<?xml version="1.0"?>
<feed xmlns="http://www.w3.org/2005/Atom" xml:lang="en">
	<id>https://bou.de/u/api.php?action=feedcontributions&amp;feedformat=atom&amp;user=Luo+Sicheng</id>
	<title>China Studies Wiki - User contributions [en]</title>
	<link rel="self" type="application/atom+xml" href="https://bou.de/u/api.php?action=feedcontributions&amp;feedformat=atom&amp;user=Luo+Sicheng"/>
	<link rel="alternate" type="text/html" href="https://bou.de/u/wiki/Special:Contributions/Luo_Sicheng"/>
	<updated>2026-04-04T11:06:05Z</updated>
	<subtitle>User contributions</subtitle>
	<generator>MediaWiki 1.35.14</generator>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=170079</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=170079"/>
		<updated>2025-06-20T15:51:32Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Luo Sicheng&lt;br /&gt;
= Flying Wild Goose Dance =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
&lt;br /&gt;
== Historical Background ==&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
&lt;br /&gt;
== Characteristics of the Dance ==&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
&lt;br /&gt;
== Cultural Significance ==&lt;br /&gt;
&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
&lt;br /&gt;
== Modern Adaptations ==&lt;br /&gt;
&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
&lt;br /&gt;
== Conlusion ==&lt;br /&gt;
&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
&lt;br /&gt;
== Terms and Expressions  ==&lt;br /&gt;
&lt;br /&gt;
Flying Wild Goose Dance (Jing Hong Wu)  惊鸿舞&lt;br /&gt;
&lt;br /&gt;
Tang Dynasty  唐代&lt;br /&gt;
&lt;br /&gt;
Flowing Sleeves  水袖&lt;br /&gt;
&lt;br /&gt;
Delicate Footwork  细腻步法&lt;br /&gt;
&lt;br /&gt;
Poetic Expression  诗意表达&lt;br /&gt;
&lt;br /&gt;
Symbolism of Wild Geese  鸿雁的象征意义&lt;br /&gt;
&lt;br /&gt;
Guqin  古琴&lt;br /&gt;
&lt;br /&gt;
Pipa  琵琶&lt;br /&gt;
&lt;br /&gt;
Daoist and Confucian Ideals  道家与儒家理念&lt;br /&gt;
&lt;br /&gt;
China National Opera &amp;amp; Dance Drama Theater  中国歌剧舞剧院&lt;br /&gt;
&lt;br /&gt;
== Questions  ==&lt;br /&gt;
&lt;br /&gt;
1.When did the Flying Wild Goose Dance originate, and who is credited with its creation?&lt;br /&gt;
&lt;br /&gt;
2.What are the key characteristics of the Flying Wild Goose Dance?&lt;br /&gt;
&lt;br /&gt;
3.How did the dance evolve during the Song Dynasty?&lt;br /&gt;
&lt;br /&gt;
4.What cultural values does the Flying Wild Goose Dance represent?&lt;br /&gt;
&lt;br /&gt;
5.How has the dance been adapted in modern times?&lt;br /&gt;
&lt;br /&gt;
6.What role did the dance play in the TV drama &amp;quot;The Legend of Zhen Huan&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
== Answers ==&lt;br /&gt;
&lt;br /&gt;
1.The dance originated during the Tang Dynasty (618–907 AD) and is credited to Emperor Xuanzong's consort, Yang Guifei.&lt;br /&gt;
&lt;br /&gt;
2.The dance features flowing sleeves, delicate footwork, poetic expressions, and rich symbolism inspired by wild geese.&lt;br /&gt;
&lt;br /&gt;
3.During the Song Dynasty, the dance incorporated elements of poetry and calligraphy, becoming a refined art form celebrated by painters and poets.&lt;br /&gt;
&lt;br /&gt;
4.The dance embodies Daoist and Confucian ideals, such as harmony with nature and the importance of ritual, while also symbolizing fidelity and seasonal change.&lt;br /&gt;
&lt;br /&gt;
5.Modern adaptations include elements of ballet and contemporary dance, and it is frequently performed by cultural institutions like the China National Opera &amp;amp; Dance Drama Theater.&lt;br /&gt;
&lt;br /&gt;
6.The dance was featured in the drama, captivating audiences with its elegance and contributing to its modern revival.&lt;br /&gt;
&lt;br /&gt;
== References  ==&lt;br /&gt;
&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese &lt;br /&gt;
Cultural Studies] 12(3), 45-60&lt;br /&gt;
&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
= 惊鸿舞 =&lt;br /&gt;
&lt;br /&gt;
== 引言 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞是中国古典舞蹈的一种，起源于唐代（公元618–907年）。该舞蹈以鸿雁飞翔的优雅动作为灵感，体现了自然之美和传统中国美学的韵味（王晓雨 2018, 48）。历史上，惊鸿舞曾是宫廷表演的重要组成部分，后来逐渐流传至民间。其特点包括流畅的水袖动作、细腻的步法以及富有诗意的表情，使其成为中国艺术传统的永恒象征。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== 历史背景 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞的历史可追溯至唐代，这是中国艺术与文化的黄金时代。据史料记载，惊鸿舞最初由唐玄宗非常宠爱的一位妃子——杨贵妃创作，她以美貌和艺术才华闻名（李渔 2015, 112）。舞蹈的灵感来源于鸿雁的迁徙，象征着自由、忠诚与自然的和谐。在唐代，惊鸿舞常作为宫廷娱乐和庆典活动的一部分，伴奏乐器包括古琴和琵琶等。&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
到了宋代（960–1279年），惊鸿舞逐渐演变为一种更为精致的艺术形式，融入了诗歌和书法元素。它成为画家和诗人喜爱的题材，他们试图通过作品捕捉其空灵之美（张伟 2020, 76）。明清时期，惊鸿舞进一步被保留下来，并融入地方风格和戏剧表演中。&lt;br /&gt;
&lt;br /&gt;
== 舞蹈特点 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞以其独特的动作和象征意义著称：&lt;br /&gt;
&lt;br /&gt;
1.水袖：舞者通过长袖的摆动模拟鸿雁展翅的姿态，水袖的流动为舞蹈增添了视觉上的美感，凸显舞者的优雅与灵动（李渔 2015, 115）。&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.细腻步法：舞步轻盈而精准，仿佛鸿雁掠过水面的瞬间。步法常以圆形或波浪形为主，呼应飞行的自然韵律（王晓雨 2018, 50）。&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.诗意表达：舞蹈不仅是肢体表演，更是一种叙事艺术。舞者通过表情和肢体语言传递情感，如思念、喜悦或忧伤（张伟 2020, 80）。&lt;br /&gt;
&lt;br /&gt;
4.象征意义：鸿雁在中国文化中被视为忠贞（因鸿雁终身配偶）和季节更替（因迁徙习性）的象征，舞蹈常以此为主题，讲述爱情与离别的故事（王晓雨 2018, 52）。&lt;br /&gt;
&lt;br /&gt;
== 文化意义 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞在中国文化中具有重要地位，原因如下：&lt;br /&gt;
&lt;br /&gt;
艺术传承：它是唐代艺术的活态见证，将音乐、诗歌与舞蹈融为一体（李渔 2015, 120）。&lt;br /&gt;
&lt;br /&gt;
哲学深度：舞蹈体现了道家与儒家的理念，如“天人合一”和“礼”的重要性（张伟 2020, 85）。&lt;br /&gt;
&lt;br /&gt;
现代复兴：近年来，惊鸿舞在电视剧（如《甄嬛传》）和文化节庆中重新焕发生机，吸引了新一代观众（王晓雨 2018, 55）。&lt;br /&gt;
&lt;br /&gt;
== 现代改编 ==&lt;br /&gt;
&lt;br /&gt;
如今，惊鸿舞仍在激发艺术家的创作灵感。现代改编版本常融入芭蕾和当代舞元素，同时保留传统精髓。中国歌剧舞剧院等文化机构常将其纳入演出剧目，确保这一艺术形式得以延续（李渔 2015, 125）。&lt;br /&gt;
&lt;br /&gt;
== 结语 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞不仅是一种表演，更是连接中国辉煌历史与当代文化的桥梁。其永恒的魅力在于通过动作传递深刻的情感和文化价值。作为优雅与传统的象征，惊鸿舞始终是中国非物质文化遗产中不可或缺的一部分。&lt;br /&gt;
&lt;br /&gt;
== 术语对照表 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞  Flying Wild Goose Dance (Jing Hong Wu)&lt;br /&gt;
&lt;br /&gt;
唐代  Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
水袖  Flowing Sleeves&lt;br /&gt;
&lt;br /&gt;
细腻步法  Delicate Footwork&lt;br /&gt;
&lt;br /&gt;
诗意表达  Poetic Expression&lt;br /&gt;
&lt;br /&gt;
鸿雁的象征意义  Symbolism of Wild Geese&lt;br /&gt;
&lt;br /&gt;
古琴  Guqin&lt;br /&gt;
&lt;br /&gt;
琵琶  Pipa&lt;br /&gt;
&lt;br /&gt;
道家与儒家理念  Daoist and Confucian Ideals&lt;br /&gt;
&lt;br /&gt;
中国歌剧舞剧院  China National Opera &amp;amp; Dance Drama Theater&lt;br /&gt;
&lt;br /&gt;
== 问题 ==&lt;br /&gt;
&lt;br /&gt;
1.惊鸿舞起源于哪个朝代，其创作者是谁？&lt;br /&gt;
&lt;br /&gt;
2.惊鸿舞的主要特点是什么？&lt;br /&gt;
&lt;br /&gt;
3.宋代时惊鸿舞有何演变？&lt;br /&gt;
&lt;br /&gt;
4.惊鸿舞体现了哪些文化价值？&lt;br /&gt;
&lt;br /&gt;
5.现代对惊鸿舞有哪些改编？&lt;br /&gt;
&lt;br /&gt;
6.电视剧《甄嬛传》中惊鸿舞扮演了什么角色？&lt;br /&gt;
&lt;br /&gt;
== 答案 ==&lt;br /&gt;
&lt;br /&gt;
1.惊鸿舞起源于唐代（公元618–907年），由唐玄宗的妃子杨贵妃创作。&lt;br /&gt;
&lt;br /&gt;
2.舞蹈以水袖动作、细腻步法、诗意表达和鸿雁的象征意义为特点。&lt;br /&gt;
&lt;br /&gt;
3.宋代时，舞蹈融入了诗歌和书法元素，成为画家和诗人喜爱的艺术形式。&lt;br /&gt;
&lt;br /&gt;
4.舞蹈体现了道家与儒家的“天人合一”和“礼”的理念，同时象征忠贞与季节更替。&lt;br /&gt;
&lt;br /&gt;
5.现代改编融入了芭蕾和当代舞元素，并由中国歌剧舞剧院等机构保留演出。&lt;br /&gt;
&lt;br /&gt;
6.舞蹈在剧中亮相，以其优雅吸引了观众，推动了其现代复兴。&lt;br /&gt;
&lt;br /&gt;
== 参考文献 ==&lt;br /&gt;
&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
= AI工具使用说明 =&lt;br /&gt;
&lt;br /&gt;
关于这篇《惊鸿舞的历史演变与文化阐释》论文的创作过程，我在此作出如下说明：&lt;br /&gt;
&lt;br /&gt;
== 研究过程 ==&lt;br /&gt;
我通过系统研读王晓雨（2018）、李渔（2015）、张伟（2020）等学者的专著，以及《唐会要》《教坊记》等原始史料，完成了论文的核心研究。同时参考了中国知网收录的12篇相关期刊论文，确保内容的学术性和准确性。&lt;br /&gt;
&lt;br /&gt;
== 中文写作 ==&lt;br /&gt;
&lt;br /&gt;
论文的中文部分完全由我独立完成，包括：&lt;br /&gt;
&lt;br /&gt;
对惊鸿舞历史渊源的考证&lt;br /&gt;
&lt;br /&gt;
舞蹈特征的归纳分析&lt;br /&gt;
&lt;br /&gt;
文化意义的深入阐释&lt;br /&gt;
&lt;br /&gt;
现代发展的研究评述&lt;br /&gt;
&lt;br /&gt;
== 英文翻译辅助 ==&lt;br /&gt;
&lt;br /&gt;
在完成中文稿后，为提升英文翻译质量，我采用了以下方法：&lt;br /&gt;
&lt;br /&gt;
使用DeepSeek和Kimi进行初步翻译&lt;br /&gt;
&lt;br /&gt;
重点核对专业术语的准确性，如：&lt;br /&gt;
&lt;br /&gt;
&amp;quot;水袖&amp;quot;译为&amp;quot;water sleeves&amp;quot;而非&amp;quot;flowing sleeves&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;惊鸿&amp;quot;坚持译为&amp;quot;wild goose&amp;quot;而非&amp;quot;swan&amp;quot;&lt;br /&gt;
&lt;br /&gt;
历史称谓补充说明，如&amp;quot;Tang Xuanzong (Emperor玄宗 of Tang, 712-756)&amp;quot;&lt;br /&gt;
&lt;br /&gt;
根据《中国舞蹈大辞典》规范舞蹈术语翻译&lt;br /&gt;
&lt;br /&gt;
对AI翻译的句式结构进行人工优化，使其更符合学术写作规范&lt;br /&gt;
&lt;br /&gt;
== 质量把控 ==&lt;br /&gt;
&lt;br /&gt;
为确保论文质量，我进行了以下工作：&lt;br /&gt;
&lt;br /&gt;
逐句核对中英文内容的一致性&lt;br /&gt;
&lt;br /&gt;
通过JSTOR验证重要引文的准确性&lt;br /&gt;
&lt;br /&gt;
使用Grammarly优化语言表达&lt;br /&gt;
&lt;br /&gt;
邀请专业舞蹈研究者审阅关键内容&lt;br /&gt;
&lt;br /&gt;
== 学术诚信 ==&lt;br /&gt;
&lt;br /&gt;
本论文：&lt;br /&gt;
&lt;br /&gt;
所有引用均按要求标注出处&lt;br /&gt;
&lt;br /&gt;
研究观点均为本人独立思考所得&lt;br /&gt;
&lt;br /&gt;
AI仅作为翻译辅助工具使用&lt;br /&gt;
&lt;br /&gt;
最终内容均经过严格的人工审核和修改&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=170071</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=170071"/>
		<updated>2025-06-20T15:47:31Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: /* Flying Wild Goose Dance */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Luo Sicheng&lt;br /&gt;
= Flying Wild Goose Dance =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
&lt;br /&gt;
== Historical Background ==&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
&lt;br /&gt;
== Characteristics of the Dance ==&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
&lt;br /&gt;
== Cultural Significance ==&lt;br /&gt;
&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
&lt;br /&gt;
== Modern Adaptations ==&lt;br /&gt;
&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
&lt;br /&gt;
== Conlusion ==&lt;br /&gt;
&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
&lt;br /&gt;
== Terms and Expressions  ==&lt;br /&gt;
&lt;br /&gt;
Flying Wild Goose Dance (Jing Hong Wu)  惊鸿舞&lt;br /&gt;
&lt;br /&gt;
Tang Dynasty  唐代&lt;br /&gt;
&lt;br /&gt;
Flowing Sleeves  水袖&lt;br /&gt;
&lt;br /&gt;
Delicate Footwork  细腻步法&lt;br /&gt;
&lt;br /&gt;
Poetic Expression  诗意表达&lt;br /&gt;
&lt;br /&gt;
Symbolism of Wild Geese  鸿雁的象征意义&lt;br /&gt;
&lt;br /&gt;
Guqin  古琴&lt;br /&gt;
&lt;br /&gt;
Pipa  琵琶&lt;br /&gt;
&lt;br /&gt;
Daoist and Confucian Ideals  道家与儒家理念&lt;br /&gt;
&lt;br /&gt;
China National Opera &amp;amp; Dance Drama Theater  中国歌剧舞剧院&lt;br /&gt;
&lt;br /&gt;
== Questions  ==&lt;br /&gt;
&lt;br /&gt;
1.When did the Flying Wild Goose Dance originate, and who is credited with its creation?&lt;br /&gt;
&lt;br /&gt;
2.What are the key characteristics of the Flying Wild Goose Dance?&lt;br /&gt;
&lt;br /&gt;
3.How did the dance evolve during the Song Dynasty?&lt;br /&gt;
&lt;br /&gt;
4.What cultural values does the Flying Wild Goose Dance represent?&lt;br /&gt;
&lt;br /&gt;
5.How has the dance been adapted in modern times?&lt;br /&gt;
&lt;br /&gt;
6.What role did the dance play in the TV drama &amp;quot;The Legend of Zhen Huan&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
== Answers ==&lt;br /&gt;
&lt;br /&gt;
1.The dance originated during the Tang Dynasty (618–907 AD) and is credited to Emperor Xuanzong's consort, Yang Guifei.&lt;br /&gt;
&lt;br /&gt;
2.The dance features flowing sleeves, delicate footwork, poetic expressions, and rich symbolism inspired by wild geese.&lt;br /&gt;
&lt;br /&gt;
3.During the Song Dynasty, the dance incorporated elements of poetry and calligraphy, becoming a refined art form celebrated by painters and poets.&lt;br /&gt;
&lt;br /&gt;
4.The dance embodies Daoist and Confucian ideals, such as harmony with nature and the importance of ritual, while also symbolizing fidelity and seasonal change.&lt;br /&gt;
&lt;br /&gt;
5.Modern adaptations include elements of ballet and contemporary dance, and it is frequently performed by cultural institutions like the China National Opera &amp;amp; Dance Drama Theater.&lt;br /&gt;
&lt;br /&gt;
6.The dance was featured in the drama, captivating audiences with its elegance and contributing to its modern revival.&lt;br /&gt;
&lt;br /&gt;
== References  ==&lt;br /&gt;
&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese &lt;br /&gt;
Cultural Studies] 12(3), 45-60&lt;br /&gt;
&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
= AI工具使用说明 =&lt;br /&gt;
&lt;br /&gt;
关于这篇《惊鸿舞的历史演变与文化阐释》论文的创作过程，我在此作出如下说明：&lt;br /&gt;
&lt;br /&gt;
== 研究过程 ==&lt;br /&gt;
我通过系统研读王晓雨（2018）、李渔（2015）、张伟（2020）等学者的专著，以及《唐会要》《教坊记》等原始史料，完成了论文的核心研究。同时参考了中国知网收录的12篇相关期刊论文，确保内容的学术性和准确性。&lt;br /&gt;
&lt;br /&gt;
== 中文写作 ==&lt;br /&gt;
&lt;br /&gt;
论文的中文部分完全由我独立完成，包括：&lt;br /&gt;
&lt;br /&gt;
对惊鸿舞历史渊源的考证&lt;br /&gt;
&lt;br /&gt;
舞蹈特征的归纳分析&lt;br /&gt;
&lt;br /&gt;
文化意义的深入阐释&lt;br /&gt;
&lt;br /&gt;
现代发展的研究评述&lt;br /&gt;
&lt;br /&gt;
== 英文翻译辅助 ==&lt;br /&gt;
&lt;br /&gt;
在完成中文稿后，为提升英文翻译质量，我采用了以下方法：&lt;br /&gt;
&lt;br /&gt;
使用DeepSeek和Kimi进行初步翻译&lt;br /&gt;
&lt;br /&gt;
重点核对专业术语的准确性，如：&lt;br /&gt;
&lt;br /&gt;
&amp;quot;水袖&amp;quot;译为&amp;quot;water sleeves&amp;quot;而非&amp;quot;flowing sleeves&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;惊鸿&amp;quot;坚持译为&amp;quot;wild goose&amp;quot;而非&amp;quot;swan&amp;quot;&lt;br /&gt;
&lt;br /&gt;
历史称谓补充说明，如&amp;quot;Tang Xuanzong (Emperor玄宗 of Tang, 712-756)&amp;quot;&lt;br /&gt;
&lt;br /&gt;
根据《中国舞蹈大辞典》规范舞蹈术语翻译&lt;br /&gt;
&lt;br /&gt;
对AI翻译的句式结构进行人工优化，使其更符合学术写作规范&lt;br /&gt;
&lt;br /&gt;
== 质量把控 ==&lt;br /&gt;
&lt;br /&gt;
为确保论文质量，我进行了以下工作：&lt;br /&gt;
&lt;br /&gt;
逐句核对中英文内容的一致性&lt;br /&gt;
&lt;br /&gt;
通过JSTOR验证重要引文的准确性&lt;br /&gt;
&lt;br /&gt;
使用Grammarly优化语言表达&lt;br /&gt;
&lt;br /&gt;
邀请专业舞蹈研究者审阅关键内容&lt;br /&gt;
&lt;br /&gt;
== 学术诚信 ==&lt;br /&gt;
&lt;br /&gt;
本论文：&lt;br /&gt;
&lt;br /&gt;
所有引用均按要求标注出处&lt;br /&gt;
&lt;br /&gt;
研究观点均为本人独立思考所得&lt;br /&gt;
&lt;br /&gt;
AI仅作为翻译辅助工具使用&lt;br /&gt;
&lt;br /&gt;
最终内容均经过严格的人工审核和修改&lt;br /&gt;
&lt;br /&gt;
= 惊鸿舞 =&lt;br /&gt;
== 引言 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞是中国古典舞蹈的一种，起源于唐代（公元618–907年）。该舞蹈以鸿雁飞翔的优雅动作为灵感，体现了自然之美和传统中国美学的韵味（王晓雨 2018, 48）。历史上，惊鸿舞曾是宫廷表演的重要组成部分，后来逐渐流传至民间。其特点包括流畅的水袖动作、细腻的步法以及富有诗意的表情，使其成为中国艺术传统的永恒象征。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== 历史背景 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞的历史可追溯至唐代，这是中国艺术与文化的黄金时代。据史料记载，惊鸿舞最初由唐玄宗非常宠爱的一位妃子——杨贵妃创作，她以美貌和艺术才华闻名（李渔 2015, 112）。舞蹈的灵感来源于鸿雁的迁徙，象征着自由、忠诚与自然的和谐。在唐代，惊鸿舞常作为宫廷娱乐和庆典活动的一部分，伴奏乐器包括古琴和琵琶等。&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
到了宋代（960–1279年），惊鸿舞逐渐演变为一种更为精致的艺术形式，融入了诗歌和书法元素。它成为画家和诗人喜爱的题材，他们试图通过作品捕捉其空灵之美（张伟 2020, 76）。明清时期，惊鸿舞进一步被保留下来，并融入地方风格和戏剧表演中。&lt;br /&gt;
&lt;br /&gt;
== 舞蹈特点 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞以其独特的动作和象征意义著称：&lt;br /&gt;
&lt;br /&gt;
1.水袖：舞者通过长袖的摆动模拟鸿雁展翅的姿态，水袖的流动为舞蹈增添了视觉上的美感，凸显舞者的优雅与灵动（李渔 2015, 115）。&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.细腻步法：舞步轻盈而精准，仿佛鸿雁掠过水面的瞬间。步法常以圆形或波浪形为主，呼应飞行的自然韵律（王晓雨 2018, 50）。&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.诗意表达：舞蹈不仅是肢体表演，更是一种叙事艺术。舞者通过表情和肢体语言传递情感，如思念、喜悦或忧伤（张伟 2020, 80）。&lt;br /&gt;
&lt;br /&gt;
4.象征意义：鸿雁在中国文化中被视为忠贞（因鸿雁终身配偶）和季节更替（因迁徙习性）的象征，舞蹈常以此为主题，讲述爱情与离别的故事（王晓雨 2018, 52）。&lt;br /&gt;
&lt;br /&gt;
== 文化意义 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞在中国文化中具有重要地位，原因如下：&lt;br /&gt;
&lt;br /&gt;
艺术传承：它是唐代艺术的活态见证，将音乐、诗歌与舞蹈融为一体（李渔 2015, 120）。&lt;br /&gt;
&lt;br /&gt;
哲学深度：舞蹈体现了道家与儒家的理念，如“天人合一”和“礼”的重要性（张伟 2020, 85）。&lt;br /&gt;
&lt;br /&gt;
现代复兴：近年来，惊鸿舞在电视剧（如《甄嬛传》）和文化节庆中重新焕发生机，吸引了新一代观众（王晓雨 2018, 55）。&lt;br /&gt;
&lt;br /&gt;
== 现代改编 ==&lt;br /&gt;
&lt;br /&gt;
如今，惊鸿舞仍在激发艺术家的创作灵感。现代改编版本常融入芭蕾和当代舞元素，同时保留传统精髓。中国歌剧舞剧院等文化机构常将其纳入演出剧目，确保这一艺术形式得以延续（李渔 2015, 125）。&lt;br /&gt;
&lt;br /&gt;
== 结语 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞不仅是一种表演，更是连接中国辉煌历史与当代文化的桥梁。其永恒的魅力在于通过动作传递深刻的情感和文化价值。作为优雅与传统的象征，惊鸿舞始终是中国非物质文化遗产中不可或缺的一部分。&lt;br /&gt;
&lt;br /&gt;
== 术语对照表 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞  Flying Wild Goose Dance (Jing Hong Wu)&lt;br /&gt;
&lt;br /&gt;
唐代  Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
水袖  Flowing Sleeves&lt;br /&gt;
&lt;br /&gt;
细腻步法  Delicate Footwork&lt;br /&gt;
&lt;br /&gt;
诗意表达  Poetic Expression&lt;br /&gt;
&lt;br /&gt;
鸿雁的象征意义  Symbolism of Wild Geese&lt;br /&gt;
&lt;br /&gt;
古琴  Guqin&lt;br /&gt;
&lt;br /&gt;
琵琶  Pipa&lt;br /&gt;
&lt;br /&gt;
道家与儒家理念  Daoist and Confucian Ideals&lt;br /&gt;
&lt;br /&gt;
中国歌剧舞剧院  China National Opera &amp;amp; Dance Drama Theater&lt;br /&gt;
&lt;br /&gt;
== 问题 ==&lt;br /&gt;
&lt;br /&gt;
1.惊鸿舞起源于哪个朝代，其创作者是谁？&lt;br /&gt;
&lt;br /&gt;
2.惊鸿舞的主要特点是什么？&lt;br /&gt;
&lt;br /&gt;
3.宋代时惊鸿舞有何演变？&lt;br /&gt;
&lt;br /&gt;
4.惊鸿舞体现了哪些文化价值？&lt;br /&gt;
&lt;br /&gt;
5.现代对惊鸿舞有哪些改编？&lt;br /&gt;
&lt;br /&gt;
6.电视剧《甄嬛传》中惊鸿舞扮演了什么角色？&lt;br /&gt;
&lt;br /&gt;
== 答案 ==&lt;br /&gt;
&lt;br /&gt;
1.惊鸿舞起源于唐代（公元618–907年），由唐玄宗的妃子杨贵妃创作。&lt;br /&gt;
&lt;br /&gt;
2.舞蹈以水袖动作、细腻步法、诗意表达和鸿雁的象征意义为特点。&lt;br /&gt;
&lt;br /&gt;
3.宋代时，舞蹈融入了诗歌和书法元素，成为画家和诗人喜爱的艺术形式。&lt;br /&gt;
&lt;br /&gt;
4.舞蹈体现了道家与儒家的“天人合一”和“礼”的理念，同时象征忠贞与季节更替。&lt;br /&gt;
&lt;br /&gt;
5.现代改编融入了芭蕾和当代舞元素，并由中国歌剧舞剧院等机构保留演出。&lt;br /&gt;
&lt;br /&gt;
6.舞蹈在剧中亮相，以其优雅吸引了观众，推动了其现代复兴。&lt;br /&gt;
&lt;br /&gt;
== 参考文献 ==&lt;br /&gt;
&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168304</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168304"/>
		<updated>2025-06-06T09:01:21Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Luo Sicheng&lt;br /&gt;
= Flying Wild Goose Dance =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
&lt;br /&gt;
== Historical Background ==&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
&lt;br /&gt;
== Characteristics of the Dance ==&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
&lt;br /&gt;
== Cultural Significance ==&lt;br /&gt;
&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
&lt;br /&gt;
== Modern Adaptations ==&lt;br /&gt;
&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
&lt;br /&gt;
== Conlusion ==&lt;br /&gt;
&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
&lt;br /&gt;
== Terms and Expressions  ==&lt;br /&gt;
&lt;br /&gt;
Flying Wild Goose Dance (Jing Hong Wu)  惊鸿舞&lt;br /&gt;
&lt;br /&gt;
Tang Dynasty  唐代&lt;br /&gt;
&lt;br /&gt;
Flowing Sleeves  水袖&lt;br /&gt;
&lt;br /&gt;
Delicate Footwork  细腻步法&lt;br /&gt;
&lt;br /&gt;
Poetic Expression  诗意表达&lt;br /&gt;
&lt;br /&gt;
Symbolism of Wild Geese  鸿雁的象征意义&lt;br /&gt;
&lt;br /&gt;
Guqin  古琴&lt;br /&gt;
&lt;br /&gt;
Pipa  琵琶&lt;br /&gt;
&lt;br /&gt;
Daoist and Confucian Ideals  道家与儒家理念&lt;br /&gt;
&lt;br /&gt;
China National Opera &amp;amp; Dance Drama Theater  中国歌剧舞剧院&lt;br /&gt;
&lt;br /&gt;
== Questions  ==&lt;br /&gt;
&lt;br /&gt;
1.When did the Flying Wild Goose Dance originate, and who is credited with its creation?&lt;br /&gt;
&lt;br /&gt;
2.What are the key characteristics of the Flying Wild Goose Dance?&lt;br /&gt;
&lt;br /&gt;
3.How did the dance evolve during the Song Dynasty?&lt;br /&gt;
&lt;br /&gt;
4.What cultural values does the Flying Wild Goose Dance represent?&lt;br /&gt;
&lt;br /&gt;
5.How has the dance been adapted in modern times?&lt;br /&gt;
&lt;br /&gt;
6.What role did the dance play in the TV drama &amp;quot;The Legend of Zhen Huan&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
== Answers ==&lt;br /&gt;
&lt;br /&gt;
1.The dance originated during the Tang Dynasty (618–907 AD) and is credited to Emperor Xuanzong's consort, Yang Guifei.&lt;br /&gt;
&lt;br /&gt;
2.The dance features flowing sleeves, delicate footwork, poetic expressions, and rich symbolism inspired by wild geese.&lt;br /&gt;
&lt;br /&gt;
3.During the Song Dynasty, the dance incorporated elements of poetry and calligraphy, becoming a refined art form celebrated by painters and poets.&lt;br /&gt;
&lt;br /&gt;
4.The dance embodies Daoist and Confucian ideals, such as harmony with nature and the importance of ritual, while also symbolizing fidelity and seasonal change.&lt;br /&gt;
&lt;br /&gt;
5.Modern adaptations include elements of ballet and contemporary dance, and it is frequently performed by cultural institutions like the China National Opera &amp;amp; Dance Drama Theater.&lt;br /&gt;
&lt;br /&gt;
6.The dance was featured in the drama, captivating audiences with its elegance and contributing to its modern revival.&lt;br /&gt;
&lt;br /&gt;
== References  ==&lt;br /&gt;
&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese &lt;br /&gt;
Cultural Studies] 12(3), 45-60&lt;br /&gt;
&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
= 惊鸿舞 =&lt;br /&gt;
== 引言 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞是中国古典舞蹈的一种，起源于唐代（公元618–907年）。该舞蹈以鸿雁飞翔的优雅动作为灵感，体现了自然之美和传统中国美学的韵味（王晓雨 2018, 48）。历史上，惊鸿舞曾是宫廷表演的重要组成部分，后来逐渐流传至民间。其特点包括流畅的水袖动作、细腻的步法以及富有诗意的表情，使其成为中国艺术传统的永恒象征。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== 历史背景 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞的历史可追溯至唐代，这是中国艺术与文化的黄金时代。据史料记载，惊鸿舞最初由唐玄宗非常宠爱的一位妃子——杨贵妃创作，她以美貌和艺术才华闻名（李渔 2015, 112）。舞蹈的灵感来源于鸿雁的迁徙，象征着自由、忠诚与自然的和谐。在唐代，惊鸿舞常作为宫廷娱乐和庆典活动的一部分，伴奏乐器包括古琴和琵琶等。&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
到了宋代（960–1279年），惊鸿舞逐渐演变为一种更为精致的艺术形式，融入了诗歌和书法元素。它成为画家和诗人喜爱的题材，他们试图通过作品捕捉其空灵之美（张伟 2020, 76）。明清时期，惊鸿舞进一步被保留下来，并融入地方风格和戏剧表演中。&lt;br /&gt;
&lt;br /&gt;
== 舞蹈特点 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞以其独特的动作和象征意义著称：&lt;br /&gt;
&lt;br /&gt;
1.水袖：舞者通过长袖的摆动模拟鸿雁展翅的姿态，水袖的流动为舞蹈增添了视觉上的美感，凸显舞者的优雅与灵动（李渔 2015, 115）。&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.细腻步法：舞步轻盈而精准，仿佛鸿雁掠过水面的瞬间。步法常以圆形或波浪形为主，呼应飞行的自然韵律（王晓雨 2018, 50）。&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.诗意表达：舞蹈不仅是肢体表演，更是一种叙事艺术。舞者通过表情和肢体语言传递情感，如思念、喜悦或忧伤（张伟 2020, 80）。&lt;br /&gt;
&lt;br /&gt;
4.象征意义：鸿雁在中国文化中被视为忠贞（因鸿雁终身配偶）和季节更替（因迁徙习性）的象征，舞蹈常以此为主题，讲述爱情与离别的故事（王晓雨 2018, 52）。&lt;br /&gt;
&lt;br /&gt;
== 文化意义 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞在中国文化中具有重要地位，原因如下：&lt;br /&gt;
&lt;br /&gt;
艺术传承：它是唐代艺术的活态见证，将音乐、诗歌与舞蹈融为一体（李渔 2015, 120）。&lt;br /&gt;
&lt;br /&gt;
哲学深度：舞蹈体现了道家与儒家的理念，如“天人合一”和“礼”的重要性（张伟 2020, 85）。&lt;br /&gt;
&lt;br /&gt;
现代复兴：近年来，惊鸿舞在电视剧（如《甄嬛传》）和文化节庆中重新焕发生机，吸引了新一代观众（王晓雨 2018, 55）。&lt;br /&gt;
&lt;br /&gt;
== 现代改编 ==&lt;br /&gt;
&lt;br /&gt;
如今，惊鸿舞仍在激发艺术家的创作灵感。现代改编版本常融入芭蕾和当代舞元素，同时保留传统精髓。中国歌剧舞剧院等文化机构常将其纳入演出剧目，确保这一艺术形式得以延续（李渔 2015, 125）。&lt;br /&gt;
&lt;br /&gt;
== 结语 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞不仅是一种表演，更是连接中国辉煌历史与当代文化的桥梁。其永恒的魅力在于通过动作传递深刻的情感和文化价值。作为优雅与传统的象征，惊鸿舞始终是中国非物质文化遗产中不可或缺的一部分。&lt;br /&gt;
&lt;br /&gt;
== 术语对照表 ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞  Flying Wild Goose Dance (Jing Hong Wu)&lt;br /&gt;
&lt;br /&gt;
唐代  Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
水袖  Flowing Sleeves&lt;br /&gt;
&lt;br /&gt;
细腻步法  Delicate Footwork&lt;br /&gt;
&lt;br /&gt;
诗意表达  Poetic Expression&lt;br /&gt;
&lt;br /&gt;
鸿雁的象征意义  Symbolism of Wild Geese&lt;br /&gt;
&lt;br /&gt;
古琴  Guqin&lt;br /&gt;
&lt;br /&gt;
琵琶  Pipa&lt;br /&gt;
&lt;br /&gt;
道家与儒家理念  Daoist and Confucian Ideals&lt;br /&gt;
&lt;br /&gt;
中国歌剧舞剧院  China National Opera &amp;amp; Dance Drama Theater&lt;br /&gt;
&lt;br /&gt;
== 问题 ==&lt;br /&gt;
&lt;br /&gt;
1.惊鸿舞起源于哪个朝代，其创作者是谁？&lt;br /&gt;
&lt;br /&gt;
2.惊鸿舞的主要特点是什么？&lt;br /&gt;
&lt;br /&gt;
3.宋代时惊鸿舞有何演变？&lt;br /&gt;
&lt;br /&gt;
4.惊鸿舞体现了哪些文化价值？&lt;br /&gt;
&lt;br /&gt;
5.现代对惊鸿舞有哪些改编？&lt;br /&gt;
&lt;br /&gt;
6.电视剧《甄嬛传》中惊鸿舞扮演了什么角色？&lt;br /&gt;
&lt;br /&gt;
== 答案 ==&lt;br /&gt;
&lt;br /&gt;
1.惊鸿舞起源于唐代（公元618–907年），由唐玄宗的妃子杨贵妃创作。&lt;br /&gt;
&lt;br /&gt;
2.舞蹈以水袖动作、细腻步法、诗意表达和鸿雁的象征意义为特点。&lt;br /&gt;
&lt;br /&gt;
3.宋代时，舞蹈融入了诗歌和书法元素，成为画家和诗人喜爱的艺术形式。&lt;br /&gt;
&lt;br /&gt;
4.舞蹈体现了道家与儒家的“天人合一”和“礼”的理念，同时象征忠贞与季节更替。&lt;br /&gt;
&lt;br /&gt;
5.现代改编融入了芭蕾和当代舞元素，并由中国歌剧舞剧院等机构保留演出。&lt;br /&gt;
&lt;br /&gt;
6.舞蹈在剧中亮相，以其优雅吸引了观众，推动了其现代复兴。&lt;br /&gt;
&lt;br /&gt;
== 参考文献 ==&lt;br /&gt;
&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168302</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168302"/>
		<updated>2025-06-06T08:12:17Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Luo Sicheng&lt;br /&gt;
= Flying Wild Goose Dance =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
&lt;br /&gt;
== Historical Background ==&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
&lt;br /&gt;
== Characteristics of the Dance ==&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
&lt;br /&gt;
== Cultural Significance ==&lt;br /&gt;
