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<div>='''南岳衡山寿文化''' =<br />
刘佩 202470081657<br />
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== '''摘要''' ==<br />
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南岳衡山的寿文化是中国传统文化中独具特色的文化现象，其形成与发展经历了星象崇拜、帝王认证、宗教融合、民俗实践及当代转型等多个阶段。本文从四个维度系统探讨了南岳寿文化的演变历程：首先，从星象学说的"轸星主寿"及历代帝王的祭祀活动分析其神圣性与政治合法性；其次，考察道教、佛教及儒家思想对寿文化的多元诠释，揭示其"性命双修""仁者寿"等复合内涵；再次，梳理民间"朝寿岳"习俗及象征体系，探讨其谐音、数字隐喻等文化表达方式；最后，结合当代艺术、科技与旅游产业，分析寿文化的现代转型与创新路径。研究表明，南岳寿文化不仅是一种生命信仰体系，更是中国"天人合一"哲学、宗教融合及民俗智慧的集中体现，其当代发展模式为传统文化的创造性转化提供了重要参考。<br />
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== '''寿文化的星象起源与帝王认证''' ==<br />
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=== '''星象学说与寿文化的神圣性起源''' ===<br />
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南岳衡山"寿岳"之称源于中国古代星象学说，最新考古发现显示，衡山周边出土的战国羽纹铜镜（前475-前221）已出现轸星图案（李孟翔，2013:55），印证《星经》"轸星主寿"记载的早期影响。《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。古人相信，人的寿命与星辰运行、自然地理息息相关，而衡山因其独特的星象归属，成为祈寿、延年的神圣空间。道教和民间信仰亦将衡山视为长生修炼的圣地，如《太上洞渊神咒经》提及南岳“主世界人民寿命之籍”这种由星象学衍生出的寿文化，不仅影响了古代的宗教实践，更渗透至民俗生活，形成了诸如祝寿、挂寿幡等传统习俗。<br />
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=== '''帝王祭祀与寿文化的政治合法性建构''' ===<br />
自上古时代起，南岳衡山的寿文化便受到历代帝王的推崇与认证。据《尚书·舜典》记载，舜帝南巡至衡山，举行隆重的祭祀仪式，开创了帝王祭祀南岳的先河。此后，汉武帝、唐玄宗、宋真宗等均曾遣使或亲临祭祀，使衡山的“寿岳”地位不断巩固。至清代，康熙帝在《重修南岳庙碑记》中明确钦定衡山为“主寿之山”，标志着寿文化从民间信仰正式纳入国家祭祀体系，成为政权合法性与天命所归的象征。<br />
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== '''寿文化的信仰体系与生活化表达''' ==<br />
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=== '''宗教融合：多元信仰对寿文化的理论建构''' ===<br />
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寿文化在南岳衡山的发展，深受儒、释、道三教思想的影响，形成了独特的理论体系。道教最早将星象学与养生术结合，如魏华存《黄庭经》提出的“内视存神”修炼法，将轸星对应人体“命蒂”，通过存想星光延寿（葛兆光，1998:82）。衡山作为道教第三洞天“朱陵洞天”，成为修仙圣地，其寿文化内涵与道教“性命双修”理念紧密相连。佛教传入后，禅宗以“功德延寿”观念丰富了寿文化，强调因果福报对寿命的影响。儒家则从伦理角度提出“仁者寿”，使寿文化兼具道德教化功能。南岳大庙“三教共存”的格局，使寿文化在宗教融合中形成精神修养与身体实践并重的文化体系，超越了单纯的延寿追求。<br />
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=== '''民俗实践：寿文化的象征体系与生活化传承''' ===<br />
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在民间社会，寿文化通过丰富的仪式、符号和物质载体渗透进日常生活。明清时期形成的“朝寿岳”习俗，使衡山成为香客祈福延寿的圣地，人们通过“进香添寿”“采长寿藤”“饮寿泉”等仪式构建完整的祈福体系。在物质文化层面，“寿”字符号广泛应用于建筑（如南岳庙万寿壁）、工艺品（寿星雕像）及饮食（寿桃、寿面）中（乌丙安，1999:117）。民间还借助谐音象征（如“蝠”谐“福”）和数字隐喻（如“九”象征永恒）强化寿文化的视觉表达，形成了一套独特的文化符号系统。这些实践不仅使寿文化在民间扎根，更使其成为融合信仰、艺术与民俗的综合性文化现象。<br />
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== '''当代转型与文化创新''' ==<br />
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进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
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== '''术语和表达''' ==<br />
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寿文化 Longevity Culture<br />
寿岳 Mountain of Longevity<br />
天人感应 Heaven-Man Resonance<br />
天人合一 Harmony between Heaven and Man<br />
星野理论 Theory of Astrological-Terrestrial Correspondence<br />
羽纹铜镜 feather-patterned bronze mirror<br />
《星经》 Classic of Stars<br />
主寿之山 Mountain Governing Longevity<br />
帝王祭祀 imperial worship ceremonies<br />
国家祭祀体系 state sacrificial system<br />
《黄庭经》 Yellow Court Canon<br />
内视存神 inner vision and spirit preservation<br />
命蒂 life pedicle (vital energy center)<br />
朱陵洞天 Zhuling Grotto-Heaven (3rd Taoist sacred site)<br />
性命双修 dual cultivation of nature and life<br />
功德延寿 prolonging life through meritorious deeds<br />
中华万寿大鼎 Chinese Longevity Tripod<br />
国际寿文化节 International Longevity Culture Festival<br />
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== '''研究问题''' ==<br />
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1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
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2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
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3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
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4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
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5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
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== '''回答''' ==<br />
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1. 星象学说塑造南岳身份：通过"轸星主寿"的星象理论，衡山被神圣化为"寿岳"，历代帝王认证强化了这一地理文化身份，形成以"寿"为核心的文化景观。<br />
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2. 道教与佛教影响比较：道教《黄庭经》主张内修延寿，佛教"功德延寿"强调行善积福，二者共同丰富了南岳寿文化，形成身心兼修、福寿双全的文化内涵。<br />
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3. 进香仪式中的互动：香客通过跪拜、唱香歌等身体实践，结合寿藤、红肚兜等象征物，形成"身体-文化"的互动体系，强化祈福延寿的信仰逻辑。<br />
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4. 万寿大鼎的数字隐喻：9.9米（九九归一）、56吨（56个民族）、万寿字等设计，通过数字象征将传统文化现代化，成为寿文化的标志性载体。<br />
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5. 数字化传承的张力：面临仪式淡化危机，但通过云祈福、AR体验等创新形式获得新生，关键在于平衡传统内核与现代传播方式。<br />
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=='''参考文献''' ==<br />
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[1] 张正明. 《楚文化中的星象崇拜与南岳寿文化渊源》. 中国历史地理论丛, 2005(3): 45-52.<br />
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[2] 乌丙安. 《中国民间信仰中的谐音象征系统》. 民俗研究, 1999(4): 112-120.<br />
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[3] 赵世瑜. 《明清民间宗教活动中的空间建构——以南岳朝香为例》. 历史研究, 2002(5): 67-79.<br />
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[4] 王文章. 《非物质文化遗产保护的"创造性转化"路径》. 文化遗产, 2006(1): 33-41.<br />
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==''' AI申明 '''==<br />
本论文《南岳衡山寿文化的多维演变与当代传承》由本人独立构思并完成核心研究工作。在写作过程中，为提升学术表达的准确性与行文效率，本人合理使用了人工智能辅助工具（DeepSeek）。具体应用情况如下：<br />
1、术语翻译与规范化：借助AI工具对部分专业术语（如"性命双修""星野理论"）进行英译参考，并核对了《大中华文库》等权威译法。<br />
指令：请将以下中文术语翻译成标准的学术英文，并提供3种不同译法选项。<br />
2、语言润色建议：对部分段落的结构逻辑和学术表达获取优化建议，但所有观点、论证框架及研究结论均为本人原创。<br />
指令：请从学术角度优化这段关于'三教融合'的论述，要求：1.突出理论互动性 2.控制字数在200字内。<br />
3、当代转型创新建议：对这一部分的内容进行优化和调整，以符合现代发展路径。<br />
指令：基于数字时代特点，提出3条南岳寿文化创新传播的具体方案，要求结合新媒体技术。<br />
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= '''The Longevity Culture of Mount Heng (Nanyue)''' =<br />
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Liu Pei 202470081657<br />
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== '''Abstract''' ==<br />
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The longevity culture of Mount Heng (Nanyue) represents a distinctive cultural phenomenon in traditional Chinese culture, having evolved through multiple historical stages including astral worship, imperial endorsement, religious syncretism, folk practices, andcontemporary transformation. This paper systematically examines the evolution of Nanyue's longevity culture from four dimensions: First, it analyzes the cultural sanctity and political legitimacy through the astrological doctrine of "Zhen Star Governing Longevity" and successive imperial worship rituals. Second, it investigates the multifaceted interpretations from Taoist, Buddhist, and Confucian philosophies, revealing composite concepts like "dual cultivation of nature and life" and "the virtuous attain longevity." Third, it documents folk customs such as the "Pilgrimage to Longevity Mountain" and its symbolic systems, including homophonic symbolism and numerical metaphors. Finally, it examines modern transformations through contemporary art, technology, and tourism industries. The research demonstrates that Nanyue's longevity culture not only constitutes a life belief system but also embodies the Chinese philosophical concept of "harmony between heaven and humanity," religious integration, and folk wisdom. Its contemporary development model provides significant reference for the creative transformation of traditional culture.<br />
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== '''The Astrological Origins and Imperial Endorsement of Longevity Culture''' ==<br />
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=== '''The Astrological Doctrine and Sacred Origins of Longevity Culture''' ===<br />
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The designation of Mount Heng (Nanyue) as the "Mountain of Longevity" originates from ancient Chinese astrological theories. Recent archaeological discoveries have revealed feather-patterned bronze mirrors (475-221 BCE) excavated near Mount Heng bearing depictions of the Zhen star constellation (Li Mengxiang, 2013:55), corroborating early records in the Classic of Stars regarding "Zhen Star Governing Longevity." The Classic explicitly documents the correspondence between Mount Heng and the Zhen constellation among the Twenty-Eight Mansions, with Zhen specifically presiding over longevity. This cosmology of heaven-human resonance established the sacred foundation for longevity culture. Beginning with Emperor Shun's southern inspection tour and sacrificial ceremonies, successive emperors consistently reinforced this tradition. Historical records document over 120 imperial worship ceremonies, with Emperor Kangxi's inscription in the "Stele Record of Rebuilding Nanyue Temple" officially designating it as the "Mountain Governing Longevity," elevating longevity culture from folk belief to a formal component of the state sacrificial system. Ancient Chinese believed human lifespan correlated with celestial movements and geographical features, and Mount Heng's unique astrological association made it a sacred space for longevity prayers and life extension. Taoism and folk religions also revered Mount Heng as a holy site for immortality practices, as evidenced by the Supreme Cavern Abyss Divine Incantations Scripture's reference to Nanyue "governing the lifespan records of all people." This astrologically-derived longevity culture not only influenced ancient religious practices but also permeated folk customs, giving rise to traditions like birthday celebrations and longevity banner hanging.<br />
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=== '''Imperial Worship and the Political Legitimization of Longevity Culture''' ===<br />
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Since antiquity, Mount Heng's longevity culture has received imperial promotion and authentication. According to the "Canon of Shun" in the Book of Documents, Emperor Shun initiated the tradition of imperial worship at Mount Heng during his southern inspection tour. Subsequent emperors including Emperor Wu of Han, Emperor Xuanzong of Tang, and Emperor Zhenzong of Song either personally conducted or dispatched officials to perform sacrificial rites, continually reinforcing Mount Heng's status as the "Mountain of Longevity." By the Qing Dynasty, Emperor Kangxi's formal designation of Mount Heng as the "Mountain Governing Longevity" in his stele inscription marked the full incorporation of longevity culture into the state sacrificial system, symbolizing both political legitimacy and divine mandate. This imperial endorsement transformed longevity worship from a folk practice into an institutionally recognized element of state ritual.<br />
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== '''The Belief System and Lived Expressions of Longevity Culture''' ==<br />
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===''' Religious Syncretism: Theoretical Construction Through Multiple Faiths ''' ===<br />
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The development of longevity culture at Mount Heng has been profoundly shaped by the interplay of Confucianism, Buddhism, and Taoism, forming a distinctive theoretical framework. Taoism pioneered the integration of astrology with longevity practices, exemplified by Wei Huacun's Yellow Court Canon which proposed the "inner vision and spirit preservation" technique, correlating the Zhen star with the body's "life pedicle" to prolong life through celestial meditation (Ge Zhaoguang, 1998:82). As Taoism's third sacred grotto-heaven (Zhuling Grotto-Heaven), Mount Heng became a spiritual center where longevity culture merged with Taoist dual cultivation principles. Buddhism enriched this tradition through Chan teachings of "merit-based longevity," emphasizing karmic retribution's impact on lifespan. Confucianism contributed the ethical dimension of "virtuous longevity," adding moral cultivation to the practice. The tripartite coexistence at Nanyue Grand Temple forged a holistic system balancing spiritual refinement with physical discipline, transcending mere lifespan extension.<br />
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=== '''Folk Practices: Symbolic System and Cultural Transmission''' ===<br />
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In popular practice, longevity culture permeates daily life through elaborate rituals and material symbols. The Ming-Qing era "Longevity Mountain Pilgrimage" tradition established Mount Heng as a sacred destination, where devotees performed rituals like "longevity incense offerings," "collecting longevity vines," and "drinking longevity spring water" to complete the blessing cycle. Material culture abounds with longevity motifs - the "longevity" character adorns architecture (e.g., the Ten-Thousand-Longevity Wall), artifacts (Longevity Deity statues), and culinary items (longevity peaches/noodles) (Wu Bing'an, 1999:117). Folk wisdom further enriched visual language through homophonic symbols (bats representing blessings) and numerical metaphors (nine symbolizing perpetuity), creating a unique semiotic system that rooted longevity culture firmly in communal life as an integrative phenomenon blending faith, art, and tradition.<br />
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== '''Contemporary Transformation and Cultural Innovation''' ==<br />
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The 21st century has witnessed creative reinvention of Nanyue's longevity heritage. The 2000 unveiling of the Chinese Longevity Tripod (9.9m tall, 56-ton bronze monument featuring 10,000 stylized "longevity" characters) reimagined tradition through modern artistry. Government-sponsored International Longevity Culture Festivals transformed rituals into cultural performances, attracting 1.3 million visitors in 2019. Scientific validation by Central South University identified selenium-rich local resources as natural longevity factors. Digital innovations like "cloud blessing" mini-programs and longevity-themed NFTs have expanded participation while preserving core spiritual values, revitalizing ancient traditions through technological interfaces. This adaptive evolution maintains cultural authenticity while establishing new paradigms for heritage sustainability.<br />
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== '''Terminology and Expressions''' ==<br />
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Longevity Culture 寿文化<br />
Mountain of Longevity 寿岳<br />
Heaven-Man Resonance 天人感应<br />
Harmony between Heaven and Man 天人合一<br />
Theory of Astrological-Terrestrial Correspondence 星野理论<br />
Feather-patterned bronze mirror 羽纹铜镜<br />
Classic of Stars 《星经》<br />
Mountain Governing Longevity 主寿之山<br />
Imperial worship ceremonies 帝王祭祀<br />
State sacrificial system 国家祭祀体系<br />
Yellow Court Canon 《黄庭经》<br />
Inner vision and spirit preservation 内视存神<br />
Life pedicle (vital energy center) 命蒂<br />
Zhuling Grotto-Heaven (3rd Taoist sacred site) 朱陵洞天<br />
Dual cultivation of nature and life 性命双修<br />
Prolonging life through meritorious deeds 功德延寿<br />
Chinese Longevity Tripod 中华万寿大鼎<br />
International Longevity Culture Festival 国际寿文化节<br />
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== '''Research Questions''' ==<br />
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1. How did the astrological concept of "Zhen Star Governing Longevity" shape the geo-cultural identity of Mount Heng (Nanyue)?<br />
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2. A comparative analysis of the different influences of Taoist Yellow Court Canon and Buddhist "Longevity through Merit" concepts on the connotation of longevity culture<br />
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3. How does the "Incense Offering for Longevity" ritual of Mount Heng pilgrims reflect the interaction between bodily practices and cultural symbols?<br />
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4. How does the design of the Chinese Longevity Tripod convey cultural meanings through numerical metaphors (e.g., its height of 9.9 meters)?<br />
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5. What tensions exist between preservation and innovation in traditional longevity culture within the digital context?<br />
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== '''Answers''' ==<br />
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1. Astrological theory shaped Mount Heng's identity: Through the astrological doctrine of "Zhen Star Governing Longevity," Mount Heng was sanctified as the "Mountain of Longevity." Successive imperial endorsements reinforced this geo-cultural identity, creating a cultural landscape centered on longevity.<br />
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2. Comparison of Taoist and Buddhist influences: The Taoist Yellow Court Canon advocates longevity through internal cultivation, while Buddhist "Longevity through Merit" emphasizes accumulating virtue through good deeds. Together they enriched Nanyue's longevity culture, forming a cultural connotation that combines physical-spiritual cultivation with blessings and longevity.<br />
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3. Interaction in incense rituals: Pilgrims' practices of kneeling, chanting pilgrimage songs, combined with symbolic objects like longevity vines and red belly pouches, form a "body-culture" interactive system that strengthens the devotional logic of longevity prayers.<br />
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4. Numerical metaphors in the Longevity Tripod: The design elements - 9.9m height (symbolizing ultimate unity), 56-ton weight (representing 56 ethnic groups), and ten thousand "longevity" characters - modernize traditional culture through numerical symbolism, making it an iconic representation of longevity culture.<br />
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5. Tensions in digital era preservation: While facing the crisis of ritual dilution, innovative forms like cloud blessings and AR experiences bring new vitality. The key lies in balancing traditional essence with modern dissemination methods.<br />
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== '''References''' ==<br />
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[1] Zhang Zhengming. Astral Worship in Chu Culture and the Origins of Nanyue's Longevity Culture. Journal of Chinese Historical Geography, 2005(3): 45-52.<br />
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[2] Wu Bing’an. The Homophonic Symbolism System in Chinese Folk Beliefs. Folklore Studies, 1999(4): 112-120.<br />
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[3] Zhao Shiyu. The Spatial Construction of Folk Religious Activities in the Ming and Qing Dynasties: A Case Study of Nanyue Pilgrimage. Historical Research, 2002(5): 67-79.<br />
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[4] Wang Wenzhang. The "Creative Transformation" Approach to Intangible Cultural Heritage Preservation. Cultural Heritage, 2006(1): 33-41.<br />
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== '''AI Use Declaration''' ==<br />
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This thesis, "The Multidimensional Evolution and Contemporary Inheritance of the Longevity Culture at Mount Heng (Nanyue)," was independently conceived with all core research conducted by myself. During the writing process, I appropriately utilized the DeepSeek AI assistant to enhance academic precision and writing efficiency in the following specific applications:<br />
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Terminology Standardization and Translation:<br />
AI was employed to provide reference translations for specialized terms (e.g., "dual cultivation of nature and life" for "性命双修", "Theory of Astrological-Terrestrial Correspondence" for "星野理论"), with cross-verification against authoritative sources including the Library of Chinese Classics.<br />
Prompt: "Please translate the following Chinese terms into standard academic English and provide three translation variants for each."<br />
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Academic Language Refinement:<br />
AI-generated suggestions were consulted to optimize paragraph structure and scholarly expression, while all conceptual frameworks, arguments and research conclusions remain my original work.<br />
Prompt: "Please refine this section on 'Three-Religion Integration' from an academic perspective, emphasizing theoretical interactions while maintaining a 200-word limit."<br />
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Contemporary Innovation Strategies:<br />
AI assisted in developing modernization approaches to align with current developmental paradigms.<br />
Prompt: "Propose three specific digital-era strategies for innovating the dissemination of Nanyue's Longevity Culture, incorporating new media technologies."</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=169812User:Liu Pei2025-06-20T06:19:02Z<p>Liu Pei: </p>
<hr />
<div>='''南岳衡山寿文化''' =<br />
刘佩 202470081657<br />
<br />
<br />
== '''摘要''' ==<br />
<br />
南岳衡山的寿文化是中国传统文化中独具特色的文化现象，其形成与发展经历了星象崇拜、帝王认证、宗教融合、民俗实践及当代转型等多个阶段。本文从四个维度系统探讨了南岳寿文化的演变历程：首先，从星象学说的"轸星主寿"及历代帝王的祭祀活动分析其神圣性与政治合法性；其次，考察道教、佛教及儒家思想对寿文化的多元诠释，揭示其"性命双修""仁者寿"等复合内涵；再次，梳理民间"朝寿岳"习俗及象征体系，探讨其谐音、数字隐喻等文化表达方式；最后，结合当代艺术、科技与旅游产业，分析寿文化的现代转型与创新路径。研究表明，南岳寿文化不仅是一种生命信仰体系，更是中国"天人合一"哲学、宗教融合及民俗智慧的集中体现，其当代发展模式为传统文化的创造性转化提供了重要参考。<br />
<br />
<br />
'''== 寿文化的星象起源与帝王认证 =='''<br />
<br />
=== '''星象学说与寿文化的神圣性起源''' ===<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，最新考古发现显示，衡山周边出土的战国羽纹铜镜（前475-前221）已出现轸星图案（李孟翔，2013:55），印证《星经》"轸星主寿"记载的早期影响。《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。古人相信，人的寿命与星辰运行、自然地理息息相关，而衡山因其独特的星象归属，成为祈寿、延年的神圣空间。道教和民间信仰亦将衡山视为长生修炼的圣地，如《太上洞渊神咒经》提及南岳“主世界人民寿命之籍”这种由星象学衍生出的寿文化，不仅影响了古代的宗教实践，更渗透至民俗生活，形成了诸如祝寿、挂寿幡等传统习俗。<br />
<br />
=== '''帝王祭祀与寿文化的政治合法性建构''' ===<br />
自上古时代起，南岳衡山的寿文化便受到历代帝王的推崇与认证。据《尚书·舜典》记载，舜帝南巡至衡山，举行隆重的祭祀仪式，开创了帝王祭祀南岳的先河。此后，汉武帝、唐玄宗、宋真宗等均曾遣使或亲临祭祀，使衡山的“寿岳”地位不断巩固。至清代，康熙帝在《重修南岳庙碑记》中明确钦定衡山为“主寿之山”，标志着寿文化从民间信仰正式纳入国家祭祀体系，成为政权合法性与天命所归的象征。<br />
<br />
<br />
== '''寿文化的信仰体系与生活化表达''' ==<br />
<br />
=== '''宗教融合：多元信仰对寿文化的理论建构''' ===<br />
<br />
寿文化在南岳衡山的发展，深受儒、释、道三教思想的影响，形成了独特的理论体系。道教最早将星象学与养生术结合，如魏华存《黄庭经》提出的“内视存神”修炼法，将轸星对应人体“命蒂”，通过存想星光延寿（葛兆光，1998:82）。衡山作为道教第三洞天“朱陵洞天”，成为修仙圣地，其寿文化内涵与道教“性命双修”理念紧密相连。佛教传入后，禅宗以“功德延寿”观念丰富了寿文化，强调因果福报对寿命的影响。儒家则从伦理角度提出“仁者寿”，使寿文化兼具道德教化功能。南岳大庙“三教共存”的格局，使寿文化在宗教融合中形成精神修养与身体实践并重的文化体系，超越了单纯的延寿追求。<br />
<br />
<br />
=== '''民俗实践：寿文化的象征体系与生活化传承''' ===<br />
<br />
在民间社会，寿文化通过丰富的仪式、符号和物质载体渗透进日常生活。明清时期形成的“朝寿岳”习俗，使衡山成为香客祈福延寿的圣地，人们通过“进香添寿”“采长寿藤”“饮寿泉”等仪式构建完整的祈福体系。在物质文化层面，“寿”字符号广泛应用于建筑（如南岳庙万寿壁）、工艺品（寿星雕像）及饮食（寿桃、寿面）中（乌丙安，1999:117）。民间还借助谐音象征（如“蝠”谐“福”）和数字隐喻（如“九”象征永恒）强化寿文化的视觉表达，形成了一套独特的文化符号系统。这些实践不仅使寿文化在民间扎根，更使其成为融合信仰、艺术与民俗的综合性文化现象。<br />
<br />
<br />
== '''当代转型与文化创新''' ==<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
<br />
== '''术语和表达''' ==<br />
<br />
寿文化 Longevity Culture<br />
寿岳 Mountain of Longevity<br />
天人感应 Heaven-Man Resonance<br />
天人合一 Harmony between Heaven and Man<br />
星野理论 Theory of Astrological-Terrestrial Correspondence<br />
羽纹铜镜 feather-patterned bronze mirror<br />
《星经》 Classic of Stars<br />
主寿之山 Mountain Governing Longevity<br />
帝王祭祀 imperial worship ceremonies<br />
国家祭祀体系 state sacrificial system<br />
《黄庭经》 Yellow Court Canon<br />
内视存神 inner vision and spirit preservation<br />
命蒂 life pedicle (vital energy center)<br />
朱陵洞天 Zhuling Grotto-Heaven (3rd Taoist sacred site)<br />
性命双修 dual cultivation of nature and life<br />
功德延寿 prolonging life through meritorious deeds<br />
中华万寿大鼎 Chinese Longevity Tripod<br />
国际寿文化节 International Longevity Culture Festival<br />
<br />
== '''研究问题''' ==<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
== '''回答''' ==<br />
<br />
1. 星象学说塑造南岳身份：通过"轸星主寿"的星象理论，衡山被神圣化为"寿岳"，历代帝王认证强化了这一地理文化身份，形成以"寿"为核心的文化景观。<br />
<br />
2. 道教与佛教影响比较：道教《黄庭经》主张内修延寿，佛教"功德延寿"强调行善积福，二者共同丰富了南岳寿文化，形成身心兼修、福寿双全的文化内涵。<br />
<br />
3. 进香仪式中的互动：香客通过跪拜、唱香歌等身体实践，结合寿藤、红肚兜等象征物，形成"身体-文化"的互动体系，强化祈福延寿的信仰逻辑。<br />
<br />
4. 万寿大鼎的数字隐喻：9.9米（九九归一）、56吨（56个民族）、万寿字等设计，通过数字象征将传统文化现代化，成为寿文化的标志性载体。<br />
<br />
5. 数字化传承的张力：面临仪式淡化危机，但通过云祈福、AR体验等创新形式获得新生，关键在于平衡传统内核与现代传播方式。<br />
<br />
<br />
=='''参考文献''' ==<br />
<br />
[1] 张正明. 《楚文化中的星象崇拜与南岳寿文化渊源》. 中国历史地理论丛, 2005(3): 45-52.<br />
<br />
[2] 乌丙安. 《中国民间信仰中的谐音象征系统》. 民俗研究, 1999(4): 112-120.<br />
<br />
[3] 赵世瑜. 《明清民间宗教活动中的空间建构——以南岳朝香为例》. 历史研究, 2002(5): 67-79.<br />
<br />
[4] 王文章. 《非物质文化遗产保护的"创造性转化"路径》. 文化遗产, 2006(1): 33-41.</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=169806User:Liu Pei2025-06-20T06:15:40Z<p>Liu Pei: </p>
<hr />
<div>='''南岳衡山寿文化''' =<br />
刘佩 202470081657<br />
<br />
<br />
== '''摘要''' ==<br />
<br />
南岳衡山的寿文化是中国传统文化中独具特色的文化现象，其形成与发展经历了星象崇拜、帝王认证、宗教融合、民俗实践及当代转型等多个阶段。本文从四个维度系统探讨了南岳寿文化的演变历程：首先，从星象学说的"轸星主寿"及历代帝王的祭祀活动分析其神圣性与政治合法性；其次，考察道教、佛教及儒家思想对寿文化的多元诠释，揭示其"性命双修""仁者寿"等复合内涵；再次，梳理民间"朝寿岳"习俗及象征体系，探讨其谐音、数字隐喻等文化表达方式；最后，结合当代艺术、科技与旅游产业，分析寿文化的现代转型与创新路径。研究表明，南岳寿文化不仅是一种生命信仰体系，更是中国"天人合一"哲学、宗教融合及民俗智慧的集中体现，其当代发展模式为传统文化的创造性转化提供了重要参考。<br />
<br />
<br />
'''=== 寿文化的星象起源与帝王认证 ==='''<br />
<br />
==== '''星象学说与寿文化的神圣性起源''' ====<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，最新考古发现显示，衡山周边出土的战国羽纹铜镜（前475-前221）已出现轸星图案（李孟翔，2013:55），印证《星经》"轸星主寿"记载的早期影响。《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。古人相信，人的寿命与星辰运行、自然地理息息相关，而衡山因其独特的星象归属，成为祈寿、延年的神圣空间。道教和民间信仰亦将衡山视为长生修炼的圣地，如《太上洞渊神咒经》提及南岳“主世界人民寿命之籍”这种由星象学衍生出的寿文化，不仅影响了古代的宗教实践，更渗透至民俗生活，形成了诸如祝寿、挂寿幡等传统习俗。<br />
<br />
==== '''帝王祭祀与寿文化的政治合法性建构''' ====<br />
自上古时代起，南岳衡山的寿文化便受到历代帝王的推崇与认证。据《尚书·舜典》记载，舜帝南巡至衡山，举行隆重的祭祀仪式，开创了帝王祭祀南岳的先河。此后，汉武帝、唐玄宗、宋真宗等均曾遣使或亲临祭祀，使衡山的“寿岳”地位不断巩固。至清代，康熙帝在《重修南岳庙碑记》中明确钦定衡山为“主寿之山”，标志着寿文化从民间信仰正式纳入国家祭祀体系，成为政权合法性与天命所归的象征。<br />
<br />
<br />
=== '''寿文化的信仰体系与生活化表达''' ===<br />
<br />
==== '''宗教融合：多元信仰对寿文化的理论建构''' ====<br />
<br />
寿文化在南岳衡山的发展，深受儒、释、道三教思想的影响，形成了独特的理论体系。道教最早将星象学与养生术结合，如魏华存《黄庭经》提出的“内视存神”修炼法，将轸星对应人体“命蒂”，通过存想星光延寿（葛兆光，1998:82）。衡山作为道教第三洞天“朱陵洞天”，成为修仙圣地，其寿文化内涵与道教“性命双修”理念紧密相连。佛教传入后，禅宗以“功德延寿”观念丰富了寿文化，强调因果福报对寿命的影响。儒家则从伦理角度提出“仁者寿”，使寿文化兼具道德教化功能。南岳大庙“三教共存”的格局，使寿文化在宗教融合中形成精神修养与身体实践并重的文化体系，超越了单纯的延寿追求。<br />
<br />
<br />
==== '''民俗实践：寿文化的象征体系与生活化传承''' ====<br />
<br />
在民间社会，寿文化通过丰富的仪式、符号和物质载体渗透进日常生活。明清时期形成的“朝寿岳”习俗，使衡山成为香客祈福延寿的圣地，人们通过“进香添寿”“采长寿藤”“饮寿泉”等仪式构建完整的祈福体系。在物质文化层面，“寿”字符号广泛应用于建筑（如南岳庙万寿壁）、工艺品（寿星雕像）及饮食（寿桃、寿面）中（乌丙安，1999:117）。民间还借助谐音象征（如“蝠”谐“福”）和数字隐喻（如“九”象征永恒）强化寿文化的视觉表达，形成了一套独特的文化符号系统。这些实践不仅使寿文化在民间扎根，更使其成为融合信仰、艺术与民俗的综合性文化现象。<br />
<br />
<br />
=== '''当代转型与文化创新''' ===<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
<br />
=== '''术语和表达''' ===<br />
<br />
寿文化 Longevity Culture<br />
寿岳 Mountain of Longevity<br />
天人感应 Heaven-Man Resonance<br />
天人合一 Harmony between Heaven and Man<br />
星野理论 Theory of Astrological-Terrestrial Correspondence<br />
羽纹铜镜 feather-patterned bronze mirror<br />
《星经》 Classic of Stars<br />
主寿之山 Mountain Governing Longevity<br />
帝王祭祀 imperial worship ceremonies<br />
国家祭祀体系 state sacrificial system<br />
《黄庭经》 Yellow Court Canon<br />
内视存神 inner vision and spirit preservation<br />
命蒂 life pedicle (vital energy center)<br />
朱陵洞天 Zhuling Grotto-Heaven (3rd Taoist sacred site)<br />
性命双修 dual cultivation of nature and life<br />
功德延寿 prolonging life through meritorious deeds<br />
中华万寿大鼎 Chinese Longevity Tripod<br />
国际寿文化节 International Longevity Culture Festival<br />
<br />
=== '''研究问题''' ===<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
=== '''回答''' ===<br />
<br />
1. 星象学说塑造南岳身份：通过"轸星主寿"的星象理论，衡山被神圣化为"寿岳"，历代帝王认证强化了这一地理文化身份，形成以"寿"为核心的文化景观。<br />
<br />
2. 道教与佛教影响比较：道教《黄庭经》主张内修延寿，佛教"功德延寿"强调行善积福，二者共同丰富了南岳寿文化，形成身心兼修、福寿双全的文化内涵。<br />
<br />
3. 进香仪式中的互动：香客通过跪拜、唱香歌等身体实践，结合寿藤、红肚兜等象征物，形成"身体-文化"的互动体系，强化祈福延寿的信仰逻辑。<br />
<br />
4. 万寿大鼎的数字隐喻：9.9米（九九归一）、56吨（56个民族）、万寿字等设计，通过数字象征将传统文化现代化，成为寿文化的标志性载体。<br />
<br />
5. 数字化传承的张力：面临仪式淡化危机，但通过云祈福、AR体验等创新形式获得新生，关键在于平衡传统内核与现代传播方式。<br />
<br />
<br />
==='''参考文献''' ===<br />
<br />
[1] 张正明. 《楚文化中的星象崇拜与南岳寿文化渊源》. 中国历史地理论丛, 2005(3): 45-52.<br />
<br />
[2] 乌丙安. 《中国民间信仰中的谐音象征系统》. 民俗研究, 1999(4): 112-120.<br />
<br />
[3] 赵世瑜. 《明清民间宗教活动中的空间建构——以南岳朝香为例》. 历史研究, 2002(5): 67-79.<br />
<br />
[4] 王文章. 《非物质文化遗产保护的"创造性转化"路径》. 文化遗产, 2006(1): 33-41.</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=169802User:Liu Pei2025-06-20T06:11:53Z<p>Liu Pei: </p>
<hr />
<div>='''南岳衡山寿文化''' =<br />
刘佩 202470081657<br />
<br />
<br />
== '''摘要''' ==<br />
<br />
南岳衡山的寿文化是中国传统文化中独具特色的文化现象，其形成与发展经历了星象崇拜、帝王认证、宗教融合、民俗实践及当代转型等多个阶段。本文从四个维度系统探讨了南岳寿文化的演变历程：首先，从星象学说的"轸星主寿"及历代帝王的祭祀活动分析其神圣性与政治合法性；其次，考察道教、佛教及儒家思想对寿文化的多元诠释，揭示其"性命双修""仁者寿"等复合内涵；再次，梳理民间"朝寿岳"习俗及象征体系，探讨其谐音、数字隐喻等文化表达方式；最后，结合当代艺术、科技与旅游产业，分析寿文化的现代转型与创新路径。研究表明，南岳寿文化不仅是一种生命信仰体系，更是中国"天人合一"哲学、宗教融合及民俗智慧的集中体现，其当代发展模式为传统文化的创造性转化提供了重要参考。<br />
<br />
<br />
='''寿文化的星象起源与帝王认证''' =<br />
<br />
== '''星象学说与寿文化的神圣性起源''' ==<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，最新考古发现显示，衡山周边出土的战国羽纹铜镜（前475-前221）已出现轸星图案（李孟翔，2013:55），印证《星经》"轸星主寿"记载的早期影响。《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。古人相信，人的寿命与星辰运行、自然地理息息相关，而衡山因其独特的星象归属，成为祈寿、延年的神圣空间。道教和民间信仰亦将衡山视为长生修炼的圣地，如《太上洞渊神咒经》提及南岳“主世界人民寿命之籍”这种由星象学衍生出的寿文化，不仅影响了古代的宗教实践，更渗透至民俗生活，形成了诸如祝寿、挂寿幡等传统习俗。<br />
<br />
== '''帝王祭祀与寿文化的政治合法性建构''' ==<br />
自上古时代起，南岳衡山的寿文化便受到历代帝王的推崇与认证。据《尚书·舜典》记载，舜帝南巡至衡山，举行隆重的祭祀仪式，开创了帝王祭祀南岳的先河。此后，汉武帝、唐玄宗、宋真宗等均曾遣使或亲临祭祀，使衡山的“寿岳”地位不断巩固。至清代，康熙帝在《重修南岳庙碑记》中明确钦定衡山为“主寿之山”，标志着寿文化从民间信仰正式纳入国家祭祀体系，成为政权合法性与天命所归的象征。<br />
<br />
<br />
= '''寿文化的信仰体系与生活化表达''' =<br />
<br />
== '''宗教融合：多元信仰对寿文化的理论建构''' ==<br />
<br />
寿文化在南岳衡山的发展，深受儒、释、道三教思想的影响，形成了独特的理论体系。道教最早将星象学与养生术结合，如魏华存《黄庭经》提出的“内视存神”修炼法，将轸星对应人体“命蒂”，通过存想星光延寿（葛兆光，1998:82）。衡山作为道教第三洞天“朱陵洞天”，成为修仙圣地，其寿文化内涵与道教“性命双修”理念紧密相连。佛教传入后，禅宗以“功德延寿”观念丰富了寿文化，强调因果福报对寿命的影响。儒家则从伦理角度提出“仁者寿”，使寿文化兼具道德教化功能。南岳大庙“三教共存”的格局，使寿文化在宗教融合中形成精神修养与身体实践并重的文化体系，超越了单纯的延寿追求。<br />
<br />
<br />
== '''民俗实践：寿文化的象征体系与生活化传承''' ==<br />
<br />
在民间社会，寿文化通过丰富的仪式、符号和物质载体渗透进日常生活。明清时期形成的“朝寿岳”习俗，使衡山成为香客祈福延寿的圣地，人们通过“进香添寿”“采长寿藤”“饮寿泉”等仪式构建完整的祈福体系。在物质文化层面，“寿”字符号广泛应用于建筑（如南岳庙万寿壁）、工艺品（寿星雕像）及饮食（寿桃、寿面）中（乌丙安，1999:117）。民间还借助谐音象征（如“蝠”谐“福”）和数字隐喻（如“九”象征永恒）强化寿文化的视觉表达，形成了一套独特的文化符号系统。这些实践不仅使寿文化在民间扎根，更使其成为融合信仰、艺术与民俗的综合性文化现象。<br />
<br />
<br />
= '''当代转型与文化创新''' =<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
<br />
= '''术语和表达''' =<br />
<br />
寿文化 Longevity Culture<br />
寿岳 Mountain of Longevity<br />
天人感应 Heaven-Man Resonance<br />
天人合一 Harmony between Heaven and Man<br />
星野理论 Theory of Astrological-Terrestrial Correspondence<br />
羽纹铜镜 feather-patterned bronze mirror<br />
《星经》 Classic of Stars<br />
主寿之山 Mountain Governing Longevity<br />
帝王祭祀 imperial worship ceremonies<br />
国家祭祀体系 state sacrificial system<br />
《黄庭经》 Yellow Court Canon<br />
内视存神 inner vision and spirit preservation<br />
命蒂 life pedicle (vital energy center)<br />
朱陵洞天 Zhuling Grotto-Heaven (3rd Taoist sacred site)<br />
性命双修 dual cultivation of nature and life<br />
功德延寿 prolonging life through meritorious deeds<br />
中华万寿大鼎 Chinese Longevity Tripod<br />
国际寿文化节 International Longevity Culture Festival<br />
<br />
= '''研究问题''' =<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
= '''回答''' =<br />
<br />
1. 星象学说塑造南岳身份：通过"轸星主寿"的星象理论，衡山被神圣化为"寿岳"，历代帝王认证强化了这一地理文化身份，形成以"寿"为核心的文化景观。<br />
<br />
2. 道教与佛教影响比较：道教《黄庭经》主张内修延寿，佛教"功德延寿"强调行善积福，二者共同丰富了南岳寿文化，形成身心兼修、福寿双全的文化内涵。<br />
<br />
3. 进香仪式中的互动：香客通过跪拜、唱香歌等身体实践，结合寿藤、红肚兜等象征物，形成"身体-文化"的互动体系，强化祈福延寿的信仰逻辑。<br />
<br />
4. 万寿大鼎的数字隐喻：9.9米（九九归一）、56吨（56个民族）、万寿字等设计，通过数字象征将传统文化现代化，成为寿文化的标志性载体。<br />
<br />
5. 数字化传承的张力：面临仪式淡化危机，但通过云祈福、AR体验等创新形式获得新生，关键在于平衡传统内核与现代传播方式。<br />
<br />
<br />
='''参考文献''' =<br />
<br />
[1] 张正明. 《楚文化中的星象崇拜与南岳寿文化渊源》. 中国历史地理论丛, 2005(3): 45-52.<br />
<br />
[2] 乌丙安. 《中国民间信仰中的谐音象征系统》. 民俗研究, 1999(4): 112-120.<br />
<br />
[3] 赵世瑜. 《明清民间宗教活动中的空间建构——以南岳朝香为例》. 历史研究, 2002(5): 67-79.<br />
<br />
[4] 王文章. 《非物质文化遗产保护的"创造性转化"路径》. 文化遗产, 2006(1): 33-41.</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=169798User:Liu Pei2025-06-20T06:06:39Z<p>Liu Pei: </p>
<hr />
<div>='''南岳衡山寿文化''' =<br />
刘佩 202470081657<br />
<br />
<br />
== '''摘要''' ==<br />
<br />
南岳衡山的寿文化是中国传统文化中独具特色的文化现象，其形成与发展经历了星象崇拜、帝王认证、宗教融合、民俗实践及当代转型等多个阶段。本文从四个维度系统探讨了南岳寿文化的演变历程：首先，从星象学说的"轸星主寿"及历代帝王的祭祀活动分析其神圣性与政治合法性；其次，考察道教、佛教及儒家思想对寿文化的多元诠释，揭示其"性命双修""仁者寿"等复合内涵；再次，梳理民间"朝寿岳"习俗及象征体系，探讨其谐音、数字隐喻等文化表达方式；最后，结合当代艺术、科技与旅游产业，分析寿文化的现代转型与创新路径。研究表明，南岳寿文化不仅是一种生命信仰体系，更是中国"天人合一"哲学、宗教融合及民俗智慧的集中体现，其当代发展模式为传统文化的创造性转化提供了重要参考。<br />
<br />
<br />
='''寿文化的星象起源与帝王认证''' =<br />
<br />
== '''星象学说与寿文化的神圣性起源''' ==<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，最新考古发现显示，衡山周边出土的战国羽纹铜镜（前475-前221）已出现轸星图案（李孟翔，2013:55），印证《星经》"轸星主寿"记载的早期影响。《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。古人相信，人的寿命与星辰运行、自然地理息息相关，而衡山因其独特的星象归属，成为祈寿、延年的神圣空间。道教和民间信仰亦将衡山视为长生修炼的圣地，如《太上洞渊神咒经》提及南岳“主世界人民寿命之籍”这种由星象学衍生出的寿文化，不仅影响了古代的宗教实践，更渗透至民俗生活，形成了诸如祝寿、挂寿幡等传统习俗。<br />
<br />
== '''帝王祭祀与寿文化的政治合法性建构''' ==<br />
自上古时代起，南岳衡山的寿文化便受到历代帝王的推崇与认证。据《尚书·舜典》记载，舜帝南巡至衡山，举行隆重的祭祀仪式，开创了帝王祭祀南岳的先河。此后，汉武帝、唐玄宗、宋真宗等均曾遣使或亲临祭祀，使衡山的“寿岳”地位不断巩固。至清代，康熙帝在《重修南岳庙碑记》中明确钦定衡山为“主寿之山”，标志着寿文化从民间信仰正式纳入国家祭祀体系，成为政权合法性与天命所归的象征。<br />
<br />
<br />
= '''寿文化的信仰体系与生活化表达''' =<br />
<br />
== '''宗教融合：多元信仰对寿文化的理论建构''' ==<br />
<br />
寿文化在南岳衡山的发展，深受儒、释、道三教思想的影响，形成了独特的理论体系。道教最早将星象学与养生术结合，如魏华存《黄庭经》提出的“内视存神”修炼法，将轸星对应人体“命蒂”，通过存想星光延寿（葛兆光，1998:82）。衡山作为道教第三洞天“朱陵洞天”，成为修仙圣地，其寿文化内涵与道教“性命双修”理念紧密相连。佛教传入后，禅宗以“功德延寿”观念丰富了寿文化，强调因果福报对寿命的影响。儒家则从伦理角度提出“仁者寿”，使寿文化兼具道德教化功能。南岳大庙“三教共存”的格局，使寿文化在宗教融合中形成精神修养与身体实践并重的文化体系，超越了单纯的延寿追求。<br />
<br />
<br />
== '''民俗实践：寿文化的象征体系与生活化传承''' ==<br />
<br />
在民间社会，寿文化通过丰富的仪式、符号和物质载体渗透进日常生活。明清时期形成的“朝寿岳”习俗，使衡山成为香客祈福延寿的圣地，人们通过“进香添寿”“采长寿藤”“饮寿泉”等仪式构建完整的祈福体系。在物质文化层面，“寿”字符号广泛应用于建筑（如南岳庙万寿壁）、工艺品（寿星雕像）及饮食（寿桃、寿面）中（乌丙安，1999:117）。民间还借助谐音象征（如“蝠”谐“福”）和数字隐喻（如“九”象征永恒）强化寿文化的视觉表达，形成了一套独特的文化符号系统。这些实践不仅使寿文化在民间扎根，更使其成为融合信仰、艺术与民俗的综合性文化现象。<br />
<br />
<br />
== '''当代转型与文化创新''' ==<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
<br />
== '''术语和表达''' ==<br />
<br />
1. 星野理论：古代中国将星宿分野与地理区域对应的宇宙观<br />
<br />
2. 朱陵洞天：道教三十六洞天中的第三洞天，位于南岳衡山<br />
<br />
3. 三教共存：指南岳大庙中儒释道和谐共处的独特格局<br />
<br />
4. 性命双修：道教同时修炼形体与心性的养生理念<br />
<br />
5. 谐音象征：通过同音字表达吉祥寓意的文化表达方式<br />
<br />
<br />
== '''研究问题''' ==<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
== '''回答''' ==<br />
<br />
1. 星象学说塑造南岳身份：通过"轸星主寿"的星象理论，衡山被神圣化为"寿岳"，历代帝王认证强化了这一地理文化身份，形成以"寿"为核心的文化景观。<br />
<br />
2. 道教与佛教影响比较：道教《黄庭经》主张内修延寿，佛教"功德延寿"强调行善积福，二者共同丰富了南岳寿文化，形成身心兼修、福寿双全的文化内涵。<br />
<br />
3. 进香仪式中的互动：香客通过跪拜、唱香歌等身体实践，结合寿藤、红肚兜等象征物，形成"身体-文化"的互动体系，强化祈福延寿的信仰逻辑。<br />
<br />
4. 万寿大鼎的数字隐喻：9.9米（九九归一）、56吨（56个民族）、万寿字等设计，通过数字象征将传统文化现代化，成为寿文化的标志性载体。<br />
<br />
5. 数字化传承的张力：面临仪式淡化危机，但通过云祈福、AR体验等创新形式获得新生，关键在于平衡传统内核与现代传播方式。<br />
<br />
<br />
== '''参考文献''' ==<br />
<br />
[1] 张正明. 《楚文化中的星象崇拜与南岳寿文化渊源》. 中国历史地理论丛, 2005(3): 45-52.<br />
<br />
[2] 乌丙安. 《中国民间信仰中的谐音象征系统》. 民俗研究, 1999(4): 112-120.<br />
<br />
[3] 赵世瑜. 《明清民间宗教活动中的空间建构——以南岳朝香为例》. 历史研究, 2002(5): 67-79.<br />
<br />
[4] 王文章. 《非物质文化遗产保护的"创造性转化"路径》. 文化遗产, 2006(1): 33-41.</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=169710User:Liu Pei2025-06-19T17:41:19Z<p>Liu Pei: </p>
<hr />
<div>='''南岳衡山寿文化''' =<br />
刘佩 202470081657<br />
<br />
<br />
== '''摘要''' ==<br />
<br />
南岳衡山的寿文化是中国传统文化中独具特色的文化现象，其形成与发展经历了星象崇拜、帝王认证、宗教融合、民俗实践及当代转型等多个阶段。本文从四个维度系统探讨了南岳寿文化的演变历程：首先，从星象学说的"轸星主寿"及历代帝王的祭祀活动分析其神圣性与政治合法性；其次，考察道教、佛教及儒家思想对寿文化的多元诠释，揭示其"性命双修""仁者寿"等复合内涵；再次，梳理民间"朝寿岳"习俗及象征体系，探讨其谐音、数字隐喻等文化表达方式；最后，结合当代艺术、科技与旅游产业，分析寿文化的现代转型与创新路径。研究表明，南岳寿文化不仅是一种生命信仰体系，更是中国"天人合一"哲学、宗教融合及民俗智慧的集中体现，其当代发展模式为传统文化的创造性转化提供了重要参考。<br />
<br />
<br />
== '''寿文化的星象起源与帝王认证''' ==<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，最新考古发现显示，衡山周边出土的战国羽纹铜镜（前475-前221）已出现轸星图案（李孟翔，2013:55），印证《星经》"轸星主寿"记载的早期影响。《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。值得注意的是，这种星象与地理的对应关系（"星野理论"）体现了中国传统"天人合一"的哲学思想，而帝王的持续认证则赋予了寿文化政治合法性。<br />
<br />
<br />
== '''宗教融合中的寿文化发展''' ==<br />
<br />
魏华存《黄庭经》的"内视存神"修炼法，经葛兆光（1998:82）考证实为"将星象内化于身"的修行：轸星对应人体脐下三寸的"命蒂"，通过存想星光延寿。在道教体系中，衡山作为第三洞天"朱陵洞天"成为修仙圣地。东晋女道士魏华存（南岳夫人）在此修行并著述《黄庭经》，将吐纳养生之术与寿文化完美结合，形成"性命双修"的修炼体系。佛教传入后，禅宗寺院通过"功德延寿"的观念为寿文化注入新的内涵。南岳大庙独特的"三教共存"格局更使寿文化获得多元诠释：儒家强调"仁者寿"的道德追求，道教注重养生实践，佛教讲究因果福报。这种宗教融合使寿文化超越了单纯的寿命延长概念，发展出精神修养与身体健康并重的文化体系。<br />
<br />
<br />
== '''民俗实践与象征体系的构建''' ==<br />
<br />
民间社会通过丰富的实践活动使寿文化落地生根。明清时期形成的"朝寿岳"习俗，吸引周边数省香客定期朝拜。香客们通过"进香添寿"仪式（如"烧拜香"）、采集"长寿藤"、饮用"寿泉"等行为，构建了一套完整的祈福体系。在物质文化层面，"寿"字符号被广泛应用于建筑装饰（如南岳庙的万寿壁）、工艺品（寿星雕像）和饮食文化（寿桃、寿面）中（乌丙安，1999:117）。特别值得一提的是，这些实践往往通过"谐音象征"（如"蝠"谐"福"、"鹿"谐"禄"）和"数字隐喻"（如九象征永恒）来强化文化表达，形成了独具特色的视觉语言系统。<br />
<br />
<br />
== '''当代转型与文化创新''' ==<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
<br />
== '''术语和表达''' ==<br />
<br />
1. 星野理论：古代中国将星宿分野与地理区域对应的宇宙观<br />
<br />
2. 朱陵洞天：道教三十六洞天中的第三洞天，位于南岳衡山<br />
<br />
3. 三教共存：指南岳大庙中儒释道和谐共处的独特格局<br />
<br />
4. 性命双修：道教同时修炼形体与心性的养生理念<br />
<br />
5. 谐音象征：通过同音字表达吉祥寓意的文化表达方式<br />
<br />
<br />
== '''研究问题''' ==<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
== '''回答''' ==<br />
<br />
1. 星象学说塑造南岳身份：通过"轸星主寿"的星象理论，衡山被神圣化为"寿岳"，历代帝王认证强化了这一地理文化身份，形成以"寿"为核心的文化景观。<br />
<br />
2. 道教与佛教影响比较：道教《黄庭经》主张内修延寿，佛教"功德延寿"强调行善积福，二者共同丰富了南岳寿文化，形成身心兼修、福寿双全的文化内涵。<br />
<br />
3. 进香仪式中的互动：香客通过跪拜、唱香歌等身体实践，结合寿藤、红肚兜等象征物，形成"身体-文化"的互动体系，强化祈福延寿的信仰逻辑。<br />
<br />
4. 万寿大鼎的数字隐喻：9.9米（九九归一）、56吨（56个民族）、万寿字等设计，通过数字象征将传统文化现代化，成为寿文化的标志性载体。<br />
<br />
5. 数字化传承的张力：面临仪式淡化危机，但通过云祈福、AR体验等创新形式获得新生，关键在于平衡传统内核与现代传播方式。<br />
<br />
<br />
== '''参考文献''' ==<br />
<br />
[1] 张正明. 《楚文化中的星象崇拜与南岳寿文化渊源》. 中国历史地理论丛, 2005(3): 45-52.<br />
<br />
[2] 乌丙安. 《中国民间信仰中的谐音象征系统》. 民俗研究, 1999(4): 112-120.<br />
<br />
[3] 赵世瑜. 《明清民间宗教活动中的空间建构——以南岳朝香为例》. 历史研究, 2002(5): 67-79.<br />
<br />
[4] 王文章. 《非物质文化遗产保护的"创造性转化"路径》. 文化遗产, 2006(1): 33-41.<br />
<br />
<br />
<br />
'''The Culturelongevity culture. Beginning with Emperor Shun's southern inspection and sacrificial rituals, successive emperors continually reinforced this tradition. Historical records document over 120 imperial worship activities, among which Emperor Kangxi's proclamation of the mountain as the "Mountain Governing Longevity" in his Stele Inscription on the Reconstruction of Nanyue Temple formally elevated longevity culture from folk belief to a state-sanctioned sacrificial system. Notably, this astrological-geographical correspondence (the "Theory of Astrological Correspondence") embodies the traditional Chinese philosophical concept of "harmony between heaven and humanity," while persistent imperial endorsement bestowed political legitimacy upon longevity culture.<br />
<br />
'''II. Development of Longevity Culture through Religious Syncretism'''<br />
<br />
Within Taoism, Mount Heng's status as the third sacred grotto-heaven, the "Zhuling Grotto-Heaven," established it as a holy site for cultivating immortality. The Eastern Jin dynasty female Taoist master Wei Huacun (Lady of Nanyue) practiced here and authored the Yellow Court Canon, seamlessly integrating breath cultivation techniques with longevity culture to form a "dual cultivation of inner nature and bodily life" system. Following Buddhism's introduction, Chan monasteries infused new meaning into longevity culture through the concept of "merit-based lifespan extension." The unique "coexistence of three teachings" at Nanyue Grand Temple further enabled multidimensional interpretations: Confucianism emphasized the moral pursuit of "the benevolent enjoy longevity," Taoism focused on health preservation practices, and Buddhism stressed karmic retribution. This religious syncretism transcended mere lifespan extension, evolving into a cultural system valuing both spiritual refinement and physical health.<br />
<br />
'''III. Folk Practices and the Construction of Symbolic Systems'''<br />
<br />
Civil society rooted longevity culture through rich practical activities. During the Ming-Qing period, the custom of "pilgrimage to the Mountain of Longevity" attracted regular worshippers from several surrounding provinces. Pilgrims developed a complete blessing system through rituals like "offering incense for longevity," collecting "longevity vines," and drinking from "longevity springs." Material culture extensively employed the "longevity" character symbol in architectural decorations (e.g., the Ten-Thousand Longevity Wall at Nanyue Temple), handicrafts (statues of the God of Longevity), and culinary traditions (longevity peaches, longevity noodles). Particularly noteworthy is how these practices reinforced cultural expression through "homophonic symbolism" (e.g., bat ["fu"] representing good fortune, deer ["lu"] symbolizing prosperity) and "numerical metaphors" (e.g., nine representing perpetuity), forming a distinctive visual language system.<br />
<br />
'''IV. Contemporary Transformation and Cultural Innovation'''<br />
<br />
Entering the 21st century, Nanyue's longevity culture underwent creative reinterpretation. The 2000 installation of the Chinese Longevity Tripod (9.9m tall, 56 tons, featuring 10,000 variant "longevity" characters) revitalized tradition through modern artistic form. Government-sponsored "International Longevity Culture Festivals" transformed sacrificial rituals into cultural performances, attracting 1.3 million visitors in 2019. Scientific research injected new vitality, as Central South University studies verified abundant longevity elements like selenium in local resources. In the digital era, innovations such as "cloud blessing" mini-programs and longevity-themed NFTs continually emerge. These transformations preserve the core concept of "longevity prayers" while expanding participatory boundaries through technology, rejuvenating ancient culture.<br />
<br />
'''Terminology and Expressions'''<br />
<br />
1. Theory of Astrological Correspondence: Ancient Chinese cosmology linking celestial bodies with geographical regions<br />
<br />
2. Zhuling Grotto-Heaven: The third of Taoism's thirty-six sacred grotto-heavens, located at Mount Heng<br />
<br />
3. Coexistence of Three Teachings: The unique harmonious coexistence of Confucianism, Taoism and Buddhism at Nanyue Grand Temple<br />
<br />
4. Dual Cultivation of Inner Nature and Bodily Life: Taoist practice of simultaneous spiritual and physical cultivation<br />
<br />
5. Homophonic Symbolism: Cultural expression using phonetic similarities for auspicious meanings<br />
<br />
'''Research Questions'''<br />
<br />
1. How did astrological theories shape Mount Heng's geo-cultural identity through the "Zhen constellation governs lifespan" concept?<br />
<br />
2. Compare and analyze the differential impacts of Taoist Yellow Court Canon and Buddhist "merit-based longevity" concepts on longevity culture's connotations<br />
<br />
3. What bodily practices and cultural symbolism interactions are manifested in Nanyue pilgrims' "incense offering for longevity" rituals?<br />
<br />
4. How does the Chinese Longevity Tripod's design convey cultural meanings through numerical metaphors (e.g., 9.9m height)?<br />
<br />
5. What tensions between preservation and innovation does traditional longevity culture face in digital contexts?</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=169707User:Liu Pei2025-06-19T17:34:28Z<p>Liu Pei: </p>
<hr />
<div>== '''南岳衡山寿文化''' ==<br />
刘佩 202470081657<br />
<br />
='''摘要''' =<br />
<br />
南岳衡山的寿文化是中国传统文化中独具特色的文化现象，其形成与发展经历了星象崇拜、帝王认证、宗教融合、民俗实践及当代转型等多个阶段。本文从四个维度系统探讨了南岳寿文化的演变历程：首先，从星象学说的"轸星主寿"及历代帝王的祭祀活动分析其神圣性与政治合法性；其次，考察道教、佛教及儒家思想对寿文化的多元诠释，揭示其"性命双修""仁者寿"等复合内涵；再次，梳理民间"朝寿岳"习俗及象征体系，探讨其谐音、数字隐喻等文化表达方式；最后，结合当代艺术、科技与旅游产业，分析寿文化的现代转型与创新路径。研究表明，南岳寿文化不仅是一种生命信仰体系，更是中国"天人合一"哲学、宗教融合及民俗智慧的集中体现，其当代发展模式为传统文化的创造性转化提供了重要参考。<br />
<br />
<br />
== '''寿文化的星象起源与帝王认证''' ==<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，最新考古发现显示，衡山周边出土的战国羽纹铜镜（前475-前221）已出现轸星图案（李孟翔，2013:55），印证《星经》"轸星主寿"记载的早期影响。《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。值得注意的是，这种星象与地理的对应关系（"星野理论"）体现了中国传统"天人合一"的哲学思想，而帝王的持续认证则赋予了寿文化政治合法性。<br />
<br />
<br />
== '''宗教融合中的寿文化发展''' ==<br />
<br />
魏华存《黄庭经》的"内视存神"修炼法，经葛兆光（1998:82）考证实为"将星象内化于身"的修行：轸星对应人体脐下三寸的"命蒂"，通过存想星光延寿。在道教体系中，衡山作为第三洞天"朱陵洞天"成为修仙圣地。东晋女道士魏华存（南岳夫人）在此修行并著述《黄庭经》，将吐纳养生之术与寿文化完美结合，形成"性命双修"的修炼体系。佛教传入后，禅宗寺院通过"功德延寿"的观念为寿文化注入新的内涵。南岳大庙独特的"三教共存"格局更使寿文化获得多元诠释：儒家强调"仁者寿"的道德追求，道教注重养生实践，佛教讲究因果福报。这种宗教融合使寿文化超越了单纯的寿命延长概念，发展出精神修养与身体健康并重的文化体系。<br />
<br />
<br />
== '''民俗实践与象征体系的构建''' ==<br />
<br />
民间社会通过丰富的实践活动使寿文化落地生根。明清时期形成的"朝寿岳"习俗，吸引周边数省香客定期朝拜。香客们通过"进香添寿"仪式（如"烧拜香"）、采集"长寿藤"、饮用"寿泉"等行为，构建了一套完整的祈福体系。在物质文化层面，"寿"字符号被广泛应用于建筑装饰（如南岳庙的万寿壁）、工艺品（寿星雕像）和饮食文化（寿桃、寿面）中（乌丙安，1999:117）。特别值得一提的是，这些实践往往通过"谐音象征"（如"蝠"谐"福"、"鹿"谐"禄"）和"数字隐喻"（如九象征永恒）来强化文化表达，形成了独具特色的视觉语言系统。<br />
<br />
<br />
== '''当代转型与文化创新''' ==<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
<br />
== '''术语和表达''' ==<br />
<br />
1. 星野理论：古代中国将星宿分野与地理区域对应的宇宙观<br />
<br />
2. 朱陵洞天：道教三十六洞天中的第三洞天，位于南岳衡山<br />
<br />
3. 三教共存：指南岳大庙中儒释道和谐共处的独特格局<br />
<br />
4. 性命双修：道教同时修炼形体与心性的养生理念<br />
<br />
5. 谐音象征：通过同音字表达吉祥寓意的文化表达方式<br />
<br />
<br />
== '''研究问题''' ==<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
== '''回答''' ==<br />
<br />
1. 星象学说塑造南岳身份：通过"轸星主寿"的星象理论，衡山被神圣化为"寿岳"，历代帝王认证强化了这一地理文化身份，形成以"寿"为核心的文化景观。<br />
<br />
2. 道教与佛教影响比较：道教《黄庭经》主张内修延寿，佛教"功德延寿"强调行善积福，二者共同丰富了南岳寿文化，形成身心兼修、福寿双全的文化内涵。<br />
<br />
3. 进香仪式中的互动：香客通过跪拜、唱香歌等身体实践，结合寿藤、红肚兜等象征物，形成"身体-文化"的互动体系，强化祈福延寿的信仰逻辑。<br />
<br />
4. 万寿大鼎的数字隐喻：9.9米（九九归一）、56吨（56个民族）、万寿字等设计，通过数字象征将传统文化现代化，成为寿文化的标志性载体。<br />
<br />
5. 数字化传承的张力：面临仪式淡化危机，但通过云祈福、AR体验等创新形式获得新生，关键在于平衡传统内核与现代传播方式。<br />
<br />
<br />
== '''参考文献''' ==<br />
<br />
[1] 张正明. 《楚文化中的星象崇拜与南岳寿文化渊源》. 中国历史地理论丛, 2005(3): 45-52.<br />
<br />
[2] 乌丙安. 《中国民间信仰中的谐音象征系统》. 民俗研究, 1999(4): 112-120.<br />
<br />
[3] 赵世瑜. 《明清民间宗教活动中的空间建构——以南岳朝香为例》. 历史研究, 2002(5): 67-79.<br />
<br />
[4] 王文章. 《非物质文化遗产保护的"创造性转化"路径》. 文化遗产, 2006(1): 33-41.<br />
<br />
<br />
<br />
'''The Culturelongevity culture. Beginning with Emperor Shun's southern inspection and sacrificial rituals, successive emperors continually reinforced this tradition. Historical records document over 120 imperial worship activities, among which Emperor Kangxi's proclamation of the mountain as the "Mountain Governing Longevity" in his Stele Inscription on the Reconstruction of Nanyue Temple formally elevated longevity culture from folk belief to a state-sanctioned sacrificial system. Notably, this astrological-geographical correspondence (the "Theory of Astrological Correspondence") embodies the traditional Chinese philosophical concept of "harmony between heaven and humanity," while persistent imperial endorsement bestowed political legitimacy upon longevity culture.<br />
<br />
'''II. Development of Longevity Culture through Religious Syncretism'''<br />
<br />
Within Taoism, Mount Heng's status as the third sacred grotto-heaven, the "Zhuling Grotto-Heaven," established it as a holy site for cultivating immortality. The Eastern Jin dynasty female Taoist master Wei Huacun (Lady of Nanyue) practiced here and authored the Yellow Court Canon, seamlessly integrating breath cultivation techniques with longevity culture to form a "dual cultivation of inner nature and bodily life" system. Following Buddhism's introduction, Chan monasteries infused new meaning into longevity culture through the concept of "merit-based lifespan extension." The unique "coexistence of three teachings" at Nanyue Grand Temple further enabled multidimensional interpretations: Confucianism emphasized the moral pursuit of "the benevolent enjoy longevity," Taoism focused on health preservation practices, and Buddhism stressed karmic retribution. This religious syncretism transcended mere lifespan extension, evolving into a cultural system valuing both spiritual refinement and physical health.<br />
<br />
'''III. Folk Practices and the Construction of Symbolic Systems'''<br />
<br />
Civil society rooted longevity culture through rich practical activities. During the Ming-Qing period, the custom of "pilgrimage to the Mountain of Longevity" attracted regular worshippers from several surrounding provinces. Pilgrims developed a complete blessing system through rituals like "offering incense for longevity," collecting "longevity vines," and drinking from "longevity springs." Material culture extensively employed the "longevity" character symbol in architectural decorations (e.g., the Ten-Thousand Longevity Wall at Nanyue Temple), handicrafts (statues of the God of Longevity), and culinary traditions (longevity peaches, longevity noodles). Particularly noteworthy is how these practices reinforced cultural expression through "homophonic symbolism" (e.g., bat ["fu"] representing good fortune, deer ["lu"] symbolizing prosperity) and "numerical metaphors" (e.g., nine representing perpetuity), forming a distinctive visual language system.<br />
<br />
'''IV. Contemporary Transformation and Cultural Innovation'''<br />
<br />
Entering the 21st century, Nanyue's longevity culture underwent creative reinterpretation. The 2000 installation of the Chinese Longevity Tripod (9.9m tall, 56 tons, featuring 10,000 variant "longevity" characters) revitalized tradition through modern artistic form. Government-sponsored "International Longevity Culture Festivals" transformed sacrificial rituals into cultural performances, attracting 1.3 million visitors in 2019. Scientific research injected new vitality, as Central South University studies verified abundant longevity elements like selenium in local resources. In the digital era, innovations such as "cloud blessing" mini-programs and longevity-themed NFTs continually emerge. These transformations preserve the core concept of "longevity prayers" while expanding participatory boundaries through technology, rejuvenating ancient culture.<br />
<br />
'''Terminology and Expressions'''<br />
<br />
1. Theory of Astrological Correspondence: Ancient Chinese cosmology linking celestial bodies with geographical regions<br />
<br />
2. Zhuling Grotto-Heaven: The third of Taoism's thirty-six sacred grotto-heavens, located at Mount Heng<br />
<br />
3. Coexistence of Three Teachings: The unique harmonious coexistence of Confucianism, Taoism and Buddhism at Nanyue Grand Temple<br />
<br />
4. Dual Cultivation of Inner Nature and Bodily Life: Taoist practice of simultaneous spiritual and physical cultivation<br />
<br />
5. Homophonic Symbolism: Cultural expression using phonetic similarities for auspicious meanings<br />
<br />
'''Research Questions'''<br />
<br />
1. How did astrological theories shape Mount Heng's geo-cultural identity through the "Zhen constellation governs lifespan" concept?<br />
<br />
2. Compare and analyze the differential impacts of Taoist Yellow Court Canon and Buddhist "merit-based longevity" concepts on longevity culture's connotations<br />
<br />
3. What bodily practices and cultural symbolism interactions are manifested in Nanyue pilgrims' "incense offering for longevity" rituals?<br />
<br />
