的彩陶纹饰、商周的甲骨文、竹木简牍等到处留下了原始用墨的遗痕。至汉代，终于开始出现了人工墨品。这种墨原料取自松烟，最初是用手捏合而成，后来用模制，墨质坚实。从制成烟料到最后完成出品，其中还要经过多道工序，并有一个模压成形的过程。墨模的雕刻就是一项重要的工序，也是一个艺术性的创造过程。墨之造型大致有方、长方、圆、椭圆、不规则形等。墨模一般是由正、背、上、下、左、右六块组成。内置墨剂，合紧锤砸成品。款识大多刻于侧面，以便于重复使用墨模时，容易更换。最著名的墨是徽墨，产地集中在古徽州地区，其生产可溯源至唐代末期。徽墨是以松烟、桐油烟、漆烟、胶为主要原料制作而成的一种主要供传统书法、绘画使用的特种颜料，古代制墨有八道工序，现代制墨有九道工序。以去掉松香的松树烧出的烟灰作为原料的松烟墨，适合用来书写；以动物或植物油等取烟制成的油烟墨，多用于绘制中国画。徽墨有落纸如漆，色泽黑润，经久不褪，纸笔不胶，香味浓郁，丰肌腻理等特点。2015年12月，徽墨成功获批国家地理标志保护产品称号。

2.3 纸
纸是中国古代四大发明之一。东汉时期，蔡伦改进造纸术，成功地制造了一种轻便又经济的纸张，并总结出一套较为完善的造纸方法。最著名的纸是宣纸，原产于唐代宣州所辖泾县，故名宣纸。宣纸因制作方法不同，可分为生宣、熟宣。未经特殊加工的生宣吸水能力极强，导致其上的墨水模糊，更适宜书法中的草书、行书等字体。然而，熟宣在生产过程中加入了钾明矾，导致质地更硬，吸水能力降低，这意味着它更容易撕裂。这一特点使得熟宣更适合工笔画而非写意画，更适宜小楷、篆隶等工整严谨的字体。（王剑飞,何春莲,2024,03）。

宣纸所用的材料与泾县的地理环境息息相关。该地区常见的榆树青檀的树皮被用作制作宣纸的主要材料。宣纸具有洁白稠密、质地绵韧、不蛀不腐、不易变色等特性，又耐老化、寿命长，所以有“纸中之王”、“纸寿千年”的美誉。宣纸有独特的渗透性能，一笔落成，墨韵清晰，属于中国独特的手工艺品。2006年，宣纸制作技艺成为首批国家级非物质文化遗产代表作。2009年9月30日，联合国教科文组织公布宣纸制作技艺为人类非物质文化遗产代表作。

2.4 砚
砚被古人誉为“文房四宝之首”。因为墨须加水发磨才能调用，而发墨之石刑则是砚。砚的起源甚早，大概在殷商初期就已见雏形。殷商时，青铜器十分发达，且陶石随手可得，砚就随着墨的使用而逐渐成形。隋唐时期，天下陶砚盛行，而其中又以虢州所产最负盛名，并且各地相继发现适合制砚的石料，开始了以石为主的砚台制作。最著名的是四大名砚，即洮砚、端砚、歙砚、澄泥砚，采用甘肃脂洮的洮河石、广东端州的端石、安徽歙县的歙石、山西新绛的澄泥石制作而成。它们的普遍特点是质细地腻、润泽净纯、晶莹平滑、纹理色秀、易发墨而不吸水。墨锭在砚石上研磨构成了独特的艺术过程，被称为“下墨”与“发墨”。下墨讲求快慢得宜，发墨讲究粗细适中。这样，墨色才能如油般光泽，砚中生光发艳。但往往下墨快的发墨粗，发墨好的下墨慢。所以，下墨发墨均佳的砚极其珍贵。端砚和歙砚于2006年入选第一批国家级非物质文化遗产名录，澄泥砚于2008年入选国家级非物质文化遗产代表项目目录。

3.影响和价值

“文房四宝”不仅是具有极强的实用价值的文具用品，也是融绘画、书法、雕刻、装饰等为一体的艺术品。在2007年，中国科学院科技史所、中国文房四宝协会，向联合国教科文组织申报笔墨纸砚为世界级“非物质文化遗产”。笔、墨、纸、砚，各有各的用途，各有各的讲究，合起来是整个一套，再写出的文字，综合成为独特的传统书法艺术。它不但为中国自我欣赏，而且深得世界各国人们的瞩目与珍爱。（木心，2022,04）

文房四宝同样也是品德的象征。毛笔笔尖锐利，象征着文人要保持敏锐，善意观察万物；笔头整齐均匀，象征君子严于律己，立志高远；笔毫圆实，象征为人忠厚老实；墨含章蕴藻，知白守黑，润万物无声，便是一种君子风骨的体现。纸方正柔韧，承载文字书画，流传志向功勋，犹如包揽万物的大地，厚德载物。这是对纸能舒能卷，能隐能显的品德的赞扬。至于砚，玉德金声，流芳万世，体现出天人合一的文化传统，因而受到文人的歌颂。（董秀秀,杨健,2022,24）

文人不仅收藏文房四宝，甚至将其传给子孙后代，这不仅是传承家族文化信仰，更凸显对文化的崇敬，因为“统治者知道文化对于安邦之国的作用，老百姓明白文化可以使家族发达”，“以书具传家，就是以文化传家”。甚至在一些地区将笔墨纸砚等文房用具作为女儿的嫁妆。（黄鹏，2013）

笔墨纸砚在当代不仅是文化符号与艺术载体，更通过教育、创新和生活方式的重构，持续传递着中华文明的智慧与审美，成为现代人精神世界的重要支撑。它们不仅传授书法技艺，更培养了审美品格与文明认同感。同时传统书写活动促进了代际交流与文化传递，让古老艺术在现代社会绽放活力。

User:Kong Xiangya

2025-12-21T13:38:54Z

Kong Xiangya: /* 笔墨纸砚 */

I am Kong Xiangya, a postgraduate of Hunan Normal University. I major in English translation and I will study for three years in this university. I come from Anhui province and I start my university life in Qingdao city, Shandong province. I have learned several courses about translation and I really enjoy the courses and life here in Hunan province.