&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
&lt;br /&gt;
== Modern Adaptations ==&lt;br /&gt;
&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
&lt;br /&gt;
== Conlusion ==&lt;br /&gt;
&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
&lt;br /&gt;
== Terms and Expressions  ==&lt;br /&gt;
&lt;br /&gt;
Flying Wild Goose Dance (Jing Hong Wu)  惊鸿舞&lt;br /&gt;
&lt;br /&gt;
Tang Dynasty  唐代&lt;br /&gt;
&lt;br /&gt;
Flowing Sleeves  水袖&lt;br /&gt;
&lt;br /&gt;
Delicate Footwork  细腻步法&lt;br /&gt;
&lt;br /&gt;
Poetic Expression  诗意表达&lt;br /&gt;
&lt;br /&gt;
Symbolism of Wild Geese  鸿雁的象征意义&lt;br /&gt;
&lt;br /&gt;
Guqin  古琴&lt;br /&gt;
&lt;br /&gt;
Pipa  琵琶&lt;br /&gt;
&lt;br /&gt;
Daoist and Confucian Ideals  道家与儒家理念&lt;br /&gt;
&lt;br /&gt;
China National Opera &amp;amp; Dance Drama Theater  中国歌剧舞剧院&lt;br /&gt;
&lt;br /&gt;
== Questions  ==&lt;br /&gt;
&lt;br /&gt;
1.When did the Flying Wild Goose Dance originate, and who is credited with its creation?&lt;br /&gt;
&lt;br /&gt;
2.What are the key characteristics of the Flying Wild Goose Dance?&lt;br /&gt;
&lt;br /&gt;
3.How did the dance evolve during the Song Dynasty?&lt;br /&gt;
&lt;br /&gt;
4.What cultural values does the Flying Wild Goose Dance represent?&lt;br /&gt;
&lt;br /&gt;
5.How has the dance been adapted in modern times?&lt;br /&gt;
&lt;br /&gt;
6.What role did the dance play in the TV drama &amp;quot;The Legend of Zhen Huan&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
== Answers ==&lt;br /&gt;
&lt;br /&gt;
1.The dance originated during the Tang Dynasty (618–907 AD) and is credited to Emperor Xuanzong's consort, Yang Guifei.&lt;br /&gt;
&lt;br /&gt;
2.The dance features flowing sleeves, delicate footwork, poetic expressions, and rich symbolism inspired by wild geese.&lt;br /&gt;
&lt;br /&gt;
3.During the Song Dynasty, the dance incorporated elements of poetry and calligraphy, becoming a refined art form celebrated by painters and poets.&lt;br /&gt;
&lt;br /&gt;
4.The dance embodies Daoist and Confucian ideals, such as harmony with nature and the importance of ritual, while also symbolizing fidelity and seasonal change.&lt;br /&gt;
&lt;br /&gt;
5.Modern adaptations include elements of ballet and contemporary dance, and it is frequently performed by cultural institutions like the China National Opera &amp;amp; Dance Drama Theater.&lt;br /&gt;
&lt;br /&gt;
6.The dance was featured in the drama, captivating audiences with its elegance and contributing to its modern revival.&lt;br /&gt;
&lt;br /&gt;
== References  ==&lt;br /&gt;
&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese &lt;br /&gt;
Cultural Studies] 12(3), 45-60&lt;br /&gt;
&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
= '''惊鸿舞''' =&lt;br /&gt;
== '''引言''' ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞是中国古典舞蹈的一种，起源于唐代（公元618–907年）。该舞蹈以鸿雁飞翔的优雅动作为灵感，体现了自然之美和传统中国美学的韵味（王晓雨 2018, 48）。历史上，惊鸿舞曾是宫廷表演的重要组成部分，后来逐渐流传至民间。其特点包括流畅的水袖动作、细腻的步法以及富有诗意的表情，使其成为中国艺术传统的永恒象征。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== '''历史背景''' ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞的历史可追溯至唐代，这是中国艺术与文化的黄金时代。据史料记载，惊鸿舞最初由唐玄宗非常宠爱的一位妃子——杨贵妃创作，她以美貌和艺术才华闻名（李渔 2015, 112）。舞蹈的灵感来源于鸿雁的迁徙，象征着自由、忠诚与自然的和谐。在唐代，惊鸿舞常作为宫廷娱乐和庆典活动的一部分，伴奏乐器包括古琴和琵琶等。&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
到了宋代（960–1279年），惊鸿舞逐渐演变为一种更为精致的艺术形式，融入了诗歌和书法元素。它成为画家和诗人喜爱的题材，他们试图通过作品捕捉其空灵之美（张伟 2020, 76）。明清时期，惊鸿舞进一步被保留下来，并融入地方风格和戏剧表演中。&lt;br /&gt;
&lt;br /&gt;
== '''舞蹈特点''' ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞以其独特的动作和象征意义著称：&lt;br /&gt;
&lt;br /&gt;
1.水袖：舞者通过长袖的摆动模拟鸿雁展翅的姿态，水袖的流动为舞蹈增添了视觉上的美感，凸显舞者的优雅与灵动（李渔 2015, 115）。&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.细腻步法：舞步轻盈而精准，仿佛鸿雁掠过水面的瞬间。步法常以圆形或波浪形为主，呼应飞行的自然韵律（王晓雨 2018, 50）。&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.诗意表达：舞蹈不仅是肢体表演，更是一种叙事艺术。舞者通过表情和肢体语言传递情感，如思念、喜悦或忧伤（张伟 2020, 80）。&lt;br /&gt;
&lt;br /&gt;
4.象征意义：鸿雁在中国文化中被视为忠贞（因鸿雁终身配偶）和季节更替（因迁徙习性）的象征，舞蹈常以此为主题，讲述爱情与离别的故事（王晓雨 2018, 52）。&lt;br /&gt;
&lt;br /&gt;
== '''文化意义''' ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞在中国文化中具有重要地位，原因如下：&lt;br /&gt;
&lt;br /&gt;
艺术传承：它是唐代艺术的活态见证，将音乐、诗歌与舞蹈融为一体（李渔 2015, 120）。&lt;br /&gt;
&lt;br /&gt;
哲学深度：舞蹈体现了道家与儒家的理念，如“天人合一”和“礼”的重要性（张伟 2020, 85）。&lt;br /&gt;
&lt;br /&gt;
现代复兴：近年来，惊鸿舞在电视剧（如《甄嬛传》）和文化节庆中重新焕发生机，吸引了新一代观众（王晓雨 2018, 55）。&lt;br /&gt;
&lt;br /&gt;
== '''现代改编''' ==&lt;br /&gt;
&lt;br /&gt;
如今，惊鸿舞仍在激发艺术家的创作灵感。现代改编版本常融入芭蕾和当代舞元素，同时保留传统精髓。中国歌剧舞剧院等文化机构常将其纳入演出剧目，确保这一艺术形式得以延续（李渔 2015, 125）。&lt;br /&gt;
&lt;br /&gt;
== '''结语''' ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞不仅是一种表演，更是连接中国辉煌历史与当代文化的桥梁。其永恒的魅力在于通过动作传递深刻的情感和文化价值。作为优雅与传统的象征，惊鸿舞始终是中国非物质文化遗产中不可或缺的一部分。&lt;br /&gt;
&lt;br /&gt;
== '''术语对照表''' ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞  Flying Wild Goose Dance (Jing Hong Wu)&lt;br /&gt;
&lt;br /&gt;
唐代  Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
水袖  Flowing Sleeves&lt;br /&gt;
&lt;br /&gt;
细腻步法  Delicate Footwork&lt;br /&gt;
&lt;br /&gt;
诗意表达  Poetic Expression&lt;br /&gt;
&lt;br /&gt;
鸿雁的象征意义  Symbolism of Wild Geese&lt;br /&gt;
&lt;br /&gt;
古琴  Guqin&lt;br /&gt;
&lt;br /&gt;
琵琶  Pipa&lt;br /&gt;
&lt;br /&gt;
道家与儒家理念  Daoist and Confucian Ideals&lt;br /&gt;
&lt;br /&gt;
中国歌剧舞剧院  China National Opera &amp;amp; Dance Drama Theater&lt;br /&gt;
&lt;br /&gt;
== '''问题''' ==&lt;br /&gt;
&lt;br /&gt;
1.惊鸿舞起源于哪个朝代，其创作者是谁？&lt;br /&gt;
&lt;br /&gt;
2.惊鸿舞的主要特点是什么？&lt;br /&gt;
&lt;br /&gt;
3.宋代时惊鸿舞有何演变？&lt;br /&gt;
&lt;br /&gt;
4.惊鸿舞体现了哪些文化价值？&lt;br /&gt;
&lt;br /&gt;
5.现代对惊鸿舞有哪些改编？&lt;br /&gt;
&lt;br /&gt;
6.电视剧《甄嬛传》中惊鸿舞扮演了什么角色？&lt;br /&gt;
&lt;br /&gt;
== '''参考文献''' ==&lt;br /&gt;
&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168178</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168178"/>
		<updated>2025-06-06T04:28:59Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Luo Sicheng&lt;br /&gt;
= '''Flying Wild Goose Dance''' =&lt;br /&gt;
&lt;br /&gt;
== '''Introduction''' ==&lt;br /&gt;
&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Historical Background''' ==&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
&lt;br /&gt;
== '''Characteristics of the Dance''' ==&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
&lt;br /&gt;
== '''Cultural Significance''' ==&lt;br /&gt;
&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
&lt;br /&gt;
== '''Modern Adaptations''' ==&lt;br /&gt;
&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
&lt;br /&gt;
== '''Conclusion''' ==&lt;br /&gt;
&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Terms and Expressions'''  ==&lt;br /&gt;
&lt;br /&gt;
Flying Wild Goose Dance (Jing Hong Wu)  惊鸿舞&lt;br /&gt;
&lt;br /&gt;
Tang Dynasty  唐代&lt;br /&gt;
&lt;br /&gt;
Flowing Sleeves  水袖&lt;br /&gt;
&lt;br /&gt;
Delicate Footwork  细腻步法&lt;br /&gt;
&lt;br /&gt;
Poetic Expression  诗意表达&lt;br /&gt;
&lt;br /&gt;
Symbolism of Wild Geese  鸿雁的象征意义&lt;br /&gt;
&lt;br /&gt;
Guqin  古琴&lt;br /&gt;
&lt;br /&gt;
Pipa  琵琶&lt;br /&gt;
&lt;br /&gt;
Daoist and Confucian Ideals  道家与儒家理念&lt;br /&gt;
&lt;br /&gt;
China National Opera &amp;amp; Dance Drama Theater  中国歌剧舞剧院&lt;br /&gt;
&lt;br /&gt;
== '''Questions'''  ==&lt;br /&gt;
&lt;br /&gt;
1.When did the Flying Wild Goose Dance originate, and who is credited with its creation?&lt;br /&gt;
&lt;br /&gt;
2.What are the key characteristics of the Flying Wild Goose Dance?&lt;br /&gt;
&lt;br /&gt;
3.How did the dance evolve during the Song Dynasty?&lt;br /&gt;
&lt;br /&gt;
4.What cultural values does the Flying Wild Goose Dance represent?&lt;br /&gt;
&lt;br /&gt;
5.How has the dance been adapted in modern times?&lt;br /&gt;
&lt;br /&gt;
6.What role did the dance play in the TV drama &amp;quot;The Legend of Zhen Huan&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
== '''References'''  ==&lt;br /&gt;
&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese &lt;br /&gt;
Cultural Studies] 12(3), 45-60&lt;br /&gt;
&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
= '''惊鸿舞''' =&lt;br /&gt;
== '''引言''' ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞是中国古典舞蹈的一种，起源于唐代（公元618–907年）。该舞蹈以鸿雁飞翔的优雅动作为灵感，体现了自然之美和传统中国美学的韵味（王晓雨 2018, 48）。历史上，惊鸿舞曾是宫廷表演的重要组成部分，后来逐渐流传至民间。其特点包括流畅的水袖动作、细腻的步法以及富有诗意的表情，使其成为中国艺术传统的永恒象征。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== '''历史背景''' ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞的历史可追溯至唐代，这是中国艺术与文化的黄金时代。据史料记载，惊鸿舞最初由唐玄宗非常宠爱的一位妃子——杨贵妃创作，她以美貌和艺术才华闻名（李渔 2015, 112）。舞蹈的灵感来源于鸿雁的迁徙，象征着自由、忠诚与自然的和谐。在唐代，惊鸿舞常作为宫廷娱乐和庆典活动的一部分，伴奏乐器包括古琴和琵琶等。&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
到了宋代（960–1279年），惊鸿舞逐渐演变为一种更为精致的艺术形式，融入了诗歌和书法元素。它成为画家和诗人喜爱的题材，他们试图通过作品捕捉其空灵之美（张伟 2020, 76）。明清时期，惊鸿舞进一步被保留下来，并融入地方风格和戏剧表演中。&lt;br /&gt;
&lt;br /&gt;
== '''舞蹈特点''' ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞以其独特的动作和象征意义著称：&lt;br /&gt;
&lt;br /&gt;
1.水袖：舞者通过长袖的摆动模拟鸿雁展翅的姿态，水袖的流动为舞蹈增添了视觉上的美感，凸显舞者的优雅与灵动（李渔 2015, 115）。&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.细腻步法：舞步轻盈而精准，仿佛鸿雁掠过水面的瞬间。步法常以圆形或波浪形为主，呼应飞行的自然韵律（王晓雨 2018, 50）。&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.诗意表达：舞蹈不仅是肢体表演，更是一种叙事艺术。舞者通过表情和肢体语言传递情感，如思念、喜悦或忧伤（张伟 2020, 80）。&lt;br /&gt;
&lt;br /&gt;
4.象征意义：鸿雁在中国文化中被视为忠贞（因鸿雁终身配偶）和季节更替（因迁徙习性）的象征，舞蹈常以此为主题，讲述爱情与离别的故事（王晓雨 2018, 52）。&lt;br /&gt;
&lt;br /&gt;
== '''文化意义''' ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞在中国文化中具有重要地位，原因如下：&lt;br /&gt;
&lt;br /&gt;
艺术传承：它是唐代艺术的活态见证，将音乐、诗歌与舞蹈融为一体（李渔 2015, 120）。&lt;br /&gt;
&lt;br /&gt;
哲学深度：舞蹈体现了道家与儒家的理念，如“天人合一”和“礼”的重要性（张伟 2020, 85）。&lt;br /&gt;
&lt;br /&gt;
现代复兴：近年来，惊鸿舞在电视剧（如《甄嬛传》）和文化节庆中重新焕发生机，吸引了新一代观众（王晓雨 2018, 55）。&lt;br /&gt;
&lt;br /&gt;
== '''现代改编''' ==&lt;br /&gt;
&lt;br /&gt;
如今，惊鸿舞仍在激发艺术家的创作灵感。现代改编版本常融入芭蕾和当代舞元素，同时保留传统精髓。中国歌剧舞剧院等文化机构常将其纳入演出剧目，确保这一艺术形式得以延续（李渔 2015, 125）。&lt;br /&gt;
&lt;br /&gt;
== '''结语''' ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞不仅是一种表演，更是连接中国辉煌历史与当代文化的桥梁。其永恒的魅力在于通过动作传递深刻的情感和文化价值。作为优雅与传统的象征，惊鸿舞始终是中国非物质文化遗产中不可或缺的一部分。&lt;br /&gt;
&lt;br /&gt;
== '''术语对照表''' ==&lt;br /&gt;
&lt;br /&gt;
惊鸿舞  Flying Wild Goose Dance (Jing Hong Wu)&lt;br /&gt;
&lt;br /&gt;
唐代  Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
水袖  Flowing Sleeves&lt;br /&gt;
&lt;br /&gt;
细腻步法  Delicate Footwork&lt;br /&gt;
&lt;br /&gt;
诗意表达  Poetic Expression&lt;br /&gt;
&lt;br /&gt;
鸿雁的象征意义  Symbolism of Wild Geese&lt;br /&gt;
&lt;br /&gt;
古琴  Guqin&lt;br /&gt;
&lt;br /&gt;
琵琶  Pipa&lt;br /&gt;
&lt;br /&gt;
道家与儒家理念  Daoist and Confucian Ideals&lt;br /&gt;
&lt;br /&gt;
中国歌剧舞剧院  China National Opera &amp;amp; Dance Drama Theater&lt;br /&gt;
&lt;br /&gt;
== '''问题''' ==&lt;br /&gt;
&lt;br /&gt;
1.惊鸿舞起源于哪个朝代，其创作者是谁？&lt;br /&gt;
&lt;br /&gt;
2.惊鸿舞的主要特点是什么？&lt;br /&gt;
&lt;br /&gt;
3.宋代时惊鸿舞有何演变？&lt;br /&gt;
&lt;br /&gt;
4.惊鸿舞体现了哪些文化价值？&lt;br /&gt;
&lt;br /&gt;
5.现代对惊鸿舞有哪些改编？&lt;br /&gt;
&lt;br /&gt;
6.电视剧《甄嬛传》中惊鸿舞扮演了什么角色？&lt;br /&gt;
&lt;br /&gt;
== '''参考文献''' ==&lt;br /&gt;
&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168176</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168176"/>
		<updated>2025-06-06T04:25:02Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: /* 舞蹈特点 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Luo Sicheng&lt;br /&gt;
= '''Flying Wild Goose Dance''' =&lt;br /&gt;
&lt;br /&gt;
== '''Introduction''' ==&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Historical Background''' ==&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
&lt;br /&gt;
== '''Characteristics of the Dance''' ==&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
&lt;br /&gt;
== '''Cultural Significance''' ==&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
&lt;br /&gt;
== '''Modern Adaptations''' ==&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
&lt;br /&gt;
== '''Conclusion''' ==&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Terms and Expressions'''  ==&lt;br /&gt;
Flying Wild Goose Dance (Jing Hong Wu)  惊鸿舞&lt;br /&gt;
Tang Dynasty  唐代&lt;br /&gt;
Flowing Sleeves  水袖&lt;br /&gt;
Delicate Footwork  细腻步法&lt;br /&gt;
Poetic Expression  诗意表达&lt;br /&gt;
Symbolism of Wild Geese  鸿雁的象征意义&lt;br /&gt;
Guqin  古琴&lt;br /&gt;
Pipa  琵琶&lt;br /&gt;
Daoist and Confucian Ideals  道家与儒家理念&lt;br /&gt;
China National Opera &amp;amp; Dance Drama Theater  中国歌剧舞剧院&lt;br /&gt;
&lt;br /&gt;
== '''Questions'''  ==&lt;br /&gt;
1.When did the Flying Wild Goose Dance originate, and who is credited with its creation?&lt;br /&gt;
2.What are the key characteristics of the Flying Wild Goose Dance?&lt;br /&gt;
3.How did the dance evolve during the Song Dynasty?&lt;br /&gt;
4.What cultural values does the Flying Wild Goose Dance represent?&lt;br /&gt;
5.How has the dance been adapted in modern times?&lt;br /&gt;
6.What role did the dance play in the TV drama &amp;quot;The Legend of Zhen Huan&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
== '''References'''  ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
= '''惊鸿舞''' =&lt;br /&gt;
== '''引言''' ==&lt;br /&gt;
惊鸿舞是中国古典舞蹈的一种，起源于唐代（公元618–907年）。该舞蹈以鸿雁飞翔的优雅动作为灵感，体现了自然之美和传统中国美学的韵味（王晓雨 2018, 48）。历史上，惊鸿舞曾是宫廷表演的重要组成部分，后来逐渐流传至民间。其特点包括流畅的水袖动作、细腻的步法以及富有诗意的表情，使其成为中国艺术传统的永恒象征。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== '''历史背景''' ==&lt;br /&gt;
惊鸿舞的历史可追溯至唐代，这是中国艺术与文化的黄金时代。据史料记载，惊鸿舞最初由唐玄宗非常宠爱的一位妃子——杨贵妃创作，她以美貌和艺术才华闻名（李渔 2015, 112）。舞蹈的灵感来源于鸿雁的迁徙，象征着自由、忠诚与自然的和谐。在唐代，惊鸿舞常作为宫廷娱乐和庆典活动的一部分，伴奏乐器包括古琴和琵琶等。&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
到了宋代（960–1279年），惊鸿舞逐渐演变为一种更为精致的艺术形式，融入了诗歌和书法元素。它成为画家和诗人喜爱的题材，他们试图通过作品捕捉其空灵之美（张伟 2020, 76）。明清时期，惊鸿舞进一步被保留下来，并融入地方风格和戏剧表演中。&lt;br /&gt;
&lt;br /&gt;
== '''舞蹈特点''' ==&lt;br /&gt;
惊鸿舞以其独特的动作和象征意义著称：&lt;br /&gt;
&lt;br /&gt;
1.水袖：舞者通过长袖的摆动模拟鸿雁展翅的姿态，水袖的流动为舞蹈增添了视觉上的美感，凸显舞者的优雅与灵动（李渔 2015, 115）。&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.细腻步法：舞步轻盈而精准，仿佛鸿雁掠过水面的瞬间。步法常以圆形或波浪形为主，呼应飞行的自然韵律（王晓雨 2018, 50）。&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.诗意表达：舞蹈不仅是肢体表演，更是一种叙事艺术。舞者通过表情和肢体语言传递情感，如思念、喜悦或忧伤（张伟 2020, 80）。&lt;br /&gt;
4.象征意义：鸿雁在中国文化中被视为忠贞（因鸿雁终身配偶）和季节更替（因迁徙习性）的象征，舞蹈常以此为主题，讲述爱情与离别的故事（王晓雨 2018, 52）。&lt;br /&gt;
&lt;br /&gt;
== '''文化意义''' ==&lt;br /&gt;
惊鸿舞在中国文化中具有重要地位，原因如下：&lt;br /&gt;
艺术传承：它是唐代艺术的活态见证，将音乐、诗歌与舞蹈融为一体（李渔 2015, 120）。&lt;br /&gt;
哲学深度：舞蹈体现了道家与儒家的理念，如“天人合一”和“礼”的重要性（张伟 2020, 85）。&lt;br /&gt;
现代复兴：近年来，惊鸿舞在电视剧（如《甄嬛传》）和文化节庆中重新焕发生机，吸引了新一代观众（王晓雨 2018, 55）。&lt;br /&gt;
&lt;br /&gt;
== '''现代改编''' ==&lt;br /&gt;
如今，惊鸿舞仍在激发艺术家的创作灵感。现代改编版本常融入芭蕾和当代舞元素，同时保留传统精髓。中国歌剧舞剧院等文化机构常将其纳入演出剧目，确保这一艺术形式得以延续（李渔 2015, 125）。&lt;br /&gt;
&lt;br /&gt;
== '''结语''' ==&lt;br /&gt;
惊鸿舞不仅是一种表演，更是连接中国辉煌历史与当代文化的桥梁。其永恒的魅力在于通过动作传递深刻的情感和文化价值。作为优雅与传统的象征，惊鸿舞始终是中国非物质文化遗产中不可或缺的一部分。&lt;br /&gt;
&lt;br /&gt;
== '''术语对照表''' ==&lt;br /&gt;
惊鸿舞  Flying Wild Goose Dance (Jing Hong Wu)&lt;br /&gt;
唐代  Tang Dynasty&lt;br /&gt;
水袖  Flowing Sleeves&lt;br /&gt;
细腻步法  Delicate Footwork&lt;br /&gt;
诗意表达  Poetic Expression&lt;br /&gt;
鸿雁的象征意义  Symbolism of Wild Geese&lt;br /&gt;
古琴  Guqin&lt;br /&gt;
琵琶  Pipa&lt;br /&gt;
道家与儒家理念  Daoist and Confucian Ideals&lt;br /&gt;
中国歌剧舞剧院  China National Opera &amp;amp; Dance Drama Theater&lt;br /&gt;
&lt;br /&gt;
== '''问题''' ==&lt;br /&gt;
1.惊鸿舞起源于哪个朝代，其创作者是谁？&lt;br /&gt;
2.惊鸿舞的主要特点是什么？&lt;br /&gt;
3.宋代时惊鸿舞有何演变？&lt;br /&gt;
4.惊鸿舞体现了哪些文化价值？&lt;br /&gt;
5.现代对惊鸿舞有哪些改编？&lt;br /&gt;
6.电视剧《甄嬛传》中惊鸿舞扮演了什么角色？&lt;br /&gt;
&lt;br /&gt;
== '''参考文献''' ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168175</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168175"/>
		<updated>2025-06-06T04:23:30Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: /* Cultural Significance */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Luo Sicheng&lt;br /&gt;
= '''Flying Wild Goose Dance''' =&lt;br /&gt;
&lt;br /&gt;
== '''Introduction''' ==&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Historical Background''' ==&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
&lt;br /&gt;
== '''Characteristics of the Dance''' ==&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
&lt;br /&gt;
== '''Cultural Significance''' ==&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
&lt;br /&gt;
== '''Modern Adaptations''' ==&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
&lt;br /&gt;
== '''Conclusion''' ==&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Terms and Expressions'''  ==&lt;br /&gt;
Flying Wild Goose Dance (Jing Hong Wu)  惊鸿舞&lt;br /&gt;
Tang Dynasty  唐代&lt;br /&gt;
Flowing Sleeves  水袖&lt;br /&gt;
Delicate Footwork  细腻步法&lt;br /&gt;
Poetic Expression  诗意表达&lt;br /&gt;
Symbolism of Wild Geese  鸿雁的象征意义&lt;br /&gt;
Guqin  古琴&lt;br /&gt;
Pipa  琵琶&lt;br /&gt;
Daoist and Confucian Ideals  道家与儒家理念&lt;br /&gt;
China National Opera &amp;amp; Dance Drama Theater  中国歌剧舞剧院&lt;br /&gt;
&lt;br /&gt;
== '''Questions'''  ==&lt;br /&gt;
1.When did the Flying Wild Goose Dance originate, and who is credited with its creation?&lt;br /&gt;
2.What are the key characteristics of the Flying Wild Goose Dance?&lt;br /&gt;
3.How did the dance evolve during the Song Dynasty?&lt;br /&gt;
4.What cultural values does the Flying Wild Goose Dance represent?&lt;br /&gt;
5.How has the dance been adapted in modern times?&lt;br /&gt;
6.What role did the dance play in the TV drama &amp;quot;The Legend of Zhen Huan&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
== '''References'''  ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
= '''惊鸿舞''' =&lt;br /&gt;
== '''引言''' ==&lt;br /&gt;
惊鸿舞是中国古典舞蹈的一种，起源于唐代（公元618–907年）。该舞蹈以鸿雁飞翔的优雅动作为灵感，体现了自然之美和传统中国美学的韵味（王晓雨 2018, 48）。历史上，惊鸿舞曾是宫廷表演的重要组成部分，后来逐渐流传至民间。其特点包括流畅的水袖动作、细腻的步法以及富有诗意的表情，使其成为中国艺术传统的永恒象征。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== '''历史背景''' ==&lt;br /&gt;
惊鸿舞的历史可追溯至唐代，这是中国艺术与文化的黄金时代。据史料记载，惊鸿舞最初由唐玄宗非常宠爱的一位妃子——杨贵妃创作，她以美貌和艺术才华闻名（李渔 2015, 112）。舞蹈的灵感来源于鸿雁的迁徙，象征着自由、忠诚与自然的和谐。在唐代，惊鸿舞常作为宫廷娱乐和庆典活动的一部分，伴奏乐器包括古琴和琵琶等。&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
到了宋代（960–1279年），惊鸿舞逐渐演变为一种更为精致的艺术形式，融入了诗歌和书法元素。它成为画家和诗人喜爱的题材，他们试图通过作品捕捉其空灵之美（张伟 2020, 76）。明清时期，惊鸿舞进一步被保留下来，并融入地方风格和戏剧表演中。&lt;br /&gt;
&lt;br /&gt;
== '''舞蹈特点''' ==&lt;br /&gt;
惊鸿舞以其独特的动作和象征意义著称：&lt;br /&gt;
1.水袖：舞者通过长袖的摆动模拟鸿雁展翅的姿态，水袖的流动为舞蹈增添了视觉上的美感，凸显舞者的优雅与灵动（李渔 2015, 115）。&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.细腻步法：舞步轻盈而精准，仿佛鸿雁掠过水面的瞬间。步法常以圆形或波浪形为主，呼应飞行的自然韵律（王晓雨 2018, 50）。&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.诗意表达：舞蹈不仅是肢体表演，更是一种叙事艺术。舞者通过表情和肢体语言传递情感，如思念、喜悦或忧伤（张伟 2020, 80）。&lt;br /&gt;
4.象征意义：鸿雁在中国文化中被视为忠贞（因鸿雁终身配偶）和季节更替（因迁徙习性）的象征，舞蹈常以此为主题，讲述爱情与离别的故事（王晓雨 2018, 52）。&lt;br /&gt;
&lt;br /&gt;
== '''文化意义''' ==&lt;br /&gt;
惊鸿舞在中国文化中具有重要地位，原因如下：&lt;br /&gt;
艺术传承：它是唐代艺术的活态见证，将音乐、诗歌与舞蹈融为一体（李渔 2015, 120）。&lt;br /&gt;
哲学深度：舞蹈体现了道家与儒家的理念，如“天人合一”和“礼”的重要性（张伟 2020, 85）。&lt;br /&gt;
现代复兴：近年来，惊鸿舞在电视剧（如《甄嬛传》）和文化节庆中重新焕发生机，吸引了新一代观众（王晓雨 2018, 55）。&lt;br /&gt;
&lt;br /&gt;
== '''现代改编''' ==&lt;br /&gt;
如今，惊鸿舞仍在激发艺术家的创作灵感。现代改编版本常融入芭蕾和当代舞元素，同时保留传统精髓。中国歌剧舞剧院等文化机构常将其纳入演出剧目，确保这一艺术形式得以延续（李渔 2015, 125）。&lt;br /&gt;
&lt;br /&gt;
== '''结语''' ==&lt;br /&gt;
惊鸿舞不仅是一种表演，更是连接中国辉煌历史与当代文化的桥梁。其永恒的魅力在于通过动作传递深刻的情感和文化价值。作为优雅与传统的象征，惊鸿舞始终是中国非物质文化遗产中不可或缺的一部分。&lt;br /&gt;
&lt;br /&gt;
== '''术语对照表''' ==&lt;br /&gt;
惊鸿舞  Flying Wild Goose Dance (Jing Hong Wu)&lt;br /&gt;
唐代  Tang Dynasty&lt;br /&gt;
水袖  Flowing Sleeves&lt;br /&gt;
细腻步法  Delicate Footwork&lt;br /&gt;
诗意表达  Poetic Expression&lt;br /&gt;
鸿雁的象征意义  Symbolism of Wild Geese&lt;br /&gt;
古琴  Guqin&lt;br /&gt;
琵琶  Pipa&lt;br /&gt;
道家与儒家理念  Daoist and Confucian Ideals&lt;br /&gt;
中国歌剧舞剧院  China National Opera &amp;amp; Dance Drama Theater&lt;br /&gt;
&lt;br /&gt;
== '''问题''' ==&lt;br /&gt;
1.惊鸿舞起源于哪个朝代，其创作者是谁？&lt;br /&gt;
2.惊鸿舞的主要特点是什么？&lt;br /&gt;
3.宋代时惊鸿舞有何演变？&lt;br /&gt;
4.惊鸿舞体现了哪些文化价值？&lt;br /&gt;
5.现代对惊鸿舞有哪些改编？&lt;br /&gt;
6.电视剧《甄嬛传》中惊鸿舞扮演了什么角色？&lt;br /&gt;
&lt;br /&gt;
== '''参考文献''' ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168174</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168174"/>
		<updated>2025-06-06T04:22:43Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: /* Terms and Expressions */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Luo Sicheng&lt;br /&gt;
= '''Flying Wild Goose Dance''' =&lt;br /&gt;
&lt;br /&gt;
== '''Introduction''' ==&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Historical Background''' ==&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
&lt;br /&gt;
== '''Characteristics of the Dance''' ==&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
&lt;br /&gt;
== '''Cultural Significance''' ==&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
&lt;br /&gt;
== '''Modern Adaptations''' ==&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
&lt;br /&gt;
== '''Conclusion''' ==&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Terms and Expressions'''  ==&lt;br /&gt;
Flying Wild Goose Dance (Jing Hong Wu)  惊鸿舞&lt;br /&gt;
Tang Dynasty  唐代&lt;br /&gt;
Flowing Sleeves  水袖&lt;br /&gt;
Delicate Footwork  细腻步法&lt;br /&gt;
Poetic Expression  诗意表达&lt;br /&gt;
Symbolism of Wild Geese  鸿雁的象征意义&lt;br /&gt;
Guqin  古琴&lt;br /&gt;
Pipa  琵琶&lt;br /&gt;
Daoist and Confucian Ideals  道家与儒家理念&lt;br /&gt;
China National Opera &amp;amp; Dance Drama Theater  中国歌剧舞剧院&lt;br /&gt;
&lt;br /&gt;
== '''Questions'''  ==&lt;br /&gt;
1.When did the Flying Wild Goose Dance originate, and who is credited with its creation?&lt;br /&gt;
2.What are the key characteristics of the Flying Wild Goose Dance?&lt;br /&gt;
3.How did the dance evolve during the Song Dynasty?&lt;br /&gt;
4.What cultural values does the Flying Wild Goose Dance represent?&lt;br /&gt;
5.How has the dance been adapted in modern times?&lt;br /&gt;
6.What role did the dance play in the TV drama &amp;quot;The Legend of Zhen Huan&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
== '''References'''  ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
= '''惊鸿舞''' =&lt;br /&gt;
== '''引言''' ==&lt;br /&gt;
惊鸿舞是中国古典舞蹈的一种，起源于唐代（公元618–907年）。该舞蹈以鸿雁飞翔的优雅动作为灵感，体现了自然之美和传统中国美学的韵味（王晓雨 2018, 48）。历史上，惊鸿舞曾是宫廷表演的重要组成部分，后来逐渐流传至民间。其特点包括流畅的水袖动作、细腻的步法以及富有诗意的表情，使其成为中国艺术传统的永恒象征。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== '''历史背景''' ==&lt;br /&gt;
惊鸿舞的历史可追溯至唐代，这是中国艺术与文化的黄金时代。据史料记载，惊鸿舞最初由唐玄宗非常宠爱的一位妃子——杨贵妃创作，她以美貌和艺术才华闻名（李渔 2015, 112）。舞蹈的灵感来源于鸿雁的迁徙，象征着自由、忠诚与自然的和谐。在唐代，惊鸿舞常作为宫廷娱乐和庆典活动的一部分，伴奏乐器包括古琴和琵琶等。&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
到了宋代（960–1279年），惊鸿舞逐渐演变为一种更为精致的艺术形式，融入了诗歌和书法元素。它成为画家和诗人喜爱的题材，他们试图通过作品捕捉其空灵之美（张伟 2020, 76）。明清时期，惊鸿舞进一步被保留下来，并融入地方风格和戏剧表演中。&lt;br /&gt;
&lt;br /&gt;
== '''舞蹈特点''' ==&lt;br /&gt;
惊鸿舞以其独特的动作和象征意义著称：&lt;br /&gt;
1.水袖：舞者通过长袖的摆动模拟鸿雁展翅的姿态，水袖的流动为舞蹈增添了视觉上的美感，凸显舞者的优雅与灵动（李渔 2015, 115）。&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.细腻步法：舞步轻盈而精准，仿佛鸿雁掠过水面的瞬间。步法常以圆形或波浪形为主，呼应飞行的自然韵律（王晓雨 2018, 50）。&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.诗意表达：舞蹈不仅是肢体表演，更是一种叙事艺术。舞者通过表情和肢体语言传递情感，如思念、喜悦或忧伤（张伟 2020, 80）。&lt;br /&gt;
4.象征意义：鸿雁在中国文化中被视为忠贞（因鸿雁终身配偶）和季节更替（因迁徙习性）的象征，舞蹈常以此为主题，讲述爱情与离别的故事（王晓雨 2018, 52）。&lt;br /&gt;
&lt;br /&gt;
== '''文化意义''' ==&lt;br /&gt;
惊鸿舞在中国文化中具有重要地位，原因如下：&lt;br /&gt;
艺术传承：它是唐代艺术的活态见证，将音乐、诗歌与舞蹈融为一体（李渔 2015, 120）。&lt;br /&gt;
哲学深度：舞蹈体现了道家与儒家的理念，如“天人合一”和“礼”的重要性（张伟 2020, 85）。&lt;br /&gt;
现代复兴：近年来，惊鸿舞在电视剧（如《甄嬛传》）和文化节庆中重新焕发生机，吸引了新一代观众（王晓雨 2018, 55）。&lt;br /&gt;
&lt;br /&gt;
== '''现代改编''' ==&lt;br /&gt;
如今，惊鸿舞仍在激发艺术家的创作灵感。现代改编版本常融入芭蕾和当代舞元素，同时保留传统精髓。中国歌剧舞剧院等文化机构常将其纳入演出剧目，确保这一艺术形式得以延续（李渔 2015, 125）。&lt;br /&gt;
&lt;br /&gt;
== '''结语''' ==&lt;br /&gt;
惊鸿舞不仅是一种表演，更是连接中国辉煌历史与当代文化的桥梁。其永恒的魅力在于通过动作传递深刻的情感和文化价值。作为优雅与传统的象征，惊鸿舞始终是中国非物质文化遗产中不可或缺的一部分。&lt;br /&gt;
&lt;br /&gt;
== '''术语对照表''' ==&lt;br /&gt;
惊鸿舞  Flying Wild Goose Dance (Jing Hong Wu)&lt;br /&gt;
唐代  Tang Dynasty&lt;br /&gt;
水袖  Flowing Sleeves&lt;br /&gt;
细腻步法  Delicate Footwork&lt;br /&gt;
诗意表达  Poetic Expression&lt;br /&gt;
鸿雁的象征意义  Symbolism of Wild Geese&lt;br /&gt;
古琴  Guqin&lt;br /&gt;
琵琶  Pipa&lt;br /&gt;
道家与儒家理念  Daoist and Confucian Ideals&lt;br /&gt;
中国歌剧舞剧院  China National Opera &amp;amp; Dance Drama Theater&lt;br /&gt;
&lt;br /&gt;
== '''问题''' ==&lt;br /&gt;
1.惊鸿舞起源于哪个朝代，其创作者是谁？&lt;br /&gt;
2.惊鸿舞的主要特点是什么？&lt;br /&gt;
3.宋代时惊鸿舞有何演变？&lt;br /&gt;
4.惊鸿舞体现了哪些文化价值？&lt;br /&gt;
5.现代对惊鸿舞有哪些改编？&lt;br /&gt;
6.电视剧《甄嬛传》中惊鸿舞扮演了什么角色？&lt;br /&gt;
&lt;br /&gt;