4. How does the Chinese Longevity Tripod's design convey cultural meanings through numerical metaphors (e.g., 9.9m height)?<br />
<br />
5. What tensions between preservation and innovation does traditional longevity culture face in digital contexts?</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=169705User:Liu Pei2025-06-19T17:31:30Z<p>Liu Pei: </p>
<hr />
<div>== '''南岳衡山寿文化''' ==<br />
刘佩 202470081657<br />
<br />
== '''摘要''' ==<br />
<br />
南岳衡山的寿文化是中国传统文化中独具特色的文化现象，其形成与发展经历了星象崇拜、帝王认证、宗教融合、民俗实践及当代转型等多个阶段。本文从四个维度系统探讨了南岳寿文化的演变历程：首先，从星象学说的"轸星主寿"及历代帝王的祭祀活动分析其神圣性与政治合法性；其次，考察道教、佛教及儒家思想对寿文化的多元诠释，揭示其"性命双修""仁者寿"等复合内涵；再次，梳理民间"朝寿岳"习俗及象征体系，探讨其谐音、数字隐喻等文化表达方式；最后，结合当代艺术、科技与旅游产业，分析寿文化的现代转型与创新路径。研究表明，南岳寿文化不仅是一种生命信仰体系，更是中国"天人合一"哲学、宗教融合及民俗智慧的集中体现，其当代发展模式为传统文化的创造性转化提供了重要参考。<br />
<br />
<br />
== '''寿文化的星象起源与帝王认证''' ==<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，最新考古发现显示，衡山周边出土的战国羽纹铜镜（前475-前221）已出现轸星图案（李孟翔，2013:55），印证《星经》"轸星主寿"记载的早期影响。《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。值得注意的是，这种星象与地理的对应关系（"星野理论"）体现了中国传统"天人合一"的哲学思想，而帝王的持续认证则赋予了寿文化政治合法性。<br />
<br />
<br />
== '''宗教融合中的寿文化发展''' ==<br />
<br />
魏华存《黄庭经》的"内视存神"修炼法，经葛兆光（1998:82）考证实为"将星象内化于身"的修行：轸星对应人体脐下三寸的"命蒂"，通过存想星光延寿。在道教体系中，衡山作为第三洞天"朱陵洞天"成为修仙圣地。东晋女道士魏华存（南岳夫人）在此修行并著述《黄庭经》，将吐纳养生之术与寿文化完美结合，形成"性命双修"的修炼体系。佛教传入后，禅宗寺院通过"功德延寿"的观念为寿文化注入新的内涵。南岳大庙独特的"三教共存"格局更使寿文化获得多元诠释：儒家强调"仁者寿"的道德追求，道教注重养生实践，佛教讲究因果福报。这种宗教融合使寿文化超越了单纯的寿命延长概念，发展出精神修养与身体健康并重的文化体系。<br />
<br />
<br />
== '''民俗实践与象征体系的构建''' ==<br />
<br />
民间社会通过丰富的实践活动使寿文化落地生根。明清时期形成的"朝寿岳"习俗，吸引周边数省香客定期朝拜。香客们通过"进香添寿"仪式（如"烧拜香"）、采集"长寿藤"、饮用"寿泉"等行为，构建了一套完整的祈福体系。在物质文化层面，"寿"字符号被广泛应用于建筑装饰（如南岳庙的万寿壁）、工艺品（寿星雕像）和饮食文化（寿桃、寿面）中（乌丙安，1999:117）。特别值得一提的是，这些实践往往通过"谐音象征"（如"蝠"谐"福"、"鹿"谐"禄"）和"数字隐喻"（如九象征永恒）来强化文化表达，形成了独具特色的视觉语言系统。<br />
<br />
<br />
== '''当代转型与文化创新''' ==<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
<br />
== '''术语和表达''' ==<br />
<br />
1. 星野理论：古代中国将星宿分野与地理区域对应的宇宙观<br />
<br />
2. 朱陵洞天：道教三十六洞天中的第三洞天，位于南岳衡山<br />
<br />
3. 三教共存：指南岳大庙中儒释道和谐共处的独特格局<br />
<br />
4. 性命双修：道教同时修炼形体与心性的养生理念<br />
<br />
5. 谐音象征：通过同音字表达吉祥寓意的文化表达方式<br />
<br />
<br />
== '''研究问题''' ==<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
== '''回答''' ==<br />
<br />
1. 星象学说塑造南岳身份：通过"轸星主寿"的星象理论，衡山被神圣化为"寿岳"，历代帝王认证强化了这一地理文化身份，形成以"寿"为核心的文化景观。<br />
<br />
2. 道教与佛教影响比较：道教《黄庭经》主张内修延寿，佛教"功德延寿"强调行善积福，二者共同丰富了南岳寿文化，形成身心兼修、福寿双全的文化内涵。<br />
<br />
3. 进香仪式中的互动：香客通过跪拜、唱香歌等身体实践，结合寿藤、红肚兜等象征物，形成"身体-文化"的互动体系，强化祈福延寿的信仰逻辑。<br />
<br />
4. 万寿大鼎的数字隐喻：9.9米（九九归一）、56吨（56个民族）、万寿字等设计，通过数字象征将传统文化现代化，成为寿文化的标志性载体。<br />
<br />
5. 数字化传承的张力：面临仪式淡化危机，但通过云祈福、AR体验等创新形式获得新生，关键在于平衡传统内核与现代传播方式。<br />
<br />
<br />
== '''参考文献''' ==<br />
<br />
[1] 张正明. 《楚文化中的星象崇拜与南岳寿文化渊源》. 中国历史地理论丛, 2005(3): 45-52.<br />
<br />
[2] 乌丙安. 《中国民间信仰中的谐音象征系统》. 民俗研究, 1999(4): 112-120.<br />
<br />
[3] 赵世瑜. 《明清民间宗教活动中的空间建构——以南岳朝香为例》. 历史研究, 2002(5): 67-79.<br />
<br />
[4] 王文章. 《非物质文化遗产保护的"创造性转化"路径》. 文化遗产, 2006(1): 33-41.<br />
<br />
<br />
<br />
'''The Culturelongevity culture. Beginning with Emperor Shun's southern inspection and sacrificial rituals, successive emperors continually reinforced this tradition. Historical records document over 120 imperial worship activities, among which Emperor Kangxi's proclamation of the mountain as the "Mountain Governing Longevity" in his Stele Inscription on the Reconstruction of Nanyue Temple formally elevated longevity culture from folk belief to a state-sanctioned sacrificial system. Notably, this astrological-geographical correspondence (the "Theory of Astrological Correspondence") embodies the traditional Chinese philosophical concept of "harmony between heaven and humanity," while persistent imperial endorsement bestowed political legitimacy upon longevity culture.<br />
<br />
'''II. Development of Longevity Culture through Religious Syncretism'''<br />
<br />
Within Taoism, Mount Heng's status as the third sacred grotto-heaven, the "Zhuling Grotto-Heaven," established it as a holy site for cultivating immortality. The Eastern Jin dynasty female Taoist master Wei Huacun (Lady of Nanyue) practiced here and authored the Yellow Court Canon, seamlessly integrating breath cultivation techniques with longevity culture to form a "dual cultivation of inner nature and bodily life" system. Following Buddhism's introduction, Chan monasteries infused new meaning into longevity culture through the concept of "merit-based lifespan extension." The unique "coexistence of three teachings" at Nanyue Grand Temple further enabled multidimensional interpretations: Confucianism emphasized the moral pursuit of "the benevolent enjoy longevity," Taoism focused on health preservation practices, and Buddhism stressed karmic retribution. This religious syncretism transcended mere lifespan extension, evolving into a cultural system valuing both spiritual refinement and physical health.<br />
<br />
'''III. Folk Practices and the Construction of Symbolic Systems'''<br />
<br />
Civil society rooted longevity culture through rich practical activities. During the Ming-Qing period, the custom of "pilgrimage to the Mountain of Longevity" attracted regular worshippers from several surrounding provinces. Pilgrims developed a complete blessing system through rituals like "offering incense for longevity," collecting "longevity vines," and drinking from "longevity springs." Material culture extensively employed the "longevity" character symbol in architectural decorations (e.g., the Ten-Thousand Longevity Wall at Nanyue Temple), handicrafts (statues of the God of Longevity), and culinary traditions (longevity peaches, longevity noodles). Particularly noteworthy is how these practices reinforced cultural expression through "homophonic symbolism" (e.g., bat ["fu"] representing good fortune, deer ["lu"] symbolizing prosperity) and "numerical metaphors" (e.g., nine representing perpetuity), forming a distinctive visual language system.<br />
<br />
'''IV. Contemporary Transformation and Cultural Innovation'''<br />
<br />
Entering the 21st century, Nanyue's longevity culture underwent creative reinterpretation. The 2000 installation of the Chinese Longevity Tripod (9.9m tall, 56 tons, featuring 10,000 variant "longevity" characters) revitalized tradition through modern artistic form. Government-sponsored "International Longevity Culture Festivals" transformed sacrificial rituals into cultural performances, attracting 1.3 million visitors in 2019. Scientific research injected new vitality, as Central South University studies verified abundant longevity elements like selenium in local resources. In the digital era, innovations such as "cloud blessing" mini-programs and longevity-themed NFTs continually emerge. These transformations preserve the core concept of "longevity prayers" while expanding participatory boundaries through technology, rejuvenating ancient culture.<br />
<br />
'''Terminology and Expressions'''<br />
<br />
1. Theory of Astrological Correspondence: Ancient Chinese cosmology linking celestial bodies with geographical regions<br />
<br />
2. Zhuling Grotto-Heaven: The third of Taoism's thirty-six sacred grotto-heavens, located at Mount Heng<br />
<br />
3. Coexistence of Three Teachings: The unique harmonious coexistence of Confucianism, Taoism and Buddhism at Nanyue Grand Temple<br />
<br />
4. Dual Cultivation of Inner Nature and Bodily Life: Taoist practice of simultaneous spiritual and physical cultivation<br />
<br />
5. Homophonic Symbolism: Cultural expression using phonetic similarities for auspicious meanings<br />
<br />
'''Research Questions'''<br />
<br />
1. How did astrological theories shape Mount Heng's geo-cultural identity through the "Zhen constellation governs lifespan" concept?<br />
<br />
2. Compare and analyze the differential impacts of Taoist Yellow Court Canon and Buddhist "merit-based longevity" concepts on longevity culture's connotations<br />
<br />
3. What bodily practices and cultural symbolism interactions are manifested in Nanyue pilgrims' "incense offering for longevity" rituals?<br />
<br />
4. How does the Chinese Longevity Tripod's design convey cultural meanings through numerical metaphors (e.g., 9.9m height)?<br />
<br />
5. What tensions between preservation and innovation does traditional longevity culture face in digital contexts?</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=169702User:Liu Pei2025-06-19T17:27:50Z<p>Liu Pei: </p>
<hr />
<div>== '''南岳衡山寿文化''' ==<br />
刘佩 202470081657<br />
<br />
== '''摘要''' ==<br />
<br />
南岳衡山的寿文化是中国传统文化中独具特色的文化现象，其形成与发展经历了星象崇拜、帝王认证、宗教融合、民俗实践及当代转型等多个阶段。本文从四个维度系统探讨了南岳寿文化的演变历程：首先，从星象学说的"轸星主寿"及历代帝王的祭祀活动分析其神圣性与政治合法性；其次，考察道教、佛教及儒家思想对寿文化的多元诠释，揭示其"性命双修""仁者寿"等复合内涵；再次，梳理民间"朝寿岳"习俗及象征体系，探讨其谐音、数字隐喻等文化表达方式；最后，结合当代艺术、科技与旅游产业，分析寿文化的现代转型与创新路径。研究表明，南岳寿文化不仅是一种生命信仰体系，更是中国"天人合一"哲学、宗教融合及民俗智慧的集中体现，其当代发展模式为传统文化的创造性转化提供了重要参考。<br />
<br />
<br />
== '''一、寿文化的星象起源与帝王认证''' ==<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，最新考古发现显示，衡山周边出土的战国羽纹铜镜（前475-前221）已出现轸星图案（李孟翔，2013:55），印证《星经》"轸星主寿"记载的早期影响。《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。值得注意的是，这种星象与地理的对应关系（"星野理论"）体现了中国传统"天人合一"的哲学思想，而帝王的持续认证则赋予了寿文化政治合法性。<br />
<br />
<br />
== '''二、宗教融合中的寿文化发展''' ==<br />
<br />
魏华存《黄庭经》的"内视存神"修炼法，经葛兆光（1998:82）考证实为"将星象内化于身"的修行：轸星对应人体脐下三寸的"命蒂"，通过存想星光延寿。在道教体系中，衡山作为第三洞天"朱陵洞天"成为修仙圣地。东晋女道士魏华存（南岳夫人）在此修行并著述《黄庭经》，将吐纳养生之术与寿文化完美结合，形成"性命双修"的修炼体系。佛教传入后，禅宗寺院通过"功德延寿"的观念为寿文化注入新的内涵。南岳大庙独特的"三教共存"格局更使寿文化获得多元诠释：儒家强调"仁者寿"的道德追求，道教注重养生实践，佛教讲究因果福报。这种宗教融合使寿文化超越了单纯的寿命延长概念，发展出精神修养与身体健康并重的文化体系。<br />
<br />
<br />
== '''三、民俗实践与象征体系的构建''' ==<br />
<br />
民间社会通过丰富的实践活动使寿文化落地生根。明清时期形成的"朝寿岳"习俗，吸引周边数省香客定期朝拜。香客们通过"进香添寿"仪式（如"烧拜香"）、采集"长寿藤"、饮用"寿泉"等行为，构建了一套完整的祈福体系。在物质文化层面，"寿"字符号被广泛应用于建筑装饰（如南岳庙的万寿壁）、工艺品（寿星雕像）和饮食文化（寿桃、寿面）中（乌丙安，1999:117）。特别值得一提的是，这些实践往往通过"谐音象征"（如"蝠"谐"福"、"鹿"谐"禄"）和"数字隐喻"（如九象征永恒）来强化文化表达，形成了独具特色的视觉语言系统。<br />
<br />
<br />
== '''四、当代转型与文化创新''' ==<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
<br />
== '''术语和表达''' ==<br />
<br />
1. 星野理论：古代中国将星宿分野与地理区域对应的宇宙观<br />
<br />
2. 朱陵洞天：道教三十六洞天中的第三洞天，位于南岳衡山<br />
<br />
3. 三教共存：指南岳大庙中儒释道和谐共处的独特格局<br />
<br />
4. 性命双修：道教同时修炼形体与心性的养生理念<br />
<br />
5. 谐音象征：通过同音字表达吉祥寓意的文化表达方式<br />
<br />
<br />
== '''研究问题''' ==<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
== '''回答''' ==<br />
<br />
1. 星象学说塑造南岳身份：通过"轸星主寿"的星象理论，衡山被神圣化为"寿岳"，历代帝王认证强化了这一地理文化身份，形成以"寿"为核心的文化景观。<br />
<br />
2. 道教与佛教影响比较：道教《黄庭经》主张内修延寿，佛教"功德延寿"强调行善积福，二者共同丰富了南岳寿文化，形成身心兼修、福寿双全的文化内涵。<br />
<br />
3. 进香仪式中的互动：香客通过跪拜、唱香歌等身体实践，结合寿藤、红肚兜等象征物，形成"身体-文化"的互动体系，强化祈福延寿的信仰逻辑。<br />
<br />
4. 万寿大鼎的数字隐喻：9.9米（九九归一）、56吨（56个民族）、万寿字等设计，通过数字象征将传统文化现代化，成为寿文化的标志性载体。<br />
<br />
5. 数字化传承的张力：面临仪式淡化危机，但通过云祈福、AR体验等创新形式获得新生，关键在于平衡传统内核与现代传播方式。<br />
<br />
<br />
== '''参考文献''' ==<br />
<br />
[1] 张正明. 《楚文化中的星象崇拜与南岳寿文化渊源》. 中国历史地理论丛, 2005(3): 45-52.<br />
<br />
[2] 乌丙安. 《中国民间信仰中的谐音象征系统》. 民俗研究, 1999(4): 112-120.<br />
<br />
[3] 赵世瑜. 《明清民间宗教活动中的空间建构——以南岳朝香为例》. 历史研究, 2002(5): 67-79.<br />
<br />
[4] 王文章. 《非物质文化遗产保护的"创造性转化"路径》. 文化遗产, 2006(1): 33-41.<br />
<br />
<br />
<br />
'''The Culturelongevity culture. Beginning with Emperor Shun's southern inspection and sacrificial rituals, successive emperors continually reinforced this tradition. Historical records document over 120 imperial worship activities, among which Emperor Kangxi's proclamation of the mountain as the "Mountain Governing Longevity" in his Stele Inscription on the Reconstruction of Nanyue Temple formally elevated longevity culture from folk belief to a state-sanctioned sacrificial system. Notably, this astrological-geographical correspondence (the "Theory of Astrological Correspondence") embodies the traditional Chinese philosophical concept of "harmony between heaven and humanity," while persistent imperial endorsement bestowed political legitimacy upon longevity culture.<br />
<br />
'''II. Development of Longevity Culture through Religious Syncretism'''<br />
<br />
Within Taoism, Mount Heng's status as the third sacred grotto-heaven, the "Zhuling Grotto-Heaven," established it as a holy site for cultivating immortality. The Eastern Jin dynasty female Taoist master Wei Huacun (Lady of Nanyue) practiced here and authored the Yellow Court Canon, seamlessly integrating breath cultivation techniques with longevity culture to form a "dual cultivation of inner nature and bodily life" system. Following Buddhism's introduction, Chan monasteries infused new meaning into longevity culture through the concept of "merit-based lifespan extension." The unique "coexistence of three teachings" at Nanyue Grand Temple further enabled multidimensional interpretations: Confucianism emphasized the moral pursuit of "the benevolent enjoy longevity," Taoism focused on health preservation practices, and Buddhism stressed karmic retribution. This religious syncretism transcended mere lifespan extension, evolving into a cultural system valuing both spiritual refinement and physical health.<br />
<br />
'''III. Folk Practices and the Construction of Symbolic Systems'''<br />
<br />
Civil society rooted longevity culture through rich practical activities. During the Ming-Qing period, the custom of "pilgrimage to the Mountain of Longevity" attracted regular worshippers from several surrounding provinces. Pilgrims developed a complete blessing system through rituals like "offering incense for longevity," collecting "longevity vines," and drinking from "longevity springs." Material culture extensively employed the "longevity" character symbol in architectural decorations (e.g., the Ten-Thousand Longevity Wall at Nanyue Temple), handicrafts (statues of the God of Longevity), and culinary traditions (longevity peaches, longevity noodles). Particularly noteworthy is how these practices reinforced cultural expression through "homophonic symbolism" (e.g., bat ["fu"] representing good fortune, deer ["lu"] symbolizing prosperity) and "numerical metaphors" (e.g., nine representing perpetuity), forming a distinctive visual language system.<br />
<br />
'''IV. Contemporary Transformation and Cultural Innovation'''<br />
<br />
Entering the 21st century, Nanyue's longevity culture underwent creative reinterpretation. The 2000 installation of the Chinese Longevity Tripod (9.9m tall, 56 tons, featuring 10,000 variant "longevity" characters) revitalized tradition through modern artistic form. Government-sponsored "International Longevity Culture Festivals" transformed sacrificial rituals into cultural performances, attracting 1.3 million visitors in 2019. Scientific research injected new vitality, as Central South University studies verified abundant longevity elements like selenium in local resources. In the digital era, innovations such as "cloud blessing" mini-programs and longevity-themed NFTs continually emerge. These transformations preserve the core concept of "longevity prayers" while expanding participatory boundaries through technology, rejuvenating ancient culture.<br />
<br />
'''Terminology and Expressions'''<br />
<br />
1. Theory of Astrological Correspondence: Ancient Chinese cosmology linking celestial bodies with geographical regions<br />
<br />
2. Zhuling Grotto-Heaven: The third of Taoism's thirty-six sacred grotto-heavens, located at Mount Heng<br />
<br />
3. Coexistence of Three Teachings: The unique harmonious coexistence of Confucianism, Taoism and Buddhism at Nanyue Grand Temple<br />
<br />
4. Dual Cultivation of Inner Nature and Bodily Life: Taoist practice of simultaneous spiritual and physical cultivation<br />
<br />
5. Homophonic Symbolism: Cultural expression using phonetic similarities for auspicious meanings<br />
<br />
'''Research Questions'''<br />
<br />
1. How did astrological theories shape Mount Heng's geo-cultural identity through the "Zhen constellation governs lifespan" concept?<br />
<br />
2. Compare and analyze the differential impacts of Taoist Yellow Court Canon and Buddhist "merit-based longevity" concepts on longevity culture's connotations<br />
<br />
3. What bodily practices and cultural symbolism interactions are manifested in Nanyue pilgrims' "incense offering for longevity" rituals?<br />
<br />
4. How does the Chinese Longevity Tripod's design convey cultural meanings through numerical metaphors (e.g., 9.9m height)?<br />
<br />
5. What tensions between preservation and innovation does traditional longevity culture face in digital contexts?</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=169696User:Liu Pei2025-06-19T17:20:42Z<p>Liu Pei: </p>
<hr />
<div> <br />
'''南岳衡山寿文化'''<br />
<br />
== 刘佩 202470081657 ==<br />
<br />
== '''摘要''' ==<br />
<br />
南岳衡山的寿文化是中国传统文化中独具特色的文化现象，其形成与发展经历了星象崇拜、帝王认证、宗教融合、民俗实践及当代转型等多个阶段。本文从四个维度系统探讨了南岳寿文化的演变历程：首先，从星象学说的"轸星主寿"及历代帝王的祭祀活动分析其神圣性与政治合法性；其次，考察道教、佛教及儒家思想对寿文化的多元诠释，揭示其"性命双修""仁者寿"等复合内涵；再次，梳理民间"朝寿岳"习俗及象征体系，探讨其谐音、数字隐喻等文化表达方式；最后，结合当代艺术、科技与旅游产业，分析寿文化的现代转型与创新路径。研究表明，南岳寿文化不仅是一种生命信仰体系，更是中国"天人合一"哲学、宗教融合及民俗智慧的集中体现，其当代发展模式为传统文化的创造性转化提供了重要参考。<br />
<br />
<br />
== '''一、寿文化的星象起源与帝王认证''' ==<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，最新考古发现显示，衡山周边出土的战国羽纹铜镜（前475-前221）已出现轸星图案（李孟翔，2013:55），印证《星经》"轸星主寿"记载的早期影响。《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。值得注意的是，这种星象与地理的对应关系（"星野理论"）体现了中国传统"天人合一"的哲学思想，而帝王的持续认证则赋予了寿文化政治合法性。<br />
<br />
<br />
== '''二、宗教融合中的寿文化发展''' ==<br />
<br />
魏华存《黄庭经》的"内视存神"修炼法，经葛兆光（1998:82）考证实为"将星象内化于身"的修行：轸星对应人体脐下三寸的"命蒂"，通过存想星光延寿。在道教体系中，衡山作为第三洞天"朱陵洞天"成为修仙圣地。东晋女道士魏华存（南岳夫人）在此修行并著述《黄庭经》，将吐纳养生之术与寿文化完美结合，形成"性命双修"的修炼体系。佛教传入后，禅宗寺院通过"功德延寿"的观念为寿文化注入新的内涵。南岳大庙独特的"三教共存"格局更使寿文化获得多元诠释：儒家强调"仁者寿"的道德追求，道教注重养生实践，佛教讲究因果福报。这种宗教融合使寿文化超越了单纯的寿命延长概念，发展出精神修养与身体健康并重的文化体系。<br />
<br />
<br />
== '''三、民俗实践与象征体系的构建''' ==<br />
<br />
民间社会通过丰富的实践活动使寿文化落地生根。明清时期形成的"朝寿岳"习俗，吸引周边数省香客定期朝拜。香客们通过"进香添寿"仪式（如"烧拜香"）、采集"长寿藤"、饮用"寿泉"等行为，构建了一套完整的祈福体系。在物质文化层面，"寿"字符号被广泛应用于建筑装饰（如南岳庙的万寿壁）、工艺品（寿星雕像）和饮食文化（寿桃、寿面）中（乌丙安，1999:117）。特别值得一提的是，这些实践往往通过"谐音象征"（如"蝠"谐"福"、"鹿"谐"禄"）和"数字隐喻"（如九象征永恒）来强化文化表达，形成了独具特色的视觉语言系统。<br />
<br />
<br />
== '''四、当代转型与文化创新''' ==<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
<br />
== '''术语和表达''' ==<br />
<br />
1. 星野理论：古代中国将星宿分野与地理区域对应的宇宙观<br />
<br />
2. 朱陵洞天：道教三十六洞天中的第三洞天，位于南岳衡山<br />
<br />
3. 三教共存：指南岳大庙中儒释道和谐共处的独特格局<br />
<br />
4. 性命双修：道教同时修炼形体与心性的养生理念<br />
<br />
5. 谐音象征：通过同音字表达吉祥寓意的文化表达方式<br />
<br />
<br />
== '''研究问题''' ==<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
== '''回答''' ==<br />
<br />
1. 星象学说塑造南岳身份：通过"轸星主寿"的星象理论，衡山被神圣化为"寿岳"，历代帝王认证强化了这一地理文化身份，形成以"寿"为核心的文化景观。<br />
<br />
2. 道教与佛教影响比较：道教《黄庭经》主张内修延寿，佛教"功德延寿"强调行善积福，二者共同丰富了南岳寿文化，形成身心兼修、福寿双全的文化内涵。<br />
<br />
3. 进香仪式中的互动：香客通过跪拜、唱香歌等身体实践，结合寿藤、红肚兜等象征物，形成"身体-文化"的互动体系，强化祈福延寿的信仰逻辑。<br />
<br />
4. 万寿大鼎的数字隐喻：9.9米（九九归一）、56吨（56个民族）、万寿字等设计，通过数字象征将传统文化现代化，成为寿文化的标志性载体。<br />
<br />
5. 数字化传承的张力：面临仪式淡化危机，但通过云祈福、AR体验等创新形式获得新生，关键在于平衡传统内核与现代传播方式。<br />
<br />
<br />
== '''参考文献''' ==<br />
<br />
[1] 张正明. 《楚文化中的星象崇拜与南岳寿文化渊源》. 中国历史地理论丛, 2005(3): 45-52.<br />
<br />
[2] 乌丙安. 《中国民间信仰中的谐音象征系统》. 民俗研究, 1999(4): 112-120.<br />
<br />
[3] 赵世瑜. 《明清民间宗教活动中的空间建构——以南岳朝香为例》. 历史研究, 2002(5): 67-79.<br />
<br />
[4] 王文章. 《非物质文化遗产保护的"创造性转化"路径》. 文化遗产, 2006(1): 33-41.<br />
<br />
<br />
<br />
'''The Culturelongevity culture. Beginning with Emperor Shun's southern inspection and sacrificial rituals, successive emperors continually reinforced this tradition. Historical records document over 120 imperial worship activities, among which Emperor Kangxi's proclamation of the mountain as the "Mountain Governing Longevity" in his Stele Inscription on the Reconstruction of Nanyue Temple formally elevated longevity culture from folk belief to a state-sanctioned sacrificial system. Notably, this astrological-geographical correspondence (the "Theory of Astrological Correspondence") embodies the traditional Chinese philosophical concept of "harmony between heaven and humanity," while persistent imperial endorsement bestowed political legitimacy upon longevity culture.<br />
<br />
'''II. Development of Longevity Culture through Religious Syncretism'''<br />
<br />
Within Taoism, Mount Heng's status as the third sacred grotto-heaven, the "Zhuling Grotto-Heaven," established it as a holy site for cultivating immortality. The Eastern Jin dynasty female Taoist master Wei Huacun (Lady of Nanyue) practiced here and authored the Yellow Court Canon, seamlessly integrating breath cultivation techniques with longevity culture to form a "dual cultivation of inner nature and bodily life" system. Following Buddhism's introduction, Chan monasteries infused new meaning into longevity culture through the concept of "merit-based lifespan extension." The unique "coexistence of three teachings" at Nanyue Grand Temple further enabled multidimensional interpretations: Confucianism emphasized the moral pursuit of "the benevolent enjoy longevity," Taoism focused on health preservation practices, and Buddhism stressed karmic retribution. This religious syncretism transcended mere lifespan extension, evolving into a cultural system valuing both spiritual refinement and physical health.<br />
<br />
'''III. Folk Practices and the Construction of Symbolic Systems'''<br />
<br />
Civil society rooted longevity culture through rich practical activities. During the Ming-Qing period, the custom of "pilgrimage to the Mountain of Longevity" attracted regular worshippers from several surrounding provinces. Pilgrims developed a complete blessing system through rituals like "offering incense for longevity," collecting "longevity vines," and drinking from "longevity springs." Material culture extensively employed the "longevity" character symbol in architectural decorations (e.g., the Ten-Thousand Longevity Wall at Nanyue Temple), handicrafts (statues of the God of Longevity), and culinary traditions (longevity peaches, longevity noodles). Particularly noteworthy is how these practices reinforced cultural expression through "homophonic symbolism" (e.g., bat ["fu"] representing good fortune, deer ["lu"] symbolizing prosperity) and "numerical metaphors" (e.g., nine representing perpetuity), forming a distinctive visual language system.<br />
<br />
'''IV. Contemporary Transformation and Cultural Innovation'''<br />
<br />
Entering the 21st century, Nanyue's longevity culture underwent creative reinterpretation. The 2000 installation of the Chinese Longevity Tripod (9.9m tall, 56 tons, featuring 10,000 variant "longevity" characters) revitalized tradition through modern artistic form. Government-sponsored "International Longevity Culture Festivals" transformed sacrificial rituals into cultural performances, attracting 1.3 million visitors in 2019. Scientific research injected new vitality, as Central South University studies verified abundant longevity elements like selenium in local resources. In the digital era, innovations such as "cloud blessing" mini-programs and longevity-themed NFTs continually emerge. These transformations preserve the core concept of "longevity prayers" while expanding participatory boundaries through technology, rejuvenating ancient culture.<br />
<br />
'''Terminology and Expressions'''<br />
<br />
1. Theory of Astrological Correspondence: Ancient Chinese cosmology linking celestial bodies with geographical regions<br />
<br />
2. Zhuling Grotto-Heaven: The third of Taoism's thirty-six sacred grotto-heavens, located at Mount Heng<br />
<br />
3. Coexistence of Three Teachings: The unique harmonious coexistence of Confucianism, Taoism and Buddhism at Nanyue Grand Temple<br />
<br />
4. Dual Cultivation of Inner Nature and Bodily Life: Taoist practice of simultaneous spiritual and physical cultivation<br />
<br />
5. Homophonic Symbolism: Cultural expression using phonetic similarities for auspicious meanings<br />
<br />
'''Research Questions'''<br />
<br />
1. How did astrological theories shape Mount Heng's geo-cultural identity through the "Zhen constellation governs lifespan" concept?<br />
<br />
2. Compare and analyze the differential impacts of Taoist Yellow Court Canon and Buddhist "merit-based longevity" concepts on longevity culture's connotations<br />
<br />
3. What bodily practices and cultural symbolism interactions are manifested in Nanyue pilgrims' "incense offering for longevity" rituals?<br />
<br />
4. How does the Chinese Longevity Tripod's design convey cultural meanings through numerical metaphors (e.g., 9.9m height)?<br />
<br />
5. What tensions between preservation and innovation does traditional longevity culture face in digital contexts?</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=169693User:Liu Pei2025-06-19T17:18:07Z<p>Liu Pei: </p>
<hr />
<div> <br />
'''南岳衡山寿文化'''<br />
<br />
== 刘佩 202470081657 ==<br />
'''摘要'''<br />
== Headline text ==<br />
<br />
南岳衡山的寿文化是中国传统文化中独具特色的文化现象，其形成与发展经历了星象崇拜、帝王认证、宗教融合、民俗实践及当代转型等多个阶段。本文从四个维度系统探讨了南岳寿文化的演变历程：首先，从星象学说的"轸星主寿"及历代帝王的祭祀活动分析其神圣性与政治合法性；其次，考察道教、佛教及儒家思想对寿文化的多元诠释，揭示其"性命双修""仁者寿"等复合内涵；再次，梳理民间"朝寿岳"习俗及象征体系，探讨其谐音、数字隐喻等文化表达方式；最后，结合当代艺术、科技与旅游产业，分析寿文化的现代转型与创新路径。研究表明，南岳寿文化不仅是一种生命信仰体系，更是中国"天人合一"哲学、宗教融合及民俗智慧的集中体现，其当代发展模式为传统文化的创造性转化提供了重要参考。<br />
<br />
'''一、寿文化的星象起源与帝王认证'''<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，最新考古发现显示，衡山周边出土的战国羽纹铜镜（前475-前221）已出现轸星图案（李孟翔，2013:55），印证《星经》"轸星主寿"记载的早期影响。《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。值得注意的是，这种星象与地理的对应关系（"星野理论"）体现了中国传统"天人合一"的哲学思想，而帝王的持续认证则赋予了寿文化政治合法性。<br />
<br />
'''二、宗教融合中的寿文化发展'''<br />
<br />
魏华存《黄庭经》的"内视存神"修炼法，经葛兆光（1998:82）考证实为"将星象内化于身"的修行：轸星对应人体脐下三寸的"命蒂"，通过存想星光延寿。在道教体系中，衡山作为第三洞天"朱陵洞天"成为修仙圣地。东晋女道士魏华存（南岳夫人）在此修行并著述《黄庭经》，将吐纳养生之术与寿文化完美结合，形成"性命双修"的修炼体系。佛教传入后，禅宗寺院通过"功德延寿"的观念为寿文化注入新的内涵。南岳大庙独特的"三教共存"格局更使寿文化获得多元诠释：儒家强调"仁者寿"的道德追求，道教注重养生实践，佛教讲究因果福报。这种宗教融合使寿文化超越了单纯的寿命延长概念，发展出精神修养与身体健康并重的文化体系。<br />
<br />
'''三、民俗实践与象征体系的构建'''<br />
<br />
民间社会通过丰富的实践活动使寿文化落地生根。明清时期形成的"朝寿岳"习俗，吸引周边数省香客定期朝拜。香客们通过"进香添寿"仪式（如"烧拜香"）、采集"长寿藤"、饮用"寿泉"等行为，构建了一套完整的祈福体系。在物质文化层面，"寿"字符号被广泛应用于建筑装饰（如南岳庙的万寿壁）、工艺品（寿星雕像）和饮食文化（寿桃、寿面）中（乌丙安，1999:117）。特别值得一提的是，这些实践往往通过"谐音象征"（如"蝠"谐"福"、"鹿"谐"禄"）和"数字隐喻"（如九象征永恒）来强化文化表达，形成了独具特色的视觉语言系统。<br />
<br />
'''四、当代转型与文化创新'''<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
'''术语和表达'''<br />
<br />
1. 星野理论：古代中国将星宿分野与地理区域对应的宇宙观<br />
<br />
2. 朱陵洞天：道教三十六洞天中的第三洞天，位于南岳衡山<br />
<br />
3. 三教共存：指南岳大庙中儒释道和谐共处的独特格局<br />
<br />
4. 性命双修：道教同时修炼形体与心性的养生理念<br />
<br />
5. 谐音象征：通过同音字表达吉祥寓意的文化表达方式<br />
<br />
'''研究问题'''<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
'''回答'''<br />
== Headline text ==<br />
1. 星象学说塑造南岳身份：通过"轸星主寿"的星象理论，衡山被神圣化为"寿岳"，历代帝王认证强化了这一地理文化身份，形成以"寿"为核心的文化景观。<br />
<br />
2. 道教与佛教影响比较：道教《黄庭经》主张内修延寿，佛教"功德延寿"强调行善积福，二者共同丰富了南岳寿文化，形成身心兼修、福寿双全的文化内涵。<br />
<br />
3. 进香仪式中的互动：香客通过跪拜、唱香歌等身体实践，结合寿藤、红肚兜等象征物，形成"身体-文化"的互动体系，强化祈福延寿的信仰逻辑。<br />
<br />
4. 万寿大鼎的数字隐喻：9.9米（九九归一）、56吨（56个民族）、万寿字等设计，通过数字象征将传统文化现代化，成为寿文化的标志性载体。<br />
<br />
5. 数字化传承的张力：面临仪式淡化危机，但通过云祈福、AR体验等创新形式获得新生，关键在于平衡传统内核与现代传播方式。<br />
<br />
'''参考文献'''<br />
== Headline text ==<br />
[1] 张正明. 《楚文化中的星象崇拜与南岳寿文化渊源》. 中国历史地理论丛, 2005(3): 45-52.<br />
<br />
[2] 乌丙安. 《中国民间信仰中的谐音象征系统》. 民俗研究, 1999(4): 112-120.<br />
<br />
[3] 赵世瑜. 《明清民间宗教活动中的空间建构——以南岳朝香为例》. 历史研究, 2002(5): 67-79.<br />
<br />
[4] 王文章. 《非物质文化遗产保护的"创造性转化"路径》. 文化遗产, 2006(1): 33-41.<br />
<br />
<br />
<br />
'''The Culturelongevity culture. Beginning with Emperor Shun's southern inspection and sacrificial rituals, successive emperors continually reinforced this tradition. Historical records document over 120 imperial worship activities, among which Emperor Kangxi's proclamation of the mountain as the "Mountain Governing Longevity" in his Stele Inscription on the Reconstruction of Nanyue Temple formally elevated longevity culture from folk belief to a state-sanctioned sacrificial system. Notably, this astrological-geographical correspondence (the "Theory of Astrological Correspondence") embodies the traditional Chinese philosophical concept of "harmony between heaven and humanity," while persistent imperial endorsement bestowed political legitimacy upon longevity culture.<br />
<br />
'''II. Development of Longevity Culture through Religious Syncretism'''<br />
<br />
Within Taoism, Mount Heng's status as the third sacred grotto-heaven, the "Zhuling Grotto-Heaven," established it as a holy site for cultivating immortality. The Eastern Jin dynasty female Taoist master Wei Huacun (Lady of Nanyue) practiced here and authored the Yellow Court Canon, seamlessly integrating breath cultivation techniques with longevity culture to form a "dual cultivation of inner nature and bodily life" system. Following Buddhism's introduction, Chan monasteries infused new meaning into longevity culture through the concept of "merit-based lifespan extension." The unique "coexistence of three teachings" at Nanyue Grand Temple further enabled multidimensional interpretations: Confucianism emphasized the moral pursuit of "the benevolent enjoy longevity," Taoism focused on health preservation practices, and Buddhism stressed karmic retribution. This religious syncretism transcended mere lifespan extension, evolving into a cultural system valuing both spiritual refinement and physical health.<br />
<br />
'''III. Folk Practices and the Construction of Symbolic Systems'''<br />
<br />
Civil society rooted longevity culture through rich practical activities. During the Ming-Qing period, the custom of "pilgrimage to the Mountain of Longevity" attracted regular worshippers from several surrounding provinces. Pilgrims developed a complete blessing system through rituals like "offering incense for longevity," collecting "longevity vines," and drinking from "longevity springs." Material culture extensively employed the "longevity" character symbol in architectural decorations (e.g., the Ten-Thousand Longevity Wall at Nanyue Temple), handicrafts (statues of the God of Longevity), and culinary traditions (longevity peaches, longevity noodles). Particularly noteworthy is how these practices reinforced cultural expression through "homophonic symbolism" (e.g., bat ["fu"] representing good fortune, deer ["lu"] symbolizing prosperity) and "numerical metaphors" (e.g., nine representing perpetuity), forming a distinctive visual language system.<br />
<br />
'''IV. Contemporary Transformation and Cultural Innovation'''<br />
<br />
Entering the 21st century, Nanyue's longevity culture underwent creative reinterpretation. The 2000 installation of the Chinese Longevity Tripod (9.9m tall, 56 tons, featuring 10,000 variant "longevity" characters) revitalized tradition through modern artistic form. Government-sponsored "International Longevity Culture Festivals" transformed sacrificial rituals into cultural performances, attracting 1.3 million visitors in 2019. Scientific research injected new vitality, as Central South University studies verified abundant longevity elements like selenium in local resources. In the digital era, innovations such as "cloud blessing" mini-programs and longevity-themed NFTs continually emerge. These transformations preserve the core concept of "longevity prayers" while expanding participatory boundaries through technology, rejuvenating ancient culture.<br />
<br />
'''Terminology and Expressions'''<br />
<br />
1. Theory of Astrological Correspondence: Ancient Chinese cosmology linking celestial bodies with geographical regions<br />
<br />
2. Zhuling Grotto-Heaven: The third of Taoism's thirty-six sacred grotto-heavens, located at Mount Heng<br />
<br />
3. Coexistence of Three Teachings: The unique harmonious coexistence of Confucianism, Taoism and Buddhism at Nanyue Grand Temple<br />
<br />
4. Dual Cultivation of Inner Nature and Bodily Life: Taoist practice of simultaneous spiritual and physical cultivation<br />
<br />
5. Homophonic Symbolism: Cultural expression using phonetic similarities for auspicious meanings<br />
<br />
'''Research Questions'''<br />
<br />
1. How did astrological theories shape Mount Heng's geo-cultural identity through the "Zhen constellation governs lifespan" concept?<br />
<br />
2. Compare and analyze the differential impacts of Taoist Yellow Court Canon and Buddhist "merit-based longevity" concepts on longevity culture's connotations<br />
<br />
3. What bodily practices and cultural symbolism interactions are manifested in Nanyue pilgrims' "incense offering for longevity" rituals?<br />
<br />
4. How does the Chinese Longevity Tripod's design convey cultural meanings through numerical metaphors (e.g., 9.9m height)?<br />
<br />
5. What tensions between preservation and innovation does traditional longevity culture face in digital contexts?</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=169688User:Liu Pei2025-06-19T17:03:43Z<p>Liu Pei: </p>
<hr />
<div> <br />
'''南岳衡山寿文化'''<br />
刘佩 202470081657<br />
<br />
<br />
<br />
'''一、寿文化的星象起源与帝王认证'''<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。值得注意的是，这种星象与地理的对应关系（"星野理论"）体现了中国传统"天人合一"的哲学思想，而帝王的持续认证则赋予了寿文化政治合法性。<br />
<br />
'''二、宗教融合中的寿文化发展'''<br />
<br />
在道教体系中，衡山作为第三洞天"朱陵洞天"成为修仙圣地。东晋女道士魏华存（南岳夫人）在此修行并著述《黄庭经》，将吐纳养生之术与寿文化完美结合，形成"性命双修"的修炼体系。佛教传入后，禅宗寺院通过"功德延寿"的观念为寿文化注入新的内涵。南岳大庙独特的"三教共存"格局更使寿文化获得多元诠释：儒家强调"仁者寿"的道德追求，道教注重养生实践，佛教讲究因果福报。这种宗教融合使寿文化超越了单纯的寿命延长概念，发展出精神修养与身体健康并重的文化体系。<br />
<br />
'''三、民俗实践与象征体系的构建'''<br />
<br />
民间社会通过丰富的实践活动使寿文化落地生根。明清时期形成的"朝寿岳"习俗，吸引周边数省香客定期朝拜。香客们通过"进香添寿"仪式（如"烧拜香"）、采集"长寿藤"、饮用"寿泉"等行为，构建了一套完整的祈福体系。在物质文化层面，"寿"字符号被广泛应用于建筑装饰（如南岳庙的万寿壁）、工艺品（寿星雕像）和饮食文化（寿桃、寿面）中。特别值得一提的是，这些实践往往通过"谐音象征"（如"蝠"谐"福"、"鹿"谐"禄"）和"数字隐喻"（如九象征永恒）来强化文化表达，形成了独具特色的视觉语言系统。<br />
<br />
'''四、当代转型与文化创新'''<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
'''术语和表达'''<br />
<br />
1. 星野理论：古代中国将星宿分野与地理区域对应的宇宙观<br />
<br />
2. 朱陵洞天：道教三十六洞天中的第三洞天，位于南岳衡山<br />
<br />
3. 三教共存：指南岳大庙中儒释道和谐共处的独特格局<br />
<br />
4. 性命双修：道教同时修炼形体与心性的养生理念<br />
<br />
5. 谐音象征：通过同音字表达吉祥寓意的文化表达方式<br />
<br />
'''研究问题'''<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
'''The Culture of Longevity in Mount Heng (Nanyue)'''<br />
<br />
<br />
'''I. Astrological Origins and Imperial Endorsement of Longevity Culture'''<br />
<br />
The designation of Mount Heng as the "Mountain of Longevity" stems from ancient Chinese astrological theories. The Classic of Stars explicitly records its correspondence with the Zhen constellation among the twenty-eight lunar mansions, which "governs human lifespan." This cosmology of heaven-human resonance established a sacred foundation for longevity culture. Beginning with Emperor Shun's southern inspection and sacrificial rituals, successive emperors continually reinforced this tradition. Historical records document over 120 imperial worship activities, among which Emperor Kangxi's proclamation of the mountain as the "Mountain Governing Longevity" in his Stele Inscription on the Reconstruction of Nanyue Temple formally elevated longevity culture from folk belief to a state-sanctioned sacrificial system. Notably, this astrological-geographical correspondence (the "Theory of Astrological Correspondence") embodies the traditional Chinese philosophical concept of "harmony between heaven and humanity," while persistent imperial endorsement bestowed political legitimacy upon longevity culture.<br />
<br />
'''II. Development of Longevity Culture through Religious Syncretism'''<br />
<br />
Within Taoism, Mount Heng's status as the third sacred grotto-heaven, the "Zhuling Grotto-Heaven," established it as a holy site for cultivating immortality. The Eastern Jin dynasty female Taoist master Wei Huacun (Lady of Nanyue) practiced here and authored the Yellow Court Canon, seamlessly integrating breath cultivation techniques with longevity culture to form a "dual cultivation of inner nature and bodily life" system. Following Buddhism's introduction, Chan monasteries infused new meaning into longevity culture through the concept of "merit-based lifespan extension." The unique "coexistence of three teachings" at Nanyue Grand Temple further enabled multidimensional interpretations: Confucianism emphasized the moral pursuit of "the benevolent enjoy longevity," Taoism focused on health preservation practices, and Buddhism stressed karmic retribution. This religious syncretism transcended mere lifespan extension, evolving into a cultural system valuing both spiritual refinement and physical health.<br />
<br />
'''III. Folk Practices and the Construction of Symbolic Systems'''<br />
<br />
Civil society rooted longevity culture through rich practical activities. During the Ming-Qing period, the custom of "pilgrimage to the Mountain of Longevity" attracted regular worshippers from several surrounding provinces. Pilgrims developed a complete blessing system through rituals like "offering incense for longevity," collecting "longevity vines," and drinking from "longevity springs." Material culture extensively employed the "longevity" character symbol in architectural decorations (e.g., the Ten-Thousand Longevity Wall at Nanyue Temple), handicrafts (statues of the God of Longevity), and culinary traditions (longevity peaches, longevity noodles). Particularly noteworthy is how these practices reinforced cultural expression through "homophonic symbolism" (e.g., bat ["fu"] representing good fortune, deer ["lu"] symbolizing prosperity) and "numerical metaphors" (e.g., nine representing perpetuity), forming a distinctive visual language system.<br />
<br />
'''IV. Contemporary Transformation and Cultural Innovation'''<br />
<br />
Entering the 21st century, Nanyue's longevity culture underwent creative reinterpretation. The 2000 installation of the Chinese Longevity Tripod (9.9m tall, 56 tons, featuring 10,000 variant "longevity" characters) revitalized tradition through modern artistic form. Government-sponsored "International Longevity Culture Festivals" transformed sacrificial rituals into cultural performances, attracting 1.3 million visitors in 2019. Scientific research injected new vitality, as Central South University studies verified abundant longevity elements like selenium in local resources. In the digital era, innovations such as "cloud blessing" mini-programs and longevity-themed NFTs continually emerge. These transformations preserve the core concept of "longevity prayers" while expanding participatory boundaries through technology, rejuvenating ancient culture.<br />
<br />
'''Terminology and Expressions'''<br />
<br />
1. Theory of Astrological Correspondence: Ancient Chinese cosmology linking celestial bodies with geographical regions<br />
<br />
2. Zhuling Grotto-Heaven: The third of Taoism's thirty-six sacred grotto-heavens, located at Mount Heng<br />
<br />
3. Coexistence of Three Teachings: The unique harmonious coexistence of Confucianism, Taoism and Buddhism at Nanyue Grand Temple<br />
<br />
4. Dual Cultivation of Inner Nature and Bodily Life: Taoist practice of simultaneous spiritual and physical cultivation<br />
<br />
5. Homophonic Symbolism: Cultural expression using phonetic similarities for auspicious meanings<br />
<br />
'''Research Questions'''<br />
<br />
1. How did astrological theories shape Mount Heng's geo-cultural identity through the "Zhen constellation governs lifespan" concept?<br />
<br />
2. Compare and analyze the differential impacts of Taoist Yellow Court Canon and Buddhist "merit-based longevity" concepts on longevity culture's connotations<br />
<br />
3. What bodily practices and cultural symbolism interactions are manifested in Nanyue pilgrims' "incense offering for longevity" rituals?<br />
<br />
4. How does the Chinese Longevity Tripod's design convey cultural meanings through numerical metaphors (e.g., 9.9m height)?<br />
<br />
5. What tensions between preservation and innovation does traditional longevity culture face in digital contexts?</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=168154User:Liu Pei2025-06-06T02:57:43Z<p>Liu Pei: </p>
<hr />
<div> <br />
'''南岳衡山寿文化'''<br />
<br />
<br />
'''一、寿文化的星象起源与帝王认证'''<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。值得注意的是，这种星象与地理的对应关系（"星野理论"）体现了中国传统"天人合一"的哲学思想，而帝王的持续认证则赋予了寿文化政治合法性。<br />
<br />
'''二、宗教融合中的寿文化发展'''<br />
<br />
在道教体系中，衡山作为第三洞天"朱陵洞天"成为修仙圣地。东晋女道士魏华存（南岳夫人）在此修行并著述《黄庭经》，将吐纳养生之术与寿文化完美结合，形成"性命双修"的修炼体系。佛教传入后，禅宗寺院通过"功德延寿"的观念为寿文化注入新的内涵。南岳大庙独特的"三教共存"格局更使寿文化获得多元诠释：儒家强调"仁者寿"的道德追求，道教注重养生实践，佛教讲究因果福报。这种宗教融合使寿文化超越了单纯的寿命延长概念，发展出精神修养与身体健康并重的文化体系。<br />
<br />
'''三、民俗实践与象征体系的构建'''<br />
<br />
民间社会通过丰富的实践活动使寿文化落地生根。明清时期形成的"朝寿岳"习俗，吸引周边数省香客定期朝拜。香客们通过"进香添寿"仪式（如"烧拜香"）、采集"长寿藤"、饮用"寿泉"等行为，构建了一套完整的祈福体系。在物质文化层面，"寿"字符号被广泛应用于建筑装饰（如南岳庙的万寿壁）、工艺品（寿星雕像）和饮食文化（寿桃、寿面）中。特别值得一提的是，这些实践往往通过"谐音象征"（如"蝠"谐"福"、"鹿"谐"禄"）和"数字隐喻"（如九象征永恒）来强化文化表达，形成了独具特色的视觉语言系统。<br />
<br />
'''四、当代转型与文化创新'''<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
'''术语和表达'''<br />
<br />
1. 星野理论：古代中国将星宿分野与地理区域对应的宇宙观<br />
<br />
2. 朱陵洞天：道教三十六洞天中的第三洞天，位于南岳衡山<br />
<br />
3. 三教共存：指南岳大庙中儒释道和谐共处的独特格局<br />
<br />
4. 性命双修：道教同时修炼形体与心性的养生理念<br />
<br />
5. 谐音象征：通过同音字表达吉祥寓意的文化表达方式<br />
<br />
'''研究问题'''<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
'''The Culture of Longevity in Mount Heng (Nanyue)'''<br />
<br />
<br />
'''I. Astrological Origins and Imperial Endorsement of Longevity Culture'''<br />
<br />
The designation of Mount Heng as the "Mountain of Longevity" stems from ancient Chinese astrological theories. The Classic of Stars explicitly records its correspondence with the Zhen constellation among the twenty-eight lunar mansions, which "governs human lifespan." This cosmology of heaven-human resonance established a sacred foundation for longevity culture. Beginning with Emperor Shun's southern inspection and sacrificial rituals, successive emperors continually reinforced this tradition. Historical records document over 120 imperial worship activities, among which Emperor Kangxi's proclamation of the mountain as the "Mountain Governing Longevity" in his Stele Inscription on the Reconstruction of Nanyue Temple formally elevated longevity culture from folk belief to a state-sanctioned sacrificial system. Notably, this astrological-geographical correspondence (the "Theory of Astrological Correspondence") embodies the traditional Chinese philosophical concept of "harmony between heaven and humanity," while persistent imperial endorsement bestowed political legitimacy upon longevity culture.<br />
<br />
'''II. Development of Longevity Culture through Religious Syncretism'''<br />
<br />
Within Taoism, Mount Heng's status as the third sacred grotto-heaven, the "Zhuling Grotto-Heaven," established it as a holy site for cultivating immortality. The Eastern Jin dynasty female Taoist master Wei Huacun (Lady of Nanyue) practiced here and authored the Yellow Court Canon, seamlessly integrating breath cultivation techniques with longevity culture to form a "dual cultivation of inner nature and bodily life" system. Following Buddhism's introduction, Chan monasteries infused new meaning into longevity culture through the concept of "merit-based lifespan extension." The unique "coexistence of three teachings" at Nanyue Grand Temple further enabled multidimensional interpretations: Confucianism emphasized the moral pursuit of "the benevolent enjoy longevity," Taoism focused on health preservation practices, and Buddhism stressed karmic retribution. This religious syncretism transcended mere lifespan extension, evolving into a cultural system valuing both spiritual refinement and physical health.<br />
<br />
'''III. Folk Practices and the Construction of Symbolic Systems'''<br />
<br />
Civil society rooted longevity culture through rich practical activities. During the Ming-Qing period, the custom of "pilgrimage to the Mountain of Longevity" attracted regular worshippers from several surrounding provinces. Pilgrims developed a complete blessing system through rituals like "offering incense for longevity," collecting "longevity vines," and drinking from "longevity springs." Material culture extensively employed the "longevity" character symbol in architectural decorations (e.g., the Ten-Thousand Longevity Wall at Nanyue Temple), handicrafts (statues of the God of Longevity), and culinary traditions (longevity peaches, longevity noodles). Particularly noteworthy is how these practices reinforced cultural expression through "homophonic symbolism" (e.g., bat ["fu"] representing good fortune, deer ["lu"] symbolizing prosperity) and "numerical metaphors" (e.g., nine representing perpetuity), forming a distinctive visual language system.<br />
<br />
'''IV. Contemporary Transformation and Cultural Innovation'''<br />
<br />
Entering the 21st century, Nanyue's longevity culture underwent creative reinterpretation. The 2000 installation of the Chinese Longevity Tripod (9.9m tall, 56 tons, featuring 10,000 variant "longevity" characters) revitalized tradition through modern artistic form. Government-sponsored "International Longevity Culture Festivals" transformed sacrificial rituals into cultural performances, attracting 1.3 million visitors in 2019. Scientific research injected new vitality, as Central South University studies verified abundant longevity elements like selenium in local resources. In the digital era, innovations such as "cloud blessing" mini-programs and longevity-themed NFTs continually emerge. These transformations preserve the core concept of "longevity prayers" while expanding participatory boundaries through technology, rejuvenating ancient culture.<br />
<br />
'''Terminology and Expressions'''<br />
<br />
1. Theory of Astrological Correspondence: Ancient Chinese cosmology linking celestial bodies with geographical regions<br />
<br />
2. Zhuling Grotto-Heaven: The third of Taoism's thirty-six sacred grotto-heavens, located at Mount Heng<br />
<br />
3. Coexistence of Three Teachings: The unique harmonious coexistence of Confucianism, Taoism and Buddhism at Nanyue Grand Temple<br />
<br />
4. Dual Cultivation of Inner Nature and Bodily Life: Taoist practice of simultaneous spiritual and physical cultivation<br />
<br />
5. Homophonic Symbolism: Cultural expression using phonetic similarities for auspicious meanings<br />
<br />
'''Research Questions'''<br />
<br />
1. How did astrological theories shape Mount Heng's geo-cultural identity through the "Zhen constellation governs lifespan" concept?<br />
<br />
2. Compare and analyze the differential impacts of Taoist Yellow Court Canon and Buddhist "merit-based longevity" concepts on longevity culture's connotations<br />
<br />
3. What bodily practices and cultural symbolism interactions are manifested in Nanyue pilgrims' "incense offering for longevity" rituals?<br />
<br />
4. How does the Chinese Longevity Tripod's design convey cultural meanings through numerical metaphors (e.g., 9.9m height)?<br />
<br />
5. What tensions between preservation and innovation does traditional longevity culture face in digital contexts?</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=168153User:Liu Pei2025-06-06T02:55:58Z<p>Liu Pei: </p>
<hr />
<div> <br />
'''南岳衡山寿文化'''<br />
<br />
<br />
'''一、寿文化的星象起源与帝王认证'''<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。值得注意的是，这种星象与地理的对应关系（"星野理论"）体现了中国传统"天人合一"的哲学思想，而帝王的持续认证则赋予了寿文化政治合法性。<br />
<br />
'''二、宗教融合中的寿文化发展'''<br />
<br />
在道教体系中，衡山作为第三洞天"朱陵洞天"成为修仙圣地。东晋女道士魏华存（南岳夫人）在此修行并著述《黄庭经》，将吐纳养生之术与寿文化完美结合，形成"性命双修"的修炼体系。佛教传入后，禅宗寺院通过"功德延寿"的观念为寿文化注入新的内涵。南岳大庙独特的"三教共存"格局更使寿文化获得多元诠释：儒家强调"仁者寿"的道德追求，道教注重养生实践，佛教讲究因果福报。这种宗教融合使寿文化超越了单纯的寿命延长概念，发展出精神修养与身体健康并重的文化体系。<br />
<br />
'''三、民俗实践与象征体系的构建'''<br />
<br />
民间社会通过丰富的实践活动使寿文化落地生根。明清时期形成的"朝寿岳"习俗，吸引周边数省香客定期朝拜。香客们通过"进香添寿"仪式（如"烧拜香"）、采集"长寿藤"、饮用"寿泉"等行为，构建了一套完整的祈福体系。在物质文化层面，"寿"字符号被广泛应用于建筑装饰（如南岳庙的万寿壁）、工艺品（寿星雕像）和饮食文化（寿桃、寿面）中。特别值得一提的是，这些实践往往通过"谐音象征"（如"蝠"谐"福"、"鹿"谐"禄"）和"数字隐喻"（如九象征永恒）来强化文化表达，形成了独具特色的视觉语言系统。<br />
<br />
'''四、当代转型与文化创新'''<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
<br />
'''术语和表达'''<br />
<br />
1. 星野理论：古代中国将星宿分野与地理区域对应的宇宙观<br />
<br />
2. 朱陵洞天：道教三十六洞天中的第三洞天，位于南岳衡山<br />
<br />
3. 三教共存：指南岳大庙中儒释道和谐共处的独特格局<br />
<br />
4. 性命双修：道教同时修炼形体与心性的养生理念<br />
<br />
5. 谐音象征：通过同音字表达吉祥寓意的文化表达方式<br />
<br />
'''研究问题'''<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
'''The Culture of Longevity in Mount Heng (Nanyue)'''<br />
<br />
<br />
'''I. Astrological Origins and Imperial Endorsement of Longevity Culture'''<br />
<br />
The designation of Mount Heng as the "Mountain of Longevity" stems from ancient Chinese astrological theories. The Classic of Stars explicitly records its correspondence with the Zhen constellation among the twenty-eight lunar mansions, which "governs human lifespan." This cosmology of heaven-human resonance established a sacred foundation for longevity culture. Beginning with Emperor Shun's southern inspection and sacrificial rituals, successive emperors continually reinforced this tradition. Historical records document over 120 imperial worship activities, among which Emperor Kangxi's proclamation of the mountain as the "Mountain Governing Longevity" in his Stele Inscription on the Reconstruction of Nanyue Temple formally elevated longevity culture from folk belief to a state-sanctioned sacrificial system. Notably, this astrological-geographical correspondence (the "Theory of Astrological Correspondence") embodies the traditional Chinese philosophical concept of "harmony between heaven and humanity," while persistent imperial endorsement bestowed political legitimacy upon longevity culture.<br />
<br />
'''II. Development of Longevity Culture through Religious Syncretism'''<br />
<br />
Within Taoism, Mount Heng's status as the third sacred grotto-heaven, the "Zhuling Grotto-Heaven," established it as a holy site for cultivating immortality. The Eastern Jin dynasty female Taoist master Wei Huacun (Lady of Nanyue) practiced here and authored the Yellow Court Canon, seamlessly integrating breath cultivation techniques with longevity culture to form a "dual cultivation of inner nature and bodily life" system. Following Buddhism's introduction, Chan monasteries infused new meaning into longevity culture through the concept of "merit-based lifespan extension." The unique "coexistence of three teachings" at Nanyue Grand Temple further enabled multidimensional interpretations: Confucianism emphasized the moral pursuit of "the benevolent enjoy longevity," Taoism focused on health preservation practices, and Buddhism stressed karmic retribution. This religious syncretism transcended mere lifespan extension, evolving into a cultural system valuing both spiritual refinement and physical health.<br />
<br />
'''III. Folk Practices and the Construction of Symbolic Systems'''<br />
<br />