==Final Exam Paper==

===The Four Treasures of the Study===

====Brief Introduction of the Four Treasures of the Study====

The name of "study" can be dated back to the Northern and Southern Dynasties of China, particularly referring to the scholar's study. Writing brush, ink, paper and ink stone comprise of "The Four Treasures of the Study", which are unique tools for calligraphy and painting only in China. Most ancient Chinese scholars are proficient in calligraphy, painting or both, so it has played a crucial role in their creation. In addition to these four major treasures, there are still pertinent study tools, including brush pot, brush holder, brush washer, seal, and paperweight and the like. It closely connects with people's daily and social life, enjoys long development history and deep cultural deposit, and embodies the Chinese culture. Its most famous place of origin is Xuancheng city, Anhui province. Xuancheng has been a famous city in Jiangnan area since ancient times, which is the birthplace of Xuan paper, Xuan writing brush, Hui ink, and Xuan inkstone. In 2004, it was awarded the title of "Hometown of China's Four Treasures of the Study" by the China Association of Four Treasures of the Study.

====Origin and Development of the Four Treasures of the Study====

=====Writing Brush=====

The origin of Chinese writing brush is quite early. Judging from the uncut oracle bone script, primitive writing brush might appeared in Xia and Shang Dynasties. And judegd from the pattern of painted pottery from the Neolithic Period, its appearance can even date back 5000 years early. In the Spring and Autumn and the Warring States period, people of every countries started to produce and apply writing brush. And it had different names："bulv" in Wu State, "fu" in Yan State, "xing" in Chu State, and "bi" in Qin State. (Mu Xin, 2022, 04)

After Emperor Qin Shi Huang unified the whole country, the name "bi" became the general name and has been used until now. Legend had it that the brush used today was invented by Meng Tian, a general of the Qin state during the Warring States period. The tip of the writing brush is made of animal fur and the tube is made of bamboo. It is a traditional writing tool and gradually turns into painting tool. Writing brush is also called hao, which can be divided into three types: soft hao, hard hao and mixed hao. The soft hao is made of goat fur, soft and rounded with poor elasticity. The hard hao is made of rabbit spine fur and weasel tail fur, which is elastic but has poor water absorption. And mixed hao combines the soft and hard hao, achieving a balance of suppleness and firmness. And Hu writing brush is regarded as "the crown of all writing brushes". Legend has it that Meng Tian, a renowned general of the Qin State, once lived in Shanlian County, Huzhou, where he refined the brush-making techniques. His creation became known as the "Huzhou writing brush" in later generations. (Yi Dou, 2022, 05)

=====Ink=====

Natural ink or nearly natural ink were the main pigment for writing before the invention of man-made ink. The trace of primitive ink can be found in many items, like prehistoric painted pottery patterns, oracle bone inscriptions from the Shang and Zhou dynasties, bamboo and wooden slips. And the Han dynasty witnessed the birth of man-made ink. This ink, with high quality, is taken from turpentine smoke and was initially kneaded by hand and later made in mold. It involved several procedures in the whole production process, especially a molding process. Carving a mold is a crucial step and also an artistic and creative process. The shapes of ink generally include square, rectangular, circular, elliptical, irregular. And the ink mold usually includes six facets: front, back, top, bottom, left and right. And the following steps are putting the refined ink into ink mold, beating the mold to compact it and finally producing a regular shape and tight texture ink. The inscription is mostly engraved on the side for easy replacement when reusing the ink mold.

The most famous ink is Hui ink and is mainly manufactured in ancient Huizhou area, and the production history can date back to Tang dynasty. Hui ink is a special pigment mainly used for traditional calligraphy and painting, made from turpentine smoke, China wood oil smoke, lacquer smoke, and glue as the main raw materials. There are eight processes in ancient ink making, and nine processes in modern ink making. The pine soot ink, which is made from the ash of pine trees that have been burned to remove the rosin, is suitable for writing; The ink made from the smoke of animal or plant oil is mostly used in Chinese painting. When writing in the paper, the ink looks like paint. Besides, the black ink can remain unfading for long time. It is also featured by rich fragrance and smooth texture. Hui ink was successfully granted the title of national geographical indication protection products in December 2015.

=====Paper=====

Paper is one of the four great inventions in ancient China. In the Eastern Han dynasty, Cailun refined the papermaking craft and successfully made both light and cheap paper, and he summarized a relatively complete set of papermaking methods. The most noted paper was Xuan paper initially made in Jing county, Xuanzhou in the Tang dynasty, so it was named Xuan paper. It can be divided into raw and cooked Xuan paper due to different production methods. Unprocessed raw Xuan paper has extremely strong water absorption capacity, causing blurry ink, so it is more suitable for the cursive script and running script in calligraphy. However, the addition of potassium alum in the production process of cooked Xuan paper results in a harder texture and reduced water absorption, so it is more prone to tear. It is this character that makes it more suitable for traditional Chinese realistic painting rather than freehand brush work, and suitable for neat and rigorous small regular script, seal script and clerical script. (Wang Jianfei, He Chunlian, 2024, 03)

Besides, its raw material is closely connected with local geographical environment, and the major material is the bark from local common elm tree Qingtan. It is known as the "king of paper" and "paper with a thousand years of life" due to the characteristics of pure white color and dense texture, smooth and tough texture, not rotting and not easily fading, anti-aging and long lifespan. It also shows a special permeability that the ink marks remain clear when one finishes writing, so it becomes a unique handicraft of China. In 2006, the craft of making Xuan paper was listed as the first batch of national intangible cultural heritage representative work. On September 30, 2009, UNESCO announced the art of making Xuan paper as a representative work of the intangible cultural heritage of humanity.

=====Inkstone=====

The inkstone was revered by ancient people as "the foremost of the Four Treasures of the Study." Ink needs to be rubbed with water before using and the right tool involved in this processing is inkstone. The origin of inkstones dates back to early times, probably in the Yin and Shang dynasties. During that period, bronze ware was highly developed and pottery and stone were readily available. Inkstones gradually got popular with the application of ink. During the Sui and Tang dynasties, pottery inkstones were popular across the country, and the most famous was produced in Guozhou. Later, various stones that suitable for making inkstone were discovered in many areas, so stones had become the major source for inkstones. The most famous Chinese four inkstones are Tao inkstone, Duan inkstone, She inkstone and Chengni inkstone, which are made form Tao river stone, Duan stone, She stone and Chengni stone respectively. They both have delicate texture, show smoothness with pure luster, and are wasy to rub ink without absorbing water. There are two special procedures during rubing ink:xia mo and fa mo, which refer to the process that ink blocks are ground into ink in a fast speed, and the process that ink fuse in the water fast and form stable structure respectively. And the focus of the first process is moderate speed, and moderate thickness for the second. In this way, the ink and the inkstone will shine brightly. But often those who are quickly in "xia mo" producing thicker ink, while those who are well in "fa mo" producing ink slowly. So, inkstones with excellent "xia mo" and "fa mo" quality are extremely precious. Duan Yan and She Yan were selected as the first batch of national intangible cultural heritage in 2006, and Chengni Yan was selected as a representative project of national intangible cultural heritage in 2008.

