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2025-12-31T04:37:34Z

Liu Xin:

==期末论文==
===Harbin International Ice and Snow Festival===
====Introduction====
The Harbin International Ice and Snow Festival is a large-scale, comprehensive winter celebration organized by Harbin, Heilongjiang Province, China. Today it ranks as the world’s biggest and most influential ice-and-snow event. Centered on ice-and-snow activities, it blends art, sport and tourism into one vibrant mix. First held in 1985, it was China’s first regional festival dedicated to ice and snow and has since grown into one of the top four ice-and-snow festivals on the planet. Thanks to Harbin’s unique location, deep cultural roots and rich program, the festival has become the flagship of China’s winter tourism, a showcase of Chinese ice-and-snow culture, and a vital platform for city branding and international exchange.

====Origin====
The origins of the Harbin International Ice and Snow Festival can be traced back to the 1960s, when the first Harbin Ice Lantern Garden Party was held in Zhaolin Park. This was China’s first organized ice-lantern viewing event; people used natural ice from the Songhua River to craft simple lanterns and placed electric bulbs inside for illumination and decoration, pioneering the modern era of ice-and-snow culture in the country.

On December 20, 1984, the municipal government held a press conference to announce that, starting in 1985, January 5 would be designated “Harbin Ice and Snow Festival” and the entire month of January would be celebrated as “Ice and Snow Activities Month.” On January 5, 1985, the first Harbin Ice and Snow Festival opened outside the south gate of Zhaolin Park, marking the birth of China’s first regional festival devoted to ice and snow.

In 2001, the Harbin Ice and Snow Festival was merged with the “Heilongjiang International Ski Festival” and officially renamed the “China Harbin International Ice and Snow Festival.” Subsequently, it was further integrated with events such as the Winter Universiade and the International Ice and Snow Tourism Summit, continuously expanding its global influence.

====Core contents====
The Harbin International Ice and Snow Festival revolves around three flagship ice-and-snow scenic areas and a wide range of supporting events, creating a three-dimensional experience that combines viewing, participation, and interaction. The Ice Lantern Art Fair in Zhaolin Park, the International Snow Sculpture Art Expo on Sun Island, and the Ice and Snow World on the frozen Songhua River together form the “Ice-and-Snow Art Triangle.”

First and foremost, as the historic birthplace of the festival, Zhaolin Park carries a profound cultural memory. The ice-lantern works here are prized for their delicacy, intricacy, and playful charm, preserving much of the spirit of traditional ice lanterns. The garden-party layout is landscaped in a quintessentially Chinese style: lanterns are set among venerable trees and pavilions, creating an atmosphere of classical elegance. It is the purest embodiment of the craftsman ethos that defines ice-lantern art and the place where local affection for the festival runs deepest.

In addition, the Sun Island Snow Expo celebrates the “soft” and poetic side of snow. It gathers large-scale works by top snow-sculptors from around the globe. The island’s snow is brilliantly white and densely packed—ideal for intricate reliefs, full-round figures, and openwork carving. Subjects range from lifelike historical personalities and mythic legends to abstract, contemporary meditations on philosophy; in the artists’ hands the snow takes on life and warmth. The expo also stresses participation, offering visitors their own dedicated area to try snow-sculpting firsthand.

Finally, Ice and Snow World stands as the undisputed centerpiece of the festival. Using natural ice harvested from the Songhua River, it erects soaring ice-architecture clusters—some tens of meters tall—ranging from frozen castles to crystal promenades. Dazzling light shows bathe the structures in shifting colors, conjuring a dreamlike fairy-tale realm. A 1,000-meter ice slide, ice bicycles, and other hands-on attractions then turn spectators into participants. Ice and Snow World achieves a seamless fusion of monumental art and immersive experience.

Beyond the three flagship venues, the festival calendar is filled with ice-hockey and ski tournaments, Northeast-China folk performances, ice-and-snow culture forums, and specialty food markets, allowing visitors to savor Harbin’s human touch while they admire the ice. During their stay, travelers can sample hearty Northeastern cuisine, try on traditional padded cotton jackets, and join in local customs. Every detail—from the design of ice installations to the choice of regional dishes and the staffing of scenic sites—is orchestrated to present ice culture, Northeastern identity, and ethnic flair in their fullest form, inviting guests to experience and participate through every sense.

====Cultural connotations====
As one of the world’s four great winter celebrations, the Harbin International Ice and Snow Festival has long since outgrown the label of a simple winter carnival; it has become a multi-layered cultural symbol that carries regional heritage, drives economic growth, and fosters international exchange. Ice and snow are woven into the fabric of local winter life, and traditions of lantern-making and snow play reach back more than a century. Today’s festival keeps the earthy colors of Northeast-China folklore while absorbing modern art and global influences, creating a dialogue between native and world cultures. It mines the core of Northeastern folk customs, weaving yangko dances and errenzhu ballads—both intangible cultural heritage—into the program so visitors can feel the pulse of the black-soil land in an immersive way. At the same time it builds a trans-national platform: ice-carvers from every continent gather to chisel works that marry Eastern serenity with Western aesthetics. Nordic aurora-themed snow sculptures and Southeast-Asian exotic ice lanterns rotate through dedicated national pavilions, letting cultures collide and merge. In Zhaolin’s lantern garden and Sun Island’s snow-sculpture park, for example, the natural beauty of ice is fused with the creativity and skill of artists from around the world.

At the same time, the festival is a living lesson in harmony between people and nature. Sculptures are carved from Songhua River ice and Sun Island snow untouched by additives, following the principle “take from nature, return to nature.” Ice is harvested only after mapping fish-overwintering zones to avoid disturbance; snow blocks melt back into the soil with the spring thaw. Visitors play and marvel amid the glittering works while experiencing, firsthand, the beauty of a cycle that leaves no trace.

The festival’s cultural depth is most vivid in its spirit of shared ownership and co-creation. Alongside elite spectacles are grass-roots favorites—snow-field soccer, fun ice-athletics, and other pick-up games that anyone can join. A creative stage is reserved for the next generation: university ice-design contests draw thousands of students who splice pop culture, tech gadgets, and snow architecture into pieces that are as innovative as they are Instagram-ready. A themed bazaar crowdsources ideas from folk artisans and start-up makers, offering everything from mini-ice-sculpture desk lamps to embroidered Northeastern amulets, turning ice culture from scenery into souvenirs and from holiday into habit. By dissolving the line between “watching culture” and “making culture,” the festival stops being a one-way show and becomes a cultural practice open to all, deepening its meaning and turning the entire city into a winter potluck that everyone brings a dish to.