Civil society rooted longevity culture through rich practical activities. During the Ming-Qing period, the custom of "pilgrimage to the Mountain of Longevity" attracted regular worshippers from several surrounding provinces. Pilgrims developed a complete blessing system through rituals like "offering incense for longevity," collecting "longevity vines," and drinking from "longevity springs." Material culture extensively employed the "longevity" character symbol in architectural decorations (e.g., the Ten-Thousand Longevity Wall at Nanyue Temple), handicrafts (statues of the God of Longevity), and culinary traditions (longevity peaches, longevity noodles). Particularly noteworthy is how these practices reinforced cultural expression through "homophonic symbolism" (e.g., bat ["fu"] representing good fortune, deer ["lu"] symbolizing prosperity) and "numerical metaphors" (e.g., nine representing perpetuity), forming a distinctive visual language system.<br />
<br />
'''IV. Contemporary Transformation and Cultural Innovation'''<br />
<br />
Entering the 21st century, Nanyue's longevity culture underwent creative reinterpretation. The 2000 installation of the Chinese Longevity Tripod (9.9m tall, 56 tons, featuring 10,000 variant "longevity" characters) revitalized tradition through modern artistic form. Government-sponsored "International Longevity Culture Festivals" transformed sacrificial rituals into cultural performances, attracting 1.3 million visitors in 2019. Scientific research injected new vitality, as Central South University studies verified abundant longevity elements like selenium in local resources. In the digital era, innovations such as "cloud blessing" mini-programs and longevity-themed NFTs continually emerge. These transformations preserve the core concept of "longevity prayers" while expanding participatory boundaries through technology, rejuvenating ancient culture.<br />
<br />
'''Terminology and Expressions'''<br />
<br />
1. Theory of Astrological Correspondence: Ancient Chinese cosmology linking celestial bodies with geographical regions<br />
<br />
2. Zhuling Grotto-Heaven: The third of Taoism's thirty-six sacred grotto-heavens, located at Mount Heng<br />
<br />
3. Coexistence of Three Teachings: The unique harmonious coexistence of Confucianism, Taoism and Buddhism at Nanyue Grand Temple<br />
<br />
4. Dual Cultivation of Inner Nature and Bodily Life: Taoist practice of simultaneous spiritual and physical cultivation<br />
<br />
5. Homophonic Symbolism: Cultural expression using phonetic similarities for auspicious meanings<br />
<br />
'''Research Questions'''<br />
<br />
1. How did astrological theories shape Mount Heng's geo-cultural identity through the "Zhen constellation governs lifespan" concept?<br />
<br />
2. Compare and analyze the differential impacts of Taoist Yellow Court Canon and Buddhist "merit-based longevity" concepts on longevity culture's connotations<br />
<br />
3. What bodily practices and cultural symbolism interactions are manifested in Nanyue pilgrims' "incense offering for longevity" rituals?<br />
<br />
4. How does the Chinese Longevity Tripod's design convey cultural meanings through numerical metaphors (e.g., 9.9m height)?<br />
<br />
5. What tensions between preservation and innovation does traditional longevity culture face in digital contexts?</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=168152User:Liu Pei2025-06-06T02:54:29Z<p>Liu Pei: </p>
<hr />
<div> <br />
'''南岳衡山寿文化'''<br />
<br />
<br />
'''一、寿文化的星象起源与帝王认证'''<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。值得注意的是，这种星象与地理的对应关系（"星野理论"）体现了中国传统"天人合一"的哲学思想，而帝王的持续认证则赋予了寿文化政治合法性。<br />
<br />
'''二、宗教融合中的寿文化发展'''<br />
<br />
在道教体系中，衡山作为第三洞天"朱陵洞天"成为修仙圣地。东晋女道士魏华存（南岳夫人）在此修行并著述《黄庭经》，将吐纳养生之术与寿文化完美结合，形成"性命双修"的修炼体系。佛教传入后，禅宗寺院通过"功德延寿"的观念为寿文化注入新的内涵。南岳大庙独特的"三教共存"格局更使寿文化获得多元诠释：儒家强调"仁者寿"的道德追求，道教注重养生实践，佛教讲究因果福报。这种宗教融合使寿文化超越了单纯的寿命延长概念，发展出精神修养与身体健康并重的文化体系。<br />
<br />
'''三、民俗实践与象征体系的构建'''<br />
<br />
民间社会通过丰富的实践活动使寿文化落地生根。明清时期形成的"朝寿岳"习俗，吸引周边数省香客定期朝拜。香客们通过"进香添寿"仪式（如"烧拜香"）、采集"长寿藤"、饮用"寿泉"等行为，构建了一套完整的祈福体系。在物质文化层面，"寿"字符号被广泛应用于建筑装饰（如南岳庙的万寿壁）、工艺品（寿星雕像）和饮食文化（寿桃、寿面）中。特别值得一提的是，这些实践往往通过"谐音象征"（如"蝠"谐"福"、"鹿"谐"禄"）和"数字隐喻"（如九象征永恒）来强化文化表达，形成了独具特色的视觉语言系统。<br />
<br />
'''四、当代转型与文化创新'''<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
<br />
'''术语和表达'''<br />
<br />
1. 星野理论：古代中国将星宿分野与地理区域对应的宇宙观<br />
<br />
2. 朱陵洞天：道教三十六洞天中的第三洞天，位于南岳衡山<br />
<br />
3. 三教共存：指南岳大庙中儒释道和谐共处的独特格局<br />
<br />
4. 性命双修：道教同时修炼形体与心性的养生理念<br />
<br />
5. 谐音象征：通过同音字表达吉祥寓意的文化表达方式<br />
<br />
'''研究问题'''<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
'''The Culture of Longevity in Mount Heng (Nanyue)'''<br />
<br />
<br />
'''I. Astrological Origins and Imperial Endorsement of Longevity Culture'''<br />
<br />
The designation of Mount Heng as the "Mountain of Longevity" stems from ancient Chinese astrological theories. The Classic of Stars explicitly records its correspondence with the Zhen constellation among the twenty-eight lunar mansions, which "governs human lifespan." This cosmology of heaven-human resonance established a sacred foundation for longevity culture. Beginning with Emperor Shun's southern inspection and sacrificial rituals, successive emperors continually reinforced this tradition. Historical records document over 120 imperial worship activities, among which Emperor Kangxi's proclamation of the mountain as the "Mountain Governing Longevity" in his Stele Inscription on the Reconstruction of Nanyue Temple formally elevated longevity culture from folk belief to a state-sanctioned sacrificial system. Notably, this astrological-geographical correspondence (the "Theory of Astrological Correspondence") embodies the traditional Chinese philosophical concept of "harmony between heaven and humanity," while persistent imperial endorsement bestowed political legitimacy upon longevity culture.<br />
<br />
'''II. Development of Longevity Culture through Religious Syncretism'''<br />
<br />
Within Taoism, Mount Heng's status as the third sacred grotto-heaven, the "Zhuling Grotto-Heaven," established it as a holy site for cultivating immortality. The Eastern Jin dynasty female Taoist master Wei Huacun (Lady of Nanyue) practiced here and authored the Yellow Court Canon, seamlessly integrating breath cultivation techniques with longevity culture to form a "dual cultivation of inner nature and bodily life" system. Following Buddhism's introduction, Chan monasteries infused new meaning into longevity culture through the concept of "merit-based lifespan extension." The unique "coexistence of three teachings" at Nanyue Grand Temple further enabled multidimensional interpretations: Confucianism emphasized the moral pursuit of "the benevolent enjoy longevity," Taoism focused on health preservation practices, and Buddhism stressed karmic retribution. This religious syncretism transcended mere lifespan extension, evolving into a cultural system valuing both spiritual refinement and physical health.<br />
<br />
'''III. Folk Practices and the Construction of Symbolic Systems'''<br />
<br />
Civil society rooted longevity culture through rich practical activities. During the Ming-Qing period, the custom of "pilgrimage to the Mountain of Longevity" attracted regular worshippers from several surrounding provinces. Pilgrims developed a complete blessing system through rituals like "offering incense for longevity," collecting "longevity vines," and drinking from "longevity springs." Material culture extensively employed the "longevity" character symbol in architectural decorations (e.g., the Ten-Thousand Longevity Wall at Nanyue Temple), handicrafts (statues of the God of Longevity), and culinary traditions (longevity peaches, longevity noodles). Particularly noteworthy is how these practices reinforced cultural expression through "homophonic symbolism" (e.g., bat ["fu"] representing good fortune, deer ["lu"] symbolizing prosperity) and "numerical metaphors" (e.g., nine representing perpetuity), forming a distinctive visual language system.<br />
<br />
'''IV. Contemporary Transformation and Cultural Innovation'''<br />
<br />
Entering the 21st century, Nanyue's longevity culture underwent creative reinterpretation. The 2000 installation of the Chinese Longevity Tripod (9.9m tall, 56 tons, featuring 10,000 variant "longevity" characters) revitalized tradition through modern artistic form. Government-sponsored "International Longevity Culture Festivals" transformed sacrificial rituals into cultural performances, attracting 1.3 million visitors in 2019. Scientific research injected new vitality, as Central South University studies verified abundant longevity elements like selenium in local resources. In the digital era, innovations such as "cloud blessing" mini-programs and longevity-themed NFTs continually emerge. These transformations preserve the core concept of "longevity prayers" while expanding participatory boundaries through technology, rejuvenating ancient culture.<br />
<br />
'''Terminology and Expressions'''<br />
<br />
1. Theory of Astrological Correspondence: Ancient Chinese cosmology linking celestial bodies with geographical regions<br />
<br />
2. Zhuling Grotto-Heaven: The third of Taoism's thirty-six sacred grotto-heavens, located at Mount Heng<br />
<br />
3. Coexistence of Three Teachings: The unique harmonious coexistence of Confucianism, Taoism and Buddhism at Nanyue Grand Temple<br />
<br />
4. Dual Cultivation of Inner Nature and Bodily Life: Taoist practice of simultaneous spiritual and physical cultivation<br />
<br />
5. Homophonic Symbolism: Cultural expression using phonetic similarities for auspicious meanings<br />
<br />
'''Research Questions'''<br />
<br />
1. How did astrological theories shape Mount Heng's geo-cultural identity through the "Zhen constellation governs lifespan" concept?<br />
<br />
2. Compare and analyze the differential impacts of Taoist Yellow Court Canon and Buddhist "merit-based longevity" concepts on longevity culture's connotations<br />
<br />
3. What bodily practices and cultural symbolism interactions are manifested in Nanyue pilgrims' "incense offering for longevity" rituals?<br />
<br />
4. How does the Chinese Longevity Tripod's design convey cultural meanings through numerical metaphors (e.g., 9.9m height)?<br />
<br />
5. What tensions between preservation and innovation does traditional longevity culture face in digital contexts?</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=168149User:Liu Pei2025-06-06T02:52:54Z<p>Liu Pei: </p>
<hr />
<div> <br />
'''南岳衡山寿文化'''<br />
<br />
<br />
'''一、寿文化的星象起源与帝王认证'''<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。值得注意的是，这种星象与地理的对应关系（"星野理论"）体现了中国传统"天人合一"的哲学思想，而帝王的持续认证则赋予了寿文化政治合法性。<br />
<br />
'''二、宗教融合中的寿文化发展'''<br />
<br />
在道教体系中，衡山作为第三洞天"朱陵洞天"成为修仙圣地。东晋女道士魏华存（南岳夫人）在此修行并著述《黄庭经》，将吐纳养生之术与寿文化完美结合，形成"性命双修"的修炼体系。佛教传入后，禅宗寺院通过"功德延寿"的观念为寿文化注入新的内涵。南岳大庙独特的"三教共存"格局更使寿文化获得多元诠释：儒家强调"仁者寿"的道德追求，道教注重养生实践，佛教讲究因果福报。这种宗教融合使寿文化超越了单纯的寿命延长概念，发展出精神修养与身体健康并重的文化体系。<br />
<br />
'''三、民俗实践与象征体系的构建'''<br />
<br />
民间社会通过丰富的实践活动使寿文化落地生根。明清时期形成的"朝寿岳"习俗，吸引周边数省香客定期朝拜。香客们通过"进香添寿"仪式（如"烧拜香"）、采集"长寿藤"、饮用"寿泉"等行为，构建了一套完整的祈福体系。在物质文化层面，"寿"字符号被广泛应用于建筑装饰（如南岳庙的万寿壁）、工艺品（寿星雕像）和饮食文化（寿桃、寿面）中。特别值得一提的是，这些实践往往通过"谐音象征"（如"蝠"谐"福"、"鹿"谐"禄"）和"数字隐喻"（如九象征永恒）来强化文化表达，形成了独具特色的视觉语言系统。<br />
<br />
'''四、当代转型与文化创新'''<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
<br />
'''术语和表达'''<br />
<br />
1. 星野理论：古代中国将星宿分野与地理区域对应的宇宙观<br />
2. 朱陵洞天：道教三十六洞天中的第三洞天，位于南岳衡山<br />
3. 三教共存：指南岳大庙中儒释道和谐共处的独特格局<br />
4. 性命双修：道教同时修炼形体与心性的养生理念<br />
5. 谐音象征：通过同音字表达吉祥寓意的文化表达方式<br />
<br />
'''研究问题'''<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
'''The Culture of Longevity in Mount Heng (Nanyue)'''<br />
<br />
<br />
'''I. Astrological Origins and Imperial Endorsement of Longevity Culture'''<br />
<br />
The designation of Mount Heng as the "Mountain of Longevity" stems from ancient Chinese astrological theories. The Classic of Stars explicitly records its correspondence with the Zhen constellation among the twenty-eight lunar mansions, which "governs human lifespan." This cosmology of heaven-human resonance established a sacred foundation for longevity culture. Beginning with Emperor Shun's southern inspection and sacrificial rituals, successive emperors continually reinforced this tradition. Historical records document over 120 imperial worship activities, among which Emperor Kangxi's proclamation of the mountain as the "Mountain Governing Longevity" in his Stele Inscription on the Reconstruction of Nanyue Temple formally elevated longevity culture from folk belief to a state-sanctioned sacrificial system. Notably, this astrological-geographical correspondence (the "Theory of Astrological Correspondence") embodies the traditional Chinese philosophical concept of "harmony between heaven and humanity," while persistent imperial endorsement bestowed political legitimacy upon longevity culture.<br />
<br />
'''II. Development of Longevity Culture through Religious Syncretism'''<br />
<br />
Within Taoism, Mount Heng's status as the third sacred grotto-heaven, the "Zhuling Grotto-Heaven," established it as a holy site for cultivating immortality. The Eastern Jin dynasty female Taoist master Wei Huacun (Lady of Nanyue) practiced here and authored the Yellow Court Canon, seamlessly integrating breath cultivation techniques with longevity culture to form a "dual cultivation of inner nature and bodily life" system. Following Buddhism's introduction, Chan monasteries infused new meaning into longevity culture through the concept of "merit-based lifespan extension." The unique "coexistence of three teachings" at Nanyue Grand Temple further enabled multidimensional interpretations: Confucianism emphasized the moral pursuit of "the benevolent enjoy longevity," Taoism focused on health preservation practices, and Buddhism stressed karmic retribution. This religious syncretism transcended mere lifespan extension, evolving into a cultural system valuing both spiritual refinement and physical health.<br />
<br />
'''III. Folk Practices and the Construction of Symbolic Systems'''<br />
<br />
Civil society rooted longevity culture through rich practical activities. During the Ming-Qing period, the custom of "pilgrimage to the Mountain of Longevity" attracted regular worshippers from several surrounding provinces. Pilgrims developed a complete blessing system through rituals like "offering incense for longevity," collecting "longevity vines," and drinking from "longevity springs." Material culture extensively employed the "longevity" character symbol in architectural decorations (e.g., the Ten-Thousand Longevity Wall at Nanyue Temple), handicrafts (statues of the God of Longevity), and culinary traditions (longevity peaches, longevity noodles). Particularly noteworthy is how these practices reinforced cultural expression through "homophonic symbolism" (e.g., bat ["fu"] representing good fortune, deer ["lu"] symbolizing prosperity) and "numerical metaphors" (e.g., nine representing perpetuity), forming a distinctive visual language system.<br />
<br />
'''IV. Contemporary Transformation and Cultural Innovation'''<br />
<br />
Entering the 21st century, Nanyue's longevity culture underwent creative reinterpretation. The 2000 installation of the Chinese Longevity Tripod (9.9m tall, 56 tons, featuring 10,000 variant "longevity" characters) revitalized tradition through modern artistic form. Government-sponsored "International Longevity Culture Festivals" transformed sacrificial rituals into cultural performances, attracting 1.3 million visitors in 2019. Scientific research injected new vitality, as Central South University studies verified abundant longevity elements like selenium in local resources. In the digital era, innovations such as "cloud blessing" mini-programs and longevity-themed NFTs continually emerge. These transformations preserve the core concept of "longevity prayers" while expanding participatory boundaries through technology, rejuvenating ancient culture.<br />
<br />
'''Terminology and Expressions'''<br />
<br />
1. Theory of Astrological Correspondence: Ancient Chinese cosmology linking celestial bodies with geographical regions<br />
2. Zhuling Grotto-Heaven: The third of Taoism's thirty-six sacred grotto-heavens, located at Mount Heng<br />
3. Coexistence of Three Teachings: The unique harmonious coexistence of Confucianism, Taoism and Buddhism at Nanyue Grand Temple<br />
4. Dual Cultivation of Inner Nature and Bodily Life: Taoist practice of simultaneous spiritual and physical cultivation<br />
5. Homophonic Symbolism: Cultural expression using phonetic similarities for auspicious meanings<br />
<br />
'''Research Questions'''<br />
<br />
1. How did astrological theories shape Mount Heng's geo-cultural identity through the "Zhen constellation governs lifespan" concept?<br />
2. Compare and analyze the differential impacts of Taoist Yellow Court Canon and Buddhist "merit-based longevity" concepts on longevity culture's connotations<br />
3. What bodily practices and cultural symbolism interactions are manifested in Nanyue pilgrims' "incense offering for longevity" rituals?<br />
4. How does the Chinese Longevity Tripod's design convey cultural meanings through numerical metaphors (e.g., 9.9m height)?<br />
5. What tensions between preservation and innovation does traditional longevity culture face in digital contexts?</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=168144User:Liu Pei2025-06-06T02:51:30Z<p>Liu Pei: </p>
<hr />
<div> <br />
'''南岳衡山寿文化'''<br />
<br />
<br />
'''一、寿文化的星象起源与帝王认证'''<br />
南岳衡山"寿岳"之称源于中国古代星象学说，《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。值得注意的是，这种星象与地理的对应关系（"星野理论"）体现了中国传统"天人合一"的哲学思想，而帝王的持续认证则赋予了寿文化政治合法性。<br />
<br />
'''二、宗教融合中的寿文化发展'''<br />
在道教体系中，衡山作为第三洞天"朱陵洞天"成为修仙圣地。东晋女道士魏华存（南岳夫人）在此修行并著述《黄庭经》，将吐纳养生之术与寿文化完美结合，形成"性命双修"的修炼体系。佛教传入后，禅宗寺院通过"功德延寿"的观念为寿文化注入新的内涵。南岳大庙独特的"三教共存"格局更使寿文化获得多元诠释：儒家强调"仁者寿"的道德追求，道教注重养生实践，佛教讲究因果福报。这种宗教融合使寿文化超越了单纯的寿命延长概念，发展出精神修养与身体健康并重的文化体系。<br />
<br />
'''三、民俗实践与象征体系的构建'''<br />
民间社会通过丰富的实践活动使寿文化落地生根。明清时期形成的"朝寿岳"习俗，吸引周边数省香客定期朝拜。香客们通过"进香添寿"仪式（如"烧拜香"）、采集"长寿藤"、饮用"寿泉"等行为，构建了一套完整的祈福体系。在物质文化层面，"寿"字符号被广泛应用于建筑装饰（如南岳庙的万寿壁）、工艺品（寿星雕像）和饮食文化（寿桃、寿面）中。特别值得一提的是，这些实践往往通过"谐音象征"（如"蝠"谐"福"、"鹿"谐"禄"）和"数字隐喻"（如九象征永恒）来强化文化表达，形成了独具特色的视觉语言系统。<br />
<br />
'''四、当代转型与文化创新'''<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
<br />
'''术语和表达'''<br />
<br />
1. 星野理论：古代中国将星宿分野与地理区域对应的宇宙观<br />
2. 朱陵洞天：道教三十六洞天中的第三洞天，位于南岳衡山<br />
3. 三教共存：指南岳大庙中儒释道和谐共处的独特格局<br />
4. 性命双修：道教同时修炼形体与心性的养生理念<br />
5. 谐音象征：通过同音字表达吉祥寓意的文化表达方式<br />
<br />
'''研究问题'''<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
'''The Culture of Longevity in Mount Heng (Nanyue)'''<br />
<br />
<br />
'''I. Astrological Origins and Imperial Endorsement of Longevity Culture'''<br />
The designation of Mount Heng as the "Mountain of Longevity" stems from ancient Chinese astrological theories. The Classic of Stars explicitly records its correspondence with the Zhen constellation among the twenty-eight lunar mansions, which "governs human lifespan." This cosmology of heaven-human resonance established a sacred foundation for longevity culture. Beginning with Emperor Shun's southern inspection and sacrificial rituals, successive emperors continually reinforced this tradition. Historical records document over 120 imperial worship activities, among which Emperor Kangxi's proclamation of the mountain as the "Mountain Governing Longevity" in his Stele Inscription on the Reconstruction of Nanyue Temple formally elevated longevity culture from folk belief to a state-sanctioned sacrificial system. Notably, this astrological-geographical correspondence (the "Theory of Astrological Correspondence") embodies the traditional Chinese philosophical concept of "harmony between heaven and humanity," while persistent imperial endorsement bestowed political legitimacy upon longevity culture.<br />
<br />
'''II. Development of Longevity Culture through Religious Syncretism'''<br />
Within Taoism, Mount Heng's status as the third sacred grotto-heaven, the "Zhuling Grotto-Heaven," established it as a holy site for cultivating immortality. The Eastern Jin dynasty female Taoist master Wei Huacun (Lady of Nanyue) practiced here and authored the Yellow Court Canon, seamlessly integrating breath cultivation techniques with longevity culture to form a "dual cultivation of inner nature and bodily life" system. Following Buddhism's introduction, Chan monasteries infused new meaning into longevity culture through the concept of "merit-based lifespan extension." The unique "coexistence of three teachings" at Nanyue Grand Temple further enabled multidimensional interpretations: Confucianism emphasized the moral pursuit of "the benevolent enjoy longevity," Taoism focused on health preservation practices, and Buddhism stressed karmic retribution. This religious syncretism transcended mere lifespan extension, evolving into a cultural system valuing both spiritual refinement and physical health.<br />
<br />
'''III. Folk Practices and the Construction of Symbolic Systems'''<br />
Civil society rooted longevity culture through rich practical activities. During the Ming-Qing period, the custom of "pilgrimage to the Mountain of Longevity" attracted regular worshippers from several surrounding provinces. Pilgrims developed a complete blessing system through rituals like "offering incense for longevity," collecting "longevity vines," and drinking from "longevity springs." Material culture extensively employed the "longevity" character symbol in architectural decorations (e.g., the Ten-Thousand Longevity Wall at Nanyue Temple), handicrafts (statues of the God of Longevity), and culinary traditions (longevity peaches, longevity noodles). Particularly noteworthy is how these practices reinforced cultural expression through "homophonic symbolism" (e.g., bat ["fu"] representing good fortune, deer ["lu"] symbolizing prosperity) and "numerical metaphors" (e.g., nine representing perpetuity), forming a distinctive visual language system.<br />
<br />
'''IV. Contemporary Transformation and Cultural Innovation'''<br />
Entering the 21st century, Nanyue's longevity culture underwent creative reinterpretation. The 2000 installation of the Chinese Longevity Tripod (9.9m tall, 56 tons, featuring 10,000 variant "longevity" characters) revitalized tradition through modern artistic form. Government-sponsored "International Longevity Culture Festivals" transformed sacrificial rituals into cultural performances, attracting 1.3 million visitors in 2019. Scientific research injected new vitality, as Central South University studies verified abundant longevity elements like selenium in local resources. In the digital era, innovations such as "cloud blessing" mini-programs and longevity-themed NFTs continually emerge. These transformations preserve the core concept of "longevity prayers" while expanding participatory boundaries through technology, rejuvenating ancient culture.<br />
<br />
'''Terminology and Expressions'''<br />
1. Theory of Astrological Correspondence: Ancient Chinese cosmology linking celestial bodies with geographical regions<br />
2. Zhuling Grotto-Heaven: The third of Taoism's thirty-six sacred grotto-heavens, located at Mount Heng<br />
3. Coexistence of Three Teachings: The unique harmonious coexistence of Confucianism, Taoism and Buddhism at Nanyue Grand Temple<br />
4. Dual Cultivation of Inner Nature and Bodily Life: Taoist practice of simultaneous spiritual and physical cultivation<br />
5. Homophonic Symbolism: Cultural expression using phonetic similarities for auspicious meanings<br />
<br />
'''Research Questions'''<br />
1. How did astrological theories shape Mount Heng's geo-cultural identity through the "Zhen constellation governs lifespan" concept?<br />
2. Compare and analyze the differential impacts of Taoist Yellow Court Canon and Buddhist "merit-based longevity" concepts on longevity culture's connotations<br />
3. What bodily practices and cultural symbolism interactions are manifested in Nanyue pilgrims' "incense offering for longevity" rituals?<br />
4. How does the Chinese Longevity Tripod's design convey cultural meanings through numerical metaphors (e.g., 9.9m height)?<br />
5. What tensions between preservation and innovation does traditional longevity culture face in digital contexts?</div>Liu Peihttps://bou.de/u/index.php?title=User:Liu_Pei&diff=168137User:Liu Pei2025-06-06T02:49:28Z<p>Liu Pei: </p>
<hr />
<div> <br />
== '''南岳衡山寿文化''' ==<br />
<br />
<br />
'''一、寿文化的星象起源与帝王认证'''<br />
== Headline text ==<br />
<br />
南岳衡山"寿岳"之称源于中国古代星象学说，《星经》明确记载其对应二十八宿中的轸星，而轸星"主寿"。这种天人感应的宇宙观为寿文化奠定了神圣性基础。自舜帝南巡祭祀始，历代帝王持续强化这一传统。据史料记载，共有120余次帝王祭祀活动，其中康熙帝在《重修南岳庙碑记》中钦定其为"主寿之山"，使寿文化从民间信仰正式升格为国家祭祀体系的重要组成部分。值得注意的是，这种星象与地理的对应关系（"星野理论"）体现了中国传统"天人合一"的哲学思想，而帝王的持续认证则赋予了寿文化政治合法性。<br />
<br />
'''二、宗教融合中的寿文化发展'''<br />
== Headline text ==<br />
<br />
在道教体系中，衡山作为第三洞天"朱陵洞天"成为修仙圣地。东晋女道士魏华存（南岳夫人）在此修行并著述《黄庭经》，将吐纳养生之术与寿文化完美结合，形成"性命双修"的修炼体系。佛教传入后，禅宗寺院通过"功德延寿"的观念为寿文化注入新的内涵。南岳大庙独特的"三教共存"格局更使寿文化获得多元诠释：儒家强调"仁者寿"的道德追求，道教注重养生实践，佛教讲究因果福报。这种宗教融合使寿文化超越了单纯的寿命延长概念，发展出精神修养与身体健康并重的文化体系。<br />
<br />
'''三、民俗实践与象征体系的构建'''<br />
== Headline text ==<br />
<br />
民间社会通过丰富的实践活动使寿文化落地生根。明清时期形成的"朝寿岳"习俗，吸引周边数省香客定期朝拜。香客们通过"进香添寿"仪式（如"烧拜香"）、采集"长寿藤"、饮用"寿泉"等行为，构建了一套完整的祈福体系。在物质文化层面，"寿"字符号被广泛应用于建筑装饰（如南岳庙的万寿壁）、工艺品（寿星雕像）和饮食文化（寿桃、寿面）中。特别值得一提的是，这些实践往往通过"谐音象征"（如"蝠"谐"福"、"鹿"谐"禄"）和"数字隐喻"（如九象征永恒）来强化文化表达，形成了独具特色的视觉语言系统。<br />
<br />
'''四、当代转型与文化创新'''<br />
== Headline text ==<br />
<br />
进入21世纪，南岳寿文化经历了创造性转化。2000年落成的中华万寿大鼎（高9.9米，重56吨，铸有万个不同字体的"寿"字）通过现代艺术形式重新诠释传统。地方政府主导的"国际寿文化节"将祭祀仪式发展为文化展演，2019年吸引游客达130万人次。科学研究的介入为传统文化注入新活力，中南大学的研究证实当地水土富含硒等长寿元素。在数字经济时代，"云祈福"小程序、寿文化NFT等创新形式不断涌现。这些转型既保持了"祈寿"的核心内涵，又通过技术手段拓展了参与边界，使古老文化焕发新生机。<br />
<br />
<br />
== '''术语和表达''' ==<br />
<br />
1. 星野理论：古代中国将星宿分野与地理区域对应的宇宙观<br />
2. 朱陵洞天：道教三十六洞天中的第三洞天，位于南岳衡山<br />
3. 三教共存：指南岳大庙中儒释道和谐共处的独特格局<br />
4. 性命双修：道教同时修炼形体与心性的养生理念<br />
5. 谐音象征：通过同音字表达吉祥寓意的文化表达方式<br />
<br />
'''研究问题'''<br />
== Headline text ==<br />
<br />
1. 星象学说如何通过"轸星主寿"的观念塑造南岳的地理文化身份？<br />
2. 比较分析道教《黄庭经》与佛教"功德延寿"观念对寿文化内涵的不同影响<br />
3. 南岳香客的"进香添寿"仪式中体现了哪些身体实践与文化象征的互动？<br />
4. 中华万寿大鼎的设计如何通过数字隐喻（如高度9.9米）传达文化意义？<br />
5. 在数字化背景下，传统寿文化面临着哪些传承与创新的张力？<br />
<br />
<br />
== '''The Culture of Longevity in Mount Heng (Nanyue)''' ==<br />
<br />
<br />
'''I. Astrological Origins and Imperial Endorsement of Longevity Culture'''<br />
== Headline text ==<br />
<br />
The designation of Mount Heng as the "Mountain of Longevity" stems from ancient Chinese astrological theories. The Classic of Stars explicitly records its correspondence with the Zhen constellation among the twenty-eight lunar mansions, which "governs human lifespan." This cosmology of heaven-human resonance established a sacred foundation for longevity culture. Beginning with Emperor Shun's southern inspection and sacrificial rituals, successive emperors continually reinforced this tradition. Historical records document over 120 imperial worship activities, among which Emperor Kangxi's proclamation of the mountain as the "Mountain Governing Longevity" in his Stele Inscription on the Reconstruction of Nanyue Temple formally elevated longevity culture from folk belief to a state-sanctioned sacrificial system. Notably, this astrological-geographical correspondence (the "Theory of Astrological Correspondence") embodies the traditional Chinese philosophical concept of "harmony between heaven and humanity," while persistent imperial endorsement bestowed political legitimacy upon longevity culture.<br />
<br />
'''II. Development of Longevity Culture through Religious Syncretism'''<br />
== Headline text ==<br />
<br />
Within Taoism, Mount Heng's status as the third sacred grotto-heaven, the "Zhuling Grotto-Heaven," established it as a holy site for cultivating immortality. The Eastern Jin dynasty female Taoist master Wei Huacun (Lady of Nanyue) practiced here and authored the Yellow Court Canon, seamlessly integrating breath cultivation techniques with longevity culture to form a "dual cultivation of inner nature and bodily life" system. Following Buddhism's introduction, Chan monasteries infused new meaning into longevity culture through the concept of "merit-based lifespan extension." The unique "coexistence of three teachings" at Nanyue Grand Temple further enabled multidimensional interpretations: Confucianism emphasized the moral pursuit of "the benevolent enjoy longevity," Taoism focused on health preservation practices, and Buddhism stressed karmic retribution. This religious syncretism transcended mere lifespan extension, evolving into a cultural system valuing both spiritual refinement and physical health.<br />
<br />
'''III. Folk Practices and the Construction of Symbolic Systems'''<br />
== Headline text ==<br />
<br />
Civil society rooted longevity culture through rich practical activities. During the Ming-Qing period, the custom of "pilgrimage to the Mountain of Longevity" attracted regular worshippers from several surrounding provinces. Pilgrims developed a complete blessing system through rituals like "offering incense for longevity," collecting "longevity vines," and drinking from "longevity springs." Material culture extensively employed the "longevity" character symbol in architectural decorations (e.g., the Ten-Thousand Longevity Wall at Nanyue Temple), handicrafts (statues of the God of Longevity), and culinary traditions (longevity peaches, longevity noodles). Particularly noteworthy is how these practices reinforced cultural expression through "homophonic symbolism" (e.g., bat ["fu"] representing good fortune, deer ["lu"] symbolizing prosperity) and "numerical metaphors" (e.g., nine representing perpetuity), forming a distinctive visual language system.<br />
<br />
'''IV. Contemporary Transformation and Cultural Innovation'''<br />
== Headline text ==<br />
<br />
Entering the 21st century, Nanyue's longevity culture underwent creative reinterpretation. The 2000 installation of the Chinese Longevity Tripod (9.9m tall, 56 tons, featuring 10,000 variant "longevity" characters) revitalized tradition through modern artistic form. Government-sponsored "International Longevity Culture Festivals" transformed sacrificial rituals into cultural performances, attracting 1.3 million visitors in 2019. Scientific research injected new vitality, as Central South University studies verified abundant longevity elements like selenium in local resources. In the digital era, innovations such as "cloud blessing" mini-programs and longevity-themed NFTs continually emerge. These transformations preserve the core concept of "longevity prayers" while expanding participatory boundaries through technology, rejuvenating ancient culture.<br />
<br />
'''Terminology and Expressions'''<br />
== Headline text ==<br />
<br />
1. Theory of Astrological Correspondence: Ancient Chinese cosmology linking celestial bodies with geographical regions<br />
2. Zhuling Grotto-Heaven: The third of Taoism's thirty-six sacred grotto-heavens, located at Mount Heng<br />
3. Coexistence of Three Teachings: The unique harmonious coexistence of Confucianism, Taoism and Buddhism at Nanyue Grand Temple<br />
4. Dual Cultivation of Inner Nature and Bodily Life: Taoist practice of simultaneous spiritual and physical cultivation<br />
5. Homophonic Symbolism: Cultural expression using phonetic similarities for auspicious meanings<br />
<br />
'''Research Questions'''<br />
== Headline text ==<br />
<br />
1. How did astrological theories shape Mount Heng's geo-cultural identity through the "Zhen constellation governs lifespan" concept?<br />
2. Compare and analyze the differential impacts of Taoist Yellow Court Canon and Buddhist "merit-based longevity" concepts on longevity culture's connotations<br />
3. What bodily practices and cultural symbolism interactions are manifested in Nanyue pilgrims' "incense offering for longevity" rituals?<br />
4. How does the Chinese Longevity Tripod's design convey cultural meanings through numerical metaphors (e.g., 9.9m height)?<br />
5. What tensions between preservation and innovation does traditional longevity culture face in digital contexts?</div>Liu Peihttps://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=168078Chinese Language and Culture, Spring 20252025-06-05T16:41:21Z<p>Liu Pei: /* Session 16 Fri Jun 6 14:30-16:10 room 613 - Final Exam */</p>
<hr />
<div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br />
<br />
=Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br />
<br />
==What we learn in this class==<br />
*We learn about Chinese culture from international, especially Western perspective. <br />
*We learn about cultural phenomena, traditional Chinese culture.<br />
*We learn English and Chinese terminology in the area of Chinese culture.<br />
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br />
*We learn how to determine the location and role of Chinese culture within global culture.<br />
*We learn basics of theories and models of intercultural communication and comparison.<br />
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br />
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br />
<br />
==Students' contribution==<br />
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br />
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br />
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI<br />
<br />
==Textbook==<br />
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br />
<br />
==Agreement on use of classroom time==<br />
Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br />
<br />
<br />
----<br />
==Homework for every session==<br />
Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br />
<br />
==Teacher presentation: Introduction to Culture==<br />
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
==Homework for Session 2==<br />
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation"). <br />
<br />
Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br />
<br />
1. Geographic Nature as a Basis for Cultural Development 17<br />
<br />
2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br />
<br />
3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br />
<br />
4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br />
<br />
5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br />
<br />
6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br />
<br />
7. Animals: Panda 71 <br />
<br />
8. Architecture 78<br />
<br />
9. Architecture: The Forbidden City 89<br />
<br />
10. Architecture: Four Famous Bridges 102<br />
<br />
11. Architecture: Four Great Pavilions 113<br />
<br />
12. Architecture: Shengjing Imperial Palace 124<br />
<br />
13. Architecture: Three Great Towers in China 131<br />
<br />
14. Architecture: Fengshui in Chinese Architecture 145 <br />
<br />
15. Army and weapons: Chinese Ancient Weapons 154<br />
<br />
16. Army and weapons: Terracotta Army 163<br />
<br />
17. Astrology: Chinese Astrology 170<br />
<br />
18. Astrology: Calendar, The 24 Solar Terms 178<br />
<br />
19. Astrology: Twelve Animals of the Chinese Zodiac 188<br />
<br />
20. Beverages: Milk Tea 197<br />
<br />
21. Beverages: Tea 203 (Zhang Mai)<br />
<br />
22. Beverages: The Liquor Culture of Ancient China 209<br />
<br />
23. Body movement performance: Chinese Lion Dancing 218<br />
<br />
24. Body movement performance: Stilts 223<br />
<br />
25. Body movement performance: Traditional Chinese Dance 230<br />
<br />
26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br />
<br />
27. Chinese Writing: Calligraphy 246 (Tang Yan)<br />
<br />
28. Chinese Writing: The Evolution of Calligraphy 252<br />
<br />
29. Chinese Writing: Chinese Characters 262<br />
<br />
30. Chinese Writing: Chinese Characters and Scripts 276<br />
<br />
31. Clothing: Chinese Clothing 283<br />
<br />
32. Clothing: Batik (Lanran) 291<br />
<br />
33. Clothing: Cheongsam 301 <br />
<br />
34. Confucianism: Confucian Culture 309 <br />
<br />
35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br />
<br />
36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br />
<br />
37. Confucianism: Classical Philosophy - Reading The Analects 339 <br />
<br />
38. Education: Ancient Chinese Education 350<br />
<br />
39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br />
<br />
40. Education: Modern Chinese Education System 371<br />
<br />
41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br />
<br />
42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br />
<br />
43. Facial Make-up 406<br />
<br />
44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br />
<br />
45. Facial Make-up: Face Changing in Sichuan Opera 431<br />
<br />
46. Fine Arts: Painting 440<br />
<br />
47. Fine Arts: Bada Shanren and Qi Baishi 445<br />
<br />
48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br />
<br />
49. Fine Arts: Seal-cutting 459<br />
<br />
50. Games: Go 围棋 462（Zhao Qi）<br />
<br />
51. Games: Kite Flying 468<br />
<br />
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br />
<br />
53. Garden Culture: Gardens 505<br />
<br />
54. Garden Culture: Bonsai (Penjing) 511<br />
<br />
55. Garden Culture: The Summer Palace 519（Li Mei）<br />
<br />
56. Garden Culture: Qingming Riverside Landscspe Garden 526<br />
<br />
57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br />
<br />
58. History: Carl and Cixi 548<br />
<br />
59. Interieur: The Folding Screen 552<br />
<br />
60. Landscapes and Tourism: Four Buddhist Shrines 561<br />
<br />
61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br />
<br />
62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br />
<br />
63. Landscapes and Tourism: Mogao Grottoes 593<br />
<br />
64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br />
<br />
65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br />
<br />
66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br />
<br />
67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br />
<br />
68. Language: Chinese Language 649<br />
<br />
69. Language: Chinese Dialects 660<br />
<br />
70. Language: Chinese Folk Argot 669<br />
<br />
71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br />
<br />
72. Literature: Ancient literature - Chinese Mythology 688<br />
<br />
73. Literature: Ancient literature - Classical Literature 699<br />
<br />
74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br />
<br />
75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br />
<br />
76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br />
<br />
77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br />
<br />
78. Literature: Ancient literature: Yuefu 765<br />
<br />
79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br />
<br />
80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br />
<br />
81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br />
<br />
82. Literature: Premodern literature: Tang-Song 794<br />
<br />
83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br />
<br />
84. Literature: Modern Literature 832<br />
<br />
85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br />
<br />
86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br />
<br />
87. Literature: Contemporary Literature 859<br />
<br />
88. Martial Arts: Huo Yuanjia 865<br />
<br />
89. Martial Arts: Qigong 868<br />
<br />
90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br />
<br />
91. Martial Arts: Wushu 885<br />
<br />
92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br />
<br />
93. Medicine: Traditional Chinese Medicine (TCM) 900 <br />
<br />
94. Medicine: TCM - Acupuncture and Moxibustion 907<br />
<br />
95. Medicine: TCM - Diagnosis and Pharmacology 912<br />
<br />
96. Medicine: TCM - The Development of Chinese Medicine 917<br />
<br />
97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br />
<br />
98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br />
<br />
99. Minority cultures: The Ethnic Minorities’ Costumes 941<br />
<br />
100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br />
<br />
101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br />
<br />
102. Music and instruments: Guzheng 975<br />
<br />
103. Music and instruments: Pipa 986<br />
<br />
104. Mythology: Gods and Immortals 996<br />
<br />
105. Mythology: Huli-jing 1005<br />
<br />
106. National Symbols: National Anthem 1018<br />
<br />
107. National Symbols: National Flag 1026 （Liao Zuoyun）<br />
<br />
108. Opera: Peking Opera 1035<br />
<br />
109. Opera: Peking Opera Acrobatics 1043<br />
<br />
110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br />
<br />
111. Opera: Tea-picking Opera 1055<br />
<br />
112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br />
<br />
113. Philosophical Schools: Four Main Philosophical Schools 1076<br />
<br />
114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br />
<br />
115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br />
<br />
116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br />
<br />
117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br />
<br />
118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br />
<br />
119. Philosophy: Chinese Traditional Cultivation Culture 1129<br />
<br />
120. Religion: Traditional Chinese Funeral Culture 1141<br />
<br />
121. Religion: Buddhism 1155<br />
<br />
122. Religion: Daoism 1170<br />
<br />
123. Religion: Christianity 1175<br />
<br />
124. Religion: Islam 1181<br />
<br />
125. Science and Technology: Ancient Science and Technology 1185<br />
<br />
126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br />
<br />
127. Science and Technology: Compass 1217<br />
<br />
128. Science and Technology: TikTok (Douyin) 1226<br />
<br />
129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br />
<br />
130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br />
<br />
131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br />
<br />
132. Silk and porcelain: Porcelain 1277<br />
<br />
133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br />
<br />
134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br />
<br />
135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br />
<br />
136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br />
<br />
137. Social: The Long-life Lock 1308<br />
<br />
138. Social: Round Table Culture 1317 (Wu Jiating)<br />
<br />
139. Stage entertainment: Crosstalk 相声 1325<br />
<br />
140. Stage entertainment: Shadow Play 1332<br />
<br />
141. Traditional Crafts: Carving 1340<br />
<br />
142. Traditional Crafts: Chinese Jade Culture 1348<br />
<br />
143. Traditional Crafts: Cloisonne 1363 <br />
<br />
144. Traditional Crafts: Embroidery 1369<br />
<br />
145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br />
<br />
146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br />
<br />
147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br />
<br />
148. Traditional Crafts: Handcraft - Chinese Knots 1409<br />
<br />
149. Traditional Crafts: Lacquerware 1418<br />
<br />
150. Traditional Crafts: The Kingfisher Craft点翠 1423<br />
<br />
151. Traditional Cuisine: Chinese Dining Etiquette 1436<br />
<br />
152. Traditional Cuisine: Chopsticks 1450<br />
<br />
153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br />
<br />
154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br />
<br />
155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br />
<br />
<br />
156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br />
<br />
157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br />
<br />
158. Traditional Cuisine: The Art of Chinese Cooking 1508<br />
<br />
159. Traditional Cuisine: Two Famous Dishes 1514<br />
<br />
160. Traditional Festivals 1518……<br />
<br />
161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br />
<br />
162. Traditional Festivals: Spring Festival Couplets 1538<br />
<br />
163. Westernization: The Eastward Spread of Western Learning 1544<br />
<br />
164. Westernization: The Westernization Movement 1550<br />
<br />
165. Worship: Chinese Incense Culture 1558 (She Xiao)<br />
<br />
166. Economy: Chinese Currency Changes 1569<br />
<br />
167. History: Wang Shouren 1573 Lv Jiahao<br />
<br />
168. Martial Arts: Chinese Swordsman Spirit 1582<br />
<br />
169. Cuisine: Luosifen 1593 （Chen Sisi)<br />
<br />
170. Fine Arts: Chinese Paper Cutting 1601 <br />
<br />
171. Science and Technology: Taobao(淘宝) 1611<br />
<br />
172. Traditional Craft: Bronze 1623<br />
<br />
173. Entertainment: Deyunshe 德云社 1631<br />
<br />
174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br />
<br />
175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br />
<br />
176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br />
<br />
177. stage entertainment:Yuan drama 1676<br />
<br />
178. Music and instruments: Erhu 1685<br />
<br />
179. Traditional and Modern Views on Marriage and Love 1694 (Liu Yunxi)<br />
<br />
180. Traditional Cuisine: Tangyuan 1701<br />
<br />
181. Animals：Golden Monkey 1712（Xiao Yawen）<br />
<br />
182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br />
<br />
183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br />
<br />
184. The Chinese tradition of ancestor worship 1740<br />
<br />
185. Opera: Huangmei opera 1752 （Chu Hanqi）<br />
<br />
186. The “reference” of Chinese Music 1759<br />
<br />
187. Chinese Folk Art:Lion Dance 1767<br />
<br />
188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br />
<br />
189. Clothing: Vintage Clothing 1790<br />
<br />
190. Fine arts:Kunqu Opera 1798<br />
<br />
191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br />
<br />
192. National Belief: the Chinese Dream 1818<br />
<br />
193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
<br />
194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br />
<br />
195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br />
<br />
196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br />
<br />
198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br />
<br />
199. Traditional Crafts: Dough Sculpture 面塑 1845<br />
<br />
200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br />
<br />
201. The culture of Grass cloth 夏布 1845 <br />
<br />
202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br />
<br />
203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br />
<br />
204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
<br />
205. Bride-price（彩礼） 1845 <br />
<br />
206. Chinese science fiction movies 中国科幻片 1845<br />
<br />
207. Shandong cuisine鲁菜 1845(Lu Wei)<br />
<br />
208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)<br />
<br />
209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br />
<br />
210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br />
<br />
211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br />
<br />
212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br />
<br />
213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br />
<br />
214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845 (Cai Yichun)<br />
<br />
215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br />
<br />
216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br />
<br />
217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br />
<br />
218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br />
<br />
219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br />
<br />
220. Rice cake (年糕) 1845 （Dong Jiating）<br />
<br />
221. Zhongyuan festival 1845 （Ou Huang）<br />
<br />
222. Dulong: Facial tattoo (独龙族：纹面) 1845<br />
<br />
223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br />
<br />
224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br />
<br />
225. "Cun Chao": China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br />
<br />
226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br />
<br />
227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)<br />
<br />
228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br />
<br />
229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br />
<br />
230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br />
<br />
231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br />
<br />
232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br />
<br />
233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br />
<br />
234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br />
<br />
235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br />
<br />
236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br />
<br />
237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br />
<br />
238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br />
<br />
239. Female Emperor---Wu Zetian 1845 (Song Xin)<br />
<br />
240. Clay sculpture (泥塑） 1845 (Chen Lin)<br />
<br />
241. Abacus (中国珠算） 1845<br />
<br />
242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br />
<br />
243. Chinese name（中国姓名文化） 1845 <br />
<br />
244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br />
<br />
245. Douzhi (豆汁) 1845(Li Linyao) <br />
<br />
246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br />
<br />
247. Carved lacquer（雕漆） 1845 （Liu Qi）<br />
<br />
248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br />
<br />
249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br />
<br />
250. Language: Hakka Dialect（客家话） 1845<br />
<br />
251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br />
<br />
252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br />
<br />
253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br />
<br />
254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br />
<br />
255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br />
<br />
256. Danmu (弹幕） 1845 (Zhou Le)<br />
<br />
257. Yangshao Culture（仰韶文化） 1845<br />
<br />
258. Indigo Dyeing (蓝染) 1845<br />
<br />
259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br />
<br />
<br />
260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br />
<br />
261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br />
<br />
262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br />
<br />
263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br />
<br />
264. Single bamboo drifting（独竹漂） 1845<br />
<br />
265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br />
<br />
266. Hui Culture (徽文化) 1845(Liu Jianan)<br />
<br />
267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br />
<br />
268. Table Manners 1845（Luo Yan）<br />
<br />
269. Music of the Mongol nationality (蒙古族音乐) 1845<br />
<br />
270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br />
<br />
271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br />
<br />
272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br />
<br />
273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br />
<br />
274. God of Wealth(财神) 1845 <br />
<br />