====Influence and Value====

The "Four Treasures of the Study" are not only study items with profound practical value, but also works of art that integrate painting, calligraphy, sculpture, decoration and so on. In 2007, the Institute of the History of Science and Technology of the Chinese Academy of Sciences and the China Four Treasures of the Study Association applied the Four Treasures of the Study to UNESCO as world-class intangible cultural heritage. They come together to form a unique traditional calligraphy art with individual function and emphasis. So they are not only appreciated by national people but also win foreigner's heart. (Mu Xin, 2022, 04)

They also symbolize human quality. The sharp writing brush tip symbolizes the literati's alertness and observation of the world; The neat and regular nib symbolize a gentleman's strict self-disciple and grand aspiration; The round and solid brush symbolizes people's loyalty and honesty. Ink embodies fine talent and quality, keeps silent exterior but has interior judgement, and influences people silently, which are all the reflection of the integrity of gentlemen. The square and flexible paper not only represents words and paintings, but also spreads aspirations and achievements, which just like the great land that embraces and develops everything. This is a praise for the paper's virtues of being flexible, implicit and explicit. And ink stone with excellent texture, lasting reputation reflects the cultural tradition of the harmony between man and nature, and therefore is praised by the literati. (Dong Xiuxiu, Yang Jian, 2022, 24)

The literati not only collect the Four Treasures of the Study, but also pass them down to their descendants. This is not only a way to inherit the family's cultural beliefs, but also highlights their reverence for culture. After all, "the rulers understand the role of culture in maintaining national stability, and the common people realize that culture can bring prosperity to their families"，"Passing down writing tools to the family is, in essence, passing down culture to the family"。 Even in some areas, the study tools such as brush, ink, paper and inkstone are used as dowry for daughters. (Huang Peng, 2013)

Writing brush, ink, paper, and ink stone are not only cultural symbols and artistic carriers in contemporary times, but also continue to convey the wisdom and aesthetics of Chinese civilization through education, innovation, and the reconstruction of lifestyles, becoming an important support for the spiritual world of modern people. They not only impart calligraphy skills, but also cultivate aesthetic character and a sense of cultural identity. At the same time, traditional writing activities promote intergenerational communication and cultural transmission, allowing ancient art to flourish in modern society.

===Terms and Expressions===

The Four Treasures of Study 文房四宝
Hu writing brush 湖笔
Hui ink stick 徽墨
Xuan paper 宣纸
Tao inkstone 洮砚
Duan inkstone 端砚
She inkstone 歙砚
Chengni inkstone 澄泥砚
turpentine smoke 松烟
China wood oil smoke 桐油烟
the process that ink blocks are ground into ink in a fast speed 下墨
the process that ink fuse in the water fast and form stable structure 发墨
ink mold 墨模

===Reference===
1. Mu Xin 木心.(2022) 文房四宝:挥毫游走处，沁满那笔墨人间 [The Four Treasures of the Study: With a brush and brush, one can immerse oneself in the world of calligraphy and painting]. 中国制笔 Chinese writing brush mading,(04)41-45.

2. Yi Dou 伊兜.(2022) 说说文房四宝 [On the Four Treasures of the Study]. 新少年 New Youth,(05):4-7.

3. Wang Jianfei, He Chunlian 王剑飞,何春莲.(2024) 论中国墨在印刷出版史上的精神标识价值 [On the Spiritual Significance of China Ink in the History of Printing and Publishing].
印刷文化(中英文) Printing Culture (Chinese and English),(03):53-65.

4. Dong Xiuxiu, Yang Jian 董秀秀,杨健.(2022) 唐宋文学中文房四宝的文化意蕴及社会风貌 [The Cultural Implications and Social Landscape of the Four Treasures of the Study in Tang and Song Literature]. 滁州学院学报 Journal of Chuzhou University,24(03):46-50.

5. Huang Peng 黄鹏．(2013) 书斋的瑰宝：笔墨纸砚［The Treasures of the Study: Brush, Ink, Paper, and Inkstone］．北京：文津出版社 Beijing: Wenjin Publishing House，p22．

===Questions===
1.When does the name of the Four Treasures of the Study appear?

2.How many kinds of writing brush?

3.Who invited the writing brushes?

4.What are the two procedures of grinding ink?

5.How many kinds of Hui ink?

6.Which are the four famous inkstones?

===Answers===
1.Northern and Southern Dynasties.

2.Three.

3.Meng Tian.

4.Fa mo and xia mo.

5.There are two kinds.

6.Tao inkstone, Duan inkstone, She inkstone, Chengni inkstone.

==期末论文==

===笔墨纸砚===

1.文房四宝概述

“文房”之名，起于中国历史上南北朝时期，专指文人书房而言。笔、墨、纸、砚合称“文房四宝”，是中国独有的书法绘画工具。中国古代文人基本上都是或能书，或能画，或既能书又能画的，因此它们在古代文人的创作过程中发挥着至关重要的作用。文房用具除四宝之外，还有笔筒，笔架，笔洗，印章，印泥，镇纸等等必备用品。文房四宝历史悠久，文化底蕴深厚，与人们的日常生活及社会生活息息相关，是中国文化的代表。其最著名的产地是安徽宣城。宣城自古是江南名郡，是宣纸、宣笔、徽墨、宣砚的原产地，2004年被中国文房四宝协会授予“中国文房四宝之乡”称号。

2.文房四宝的起源与发展

2.1 笔
中国的书写用笔起源很早。根据未经刀刻过的甲骨文字判断，夏商时期就已经有原始的笔了。如果再从新石器时期彩陶上面的花纹图案来看，笔的产生还可以追溯到五千多年以前。到春秋战国时期，各国都已经制作和使用书写用笔了。那时笔的名称繁多：吴国叫“不律”，燕国叫“弗”，楚国叫“幸”，秦国叫“笔”。（木心.2022,04）

秦始皇统一全国以后，“笔”就成了定名，一直沿用至今。传说，现在所用的毛笔是由战国时期的秦国大将蒙恬发明的。毛笔的笔头是用兽毛做的，笔管用竹子等制成，它是传统的书写工具，后来又慢慢成为绘画工具。笔亦称毫，有软毫、硬毫和兼毫。软毫主要用山羊毛所制，柔软圆润，弹性较差；硬毫则用兔脊毛和黄鼠狼尾毛等制成，有弹性，吸水性较差；软毫和硬毫杂在一起，不软不硬、刚柔并济的就是兼毫了。湖笔被誉为“笔中之冠”。据说秦朝大将蒙恬曾居于湖州的善琏县改良毛笔，制成后人所说的“湖笔”。（伊兜,2022,05）