====Social significance====
At the urban level, in the arena of global competition a distinctive city brand is intangible strategic capital. With its unprecedented visual spectacle and cultural uniqueness, the Ice and Snow Festival has locked the three syllables “Har-bin” inseparably to “world-class ice-and-snow art.” Relayed by international media and millions of visitor stories, it has recast a city once labeled a gritty heavy-industry base into “a romantic, creative, vibrantly artistic capital of modern ice culture.” This brand reinvention has vaulted Harbin’s global name recognition to an entirely new tier.

At the industrial level, for Harbin—long burdened by the need to reinvent its smoke-stack economy—the Ice and Snow Festival is no mere “tourism project”; it is a successful “resource-transformation” strategy. Intangible winter cold and tangible river ice are converted into consumable cultural products and travel experiences, incubating a complete “ice-and-snow economy” ecosystem. The surge ripples outward: hotels, restaurants, and transport see explosive growth, while upstream sectors—from creative lighting to digital effects—upgrade to meet festival demand, generating tens of thousands of jobs. More importantly, it offers an endogenous development model that leapfrogs the old heavy-industry path by grounding growth in cultural creativity and place-based resources rather than in capital-intensive plants or cheap labor.

At the national level, the festival has become a stage for telling China’s story and displaying cultural confidence. It reveals a people who meet bitter cold with optimism and turn hardship into creative opportunity; through international competitions and exchanges it demonstrates Chinese culture’s openness and inclusiveness. The event’s success is a microcosm of contemporary China’s cultural achievements, projecting to the world the image of a modern nation that honors its traditions while bursting with innovative energy.

====Conclusion====
From a single ice lantern in Zhaolin Park to a world-renowned winter extravaganza, the journey of the Harbin International Ice and Snow Festival mirrors the life cycle of a regional culture that refuses to stand still. Using ice and snow as its medium, it threads folk tradition together with global art, builds a living laboratory where people and nature coexist, and—through its “made by all, shared by all” formula—folds snow culture into everyday life. On the plane of urban reinvention and national cultural outreach, the festival has not only re-branded Harbin; it has become a luminous window through which China’s cultural confidence is beamed to the world. The ice will melt, but the memory and the developmental wisdom it embodies will keep springing to life with every new winter.

===References===
[1] Hao Shuai. Research on the Integrated Development of Ice-and-Snow Cultural Tourism in Heilongjiang[J]. Border Economy and Culture, 2022, (05): 1-3.
[2] Wang Songyin, Shao Long, Feng Shan. Development and Innovation of Modern Ice Sculpture Art in Harbin[J]. Industrial Design, 2021, (03): 120-122.
[3] Wang Zhijun. Tracing the Harbin Ice-and-Snow Festival from the Perspective of China-Russia Cultural Integration[J]. Siberian Studies, 2022, (03): 74-82.
[4] Xu Wenjing. On the Development of Ice-and-Snow Tourism in Heilongjiang[D]. Heilongjiang University, 2011.
[5] Zhang Jijiao, Hou Xiaochen. From Customary and Intangible-Cultural-Heritage Ice-and-Snow Festivals to Industrialized Integration of Ice-and-Snow Culture and Tourism[J]. Guizhou Ethnic Studies, 2024, (04): 147-153.

===Terms and Expressions===
Harbin International Ice and Snow Festival：哈尔滨国际冰雪节
Ice and Snow Culture：冰雪文化
Ice and Snow Art：冰雪艺术
Harmony between people and nature：人与自然和谐共生
Shared ownership and co-creation：全民共创共享
Ice and Snow Economy：冰雪经济
Cultural Confidence：文化自信
Resource-transformation strategy：资源转化战略

===Questions===
1. When was the Harbin International Ice and Snow Festival founded?
2. Where was China’s first organized ice-lantern viewing event held?
3. What is the collective name for the festival’s three core scenic areas?
4. In what ways is the ice-and-snow artistry of the Sun Island Snow Expo expressed?
5. Where is the first layer of the festival’s cultural meaning manifested?

===Answers===
1. January 5, 1985.
2. Zhaolin Park.
3. the “Ice-and-Snow Art Triangle”.
4. It reveals the soft, poetic side of snow.
5. It keeps the earthy colors of Northeast-China folklore while absorbing modern art and global influences, creating a dialogue between native and world cultures.

==期末论文==
===哈尔滨国际冰雪节===
====简介====
哈尔滨国际冰雪节是中国黑龙江省哈尔滨市主办的大型综合性冬季节庆活动，现已成为全球规模最大、影响力最广的冰雪盛会之一。其以冰雪活动为核心内容，融合艺术、体育和旅游等多种元素。哈尔滨国际冰雪节也是中国首个以冰雪为主题的区域性节日，自1985年创办以来，已发展成为世界四大冰雪节之一。凭借其独特的地理位置、深厚的文化底蕴和丰富的活动内容，已成为中国冰雪旅游的名片，它不仅是中国冰雪文化的代表，更是城市品牌建设和国际交流的重要平台。

====历史起源====
哈尔滨国际冰雪节的起源可追溯到20世纪60年代，当时，哈尔滨第一届冰灯游园会在兆麟公园举办，这是中国首个有组织的冰灯观赏活动，人们利用松花江天然冰制作简易的冰灯，把电灯光源用以照明或装饰，开创了现代冰雪文化先河。

1984年12月20日，市政府召开新闻发布会，正式宣布自1985年起，每年1月5日为“哈尔滨冰雪节”，1月为“冰雪活动月”。1985年1月5日，首届哈尔滨冰雪节在兆麟公园南门外开幕，标志着中国第一个以冰雪为主题的区域性节日诞生。

2001年，哈尔滨冰雪节与“黑龙江国际滑雪节”合并，正式更名为“中国·哈尔滨国际冰雪节”，后续又与世界大学生冬季运动会、国际冰雪旅游峰会等活动结合，持续扩大影响力。
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====核心内容====
哈尔滨国际冰雪节的核心内容是围绕三大冰雪主题景区与多元配套活动展开，形成观赏、体验与互动相结合的立体游玩体系。兆麟公园的冰灯艺术游园会、太阳岛的国际雪雕艺术博览会和松花江上的冰雪大世界共同构成“冰雪艺术三角”。