275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br />
<br />
276. Nail art（美甲） 1845 （Luo Jiaxin）<br />
<br />
277. Mirror (镜子) 1845 (Cheng Sixiang) <br />
<br />
278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br />
<br />
279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br />
<br />
280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br />
<br />
281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br />
<br />
282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br />
<br />
283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br />
<br />
=Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br />
==Teacher presentation: Introduction to Culture==<br />
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
==Topics for today==<br />
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br />
<br />
You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br />
<br />
Please remember that you have to indicate the 10 topics for Friday on the course website under "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.<br />
<br />
27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br />
<br />
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br />
<br />
55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br />
<br />
76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br />
<br />
85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br />
<br />
Tea Latte Art (Xiang Jianning)<br />
<br />
Topic 7<br />
<br />
Topic 8<br />
<br />
Topic 9<br />
<br />
Topic 10<br />
<br />
=Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br />
==Presentations==<br />
1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br />
<br />
2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br />
<br />
3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br />
<br />
4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br />
<br />
5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br />
<br />
6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br />
<br />
7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br />
<br />
==Notes on presentations==<br />
Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br />
<br />
1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. "Black tea" (in English all "hong cha" is called "black tea"), British tea culture (add milk)<br />
<br />
2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br />
<br />
3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br />
<br />
4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br />
<br />
5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br />
<br />
6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br />
<br />
7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br />
<br />
==Student grades: 平时成绩/签到==<br />
<br />
<br />
75/103 students, 24级 MA翻译, class representative: Zhang Jiaxin<br />
# Jin Yichen <br />
# lu jiahui <br />
# li yuan<br />
# cao yuan<br />
# xiao luyu<br />
# zhang jiaxin +5<br />
# ye sitong<br />
# zhao yashi<br />
# jiang xinyue<br />
# yan xiang<br />
# fei xinyu <br />
# zhang qi<br />
# dai shiru<br />
# zhang zixi<br />
# zheng kaiwu<br />
# cai yichun<br />
# yang jing<br />
# liao dan<br />
# luo yan<br />
# qin yi<br />
# shao keyuan<br />
# cao chunyang<br />
# xu yangyang<br />
# liao zuoyun<br />
# cheng sixiang<br />
# du jiangping<br />
# liu qi<br />
# miao yunlong<br />
# huang qiaoqiao<br />
# chen lin<br />
# duan binyao<br />
# li ting<br />
# zeng zhi<br />
# xing xueqing<br />
# luo jingyan<br />
# liu shutian<br />
# gao xiaoqing<br />
# chen zhen<br />
# luo guoqiang -1-1-1<br />
# she xiao <br />
# he yunfeng <br />
# liu ying<br />
# du yuan <br />
# li jiayi <br />
# tao yao <br />
# xu xinwen <br />
# ou huang <br />
# liu peini<br />
# jiang ziqiang<br />
# zhang huifang<br />
# liu chao<br />
# liu yunxi <br />
# luo jiaxin<br />
# li mei<br />
# zeng xiaohui<br />
# huang yixuan<br />
# chen anqi<br />
# chen ting<br />
# zhang mai<br />
# yuan xiaolin -1-1<br />
# li mingfeng<br />
# dai yexun-1-1<br />
# yang pei -1<br />
# tang yan<br />
# xiang jianning-1<br />
# liu chang -1<br />
# wang yuxin<br />
# lv jiahao-1<br />
# dong jiating<br />
# lu wei<br />
# yang yue<br />
# guo cili<br />
# shen shuai<br />
# Ouyang yihong<br />
# li zihan -1<br />
# zuo fang<br />
# fu sihui<br />
# xiao zixin -1<br />
# zhou tianyi -1<br />
# qi zhiyang -1-1<br />
# liu pei <br />
# gong wei<br />
# chen sisi<br />
# huang sinan<br />
# xiao yikang<br />
# yu jingfang<br />
# luo sicheng<br />
# yang jiahong<br />
# yan jidong<br />
# xiao yawen<br />
# geng hongmei<br />
# zhou le<br />
# qiu ping<br />
# wang huaixing<br />
# wang xinyu<br />
# chu hanqi<br />
# wu jiating<br />
# zhang meiling<br />
# liu jianan<br />
# song xin<br />
# zhao qi<br />
# zheng jinlian<br />
# li linyao<br />
<br />
=Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br />
#Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]<br />
#Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]<br />
#Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br />
#Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br />
#Topic 182: Chinese Economy: rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]<br />
#Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin) [[Media:Tanghulu_Spring_2025.pptx]]<br />
#Topic 138: Social: Round Table Culture 1317 (Wu Jiating) [[Media:Round_Table_Culture_Spring_2025.pptx]]<br />
#Topic 174: Jiaozi (Liu Pei) [[Media:Dumplings_Spring_2025.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)<br />
<br />
=Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br />
#Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]<br />
#Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]<br />
# Topic 131: Silk and porcelain: Silk (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]<br />
# Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]<br />
# Topic 169: Cuisine: Luosifen 1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]<br />
# Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]<br />
# Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]<br />
# Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]<br />
<br />
=Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br />
<br />
#Topic 188:Mobile Games 手游 1783 （Du Jiangping）<br />
#Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br />
#Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
#Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]<br />
#Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]<br />
#Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]<br />
#Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）<br />
#Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
=HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br />
清明节4月4日——4月6日<br />
=Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=<br />
#Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）<br />
#Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]<br />
#Topic 181:Animals：Golden Monkey(Xiao Yawen)<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
#Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
#Topic 220:Rice cake 年糕 (Dong Jiating)<br />
#Topic 208:Chinese traditional ornament: Buyao(Yang Jing)<br />
#Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]<br />
#Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]<br />
<br />
=Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br />
#Topic 213: Chinese Dreamcore (Zhang Zixi)<br />
#Topic 215: Live-streaming e-commerce (Tao Yao)[[Media:Live-Streaming E-Commerce.pptx]]<br />
#Topic 216: The Story of Ming Lan (Ye Sitong)[[Media:The Story of Minglan.pptx]]<br />
#Topic 218: Guangdong Herbal tea (Gao Xiaoqing)<br />
#Topic 219: Chinese traditional art form：Seal carving（篆刻） (Huang Qiaoqiao)[[Media:Seal carving.pptx]]<br />
#Topic 207: Shan Dong Cuisine (Lu Wei)<br />
#Topic 221: Zhongyuan Festival (Ou Huang)[[Media:The Zhongyuan Festival.pptx]]<br />
#Topic 223: The Return of the Pearl Princess (Lu Jiahui)[[Media:The Return of the Pearl Princess.pptx]]<br />
<br />
=Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br />
#Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)<br />
#Topic 225: Cun Chao": China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br />
#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]]<br />
#Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]<br />
#Topic 230: Gayageum（伽倻琴）(Zhang Meiling)<br />
#Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)<br />
#Topic 232: Sun Wukong(Li Yuan)<br />
#Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]<br />
#Topic 235: Bamboo Weaving(Chen Anqi)<br />
#Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)<br />
<br />
==Please enroll in ai platform==<br />
Please enroll (register) in the platform https://dcg.de/ai/<br />
<br />
=HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br />
劳动节5月1日——5月5日<br />
<br />
=Session 12 Tue May 06 10:00-11:40 room 613 - Student presentations=<br />
#Topic 238: Three Famous Chinese Mountains(Liu Chang)<br />
#Topic 239: Female emperor-Wu Zetian(女皇武则天)(Song Xin) [[Media:Wu Zetian.pptx]]<br />
#Topic 240: Clay sculpture (泥塑）(Chen Lin)[[Media:Clay Sculpture.pptx]]<br />
#Topic 242: Hunan Rice Noodles(Gong Wei)[[Media:Hunan Rice Noodles.pptx]]<br />
#Topic 244: Chinese Popular Memes(中国网络流行热梗）(Xiao Yikang)[[Media:Chinese popular Memes.pptx]] <br />
#Topic 245: Douzhi (豆汁)(Li Linyao)[[Media:Douzhi.pptx]]<br />
#Topic 246: New Year Wood-block Paintings(Du Yuan)<br />
#Topic 247: Carved lacquer（雕漆）(Liu Qi)[[Media:Carved lacquer.pptx]]<br />
#Topic 237: Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)(Li Zihan)<br />
<br />
==Regarding Wu Zetian‘s blank Steele==<br />
关于武则天的“无字碑”（又称“无字碑记”）为何没有刻字，学界和民间流传着几种主要的假设：<br />
#功过自有后人评说（最广为流传）：武则天希望后世自己来评价她的一生，不愿由自己或当时的人定论。这种说法强调了她的自信与超越常规。<br />
#避讳批评或争议：武则天是中国历史上唯一的女皇帝，争议颇多。她可能认为无论写什么内容都容易引发非议，因此选择不刻字以避免争议。<br />
#彰显佛教思想：她信奉佛教，而佛教讲究“空”与“无”，无字碑可能象征“空性”或“无常”，体现她的宗教哲学。<br />
#未来自我书写：也有人猜测她原计划晚年或死前再刻碑文，但去世后未及实现，遂留下空碑。<br />
#彰显权力与独特性：无字碑作为一种非同寻常的表达形式，也可视为权力和个性的象征，显示她与众不同的统治地位。<br />
<br />
⸻<br />
<br />
English Translation:<br />
<br />
There are several main hypotheses about why Wu Zetian’s stele (often called the “Wordless Stele”) bears no inscription:<br />
#“Let future generations judge” (most popular view): Wu Zetian may have wanted her life and legacy to be judged by later generations rather than writing her own praise. This interpretation highlights her confidence and forward-thinking.<br />
#To avoid criticism or controversy: As the only female emperor in Chinese history, Wu Zetian was a controversial figure. She may have felt that any written content could provoke criticism, so she left it blank.<br />
#Reflecting Buddhist philosophy: A devout Buddhist, she may have chosen to leave the stele blank as a symbol of “emptiness” or impermanence, ideas central to Buddhist thought.<br />
#Intended to write later: Some believe she planned to inscribe it later in life but passed away before doing so, leaving the monument unfinished.<br />
#Symbol of power and uniqueness: A blank stele could also serve as a unique and powerful statement, emphasizing her exceptional status and breaking with traditional forms.<br />
<br />
=Session 13 Fri May 09 14:30-16:10 room 613 - Student presentations=<br />
#Topic 248: Jing Gang Mountain (井冈山）(Yu Jingfang) [[Media:Jing_Gang_Mountain_Spring_2025.pptx]]<br />
#Topic 251: Rice noodle roll (Li Mingfeng)[[Media:Rice_Noodle_Roll.pptx]]<br />
#Topic 252: Traditional Cuisine: Northeastern Chinese Cuisine (Liu Shutian)<br />
#Topic 253: Yuelu Mountain (Chen Ting)<br />
#Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional Crafts Tie-Dye.pptx]]<br />
#Topic 255: Chinese-style sun protection (Zhao Yashi)<br />
#Topic 256: Danmu（弹幕）(Zhou Le)[[Media:Danmu.pptx]]<br />
#Topic 259: Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua (Zhou Tianyi)<br />
#Topic 214: Luban China's inventor (Cai Yichun)<br />
<br />
=Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br />
#Topic 262: The Four Pillars of Destiny(Li Jiayi)<br />
#Topic 263: Shaolin Temple(Zuo Fang)<br />
#Topic 265: Cuisine: Changde spicy salted duck(Xing Xueqing)<br />
#15:25-15:30 Topic 266: Hui Culture (徽文化)(Liu Jianan)[[Media:Hui Culture.pptx]]<br />
#15:30- Topic 267: Ma Zu Culture (妈祖文化)(Yan Jidong)[[Media:Mazu culture.pptx]]<br />
#15:35- Topic 268: Table manner(Luo Yan)<br />
#15:40- Topic 270: Yinge Dance(Jiang Xinyue)<br />
#15:45- Topic 271: Palace Lantern(Shao Keyuan)<br />
#15:50- Topic 272: Chinese Endearing Terms(Zeng Zhi)[[Media:Chinese Endearing Terms.pptx]]<br />
<br />
15:55-16:10 Check final exam paper topics<br />
<br />
=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=<br />
#Topic 273: Changsha Stinky Tofu（长沙臭豆腐）(Luo Sicheng)<br />
#<nowiki>Topic 274:</nowiki> God of wealth(Liu Ying)<br />
#Topic 275: Zhua zhou (抓周）(Zeng Xiaohui)<br />
#Topic 276: Nail art(Luo Jiaxin)[[Media:Nail_Art.pptx]]<br />
#Topic 277: Mirror(Cheng Sixiang)<br />
#Topic 278: The Beef Board Noodles(Yan Xiang)<br />
#Topic 279: Huo Qubing(Luo Jingyan)<br />
#Topic 280: Chinese Courtyard Houses（中国四合院）(Guo Cili)[[Media:Chinese Courtyard Houses-Guo Cili.pptx]]<br />
#Topic 281: yangqin(Dai Yexun)<br />
<br />
=Session 15b=<br />
#Topic 282: Black Myth: Wukong(Chen Zhen)<br />
#Topic 283: Guangdong Morning Tea Culture(Yuan Xiaolin)<br />
#Topic 283: Guangdong Morning Tea Culture （广东早茶文化）(Zheng Jinlian)[[Media:Guangdong Morning Tea Culture-Zheng Jinlian.pptx]]<br />
#Topic:(Luo Guoqiang)<br />
=Session 16 Fri Jun 6 14:30-16:10 room 613 - Final Exam=<br />
==Grading Criteria for Powerpoint Presentations==<br />
#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?<br />
#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?)<br />
#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)?<br />
#Was the presentation appropriate to the topic?<br />
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?<br />
#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?<br />
#Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?<br />
#Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?<br />
#Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?<br />
#Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?<br />
#Did you present your ppt file in the full screen mode?<br />
#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?<br />
#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.?<br />
<br />
==How to write your final exam paper?==<br />
Just write it like the other chapters in the textbook on your personal wiki homepage beneath the learning progress diary until <span style="color:red"><br />
'''June 20, 2025 (deadline)'''.<br />
<br />
About 1000 words in English, followed by a Chinese translation (no machine translation). You can also write in Chinese and translate into English. Both texts need to be like the other papers in the textbook.<br />
<br />
===Sections===<br />
Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.<br />
<br />
The AI statement should look like this:<br />
<br />
I hereby guarantee that I have not used the help of AI to write my final paper in this course.<br />
<br />
or, if you actually use AI<br />
<br />
<span style="color:red">'''How about letting AI write for me?'''<br />
<br />
Your AI statement in the References section needs to look like this:<br />
<br />
To help me to write my final paper, I have used the following AI chatbot: ... I have prompted the chatbot with the following prompt: "..." I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: "...." or manually correcting the following references: ... Written the following passage new: ...).<br />
<br />
If you use AI, not your paper will be graded, but your prompt and adjustments<br />
<br />
===References===<br />
*Please add the sources in the form "(Wang 2020, 445)" behind each paragraph and with a long entry in the References section.<br />
*In the References section, please add at least 1-2 Western sources. It is always good to relate the Chinese tradition to similar traditions in other countries.<br />
*In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.<br />
<br />
===Formatting===<br />
*Please also add free lines at places where you want to have a line break, e.g. after a header.</span><br />
<br />
<br />
[[Chin_Lang_Cult_Fin_Exam_Spring_2025]]<br />
Liuyang Fireworks <br />
“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.<br />
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 rudiments 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.<br />
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.<br />
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.<br />
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.<br />
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.<br />
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浏阳烟花<br />
“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。<br />
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。<br />
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。<br />
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。<br />
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。<br />
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。</div>Liu Peihttps://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=168077Chinese Language and Culture, Spring 20252025-06-05T16:39:06Z<p>Liu Pei: /* 南岳衡山：多元文化交融的圣地 */</p>
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<div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br />
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=Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br />
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==What we learn in this class==<br />
*We learn about Chinese culture from international, especially Western perspective. <br />
*We learn about cultural phenomena, traditional Chinese culture.<br />
*We learn English and Chinese terminology in the area of Chinese culture.<br />
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br />
*We learn how to determine the location and role of Chinese culture within global culture.<br />
*We learn basics of theories and models of intercultural communication and comparison.<br />
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br />
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br />
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==Students' contribution==<br />
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br />
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br />
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI<br />
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==Textbook==<br />
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br />
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==Agreement on use of classroom time==<br />
Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br />
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==Homework for every session==<br />
Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br />
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==Teacher presentation: Introduction to Culture==<br />
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br />
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==Homework for Session 2==<br />
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation"). <br />
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Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br />
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1. Geographic Nature as a Basis for Cultural Development 17<br />
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2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br />
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3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br />
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4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br />
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5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br />
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6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br />
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7. Animals: Panda 71 <br />
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8. Architecture 78<br />
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9. Architecture: The Forbidden City 89<br />
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10. Architecture: Four Famous Bridges 102<br />
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11. Architecture: Four Great Pavilions 113<br />
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12. Architecture: Shengjing Imperial Palace 124<br />
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13. Architecture: Three Great Towers in China 131<br />
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14. Architecture: Fengshui in Chinese Architecture 145 <br />
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15. Army and weapons: Chinese Ancient Weapons 154<br />
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16. Army and weapons: Terracotta Army 163<br />
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17. Astrology: Chinese Astrology 170<br />
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18. Astrology: Calendar, The 24 Solar Terms 178<br />
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19. Astrology: Twelve Animals of the Chinese Zodiac 188<br />
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20. Beverages: Milk Tea 197<br />
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21. Beverages: Tea 203 (Zhang Mai)<br />
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22. Beverages: The Liquor Culture of Ancient China 209<br />
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23. Body movement performance: Chinese Lion Dancing 218<br />
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24. Body movement performance: Stilts 223<br />
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25. Body movement performance: Traditional Chinese Dance 230<br />
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26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br />
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27. Chinese Writing: Calligraphy 246 (Tang Yan)<br />
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28. Chinese Writing: The Evolution of Calligraphy 252<br />
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29. Chinese Writing: Chinese Characters 262<br />
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30. Chinese Writing: Chinese Characters and Scripts 276<br />
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31. Clothing: Chinese Clothing 283<br />
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32. Clothing: Batik (Lanran) 291<br />
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33. Clothing: Cheongsam 301 <br />
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34. Confucianism: Confucian Culture 309 <br />
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35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br />
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36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br />
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37. Confucianism: Classical Philosophy - Reading The Analects 339 <br />
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38. Education: Ancient Chinese Education 350<br />
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39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br />
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40. Education: Modern Chinese Education System 371<br />
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41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br />
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42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br />
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43. Facial Make-up 406<br />
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44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br />
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45. Facial Make-up: Face Changing in Sichuan Opera 431<br />
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46. Fine Arts: Painting 440<br />
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47. Fine Arts: Bada Shanren and Qi Baishi 445<br />
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48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br />
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49. Fine Arts: Seal-cutting 459<br />
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50. Games: Go 围棋 462（Zhao Qi）<br />
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51. Games: Kite Flying 468<br />
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52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br />
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53. Garden Culture: Gardens 505<br />
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54. Garden Culture: Bonsai (Penjing) 511<br />
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55. Garden Culture: The Summer Palace 519（Li Mei）<br />
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56. Garden Culture: Qingming Riverside Landscspe Garden 526<br />
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57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br />
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58. History: Carl and Cixi 548<br />
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59. Interieur: The Folding Screen 552<br />
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60. Landscapes and Tourism: Four Buddhist Shrines 561<br />
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61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br />
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62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br />
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63. Landscapes and Tourism: Mogao Grottoes 593<br />
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64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br />
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65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br />
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66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br />
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67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br />
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68. Language: Chinese Language 649<br />
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69. Language: Chinese Dialects 660<br />
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70. Language: Chinese Folk Argot 669<br />
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71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br />
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72. Literature: Ancient literature - Chinese Mythology 688<br />
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73. Literature: Ancient literature - Classical Literature 699<br />
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74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br />
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75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br />
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76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br />
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77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br />
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78. Literature: Ancient literature: Yuefu 765<br />
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79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br />
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80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br />
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81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br />
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82. Literature: Premodern literature: Tang-Song 794<br />
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83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br />
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84. Literature: Modern Literature 832<br />
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85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br />
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86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br />
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87. Literature: Contemporary Literature 859<br />
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88. Martial Arts: Huo Yuanjia 865<br />
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89. Martial Arts: Qigong 868<br />
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90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br />
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91. Martial Arts: Wushu 885<br />
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92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br />
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93. Medicine: Traditional Chinese Medicine (TCM) 900 <br />
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94. Medicine: TCM - Acupuncture and Moxibustion 907<br />
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95. Medicine: TCM - Diagnosis and Pharmacology 912<br />
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96. Medicine: TCM - The Development of Chinese Medicine 917<br />
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97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br />
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98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br />
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99. Minority cultures: The Ethnic Minorities’ Costumes 941<br />
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100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br />
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101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br />
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102. Music and instruments: Guzheng 975<br />
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103. Music and instruments: Pipa 986<br />
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104. Mythology: Gods and Immortals 996<br />
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105. Mythology: Huli-jing 1005<br />
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106. National Symbols: National Anthem 1018<br />
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107. National Symbols: National Flag 1026 （Liao Zuoyun）<br />
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108. Opera: Peking Opera 1035<br />
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109. Opera: Peking Opera Acrobatics 1043<br />
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110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br />
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111. Opera: Tea-picking Opera 1055<br />
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112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br />
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113. Philosophical Schools: Four Main Philosophical Schools 1076<br />
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114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br />
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115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br />
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116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br />
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117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br />
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118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br />
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119. Philosophy: Chinese Traditional Cultivation Culture 1129<br />
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120. Religion: Traditional Chinese Funeral Culture 1141<br />
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121. Religion: Buddhism 1155<br />
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122. Religion: Daoism 1170<br />
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123. Religion: Christianity 1175<br />
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124. Religion: Islam 1181<br />
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125. Science and Technology: Ancient Science and Technology 1185<br />
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126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br />
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127. Science and Technology: Compass 1217<br />
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128. Science and Technology: TikTok (Douyin) 1226<br />
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129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br />
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130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br />
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131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br />
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132. Silk and porcelain: Porcelain 1277<br />
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133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br />
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134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br />
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135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br />
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136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br />
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137. Social: The Long-life Lock 1308<br />
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138. Social: Round Table Culture 1317 (Wu Jiating)<br />
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139. Stage entertainment: Crosstalk 相声 1325<br />
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140. Stage entertainment: Shadow Play 1332<br />
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141. Traditional Crafts: Carving 1340<br />
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142. Traditional Crafts: Chinese Jade Culture 1348<br />
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143. Traditional Crafts: Cloisonne 1363 <br />
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144. Traditional Crafts: Embroidery 1369<br />
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145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br />
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146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br />
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147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br />
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148. Traditional Crafts: Handcraft - Chinese Knots 1409<br />
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149. Traditional Crafts: Lacquerware 1418<br />
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150. Traditional Crafts: The Kingfisher Craft点翠 1423<br />
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151. Traditional Cuisine: Chinese Dining Etiquette 1436<br />
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152. Traditional Cuisine: Chopsticks 1450<br />
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153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br />
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154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br />
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155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br />
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156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br />
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157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br />
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158. Traditional Cuisine: The Art of Chinese Cooking 1508<br />
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159. Traditional Cuisine: Two Famous Dishes 1514<br />
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160. Traditional Festivals 1518……<br />
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161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br />
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162. Traditional Festivals: Spring Festival Couplets 1538<br />
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163. Westernization: The Eastward Spread of Western Learning 1544<br />
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164. Westernization: The Westernization Movement 1550<br />
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165. Worship: Chinese Incense Culture 1558 (She Xiao)<br />
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166. Economy: Chinese Currency Changes 1569<br />
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167. History: Wang Shouren 1573 Lv Jiahao<br />
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168. Martial Arts: Chinese Swordsman Spirit 1582<br />
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169. Cuisine: Luosifen 1593 （Chen Sisi)<br />
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170. Fine Arts: Chinese Paper Cutting 1601 <br />
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171. Science and Technology: Taobao(淘宝) 1611<br />
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172. Traditional Craft: Bronze 1623<br />
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173. Entertainment: Deyunshe 德云社 1631<br />
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174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br />
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175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br />
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176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br />
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177. stage entertainment:Yuan drama 1676<br />
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178. Music and instruments: Erhu 1685<br />
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179. Traditional and Modern Views on Marriage and Love 1694 (Liu Yunxi)<br />
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180. Traditional Cuisine: Tangyuan 1701<br />
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181. Animals：Golden Monkey 1712（Xiao Yawen）<br />
<br />
182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br />
<br />
183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br />
<br />
184. The Chinese tradition of ancestor worship 1740<br />
<br />
185. Opera: Huangmei opera 1752 （Chu Hanqi）<br />
<br />
186. The “reference” of Chinese Music 1759<br />
<br />
187. Chinese Folk Art:Lion Dance 1767<br />
<br />
188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br />
<br />
189. Clothing: Vintage Clothing 1790<br />
<br />
190. Fine arts:Kunqu Opera 1798<br />
<br />
191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br />
<br />
192. National Belief: the Chinese Dream 1818<br />
<br />
193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
<br />
194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br />
<br />
195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br />
<br />
196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br />
<br />
198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br />
<br />
199. Traditional Crafts: Dough Sculpture 面塑 1845<br />
<br />
200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br />
<br />
201. The culture of Grass cloth 夏布 1845 <br />
<br />
202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br />
<br />
203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br />
<br />
204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
<br />
205. Bride-price（彩礼） 1845 <br />
<br />
206. Chinese science fiction movies 中国科幻片 1845<br />
<br />
207. Shandong cuisine鲁菜 1845(Lu Wei)<br />
<br />
208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)<br />
<br />
209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br />
<br />
210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br />
<br />
211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br />
<br />
212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br />
<br />
213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br />
<br />
214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845 (Cai Yichun)<br />
<br />
215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br />
<br />
216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br />
<br />
217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br />
<br />
218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br />
<br />
219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br />
<br />
220. Rice cake (年糕) 1845 （Dong Jiating）<br />
<br />
221. Zhongyuan festival 1845 （Ou Huang）<br />
<br />
222. Dulong: Facial tattoo (独龙族：纹面) 1845<br />
<br />
223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br />
<br />
224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br />
<br />
225. "Cun Chao": China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br />
<br />
226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br />
<br />
227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)<br />
<br />
228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br />
<br />
229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br />
<br />
230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br />
<br />
231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br />
<br />
232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br />
<br />
233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br />
<br />
234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br />
<br />
235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br />
<br />
236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br />
<br />
237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br />
<br />
238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br />
<br />
239. Female Emperor---Wu Zetian 1845 (Song Xin)<br />
<br />
240. Clay sculpture (泥塑） 1845 (Chen Lin)<br />
<br />
241. Abacus (中国珠算） 1845<br />
<br />
242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br />
<br />
243. Chinese name（中国姓名文化） 1845 <br />
<br />
244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br />
<br />
245. Douzhi (豆汁) 1845(Li Linyao) <br />
<br />
246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br />
<br />
247. Carved lacquer（雕漆） 1845 （Liu Qi）<br />
<br />
248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br />
<br />
249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br />
<br />
250. Language: Hakka Dialect（客家话） 1845<br />
<br />
251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br />
<br />
252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br />
<br />
253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br />
<br />
254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br />
<br />
255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br />
<br />
256. Danmu (弹幕） 1845 (Zhou Le)<br />
<br />
257. Yangshao Culture（仰韶文化） 1845<br />
<br />
258. Indigo Dyeing (蓝染) 1845<br />
<br />
259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br />
<br />
<br />
260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br />
<br />
261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br />
<br />
262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br />
<br />
263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br />
<br />
264. Single bamboo drifting（独竹漂） 1845<br />
<br />
265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br />
<br />
266. Hui Culture (徽文化) 1845(Liu Jianan)<br />
<br />
267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br />
<br />
268. Table Manners 1845（Luo Yan）<br />
<br />
269. Music of the Mongol nationality (蒙古族音乐) 1845<br />
<br />
270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br />
<br />
271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br />
<br />
272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br />
<br />
273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br />
<br />
274. God of Wealth(财神) 1845 <br />
<br />
275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br />
<br />
276. Nail art（美甲） 1845 （Luo Jiaxin）<br />
<br />
277. Mirror (镜子) 1845 (Cheng Sixiang) <br />
<br />
278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br />
<br />
279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br />
<br />
280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br />
<br />
281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br />
<br />
282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br />
<br />
283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br />
<br />
=Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br />
==Teacher presentation: Introduction to Culture==<br />
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
==Topics for today==<br />
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br />
<br />
You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br />
<br />
Please remember that you have to indicate the 10 topics for Friday on the course website under "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.<br />
<br />
27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br />
<br />
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br />
<br />
55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br />
<br />
76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br />
<br />
85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br />
<br />
Tea Latte Art (Xiang Jianning)<br />
<br />
Topic 7<br />
<br />
Topic 8<br />
<br />
Topic 9<br />
<br />
Topic 10<br />
<br />
=Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br />
==Presentations==<br />
1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br />
<br />
2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br />
<br />
3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br />
<br />
4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br />
<br />
5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br />
<br />
6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br />
<br />
7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br />
<br />
==Notes on presentations==<br />
Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br />
<br />
1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. "Black tea" (in English all "hong cha" is called "black tea"), British tea culture (add milk)<br />
<br />
2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br />
<br />
3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br />
<br />
4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br />
<br />
5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br />
<br />
6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br />
<br />
7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br />
<br />
==Student grades: 平时成绩/签到==<br />
<br />
<br />
75/103 students, 24级 MA翻译, class representative: Zhang Jiaxin<br />
# Jin Yichen <br />
# lu jiahui <br />
# li yuan<br />
# cao yuan<br />
# xiao luyu<br />
# zhang jiaxin +5<br />
# ye sitong<br />
# zhao yashi<br />
# jiang xinyue<br />
# yan xiang<br />
# fei xinyu <br />
# zhang qi<br />
# dai shiru<br />
# zhang zixi<br />
# zheng kaiwu<br />
# cai yichun<br />
# yang jing<br />
# liao dan<br />
# luo yan<br />
# qin yi<br />
# shao keyuan<br />
# cao chunyang<br />
# xu yangyang<br />
# liao zuoyun<br />
# cheng sixiang<br />
# du jiangping<br />
# liu qi<br />
# miao yunlong<br />
# huang qiaoqiao<br />
# chen lin<br />
# duan binyao<br />
# li ting<br />
# zeng zhi<br />
# xing xueqing<br />
# luo jingyan<br />
# liu shutian<br />
# gao xiaoqing<br />
# chen zhen<br />
# luo guoqiang -1-1-1<br />
# she xiao <br />
# he yunfeng <br />
# liu ying<br />
# du yuan <br />
# li jiayi <br />
# tao yao <br />
# xu xinwen <br />
# ou huang <br />
# liu peini<br />
# jiang ziqiang<br />
# zhang huifang<br />
# liu chao<br />
# liu yunxi <br />
# luo jiaxin<br />
# li mei<br />
# zeng xiaohui<br />
# huang yixuan<br />
# chen anqi<br />
# chen ting<br />
# zhang mai<br />
# yuan xiaolin -1-1<br />
# li mingfeng<br />
# dai yexun-1-1<br />
# yang pei -1<br />
# tang yan<br />
# xiang jianning-1<br />
# liu chang -1<br />
# wang yuxin<br />
# lv jiahao-1<br />
# dong jiating<br />
# lu wei<br />
# yang yue<br />
# guo cili<br />
# shen shuai<br />
# Ouyang yihong<br />
# li zihan -1<br />
# zuo fang<br />
# fu sihui<br />
# xiao zixin -1<br />
# zhou tianyi -1<br />
# qi zhiyang -1-1<br />
# liu pei <br />
# gong wei<br />
# chen sisi<br />
# huang sinan<br />
# xiao yikang<br />
# yu jingfang<br />
# luo sicheng<br />
# yang jiahong<br />
# yan jidong<br />
# xiao yawen<br />
# geng hongmei<br />
# zhou le<br />
# qiu ping<br />
# wang huaixing<br />
# wang xinyu<br />
# chu hanqi<br />
# wu jiating<br />
# zhang meiling<br />
# liu jianan<br />
# song xin<br />
# zhao qi<br />
# zheng jinlian<br />
# li linyao<br />
<br />
=Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br />
#Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]<br />
#Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]<br />
#Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br />
#Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br />
#Topic 182: Chinese Economy: rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]<br />
#Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin) [[Media:Tanghulu_Spring_2025.pptx]]<br />
#Topic 138: Social: Round Table Culture 1317 (Wu Jiating) [[Media:Round_Table_Culture_Spring_2025.pptx]]<br />
#Topic 174: Jiaozi (Liu Pei) [[Media:Dumplings_Spring_2025.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)<br />
<br />
=Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br />
#Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]<br />
#Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]<br />
