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Liu Kangyi: Created page with "==Final Exam Paper== ===The Seven Sages of the Bamboo Grove=== ====Introduction==== During the period between the Wei and Jin Dynasties, the society was in turmoil and unre..."

==Final Exam Paper==

===The Seven Sages of the Bamboo Grove===

====Introduction====

During the period between the Wei and Jin Dynasties, the society was in turmoil and unrest, and the authority of traditional Confucianism suffered a fierce impact. Against such a historical backdrop, the Seven Sages of the Bamboo Grove, represented by Ji Kang, Ruan Ji, Shan Tao, Xiang Xiu, Liu Ling, Wang Rong and Ruan Xian, came into being. They often gathered under the bamboo groves in Shanyang, drinking wine, singing freely, discoursing on metaphysics and Daoism. Through their unique lifestyle and spiritual pursuit, they resisted the constraints of secular ethics and rituals, embodying distinct individuality and an independent spirit of personality. The Seven Sages of the Bamboo Grove were not only an important carrier of ideology and culture in the Wei and Jin Dynasties, but also the Wei-Jin Integrity embodied in them exerted a profound influence on later generations. This article will introduce each of the Seven Sages of the Bamboo Grove one by one.

====Ji Kang====

Ji Kang (224-263), courtesy name Shuye, was born in Zhi County of Qiao State (present-day Suixi County, Anhui Province). He was a thinker, musician and litterateur of the Cao Wei regime during the Three Kingdoms Period, and the spiritual core of the Seven Sages of the Bamboo Grove. He was handsome in appearance and extraordinary in temperament. Ji Kang was intelligent since childhood and had an extensive knowledge.

Politically, though born into an official family, Ji Kang abhorred the intrigue and strife in the official circle and refused to collude with the Sima clan group. He had a marital relation with the imperial clan of Cao Wei, which made him an object of suspicion of the Sima clan all the more. He declined the summons of Sima Zhao, and even incurred the wrath of the powerful nobles for defending his friend Lü An. In the end, Ji Kang was put to death by Sima Zhao on the charge of "indulgent remarks that harmed the times and disrupted ethics". Before his execution, he played Guangling Folk Strains. As the music ended and the strings broke, his noble and unyielding demeanor has been passed down through the ages.

In the fields of literature and art, Ji Kang achieved remarkable accomplishments. His proses featured distinct viewpoints and rigorous logic, and Letter to A Break-up Letter to Shan Juyuan was one of his representative works. In the letter, he bitterly denounced Shan Tao for recommending him to take an official post, and clearly expressed his loathing for official career and pursuit of freedom. In terms of music, Ji Kang was proficient in temperament and wrote Music has neither grief nor joy. His performance of Guangling Folk Strains became a legend in the history of ancient Chinese music.

====Ruan Ji====

Ruan Ji (210-263), courtesy name Sizong, was born in Weishi of Chenliu State (present-day Weishi County, Henan Province). He was a litterateur and thinker of the Cao Wei regime during the Three Kingdoms Period. Living in the period of dynastic change from Wei to Jin, Ruan Ji witnessed the cruelty and hypocrisy of the Sima clan group, filled with contradictions and pain in his heart. Unwilling to collude with the evil forces yet powerless to resist openly, he chose a way of life of "drowning sorrows in wine to withdraw from the world".

Ruan Ji was an alcoholic, often drinking to drown his sorrows and avoid misfortunes. On the surface, such behavior of his seemed unrestrained and dissipated, but in fact, it was a silent resistance to the dark reality.

In literature, Ruan Ji attained great achievements in five-character poems. His magnum opus Poems of My Feelings, a collection of eighty-two poems, is an important work in the history of Chinese literature. Most of these poems implicitly expressed his dissatisfaction with current politics, his reflections on life and his pursuit of ideals by means of metaphor and symbolism, exerting a far-reaching influence on the poetry creation of later generations.

====Shan Tao====

Shan Tao (205-283), courtesy name Juyuan, was born in Huai County of Henei State (present-day Wuzhi County, Henan Province). Different from the unrestrained Ji Kang and Ruan Ji, Shan Tao was calm and pragmatic in character, endowed with political foresight and wisdom in handling affairs. Living in a troubled time, he not only adhered to his own moral bottom line, but also managed to preserve himself in the complicated political environment, and finally achieved certain accomplishments in his official career.

Few of Shan Tao's works have been handed down in the literary field, yet his thoughts and deeds still possessed epochal significance. He kept his original aspiration in the troubled times in his own way and practiced his ideals in his official career, making him a special member of the Seven Sages of the Bamboo Grove. His calm pragmatism and wisdom in dealing with affairs provided a valuable reference for later generations on how to balance ideals and reality in a complex environment.

====Xiang Xiu====

Xiang Xiu (c.227-272), courtesy name Ziqi, was born in Huai County of Henei State (present-day Wuzhi County, Henan Province). He was a thinker and litterateur from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period, and one of the Seven Sages of the Bamboo Grove. Xiang Xiu was gentle in character and erudite in knowledge, with profound attainments especially in the field of philosophy. He had the closest relationship with Ji Kang; they often forged iron and discussed Daoism together, forming a profound friendship.

Xiang Xiu's greatest academic contribution was annotating Zhuangzi. The book Zhuangzi was abstruse in language and hard to understand. Xiang Xiu's annotations not only systematically interpreted the thoughts of Zhuangzi, but also integrated his own insights, making the thoughts of Zhuangzi more accessible to understand, thus making an important contribution to the dissemination and development of Zhuangzi's ideology. Unfortunately, part of Xiang Xiu's Annotations to Zhuangzi has been lost, and the existing parts are mixed with Guo Xiang's annotations, which are difficult to distinguish completely.

In literature, Xiang Xiu's representative work Ode to Nostalgia for the Past was sincere in emotion and touching to tears. This fu was written when Xiang Xiu passed by the former residence of Ji Kang and Lü An after they were put to death. By recalling the past time of getting along with Ji Kang and Lü An, the fu expressed his deep longing and grief for his friends, and also implicitly voiced his dissatisfaction with the dark reality, becoming a classic work in the history of Chinese literature.

====Liu Ling====

Liu Ling (c.221-300), courtesy name Bolun, was born in Pei State (present-day Suzhou City, Anhui Province). He was a litterateur from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period. Among the Seven Sages of the Bamboo Grove, Liu Ling was famous for his alcoholism, and his unrestrained lifestyle and extreme love for wine became his most distinctive labels.

Liu Ling was an alcoholic to such an extent that he "could not be happy without wine". He often rode in a deer-drawn cart with a pot of wine, asking a servant to follow with a hoe on his shoulder, and said to the servant: "Bury me at once if I die." This seemingly absurd behavior was actually his contempt for secular ethics and rituals, as well as his ultimate pursuit of freedom. His drinking was not mere indulgence, but a way to resist reality.

He wrote Ode to the Virtue of Wine, which was a concentrated embodiment of his thoughts and personality. Liu Ling never held any important official posts in his life, and always faced the world with an aloof attitude. With wine as a medium, he integrated the pursuit of freedom and the resistance to the secular world into all aspects of his life, becoming a member of the Seven Sages of the Bamboo Grove with strong personality.

====Wang Rong====

Wang Rong (234-305), courtesy name Junchong, was born in Linyi of Langya State (present-day Linyi City, Shandong Province). He was a minister and litterateur from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period, and one of the Seven Sages of the Bamboo Grove. Wang Rong was famous for his intelligence since childhood and was a well-known child prodigy. A great many stories about his precocious wisdom were recorded in New Account of the Old Episodes, among which the allusion of "Wang Rong refusing to pick the plums by the road" was a household name.

Born into the noble Wang clan of Langya with a powerful family influence, Wang Rong had favorable conditions for his official career development. Compared with other members of the Seven Sages of the Bamboo Grove, Wang Rong was more precocious and insightful, well aware of the way to survive in troubled times. He had close contacts with Ji Kang, Ruan Ji and others in his early years, gathering with them in the bamboo groves. However, as he grew older and the political situation changed, he gradually devoted himself to the official career and rose steadily in the official circle. Renowned for his astuteness and competence in the official field, Wang Rong once held important official posts such as Minister of Personnel and Minister over the Masses, making certain contributions to the political stability of the Western Jin Dynasty.

Few of Wang Rong's literary works have been handed down, but as the youngest member of the Seven Sages of the Bamboo Grove, he witnessed the rise and fall of the whole group, and his life experience possessed important historical significance.

====Ruan Xian====

Ruan Xian (c.222-278), courtesy name Zhongrong, was born in Weishi of Chenliu State (present-day Weishi County, Henan Province). He was a litterateur and musician from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period. He was the nephew of Ruan Ji, and they were collectively known as "Senior Ruan and Junior Ruan". They shared many similarities in character and aspiration, both criticizing secular ethics and rituals and pursuing a free and unrestrained life.
Ruan Xian had an extraordinary talent and attainments in music, being a famous musician in ancient China. He was especially good at playing the pipa. According to legend, he improved the traditional pipa and created a new type of pipa with a rounder shape and a more beautiful tone. This kind of pipa was later named "Ruanxian" (shortened to Ruan), and became one of the traditional Chinese national musical instruments.

His main achievements were concentrated in the field of music. His exquisite understanding of temperament and improvement of musical instruments made an important contribution to the development of ancient Chinese music.

====Conclusion====

Although the Seven Sages of the Bamboo Grove lived in the same era and shared common spiritual pursuits, each of them had a different life trajectory and personality traits. Ji Kang was unyielding and steadfast, practicing his ideals with his life; Ruan Ji withdrew from the world by drinking wine, expressing his sorrow through poems; Shan Tao was calm and pragmatic, adhering to his original aspiration in his official career; Xiang Xiu integrated Confucianism and Daoism, inheriting thoughts through academic research; Liu Ling was unrestrained and dissipated, transcending the secular world with fine wine; Wang Rong was precocious and insightful, preserving himself in troubled times; Ruan Xian had a profound understanding of rhythm, interpreting freedom through music. They resisted the constraints of secular ethics and rituals in different ways, and jointly forged the spiritual core of the Wei-Jin Integrity.

The thoughts and deeds of the Seven Sages of the Bamboo Grove not only exerted an important influence at that time, but also became a benchmark for the spiritual pursuit of literati and poets in later generations. The spirit of freedom, independence and transcendence advocated by them has gone through thousands of years and still possesses strong vitality, providing an important enlightenment for us to understand and inherit traditional Chinese culture today.

===Terms and Expression===

the Seven Sages of the Bamboo Grove——竹林七贤

Wei-Jin Integrity——魏晋风骨头

discourse on metaphysics and Daoism——谈玄论道

secular ethics and rituals——世俗礼教

unrestrained and dissipated——放浪形骸

drown sorrows in wine to withdraw from the world——借酒避世

the Three Kingdoms Period——三国时期

the intrigue and strife——尔虞我诈

Guangling Folk Strains——《广陵散》

Music has neither grief nor joy——《声无哀乐论》

A Break-up Letter to Shan Juyuan——《与山巨源绝交书》

drinking to drown his sorrows——借酒消愁

avoid misfortunes by drinking——以酒避祸

five-character poems——五言诗

Poems of My Feelings——《咏怀诗》

Ode to Nostalgia for the Past——《思旧赋》

Ode to the Virtue of Wine——《酒德颂》

Annotations to Zhuangzi——《庄子注》

New Account of the Old Episodes—— 《世说新语》

Wang Rong refusing to pick the plums by the road——王戎不取道旁李

===Questions===

1. What were the core spiritual pursuits of the Seven Sages of the Bamboo Grove?

2. What was Xiang Xiu's core academic contribution?

3. As the spiritual core of the Seven Sages of the Bamboo Grove, what was the end of Ji Kang's life?

4. Ruanxian refers both to one of the Seven Sages of the Bamboo Grove and to a musical instrument. What is the origin of this musical instrument?

5. As core members of the Seven Sages of the Bamboo Grove, both Ruan Ji and Liu Ling were known for their alcoholism. What are the common spiritual cores behind their behaviors of drinking alcohol?

===Answers===

1. Their core spiritual pursuit was to resist the constraints of secular ethics and rituals, and to strive for freedom and an independent personality.

2. Xiang Xiu's core academic contribution was writing annotations for Zhuangzi: he systematically interpreted the thoughts in Zhuangzi, integrated his own viewpoints into the annotations, and promoted the dissemination of Zhuangzi's philosophy.

3. Because Ji Kang refused to collude with the Sima clan group and incurred the wrath of the powerful nobles by defending his friend, he was put to death by Sima Zhao. Before his execution, he calmly played the Guangling Folk Strains.

4. Ruan Xian was skilled at playing the pipa. He improved the traditional pipa and created a new type of pipa with a rounder shape and more melodious tone. To commemorate him, later generations named this musical instrument Ruanxian, which is shortened to Ruan.

5. The drinking of both men was not mere indulgence; in essence, through their unrestrained and dissipated lifestyle, they staged a silent resistance against the dark reality and hypocritical secular ethics of the Wei-Jin period, while pursuing spiritual freedom and transcendence.

===Reference===

[1]勉中.竹林七贤简论[J].中国文学研究,1998,(04):30-34.DOI:10.13399/j.cnki.zgwxyj.1998.04.006.

[2]顾农.略谈嵇康和以他为首的竹林七贤[J].书屋,2018,(08):52-55.

[3]刘洪浩.论《世说新语》中的竹林七贤[J].文学教育(上),2018,(06):24-26.DOI:10.16692/j.cnki.wxjys.2018.06.012.

[4]李璐璐,段佳薇.浅谈魏晋风骨——竹林七贤[J].今古文创,2020,(29):12-13.DOI:10.20024/j.cnki.cn42-1911/i.2020.29.005.

[5]董敏.竹林七贤及其隐逸文学研究[D].陕西师范大学,2019.DOI:10.27292/d.cnki.gsxfu.2019.001097.

[6]竹林七贤（中国魏晋时期七位名士）_百度百科

==期末论文==

===竹林七贤===

====引言====
魏晋之际，社会动荡不安，传统儒家思想的权威性受到猛烈冲击。在这样的时代背景下，以嵇康、阮籍、山涛、向秀、刘伶、王戎、阮咸为代表的“竹林七贤”应运而生。他们常聚于山阳竹林之下，饮酒纵歌，谈玄论道，以独特的生活方式和精神追求，反抗世俗礼教的束缚，彰显出鲜明的个性色彩与独立的人格精神。“竹林七贤”不仅是魏晋时期思想文化的重要载体，其身上所体现的“魏晋风骨”更对后世产生了深远影响。本文将对竹林七贤逐一进行介绍。

====嵇康====
嵇康（224年－263年），字叔夜，谯国铚县（今安徽省濉溪县）人，三国时期曹魏思想家、音乐家、文学家，更是竹林七贤的精神核心。他容貌俊美，气质不凡。嵇康自幼聪慧，博览群书。

在政治上，嵇康出身官宦之家，却厌恶官场的尔虞我诈，拒绝与司马氏集团同流合污。他与曹魏宗室有姻亲关系，这更让他成为司马氏猜忌的对象。他拒绝司马昭的征召，甚至为友人吕安辩护而触怒权贵。最终，嵇康被司马昭以“言论放荡，害时乱教”的罪名处死。临刑前，他从容弹奏《广陵散》，曲终弦断，其傲骨风范流传千古。

在文学与艺术领域，嵇康成就斐然。其散文观点鲜明，逻辑严密，《与山巨源绝交书》是其代表作之一。在信中，他痛斥山涛推荐自己出仕的行为，明确表达了对仕途的厌恶和对自由的追求。在音乐方面，嵇康精通音律，著有《声无哀乐论》。他弹奏的《广陵散》更是成为中国古代音乐史上的传奇。

====阮籍====
阮籍（210年－263年），字嗣宗，陈留尉氏（今河南省尉氏县）人，三国时期曹魏文学家、思想家。阮籍身处魏晋易代之际，目睹司马氏集团的残暴与虚伪，内心充满矛盾与痛苦。他既不愿同流合污，又无力正面反抗，于是选择了“借酒避世”的生存方式。

阮籍嗜酒如命，常常借酒消愁，以酒避祸。阮籍的这种行为，表面上是放浪形骸，实则是对黑暗现实的无声反抗。

在文学方面，阮籍的五言诗成就极高，其代表作《咏怀诗》八十二首，是中国文学史上的重要作品。这些诗歌多以比兴、象征的手法，隐晦地表达了他对时政的不满、对人生的感慨以及对理想的追求，对后世诗歌创作产生了深远影响。

====山涛====
山涛（205年－283年），字巨源，河内怀县（今河南省武陟县）人。与嵇康、阮籍的放浪不羁不同，山涛性格沉稳务实，富有政治远见和处事智慧。他身处乱世，既坚守自身的道德底线，又能在复杂的政治环境中保全自己，最终在仕途上取得了一定的成就。

在文学方面，山涛的作品流传较少，但他的思想与行为同样具有时代意义。他以自己的方式在乱世中坚守本心，在仕途上践行着自己的理想，成为竹林七贤中较为特殊的一员。他的沉稳务实与处事智慧，为后世在复杂环境中如何平衡理想与现实提供了有益的借鉴。

====向秀====
向秀（约227年－272年），字子期，河内怀县（今河南省武陟县）人，三国时期曹魏至西晋时期的思想家、文学家，竹林七贤之一。向秀性格温和，学识渊博，尤其在哲学领域有着深厚的造诣。他与嵇康关系最为密切，两人常常一同打铁、论道，结下了深厚的友谊。

向秀在学术上的最大贡献是为《庄子》作注。《庄子》一书文辞深奥，难以理解，向秀的注疏不仅对《庄子》的思想进行了系统的阐释，还融入了自己的见解，使《庄子》的思想更加通俗易懂，为庄子思想的传播与发展做出了重要贡献。可惜的是，向秀的《庄子注》部分内容已经失传，现存的部分与郭象的注疏混杂在一起，难以完全区分。