首先，作为冰雪节的历史原点，兆麟公园承载着深厚的文化记忆。这里的冰灯作品更注重精巧、细腻与趣味性，保留了更多传统冰灯的神韵。游园会场景布置更为园林化，冰灯与园内古树、亭台相映成趣，营造出古典雅致的意境。它是冰灯艺术“工匠精神”的集中体现，也是市民情感联结最深的地方。

其次，太阳岛雪博会则展现了雪的“柔美”与诗性。这里汇集了来自全球顶尖雪雕艺术家的大型作品。雪质洁白、质地绵密，适宜进行极为精细的浮雕、圆雕与镂空雕刻。其作品题材广泛，从栩栩如生的历史人物、神话传说，到抽象现代的哲学思考，雪在艺术家手中获得了生命与温度。同时，雪博会也强调互动，设有供游客亲自体验的雪雕创作区。

最后，冰雪大世界是当之无愧的核心地标。这里以松花江天然冰为原料，打造出数十米高的巨型冰雕建筑群，从冰雪城堡到冰上长廊，搭配璀璨的灯光秀，营造出梦幻的冰雪童话世界，而千米冰滑梯、冰上自行车等体验项目，更是让游客从视觉欣赏转向沉浸式参与。冰雪大世界实现了艺术观赏与互动体验的完美结合。

除了三大核心景区，冰雪节期间还会举办冰球、滑雪等冰雪体育赛事，东北民俗展演、冰雪文化论坛、特色美食市集等活动，让游客在赏冰玩雪之余，感受哈尔滨的人文风情。例如，在哈尔滨冰雪节旅游过程中，游客除了观赏冰灯雪雕、游玩冰雪项目之外，还可以品尝东北餐饮、体验东北服饰等。无论是冰雪内容的设计、东北特色餐饮的准备，以及旅游景区的人员与活动安排等，都是将冰雪文化、东北特色、民族风格完全展现出来，让游客从不同感官深入体验与参与的过程。

====文化内涵====
作为世界四大冬令盛典之一，哈尔滨国际冰雪节早已超越了一场冰雪游乐活动的范畴，成为承载地域文化、推动经济发展、促进国际交流的复合型文化符号。冰雪是当地冬季生活的一部分，冰灯制作、冰雪游乐的传统可追溯至百年之前。如今的冰雪节，既保留了东北民俗的质朴底色，又吸纳了现代艺术与国际元素，实现了本土文化与世界文化的对话。它深度挖掘东北民俗文化内核，将秧歌、二人转等非遗表演融入节庆活动，让游客在沉浸式体验中触摸黑土地的文化脉搏；更搭建起跨国界交流平台，来自全球的冰雪雕刻师齐聚于此，以刀为笔、以冰雪为纸，雕琢出兼具东方意境与西方美学的艺术作品，北欧的极光主题雪雕、东南亚的风情冰灯等多国文化主题展区轮番亮相，多元文化在此碰撞交融。例如，兆麟公园的冰灯游园会和太阳岛的雪雕游园会不仅展示了冰雪的自然之美，还融入了艺术家的创意和技艺。

同时，冰雪节也是人与自然和谐共生理念的生动实践。依托松花江天然冰、太阳岛原生雪打造景观，恪守“取之于自然，还之于自然”的创作原则，采冰过程避开鱼类越冬区域，雪雕原料也随春日消融回归土地，让游客可以在赏冰玩雪的过程中感受自然之美。

冰雪节的文化内涵，更体现在全民共享、全民共创的独特氛围之中。节庆不仅囊括雪地足球赛、冰上趣味运动会等接地气的群众项目，更搭建起面向青年群体的创意舞台。高校冰雪艺术设计大赛吸引众多学子挥洒灵感，他们将潮流文化、科技元素与冰雪艺术巧妙融合，诞生出一批兼具观赏性与创新性的作品；文创产品市集则汇聚了民间手艺人与年轻创客的智慧，冰雕主题文创、东北民俗手作等琳琅满目，让冰雪文化从景观走向商品，从节庆走进日常。这种多元主体的参与共创，打破了“文化观赏”与“文化创造”的壁垒，让冰雪节不再是一场单向输出的盛会，而是成为人人皆可参与的文化实践，进一步丰富了其文化内涵，真正营造出全民共享的冰雪盛宴氛围。

====社会意义====
在城市层面，在全球化竞争中，独特的城市品牌是无形的战略资产。冰雪节以前所未有的视觉震撼力和文化独特性，将“哈尔滨”这三个字与“世界级冰雪艺术”牢牢绑定。通过国际媒体传播和游客的口碑，它成功地将一个曾经以重工业基地闻名的城市，重塑为“浪漫、创意、充满艺术活力的现代冰雪文化之都。这种品牌形象的重塑，极大地提升了哈尔滨的国际知名度。

在产业层面，对于面临传统工业转型压力的哈尔滨而言，冰雪节并非简单的“旅游项目”，而是一次成功的“资源转化”战略。它将无形的气候条件和有形的自然资源转化为可消费的文化产品与旅游体验，催生了一个完整的“冰雪经济”生态圈。这直接带动了旅游、酒店、餐饮等服务业爆发式增长，间接拉动了文创等产业的升级，创造了大量就业岗位。更重要的是，它提供了一种超越传统路径的、基于文化创意与特色资源的内生发展模式。

在国家层面，冰雪节成为了讲述中国故事、展示文化自信的平台。它展现了中国人民不畏严寒、化挑战为机遇的乐观与创造力；它通过国际比赛与交流，体现了中国文化的开放与包容。冰雪节的成功，是中国当代文化建设成就的一个缩影，向世界传递了一个既尊重传统、又充满创新活力的现代中国形象。

====结语====
从兆麟公园的一盏冰灯，到享誉世界的冰雪盛会，哈尔滨国际冰雪节的发展历程，是地域文化传承创新的生动缩影。它以冰雪为媒，串联起传统民俗与国际艺术，搭建起人与自然和谐共生的实践平台，更凭借全民共创共享的模式，让冰雪文化融入日常。在城市转型与国家文化传播的维度上，这场盛会不仅重塑了哈尔滨的城市名片，更成为向世界展示中国文化自信的重要窗口。冰雪会消融，但这份文化记忆与发展智慧，必将在传承中持续焕发新生机。

===参考文献===
[1]郝帅.黑龙江冰雪文化旅游融合发展研究[J].边疆经济与文化,2022,(05):1-3.
[2]王松引,邵龙,冯珊.哈尔滨现代冰雕艺术的发展与创新[J].工业设计，2021,(03):120-122.
[3]王志军.中俄文化交融视域下的哈尔滨冰雪节溯源[J].西伯利亚研究，2022,(03):74-82.
[4]徐文靖.论黑龙江冰雪旅游发展[D].黑龙江大学,2011.
[5]张继焦,侯晓晨.从习俗和非遗的冰雪节日到冰雪产业化文旅融合发展[J].贵州民族研究,2024,(04):147-153.