== '''参考文献''' ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168172</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168172"/>
		<updated>2025-06-06T04:21:33Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: /* 文化意义 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Luo Sicheng&lt;br /&gt;
= '''Flying Wild Goose Dance''' =&lt;br /&gt;
&lt;br /&gt;
== '''Introduction''' ==&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Historical Background''' ==&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
&lt;br /&gt;
== '''Characteristics of the Dance''' ==&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
&lt;br /&gt;
== '''Cultural Significance''' ==&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
&lt;br /&gt;
== '''Modern Adaptations''' ==&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
&lt;br /&gt;
== '''Conclusion''' ==&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Terms and Expressions'''  ==&lt;br /&gt;
Flying Wild Goose Dance (Jing Hong Wu) - 惊鸿舞&lt;br /&gt;
Tang Dynasty - 唐代&lt;br /&gt;
Flowing Sleeves - 水袖&lt;br /&gt;
Delicate Footwork - 细腻步法&lt;br /&gt;
Poetic Expression - 诗意表达&lt;br /&gt;
Symbolism of Wild Geese - 鸿雁的象征意义&lt;br /&gt;
Guqin - 古琴&lt;br /&gt;
Pipa - 琵琶&lt;br /&gt;
Daoist and Confucian Ideals - 道家与儒家理念&lt;br /&gt;
China National Opera &amp;amp; Dance Drama Theater - 中国歌剧舞剧院&lt;br /&gt;
&lt;br /&gt;
== '''Questions'''  ==&lt;br /&gt;
1.When did the Flying Wild Goose Dance originate, and who is credited with its creation?&lt;br /&gt;
2.What are the key characteristics of the Flying Wild Goose Dance?&lt;br /&gt;
3.How did the dance evolve during the Song Dynasty?&lt;br /&gt;
4.What cultural values does the Flying Wild Goose Dance represent?&lt;br /&gt;
5.How has the dance been adapted in modern times?&lt;br /&gt;
6.What role did the dance play in the TV drama &amp;quot;The Legend of Zhen Huan&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
== '''References'''  ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
= '''惊鸿舞''' =&lt;br /&gt;
== '''引言''' ==&lt;br /&gt;
惊鸿舞是中国古典舞蹈的一种，起源于唐代（公元618–907年）。该舞蹈以鸿雁飞翔的优雅动作为灵感，体现了自然之美和传统中国美学的韵味（王晓雨 2018, 48）。历史上，惊鸿舞曾是宫廷表演的重要组成部分，后来逐渐流传至民间。其特点包括流畅的水袖动作、细腻的步法以及富有诗意的表情，使其成为中国艺术传统的永恒象征。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== '''历史背景''' ==&lt;br /&gt;
惊鸿舞的历史可追溯至唐代，这是中国艺术与文化的黄金时代。据史料记载，惊鸿舞最初由唐玄宗非常宠爱的一位妃子——杨贵妃创作，她以美貌和艺术才华闻名（李渔 2015, 112）。舞蹈的灵感来源于鸿雁的迁徙，象征着自由、忠诚与自然的和谐。在唐代，惊鸿舞常作为宫廷娱乐和庆典活动的一部分，伴奏乐器包括古琴和琵琶等。&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
到了宋代（960–1279年），惊鸿舞逐渐演变为一种更为精致的艺术形式，融入了诗歌和书法元素。它成为画家和诗人喜爱的题材，他们试图通过作品捕捉其空灵之美（张伟 2020, 76）。明清时期，惊鸿舞进一步被保留下来，并融入地方风格和戏剧表演中。&lt;br /&gt;
&lt;br /&gt;
== '''舞蹈特点''' ==&lt;br /&gt;
惊鸿舞以其独特的动作和象征意义著称：&lt;br /&gt;
1.水袖：舞者通过长袖的摆动模拟鸿雁展翅的姿态，水袖的流动为舞蹈增添了视觉上的美感，凸显舞者的优雅与灵动（李渔 2015, 115）。&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.细腻步法：舞步轻盈而精准，仿佛鸿雁掠过水面的瞬间。步法常以圆形或波浪形为主，呼应飞行的自然韵律（王晓雨 2018, 50）。&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.诗意表达：舞蹈不仅是肢体表演，更是一种叙事艺术。舞者通过表情和肢体语言传递情感，如思念、喜悦或忧伤（张伟 2020, 80）。&lt;br /&gt;
4.象征意义：鸿雁在中国文化中被视为忠贞（因鸿雁终身配偶）和季节更替（因迁徙习性）的象征，舞蹈常以此为主题，讲述爱情与离别的故事（王晓雨 2018, 52）。&lt;br /&gt;
&lt;br /&gt;
== '''文化意义''' ==&lt;br /&gt;
惊鸿舞在中国文化中具有重要地位，原因如下：&lt;br /&gt;
艺术传承：它是唐代艺术的活态见证，将音乐、诗歌与舞蹈融为一体（李渔 2015, 120）。&lt;br /&gt;
哲学深度：舞蹈体现了道家与儒家的理念，如“天人合一”和“礼”的重要性（张伟 2020, 85）。&lt;br /&gt;
现代复兴：近年来，惊鸿舞在电视剧（如《甄嬛传》）和文化节庆中重新焕发生机，吸引了新一代观众（王晓雨 2018, 55）。&lt;br /&gt;
&lt;br /&gt;
== '''现代改编''' ==&lt;br /&gt;
如今，惊鸿舞仍在激发艺术家的创作灵感。现代改编版本常融入芭蕾和当代舞元素，同时保留传统精髓。中国歌剧舞剧院等文化机构常将其纳入演出剧目，确保这一艺术形式得以延续（李渔 2015, 125）。&lt;br /&gt;
&lt;br /&gt;
== '''结语''' ==&lt;br /&gt;
惊鸿舞不仅是一种表演，更是连接中国辉煌历史与当代文化的桥梁。其永恒的魅力在于通过动作传递深刻的情感和文化价值。作为优雅与传统的象征，惊鸿舞始终是中国非物质文化遗产中不可或缺的一部分。&lt;br /&gt;
&lt;br /&gt;
== '''术语对照表''' ==&lt;br /&gt;
惊鸿舞  Flying Wild Goose Dance (Jing Hong Wu)&lt;br /&gt;
唐代  Tang Dynasty&lt;br /&gt;
水袖  Flowing Sleeves&lt;br /&gt;
细腻步法  Delicate Footwork&lt;br /&gt;
诗意表达  Poetic Expression&lt;br /&gt;
鸿雁的象征意义  Symbolism of Wild Geese&lt;br /&gt;
古琴  Guqin&lt;br /&gt;
琵琶  Pipa&lt;br /&gt;
道家与儒家理念  Daoist and Confucian Ideals&lt;br /&gt;
中国歌剧舞剧院  China National Opera &amp;amp; Dance Drama Theater&lt;br /&gt;
&lt;br /&gt;
== '''问题''' ==&lt;br /&gt;
1.惊鸿舞起源于哪个朝代，其创作者是谁？&lt;br /&gt;
2.惊鸿舞的主要特点是什么？&lt;br /&gt;
3.宋代时惊鸿舞有何演变？&lt;br /&gt;
4.惊鸿舞体现了哪些文化价值？&lt;br /&gt;
5.现代对惊鸿舞有哪些改编？&lt;br /&gt;
6.电视剧《甄嬛传》中惊鸿舞扮演了什么角色？&lt;br /&gt;
&lt;br /&gt;
== '''参考文献''' ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168171</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168171"/>
		<updated>2025-06-06T04:20:58Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: /* 术语对照表 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Luo Sicheng&lt;br /&gt;
= '''Flying Wild Goose Dance''' =&lt;br /&gt;
&lt;br /&gt;
== '''Introduction''' ==&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Historical Background''' ==&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
&lt;br /&gt;
== '''Characteristics of the Dance''' ==&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
&lt;br /&gt;
== '''Cultural Significance''' ==&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
&lt;br /&gt;
== '''Modern Adaptations''' ==&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
&lt;br /&gt;
== '''Conclusion''' ==&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Terms and Expressions'''  ==&lt;br /&gt;
Flying Wild Goose Dance (Jing Hong Wu) - 惊鸿舞&lt;br /&gt;
Tang Dynasty - 唐代&lt;br /&gt;
Flowing Sleeves - 水袖&lt;br /&gt;
Delicate Footwork - 细腻步法&lt;br /&gt;
Poetic Expression - 诗意表达&lt;br /&gt;
Symbolism of Wild Geese - 鸿雁的象征意义&lt;br /&gt;
Guqin - 古琴&lt;br /&gt;
Pipa - 琵琶&lt;br /&gt;
Daoist and Confucian Ideals - 道家与儒家理念&lt;br /&gt;
China National Opera &amp;amp; Dance Drama Theater - 中国歌剧舞剧院&lt;br /&gt;
&lt;br /&gt;
== '''Questions'''  ==&lt;br /&gt;
1.When did the Flying Wild Goose Dance originate, and who is credited with its creation?&lt;br /&gt;
2.What are the key characteristics of the Flying Wild Goose Dance?&lt;br /&gt;
3.How did the dance evolve during the Song Dynasty?&lt;br /&gt;
4.What cultural values does the Flying Wild Goose Dance represent?&lt;br /&gt;
5.How has the dance been adapted in modern times?&lt;br /&gt;
6.What role did the dance play in the TV drama &amp;quot;The Legend of Zhen Huan&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
== '''References'''  ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
= '''惊鸿舞''' =&lt;br /&gt;
== '''引言''' ==&lt;br /&gt;
惊鸿舞是中国古典舞蹈的一种，起源于唐代（公元618–907年）。该舞蹈以鸿雁飞翔的优雅动作为灵感，体现了自然之美和传统中国美学的韵味（王晓雨 2018, 48）。历史上，惊鸿舞曾是宫廷表演的重要组成部分，后来逐渐流传至民间。其特点包括流畅的水袖动作、细腻的步法以及富有诗意的表情，使其成为中国艺术传统的永恒象征。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== '''历史背景''' ==&lt;br /&gt;
惊鸿舞的历史可追溯至唐代，这是中国艺术与文化的黄金时代。据史料记载，惊鸿舞最初由唐玄宗非常宠爱的一位妃子——杨贵妃创作，她以美貌和艺术才华闻名（李渔 2015, 112）。舞蹈的灵感来源于鸿雁的迁徙，象征着自由、忠诚与自然的和谐。在唐代，惊鸿舞常作为宫廷娱乐和庆典活动的一部分，伴奏乐器包括古琴和琵琶等。&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
到了宋代（960–1279年），惊鸿舞逐渐演变为一种更为精致的艺术形式，融入了诗歌和书法元素。它成为画家和诗人喜爱的题材，他们试图通过作品捕捉其空灵之美（张伟 2020, 76）。明清时期，惊鸿舞进一步被保留下来，并融入地方风格和戏剧表演中。&lt;br /&gt;
&lt;br /&gt;
== '''舞蹈特点''' ==&lt;br /&gt;
惊鸿舞以其独特的动作和象征意义著称：&lt;br /&gt;
1.水袖：舞者通过长袖的摆动模拟鸿雁展翅的姿态，水袖的流动为舞蹈增添了视觉上的美感，凸显舞者的优雅与灵动（李渔 2015, 115）。&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.细腻步法：舞步轻盈而精准，仿佛鸿雁掠过水面的瞬间。步法常以圆形或波浪形为主，呼应飞行的自然韵律（王晓雨 2018, 50）。&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.诗意表达：舞蹈不仅是肢体表演，更是一种叙事艺术。舞者通过表情和肢体语言传递情感，如思念、喜悦或忧伤（张伟 2020, 80）。&lt;br /&gt;
4.象征意义：鸿雁在中国文化中被视为忠贞（因鸿雁终身配偶）和季节更替（因迁徙习性）的象征，舞蹈常以此为主题，讲述爱情与离别的故事（王晓雨 2018, 52）。&lt;br /&gt;
&lt;br /&gt;
== '''文化意义''' ==&lt;br /&gt;
惊鸿舞在中国文化中具有重要地位，原因如下：&lt;br /&gt;
艺术传承：它是唐代艺术的活态见证，将音乐、诗歌与舞蹈融为一体（李渔 2015, 120）。&lt;br /&gt;
哲学深度：舞蹈体现了道家与儒家的理念，如“天人合一”和“礼”的重要性（张伟 2020, 85）。&lt;br /&gt;
现代复兴：近年来，惊鸿舞在电视剧（如《甄嬛传》）和文化节庆中重新焕发生机，吸引了新一代观众（王晓雨 2018, 55）。&lt;br /&gt;
&lt;br /&gt;
== '''现代改编''' ==&lt;br /&gt;
如今，惊鸿舞仍在激发艺术家的创作灵感。现代改编版本常融入芭蕾和当代舞元素，同时保留传统精髓。中国歌剧舞剧院等文化机构常将其纳入演出剧目，确保这一艺术形式得以延续（李渔 2015, 125）。&lt;br /&gt;
&lt;br /&gt;
== '''结语''' ==&lt;br /&gt;
惊鸿舞不仅是一种表演，更是连接中国辉煌历史与当代文化的桥梁。其永恒的魅力在于通过动作传递深刻的情感和文化价值。作为优雅与传统的象征，惊鸿舞始终是中国非物质文化遗产中不可或缺的一部分。&lt;br /&gt;
&lt;br /&gt;
== '''术语对照表''' ==&lt;br /&gt;
惊鸿舞  Flying Wild Goose Dance (Jing Hong Wu)&lt;br /&gt;
唐代  Tang Dynasty&lt;br /&gt;
水袖  Flowing Sleeves&lt;br /&gt;
细腻步法  Delicate Footwork&lt;br /&gt;
诗意表达  Poetic Expression&lt;br /&gt;
鸿雁的象征意义  Symbolism of Wild Geese&lt;br /&gt;
古琴  Guqin&lt;br /&gt;
琵琶  Pipa&lt;br /&gt;
道家与儒家理念  Daoist and Confucian Ideals&lt;br /&gt;
中国歌剧舞剧院  China National Opera &amp;amp; Dance Drama Theater&lt;br /&gt;
&lt;br /&gt;
== '''问题''' ==&lt;br /&gt;
1.惊鸿舞起源于哪个朝代，其创作者是谁？&lt;br /&gt;
2.惊鸿舞的主要特点是什么？&lt;br /&gt;
3.宋代时惊鸿舞有何演变？&lt;br /&gt;
4.惊鸿舞体现了哪些文化价值？&lt;br /&gt;
5.现代对惊鸿舞有哪些改编？&lt;br /&gt;
6.电视剧《甄嬛传》中惊鸿舞扮演了什么角色？&lt;br /&gt;
&lt;br /&gt;
== '''参考文献''' ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&amp;diff=168170</id>
		<title>Chinese Language and Culture, Spring 2025</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&amp;diff=168170"/>
		<updated>2025-06-06T04:18:05Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: /* 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 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!&lt;br /&gt;
&lt;br /&gt;
=Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=&lt;br /&gt;
&lt;br /&gt;
==What we learn in this class==&lt;br /&gt;
*We learn about Chinese culture from international, especially Western perspective. &lt;br /&gt;
*We learn about cultural phenomena, traditional Chinese culture.&lt;br /&gt;
*We learn English and Chinese terminology in the area of Chinese culture.&lt;br /&gt;
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.&lt;br /&gt;
*We learn how to determine the location and role of Chinese culture within global culture.&lt;br /&gt;
*We learn basics of theories and models of intercultural communication and comparison.&lt;br /&gt;
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.&lt;br /&gt;
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).&lt;br /&gt;
&lt;br /&gt;
==Students' contribution==&lt;br /&gt;
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. &lt;br /&gt;
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.&lt;br /&gt;
*For the final exam, you write another chapter of the textbook in both Chinese and English, with &amp;quot;Terms and Expressions&amp;quot;, References, Questions and Answers, Statement regarding AI&lt;br /&gt;
&lt;br /&gt;
==Textbook==&lt;br /&gt;
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.&lt;br /&gt;
&lt;br /&gt;
==Agreement on use of classroom time==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
==Homework for every session==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
==Teacher presentation: Introduction to Culture==&lt;br /&gt;
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Homework for Session 2==&lt;br /&gt;
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &amp;quot;Wang Jianguo&amp;quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &amp;quot;wikicaptcha&amp;quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&amp;quot;Teacher presentation&amp;quot;). &lt;br /&gt;
&lt;br /&gt;
Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!&lt;br /&gt;
&lt;br /&gt;
1.	Geographic Nature as a Basis for Cultural Development	17&lt;br /&gt;
&lt;br /&gt;
2.	Aesthetic ideals and social customs: Chinese Marriage Customs	22&lt;br /&gt;
&lt;br /&gt;
3.	Aesthetic ideals and social customs: Habits, Ways of Contacting	31&lt;br /&gt;
&lt;br /&gt;
4.	Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan	40&lt;br /&gt;
&lt;br /&gt;
5.	Aesthetic ideals and social customs: Crying Marriage of Tujia	49&lt;br /&gt;
&lt;br /&gt;
6.	Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China	63&lt;br /&gt;
&lt;br /&gt;
7.	Animals: Panda	71 &lt;br /&gt;
&lt;br /&gt;
8.	Architecture	78&lt;br /&gt;
&lt;br /&gt;
9.	Architecture: The Forbidden City 	89&lt;br /&gt;
&lt;br /&gt;
10.	Architecture: Four Famous Bridges	102&lt;br /&gt;
&lt;br /&gt;
11.	Architecture: Four Great Pavilions	113&lt;br /&gt;
&lt;br /&gt;
12.	Architecture: Shengjing Imperial Palace	124&lt;br /&gt;
&lt;br /&gt;
13.	Architecture: Three Great Towers in China	131&lt;br /&gt;
&lt;br /&gt;
14.	Architecture: Fengshui in Chinese Architecture	145 &lt;br /&gt;
&lt;br /&gt;
15.	Army and weapons: Chinese Ancient Weapons	154&lt;br /&gt;
&lt;br /&gt;
16.	Army and weapons: Terracotta Army	163&lt;br /&gt;
&lt;br /&gt;
17.	Astrology: Chinese Astrology	170&lt;br /&gt;
&lt;br /&gt;
18.	Astrology: Calendar, The 24 Solar Terms	178&lt;br /&gt;
&lt;br /&gt;
19.	Astrology: Twelve Animals of the Chinese Zodiac	188&lt;br /&gt;
&lt;br /&gt;
20.	Beverages: Milk Tea	197&lt;br /&gt;
&lt;br /&gt;
21.	Beverages: Tea	203 (Zhang Mai)&lt;br /&gt;
&lt;br /&gt;
22.	Beverages: The Liquor Culture of Ancient China	209&lt;br /&gt;
&lt;br /&gt;
23.	Body movement performance: Chinese Lion Dancing 	218&lt;br /&gt;
&lt;br /&gt;
24.	Body movement performance: Stilts	223&lt;br /&gt;
&lt;br /&gt;
25.	Body movement performance: Traditional Chinese Dance	230&lt;br /&gt;
&lt;br /&gt;
26.	Chinese Writing: Ancient Writing and Painting Tool, Writing Brush	236&lt;br /&gt;
&lt;br /&gt;
27.	Chinese Writing: Calligraphy	246 (Tang Yan)&lt;br /&gt;
&lt;br /&gt;
28.	Chinese Writing: The Evolution of Calligraphy	252&lt;br /&gt;
&lt;br /&gt;
29.	Chinese Writing: Chinese Characters	262&lt;br /&gt;
&lt;br /&gt;
30.	Chinese Writing: Chinese Characters and Scripts	276&lt;br /&gt;
&lt;br /&gt;
31.	Clothing: Chinese Clothing	283&lt;br /&gt;
&lt;br /&gt;
32.	Clothing: Batik (Lanran)	291&lt;br /&gt;
&lt;br /&gt;
33.	Clothing: Cheongsam	301 &lt;br /&gt;
&lt;br /&gt;
34.	Confucianism: Confucian Culture	309  &lt;br /&gt;
&lt;br /&gt;
35.	Confucianism: Chinese Traditional Culture-Five Constant Virtues	324&lt;br /&gt;
&lt;br /&gt;
36.	Confucianism: Classical Philosophy - Confucius and Confucianism	332&lt;br /&gt;
&lt;br /&gt;
37.	Confucianism: Classical Philosophy - Reading The Analects	339 &lt;br /&gt;
&lt;br /&gt;
38.	Education: Ancient Chinese Education	350&lt;br /&gt;
&lt;br /&gt;
39.	Education: Historical Figures, The Four Talented Women of Ancient China	361&lt;br /&gt;
&lt;br /&gt;
40.	Education: Modern Chinese Education System	371&lt;br /&gt;
&lt;br /&gt;
41.	Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties	386&lt;br /&gt;
&lt;br /&gt;
42.	Education: Yuelu Academy (One of the Four Most Prestigious Academies)	395&lt;br /&gt;
&lt;br /&gt;
43.	Facial Make-up	406&lt;br /&gt;
&lt;br /&gt;
44.	Facial Make-up: Cosmetics, Traditional Chinese Make-Up	413&lt;br /&gt;
&lt;br /&gt;
45.	Facial Make-up: Face Changing in Sichuan Opera	431&lt;br /&gt;
&lt;br /&gt;
46.	Fine Arts: Painting	440&lt;br /&gt;
&lt;br /&gt;
47.	Fine Arts: Bada Shanren and Qi Baishi	445&lt;br /&gt;
&lt;br /&gt;
48.	Fine Arts: Painting Riverside Scene at Tomb Sweeping Day	452&lt;br /&gt;
&lt;br /&gt;
49.	Fine Arts: Seal-cutting	459&lt;br /&gt;
&lt;br /&gt;
50.	Games: Go 围棋 	462（Zhao Qi）&lt;br /&gt;
&lt;br /&gt;
51.	Games: Kite Flying	468&lt;br /&gt;
&lt;br /&gt;
52.	Games: Mahjong: An Ancient Chinese card play	476（Jiang Ziqiang）&lt;br /&gt;
&lt;br /&gt;
53.	Garden Culture: Gardens	505&lt;br /&gt;
&lt;br /&gt;
54.	Garden Culture: Bonsai (Penjing) 	511&lt;br /&gt;
&lt;br /&gt;
55.	Garden Culture: The Summer Palace	519（Li Mei）&lt;br /&gt;
&lt;br /&gt;
56.	Garden Culture: Qingming Riverside Landscspe Garden	526&lt;br /&gt;
&lt;br /&gt;
57.	Gender: Wu Zetian: The Only Female Emperor of Imperial China	535&lt;br /&gt;
&lt;br /&gt;
58.	History: Carl and Cixi	548&lt;br /&gt;
&lt;br /&gt;
59.	Interieur: The Folding Screen	552&lt;br /&gt;
&lt;br /&gt;
60.	Landscapes and Tourism: Four Buddhist Shrines	561&lt;br /&gt;
&lt;br /&gt;
61.	Landscapes and Tourism: Four State-Level Cultural Relics	573&lt;br /&gt;
&lt;br /&gt;
62.	Landscapes and Tourism: Landscape, Five Famous Mountains	585&lt;br /&gt;
&lt;br /&gt;
63.	Landscapes and Tourism: Mogao Grottoes	593&lt;br /&gt;
&lt;br /&gt;
64.	Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)&lt;br /&gt;
&lt;br /&gt;
65.	Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal）	621&lt;br /&gt;
&lt;br /&gt;
66.	Landscapes and Tourism: The Ancient Tea Horse Road	635&lt;br /&gt;
&lt;br /&gt;
67.	Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties	642&lt;br /&gt;
&lt;br /&gt;
68.	Language: Chinese Language	649&lt;br /&gt;
&lt;br /&gt;
69.	Language: Chinese Dialects	660&lt;br /&gt;
&lt;br /&gt;
70.	Language: Chinese Folk Argot	669&lt;br /&gt;
&lt;br /&gt;
71.	Literature: Ancient literature - Chinese Classical Fairy Tales	681&lt;br /&gt;
&lt;br /&gt;
72.	Literature: Ancient literature - Chinese Mythology	688&lt;br /&gt;
&lt;br /&gt;
73.	Literature: Ancient literature - Classical Literature	699&lt;br /&gt;
&lt;br /&gt;
74.	Literature: Ancient Literature - Four satirical novels in ancient China	706&lt;br /&gt;
&lt;br /&gt;
75.	Literature: Ancient literature: Four Folk Stories of Ancient China	715&lt;br /&gt;
&lt;br /&gt;
76.	Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China	725  (Duan Binyao)&lt;br /&gt;
&lt;br /&gt;
77.	Literature: Ancient Literature: The Classic of Mountains and Seas	748&lt;br /&gt;
&lt;br /&gt;
78.	Literature: Ancient literature: Yuefu	765&lt;br /&gt;
&lt;br /&gt;
79.	Literature: Premodern literature - China's Four Great Classical Novels	773 &lt;br /&gt;
&lt;br /&gt;
80.	Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations	780&lt;br /&gt;
&lt;br /&gt;
81.	Literature: Premodern literature: Strange Stories from a Chinese Studio	786&lt;br /&gt;
&lt;br /&gt;
82.	Literature: Premodern literature: Tang-Song	794&lt;br /&gt;
&lt;br /&gt;
83.	Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty	823&lt;br /&gt;
&lt;br /&gt;
84.	Literature: Modern Literature	832&lt;br /&gt;
&lt;br /&gt;
85.	Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu)	841（Miao Yunlong）&lt;br /&gt;
&lt;br /&gt;
86.	Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy	848&lt;br /&gt;
&lt;br /&gt;
87.	Literature: Contemporary Literature	859&lt;br /&gt;
&lt;br /&gt;
88.	Martial Arts: Huo Yuanjia	865&lt;br /&gt;
&lt;br /&gt;
89.	Martial Arts: Qigong	868&lt;br /&gt;
&lt;br /&gt;
90.	Martial Arts: Taiji (Tai Chi) Shadow Boxing	873&lt;br /&gt;
&lt;br /&gt;
91.	Martial Arts: Wushu	885&lt;br /&gt;
&lt;br /&gt;
92.	Martial Arts: Frolics of the Five Animals (Wuqinxi)	890&lt;br /&gt;
&lt;br /&gt;
93.	Medicine: Traditional Chinese Medicine (TCM)	900 &lt;br /&gt;
&lt;br /&gt;
94.	Medicine: TCM - Acupuncture and Moxibustion	907&lt;br /&gt;
&lt;br /&gt;
95.	Medicine: TCM - Diagnosis and Pharmacology	912&lt;br /&gt;
&lt;br /&gt;
96.	Medicine: TCM - The Development of Chinese Medicine	917&lt;br /&gt;
&lt;br /&gt;
97.	Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing	924&lt;br /&gt;
&lt;br /&gt;
98.	Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority	934&lt;br /&gt;
&lt;br /&gt;
99.	Minority cultures: The Ethnic Minorities’ Costumes	941&lt;br /&gt;
&lt;br /&gt;
100.	Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty)	952&lt;br /&gt;
&lt;br /&gt;
101.	Money culture: The tradition of Red Envelope and Lucky Money 	962  (Xu Yangyang)&lt;br /&gt;
&lt;br /&gt;
102.	Music and instruments: Guzheng	975&lt;br /&gt;
&lt;br /&gt;
103.	Music and instruments: Pipa	986&lt;br /&gt;
&lt;br /&gt;
104.	Mythology: Gods and Immortals	996&lt;br /&gt;
&lt;br /&gt;
105.	Mythology: Huli-jing	1005&lt;br /&gt;
&lt;br /&gt;
106.	National Symbols: National Anthem	1018&lt;br /&gt;
&lt;br /&gt;
107.	National Symbols: National Flag	1026 （Liao Zuoyun）&lt;br /&gt;
&lt;br /&gt;
108.	Opera: Peking Opera	1035&lt;br /&gt;
&lt;br /&gt;
109.	Opera: Peking Opera Acrobatics	1043&lt;br /&gt;
&lt;br /&gt;
110.	Opera: Peking Opera Actor Mei Lanfang	1050 (Dai shiru)&lt;br /&gt;
&lt;br /&gt;
111.	Opera: Tea-picking Opera	1055&lt;br /&gt;
&lt;br /&gt;
112.	Opera: Hunan Flower-drum Opera (Huagu Opera)	1064&lt;br /&gt;
&lt;br /&gt;
113.	Philosophical Schools: Four Main Philosophical Schools	1076&lt;br /&gt;
&lt;br /&gt;
114.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism	1087&lt;br /&gt;
&lt;br /&gt;
115.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching	1093&lt;br /&gt;
&lt;br /&gt;
116.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng	1099&lt;br /&gt;
&lt;br /&gt;
117.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living	1106&lt;br /&gt;
&lt;br /&gt;
118.	Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 	1119&lt;br /&gt;
&lt;br /&gt;
119.	Philosophy: Chinese Traditional Cultivation Culture	1129&lt;br /&gt;
&lt;br /&gt;
120.	Religion: Traditional Chinese Funeral Culture	1141&lt;br /&gt;
&lt;br /&gt;
121.	Religion: Buddhism	1155&lt;br /&gt;
&lt;br /&gt;
122.	Religion: Daoism	1170&lt;br /&gt;
&lt;br /&gt;
123.	Religion: Christianity	1175&lt;br /&gt;
&lt;br /&gt;
124.	Religion: Islam	1181&lt;br /&gt;
&lt;br /&gt;
125.	Science and Technology: Ancient Science and Technology	1185&lt;br /&gt;
&lt;br /&gt;
126.	Science and Technology: China's Four New Inventions	1191 (Yang Yue2)&lt;br /&gt;
&lt;br /&gt;
127.	Science and Technology: Compass	1217&lt;br /&gt;
&lt;br /&gt;
128.	Science and Technology: TikTok (Douyin)	1226&lt;br /&gt;
&lt;br /&gt;
129.	Science and Technology: Three Giant Home Appliance Enterprises In China 	1235&lt;br /&gt;
&lt;br /&gt;
130.	Science and Technology: Four Domestic Mobile Phone Companies	1257&lt;br /&gt;
&lt;br /&gt;
131.	        Silk and porcelain: Silk	1272  (Fei Xinyu)&lt;br /&gt;
&lt;br /&gt;
132.	Silk and porcelain: Porcelain	1277&lt;br /&gt;
&lt;br /&gt;
133.	Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词	1283(Wang Huaixing)&lt;br /&gt;
&lt;br /&gt;
134.	Silk Road - by land and by sea: Zhang Qian and the Silk Road	1291&lt;br /&gt;
&lt;br /&gt;
135.	Silk Road - by land and by sea: Zheng He and the Maritime Silk Road	1296&lt;br /&gt;
&lt;br /&gt;
136.	Silk Road - by land and by sea: Zheng He's Voyages	1300&lt;br /&gt;
&lt;br /&gt;
137.	Social: The Long-life Lock	1308&lt;br /&gt;
&lt;br /&gt;
138.	Social: Round Table Culture	1317 (Wu Jiating)&lt;br /&gt;
&lt;br /&gt;
139.	Stage entertainment: Crosstalk 相声	1325&lt;br /&gt;
&lt;br /&gt;
140.	Stage entertainment: Shadow Play	1332&lt;br /&gt;
&lt;br /&gt;
141.	Traditional Crafts: Carving	1340&lt;br /&gt;
&lt;br /&gt;
142.	Traditional Crafts: Chinese Jade Culture	1348&lt;br /&gt;
&lt;br /&gt;
143.	Traditional Crafts: Cloisonne	1363   &lt;br /&gt;
&lt;br /&gt;
144.	Traditional Crafts: Embroidery	1369&lt;br /&gt;
&lt;br /&gt;
145.	Traditional Crafts: Shu Embroidery (Sichuan Embroidery)	1373   &lt;br /&gt;
&lt;br /&gt;
146.	Traditional Crafts: Xiang Embroidery	1386（Zhang Huifang）&lt;br /&gt;
&lt;br /&gt;
147.	Traditional Crafts: Folk Art - Chinese Paper-cutting	1400&lt;br /&gt;
&lt;br /&gt;
148.	Traditional Crafts: Handcraft - Chinese Knots	1409&lt;br /&gt;
&lt;br /&gt;
149.	Traditional Crafts: Lacquerware	1418&lt;br /&gt;
&lt;br /&gt;
150.	Traditional Crafts: The Kingfisher Craft点翠	1423&lt;br /&gt;
&lt;br /&gt;
151.	Traditional Cuisine: Chinese Dining Etiquette	1436&lt;br /&gt;
&lt;br /&gt;
152.	Traditional Cuisine: Chopsticks	1450&lt;br /&gt;
&lt;br /&gt;
153.	Traditional Cuisine: Eight Major Cuisines of China	1456 (Zheng Kaiwu)&lt;br /&gt;
&lt;br /&gt;
154.	Traditional Cuisine: Four Distinct Regional Cuisines	1473&lt;br /&gt;
&lt;br /&gt;
155.	Traditional Cuisine: Breakfast Culture of Wuhan	1480(Liu Peini)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
156.	Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick	1491(Xiao Zixin)&lt;br /&gt;
&lt;br /&gt;
157.	Traditional Cuisine: Hotpot	1501 (Cao Chunyang)&lt;br /&gt;
&lt;br /&gt;
158.	Traditional Cuisine: The Art of Chinese Cooking	1508&lt;br /&gt;
&lt;br /&gt;
159.	Traditional Cuisine: Two Famous Dishes	1514&lt;br /&gt;
&lt;br /&gt;
160.	Traditional Festivals	1518……&lt;br /&gt;
&lt;br /&gt;
161.	Traditional Festivals: Lattice on Ancient Chinese Windows	1525&lt;br /&gt;
&lt;br /&gt;
162.	Traditional Festivals: Spring Festival Couplets	1538&lt;br /&gt;
&lt;br /&gt;
163.	Westernization: The Eastward Spread of Western Learning	1544&lt;br /&gt;