在文学方面，向秀的代表作《思旧赋》情感真挚，催人泪下。这篇赋是向秀在嵇康、吕安被处死之后，路过他们的旧居时所作。赋文中通过对往昔与嵇康、吕安相处时光的回忆，表达了对友人的深切思念与悲痛之情，同时也隐晦地抒发了对黑暗现实的不满，成为中国文学史上的经典之作。

====刘伶====
刘伶（约221年－300年），字伯伦，沛国（今安徽省宿州市）人，三国时期曹魏至西晋时期的文学家。在竹林七贤中，刘伶以嗜酒闻名，其放浪形骸的生活方式和对酒的极致热爱，成为他最鲜明的标签。
刘伶嗜酒如命，甚至到了“无酒不欢”的地步。他常常乘一辆鹿车，带着一壶酒，让仆人扛着锄头跟在后面，并对仆人说：“死便埋我。”这种看似荒诞的行为，实则是他对世俗礼教的蔑视和对自由的极致追求。他的饮酒并非单纯的沉迷，而是一种反抗现实的方式。

他著有《酒德颂》，这是他思想与人格的集中体现。刘伶的一生没有担任过重要官职，他始终以一种超然物外的态度面对世事。他以酒为媒介，将对自由的追求和对世俗的反抗融入到生活的方方面面，成为竹林七贤中极具个性色彩的一员。

====王戎====
王戎（234年－305年），字濬冲，琅玡临沂（今山东省临沂市）人，三国时期曹魏至西晋时期的大臣、文学家，竹林七贤之一。王戎自幼便以聪慧闻名，是著名的“神童”。《世说新语》中记载了许多关于他早慧的故事，其中“王戎不取道旁李”的典故更是家喻户晓。

王戎出身于名门望族琅玡王氏，家族势力雄厚，这为他的仕途发展提供了有利条件。与竹林七贤中的其他成员相比，王戎更为早熟和通透，他深知乱世之中的生存之道。他早年与嵇康、阮籍等人交往密切，一同在竹林中聚会，但随着年龄的增长和政治形势的变化，他逐渐投身仕途，并在官场上步步高升。王戎在官场上以精明能干著称，他曾担任过吏部尚书、司徒等重要官职，为西晋的政治稳定做出了一定的贡献。

王戎的文学作品流传较少，但他作为竹林七贤中年龄最小的一员，见证了整个竹林七贤群体的兴衰变迁，其人生经历具有重要的历史意义。

====阮咸====
阮咸（约公元222—278年），字仲容，陈留尉氏（今河南省尉氏县）人，三国时期曹魏至西晋时期的文学家、音乐家。他是阮籍的侄子，与阮籍并称为“大小阮”，两人在性格和志趣上有诸多相似之处，都对世俗礼教持批判态度，追求自由洒脱的生活。

阮咸在音乐方面有着极高的天赋和造诣，是中国古代著名的音乐家。他尤其擅长弹奏琵琶，相传他对传统琵琶进行了改良，创制了一种形状更为圆润、音色更为优美的琵琶，这种琵琶后来被称为“阮咸”，简称“阮”，成为中国传统民族乐器之一。

他的主要成就集中在音乐领域，其对音律的精妙理解和对乐器的改良，为中国古代音乐的发展做出了重要贡献。

====结语====
竹林七贤虽然身处同一时代，有着共同的精神追求，但他们各自的人生轨迹和性格特质却各不相同。嵇康傲骨铮铮，以生命践行理想；阮籍借酒避世，用诗歌抒发悲情；山涛沉稳务实，在仕途上坚守本心；向秀兼容儒道，以学术传承思想；刘伶放浪形骸，凭美酒超脱世俗；王戎早慧通透，于乱世中保全自身；阮咸妙解音律，用音乐诠释自由。他们以不同的方式反抗着世俗礼教的束缚，共同铸就了“魏晋风骨”的精神内核。

竹林七贤的思想与行为，不仅在当时产生了重要影响，更成为后世文人墨客精神追求的标杆。他们所倡导的自由、独立、超脱的精神，穿越千年的时光，依然具有强大的生命力，为我们今天理解和传承中国传统文化提供了重要的启示。

===术语和表达===

the Seven Sages of the Bamboo Grove——竹林七贤

Wei-Jin Integrity——魏晋风骨头

discourse on metaphysics and Daoism——谈玄论道

secular ethics and rituals——世俗礼教

unrestrained and dissipated——放浪形骸

drown sorrows in wine to withdraw from the world——借酒避世

the Three Kingdoms Period——三国时期

the intrigue and strife——尔虞我诈

Guangling Folk Strains——《广陵散》

Music has neither grief nor joy——《声无哀乐论》

A Break-up Letter to Shan Juyuan——《与山巨源绝交书》

drinking to drown his sorrows——借酒消愁

avoid misfortunes by drinking——以酒避祸

five-character poems——五言诗

Poems of My Feelings——《咏怀诗》

Ode to Nostalgia for the Past——《思旧赋》

Ode to the Virtue of Wine——《酒德颂》

Annotations to Zhuangzi——《庄子注》

New Account of the Old Episodes—— 《世说新语》

Wang Rong refusing to pick the plums by the road——王戎不取道旁李

===问题===

1. 竹林七贤他们的核心精神追求有哪些？

2. 向秀的核心学术贡献是什么？

3. 嵇康作为竹林七贤的精神核心，他他的人生结局是怎样的？

4. “阮咸”既指竹林七贤中的一人，也与一种乐器相关，这种乐器的由来是什么？

5. 同为竹林七贤的核心人物，阮籍和刘伶都有嗜酒的特点，二人借酒的行为背后的精神内核有什么共通之处？

===答案===

1. 核心精神追求是反抗世俗礼教的束缚，追求自由与独立的人格。

2. 向秀的核心学术贡献是为《庄子》作注，系统阐释《庄子》思想并融入己见，推动了庄子学说的传播。

3. 嵇康因拒绝与司马氏集团同流合污，为友人辩护触怒权贵，被司马昭处死，临刑前从容弹奏《广陵散》。

4. 阮咸擅长弹奏琵琶，他对传统琵琶进行改良，创制出形状更圆润、音色更优美的新琵琶，后人为纪念他，便将这种乐器命名为“阮咸”，简称“阮”。

5. 二人的饮酒都并非单纯沉迷，本质都是以放浪形骸的方式，对魏晋黑暗的现实、虚伪的世俗礼教进行无声的反抗，同时追求精神的自由与超脱。

===参考文献===
[1]勉中.竹林七贤简论[J].中国文学研究,1998,(04):30-34.DOI:10.13399/j.cnki.zgwxyj.1998.04.006.

[2]顾农.略谈嵇康和以他为首的竹林七贤[J].书屋,2018,(08):52-55.

[3]刘洪浩.论《世说新语》中的竹林七贤[J].文学教育(上),2018,(06):24-26.DOI:10.16692/j.cnki.wxjys.2018.06.012.

[4]李璐璐,段佳薇.浅谈魏晋风骨——竹林七贤[J].今古文创,2020,(29):12-13.DOI:10.20024/j.cnki.cn42-1911/i.2020.29.005.

[5]董敏.竹林七贤及其隐逸文学研究[D].陕西师范大学,2019.DOI:10.27292/d.cnki.gsxfu.2019.001097.

[6]竹林七贤（中国魏晋时期七位名士）_百度百科

Uvu/index.php/User:Liu Kangyi

2025-12-29T13:44:12Z

Liu Kangyi: /* 期末论文 */

Uvu/index.php/User:Liu Kangyi

2025-12-29T13:42:48Z

Liu Kangyi: /* 嵇康 */

==Final Exam Paper==

===The Seven Sages of the Bamboo Grove===

====Introduction====

During the period between the Wei and Jin Dynasties, the society was in turmoil and unrest, and the authority of traditional Confucianism suffered a fierce impact. Against such a historical backdrop, the Seven Sages of the Bamboo Grove, represented by Ji Kang, Ruan Ji, Shan Tao, Xiang Xiu, Liu Ling, Wang Rong and Ruan Xian, came into being. They often gathered under the bamboo groves in Shanyang, drinking wine, singing freely, discoursing on metaphysics and Daoism. Through their unique lifestyle and spiritual pursuit, they resisted the constraints of secular ethics and rituals, embodying distinct individuality and an independent spirit of personality. The Seven Sages of the Bamboo Grove were not only an important carrier of ideology and culture in the Wei and Jin Dynasties, but also the Wei-Jin Integrity embodied in them exerted a profound influence on later generations. This article will introduce each of the Seven Sages of the Bamboo Grove one by one.

====Ji Kang====

Ji Kang (224-263), courtesy name Shuye, was born in Zhi County of Qiao State (present-day Suixi County, Anhui Province). He was a thinker, musician and litterateur of the Cao Wei regime during the Three Kingdoms Period, and the spiritual core of the Seven Sages of the Bamboo Grove. He was handsome in appearance and extraordinary in temperament. Ji Kang was intelligent since childhood and had an extensive knowledge.

Politically, though born into an official family, Ji Kang abhorred the intrigue and strife in the official circle and refused to collude with the Sima clan group. He had a marital relation with the imperial clan of Cao Wei, which made him an object of suspicion of the Sima clan all the more. He declined the summons of Sima Zhao, and even incurred the wrath of the powerful nobles for defending his friend Lü An. In the end, Ji Kang was put to death by Sima Zhao on the charge of "indulgent remarks that harmed the times and disrupted ethics". Before his execution, he played Guangling Folk Strains. As the music ended and the strings broke, his noble and unyielding demeanor has been passed down through the ages.

In the fields of literature and art, Ji Kang achieved remarkable accomplishments. His proses featured distinct viewpoints and rigorous logic, and Letter to A Break-up Letter to Shan Juyuan was one of his representative works. In the letter, he bitterly denounced Shan Tao for recommending him to take an official post, and clearly expressed his loathing for official career and pursuit of freedom. In terms of music, Ji Kang was proficient in temperament and wrote Music has neither grief nor joy. His performance of Guangling Folk Strains became a legend in the history of ancient Chinese music.

====Ruan Ji====

Ruan Ji (210-263), courtesy name Sizong, was born in Weishi of Chenliu State (present-day Weishi County, Henan Province). He was a litterateur and thinker of the Cao Wei regime during the Three Kingdoms Period. Living in the period of dynastic change from Wei to Jin, Ruan Ji witnessed the cruelty and hypocrisy of the Sima clan group, filled with contradictions and pain in his heart. Unwilling to collude with the evil forces yet powerless to resist openly, he chose a way of life of "drowning sorrows in wine to withdraw from the world".

Ruan Ji was an alcoholic, often drinking to drown his sorrows and avoid misfortunes. On the surface, such behavior of his seemed unrestrained and dissipated, but in fact, it was a silent resistance to the dark reality.

In literature, Ruan Ji attained great achievements in five-character poems. His magnum opus Poems of My Feelings, a collection of eighty-two poems, is an important work in the history of Chinese literature. Most of these poems implicitly expressed his dissatisfaction with current politics, his reflections on life and his pursuit of ideals by means of metaphor and symbolism, exerting a far-reaching influence on the poetry creation of later generations.

====Shan Tao====

Shan Tao (205-283), courtesy name Juyuan, was born in Huai County of Henei State (present-day Wuzhi County, Henan Province). Different from the unrestrained Ji Kang and Ruan Ji, Shan Tao was calm and pragmatic in character, endowed with political foresight and wisdom in handling affairs. Living in a troubled time, he not only adhered to his own moral bottom line, but also managed to preserve himself in the complicated political environment, and finally achieved certain accomplishments in his official career.

Few of Shan Tao's works have been handed down in the literary field, yet his thoughts and deeds still possessed epochal significance. He kept his original aspiration in the troubled times in his own way and practiced his ideals in his official career, making him a special member of the Seven Sages of the Bamboo Grove. His calm pragmatism and wisdom in dealing with affairs provided a valuable reference for later generations on how to balance ideals and reality in a complex environment.

====Xiang Xiu====

Xiang Xiu (c.227-272), courtesy name Ziqi, was born in Huai County of Henei State (present-day Wuzhi County, Henan Province). He was a thinker and litterateur from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period, and one of the Seven Sages of the Bamboo Grove. Xiang Xiu was gentle in character and erudite in knowledge, with profound attainments especially in the field of philosophy. He had the closest relationship with Ji Kang; they often forged iron and discussed Daoism together, forming a profound friendship.

Xiang Xiu's greatest academic contribution was annotating Zhuangzi. The book Zhuangzi was abstruse in language and hard to understand. Xiang Xiu's annotations not only systematically interpreted the thoughts of Zhuangzi, but also integrated his own insights, making the thoughts of Zhuangzi more accessible to understand, thus making an important contribution to the dissemination and development of Zhuangzi's ideology. Unfortunately, part of Xiang Xiu's Annotations to Zhuangzi has been lost, and the existing parts are mixed with Guo Xiang's annotations, which are difficult to distinguish completely.

In literature, Xiang Xiu's representative work Ode to Nostalgia for the Past was sincere in emotion and touching to tears. This fu was written when Xiang Xiu passed by the former residence of Ji Kang and Lü An after they were put to death. By recalling the past time of getting along with Ji Kang and Lü An, the fu expressed his deep longing and grief for his friends, and also implicitly voiced his dissatisfaction with the dark reality, becoming a classic work in the history of Chinese literature.

====Liu Ling====

Liu Ling (c.221-300), courtesy name Bolun, was born in Pei State (present-day Suzhou City, Anhui Province). He was a litterateur from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period. Among the Seven Sages of the Bamboo Grove, Liu Ling was famous for his alcoholism, and his unrestrained lifestyle and extreme love for wine became his most distinctive labels.

Liu Ling was an alcoholic to such an extent that he "could not be happy without wine". He often rode in a deer-drawn cart with a pot of wine, asking a servant to follow with a hoe on his shoulder, and said to the servant: "Bury me at once if I die." This seemingly absurd behavior was actually his contempt for secular ethics and rituals, as well as his ultimate pursuit of freedom. His drinking was not mere indulgence, but a way to resist reality.

He wrote Ode to the Virtue of Wine, which was a concentrated embodiment of his thoughts and personality. Liu Ling never held any important official posts in his life, and always faced the world with an aloof attitude. With wine as a medium, he integrated the pursuit of freedom and the resistance to the secular world into all aspects of his life, becoming a member of the Seven Sages of the Bamboo Grove with strong personality.

====Wang Rong====

Wang Rong (234-305), courtesy name Junchong, was born in Linyi of Langya State (present-day Linyi City, Shandong Province). He was a minister and litterateur from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period, and one of the Seven Sages of the Bamboo Grove. Wang Rong was famous for his intelligence since childhood and was a well-known child prodigy. A great many stories about his precocious wisdom were recorded in New Account of the Old Episodes, among which the allusion of "Wang Rong refusing to pick the plums by the road" was a household name.

Born into the noble Wang clan of Langya with a powerful family influence, Wang Rong had favorable conditions for his official career development. Compared with other members of the Seven Sages of the Bamboo Grove, Wang Rong was more precocious and insightful, well aware of the way to survive in troubled times. He had close contacts with Ji Kang, Ruan Ji and others in his early years, gathering with them in the bamboo groves. However, as he grew older and the political situation changed, he gradually devoted himself to the official career and rose steadily in the official circle. Renowned for his astuteness and competence in the official field, Wang Rong once held important official posts such as Minister of Personnel and Minister over the Masses, making certain contributions to the political stability of the Western Jin Dynasty.

Few of Wang Rong's literary works have been handed down, but as the youngest member of the Seven Sages of the Bamboo Grove, he witnessed the rise and fall of the whole group, and his life experience possessed important historical significance.

====Ruan Xian====

Ruan Xian (c.222-278), courtesy name Zhongrong, was born in Weishi of Chenliu State (present-day Weishi County, Henan Province). He was a litterateur and musician from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period. He was the nephew of Ruan Ji, and they were collectively known as "Senior Ruan and Junior Ruan". They shared many similarities in character and aspiration, both criticizing secular ethics and rituals and pursuing a free and unrestrained life.
Ruan Xian had an extraordinary talent and attainments in music, being a famous musician in ancient China. He was especially good at playing the pipa. According to legend, he improved the traditional pipa and created a new type of pipa with a rounder shape and a more beautiful tone. This kind of pipa was later named "Ruanxian" (shortened to Ruan), and became one of the traditional Chinese national musical instruments.

His main achievements were concentrated in the field of music. His exquisite understanding of temperament and improvement of musical instruments made an important contribution to the development of ancient Chinese music.

====Conclusion====

Although the Seven Sages of the Bamboo Grove lived in the same era and shared common spiritual pursuits, each of them had a different life trajectory and personality traits. Ji Kang was unyielding and steadfast, practicing his ideals with his life; Ruan Ji withdrew from the world by drinking wine, expressing his sorrow through poems; Shan Tao was calm and pragmatic, adhering to his original aspiration in his official career; Xiang Xiu integrated Confucianism and Daoism, inheriting thoughts through academic research; Liu Ling was unrestrained and dissipated, transcending the secular world with fine wine; Wang Rong was precocious and insightful, preserving himself in troubled times; Ruan Xian had a profound understanding of rhythm, interpreting freedom through music. They resisted the constraints of secular ethics and rituals in different ways, and jointly forged the spiritual core of the Wei-Jin Integrity.

The thoughts and deeds of the Seven Sages of the Bamboo Grove not only exerted an important influence at that time, but also became a benchmark for the spiritual pursuit of literati and poets in later generations. The spirit of freedom, independence and transcendence advocated by them has gone through thousands of years and still possesses strong vitality, providing an important enlightenment for us to understand and inherit traditional Chinese culture today.