2.2 墨
在人工制墨发明之前，一般利用天然墨或半天然墨来做为书写材料。史前的彩陶纹饰、商周的甲骨文、竹木简牍等到处留下了原始用墨的遗痕。至汉代，终于开始出现了人工墨品。这种墨原料取自松烟，最初是用手捏合而成，后来用模制，墨质坚实。从制成烟料到最后完成出品，其中还要经过多道工序，并有一个模压成形的过程。墨模的雕刻就是一项重要的工序，也是一个艺术性的创造过程。墨之造型大致有方、长方、圆、椭圆、不规则形等。墨模一般是由正、背、上、下、左、右六块组成。内置墨剂，合紧锤砸成品。款识大多刻于侧面，以便于重复使用墨模时，容易更换。最著名的墨是徽墨，产地集中在古徽州地区，其生产可溯源至唐代末期。徽墨是以松烟、桐油烟、漆烟、胶为主要原料制作而成的一种主要供传统书法、绘画使用的特种颜料，古代制墨有八道工序，现代制墨有九道工序。以去掉松香的松树烧出的烟灰作为原料的松烟墨，适合用来书写；以动物或植物油等取烟制成的油烟墨，多用于绘制中国画。徽墨有落纸如漆，色泽黑润，经久不褪，纸笔不胶，香味浓郁，丰肌腻理等特点。2015年12月，徽墨成功获批国家地理标志保护产品称号。

2.3 纸
纸是中国古代四大发明之一。东汉时期，蔡伦改进造纸术，成功地制造了一种轻便又经济的纸张，并总结出一套较为完善的造纸方法。最著名的纸是宣纸，原产于唐代宣州所辖泾县，故名宣纸。宣纸因制作方法不同，可分为生宣、熟宣。未经特殊加工的生宣吸水能力极强，导致其上的墨水模糊，更适宜书法中的草书、行书等字体。然而，熟宣在生产过程中加入了钾明矾，导致质地更硬，吸水能力降低，这意味着它更容易撕裂。这一特点使得熟宣更适合工笔画而非写意画，更适宜小楷、篆隶等工整严谨的字体。（王剑飞,何春莲,2024,03）。

宣纸所用的材料与泾县的地理环境息息相关。该地区常见的榆树青檀的树皮被用作制作宣纸的主要材料。宣纸具有洁白稠密、质地绵韧、不蛀不腐、不易变色等特性，又耐老化、寿命长，所以有“纸中之王”、“纸寿千年”的美誉。宣纸有独特的渗透性能，一笔落成，墨韵清晰，属于中国独特的手工艺品。2006年，宣纸制作技艺成为首批国家级非物质文化遗产代表作。2009年9月30日，联合国教科文组织公布宣纸制作技艺为人类非物质文化遗产代表作。

2.4 砚
砚被古人誉为“文房四宝之首”。因为墨须加水发磨才能调用，而发墨之石刑则是砚。砚的起源甚早，大概在殷商初期就已见雏形。殷商时，青铜器十分发达，且陶石随手可得，砚就随着墨的使用而逐渐成形。隋唐时期，天下陶砚盛行，而其中又以虢州所产最负盛名，并且各地相继发现适合制砚的石料，开始了以石为主的砚台制作。最著名的是四大名砚，即洮砚、端砚、歙砚、澄泥砚，采用甘肃脂洮的洮河石、广东端州的端石、安徽歙县的歙石、山西新绛的澄泥石制作而成。它们的普遍特点是质细地腻、润泽净纯、晶莹平滑、纹理色秀、易发墨而不吸水。墨锭在砚石上研磨构成了独特的艺术过程，被称为“下墨”与“发墨”。下墨讲求快慢得宜，发墨讲究粗细适中。这样，墨色才能如油般光泽，砚中生光发艳。但往往下墨快的发墨粗，发墨好的下墨慢。所以，下墨发墨均佳的砚极其珍贵。端砚和歙砚于2006年入选第一批国家级非物质文化遗产名录，澄泥砚于2008年入选国家级非物质文化遗产代表项目目录。

3.影响和价值

“文房四宝”不仅是具有极强的实用价值的文具用品，也是融绘画、书法、雕刻、装饰等为一体的艺术品。在2007年，中国科学院科技史所、中国文房四宝协会，向联合国教科文组织申报笔墨纸砚为世界级“非物质文化遗产”。笔、墨、纸、砚，各有各的用途，各有各的讲究，合起来是整个一套，再写出的文字，综合成为独特的传统书法艺术。它不但为中国自我欣赏，而且深得世界各国人们的瞩目与珍爱。（木心，2022,04）

文房四宝同样也是品德的象征。毛笔笔尖锐利，象征着文人要保持敏锐，善意观察万物；笔头整齐均匀，象征君子严于律己，立志高远；笔毫圆实，象征为人忠厚老实；墨含章蕴藻，知白守黑，润万物无声，便是一种君子风骨的体现。纸方正柔韧，承载文字书画，流传志向功勋，犹如包揽万物的大地，厚德载物。这是对纸能舒能卷，能隐能显的品德的赞扬。至于砚，玉德金声，流芳万世，体现出天人合一的文化传统，因而受到文人的歌颂。（董秀秀,杨健,2022,24）

文人不仅收藏文房四宝，甚至将其传给子孙后代，这不仅是传承家族文化信仰，更凸显对文化的崇敬，因为“统治者知道文化对于安邦之国的作用，老百姓明白文化可以使家族发达”，“以书具传家，就是以文化传家”。甚至在一些地区将笔墨纸砚等文房用具作为女儿的嫁妆。（黄鹏，2013）

笔墨纸砚在当代不仅是文化符号与艺术载体，更通过教育、创新和生活方式的重构，持续传递着中华文明的智慧与审美，成为现代人精神世界的重要支撑。它们不仅传授书法技艺，更培养了审美品格与文明认同感。同时传统书写活动促进了代际交流与文化传递，让古老艺术在现代社会绽放活力。

User:Kong Xiangya

2025-12-21T13:34:31Z

Kong Xiangya:

I am Kong Xiangya, a postgraduate of Hunan Normal University. I major in English translation and I will study for three years in this university. I come from Anhui province and I start my university life in Qingdao city, Shandong province. I have learned several courses about translation and I really enjoy the courses and life here in Hunan province.

==Final Exam Paper==

===The Four Treasures of the Study===

====Brief Introduction of the Four Treasures of the Study====

The name of "study" can be dated back to the Northern and Southern Dynasties of China, particularly referring to the scholar's study. Writing brush, ink, paper and ink stone comprise of "The Four Treasures of the Study", which are unique tools for calligraphy and painting only in China. Most ancient Chinese scholars are proficient in calligraphy, painting or both, so it has played a crucial role in their creation. In addition to these four major treasures, there are still pertinent study tools, including brush pot, brush holder, brush washer, seal, and paperweight and the like. It closely connects with people's daily and social life, enjoys long development history and deep cultural deposit, and embodies the Chinese culture. Its most famous place of origin is Xuancheng city, Anhui province. Xuancheng has been a famous city in Jiangnan area since ancient times, which is the birthplace of Xuan paper, Xuan writing brush, Hui ink, and Xuan inkstone. In 2004, it was awarded the title of "Hometown of China's Four Treasures of the Study" by the China Association of Four Treasures of the Study.