# Topic 131: Silk and porcelain: Silk (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]<br />
# Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]<br />
# Topic 169: Cuisine: Luosifen 1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]<br />
# Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]<br />
# Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]<br />
# Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]<br />
<br />
=Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br />
<br />
#Topic 188:Mobile Games 手游 1783 （Du Jiangping）<br />
#Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br />
#Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
#Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]<br />
#Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]<br />
#Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]<br />
#Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）<br />
#Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
=HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br />
清明节4月4日——4月6日<br />
=Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=<br />
#Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）<br />
#Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]<br />
#Topic 181:Animals：Golden Monkey(Xiao Yawen)<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
#Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
#Topic 220:Rice cake 年糕 (Dong Jiating)<br />
#Topic 208:Chinese traditional ornament: Buyao(Yang Jing)<br />
#Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]<br />
#Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]<br />
<br />
=Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br />
#Topic 213: Chinese Dreamcore (Zhang Zixi)<br />
#Topic 215: Live-streaming e-commerce (Tao Yao)[[Media:Live-Streaming E-Commerce.pptx]]<br />
#Topic 216: The Story of Ming Lan (Ye Sitong)[[Media:The Story of Minglan.pptx]]<br />
#Topic 218: Guangdong Herbal tea (Gao Xiaoqing)<br />
#Topic 219: Chinese traditional art form：Seal carving（篆刻） (Huang Qiaoqiao)[[Media:Seal carving.pptx]]<br />
#Topic 207: Shan Dong Cuisine (Lu Wei)<br />
#Topic 221: Zhongyuan Festival (Ou Huang)[[Media:The Zhongyuan Festival.pptx]]<br />
#Topic 223: The Return of the Pearl Princess (Lu Jiahui)[[Media:The Return of the Pearl Princess.pptx]]<br />
<br />
=Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br />
#Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)<br />
#Topic 225: Cun Chao": China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br />
#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]]<br />
#Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]<br />
#Topic 230: Gayageum（伽倻琴）(Zhang Meiling)<br />
#Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)<br />
#Topic 232: Sun Wukong(Li Yuan)<br />
#Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]<br />
#Topic 235: Bamboo Weaving(Chen Anqi)<br />
#Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)<br />
<br />
==Please enroll in ai platform==<br />
Please enroll (register) in the platform https://dcg.de/ai/<br />
<br />
=HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br />
劳动节5月1日——5月5日<br />
<br />
=Session 12 Tue May 06 10:00-11:40 room 613 - Student presentations=<br />
#Topic 238: Three Famous Chinese Mountains(Liu Chang)<br />
#Topic 239: Female emperor-Wu Zetian(女皇武则天)(Song Xin) [[Media:Wu Zetian.pptx]]<br />
#Topic 240: Clay sculpture (泥塑）(Chen Lin)[[Media:Clay Sculpture.pptx]]<br />
#Topic 242: Hunan Rice Noodles(Gong Wei)[[Media:Hunan Rice Noodles.pptx]]<br />
#Topic 244: Chinese Popular Memes(中国网络流行热梗）(Xiao Yikang)[[Media:Chinese popular Memes.pptx]] <br />
#Topic 245: Douzhi (豆汁)(Li Linyao)[[Media:Douzhi.pptx]]<br />
#Topic 246: New Year Wood-block Paintings(Du Yuan)<br />
#Topic 247: Carved lacquer（雕漆）(Liu Qi)[[Media:Carved lacquer.pptx]]<br />
#Topic 237: Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)(Li Zihan)<br />
<br />
==Regarding Wu Zetian‘s blank Steele==<br />
关于武则天的“无字碑”（又称“无字碑记”）为何没有刻字，学界和民间流传着几种主要的假设：<br />
#功过自有后人评说（最广为流传）：武则天希望后世自己来评价她的一生，不愿由自己或当时的人定论。这种说法强调了她的自信与超越常规。<br />
#避讳批评或争议：武则天是中国历史上唯一的女皇帝，争议颇多。她可能认为无论写什么内容都容易引发非议，因此选择不刻字以避免争议。<br />
#彰显佛教思想：她信奉佛教，而佛教讲究“空”与“无”，无字碑可能象征“空性”或“无常”，体现她的宗教哲学。<br />
#未来自我书写：也有人猜测她原计划晚年或死前再刻碑文，但去世后未及实现，遂留下空碑。<br />
#彰显权力与独特性：无字碑作为一种非同寻常的表达形式，也可视为权力和个性的象征，显示她与众不同的统治地位。<br />
<br />
⸻<br />
<br />
English Translation:<br />
<br />
There are several main hypotheses about why Wu Zetian’s stele (often called the “Wordless Stele”) bears no inscription:<br />
#“Let future generations judge” (most popular view): Wu Zetian may have wanted her life and legacy to be judged by later generations rather than writing her own praise. This interpretation highlights her confidence and forward-thinking.<br />
#To avoid criticism or controversy: As the only female emperor in Chinese history, Wu Zetian was a controversial figure. She may have felt that any written content could provoke criticism, so she left it blank.<br />
#Reflecting Buddhist philosophy: A devout Buddhist, she may have chosen to leave the stele blank as a symbol of “emptiness” or impermanence, ideas central to Buddhist thought.<br />
#Intended to write later: Some believe she planned to inscribe it later in life but passed away before doing so, leaving the monument unfinished.<br />
#Symbol of power and uniqueness: A blank stele could also serve as a unique and powerful statement, emphasizing her exceptional status and breaking with traditional forms.<br />
<br />
=Session 13 Fri May 09 14:30-16:10 room 613 - Student presentations=<br />
#Topic 248: Jing Gang Mountain (井冈山）(Yu Jingfang) [[Media:Jing_Gang_Mountain_Spring_2025.pptx]]<br />
#Topic 251: Rice noodle roll (Li Mingfeng)[[Media:Rice_Noodle_Roll.pptx]]<br />
#Topic 252: Traditional Cuisine: Northeastern Chinese Cuisine (Liu Shutian)<br />
#Topic 253: Yuelu Mountain (Chen Ting)<br />
#Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional Crafts Tie-Dye.pptx]]<br />
#Topic 255: Chinese-style sun protection (Zhao Yashi)<br />
#Topic 256: Danmu（弹幕）(Zhou Le)[[Media:Danmu.pptx]]<br />
#Topic 259: Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua (Zhou Tianyi)<br />
#Topic 214: Luban China's inventor (Cai Yichun)<br />
<br />
=Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br />
#Topic 262: The Four Pillars of Destiny(Li Jiayi)<br />
#Topic 263: Shaolin Temple(Zuo Fang)<br />
#Topic 265: Cuisine: Changde spicy salted duck(Xing Xueqing)<br />
#15:25-15:30 Topic 266: Hui Culture (徽文化)(Liu Jianan)[[Media:Hui Culture.pptx]]<br />
#15:30- Topic 267: Ma Zu Culture (妈祖文化)(Yan Jidong)[[Media:Mazu culture.pptx]]<br />
#15:35- Topic 268: Table manner(Luo Yan)<br />
#15:40- Topic 270: Yinge Dance(Jiang Xinyue)<br />
#15:45- Topic 271: Palace Lantern(Shao Keyuan)<br />
#15:50- Topic 272: Chinese Endearing Terms(Zeng Zhi)[[Media:Chinese Endearing Terms.pptx]]<br />
<br />
15:55-16:10 Check final exam paper topics<br />
<br />
=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=<br />
#Topic 273: Changsha Stinky Tofu（长沙臭豆腐）(Luo Sicheng)<br />
#<nowiki>Topic 274:</nowiki> God of wealth(Liu Ying)<br />
#Topic 275: Zhua zhou (抓周）(Zeng Xiaohui)<br />
#Topic 276: Nail art(Luo Jiaxin)[[Media:Nail_Art.pptx]]<br />
#Topic 277: Mirror(Cheng Sixiang)<br />
#Topic 278: The Beef Board Noodles(Yan Xiang)<br />
#Topic 279: Huo Qubing(Luo Jingyan)<br />
#Topic 280: Chinese Courtyard Houses（中国四合院）(Guo Cili)[[Media:Chinese Courtyard Houses-Guo Cili.pptx]]<br />
#Topic 281: yangqin(Dai Yexun)<br />
<br />
=Session 15b=<br />
#Topic 282: Black Myth: Wukong(Chen Zhen)<br />
#Topic 283: Guangdong Morning Tea Culture(Yuan Xiaolin)<br />
#Topic 283: Guangdong Morning Tea Culture （广东早茶文化）(Zheng Jinlian)[[Media:Guangdong Morning Tea Culture-Zheng Jinlian.pptx]]<br />
#Topic:(Luo Guoqiang)<br />
=Session 16 Fri Jun 6 14:30-16:10 room 613 - Final Exam=<br />
==Grading Criteria for Powerpoint Presentations==<br />
#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?<br />
#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?)<br />
#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)?<br />
#Was the presentation appropriate to the topic?<br />
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?<br />
#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?<br />
#Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?<br />
#Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?<br />
#Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?<br />
#Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?<br />
#Did you present your ppt file in the full screen mode?<br />
#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?<br />
#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.?<br />
<br />
==How to write your final exam paper?==<br />
Just write it like the other chapters in the textbook on your personal wiki homepage beneath the learning progress diary until <span style="color:red"><br />
'''June 20, 2025 (deadline)'''.<br />
<br />
About 1000 words in English, followed by a Chinese translation (no machine translation). You can also write in Chinese and translate into English. Both texts need to be like the other papers in the textbook.<br />
<br />
===Sections===<br />
Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.<br />
<br />
The AI statement should look like this:<br />
<br />
I hereby guarantee that I have not used the help of AI to write my final paper in this course.<br />
<br />
or, if you actually use AI<br />
<br />
<span style="color:red">'''How about letting AI write for me?'''<br />
<br />
Your AI statement in the References section needs to look like this:<br />
<br />
To help me to write my final paper, I have used the following AI chatbot: ... I have prompted the chatbot with the following prompt: "..." I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: "...." or manually correcting the following references: ... Written the following passage new: ...).<br />
<br />
If you use AI, not your paper will be graded, but your prompt and adjustments<br />
<br />
===References===<br />
*Please add the sources in the form "(Wang 2020, 445)" behind each paragraph and with a long entry in the References section.<br />
*In the References section, please add at least 1-2 Western sources. It is always good to relate the Chinese tradition to similar traditions in other countries.<br />
*In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.<br />
<br />
===Formatting===<br />
*Please also add free lines at places where you want to have a line break, e.g. after a header.</span><br />
<br />
<br />
== '''一、五岳独秀：自然与人文并重的名山''' ==<br />
<br />
南岳衡山作为中华五岳之一，不仅以其秀丽的自然风光闻名，更是一座承载着丰富文化内涵的"文明奥区"。这座位于湖南省衡阳市南岳区的名山，自古就有"五岳独秀"、"中华寿岳"、"宗教圣地"等美誉，其文化积淀之深厚、类型之多元，在中国山岳文化中独树一帜。<br />
<br />
== '''二、帝王祭祀：国家礼制的千年传承''' ==<br />
<br />
历史渊源与帝王祭祀文化可以追溯至上古时期。据《周礼·虞书》记载，舜帝"五月南巡狩，至于南岳"，开启了帝王祭祀衡山的传统。黄帝、尧、舜、禹等远古帝王均曾登临祭拜，历代帝王或亲临或遣使祭祀达120余次。这种悠久的祭祀传统使衡山成为"中国南方唯一一座最古老的人文始祖的祭祀山"。康熙皇帝在《重修南岳庙碑记》中钦定衡山为"主寿之山"，进一步确立了其作为国家祭祀圣地的地位。<br />
<br />
== '''三、道教圣地：洞天福地与神仙信仰''' ==<br />
<br />
道教文化在南岳衡山有着深厚根基。作为道教"三十六洞天、七十二福地"中的第三洞天——朱陵洞天，衡山被视为连接尘世与仙界的通道。自东汉起，张道陵、魏华存(南岳夫人)、司马承祯等著名道士在此修行，形成了独特的道教传统。黄庭观相传为魏夫人升天之地，是《黄庭经》的发源地，在道教史上地位崇高。宋真宗时期，南岳道教达到鼎盛，庙宇建筑仿皇宫规制，显示了其作为道教圣地的崇高地位。<br />
<br />
== '''四、佛教祖庭：禅宗五叶的兴盛之地''' ==<br />
<br />
佛教文化同样在衡山蓬勃发展，形成了"五叶流芳"的盛况。自南北朝起，佛教传入南岳，禅宗五大支派中的曹洞宗、临济宗、云门宗、伪仰宗、法眼宗均源于此。南台寺作为曹洞宗祖庭，其影响远播日本，拥有800万信徒。福严寺被誉为"南山第一古刹"，是佛教禅宗的重要道场。这种佛道共存的宗教格局，使衡山成为研究中国宗教融合的典型案例。<br />
<br />
== '''五、寿岳文化：轸星信仰与长寿象征''' ==<br />
<br />
独特的"寿文化"是南岳衡山最具特色的文化符号。据《星经》记载，衡山对应二十八宿之轸星，"轸星主管人间苍生寿命"，故有"寿岳"之称。宋徽宗在南岳金简峰御题"寿岳"石刻，康熙皇帝也多次强调衡山作为"寿岳"的地位。这一文化在当代得到延续，如万寿广场上的中华万寿大鼎，高9.9米，重56吨，铸有10000个不同字体的"寿"字，象征着中华民族的团结与长寿愿望。<br />
<br />
== '''六、书院文化：湖湘学派的发源地''' ==<br />
<br />
书院文化与湖湘学派的发展也与衡山密切相关。晚清曾国藩曾赞叹："天下书院，楚为盛；楚之书院，衡为盛"。宋代胡安国父子及其弟子朱熹、张栻在南岳建春秋楼，讲经论学，开创了独树一帜的湖湘学派。这种"经世致用"的学术传统，对湖南乃至中国的思想文化发展产生了深远影响。<br />
<br />
== '''七、抗战精神：忠烈祠与民族记忆''' ==<br />
<br />
抗战文化是衡山近代史上的重要篇章。南岳忠烈祠建于1938-1943年，是中国大陆唯一一座纪念国民党抗日阵亡将士的大型烈士陵园。周恩来、叶剑英曾在此举办游击干部培训班，体现了国共合作抗战的历史。这种抗战记忆，使衡山成为中华民族团结御侮的精神象征。<br />
<br />
== '''八、三教共存：宗教和谐的独特典范''' ==<br />
<br />
南岳衡山文化的多元性还体现在其"三教共存"的独特现象上。南岳大庙作为"江南第一庙"，中轴线上是儒家建筑风格，东边为八个道观，西边为八个佛寺，这种儒、道、佛三教共存一庙的格局，"在全国乃至全世界都是绝无仅有的"。这种宗教和谐共处的模式，对于当代宗教对话与文明互鉴具有重要启示意义。<br />
<br />
== '''结语：多元文化交融的现代意义''' ==<br />
<br />
南岳衡山的文化价值不仅在于其丰富的历史遗存，更在于这些文化元素之间的互动与融合。从上古祭祀到儒释道三教共荣，从学术思想到抗战精神，衡山见证了中华文化的连续性与包容性。这种多元文化和谐共生的模式，在当今全球化与文明冲突的背景下，尤其值得深入研究和借鉴。<br />
<br />
'''术语和表达'''<br />
== Headline text ==<br />
<br />
文明奥区(Civilization Core Area) - 指南岳衡山作为中华文明重要发源地和多元文化汇聚之地的特殊地位。<br />
五叶流芳(Five Flourishing Branches) - 指禅宗在南岳衡山发展出的五个主要流派(曹洞宗、临济宗、云门宗、伪仰宗、法眼宗)的繁荣景象。<br />
朱陵洞天 (Zhuling Grotto-Heaven) - 道教三十六小洞天中的第三洞天，位于南岳衡山，被认为是仙人居住的仙境。<br />
寿岳(Mountain of Longevity) - 南岳衡山的别称，源自其对应轸星，主管人间寿命的星象信仰。<br />
三教共存(Coexistence of Three Teachings) - 指南岳大庙中儒、道、佛三教和谐共处的独特宗教文化现象。<br />
湖湘学派(Huxiang School of Thought) - 宋代由胡安国父子及其弟子朱熹、张栻在南岳衡山开创的学术流派，强调"经世致用"。<br />
南岳夫人(Lady of Southern Peak) - 指魏晋时期著名女道士魏华存，因其在南岳衡山修行并传播《黄庭经》而获此尊称。<br />
香火文化(Incense Culture) - 指南岳衡山悠久的进香朝拜传统，每年吸引数百万香客前来。<br />
摩崖石刻(Cliff Inscriptions) - 雕刻在山崖岩石上的文字或图像，南岳衡山保存有大量历代摩崖石刻，如"寿岳"题刻等。<br />
星野理论(Theory of Astrological Correspondence) - 中国古代将星空分野与地理区域相对应的观念，认为衡山对应轸星，故主寿。<br />
<br />
'''问题'''<br />
== Headline text ==<br />
<br />
<br />
'''I. The Most Scenic of the Five Sacred Mountains: A Blend of Nature and Culture''' <br />
== Headline text ==<br />
<br />
Mount Heng (Nanyue), one of China's Five Sacred Mountains, is renowned not only for its breathtaking natural scenery but also as a "Civilization Core Area" rich in cultural heritage. Located in the Nanyue District of Hengyang City, Hunan Province, it has long been celebrated as "the Most Scenic of the Five Sacred Mountains," "the Mountain of Longevity," and a "Sacred Religious Site." Its profound and diverse cultural legacy makes it unique among China's mountain cultures. <br />
<br />
'''II. Imperial Worship: A Millennium-Old Tradition of State Rituals''' <br />
== Headline text ==<br />
<br />
The history of imperial worship at Mount Heng dates back to ancient times. According to *The Book of Rites·Yu Shu*, Emperor Shun "traveled south in the fifth month and reached Nanyue," initiating the tradition of imperial sacrifices at Mount Heng. Legendary rulers such as the Yellow Emperor, Yao, Shun, and Yu all performed rituals here, and subsequent emperors either personally visited or sent envoys to conduct ceremonies over 120 times. This enduring tradition has made Mount Heng "the only ancient mountain in southern China dedicated to the worship of cultural ancestors." Emperor Kangxi further solidified its status as a national sacred site by declaring it the "Mountain of Longevity" in his *Stele Inscription on the Reconstruction of Nanyue Temple*. <br />
<br />
<br />
'''III. A Taoist Sanctuary: Grotto-Heavens and Immortal Beliefs'''<br />
== Headline text ==<br />
<br />
Taoism has deep roots at Mount Heng. Recognized as the third of Taoism’s "Thirty-Six Grotto-Heavens"—the Zhuling Grotto-Heaven—it is considered a gateway between the mortal world and the divine. Since the Eastern Han Dynasty, renowned Taoist masters such as Zhang Daoling, Lady Wei Huacun (the Lady of Southern Peak), and Sima Chengzhen have practiced here, establishing a distinctive Taoist tradition. The Huangting Temple, where Lady Wei is said to have ascended to immortality, is the birthplace of the *Huangting Jing* (Yellow Court Scripture) and holds a revered place in Taoist history. During Emperor Zhenzong’s reign in the Song Dynasty, Nanyue Taoism reached its zenith, with temple architecture mirroring imperial palaces, reflecting its sacred status. <br />
<br />
'''IV. A Buddhist Patriarchal Seat: The Flourishing of Chan Buddhism’s Five Branches''' <br />
== Headline text ==<br />
<br />
Buddhism also thrived at Mount Heng, giving rise to the "Five Flourishing Branches" of Chan Buddhism. Since the Northern and Southern Dynasties, Buddhism spread to Nanyue, where all five major Chan sects—Caodong, Linji, Yunmen, Weiyang, and Fayan—originated. The Nantai Temple, the ancestral seat of the Caodong School, has influenced Japanese Zen Buddhism, boasting eight million followers. The Fuyan Temple, hailed as "the First Ancient Temple of the Southern Mountain," remains a vital center of Chan practice. This coexistence of Buddhism and Taoism makes Mount Heng a prime case study in Chinese religious syncretism. <br />
<br />
'''V. The Culture of Longevity: Astral Beliefs and Symbolic Meaning''' <br />
== Headline text ==<br />
<br />
Mount Heng’s most distinctive cultural feature is its "Longevity Culture." According to *The Classic of Stars*, Mount Heng corresponds to the Zhen constellation, which governs human lifespan, earning it the title "Mountain of Longevity." Emperor Huizong of the Song Dynasty inscribed "Shou Yue" (Mountain of Longevity) on the Jinjian Peak, while Emperor Kangxi repeatedly affirmed this designation. This tradition continues today, exemplified by the "Chinese Longevity Tripod" in Wanshou Square—standing 9.9 meters tall, weighing 56 tons, and engraved with 10,000 variations of the character "寿" (longevity)—symbolizing national unity and the wish for long life. <br />
<br />
'''VI. Academy Culture: The Cradle of the Huxiang School''' <br />
== Headline text ==<br />
<br />
Mount Heng played a pivotal role in the development of academy culture and the Huxiang School. Zeng Guofan of the late Qing Dynasty once praised: "Among academies in the world, those in Chu (Hunan) are the greatest; among those in Chu, the ones in Heng are the finest." During the Song Dynasty, Hu Anguo and his disciples, including Zhu Xi and Zhang Shi, established the Chunqiu Tower at Nanyue, where they lectured and developed the pragmatic Huxiang School. This intellectual tradition profoundly influenced Hunanese and broader Chinese thought. <br />
<br />
'''VII. The Spirit of Resistance: Martyrs’ Shrine and National Memory''' <br />
== Headline text ==<br />
<br />
The legacy of the Anti-Japanese War is a significant chapter in Mount Heng’s modern history. The Nanyue Martyrs’ Shrine, built between 1938 and 1943, is mainland China’s only large-scale memorial dedicated to Kuomintang soldiers who died in the war. Zhou Enlai and Ye Jianying once organized guerrilla training courses here, reflecting the wartime cooperation between the Communists and Nationalists. This memory of resistance has made Mount Heng a symbol of national unity. <br />
<br />
'''VIII. The Coexistence of Three Teachings: A Model of Religious Harmony''' <br />
== Headline text ==<br />
<br />
Mount Heng’s multiculturalism is further exemplified by the unique phenomenon of "Three Teachings in One Temple." The Grand Temple of Nanyue, known as the "First Temple South of the Yangtze," features Confucian-style architecture along its central axis, flanked by eight Taoist temples on the east and eight Buddhist monasteries on the west. This arrangement—where Confucianism, Taoism, and Buddhism coexist within a single complex—is "unparalleled in China and perhaps the world." This model of religious harmony offers valuable insights for contemporary interfaith dialogue. <br />
<br />
'''IX. Conclusion: The Modern Significance of Multicultural Integration''' <br />
== Headline text ==<br />
<br />
Mount Heng’s cultural value lies not only in its historical relics but also in the dynamic interplay between its diverse elements. From ancient worship to the harmonious blending of Confucianism, Taoism, and Buddhism, from scholarly traditions to wartime resilience, Mount Heng embodies the continuity and inclusiveness of Chinese culture. In an era of globalization and cultural clashes, its model of multicultural coexistence remains highly relevant for study and inspiration. <br />
<br />
'''Key Terms and Expressions''' <br />
== Headline text ==<br />
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Civilization Core Area – Refers to Mount Heng’s status as a cradle of Chinese civilization and a convergence point of diverse cultures. <br />
Five Flourishing Branches – The five major Chan Buddhist sects (Caodong, Linji, Yunmen, Weiyang, Fayan) that thrived at Mount Heng. <br />
Zhuling Grotto-Heaven – The third of Taoism’s Thirty-Six Grotto-Heavens, believed to be an abode of immortals. <br />
Mountain of Longevity – Mount Heng’s alternate name, derived from its astrological association with the life-governing Zhen constellation. <br />
Coexistence of Three Teachings – The harmonious integration of Confucianism, Taoism, and Buddhism within the Grand Temple of Nanyue. <br />
Huxiang School of Thought – A Song Dynasty intellectual movement emphasizing practical governance, founded by Hu Anguo and developed by Zhu Xi and Zhang Shi. <br />
Lady of Southern Peak – The Taoist master Wei Huacun, revered for her spiritual achievements at Mount Heng and her transmission of the *Huangting Jing*. <br />
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'''Additional Terms''' <br />
== Headline text ==<br />
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- Incense Culture – The long-standing tradition of pilgrimage and worship at Mount Heng, attracting millions annually. <br />
- Cliff Inscriptions – Ancient carvings on rock faces, such as the "Shou Yue" inscription. <br />
- Theory of Astrological Correspondence – The ancient Chinese belief linking celestial regions to terrestrial geography, associating Mount Heng with longevity. <br />
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'''Discussion Questions''' <br />
== Headline text ==<br />
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1. How did Mount Heng’s "Longevity Culture" evolve from astrological beliefs into a widely shared cultural symbol? What characterizes its modern adaptation? <br />
2. What does the spatial arrangement of the "Three Teachings in One Temple" reveal about religious interaction? How might this model inform contemporary interfaith dialogue? <br />
3. As a birthplace of the Huxiang School, how did Mount Heng contribute to shaping Hunan’s regional cultural identity? <br />
4. How have different political forces remembered and interpreted Mount Heng’s wartime heritage (e.g., the Martyrs’ Shrine)? What does this politicized memory reflect? <br />
5. How do Mount Heng’s ecological features (e.g., its "natural oxygen bar") and cultural beliefs reinforce each other, forming a unique "eco-cultural" system?<br />
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[[Chin_Lang_Cult_Fin_Exam_Spring_2025]]<br />
Liuyang Fireworks <br />
“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.<br />
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 rudiments 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.<br />
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.<br />
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.<br />
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.<br />
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.<br />
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浏阳烟花<br />
“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。<br />
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。<br />
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。<br />
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。<br />
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。<br />
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。</div>Liu Peihttps://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=168073Chinese Language and Culture, Spring 20252025-06-05T16:36:56Z<p>Liu Pei: /* Headline text */</p>
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<div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br />
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=Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br />
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==What we learn in this class==<br />
*We learn about Chinese culture from international, especially Western perspective. <br />
*We learn about cultural phenomena, traditional Chinese culture.<br />
*We learn English and Chinese terminology in the area of Chinese culture.<br />
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br />
*We learn how to determine the location and role of Chinese culture within global culture.<br />
*We learn basics of theories and models of intercultural communication and comparison.<br />
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br />
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br />
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==Students' contribution==<br />
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br />
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br />
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI<br />
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==Textbook==<br />
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br />
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==Agreement on use of classroom time==<br />
Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br />
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==Homework for every session==<br />
Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br />
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==Teacher presentation: Introduction to Culture==<br />
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br />
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==Homework for Session 2==<br />
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation"). <br />
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Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br />
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1. Geographic Nature as a Basis for Cultural Development 17<br />
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2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br />
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3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br />
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4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br />
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5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br />
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6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br />
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7. Animals: Panda 71 <br />
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8. Architecture 78<br />
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9. Architecture: The Forbidden City 89<br />
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10. Architecture: Four Famous Bridges 102<br />
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11. Architecture: Four Great Pavilions 113<br />
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12. Architecture: Shengjing Imperial Palace 124<br />
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13. Architecture: Three Great Towers in China 131<br />
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14. Architecture: Fengshui in Chinese Architecture 145 <br />
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15. Army and weapons: Chinese Ancient Weapons 154<br />
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16. Army and weapons: Terracotta Army 163<br />
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17. Astrology: Chinese Astrology 170<br />
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18. Astrology: Calendar, The 24 Solar Terms 178<br />
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19. Astrology: Twelve Animals of the Chinese Zodiac 188<br />
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20. Beverages: Milk Tea 197<br />
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21. Beverages: Tea 203 (Zhang Mai)<br />
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22. Beverages: The Liquor Culture of Ancient China 209<br />
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23. Body movement performance: Chinese Lion Dancing 218<br />
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24. Body movement performance: Stilts 223<br />
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25. Body movement performance: Traditional Chinese Dance 230<br />
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26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br />
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27. Chinese Writing: Calligraphy 246 (Tang Yan)<br />
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28. Chinese Writing: The Evolution of Calligraphy 252<br />
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29. Chinese Writing: Chinese Characters 262<br />
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30. Chinese Writing: Chinese Characters and Scripts 276<br />
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31. Clothing: Chinese Clothing 283<br />
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32. Clothing: Batik (Lanran) 291<br />
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33. Clothing: Cheongsam 301 <br />
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34. Confucianism: Confucian Culture 309 <br />
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35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br />
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36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br />
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37. Confucianism: Classical Philosophy - Reading The Analects 339 <br />
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38. Education: Ancient Chinese Education 350<br />
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39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br />
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40. Education: Modern Chinese Education System 371<br />
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41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br />
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42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br />
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43. Facial Make-up 406<br />
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44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br />
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45. Facial Make-up: Face Changing in Sichuan Opera 431<br />
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46. Fine Arts: Painting 440<br />
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47. Fine Arts: Bada Shanren and Qi Baishi 445<br />
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48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br />
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49. Fine Arts: Seal-cutting 459<br />
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50. Games: Go 围棋 462（Zhao Qi）<br />
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51. Games: Kite Flying 468<br />
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52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br />
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53. Garden Culture: Gardens 505<br />
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54. Garden Culture: Bonsai (Penjing) 511<br />
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55. Garden Culture: The Summer Palace 519（Li Mei）<br />
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56. Garden Culture: Qingming Riverside Landscspe Garden 526<br />
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57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br />
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58. History: Carl and Cixi 548<br />
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59. Interieur: The Folding Screen 552<br />
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60. Landscapes and Tourism: Four Buddhist Shrines 561<br />
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61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br />
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62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br />
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63. Landscapes and Tourism: Mogao Grottoes 593<br />
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64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br />
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65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br />
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66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br />
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67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br />
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68. Language: Chinese Language 649<br />
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69. Language: Chinese Dialects 660<br />
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70. Language: Chinese Folk Argot 669<br />
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71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br />
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72. Literature: Ancient literature - Chinese Mythology 688<br />
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73. Literature: Ancient literature - Classical Literature 699<br />
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74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br />
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75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br />
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76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br />
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77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br />
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78. Literature: Ancient literature: Yuefu 765<br />
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79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br />
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80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br />
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81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br />
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82. Literature: Premodern literature: Tang-Song 794<br />
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83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br />
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84. Literature: Modern Literature 832<br />
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85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br />
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86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br />
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87. Literature: Contemporary Literature 859<br />
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88. Martial Arts: Huo Yuanjia 865<br />
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89. Martial Arts: Qigong 868<br />
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90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br />
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91. Martial Arts: Wushu 885<br />
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92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br />
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93. Medicine: Traditional Chinese Medicine (TCM) 900 <br />
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94. Medicine: TCM - Acupuncture and Moxibustion 907<br />
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95. Medicine: TCM - Diagnosis and Pharmacology 912<br />
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96. Medicine: TCM - The Development of Chinese Medicine 917<br />
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97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br />
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98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br />
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99. Minority cultures: The Ethnic Minorities’ Costumes 941<br />
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100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br />
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101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br />
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102. Music and instruments: Guzheng 975<br />
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103. Music and instruments: Pipa 986<br />
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104. Mythology: Gods and Immortals 996<br />
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105. Mythology: Huli-jing 1005<br />
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106. National Symbols: National Anthem 1018<br />
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107. National Symbols: National Flag 1026 （Liao Zuoyun）<br />
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108. Opera: Peking Opera 1035<br />
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109. Opera: Peking Opera Acrobatics 1043<br />
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110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br />
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111. Opera: Tea-picking Opera 1055<br />
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112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br />
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113. Philosophical Schools: Four Main Philosophical Schools 1076<br />
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114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br />
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115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br />
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116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br />
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117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br />
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118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br />
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119. Philosophy: Chinese Traditional Cultivation Culture 1129<br />
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120. Religion: Traditional Chinese Funeral Culture 1141<br />
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121. Religion: Buddhism 1155<br />
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122. Religion: Daoism 1170<br />
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123. Religion: Christianity 1175<br />
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124. Religion: Islam 1181<br />
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125. Science and Technology: Ancient Science and Technology 1185<br />
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126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br />
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127. Science and Technology: Compass 1217<br />
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128. Science and Technology: TikTok (Douyin) 1226<br />
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129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br />
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130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br />
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131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br />
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132. Silk and porcelain: Porcelain 1277<br />
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133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br />
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134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br />
<br />
135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br />
<br />
136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br />
<br />
137. Social: The Long-life Lock 1308<br />
<br />
138. Social: Round Table Culture 1317 (Wu Jiating)<br />
<br />
139. Stage entertainment: Crosstalk 相声 1325<br />
<br />
140. Stage entertainment: Shadow Play 1332<br />
<br />
141. Traditional Crafts: Carving 1340<br />
<br />
142. Traditional Crafts: Chinese Jade Culture 1348<br />
<br />
143. Traditional Crafts: Cloisonne 1363 <br />
<br />
144. Traditional Crafts: Embroidery 1369<br />
<br />
145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br />
<br />
146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br />
<br />
147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br />
<br />
148. Traditional Crafts: Handcraft - Chinese Knots 1409<br />
<br />
149. Traditional Crafts: Lacquerware 1418<br />
<br />
150. Traditional Crafts: The Kingfisher Craft点翠 1423<br />
<br />
151. Traditional Cuisine: Chinese Dining Etiquette 1436<br />
<br />
152. Traditional Cuisine: Chopsticks 1450<br />
<br />
153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br />
<br />
154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br />
<br />
155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br />
<br />
<br />
156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br />
<br />
157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br />
<br />
158. Traditional Cuisine: The Art of Chinese Cooking 1508<br />
<br />
159. Traditional Cuisine: Two Famous Dishes 1514<br />
<br />
160. Traditional Festivals 1518……<br />
<br />
161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br />
<br />
162. Traditional Festivals: Spring Festival Couplets 1538<br />
<br />
163. Westernization: The Eastward Spread of Western Learning 1544<br />
<br />
164. Westernization: The Westernization Movement 1550<br />
<br />
165. Worship: Chinese Incense Culture 1558 (She Xiao)<br />
<br />
166. Economy: Chinese Currency Changes 1569<br />
<br />
167. History: Wang Shouren 1573 Lv Jiahao<br />
<br />
168. Martial Arts: Chinese Swordsman Spirit 1582<br />
<br />
169. Cuisine: Luosifen 1593 （Chen Sisi)<br />
<br />
170. Fine Arts: Chinese Paper Cutting 1601 <br />
<br />
171. Science and Technology: Taobao(淘宝) 1611<br />
<br />
172. Traditional Craft: Bronze 1623<br />
<br />
173. Entertainment: Deyunshe 德云社 1631<br />
<br />
174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br />
<br />
175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br />
<br />
176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br />
<br />
177. stage entertainment:Yuan drama 1676<br />
<br />
178. Music and instruments: Erhu 1685<br />
<br />
179. Traditional and Modern Views on Marriage and Love 1694 (Liu Yunxi)<br />
<br />
180. Traditional Cuisine: Tangyuan 1701<br />
<br />
181. Animals：Golden Monkey 1712（Xiao Yawen）<br />
<br />
182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br />
<br />
183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br />
<br />
184. The Chinese tradition of ancestor worship 1740<br />
<br />
185. Opera: Huangmei opera 1752 （Chu Hanqi）<br />
<br />
186. The “reference” of Chinese Music 1759<br />
<br />
187. Chinese Folk Art:Lion Dance 1767<br />
<br />
188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br />
<br />
189. Clothing: Vintage Clothing 1790<br />
<br />
190. Fine arts:Kunqu Opera 1798<br />
<br />
191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br />
<br />
192. National Belief: the Chinese Dream 1818<br />
<br />
193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
<br />
194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br />
<br />
195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br />
<br />
196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br />
<br />
198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br />
<br />
199. Traditional Crafts: Dough Sculpture 面塑 1845<br />
<br />
200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br />
<br />
201. The culture of Grass cloth 夏布 1845 <br />
<br />
202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br />
<br />
203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br />
<br />
204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
<br />
205. Bride-price（彩礼） 1845 <br />
<br />
206. Chinese science fiction movies 中国科幻片 1845<br />
<br />
207. Shandong cuisine鲁菜 1845(Lu Wei)<br />
<br />
208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)<br />
<br />
209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br />
<br />
210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br />
<br />
211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br />
<br />
212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br />
<br />
213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br />
<br />
214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845 (Cai Yichun)<br />
<br />
215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br />
<br />
216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br />
<br />
217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br />
<br />
218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br />
<br />
219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br />
<br />
220. Rice cake (年糕) 1845 （Dong Jiating）<br />
<br />
221. Zhongyuan festival 1845 （Ou Huang）<br />
<br />
222. Dulong: Facial tattoo (独龙族：纹面) 1845<br />
<br />
223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br />
<br />
224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br />
<br />
225. "Cun Chao": China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br />
<br />
226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br />
<br />
227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)<br />
<br />
228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br />
<br />
229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br />
<br />
230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br />
<br />
231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br />
<br />
232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br />
<br />
233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br />
<br />
234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br />
<br />
235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br />
<br />
236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br />
<br />
237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br />
<br />
238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br />
<br />
239. Female Emperor---Wu Zetian 1845 (Song Xin)<br />
<br />
240. Clay sculpture (泥塑） 1845 (Chen Lin)<br />
<br />
241. Abacus (中国珠算） 1845<br />
<br />
242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br />
<br />
243. Chinese name（中国姓名文化） 1845 <br />
<br />
244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br />
<br />
245. Douzhi (豆汁) 1845(Li Linyao) <br />
<br />
246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br />
<br />
247. Carved lacquer（雕漆） 1845 （Liu Qi）<br />
<br />
248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br />
<br />
249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br />
<br />
250. Language: Hakka Dialect（客家话） 1845<br />
<br />
251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br />
<br />
252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br />
<br />
253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br />
<br />
254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br />
<br />
255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br />
<br />
256. Danmu (弹幕） 1845 (Zhou Le)<br />
<br />
257. Yangshao Culture（仰韶文化） 1845<br />
<br />
258. Indigo Dyeing (蓝染) 1845<br />
<br />
259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br />
<br />
<br />
260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br />
<br />
261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br />
<br />
262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br />
<br />
263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br />
<br />
264. Single bamboo drifting（独竹漂） 1845<br />
<br />
265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br />
<br />
266. Hui Culture (徽文化) 1845(Liu Jianan)<br />
<br />
267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br />
<br />
268. Table Manners 1845（Luo Yan）<br />
<br />
269. Music of the Mongol nationality (蒙古族音乐) 1845<br />
<br />
270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br />
<br />
271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br />
<br />
272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br />
<br />
273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br />
<br />
274. God of Wealth(财神) 1845 <br />
<br />
275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br />
<br />
276. Nail art（美甲） 1845 （Luo Jiaxin）<br />
<br />
277. Mirror (镜子) 1845 (Cheng Sixiang) <br />
<br />
278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br />
<br />
279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br />
<br />
280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br />
<br />
281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br />
<br />
282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br />
<br />
283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br />
<br />
=Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br />
==Teacher presentation: Introduction to Culture==<br />
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
==Topics for today==<br />
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br />
<br />
You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br />
<br />
Please remember that you have to indicate the 10 topics for Friday on the course website under "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.<br />
<br />
27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br />
<br />
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br />
<br />
55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br />
<br />
76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br />
<br />
85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br />
<br />
Tea Latte Art (Xiang Jianning)<br />
<br />
Topic 7<br />
<br />
Topic 8<br />
<br />
Topic 9<br />
<br />
Topic 10<br />
<br />
=Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br />
==Presentations==<br />
1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br />
<br />
2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br />
<br />
3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br />
<br />