===术语===
哈尔滨国际冰雪节：Harbin International Ice and Snow Festival
冰雪文化：Ice and Snow Culture
冰雪艺术：Ice and Snow Art
人与自然和谐共生：Harmony between people and nature
全民共创共享：Shared ownership and co-creation
冰雪经济：Ice and Snow Economy
文化自信：Cultural Confidence
资源转化战略：Resource-transformation strategy

===问题===
1.哈尔滨国际冰雪节的创办时间？
2.中国首个有组织的冰灯观赏活动在哪里举办？
3.冰雪节三大核心景区被称为什么？
4.太阳岛雪博会的冰雪艺术特色体现在哪些方面？
5. 冰雪节文化内涵的第一层体现在哪里？

===答案===
1.1985年1月5日
2.兆麟公园
3.“冰雪艺术三角”
4.展现了雪的“柔美”与诗性
5.保留了东北民俗的质朴底色，又吸纳了现代艺术与国际元素，实现了本土文化与世界文化的对话。

Talk:Uvu/index.php/User:Liu Xin

2025-12-31T04:36:08Z

Liu Xin: Created page with "==期末论文== 1 ===Harbin International Ice and Snow Festival=== 1 ====Introduction==== 1 ====Origin==== 2 ====Core contents==== 2 ====Cultural connotations==== 3 ====Socia..."

==期末论文== 1
===Harbin International Ice and Snow Festival=== 1
====Introduction==== 1
====Origin==== 2
====Core contents==== 2
====Cultural connotations==== 3
====Social significance==== 4
====Conclusion==== 4
===References=== 5
===Terms and Expressions=== 5
===Questions=== 5
===Answers=== 5
==期末论文== 6
===哈尔滨国际冰雪节=== 6
====简介==== 6
====历史起源==== 6
====核心内容==== 6
====文化内涵==== 7
====社会意义==== 8
====结语==== 8
===参考文献=== 8
===术语=== 8
===问题=== 9
===答案=== 9

==期末论文==
===Harbin International Ice and Snow Festival===
====Introduction====
The Harbin International Ice and Snow Festival is a large-scale, comprehensive winter celebration organized by Harbin, Heilongjiang Province, China. Today it ranks as the world’s biggest and most influential ice-and-snow event. Centered on ice-and-snow activities, it blends art, sport and tourism into one vibrant mix. First held in 1985, it was China’s first regional festival dedicated to ice and snow and has since grown into one of the top four ice-and-snow festivals on the planet. Thanks to Harbin’s unique location, deep cultural roots and rich program, the festival has become the flagship of China’s winter tourism, a showcase of Chinese ice-and-snow culture, and a vital platform for city branding and international exchange.

====Origin====
The origins of the Harbin International Ice and Snow Festival can be traced back to the 1960s, when the first Harbin Ice Lantern Garden Party was held in Zhaolin Park. This was China’s first organized ice-lantern viewing event; people used natural ice from the Songhua River to craft simple lanterns and placed electric bulbs inside for illumination and decoration, pioneering the modern era of ice-and-snow culture in the country.

On December 20, 1984, the municipal government held a press conference to announce that, starting in 1985, January 5 would be designated “Harbin Ice and Snow Festival” and the entire month of January would be celebrated as “Ice and Snow Activities Month.” On January 5, 1985, the first Harbin Ice and Snow Festival opened outside the south gate of Zhaolin Park, marking the birth of China’s first regional festival devoted to ice and snow.

In 2001, the Harbin Ice and Snow Festival was merged with the “Heilongjiang International Ski Festival” and officially renamed the “China Harbin International Ice and Snow Festival.” Subsequently, it was further integrated with events such as the Winter Universiade and the International Ice and Snow Tourism Summit, continuously expanding its global influence.

====Core contents====
The Harbin International Ice and Snow Festival revolves around three flagship ice-and-snow scenic areas and a wide range of supporting events, creating a three-dimensional experience that combines viewing, participation, and interaction. The Ice Lantern Art Fair in Zhaolin Park, the International Snow Sculpture Art Expo on Sun Island, and the Ice and Snow World on the frozen Songhua River together form the “Ice-and-Snow Art Triangle.”

First and foremost, as the historic birthplace of the festival, Zhaolin Park carries a profound cultural memory. The ice-lantern works here are prized for their delicacy, intricacy, and playful charm, preserving much of the spirit of traditional ice lanterns. The garden-party layout is landscaped in a quintessentially Chinese style: lanterns are set among venerable trees and pavilions, creating an atmosphere of classical elegance. It is the purest embodiment of the craftsman ethos that defines ice-lantern art and the place where local affection for the festival runs deepest.

In addition, the Sun Island Snow Expo celebrates the “soft” and poetic side of snow. It gathers large-scale works by top snow-sculptors from around the globe. The island’s snow is brilliantly white and densely packed—ideal for intricate reliefs, full-round figures, and openwork carving. Subjects range from lifelike historical personalities and mythic legends to abstract, contemporary meditations on philosophy; in the artists’ hands the snow takes on life and warmth. The expo also stresses participation, offering visitors their own dedicated area to try snow-sculpting firsthand.

Finally, Ice and Snow World stands as the undisputed centerpiece of the festival. Using natural ice harvested from the Songhua River, it erects soaring ice-architecture clusters—some tens of meters tall—ranging from frozen castles to crystal promenades. Dazzling light shows bathe the structures in shifting colors, conjuring a dreamlike fairy-tale realm. A 1,000-meter ice slide, ice bicycles, and other hands-on attractions then turn spectators into participants. Ice and Snow World achieves a seamless fusion of monumental art and immersive experience.

Beyond the three flagship venues, the festival calendar is filled with ice-hockey and ski tournaments, Northeast-China folk performances, ice-and-snow culture forums, and specialty food markets, allowing visitors to savor Harbin’s human touch while they admire the ice. During their stay, travelers can sample hearty Northeastern cuisine, try on traditional padded cotton jackets, and join in local customs. Every detail—from the design of ice installations to the choice of regional dishes and the staffing of scenic sites—is orchestrated to present ice culture, Northeastern identity, and ethnic flair in their fullest form, inviting guests to experience and participate through every sense.