====Origin and Development of the Four Treasures of the Study====

=====Writing Brush=====

The origin of Chinese writing brush is quite early. Judging from the uncut oracle bone script, primitive writing brush might appeared in Xia and Shang Dynasties. And judegd from the pattern of painted pottery from the Neolithic Period, its appearance can even date back 5000 years early. In the Spring and Autumn and the Warring States period, people of every countries started to produce and apply writing brush. And it had different names："bulv" in Wu State, "fu" in Yan State, "xing" in Chu State, and "bi" in Qin State. (Mu Xin, 2022, 04)

After Emperor Qin Shi Huang unified the whole country, the name "bi" became the general name and has been used until now. Legend had it that the brush used today was invented by Meng Tian, a general of the Qin state during the Warring States period. The tip of the writing brush is made of animal fur and the tube is made of bamboo. It is a traditional writing tool and gradually turns into painting tool. Writing brush is also called hao, which can be divided into three types: soft hao, hard hao and mixed hao. The soft hao is made of goat fur, soft and rounded with poor elasticity. The hard hao is made of rabbit spine fur and weasel tail fur, which is elastic but has poor water absorption. And mixed hao combines the soft and hard hao, achieving a balance of suppleness and firmness. And Hu writing brush is regarded as "the crown of all writing brushes". Legend has it that Meng Tian, a renowned general of the Qin State, once lived in Shanlian County, Huzhou, where he refined the brush-making techniques. His creation became known as the "Huzhou writing brush" in later generations. (Yi Dou, 2022, 05)

=====Ink=====

Natural ink or nearly natural ink were the main pigment for writing before the invention of man-made ink. The trace of primitive ink can be found in many items, like prehistoric painted pottery patterns, oracle bone inscriptions from the Shang and Zhou dynasties, bamboo and wooden slips. And the Han dynasty witnessed the birth of man-made ink. This ink, with high quality, is taken from turpentine smoke and was initially kneaded by hand and later made in mold. It involved several procedures in the whole production process, especially a molding process. Carving a mold is a crucial step and also an artistic and creative process. The shapes of ink generally include square, rectangular, circular, elliptical, irregular. And the ink mold usually includes six facets: front, back, top, bottom, left and right. And the following steps are putting the refined ink into ink mold, beating the mold to compact it and finally producing a regular shape and tight texture ink. The inscription is mostly engraved on the side for easy replacement when reusing the ink mold.

The most famous ink is Hui ink and is mainly manufactured in ancient Huizhou area, and the production history can date back to Tang dynasty. Hui ink is a special pigment mainly used for traditional calligraphy and painting, made from turpentine smoke, China wood oil smoke, lacquer smoke, and glue as the main raw materials. There are eight processes in ancient ink making, and nine processes in modern ink making. The pine soot ink, which is made from the ash of pine trees that have been burned to remove the rosin, is suitable for writing; The ink made from the smoke of animal or plant oil is mostly used in Chinese painting. When writing in the paper, the ink looks like paint. Besides, the black ink can remain unfading for long time. It is also featured by rich fragrance and smooth texture. Hui ink was successfully granted the title of national geographical indication protection products in December 2015.

=====Paper=====

Paper is one of the four great inventions in ancient China. In the Eastern Han dynasty, Cailun refined the papermaking craft and successfully made both light and cheap paper, and he summarized a relatively complete set of papermaking methods. The most noted paper was Xuan paper initially made in Jing county, Xuanzhou in the Tang dynasty, so it was named Xuan paper. It can be divided into raw and cooked Xuan paper due to different production methods. Unprocessed raw Xuan paper has extremely strong water absorption capacity, causing blurry ink, so it is more suitable for the cursive script and running script in calligraphy. However, the addition of potassium alum in the production process of cooked Xuan paper results in a harder texture and reduced water absorption, so it is more prone to tear. It is this character that makes it more suitable for traditional Chinese realistic painting rather than freehand brush work, and suitable for neat and rigorous small regular script, seal script and clerical script. (Wang Jianfei, He Chunlian, 2024, 03)

Besides, its raw material is closely connected with local geographical environment, and the major material is the bark from local common elm tree Qingtan. It is known as the "king of paper" and "paper with a thousand years of life" due to the characteristics of pure white color and dense texture, smooth and tough texture, not rotting and not easily fading, anti-aging and long lifespan. It also shows a special permeability that the ink marks remain clear when one finishes writing, so it becomes a unique handicraft of China. In 2006, the craft of making Xuan paper was listed as the first batch of national intangible cultural heritage representative work. On September 30, 2009, UNESCO announced the art of making Xuan paper as a representative work of the intangible cultural heritage of humanity.

=====Inkstone=====

The inkstone was revered by ancient people as "the foremost of the Four Treasures of the Study." Ink needs to be rubbed with water before using and the right tool involved in this processing is inkstone. The origin of inkstones dates back to early times, probably in the Yin and Shang dynasties. During that period, bronze ware was highly developed and pottery and stone were readily available. Inkstones gradually got popular with the application of ink. During the Sui and Tang dynasties, pottery inkstones were popular across the country, and the most famous was produced in Guozhou. Later, various stones that suitable for making inkstone were discovered in many areas, so stones had become the major source for inkstones. The most famous Chinese four inkstones are Tao inkstone, Duan inkstone, She inkstone and Chengni inkstone, which are made form Tao river stone, Duan stone, She stone and Chengni stone respectively. They both have delicate texture, show smoothness with pure luster, and are wasy to rub ink without absorbing water. There are two special procedures during rubing ink:xia mo and fa mo, which refer to the process that ink blocks are ground into ink in a fast speed, and the process that ink fuse in the water fast and form stable structure respectively. And the focus of the first process is moderate speed, and moderate thickness for the second. In this way, the ink and the inkstone will shine brightly. But often those who are quickly in "xia mo" producing thicker ink, while those who are well in "fa mo" producing ink slowly. So, inkstones with excellent "xia mo" and "fa mo" quality are extremely precious. Duan Yan and She Yan were selected as the first batch of national intangible cultural heritage in 2006, and Chengni Yan was selected as a representative project of national intangible cultural heritage in 2008.