&lt;br /&gt;
164.	Westernization: The Westernization Movement	1550&lt;br /&gt;
&lt;br /&gt;
165.	Worship: Chinese Incense Culture	1558 (She Xiao)&lt;br /&gt;
&lt;br /&gt;
166.	Economy: Chinese Currency Changes	1569&lt;br /&gt;
&lt;br /&gt;
167.	History: Wang Shouren	1573 Lv Jiahao&lt;br /&gt;
&lt;br /&gt;
168.	Martial Arts: Chinese Swordsman Spirit	1582&lt;br /&gt;
&lt;br /&gt;
169.	Cuisine: Luosifen	1593 （Chen Sisi)&lt;br /&gt;
&lt;br /&gt;
170.	Fine Arts: Chinese Paper Cutting	1601 &lt;br /&gt;
&lt;br /&gt;
171.	Science and Technology: Taobao(淘宝) 	1611&lt;br /&gt;
&lt;br /&gt;
172.	Traditional Craft: Bronze	1623&lt;br /&gt;
&lt;br /&gt;
173.	Entertainment: Deyunshe 德云社	1631&lt;br /&gt;
&lt;br /&gt;
174.	Traditional Cuisine: Jiaozi	1644 （Liu Pei）&lt;br /&gt;
&lt;br /&gt;
175.	Aesthetic ideals and social customs: the Photo Retouching Culture in China	1655&lt;br /&gt;
&lt;br /&gt;
176.	Traditional Crafts: Handcraft - Oil-paper Umbrella	1664     &lt;br /&gt;
&lt;br /&gt;
177.	stage entertainment:Yuan drama	1676&lt;br /&gt;
&lt;br /&gt;
178.	Music and instruments: Erhu	1685&lt;br /&gt;
&lt;br /&gt;
179.	Traditional and Modern Views on Marriage and Love	1694 (Liu Yunxi)&lt;br /&gt;
&lt;br /&gt;
180.	Traditional Cuisine: Tangyuan	1701&lt;br /&gt;
&lt;br /&gt;
181.	Animals：Golden Monkey	1712（Xiao Yawen）&lt;br /&gt;
&lt;br /&gt;
182.	Chinese Economy: rich businessmen	1719 (Fu Sihui)&lt;br /&gt;
&lt;br /&gt;
183.	Opera: Chinese Local Operas	1727 （Wang Xinyu）&lt;br /&gt;
&lt;br /&gt;
184.	The Chinese tradition of ancestor worship	1740&lt;br /&gt;
&lt;br /&gt;
185.	Opera: Huangmei opera	1752 （Chu Hanqi）&lt;br /&gt;
&lt;br /&gt;
186.	The “reference” of Chinese Music	1759&lt;br /&gt;
&lt;br /&gt;
187.	Chinese Folk Art:Lion Dance	1767&lt;br /&gt;
&lt;br /&gt;
188.	Science and Technology: Mobile Games（手游）	1783(Du JIangping)&lt;br /&gt;
&lt;br /&gt;
189.	Clothing: Vintage Clothing	1790&lt;br /&gt;
&lt;br /&gt;
190.	Fine arts:Kunqu Opera	1798&lt;br /&gt;
&lt;br /&gt;
191.	Aesthetic ideals and social customs: The Culture of Flowers	1807 (Qiu Ping）&lt;br /&gt;
&lt;br /&gt;
192.	National Belief: the Chinese Dream	1818&lt;br /&gt;
&lt;br /&gt;
193.	Science and Technology: Buytogether（PDD) 	1825(Qi Zhiyang)&lt;br /&gt;
&lt;br /&gt;
194.	Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People	1845&lt;br /&gt;
&lt;br /&gt;
195.	Sports: Cuju (蹴鞠) 	1845 （Ouyang Yihong)&lt;br /&gt;
&lt;br /&gt;
196.	Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车	1845（Geng Hongmei)&lt;br /&gt;
&lt;br /&gt;
197.	Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花	1845  &lt;br /&gt;
&lt;br /&gt;
198.	Stage entertainment: Northeast Errenzhuan (二人转) 	1845&lt;br /&gt;
&lt;br /&gt;
199.	Traditional Crafts: Dough Sculpture 面塑	1845&lt;br /&gt;
&lt;br /&gt;
200.	Nanchang Relic Museum for Haihun Principality of Han Dynasty	1845  &lt;br /&gt;
&lt;br /&gt;
201.	The culture of Grass cloth 夏布	1845 &lt;br /&gt;
&lt;br /&gt;
202.	The Legend of Zhen Huan 《甄嬛传》	1845 (Xiang Jianning)&lt;br /&gt;
&lt;br /&gt;
203.	Chinese horror movies 中式恐怖片	1845 (Zhang Jiaxin)&lt;br /&gt;
&lt;br /&gt;
204.	Stand-up comedy 单口喜剧	1845（Huang Sinan）&lt;br /&gt;
&lt;br /&gt;
205.	Bride-price（彩礼）	1845 &lt;br /&gt;
&lt;br /&gt;
206.	Chinese science fiction movies 中国科幻片	1845&lt;br /&gt;
&lt;br /&gt;
207.	Shandong cuisine鲁菜	1845(Lu Wei)&lt;br /&gt;
&lt;br /&gt;
208.	Chinese traditional ornament: Buyao （步摇）	1845 (Yang Jing)&lt;br /&gt;
&lt;br /&gt;
209.	Tofu meatball with pig blood (猪血丸子) 	1845       （Li Ting2）&lt;br /&gt;
&lt;br /&gt;
210.	Sunzi’s Art of War: Source for All Books on War (孙子兵法) 	1845&lt;br /&gt;
&lt;br /&gt;
211.	The Temple of Heaven：Reverence with Awe and Gratitude（天坛）	1845&lt;br /&gt;
&lt;br /&gt;
212.	Education：training Schools （教育：补习班）	1845 (Huang Yixuan2)&lt;br /&gt;
&lt;br /&gt;
213.	Chinese Dreamcore (中式梦核) 	1845  (Zhang Zixi)&lt;br /&gt;
&lt;br /&gt;
214.	Lu Ban, China’s inventor（中国发明家——鲁班）	1845 (Cai Yichun)&lt;br /&gt;
&lt;br /&gt;
215.	Live Streaming E-commerce（直播电商）	1845    (Tao Yao)&lt;br /&gt;
&lt;br /&gt;
216.	The Story of Ming Lan（知否知否，应是绿肥红瘦）	1845 (Ye Sitong)&lt;br /&gt;
&lt;br /&gt;
217.	Cha Bai Xi/Tea Latte Art (茶百戏) 	1845    （Yang Jiahong2)&lt;br /&gt;
&lt;br /&gt;
218.	Guangdong Herbal tea（广东凉茶）	1845(Gao Xiaoqing)&lt;br /&gt;
&lt;br /&gt;
219.	Chinese traditional art form：Seal carving（篆刻）	1845(Huang Qiaoqiao)&lt;br /&gt;
&lt;br /&gt;
220.	Rice cake (年糕) 	1845  （Dong Jiating）&lt;br /&gt;
&lt;br /&gt;
221.	Zhongyuan festival	1845 （Ou Huang）&lt;br /&gt;
&lt;br /&gt;
222.	Dulong: Facial tattoo (独龙族：纹面) 	1845&lt;br /&gt;
&lt;br /&gt;
223.	The Return of the Pearl Princess（还珠格格）	1845 （Lu Jiahui）&lt;br /&gt;
&lt;br /&gt;
224.	Chinese Food：Jiangxi Cuisine（赣菜）	1845 (Liao Dan)&lt;br /&gt;
&lt;br /&gt;
225.	&amp;quot;Cun Chao&amp;quot;: China's village football league（“村超”：中国乡村足球联赛）	1845 (Shen Shuai)&lt;br /&gt;
&lt;br /&gt;
226.	Landscapes and Tourism: Junshan Island (君山岛) 	1845&lt;br /&gt;
&lt;br /&gt;
227.	Chinese Bossy Fictions &amp;amp; Micro-drama（中国式霸总小说&amp;amp;短剧）	1845 (He Yunfeng)&lt;br /&gt;
&lt;br /&gt;
228.	Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构）	1845&lt;br /&gt;
&lt;br /&gt;
229.	Jingdezhen Porcelain	1845 (Xiao Luyu)&lt;br /&gt;
&lt;br /&gt;
230.	Gayageum（伽倻琴）	1845 (Zhang Meiling)&lt;br /&gt;
&lt;br /&gt;
231.	The plaque and couplet in Chinese garden（园林匾额对联）	1845 (Wang Yuxin)&lt;br /&gt;
&lt;br /&gt;
232.	Sun Wukong（孙悟空）	1845 （Li Yuan2）&lt;br /&gt;
&lt;br /&gt;
233.	Traditional Chinese Pigments（中国传统颜料）	1845 (Cao Yuan)&lt;br /&gt;
&lt;br /&gt;
234.	Dragon Lantern Dance（舞龙灯）	1845 （Jin Yichen）&lt;br /&gt;
&lt;br /&gt;
235.	Bamboo Weaving (竹编）	1845 (Chen Anqi)&lt;br /&gt;
&lt;br /&gt;
236.	Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 	1845 (Xu Xinwen)&lt;br /&gt;
&lt;br /&gt;
237.	Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 	1845 （Li Zihan2）&lt;br /&gt;
&lt;br /&gt;
238.	Three Famous Chinese Mountains(中国三山) 	1845（Liu  Chang）&lt;br /&gt;
&lt;br /&gt;
239.	Female Emperor---Wu Zetian	1845  (Song Xin)&lt;br /&gt;
&lt;br /&gt;
240.	Clay sculpture (泥塑）	1845 (Chen Lin)&lt;br /&gt;
&lt;br /&gt;
241.	Abacus (中国珠算）	1845&lt;br /&gt;
&lt;br /&gt;
242.	Hunan Rice Noodles（湖南米粉）	1845 (Gong Wei)&lt;br /&gt;
&lt;br /&gt;
243.	Chinese name（中国姓名文化）	1845  &lt;br /&gt;
&lt;br /&gt;
244.	Chinese popular viral memes (中国网络社交媒体“热梗”）	1845(Xiao Yikang)&lt;br /&gt;
&lt;br /&gt;
245.	Douzhi (豆汁) 	1845(Li Linyao) &lt;br /&gt;
&lt;br /&gt;
246.	New Year Wood-block Paintings (木版年画）	1845（Du Yuan）&lt;br /&gt;
&lt;br /&gt;
247.	Carved lacquer（雕漆）	1845 （Liu Qi）&lt;br /&gt;
&lt;br /&gt;
248.	Jing Gang Mountain (井冈山）	1845 （Yu Jingfang）&lt;br /&gt;
&lt;br /&gt;
249.	Intangible Cultural Heritage: Tongguan Kiln （铜官窑）	1845&lt;br /&gt;
&lt;br /&gt;
250.	Language: Hakka Dialect（客家话）	1845&lt;br /&gt;
&lt;br /&gt;
251.	Rice noodle roll（肠粉）	1845 ( Li Mingfeng )&lt;br /&gt;
&lt;br /&gt;
252.	Traditional Cuisine: Northeastern Chinese Cuisine(东北菜）	1845（Liu Shutian）&lt;br /&gt;
&lt;br /&gt;
253.	Yuelu Mountain (岳麓山) 	1845（Chen Ting）&lt;br /&gt;
&lt;br /&gt;
254.	Traditional Crafts：Tie-Dye（扎染）	1845（Zhang Qi）&lt;br /&gt;
&lt;br /&gt;
255.	Chinese-style sun protection (中式防晒）	1845（Zhao Yashi）&lt;br /&gt;
&lt;br /&gt;
256.	Danmu (弹幕）	1845 (Zhou Le)&lt;br /&gt;
&lt;br /&gt;
257.	Yangshao Culture（仰韶文化）	1845&lt;br /&gt;
&lt;br /&gt;
258.	Indigo Dyeing (蓝染) 	1845&lt;br /&gt;
&lt;br /&gt;
259.	Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua	1845 (Zhou Tianyi)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
260.	Wedding dress in the Song Dynasty (宋代婚服) 	1845 (Liu Chao) &lt;br /&gt;
&lt;br /&gt;
261.	The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 	1845&lt;br /&gt;
&lt;br /&gt;
262.	The Four Pillars of Destiny (八字) (Li Jiayi)	1845 &lt;br /&gt;
&lt;br /&gt;
263.	Shaolin Temple (少林寺) 	1845 (Zuo Fang)&lt;br /&gt;
&lt;br /&gt;
264.	Single bamboo drifting（独竹漂）	1845&lt;br /&gt;
&lt;br /&gt;
265.	Cuisine: Changde spicy salted duck 酱板鸭传说的由来	1845 （Xing Xueqing）&lt;br /&gt;
&lt;br /&gt;
266.	Hui Culture (徽文化)	1845(Liu Jianan)&lt;br /&gt;
&lt;br /&gt;
267.	Ma Zu Culture (妈祖文化)	1845 (Yan Jidong)&lt;br /&gt;
&lt;br /&gt;
268.	Table Manners 	1845（Luo Yan）&lt;br /&gt;
&lt;br /&gt;
269.	Music of the Mongol nationality (蒙古族音乐)	1845&lt;br /&gt;
&lt;br /&gt;
270.	The Yingge Dance（英歌舞）	1845  （Jiang Xinyue)&lt;br /&gt;
&lt;br /&gt;
271.	Palace Lantern（宫灯）	1845  （Shao Keyuan）&lt;br /&gt;
&lt;br /&gt;
272.	Chinese Term of Endearment（中国亲昵称谓）	1845  (Zeng Zhi）&lt;br /&gt;
&lt;br /&gt;
273.	Changsha Stinky Tofu（长沙臭豆腐) 	1845(Luo Sicheng)[[File:Changsha Stinky Tofu.pptx]]&lt;br /&gt;
&lt;br /&gt;
274.	God of Wealth(财神) 	1845 &lt;br /&gt;
&lt;br /&gt;
275.	Zhuazhou（抓周）	1845 （Zeng Xiaohui）&lt;br /&gt;
&lt;br /&gt;
276.	Nail art（美甲）	1845 （Luo Jiaxin）&lt;br /&gt;
&lt;br /&gt;
277.	Mirror (镜子) 	1845   (Cheng Sixiang) &lt;br /&gt;
&lt;br /&gt;
278.	The Beef Board Noodle (牛肉板面) 	1845(Yan Xiang)&lt;br /&gt;
&lt;br /&gt;
279.	Huo Qubing (霍去病）	1845 （Luo Jingyan）&lt;br /&gt;
&lt;br /&gt;
280.	Chinese Courtyard Houses（中国四合院）	1845 (Guo Cili)&lt;br /&gt;
&lt;br /&gt;
281.	Music and instruments: Yangqin（扬琴）	1845（Dai Yexun）&lt;br /&gt;
&lt;br /&gt;
282.	Black Myth: Wukong（黑神话 悟空）	1845 (Chen Zhen)&lt;br /&gt;
&lt;br /&gt;
283.	Guangdong Morning Tea Culture （广东早茶文化）	1845 （Zheng Jinlian）&lt;br /&gt;
&lt;br /&gt;
=Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
==Teacher presentation: Introduction to Culture==&lt;br /&gt;
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Topics for today==&lt;br /&gt;
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)&lt;br /&gt;
&lt;br /&gt;
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?&lt;br /&gt;
&lt;br /&gt;
Please remember that you have to indicate the 10 topics for Friday on the course website under &amp;quot;Session 2&amp;quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.&lt;br /&gt;
&lt;br /&gt;
27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]&lt;br /&gt;
&lt;br /&gt;
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]&lt;br /&gt;
&lt;br /&gt;
55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]&lt;br /&gt;
&lt;br /&gt;
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]]&lt;br /&gt;
&lt;br /&gt;
85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]&lt;br /&gt;
&lt;br /&gt;
Tea Latte Art (Xiang Jianning)&lt;br /&gt;
&lt;br /&gt;
Topic 7&lt;br /&gt;
&lt;br /&gt;
Topic 8&lt;br /&gt;
&lt;br /&gt;
Topic 9&lt;br /&gt;
&lt;br /&gt;
Topic 10&lt;br /&gt;
&lt;br /&gt;
=Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
==Presentations==&lt;br /&gt;
1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86&lt;br /&gt;
&lt;br /&gt;
2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang)  [[Media:Hot_Pot_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]&lt;br /&gt;
&lt;br /&gt;
==Notes on presentations==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &amp;quot;Black tea&amp;quot; (in English all &amp;quot;hong cha&amp;quot; is called &amp;quot;black tea&amp;quot;), British tea culture (add milk)&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
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 &lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87&lt;br /&gt;
&lt;br /&gt;
7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86&lt;br /&gt;
&lt;br /&gt;
==Student grades: 平时成绩/签到==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
75/103 students, 24级 MA翻译, class representative: Zhang Jiaxin&lt;br /&gt;
#	Jin Yichen &lt;br /&gt;
#	lu jiahui &lt;br /&gt;
#	li yuan&lt;br /&gt;
#	cao yuan&lt;br /&gt;
#	xiao luyu&lt;br /&gt;
#	zhang jiaxin +5&lt;br /&gt;
#	ye sitong&lt;br /&gt;
#	zhao yashi&lt;br /&gt;
#	jiang xinyue&lt;br /&gt;
#	yan xiang&lt;br /&gt;
#	fei xinyu &lt;br /&gt;
#	zhang qi&lt;br /&gt;
#	dai shiru&lt;br /&gt;
#	zhang zixi&lt;br /&gt;
#	zheng kaiwu&lt;br /&gt;
#	cai yichun&lt;br /&gt;
#	yang jing&lt;br /&gt;
#	liao dan&lt;br /&gt;
#	luo yan&lt;br /&gt;
#	qin yi&lt;br /&gt;
#	shao keyuan&lt;br /&gt;
#	cao chunyang&lt;br /&gt;
#	xu yangyang&lt;br /&gt;
#	liao zuoyun&lt;br /&gt;
#	cheng sixiang&lt;br /&gt;
#	du jiangping&lt;br /&gt;
#	liu qi&lt;br /&gt;
#	miao yunlong&lt;br /&gt;
#	huang qiaoqiao&lt;br /&gt;
#	chen lin&lt;br /&gt;
#	duan binyao&lt;br /&gt;
#	li ting&lt;br /&gt;
#	zeng zhi&lt;br /&gt;
#	xing xueqing&lt;br /&gt;
#	luo jingyan&lt;br /&gt;
#	liu shutian&lt;br /&gt;
#	gao xiaoqing&lt;br /&gt;
#	chen zhen&lt;br /&gt;
#	luo guoqiang -1-1-1&lt;br /&gt;
#	she xiao &lt;br /&gt;
#	he yunfeng &lt;br /&gt;
#	liu ying&lt;br /&gt;
#	du yuan &lt;br /&gt;
#	li jiayi &lt;br /&gt;
#	tao yao &lt;br /&gt;
#	xu xinwen &lt;br /&gt;
#	ou huang &lt;br /&gt;
#	liu peini&lt;br /&gt;
#	jiang ziqiang&lt;br /&gt;
#	zhang huifang&lt;br /&gt;
#	liu chao&lt;br /&gt;
#	liu yunxi &lt;br /&gt;
#	luo jiaxin&lt;br /&gt;
#	li mei&lt;br /&gt;
#	zeng xiaohui&lt;br /&gt;
#	huang yixuan&lt;br /&gt;
#	chen anqi&lt;br /&gt;
#	chen ting&lt;br /&gt;
#	zhang mai&lt;br /&gt;
#	yuan xiaolin -1-1&lt;br /&gt;
#	li mingfeng&lt;br /&gt;
#	dai yexun-1-1&lt;br /&gt;
#	yang pei -1&lt;br /&gt;
#	tang yan&lt;br /&gt;
#	xiang jianning-1&lt;br /&gt;
#	liu chang -1&lt;br /&gt;
#	wang yuxin&lt;br /&gt;
#	lv jiahao-1&lt;br /&gt;
#	dong jiating&lt;br /&gt;
#	lu wei&lt;br /&gt;
#	yang yue&lt;br /&gt;
#	guo cili&lt;br /&gt;
#	shen shuai&lt;br /&gt;
#	Ouyang yihong&lt;br /&gt;
#	li zihan -1&lt;br /&gt;
#	zuo fang&lt;br /&gt;
#	fu sihui&lt;br /&gt;
#	xiao zixin -1&lt;br /&gt;
#	zhou tianyi -1&lt;br /&gt;
#	qi zhiyang -1-1&lt;br /&gt;
#	liu pei &lt;br /&gt;
#	gong wei&lt;br /&gt;
#	chen sisi&lt;br /&gt;
#	huang sinan&lt;br /&gt;
#	xiao yikang&lt;br /&gt;
#	yu jingfang&lt;br /&gt;
#	luo sicheng&lt;br /&gt;
#	yang jiahong&lt;br /&gt;
#	yan jidong&lt;br /&gt;
#	xiao yawen&lt;br /&gt;
#	geng hongmei&lt;br /&gt;
#	zhou le&lt;br /&gt;
#	qiu ping&lt;br /&gt;
#	wang huaixing&lt;br /&gt;
#	wang xinyu&lt;br /&gt;
#	chu hanqi&lt;br /&gt;
#	wu jiating&lt;br /&gt;
#	zhang meiling&lt;br /&gt;
#	liu jianan&lt;br /&gt;
#	song xin&lt;br /&gt;
#	zhao qi&lt;br /&gt;
#	zheng jinlian&lt;br /&gt;
#	li linyao&lt;br /&gt;
&lt;br /&gt;
=Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]&lt;br /&gt;
#Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]&lt;br /&gt;
#Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]&lt;br /&gt;
#Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]&lt;br /&gt;
#Topic 182: Chinese Economy:  rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]&lt;br /&gt;
#Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin)  [[Media:Tanghulu_Spring_2025.pptx]]&lt;br /&gt;
#Topic 138: Social: Round Table Culture	1317 (Wu Jiating)  [[Media:Round_Table_Culture_Spring_2025.pptx]]&lt;br /&gt;
#Topic 174: Jiaozi (Liu Pei)  [[Media:Dumplings_Spring_2025.pptx]]&lt;br /&gt;
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)&lt;br /&gt;
&lt;br /&gt;
=Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]&lt;br /&gt;
#Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]&lt;br /&gt;
# Topic 131: Silk and porcelain: Silk  (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]&lt;br /&gt;
# Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]&lt;br /&gt;
# Topic 169: Cuisine: Luosifen  1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]&lt;br /&gt;
# Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]&lt;br /&gt;
# Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]&lt;br /&gt;
# Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]&lt;br /&gt;
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]&lt;br /&gt;
&lt;br /&gt;
=Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
&lt;br /&gt;
#Topic 188:Mobile Games 手游 1783 （Du Jiangping）&lt;br /&gt;
#Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）&lt;br /&gt;
#Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)&lt;br /&gt;
#Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]&lt;br /&gt;
#Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]&lt;br /&gt;
#Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]&lt;br /&gt;
#Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）&lt;br /&gt;
#Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）&lt;br /&gt;
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)&lt;br /&gt;
&lt;br /&gt;
=HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
清明节4月4日——4月6日&lt;br /&gt;
=Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=&lt;br /&gt;
#Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）&lt;br /&gt;
#Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]&lt;br /&gt;
#Topic 181:Animals：Golden Monkey(Xiao Yawen)&lt;br /&gt;
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)&lt;br /&gt;
#Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）&lt;br /&gt;
#Topic 220:Rice cake 年糕 (Dong Jiating)&lt;br /&gt;
#Topic 208:Chinese traditional ornament: Buyao(Yang Jing)&lt;br /&gt;
#Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]&lt;br /&gt;
#Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]&lt;br /&gt;
&lt;br /&gt;
=Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 213: Chinese Dreamcore (Zhang Zixi)&lt;br /&gt;
#Topic 215: Live-streaming e-commerce (Tao Yao)[[Media:Live-Streaming E-Commerce.pptx]]&lt;br /&gt;
#Topic 216: The Story of Ming Lan (Ye Sitong)[[Media:The Story of Minglan.pptx]]&lt;br /&gt;
#Topic 218: Guangdong Herbal tea (Gao Xiaoqing)&lt;br /&gt;
#Topic 219: Chinese traditional art form：Seal carving（篆刻） (Huang Qiaoqiao)[[Media:Seal carving.pptx]]&lt;br /&gt;
#Topic 207: Shan Dong Cuisine (Lu Wei) [[Media:Shandong Cuisine]]&lt;br /&gt;
#Topic 221: Zhongyuan Festival (Ou Huang)[[Media:The Zhongyuan Festival.pptx]]&lt;br /&gt;
#Topic 223: The Return of the Pearl Princess (Lu Jiahui)[[Media:The Return of the Pearl Princess.pptx]]&lt;br /&gt;
&lt;br /&gt;
=Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)&lt;br /&gt;
#Topic 225: Cun Chao&amp;quot;: China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)&lt;br /&gt;
#Topic 227: Chinese Bossy Fictions &amp;amp; Micro-drama（中国式霸总小说&amp;amp;短剧） 1845 (He Yunfeng)[[Media:Chinese_Bossy_Fictions_and_Microdramas.pptx]]&lt;br /&gt;
#Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]&lt;br /&gt;
#Topic 230: Gayageum（伽倻琴）(Zhang Meiling) [[Media:Gayageum.pptx]]&lt;br /&gt;
#Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)&lt;br /&gt;
#Topic 232: Sun Wukong(Li Yuan)&lt;br /&gt;
#Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]&lt;br /&gt;
#Topic 235: Bamboo Weaving(Chen Anqi)&lt;br /&gt;
#Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)&lt;br /&gt;
&lt;br /&gt;
==Please enroll in ai platform==&lt;br /&gt;
Please enroll (register) in the platform https://dcg.de/ai/&lt;br /&gt;
&lt;br /&gt;
=HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
劳动节5月1日——5月5日&lt;br /&gt;
&lt;br /&gt;
=Session 12 Tue May 06 10:00-11:40 room 613 - Student presentations=&lt;br /&gt;
#Topic 238: Three Famous Chinese Mountains(Liu Chang)&lt;br /&gt;
#Topic 239: Female emperor-Wu Zetian(女皇武则天)(Song Xin)  [[Media:Wu Zetian.pptx]]&lt;br /&gt;
#Topic 240: Clay sculpture (泥塑）(Chen Lin)[[Media:Clay Sculpture.pptx]]&lt;br /&gt;
#Topic 242: Hunan Rice Noodles(Gong Wei)[[Media:Hunan Rice Noodles.pptx]]&lt;br /&gt;
#Topic 244: Chinese Popular Memes(中国网络流行热梗）(Xiao Yikang)[[Media:Chinese popular Memes.pptx]] &lt;br /&gt;
#Topic 245: Douzhi (豆汁)(Li Linyao)[[Media:Douzhi.pptx]]&lt;br /&gt;
#Topic 246: New Year Wood-block Paintings(Du Yuan)&lt;br /&gt;
#Topic 247: Carved lacquer（雕漆）(Liu Qi)[[Media:Carved lacquer.pptx]]&lt;br /&gt;
#Topic 237: Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)(Li Zihan)&lt;br /&gt;
&lt;br /&gt;
==Regarding Wu Zetian‘s blank Steele==&lt;br /&gt;
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：&lt;br /&gt;
	#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。&lt;br /&gt;
	#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。&lt;br /&gt;
	#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。&lt;br /&gt;
	#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。&lt;br /&gt;
	#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。&lt;br /&gt;
&lt;br /&gt;
⸻&lt;br /&gt;
&lt;br /&gt;
English Translation:&lt;br /&gt;
&lt;br /&gt;
There are several main hypotheses about why Wu Zetian’s stele (often called the “Wordless Stele”) bears no inscription:&lt;br /&gt;
#“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.&lt;br /&gt;
#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.&lt;br /&gt;
#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.&lt;br /&gt;
#Intended to write later: Some believe she planned to inscribe it later in life but passed away before doing so, leaving the monument unfinished.&lt;br /&gt;
#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.&lt;br /&gt;
&lt;br /&gt;
=Session 13 Fri May 09 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 248: Jing Gang Mountain (井冈山）(Yu Jingfang) [[Media:Jing_Gang_Mountain_Spring_2025.pptx]]&lt;br /&gt;
#Topic 251: Rice noodle roll (Li Mingfeng)[[Media:Rice_Noodle_Roll.pptx]]&lt;br /&gt;
#Topic 252: Traditional Cuisine: Northeastern Chinese Cuisine (Liu Shutian)&lt;br /&gt;
#Topic 253: Yuelu Mountain (Chen Ting)&lt;br /&gt;
#Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional Crafts Tie-Dye.pptx]]&lt;br /&gt;
#Topic 255: Chinese-style sun protection (Zhao Yashi)&lt;br /&gt;
#Topic 256: Danmu（弹幕）(Zhou Le)[[Media:Danmu.pptx]]&lt;br /&gt;
#Topic 259: Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua (Zhou Tianyi)&lt;br /&gt;
#Topic 214: Luban China's inventor  (Cai Yichun)&lt;br /&gt;
&lt;br /&gt;
=Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 262: The Four Pillars of Destiny(Li Jiayi)&lt;br /&gt;
#Topic 263: Shaolin Temple(Zuo Fang)&lt;br /&gt;
#Topic 265: Cuisine: Changde spicy salted duck(Xing Xueqing)&lt;br /&gt;
#15:25-15:30 Topic 266: Hui Culture (徽文化)(Liu Jianan)[[Media:Hui Culture.pptx]]&lt;br /&gt;
#15:30- Topic 267: Ma Zu Culture (妈祖文化)(Yan Jidong)[[Media:Mazu culture.pptx]]&lt;br /&gt;
#15:35- Topic 268: Table manner(Luo Yan)&lt;br /&gt;
#15:40- Topic 270: Yinge Dance(Jiang Xinyue)&lt;br /&gt;
#15:45- Topic 271: Palace Lantern(Shao Keyuan)&lt;br /&gt;
#15:50- Topic 272: Chinese Endearing Terms(Zeng Zhi)[[Media:Chinese Endearing Terms.pptx]]&lt;br /&gt;
&lt;br /&gt;
15:55-16:10 Check final exam paper topics&lt;br /&gt;
&lt;br /&gt;
=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=&lt;br /&gt;
#Topic 273: Changsha Stinky Tofu（长沙臭豆腐）(Luo Sicheng)[[Media:Changsha Stinky Tofu.pptx]]&lt;br /&gt;
#&amp;lt;nowiki&amp;gt;Topic 274:&amp;lt;/nowiki&amp;gt; God of wealth(Liu Ying)&lt;br /&gt;
#Topic 275: Zhua zhou (抓周）(Zeng Xiaohui)&lt;br /&gt;
#Topic 276: Nail art(Luo Jiaxin)[[Media:Nail_Art.pptx]]&lt;br /&gt;
#Topic 277: Mirror(Cheng Sixiang)&lt;br /&gt;
#Topic 278: The Beef Board Noodles(Yan Xiang)&lt;br /&gt;
#Topic 279: Huo Qubing(Luo Jingyan)&lt;br /&gt;
#Topic 280: Chinese Courtyard Houses（中国四合院）(Guo Cili)[[Media:Chinese Courtyard Houses-Guo Cili.pptx]]&lt;br /&gt;
#Topic 281: yangqin(Dai Yexun)&lt;br /&gt;
&lt;br /&gt;
=Session 15b=&lt;br /&gt;
#Topic 282:  Black Myth: Wukong(Chen Zhen)&lt;br /&gt;
#Topic 283: Guangdong Morning Tea Culture(Yuan Xiaolin)&lt;br /&gt;
#Topic 283: Guangdong Morning Tea Culture （广东早茶文化）(Zheng Jinlian)[[Media:Guangdong Morning Tea Culture-Zheng Jinlian.pptx]]&lt;br /&gt;
#Topic:(Luo Guoqiang)&lt;br /&gt;
=Session 16 Fri Jun 6 14:30-16:10 room 613 - Final Exam=&lt;br /&gt;
==Grading Criteria for Powerpoint Presentations==&lt;br /&gt;
#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 &amp;quot;good&amp;quot; or &amp;quot;best&amp;quot;, but did it instead use vocabulary like &amp;quot;fascinating&amp;quot;, &amp;quot;surprising&amp;quot; etc. and also indicated to whom it is fascinating/surprising etc. and why?&lt;br /&gt;
#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?)&lt;br /&gt;
#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)?&lt;br /&gt;
#Was the presentation appropriate to the topic?&lt;br /&gt;