====Cultural connotations====
As one of the world’s four great winter celebrations, the Harbin International Ice and Snow Festival has long since outgrown the label of a simple winter carnival; it has become a multi-layered cultural symbol that carries regional heritage, drives economic growth, and fosters international exchange. Ice and snow are woven into the fabric of local winter life, and traditions of lantern-making and snow play reach back more than a century. Today’s festival keeps the earthy colors of Northeast-China folklore while absorbing modern art and global influences, creating a dialogue between native and world cultures. It mines the core of Northeastern folk customs, weaving yangko dances and errenzhu ballads—both intangible cultural heritage—into the program so visitors can feel the pulse of the black-soil land in an immersive way. At the same time it builds a trans-national platform: ice-carvers from every continent gather to chisel works that marry Eastern serenity with Western aesthetics. Nordic aurora-themed snow sculptures and Southeast-Asian exotic ice lanterns rotate through dedicated national pavilions, letting cultures collide and merge. In Zhaolin’s lantern garden and Sun Island’s snow-sculpture park, for example, the natural beauty of ice is fused with the creativity and skill of artists from around the world.

At the same time, the festival is a living lesson in harmony between people and nature. Sculptures are carved from Songhua River ice and Sun Island snow untouched by additives, following the principle “take from nature, return to nature.” Ice is harvested only after mapping fish-overwintering zones to avoid disturbance; snow blocks melt back into the soil with the spring thaw. Visitors play and marvel amid the glittering works while experiencing, firsthand, the beauty of a cycle that leaves no trace.

The festival’s cultural depth is most vivid in its spirit of shared ownership and co-creation. Alongside elite spectacles are grass-roots favorites—snow-field soccer, fun ice-athletics, and other pick-up games that anyone can join. A creative stage is reserved for the next generation: university ice-design contests draw thousands of students who splice pop culture, tech gadgets, and snow architecture into pieces that are as innovative as they are Instagram-ready. A themed bazaar crowdsources ideas from folk artisans and start-up makers, offering everything from mini-ice-sculpture desk lamps to embroidered Northeastern amulets, turning ice culture from scenery into souvenirs and from holiday into habit. By dissolving the line between “watching culture” and “making culture,” the festival stops being a one-way show and becomes a cultural practice open to all, deepening its meaning and turning the entire city into a winter potluck that everyone brings a dish to.

====Social significance====
At the urban level, in the arena of global competition a distinctive city brand is intangible strategic capital. With its unprecedented visual spectacle and cultural uniqueness, the Ice and Snow Festival has locked the three syllables “Har-bin” inseparably to “world-class ice-and-snow art.” Relayed by international media and millions of visitor stories, it has recast a city once labeled a gritty heavy-industry base into “a romantic, creative, vibrantly artistic capital of modern ice culture.” This brand reinvention has vaulted Harbin’s global name recognition to an entirely new tier.

At the industrial level, for Harbin—long burdened by the need to reinvent its smoke-stack economy—the Ice and Snow Festival is no mere “tourism project”; it is a successful “resource-transformation” strategy. Intangible winter cold and tangible river ice are converted into consumable cultural products and travel experiences, incubating a complete “ice-and-snow economy” ecosystem. The surge ripples outward: hotels, restaurants, and transport see explosive growth, while upstream sectors—from creative lighting to digital effects—upgrade to meet festival demand, generating tens of thousands of jobs. More importantly, it offers an endogenous development model that leapfrogs the old heavy-industry path by grounding growth in cultural creativity and place-based resources rather than in capital-intensive plants or cheap labor.

At the national level, the festival has become a stage for telling China’s story and displaying cultural confidence. It reveals a people who meet bitter cold with optimism and turn hardship into creative opportunity; through international competitions and exchanges it demonstrates Chinese culture’s openness and inclusiveness. The event’s success is a microcosm of contemporary China’s cultural achievements, projecting to the world the image of a modern nation that honors its traditions while bursting with innovative energy.

====Conclusion====
From a single ice lantern in Zhaolin Park to a world-renowned winter extravaganza, the journey of the Harbin International Ice and Snow Festival mirrors the life cycle of a regional culture that refuses to stand still. Using ice and snow as its medium, it threads folk tradition together with global art, builds a living laboratory where people and nature coexist, and—through its “made by all, shared by all” formula—folds snow culture into everyday life. On the plane of urban reinvention and national cultural outreach, the festival has not only re-branded Harbin; it has become a luminous window through which China’s cultural confidence is beamed to the world. The ice will melt, but the memory and the developmental wisdom it embodies will keep springing to life with every new winter.

===References===
[1] Hao Shuai. Research on the Integrated Development of Ice-and-Snow Cultural Tourism in Heilongjiang[J]. Border Economy and Culture, 2022, (05): 1-3.
[2] Wang Songyin, Shao Long, Feng Shan. Development and Innovation of Modern Ice Sculpture Art in Harbin[J]. Industrial Design, 2021, (03): 120-122.
[3] Wang Zhijun. Tracing the Harbin Ice-and-Snow Festival from the Perspective of China-Russia Cultural Integration[J]. Siberian Studies, 2022, (03): 74-82.
[4] Xu Wenjing. On the Development of Ice-and-Snow Tourism in Heilongjiang[D]. Heilongjiang University, 2011.
[5] Zhang Jijiao, Hou Xiaochen. From Customary and Intangible-Cultural-Heritage Ice-and-Snow Festivals to Industrialized Integration of Ice-and-Snow Culture and Tourism[J]. Guizhou Ethnic Studies, 2024, (04): 147-153.

===Terms and Expressions===
Harbin International Ice and Snow Festival：哈尔滨国际冰雪节
Ice and Snow Culture：冰雪文化
Ice and Snow Art：冰雪艺术
Harmony between people and nature：人与自然和谐共生
Shared ownership and co-creation：全民共创共享
Ice and Snow Economy：冰雪经济
Cultural Confidence：文化自信
Resource-transformation strategy：资源转化战略

===Questions===
1. When was the Harbin International Ice and Snow Festival founded?
2. Where was China’s first organized ice-lantern viewing event held?
3. What is the collective name for the festival’s three core scenic areas?
4. In what ways is the ice-and-snow artistry of the Sun Island Snow Expo expressed?
5. Where is the first layer of the festival’s cultural meaning manifested?

===Answers===
1. January 5, 1985.
2. Zhaolin Park.
3. the “Ice-and-Snow Art Triangle”.
4. It reveals the soft, poetic side of snow.
5. It keeps the earthy colors of Northeast-China folklore while absorbing modern art and global influences, creating a dialogue between native and world cultures.