===Terms and Expression===

the Seven Sages of the Bamboo Grove——竹林七贤

Wei-Jin Integrity——魏晋风骨头

discourse on metaphysics and Daoism——谈玄论道

secular ethics and rituals——世俗礼教

unrestrained and dissipated——放浪形骸

drown sorrows in wine to withdraw from the world——借酒避世

the Three Kingdoms Period——三国时期

the intrigue and strife——尔虞我诈

Guangling Folk Strains——《广陵散》

Music has neither grief nor joy——《声无哀乐论》

A Break-up Letter to Shan Juyuan——《与山巨源绝交书》

drinking to drown his sorrows——借酒消愁

avoid misfortunes by drinking——以酒避祸

five-character poems——五言诗

Poems of My Feelings——《咏怀诗》

Ode to Nostalgia for the Past——《思旧赋》

Ode to the Virtue of Wine——《酒德颂》

Annotations to Zhuangzi——《庄子注》

New Account of the Old Episodes—— 《世说新语》

Wang Rong refusing to pick the plums by the road——王戎不取道旁李

===Questions===

1. What were the core spiritual pursuits of the Seven Sages of the Bamboo Grove?

2. What was Xiang Xiu's core academic contribution?

3. As the spiritual core of the Seven Sages of the Bamboo Grove, what was the end of Ji Kang's life?

4. Ruanxian refers both to one of the Seven Sages of the Bamboo Grove and to a musical instrument. What is the origin of this musical instrument?

5. As core members of the Seven Sages of the Bamboo Grove, both Ruan Ji and Liu Ling were known for their alcoholism. What are the common spiritual cores behind their behaviors of drinking alcohol?

===Answers===

1. Their core spiritual pursuit was to resist the constraints of secular ethics and rituals, and to strive for freedom and an independent personality.

2. Xiang Xiu's core academic contribution was writing annotations for Zhuangzi: he systematically interpreted the thoughts in Zhuangzi, integrated his own viewpoints into the annotations, and promoted the dissemination of Zhuangzi's philosophy.

3. Because Ji Kang refused to collude with the Sima clan group and incurred the wrath of the powerful nobles by defending his friend, he was put to death by Sima Zhao. Before his execution, he calmly played the Guangling Folk Strains.

4. Ruan Xian was skilled at playing the pipa. He improved the traditional pipa and created a new type of pipa with a rounder shape and more melodious tone. To commemorate him, later generations named this musical instrument Ruanxian, which is shortened to Ruan.

5. The drinking of both men was not mere indulgence; in essence, through their unrestrained and dissipated lifestyle, they staged a silent resistance against the dark reality and hypocritical secular ethics of the Wei-Jin period, while pursuing spiritual freedom and transcendence.

===Reference===

[1]勉中.竹林七贤简论[J].中国文学研究,1998,(04):30-34.DOI:10.13399/j.cnki.zgwxyj.1998.04.006.

[2]顾农.略谈嵇康和以他为首的竹林七贤[J].书屋,2018,(08):52-55.

[3]刘洪浩.论《世说新语》中的竹林七贤[J].文学教育(上),2018,(06):24-26.DOI:10.16692/j.cnki.wxjys.2018.06.012.

[4]李璐璐,段佳薇.浅谈魏晋风骨——竹林七贤[J].今古文创,2020,(29):12-13.DOI:10.20024/j.cnki.cn42-1911/i.2020.29.005.

[5]董敏.竹林七贤及其隐逸文学研究[D].陕西师范大学,2019.DOI:10.27292/d.cnki.gsxfu.2019.001097.

[6]竹林七贤（中国魏晋时期七位名士）_百度百科

==期末论文==

===竹林七贤===

====引言====
魏晋之际，社会动荡不安，传统儒家思想的权威性受到猛烈冲击。在这样的时代背景下，以嵇康、阮籍、山涛、向秀、刘伶、王戎、阮咸为代表的“竹林七贤”应运而生。他们常聚于山阳竹林之下，饮酒纵歌，谈玄论道，以独特的生活方式和精神追求，反抗世俗礼教的束缚，彰显出鲜明的个性色彩与独立的人格精神。“竹林七贤”不仅是魏晋时期思想文化的重要载体，其身上所体现的“魏晋风骨”更对后世产生了深远影响。本文将对竹林七贤逐一进行介绍。

====嵇康====
嵇康（224年－263年），字叔夜，谯国铚县（今安徽省濉溪县）人，三国时期曹魏思想家、音乐家、文学家，更是竹林七贤的精神核心。他容貌俊美，气质不凡。嵇康自幼聪慧，博览群书。

在政治上，嵇康出身官宦之家，却厌恶官场的尔虞我诈，拒绝与司马氏集团同流合污。他与曹魏宗室有姻亲关系，这更让他成为司马氏猜忌的对象。他拒绝司马昭的征召，甚至为友人吕安辩护而触怒权贵。最终，嵇康被司马昭以“言论放荡，害时乱教”的罪名处死。临刑前，他从容弹奏《广陵散》，曲终弦断，其傲骨风范流传千古。

在文学与艺术领域，嵇康成就斐然。其散文观点鲜明，逻辑严密，《与山巨源绝交书》是其代表作之一。在信中，他痛斥山涛推荐自己出仕的行为，明确表达了对仕途的厌恶和对自由的追求。在音乐方面，嵇康精通音律，著有《声无哀乐论》。他弹奏的《广陵散》更是成为中国古代音乐史上的传奇。

====阮籍====
阮籍（210年－263年），字嗣宗，陈留尉氏（今河南省尉氏县）人，三国时期曹魏文学家、思想家。阮籍身处魏晋易代之际，目睹司马氏集团的残暴与虚伪，内心充满矛盾与痛苦。他既不愿同流合污，又无力正面反抗，于是选择了“借酒避世”的生存方式。
阮籍嗜酒如命，常常借酒消愁，以酒避祸。阮籍的这种行为，表面上是放浪形骸，实则是对黑暗现实的无声反抗。
在文学方面，阮籍的五言诗成就极高，其代表作《咏怀诗》八十二首，是中国文学史上的重要作品。这些诗歌多以比兴、象征的手法，隐晦地表达了他对时政的不满、对人生的感慨以及对理想的追求，对后世诗歌创作产生了深远影响。

====山涛====
山涛（205年－283年），字巨源，河内怀县（今河南省武陟县）人。与嵇康、阮籍的放浪不羁不同，山涛性格沉稳务实，富有政治远见和处事智慧。他身处乱世，既坚守自身的道德底线，又能在复杂的政治环境中保全自己，最终在仕途上取得了一定的成就。
在文学方面，山涛的作品流传较少，但他的思想与行为同样具有时代意义。他以自己的方式在乱世中坚守本心，在仕途上践行着自己的理想，成为竹林七贤中较为特殊的一员。他的沉稳务实与处事智慧，为后世在复杂环境中如何平衡理想与现实提供了有益的借鉴。

====向秀====
向秀（约227年－272年），字子期，河内怀县（今河南省武陟县）人，三国时期曹魏至西晋时期的思想家、文学家，竹林七贤之一。向秀性格温和，学识渊博，尤其在哲学领域有着深厚的造诣。他与嵇康关系最为密切，两人常常一同打铁、论道，结下了深厚的友谊。
向秀在学术上的最大贡献是为《庄子》作注。《庄子》一书文辞深奥，难以理解，向秀的注疏不仅对《庄子》的思想进行了系统的阐释，还融入了自己的见解，使《庄子》的思想更加通俗易懂，为庄子思想的传播与发展做出了重要贡献。可惜的是，向秀的《庄子注》部分内容已经失传，现存的部分与郭象的注疏混杂在一起，难以完全区分。
在文学方面，向秀的代表作《思旧赋》情感真挚，催人泪下。这篇赋是向秀在嵇康、吕安被处死之后，路过他们的旧居时所作。赋文中通过对往昔与嵇康、吕安相处时光的回忆，表达了对友人的深切思念与悲痛之情，同时也隐晦地抒发了对黑暗现实的不满，成为中国文学史上的经典之作。

====刘伶====
刘伶（约221年－300年），字伯伦，沛国（今安徽省宿州市）人，三国时期曹魏至西晋时期的文学家。在竹林七贤中，刘伶以嗜酒闻名，其放浪形骸的生活方式和对酒的极致热爱，成为他最鲜明的标签。
刘伶嗜酒如命，甚至到了“无酒不欢”的地步。他常常乘一辆鹿车，带着一壶酒，让仆人扛着锄头跟在后面，并对仆人说：“死便埋我。”这种看似荒诞的行为，实则是他对世俗礼教的蔑视和对自由的极致追求。他的饮酒并非单纯的沉迷，而是一种反抗现实的方式。
他著有《酒德颂》，这是他思想与人格的集中体现。刘伶的一生没有担任过重要官职，他始终以一种超然物外的态度面对世事。他以酒为媒介，将对自由的追求和对世俗的反抗融入到生活的方方面面，成为竹林七贤中极具个性色彩的一员。

====王戎====
王戎（234年－305年），字濬冲，琅玡临沂（今山东省临沂市）人，三国时期曹魏至西晋时期的大臣、文学家，竹林七贤之一。王戎自幼便以聪慧闻名，是著名的“神童”。《世说新语》中记载了许多关于他早慧的故事，其中“王戎不取道旁李”的典故更是家喻户晓。
王戎出身于名门望族琅玡王氏，家族势力雄厚，这为他的仕途发展提供了有利条件。与竹林七贤中的其他成员相比，王戎更为早熟和通透，他深知乱世之中的生存之道。他早年与嵇康、阮籍等人交往密切，一同在竹林中聚会，但随着年龄的增长和政治形势的变化，他逐渐投身仕途，并在官场上步步高升。王戎在官场上以精明能干著称，他曾担任过吏部尚书、司徒等重要官职，为西晋的政治稳定做出了一定的贡献。
王戎的文学作品流传较少，但他作为竹林七贤中年龄最小的一员，见证了整个竹林七贤群体的兴衰变迁，其人生经历具有重要的历史意义。

====阮咸====
阮咸（约公元222—278年），字仲容，陈留尉氏（今河南省尉氏县）人，三国时期曹魏至西晋时期的文学家、音乐家。他是阮籍的侄子，与阮籍并称为“大小阮”，两人在性格和志趣上有诸多相似之处，都对世俗礼教持批判态度，追求自由洒脱的生活。
阮咸在音乐方面有着极高的天赋和造诣，是中国古代著名的音乐家。他尤其擅长弹奏琵琶，相传他对传统琵琶进行了改良，创制了一种形状更为圆润、音色更为优美的琵琶，这种琵琶后来被称为“阮咸”，简称“阮”，成为中国传统民族乐器之一。
他的主要成就集中在音乐领域，其对音律的精妙理解和对乐器的改良，为中国古代音乐的发展做出了重要贡献。

====结语====
竹林七贤虽然身处同一时代，有着共同的精神追求，但他们各自的人生轨迹和性格特质却各不相同。嵇康傲骨铮铮，以生命践行理想；阮籍借酒避世，用诗歌抒发悲情；山涛沉稳务实，在仕途上坚守本心；向秀兼容儒道，以学术传承思想；刘伶放浪形骸，凭美酒超脱世俗；王戎早慧通透，于乱世中保全自身；阮咸妙解音律，用音乐诠释自由。他们以不同的方式反抗着世俗礼教的束缚，共同铸就了“魏晋风骨”的精神内核。
竹林七贤的思想与行为，不仅在当时产生了重要影响，更成为后世文人墨客精神追求的标杆。他们所倡导的自由、独立、超脱的精神，穿越千年的时光，依然具有强大的生命力，为我们今天理解和传承中国传统文化提供了重要的启示。

===术语和表达===

the Seven Sages of the Bamboo Grove——竹林七贤

Wei-Jin Integrity——魏晋风骨头

discourse on metaphysics and Daoism——谈玄论道

secular ethics and rituals——世俗礼教

unrestrained and dissipated——放浪形骸

drown sorrows in wine to withdraw from the world——借酒避世

the Three Kingdoms Period——三国时期

the intrigue and strife——尔虞我诈

Guangling Folk Strains——《广陵散》

Music has neither grief nor joy——《声无哀乐论》

A Break-up Letter to Shan Juyuan——《与山巨源绝交书》

drinking to drown his sorrows——借酒消愁

avoid misfortunes by drinking——以酒避祸

five-character poems——五言诗

Poems of My Feelings——《咏怀诗》

Ode to Nostalgia for the Past——《思旧赋》

Ode to the Virtue of Wine——《酒德颂》

Annotations to Zhuangzi——《庄子注》

New Account of the Old Episodes—— 《世说新语》

Wang Rong refusing to pick the plums by the road——王戎不取道旁李

===问题===

1. 竹林七贤他们的核心精神追求有哪些？

2. 向秀的核心学术贡献是什么？

3. 嵇康作为竹林七贤的精神核心，他他的人生结局是怎样的？

4. “阮咸”既指竹林七贤中的一人，也与一种乐器相关，这种乐器的由来是什么？

5. 同为竹林七贤的核心人物，阮籍和刘伶都有嗜酒的特点，二人借酒的行为背后的精神内核有什么共通之处？

===答案===

1. 核心精神追求是反抗世俗礼教的束缚，追求自由与独立的人格。

2. 向秀的核心学术贡献是为《庄子》作注，系统阐释《庄子》思想并融入己见，推动了庄子学说的传播。

3. 嵇康因拒绝与司马氏集团同流合污，为友人辩护触怒权贵，被司马昭处死，临刑前从容弹奏《广陵散》。

4. 阮咸擅长弹奏琵琶，他对传统琵琶进行改良，创制出形状更圆润、音色更优美的新琵琶，后人为纪念他，便将这种乐器命名为“阮咸”，简称“阮”。

5. 二人的饮酒都并非单纯沉迷，本质都是以放浪形骸的方式，对魏晋黑暗的现实、虚伪的世俗礼教进行无声的反抗，同时追求精神的自由与超脱。

===参考文献===
[1]勉中.竹林七贤简论[J].中国文学研究,1998,(04):30-34.DOI:10.13399/j.cnki.zgwxyj.1998.04.006.

[2]顾农.略谈嵇康和以他为首的竹林七贤[J].书屋,2018,(08):52-55.

[3]刘洪浩.论《世说新语》中的竹林七贤[J].文学教育(上),2018,(06):24-26.DOI:10.16692/j.cnki.wxjys.2018.06.012.

[4]李璐璐,段佳薇.浅谈魏晋风骨——竹林七贤[J].今古文创,2020,(29):12-13.DOI:10.20024/j.cnki.cn42-1911/i.2020.29.005.

[5]董敏.竹林七贤及其隐逸文学研究[D].陕西师范大学,2019.DOI:10.27292/d.cnki.gsxfu.2019.001097.

[6]竹林七贤（中国魏晋时期七位名士）_百度百科

Uvu/index.php/User:Liu Kangyi

2025-12-29T13:41:49Z

Liu Kangyi: /* ==Questions */

==Final Exam Paper==

===The Seven Sages of the Bamboo Grove===

====Introduction====

During the period between the Wei and Jin Dynasties, the society was in turmoil and unrest, and the authority of traditional Confucianism suffered a fierce impact. Against such a historical backdrop, the Seven Sages of the Bamboo Grove, represented by Ji Kang, Ruan Ji, Shan Tao, Xiang Xiu, Liu Ling, Wang Rong and Ruan Xian, came into being. They often gathered under the bamboo groves in Shanyang, drinking wine, singing freely, discoursing on metaphysics and Daoism. Through their unique lifestyle and spiritual pursuit, they resisted the constraints of secular ethics and rituals, embodying distinct individuality and an independent spirit of personality. The Seven Sages of the Bamboo Grove were not only an important carrier of ideology and culture in the Wei and Jin Dynasties, but also the Wei-Jin Integrity embodied in them exerted a profound influence on later generations. This article will introduce each of the Seven Sages of the Bamboo Grove one by one.

====Ji Kang====

Ji Kang (224-263), courtesy name Shuye, was born in Zhi County of Qiao State (present-day Suixi County, Anhui Province). He was a thinker, musician and litterateur of the Cao Wei regime during the Three Kingdoms Period, and the spiritual core of the Seven Sages of the Bamboo Grove. He was handsome in appearance and extraordinary in temperament. Ji Kang was intelligent since childhood and had an extensive knowledge.

Politically, though born into an official family, Ji Kang abhorred the intrigue and strife in the official circle and refused to collude with the Sima clan group. He had a marital relation with the imperial clan of Cao Wei, which made him an object of suspicion of the Sima clan all the more. He declined the summons of Sima Zhao, and even incurred the wrath of the powerful nobles for defending his friend Lü An. In the end, Ji Kang was put to death by Sima Zhao on the charge of "indulgent remarks that harmed the times and disrupted ethics". Before his execution, he played Guangling Folk Strains. As the music ended and the strings broke, his noble and unyielding demeanor has been passed down through the ages.

In the fields of literature and art, Ji Kang achieved remarkable accomplishments. His proses featured distinct viewpoints and rigorous logic, and Letter to A Break-up Letter to Shan Juyuan was one of his representative works. In the letter, he bitterly denounced Shan Tao for recommending him to take an official post, and clearly expressed his loathing for official career and pursuit of freedom. In terms of music, Ji Kang was proficient in temperament and wrote Music has neither grief nor joy. His performance of Guangling Folk Strains became a legend in the history of ancient Chinese music.

====Ruan Ji====

Ruan Ji (210-263), courtesy name Sizong, was born in Weishi of Chenliu State (present-day Weishi County, Henan Province). He was a litterateur and thinker of the Cao Wei regime during the Three Kingdoms Period. Living in the period of dynastic change from Wei to Jin, Ruan Ji witnessed the cruelty and hypocrisy of the Sima clan group, filled with contradictions and pain in his heart. Unwilling to collude with the evil forces yet powerless to resist openly, he chose a way of life of "drowning sorrows in wine to withdraw from the world".

Ruan Ji was an alcoholic, often drinking to drown his sorrows and avoid misfortunes. On the surface, such behavior of his seemed unrestrained and dissipated, but in fact, it was a silent resistance to the dark reality.

In literature, Ruan Ji attained great achievements in five-character poems. His magnum opus Poems of My Feelings, a collection of eighty-two poems, is an important work in the history of Chinese literature. Most of these poems implicitly expressed his dissatisfaction with current politics, his reflections on life and his pursuit of ideals by means of metaphor and symbolism, exerting a far-reaching influence on the poetry creation of later generations.