4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br />
<br />
5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br />
<br />
6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br />
<br />
7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br />
<br />
==Notes on presentations==<br />
Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br />
<br />
1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. "Black tea" (in English all "hong cha" is called "black tea"), British tea culture (add milk)<br />
<br />
2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br />
<br />
3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br />
<br />
4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br />
<br />
5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br />
<br />
6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br />
<br />
7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br />
<br />
==Student grades: 平时成绩/签到==<br />
<br />
<br />
75/103 students, 24级 MA翻译, class representative: Zhang Jiaxin<br />
# Jin Yichen <br />
# lu jiahui <br />
# li yuan<br />
# cao yuan<br />
# xiao luyu<br />
# zhang jiaxin +5<br />
# ye sitong<br />
# zhao yashi<br />
# jiang xinyue<br />
# yan xiang<br />
# fei xinyu <br />
# zhang qi<br />
# dai shiru<br />
# zhang zixi<br />
# zheng kaiwu<br />
# cai yichun<br />
# yang jing<br />
# liao dan<br />
# luo yan<br />
# qin yi<br />
# shao keyuan<br />
# cao chunyang<br />
# xu yangyang<br />
# liao zuoyun<br />
# cheng sixiang<br />
# du jiangping<br />
# liu qi<br />
# miao yunlong<br />
# huang qiaoqiao<br />
# chen lin<br />
# duan binyao<br />
# li ting<br />
# zeng zhi<br />
# xing xueqing<br />
# luo jingyan<br />
# liu shutian<br />
# gao xiaoqing<br />
# chen zhen<br />
# luo guoqiang -1-1-1<br />
# she xiao <br />
# he yunfeng <br />
# liu ying<br />
# du yuan <br />
# li jiayi <br />
# tao yao <br />
# xu xinwen <br />
# ou huang <br />
# liu peini<br />
# jiang ziqiang<br />
# zhang huifang<br />
# liu chao<br />
# liu yunxi <br />
# luo jiaxin<br />
# li mei<br />
# zeng xiaohui<br />
# huang yixuan<br />
# chen anqi<br />
# chen ting<br />
# zhang mai<br />
# yuan xiaolin -1-1<br />
# li mingfeng<br />
# dai yexun-1-1<br />
# yang pei -1<br />
# tang yan<br />
# xiang jianning-1<br />
# liu chang -1<br />
# wang yuxin<br />
# lv jiahao-1<br />
# dong jiating<br />
# lu wei<br />
# yang yue<br />
# guo cili<br />
# shen shuai<br />
# Ouyang yihong<br />
# li zihan -1<br />
# zuo fang<br />
# fu sihui<br />
# xiao zixin -1<br />
# zhou tianyi -1<br />
# qi zhiyang -1-1<br />
# liu pei <br />
# gong wei<br />
# chen sisi<br />
# huang sinan<br />
# xiao yikang<br />
# yu jingfang<br />
# luo sicheng<br />
# yang jiahong<br />
# yan jidong<br />
# xiao yawen<br />
# geng hongmei<br />
# zhou le<br />
# qiu ping<br />
# wang huaixing<br />
# wang xinyu<br />
# chu hanqi<br />
# wu jiating<br />
# zhang meiling<br />
# liu jianan<br />
# song xin<br />
# zhao qi<br />
# zheng jinlian<br />
# li linyao<br />
<br />
=Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br />
#Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]<br />
#Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]<br />
#Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br />
#Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br />
#Topic 182: Chinese Economy: rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]<br />
#Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin) [[Media:Tanghulu_Spring_2025.pptx]]<br />
#Topic 138: Social: Round Table Culture 1317 (Wu Jiating) [[Media:Round_Table_Culture_Spring_2025.pptx]]<br />
#Topic 174: Jiaozi (Liu Pei) [[Media:Dumplings_Spring_2025.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)<br />
<br />
=Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br />
#Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]<br />
#Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]<br />
# Topic 131: Silk and porcelain: Silk (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]<br />
# Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]<br />
# Topic 169: Cuisine: Luosifen 1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]<br />
# Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]<br />
# Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]<br />
# Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]<br />
<br />
=Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br />
<br />
#Topic 188:Mobile Games 手游 1783 （Du Jiangping）<br />
#Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br />
#Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
#Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]<br />
#Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]<br />
#Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]<br />
#Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）<br />
#Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
=HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br />
清明节4月4日——4月6日<br />
=Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=<br />
#Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）<br />
#Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]<br />
#Topic 181:Animals：Golden Monkey(Xiao Yawen)<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
#Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
#Topic 220:Rice cake 年糕 (Dong Jiating)<br />
#Topic 208:Chinese traditional ornament: Buyao(Yang Jing)<br />
#Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]<br />
#Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]<br />
<br />
=Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br />
#Topic 213: Chinese Dreamcore (Zhang Zixi)<br />
#Topic 215: Live-streaming e-commerce (Tao Yao)[[Media:Live-Streaming E-Commerce.pptx]]<br />
#Topic 216: The Story of Ming Lan (Ye Sitong)[[Media:The Story of Minglan.pptx]]<br />
#Topic 218: Guangdong Herbal tea (Gao Xiaoqing)<br />
#Topic 219: Chinese traditional art form：Seal carving（篆刻） (Huang Qiaoqiao)[[Media:Seal carving.pptx]]<br />
#Topic 207: Shan Dong Cuisine (Lu Wei)<br />
#Topic 221: Zhongyuan Festival (Ou Huang)[[Media:The Zhongyuan Festival.pptx]]<br />
#Topic 223: The Return of the Pearl Princess (Lu Jiahui)[[Media:The Return of the Pearl Princess.pptx]]<br />
<br />
=Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br />
#Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)<br />
#Topic 225: Cun Chao": China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br />
#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]]<br />
#Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]<br />
#Topic 230: Gayageum（伽倻琴）(Zhang Meiling)<br />
#Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)<br />
#Topic 232: Sun Wukong(Li Yuan)<br />
#Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]<br />
#Topic 235: Bamboo Weaving(Chen Anqi)<br />
#Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)<br />
<br />
==Please enroll in ai platform==<br />
Please enroll (register) in the platform https://dcg.de/ai/<br />
<br />
=HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br />
劳动节5月1日——5月5日<br />
<br />
=Session 12 Tue May 06 10:00-11:40 room 613 - Student presentations=<br />
#Topic 238: Three Famous Chinese Mountains(Liu Chang)<br />
#Topic 239: Female emperor-Wu Zetian(女皇武则天)(Song Xin) [[Media:Wu Zetian.pptx]]<br />
#Topic 240: Clay sculpture (泥塑）(Chen Lin)[[Media:Clay Sculpture.pptx]]<br />
#Topic 242: Hunan Rice Noodles(Gong Wei)[[Media:Hunan Rice Noodles.pptx]]<br />
#Topic 244: Chinese Popular Memes(中国网络流行热梗）(Xiao Yikang)[[Media:Chinese popular Memes.pptx]] <br />
#Topic 245: Douzhi (豆汁)(Li Linyao)[[Media:Douzhi.pptx]]<br />
#Topic 246: New Year Wood-block Paintings(Du Yuan)<br />
#Topic 247: Carved lacquer（雕漆）(Liu Qi)[[Media:Carved lacquer.pptx]]<br />
#Topic 237: Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)(Li Zihan)<br />
<br />
==Regarding Wu Zetian‘s blank Steele==<br />
关于武则天的“无字碑”（又称“无字碑记”）为何没有刻字，学界和民间流传着几种主要的假设：<br />
#功过自有后人评说（最广为流传）：武则天希望后世自己来评价她的一生，不愿由自己或当时的人定论。这种说法强调了她的自信与超越常规。<br />
#避讳批评或争议：武则天是中国历史上唯一的女皇帝，争议颇多。她可能认为无论写什么内容都容易引发非议，因此选择不刻字以避免争议。<br />
#彰显佛教思想：她信奉佛教，而佛教讲究“空”与“无”，无字碑可能象征“空性”或“无常”，体现她的宗教哲学。<br />
#未来自我书写：也有人猜测她原计划晚年或死前再刻碑文，但去世后未及实现，遂留下空碑。<br />
#彰显权力与独特性：无字碑作为一种非同寻常的表达形式，也可视为权力和个性的象征，显示她与众不同的统治地位。<br />
<br />
⸻<br />
<br />
English Translation:<br />
<br />
There are several main hypotheses about why Wu Zetian’s stele (often called the “Wordless Stele”) bears no inscription:<br />
#“Let future generations judge” (most popular view): Wu Zetian may have wanted her life and legacy to be judged by later generations rather than writing her own praise. This interpretation highlights her confidence and forward-thinking.<br />
#To avoid criticism or controversy: As the only female emperor in Chinese history, Wu Zetian was a controversial figure. She may have felt that any written content could provoke criticism, so she left it blank.<br />
#Reflecting Buddhist philosophy: A devout Buddhist, she may have chosen to leave the stele blank as a symbol of “emptiness” or impermanence, ideas central to Buddhist thought.<br />
#Intended to write later: Some believe she planned to inscribe it later in life but passed away before doing so, leaving the monument unfinished.<br />
#Symbol of power and uniqueness: A blank stele could also serve as a unique and powerful statement, emphasizing her exceptional status and breaking with traditional forms.<br />
<br />
=Session 13 Fri May 09 14:30-16:10 room 613 - Student presentations=<br />
#Topic 248: Jing Gang Mountain (井冈山）(Yu Jingfang) [[Media:Jing_Gang_Mountain_Spring_2025.pptx]]<br />
#Topic 251: Rice noodle roll (Li Mingfeng)[[Media:Rice_Noodle_Roll.pptx]]<br />
#Topic 252: Traditional Cuisine: Northeastern Chinese Cuisine (Liu Shutian)<br />
#Topic 253: Yuelu Mountain (Chen Ting)<br />
#Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional Crafts Tie-Dye.pptx]]<br />
#Topic 255: Chinese-style sun protection (Zhao Yashi)<br />
#Topic 256: Danmu（弹幕）(Zhou Le)[[Media:Danmu.pptx]]<br />
#Topic 259: Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua (Zhou Tianyi)<br />
#Topic 214: Luban China's inventor (Cai Yichun)<br />
<br />
=Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br />
#Topic 262: The Four Pillars of Destiny(Li Jiayi)<br />
#Topic 263: Shaolin Temple(Zuo Fang)<br />
#Topic 265: Cuisine: Changde spicy salted duck(Xing Xueqing)<br />
#15:25-15:30 Topic 266: Hui Culture (徽文化)(Liu Jianan)[[Media:Hui Culture.pptx]]<br />
#15:30- Topic 267: Ma Zu Culture (妈祖文化)(Yan Jidong)[[Media:Mazu culture.pptx]]<br />
#15:35- Topic 268: Table manner(Luo Yan)<br />
#15:40- Topic 270: Yinge Dance(Jiang Xinyue)<br />
#15:45- Topic 271: Palace Lantern(Shao Keyuan)<br />
#15:50- Topic 272: Chinese Endearing Terms(Zeng Zhi)[[Media:Chinese Endearing Terms.pptx]]<br />
<br />
15:55-16:10 Check final exam paper topics<br />
<br />
=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=<br />
#Topic 273: Changsha Stinky Tofu（长沙臭豆腐）(Luo Sicheng)<br />
#<nowiki>Topic 274:</nowiki> God of wealth(Liu Ying)<br />
#Topic 275: Zhua zhou (抓周）(Zeng Xiaohui)<br />
#Topic 276: Nail art(Luo Jiaxin)[[Media:Nail_Art.pptx]]<br />
#Topic 277: Mirror(Cheng Sixiang)<br />
#Topic 278: The Beef Board Noodles(Yan Xiang)<br />
#Topic 279: Huo Qubing(Luo Jingyan)<br />
#Topic 280: Chinese Courtyard Houses（中国四合院）(Guo Cili)[[Media:Chinese Courtyard Houses-Guo Cili.pptx]]<br />
#Topic 281: yangqin(Dai Yexun)<br />
<br />
=Session 15b=<br />
#Topic 282: Black Myth: Wukong(Chen Zhen)<br />
#Topic 283: Guangdong Morning Tea Culture(Yuan Xiaolin)<br />
#Topic 283: Guangdong Morning Tea Culture （广东早茶文化）(Zheng Jinlian)[[Media:Guangdong Morning Tea Culture-Zheng Jinlian.pptx]]<br />
#Topic:(Luo Guoqiang)<br />
=Session 16 Fri Jun 6 14:30-16:10 room 613 - Final Exam=<br />
==Grading Criteria for Powerpoint Presentations==<br />
#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?<br />
#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?)<br />
#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)?<br />
#Was the presentation appropriate to the topic?<br />
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?<br />
#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?<br />
#Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?<br />
#Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?<br />
#Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?<br />
#Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?<br />
#Did you present your ppt file in the full screen mode?<br />
#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?<br />
#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.?<br />
<br />
==How to write your final exam paper?==<br />
Just write it like the other chapters in the textbook on your personal wiki homepage beneath the learning progress diary until <span style="color:red"><br />
'''June 20, 2025 (deadline)'''.<br />
<br />
About 1000 words in English, followed by a Chinese translation (no machine translation). You can also write in Chinese and translate into English. Both texts need to be like the other papers in the textbook.<br />
<br />
===Sections===<br />
Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.<br />
<br />
The AI statement should look like this:<br />
<br />
I hereby guarantee that I have not used the help of AI to write my final paper in this course.<br />
<br />
or, if you actually use AI<br />
<br />
<span style="color:red">'''How about letting AI write for me?'''<br />
<br />
Your AI statement in the References section needs to look like this:<br />
<br />
To help me to write my final paper, I have used the following AI chatbot: ... I have prompted the chatbot with the following prompt: "..." I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: "...." or manually correcting the following references: ... Written the following passage new: ...).<br />
<br />
If you use AI, not your paper will be graded, but your prompt and adjustments<br />
<br />
===References===<br />
*Please add the sources in the form "(Wang 2020, 445)" behind each paragraph and with a long entry in the References section.<br />
*In the References section, please add at least 1-2 Western sources. It is always good to relate the Chinese tradition to similar traditions in other countries.<br />
*In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.<br />
<br />
===Formatting===<br />
*Please also add free lines at places where you want to have a line break, e.g. after a header.</span><br />
<br />
<br />
== '''南岳衡山：多元文化交融的圣地''' ==<br />
<br />
<br />
<br />
== '''一、五岳独秀：自然与人文并重的名山''' ==<br />
<br />
南岳衡山作为中华五岳之一，不仅以其秀丽的自然风光闻名，更是一座承载着丰富文化内涵的"文明奥区"。这座位于湖南省衡阳市南岳区的名山，自古就有"五岳独秀"、"中华寿岳"、"宗教圣地"等美誉，其文化积淀之深厚、类型之多元，在中国山岳文化中独树一帜。<br />
<br />
== '''二、帝王祭祀：国家礼制的千年传承''' ==<br />
<br />
历史渊源与帝王祭祀文化可以追溯至上古时期。据《周礼·虞书》记载，舜帝"五月南巡狩，至于南岳"，开启了帝王祭祀衡山的传统。黄帝、尧、舜、禹等远古帝王均曾登临祭拜，历代帝王或亲临或遣使祭祀达120余次。这种悠久的祭祀传统使衡山成为"中国南方唯一一座最古老的人文始祖的祭祀山"。康熙皇帝在《重修南岳庙碑记》中钦定衡山为"主寿之山"，进一步确立了其作为国家祭祀圣地的地位。<br />
<br />
== '''三、道教圣地：洞天福地与神仙信仰''' ==<br />
<br />
道教文化在南岳衡山有着深厚根基。作为道教"三十六洞天、七十二福地"中的第三洞天——朱陵洞天，衡山被视为连接尘世与仙界的通道。自东汉起，张道陵、魏华存(南岳夫人)、司马承祯等著名道士在此修行，形成了独特的道教传统。黄庭观相传为魏夫人升天之地，是《黄庭经》的发源地，在道教史上地位崇高。宋真宗时期，南岳道教达到鼎盛，庙宇建筑仿皇宫规制，显示了其作为道教圣地的崇高地位。<br />
<br />
== '''四、佛教祖庭：禅宗五叶的兴盛之地''' ==<br />
<br />
佛教文化同样在衡山蓬勃发展，形成了"五叶流芳"的盛况。自南北朝起，佛教传入南岳，禅宗五大支派中的曹洞宗、临济宗、云门宗、伪仰宗、法眼宗均源于此。南台寺作为曹洞宗祖庭，其影响远播日本，拥有800万信徒。福严寺被誉为"南山第一古刹"，是佛教禅宗的重要道场。这种佛道共存的宗教格局，使衡山成为研究中国宗教融合的典型案例。<br />
<br />
== '''五、寿岳文化：轸星信仰与长寿象征''' ==<br />
<br />
独特的"寿文化"是南岳衡山最具特色的文化符号。据《星经》记载，衡山对应二十八宿之轸星，"轸星主管人间苍生寿命"，故有"寿岳"之称。宋徽宗在南岳金简峰御题"寿岳"石刻，康熙皇帝也多次强调衡山作为"寿岳"的地位。这一文化在当代得到延续，如万寿广场上的中华万寿大鼎，高9.9米，重56吨，铸有10000个不同字体的"寿"字，象征着中华民族的团结与长寿愿望。<br />
<br />
== '''六、书院文化：湖湘学派的发源地''' ==<br />
<br />
书院文化与湖湘学派的发展也与衡山密切相关。晚清曾国藩曾赞叹："天下书院，楚为盛；楚之书院，衡为盛"。宋代胡安国父子及其弟子朱熹、张栻在南岳建春秋楼，讲经论学，开创了独树一帜的湖湘学派。这种"经世致用"的学术传统，对湖南乃至中国的思想文化发展产生了深远影响。<br />
<br />
== '''七、抗战精神：忠烈祠与民族记忆''' ==<br />
<br />
抗战文化是衡山近代史上的重要篇章。南岳忠烈祠建于1938-1943年，是中国大陆唯一一座纪念国民党抗日阵亡将士的大型烈士陵园。周恩来、叶剑英曾在此举办游击干部培训班，体现了国共合作抗战的历史。这种抗战记忆，使衡山成为中华民族团结御侮的精神象征。<br />
<br />
== '''八、三教共存：宗教和谐的独特典范''' ==<br />
<br />
南岳衡山文化的多元性还体现在其"三教共存"的独特现象上。南岳大庙作为"江南第一庙"，中轴线上是儒家建筑风格，东边为八个道观，西边为八个佛寺，这种儒、道、佛三教共存一庙的格局，"在全国乃至全世界都是绝无仅有的"。这种宗教和谐共处的模式，对于当代宗教对话与文明互鉴具有重要启示意义。<br />
<br />
== '''结语：多元文化交融的现代意义''' ==<br />
<br />
南岳衡山的文化价值不仅在于其丰富的历史遗存，更在于这些文化元素之间的互动与融合。从上古祭祀到儒释道三教共荣，从学术思想到抗战精神，衡山见证了中华文化的连续性与包容性。这种多元文化和谐共生的模式，在当今全球化与文明冲突的背景下，尤其值得深入研究和借鉴。<br />
<br />
'''术语和表达'''<br />
== Headline text ==<br />
<br />
文明奥区(Civilization Core Area) - 指南岳衡山作为中华文明重要发源地和多元文化汇聚之地的特殊地位。<br />
五叶流芳(Five Flourishing Branches) - 指禅宗在南岳衡山发展出的五个主要流派(曹洞宗、临济宗、云门宗、伪仰宗、法眼宗)的繁荣景象。<br />
朱陵洞天 (Zhuling Grotto-Heaven) - 道教三十六小洞天中的第三洞天，位于南岳衡山，被认为是仙人居住的仙境。<br />
寿岳(Mountain of Longevity) - 南岳衡山的别称，源自其对应轸星，主管人间寿命的星象信仰。<br />
三教共存(Coexistence of Three Teachings) - 指南岳大庙中儒、道、佛三教和谐共处的独特宗教文化现象。<br />
湖湘学派(Huxiang School of Thought) - 宋代由胡安国父子及其弟子朱熹、张栻在南岳衡山开创的学术流派，强调"经世致用"。<br />
南岳夫人(Lady of Southern Peak) - 指魏晋时期著名女道士魏华存，因其在南岳衡山修行并传播《黄庭经》而获此尊称。<br />
香火文化(Incense Culture) - 指南岳衡山悠久的进香朝拜传统，每年吸引数百万香客前来。<br />
摩崖石刻(Cliff Inscriptions) - 雕刻在山崖岩石上的文字或图像，南岳衡山保存有大量历代摩崖石刻，如"寿岳"题刻等。<br />
星野理论(Theory of Astrological Correspondence) - 中国古代将星空分野与地理区域相对应的观念，认为衡山对应轸星，故主寿。<br />
<br />
'''问题'''<br />
== Headline text ==<br />
<br />
<br />
'''I. The Most Scenic of the Five Sacred Mountains: A Blend of Nature and Culture''' <br />
== Headline text ==<br />
<br />
Mount Heng (Nanyue), one of China's Five Sacred Mountains, is renowned not only for its breathtaking natural scenery but also as a "Civilization Core Area" rich in cultural heritage. Located in the Nanyue District of Hengyang City, Hunan Province, it has long been celebrated as "the Most Scenic of the Five Sacred Mountains," "the Mountain of Longevity," and a "Sacred Religious Site." Its profound and diverse cultural legacy makes it unique among China's mountain cultures. <br />
<br />
'''II. Imperial Worship: A Millennium-Old Tradition of State Rituals''' <br />
== Headline text ==<br />
<br />
The history of imperial worship at Mount Heng dates back to ancient times. According to *The Book of Rites·Yu Shu*, Emperor Shun "traveled south in the fifth month and reached Nanyue," initiating the tradition of imperial sacrifices at Mount Heng. Legendary rulers such as the Yellow Emperor, Yao, Shun, and Yu all performed rituals here, and subsequent emperors either personally visited or sent envoys to conduct ceremonies over 120 times. This enduring tradition has made Mount Heng "the only ancient mountain in southern China dedicated to the worship of cultural ancestors." Emperor Kangxi further solidified its status as a national sacred site by declaring it the "Mountain of Longevity" in his *Stele Inscription on the Reconstruction of Nanyue Temple*. <br />
<br />
<br />
'''III. A Taoist Sanctuary: Grotto-Heavens and Immortal Beliefs'''<br />
== Headline text ==<br />
<br />
Taoism has deep roots at Mount Heng. Recognized as the third of Taoism’s "Thirty-Six Grotto-Heavens"—the Zhuling Grotto-Heaven—it is considered a gateway between the mortal world and the divine. Since the Eastern Han Dynasty, renowned Taoist masters such as Zhang Daoling, Lady Wei Huacun (the Lady of Southern Peak), and Sima Chengzhen have practiced here, establishing a distinctive Taoist tradition. The Huangting Temple, where Lady Wei is said to have ascended to immortality, is the birthplace of the *Huangting Jing* (Yellow Court Scripture) and holds a revered place in Taoist history. During Emperor Zhenzong’s reign in the Song Dynasty, Nanyue Taoism reached its zenith, with temple architecture mirroring imperial palaces, reflecting its sacred status. <br />
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'''IV. A Buddhist Patriarchal Seat: The Flourishing of Chan Buddhism’s Five Branches''' <br />
== Headline text ==<br />
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Buddhism also thrived at Mount Heng, giving rise to the "Five Flourishing Branches" of Chan Buddhism. Since the Northern and Southern Dynasties, Buddhism spread to Nanyue, where all five major Chan sects—Caodong, Linji, Yunmen, Weiyang, and Fayan—originated. The Nantai Temple, the ancestral seat of the Caodong School, has influenced Japanese Zen Buddhism, boasting eight million followers. The Fuyan Temple, hailed as "the First Ancient Temple of the Southern Mountain," remains a vital center of Chan practice. This coexistence of Buddhism and Taoism makes Mount Heng a prime case study in Chinese religious syncretism. <br />
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'''V. The Culture of Longevity: Astral Beliefs and Symbolic Meaning''' <br />
== Headline text ==<br />
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Mount Heng’s most distinctive cultural feature is its "Longevity Culture." According to *The Classic of Stars*, Mount Heng corresponds to the Zhen constellation, which governs human lifespan, earning it the title "Mountain of Longevity." Emperor Huizong of the Song Dynasty inscribed "Shou Yue" (Mountain of Longevity) on the Jinjian Peak, while Emperor Kangxi repeatedly affirmed this designation. This tradition continues today, exemplified by the "Chinese Longevity Tripod" in Wanshou Square—standing 9.9 meters tall, weighing 56 tons, and engraved with 10,000 variations of the character "寿" (longevity)—symbolizing national unity and the wish for long life. <br />
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'''VI. Academy Culture: The Cradle of the Huxiang School''' <br />
== Headline text ==<br />
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Mount Heng played a pivotal role in the development of academy culture and the Huxiang School. Zeng Guofan of the late Qing Dynasty once praised: "Among academies in the world, those in Chu (Hunan) are the greatest; among those in Chu, the ones in Heng are the finest." During the Song Dynasty, Hu Anguo and his disciples, including Zhu Xi and Zhang Shi, established the Chunqiu Tower at Nanyue, where they lectured and developed the pragmatic Huxiang School. This intellectual tradition profoundly influenced Hunanese and broader Chinese thought. <br />
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'''VII. The Spirit of Resistance: Martyrs’ Shrine and National Memory''' <br />
== Headline text ==<br />
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The legacy of the Anti-Japanese War is a significant chapter in Mount Heng’s modern history. The Nanyue Martyrs’ Shrine, built between 1938 and 1943, is mainland China’s only large-scale memorial dedicated to Kuomintang soldiers who died in the war. Zhou Enlai and Ye Jianying once organized guerrilla training courses here, reflecting the wartime cooperation between the Communists and Nationalists. This memory of resistance has made Mount Heng a symbol of national unity. <br />
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'''VIII. The Coexistence of Three Teachings: A Model of Religious Harmony''' <br />
== Headline text ==<br />
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Mount Heng’s multiculturalism is further exemplified by the unique phenomenon of "Three Teachings in One Temple." The Grand Temple of Nanyue, known as the "First Temple South of the Yangtze," features Confucian-style architecture along its central axis, flanked by eight Taoist temples on the east and eight Buddhist monasteries on the west. This arrangement—where Confucianism, Taoism, and Buddhism coexist within a single complex—is "unparalleled in China and perhaps the world." This model of religious harmony offers valuable insights for contemporary interfaith dialogue. <br />
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'''IX. Conclusion: The Modern Significance of Multicultural Integration''' <br />
== Headline text ==<br />
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Mount Heng’s cultural value lies not only in its historical relics but also in the dynamic interplay between its diverse elements. From ancient worship to the harmonious blending of Confucianism, Taoism, and Buddhism, from scholarly traditions to wartime resilience, Mount Heng embodies the continuity and inclusiveness of Chinese culture. In an era of globalization and cultural clashes, its model of multicultural coexistence remains highly relevant for study and inspiration. <br />
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'''Key Terms and Expressions''' <br />
== Headline text ==<br />
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Civilization Core Area – Refers to Mount Heng’s status as a cradle of Chinese civilization and a convergence point of diverse cultures. <br />
Five Flourishing Branches – The five major Chan Buddhist sects (Caodong, Linji, Yunmen, Weiyang, Fayan) that thrived at Mount Heng. <br />
Zhuling Grotto-Heaven – The third of Taoism’s Thirty-Six Grotto-Heavens, believed to be an abode of immortals. <br />
Mountain of Longevity – Mount Heng’s alternate name, derived from its astrological association with the life-governing Zhen constellation. <br />
Coexistence of Three Teachings – The harmonious integration of Confucianism, Taoism, and Buddhism within the Grand Temple of Nanyue. <br />
Huxiang School of Thought – A Song Dynasty intellectual movement emphasizing practical governance, founded by Hu Anguo and developed by Zhu Xi and Zhang Shi. <br />
Lady of Southern Peak – The Taoist master Wei Huacun, revered for her spiritual achievements at Mount Heng and her transmission of the *Huangting Jing*. <br />
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'''Additional Terms''' <br />
== Headline text ==<br />
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- Incense Culture – The long-standing tradition of pilgrimage and worship at Mount Heng, attracting millions annually. <br />
- Cliff Inscriptions – Ancient carvings on rock faces, such as the "Shou Yue" inscription. <br />
- Theory of Astrological Correspondence – The ancient Chinese belief linking celestial regions to terrestrial geography, associating Mount Heng with longevity. <br />
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'''Discussion Questions''' <br />
== Headline text ==<br />
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1. How did Mount Heng’s "Longevity Culture" evolve from astrological beliefs into a widely shared cultural symbol? What characterizes its modern adaptation? <br />
2. What does the spatial arrangement of the "Three Teachings in One Temple" reveal about religious interaction? How might this model inform contemporary interfaith dialogue? <br />
3. As a birthplace of the Huxiang School, how did Mount Heng contribute to shaping Hunan’s regional cultural identity? <br />
4. How have different political forces remembered and interpreted Mount Heng’s wartime heritage (e.g., the Martyrs’ Shrine)? What does this politicized memory reflect? <br />
5. How do Mount Heng’s ecological features (e.g., its "natural oxygen bar") and cultural beliefs reinforce each other, forming a unique "eco-cultural" system?<br />
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[[Chin_Lang_Cult_Fin_Exam_Spring_2025]]<br />
Liuyang Fireworks <br />
“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.<br />
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 rudiments 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.<br />
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.<br />
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.<br />
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.<br />
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.<br />
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浏阳烟花<br />
“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。<br />
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。<br />
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。<br />
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。<br />
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。<br />
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。</div>Liu Peihttps://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=168069Chinese Language and Culture, Spring 20252025-06-05T16:30:48Z<p>Liu Pei: /* Please write your paper here */</p>
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<div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br />
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=Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br />
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==What we learn in this class==<br />
*We learn about Chinese culture from international, especially Western perspective. <br />
*We learn about cultural phenomena, traditional Chinese culture.<br />
*We learn English and Chinese terminology in the area of Chinese culture.<br />
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br />
*We learn how to determine the location and role of Chinese culture within global culture.<br />
*We learn basics of theories and models of intercultural communication and comparison.<br />
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br />
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br />
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==Students' contribution==<br />
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br />
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br />
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI<br />
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==Textbook==<br />
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br />
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==Agreement on use of classroom time==<br />
Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br />
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==Homework for every session==<br />
Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br />
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==Teacher presentation: Introduction to Culture==<br />
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br />
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==Homework for Session 2==<br />
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation"). <br />
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Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br />
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1. Geographic Nature as a Basis for Cultural Development 17<br />
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2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br />
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3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br />
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4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br />
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5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br />
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6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br />
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7. Animals: Panda 71 <br />
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8. Architecture 78<br />
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9. Architecture: The Forbidden City 89<br />
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10. Architecture: Four Famous Bridges 102<br />
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11. Architecture: Four Great Pavilions 113<br />
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12. Architecture: Shengjing Imperial Palace 124<br />
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13. Architecture: Three Great Towers in China 131<br />
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14. Architecture: Fengshui in Chinese Architecture 145 <br />
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15. Army and weapons: Chinese Ancient Weapons 154<br />
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16. Army and weapons: Terracotta Army 163<br />
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17. Astrology: Chinese Astrology 170<br />
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18. Astrology: Calendar, The 24 Solar Terms 178<br />
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19. Astrology: Twelve Animals of the Chinese Zodiac 188<br />
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20. Beverages: Milk Tea 197<br />
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21. Beverages: Tea 203 (Zhang Mai)<br />
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22. Beverages: The Liquor Culture of Ancient China 209<br />
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23. Body movement performance: Chinese Lion Dancing 218<br />
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24. Body movement performance: Stilts 223<br />
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25. Body movement performance: Traditional Chinese Dance 230<br />
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26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br />
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27. Chinese Writing: Calligraphy 246 (Tang Yan)<br />
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28. Chinese Writing: The Evolution of Calligraphy 252<br />
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29. Chinese Writing: Chinese Characters 262<br />
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30. Chinese Writing: Chinese Characters and Scripts 276<br />
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31. Clothing: Chinese Clothing 283<br />
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32. Clothing: Batik (Lanran) 291<br />
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33. Clothing: Cheongsam 301 <br />
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34. Confucianism: Confucian Culture 309 <br />
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35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br />
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36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br />
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37. Confucianism: Classical Philosophy - Reading The Analects 339 <br />
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38. Education: Ancient Chinese Education 350<br />
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39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br />
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40. Education: Modern Chinese Education System 371<br />
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41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br />
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42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br />
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43. Facial Make-up 406<br />
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44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br />
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45. Facial Make-up: Face Changing in Sichuan Opera 431<br />
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46. Fine Arts: Painting 440<br />
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47. Fine Arts: Bada Shanren and Qi Baishi 445<br />
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48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br />
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49. Fine Arts: Seal-cutting 459<br />
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50. Games: Go 围棋 462（Zhao Qi）<br />
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51. Games: Kite Flying 468<br />
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52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br />
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53. Garden Culture: Gardens 505<br />
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54. Garden Culture: Bonsai (Penjing) 511<br />
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55. Garden Culture: The Summer Palace 519（Li Mei）<br />
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56. Garden Culture: Qingming Riverside Landscspe Garden 526<br />
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57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br />
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58. History: Carl and Cixi 548<br />
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59. Interieur: The Folding Screen 552<br />
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60. Landscapes and Tourism: Four Buddhist Shrines 561<br />
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61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br />
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62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br />
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63. Landscapes and Tourism: Mogao Grottoes 593<br />
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64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br />
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65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br />
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66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br />
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67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br />
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68. Language: Chinese Language 649<br />
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69. Language: Chinese Dialects 660<br />
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70. Language: Chinese Folk Argot 669<br />
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71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br />
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72. Literature: Ancient literature - Chinese Mythology 688<br />
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73. Literature: Ancient literature - Classical Literature 699<br />
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74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br />
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75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br />
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76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br />
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77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br />
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78. Literature: Ancient literature: Yuefu 765<br />
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79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br />
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80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br />
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81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br />
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82. Literature: Premodern literature: Tang-Song 794<br />
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83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br />
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84. Literature: Modern Literature 832<br />
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85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br />
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86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br />
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87. Literature: Contemporary Literature 859<br />
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88. Martial Arts: Huo Yuanjia 865<br />
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89. Martial Arts: Qigong 868<br />
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90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br />
<br />
91. Martial Arts: Wushu 885<br />
<br />
92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br />
<br />
93. Medicine: Traditional Chinese Medicine (TCM) 900 <br />
<br />
94. Medicine: TCM - Acupuncture and Moxibustion 907<br />
<br />
95. Medicine: TCM - Diagnosis and Pharmacology 912<br />
<br />
96. Medicine: TCM - The Development of Chinese Medicine 917<br />
<br />
97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br />
<br />
98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br />
<br />
99. Minority cultures: The Ethnic Minorities’ Costumes 941<br />
<br />
100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br />
<br />
101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br />
<br />
102. Music and instruments: Guzheng 975<br />
<br />
103. Music and instruments: Pipa 986<br />
<br />
104. Mythology: Gods and Immortals 996<br />
<br />
105. Mythology: Huli-jing 1005<br />
<br />
106. National Symbols: National Anthem 1018<br />
<br />
107. National Symbols: National Flag 1026 （Liao Zuoyun）<br />
<br />
108. Opera: Peking Opera 1035<br />
<br />
109. Opera: Peking Opera Acrobatics 1043<br />
<br />
110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br />
<br />
111. Opera: Tea-picking Opera 1055<br />
<br />
112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br />
<br />
113. Philosophical Schools: Four Main Philosophical Schools 1076<br />
<br />
114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br />
<br />
115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br />
<br />
116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br />
<br />
117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br />
<br />
118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br />
<br />
119. Philosophy: Chinese Traditional Cultivation Culture 1129<br />
<br />
120. Religion: Traditional Chinese Funeral Culture 1141<br />
<br />
121. Religion: Buddhism 1155<br />
<br />
122. Religion: Daoism 1170<br />
<br />
123. Religion: Christianity 1175<br />
<br />
124. Religion: Islam 1181<br />
<br />
125. Science and Technology: Ancient Science and Technology 1185<br />
<br />
126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br />
<br />
127. Science and Technology: Compass 1217<br />
<br />
128. Science and Technology: TikTok (Douyin) 1226<br />
<br />
129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br />
<br />
130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br />
<br />
131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br />
<br />
132. Silk and porcelain: Porcelain 1277<br />
<br />
133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br />
<br />
134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br />
<br />
135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br />
<br />
136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br />
<br />
137. Social: The Long-life Lock 1308<br />
<br />
138. Social: Round Table Culture 1317 (Wu Jiating)<br />
<br />
139. Stage entertainment: Crosstalk 相声 1325<br />
<br />
140. Stage entertainment: Shadow Play 1332<br />
<br />
141. Traditional Crafts: Carving 1340<br />
<br />
142. Traditional Crafts: Chinese Jade Culture 1348<br />
<br />
143. Traditional Crafts: Cloisonne 1363 <br />
<br />
144. Traditional Crafts: Embroidery 1369<br />
<br />
145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br />
<br />
146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br />
<br />
147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br />
<br />
148. Traditional Crafts: Handcraft - Chinese Knots 1409<br />
<br />
149. Traditional Crafts: Lacquerware 1418<br />
<br />
150. Traditional Crafts: The Kingfisher Craft点翠 1423<br />
<br />
151. Traditional Cuisine: Chinese Dining Etiquette 1436<br />
<br />
152. Traditional Cuisine: Chopsticks 1450<br />
<br />
153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br />
<br />
154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br />
<br />
155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br />
<br />
<br />
156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br />
<br />
157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br />
<br />
158. Traditional Cuisine: The Art of Chinese Cooking 1508<br />
<br />
159. Traditional Cuisine: Two Famous Dishes 1514<br />
<br />
160. Traditional Festivals 1518……<br />
<br />
161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br />
<br />
162. Traditional Festivals: Spring Festival Couplets 1538<br />
<br />
163. Westernization: The Eastward Spread of Western Learning 1544<br />
<br />
164. Westernization: The Westernization Movement 1550<br />
<br />
165. Worship: Chinese Incense Culture 1558 (She Xiao)<br />
<br />
166. Economy: Chinese Currency Changes 1569<br />
<br />
167. History: Wang Shouren 1573 Lv Jiahao<br />
<br />
168. Martial Arts: Chinese Swordsman Spirit 1582<br />
<br />
169. Cuisine: Luosifen 1593 （Chen Sisi)<br />
<br />
170. Fine Arts: Chinese Paper Cutting 1601 <br />
<br />
171. Science and Technology: Taobao(淘宝) 1611<br />
<br />
172. Traditional Craft: Bronze 1623<br />
<br />
173. Entertainment: Deyunshe 德云社 1631<br />
<br />
174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br />
<br />
175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br />
<br />
176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br />
<br />
177. stage entertainment:Yuan drama 1676<br />
<br />
178. Music and instruments: Erhu 1685<br />
<br />
179. Traditional and Modern Views on Marriage and Love 1694 (Liu Yunxi)<br />
<br />
180. Traditional Cuisine: Tangyuan 1701<br />
<br />
181. Animals：Golden Monkey 1712（Xiao Yawen）<br />
<br />
182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br />
<br />
183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br />
<br />
184. The Chinese tradition of ancestor worship 1740<br />
<br />
185. Opera: Huangmei opera 1752 （Chu Hanqi）<br />
<br />
186. The “reference” of Chinese Music 1759<br />
<br />
187. Chinese Folk Art:Lion Dance 1767<br />
<br />
188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br />
<br />
189. Clothing: Vintage Clothing 1790<br />
<br />
190. Fine arts:Kunqu Opera 1798<br />
<br />
191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br />
<br />
192. National Belief: the Chinese Dream 1818<br />
<br />
193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
<br />
194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br />
<br />
195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br />
<br />
196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br />
<br />
198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br />
<br />
199. Traditional Crafts: Dough Sculpture 面塑 1845<br />
<br />
200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br />
<br />
201. The culture of Grass cloth 夏布 1845 <br />
<br />
202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br />
<br />
203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br />
<br />
204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
<br />
205. Bride-price（彩礼） 1845 <br />
<br />
206. Chinese science fiction movies 中国科幻片 1845<br />
<br />
207. Shandong cuisine鲁菜 1845(Lu Wei)<br />
<br />
208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)<br />
<br />
209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br />
<br />
210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br />
<br />
211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br />
<br />
212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br />
<br />
213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br />
<br />
214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845 (Cai Yichun)<br />
<br />
215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br />
<br />
216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br />
<br />
217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br />
<br />
218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br />
<br />
219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br />
<br />
220. Rice cake (年糕) 1845 （Dong Jiating）<br />
<br />
221. Zhongyuan festival 1845 （Ou Huang）<br />
<br />
222. Dulong: Facial tattoo (独龙族：纹面) 1845<br />
<br />
223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br />
<br />
224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br />
<br />
225. "Cun Chao": China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br />
<br />
226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br />
<br />
227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)<br />
<br />
228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br />
<br />
229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br />
<br />
230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br />
<br />
231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br />
<br />
232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br />
<br />
233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br />
<br />
234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br />
<br />
235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br />
<br />
236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br />
<br />
237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br />
<br />
238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br />
<br />
239. Female Emperor---Wu Zetian 1845 (Song Xin)<br />
<br />
240. Clay sculpture (泥塑） 1845 (Chen Lin)<br />
<br />
241. Abacus (中国珠算） 1845<br />
<br />
242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br />
<br />
243. Chinese name（中国姓名文化） 1845 <br />
<br />
244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br />
<br />
245. Douzhi (豆汁) 1845(Li Linyao) <br />
<br />
246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br />
<br />
247. Carved lacquer（雕漆） 1845 （Liu Qi）<br />
<br />
248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br />
<br />
249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br />
<br />
250. Language: Hakka Dialect（客家话） 1845<br />
<br />
251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br />
<br />
252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br />
<br />
253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br />
<br />
254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br />
<br />
255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br />
<br />
256. Danmu (弹幕） 1845 (Zhou Le)<br />
<br />
257. Yangshao Culture（仰韶文化） 1845<br />
<br />
258. Indigo Dyeing (蓝染) 1845<br />
<br />
259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br />
<br />
<br />
260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br />
<br />
261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br />
<br />
262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br />