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?&lt;br /&gt;
#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?&lt;br /&gt;
#Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?&lt;br /&gt;
#Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?&lt;br /&gt;
#Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?&lt;br /&gt;
#Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?&lt;br /&gt;
#Did you present your ppt file in the full screen mode?&lt;br /&gt;
#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?&lt;br /&gt;
#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.?&lt;br /&gt;
&lt;br /&gt;
==How to write your final exam paper?==&lt;br /&gt;
Just write it like the other chapters in the textbook on your personal wiki homepage beneath the learning progress diary until &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;&lt;br /&gt;
'''June 20, 2025 (deadline)'''.&lt;br /&gt;
&lt;br /&gt;
About 1000 words in English, followed by a Chinese translation (no machine translation). You can also write in Chinese and translate into English. Both texts need to be like the other papers in the textbook.&lt;br /&gt;
&lt;br /&gt;
===Sections===&lt;br /&gt;
Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.&lt;br /&gt;
&lt;br /&gt;
The AI statement should look like this:&lt;br /&gt;
&lt;br /&gt;
I hereby guarantee that I have not used the help of AI to write my final paper in this course.&lt;br /&gt;
&lt;br /&gt;
or, if you actually use AI&lt;br /&gt;
&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;'''How about letting AI write for me?'''&lt;br /&gt;
&lt;br /&gt;
Your AI statement in the References section needs to look like this:&lt;br /&gt;
&lt;br /&gt;
To help me to write my final paper, I have used the following AI chatbot: ... I have prompted the chatbot with the following prompt: &amp;quot;...&amp;quot; I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: &amp;quot;....&amp;quot; or manually correcting the following references: ... Written the following passage new: ...).&lt;br /&gt;
&lt;br /&gt;
If you use AI, not your paper will be graded, but your prompt and adjustments&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Please add the sources in the form &amp;quot;(Wang 2020, 445)&amp;quot; behind each paragraph and with a long entry in the References section.&lt;br /&gt;
*In the References section, please add at least 1-2 Western sources. It is always good to relate the Chinese tradition to similar traditions in other countries.&lt;br /&gt;
*In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.&lt;br /&gt;
&lt;br /&gt;
===Formatting===&lt;br /&gt;
*Please also add free lines at places where you want to have a line break, e.g. after a header.&amp;lt;/span&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Chin_Lang_Cult_Fin_Exam_Spring_2025]]&lt;br /&gt;
                                                                      Liuyang Fireworks             &lt;br /&gt;
    “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.&lt;br /&gt;
     The origins of Liuyang fireworks can be traced back to the Tang Dynasty. Legend has it that Li Tian, revered as the “Forefather Saint of Firecrackers,” filled bamboo tubes with gunpowder to dispel plagues. The explosive force and resulting smoke were believed to purify the environment, marking the rudiments of firecrackers. Through generations of inheritance and innovation, Liuyang’s artisans continuously refined their craft. From the rudimentary bamboo-tube firecrackers of old times to the “string firecrackers” wrapped in paper and hemp stems during the Song Dynasty, and finally to today’s vibrant, intricately designed displays, Liuyang fireworks chronicle the evolution of traditional Chinese craftsmanship. During the Ming and Qing dynasties, Liuyang’s fireworks industry thrived, becoming a cornerstone of local handicrafts and expanding its reach nationwide and abroad. In the first year of the Yongzheng reign of the Qing Dynasty, Liuyang firecrackers were selected as imperial tributes, a testament to their superior quality. By the Qianlong era, they dominated the Hunan region, and during the Guangxu period, exports reached Asian countries like Japan, India, and Korea.&lt;br /&gt;
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.&lt;br /&gt;
    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.&lt;br /&gt;
    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.&lt;br /&gt;
    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.&lt;br /&gt;
&lt;br /&gt;
                                                                            浏阳烟花&lt;br /&gt;
   “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。&lt;br /&gt;
    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。&lt;br /&gt;
    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。&lt;br /&gt;
    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。&lt;br /&gt;
    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。&lt;br /&gt;
    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。&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&amp;diff=168169</id>
		<title>Chinese Language and Culture, Spring 2025</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&amp;diff=168169"/>
		<updated>2025-06-06T04:16:29Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: /* 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 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!&lt;br /&gt;
&lt;br /&gt;
=Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=&lt;br /&gt;
&lt;br /&gt;
==What we learn in this class==&lt;br /&gt;
*We learn about Chinese culture from international, especially Western perspective. &lt;br /&gt;
*We learn about cultural phenomena, traditional Chinese culture.&lt;br /&gt;
*We learn English and Chinese terminology in the area of Chinese culture.&lt;br /&gt;
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.&lt;br /&gt;
*We learn how to determine the location and role of Chinese culture within global culture.&lt;br /&gt;
*We learn basics of theories and models of intercultural communication and comparison.&lt;br /&gt;
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.&lt;br /&gt;
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).&lt;br /&gt;
&lt;br /&gt;
==Students' contribution==&lt;br /&gt;
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. &lt;br /&gt;
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.&lt;br /&gt;
*For the final exam, you write another chapter of the textbook in both Chinese and English, with &amp;quot;Terms and Expressions&amp;quot;, References, Questions and Answers, Statement regarding AI&lt;br /&gt;
&lt;br /&gt;
==Textbook==&lt;br /&gt;
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.&lt;br /&gt;
&lt;br /&gt;
==Agreement on use of classroom time==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
==Homework for every session==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
==Teacher presentation: Introduction to Culture==&lt;br /&gt;
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Homework for Session 2==&lt;br /&gt;
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &amp;quot;Wang Jianguo&amp;quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &amp;quot;wikicaptcha&amp;quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&amp;quot;Teacher presentation&amp;quot;). &lt;br /&gt;
&lt;br /&gt;
Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!&lt;br /&gt;
&lt;br /&gt;
1.	Geographic Nature as a Basis for Cultural Development	17&lt;br /&gt;
&lt;br /&gt;
2.	Aesthetic ideals and social customs: Chinese Marriage Customs	22&lt;br /&gt;
&lt;br /&gt;
3.	Aesthetic ideals and social customs: Habits, Ways of Contacting	31&lt;br /&gt;
&lt;br /&gt;
4.	Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan	40&lt;br /&gt;
&lt;br /&gt;
5.	Aesthetic ideals and social customs: Crying Marriage of Tujia	49&lt;br /&gt;
&lt;br /&gt;
6.	Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China	63&lt;br /&gt;
&lt;br /&gt;
7.	Animals: Panda	71 &lt;br /&gt;
&lt;br /&gt;
8.	Architecture	78&lt;br /&gt;
&lt;br /&gt;
9.	Architecture: The Forbidden City 	89&lt;br /&gt;
&lt;br /&gt;
10.	Architecture: Four Famous Bridges	102&lt;br /&gt;
&lt;br /&gt;
11.	Architecture: Four Great Pavilions	113&lt;br /&gt;
&lt;br /&gt;
12.	Architecture: Shengjing Imperial Palace	124&lt;br /&gt;
&lt;br /&gt;
13.	Architecture: Three Great Towers in China	131&lt;br /&gt;
&lt;br /&gt;
14.	Architecture: Fengshui in Chinese Architecture	145 &lt;br /&gt;
&lt;br /&gt;
15.	Army and weapons: Chinese Ancient Weapons	154&lt;br /&gt;
&lt;br /&gt;
16.	Army and weapons: Terracotta Army	163&lt;br /&gt;
&lt;br /&gt;
17.	Astrology: Chinese Astrology	170&lt;br /&gt;
&lt;br /&gt;
18.	Astrology: Calendar, The 24 Solar Terms	178&lt;br /&gt;
&lt;br /&gt;
19.	Astrology: Twelve Animals of the Chinese Zodiac	188&lt;br /&gt;
&lt;br /&gt;
20.	Beverages: Milk Tea	197&lt;br /&gt;
&lt;br /&gt;
21.	Beverages: Tea	203 (Zhang Mai)&lt;br /&gt;
&lt;br /&gt;
22.	Beverages: The Liquor Culture of Ancient China	209&lt;br /&gt;
&lt;br /&gt;
23.	Body movement performance: Chinese Lion Dancing 	218&lt;br /&gt;
&lt;br /&gt;
24.	Body movement performance: Stilts	223&lt;br /&gt;
&lt;br /&gt;
25.	Body movement performance: Traditional Chinese Dance	230&lt;br /&gt;
&lt;br /&gt;
26.	Chinese Writing: Ancient Writing and Painting Tool, Writing Brush	236&lt;br /&gt;
&lt;br /&gt;
27.	Chinese Writing: Calligraphy	246 (Tang Yan)&lt;br /&gt;
&lt;br /&gt;
28.	Chinese Writing: The Evolution of Calligraphy	252&lt;br /&gt;
&lt;br /&gt;
29.	Chinese Writing: Chinese Characters	262&lt;br /&gt;
&lt;br /&gt;
30.	Chinese Writing: Chinese Characters and Scripts	276&lt;br /&gt;
&lt;br /&gt;
31.	Clothing: Chinese Clothing	283&lt;br /&gt;
&lt;br /&gt;
32.	Clothing: Batik (Lanran)	291&lt;br /&gt;
&lt;br /&gt;
33.	Clothing: Cheongsam	301 &lt;br /&gt;
&lt;br /&gt;
34.	Confucianism: Confucian Culture	309  &lt;br /&gt;
&lt;br /&gt;
35.	Confucianism: Chinese Traditional Culture-Five Constant Virtues	324&lt;br /&gt;
&lt;br /&gt;
36.	Confucianism: Classical Philosophy - Confucius and Confucianism	332&lt;br /&gt;
&lt;br /&gt;
37.	Confucianism: Classical Philosophy - Reading The Analects	339 &lt;br /&gt;
&lt;br /&gt;
38.	Education: Ancient Chinese Education	350&lt;br /&gt;
&lt;br /&gt;
39.	Education: Historical Figures, The Four Talented Women of Ancient China	361&lt;br /&gt;
&lt;br /&gt;
40.	Education: Modern Chinese Education System	371&lt;br /&gt;
&lt;br /&gt;
41.	Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties	386&lt;br /&gt;
&lt;br /&gt;
42.	Education: Yuelu Academy (One of the Four Most Prestigious Academies)	395&lt;br /&gt;
&lt;br /&gt;
43.	Facial Make-up	406&lt;br /&gt;
&lt;br /&gt;
44.	Facial Make-up: Cosmetics, Traditional Chinese Make-Up	413&lt;br /&gt;
&lt;br /&gt;
45.	Facial Make-up: Face Changing in Sichuan Opera	431&lt;br /&gt;
&lt;br /&gt;
46.	Fine Arts: Painting	440&lt;br /&gt;
&lt;br /&gt;
47.	Fine Arts: Bada Shanren and Qi Baishi	445&lt;br /&gt;
&lt;br /&gt;
48.	Fine Arts: Painting Riverside Scene at Tomb Sweeping Day	452&lt;br /&gt;
&lt;br /&gt;
49.	Fine Arts: Seal-cutting	459&lt;br /&gt;
&lt;br /&gt;
50.	Games: Go 围棋 	462（Zhao Qi）&lt;br /&gt;
&lt;br /&gt;
51.	Games: Kite Flying	468&lt;br /&gt;
&lt;br /&gt;
52.	Games: Mahjong: An Ancient Chinese card play	476（Jiang Ziqiang）&lt;br /&gt;
&lt;br /&gt;
53.	Garden Culture: Gardens	505&lt;br /&gt;
&lt;br /&gt;
54.	Garden Culture: Bonsai (Penjing) 	511&lt;br /&gt;
&lt;br /&gt;
55.	Garden Culture: The Summer Palace	519（Li Mei）&lt;br /&gt;
&lt;br /&gt;
56.	Garden Culture: Qingming Riverside Landscspe Garden	526&lt;br /&gt;
&lt;br /&gt;
57.	Gender: Wu Zetian: The Only Female Emperor of Imperial China	535&lt;br /&gt;
&lt;br /&gt;
58.	History: Carl and Cixi	548&lt;br /&gt;
&lt;br /&gt;
59.	Interieur: The Folding Screen	552&lt;br /&gt;
&lt;br /&gt;
60.	Landscapes and Tourism: Four Buddhist Shrines	561&lt;br /&gt;
&lt;br /&gt;
61.	Landscapes and Tourism: Four State-Level Cultural Relics	573&lt;br /&gt;
&lt;br /&gt;
62.	Landscapes and Tourism: Landscape, Five Famous Mountains	585&lt;br /&gt;
&lt;br /&gt;
63.	Landscapes and Tourism: Mogao Grottoes	593&lt;br /&gt;
&lt;br /&gt;
64.	Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)&lt;br /&gt;
&lt;br /&gt;
65.	Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal）	621&lt;br /&gt;
&lt;br /&gt;
66.	Landscapes and Tourism: The Ancient Tea Horse Road	635&lt;br /&gt;
&lt;br /&gt;
67.	Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties	642&lt;br /&gt;
&lt;br /&gt;
68.	Language: Chinese Language	649&lt;br /&gt;
&lt;br /&gt;
69.	Language: Chinese Dialects	660&lt;br /&gt;
&lt;br /&gt;
70.	Language: Chinese Folk Argot	669&lt;br /&gt;
&lt;br /&gt;
71.	Literature: Ancient literature - Chinese Classical Fairy Tales	681&lt;br /&gt;
&lt;br /&gt;
72.	Literature: Ancient literature - Chinese Mythology	688&lt;br /&gt;
&lt;br /&gt;
73.	Literature: Ancient literature - Classical Literature	699&lt;br /&gt;
&lt;br /&gt;
74.	Literature: Ancient Literature - Four satirical novels in ancient China	706&lt;br /&gt;
&lt;br /&gt;
75.	Literature: Ancient literature: Four Folk Stories of Ancient China	715&lt;br /&gt;
&lt;br /&gt;
76.	Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China	725  (Duan Binyao)&lt;br /&gt;
&lt;br /&gt;
77.	Literature: Ancient Literature: The Classic of Mountains and Seas	748&lt;br /&gt;
&lt;br /&gt;
78.	Literature: Ancient literature: Yuefu	765&lt;br /&gt;
&lt;br /&gt;
79.	Literature: Premodern literature - China's Four Great Classical Novels	773 &lt;br /&gt;
&lt;br /&gt;
80.	Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations	780&lt;br /&gt;
&lt;br /&gt;
81.	Literature: Premodern literature: Strange Stories from a Chinese Studio	786&lt;br /&gt;
&lt;br /&gt;
82.	Literature: Premodern literature: Tang-Song	794&lt;br /&gt;
&lt;br /&gt;
83.	Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty	823&lt;br /&gt;
&lt;br /&gt;
84.	Literature: Modern Literature	832&lt;br /&gt;
&lt;br /&gt;
85.	Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu)	841（Miao Yunlong）&lt;br /&gt;
&lt;br /&gt;
86.	Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy	848&lt;br /&gt;
&lt;br /&gt;
87.	Literature: Contemporary Literature	859&lt;br /&gt;
&lt;br /&gt;
88.	Martial Arts: Huo Yuanjia	865&lt;br /&gt;
&lt;br /&gt;
89.	Martial Arts: Qigong	868&lt;br /&gt;
&lt;br /&gt;
90.	Martial Arts: Taiji (Tai Chi) Shadow Boxing	873&lt;br /&gt;
&lt;br /&gt;
91.	Martial Arts: Wushu	885&lt;br /&gt;
&lt;br /&gt;
92.	Martial Arts: Frolics of the Five Animals (Wuqinxi)	890&lt;br /&gt;
&lt;br /&gt;
93.	Medicine: Traditional Chinese Medicine (TCM)	900 &lt;br /&gt;
&lt;br /&gt;
94.	Medicine: TCM - Acupuncture and Moxibustion	907&lt;br /&gt;
&lt;br /&gt;
95.	Medicine: TCM - Diagnosis and Pharmacology	912&lt;br /&gt;
&lt;br /&gt;
96.	Medicine: TCM - The Development of Chinese Medicine	917&lt;br /&gt;
&lt;br /&gt;
97.	Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing	924&lt;br /&gt;
&lt;br /&gt;
98.	Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority	934&lt;br /&gt;
&lt;br /&gt;
99.	Minority cultures: The Ethnic Minorities’ Costumes	941&lt;br /&gt;
&lt;br /&gt;
100.	Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty)	952&lt;br /&gt;
&lt;br /&gt;
101.	Money culture: The tradition of Red Envelope and Lucky Money 	962  (Xu Yangyang)&lt;br /&gt;
&lt;br /&gt;
102.	Music and instruments: Guzheng	975&lt;br /&gt;
&lt;br /&gt;
103.	Music and instruments: Pipa	986&lt;br /&gt;
&lt;br /&gt;
104.	Mythology: Gods and Immortals	996&lt;br /&gt;
&lt;br /&gt;
105.	Mythology: Huli-jing	1005&lt;br /&gt;
&lt;br /&gt;
106.	National Symbols: National Anthem	1018&lt;br /&gt;
&lt;br /&gt;
107.	National Symbols: National Flag	1026 （Liao Zuoyun）&lt;br /&gt;
&lt;br /&gt;
108.	Opera: Peking Opera	1035&lt;br /&gt;
&lt;br /&gt;
109.	Opera: Peking Opera Acrobatics	1043&lt;br /&gt;
&lt;br /&gt;
110.	Opera: Peking Opera Actor Mei Lanfang	1050 (Dai shiru)&lt;br /&gt;
&lt;br /&gt;
111.	Opera: Tea-picking Opera	1055&lt;br /&gt;
&lt;br /&gt;
112.	Opera: Hunan Flower-drum Opera (Huagu Opera)	1064&lt;br /&gt;
&lt;br /&gt;
113.	Philosophical Schools: Four Main Philosophical Schools	1076&lt;br /&gt;
&lt;br /&gt;
114.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism	1087&lt;br /&gt;
&lt;br /&gt;
115.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching	1093&lt;br /&gt;
&lt;br /&gt;
116.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng	1099&lt;br /&gt;
&lt;br /&gt;
117.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living	1106&lt;br /&gt;
&lt;br /&gt;
118.	Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 	1119&lt;br /&gt;
&lt;br /&gt;
119.	Philosophy: Chinese Traditional Cultivation Culture	1129&lt;br /&gt;
&lt;br /&gt;
120.	Religion: Traditional Chinese Funeral Culture	1141&lt;br /&gt;
&lt;br /&gt;
121.	Religion: Buddhism	1155&lt;br /&gt;
&lt;br /&gt;
122.	Religion: Daoism	1170&lt;br /&gt;
&lt;br /&gt;
123.	Religion: Christianity	1175&lt;br /&gt;
&lt;br /&gt;
124.	Religion: Islam	1181&lt;br /&gt;
&lt;br /&gt;
125.	Science and Technology: Ancient Science and Technology	1185&lt;br /&gt;
&lt;br /&gt;
126.	Science and Technology: China's Four New Inventions	1191 (Yang Yue2)&lt;br /&gt;
&lt;br /&gt;
127.	Science and Technology: Compass	1217&lt;br /&gt;
&lt;br /&gt;
128.	Science and Technology: TikTok (Douyin)	1226&lt;br /&gt;
&lt;br /&gt;
129.	Science and Technology: Three Giant Home Appliance Enterprises In China 	1235&lt;br /&gt;
&lt;br /&gt;
130.	Science and Technology: Four Domestic Mobile Phone Companies	1257&lt;br /&gt;
&lt;br /&gt;
131.	        Silk and porcelain: Silk	1272  (Fei Xinyu)&lt;br /&gt;
&lt;br /&gt;
132.	Silk and porcelain: Porcelain	1277&lt;br /&gt;
&lt;br /&gt;
133.	Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词	1283(Wang Huaixing)&lt;br /&gt;
&lt;br /&gt;
134.	Silk Road - by land and by sea: Zhang Qian and the Silk Road	1291&lt;br /&gt;
&lt;br /&gt;
135.	Silk Road - by land and by sea: Zheng He and the Maritime Silk Road	1296&lt;br /&gt;
&lt;br /&gt;
136.	Silk Road - by land and by sea: Zheng He's Voyages	1300&lt;br /&gt;
&lt;br /&gt;
137.	Social: The Long-life Lock	1308&lt;br /&gt;
&lt;br /&gt;
138.	Social: Round Table Culture	1317 (Wu Jiating)&lt;br /&gt;
&lt;br /&gt;
139.	Stage entertainment: Crosstalk 相声	1325&lt;br /&gt;
&lt;br /&gt;
140.	Stage entertainment: Shadow Play	1332&lt;br /&gt;
&lt;br /&gt;
141.	Traditional Crafts: Carving	1340&lt;br /&gt;
&lt;br /&gt;
142.	Traditional Crafts: Chinese Jade Culture	1348&lt;br /&gt;
&lt;br /&gt;
143.	Traditional Crafts: Cloisonne	1363   &lt;br /&gt;
&lt;br /&gt;
144.	Traditional Crafts: Embroidery	1369&lt;br /&gt;
&lt;br /&gt;
145.	Traditional Crafts: Shu Embroidery (Sichuan Embroidery)	1373   &lt;br /&gt;
&lt;br /&gt;
146.	Traditional Crafts: Xiang Embroidery	1386（Zhang Huifang）&lt;br /&gt;
&lt;br /&gt;
147.	Traditional Crafts: Folk Art - Chinese Paper-cutting	1400&lt;br /&gt;
&lt;br /&gt;
148.	Traditional Crafts: Handcraft - Chinese Knots	1409&lt;br /&gt;
&lt;br /&gt;
149.	Traditional Crafts: Lacquerware	1418&lt;br /&gt;
&lt;br /&gt;
150.	Traditional Crafts: The Kingfisher Craft点翠	1423&lt;br /&gt;
&lt;br /&gt;
151.	Traditional Cuisine: Chinese Dining Etiquette	1436&lt;br /&gt;
&lt;br /&gt;
152.	Traditional Cuisine: Chopsticks	1450&lt;br /&gt;
&lt;br /&gt;
153.	Traditional Cuisine: Eight Major Cuisines of China	1456 (Zheng Kaiwu)&lt;br /&gt;
&lt;br /&gt;
154.	Traditional Cuisine: Four Distinct Regional Cuisines	1473&lt;br /&gt;
&lt;br /&gt;
155.	Traditional Cuisine: Breakfast Culture of Wuhan	1480(Liu Peini)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
156.	Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick	1491(Xiao Zixin)&lt;br /&gt;
&lt;br /&gt;
157.	Traditional Cuisine: Hotpot	1501 (Cao Chunyang)&lt;br /&gt;
&lt;br /&gt;
158.	Traditional Cuisine: The Art of Chinese Cooking	1508&lt;br /&gt;
&lt;br /&gt;
159.	Traditional Cuisine: Two Famous Dishes	1514&lt;br /&gt;
&lt;br /&gt;
160.	Traditional Festivals	1518……&lt;br /&gt;
&lt;br /&gt;
161.	Traditional Festivals: Lattice on Ancient Chinese Windows	1525&lt;br /&gt;
&lt;br /&gt;
162.	Traditional Festivals: Spring Festival Couplets	1538&lt;br /&gt;
&lt;br /&gt;
163.	Westernization: The Eastward Spread of Western Learning	1544&lt;br /&gt;
&lt;br /&gt;
164.	Westernization: The Westernization Movement	1550&lt;br /&gt;
&lt;br /&gt;
165.	Worship: Chinese Incense Culture	1558 (She Xiao)&lt;br /&gt;
&lt;br /&gt;
166.	Economy: Chinese Currency Changes	1569&lt;br /&gt;
&lt;br /&gt;
167.	History: Wang Shouren	1573 Lv Jiahao&lt;br /&gt;
&lt;br /&gt;
168.	Martial Arts: Chinese Swordsman Spirit	1582&lt;br /&gt;
&lt;br /&gt;
169.	Cuisine: Luosifen	1593 （Chen Sisi)&lt;br /&gt;
&lt;br /&gt;
170.	Fine Arts: Chinese Paper Cutting	1601 &lt;br /&gt;
&lt;br /&gt;
171.	Science and Technology: Taobao(淘宝) 	1611&lt;br /&gt;
&lt;br /&gt;
172.	Traditional Craft: Bronze	1623&lt;br /&gt;
&lt;br /&gt;
173.	Entertainment: Deyunshe 德云社	1631&lt;br /&gt;
&lt;br /&gt;
174.	Traditional Cuisine: Jiaozi	1644 （Liu Pei）&lt;br /&gt;
&lt;br /&gt;
175.	Aesthetic ideals and social customs: the Photo Retouching Culture in China	1655&lt;br /&gt;
&lt;br /&gt;
176.	Traditional Crafts: Handcraft - Oil-paper Umbrella	1664     &lt;br /&gt;
&lt;br /&gt;
177.	stage entertainment:Yuan drama	1676&lt;br /&gt;
&lt;br /&gt;
178.	Music and instruments: Erhu	1685&lt;br /&gt;
&lt;br /&gt;
179.	Traditional and Modern Views on Marriage and Love	1694 (Liu Yunxi)&lt;br /&gt;
&lt;br /&gt;
180.	Traditional Cuisine: Tangyuan	1701&lt;br /&gt;
&lt;br /&gt;
181.	Animals：Golden Monkey	1712（Xiao Yawen）&lt;br /&gt;
&lt;br /&gt;
182.	Chinese Economy: rich businessmen	1719 (Fu Sihui)&lt;br /&gt;
&lt;br /&gt;
183.	Opera: Chinese Local Operas	1727 （Wang Xinyu）&lt;br /&gt;
&lt;br /&gt;
184.	The Chinese tradition of ancestor worship	1740&lt;br /&gt;
&lt;br /&gt;
185.	Opera: Huangmei opera	1752 （Chu Hanqi）&lt;br /&gt;
&lt;br /&gt;
186.	The “reference” of Chinese Music	1759&lt;br /&gt;
&lt;br /&gt;
187.	Chinese Folk Art:Lion Dance	1767&lt;br /&gt;
&lt;br /&gt;
188.	Science and Technology: Mobile Games（手游）	1783(Du JIangping)&lt;br /&gt;
&lt;br /&gt;
189.	Clothing: Vintage Clothing	1790&lt;br /&gt;
&lt;br /&gt;
190.	Fine arts:Kunqu Opera	1798&lt;br /&gt;
&lt;br /&gt;
191.	Aesthetic ideals and social customs: The Culture of Flowers	1807 (Qiu Ping）&lt;br /&gt;
&lt;br /&gt;
192.	National Belief: the Chinese Dream	1818&lt;br /&gt;
&lt;br /&gt;
193.	Science and Technology: Buytogether（PDD) 	1825(Qi Zhiyang)&lt;br /&gt;
&lt;br /&gt;
194.	Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People	1845&lt;br /&gt;
&lt;br /&gt;
195.	Sports: Cuju (蹴鞠) 	1845 （Ouyang Yihong)&lt;br /&gt;
&lt;br /&gt;
196.	Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车	1845（Geng Hongmei)&lt;br /&gt;
&lt;br /&gt;
197.	Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花	1845  &lt;br /&gt;
&lt;br /&gt;
198.	Stage entertainment: Northeast Errenzhuan (二人转) 	1845&lt;br /&gt;
&lt;br /&gt;
199.	Traditional Crafts: Dough Sculpture 面塑	1845&lt;br /&gt;
&lt;br /&gt;
200.	Nanchang Relic Museum for Haihun Principality of Han Dynasty	1845  &lt;br /&gt;
&lt;br /&gt;
201.	The culture of Grass cloth 夏布	1845 &lt;br /&gt;
&lt;br /&gt;
202.	The Legend of Zhen Huan 《甄嬛传》	1845 (Xiang Jianning)&lt;br /&gt;
&lt;br /&gt;
203.	Chinese horror movies 中式恐怖片	1845 (Zhang Jiaxin)&lt;br /&gt;
&lt;br /&gt;
204.	Stand-up comedy 单口喜剧	1845（Huang Sinan）&lt;br /&gt;
&lt;br /&gt;
205.	Bride-price（彩礼）	1845 &lt;br /&gt;
&lt;br /&gt;
206.	Chinese science fiction movies 中国科幻片	1845&lt;br /&gt;
&lt;br /&gt;
207.	Shandong cuisine鲁菜	1845(Lu Wei)&lt;br /&gt;
&lt;br /&gt;
208.	Chinese traditional ornament: Buyao （步摇）	1845 (Yang Jing)&lt;br /&gt;
&lt;br /&gt;
209.	Tofu meatball with pig blood (猪血丸子) 	1845       （Li Ting2）&lt;br /&gt;
&lt;br /&gt;
210.	Sunzi’s Art of War: Source for All Books on War (孙子兵法) 	1845&lt;br /&gt;
&lt;br /&gt;
211.	The Temple of Heaven：Reverence with Awe and Gratitude（天坛）	1845&lt;br /&gt;