====Shan Tao====

Shan Tao (205-283), courtesy name Juyuan, was born in Huai County of Henei State (present-day Wuzhi County, Henan Province). Different from the unrestrained Ji Kang and Ruan Ji, Shan Tao was calm and pragmatic in character, endowed with political foresight and wisdom in handling affairs. Living in a troubled time, he not only adhered to his own moral bottom line, but also managed to preserve himself in the complicated political environment, and finally achieved certain accomplishments in his official career.

Few of Shan Tao's works have been handed down in the literary field, yet his thoughts and deeds still possessed epochal significance. He kept his original aspiration in the troubled times in his own way and practiced his ideals in his official career, making him a special member of the Seven Sages of the Bamboo Grove. His calm pragmatism and wisdom in dealing with affairs provided a valuable reference for later generations on how to balance ideals and reality in a complex environment.

====Xiang Xiu====

Xiang Xiu (c.227-272), courtesy name Ziqi, was born in Huai County of Henei State (present-day Wuzhi County, Henan Province). He was a thinker and litterateur from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period, and one of the Seven Sages of the Bamboo Grove. Xiang Xiu was gentle in character and erudite in knowledge, with profound attainments especially in the field of philosophy. He had the closest relationship with Ji Kang; they often forged iron and discussed Daoism together, forming a profound friendship.

Xiang Xiu's greatest academic contribution was annotating Zhuangzi. The book Zhuangzi was abstruse in language and hard to understand. Xiang Xiu's annotations not only systematically interpreted the thoughts of Zhuangzi, but also integrated his own insights, making the thoughts of Zhuangzi more accessible to understand, thus making an important contribution to the dissemination and development of Zhuangzi's ideology. Unfortunately, part of Xiang Xiu's Annotations to Zhuangzi has been lost, and the existing parts are mixed with Guo Xiang's annotations, which are difficult to distinguish completely.

In literature, Xiang Xiu's representative work Ode to Nostalgia for the Past was sincere in emotion and touching to tears. This fu was written when Xiang Xiu passed by the former residence of Ji Kang and Lü An after they were put to death. By recalling the past time of getting along with Ji Kang and Lü An, the fu expressed his deep longing and grief for his friends, and also implicitly voiced his dissatisfaction with the dark reality, becoming a classic work in the history of Chinese literature.

====Liu Ling====

Liu Ling (c.221-300), courtesy name Bolun, was born in Pei State (present-day Suzhou City, Anhui Province). He was a litterateur from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period. Among the Seven Sages of the Bamboo Grove, Liu Ling was famous for his alcoholism, and his unrestrained lifestyle and extreme love for wine became his most distinctive labels.

Liu Ling was an alcoholic to such an extent that he "could not be happy without wine". He often rode in a deer-drawn cart with a pot of wine, asking a servant to follow with a hoe on his shoulder, and said to the servant: "Bury me at once if I die." This seemingly absurd behavior was actually his contempt for secular ethics and rituals, as well as his ultimate pursuit of freedom. His drinking was not mere indulgence, but a way to resist reality.

He wrote Ode to the Virtue of Wine, which was a concentrated embodiment of his thoughts and personality. Liu Ling never held any important official posts in his life, and always faced the world with an aloof attitude. With wine as a medium, he integrated the pursuit of freedom and the resistance to the secular world into all aspects of his life, becoming a member of the Seven Sages of the Bamboo Grove with strong personality.

====Wang Rong====

Wang Rong (234-305), courtesy name Junchong, was born in Linyi of Langya State (present-day Linyi City, Shandong Province). He was a minister and litterateur from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period, and one of the Seven Sages of the Bamboo Grove. Wang Rong was famous for his intelligence since childhood and was a well-known child prodigy. A great many stories about his precocious wisdom were recorded in New Account of the Old Episodes, among which the allusion of "Wang Rong refusing to pick the plums by the road" was a household name.

Born into the noble Wang clan of Langya with a powerful family influence, Wang Rong had favorable conditions for his official career development. Compared with other members of the Seven Sages of the Bamboo Grove, Wang Rong was more precocious and insightful, well aware of the way to survive in troubled times. He had close contacts with Ji Kang, Ruan Ji and others in his early years, gathering with them in the bamboo groves. However, as he grew older and the political situation changed, he gradually devoted himself to the official career and rose steadily in the official circle. Renowned for his astuteness and competence in the official field, Wang Rong once held important official posts such as Minister of Personnel and Minister over the Masses, making certain contributions to the political stability of the Western Jin Dynasty.

Few of Wang Rong's literary works have been handed down, but as the youngest member of the Seven Sages of the Bamboo Grove, he witnessed the rise and fall of the whole group, and his life experience possessed important historical significance.

====Ruan Xian====

Ruan Xian (c.222-278), courtesy name Zhongrong, was born in Weishi of Chenliu State (present-day Weishi County, Henan Province). He was a litterateur and musician from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period. He was the nephew of Ruan Ji, and they were collectively known as "Senior Ruan and Junior Ruan". They shared many similarities in character and aspiration, both criticizing secular ethics and rituals and pursuing a free and unrestrained life.
Ruan Xian had an extraordinary talent and attainments in music, being a famous musician in ancient China. He was especially good at playing the pipa. According to legend, he improved the traditional pipa and created a new type of pipa with a rounder shape and a more beautiful tone. This kind of pipa was later named "Ruanxian" (shortened to Ruan), and became one of the traditional Chinese national musical instruments.

His main achievements were concentrated in the field of music. His exquisite understanding of temperament and improvement of musical instruments made an important contribution to the development of ancient Chinese music.

====Conclusion====

Although the Seven Sages of the Bamboo Grove lived in the same era and shared common spiritual pursuits, each of them had a different life trajectory and personality traits. Ji Kang was unyielding and steadfast, practicing his ideals with his life; Ruan Ji withdrew from the world by drinking wine, expressing his sorrow through poems; Shan Tao was calm and pragmatic, adhering to his original aspiration in his official career; Xiang Xiu integrated Confucianism and Daoism, inheriting thoughts through academic research; Liu Ling was unrestrained and dissipated, transcending the secular world with fine wine; Wang Rong was precocious and insightful, preserving himself in troubled times; Ruan Xian had a profound understanding of rhythm, interpreting freedom through music. They resisted the constraints of secular ethics and rituals in different ways, and jointly forged the spiritual core of the Wei-Jin Integrity.

The thoughts and deeds of the Seven Sages of the Bamboo Grove not only exerted an important influence at that time, but also became a benchmark for the spiritual pursuit of literati and poets in later generations. The spirit of freedom, independence and transcendence advocated by them has gone through thousands of years and still possesses strong vitality, providing an important enlightenment for us to understand and inherit traditional Chinese culture today.

===Terms and Expression===

the Seven Sages of the Bamboo Grove——竹林七贤

Wei-Jin Integrity——魏晋风骨头

discourse on metaphysics and Daoism——谈玄论道

secular ethics and rituals——世俗礼教

unrestrained and dissipated——放浪形骸

drown sorrows in wine to withdraw from the world——借酒避世

the Three Kingdoms Period——三国时期

the intrigue and strife——尔虞我诈

Guangling Folk Strains——《广陵散》

Music has neither grief nor joy——《声无哀乐论》

A Break-up Letter to Shan Juyuan——《与山巨源绝交书》

drinking to drown his sorrows——借酒消愁

avoid misfortunes by drinking——以酒避祸

five-character poems——五言诗

Poems of My Feelings——《咏怀诗》

Ode to Nostalgia for the Past——《思旧赋》

Ode to the Virtue of Wine——《酒德颂》

Annotations to Zhuangzi——《庄子注》

New Account of the Old Episodes—— 《世说新语》

Wang Rong refusing to pick the plums by the road——王戎不取道旁李

===Questions===

1. What were the core spiritual pursuits of the Seven Sages of the Bamboo Grove?

2. What was Xiang Xiu's core academic contribution?

3. As the spiritual core of the Seven Sages of the Bamboo Grove, what was the end of Ji Kang's life?

4. Ruanxian refers both to one of the Seven Sages of the Bamboo Grove and to a musical instrument. What is the origin of this musical instrument?

5. As core members of the Seven Sages of the Bamboo Grove, both Ruan Ji and Liu Ling were known for their alcoholism. What are the common spiritual cores behind their behaviors of drinking alcohol?

===Answers===

1. Their core spiritual pursuit was to resist the constraints of secular ethics and rituals, and to strive for freedom and an independent personality.

2. Xiang Xiu's core academic contribution was writing annotations for Zhuangzi: he systematically interpreted the thoughts in Zhuangzi, integrated his own viewpoints into the annotations, and promoted the dissemination of Zhuangzi's philosophy.

3. Because Ji Kang refused to collude with the Sima clan group and incurred the wrath of the powerful nobles by defending his friend, he was put to death by Sima Zhao. Before his execution, he calmly played the Guangling Folk Strains.

4. Ruan Xian was skilled at playing the pipa. He improved the traditional pipa and created a new type of pipa with a rounder shape and more melodious tone. To commemorate him, later generations named this musical instrument Ruanxian, which is shortened to Ruan.

5. The drinking of both men was not mere indulgence; in essence, through their unrestrained and dissipated lifestyle, they staged a silent resistance against the dark reality and hypocritical secular ethics of the Wei-Jin period, while pursuing spiritual freedom and transcendence.

===Reference===

[1]勉中.竹林七贤简论[J].中国文学研究,1998,(04):30-34.DOI:10.13399/j.cnki.zgwxyj.1998.04.006.

[2]顾农.略谈嵇康和以他为首的竹林七贤[J].书屋,2018,(08):52-55.

[3]刘洪浩.论《世说新语》中的竹林七贤[J].文学教育(上),2018,(06):24-26.DOI:10.16692/j.cnki.wxjys.2018.06.012.

[4]李璐璐,段佳薇.浅谈魏晋风骨——竹林七贤[J].今古文创,2020,(29):12-13.DOI:10.20024/j.cnki.cn42-1911/i.2020.29.005.

[5]董敏.竹林七贤及其隐逸文学研究[D].陕西师范大学,2019.DOI:10.27292/d.cnki.gsxfu.2019.001097.

[6]竹林七贤（中国魏晋时期七位名士）_百度百科

==期末论文==

===竹林七贤===

====引言====
魏晋之际，社会动荡不安，传统儒家思想的权威性受到猛烈冲击。在这样的时代背景下，以嵇康、阮籍、山涛、向秀、刘伶、王戎、阮咸为代表的“竹林七贤”应运而生。他们常聚于山阳竹林之下，饮酒纵歌，谈玄论道，以独特的生活方式和精神追求，反抗世俗礼教的束缚，彰显出鲜明的个性色彩与独立的人格精神。“竹林七贤”不仅是魏晋时期思想文化的重要载体，其身上所体现的“魏晋风骨”更对后世产生了深远影响。本文将对竹林七贤逐一进行介绍。

====嵇康====
嵇康（224年－263年），字叔夜，谯国铚县（今安徽省濉溪县）人，三国时期曹魏思想家、音乐家、文学家，更是竹林七贤的精神核心。他容貌俊美，气质不凡。嵇康自幼聪慧，博览群书。
在政治上，嵇康出身官宦之家，却厌恶官场的尔虞我诈，拒绝与司马氏集团同流合污。他与曹魏宗室有姻亲关系，这更让他成为司马氏猜忌的对象。他拒绝司马昭的征召，甚至为友人吕安辩护而触怒权贵。最终，嵇康被司马昭以“言论放荡，害时乱教”的罪名处死。临刑前，他从容弹奏《广陵散》，曲终弦断，其傲骨风范流传千古。
在文学与艺术领域，嵇康成就斐然。其散文观点鲜明，逻辑严密，《与山巨源绝交书》是其代表作之一。在信中，他痛斥山涛推荐自己出仕的行为，明确表达了对仕途的厌恶和对自由的追求。在音乐方面，嵇康精通音律，著有《声无哀乐论》。他弹奏的《广陵散》更是成为中国古代音乐史上的传奇。

====阮籍====
阮籍（210年－263年），字嗣宗，陈留尉氏（今河南省尉氏县）人，三国时期曹魏文学家、思想家。阮籍身处魏晋易代之际，目睹司马氏集团的残暴与虚伪，内心充满矛盾与痛苦。他既不愿同流合污，又无力正面反抗，于是选择了“借酒避世”的生存方式。
阮籍嗜酒如命，常常借酒消愁，以酒避祸。阮籍的这种行为，表面上是放浪形骸，实则是对黑暗现实的无声反抗。
在文学方面，阮籍的五言诗成就极高，其代表作《咏怀诗》八十二首，是中国文学史上的重要作品。这些诗歌多以比兴、象征的手法，隐晦地表达了他对时政的不满、对人生的感慨以及对理想的追求，对后世诗歌创作产生了深远影响。

====山涛====
山涛（205年－283年），字巨源，河内怀县（今河南省武陟县）人。与嵇康、阮籍的放浪不羁不同，山涛性格沉稳务实，富有政治远见和处事智慧。他身处乱世，既坚守自身的道德底线，又能在复杂的政治环境中保全自己，最终在仕途上取得了一定的成就。
在文学方面，山涛的作品流传较少，但他的思想与行为同样具有时代意义。他以自己的方式在乱世中坚守本心，在仕途上践行着自己的理想，成为竹林七贤中较为特殊的一员。他的沉稳务实与处事智慧，为后世在复杂环境中如何平衡理想与现实提供了有益的借鉴。

====向秀====
向秀（约227年－272年），字子期，河内怀县（今河南省武陟县）人，三国时期曹魏至西晋时期的思想家、文学家，竹林七贤之一。向秀性格温和，学识渊博，尤其在哲学领域有着深厚的造诣。他与嵇康关系最为密切，两人常常一同打铁、论道，结下了深厚的友谊。
向秀在学术上的最大贡献是为《庄子》作注。《庄子》一书文辞深奥，难以理解，向秀的注疏不仅对《庄子》的思想进行了系统的阐释，还融入了自己的见解，使《庄子》的思想更加通俗易懂，为庄子思想的传播与发展做出了重要贡献。可惜的是，向秀的《庄子注》部分内容已经失传，现存的部分与郭象的注疏混杂在一起，难以完全区分。
在文学方面，向秀的代表作《思旧赋》情感真挚，催人泪下。这篇赋是向秀在嵇康、吕安被处死之后，路过他们的旧居时所作。赋文中通过对往昔与嵇康、吕安相处时光的回忆，表达了对友人的深切思念与悲痛之情，同时也隐晦地抒发了对黑暗现实的不满，成为中国文学史上的经典之作。

====刘伶====
刘伶（约221年－300年），字伯伦，沛国（今安徽省宿州市）人，三国时期曹魏至西晋时期的文学家。在竹林七贤中，刘伶以嗜酒闻名，其放浪形骸的生活方式和对酒的极致热爱，成为他最鲜明的标签。
刘伶嗜酒如命，甚至到了“无酒不欢”的地步。他常常乘一辆鹿车，带着一壶酒，让仆人扛着锄头跟在后面，并对仆人说：“死便埋我。”这种看似荒诞的行为，实则是他对世俗礼教的蔑视和对自由的极致追求。他的饮酒并非单纯的沉迷，而是一种反抗现实的方式。
他著有《酒德颂》，这是他思想与人格的集中体现。刘伶的一生没有担任过重要官职，他始终以一种超然物外的态度面对世事。他以酒为媒介，将对自由的追求和对世俗的反抗融入到生活的方方面面，成为竹林七贤中极具个性色彩的一员。

====王戎====
王戎（234年－305年），字濬冲，琅玡临沂（今山东省临沂市）人，三国时期曹魏至西晋时期的大臣、文学家，竹林七贤之一。王戎自幼便以聪慧闻名，是著名的“神童”。《世说新语》中记载了许多关于他早慧的故事，其中“王戎不取道旁李”的典故更是家喻户晓。
王戎出身于名门望族琅玡王氏，家族势力雄厚，这为他的仕途发展提供了有利条件。与竹林七贤中的其他成员相比，王戎更为早熟和通透，他深知乱世之中的生存之道。他早年与嵇康、阮籍等人交往密切，一同在竹林中聚会，但随着年龄的增长和政治形势的变化，他逐渐投身仕途，并在官场上步步高升。王戎在官场上以精明能干著称，他曾担任过吏部尚书、司徒等重要官职，为西晋的政治稳定做出了一定的贡献。
王戎的文学作品流传较少，但他作为竹林七贤中年龄最小的一员，见证了整个竹林七贤群体的兴衰变迁，其人生经历具有重要的历史意义。

====阮咸====
阮咸（约公元222—278年），字仲容，陈留尉氏（今河南省尉氏县）人，三国时期曹魏至西晋时期的文学家、音乐家。他是阮籍的侄子，与阮籍并称为“大小阮”，两人在性格和志趣上有诸多相似之处，都对世俗礼教持批判态度，追求自由洒脱的生活。
阮咸在音乐方面有着极高的天赋和造诣，是中国古代著名的音乐家。他尤其擅长弹奏琵琶，相传他对传统琵琶进行了改良，创制了一种形状更为圆润、音色更为优美的琵琶，这种琵琶后来被称为“阮咸”，简称“阮”，成为中国传统民族乐器之一。
他的主要成就集中在音乐领域，其对音律的精妙理解和对乐器的改良，为中国古代音乐的发展做出了重要贡献。

====结语====
竹林七贤虽然身处同一时代，有着共同的精神追求，但他们各自的人生轨迹和性格特质却各不相同。嵇康傲骨铮铮，以生命践行理想；阮籍借酒避世，用诗歌抒发悲情；山涛沉稳务实，在仕途上坚守本心；向秀兼容儒道，以学术传承思想；刘伶放浪形骸，凭美酒超脱世俗；王戎早慧通透，于乱世中保全自身；阮咸妙解音律，用音乐诠释自由。他们以不同的方式反抗着世俗礼教的束缚，共同铸就了“魏晋风骨”的精神内核。
竹林七贤的思想与行为，不仅在当时产生了重要影响，更成为后世文人墨客精神追求的标杆。他们所倡导的自由、独立、超脱的精神，穿越千年的时光，依然具有强大的生命力，为我们今天理解和传承中国传统文化提供了重要的启示。

===术语和表达===

the Seven Sages of the Bamboo Grove——竹林七贤

Wei-Jin Integrity——魏晋风骨头

discourse on metaphysics and Daoism——谈玄论道

secular ethics and rituals——世俗礼教

unrestrained and dissipated——放浪形骸

drown sorrows in wine to withdraw from the world——借酒避世

the Three Kingdoms Period——三国时期

the intrigue and strife——尔虞我诈

Guangling Folk Strains——《广陵散》

Music has neither grief nor joy——《声无哀乐论》

A Break-up Letter to Shan Juyuan——《与山巨源绝交书》

drinking to drown his sorrows——借酒消愁

avoid misfortunes by drinking——以酒避祸

five-character poems——五言诗

Poems of My Feelings——《咏怀诗》

Ode to Nostalgia for the Past——《思旧赋》

Ode to the Virtue of Wine——《酒德颂》

Annotations to Zhuangzi——《庄子注》

New Account of the Old Episodes—— 《世说新语》

Wang Rong refusing to pick the plums by the road——王戎不取道旁李

===问题===

1. 竹林七贤他们的核心精神追求有哪些？

2. 向秀的核心学术贡献是什么？

3. 嵇康作为竹林七贤的精神核心，他他的人生结局是怎样的？

4. “阮咸”既指竹林七贤中的一人，也与一种乐器相关，这种乐器的由来是什么？

5. 同为竹林七贤的核心人物，阮籍和刘伶都有嗜酒的特点，二人借酒的行为背后的精神内核有什么共通之处？

===答案===

1. 核心精神追求是反抗世俗礼教的束缚，追求自由与独立的人格。

2. 向秀的核心学术贡献是为《庄子》作注，系统阐释《庄子》思想并融入己见，推动了庄子学说的传播。

3. 嵇康因拒绝与司马氏集团同流合污，为友人辩护触怒权贵，被司马昭处死，临刑前从容弹奏《广陵散》。

4. 阮咸擅长弹奏琵琶，他对传统琵琶进行改良，创制出形状更圆润、音色更优美的新琵琶，后人为纪念他，便将这种乐器命名为“阮咸”，简称“阮”。

5. 二人的饮酒都并非单纯沉迷，本质都是以放浪形骸的方式，对魏晋黑暗的现实、虚伪的世俗礼教进行无声的反抗，同时追求精神的自由与超脱。

===参考文献===
[1]勉中.竹林七贤简论[J].中国文学研究,1998,(04):30-34.DOI:10.13399/j.cnki.zgwxyj.1998.04.006.