==期末论文==
===哈尔滨国际冰雪节===
====简介====
哈尔滨国际冰雪节是中国黑龙江省哈尔滨市主办的大型综合性冬季节庆活动，现已成为全球规模最大、影响力最广的冰雪盛会之一。其以冰雪活动为核心内容，融合艺术、体育和旅游等多种元素。哈尔滨国际冰雪节也是中国首个以冰雪为主题的区域性节日，自1985年创办以来，已发展成为世界四大冰雪节之一。凭借其独特的地理位置、深厚的文化底蕴和丰富的活动内容，已成为中国冰雪旅游的名片，它不仅是中国冰雪文化的代表，更是城市品牌建设和国际交流的重要平台。

====历史起源====
哈尔滨国际冰雪节的起源可追溯到20世纪60年代，当时，哈尔滨第一届冰灯游园会在兆麟公园举办，这是中国首个有组织的冰灯观赏活动，人们利用松花江天然冰制作简易的冰灯，把电灯光源用以照明或装饰，开创了现代冰雪文化先河。

1984年12月20日，市政府召开新闻发布会，正式宣布自1985年起，每年1月5日为“哈尔滨冰雪节”，1月为“冰雪活动月”。1985年1月5日，首届哈尔滨冰雪节在兆麟公园南门外开幕，标志着中国第一个以冰雪为主题的区域性节日诞生。

2001年，哈尔滨冰雪节与“黑龙江国际滑雪节”合并，正式更名为“中国·哈尔滨国际冰雪节”，后续又与世界大学生冬季运动会、国际冰雪旅游峰会等活动结合，持续扩大影响力。
‌
====核心内容====
哈尔滨国际冰雪节的核心内容是围绕三大冰雪主题景区与多元配套活动展开，形成观赏、体验与互动相结合的立体游玩体系。兆麟公园的冰灯艺术游园会、太阳岛的国际雪雕艺术博览会和松花江上的冰雪大世界共同构成“冰雪艺术三角”。

首先，作为冰雪节的历史原点，兆麟公园承载着深厚的文化记忆。这里的冰灯作品更注重精巧、细腻与趣味性，保留了更多传统冰灯的神韵。游园会场景布置更为园林化，冰灯与园内古树、亭台相映成趣，营造出古典雅致的意境。它是冰灯艺术“工匠精神”的集中体现，也是市民情感联结最深的地方。

其次，太阳岛雪博会则展现了雪的“柔美”与诗性。这里汇集了来自全球顶尖雪雕艺术家的大型作品。雪质洁白、质地绵密，适宜进行极为精细的浮雕、圆雕与镂空雕刻。其作品题材广泛，从栩栩如生的历史人物、神话传说，到抽象现代的哲学思考，雪在艺术家手中获得了生命与温度。同时，雪博会也强调互动，设有供游客亲自体验的雪雕创作区。

最后，冰雪大世界是当之无愧的核心地标。这里以松花江天然冰为原料，打造出数十米高的巨型冰雕建筑群，从冰雪城堡到冰上长廊，搭配璀璨的灯光秀，营造出梦幻的冰雪童话世界，而千米冰滑梯、冰上自行车等体验项目，更是让游客从视觉欣赏转向沉浸式参与。冰雪大世界实现了艺术观赏与互动体验的完美结合。

除了三大核心景区，冰雪节期间还会举办冰球、滑雪等冰雪体育赛事，东北民俗展演、冰雪文化论坛、特色美食市集等活动，让游客在赏冰玩雪之余，感受哈尔滨的人文风情。例如，在哈尔滨冰雪节旅游过程中，游客除了观赏冰灯雪雕、游玩冰雪项目之外，还可以品尝东北餐饮、体验东北服饰等。无论是冰雪内容的设计、东北特色餐饮的准备，以及旅游景区的人员与活动安排等，都是将冰雪文化、东北特色、民族风格完全展现出来，让游客从不同感官深入体验与参与的过程。

====文化内涵====
作为世界四大冬令盛典之一，哈尔滨国际冰雪节早已超越了一场冰雪游乐活动的范畴，成为承载地域文化、推动经济发展、促进国际交流的复合型文化符号。冰雪是当地冬季生活的一部分，冰灯制作、冰雪游乐的传统可追溯至百年之前。如今的冰雪节，既保留了东北民俗的质朴底色，又吸纳了现代艺术与国际元素，实现了本土文化与世界文化的对话。它深度挖掘东北民俗文化内核，将秧歌、二人转等非遗表演融入节庆活动，让游客在沉浸式体验中触摸黑土地的文化脉搏；更搭建起跨国界交流平台，来自全球的冰雪雕刻师齐聚于此，以刀为笔、以冰雪为纸，雕琢出兼具东方意境与西方美学的艺术作品，北欧的极光主题雪雕、东南亚的风情冰灯等多国文化主题展区轮番亮相，多元文化在此碰撞交融。例如，兆麟公园的冰灯游园会和太阳岛的雪雕游园会不仅展示了冰雪的自然之美，还融入了艺术家的创意和技艺。

同时，冰雪节也是人与自然和谐共生理念的生动实践。依托松花江天然冰、太阳岛原生雪打造景观，恪守“取之于自然，还之于自然”的创作原则，采冰过程避开鱼类越冬区域，雪雕原料也随春日消融回归土地，让游客可以在赏冰玩雪的过程中感受自然之美。

冰雪节的文化内涵，更体现在全民共享、全民共创的独特氛围之中。节庆不仅囊括雪地足球赛、冰上趣味运动会等接地气的群众项目，更搭建起面向青年群体的创意舞台。高校冰雪艺术设计大赛吸引众多学子挥洒灵感，他们将潮流文化、科技元素与冰雪艺术巧妙融合，诞生出一批兼具观赏性与创新性的作品；文创产品市集则汇聚了民间手艺人与年轻创客的智慧，冰雕主题文创、东北民俗手作等琳琅满目，让冰雪文化从景观走向商品，从节庆走进日常。这种多元主体的参与共创，打破了“文化观赏”与“文化创造”的壁垒，让冰雪节不再是一场单向输出的盛会，而是成为人人皆可参与的文化实践，进一步丰富了其文化内涵，真正营造出全民共享的冰雪盛宴氛围。