====Influence and Value====

The "Four Treasures of the Study" are not only study items with profound practical value, but also works of art that integrate painting, calligraphy, sculpture, decoration and so on. In 2007, the Institute of the History of Science and Technology of the Chinese Academy of Sciences and the China Four Treasures of the Study Association applied the Four Treasures of the Study to UNESCO as world-class intangible cultural heritage. They come together to form a unique traditional calligraphy art with individual function and emphasis. So they are not only appreciated by national people but also win foreigner's heart. (Mu Xin, 2022, 04)

They also symbolize human quality. The sharp writing brush tip symbolizes the literati's alertness and observation of the world; The neat and regular nib symbolize a gentleman's strict self-disciple and grand aspiration; The round and solid brush symbolizes people's loyalty and honesty. Ink embodies fine talent and quality, keeps silent exterior but has interior judgement, and influences people silently, which are all the reflection of the integrity of gentlemen. The square and flexible paper not only represents words and paintings, but also spreads aspirations and achievements, which just like the great land that embraces and develops everything. This is a praise for the paper's virtues of being flexible, implicit and explicit. And ink stone with excellent texture, lasting reputation reflects the cultural tradition of the harmony between man and nature, and therefore is praised by the literati. (Dong Xiuxiu, Yang Jian, 2022, 24)

The literati not only collect the Four Treasures of the Study, but also pass them down to their descendants. This is not only a way to inherit the family's cultural beliefs, but also highlights their reverence for culture. After all, "the rulers understand the role of culture in maintaining national stability, and the common people realize that culture can bring prosperity to their families"，"Passing down writing tools to the family is, in essence, passing down culture to the family"。 Even in some areas, the study tools such as brush, ink, paper and inkstone are used as dowry for daughters. (Huang Peng, 2013)

Writing brush, ink, paper, and ink stone are not only cultural symbols and artistic carriers in contemporary times, but also continue to convey the wisdom and aesthetics of Chinese civilization through education, innovation, and the reconstruction of lifestyles, becoming an important support for the spiritual world of modern people. They not only impart calligraphy skills, but also cultivate aesthetic character and a sense of cultural identity. At the same time, traditional writing activities promote intergenerational communication and cultural transmission, allowing ancient art to flourish in modern society.

===Terms and Expressions===

The Four Treasures of Study 文房四宝
Hu writing brush 湖笔
Hui ink stick 徽墨
Xuan paper 宣纸
Tao inkstone 洮砚
Duan inkstone 端砚
She inkstone 歙砚
Chengni inkstone 澄泥砚
turpentine smoke 松烟
China wood oil smoke 桐油烟
the process that ink blocks are ground into ink in a fast speed 下墨
the process that ink fuse in the water fast and form stable structure 发墨
ink mold 墨模

===Reference===
1. Mu Xin 木心.(2022) 文房四宝:挥毫游走处，沁满那笔墨人间 [The Four Treasures of the Study: With a brush and brush, one can immerse oneself in the world of calligraphy and painting]. 中国制笔 Chinese writing brush mading,(04)41-45.

2. Yi Dou 伊兜.(2022) 说说文房四宝 [On the Four Treasures of the Study]. 新少年 New Youth,(05):4-7.

3. Wang Jianfei, He Chunlian 王剑飞,何春莲.(2024) 论中国墨在印刷出版史上的精神标识价值 [On the Spiritual Significance of China Ink in the History of Printing and Publishing].
印刷文化(中英文) Printing Culture (Chinese and English),(03):53-65.

4. Dong Xiuxiu, Yang Jian 董秀秀,杨健.(2022) 唐宋文学中文房四宝的文化意蕴及社会风貌 [The Cultural Implications and Social Landscape of the Four Treasures of the Study in Tang and Song Literature]. 滁州学院学报 Journal of Chuzhou University,24(03):46-50.

5. Huang Peng 黄鹏．(2013) 书斋的瑰宝：笔墨纸砚［The Treasures of the Study: Brush, Ink, Paper, and Inkstone］．北京：文津出版社 Beijing: Wenjin Publishing House，p22．

===Questions===
1.When does the name of the Four Treasures of the Study appear?

2.How many kinds of writing brush?

3.Who invited the writing brushes?

4.What are the two procedures of grinding ink?

5.How many kinds of Hui ink?

6.Which are the four famous inkstones?

===Answers===
1.Northern and Southern Dynasties.

2.Three.

3.Meng Tian.

4.Fa mo and xia mo.

5.There are two kinds.

6.Tao inkstone, Duan inkstone, She inkstone, Chengni inkstone.

==期末论文==

===笔墨纸砚===

1.文房四宝概述
“文房”之名，起于中国历史上南北朝时期，专指文人书房而言。笔、墨、纸、砚合称“文房四宝”，是中国独有的书法绘画工具。中国古代文人基本上都是或能书，或能画，或既能书又能画的，因此它们在古代文人的创作过程中发挥着至关重要的作用。文房用具除四宝之外，还有笔筒，笔架，笔洗，印章，印泥，镇纸等等必备用品。文房四宝历史悠久，文化底蕴深厚，与人们的日常生活及社会生活息息相关，是中国文化的代表。其最著名的产地是安徽宣城。宣城自古是江南名郡，是宣纸、宣笔、徽墨、宣砚的原产地，2004年被中国文房四宝协会授予“中国文房四宝之乡”称号。

2.文房四宝的起源与发展

2.1 笔
中国的书写用笔起源很早。根据未经刀刻过的甲骨文字判断，夏商时期就已经有原始的笔了。如果再从新石器时期彩陶上面的花纹图案来看，笔的产生还可以追溯到五千多年以前。到春秋战国时期，各国都已经制作和使用书写用笔了。那时笔的名称繁多：吴国叫“不律”，燕国叫“弗”，楚国叫“幸”，秦国叫“笔”。（木心.2022,04）

秦始皇统一全国以后，“笔”就成了定名，一直沿用至今。传说，现在所用的毛笔是由战国时期的秦国大将蒙恬发明的。毛笔的笔头是用兽毛做的，笔管用竹子等制成，它是传统的书写工具，后来又慢慢成为绘画工具。笔亦称毫，有软毫、硬毫和兼毫。软毫主要用山羊毛所制，柔软圆润，弹性较差；硬毫则用兔脊毛和黄鼠狼尾毛等制成，有弹性，吸水性较差；软毫和硬毫杂在一起，不软不硬、刚柔并济的就是兼毫了。湖笔被誉为“笔中之冠”。据说秦朝大将蒙恬曾居于湖州的善琏县改良毛笔，制成后人所说的“湖笔”。（伊兜,2022,05）