<br />
263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br />
<br />
264. Single bamboo drifting（独竹漂） 1845<br />
<br />
265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br />
<br />
266. Hui Culture (徽文化) 1845(Liu Jianan)<br />
<br />
267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br />
<br />
268. Table Manners 1845（Luo Yan）<br />
<br />
269. Music of the Mongol nationality (蒙古族音乐) 1845<br />
<br />
270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br />
<br />
271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br />
<br />
272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br />
<br />
273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br />
<br />
274. God of Wealth(财神) 1845 <br />
<br />
275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br />
<br />
276. Nail art（美甲） 1845 （Luo Jiaxin）<br />
<br />
277. Mirror (镜子) 1845 (Cheng Sixiang) <br />
<br />
278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br />
<br />
279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br />
<br />
280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br />
<br />
281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br />
<br />
282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br />
<br />
283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br />
<br />
=Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br />
==Teacher presentation: Introduction to Culture==<br />
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
==Topics for today==<br />
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br />
<br />
You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br />
<br />
Please remember that you have to indicate the 10 topics for Friday on the course website under "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.<br />
<br />
27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br />
<br />
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br />
<br />
55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br />
<br />
76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br />
<br />
85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br />
<br />
Tea Latte Art (Xiang Jianning)<br />
<br />
Topic 7<br />
<br />
Topic 8<br />
<br />
Topic 9<br />
<br />
Topic 10<br />
<br />
=Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br />
==Presentations==<br />
1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br />
<br />
2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br />
<br />
3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br />
<br />
4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br />
<br />
5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br />
<br />
6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br />
<br />
7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br />
<br />
==Notes on presentations==<br />
Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br />
<br />
1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. "Black tea" (in English all "hong cha" is called "black tea"), British tea culture (add milk)<br />
<br />
2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br />
<br />
3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br />
<br />
4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br />
<br />
5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br />
<br />
6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br />
<br />
7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br />
<br />
==Student grades: 平时成绩/签到==<br />
<br />
<br />
75/103 students, 24级 MA翻译, class representative: Zhang Jiaxin<br />
# Jin Yichen <br />
# lu jiahui <br />
# li yuan<br />
# cao yuan<br />
# xiao luyu<br />
# zhang jiaxin +5<br />
# ye sitong<br />
# zhao yashi<br />
# jiang xinyue<br />
# yan xiang<br />
# fei xinyu <br />
# zhang qi<br />
# dai shiru<br />
# zhang zixi<br />
# zheng kaiwu<br />
# cai yichun<br />
# yang jing<br />
# liao dan<br />
# luo yan<br />
# qin yi<br />
# shao keyuan<br />
# cao chunyang<br />
# xu yangyang<br />
# liao zuoyun<br />
# cheng sixiang<br />
# du jiangping<br />
# liu qi<br />
# miao yunlong<br />
# huang qiaoqiao<br />
# chen lin<br />
# duan binyao<br />
# li ting<br />
# zeng zhi<br />
# xing xueqing<br />
# luo jingyan<br />
# liu shutian<br />
# gao xiaoqing<br />
# chen zhen<br />
# luo guoqiang -1-1-1<br />
# she xiao <br />
# he yunfeng <br />
# liu ying<br />
# du yuan <br />
# li jiayi <br />
# tao yao <br />
# xu xinwen <br />
# ou huang <br />
# liu peini<br />
# jiang ziqiang<br />
# zhang huifang<br />
# liu chao<br />
# liu yunxi <br />
# luo jiaxin<br />
# li mei<br />
# zeng xiaohui<br />
# huang yixuan<br />
# chen anqi<br />
# chen ting<br />
# zhang mai<br />
# yuan xiaolin -1-1<br />
# li mingfeng<br />
# dai yexun-1-1<br />
# yang pei -1<br />
# tang yan<br />
# xiang jianning-1<br />
# liu chang -1<br />
# wang yuxin<br />
# lv jiahao-1<br />
# dong jiating<br />
# lu wei<br />
# yang yue<br />
# guo cili<br />
# shen shuai<br />
# Ouyang yihong<br />
# li zihan -1<br />
# zuo fang<br />
# fu sihui<br />
# xiao zixin -1<br />
# zhou tianyi -1<br />
# qi zhiyang -1-1<br />
# liu pei <br />
# gong wei<br />
# chen sisi<br />
# huang sinan<br />
# xiao yikang<br />
# yu jingfang<br />
# luo sicheng<br />
# yang jiahong<br />
# yan jidong<br />
# xiao yawen<br />
# geng hongmei<br />
# zhou le<br />
# qiu ping<br />
# wang huaixing<br />
# wang xinyu<br />
# chu hanqi<br />
# wu jiating<br />
# zhang meiling<br />
# liu jianan<br />
# song xin<br />
# zhao qi<br />
# zheng jinlian<br />
# li linyao<br />
<br />
=Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br />
#Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]<br />
#Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]<br />
#Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br />
#Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br />
#Topic 182: Chinese Economy: rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]<br />
#Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin) [[Media:Tanghulu_Spring_2025.pptx]]<br />
#Topic 138: Social: Round Table Culture 1317 (Wu Jiating) [[Media:Round_Table_Culture_Spring_2025.pptx]]<br />
#Topic 174: Jiaozi (Liu Pei) [[Media:Dumplings_Spring_2025.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)<br />
<br />
=Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br />
#Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]<br />
#Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]<br />
# Topic 131: Silk and porcelain: Silk (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]<br />
# Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]<br />
# Topic 169: Cuisine: Luosifen 1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]<br />
# Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]<br />
# Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]<br />
# Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]<br />
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]<br />
<br />
=Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br />
<br />
#Topic 188:Mobile Games 手游 1783 （Du Jiangping）<br />
#Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br />
#Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
#Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]<br />
#Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]<br />
#Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]<br />
#Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）<br />
#Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
=HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br />
清明节4月4日——4月6日<br />
=Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=<br />
#Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）<br />
#Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]<br />
#Topic 181:Animals：Golden Monkey(Xiao Yawen)<br />
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
#Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
#Topic 220:Rice cake 年糕 (Dong Jiating)<br />
#Topic 208:Chinese traditional ornament: Buyao(Yang Jing)<br />
#Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]<br />
#Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]<br />
<br />
=Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br />
#Topic 213: Chinese Dreamcore (Zhang Zixi)<br />
#Topic 215: Live-streaming e-commerce (Tao Yao)[[Media:Live-Streaming E-Commerce.pptx]]<br />
#Topic 216: The Story of Ming Lan (Ye Sitong)[[Media:The Story of Minglan.pptx]]<br />
#Topic 218: Guangdong Herbal tea (Gao Xiaoqing)<br />
#Topic 219: Chinese traditional art form：Seal carving（篆刻） (Huang Qiaoqiao)[[Media:Seal carving.pptx]]<br />
#Topic 207: Shan Dong Cuisine (Lu Wei)<br />
#Topic 221: Zhongyuan Festival (Ou Huang)[[Media:The Zhongyuan Festival.pptx]]<br />
#Topic 223: The Return of the Pearl Princess (Lu Jiahui)[[Media:The Return of the Pearl Princess.pptx]]<br />
<br />
=Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br />
#Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)<br />
#Topic 225: Cun Chao": China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br />
#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]]<br />
#Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]<br />
#Topic 230: Gayageum（伽倻琴）(Zhang Meiling)<br />
#Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)<br />
#Topic 232: Sun Wukong(Li Yuan)<br />
#Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]<br />
#Topic 235: Bamboo Weaving(Chen Anqi)<br />
#Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)<br />
<br />
==Please enroll in ai platform==<br />
Please enroll (register) in the platform https://dcg.de/ai/<br />
<br />
=HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br />
劳动节5月1日——5月5日<br />
<br />
=Session 12 Tue May 06 10:00-11:40 room 613 - Student presentations=<br />
#Topic 238: Three Famous Chinese Mountains(Liu Chang)<br />
#Topic 239: Female emperor-Wu Zetian(女皇武则天)(Song Xin) [[Media:Wu Zetian.pptx]]<br />
#Topic 240: Clay sculpture (泥塑）(Chen Lin)[[Media:Clay Sculpture.pptx]]<br />
#Topic 242: Hunan Rice Noodles(Gong Wei)[[Media:Hunan Rice Noodles.pptx]]<br />
#Topic 244: Chinese Popular Memes(中国网络流行热梗）(Xiao Yikang)[[Media:Chinese popular Memes.pptx]] <br />
#Topic 245: Douzhi (豆汁)(Li Linyao)[[Media:Douzhi.pptx]]<br />
#Topic 246: New Year Wood-block Paintings(Du Yuan)<br />
#Topic 247: Carved lacquer（雕漆）(Liu Qi)[[Media:Carved lacquer.pptx]]<br />
#Topic 237: Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)(Li Zihan)<br />
<br />
==Regarding Wu Zetian‘s blank Steele==<br />
关于武则天的“无字碑”（又称“无字碑记”）为何没有刻字，学界和民间流传着几种主要的假设：<br />
#功过自有后人评说（最广为流传）：武则天希望后世自己来评价她的一生，不愿由自己或当时的人定论。这种说法强调了她的自信与超越常规。<br />
#避讳批评或争议：武则天是中国历史上唯一的女皇帝，争议颇多。她可能认为无论写什么内容都容易引发非议，因此选择不刻字以避免争议。<br />
#彰显佛教思想：她信奉佛教，而佛教讲究“空”与“无”，无字碑可能象征“空性”或“无常”，体现她的宗教哲学。<br />
#未来自我书写：也有人猜测她原计划晚年或死前再刻碑文，但去世后未及实现，遂留下空碑。<br />
#彰显权力与独特性：无字碑作为一种非同寻常的表达形式，也可视为权力和个性的象征，显示她与众不同的统治地位。<br />
<br />
⸻<br />
<br />
English Translation:<br />
<br />
There are several main hypotheses about why Wu Zetian’s stele (often called the “Wordless Stele”) bears no inscription:<br />
#“Let future generations judge” (most popular view): Wu Zetian may have wanted her life and legacy to be judged by later generations rather than writing her own praise. This interpretation highlights her confidence and forward-thinking.<br />
#To avoid criticism or controversy: As the only female emperor in Chinese history, Wu Zetian was a controversial figure. She may have felt that any written content could provoke criticism, so she left it blank.<br />
#Reflecting Buddhist philosophy: A devout Buddhist, she may have chosen to leave the stele blank as a symbol of “emptiness” or impermanence, ideas central to Buddhist thought.<br />
#Intended to write later: Some believe she planned to inscribe it later in life but passed away before doing so, leaving the monument unfinished.<br />
#Symbol of power and uniqueness: A blank stele could also serve as a unique and powerful statement, emphasizing her exceptional status and breaking with traditional forms.<br />
<br />
=Session 13 Fri May 09 14:30-16:10 room 613 - Student presentations=<br />
#Topic 248: Jing Gang Mountain (井冈山）(Yu Jingfang) [[Media:Jing_Gang_Mountain_Spring_2025.pptx]]<br />
#Topic 251: Rice noodle roll (Li Mingfeng)[[Media:Rice_Noodle_Roll.pptx]]<br />
#Topic 252: Traditional Cuisine: Northeastern Chinese Cuisine (Liu Shutian)<br />
#Topic 253: Yuelu Mountain (Chen Ting)<br />
#Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional Crafts Tie-Dye.pptx]]<br />
#Topic 255: Chinese-style sun protection (Zhao Yashi)<br />
#Topic 256: Danmu（弹幕）(Zhou Le)[[Media:Danmu.pptx]]<br />
#Topic 259: Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua (Zhou Tianyi)<br />
#Topic 214: Luban China's inventor (Cai Yichun)<br />
<br />
=Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br />
#Topic 262: The Four Pillars of Destiny(Li Jiayi)<br />
#Topic 263: Shaolin Temple(Zuo Fang)<br />
#Topic 265: Cuisine: Changde spicy salted duck(Xing Xueqing)<br />
#15:25-15:30 Topic 266: Hui Culture (徽文化)(Liu Jianan)[[Media:Hui Culture.pptx]]<br />
#15:30- Topic 267: Ma Zu Culture (妈祖文化)(Yan Jidong)[[Media:Mazu culture.pptx]]<br />
#15:35- Topic 268: Table manner(Luo Yan)<br />
#15:40- Topic 270: Yinge Dance(Jiang Xinyue)<br />
#15:45- Topic 271: Palace Lantern(Shao Keyuan)<br />
#15:50- Topic 272: Chinese Endearing Terms(Zeng Zhi)[[Media:Chinese Endearing Terms.pptx]]<br />
<br />
15:55-16:10 Check final exam paper topics<br />
<br />
=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=<br />
#Topic 273: Changsha Stinky Tofu（长沙臭豆腐）(Luo Sicheng)<br />
#<nowiki>Topic 274:</nowiki> God of wealth(Liu Ying)<br />
#Topic 275: Zhua zhou (抓周）(Zeng Xiaohui)<br />
#Topic 276: Nail art(Luo Jiaxin)[[Media:Nail_Art.pptx]]<br />
#Topic 277: Mirror(Cheng Sixiang)<br />
#Topic 278: The Beef Board Noodles(Yan Xiang)<br />
#Topic 279: Huo Qubing(Luo Jingyan)<br />
#Topic 280: Chinese Courtyard Houses（中国四合院）(Guo Cili)[[Media:Chinese Courtyard Houses-Guo Cili.pptx]]<br />
#Topic 281: yangqin(Dai Yexun)<br />
<br />
=Session 15b=<br />
#Topic 282: Black Myth: Wukong(Chen Zhen)<br />
#Topic 283: Guangdong Morning Tea Culture(Yuan Xiaolin)<br />
#Topic 283: Guangdong Morning Tea Culture （广东早茶文化）(Zheng Jinlian)[[Media:Guangdong Morning Tea Culture-Zheng Jinlian.pptx]]<br />
#Topic:(Luo Guoqiang)<br />
=Session 16 Fri Jun 6 14:30-16:10 room 613 - Final Exam=<br />
==Grading Criteria for Powerpoint Presentations==<br />
#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?<br />
#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?)<br />
#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)?<br />
#Was the presentation appropriate to the topic?<br />
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?<br />
#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?<br />
#Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?<br />
#Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?<br />
#Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?<br />
#Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?<br />
#Did you present your ppt file in the full screen mode?<br />
#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?<br />
#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.?<br />
<br />
==How to write your final exam paper?==<br />
Just write it like the other chapters in the textbook on your personal wiki homepage beneath the learning progress diary until <span style="color:red"><br />
'''June 20, 2025 (deadline)'''.<br />
<br />
About 1000 words in English, followed by a Chinese translation (no machine translation). You can also write in Chinese and translate into English. Both texts need to be like the other papers in the textbook.<br />
<br />
===Sections===<br />
Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.<br />
<br />
The AI statement should look like this:<br />
<br />
I hereby guarantee that I have not used the help of AI to write my final paper in this course.<br />
<br />
or, if you actually use AI<br />
<br />
<span style="color:red">'''How about letting AI write for me?'''<br />
<br />
Your AI statement in the References section needs to look like this:<br />
<br />
To help me to write my final paper, I have used the following AI chatbot: ... I have prompted the chatbot with the following prompt: "..." I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: "...." or manually correcting the following references: ... Written the following passage new: ...).<br />
<br />
If you use AI, not your paper will be graded, but your prompt and adjustments<br />
<br />
===References===<br />
*Please add the sources in the form "(Wang 2020, 445)" behind each paragraph and with a long entry in the References section.<br />
*In the References section, please add at least 1-2 Western sources. It is always good to relate the Chinese tradition to similar traditions in other countries.<br />
*In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.<br />
<br />
===Formatting===<br />
*Please also add free lines at places where you want to have a line break, e.g. after a header.</span><br />
<br />
<br />
== '''南岳衡山：多元文化交融的圣地''' ==<br />
<br />
<br />
<br />
== '''一、五岳独秀：自然与人文并重的名山''' ==<br />
<br />
南岳衡山作为中华五岳之一，不仅以其秀丽的自然风光闻名，更是一座承载着丰富文化内涵的"文明奥区"。这座位于湖南省衡阳市南岳区的名山，自古就有"五岳独秀"、"中华寿岳"、"宗教圣地"等美誉，其文化积淀之深厚、类型之多元，在中国山岳文化中独树一帜。<br />
<br />
== '''二、帝王祭祀：国家礼制的千年传承''' ==<br />
<br />
历史渊源与帝王祭祀文化可以追溯至上古时期。据《周礼·虞书》记载，舜帝"五月南巡狩，至于南岳"，开启了帝王祭祀衡山的传统。黄帝、尧、舜、禹等远古帝王均曾登临祭拜，历代帝王或亲临或遣使祭祀达120余次。这种悠久的祭祀传统使衡山成为"中国南方唯一一座最古老的人文始祖的祭祀山"。康熙皇帝在《重修南岳庙碑记》中钦定衡山为"主寿之山"，进一步确立了其作为国家祭祀圣地的地位。<br />
<br />
== '''三、道教圣地：洞天福地与神仙信仰''' ==<br />
<br />
道教文化在南岳衡山有着深厚根基。作为道教"三十六洞天、七十二福地"中的第三洞天——朱陵洞天，衡山被视为连接尘世与仙界的通道。自东汉起，张道陵、魏华存(南岳夫人)、司马承祯等著名道士在此修行，形成了独特的道教传统。黄庭观相传为魏夫人升天之地，是《黄庭经》的发源地，在道教史上地位崇高。宋真宗时期，南岳道教达到鼎盛，庙宇建筑仿皇宫规制，显示了其作为道教圣地的崇高地位。<br />
<br />
== '''四、佛教祖庭：禅宗五叶的兴盛之地''' ==<br />
<br />
佛教文化同样在衡山蓬勃发展，形成了"五叶流芳"的盛况。自南北朝起，佛教传入南岳，禅宗五大支派中的曹洞宗、临济宗、云门宗、伪仰宗、法眼宗均源于此。南台寺作为曹洞宗祖庭，其影响远播日本，拥有800万信徒。福严寺被誉为"南山第一古刹"，是佛教禅宗的重要道场。这种佛道共存的宗教格局，使衡山成为研究中国宗教融合的典型案例。<br />
<br />
== '''五、寿岳文化：轸星信仰与长寿象征''' ==<br />
<br />
独特的"寿文化"是南岳衡山最具特色的文化符号。据《星经》记载，衡山对应二十八宿之轸星，"轸星主管人间苍生寿命"，故有"寿岳"之称。宋徽宗在南岳金简峰御题"寿岳"石刻，康熙皇帝也多次强调衡山作为"寿岳"的地位。这一文化在当代得到延续，如万寿广场上的中华万寿大鼎，高9.9米，重56吨，铸有10000个不同字体的"寿"字，象征着中华民族的团结与长寿愿望。<br />
<br />
== '''六、书院文化：湖湘学派的发源地''' ==<br />
<br />
书院文化与湖湘学派的发展也与衡山密切相关。晚清曾国藩曾赞叹："天下书院，楚为盛；楚之书院，衡为盛"。宋代胡安国父子及其弟子朱熹、张栻在南岳建春秋楼，讲经论学，开创了独树一帜的湖湘学派。这种"经世致用"的学术传统，对湖南乃至中国的思想文化发展产生了深远影响。<br />
<br />
== '''七、抗战精神：忠烈祠与民族记忆''' ==<br />
<br />
抗战文化是衡山近代史上的重要篇章。南岳忠烈祠建于1938-1943年，是中国大陆唯一一座纪念国民党抗日阵亡将士的大型烈士陵园。周恩来、叶剑英曾在此举办游击干部培训班，体现了国共合作抗战的历史。这种抗战记忆，使衡山成为中华民族团结御侮的精神象征。<br />
<br />
== '''八、三教共存：宗教和谐的独特典范''' ==<br />
<br />
南岳衡山文化的多元性还体现在其"三教共存"的独特现象上。南岳大庙作为"江南第一庙"，中轴线上是儒家建筑风格，东边为八个道观，西边为八个佛寺，这种儒、道、佛三教共存一庙的格局，"在全国乃至全世界都是绝无仅有的"。这种宗教和谐共处的模式，对于当代宗教对话与文明互鉴具有重要启示意义。<br />
<br />
== '''结语：多元文化交融的现代意义''' ==<br />
<br />
南岳衡山的文化价值不仅在于其丰富的历史遗存，更在于这些文化元素之间的互动与融合。从上古祭祀到儒释道三教共荣，从学术思想到抗战精神，衡山见证了中华文化的连续性与包容性。这种多元文化和谐共生的模式，在当今全球化与文明冲突的背景下，尤其值得深入研究和借鉴。<br />
<br />
'''术语和表达'''<br />
== Headline text ==<br />
<br />
文明奥区(Civilization Core Area) - 指南岳衡山作为中华文明重要发源地和多元文化汇聚之地的特殊地位。<br />
五叶流芳(Five Flourishing Branches) - 指禅宗在南岳衡山发展出的五个主要流派(曹洞宗、临济宗、云门宗、伪仰宗、法眼宗)的繁荣景象。<br />
朱陵洞天 (Zhuling Grotto-Heaven) - 道教三十六小洞天中的第三洞天，位于南岳衡山，被认为是仙人居住的仙境。<br />
寿岳(Mountain of Longevity) - 南岳衡山的别称，源自其对应轸星，主管人间寿命的星象信仰。<br />
三教共存(Coexistence of Three Teachings) - 指南岳大庙中儒、道、佛三教和谐共处的独特宗教文化现象。<br />
湖湘学派(Huxiang School of Thought) - 宋代由胡安国父子及其弟子朱熹、张栻在南岳衡山开创的学术流派，强调"经世致用"。<br />
南岳夫人(Lady of Southern Peak) - 指魏晋时期著名女道士魏华存，因其在南岳衡山修行并传播《黄庭经》而获此尊称。<br />
香火文化(Incense Culture) - 指南岳衡山悠久的进香朝拜传统，每年吸引数百万香客前来。<br />
摩崖石刻(Cliff Inscriptions) - 雕刻在山崖岩石上的文字或图像，南岳衡山保存有大量历代摩崖石刻，如"寿岳"题刻等。<br />
星野理论(Theory of Astrological Correspondence) - 中国古代将星空分野与地理区域相对应的观念，认为衡山对应轸星，故主寿。<br />
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'''问题'''<br />
== Headline text ==<br />
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1、南岳衡山的"寿文化"如何从星象信仰发展为全民共享的文化符号？其现代转化有何特点？<br />
2、南岳大庙"三教共存"的空间布局反映了怎样的宗教互动模式？这种模式对当代宗教对话有何启示？<br />
3、作为"湖湘学派"发源地之一，南岳衡山如何促进湖南地域文化身份的形成？<br />
4、南岳衡山的抗战文化遗产(如忠烈祠)如何被不同政治力量记忆和诠释？这种记忆的政治维度反映了什么？<br />
5、南岳衡山的生态景观(如"天然氧吧")如何与文化信仰相互强化，形成独特的"生态-文化"系统？<br />
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'''Mount Heng (Nanyue): A Sacred Site of Multicultural Integration''' <br />
== Headline text ==<br />
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'''I. The Most Scenic of the Five Sacred Mountains: A Blend of Nature and Culture''' <br />
== Headline text ==<br />
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Mount Heng (Nanyue), one of China's Five Sacred Mountains, is renowned not only for its breathtaking natural scenery but also as a "Civilization Core Area" rich in cultural heritage. Located in the Nanyue District of Hengyang City, Hunan Province, it has long been celebrated as "the Most Scenic of the Five Sacred Mountains," "the Mountain of Longevity," and a "Sacred Religious Site." Its profound and diverse cultural legacy makes it unique among China's mountain cultures. <br />
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'''II. Imperial Worship: A Millennium-Old Tradition of State Rituals''' <br />
== Headline text ==<br />
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The history of imperial worship at Mount Heng dates back to ancient times. According to *The Book of Rites·Yu Shu*, Emperor Shun "traveled south in the fifth month and reached Nanyue," initiating the tradition of imperial sacrifices at Mount Heng. Legendary rulers such as the Yellow Emperor, Yao, Shun, and Yu all performed rituals here, and subsequent emperors either personally visited or sent envoys to conduct ceremonies over 120 times. This enduring tradition has made Mount Heng "the only ancient mountain in southern China dedicated to the worship of cultural ancestors." Emperor Kangxi further solidified its status as a national sacred site by declaring it the "Mountain of Longevity" in his *Stele Inscription on the Reconstruction of Nanyue Temple*. <br />
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'''III. A Taoist Sanctuary: Grotto-Heavens and Immortal Beliefs'''<br />
== Headline text ==<br />
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Taoism has deep roots at Mount Heng. Recognized as the third of Taoism’s "Thirty-Six Grotto-Heavens"—the Zhuling Grotto-Heaven—it is considered a gateway between the mortal world and the divine. Since the Eastern Han Dynasty, renowned Taoist masters such as Zhang Daoling, Lady Wei Huacun (the Lady of Southern Peak), and Sima Chengzhen have practiced here, establishing a distinctive Taoist tradition. The Huangting Temple, where Lady Wei is said to have ascended to immortality, is the birthplace of the *Huangting Jing* (Yellow Court Scripture) and holds a revered place in Taoist history. During Emperor Zhenzong’s reign in the Song Dynasty, Nanyue Taoism reached its zenith, with temple architecture mirroring imperial palaces, reflecting its sacred status. <br />
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'''IV. A Buddhist Patriarchal Seat: The Flourishing of Chan Buddhism’s Five Branches''' <br />
== Headline text ==<br />
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Buddhism also thrived at Mount Heng, giving rise to the "Five Flourishing Branches" of Chan Buddhism. Since the Northern and Southern Dynasties, Buddhism spread to Nanyue, where all five major Chan sects—Caodong, Linji, Yunmen, Weiyang, and Fayan—originated. The Nantai Temple, the ancestral seat of the Caodong School, has influenced Japanese Zen Buddhism, boasting eight million followers. The Fuyan Temple, hailed as "the First Ancient Temple of the Southern Mountain," remains a vital center of Chan practice. This coexistence of Buddhism and Taoism makes Mount Heng a prime case study in Chinese religious syncretism. <br />
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'''V. The Culture of Longevity: Astral Beliefs and Symbolic Meaning''' <br />
== Headline text ==<br />
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Mount Heng’s most distinctive cultural feature is its "Longevity Culture." According to *The Classic of Stars*, Mount Heng corresponds to the Zhen constellation, which governs human lifespan, earning it the title "Mountain of Longevity." Emperor Huizong of the Song Dynasty inscribed "Shou Yue" (Mountain of Longevity) on the Jinjian Peak, while Emperor Kangxi repeatedly affirmed this designation. This tradition continues today, exemplified by the "Chinese Longevity Tripod" in Wanshou Square—standing 9.9 meters tall, weighing 56 tons, and engraved with 10,000 variations of the character "寿" (longevity)—symbolizing national unity and the wish for long life. <br />
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'''VI. Academy Culture: The Cradle of the Huxiang School''' <br />
== Headline text ==<br />
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Mount Heng played a pivotal role in the development of academy culture and the Huxiang School. Zeng Guofan of the late Qing Dynasty once praised: "Among academies in the world, those in Chu (Hunan) are the greatest; among those in Chu, the ones in Heng are the finest." During the Song Dynasty, Hu Anguo and his disciples, including Zhu Xi and Zhang Shi, established the Chunqiu Tower at Nanyue, where they lectured and developed the pragmatic Huxiang School. This intellectual tradition profoundly influenced Hunanese and broader Chinese thought. <br />
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'''VII. The Spirit of Resistance: Martyrs’ Shrine and National Memory''' <br />
== Headline text ==<br />
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The legacy of the Anti-Japanese War is a significant chapter in Mount Heng’s modern history. The Nanyue Martyrs’ Shrine, built between 1938 and 1943, is mainland China’s only large-scale memorial dedicated to Kuomintang soldiers who died in the war. Zhou Enlai and Ye Jianying once organized guerrilla training courses here, reflecting the wartime cooperation between the Communists and Nationalists. This memory of resistance has made Mount Heng a symbol of national unity. <br />
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'''VIII. The Coexistence of Three Teachings: A Model of Religious Harmony''' <br />
== Headline text ==<br />
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Mount Heng’s multiculturalism is further exemplified by the unique phenomenon of "Three Teachings in One Temple." The Grand Temple of Nanyue, known as the "First Temple South of the Yangtze," features Confucian-style architecture along its central axis, flanked by eight Taoist temples on the east and eight Buddhist monasteries on the west. This arrangement—where Confucianism, Taoism, and Buddhism coexist within a single complex—is "unparalleled in China and perhaps the world." This model of religious harmony offers valuable insights for contemporary interfaith dialogue. <br />
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'''IX. Conclusion: The Modern Significance of Multicultural Integration''' <br />
== Headline text ==<br />
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Mount Heng’s cultural value lies not only in its historical relics but also in the dynamic interplay between its diverse elements. From ancient worship to the harmonious blending of Confucianism, Taoism, and Buddhism, from scholarly traditions to wartime resilience, Mount Heng embodies the continuity and inclusiveness of Chinese culture. In an era of globalization and cultural clashes, its model of multicultural coexistence remains highly relevant for study and inspiration. <br />
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'''Key Terms and Expressions''' <br />
== Headline text ==<br />
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Civilization Core Area – Refers to Mount Heng’s status as a cradle of Chinese civilization and a convergence point of diverse cultures. <br />
Five Flourishing Branches – The five major Chan Buddhist sects (Caodong, Linji, Yunmen, Weiyang, Fayan) that thrived at Mount Heng. <br />
Zhuling Grotto-Heaven – The third of Taoism’s Thirty-Six Grotto-Heavens, believed to be an abode of immortals. <br />
Mountain of Longevity – Mount Heng’s alternate name, derived from its astrological association with the life-governing Zhen constellation. <br />
Coexistence of Three Teachings – The harmonious integration of Confucianism, Taoism, and Buddhism within the Grand Temple of Nanyue. <br />
Huxiang School of Thought – A Song Dynasty intellectual movement emphasizing practical governance, founded by Hu Anguo and developed by Zhu Xi and Zhang Shi. <br />
Lady of Southern Peak – The Taoist master Wei Huacun, revered for her spiritual achievements at Mount Heng and her transmission of the *Huangting Jing*. <br />
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'''Additional Terms''' <br />
== Headline text ==<br />
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- Incense Culture – The long-standing tradition of pilgrimage and worship at Mount Heng, attracting millions annually. <br />
- Cliff Inscriptions – Ancient carvings on rock faces, such as the "Shou Yue" inscription. <br />
- Theory of Astrological Correspondence – The ancient Chinese belief linking celestial regions to terrestrial geography, associating Mount Heng with longevity. <br />
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'''Discussion Questions''' <br />
== Headline text ==<br />
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1. How did Mount Heng’s "Longevity Culture" evolve from astrological beliefs into a widely shared cultural symbol? What characterizes its modern adaptation? <br />
2. What does the spatial arrangement of the "Three Teachings in One Temple" reveal about religious interaction? How might this model inform contemporary interfaith dialogue? <br />
3. As a birthplace of the Huxiang School, how did Mount Heng contribute to shaping Hunan’s regional cultural identity? <br />
4. How have different political forces remembered and interpreted Mount Heng’s wartime heritage (e.g., the Martyrs’ Shrine)? What does this politicized memory reflect? <br />
5. How do Mount Heng’s ecological features (e.g., its "natural oxygen bar") and cultural beliefs reinforce each other, forming a unique "eco-cultural" system?<br />
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<br />
[[Chin_Lang_Cult_Fin_Exam_Spring_2025]]<br />
Liuyang Fireworks <br />
“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.<br />
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 rudiments 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.<br />
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.<br />
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.<br />
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.<br />
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.<br />
<br />
浏阳烟花<br />
“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。<br />
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。<br />
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。<br />
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。<br />
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。<br />
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。</div>Liu Peihttps://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=166595Chin Lang Cult Fin Exam Spring 20252025-05-09T08:28:17Z<p>Liu Pei: </p>
<hr />
<div>Final Exam Paper Titles<br />
#https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Zang Flowers ok<br />
#https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok<br />
#https://bou.de/u/wiki/User:Zeng_Zhi 手串文化 Bead Bracelet Culture ok<br />
#https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok<br />
#https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok<br />
#https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)<br />
#https://bou.de/u/wiki/User:Liu_Qi 劝酒文化 Drinking Persuasion Culture ok<br />
#https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok<br />
#https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book<br />
#https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book<br />
#https://bou.de/u/wiki/User:Huang_Yixuan2 纪录片：《我在故宫修文物》Documentary: Masters in Forbidden City<br />
#https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳八卦 ''The Book of Changes''and Yin-Yang ok<br />
#https://bou.de/u/wiki/User:Liao_Dan 吊脚楼 Stilted Building<br />
#https://bou.de/u/wiki/User:Zheng_Jinlian 陈皮 Dried Orange Peel ok<br />
#https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok<br />
#https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok<br />
#https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok<br />
#https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok<br />
#https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok<br />
#https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Flower ok<br />
#https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok<br />
#https://bou.de/u/wiki/User:Song_Xin 剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects<br />
#https://bou.de/u/wiki/User:Cao_Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city ok<br />
#https://bou.de/u/wiki/User:Jin_Yichen 吴越文化 Wuyue Culture ok<br />
#https://bou.de/u/wiki/User:Ye_Sitong 温州话 Wenzhou Dialect ok<br />
#https://bou.de/u/wiki/User:Xiao_Luyu 封神演义 Chinese classical novel The Investiture of the Gods ok<br />
#https://bou.de/u/wiki/User:Zhang_Qi 福建线面 Fujian Thin Noddles ok<br />
#https://bou.de/u/wiki/User:Zheng_Kaiwu 工夫茶 Kanghu tea ok<br />
#https://bou.de/u/wiki/User:Luo_Jingyan 油纸伞 折扇 Folding Fan<br />
#https://bou.de/u/wiki/User:Luo_Sicheng 惊鸿舞 Flying Wild Goose Dance ok<br />
#https://bou.de/u/wiki/User:Liu_Jianan 安徽名酒—古井贡酒 Famous Anhui Liquor-Gujing Tribute Liquor<br />
#https://bou.de/u/wiki/User:Chen_Lin 服美役 beauty duty ok<br />
#https://bou.de/u/wiki/User:Tang_Yan 道州理学文化 Neo-Confucian Culture in Daozhou ok<br />
#https://bou.de/u/wiki/User:Qin_Yi 胶东花饽饽 Jiao Dong Huabobo ok<br />
#https://bou.de/u/wiki/User:Chen_Zhen 玄奘 Xuanzang ok<br />
#https://bou.de/u/wiki/User:Ou_Huang 浏阳花炮制作技艺 Liuyang Fireworks Making Technique ok<br />
#https://bou.de/u/wiki/User:Luo_Yan 成人礼：冠礼和笄礼 Traditional Chinese coming-of-age ceremony：Guan Li and Ji Li ok<br />
#https://bou.de/u/wiki/User:Lv_Jiahao 越剧 Opera:Yue Opera Pleaes check if it is already in the text book.<br />
#https://bou.de/u/wiki/User:Wang_Yuxin 中国古法酿酒 Traditional Chinese Brewing Techniques ok<br />
#https://bou.de/u/wiki/User:Dai_Yexun 粤剧 Opera:Cantonese opera Please check if it is already in the text book.<br />
#https://bou.de/u/wiki/User:Yan_Jidong 闽南文化 Hokkien culture ok.<br />
#https://bou.de/u/wiki/User:Qiu_Ping 重阳节 Chung Yeung Festival ok<br />
#https://bou.de/u/wiki/User:He_Yunfeng 献哈达 Tibetan Etiquette:Offering Hada(Khata)<br />
#https://bou.de/u/wiki/User:Zhou_Le 榨辣椒 Pressing pepper<br />
#https://bou.de/u/wiki/User:Huang_Qiaoqiao 舞剧《咏春》 Dance Drama Wing Chun<br />
#https://bou.de/u/wiki/User:Duan_Binyao 古诗十九首 Nineteen Old Poems<br />
#https://bou.de/u/wiki/User:Li_Linyao 泼水节 Water-Splashing Festival<br />
#https://bou.de/u/wiki/User:Xiao_Yikang 江西地方端午节传统习俗 Local Dragon Boat Festival traditions of Jiangxi<br />
#https://bou.de/u/wiki/User:Gao_Xiaoqing 粽子 Zongzi<br />
#https://bou.de/u/wiki/User:Zhang_Meiling 秧歌 Yangko<br />
#https://bou.de/u/wiki/User:Huang_Sinan 春晚 Spring Festival Gala<br />
#https://bou.de/u/wiki/User:Du_Jiangping 楚辞 The Songs of Chu<br />
#https://bou.de/u/wiki/User:Jiang_Ziqiang 抛绣球 Zhuang Custom of Throwing the Embroidered Ball for Courtship<br />
#https://bou.de/u/wiki/User:Zeng_Xiaohui 中秋节 Mid-autumn Festival<br />
#https://bou.de/u/wiki/User:Geng_Hongmei 醴陵釉下五彩瓷 Five-colored Under Glaze made in Liling<br />
#https://bou.de/u/wiki/User:Yang_Yue2 现代文学：许渊冲 Modern Literature: Xv Yuanchong<br />
#https://bou.de/u/wiki/User:Chen_Anqi 螺钿 Luodian<br />
#https://bou.de/u/wiki/User:Yang_Jing 粮画 The Grain Paintings<br />
#https://bou.de/u/wiki/User:Dai_Shiru 李白 Li Bai<br />
#https://bou.de/u/wiki/User:Yu_Jingfang 傩文化 Nuo culture<br />
#https://bou.de/u/wiki/User:Li_Mingfeng 编钟 Chinese Ancient Instrument:Bianzhong<br />
#https://bou.de/u/wiki/User:Chen_Ting 湘西泡菜 Xiangxi Kimchi<br />
#https://bou.de/u/wiki/User:Gong_Wei 桃源擂茶 Taoyuan Lei Cha<br />
#https://bou.de/u/wiki/User:Yang_Jiahong2 闽南红砖古厝 Southern Fujian Red Brick Ancient Houses<br />
#https://bou.de/u/wiki/User:Wang_Huaixing 长白山 Mount Changbai<br />
#https://bou.de/u/wiki/User:Xiang_Jianning 马面裙 Horse face skirt<br />
#https://bou.de/u/wiki/User:Zhao_Qi 动画片：《虹猫蓝兔七侠传》 Chinese wuxia animation: Howie & Landau Seven Chivalrous Biography<br />
#https://bou.de/u/wiki/User:Zhang_Zixi 叶子戏 Yezi Xi<br />
Shao Keyuan 殷墟 The Yin Ruins<br />
#https://bou.de/u/wiki/User:Dong_Jiating 麻辣烫 Malatang<br />
#https://bou.de/u/wiki/User:Ouyang_Yihong 辣条 Spicy Gluten Strips<br />
#https://bou.de/u/wiki/User:Lu_Wei 蛋炒饭 Egg-fried Rice<br />
#Xing Xueqing 桃花源 The Peach Garden<br />
#https://bou.de/u/wiki/User:Wang_Xinyu 赣南客家围屋 Hakka Tulou in Southern Jiangxi<br />
#https://bou.de/u/wiki/User:Yuan_Xiaolin 新中式 new Chinese style clothes<br />
#https://bou.de/u/wiki/User:Chu_Hanqi 翠兰 Cui Lan（a kind of tea)<br />
#https://bou.de/u/wiki/User:Wu_Jiating 瓦罐汤 Clay Pot <br />
#https://bou.de/u/wiki/User:Jiang_Xinyue 灵隐寺 Lingyin Temple<br />
Xu_Xinwen十二生肖Chinese Zodiac<br />
#https://bou.de/u/wiki/User:Liu_Pei 南岳衡山 Mount Heng<br />
#https://bou.de/u/wiki/User:Xiao_Zixin 恋与深空 Love and Deepspace</div>Liu Peihttps://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=166591Chin Lang Cult Fin Exam Spring 20252025-05-09T08:21:45Z<p>Liu Pei: </p>
<hr />
<div>Final Exam Paper Titles<br />
#https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Zang Flowers ok<br />
#https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok<br />
#https://bou.de/u/wiki/User:Zeng_Zhi 手串文化 Bead Bracelet Culture ok<br />
#https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok<br />
#https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok<br />
#https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)<br />
#https://bou.de/u/wiki/User:Liu_Qi 劝酒文化 Drinking Persuasion Culture ok<br />
#https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok<br />
#https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book<br />
#https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book<br />
#https://bou.de/u/wiki/User:Huang_Yixuan2 纪录片：《我在故宫修文物》Documentary: Masters in Forbidden City<br />
#https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳八卦 ''The Book of Changes''and Yin-Yang ok<br />
#https://bou.de/u/wiki/User:Liao_Dan 吊脚楼 Stilted Building<br />
#https://bou.de/u/wiki/User:Zheng_Jinlian 陈皮 Dried Orange Peel ok<br />
#https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok<br />
#https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok<br />
#https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok<br />
#https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok<br />
#https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok<br />
#https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Flower ok<br />
#https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok<br />
#https://bou.de/u/wiki/User:Song_Xin 剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects<br />
#https://bou.de/u/wiki/User:Cao_Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city ok<br />
#https://bou.de/u/wiki/User:Jin_Yichen 吴越文化 Wuyue Culture ok<br />
#https://bou.de/u/wiki/User:Ye_Sitong 温州话 Wenzhou Dialect ok<br />
#https://bou.de/u/wiki/User:Xiao_Luyu 封神演义 Chinese classical novel The Investiture of the Gods ok<br />
#https://bou.de/u/wiki/User:Zhang_Qi 福建线面 Fujian Thin Noddles ok<br />
#https://bou.de/u/wiki/User:Zheng_Kaiwu 工夫茶 Kanghu tea ok<br />
#https://bou.de/u/wiki/User:Luo_Jingyan 油纸伞 折扇 Folding Fan<br />
#https://bou.de/u/wiki/User:Luo_Sicheng 惊鸿舞 Flying Wild Goose Dance ok<br />
#https://bou.de/u/wiki/User:Liu_Jianan 安徽名酒—古井贡酒 Famous Anhui Liquor-Gujing Tribute Liquor<br />
#https://bou.de/u/wiki/User:Chen_Lin 服美役 beauty duty ok<br />
#https://bou.de/u/wiki/User:Tang_Yan 道州理学文化 Neo-Confucian Culture in Daozhou ok<br />
#https://bou.de/u/wiki/User:Qin_Yi 胶东花饽饽 Jiao Dong Huabobo ok<br />
#https://bou.de/u/wiki/User:Chen_Zhen 玄奘 Xuanzang ok<br />
#https://bou.de/u/wiki/User:Ou_Huang 浏阳花炮制作技艺 Liuyang Fireworks Making Technique ok<br />
#https://bou.de/u/wiki/User:Luo_Yan 成人礼：冠礼和笄礼 Traditional Chinese coming-of-age ceremony：Guan Li and Ji Li ok<br />
#https://bou.de/u/wiki/User:Lv_Jiahao 越剧 Opera:Yue Opera Pleaes check if it is already in the text book.<br />
#https://bou.de/u/wiki/User:Wang_Yuxin 中国古法酿酒 Traditional Chinese Brewing Techniques ok<br />
#https://bou.de/u/wiki/User:Dai_Yexun 粤剧 Opera:Cantonese opera Please check if it is already in the text book.<br />
#https://bou.de/u/wiki/User:Yan_Jidong 闽南文化 Hokkien culture ok.<br />
#https://bou.de/u/wiki/User:Qiu_Ping 重阳节 Chung Yeung Festival ok<br />
#https://bou.de/u/wiki/User:He_Yunfeng 献哈达 Tibetan Etiquette:Offering Hada(Khata)<br />
#https://bou.de/u/wiki/User:Zhou_Le 榨辣椒 Pressing pepper<br />
#https://bou.de/u/wiki/User:Huang_Qiaoqiao 舞剧《咏春》 Dance Drama Wing Chun<br />
#https://bou.de/u/wiki/User:Duan_Binyao 古诗十九首 Nineteen Old Poems<br />
#https://bou.de/u/wiki/User:Li_Linyao 泼水节 Water-Splashing Festival<br />
#https://bou.de/u/wiki/User:Xiao_Yikang 江西地方端午节传统习俗 Local Dragon Boat Festival traditions of Jiangxi<br />
#https://bou.de/u/wiki/User:Gao_Xiaoqing 粽子 Zongzi<br />
#https://bou.de/u/wiki/User:Zhang_Meiling 秧歌 Yangko<br />
#https://bou.de/u/wiki/User:Huang_Sinan 春晚 Spring Festival Gala<br />
#https://bou.de/u/wiki/User:Du_Jiangping 楚辞 The Songs of Chu<br />
#https://bou.de/u/wiki/User:Jiang_Ziqiang 抛绣球 Zhuang Custom of Throwing the Embroidered Ball for Courtship<br />
#https://bou.de/u/wiki/User:Zeng_Xiaohui 中秋节 Mid-autumn Festival<br />
#https://bou.de/u/wiki/User:Geng_Hongmei 醴陵釉下五彩瓷 Five-colored Under Glaze made in Liling<br />
#https://bou.de/u/wiki/User:Yang_Yue2 现代文学：许渊冲 Modern Literature: Xv Yuanchong<br />
#https://bou.de/u/wiki/User:Chen_Anqi 螺钿 Luodian<br />
#https://bou.de/u/wiki/User:Yang_Jing 粮画 The Grain Paintings<br />
#https://bou.de/u/wiki/User:Dai_Shiru 李白 Li Bai<br />
#https://bou.de/u/wiki/User:Yu_Jingfang 傩文化 Nuo culture<br />
#https://bou.de/u/wiki/User:Li_Mingfeng 编钟 Chinese Ancient Instrument:Bianzhong<br />
#https://bou.de/u/wiki/User:Chen_Ting 湘西泡菜 Xiangxi Kimchi<br />
#https://bou.de/u/wiki/User:Gong_Wei 桃源擂茶 Taoyuan Lei Cha<br />
#https://bou.de/u/wiki/User:Yang_Jiahong2 闽南红砖古厝 Southern Fujian Red Brick Ancient Houses<br />
#https://bou.de/u/wiki/User:Wang_Huaixing 长白山 Mount Changbai<br />
#https://bou.de/u/wiki/User:Xiang_Jianning 马面裙 Horse face skirt<br />
#https://bou.de/u/wiki/User:Zhao_Qi 动画片：《虹猫蓝兔七侠传》 Chinese wuxia animation: Howie & Landau Seven Chivalrous Biography<br />
#https://bou.de/u/wiki/User:Zhang_Zixi 叶子戏 Yezi Xi<br />
Shao Keyuan 殷墟 The Yin Ruins<br />
#https://bou.de/u/wiki/User:Dong_Jiating 麻辣烫 Malatang<br />
#https://bou.de/u/wiki/User:Ouyang_Yihong 辣条 Spicy Gluten Strips<br />
#https://bou.de/u/wiki/User:Lu_Wei 月饼 Mooncake<br />
#Xing Xueqing 桃花源 The Peach Garden<br />
#https://bou.de/u/wiki/User:Wang_Xinyu 赣南客家围屋 Hakka Tulou in Southern Jiangxi<br />
#https://bou.de/u/wiki/User:Yuan_Xiaolin 新中式 new Chinese style clothes<br />
#https://bou.de/u/wiki/User:Chu_Hanqi 翠兰 Cui Lan（a kind of tea)<br />
#https://bou.de/u/wiki/User:Wu_Jiating 瓦罐汤 Clay Pot <br />
#https://bou.de/u/wiki/User:Jiang_Xinyue 灵隐寺 Lingyin Temple<br />
Xu_Xinwen十二生肖Chinese Zodiac<br />
#https://bou.de/u/wiki/User:Liu_Pei 南岳衡山 Mount Heng</div>Liu Peihttps://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=165761Chinese Language and Culture, Spring 20252025-03-14T01:59:03Z<p>Liu Pei: /* Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations */</p>
<hr />
<div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br />
<br />
=Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br />
<br />
==What we learn in this class==<br />
*We learn about Chinese culture from international, especially Western perspective. <br />
*We learn about cultural phenomena, traditional Chinese culture.<br />
*We learn English and Chinese terminology in the area of Chinese culture.<br />
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br />
*We learn how to determine the location and role of Chinese culture within global culture.<br />
*We learn basics of theories and models of intercultural communication and comparison.<br />
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br />
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br />
<br />
==Students' contribution==<br />
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br />
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br />
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI<br />
<br />
==Textbook==<br />
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br />
<br />
==Agreement on use of classroom time==<br />
Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br />
<br />
<br />
----<br />
==Homework for every session==<br />
Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br />
<br />
==Teacher presentation: Introduction to Culture==<br />
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
==Homework for Session 2==<br />
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation"). <br />
<br />
Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br />
<br />
1. Geographic Nature as a Basis for Cultural Development 17<br />
<br />
2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br />
<br />
3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br />
<br />
4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br />
<br />
5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br />
<br />
6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br />
<br />
7. Animals: Panda 71 <br />
<br />
8. Architecture 78<br />
<br />
9. Architecture: The Forbidden City 89<br />
<br />
10. Architecture: Four Famous Bridges 102<br />
<br />
11. Architecture: Four Great Pavilions 113<br />
<br />
12. Architecture: Shengjing Imperial Palace 124<br />
<br />
13. Architecture: Three Great Towers in China 131<br />
<br />
14. Architecture: Fengshui in Chinese Architecture 145 <br />
<br />
15. Army and weapons: Chinese Ancient Weapons 154<br />
<br />
16. Army and weapons: Terracotta Army 163<br />
<br />
17. Astrology: Chinese Astrology 170<br />
<br />
18. Astrology: Calendar, The 24 Solar Terms 178<br />
<br />
19. Astrology: Twelve Animals of the Chinese Zodiac 188<br />
<br />
20. Beverages: Milk Tea 197<br />
<br />
21. Beverages: Tea 203 (Zhang Mai)<br />
<br />
22. Beverages: The Liquor Culture of Ancient China 209<br />
<br />
23. Body movement performance: Chinese Lion Dancing 218<br />
<br />
24. Body movement performance: Stilts 223<br />
<br />
25. Body movement performance: Traditional Chinese Dance 230<br />
<br />
26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br />
<br />
27. Chinese Writing: Calligraphy 246 (Tang Yan)<br />
<br />
28. Chinese Writing: The Evolution of Calligraphy 252<br />
<br />
29. Chinese Writing: Chinese Characters 262<br />
<br />
30. Chinese Writing: Chinese Characters and Scripts 276<br />
<br />
31. Clothing: Chinese Clothing 283<br />
<br />
32. Clothing: Batik (Lanran) 291<br />
<br />
33. Clothing: Cheongsam 301 <br />
<br />
34. Confucianism: Confucian Culture 309 <br />
<br />
35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br />
<br />
36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br />
<br />
37. Confucianism: Classical Philosophy - Reading The Analects 339 <br />
<br />
38. Education: Ancient Chinese Education 350<br />
<br />
39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br />
<br />
40. Education: Modern Chinese Education System 371<br />
<br />
41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br />
<br />
42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br />
<br />
43. Facial Make-up 406<br />
<br />
44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br />
<br />
45. Facial Make-up: Face Changing in Sichuan Opera 431<br />
<br />
46. Fine Arts: Painting 440<br />
<br />
47. Fine Arts: Bada Shanren and Qi Baishi 445<br />
<br />
48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br />
<br />
49. Fine Arts: Seal-cutting 459<br />
<br />
50. Games: Go 围棋 462（Zhao Qi）<br />
<br />
51. Games: Kite Flying 468<br />
<br />
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br />
<br />
53. Garden Culture: Gardens 505<br />
<br />
54. Garden Culture: Bonsai (Penjing) 511<br />
<br />
55. Garden Culture: The Summer Palace 519（Li Mei）<br />
<br />
56. Garden Culture: Qingming Riverside Landscspe Garden 526<br />
<br />
57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br />
<br />
58. History: Carl and Cixi 548<br />
<br />
59. Interieur: The Folding Screen 552<br />
<br />
60. Landscapes and Tourism: Four Buddhist Shrines 561<br />
<br />
61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br />
<br />
62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br />
<br />
63. Landscapes and Tourism: Mogao Grottoes 593<br />
<br />
64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br />
<br />
65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br />
<br />
66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br />
<br />
67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br />
<br />
68. Language: Chinese Language 649<br />
<br />
69. Language: Chinese Dialects 660<br />
<br />
70. Language: Chinese Folk Argot 669<br />
<br />
71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br />
<br />
72. Literature: Ancient literature - Chinese Mythology 688<br />
<br />
73. Literature: Ancient literature - Classical Literature 699<br />
<br />
74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br />
<br />
75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br />
<br />
76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br />
<br />
77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br />
<br />
78. Literature: Ancient literature: Yuefu 765<br />
<br />
79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br />
<br />
80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br />
<br />
81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br />
<br />
82. Literature: Premodern literature: Tang-Song 794<br />
<br />