====社会意义====
在城市层面，在全球化竞争中，独特的城市品牌是无形的战略资产。冰雪节以前所未有的视觉震撼力和文化独特性，将“哈尔滨”这三个字与“世界级冰雪艺术”牢牢绑定。通过国际媒体传播和游客的口碑，它成功地将一个曾经以重工业基地闻名的城市，重塑为“浪漫、创意、充满艺术活力的现代冰雪文化之都。这种品牌形象的重塑，极大地提升了哈尔滨的国际知名度。

在产业层面，对于面临传统工业转型压力的哈尔滨而言，冰雪节并非简单的“旅游项目”，而是一次成功的“资源转化”战略。它将无形的气候条件和有形的自然资源转化为可消费的文化产品与旅游体验，催生了一个完整的“冰雪经济”生态圈。这直接带动了旅游、酒店、餐饮等服务业爆发式增长，间接拉动了文创等产业的升级，创造了大量就业岗位。更重要的是，它提供了一种超越传统路径的、基于文化创意与特色资源的内生发展模式。

在国家层面，冰雪节成为了讲述中国故事、展示文化自信的平台。它展现了中国人民不畏严寒、化挑战为机遇的乐观与创造力；它通过国际比赛与交流，体现了中国文化的开放与包容。冰雪节的成功，是中国当代文化建设成就的一个缩影，向世界传递了一个既尊重传统、又充满创新活力的现代中国形象。

====结语====
从兆麟公园的一盏冰灯，到享誉世界的冰雪盛会，哈尔滨国际冰雪节的发展历程，是地域文化传承创新的生动缩影。它以冰雪为媒，串联起传统民俗与国际艺术，搭建起人与自然和谐共生的实践平台，更凭借全民共创共享的模式，让冰雪文化融入日常。在城市转型与国家文化传播的维度上，这场盛会不仅重塑了哈尔滨的城市名片，更成为向世界展示中国文化自信的重要窗口。冰雪会消融，但这份文化记忆与发展智慧，必将在传承中持续焕发新生机。

===参考文献===
[1]郝帅.黑龙江冰雪文化旅游融合发展研究[J].边疆经济与文化,2022,(05):1-3.
[2]王松引,邵龙,冯珊.哈尔滨现代冰雕艺术的发展与创新[J].工业设计，2021,(03):120-122.
[3]王志军.中俄文化交融视域下的哈尔滨冰雪节溯源[J].西伯利亚研究，2022,(03):74-82.
[4]徐文靖.论黑龙江冰雪旅游发展[D].黑龙江大学,2011.
[5]张继焦,侯晓晨.从习俗和非遗的冰雪节日到冰雪产业化文旅融合发展[J].贵州民族研究,2024,(04):147-153.

===术语===
哈尔滨国际冰雪节：Harbin International Ice and Snow Festival
冰雪文化：Ice and Snow Culture
冰雪艺术：Ice and Snow Art
人与自然和谐共生：Harmony between people and nature
全民共创共享：Shared ownership and co-creation
冰雪经济：Ice and Snow Economy
文化自信：Cultural Confidence
资源转化战略：Resource-transformation strategy

===问题===
1.哈尔滨国际冰雪节的创办时间？
2.中国首个有组织的冰灯观赏活动在哪里举办？
3.冰雪节三大核心景区被称为什么？
4.太阳岛雪博会的冰雪艺术特色体现在哪些方面？
5. 冰雪节文化内涵的第一层体现在哪里？

===答案===
1.1985年1月5日
2.兆麟公园
3.“冰雪艺术三角”
4.展现了雪的“柔美”与诗性
5.保留了东北民俗的质朴底色，又吸纳了现代艺术与国际元素，实现了本土文化与世界文化的对话。

File:Chinese Paper-cutting 2025.pptx

2025-12-11T13:34:22Z

Liu Xin:

Chinese Language and Culture - 2025

2025-12-11T12:49:24Z

Liu Xin: /* 2025-11-06 (周四) - 共 9 个演讲 */

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

=Overview about this semester's student presentations=

== 📅 Presentation Schedule ==

=== 2025-10-16 (周四) - Completed ===

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

=== 2025-10-23 (周四) - Completed ===

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

=== 2025-10-24 (周五) - Completed ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Wēng Lánlín || 翁岚淋 || 202570081712 || 217. Cha Bai Xi / Tea Latte Art (茶百戏) [[Media:Cha_Bai_Xi_2025.pptx]]
|-
| 2 || Huáng Yàngyàng || 黄样样 || 202570081682 || 234. Dragon Lantern Dance [[Media:Dragondance.pptx]]
|-
| 3 || Lǐ Yòu || 李又 || 202570081691 || Kite-flying (放风筝)
|-
| 4 || Mǎ Yījiāo || 马一礁 || 202570081700 || 242. Hunan Rice Noodles (湖南米粉)[[Media:Hu Nan Rice Noodles.pptx]]
|-
| 5 || Zhū Zhū || 朱珠 || 202570081738 || 37. Confucianism: Classical Philosophy-Reading the Analects
|-
| 6 || Wáng Rǎnrǎn || 王冉冉 || 202570081709 || Shandong cuisine 鲁菜
|-
| 7 || Yáng Shūwén || 杨淑雯 || 202570081722 || Traditional Cuisine: Breakfast Culture of Wuhan [[Media: Breakfast_Culture_of_Wuhan_2025.pptx]]
|-
| 8 || Méi Xīléi || 梅希雷 || 202570081701 || 69. Language: Chinese Dialects[[Media:Language: Chinese Dialects.pptx]]
|-
| 9 || Liú Huì || 刘慧 || 202570081695 || 204. Stand-up Comedy [[Media:Stand-up Comedy.pptx]]
|}

=== 2025-10-30 (周四) - Completed ===

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

=== 2025-11-06 (周四) - 共 9 个演讲 ===

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

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

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

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Huáng Yīlín || 黄伊琳 || 202570081684 || Chinese incense culture
|-
| 2 || Jiǎng Kèyǔ || 蒋克雨 || 202570081686 || 221. Zhongyuan festival [[Media:Zhongyuan_Festival_2025.pptx]]
|-
| 3 || Kǒng Xiángyǎ || 孔祥雅 || 202570081687 || 266. Hui culture [[Media:Hui_culture_2025.pptx]]
|-
| 4 || Lǐ Mèngxiá || 李孟霞 || 202570081688 || 243. Chinese names
|-
| 5 || Lǐ Pàn || 李盼 || 202570081689 || 175. The Photo Retouching Culture in China [[Media:The_Photo_Retouching_Culture_in_China_2025.pptx]]
|-
| 6 || Wáng Zǐxīn || 王紫新 || 202570081710 || 138.Round Table Culture [[Media:Round_Table_Culture_2025.pptx]]
|-
| 7 || Liú Dān || 刘丹 || 202570081694 || 232. Sun Wukong (孙悟空) [[Media:Sun_Wukong_2025.pptx]]
|-
| 8 || Liú Xīn || 刘欣 || 202570081697 || 170. Chinese Paper-cutting [[Media:Chinese_Paper-cutting_2025.pptx]]
|-
| 9 || Liú Yuán || 刘缘 || 202570081698 || Language: Hakka Dialect 1845
|}