&lt;br /&gt;
212.	Education：training Schools （教育：补习班）	1845 (Huang Yixuan2)&lt;br /&gt;
&lt;br /&gt;
213.	Chinese Dreamcore (中式梦核) 	1845  (Zhang Zixi)&lt;br /&gt;
&lt;br /&gt;
214.	Lu Ban, China’s inventor（中国发明家——鲁班）	1845 (Cai Yichun)&lt;br /&gt;
&lt;br /&gt;
215.	Live Streaming E-commerce（直播电商）	1845    (Tao Yao)&lt;br /&gt;
&lt;br /&gt;
216.	The Story of Ming Lan（知否知否，应是绿肥红瘦）	1845 (Ye Sitong)&lt;br /&gt;
&lt;br /&gt;
217.	Cha Bai Xi/Tea Latte Art (茶百戏) 	1845    （Yang Jiahong2)&lt;br /&gt;
&lt;br /&gt;
218.	Guangdong Herbal tea（广东凉茶）	1845(Gao Xiaoqing)&lt;br /&gt;
&lt;br /&gt;
219.	Chinese traditional art form：Seal carving（篆刻）	1845(Huang Qiaoqiao)&lt;br /&gt;
&lt;br /&gt;
220.	Rice cake (年糕) 	1845  （Dong Jiating）&lt;br /&gt;
&lt;br /&gt;
221.	Zhongyuan festival	1845 （Ou Huang）&lt;br /&gt;
&lt;br /&gt;
222.	Dulong: Facial tattoo (独龙族：纹面) 	1845&lt;br /&gt;
&lt;br /&gt;
223.	The Return of the Pearl Princess（还珠格格）	1845 （Lu Jiahui）&lt;br /&gt;
&lt;br /&gt;
224.	Chinese Food：Jiangxi Cuisine（赣菜）	1845 (Liao Dan)&lt;br /&gt;
&lt;br /&gt;
225.	&amp;quot;Cun Chao&amp;quot;: China's village football league（“村超”：中国乡村足球联赛）	1845 (Shen Shuai)&lt;br /&gt;
&lt;br /&gt;
226.	Landscapes and Tourism: Junshan Island (君山岛) 	1845&lt;br /&gt;
&lt;br /&gt;
227.	Chinese Bossy Fictions &amp;amp; Micro-drama（中国式霸总小说&amp;amp;短剧）	1845 (He Yunfeng)&lt;br /&gt;
&lt;br /&gt;
228.	Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构）	1845&lt;br /&gt;
&lt;br /&gt;
229.	Jingdezhen Porcelain	1845 (Xiao Luyu)&lt;br /&gt;
&lt;br /&gt;
230.	Gayageum（伽倻琴）	1845 (Zhang Meiling)&lt;br /&gt;
&lt;br /&gt;
231.	The plaque and couplet in Chinese garden（园林匾额对联）	1845 (Wang Yuxin)&lt;br /&gt;
&lt;br /&gt;
232.	Sun Wukong（孙悟空）	1845 （Li Yuan2）&lt;br /&gt;
&lt;br /&gt;
233.	Traditional Chinese Pigments（中国传统颜料）	1845 (Cao Yuan)&lt;br /&gt;
&lt;br /&gt;
234.	Dragon Lantern Dance（舞龙灯）	1845 （Jin Yichen）&lt;br /&gt;
&lt;br /&gt;
235.	Bamboo Weaving (竹编）	1845 (Chen Anqi)&lt;br /&gt;
&lt;br /&gt;
236.	Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 	1845 (Xu Xinwen)&lt;br /&gt;
&lt;br /&gt;
237.	Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 	1845 （Li Zihan2）&lt;br /&gt;
&lt;br /&gt;
238.	Three Famous Chinese Mountains(中国三山) 	1845（Liu  Chang）&lt;br /&gt;
&lt;br /&gt;
239.	Female Emperor---Wu Zetian	1845  (Song Xin)&lt;br /&gt;
&lt;br /&gt;
240.	Clay sculpture (泥塑）	1845 (Chen Lin)&lt;br /&gt;
&lt;br /&gt;
241.	Abacus (中国珠算）	1845&lt;br /&gt;
&lt;br /&gt;
242.	Hunan Rice Noodles（湖南米粉）	1845 (Gong Wei)&lt;br /&gt;
&lt;br /&gt;
243.	Chinese name（中国姓名文化）	1845  &lt;br /&gt;
&lt;br /&gt;
244.	Chinese popular viral memes (中国网络社交媒体“热梗”）	1845(Xiao Yikang)&lt;br /&gt;
&lt;br /&gt;
245.	Douzhi (豆汁) 	1845(Li Linyao) &lt;br /&gt;
&lt;br /&gt;
246.	New Year Wood-block Paintings (木版年画）	1845（Du Yuan）&lt;br /&gt;
&lt;br /&gt;
247.	Carved lacquer（雕漆）	1845 （Liu Qi）&lt;br /&gt;
&lt;br /&gt;
248.	Jing Gang Mountain (井冈山）	1845 （Yu Jingfang）&lt;br /&gt;
&lt;br /&gt;
249.	Intangible Cultural Heritage: Tongguan Kiln （铜官窑）	1845&lt;br /&gt;
&lt;br /&gt;
250.	Language: Hakka Dialect（客家话）	1845&lt;br /&gt;
&lt;br /&gt;
251.	Rice noodle roll（肠粉）	1845 ( Li Mingfeng )&lt;br /&gt;
&lt;br /&gt;
252.	Traditional Cuisine: Northeastern Chinese Cuisine(东北菜）	1845（Liu Shutian）&lt;br /&gt;
&lt;br /&gt;
253.	Yuelu Mountain (岳麓山) 	1845（Chen Ting）&lt;br /&gt;
&lt;br /&gt;
254.	Traditional Crafts：Tie-Dye（扎染）	1845（Zhang Qi）&lt;br /&gt;
&lt;br /&gt;
255.	Chinese-style sun protection (中式防晒）	1845（Zhao Yashi）&lt;br /&gt;
&lt;br /&gt;
256.	Danmu (弹幕）	1845 (Zhou Le)&lt;br /&gt;
&lt;br /&gt;
257.	Yangshao Culture（仰韶文化）	1845&lt;br /&gt;
&lt;br /&gt;
258.	Indigo Dyeing (蓝染) 	1845&lt;br /&gt;
&lt;br /&gt;
259.	Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua	1845 (Zhou Tianyi)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
260.	Wedding dress in the Song Dynasty (宋代婚服) 	1845 (Liu Chao) &lt;br /&gt;
&lt;br /&gt;
261.	The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 	1845&lt;br /&gt;
&lt;br /&gt;
262.	The Four Pillars of Destiny (八字) (Li Jiayi)	1845 &lt;br /&gt;
&lt;br /&gt;
263.	Shaolin Temple (少林寺) 	1845 (Zuo Fang)&lt;br /&gt;
&lt;br /&gt;
264.	Single bamboo drifting（独竹漂）	1845&lt;br /&gt;
&lt;br /&gt;
265.	Cuisine: Changde spicy salted duck 酱板鸭传说的由来	1845 （Xing Xueqing）&lt;br /&gt;
&lt;br /&gt;
266.	Hui Culture (徽文化)	1845(Liu Jianan)&lt;br /&gt;
&lt;br /&gt;
267.	Ma Zu Culture (妈祖文化)	1845 (Yan Jidong)&lt;br /&gt;
&lt;br /&gt;
268.	Table Manners 	1845（Luo Yan）&lt;br /&gt;
&lt;br /&gt;
269.	Music of the Mongol nationality (蒙古族音乐)	1845&lt;br /&gt;
&lt;br /&gt;
270.	The Yingge Dance（英歌舞）	1845  （Jiang Xinyue)&lt;br /&gt;
&lt;br /&gt;
271.	Palace Lantern（宫灯）	1845  （Shao Keyuan）&lt;br /&gt;
&lt;br /&gt;
272.	Chinese Term of Endearment（中国亲昵称谓）	1845  (Zeng Zhi）&lt;br /&gt;
&lt;br /&gt;
273.	Changsha Stinky Tofu（长沙臭豆腐) 	1845(Luo Sicheng)[[File:Changsha Stinky Tofu.pptx]]&lt;br /&gt;
&lt;br /&gt;
274.	God of Wealth(财神) 	1845 &lt;br /&gt;
&lt;br /&gt;
275.	Zhuazhou（抓周）	1845 （Zeng Xiaohui）&lt;br /&gt;
&lt;br /&gt;
276.	Nail art（美甲）	1845 （Luo Jiaxin）&lt;br /&gt;
&lt;br /&gt;
277.	Mirror (镜子) 	1845   (Cheng Sixiang) &lt;br /&gt;
&lt;br /&gt;
278.	The Beef Board Noodle (牛肉板面) 	1845(Yan Xiang)&lt;br /&gt;
&lt;br /&gt;
279.	Huo Qubing (霍去病）	1845 （Luo Jingyan）&lt;br /&gt;
&lt;br /&gt;
280.	Chinese Courtyard Houses（中国四合院）	1845 (Guo Cili)&lt;br /&gt;
&lt;br /&gt;
281.	Music and instruments: Yangqin（扬琴）	1845（Dai Yexun）&lt;br /&gt;
&lt;br /&gt;
282.	Black Myth: Wukong（黑神话 悟空）	1845 (Chen Zhen)&lt;br /&gt;
&lt;br /&gt;
283.	Guangdong Morning Tea Culture （广东早茶文化）	1845 （Zheng Jinlian）&lt;br /&gt;
&lt;br /&gt;
=Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
==Teacher presentation: Introduction to Culture==&lt;br /&gt;
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Topics for today==&lt;br /&gt;
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)&lt;br /&gt;
&lt;br /&gt;
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?&lt;br /&gt;
&lt;br /&gt;
Please remember that you have to indicate the 10 topics for Friday on the course website under &amp;quot;Session 2&amp;quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.&lt;br /&gt;
&lt;br /&gt;
27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]&lt;br /&gt;
&lt;br /&gt;
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]&lt;br /&gt;
&lt;br /&gt;
55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]&lt;br /&gt;
&lt;br /&gt;
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]]&lt;br /&gt;
&lt;br /&gt;
85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]&lt;br /&gt;
&lt;br /&gt;
Tea Latte Art (Xiang Jianning)&lt;br /&gt;
&lt;br /&gt;
Topic 7&lt;br /&gt;
&lt;br /&gt;
Topic 8&lt;br /&gt;
&lt;br /&gt;
Topic 9&lt;br /&gt;
&lt;br /&gt;
Topic 10&lt;br /&gt;
&lt;br /&gt;
=Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
==Presentations==&lt;br /&gt;
1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86&lt;br /&gt;
&lt;br /&gt;
2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang)  [[Media:Hot_Pot_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]&lt;br /&gt;
&lt;br /&gt;
==Notes on presentations==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &amp;quot;Black tea&amp;quot; (in English all &amp;quot;hong cha&amp;quot; is called &amp;quot;black tea&amp;quot;), British tea culture (add milk)&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
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 &lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87&lt;br /&gt;
&lt;br /&gt;
7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86&lt;br /&gt;
&lt;br /&gt;
==Student grades: 平时成绩/签到==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
75/103 students, 24级 MA翻译, class representative: Zhang Jiaxin&lt;br /&gt;
#	Jin Yichen &lt;br /&gt;
#	lu jiahui &lt;br /&gt;
#	li yuan&lt;br /&gt;
#	cao yuan&lt;br /&gt;
#	xiao luyu&lt;br /&gt;
#	zhang jiaxin +5&lt;br /&gt;
#	ye sitong&lt;br /&gt;
#	zhao yashi&lt;br /&gt;
#	jiang xinyue&lt;br /&gt;
#	yan xiang&lt;br /&gt;
#	fei xinyu &lt;br /&gt;
#	zhang qi&lt;br /&gt;
#	dai shiru&lt;br /&gt;
#	zhang zixi&lt;br /&gt;
#	zheng kaiwu&lt;br /&gt;
#	cai yichun&lt;br /&gt;
#	yang jing&lt;br /&gt;
#	liao dan&lt;br /&gt;
#	luo yan&lt;br /&gt;
#	qin yi&lt;br /&gt;
#	shao keyuan&lt;br /&gt;
#	cao chunyang&lt;br /&gt;
#	xu yangyang&lt;br /&gt;
#	liao zuoyun&lt;br /&gt;
#	cheng sixiang&lt;br /&gt;
#	du jiangping&lt;br /&gt;
#	liu qi&lt;br /&gt;
#	miao yunlong&lt;br /&gt;
#	huang qiaoqiao&lt;br /&gt;
#	chen lin&lt;br /&gt;
#	duan binyao&lt;br /&gt;
#	li ting&lt;br /&gt;
#	zeng zhi&lt;br /&gt;
#	xing xueqing&lt;br /&gt;
#	luo jingyan&lt;br /&gt;
#	liu shutian&lt;br /&gt;
#	gao xiaoqing&lt;br /&gt;
#	chen zhen&lt;br /&gt;
#	luo guoqiang -1-1-1&lt;br /&gt;
#	she xiao &lt;br /&gt;
#	he yunfeng &lt;br /&gt;
#	liu ying&lt;br /&gt;
#	du yuan &lt;br /&gt;
#	li jiayi &lt;br /&gt;
#	tao yao &lt;br /&gt;
#	xu xinwen &lt;br /&gt;
#	ou huang &lt;br /&gt;
#	liu peini&lt;br /&gt;
#	jiang ziqiang&lt;br /&gt;
#	zhang huifang&lt;br /&gt;
#	liu chao&lt;br /&gt;
#	liu yunxi &lt;br /&gt;
#	luo jiaxin&lt;br /&gt;
#	li mei&lt;br /&gt;
#	zeng xiaohui&lt;br /&gt;
#	huang yixuan&lt;br /&gt;
#	chen anqi&lt;br /&gt;
#	chen ting&lt;br /&gt;
#	zhang mai&lt;br /&gt;
#	yuan xiaolin -1-1&lt;br /&gt;
#	li mingfeng&lt;br /&gt;
#	dai yexun-1-1&lt;br /&gt;
#	yang pei -1&lt;br /&gt;
#	tang yan&lt;br /&gt;
#	xiang jianning-1&lt;br /&gt;
#	liu chang -1&lt;br /&gt;
#	wang yuxin&lt;br /&gt;
#	lv jiahao-1&lt;br /&gt;
#	dong jiating&lt;br /&gt;
#	lu wei&lt;br /&gt;
#	yang yue&lt;br /&gt;
#	guo cili&lt;br /&gt;
#	shen shuai&lt;br /&gt;
#	Ouyang yihong&lt;br /&gt;
#	li zihan -1&lt;br /&gt;
#	zuo fang&lt;br /&gt;
#	fu sihui&lt;br /&gt;
#	xiao zixin -1&lt;br /&gt;
#	zhou tianyi -1&lt;br /&gt;
#	qi zhiyang -1-1&lt;br /&gt;
#	liu pei &lt;br /&gt;
#	gong wei&lt;br /&gt;
#	chen sisi&lt;br /&gt;
#	huang sinan&lt;br /&gt;
#	xiao yikang&lt;br /&gt;
#	yu jingfang&lt;br /&gt;
#	luo sicheng&lt;br /&gt;
#	yang jiahong&lt;br /&gt;
#	yan jidong&lt;br /&gt;
#	xiao yawen&lt;br /&gt;
#	geng hongmei&lt;br /&gt;
#	zhou le&lt;br /&gt;
#	qiu ping&lt;br /&gt;
#	wang huaixing&lt;br /&gt;
#	wang xinyu&lt;br /&gt;
#	chu hanqi&lt;br /&gt;
#	wu jiating&lt;br /&gt;
#	zhang meiling&lt;br /&gt;
#	liu jianan&lt;br /&gt;
#	song xin&lt;br /&gt;
#	zhao qi&lt;br /&gt;
#	zheng jinlian&lt;br /&gt;
#	li linyao&lt;br /&gt;
&lt;br /&gt;
=Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]&lt;br /&gt;
#Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]&lt;br /&gt;
#Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]&lt;br /&gt;
#Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]&lt;br /&gt;
#Topic 182: Chinese Economy:  rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]&lt;br /&gt;
#Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin)  [[Media:Tanghulu_Spring_2025.pptx]]&lt;br /&gt;
#Topic 138: Social: Round Table Culture	1317 (Wu Jiating)  [[Media:Round_Table_Culture_Spring_2025.pptx]]&lt;br /&gt;
#Topic 174: Jiaozi (Liu Pei)  [[Media:Dumplings_Spring_2025.pptx]]&lt;br /&gt;
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)&lt;br /&gt;
&lt;br /&gt;
=Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]&lt;br /&gt;
#Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]&lt;br /&gt;
# Topic 131: Silk and porcelain: Silk  (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]&lt;br /&gt;
# Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]&lt;br /&gt;
# Topic 169: Cuisine: Luosifen  1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]&lt;br /&gt;
# Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]&lt;br /&gt;
# Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]&lt;br /&gt;
# Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]&lt;br /&gt;
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]&lt;br /&gt;
&lt;br /&gt;
=Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
&lt;br /&gt;
#Topic 188:Mobile Games 手游 1783 （Du Jiangping）&lt;br /&gt;
#Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）&lt;br /&gt;
#Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)&lt;br /&gt;
#Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]&lt;br /&gt;
#Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]&lt;br /&gt;
#Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]&lt;br /&gt;
#Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）&lt;br /&gt;
#Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）&lt;br /&gt;
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)&lt;br /&gt;
&lt;br /&gt;
=HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
清明节4月4日——4月6日&lt;br /&gt;
=Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=&lt;br /&gt;
#Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）&lt;br /&gt;
#Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]&lt;br /&gt;
#Topic 181:Animals：Golden Monkey(Xiao Yawen)&lt;br /&gt;
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)&lt;br /&gt;
#Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）&lt;br /&gt;
#Topic 220:Rice cake 年糕 (Dong Jiating)&lt;br /&gt;
#Topic 208:Chinese traditional ornament: Buyao(Yang Jing)&lt;br /&gt;
#Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]&lt;br /&gt;
#Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]&lt;br /&gt;
&lt;br /&gt;
=Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 213: Chinese Dreamcore (Zhang Zixi)&lt;br /&gt;
#Topic 215: Live-streaming e-commerce (Tao Yao)[[Media:Live-Streaming E-Commerce.pptx]]&lt;br /&gt;
#Topic 216: The Story of Ming Lan (Ye Sitong)[[Media:The Story of Minglan.pptx]]&lt;br /&gt;
#Topic 218: Guangdong Herbal tea (Gao Xiaoqing)&lt;br /&gt;
#Topic 219: Chinese traditional art form：Seal carving（篆刻） (Huang Qiaoqiao)[[Media:Seal carving.pptx]]&lt;br /&gt;
#Topic 207: Shan Dong Cuisine (Lu Wei) [[Media:Shandong Cuisine]]&lt;br /&gt;
#Topic 221: Zhongyuan Festival (Ou Huang)[[Media:The Zhongyuan Festival.pptx]]&lt;br /&gt;
#Topic 223: The Return of the Pearl Princess (Lu Jiahui)[[Media:The Return of the Pearl Princess.pptx]]&lt;br /&gt;
&lt;br /&gt;
=Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)&lt;br /&gt;
#Topic 225: Cun Chao&amp;quot;: China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)&lt;br /&gt;
#Topic 227: Chinese Bossy Fictions &amp;amp; Micro-drama（中国式霸总小说&amp;amp;短剧） 1845 (He Yunfeng)[[Media:Chinese_Bossy_Fictions_and_Microdramas.pptx]]&lt;br /&gt;
#Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]&lt;br /&gt;
#Topic 230: Gayageum（伽倻琴）(Zhang Meiling) [[Media:Gayageum.pptx]]&lt;br /&gt;
#Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)&lt;br /&gt;
#Topic 232: Sun Wukong(Li Yuan)&lt;br /&gt;
#Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]&lt;br /&gt;
#Topic 235: Bamboo Weaving(Chen Anqi)&lt;br /&gt;
#Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)&lt;br /&gt;
&lt;br /&gt;
==Please enroll in ai platform==&lt;br /&gt;
Please enroll (register) in the platform https://dcg.de/ai/&lt;br /&gt;
&lt;br /&gt;
=HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
劳动节5月1日——5月5日&lt;br /&gt;
&lt;br /&gt;
=Session 12 Tue May 06 10:00-11:40 room 613 - Student presentations=&lt;br /&gt;
#Topic 238: Three Famous Chinese Mountains(Liu Chang)&lt;br /&gt;
#Topic 239: Female emperor-Wu Zetian(女皇武则天)(Song Xin)  [[Media:Wu Zetian.pptx]]&lt;br /&gt;
#Topic 240: Clay sculpture (泥塑）(Chen Lin)[[Media:Clay Sculpture.pptx]]&lt;br /&gt;
#Topic 242: Hunan Rice Noodles(Gong Wei)[[Media:Hunan Rice Noodles.pptx]]&lt;br /&gt;
#Topic 244: Chinese Popular Memes(中国网络流行热梗）(Xiao Yikang)[[Media:Chinese popular Memes.pptx]] &lt;br /&gt;
#Topic 245: Douzhi (豆汁)(Li Linyao)[[Media:Douzhi.pptx]]&lt;br /&gt;
#Topic 246: New Year Wood-block Paintings(Du Yuan)&lt;br /&gt;
#Topic 247: Carved lacquer（雕漆）(Liu Qi)[[Media:Carved lacquer.pptx]]&lt;br /&gt;
#Topic 237: Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)(Li Zihan)&lt;br /&gt;
&lt;br /&gt;
==Regarding Wu Zetian‘s blank Steele==&lt;br /&gt;
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：&lt;br /&gt;
	#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。&lt;br /&gt;
	#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。&lt;br /&gt;
	#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。&lt;br /&gt;
	#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。&lt;br /&gt;
	#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。&lt;br /&gt;
&lt;br /&gt;
⸻&lt;br /&gt;
&lt;br /&gt;
English Translation:&lt;br /&gt;
&lt;br /&gt;
There are several main hypotheses about why Wu Zetian’s stele (often called the “Wordless Stele”) bears no inscription:&lt;br /&gt;
#“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.&lt;br /&gt;
#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.&lt;br /&gt;
#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.&lt;br /&gt;
#Intended to write later: Some believe she planned to inscribe it later in life but passed away before doing so, leaving the monument unfinished.&lt;br /&gt;
#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.&lt;br /&gt;
&lt;br /&gt;
=Session 13 Fri May 09 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 248: Jing Gang Mountain (井冈山）(Yu Jingfang) [[Media:Jing_Gang_Mountain_Spring_2025.pptx]]&lt;br /&gt;
#Topic 251: Rice noodle roll (Li Mingfeng)[[Media:Rice_Noodle_Roll.pptx]]&lt;br /&gt;
#Topic 252: Traditional Cuisine: Northeastern Chinese Cuisine (Liu Shutian)&lt;br /&gt;
#Topic 253: Yuelu Mountain (Chen Ting)&lt;br /&gt;
#Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional Crafts Tie-Dye.pptx]]&lt;br /&gt;
#Topic 255: Chinese-style sun protection (Zhao Yashi)&lt;br /&gt;
#Topic 256: Danmu（弹幕）(Zhou Le)[[Media:Danmu.pptx]]&lt;br /&gt;
#Topic 259: Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua (Zhou Tianyi)&lt;br /&gt;
#Topic 214: Luban China's inventor  (Cai Yichun)&lt;br /&gt;
&lt;br /&gt;
=Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 262: The Four Pillars of Destiny(Li Jiayi)&lt;br /&gt;
#Topic 263: Shaolin Temple(Zuo Fang)&lt;br /&gt;
#Topic 265: Cuisine: Changde spicy salted duck(Xing Xueqing)&lt;br /&gt;
#15:25-15:30 Topic 266: Hui Culture (徽文化)(Liu Jianan)[[Media:Hui Culture.pptx]]&lt;br /&gt;
#15:30- Topic 267: Ma Zu Culture (妈祖文化)(Yan Jidong)[[Media:Mazu culture.pptx]]&lt;br /&gt;
#15:35- Topic 268: Table manner(Luo Yan)&lt;br /&gt;
#15:40- Topic 270: Yinge Dance(Jiang Xinyue)&lt;br /&gt;
#15:45- Topic 271: Palace Lantern(Shao Keyuan)&lt;br /&gt;
#15:50- Topic 272: Chinese Endearing Terms(Zeng Zhi)[[Media:Chinese Endearing Terms.pptx]]&lt;br /&gt;
&lt;br /&gt;
15:55-16:10 Check final exam paper topics&lt;br /&gt;
&lt;br /&gt;
=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=&lt;br /&gt;
#Topic 273: Changsha Stinky Tofu（长沙臭豆腐）(Luo Sicheng)[[File:Changsha Stinky Tofu.pptx]]&lt;br /&gt;
#&amp;lt;nowiki&amp;gt;Topic 274:&amp;lt;/nowiki&amp;gt; God of wealth(Liu Ying)&lt;br /&gt;
#Topic 275: Zhua zhou (抓周）(Zeng Xiaohui)&lt;br /&gt;
#Topic 276: Nail art(Luo Jiaxin)[[Media:Nail_Art.pptx]]&lt;br /&gt;
#Topic 277: Mirror(Cheng Sixiang)&lt;br /&gt;
#Topic 278: The Beef Board Noodles(Yan Xiang)&lt;br /&gt;
#Topic 279: Huo Qubing(Luo Jingyan)&lt;br /&gt;
#Topic 280: Chinese Courtyard Houses（中国四合院）(Guo Cili)[[Media:Chinese Courtyard Houses-Guo Cili.pptx]]&lt;br /&gt;
#Topic 281: yangqin(Dai Yexun)&lt;br /&gt;
&lt;br /&gt;
=Session 15b=&lt;br /&gt;
#Topic 282:  Black Myth: Wukong(Chen Zhen)&lt;br /&gt;
#Topic 283: Guangdong Morning Tea Culture(Yuan Xiaolin)&lt;br /&gt;
#Topic 283: Guangdong Morning Tea Culture （广东早茶文化）(Zheng Jinlian)[[Media:Guangdong Morning Tea Culture-Zheng Jinlian.pptx]]&lt;br /&gt;
#Topic:(Luo Guoqiang)&lt;br /&gt;
=Session 16 Fri Jun 6 14:30-16:10 room 613 - Final Exam=&lt;br /&gt;
==Grading Criteria for Powerpoint Presentations==&lt;br /&gt;
#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 &amp;quot;good&amp;quot; or &amp;quot;best&amp;quot;, but did it instead use vocabulary like &amp;quot;fascinating&amp;quot;, &amp;quot;surprising&amp;quot; etc. and also indicated to whom it is fascinating/surprising etc. and why?&lt;br /&gt;
#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?)&lt;br /&gt;
#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)?&lt;br /&gt;
#Was the presentation appropriate to the topic?&lt;br /&gt;
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?&lt;br /&gt;
#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?&lt;br /&gt;
#Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?&lt;br /&gt;
#Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?&lt;br /&gt;
#Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?&lt;br /&gt;
#Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?&lt;br /&gt;
#Did you present your ppt file in the full screen mode?&lt;br /&gt;
#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?&lt;br /&gt;
#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.?&lt;br /&gt;
&lt;br /&gt;
==How to write your final exam paper?==&lt;br /&gt;
Just write it like the other chapters in the textbook on your personal wiki homepage beneath the learning progress diary until &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;&lt;br /&gt;
'''June 20, 2025 (deadline)'''.&lt;br /&gt;
&lt;br /&gt;
About 1000 words in English, followed by a Chinese translation (no machine translation). You can also write in Chinese and translate into English. Both texts need to be like the other papers in the textbook.&lt;br /&gt;
&lt;br /&gt;
===Sections===&lt;br /&gt;
Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.&lt;br /&gt;
&lt;br /&gt;
The AI statement should look like this:&lt;br /&gt;
&lt;br /&gt;
I hereby guarantee that I have not used the help of AI to write my final paper in this course.&lt;br /&gt;
&lt;br /&gt;
or, if you actually use AI&lt;br /&gt;
&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;'''How about letting AI write for me?'''&lt;br /&gt;
&lt;br /&gt;
Your AI statement in the References section needs to look like this:&lt;br /&gt;
&lt;br /&gt;
To help me to write my final paper, I have used the following AI chatbot: ... I have prompted the chatbot with the following prompt: &amp;quot;...&amp;quot; I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: &amp;quot;....&amp;quot; or manually correcting the following references: ... Written the following passage new: ...).&lt;br /&gt;
&lt;br /&gt;
If you use AI, not your paper will be graded, but your prompt and adjustments&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Please add the sources in the form &amp;quot;(Wang 2020, 445)&amp;quot; behind each paragraph and with a long entry in the References section.&lt;br /&gt;
*In the References section, please add at least 1-2 Western sources. It is always good to relate the Chinese tradition to similar traditions in other countries.&lt;br /&gt;
*In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.&lt;br /&gt;
&lt;br /&gt;
===Formatting===&lt;br /&gt;
*Please also add free lines at places where you want to have a line break, e.g. after a header.&amp;lt;/span&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Chin_Lang_Cult_Fin_Exam_Spring_2025]]&lt;br /&gt;
                                                                      Liuyang Fireworks             &lt;br /&gt;
    “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.&lt;br /&gt;
     The origins of Liuyang fireworks can be traced back to the Tang Dynasty. Legend has it that Li Tian, revered as the “Forefather Saint of Firecrackers,” filled bamboo tubes with gunpowder to dispel plagues. The explosive force and resulting smoke were believed to purify the environment, marking the rudiments of firecrackers. Through generations of inheritance and innovation, Liuyang’s artisans continuously refined their craft. From the rudimentary bamboo-tube firecrackers of old times to the “string firecrackers” wrapped in paper and hemp stems during the Song Dynasty, and finally to today’s vibrant, intricately designed displays, Liuyang fireworks chronicle the evolution of traditional Chinese craftsmanship. During the Ming and Qing dynasties, Liuyang’s fireworks industry thrived, becoming a cornerstone of local handicrafts and expanding its reach nationwide and abroad. In the first year of the Yongzheng reign of the Qing Dynasty, Liuyang firecrackers were selected as imperial tributes, a testament to their superior quality. By the Qianlong era, they dominated the Hunan region, and during the Guangxu period, exports reached Asian countries like Japan, India, and Korea.&lt;br /&gt;