83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br />
<br />
84. Literature: Modern Literature 832<br />
<br />
85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br />
<br />
86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br />
<br />
87. Literature: Contemporary Literature 859<br />
<br />
88. Martial Arts: Huo Yuanjia 865<br />
<br />
89. Martial Arts: Qigong 868<br />
<br />
90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br />
<br />
91. Martial Arts: Wushu 885<br />
<br />
92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br />
<br />
93. Medicine: Traditional Chinese Medicine (TCM) 900 <br />
<br />
94. Medicine: TCM - Acupuncture and Moxibustion 907<br />
<br />
95. Medicine: TCM - Diagnosis and Pharmacology 912<br />
<br />
96. Medicine: TCM - The Development of Chinese Medicine 917<br />
<br />
97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br />
<br />
98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br />
<br />
99. Minority cultures: The Ethnic Minorities’ Costumes 941<br />
<br />
100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br />
<br />
101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br />
<br />
102. Music and instruments: Guzheng 975<br />
<br />
103. Music and instruments: Pipa 986<br />
<br />
104. Mythology: Gods and Immortals 996<br />
<br />
105. Mythology: Huli-jing 1005<br />
<br />
106. National Symbols: National Anthem 1018<br />
<br />
107. National Symbols: National Flag 1026 （Liao Zuoyun）<br />
<br />
108. Opera: Peking Opera 1035<br />
<br />
109. Opera: Peking Opera Acrobatics 1043<br />
<br />
110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br />
<br />
111. Opera: Tea-picking Opera 1055<br />
<br />
112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br />
<br />
113. Philosophical Schools: Four Main Philosophical Schools 1076<br />
<br />
114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br />
<br />
115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br />
<br />
116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br />
<br />
117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br />
<br />
118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br />
<br />
119. Philosophy: Chinese Traditional Cultivation Culture 1129<br />
<br />
120. Religion: Traditional Chinese Funeral Culture 1141<br />
<br />
121. Religion: Buddhism 1155<br />
<br />
122. Religion: Daoism 1170<br />
<br />
123. Religion: Christianity 1175<br />
<br />
124. Religion: Islam 1181<br />
<br />
125. Science and Technology: Ancient Science and Technology 1185<br />
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126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br />
<br />
127. Science and Technology: Compass 1217<br />
<br />
128. Science and Technology: TikTok (Douyin) 1226<br />
<br />
129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br />
<br />
130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br />
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131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br />
<br />
132. Silk and porcelain: Porcelain 1277<br />
<br />
133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br />
<br />
134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br />
<br />
135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br />
<br />
136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br />
<br />
137. Social: The Long-life Lock 1308<br />
<br />
138. Social: Round Table Culture 1317 (Wu Jiating)<br />
<br />
139. Stage entertainment: Crosstalk 相声 1325<br />
<br />
140. Stage entertainment: Shadow Play 1332<br />
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141. Traditional Crafts: Carving 1340<br />
<br />
142. Traditional Crafts: Chinese Jade Culture 1348<br />
<br />
143. Traditional Crafts: Cloisonne 1363 <br />
<br />
144. Traditional Crafts: Embroidery 1369<br />
<br />
145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br />
<br />
146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br />
<br />
147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br />
<br />
148. Traditional Crafts: Handcraft - Chinese Knots 1409<br />
<br />
149. Traditional Crafts: Lacquerware 1418<br />
<br />
150. Traditional Crafts: The Kingfisher Craft点翠 1423<br />
<br />
151. Traditional Cuisine: Chinese Dining Etiquette 1436<br />
<br />
152. Traditional Cuisine: Chopsticks 1450<br />
<br />
153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br />
<br />
154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br />
<br />
155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br />
<br />
<br />
156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br />
<br />
157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br />
<br />
158. Traditional Cuisine: The Art of Chinese Cooking 1508<br />
<br />
159. Traditional Cuisine: Two Famous Dishes 1514<br />
<br />
160. Traditional Festivals 1518……<br />
<br />
161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br />
<br />
162. Traditional Festivals: Spring Festival Couplets 1538<br />
<br />
163. Westernization: The Eastward Spread of Western Learning 1544<br />
<br />
164. Westernization: The Westernization Movement 1550<br />
<br />
165. Worship: Chinese Incense Culture 1558<br />
<br />
166. Economy: Chinese Currency Changes 1569<br />
<br />
167. History: Wang Shouren 1573 Lv Jiahao<br />
<br />
168. Martial Arts: Chinese Swordsman Spirit 1582<br />
<br />
169. Cuisine: Luosifen 1593 <br />
<br />
170. Fine Arts: Chinese Paper Cutting 1601 <br />
<br />
171. Science and Technology: Taobao(淘宝) 1611<br />
<br />
172. Traditional Craft: Bronze 1623<br />
<br />
173. Entertainment: Deyunshe 德云社 1631<br />
<br />
174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br />
<br />
175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br />
<br />
176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br />
<br />
177. stage entertainment:Yuan drama 1676<br />
<br />
178. Music and instruments: Erhu 1685<br />
<br />
179. Traditional and Modern Views on Marriage and Love 1694 <br />
<br />
180. Traditional Cuisine: Tangyuan 1701<br />
<br />
181. Animals：Golden Monkey 1712（Xiao Yawen）<br />
<br />
182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br />
<br />
183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br />
<br />
184. The Chinese tradition of ancestor worship 1740<br />
<br />
185. Opera: Huangmei opera 1752 （Chu Hanqi）<br />
<br />
186. The “reference” of Chinese Music 1759<br />
<br />
187. Chinese Folk Art:Lion Dance 1767<br />
<br />
188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br />
<br />
189. Clothing: Vintage Clothing 1790.(Chen Sisi)<br />
<br />
190. Fine arts:Kunqu Opera 1798<br />
<br />
191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br />
<br />
192. National Belief: the Chinese Dream 1818<br />
<br />
193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
<br />
194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br />
<br />
195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br />
<br />
196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br />
<br />
197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br />
<br />
198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br />
<br />
199. Traditional Crafts: Dough Sculpture 面塑 1845<br />
<br />
200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br />
<br />
201. The culture of Grass cloth 夏布 1845 <br />
<br />
202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br />
<br />
203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br />
<br />
204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
<br />
205. Bride-price（彩礼） 1845 <br />
<br />
206. Chinese science fiction movies 中国科幻片 1845<br />
<br />
207. Shandong cuisine鲁菜 1845(Lu Wei)<br />
<br />
208. Chinese traditional ornament: Buyao （步摇） 1845 <br />
<br />
209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br />
<br />
210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br />
<br />
211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br />
<br />
212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br />
<br />
213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br />
<br />
214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br />
<br />
215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br />
<br />
216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br />
<br />
217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br />
<br />
218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br />
<br />
219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br />
<br />
220. Rice cake (年糕) 1845 （Dong Jiating）<br />
<br />
221. Zhongyuan festival 1845 （Ou Huang）<br />
<br />
222. Dulong: Facial tattoo (独龙族：纹面) 1845<br />
<br />
223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br />
<br />
224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br />
<br />
225. "Cun Chao": China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br />
<br />
226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br />
<br />
227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)<br />
<br />
228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br />
<br />
229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br />
<br />
230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br />
<br />
231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br />
<br />
232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br />
<br />
233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br />
<br />
234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br />
<br />
235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br />
<br />
236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br />
<br />
237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br />
<br />
238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br />
<br />
239. Female Emperor---Wu Zetian 1845 (Song Xin)<br />
<br />
240. Clay sculpture (泥塑） 1845 (Chen Lin)<br />
<br />
241. Abacus (中国珠算） 1845<br />
<br />
242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br />
<br />
243. Chinese name（中国姓名文化） 1845 <br />
<br />
244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br />
<br />
245. Douzhi (豆汁) 1845(Li Linyao) <br />
<br />
246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br />
<br />
247. Carved lacquer（雕漆） 1845 （Liu Qi）<br />
<br />
248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br />
<br />
249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br />
<br />
250. Language: Hakka Dialect（客家话） 1845<br />
<br />
251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br />
<br />
252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br />
<br />
253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br />
<br />
254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br />
<br />
255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br />
<br />
256. Danmu (弹幕） 1845 (Zhou Le)<br />
<br />
257. Yangshao Culture（仰韶文化） 1845<br />
<br />
258. Indigo Dyeing (蓝染) 1845（Yang Jing)<br />
<br />
259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br />
<br />
<br />
260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br />
<br />
261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br />
<br />
262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br />
<br />
263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br />
<br />
264. Single bamboo drifting（独竹漂） 1845<br />
<br />
265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br />
<br />
266. Hui Culture (徽文化) 1845(Liu Jianan)<br />
<br />
267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br />
<br />
268. Table Manners 1845（Luo Yan）<br />
<br />
269. Music of the Mongol nationality (蒙古族音乐) 1845<br />
<br />
270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br />
<br />
271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br />
<br />
272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br />
<br />
273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br />
<br />
274. God of Wealth(财神) 1845 <br />
<br />
275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br />
<br />
276. Nail art（美甲） 1845 （Luo Jiaxin）<br />
277. Mirror (镜子) 1845 (Cheng Sixiang) <br />
<br />
278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br />
<br />
279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br />
<br />
280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br />
<br />
281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br />
<br />
282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br />
<br />
283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br />
<br />
=Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br />
==Teacher presentation: Introduction to Culture==<br />
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
==Topics for today==<br />
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br />
<br />
You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br />
<br />
Please remember that you have to indicate the 10 topics for Friday on the course website under "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.<br />
<br />
27. Chinese Calligraphy (Tang Yan)<br />
<br />
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br />
<br />
55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br />
<br />
76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]<br />
<br />
85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br />
<br />
Tea Latte Art (Xiang Jianning)<br />
<br />
Topic 7<br />
<br />
Topic 8<br />
<br />
Topic 9<br />
<br />
Topic 10<br />
<br />
=Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br />
==Presentations==<br />
1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br />
<br />
2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br />
<br />
3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br />
<br />
4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br />
<br />
5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br />
<br />
6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br />
<br />
7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br />
<br />
==Notes on presentations==<br />
Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.<br />
<br />
1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. "Black tea" (in English all "hong cha" is called "black tea"), British tea culture (add milk)<br />
<br />
2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism<br />
<br />
3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money<br />
<br />
4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union <br />
<br />
5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers<br />
<br />
6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br />
<br />
7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br />
<br />
==Student grades: 平时成绩/签到==<br />
<br />
=Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br />
1.Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:Wedding Dress in the Song Dynasty .pptx]]<br />
2.Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_Spring_2025.pptx]]<br />
3.Topic 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br />
4.Topic 233. Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br />
5. Topic 182. Chinese Economy: rich businessmen (Fu Sihui)<br />
6.Topic 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br />
7.Topic 138: Social: Round Table Culture 1317 (Wu Jiating)<br />
8.Topic 174: Jiaozi (Liu Pei)<br />
<br />
=Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br />
131.Silk and porcelain: Silk (Fei Xinyu)<br />
<br />
=Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br />
=HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br />
清明节4月4日——4月6日<br />
=Session 08 Fri Apr 11 14:30-16:10 room 613 - Student presentations=<br />
183 Chinese Local Operas-Gan opera （Wang Xinyu）<br />
185 Huangmei opera （Chu Hanqi）<br />
<br />
=Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br />
<br />
=Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br />
242. Hunan Rice Noodles (湖南米粉） 1845 (Gong Wei)<br />
167. History: Wang Shouren 1573 (Lv Jiahao)<br />
240. Clay sculpture (泥塑） 1845 (Chen Lin)<br />
219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br />
<br />
=HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br />
劳动节5月1日——5月5日<br />
=Session 12 Fri May 09 14:30-16:10 room 613 - Student presentations=<br />
<br />
=Session 13 Fri May 16 14:30-16:10 room 613 - Student presentations=<br />
231. The plaque and couplet in Chinese garden（园林匾额对联）Wang Yuxin<br />
<br />
=Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br />
<br />
=Session 15 Fri May 30 14:30-16:10 room 613 - Student presentations=<br />
279. Huo Qubing （霍去病） Luo Jingyan<br />
端午节5月31日——6月2日<br />
<br />
=Session 16 Fri Jun 28 14:30-16:10 room 613 - Final Exam=<br />
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>Liu Peihttps://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=165465Chinese Language and Culture, Spring 20252025-02-27T16:46:24Z<p>Liu Pei: /* Homework for every session */</p>
<hr />
<div>--[[User:Miao Yunlong|Miao Yunlong]] ([[User talk:Miao Yunlong|talk]]) 13:12, 24 February 2025 (UTC)[[Media:Example.ogg]]Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br />
<br />
=Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=<br />
<br />
==What we learn in this class==<br />
*We learn about Chinese culture from international, especially Western perspective. <br />
*We learn about cultural phenomena, traditional Chinese culture.<br />
*We learn English and Chinese terminology in the area of Chinese culture.<br />
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br />
*We learn how to determine the location and role of Chinese culture within global culture.<br />
*We learn basics of theories and models of intercultural communication and comparison.<br />
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br />
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br />
<br />
==Students' contribution==<br />
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br />
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.<br />
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI<br />
<br />
==Textbook==<br />
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.<br />
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==Agreement on use of classroom time==<br />
Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)<br />
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==Homework for every session==<br />
Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.<br />
<br />
<nowiki>Insert non-formatted text here</nowiki>==Teacher presentation: Introduction to Culture==<br />
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
[[File:Example.jpg]]==Homework for Session 2==<br />
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation"). <br />
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Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!<br />
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1. Geographic Nature as a Basis for Cultural Development 17<br />
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2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br />
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3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br />
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4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br />
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5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br />
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6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br />
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7. Animals: Panda 71 <br />
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8. Architecture 78<br />
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9. Architecture: The Forbidden City 89<br />
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10. Architecture: Four Famous Bridges 102<br />
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11. Architecture: Four Great Pavilions 113<br />
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12. Architecture: Shengjing Imperial Palace 124<br />
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13. Architecture: Three Great Towers in China 131<br />
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14. Architecture: Fengshui in Chinese Architecture 145 <br />
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15. Army and weapons: Chinese Ancient Weapons 154<br />
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16. Army and weapons: Terracotta Army 163<br />
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17. Astrology: Chinese Astrology 170<br />
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18. Astrology: Calendar, The 24 Solar Terms 178<br />
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19. Astrology: Twelve Animals of the Chinese Zodiac 188<br />
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20. Beverages: Milk Tea 197<br />
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21. Beverages: Tea 203<br />
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22. Beverages: The Liquor Culture of Ancient China 209<br />
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23. Body movement performance: Chinese Lion Dancing 218<br />
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24. Body movement performance: Stilts 223<br />
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25. Body movement performance: Traditional Chinese Dance 230<br />
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26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br />
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27. Chinese Writing: Calligraphy 246 (Tang Yan)<br />
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28. Chinese Writing: The Evolution of Calligraphy 252<br />
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29. Chinese Writing: Chinese Characters 262<br />
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30. Chinese Writing: Chinese Characters and Scripts 276<br />
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31. Clothing: Chinese Clothing 283<br />
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32. Clothing: Batik (Lanran) 291<br />
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33. Clothing: Cheongsam 301 <br />
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34. Confucianism: Confucian Culture 309<br />
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35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br />
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36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br />
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37. Confucianism: Classical Philosophy - Reading The Analects 339 <br />
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38. Education: Ancient Chinese Education 350<br />
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39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br />
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40. Education: Modern Chinese Education System 371<br />
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41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br />
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42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br />
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43. Facial Make-up 406<br />
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44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br />
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45. Facial Make-up: Face Changing in Sichuan Opera 431<br />
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46. Fine Arts: Painting 440<br />
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47. Fine Arts: Bada Shanren and Qi Baishi 445<br />
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48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br />
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49. Fine Arts: Seal-cutting 459<br />
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50. Games: Go 围棋 462<br />
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51. Games: Kite Flying 468<br />
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52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br />
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53. Garden Culture: Gardens 505<br />
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54. Garden Culture: Bonsai (Penjing) 511<br />
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55. Garden Culture: The Summer Palace 519（Li Mei）<br />
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56. Garden Culture: Qingming Riverside Landscspe Garden 526<br />
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57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br />
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58. History: Carl and Cixi 548<br />
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59. Interieur: The Folding Screen 552<br />
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60. Landscapes and Tourism: Four Buddhist Shrines 561<br />
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61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br />
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62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br />
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63. Landscapes and Tourism: Mogao Grottoes 593<br />
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64. Landscapes and Tourism: The Culture of Mount Tai 606<br />
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65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br />
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66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br />
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67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br />
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68. Language: Chinese Language 649<br />
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69. Language: Chinese Dialects 660<br />
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70. Language: Chinese Folk Argot 669<br />
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71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br />
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72. Literature: Ancient literature - Chinese Mythology 688<br />
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73. Literature: Ancient literature - Classical Literature 699<br />
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74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br />
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75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br />
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76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br />
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77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br />
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78. Literature: Ancient literature: Yuefu 765<br />
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79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br />
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80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br />
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81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br />
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82. Literature: Premodern literature: Tang-Song 794<br />
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83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br />
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84. Literature: Modern Literature 832<br />
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85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br />
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86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br />
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87. Literature: Contemporary Literature 859<br />
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88. Martial Arts: Huo Yuanjia 865<br />
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89. Martial Arts: Qigong 868<br />
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90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br />
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91. Martial Arts: Wushu 885<br />
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92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br />
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93. Medicine: Traditional Chinese Medicine (TCM) 900<br />
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94. Medicine: TCM - Acupuncture and Moxibustion 907<br />
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95. Medicine: TCM - Diagnosis and Pharmacology 912<br />
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96. Medicine: TCM - The Development of Chinese Medicine 917<br />
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97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br />
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98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br />
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99. Minority cultures: The Ethnic Minorities’ Costumes 941<br />
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100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br />
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101. Money culture: The tradition of Red Envelope and Lucky Money 962<br />
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102. Music and instruments: Guzheng 975<br />
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103. Music and instruments: Pipa 986<br />
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104. Mythology: Gods and Immortals 996<br />
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105. Mythology: Huli-jing 1005<br />
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106. National Symbols: National Anthem 1018<br />
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107. National Symbols: National Flag 1026<br />
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108. Opera: Peking Opera 1035<br />
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109. Opera: Peking Opera Acrobatics 1043<br />
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110. Opera: Peking Opera Actor Mei Lanfang 1050<br />
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111. Opera: Tea-picking Opera 1055<br />
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112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br />
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113. Philosophical Schools: Four Main Philosophical Schools 1076<br />
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114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br />
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115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br />
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116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br />
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117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br />
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118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br />
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119. Philosophy: Chinese Traditional Cultivation Culture 1129<br />
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120. Religion: Traditional Chinese Funeral Culture 1141<br />
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121. Religion: Buddhism 1155<br />
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122. Religion: Daoism 1170<br />
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123. Religion: Christianity 1175<br />
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124. Religion: Islam 1181<br />
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125. Science and Technology: Ancient Science and Technology 1185<br />
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126. Science and Technology: China's Four New Inventions 1191<br />
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127. Science and Technology: Compass 1217<br />
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128. Science and Technology: TikTok (Douyin) 1226<br />
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129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br />
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130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br />
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131. Silk and porcelain: Silk 1272 <br />
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132. Silk and porcelain: Porcelain 1277<br />
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133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283<br />
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134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br />
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135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br />
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136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br />
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137. Social: The Long-life Lock 1308<br />
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138. Social: Round Table Culture 1317<br />
139. Stage entertainment: Crosstalk 相声 1325<br />
140. Stage entertainment: Shadow Play 1332<br />
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141. Traditional Crafts: Carving 1340<br />
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142. Traditional Crafts: Chinese Jade Culture 1348<br />
143. Traditional Crafts: Cloisonne 1363<br />
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144. Traditional Crafts: Embroidery 1369<br />
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145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br />
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146. Traditional Crafts: Xiang Embroidery 1386(Zhang Huifang)<br />
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147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br />
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148. Traditional Crafts: Handcraft - Chinese Knots 1409<br />
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149. Traditional Crafts: Lacquerware 1418<br />
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150. Traditional Crafts: The Kingfisher Craft点翠 1423<br />
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151. Traditional Cuisine: Chinese Dining Etiquette 1436<br />
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152. Traditional Cuisine: Chopsticks 1450<br />
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153. Traditional Cuisine: Eight Major Cuisines of China 1456（Xiao Zixin）<br />
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154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br />
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155. Traditional Cuisine: Breakfast Culture of Wuhan 1480<br />
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156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491<br />
157. Traditional Cuisine: Hotpot 1501 <br />
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158. Traditional Cuisine: The Art of Chinese Cooking 1508<br />
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159. Traditional Cuisine: Two Famous Dishes 1514<br />
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160. Traditional Festivals 1518……<br />
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161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br />
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162. Traditional Festivals: Spring Festival Couplets 1538<br />
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163. Westernization: The Eastward Spread of Western Learning 1544<br />
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164. Westernization: The Westernization Movement 1550<br />
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165. Worship: Chinese Incense Culture 1558<br />
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166. Economy: Chinese Currency Changes 1569<br />
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167. History: Wang Shouren 1573<br />
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168. Martial Arts: Chinese Swordsman Spirit 1582<br />
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169. Cuisine: Luosifen 1593 <br />
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170. Fine Arts: Chinese Paper Cutting 1601 <br />
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171. Science and Technology: Taobao(淘宝) 1611<br />
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172. Traditional Craft: Bronze 1623<br />
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173. Entertainment: Deyunshe 德云社 1631<br />
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174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br />
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175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br />
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176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 (Tao Yao)<br />
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177. stage entertainment:Yuan drama 1676<br />
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178. Music and instruments: Erhu 1685<br />
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179. Traditional and Modern Views on Marriage and Love 1694<br />
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180. Traditional Cuisine: Tangyuan 1701（Liu Shutian）<br />
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181. Animals：Golden Monkey 1712<br />
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182. Chinese Economy: rich businessmen 1719<br />
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183. Opera: Chinese Local Operas 1727<br />
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184. The Chinese tradition of ancestor worship 1740<br />
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185. Opera: Huangmei opera 1752<br />
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186. The “reference” of Chinese Music 1759<br />
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187. Chinese Folk Art:Lion Dance 1767<br />
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188. Science and Technology: Mobile Games（手游） 1783<br />
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189. Clothing: Vintage Clothing 1790.(Chen Sisi)<br />
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190. Fine arts:Kunqu Opera 1798<br />
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191. Aesthetic ideals and social customs: The Culture of Flowers 1807 <br />
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192. National Belief: the Chinese Dream 1818<br />
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193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br />
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194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br />
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195. Sports: Cuju (蹴鞠) 1845<br />
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196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845<br />
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197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 （Chu Hanqi）<br />
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198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br />
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199. Traditional Crafts: Dough Sculpture 面塑 1845<br />
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200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 （Wang Xinyu）<br />
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201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)<br />
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202. The Legend of Zhen Huan 《甄嬛传》 1845 （Xing Xueqing）<br />
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203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br />
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204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br />
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205. Bride-price（彩礼） 1845 （Wu Jiating）<br />
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206. Chinese science fiction movies 中国科幻片 1845<br />
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207. Shandong cuisine鲁菜 1845(Liu Peini)<br />
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208. Chinese traditional ornament: Buyao （步摇） 1845 <br />
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209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br />
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210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br />
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211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br />
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212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan)<br />
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213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br />
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214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br />
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215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br />
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216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br />
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217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 <br />
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218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br />
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219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br />
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220. Rice cake (年糕) 1845(Li Linyao)<br />
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221. Zhongyuan festival 1845 （Ou Huang）<br />
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222. Dulong: Facial tattoo (独龙族：纹面) 1845<br />
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223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br />
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224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br />
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225. "Cun Chao": China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br />
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226. Landscapes and Tourism: Junshan Island (君山岛) 1845（Liao Zuoyun）<br />
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227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)<br />
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228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br />
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229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br />
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230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br />
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231. The plaque and couplet in Chinese garden（园林匾额对联） 1845<br />
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232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br />
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233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br />
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234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br />
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235. Bamboo Weaving (竹编） 1845<br />
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236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br />
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237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845<br />
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238. Three Famous Chinese Mountains(中国三山) 1845<br />
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239. Female Emperor---Wu Zetian 1845 (Song Xin)<br />
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240. Clay sculpture (泥塑） 1845 (Chen Lin)<br />
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241. Abacus (中国珠算） 1845<br />
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242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br />
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243. Chinese name（中国姓名文化） 1845 (Yang Jing)<br />
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244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br />
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245. Douzhi (豆汁) 1845 <br />
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246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br />
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247. Carved lacquer（雕漆） 1845<br />
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248. Jing Gang Mountain (井冈山） 1845 <br />
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249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br />
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250. Language: Hakka Dialect（客家话） 1845<br />
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251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br />
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252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br />
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253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br />
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254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br />
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255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br />
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256. Danmu (弹幕） 1845 (Zhou Le)<br />
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257. Yangshao Culture（仰韶文化） 1845<br />
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258. Indigo Dyeing (蓝染) 1845<br />
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259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845<br />
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260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br />
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261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br />
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262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br />
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263. Shaolin Temple (少林寺) 1845<br />
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264. Single bamboo drifting（独竹漂） 1845<br />
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265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br />
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266. Hui Culture (徽文化) 1845(Liu Jianan)<br />
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267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br />
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268. Table Manners 1845（Luo Yan）<br />
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269. Music of the Mongol nationality (蒙古族音乐) 1845<br />
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270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br />
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271. Palace Lantern（宫灯） 1845<br />
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272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Cheng Sixiang)<br />
<br />
273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br />
<br />
274. God of Wealth(财神) 1845 （Zeng Zhi）<br />
<br />
275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br />
<br />
276. Nail art（美甲） 1845 （Luo Jiaxin）<br />
<br />
277. Mirror (镜子) 1845 (Cheng Sixiang)<br />
<br />
278. The Beef Board Noodle (牛肉板面) 1845<br />
<br />
279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br />
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280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br />
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281. Music and instruments: Yangqin（扬琴） 1845<br />
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282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br />
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283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br />
<br />
=Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=<br />
==Teacher presentation: Introduction to Culture==<br />
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br />
<br />
==Topics for today==<br />
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br />
<br />
You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?<br />
<br />
Please remember that you have to indicate the 10 topics for Friday on the course website under "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.<br />
<br />
<br />
55. Garden Culture: The Summer Palace 519（Li Mei）<br />
[[File:The Summer Palace - Li Mei.pptx]]<br />
<br />
=Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=<br />
=Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=<br />
=Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=<br />
=Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=<br />
=HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=<br />
清明节4月4日——4月6日<br />
=Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=<br />
=Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=<br />
=Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=<br />
=HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=<br />
劳动节5月1日——5月5日<br />
=Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=<br />
=Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=<br />
=Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=<br />
=Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=<br />
端午节5月31日——6月2日<br />
=Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=<br />
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>Liu Pei