[2]顾农.略谈嵇康和以他为首的竹林七贤[J].书屋,2018,(08):52-55.

[3]刘洪浩.论《世说新语》中的竹林七贤[J].文学教育(上),2018,(06):24-26.DOI:10.16692/j.cnki.wxjys.2018.06.012.

[4]李璐璐,段佳薇.浅谈魏晋风骨——竹林七贤[J].今古文创,2020,(29):12-13.DOI:10.20024/j.cnki.cn42-1911/i.2020.29.005.

[5]董敏.竹林七贤及其隐逸文学研究[D].陕西师范大学,2019.DOI:10.27292/d.cnki.gsxfu.2019.001097.

[6]竹林七贤（中国魏晋时期七位名士）_百度百科

Uvu/index.php/User:Liu Kangyi

2025-12-29T13:40:18Z

Liu Kangyi: /* Terms and Expression */

==Final Exam Paper==

===The Seven Sages of the Bamboo Grove===

====Introduction====

During the period between the Wei and Jin Dynasties, the society was in turmoil and unrest, and the authority of traditional Confucianism suffered a fierce impact. Against such a historical backdrop, the Seven Sages of the Bamboo Grove, represented by Ji Kang, Ruan Ji, Shan Tao, Xiang Xiu, Liu Ling, Wang Rong and Ruan Xian, came into being. They often gathered under the bamboo groves in Shanyang, drinking wine, singing freely, discoursing on metaphysics and Daoism. Through their unique lifestyle and spiritual pursuit, they resisted the constraints of secular ethics and rituals, embodying distinct individuality and an independent spirit of personality. The Seven Sages of the Bamboo Grove were not only an important carrier of ideology and culture in the Wei and Jin Dynasties, but also the Wei-Jin Integrity embodied in them exerted a profound influence on later generations. This article will introduce each of the Seven Sages of the Bamboo Grove one by one.

====Ji Kang====

Ji Kang (224-263), courtesy name Shuye, was born in Zhi County of Qiao State (present-day Suixi County, Anhui Province). He was a thinker, musician and litterateur of the Cao Wei regime during the Three Kingdoms Period, and the spiritual core of the Seven Sages of the Bamboo Grove. He was handsome in appearance and extraordinary in temperament. Ji Kang was intelligent since childhood and had an extensive knowledge.

Politically, though born into an official family, Ji Kang abhorred the intrigue and strife in the official circle and refused to collude with the Sima clan group. He had a marital relation with the imperial clan of Cao Wei, which made him an object of suspicion of the Sima clan all the more. He declined the summons of Sima Zhao, and even incurred the wrath of the powerful nobles for defending his friend Lü An. In the end, Ji Kang was put to death by Sima Zhao on the charge of "indulgent remarks that harmed the times and disrupted ethics". Before his execution, he played Guangling Folk Strains. As the music ended and the strings broke, his noble and unyielding demeanor has been passed down through the ages.

In the fields of literature and art, Ji Kang achieved remarkable accomplishments. His proses featured distinct viewpoints and rigorous logic, and Letter to A Break-up Letter to Shan Juyuan was one of his representative works. In the letter, he bitterly denounced Shan Tao for recommending him to take an official post, and clearly expressed his loathing for official career and pursuit of freedom. In terms of music, Ji Kang was proficient in temperament and wrote Music has neither grief nor joy. His performance of Guangling Folk Strains became a legend in the history of ancient Chinese music.

====Ruan Ji====

Ruan Ji (210-263), courtesy name Sizong, was born in Weishi of Chenliu State (present-day Weishi County, Henan Province). He was a litterateur and thinker of the Cao Wei regime during the Three Kingdoms Period. Living in the period of dynastic change from Wei to Jin, Ruan Ji witnessed the cruelty and hypocrisy of the Sima clan group, filled with contradictions and pain in his heart. Unwilling to collude with the evil forces yet powerless to resist openly, he chose a way of life of "drowning sorrows in wine to withdraw from the world".

Ruan Ji was an alcoholic, often drinking to drown his sorrows and avoid misfortunes. On the surface, such behavior of his seemed unrestrained and dissipated, but in fact, it was a silent resistance to the dark reality.

In literature, Ruan Ji attained great achievements in five-character poems. His magnum opus Poems of My Feelings, a collection of eighty-two poems, is an important work in the history of Chinese literature. Most of these poems implicitly expressed his dissatisfaction with current politics, his reflections on life and his pursuit of ideals by means of metaphor and symbolism, exerting a far-reaching influence on the poetry creation of later generations.

====Shan Tao====

Shan Tao (205-283), courtesy name Juyuan, was born in Huai County of Henei State (present-day Wuzhi County, Henan Province). Different from the unrestrained Ji Kang and Ruan Ji, Shan Tao was calm and pragmatic in character, endowed with political foresight and wisdom in handling affairs. Living in a troubled time, he not only adhered to his own moral bottom line, but also managed to preserve himself in the complicated political environment, and finally achieved certain accomplishments in his official career.

Few of Shan Tao's works have been handed down in the literary field, yet his thoughts and deeds still possessed epochal significance. He kept his original aspiration in the troubled times in his own way and practiced his ideals in his official career, making him a special member of the Seven Sages of the Bamboo Grove. His calm pragmatism and wisdom in dealing with affairs provided a valuable reference for later generations on how to balance ideals and reality in a complex environment.

====Xiang Xiu====

Xiang Xiu (c.227-272), courtesy name Ziqi, was born in Huai County of Henei State (present-day Wuzhi County, Henan Province). He was a thinker and litterateur from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period, and one of the Seven Sages of the Bamboo Grove. Xiang Xiu was gentle in character and erudite in knowledge, with profound attainments especially in the field of philosophy. He had the closest relationship with Ji Kang; they often forged iron and discussed Daoism together, forming a profound friendship.

Xiang Xiu's greatest academic contribution was annotating Zhuangzi. The book Zhuangzi was abstruse in language and hard to understand. Xiang Xiu's annotations not only systematically interpreted the thoughts of Zhuangzi, but also integrated his own insights, making the thoughts of Zhuangzi more accessible to understand, thus making an important contribution to the dissemination and development of Zhuangzi's ideology. Unfortunately, part of Xiang Xiu's Annotations to Zhuangzi has been lost, and the existing parts are mixed with Guo Xiang's annotations, which are difficult to distinguish completely.

In literature, Xiang Xiu's representative work Ode to Nostalgia for the Past was sincere in emotion and touching to tears. This fu was written when Xiang Xiu passed by the former residence of Ji Kang and Lü An after they were put to death. By recalling the past time of getting along with Ji Kang and Lü An, the fu expressed his deep longing and grief for his friends, and also implicitly voiced his dissatisfaction with the dark reality, becoming a classic work in the history of Chinese literature.

====Liu Ling====

Liu Ling (c.221-300), courtesy name Bolun, was born in Pei State (present-day Suzhou City, Anhui Province). He was a litterateur from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period. Among the Seven Sages of the Bamboo Grove, Liu Ling was famous for his alcoholism, and his unrestrained lifestyle and extreme love for wine became his most distinctive labels.

Liu Ling was an alcoholic to such an extent that he "could not be happy without wine". He often rode in a deer-drawn cart with a pot of wine, asking a servant to follow with a hoe on his shoulder, and said to the servant: "Bury me at once if I die." This seemingly absurd behavior was actually his contempt for secular ethics and rituals, as well as his ultimate pursuit of freedom. His drinking was not mere indulgence, but a way to resist reality.

He wrote Ode to the Virtue of Wine, which was a concentrated embodiment of his thoughts and personality. Liu Ling never held any important official posts in his life, and always faced the world with an aloof attitude. With wine as a medium, he integrated the pursuit of freedom and the resistance to the secular world into all aspects of his life, becoming a member of the Seven Sages of the Bamboo Grove with strong personality.

====Wang Rong====

Wang Rong (234-305), courtesy name Junchong, was born in Linyi of Langya State (present-day Linyi City, Shandong Province). He was a minister and litterateur from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period, and one of the Seven Sages of the Bamboo Grove. Wang Rong was famous for his intelligence since childhood and was a well-known child prodigy. A great many stories about his precocious wisdom were recorded in New Account of the Old Episodes, among which the allusion of "Wang Rong refusing to pick the plums by the road" was a household name.

Born into the noble Wang clan of Langya with a powerful family influence, Wang Rong had favorable conditions for his official career development. Compared with other members of the Seven Sages of the Bamboo Grove, Wang Rong was more precocious and insightful, well aware of the way to survive in troubled times. He had close contacts with Ji Kang, Ruan Ji and others in his early years, gathering with them in the bamboo groves. However, as he grew older and the political situation changed, he gradually devoted himself to the official career and rose steadily in the official circle. Renowned for his astuteness and competence in the official field, Wang Rong once held important official posts such as Minister of Personnel and Minister over the Masses, making certain contributions to the political stability of the Western Jin Dynasty.

Few of Wang Rong's literary works have been handed down, but as the youngest member of the Seven Sages of the Bamboo Grove, he witnessed the rise and fall of the whole group, and his life experience possessed important historical significance.

====Ruan Xian====

Ruan Xian (c.222-278), courtesy name Zhongrong, was born in Weishi of Chenliu State (present-day Weishi County, Henan Province). He was a litterateur and musician from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period. He was the nephew of Ruan Ji, and they were collectively known as "Senior Ruan and Junior Ruan". They shared many similarities in character and aspiration, both criticizing secular ethics and rituals and pursuing a free and unrestrained life.
Ruan Xian had an extraordinary talent and attainments in music, being a famous musician in ancient China. He was especially good at playing the pipa. According to legend, he improved the traditional pipa and created a new type of pipa with a rounder shape and a more beautiful tone. This kind of pipa was later named "Ruanxian" (shortened to Ruan), and became one of the traditional Chinese national musical instruments.

His main achievements were concentrated in the field of music. His exquisite understanding of temperament and improvement of musical instruments made an important contribution to the development of ancient Chinese music.

====Conclusion====

Although the Seven Sages of the Bamboo Grove lived in the same era and shared common spiritual pursuits, each of them had a different life trajectory and personality traits. Ji Kang was unyielding and steadfast, practicing his ideals with his life; Ruan Ji withdrew from the world by drinking wine, expressing his sorrow through poems; Shan Tao was calm and pragmatic, adhering to his original aspiration in his official career; Xiang Xiu integrated Confucianism and Daoism, inheriting thoughts through academic research; Liu Ling was unrestrained and dissipated, transcending the secular world with fine wine; Wang Rong was precocious and insightful, preserving himself in troubled times; Ruan Xian had a profound understanding of rhythm, interpreting freedom through music. They resisted the constraints of secular ethics and rituals in different ways, and jointly forged the spiritual core of the Wei-Jin Integrity.

The thoughts and deeds of the Seven Sages of the Bamboo Grove not only exerted an important influence at that time, but also became a benchmark for the spiritual pursuit of literati and poets in later generations. The spirit of freedom, independence and transcendence advocated by them has gone through thousands of years and still possesses strong vitality, providing an important enlightenment for us to understand and inherit traditional Chinese culture today.

===Terms and Expression===

the Seven Sages of the Bamboo Grove——竹林七贤

Wei-Jin Integrity——魏晋风骨头

discourse on metaphysics and Daoism——谈玄论道

secular ethics and rituals——世俗礼教

unrestrained and dissipated——放浪形骸

drown sorrows in wine to withdraw from the world——借酒避世

the Three Kingdoms Period——三国时期

the intrigue and strife——尔虞我诈

Guangling Folk Strains——《广陵散》

Music has neither grief nor joy——《声无哀乐论》

A Break-up Letter to Shan Juyuan——《与山巨源绝交书》

drinking to drown his sorrows——借酒消愁

avoid misfortunes by drinking——以酒避祸

five-character poems——五言诗

Poems of My Feelings——《咏怀诗》

Ode to Nostalgia for the Past——《思旧赋》

Ode to the Virtue of Wine——《酒德颂》

Annotations to Zhuangzi——《庄子注》

New Account of the Old Episodes—— 《世说新语》

Wang Rong refusing to pick the plums by the road——王戎不取道旁李

===Questions=

1. What were the core spiritual pursuits of the Seven Sages of the Bamboo Grove?

2. What was Xiang Xiu's core academic contribution?

3. As the spiritual core of the Seven Sages of the Bamboo Grove, what was the end of Ji Kang's life?

4. Ruanxian refers both to one of the Seven Sages of the Bamboo Grove and to a musical instrument. What is the origin of this musical instrument?

5. As core members of the Seven Sages of the Bamboo Grove, both Ruan Ji and Liu Ling were known for their alcoholism. What are the common spiritual cores behind their behaviors of drinking alcohol?

===Answers===

1. Their core spiritual pursuit was to resist the constraints of secular ethics and rituals, and to strive for freedom and an independent personality.

2. Xiang Xiu's core academic contribution was writing annotations for Zhuangzi: he systematically interpreted the thoughts in Zhuangzi, integrated his own viewpoints into the annotations, and promoted the dissemination of Zhuangzi's philosophy.

3. Because Ji Kang refused to collude with the Sima clan group and incurred the wrath of the powerful nobles by defending his friend, he was put to death by Sima Zhao. Before his execution, he calmly played the Guangling Folk Strains.

4. Ruan Xian was skilled at playing the pipa. He improved the traditional pipa and created a new type of pipa with a rounder shape and more melodious tone. To commemorate him, later generations named this musical instrument Ruanxian, which is shortened to Ruan.

5. The drinking of both men was not mere indulgence; in essence, through their unrestrained and dissipated lifestyle, they staged a silent resistance against the dark reality and hypocritical secular ethics of the Wei-Jin period, while pursuing spiritual freedom and transcendence.