2.2 墨
在人工制墨发明之前，一般利用天然墨或半天然墨来做为书写材料。史前的彩陶纹饰、商周的甲骨文、竹木简牍等到处留下了原始用墨的遗痕。至汉代，终于开始出现了人工墨品。这种墨原料取自松烟，最初是用手捏合而成，后来用模制，墨质坚实。从制成烟料到最后完成出品，其中还要经过多道工序，并有一个模压成形的过程。墨模的雕刻就是一项重要的工序，也是一个艺术性的创造过程。墨之造型大致有方、长方、圆、椭圆、不规则形等。墨模一般是由正、背、上、下、左、右六块组成。内置墨剂，合紧锤砸成品。款识大多刻于侧面，以便于重复使用墨模时，容易更换。最著名的墨是徽墨，产地集中在古徽州地区，其生产可溯源至唐代末期。徽墨是以松烟、桐油烟、漆烟、胶为主要原料制作而成的一种主要供传统书法、绘画使用的特种颜料，古代制墨有八道工序，现代制墨有九道工序。以去掉松香的松树烧出的烟灰作为原料的松烟墨，适合用来书写；以动物或植物油等取烟制成的油烟墨，多用于绘制中国画。徽墨有落纸如漆，色泽黑润，经久不褪，纸笔不胶，香味浓郁，丰肌腻理等特点。2015年12月，徽墨成功获批国家地理标志保护产品称号。

2.3 纸
纸是中国古代四大发明之一。东汉时期，蔡伦改进造纸术，成功地制造了一种轻便又经济的纸张，并总结出一套较为完善的造纸方法。最著名的纸是宣纸，原产于唐代宣州所辖泾县，故名宣纸。宣纸因制作方法不同，可分为生宣、熟宣。未经特殊加工的生宣吸水能力极强，导致其上的墨水模糊，更适宜书法中的草书、行书等字体。然而，熟宣在生产过程中加入了钾明矾，导致质地更硬，吸水能力降低，这意味着它更容易撕裂。这一特点使得熟宣更适合工笔画而非写意画，更适宜小楷、篆隶等工整严谨的字体。（王剑飞,何春莲,2024,03）。

宣纸所用的材料与泾县的地理环境息息相关。该地区常见的榆树青檀的树皮被用作制作宣纸的主要材料。宣纸具有洁白稠密、质地绵韧、不蛀不腐、不易变色等特性，又耐老化、寿命长，所以有“纸中之王”、“纸寿千年”的美誉。宣纸有独特的渗透性能，一笔落成，墨韵清晰，属于中国独特的手工艺品。2006年，宣纸制作技艺成为首批国家级非物质文化遗产代表作。2009年9月30日，联合国教科文组织公布宣纸制作技艺为人类非物质文化遗产代表作。

2.4 砚
砚被古人誉为“文房四宝之首”。因为墨须加水发磨才能调用，而发墨之石刑则是砚。砚的起源甚早，大概在殷商初期就已见雏形。殷商时，青铜器十分发达，且陶石随手可得，砚就随着墨的使用而逐渐成形。隋唐时期，天下陶砚盛行，而其中又以虢州所产最负盛名，并且各地相继发现适合制砚的石料，开始了以石为主的砚台制作。最著名的是四大名砚，即洮砚、端砚、歙砚、澄泥砚，采用甘肃脂洮的洮河石、广东端州的端石、安徽歙县的歙石、山西新绛的澄泥石制作而成。它们的普遍特点是质细地腻、润泽净纯、晶莹平滑、纹理色秀、易发墨而不吸水。墨锭在砚石上研磨构成了独特的艺术过程，被称为“下墨”与“发墨”。下墨讲求快慢得宜，发墨讲究粗细适中。这样，墨色才能如油般光泽，砚中生光发艳。但往往下墨快的发墨粗，发墨好的下墨慢。所以，下墨发墨均佳的砚极其珍贵。端砚和歙砚于2006年入选第一批国家级非物质文化遗产名录，澄泥砚于2008年入选国家级非物质文化遗产代表项目目录。

3.影响和价值
“文房四宝”不仅是具有极强的实用价值的文具用品，也是融绘画、书法、雕刻、装饰等为一体的艺术品。在2007年，中国科学院科技史所、中国文房四宝协会，向联合国教科文组织申报笔墨纸砚为世界级“非物质文化遗产”。笔、墨、纸、砚，各有各的用途，各有各的讲究，合起来是整个一套，再写出的文字，综合成为独特的传统书法艺术。它不但为中国自我欣赏，而且深得世界各国人们的瞩目与珍爱。（木心，2022,04）

文房四宝同样也是品德的象征。毛笔笔尖锐利，象征着文人要保持敏锐，善意观察万物；笔头整齐均匀，象征君子严于律己，立志高远；笔毫圆实，象征为人忠厚老实；墨含章蕴藻，知白守黑，润万物无声，便是一种君子风骨的体现。纸方正柔韧，承载文字书画，流传志向功勋，犹如包揽万物的大地，厚德载物。这是对纸能舒能卷，能隐能显的品德的赞扬。至于砚，玉德金声，流芳万世，体现出天人合一的文化传统，因而受到文人的歌颂。（董秀秀,杨健,2022,24）

文人不仅收藏文房四宝，甚至将其传给子孙后代，这不仅是传承家族文化信仰，更凸显对文化的崇敬，因为“统治者知道文化对于安邦之国的作用，老百姓明白文化可以使家族发达”，“以书具传家，就是以文化传家”。甚至在一些地区将笔墨纸砚等文房用具作为女儿的嫁妆。（黄鹏，2013）

笔墨纸砚在当代不仅是文化符号与艺术载体，更通过教育、创新和生活方式的重构，持续传递着中华文明的智慧与审美，成为现代人精神世界的重要支撑。它们不仅传授书法技艺，更培养了审美品格与文明认同感。同时传统书写活动促进了代际交流与文化传递，让古老艺术在现代社会绽放活力。

File:Hui culture 2025.pptx

2025-11-12T12:53:56Z

Kong Xiangya:

Chinese Language and Culture - 2025

2025-11-12T12:46:31Z

Kong Xiangya: /* 2025-11-06 (周四) - 共 9 个演讲 */

Contents from spring (will be updated for fall):