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.&lt;br /&gt;
    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.&lt;br /&gt;
    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.&lt;br /&gt;
    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.&lt;br /&gt;
&lt;br /&gt;
                                                                            浏阳烟花&lt;br /&gt;
   “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。&lt;br /&gt;
    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。&lt;br /&gt;
    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。&lt;br /&gt;
    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。&lt;br /&gt;
    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。&lt;br /&gt;
    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。&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&amp;diff=168168</id>
		<title>Chinese Language and Culture, Spring 2025</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&amp;diff=168168"/>
		<updated>2025-06-06T04:15:27Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: /* Homework for Session 2 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!&lt;br /&gt;
&lt;br /&gt;
=Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=&lt;br /&gt;
&lt;br /&gt;
==What we learn in this class==&lt;br /&gt;
*We learn about Chinese culture from international, especially Western perspective. &lt;br /&gt;
*We learn about cultural phenomena, traditional Chinese culture.&lt;br /&gt;
*We learn English and Chinese terminology in the area of Chinese culture.&lt;br /&gt;
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.&lt;br /&gt;
*We learn how to determine the location and role of Chinese culture within global culture.&lt;br /&gt;
*We learn basics of theories and models of intercultural communication and comparison.&lt;br /&gt;
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.&lt;br /&gt;
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).&lt;br /&gt;
&lt;br /&gt;
==Students' contribution==&lt;br /&gt;
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. &lt;br /&gt;
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.&lt;br /&gt;
*For the final exam, you write another chapter of the textbook in both Chinese and English, with &amp;quot;Terms and Expressions&amp;quot;, References, Questions and Answers, Statement regarding AI&lt;br /&gt;
&lt;br /&gt;
==Textbook==&lt;br /&gt;
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.&lt;br /&gt;
&lt;br /&gt;
==Agreement on use of classroom time==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
==Homework for every session==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
==Teacher presentation: Introduction to Culture==&lt;br /&gt;
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Homework for Session 2==&lt;br /&gt;
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &amp;quot;Wang Jianguo&amp;quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &amp;quot;wikicaptcha&amp;quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&amp;quot;Teacher presentation&amp;quot;). &lt;br /&gt;
&lt;br /&gt;
Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!&lt;br /&gt;
&lt;br /&gt;
1.	Geographic Nature as a Basis for Cultural Development	17&lt;br /&gt;
&lt;br /&gt;
2.	Aesthetic ideals and social customs: Chinese Marriage Customs	22&lt;br /&gt;
&lt;br /&gt;
3.	Aesthetic ideals and social customs: Habits, Ways of Contacting	31&lt;br /&gt;
&lt;br /&gt;
4.	Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan	40&lt;br /&gt;
&lt;br /&gt;
5.	Aesthetic ideals and social customs: Crying Marriage of Tujia	49&lt;br /&gt;
&lt;br /&gt;
6.	Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China	63&lt;br /&gt;
&lt;br /&gt;
7.	Animals: Panda	71 &lt;br /&gt;
&lt;br /&gt;
8.	Architecture	78&lt;br /&gt;
&lt;br /&gt;
9.	Architecture: The Forbidden City 	89&lt;br /&gt;
&lt;br /&gt;
10.	Architecture: Four Famous Bridges	102&lt;br /&gt;
&lt;br /&gt;
11.	Architecture: Four Great Pavilions	113&lt;br /&gt;
&lt;br /&gt;
12.	Architecture: Shengjing Imperial Palace	124&lt;br /&gt;
&lt;br /&gt;
13.	Architecture: Three Great Towers in China	131&lt;br /&gt;
&lt;br /&gt;
14.	Architecture: Fengshui in Chinese Architecture	145 &lt;br /&gt;
&lt;br /&gt;
15.	Army and weapons: Chinese Ancient Weapons	154&lt;br /&gt;
&lt;br /&gt;
16.	Army and weapons: Terracotta Army	163&lt;br /&gt;
&lt;br /&gt;
17.	Astrology: Chinese Astrology	170&lt;br /&gt;
&lt;br /&gt;
18.	Astrology: Calendar, The 24 Solar Terms	178&lt;br /&gt;
&lt;br /&gt;
19.	Astrology: Twelve Animals of the Chinese Zodiac	188&lt;br /&gt;
&lt;br /&gt;
20.	Beverages: Milk Tea	197&lt;br /&gt;
&lt;br /&gt;
21.	Beverages: Tea	203 (Zhang Mai)&lt;br /&gt;
&lt;br /&gt;
22.	Beverages: The Liquor Culture of Ancient China	209&lt;br /&gt;
&lt;br /&gt;
23.	Body movement performance: Chinese Lion Dancing 	218&lt;br /&gt;
&lt;br /&gt;
24.	Body movement performance: Stilts	223&lt;br /&gt;
&lt;br /&gt;
25.	Body movement performance: Traditional Chinese Dance	230&lt;br /&gt;
&lt;br /&gt;
26.	Chinese Writing: Ancient Writing and Painting Tool, Writing Brush	236&lt;br /&gt;
&lt;br /&gt;
27.	Chinese Writing: Calligraphy	246 (Tang Yan)&lt;br /&gt;
&lt;br /&gt;
28.	Chinese Writing: The Evolution of Calligraphy	252&lt;br /&gt;
&lt;br /&gt;
29.	Chinese Writing: Chinese Characters	262&lt;br /&gt;
&lt;br /&gt;
30.	Chinese Writing: Chinese Characters and Scripts	276&lt;br /&gt;
&lt;br /&gt;
31.	Clothing: Chinese Clothing	283&lt;br /&gt;
&lt;br /&gt;
32.	Clothing: Batik (Lanran)	291&lt;br /&gt;
&lt;br /&gt;
33.	Clothing: Cheongsam	301 &lt;br /&gt;
&lt;br /&gt;
34.	Confucianism: Confucian Culture	309  &lt;br /&gt;
&lt;br /&gt;
35.	Confucianism: Chinese Traditional Culture-Five Constant Virtues	324&lt;br /&gt;
&lt;br /&gt;
36.	Confucianism: Classical Philosophy - Confucius and Confucianism	332&lt;br /&gt;
&lt;br /&gt;
37.	Confucianism: Classical Philosophy - Reading The Analects	339 &lt;br /&gt;
&lt;br /&gt;
38.	Education: Ancient Chinese Education	350&lt;br /&gt;
&lt;br /&gt;
39.	Education: Historical Figures, The Four Talented Women of Ancient China	361&lt;br /&gt;
&lt;br /&gt;
40.	Education: Modern Chinese Education System	371&lt;br /&gt;
&lt;br /&gt;
41.	Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties	386&lt;br /&gt;
&lt;br /&gt;
42.	Education: Yuelu Academy (One of the Four Most Prestigious Academies)	395&lt;br /&gt;
&lt;br /&gt;
43.	Facial Make-up	406&lt;br /&gt;
&lt;br /&gt;
44.	Facial Make-up: Cosmetics, Traditional Chinese Make-Up	413&lt;br /&gt;
&lt;br /&gt;
45.	Facial Make-up: Face Changing in Sichuan Opera	431&lt;br /&gt;
&lt;br /&gt;
46.	Fine Arts: Painting	440&lt;br /&gt;
&lt;br /&gt;
47.	Fine Arts: Bada Shanren and Qi Baishi	445&lt;br /&gt;
&lt;br /&gt;
48.	Fine Arts: Painting Riverside Scene at Tomb Sweeping Day	452&lt;br /&gt;
&lt;br /&gt;
49.	Fine Arts: Seal-cutting	459&lt;br /&gt;
&lt;br /&gt;
50.	Games: Go 围棋 	462（Zhao Qi）&lt;br /&gt;
&lt;br /&gt;
51.	Games: Kite Flying	468&lt;br /&gt;
&lt;br /&gt;
52.	Games: Mahjong: An Ancient Chinese card play	476（Jiang Ziqiang）&lt;br /&gt;
&lt;br /&gt;
53.	Garden Culture: Gardens	505&lt;br /&gt;
&lt;br /&gt;
54.	Garden Culture: Bonsai (Penjing) 	511&lt;br /&gt;
&lt;br /&gt;
55.	Garden Culture: The Summer Palace	519（Li Mei）&lt;br /&gt;
&lt;br /&gt;
56.	Garden Culture: Qingming Riverside Landscspe Garden	526&lt;br /&gt;
&lt;br /&gt;
57.	Gender: Wu Zetian: The Only Female Emperor of Imperial China	535&lt;br /&gt;
&lt;br /&gt;
58.	History: Carl and Cixi	548&lt;br /&gt;
&lt;br /&gt;
59.	Interieur: The Folding Screen	552&lt;br /&gt;
&lt;br /&gt;
60.	Landscapes and Tourism: Four Buddhist Shrines	561&lt;br /&gt;
&lt;br /&gt;
61.	Landscapes and Tourism: Four State-Level Cultural Relics	573&lt;br /&gt;
&lt;br /&gt;
62.	Landscapes and Tourism: Landscape, Five Famous Mountains	585&lt;br /&gt;
&lt;br /&gt;
63.	Landscapes and Tourism: Mogao Grottoes	593&lt;br /&gt;
&lt;br /&gt;
64.	Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)&lt;br /&gt;
&lt;br /&gt;
65.	Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal）	621&lt;br /&gt;
&lt;br /&gt;
66.	Landscapes and Tourism: The Ancient Tea Horse Road	635&lt;br /&gt;
&lt;br /&gt;
67.	Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties	642&lt;br /&gt;
&lt;br /&gt;
68.	Language: Chinese Language	649&lt;br /&gt;
&lt;br /&gt;
69.	Language: Chinese Dialects	660&lt;br /&gt;
&lt;br /&gt;
70.	Language: Chinese Folk Argot	669&lt;br /&gt;
&lt;br /&gt;
71.	Literature: Ancient literature - Chinese Classical Fairy Tales	681&lt;br /&gt;
&lt;br /&gt;
72.	Literature: Ancient literature - Chinese Mythology	688&lt;br /&gt;
&lt;br /&gt;
73.	Literature: Ancient literature - Classical Literature	699&lt;br /&gt;
&lt;br /&gt;
74.	Literature: Ancient Literature - Four satirical novels in ancient China	706&lt;br /&gt;
&lt;br /&gt;
75.	Literature: Ancient literature: Four Folk Stories of Ancient China	715&lt;br /&gt;
&lt;br /&gt;
76.	Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China	725  (Duan Binyao)&lt;br /&gt;
&lt;br /&gt;
77.	Literature: Ancient Literature: The Classic of Mountains and Seas	748&lt;br /&gt;
&lt;br /&gt;
78.	Literature: Ancient literature: Yuefu	765&lt;br /&gt;
&lt;br /&gt;
79.	Literature: Premodern literature - China's Four Great Classical Novels	773 &lt;br /&gt;
&lt;br /&gt;
80.	Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations	780&lt;br /&gt;
&lt;br /&gt;
81.	Literature: Premodern literature: Strange Stories from a Chinese Studio	786&lt;br /&gt;
&lt;br /&gt;
82.	Literature: Premodern literature: Tang-Song	794&lt;br /&gt;
&lt;br /&gt;
83.	Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty	823&lt;br /&gt;
&lt;br /&gt;
84.	Literature: Modern Literature	832&lt;br /&gt;
&lt;br /&gt;
85.	Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu)	841（Miao Yunlong）&lt;br /&gt;
&lt;br /&gt;
86.	Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy	848&lt;br /&gt;
&lt;br /&gt;
87.	Literature: Contemporary Literature	859&lt;br /&gt;
&lt;br /&gt;
88.	Martial Arts: Huo Yuanjia	865&lt;br /&gt;
&lt;br /&gt;
89.	Martial Arts: Qigong	868&lt;br /&gt;
&lt;br /&gt;
90.	Martial Arts: Taiji (Tai Chi) Shadow Boxing	873&lt;br /&gt;
&lt;br /&gt;
91.	Martial Arts: Wushu	885&lt;br /&gt;
&lt;br /&gt;
92.	Martial Arts: Frolics of the Five Animals (Wuqinxi)	890&lt;br /&gt;
&lt;br /&gt;
93.	Medicine: Traditional Chinese Medicine (TCM)	900 &lt;br /&gt;
&lt;br /&gt;
94.	Medicine: TCM - Acupuncture and Moxibustion	907&lt;br /&gt;
&lt;br /&gt;
95.	Medicine: TCM - Diagnosis and Pharmacology	912&lt;br /&gt;
&lt;br /&gt;
96.	Medicine: TCM - The Development of Chinese Medicine	917&lt;br /&gt;
&lt;br /&gt;
97.	Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing	924&lt;br /&gt;
&lt;br /&gt;
98.	Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority	934&lt;br /&gt;
&lt;br /&gt;
99.	Minority cultures: The Ethnic Minorities’ Costumes	941&lt;br /&gt;
&lt;br /&gt;
100.	Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty)	952&lt;br /&gt;
&lt;br /&gt;
101.	Money culture: The tradition of Red Envelope and Lucky Money 	962  (Xu Yangyang)&lt;br /&gt;
&lt;br /&gt;
102.	Music and instruments: Guzheng	975&lt;br /&gt;
&lt;br /&gt;
103.	Music and instruments: Pipa	986&lt;br /&gt;
&lt;br /&gt;
104.	Mythology: Gods and Immortals	996&lt;br /&gt;
&lt;br /&gt;
105.	Mythology: Huli-jing	1005&lt;br /&gt;
&lt;br /&gt;
106.	National Symbols: National Anthem	1018&lt;br /&gt;
&lt;br /&gt;
107.	National Symbols: National Flag	1026 （Liao Zuoyun）&lt;br /&gt;
&lt;br /&gt;
108.	Opera: Peking Opera	1035&lt;br /&gt;
&lt;br /&gt;
109.	Opera: Peking Opera Acrobatics	1043&lt;br /&gt;
&lt;br /&gt;
110.	Opera: Peking Opera Actor Mei Lanfang	1050 (Dai shiru)&lt;br /&gt;
&lt;br /&gt;
111.	Opera: Tea-picking Opera	1055&lt;br /&gt;
&lt;br /&gt;
112.	Opera: Hunan Flower-drum Opera (Huagu Opera)	1064&lt;br /&gt;
&lt;br /&gt;
113.	Philosophical Schools: Four Main Philosophical Schools	1076&lt;br /&gt;
&lt;br /&gt;
114.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism	1087&lt;br /&gt;
&lt;br /&gt;
115.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching	1093&lt;br /&gt;
&lt;br /&gt;
116.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng	1099&lt;br /&gt;
&lt;br /&gt;
117.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living	1106&lt;br /&gt;
&lt;br /&gt;
118.	Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 	1119&lt;br /&gt;
&lt;br /&gt;
119.	Philosophy: Chinese Traditional Cultivation Culture	1129&lt;br /&gt;
&lt;br /&gt;
120.	Religion: Traditional Chinese Funeral Culture	1141&lt;br /&gt;
&lt;br /&gt;
121.	Religion: Buddhism	1155&lt;br /&gt;
&lt;br /&gt;
122.	Religion: Daoism	1170&lt;br /&gt;
&lt;br /&gt;
123.	Religion: Christianity	1175&lt;br /&gt;
&lt;br /&gt;
124.	Religion: Islam	1181&lt;br /&gt;
&lt;br /&gt;
125.	Science and Technology: Ancient Science and Technology	1185&lt;br /&gt;
&lt;br /&gt;
126.	Science and Technology: China's Four New Inventions	1191 (Yang Yue2)&lt;br /&gt;
&lt;br /&gt;
127.	Science and Technology: Compass	1217&lt;br /&gt;
&lt;br /&gt;
128.	Science and Technology: TikTok (Douyin)	1226&lt;br /&gt;
&lt;br /&gt;
129.	Science and Technology: Three Giant Home Appliance Enterprises In China 	1235&lt;br /&gt;
&lt;br /&gt;
130.	Science and Technology: Four Domestic Mobile Phone Companies	1257&lt;br /&gt;
&lt;br /&gt;
131.	        Silk and porcelain: Silk	1272  (Fei Xinyu)&lt;br /&gt;
&lt;br /&gt;
132.	Silk and porcelain: Porcelain	1277&lt;br /&gt;
&lt;br /&gt;
133.	Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词	1283(Wang Huaixing)&lt;br /&gt;
&lt;br /&gt;
134.	Silk Road - by land and by sea: Zhang Qian and the Silk Road	1291&lt;br /&gt;
&lt;br /&gt;
135.	Silk Road - by land and by sea: Zheng He and the Maritime Silk Road	1296&lt;br /&gt;
&lt;br /&gt;
136.	Silk Road - by land and by sea: Zheng He's Voyages	1300&lt;br /&gt;
&lt;br /&gt;
137.	Social: The Long-life Lock	1308&lt;br /&gt;
&lt;br /&gt;
138.	Social: Round Table Culture	1317 (Wu Jiating)&lt;br /&gt;
&lt;br /&gt;
139.	Stage entertainment: Crosstalk 相声	1325&lt;br /&gt;
&lt;br /&gt;
140.	Stage entertainment: Shadow Play	1332&lt;br /&gt;
&lt;br /&gt;
141.	Traditional Crafts: Carving	1340&lt;br /&gt;
&lt;br /&gt;
142.	Traditional Crafts: Chinese Jade Culture	1348&lt;br /&gt;
&lt;br /&gt;
143.	Traditional Crafts: Cloisonne	1363   &lt;br /&gt;
&lt;br /&gt;
144.	Traditional Crafts: Embroidery	1369&lt;br /&gt;
&lt;br /&gt;
145.	Traditional Crafts: Shu Embroidery (Sichuan Embroidery)	1373   &lt;br /&gt;
&lt;br /&gt;
146.	Traditional Crafts: Xiang Embroidery	1386（Zhang Huifang）&lt;br /&gt;
&lt;br /&gt;
147.	Traditional Crafts: Folk Art - Chinese Paper-cutting	1400&lt;br /&gt;
&lt;br /&gt;
148.	Traditional Crafts: Handcraft - Chinese Knots	1409&lt;br /&gt;
&lt;br /&gt;
149.	Traditional Crafts: Lacquerware	1418&lt;br /&gt;
&lt;br /&gt;
150.	Traditional Crafts: The Kingfisher Craft点翠	1423&lt;br /&gt;
&lt;br /&gt;
151.	Traditional Cuisine: Chinese Dining Etiquette	1436&lt;br /&gt;
&lt;br /&gt;
152.	Traditional Cuisine: Chopsticks	1450&lt;br /&gt;
&lt;br /&gt;
153.	Traditional Cuisine: Eight Major Cuisines of China	1456 (Zheng Kaiwu)&lt;br /&gt;
&lt;br /&gt;
154.	Traditional Cuisine: Four Distinct Regional Cuisines	1473&lt;br /&gt;
&lt;br /&gt;
155.	Traditional Cuisine: Breakfast Culture of Wuhan	1480(Liu Peini)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
156.	Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick	1491(Xiao Zixin)&lt;br /&gt;
&lt;br /&gt;
157.	Traditional Cuisine: Hotpot	1501 (Cao Chunyang)&lt;br /&gt;
&lt;br /&gt;
158.	Traditional Cuisine: The Art of Chinese Cooking	1508&lt;br /&gt;
&lt;br /&gt;
159.	Traditional Cuisine: Two Famous Dishes	1514&lt;br /&gt;
&lt;br /&gt;
160.	Traditional Festivals	1518……&lt;br /&gt;
&lt;br /&gt;
161.	Traditional Festivals: Lattice on Ancient Chinese Windows	1525&lt;br /&gt;
&lt;br /&gt;
162.	Traditional Festivals: Spring Festival Couplets	1538&lt;br /&gt;
&lt;br /&gt;
163.	Westernization: The Eastward Spread of Western Learning	1544&lt;br /&gt;
&lt;br /&gt;
164.	Westernization: The Westernization Movement	1550&lt;br /&gt;
&lt;br /&gt;
165.	Worship: Chinese Incense Culture	1558 (She Xiao)&lt;br /&gt;
&lt;br /&gt;
166.	Economy: Chinese Currency Changes	1569&lt;br /&gt;
&lt;br /&gt;
167.	History: Wang Shouren	1573 Lv Jiahao&lt;br /&gt;
&lt;br /&gt;
168.	Martial Arts: Chinese Swordsman Spirit	1582&lt;br /&gt;
&lt;br /&gt;
169.	Cuisine: Luosifen	1593 （Chen Sisi)&lt;br /&gt;
&lt;br /&gt;
170.	Fine Arts: Chinese Paper Cutting	1601 &lt;br /&gt;
&lt;br /&gt;
171.	Science and Technology: Taobao(淘宝) 	1611&lt;br /&gt;
&lt;br /&gt;
172.	Traditional Craft: Bronze	1623&lt;br /&gt;
&lt;br /&gt;
173.	Entertainment: Deyunshe 德云社	1631&lt;br /&gt;
&lt;br /&gt;
174.	Traditional Cuisine: Jiaozi	1644 （Liu Pei）&lt;br /&gt;
&lt;br /&gt;
175.	Aesthetic ideals and social customs: the Photo Retouching Culture in China	1655&lt;br /&gt;
&lt;br /&gt;
176.	Traditional Crafts: Handcraft - Oil-paper Umbrella	1664     &lt;br /&gt;
&lt;br /&gt;
177.	stage entertainment:Yuan drama	1676&lt;br /&gt;
&lt;br /&gt;
178.	Music and instruments: Erhu	1685&lt;br /&gt;
&lt;br /&gt;
179.	Traditional and Modern Views on Marriage and Love	1694 (Liu Yunxi)&lt;br /&gt;
&lt;br /&gt;
180.	Traditional Cuisine: Tangyuan	1701&lt;br /&gt;
&lt;br /&gt;
181.	Animals：Golden Monkey	1712（Xiao Yawen）&lt;br /&gt;
&lt;br /&gt;
182.	Chinese Economy: rich businessmen	1719 (Fu Sihui)&lt;br /&gt;
&lt;br /&gt;
183.	Opera: Chinese Local Operas	1727 （Wang Xinyu）&lt;br /&gt;
&lt;br /&gt;
184.	The Chinese tradition of ancestor worship	1740&lt;br /&gt;
&lt;br /&gt;
185.	Opera: Huangmei opera	1752 （Chu Hanqi）&lt;br /&gt;
&lt;br /&gt;
186.	The “reference” of Chinese Music	1759&lt;br /&gt;
&lt;br /&gt;
187.	Chinese Folk Art:Lion Dance	1767&lt;br /&gt;
&lt;br /&gt;
188.	Science and Technology: Mobile Games（手游）	1783(Du JIangping)&lt;br /&gt;
&lt;br /&gt;
189.	Clothing: Vintage Clothing	1790&lt;br /&gt;
&lt;br /&gt;
190.	Fine arts:Kunqu Opera	1798&lt;br /&gt;
&lt;br /&gt;
191.	Aesthetic ideals and social customs: The Culture of Flowers	1807 (Qiu Ping）&lt;br /&gt;
&lt;br /&gt;
192.	National Belief: the Chinese Dream	1818&lt;br /&gt;
&lt;br /&gt;
193.	Science and Technology: Buytogether（PDD) 	1825(Qi Zhiyang)&lt;br /&gt;
&lt;br /&gt;
194.	Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People	1845&lt;br /&gt;
&lt;br /&gt;
195.	Sports: Cuju (蹴鞠) 	1845 （Ouyang Yihong)&lt;br /&gt;
&lt;br /&gt;
196.	Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车	1845（Geng Hongmei)&lt;br /&gt;
&lt;br /&gt;
197.	Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花	1845  &lt;br /&gt;
&lt;br /&gt;
198.	Stage entertainment: Northeast Errenzhuan (二人转) 	1845&lt;br /&gt;
&lt;br /&gt;
199.	Traditional Crafts: Dough Sculpture 面塑	1845&lt;br /&gt;
&lt;br /&gt;
200.	Nanchang Relic Museum for Haihun Principality of Han Dynasty	1845  &lt;br /&gt;
&lt;br /&gt;
201.	The culture of Grass cloth 夏布	1845 &lt;br /&gt;
&lt;br /&gt;
202.	The Legend of Zhen Huan 《甄嬛传》	1845 (Xiang Jianning)&lt;br /&gt;
&lt;br /&gt;
203.	Chinese horror movies 中式恐怖片	1845 (Zhang Jiaxin)&lt;br /&gt;
&lt;br /&gt;
204.	Stand-up comedy 单口喜剧	1845（Huang Sinan）&lt;br /&gt;
&lt;br /&gt;
205.	Bride-price（彩礼）	1845 &lt;br /&gt;
&lt;br /&gt;
206.	Chinese science fiction movies 中国科幻片	1845&lt;br /&gt;
&lt;br /&gt;
207.	Shandong cuisine鲁菜	1845(Lu Wei)&lt;br /&gt;
&lt;br /&gt;
208.	Chinese traditional ornament: Buyao （步摇）	1845 (Yang Jing)&lt;br /&gt;
&lt;br /&gt;
209.	Tofu meatball with pig blood (猪血丸子) 	1845       （Li Ting2）&lt;br /&gt;
&lt;br /&gt;
210.	Sunzi’s Art of War: Source for All Books on War (孙子兵法) 	1845&lt;br /&gt;
&lt;br /&gt;
211.	The Temple of Heaven：Reverence with Awe and Gratitude（天坛）	1845&lt;br /&gt;
&lt;br /&gt;
212.	Education：training Schools （教育：补习班）	1845 (Huang Yixuan2)&lt;br /&gt;
&lt;br /&gt;
213.	Chinese Dreamcore (中式梦核) 	1845  (Zhang Zixi)&lt;br /&gt;
&lt;br /&gt;
214.	Lu Ban, China’s inventor（中国发明家——鲁班）	1845 (Cai Yichun)&lt;br /&gt;
&lt;br /&gt;
215.	Live Streaming E-commerce（直播电商）	1845    (Tao Yao)&lt;br /&gt;
&lt;br /&gt;
216.	The Story of Ming Lan（知否知否，应是绿肥红瘦）	1845 (Ye Sitong)&lt;br /&gt;
&lt;br /&gt;
217.	Cha Bai Xi/Tea Latte Art (茶百戏) 	1845    （Yang Jiahong2)&lt;br /&gt;
&lt;br /&gt;
218.	Guangdong Herbal tea（广东凉茶）	1845(Gao Xiaoqing)&lt;br /&gt;
&lt;br /&gt;
219.	Chinese traditional art form：Seal carving（篆刻）	1845(Huang Qiaoqiao)&lt;br /&gt;
&lt;br /&gt;
220.	Rice cake (年糕) 	1845  （Dong Jiating）&lt;br /&gt;
&lt;br /&gt;
221.	Zhongyuan festival	1845 （Ou Huang）&lt;br /&gt;
&lt;br /&gt;
222.	Dulong: Facial tattoo (独龙族：纹面) 	1845&lt;br /&gt;
&lt;br /&gt;
223.	The Return of the Pearl Princess（还珠格格）	1845 （Lu Jiahui）&lt;br /&gt;
&lt;br /&gt;
224.	Chinese Food：Jiangxi Cuisine（赣菜）	1845 (Liao Dan)&lt;br /&gt;
&lt;br /&gt;
225.	&amp;quot;Cun Chao&amp;quot;: China's village football league（“村超”：中国乡村足球联赛）	1845 (Shen Shuai)&lt;br /&gt;
&lt;br /&gt;
226.	Landscapes and Tourism: Junshan Island (君山岛) 	1845&lt;br /&gt;
&lt;br /&gt;
227.	Chinese Bossy Fictions &amp;amp; Micro-drama（中国式霸总小说&amp;amp;短剧）	1845 (He Yunfeng)&lt;br /&gt;
&lt;br /&gt;
228.	Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构）	1845&lt;br /&gt;
&lt;br /&gt;
229.	Jingdezhen Porcelain	1845 (Xiao Luyu)&lt;br /&gt;
&lt;br /&gt;
230.	Gayageum（伽倻琴）	1845 (Zhang Meiling)&lt;br /&gt;
&lt;br /&gt;
231.	The plaque and couplet in Chinese garden（园林匾额对联）	1845 (Wang Yuxin)&lt;br /&gt;
&lt;br /&gt;
232.	Sun Wukong（孙悟空）	1845 （Li Yuan2）&lt;br /&gt;
&lt;br /&gt;
233.	Traditional Chinese Pigments（中国传统颜料）	1845 (Cao Yuan)&lt;br /&gt;
&lt;br /&gt;
234.	Dragon Lantern Dance（舞龙灯）	1845 （Jin Yichen）&lt;br /&gt;
&lt;br /&gt;
235.	Bamboo Weaving (竹编）	1845 (Chen Anqi)&lt;br /&gt;
&lt;br /&gt;
236.	Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 	1845 (Xu Xinwen)&lt;br /&gt;
&lt;br /&gt;
237.	Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 	1845 （Li Zihan2）&lt;br /&gt;
&lt;br /&gt;
238.	Three Famous Chinese Mountains(中国三山) 	1845（Liu  Chang）&lt;br /&gt;
&lt;br /&gt;
239.	Female Emperor---Wu Zetian	1845  (Song Xin)&lt;br /&gt;
&lt;br /&gt;
240.	Clay sculpture (泥塑）	1845 (Chen Lin)&lt;br /&gt;
&lt;br /&gt;
241.	Abacus (中国珠算）	1845&lt;br /&gt;
&lt;br /&gt;
242.	Hunan Rice Noodles（湖南米粉）	1845 (Gong Wei)&lt;br /&gt;
&lt;br /&gt;
243.	Chinese name（中国姓名文化）	1845  &lt;br /&gt;
&lt;br /&gt;
244.	Chinese popular viral memes (中国网络社交媒体“热梗”）	1845(Xiao Yikang)&lt;br /&gt;
&lt;br /&gt;
245.	Douzhi (豆汁) 	1845(Li Linyao) &lt;br /&gt;
&lt;br /&gt;
246.	New Year Wood-block Paintings (木版年画）	1845（Du Yuan）&lt;br /&gt;
&lt;br /&gt;
247.	Carved lacquer（雕漆）	1845 （Liu Qi）&lt;br /&gt;
&lt;br /&gt;
248.	Jing Gang Mountain (井冈山）	1845 （Yu Jingfang）&lt;br /&gt;
&lt;br /&gt;
249.	Intangible Cultural Heritage: Tongguan Kiln （铜官窑）	1845&lt;br /&gt;
&lt;br /&gt;
250.	Language: Hakka Dialect（客家话）	1845&lt;br /&gt;
&lt;br /&gt;
251.	Rice noodle roll（肠粉）	1845 ( Li Mingfeng )&lt;br /&gt;
&lt;br /&gt;
252.	Traditional Cuisine: Northeastern Chinese Cuisine(东北菜）	1845（Liu Shutian）&lt;br /&gt;
&lt;br /&gt;
253.	Yuelu Mountain (岳麓山) 	1845（Chen Ting）&lt;br /&gt;
&lt;br /&gt;
254.	Traditional Crafts：Tie-Dye（扎染）	1845（Zhang Qi）&lt;br /&gt;
&lt;br /&gt;
255.	Chinese-style sun protection (中式防晒）	1845（Zhao Yashi）&lt;br /&gt;
&lt;br /&gt;
256.	Danmu (弹幕）	1845 (Zhou Le)&lt;br /&gt;
&lt;br /&gt;
257.	Yangshao Culture（仰韶文化）	1845&lt;br /&gt;
&lt;br /&gt;
258.	Indigo Dyeing (蓝染) 	1845&lt;br /&gt;
&lt;br /&gt;