===Reference===

[1]勉中.竹林七贤简论[J].中国文学研究,1998,(04):30-34.DOI:10.13399/j.cnki.zgwxyj.1998.04.006.
[2]顾农.略谈嵇康和以他为首的竹林七贤[J].书屋,2018,(08):52-55.
[3]刘洪浩.论《世说新语》中的竹林七贤[J].文学教育(上),2018,(06):24-26.DOI:10.16692/j.cnki.wxjys.2018.06.012.
[4]李璐璐,段佳薇.浅谈魏晋风骨——竹林七贤[J].今古文创,2020,(29):12-13.DOI:10.20024/j.cnki.cn42-1911/i.2020.29.005.
[5]董敏.竹林七贤及其隐逸文学研究[D].陕西师范大学,2019.DOI:10.27292/d.cnki.gsxfu.2019.001097.
[6]竹林七贤（中国魏晋时期七位名士）_百度百科

==期末论文==

===竹林七贤===

====引言====
魏晋之际，社会动荡不安，传统儒家思想的权威性受到猛烈冲击。在这样的时代背景下，以嵇康、阮籍、山涛、向秀、刘伶、王戎、阮咸为代表的“竹林七贤”应运而生。他们常聚于山阳竹林之下，饮酒纵歌，谈玄论道，以独特的生活方式和精神追求，反抗世俗礼教的束缚，彰显出鲜明的个性色彩与独立的人格精神。“竹林七贤”不仅是魏晋时期思想文化的重要载体，其身上所体现的“魏晋风骨”更对后世产生了深远影响。本文将对竹林七贤逐一进行介绍。

====嵇康====
嵇康（224年－263年），字叔夜，谯国铚县（今安徽省濉溪县）人，三国时期曹魏思想家、音乐家、文学家，更是竹林七贤的精神核心。他容貌俊美，气质不凡。嵇康自幼聪慧，博览群书。
在政治上，嵇康出身官宦之家，却厌恶官场的尔虞我诈，拒绝与司马氏集团同流合污。他与曹魏宗室有姻亲关系，这更让他成为司马氏猜忌的对象。他拒绝司马昭的征召，甚至为友人吕安辩护而触怒权贵。最终，嵇康被司马昭以“言论放荡，害时乱教”的罪名处死。临刑前，他从容弹奏《广陵散》，曲终弦断，其傲骨风范流传千古。
在文学与艺术领域，嵇康成就斐然。其散文观点鲜明，逻辑严密，《与山巨源绝交书》是其代表作之一。在信中，他痛斥山涛推荐自己出仕的行为，明确表达了对仕途的厌恶和对自由的追求。在音乐方面，嵇康精通音律，著有《声无哀乐论》。他弹奏的《广陵散》更是成为中国古代音乐史上的传奇。

====阮籍====
阮籍（210年－263年），字嗣宗，陈留尉氏（今河南省尉氏县）人，三国时期曹魏文学家、思想家。阮籍身处魏晋易代之际，目睹司马氏集团的残暴与虚伪，内心充满矛盾与痛苦。他既不愿同流合污，又无力正面反抗，于是选择了“借酒避世”的生存方式。
阮籍嗜酒如命，常常借酒消愁，以酒避祸。阮籍的这种行为，表面上是放浪形骸，实则是对黑暗现实的无声反抗。
在文学方面，阮籍的五言诗成就极高，其代表作《咏怀诗》八十二首，是中国文学史上的重要作品。这些诗歌多以比兴、象征的手法，隐晦地表达了他对时政的不满、对人生的感慨以及对理想的追求，对后世诗歌创作产生了深远影响。

====山涛====
山涛（205年－283年），字巨源，河内怀县（今河南省武陟县）人。与嵇康、阮籍的放浪不羁不同，山涛性格沉稳务实，富有政治远见和处事智慧。他身处乱世，既坚守自身的道德底线，又能在复杂的政治环境中保全自己，最终在仕途上取得了一定的成就。
在文学方面，山涛的作品流传较少，但他的思想与行为同样具有时代意义。他以自己的方式在乱世中坚守本心，在仕途上践行着自己的理想，成为竹林七贤中较为特殊的一员。他的沉稳务实与处事智慧，为后世在复杂环境中如何平衡理想与现实提供了有益的借鉴。

====向秀====
向秀（约227年－272年），字子期，河内怀县（今河南省武陟县）人，三国时期曹魏至西晋时期的思想家、文学家，竹林七贤之一。向秀性格温和，学识渊博，尤其在哲学领域有着深厚的造诣。他与嵇康关系最为密切，两人常常一同打铁、论道，结下了深厚的友谊。
向秀在学术上的最大贡献是为《庄子》作注。《庄子》一书文辞深奥，难以理解，向秀的注疏不仅对《庄子》的思想进行了系统的阐释，还融入了自己的见解，使《庄子》的思想更加通俗易懂，为庄子思想的传播与发展做出了重要贡献。可惜的是，向秀的《庄子注》部分内容已经失传，现存的部分与郭象的注疏混杂在一起，难以完全区分。
在文学方面，向秀的代表作《思旧赋》情感真挚，催人泪下。这篇赋是向秀在嵇康、吕安被处死之后，路过他们的旧居时所作。赋文中通过对往昔与嵇康、吕安相处时光的回忆，表达了对友人的深切思念与悲痛之情，同时也隐晦地抒发了对黑暗现实的不满，成为中国文学史上的经典之作。

====刘伶====
刘伶（约221年－300年），字伯伦，沛国（今安徽省宿州市）人，三国时期曹魏至西晋时期的文学家。在竹林七贤中，刘伶以嗜酒闻名，其放浪形骸的生活方式和对酒的极致热爱，成为他最鲜明的标签。
刘伶嗜酒如命，甚至到了“无酒不欢”的地步。他常常乘一辆鹿车，带着一壶酒，让仆人扛着锄头跟在后面，并对仆人说：“死便埋我。”这种看似荒诞的行为，实则是他对世俗礼教的蔑视和对自由的极致追求。他的饮酒并非单纯的沉迷，而是一种反抗现实的方式。
他著有《酒德颂》，这是他思想与人格的集中体现。刘伶的一生没有担任过重要官职，他始终以一种超然物外的态度面对世事。他以酒为媒介，将对自由的追求和对世俗的反抗融入到生活的方方面面，成为竹林七贤中极具个性色彩的一员。

====王戎====
王戎（234年－305年），字濬冲，琅玡临沂（今山东省临沂市）人，三国时期曹魏至西晋时期的大臣、文学家，竹林七贤之一。王戎自幼便以聪慧闻名，是著名的“神童”。《世说新语》中记载了许多关于他早慧的故事，其中“王戎不取道旁李”的典故更是家喻户晓。
王戎出身于名门望族琅玡王氏，家族势力雄厚，这为他的仕途发展提供了有利条件。与竹林七贤中的其他成员相比，王戎更为早熟和通透，他深知乱世之中的生存之道。他早年与嵇康、阮籍等人交往密切，一同在竹林中聚会，但随着年龄的增长和政治形势的变化，他逐渐投身仕途，并在官场上步步高升。王戎在官场上以精明能干著称，他曾担任过吏部尚书、司徒等重要官职，为西晋的政治稳定做出了一定的贡献。
王戎的文学作品流传较少，但他作为竹林七贤中年龄最小的一员，见证了整个竹林七贤群体的兴衰变迁，其人生经历具有重要的历史意义。

====阮咸====
阮咸（约公元222—278年），字仲容，陈留尉氏（今河南省尉氏县）人，三国时期曹魏至西晋时期的文学家、音乐家。他是阮籍的侄子，与阮籍并称为“大小阮”，两人在性格和志趣上有诸多相似之处，都对世俗礼教持批判态度，追求自由洒脱的生活。
阮咸在音乐方面有着极高的天赋和造诣，是中国古代著名的音乐家。他尤其擅长弹奏琵琶，相传他对传统琵琶进行了改良，创制了一种形状更为圆润、音色更为优美的琵琶，这种琵琶后来被称为“阮咸”，简称“阮”，成为中国传统民族乐器之一。
他的主要成就集中在音乐领域，其对音律的精妙理解和对乐器的改良，为中国古代音乐的发展做出了重要贡献。

====结语====
竹林七贤虽然身处同一时代，有着共同的精神追求，但他们各自的人生轨迹和性格特质却各不相同。嵇康傲骨铮铮，以生命践行理想；阮籍借酒避世，用诗歌抒发悲情；山涛沉稳务实，在仕途上坚守本心；向秀兼容儒道，以学术传承思想；刘伶放浪形骸，凭美酒超脱世俗；王戎早慧通透，于乱世中保全自身；阮咸妙解音律，用音乐诠释自由。他们以不同的方式反抗着世俗礼教的束缚，共同铸就了“魏晋风骨”的精神内核。
竹林七贤的思想与行为，不仅在当时产生了重要影响，更成为后世文人墨客精神追求的标杆。他们所倡导的自由、独立、超脱的精神，穿越千年的时光，依然具有强大的生命力，为我们今天理解和传承中国传统文化提供了重要的启示。

===术语和表达===

the Seven Sages of the Bamboo Grove——竹林七贤
Wei-Jin Integrity——魏晋风骨头
discourse on metaphysics and Daoism——谈玄论道
secular ethics and rituals——世俗礼教
unrestrained and dissipated——放浪形骸
drown sorrows in wine to withdraw from the world——借酒避世
the Three Kingdoms Period——三国时期
the intrigue and strife——尔虞我诈
Guangling Folk Strains——《广陵散》
Music has neither grief nor joy——《声无哀乐论》
A Break-up Letter to Shan Juyuan——《与山巨源绝交书》
drinking to drown his sorrows——借酒消愁
avoid misfortunes by drinking——以酒避祸
five-character poems——五言诗
Poems of My Feelings——《咏怀诗》
Ode to Nostalgia for the Past——《思旧赋》
Ode to the Virtue of Wine——《酒德颂》
Annotations to Zhuangzi——《庄子注》
New Account of the Old Episodes—— 《世说新语》
Wang Rong refusing to pick the plums by the road——王戎不取道旁李

===问题===

1. 竹林七贤他们的核心精神追求有哪些？
2. 向秀的核心学术贡献是什么？
3. 嵇康作为竹林七贤的精神核心，他他的人生结局是怎样的？
4. “阮咸”既指竹林七贤中的一人，也与一种乐器相关，这种乐器的由来是什么？
5. 同为竹林七贤的核心人物，阮籍和刘伶都有嗜酒的特点，二人借酒的行为背后的精神内核有什么共通之处？

===答案===

1. 核心精神追求是反抗世俗礼教的束缚，追求自由与独立的人格。
2. 向秀的核心学术贡献是为《庄子》作注，系统阐释《庄子》思想并融入己见，推动了庄子学说的传播。
3. 嵇康因拒绝与司马氏集团同流合污，为友人辩护触怒权贵，被司马昭处死，临刑前从容弹奏《广陵散》。
4. 阮咸擅长弹奏琵琶，他对传统琵琶进行改良，创制出形状更圆润、音色更优美的新琵琶，后人为纪念他，便将这种乐器命名为“阮咸”，简称“阮”。
5. 二人的饮酒都并非单纯沉迷，本质都是以放浪形骸的方式，对魏晋黑暗的现实、虚伪的世俗礼教进行无声的反抗，同时追求精神的自由与超脱。

===参考文献===
[1]勉中.竹林七贤简论[J].中国文学研究,1998,(04):30-34.DOI:10.13399/j.cnki.zgwxyj.1998.04.006.
[2]顾农.略谈嵇康和以他为首的竹林七贤[J].书屋,2018,(08):52-55.
[3]刘洪浩.论《世说新语》中的竹林七贤[J].文学教育(上),2018,(06):24-26.DOI:10.16692/j.cnki.wxjys.2018.06.012.
[4]李璐璐,段佳薇.浅谈魏晋风骨——竹林七贤[J].今古文创,2020,(29):12-13.DOI:10.20024/j.cnki.cn42-1911/i.2020.29.005.
[5]董敏.竹林七贤及其隐逸文学研究[D].陕西师范大学,2019.DOI:10.27292/d.cnki.gsxfu.2019.001097.
[6]竹林七贤（中国魏晋时期七位名士）_百度百科

Uvu/index.php/User:Liu Kangyi

2025-12-29T13:38:42Z

==Final Exam Paper==

===The Seven Sages of the Bamboo Grove===

====Introduction====

During the period between the Wei and Jin Dynasties, the society was in turmoil and unrest, and the authority of traditional Confucianism suffered a fierce impact. Against such a historical backdrop, the Seven Sages of the Bamboo Grove, represented by Ji Kang, Ruan Ji, Shan Tao, Xiang Xiu, Liu Ling, Wang Rong and Ruan Xian, came into being. They often gathered under the bamboo groves in Shanyang, drinking wine, singing freely, discoursing on metaphysics and Daoism. Through their unique lifestyle and spiritual pursuit, they resisted the constraints of secular ethics and rituals, embodying distinct individuality and an independent spirit of personality. The Seven Sages of the Bamboo Grove were not only an important carrier of ideology and culture in the Wei and Jin Dynasties, but also the Wei-Jin Integrity embodied in them exerted a profound influence on later generations. This article will introduce each of the Seven Sages of the Bamboo Grove one by one.

====Ji Kang====

Ji Kang (224-263), courtesy name Shuye, was born in Zhi County of Qiao State (present-day Suixi County, Anhui Province). He was a thinker, musician and litterateur of the Cao Wei regime during the Three Kingdoms Period, and the spiritual core of the Seven Sages of the Bamboo Grove. He was handsome in appearance and extraordinary in temperament. Ji Kang was intelligent since childhood and had an extensive knowledge.

Politically, though born into an official family, Ji Kang abhorred the intrigue and strife in the official circle and refused to collude with the Sima clan group. He had a marital relation with the imperial clan of Cao Wei, which made him an object of suspicion of the Sima clan all the more. He declined the summons of Sima Zhao, and even incurred the wrath of the powerful nobles for defending his friend Lü An. In the end, Ji Kang was put to death by Sima Zhao on the charge of "indulgent remarks that harmed the times and disrupted ethics". Before his execution, he played Guangling Folk Strains. As the music ended and the strings broke, his noble and unyielding demeanor has been passed down through the ages.

In the fields of literature and art, Ji Kang achieved remarkable accomplishments. His proses featured distinct viewpoints and rigorous logic, and Letter to A Break-up Letter to Shan Juyuan was one of his representative works. In the letter, he bitterly denounced Shan Tao for recommending him to take an official post, and clearly expressed his loathing for official career and pursuit of freedom. In terms of music, Ji Kang was proficient in temperament and wrote Music has neither grief nor joy. His performance of Guangling Folk Strains became a legend in the history of ancient Chinese music.

====Ruan Ji====

Ruan Ji (210-263), courtesy name Sizong, was born in Weishi of Chenliu State (present-day Weishi County, Henan Province). He was a litterateur and thinker of the Cao Wei regime during the Three Kingdoms Period. Living in the period of dynastic change from Wei to Jin, Ruan Ji witnessed the cruelty and hypocrisy of the Sima clan group, filled with contradictions and pain in his heart. Unwilling to collude with the evil forces yet powerless to resist openly, he chose a way of life of "drowning sorrows in wine to withdraw from the world".

Ruan Ji was an alcoholic, often drinking to drown his sorrows and avoid misfortunes. On the surface, such behavior of his seemed unrestrained and dissipated, but in fact, it was a silent resistance to the dark reality.

In literature, Ruan Ji attained great achievements in five-character poems. His magnum opus Poems of My Feelings, a collection of eighty-two poems, is an important work in the history of Chinese literature. Most of these poems implicitly expressed his dissatisfaction with current politics, his reflections on life and his pursuit of ideals by means of metaphor and symbolism, exerting a far-reaching influence on the poetry creation of later generations.

====Shan Tao====

Shan Tao (205-283), courtesy name Juyuan, was born in Huai County of Henei State (present-day Wuzhi County, Henan Province). Different from the unrestrained Ji Kang and Ruan Ji, Shan Tao was calm and pragmatic in character, endowed with political foresight and wisdom in handling affairs. Living in a troubled time, he not only adhered to his own moral bottom line, but also managed to preserve himself in the complicated political environment, and finally achieved certain accomplishments in his official career.

Few of Shan Tao's works have been handed down in the literary field, yet his thoughts and deeds still possessed epochal significance. He kept his original aspiration in the troubled times in his own way and practiced his ideals in his official career, making him a special member of the Seven Sages of the Bamboo Grove. His calm pragmatism and wisdom in dealing with affairs provided a valuable reference for later generations on how to balance ideals and reality in a complex environment.

====Xiang Xiu====

Xiang Xiu (c.227-272), courtesy name Ziqi, was born in Huai County of Henei State (present-day Wuzhi County, Henan Province). He was a thinker and litterateur from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period, and one of the Seven Sages of the Bamboo Grove. Xiang Xiu was gentle in character and erudite in knowledge, with profound attainments especially in the field of philosophy. He had the closest relationship with Ji Kang; they often forged iron and discussed Daoism together, forming a profound friendship.

Xiang Xiu's greatest academic contribution was annotating Zhuangzi. The book Zhuangzi was abstruse in language and hard to understand. Xiang Xiu's annotations not only systematically interpreted the thoughts of Zhuangzi, but also integrated his own insights, making the thoughts of Zhuangzi more accessible to understand, thus making an important contribution to the dissemination and development of Zhuangzi's ideology. Unfortunately, part of Xiang Xiu's Annotations to Zhuangzi has been lost, and the existing parts are mixed with Guo Xiang's annotations, which are difficult to distinguish completely.

In literature, Xiang Xiu's representative work Ode to Nostalgia for the Past was sincere in emotion and touching to tears. This fu was written when Xiang Xiu passed by the former residence of Ji Kang and Lü An after they were put to death. By recalling the past time of getting along with Ji Kang and Lü An, the fu expressed his deep longing and grief for his friends, and also implicitly voiced his dissatisfaction with the dark reality, becoming a classic work in the history of Chinese literature.

====Liu Ling====

Liu Ling (c.221-300), courtesy name Bolun, was born in Pei State (present-day Suzhou City, Anhui Province). He was a litterateur from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period. Among the Seven Sages of the Bamboo Grove, Liu Ling was famous for his alcoholism, and his unrestrained lifestyle and extreme love for wine became his most distinctive labels.

Liu Ling was an alcoholic to such an extent that he "could not be happy without wine". He often rode in a deer-drawn cart with a pot of wine, asking a servant to follow with a hoe on his shoulder, and said to the servant: "Bury me at once if I die." This seemingly absurd behavior was actually his contempt for secular ethics and rituals, as well as his ultimate pursuit of freedom. His drinking was not mere indulgence, but a way to resist reality.

He wrote Ode to the Virtue of Wine, which was a concentrated embodiment of his thoughts and personality. Liu Ling never held any important official posts in his life, and always faced the world with an aloof attitude. With wine as a medium, he integrated the pursuit of freedom and the resistance to the secular world into all aspects of his life, becoming a member of the Seven Sages of the Bamboo Grove with strong personality.

====Wang Rong====

Wang Rong (234-305), courtesy name Junchong, was born in Linyi of Langya State (present-day Linyi City, Shandong Province). He was a minister and litterateur from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period, and one of the Seven Sages of the Bamboo Grove. Wang Rong was famous for his intelligence since childhood and was a well-known child prodigy. A great many stories about his precocious wisdom were recorded in New Account of the Old Episodes, among which the allusion of "Wang Rong refusing to pick the plums by the road" was a household name.

Born into the noble Wang clan of Langya with a powerful family influence, Wang Rong had favorable conditions for his official career development. Compared with other members of the Seven Sages of the Bamboo Grove, Wang Rong was more precocious and insightful, well aware of the way to survive in troubled times. He had close contacts with Ji Kang, Ruan Ji and others in his early years, gathering with them in the bamboo groves. However, as he grew older and the political situation changed, he gradually devoted himself to the official career and rose steadily in the official circle. Renowned for his astuteness and competence in the official field, Wang Rong once held important official posts such as Minister of Personnel and Minister over the Masses, making certain contributions to the political stability of the Western Jin Dynasty.