=== 2025-11-07 (周五) - 共 10 个演讲 ===

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

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

=== 2025-11-13 (周四) - 共 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Xiàng Xuěbīng || 向雪冰 || 202570081715 || TBD - Xiàng Xuěbīng
|-
| 2 || Xiào Sūqín || 肖苏秦 || 202570081716 || 197. Chinese tradition culture: The culture of Ronghua-Velvet Flowers 绒花
|-
| 3 || Xióng Ruòyáo || 熊若瑶 || 202570081717 || 169. Cuisine: Luosifen
|-
| 4 || Yán Zhéwén || 严哲文 || 202570081718 || 9. Architecture: The Forbidden City [[Media: Architecture The Forbidden City.pptx]]
|-
| 5 || Yáng Hàodān || 杨皓丹 || 202570081719 || 209. Tofu meatball with pig blood(猪血丸子）
|-
| 6 || Yáng Jīnyǔ || 杨金雨 || 202570081720 || 96. Medicine: TCM - The Development of Chinese Medicine
|-
| 7 || Yáng Jìngwèi || 杨婧蔚 || 202570081721 || 45. Facial Make-up: Face Changing in Sichuan Opera [[Media:Facial Make-up Face Changing in Sichuan Opera.pptx]]
|-
| 8 || Yáng Xīrán || 杨晰然 || 202570081723 || 191. Aesthetic ideals and social customs: The Culture of Flowers [[Media: 191. The Culture of Flowers.pptx]]
|-
| 9 || Yáng Yǔxuān || 杨宇轩 || 202570081724 || 20. Milk tea 奶茶[[Media:Milk Tea-.pptx]]
|-
| 10 || Yì Yǎlán || 易雅兰 || 202570081725 || 235.Bamboo Weaving 竹编 [[Media:Bamboo_Weaving_2025.pptx]]
|}

=== 2025-11-20 (周四) - 共 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Yú Chēn || 余琛 || 202570081726 || 174. Traditional Cuisine: Jiaozi 饺子 [[Media: Jiaozi.pptx]]
|-
| 2 || Yuè Ziháo || 岳子豪 || 202570081727 || 108. Opera: Peking Opera (京剧)
|-
| 3 || Zhāng Lì || 张丽 || 202570081728 || 180. Tangyuan (汤圆)[[Media:Tangyuan_2025.pptx]]
|-
| 4 || Zhāng Shuàichāo || 张帅超 || 202570081731 || Ancient Chinese education
|-
| 5 || Zhāng Yǔméng || 张雨蒙 || 202570081732 || 208. Chinese traditional ornament: Buyao (步摇)
|-
| 6 || Zhào Jǐntāo || 赵锦涛 || 202570081733 || Culture of Chinese Electric Car
|-
| 7 || Zhào Mǐn || 赵敏 || 202570081734 || Gender: Wu Zetian: The Only Female Emperor of Imperial China
|-
| 8 || Zhào Yíxiāo || 赵怡潇 || 202570081735 || 205. Bride-price
|-
| 9 || Zhèng Shān || 郑珊 || 202570081736 || 278. The Beef Board Noodle
|-
| 10 || Zhōu Wénxuān || 周文萱 || 202570081737 || 23. Body movement performance: Chinese Lion Dancing [[Media: Chinese Lion Dance.pptx]]
|}

=== 2025-11-27 (周四) - 共 9 个演讲 ===

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

=== 2025-12-04 (周四) - 共 10 个演讲 ===

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

=== 2025-12-11 (周四) - 共 10 个演讲 ===

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

=== 2025-12-18 (周四) - 共 8 个演讲 ===

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

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

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

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

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

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

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

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

[[Media:02_Chin_Lang_Cult_2025.pptx]]

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

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

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

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

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

Was the presentation appropriate to the topic?

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

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

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

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

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

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

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

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

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

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

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203 (Zhang Mai)

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246 (Tang Yan)

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339

38. Education: Ancient Chinese Education 350

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

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462（Zhao Qi）

51. Games: Kite Flying 468

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

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

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

56. Garden Culture: Qingming Riverside Landscspe Garden 526

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

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

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

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

63. Landscapes and Tourism: Mogao Grottoes 593

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

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

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

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

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

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

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

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

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

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

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

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

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

132. Silk and porcelain: Porcelain 1277

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

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

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

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

137. Social: The Long-life Lock 1308

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

139. Stage entertainment: Crosstalk 相声 1325

140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348

143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

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

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

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

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

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

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

157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

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

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573 Lv Jiahao

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593 （Chen Sisi)

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

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

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712（Xiao Yawen）

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

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

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752 （Chu Hanqi）

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

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

192. National Belief: the Chinese Dream 1818

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

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

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

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

201. The culture of Grass cloth 夏布 1845

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

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

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

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845(Lu Wei)

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

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

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

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

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

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

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

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

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

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

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

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

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

221. Zhongyuan festival 1845 （Ou Huang）

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

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

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

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

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

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

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

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

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

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

232. Sun Wukong（孙悟空） 1845 （Li Yuan2）

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

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

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

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

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

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

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

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

241. Abacus (中国珠算） 1845

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

243. Chinese name（中国姓名文化） 1845

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

245. Douzhi (豆汁) 1845(Li Linyao)

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

247. Carved lacquer（雕漆） 1845 （Liu Qi）

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

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

250. Language: Hakka Dialect（客家话） 1845

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

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

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

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

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

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

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

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

264. Single bamboo drifting（独竹漂） 1845

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

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

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

268. Table Manners 1845（Luo Yan）

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

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

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

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

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

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）

277. Mirror (镜子) 1845 (Cheng Sixiang)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tea Latte Art (Xiang Jianning)

Topic 7

Topic 8

Topic 9

Topic 10

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

==Student grades: 平时成绩/签到==

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

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

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

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

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

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

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

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

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

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

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

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

⸻

English Translation:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[[Media:ChaBaiXi.pptx]]

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

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

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

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

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

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

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

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

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