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

=Overview about this semester's student presentations=

== 📅 Presentation Schedule ==

=== 2025-10-16 (周四) - Completed ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Luó Yǔyān || 罗语嫣 || 202570081748 || 275. Zhuazhou [[Media:Zhuazhou_2025.pptx]]
|-
| 2 || Qū Yuèníng || 曲悦宁 || 202570081750 || 267. Mazu culture
|-
| 3 || Lǐ Zhuóshàn || 李卓善 || 202570081692 || 282. Black Myth: Wukong [[Media:Black Myth: Wukong_2025.pptx]]
|-
| 4 || Zhāng Mǐnjié || 张敏杰 || 202570081730 || 153. Traditional Cuisine: Eight Major Cuisines of China [[Media:Eight Major Cuisines of China_2025.pptx]]
|-
| 5 || Qín Míngwén || 秦铭雯 || 202570081704 || 19. Twelve Animals of the Chinese Zodiac [[Media:Twelve Animals of the Chinese Zodiac_2025.pptx]]
|-
| 6 || Zēng Lín || 曾琳 || 202570081670 || 27. Chinese Writing: Calligraphy [[Media: calligraphy 2025.pptx]]
|-
| 7 || Dèng Xuě || 邓雪 || 202570081742 || Panda
|-
| 8 || Guō Xiǎopèi || 郭晓佩 || 202570081678 || 25. Body movements performance: traditional Chinese dance[[Media:Body movements performance: traditional Chinese dance]]
|-
| 9 || Zhāng Xiāorán || 张潇然 || 202570081759 || Chinese Ancient Weapons
|}

=== 2025-10-23 (周四) - Completed ===

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

=== 2025-10-24 (周五) - Completed ===

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

=== 2025-10-30 (周四) - Completed ===

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

=== 2025-11-06 (周四) - 共 9 个演讲 ===

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

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

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

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Huáng Yīlín || 黄伊琳 || 202570081684 || Chinese incense culture
|-
| 2 || Jiǎng Kèyǔ || 蒋克雨 || 202570081686 || 221. Zhongyuan festival [[Media:Zhongyuan_Festival_2025.pptx]]
|-
| 3 || Kǒng Xiángyǎ || 孔祥雅 || 202570081687 || 266. Hui culture [[Media:Hui_culture_2025.pptx]]
|-
| 4 || Lǐ Mèngxiá || 李孟霞 || 202570081688 || 243. Chinese names
|-
| 5 || Lǐ Pàn || 李盼 || 202570081689 || 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China
|-
| 6 || Wáng Zǐxīn || 王紫新 || 202570081710 || 138.Round Table Culture [[Media:Round_Table_Culture_2025.pptx]]
|-
| 7 || Liú Dān || 刘丹 || 202570081694 || 232. Sun Wukong (孙悟空) [[Media:Sun_Wukong_2025.pptx]]
|-
| 8 || Liú Xīn || 刘欣 || 202570081697 || 170. Paper cutting
|-
| 9 || Liú Yuán || 刘缘 || 202570081698 || Language: Hakka Dialect 1845
|}

=== 2025-11-07 (周五) - 共 10 个演讲 ===

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

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Pān Liànyàn || 潘恋艳 || 202570081702 || 283. Guangdong Morning Tea Culture [[Media:Guangdong morning tea.pptx]]
|-
| 2 || Péng Xiāngrú || 彭湘茹 || 202570081703 || 5. Aesthetic ideals and social customs: Crying Marriage of Tujia [[Media:Crying Marriage of Tujia.pptx]]
|-
| 3 || Qū Yìyǐng || 曲奕颖 || 202570081705 || 216. The Story of Ming Lan 知否知否应是绿肥红瘦
|-
| 4 || Rèn Yàrú || 任亚茹 || 202570081706 || 63. Mogao Grottoes
|-
| 5 || Rèn Yíngyíng || 任盈盈 || 202570081707 || 263. Shaolin Temple
|-
| 6 || Shū Yǔlù || 舒雨璐 || 202570081708 || 133. Silk and porcelain: Celadon and Celadon Song《青花瓷》
|-
| 7 || Líng Xiāoyáo || 凌逍遥 || 202570081693 || 70. Chinese folk argot
|-
| 8 || Wèi Fāngxīn || 魏方鑫 || 202570081711 || 152. Traditional Cuisine: Chopsticks [[Media:Chopsticks_2025.pptx]]
|-
| 9 || Wú Hóngpíng || 吴洪萍 || 202570081713 || 31. Chinese clothing [[Media:Chinese Clothing_2025.pptx]]
|-
| 10 || Xiàng Xīnlěi || 向馨磊 || 202570081714 || 179. Traditional and Modern Views on Marriage and Love
|}

=== 2025-11-13 (周四) - 共 10 个演讲 ===

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

=== 2025-11-20 (周四) - 共 10 个演讲 ===

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

=== 2025-11-27 (周四) - 共 10 个演讲 ===

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

=== 2025-12-04 (周四) - 共 10 个演讲 ===

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

=== 2025-12-11 (周四) - 共 9 个演讲 ===

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

=== 2025-12-18 (周四) - 共 8 个演讲 ===

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

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

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

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

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

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

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

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

[[Media:02_Chin_Lang_Cult_2025.pptx]]

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

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

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

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

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

Was the presentation appropriate to the topic?

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

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

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

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

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

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

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

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

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

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

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203 (Zhang Mai)

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246 (Tang Yan)

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339

38. Education: Ancient Chinese Education 350

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

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462（Zhao Qi）

51. Games: Kite Flying 468

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

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

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

56. Garden Culture: Qingming Riverside Landscspe Garden 526

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

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

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

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

63. Landscapes and Tourism: Mogao Grottoes 593

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

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

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

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

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

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

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

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

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

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

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

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

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

132. Silk and porcelain: Porcelain 1277

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

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

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

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

137. Social: The Long-life Lock 1308

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

139. Stage entertainment: Crosstalk 相声 1325

140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348

143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

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

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

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

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

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

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

157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

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

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573 Lv Jiahao

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593 （Chen Sisi)

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

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

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712（Xiao Yawen）

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

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

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752 （Chu Hanqi）

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

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

192. National Belief: the Chinese Dream 1818

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

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

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

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

201. The culture of Grass cloth 夏布 1845

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

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

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

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845(Lu Wei)

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

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

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

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

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

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

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

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

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

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

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

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

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

221. Zhongyuan festival 1845 （Ou Huang）

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

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

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

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

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

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

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

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

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

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

232. Sun Wukong（孙悟空） 1845 （Li Yuan2）

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

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

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

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

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

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

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

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

241. Abacus (中国珠算） 1845

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

243. Chinese name（中国姓名文化） 1845

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

245. Douzhi (豆汁) 1845(Li Linyao)

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

247. Carved lacquer（雕漆） 1845 （Liu Qi）

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

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

250. Language: Hakka Dialect（客家话） 1845

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

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

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

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

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

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

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

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

264. Single bamboo drifting（独竹漂） 1845

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

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

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

268. Table Manners 1845（Luo Yan）

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

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

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

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

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

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）

277. Mirror (镜子) 1845 (Cheng Sixiang)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tea Latte Art (Xiang Jianning)

Topic 7

Topic 8

Topic 9

Topic 10

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

==Student grades: 平时成绩/签到==

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

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

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

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

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

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

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

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

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

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

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

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

⸻

English Translation:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[[Media:ChaBaiXi.pptx]]

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

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

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

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

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

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

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

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

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