Few of Wang Rong's literary works have been handed down, but as the youngest member of the Seven Sages of the Bamboo Grove, he witnessed the rise and fall of the whole group, and his life experience possessed important historical significance.

====Ruan Xian====

Ruan Xian (c.222-278), courtesy name Zhongrong, was born in Weishi of Chenliu State (present-day Weishi County, Henan Province). He was a litterateur and musician from the Cao Wei regime to the Western Jin Dynasty during the Three Kingdoms Period. He was the nephew of Ruan Ji, and they were collectively known as "Senior Ruan and Junior Ruan". They shared many similarities in character and aspiration, both criticizing secular ethics and rituals and pursuing a free and unrestrained life.
Ruan Xian had an extraordinary talent and attainments in music, being a famous musician in ancient China. He was especially good at playing the pipa. According to legend, he improved the traditional pipa and created a new type of pipa with a rounder shape and a more beautiful tone. This kind of pipa was later named "Ruanxian" (shortened to Ruan), and became one of the traditional Chinese national musical instruments.

His main achievements were concentrated in the field of music. His exquisite understanding of temperament and improvement of musical instruments made an important contribution to the development of ancient Chinese music.

====Conclusion====

Although the Seven Sages of the Bamboo Grove lived in the same era and shared common spiritual pursuits, each of them had a different life trajectory and personality traits. Ji Kang was unyielding and steadfast, practicing his ideals with his life; Ruan Ji withdrew from the world by drinking wine, expressing his sorrow through poems; Shan Tao was calm and pragmatic, adhering to his original aspiration in his official career; Xiang Xiu integrated Confucianism and Daoism, inheriting thoughts through academic research; Liu Ling was unrestrained and dissipated, transcending the secular world with fine wine; Wang Rong was precocious and insightful, preserving himself in troubled times; Ruan Xian had a profound understanding of rhythm, interpreting freedom through music. They resisted the constraints of secular ethics and rituals in different ways, and jointly forged the spiritual core of the Wei-Jin Integrity.

The thoughts and deeds of the Seven Sages of the Bamboo Grove not only exerted an important influence at that time, but also became a benchmark for the spiritual pursuit of literati and poets in later generations. The spirit of freedom, independence and transcendence advocated by them has gone through thousands of years and still possesses strong vitality, providing an important enlightenment for us to understand and inherit traditional Chinese culture today.

===Terms and Expression===

the Seven Sages of the Bamboo Grove——竹林七贤
Wei-Jin Integrity——魏晋风骨头
discourse on metaphysics and Daoism——谈玄论道
secular ethics and rituals——世俗礼教
unrestrained and dissipated——放浪形骸
drown sorrows in wine to withdraw from the world——借酒避世
the Three Kingdoms Period——三国时期
the intrigue and strife——尔虞我诈
Guangling Folk Strains——《广陵散》
Music has neither grief nor joy——《声无哀乐论》
A Break-up Letter to Shan Juyuan——《与山巨源绝交书》
drinking to drown his sorrows——借酒消愁
avoid misfortunes by drinking——以酒避祸
five-character poems——五言诗
Poems of My Feelings——《咏怀诗》
Ode to Nostalgia for the Past——《思旧赋》
Ode to the Virtue of Wine——《酒德颂》
Annotations to Zhuangzi——《庄子注》
New Account of the Old Episodes—— 《世说新语》
Wang Rong refusing to pick the plums by the road——王戎不取道旁李

===Questions=

1. What were the core spiritual pursuits of the Seven Sages of the Bamboo Grove?

2. What was Xiang Xiu's core academic contribution?

3. As the spiritual core of the Seven Sages of the Bamboo Grove, what was the end of Ji Kang's life?

4. Ruanxian refers both to one of the Seven Sages of the Bamboo Grove and to a musical instrument. What is the origin of this musical instrument?

5. As core members of the Seven Sages of the Bamboo Grove, both Ruan Ji and Liu Ling were known for their alcoholism. What are the common spiritual cores behind their behaviors of drinking alcohol?

===Answers===

1. Their core spiritual pursuit was to resist the constraints of secular ethics and rituals, and to strive for freedom and an independent personality.

2. Xiang Xiu's core academic contribution was writing annotations for Zhuangzi: he systematically interpreted the thoughts in Zhuangzi, integrated his own viewpoints into the annotations, and promoted the dissemination of Zhuangzi's philosophy.

3. Because Ji Kang refused to collude with the Sima clan group and incurred the wrath of the powerful nobles by defending his friend, he was put to death by Sima Zhao. Before his execution, he calmly played the Guangling Folk Strains.

4. Ruan Xian was skilled at playing the pipa. He improved the traditional pipa and created a new type of pipa with a rounder shape and more melodious tone. To commemorate him, later generations named this musical instrument Ruanxian, which is shortened to Ruan.

5. The drinking of both men was not mere indulgence; in essence, through their unrestrained and dissipated lifestyle, they staged a silent resistance against the dark reality and hypocritical secular ethics of the Wei-Jin period, while pursuing spiritual freedom and transcendence.

===Reference===

[1]勉中.竹林七贤简论[J].中国文学研究,1998,(04):30-34.DOI:10.13399/j.cnki.zgwxyj.1998.04.006.
[2]顾农.略谈嵇康和以他为首的竹林七贤[J].书屋,2018,(08):52-55.
[3]刘洪浩.论《世说新语》中的竹林七贤[J].文学教育(上),2018,(06):24-26.DOI:10.16692/j.cnki.wxjys.2018.06.012.
[4]李璐璐,段佳薇.浅谈魏晋风骨——竹林七贤[J].今古文创,2020,(29):12-13.DOI:10.20024/j.cnki.cn42-1911/i.2020.29.005.
[5]董敏.竹林七贤及其隐逸文学研究[D].陕西师范大学,2019.DOI:10.27292/d.cnki.gsxfu.2019.001097.
[6]竹林七贤（中国魏晋时期七位名士）_百度百科

==期末论文==

===竹林七贤===

====引言====
魏晋之际，社会动荡不安，传统儒家思想的权威性受到猛烈冲击。在这样的时代背景下，以嵇康、阮籍、山涛、向秀、刘伶、王戎、阮咸为代表的“竹林七贤”应运而生。他们常聚于山阳竹林之下，饮酒纵歌，谈玄论道，以独特的生活方式和精神追求，反抗世俗礼教的束缚，彰显出鲜明的个性色彩与独立的人格精神。“竹林七贤”不仅是魏晋时期思想文化的重要载体，其身上所体现的“魏晋风骨”更对后世产生了深远影响。本文将对竹林七贤逐一进行介绍。

====嵇康====
嵇康（224年－263年），字叔夜，谯国铚县（今安徽省濉溪县）人，三国时期曹魏思想家、音乐家、文学家，更是竹林七贤的精神核心。他容貌俊美，气质不凡。嵇康自幼聪慧，博览群书。
在政治上，嵇康出身官宦之家，却厌恶官场的尔虞我诈，拒绝与司马氏集团同流合污。他与曹魏宗室有姻亲关系，这更让他成为司马氏猜忌的对象。他拒绝司马昭的征召，甚至为友人吕安辩护而触怒权贵。最终，嵇康被司马昭以“言论放荡，害时乱教”的罪名处死。临刑前，他从容弹奏《广陵散》，曲终弦断，其傲骨风范流传千古。
在文学与艺术领域，嵇康成就斐然。其散文观点鲜明，逻辑严密，《与山巨源绝交书》是其代表作之一。在信中，他痛斥山涛推荐自己出仕的行为，明确表达了对仕途的厌恶和对自由的追求。在音乐方面，嵇康精通音律，著有《声无哀乐论》。他弹奏的《广陵散》更是成为中国古代音乐史上的传奇。

====阮籍====
阮籍（210年－263年），字嗣宗，陈留尉氏（今河南省尉氏县）人，三国时期曹魏文学家、思想家。阮籍身处魏晋易代之际，目睹司马氏集团的残暴与虚伪，内心充满矛盾与痛苦。他既不愿同流合污，又无力正面反抗，于是选择了“借酒避世”的生存方式。
阮籍嗜酒如命，常常借酒消愁，以酒避祸。阮籍的这种行为，表面上是放浪形骸，实则是对黑暗现实的无声反抗。
在文学方面，阮籍的五言诗成就极高，其代表作《咏怀诗》八十二首，是中国文学史上的重要作品。这些诗歌多以比兴、象征的手法，隐晦地表达了他对时政的不满、对人生的感慨以及对理想的追求，对后世诗歌创作产生了深远影响。

====山涛====
山涛（205年－283年），字巨源，河内怀县（今河南省武陟县）人。与嵇康、阮籍的放浪不羁不同，山涛性格沉稳务实，富有政治远见和处事智慧。他身处乱世，既坚守自身的道德底线，又能在复杂的政治环境中保全自己，最终在仕途上取得了一定的成就。
在文学方面，山涛的作品流传较少，但他的思想与行为同样具有时代意义。他以自己的方式在乱世中坚守本心，在仕途上践行着自己的理想，成为竹林七贤中较为特殊的一员。他的沉稳务实与处事智慧，为后世在复杂环境中如何平衡理想与现实提供了有益的借鉴。

====向秀====
向秀（约227年－272年），字子期，河内怀县（今河南省武陟县）人，三国时期曹魏至西晋时期的思想家、文学家，竹林七贤之一。向秀性格温和，学识渊博，尤其在哲学领域有着深厚的造诣。他与嵇康关系最为密切，两人常常一同打铁、论道，结下了深厚的友谊。
向秀在学术上的最大贡献是为《庄子》作注。《庄子》一书文辞深奥，难以理解，向秀的注疏不仅对《庄子》的思想进行了系统的阐释，还融入了自己的见解，使《庄子》的思想更加通俗易懂，为庄子思想的传播与发展做出了重要贡献。可惜的是，向秀的《庄子注》部分内容已经失传，现存的部分与郭象的注疏混杂在一起，难以完全区分。
在文学方面，向秀的代表作《思旧赋》情感真挚，催人泪下。这篇赋是向秀在嵇康、吕安被处死之后，路过他们的旧居时所作。赋文中通过对往昔与嵇康、吕安相处时光的回忆，表达了对友人的深切思念与悲痛之情，同时也隐晦地抒发了对黑暗现实的不满，成为中国文学史上的经典之作。

====刘伶====
刘伶（约221年－300年），字伯伦，沛国（今安徽省宿州市）人，三国时期曹魏至西晋时期的文学家。在竹林七贤中，刘伶以嗜酒闻名，其放浪形骸的生活方式和对酒的极致热爱，成为他最鲜明的标签。
刘伶嗜酒如命，甚至到了“无酒不欢”的地步。他常常乘一辆鹿车，带着一壶酒，让仆人扛着锄头跟在后面，并对仆人说：“死便埋我。”这种看似荒诞的行为，实则是他对世俗礼教的蔑视和对自由的极致追求。他的饮酒并非单纯的沉迷，而是一种反抗现实的方式。
他著有《酒德颂》，这是他思想与人格的集中体现。刘伶的一生没有担任过重要官职，他始终以一种超然物外的态度面对世事。他以酒为媒介，将对自由的追求和对世俗的反抗融入到生活的方方面面，成为竹林七贤中极具个性色彩的一员。

====王戎====
王戎（234年－305年），字濬冲，琅玡临沂（今山东省临沂市）人，三国时期曹魏至西晋时期的大臣、文学家，竹林七贤之一。王戎自幼便以聪慧闻名，是著名的“神童”。《世说新语》中记载了许多关于他早慧的故事，其中“王戎不取道旁李”的典故更是家喻户晓。
王戎出身于名门望族琅玡王氏，家族势力雄厚，这为他的仕途发展提供了有利条件。与竹林七贤中的其他成员相比，王戎更为早熟和通透，他深知乱世之中的生存之道。他早年与嵇康、阮籍等人交往密切，一同在竹林中聚会，但随着年龄的增长和政治形势的变化，他逐渐投身仕途，并在官场上步步高升。王戎在官场上以精明能干著称，他曾担任过吏部尚书、司徒等重要官职，为西晋的政治稳定做出了一定的贡献。
王戎的文学作品流传较少，但他作为竹林七贤中年龄最小的一员，见证了整个竹林七贤群体的兴衰变迁，其人生经历具有重要的历史意义。

====阮咸====
阮咸（约公元222—278年），字仲容，陈留尉氏（今河南省尉氏县）人，三国时期曹魏至西晋时期的文学家、音乐家。他是阮籍的侄子，与阮籍并称为“大小阮”，两人在性格和志趣上有诸多相似之处，都对世俗礼教持批判态度，追求自由洒脱的生活。
阮咸在音乐方面有着极高的天赋和造诣，是中国古代著名的音乐家。他尤其擅长弹奏琵琶，相传他对传统琵琶进行了改良，创制了一种形状更为圆润、音色更为优美的琵琶，这种琵琶后来被称为“阮咸”，简称“阮”，成为中国传统民族乐器之一。
他的主要成就集中在音乐领域，其对音律的精妙理解和对乐器的改良，为中国古代音乐的发展做出了重要贡献。

====结语====
竹林七贤虽然身处同一时代，有着共同的精神追求，但他们各自的人生轨迹和性格特质却各不相同。嵇康傲骨铮铮，以生命践行理想；阮籍借酒避世，用诗歌抒发悲情；山涛沉稳务实，在仕途上坚守本心；向秀兼容儒道，以学术传承思想；刘伶放浪形骸，凭美酒超脱世俗；王戎早慧通透，于乱世中保全自身；阮咸妙解音律，用音乐诠释自由。他们以不同的方式反抗着世俗礼教的束缚，共同铸就了“魏晋风骨”的精神内核。
竹林七贤的思想与行为，不仅在当时产生了重要影响，更成为后世文人墨客精神追求的标杆。他们所倡导的自由、独立、超脱的精神，穿越千年的时光，依然具有强大的生命力，为我们今天理解和传承中国传统文化提供了重要的启示。

===术语和表达===

the Seven Sages of the Bamboo Grove——竹林七贤
Wei-Jin Integrity——魏晋风骨头
discourse on metaphysics and Daoism——谈玄论道
secular ethics and rituals——世俗礼教
unrestrained and dissipated——放浪形骸
drown sorrows in wine to withdraw from the world——借酒避世
the Three Kingdoms Period——三国时期
the intrigue and strife——尔虞我诈
Guangling Folk Strains——《广陵散》
Music has neither grief nor joy——《声无哀乐论》
A Break-up Letter to Shan Juyuan——《与山巨源绝交书》
drinking to drown his sorrows——借酒消愁
avoid misfortunes by drinking——以酒避祸
five-character poems——五言诗
Poems of My Feelings——《咏怀诗》
Ode to Nostalgia for the Past——《思旧赋》
Ode to the Virtue of Wine——《酒德颂》
Annotations to Zhuangzi——《庄子注》
New Account of the Old Episodes—— 《世说新语》
Wang Rong refusing to pick the plums by the road——王戎不取道旁李

===问题===

1. 竹林七贤他们的核心精神追求有哪些？
2. 向秀的核心学术贡献是什么？
3. 嵇康作为竹林七贤的精神核心，他他的人生结局是怎样的？
4. “阮咸”既指竹林七贤中的一人，也与一种乐器相关，这种乐器的由来是什么？
5. 同为竹林七贤的核心人物，阮籍和刘伶都有嗜酒的特点，二人借酒的行为背后的精神内核有什么共通之处？

===答案===

1. 核心精神追求是反抗世俗礼教的束缚，追求自由与独立的人格。
2. 向秀的核心学术贡献是为《庄子》作注，系统阐释《庄子》思想并融入己见，推动了庄子学说的传播。
3. 嵇康因拒绝与司马氏集团同流合污，为友人辩护触怒权贵，被司马昭处死，临刑前从容弹奏《广陵散》。
4. 阮咸擅长弹奏琵琶，他对传统琵琶进行改良，创制出形状更圆润、音色更优美的新琵琶，后人为纪念他，便将这种乐器命名为“阮咸”，简称“阮”。
5. 二人的饮酒都并非单纯沉迷，本质都是以放浪形骸的方式，对魏晋黑暗的现实、虚伪的世俗礼教进行无声的反抗，同时追求精神的自由与超脱。

===参考文献===
[1]勉中.竹林七贤简论[J].中国文学研究,1998,(04):30-34.DOI:10.13399/j.cnki.zgwxyj.1998.04.006.
[2]顾农.略谈嵇康和以他为首的竹林七贤[J].书屋,2018,(08):52-55.
[3]刘洪浩.论《世说新语》中的竹林七贤[J].文学教育(上),2018,(06):24-26.DOI:10.16692/j.cnki.wxjys.2018.06.012.
[4]李璐璐,段佳薇.浅谈魏晋风骨——竹林七贤[J].今古文创,2020,(29):12-13.DOI:10.20024/j.cnki.cn42-1911/i.2020.29.005.
[5]董敏.竹林七贤及其隐逸文学研究[D].陕西师范大学,2019.DOI:10.27292/d.cnki.gsxfu.2019.001097.
[6]竹林七贤（中国魏晋时期七位名士）_百度百科

File:Hunan Huagu Opera. pptx

2025-12-20T01:11:48Z

Liu Kangyi:

Chinese Language and Culture - 2025

2025-12-19T15:52:15Z

Liu Kangyi: /* 2025-11-27 (周四) - 共 9 个演讲 */

Welcome to our course website [[Chinese Language and Culture - 2025]]! The AI website for our course is: https://dcg.de/ai/uni/chinese_language_culture.php

=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.pptx]]
|-
| 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) [[Media:Chinese Dreamcore 2025.pptx]]
|-
| 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) [[Media:Chinese Bossy Fictions & Micro-drama.pptx]]
|-
| 8 || Lǐ Wénqīng || 李文清 || 202570081690 || 132. Porcelain [[Media:Chinese Porcelain.pptx]]
|-
| 9 || Liú Zǐlíng || 刘紫玲 || 202570081699 || 185. Opera: Huangmei opera 黄梅戏[[Media:Opera:Huangmei opera.pptx]]
|-

=== 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)[[Media:Hu Nan Rice Noodles.pptx]]
|-
| 5 || Zhū Zhū || 朱珠 || 202570081738 || 37. Confucianism: Classical Philosophy-Reading the Analects [[Media:Analects_2025.pptx]]
|-
| 6 || Wáng Rǎnrǎn || 王冉冉 || 202570081709 || Shandong cuisine 鲁菜
|-
| 7 || Yáng Shūwén || 杨淑雯 || 202570081722 || Traditional Cuisine: Breakfast Culture of Wuhan [[Media: Breakfast_Culture_of_Wuhan_2025.pptx]]
|-
| 8 || Méi Xīléi || 梅希雷 || 202570081701 || 69. Language: Chinese Dialects[[Media:Language_Chinese_Dialects_2025.pptx]]
|-
| 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）[[Media: Science and Technology: Taobao. pptx]]
|-
| 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 [[Media: Chinese Electric Vehicles.pptx]]
|-
| 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_2025.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[[Media:Three Great Towers in China_2025.pptx]]
|-
| 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 [[Media:Chinese_Names_2025.pptx]]
|-
| 5 || Lǐ Pàn || 李盼 || 202570081689 || 175. The Photo Retouching Culture in China [[Media:The_Photo_Retouching_Culture_in_China_2025.pptx]]
|-
| 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. Chinese Paper-cutting [[Media:Chinese_Paper-cutting_2025.pptx]]
|-
| 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[[Media:The culture of Ronghua-Velvet Flowers 2025.pptx]]
|-
| 3 || Xióng Ruòyáo || 熊若瑶 || 202570081717 || 169. Cuisine: Luosifen [[Media: Luosifen_2025.pptx]]
|-
| 4 || Yán Zhéwén || 严哲文 || 202570081718 || 9. Architecture: The Forbidden City [[Media: Architecture The Forbidden City.pptx]]
|-
| 5 || Yáng Hàodān || 杨皓丹 || 202570081719 || 209. Tofu meatball with pig blood(猪血丸子）[[Media: Tofu meatball with pig blood_2025.pptx]]
|-
| 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 [[Media:Facial Make-up Face Changing in Sichuan Opera.pptx]]
|-
| 8 || Yáng Xīrán || 杨晰然 || 202570081723 || 191. Aesthetic ideals and social customs: The Culture of Flowers [[Media: 191. The Culture of Flowers.pptx]]
|-
| 9 || Yáng Yǔxuān || 杨宇轩 || 202570081724 || 20. Milk tea 奶茶[[Media:Milk Tea-.pptx]]
|-
| 10 || Yì Yǎlán || 易雅兰 || 202570081725 || 235.Bamboo Weaving 竹编 [[Media:Bamboo_Weaving_2025.pptx]]
|}

=== 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 [[Media: Jiaozi.pptx]]
|-
| 2 || Yuè Ziháo || 岳子豪 || 202570081727 || 108. Opera: Peking Opera (京剧)
|-
| 3 || Zhāng Lì || 张丽 || 202570081728 || 180. Tangyuan (汤圆)[[Media:Tangyuan_2025.pptx]]
|-
| 4 || Zhāng Shuàichāo || 张帅超 || 202570081731 || Ancient Chinese education
|-
| 5 || Zhāng Yǔméng || 张雨蒙 || 202570081732 || 208. Chinese traditional ornament: Buyao (步摇)[[Media: Buyao_2025.pptx]]
|-
| 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 [[Media: Wu Zetian_2025.pptx]]
|-
| 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 [[Media: Chinese Lion Dance.pptx]]
|}

=== 2025-11-27 (周四) - 共 9 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 [[Media:251. Rice Noodle Roll.pptx]]
|-
| 2 || Chén Yǎqí || 陈雅琪 || 202570081740 || 157. Traditional Cuisine—hotpot [[Media: Traditional Cuisine— hotpot. pptx]]
|-
| 3 || Chén Yǔfēi || 陈宇飞 || 202570081741 || 91. Martial Arts: Wushu
|-
| 4 || Huáng Yǎqiàn || 黄雅倩 || 202570081745 || 93. Medicine: Traditional Chinese Medicine (TCM) [[Media:Medicine: Traditional Chinese Medicine (TCM). pptx]]
|-
| 5 || Lín Zhǐyí || 林芷怡 || 202570081746 || 92. Frolics of the Five Animals (wuqinxi)[[Media:Frolics of the Five Animals (wuqinxi).pptx]]
|-
| 6 || Liú Kāngyí || 刘康怡 || 202570081747 || 112. Huagu Opera (花鼓戏)[[Media:湖南花鼓戏-Hunan Huagu Opera. pptx]]
|-
| 7 || Lǚ Píng || 吕萍 || 202570081749 || 102. Music and instruments: guzheng
|-
| 8 || Shěn Yàn || 沈燕 || 202570081751 || 241. Abacus (珠算)
|-
| 9 || Tán Tíngtíng || 谭婷婷 || 202570081752 || 202. The Legend of Zhen Huan《甄嬛传》[[Media:The Legend of Zhen Huan.pptx]]
|}

=== 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: Changde Spicy Salted Duck
[[media: Cuisine：Changde Spicy Salted Duck.pptx]]
|-
| 7 || Zhōu Xuán || 周璇 || 202570081761 || 186. The "reference" of Chinese Music (中国音乐的"借鉴")[[Media:The "reference" of Chinese Music.pptx]]
|-
| 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 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Lǐ Fán || 李凡 || 202570081764 || 150. Traditional Crafts: The Kingfisher Craft 点翠
|-
| 2 || Péng Lùxī || 彭露曦 || 202570081765 || 52. Games: Mahjong: An Ancient Chinese card play
|-
| 3 || Hú Mínghào || 胡明浩 || 202570081766 || 270. The Yingge Dance (英歌舞)
|-
| 4 || Huáng Lèlè || 黄乐乐 || 202570081767 || 6.The Four Most Handsome Men in Ancient China [[media: The Four Great male Beauties in Ancient China.pptx]]
|-
| 5 || Jiāng Jiāyǔ || 姜佳宇 || 202570081768 || 224. Jiangxi Cuisine (赣菜) [[media: Jiangxi Cuisine (gancai).pptx]]
|-
| 6 || Liáng Yǔtóng || 梁羽彤 || 202570081769 || 256. Danmu (弹幕)
|-
| 7 || Péng Ruǐmiáo || 彭蕊苗 || 202570081770 || 178.Erhu(二胡）
|-
| 8 || Qín Níng || 秦宁 || 202570081771 || 28.The Evolution of Calligraphy(汉字的演变）
|-
| 9 || Wú Jǐnxuán || 吴瑾璇 || 202570081772 || 274. God of Wealth (财神)
|-
| 10 || Hé Yǐng || 何颖 || 202570081744 || 276. Nail art (美甲)[[media: Nail Art.pptx]]
|}

=== 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 || 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[[Media:Landscapes and Tourism Harbin Ice and Snow World_2025.pptx]]
|-
| 6 || Liào Rútíng || 廖如婷 || 202570081779 || 255.Chinese style - sun protection[[Media:Chinese style - sun protection_2025.pptx]]
|
| 7 || Wáng Huìān || 王慧安 || 202570081780 || 128. TikTok (Douyin)[[Media:Douyin_2025.pptx]]
|-
| 8 || Wú Héng || 吴姮 || 202570081781 || 215. Live Streaming E-commerce (直播电商)[[Media:Live-streaming e-commerce_2025.pptx]]
|}

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

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

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

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

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

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

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

[[Media:02_Chin_Lang_Cult_2025.pptx]]

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

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

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

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

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

Was the presentation appropriate to the topic?

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

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

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

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

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

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

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

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

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

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

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203 (Zhang Mai)

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246 (Tang Yan)

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339

38. Education: Ancient Chinese Education 350

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

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462（Zhao Qi）

51. Games: Kite Flying 468

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

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

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

56. Garden Culture: Qingming Riverside Landscspe Garden 526

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

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

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

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

63. Landscapes and Tourism: Mogao Grottoes 593

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

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

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

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

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

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

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

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

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

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

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

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

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

132. Silk and porcelain: Porcelain 1277

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

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

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

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

137. Social: The Long-life Lock 1308

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

139. Stage entertainment: Crosstalk 相声 1325

140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348

143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

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

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

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

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

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

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

157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

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

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573 Lv Jiahao

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593 （Chen Sisi)

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

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

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712（Xiao Yawen）

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

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

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752 （Chu Hanqi）

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

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

192. National Belief: the Chinese Dream 1818

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

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

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

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

201. The culture of Grass cloth 夏布 1845

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

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

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

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845(Lu Wei)

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

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

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

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

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

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

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

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

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

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

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

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

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

221. Zhongyuan festival 1845 （Ou Huang）

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

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

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

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

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

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

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

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

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

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

232. Sun Wukong（孙悟空） 1845 （Li Yuan2）

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

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

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

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

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

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

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

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

241. Abacus (中国珠算） 1845

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

243. Chinese name（中国姓名文化） 1845

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

245. Douzhi (豆汁) 1845(Li Linyao)

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

247. Carved lacquer（雕漆） 1845 （Liu Qi）

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

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

250. Language: Hakka Dialect（客家话） 1845

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

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

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

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

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

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

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

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

264. Single bamboo drifting（独竹漂） 1845

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

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

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

268. Table Manners 1845（Luo Yan）

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

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

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

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

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

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）

277. Mirror (镜子) 1845 (Cheng Sixiang)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tea Latte Art (Xiang Jianning)

Topic 7

Topic 8

Topic 9

Topic 10

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

==Student grades: 平时成绩/签到==

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

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

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

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

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

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

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

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

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

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

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

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

⸻

English Translation:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[[Media:ChaBaiXi.pptx]]

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

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

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

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

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

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

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

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

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

File:湖南花鼓戏-Hunan Huagu Opera.pptx

2025-12-19T15:02:30Z

Liu Kangyi:

Chinese Language and Culture - 2025

2025-12-19T14:43:57Z

Liu Kangyi: /* 2025-11-27 (周四) - 共 9 个演讲 */

Welcome to our course website [[Chinese Language and Culture - 2025]]! The AI website for our course is: https://dcg.de/ai/uni/chinese_language_culture.php

=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.pptx]]
|-
| 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) [[Media:Chinese Dreamcore 2025.pptx]]
|-
| 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) [[Media:Chinese Bossy Fictions & Micro-drama.pptx]]
|-
| 8 || Lǐ Wénqīng || 李文清 || 202570081690 || 132. Porcelain [[Media:Chinese Porcelain.pptx]]
|-
| 9 || Liú Zǐlíng || 刘紫玲 || 202570081699 || 185. Opera: Huangmei opera 黄梅戏[[Media:Opera:Huangmei opera.pptx]]
|-

=== 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)[[Media:Hu Nan Rice Noodles.pptx]]
|-
| 5 || Zhū Zhū || 朱珠 || 202570081738 || 37. Confucianism: Classical Philosophy-Reading the Analects [[Media:Analects_2025.pptx]]
|-
| 6 || Wáng Rǎnrǎn || 王冉冉 || 202570081709 || Shandong cuisine 鲁菜
|-
| 7 || Yáng Shūwén || 杨淑雯 || 202570081722 || Traditional Cuisine: Breakfast Culture of Wuhan [[Media: Breakfast_Culture_of_Wuhan_2025.pptx]]
|-
| 8 || Méi Xīléi || 梅希雷 || 202570081701 || 69. Language: Chinese Dialects[[Media:Language_Chinese_Dialects_2025.pptx]]
|-
| 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）[[Media: Science and Technology: Taobao. pptx]]
|-
| 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 [[Media: Chinese Electric Vehicles.pptx]]
|-
| 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_2025.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[[Media:Three Great Towers in China_2025.pptx]]
|-
| 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 [[Media:Chinese_Names_2025.pptx]]
|-
| 5 || Lǐ Pàn || 李盼 || 202570081689 || 175. The Photo Retouching Culture in China [[Media:The_Photo_Retouching_Culture_in_China_2025.pptx]]
|-
| 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. Chinese Paper-cutting [[Media:Chinese_Paper-cutting_2025.pptx]]
|-
| 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[[Media:The culture of Ronghua-Velvet Flowers 2025.pptx]]
|-
| 3 || Xióng Ruòyáo || 熊若瑶 || 202570081717 || 169. Cuisine: Luosifen [[Media: Luosifen_2025.pptx]]
|-
| 4 || Yán Zhéwén || 严哲文 || 202570081718 || 9. Architecture: The Forbidden City [[Media: Architecture The Forbidden City.pptx]]
|-
| 5 || Yáng Hàodān || 杨皓丹 || 202570081719 || 209. Tofu meatball with pig blood(猪血丸子）[[Media: Tofu meatball with pig blood_2025.pptx]]
|-
| 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 [[Media:Facial Make-up Face Changing in Sichuan Opera.pptx]]
|-
| 8 || Yáng Xīrán || 杨晰然 || 202570081723 || 191. Aesthetic ideals and social customs: The Culture of Flowers [[Media: 191. The Culture of Flowers.pptx]]
|-
| 9 || Yáng Yǔxuān || 杨宇轩 || 202570081724 || 20. Milk tea 奶茶[[Media:Milk Tea-.pptx]]
|-
| 10 || Yì Yǎlán || 易雅兰 || 202570081725 || 235.Bamboo Weaving 竹编 [[Media:Bamboo_Weaving_2025.pptx]]
|}

=== 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 [[Media: Jiaozi.pptx]]
|-
| 2 || Yuè Ziháo || 岳子豪 || 202570081727 || 108. Opera: Peking Opera (京剧)
|-
| 3 || Zhāng Lì || 张丽 || 202570081728 || 180. Tangyuan (汤圆)[[Media:Tangyuan_2025.pptx]]
|-
| 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 [[Media: Wu Zetian_2025. pptx]]
|-
| 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 [[Media: Chinese Lion Dance.pptx]]
|}

=== 2025-11-27 (周四) - 共 9 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 [[Media:251. Rice Noodle Roll.pptx]]
|-
| 2 || Chén Yǎqí || 陈雅琪 || 202570081740 || 157. Traditional Cuisine—hotpot [[Media: Traditional Cuisine— hotpot. pptx]]
|-
| 3 || Chén Yǔfēi || 陈宇飞 || 202570081741 || 91. Martial Arts: Wushu
|-
| 4 || Huáng Yǎqiàn || 黄雅倩 || 202570081745 || 93. Medicine: Traditional Chinese Medicine (TCM) [[Media:Medicine: Traditional Chinese Medicine (TCM). pptx]]
|-
| 5 || Lín Zhǐyí || 林芷怡 || 202570081746 || 92. Frolics of the Five Animals (wuqinxi)
|-
| 6 || Liú Kāngyí || 刘康怡 || 202570081747 || 112. Huagu Opera (花鼓戏)[[Media: Hunan Huagu Opera. pptx]]
|-
| 7 || Lǚ Píng || 吕萍 || 202570081749 || 102. Music and instruments: guzheng
|-
| 8 || Shěn Yàn || 沈燕 || 202570081751 || 241. Abacus (珠算)
|-
| 9 || Tán Tíngtíng || 谭婷婷 || 202570081752 || 202. The Legend of Zhen Huan《甄嬛传》[[Media:The Legend of Zhen Huan.pptx]]
|}

=== 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: Changde Spicy Salted Duck
[[media: Cuisine：Changde Spicy Salted Duck.pptx]]
|-
| 7 || Zhōu Xuán || 周璇 || 202570081761 || 186. The "reference" of Chinese Music (中国音乐的"借鉴")[[Media:The "reference" of Chinese Music.pptx]]
|-
| 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 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Lǐ Fán || 李凡 || 202570081764 || 150. Traditional Crafts: The Kingfisher Craft 点翠
|-
| 2 || Péng Lùxī || 彭露曦 || 202570081765 || 52. Games: Mahjong: An Ancient Chinese card play
|-
| 3 || Hú Mínghào || 胡明浩 || 202570081766 || 270. The Yingge Dance (英歌舞)
|-
| 4 || Huáng Lèlè || 黄乐乐 || 202570081767 || 6.The Four Most Handsome Men in Ancient China [[media: The Four Great male Beauties in Ancient China.pptx]]
|-
| 5 || Jiāng Jiāyǔ || 姜佳宇 || 202570081768 || 224. Jiangxi Cuisine (赣菜) [[media: Jiangxi Cuisine (gancai).pptx]]
|-
| 6 || Liáng Yǔtóng || 梁羽彤 || 202570081769 || 256. Danmu (弹幕)
|-
| 7 || Péng Ruǐmiáo || 彭蕊苗 || 202570081770 || 178.Erhu(二胡）
|-
| 8 || Qín Níng || 秦宁 || 202570081771 || 28.The Evolution of Calligraphy(汉字的演变）
|-
| 9 || Wú Jǐnxuán || 吴瑾璇 || 202570081772 || 274. God of Wealth (财神)
|-
| 10 || Hé Yǐng || 何颖 || 202570081744 || 276. Nail art (美甲)[[media: Nail Art.pptx]]
|}

=== 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 || 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[[Media:Landscapes and Tourism Harbin Ice and Snow World_2025.pptx]]
|-
| 6 || Liào Rútíng || 廖如婷 || 202570081779 || 255.Chinese style - sun protection[[Media:Chinese style - sun protection_2025.pptx]]
|
| 7 || Wáng Huìān || 王慧安 || 202570081780 || 128. TikTok (Douyin)[[Media:Douyin_2025.pptx]]
|-
| 8 || Wú Héng || 吴姮 || 202570081781 || 215. Live Streaming E-commerce (直播电商)[[Media:Live-streaming e-commerce_2025.pptx]]
|}

=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]]

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==Grading Criteria for Powerpoint Presentations==
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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。