259.	Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua	1845 (Zhou Tianyi)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
260.	Wedding dress in the Song Dynasty (宋代婚服) 	1845 (Liu Chao) &lt;br /&gt;
&lt;br /&gt;
261.	The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 	1845&lt;br /&gt;
&lt;br /&gt;
262.	The Four Pillars of Destiny (八字) (Li Jiayi)	1845 &lt;br /&gt;
&lt;br /&gt;
263.	Shaolin Temple (少林寺) 	1845 (Zuo Fang)&lt;br /&gt;
&lt;br /&gt;
264.	Single bamboo drifting（独竹漂）	1845&lt;br /&gt;
&lt;br /&gt;
265.	Cuisine: Changde spicy salted duck 酱板鸭传说的由来	1845 （Xing Xueqing）&lt;br /&gt;
&lt;br /&gt;
266.	Hui Culture (徽文化)	1845(Liu Jianan)&lt;br /&gt;
&lt;br /&gt;
267.	Ma Zu Culture (妈祖文化)	1845 (Yan Jidong)&lt;br /&gt;
&lt;br /&gt;
268.	Table Manners 	1845（Luo Yan）&lt;br /&gt;
&lt;br /&gt;
269.	Music of the Mongol nationality (蒙古族音乐)	1845&lt;br /&gt;
&lt;br /&gt;
270.	The Yingge Dance（英歌舞）	1845  （Jiang Xinyue)&lt;br /&gt;
&lt;br /&gt;
271.	Palace Lantern（宫灯）	1845  （Shao Keyuan）&lt;br /&gt;
&lt;br /&gt;
272.	Chinese Term of Endearment（中国亲昵称谓）	1845  (Zeng Zhi）&lt;br /&gt;
&lt;br /&gt;
273.	Changsha Stinky Tofu（长沙臭豆腐) 	1845(Luo Sicheng)[[File:Changsha Stinky Tofu.pptx]]&lt;br /&gt;
&lt;br /&gt;
274.	God of Wealth(财神) 	1845 &lt;br /&gt;
&lt;br /&gt;
275.	Zhuazhou（抓周）	1845 （Zeng Xiaohui）&lt;br /&gt;
&lt;br /&gt;
276.	Nail art（美甲）	1845 （Luo Jiaxin）&lt;br /&gt;
&lt;br /&gt;
277.	Mirror (镜子) 	1845   (Cheng Sixiang) &lt;br /&gt;
&lt;br /&gt;
278.	The Beef Board Noodle (牛肉板面) 	1845(Yan Xiang)&lt;br /&gt;
&lt;br /&gt;
279.	Huo Qubing (霍去病）	1845 （Luo Jingyan）&lt;br /&gt;
&lt;br /&gt;
280.	Chinese Courtyard Houses（中国四合院）	1845 (Guo Cili)&lt;br /&gt;
&lt;br /&gt;
281.	Music and instruments: Yangqin（扬琴）	1845（Dai Yexun）&lt;br /&gt;
&lt;br /&gt;
282.	Black Myth: Wukong（黑神话 悟空）	1845 (Chen Zhen)&lt;br /&gt;
&lt;br /&gt;
283.	Guangdong Morning Tea Culture （广东早茶文化）	1845 （Zheng Jinlian）&lt;br /&gt;
&lt;br /&gt;
=Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
==Teacher presentation: Introduction to Culture==&lt;br /&gt;
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Topics for today==&lt;br /&gt;
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)&lt;br /&gt;
&lt;br /&gt;
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?&lt;br /&gt;
&lt;br /&gt;
Please remember that you have to indicate the 10 topics for Friday on the course website under &amp;quot;Session 2&amp;quot; with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.&lt;br /&gt;
&lt;br /&gt;
27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]&lt;br /&gt;
&lt;br /&gt;
52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]&lt;br /&gt;
&lt;br /&gt;
55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]&lt;br /&gt;
&lt;br /&gt;
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]]&lt;br /&gt;
&lt;br /&gt;
85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]&lt;br /&gt;
&lt;br /&gt;
Tea Latte Art (Xiang Jianning)&lt;br /&gt;
&lt;br /&gt;
Topic 7&lt;br /&gt;
&lt;br /&gt;
Topic 8&lt;br /&gt;
&lt;br /&gt;
Topic 9&lt;br /&gt;
&lt;br /&gt;
Topic 10&lt;br /&gt;
&lt;br /&gt;
=Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
==Presentations==&lt;br /&gt;
1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86&lt;br /&gt;
&lt;br /&gt;
2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang)  [[Media:Hot_Pot_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]&lt;br /&gt;
&lt;br /&gt;
==Notes on presentations==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &amp;quot;Black tea&amp;quot; (in English all &amp;quot;hong cha&amp;quot; is called &amp;quot;black tea&amp;quot;), British tea culture (add milk)&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
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 &lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87&lt;br /&gt;
&lt;br /&gt;
7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86&lt;br /&gt;
&lt;br /&gt;
==Student grades: 平时成绩/签到==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
75/103 students, 24级 MA翻译, class representative: Zhang Jiaxin&lt;br /&gt;
#	Jin Yichen &lt;br /&gt;
#	lu jiahui &lt;br /&gt;
#	li yuan&lt;br /&gt;
#	cao yuan&lt;br /&gt;
#	xiao luyu&lt;br /&gt;
#	zhang jiaxin +5&lt;br /&gt;
#	ye sitong&lt;br /&gt;
#	zhao yashi&lt;br /&gt;
#	jiang xinyue&lt;br /&gt;
#	yan xiang&lt;br /&gt;
#	fei xinyu &lt;br /&gt;
#	zhang qi&lt;br /&gt;
#	dai shiru&lt;br /&gt;
#	zhang zixi&lt;br /&gt;
#	zheng kaiwu&lt;br /&gt;
#	cai yichun&lt;br /&gt;
#	yang jing&lt;br /&gt;
#	liao dan&lt;br /&gt;
#	luo yan&lt;br /&gt;
#	qin yi&lt;br /&gt;
#	shao keyuan&lt;br /&gt;
#	cao chunyang&lt;br /&gt;
#	xu yangyang&lt;br /&gt;
#	liao zuoyun&lt;br /&gt;
#	cheng sixiang&lt;br /&gt;
#	du jiangping&lt;br /&gt;
#	liu qi&lt;br /&gt;
#	miao yunlong&lt;br /&gt;
#	huang qiaoqiao&lt;br /&gt;
#	chen lin&lt;br /&gt;
#	duan binyao&lt;br /&gt;
#	li ting&lt;br /&gt;
#	zeng zhi&lt;br /&gt;
#	xing xueqing&lt;br /&gt;
#	luo jingyan&lt;br /&gt;
#	liu shutian&lt;br /&gt;
#	gao xiaoqing&lt;br /&gt;
#	chen zhen&lt;br /&gt;
#	luo guoqiang -1-1-1&lt;br /&gt;
#	she xiao &lt;br /&gt;
#	he yunfeng &lt;br /&gt;
#	liu ying&lt;br /&gt;
#	du yuan &lt;br /&gt;
#	li jiayi &lt;br /&gt;
#	tao yao &lt;br /&gt;
#	xu xinwen &lt;br /&gt;
#	ou huang &lt;br /&gt;
#	liu peini&lt;br /&gt;
#	jiang ziqiang&lt;br /&gt;
#	zhang huifang&lt;br /&gt;
#	liu chao&lt;br /&gt;
#	liu yunxi &lt;br /&gt;
#	luo jiaxin&lt;br /&gt;
#	li mei&lt;br /&gt;
#	zeng xiaohui&lt;br /&gt;
#	huang yixuan&lt;br /&gt;
#	chen anqi&lt;br /&gt;
#	chen ting&lt;br /&gt;
#	zhang mai&lt;br /&gt;
#	yuan xiaolin -1-1&lt;br /&gt;
#	li mingfeng&lt;br /&gt;
#	dai yexun-1-1&lt;br /&gt;
#	yang pei -1&lt;br /&gt;
#	tang yan&lt;br /&gt;
#	xiang jianning-1&lt;br /&gt;
#	liu chang -1&lt;br /&gt;
#	wang yuxin&lt;br /&gt;
#	lv jiahao-1&lt;br /&gt;
#	dong jiating&lt;br /&gt;
#	lu wei&lt;br /&gt;
#	yang yue&lt;br /&gt;
#	guo cili&lt;br /&gt;
#	shen shuai&lt;br /&gt;
#	Ouyang yihong&lt;br /&gt;
#	li zihan -1&lt;br /&gt;
#	zuo fang&lt;br /&gt;
#	fu sihui&lt;br /&gt;
#	xiao zixin -1&lt;br /&gt;
#	zhou tianyi -1&lt;br /&gt;
#	qi zhiyang -1-1&lt;br /&gt;
#	liu pei &lt;br /&gt;
#	gong wei&lt;br /&gt;
#	chen sisi&lt;br /&gt;
#	huang sinan&lt;br /&gt;
#	xiao yikang&lt;br /&gt;
#	yu jingfang&lt;br /&gt;
#	luo sicheng&lt;br /&gt;
#	yang jiahong&lt;br /&gt;
#	yan jidong&lt;br /&gt;
#	xiao yawen&lt;br /&gt;
#	geng hongmei&lt;br /&gt;
#	zhou le&lt;br /&gt;
#	qiu ping&lt;br /&gt;
#	wang huaixing&lt;br /&gt;
#	wang xinyu&lt;br /&gt;
#	chu hanqi&lt;br /&gt;
#	wu jiating&lt;br /&gt;
#	zhang meiling&lt;br /&gt;
#	liu jianan&lt;br /&gt;
#	song xin&lt;br /&gt;
#	zhao qi&lt;br /&gt;
#	zheng jinlian&lt;br /&gt;
#	li linyao&lt;br /&gt;
&lt;br /&gt;
=Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]&lt;br /&gt;
#Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]&lt;br /&gt;
#Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]&lt;br /&gt;
#Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]&lt;br /&gt;
#Topic 182: Chinese Economy:  rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]&lt;br /&gt;
#Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin)  [[Media:Tanghulu_Spring_2025.pptx]]&lt;br /&gt;
#Topic 138: Social: Round Table Culture	1317 (Wu Jiating)  [[Media:Round_Table_Culture_Spring_2025.pptx]]&lt;br /&gt;
#Topic 174: Jiaozi (Liu Pei)  [[Media:Dumplings_Spring_2025.pptx]]&lt;br /&gt;
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)&lt;br /&gt;
&lt;br /&gt;
=Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]&lt;br /&gt;
#Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]&lt;br /&gt;
# Topic 131: Silk and porcelain: Silk  (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]&lt;br /&gt;
# Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]&lt;br /&gt;
# Topic 169: Cuisine: Luosifen  1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]&lt;br /&gt;
# Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]&lt;br /&gt;
# Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]&lt;br /&gt;
# Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]&lt;br /&gt;
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]&lt;br /&gt;
&lt;br /&gt;
=Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
&lt;br /&gt;
#Topic 188:Mobile Games 手游 1783 （Du Jiangping）&lt;br /&gt;
#Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）&lt;br /&gt;
#Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)&lt;br /&gt;
#Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]&lt;br /&gt;
#Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]&lt;br /&gt;
#Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]&lt;br /&gt;
#Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）&lt;br /&gt;
#Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）&lt;br /&gt;
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)&lt;br /&gt;
&lt;br /&gt;
=HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
清明节4月4日——4月6日&lt;br /&gt;
=Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=&lt;br /&gt;
#Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）&lt;br /&gt;
#Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]&lt;br /&gt;
#Topic 181:Animals：Golden Monkey(Xiao Yawen)&lt;br /&gt;
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)&lt;br /&gt;
#Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）&lt;br /&gt;
#Topic 220:Rice cake 年糕 (Dong Jiating)&lt;br /&gt;
#Topic 208:Chinese traditional ornament: Buyao(Yang Jing)&lt;br /&gt;
#Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]&lt;br /&gt;
#Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]&lt;br /&gt;
&lt;br /&gt;
=Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 213: Chinese Dreamcore (Zhang Zixi)&lt;br /&gt;
#Topic 215: Live-streaming e-commerce (Tao Yao)[[Media:Live-Streaming E-Commerce.pptx]]&lt;br /&gt;
#Topic 216: The Story of Ming Lan (Ye Sitong)[[Media:The Story of Minglan.pptx]]&lt;br /&gt;
#Topic 218: Guangdong Herbal tea (Gao Xiaoqing)&lt;br /&gt;
#Topic 219: Chinese traditional art form：Seal carving（篆刻） (Huang Qiaoqiao)[[Media:Seal carving.pptx]]&lt;br /&gt;
#Topic 207: Shan Dong Cuisine (Lu Wei) [[Media:Shandong Cuisine]]&lt;br /&gt;
#Topic 221: Zhongyuan Festival (Ou Huang)[[Media:The Zhongyuan Festival.pptx]]&lt;br /&gt;
#Topic 223: The Return of the Pearl Princess (Lu Jiahui)[[Media:The Return of the Pearl Princess.pptx]]&lt;br /&gt;
&lt;br /&gt;
=Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)&lt;br /&gt;
#Topic 225: Cun Chao&amp;quot;: China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)&lt;br /&gt;
#Topic 227: Chinese Bossy Fictions &amp;amp; Micro-drama（中国式霸总小说&amp;amp;短剧） 1845 (He Yunfeng)[[Media:Chinese_Bossy_Fictions_and_Microdramas.pptx]]&lt;br /&gt;
#Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]&lt;br /&gt;
#Topic 230: Gayageum（伽倻琴）(Zhang Meiling) [[Media:Gayageum.pptx]]&lt;br /&gt;
#Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)&lt;br /&gt;
#Topic 232: Sun Wukong(Li Yuan)&lt;br /&gt;
#Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]&lt;br /&gt;
#Topic 235: Bamboo Weaving(Chen Anqi)&lt;br /&gt;
#Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)&lt;br /&gt;
&lt;br /&gt;
==Please enroll in ai platform==&lt;br /&gt;
Please enroll (register) in the platform https://dcg.de/ai/&lt;br /&gt;
&lt;br /&gt;
=HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
劳动节5月1日——5月5日&lt;br /&gt;
&lt;br /&gt;
=Session 12 Tue May 06 10:00-11:40 room 613 - Student presentations=&lt;br /&gt;
#Topic 238: Three Famous Chinese Mountains(Liu Chang)&lt;br /&gt;
#Topic 239: Female emperor-Wu Zetian(女皇武则天)(Song Xin)  [[Media:Wu Zetian.pptx]]&lt;br /&gt;
#Topic 240: Clay sculpture (泥塑）(Chen Lin)[[Media:Clay Sculpture.pptx]]&lt;br /&gt;
#Topic 242: Hunan Rice Noodles(Gong Wei)[[Media:Hunan Rice Noodles.pptx]]&lt;br /&gt;
#Topic 244: Chinese Popular Memes(中国网络流行热梗）(Xiao Yikang)[[Media:Chinese popular Memes.pptx]] &lt;br /&gt;
#Topic 245: Douzhi (豆汁)(Li Linyao)[[Media:Douzhi.pptx]]&lt;br /&gt;
#Topic 246: New Year Wood-block Paintings(Du Yuan)&lt;br /&gt;
#Topic 247: Carved lacquer（雕漆）(Liu Qi)[[Media:Carved lacquer.pptx]]&lt;br /&gt;
#Topic 237: Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)(Li Zihan)&lt;br /&gt;
&lt;br /&gt;
==Regarding Wu Zetian‘s blank Steele==&lt;br /&gt;
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：&lt;br /&gt;
	#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。&lt;br /&gt;
	#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。&lt;br /&gt;
	#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。&lt;br /&gt;
	#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。&lt;br /&gt;
	#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。&lt;br /&gt;
&lt;br /&gt;
⸻&lt;br /&gt;
&lt;br /&gt;
English Translation:&lt;br /&gt;
&lt;br /&gt;
There are several main hypotheses about why Wu Zetian’s stele (often called the “Wordless Stele”) bears no inscription:&lt;br /&gt;
#“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.&lt;br /&gt;
#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.&lt;br /&gt;
#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.&lt;br /&gt;
#Intended to write later: Some believe she planned to inscribe it later in life but passed away before doing so, leaving the monument unfinished.&lt;br /&gt;
#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.&lt;br /&gt;
&lt;br /&gt;
=Session 13 Fri May 09 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 248: Jing Gang Mountain (井冈山）(Yu Jingfang) [[Media:Jing_Gang_Mountain_Spring_2025.pptx]]&lt;br /&gt;
#Topic 251: Rice noodle roll (Li Mingfeng)[[Media:Rice_Noodle_Roll.pptx]]&lt;br /&gt;
#Topic 252: Traditional Cuisine: Northeastern Chinese Cuisine (Liu Shutian)&lt;br /&gt;
#Topic 253: Yuelu Mountain (Chen Ting)&lt;br /&gt;
#Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional Crafts Tie-Dye.pptx]]&lt;br /&gt;
#Topic 255: Chinese-style sun protection (Zhao Yashi)&lt;br /&gt;
#Topic 256: Danmu（弹幕）(Zhou Le)[[Media:Danmu.pptx]]&lt;br /&gt;
#Topic 259: Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua (Zhou Tianyi)&lt;br /&gt;
#Topic 214: Luban China's inventor  (Cai Yichun)&lt;br /&gt;
&lt;br /&gt;
=Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=&lt;br /&gt;
#Topic 262: The Four Pillars of Destiny(Li Jiayi)&lt;br /&gt;
#Topic 263: Shaolin Temple(Zuo Fang)&lt;br /&gt;
#Topic 265: Cuisine: Changde spicy salted duck(Xing Xueqing)&lt;br /&gt;
#15:25-15:30 Topic 266: Hui Culture (徽文化)(Liu Jianan)[[Media:Hui Culture.pptx]]&lt;br /&gt;
#15:30- Topic 267: Ma Zu Culture (妈祖文化)(Yan Jidong)[[Media:Mazu culture.pptx]]&lt;br /&gt;
#15:35- Topic 268: Table manner(Luo Yan)&lt;br /&gt;
#15:40- Topic 270: Yinge Dance(Jiang Xinyue)&lt;br /&gt;
#15:45- Topic 271: Palace Lantern(Shao Keyuan)&lt;br /&gt;
#15:50- Topic 272: Chinese Endearing Terms(Zeng Zhi)[[Media:Chinese Endearing Terms.pptx]]&lt;br /&gt;
&lt;br /&gt;
15:55-16:10 Check final exam paper topics&lt;br /&gt;
&lt;br /&gt;
=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=&lt;br /&gt;
#Topic 273: Changsha Stinky Tofu（长沙臭豆腐）(Luo Sicheng)&lt;br /&gt;
#&amp;lt;nowiki&amp;gt;Topic 274:&amp;lt;/nowiki&amp;gt; God of wealth(Liu Ying)&lt;br /&gt;
#Topic 275: Zhua zhou (抓周）(Zeng Xiaohui)&lt;br /&gt;
#Topic 276: Nail art(Luo Jiaxin)[[Media:Nail_Art.pptx]]&lt;br /&gt;
#Topic 277: Mirror(Cheng Sixiang)&lt;br /&gt;
#Topic 278: The Beef Board Noodles(Yan Xiang)&lt;br /&gt;
#Topic 279: Huo Qubing(Luo Jingyan)&lt;br /&gt;
#Topic 280: Chinese Courtyard Houses（中国四合院）(Guo Cili)[[Media:Chinese Courtyard Houses-Guo Cili.pptx]]&lt;br /&gt;
#Topic 281: yangqin(Dai Yexun)&lt;br /&gt;
&lt;br /&gt;
=Session 15b=&lt;br /&gt;
#Topic 282:  Black Myth: Wukong(Chen Zhen)&lt;br /&gt;
#Topic 283: Guangdong Morning Tea Culture(Yuan Xiaolin)&lt;br /&gt;
#Topic 283: Guangdong Morning Tea Culture （广东早茶文化）(Zheng Jinlian)[[Media:Guangdong Morning Tea Culture-Zheng Jinlian.pptx]]&lt;br /&gt;
#Topic:(Luo Guoqiang)&lt;br /&gt;
=Session 16 Fri Jun 6 14:30-16:10 room 613 - Final Exam=&lt;br /&gt;
==Grading Criteria for Powerpoint Presentations==&lt;br /&gt;
#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 &amp;quot;good&amp;quot; or &amp;quot;best&amp;quot;, but did it instead use vocabulary like &amp;quot;fascinating&amp;quot;, &amp;quot;surprising&amp;quot; etc. and also indicated to whom it is fascinating/surprising etc. and why?&lt;br /&gt;
#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?)&lt;br /&gt;
#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)?&lt;br /&gt;
#Was the presentation appropriate to the topic?&lt;br /&gt;
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?&lt;br /&gt;
#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?&lt;br /&gt;
#Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?&lt;br /&gt;
#Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?&lt;br /&gt;
#Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?&lt;br /&gt;
#Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?&lt;br /&gt;
#Did you present your ppt file in the full screen mode?&lt;br /&gt;
#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?&lt;br /&gt;
#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.?&lt;br /&gt;
&lt;br /&gt;
==How to write your final exam paper?==&lt;br /&gt;
Just write it like the other chapters in the textbook on your personal wiki homepage beneath the learning progress diary until &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;&lt;br /&gt;
'''June 20, 2025 (deadline)'''.&lt;br /&gt;
&lt;br /&gt;
About 1000 words in English, followed by a Chinese translation (no machine translation). You can also write in Chinese and translate into English. Both texts need to be like the other papers in the textbook.&lt;br /&gt;
&lt;br /&gt;
===Sections===&lt;br /&gt;
Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.&lt;br /&gt;
&lt;br /&gt;
The AI statement should look like this:&lt;br /&gt;
&lt;br /&gt;
I hereby guarantee that I have not used the help of AI to write my final paper in this course.&lt;br /&gt;
&lt;br /&gt;
or, if you actually use AI&lt;br /&gt;
&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;'''How about letting AI write for me?'''&lt;br /&gt;
&lt;br /&gt;
Your AI statement in the References section needs to look like this:&lt;br /&gt;
&lt;br /&gt;
To help me to write my final paper, I have used the following AI chatbot: ... I have prompted the chatbot with the following prompt: &amp;quot;...&amp;quot; I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: &amp;quot;....&amp;quot; or manually correcting the following references: ... Written the following passage new: ...).&lt;br /&gt;
&lt;br /&gt;
If you use AI, not your paper will be graded, but your prompt and adjustments&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Please add the sources in the form &amp;quot;(Wang 2020, 445)&amp;quot; behind each paragraph and with a long entry in the References section.&lt;br /&gt;
*In the References section, please add at least 1-2 Western sources. It is always good to relate the Chinese tradition to similar traditions in other countries.&lt;br /&gt;
*In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.&lt;br /&gt;
&lt;br /&gt;
===Formatting===&lt;br /&gt;
*Please also add free lines at places where you want to have a line break, e.g. after a header.&amp;lt;/span&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Chin_Lang_Cult_Fin_Exam_Spring_2025]]&lt;br /&gt;
                                                                      Liuyang Fireworks             &lt;br /&gt;
    “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.&lt;br /&gt;
     The origins of Liuyang fireworks can be traced back to the Tang Dynasty. Legend has it that Li Tian, revered as the “Forefather Saint of Firecrackers,” filled bamboo tubes with gunpowder to dispel plagues. The explosive force and resulting smoke were believed to purify the environment, marking the rudiments of firecrackers. Through generations of inheritance and innovation, Liuyang’s artisans continuously refined their craft. From the rudimentary bamboo-tube firecrackers of old times to the “string firecrackers” wrapped in paper and hemp stems during the Song Dynasty, and finally to today’s vibrant, intricately designed displays, Liuyang fireworks chronicle the evolution of traditional Chinese craftsmanship. During the Ming and Qing dynasties, Liuyang’s fireworks industry thrived, becoming a cornerstone of local handicrafts and expanding its reach nationwide and abroad. In the first year of the Yongzheng reign of the Qing Dynasty, Liuyang firecrackers were selected as imperial tributes, a testament to their superior quality. By the Qianlong era, they dominated the Hunan region, and during the Guangxu period, exports reached Asian countries like Japan, India, and Korea.&lt;br /&gt;
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.&lt;br /&gt;
    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.&lt;br /&gt;
    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.&lt;br /&gt;
    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.&lt;br /&gt;
&lt;br /&gt;
                                                                            浏阳烟花&lt;br /&gt;
   “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。&lt;br /&gt;
    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。&lt;br /&gt;
    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。&lt;br /&gt;
    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。&lt;br /&gt;
    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。&lt;br /&gt;
    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。&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168057</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168057"/>
		<updated>2025-06-05T16:05:08Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Luo Sicheng&lt;br /&gt;
= '''Flying Wild Goose Dance''' =&lt;br /&gt;
&lt;br /&gt;
== '''Introduction''' ==&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Historical Background''' ==&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
&lt;br /&gt;
== '''Characteristics of the Dance''' ==&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
&lt;br /&gt;
== '''Cultural Significance''' ==&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
&lt;br /&gt;
== '''Modern Adaptations''' ==&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
&lt;br /&gt;
== '''Conclusion''' ==&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Terms and Expressions'''  ==&lt;br /&gt;
Flying Wild Goose Dance (Jing Hong Wu) - 惊鸿舞&lt;br /&gt;
Tang Dynasty - 唐代&lt;br /&gt;
Flowing Sleeves - 水袖&lt;br /&gt;
Delicate Footwork - 细腻步法&lt;br /&gt;
Poetic Expression - 诗意表达&lt;br /&gt;
Symbolism of Wild Geese - 鸿雁的象征意义&lt;br /&gt;
Guqin - 古琴&lt;br /&gt;
Pipa - 琵琶&lt;br /&gt;
Daoist and Confucian Ideals - 道家与儒家理念&lt;br /&gt;
China National Opera &amp;amp; Dance Drama Theater - 中国歌剧舞剧院&lt;br /&gt;
&lt;br /&gt;
== '''Questions'''  ==&lt;br /&gt;
1.When did the Flying Wild Goose Dance originate, and who is credited with its creation?&lt;br /&gt;
2.What are the key characteristics of the Flying Wild Goose Dance?&lt;br /&gt;
3.How did the dance evolve during the Song Dynasty?&lt;br /&gt;
4.What cultural values does the Flying Wild Goose Dance represent?&lt;br /&gt;
5.How has the dance been adapted in modern times?&lt;br /&gt;
6.What role did the dance play in the TV drama &amp;quot;The Legend of Zhen Huan&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
== '''References'''  ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
= '''惊鸿舞''' =&lt;br /&gt;
== '''引言''' ==&lt;br /&gt;
惊鸿舞是中国古典舞蹈的一种，起源于唐代（公元618–907年）。该舞蹈以鸿雁飞翔的优雅动作为灵感，体现了自然之美和传统中国美学的韵味（王晓雨 2018, 48）。历史上，惊鸿舞曾是宫廷表演的重要组成部分，后来逐渐流传至民间。其特点包括流畅的水袖动作、细腻的步法以及富有诗意的表情，使其成为中国艺术传统的永恒象征。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== '''历史背景''' ==&lt;br /&gt;
惊鸿舞的历史可追溯至唐代，这是中国艺术与文化的黄金时代。据史料记载，惊鸿舞最初由唐玄宗非常宠爱的一位妃子——杨贵妃创作，她以美貌和艺术才华闻名（李渔 2015, 112）。舞蹈的灵感来源于鸿雁的迁徙，象征着自由、忠诚与自然的和谐。在唐代，惊鸿舞常作为宫廷娱乐和庆典活动的一部分，伴奏乐器包括古琴和琵琶等。&lt;br /&gt;
&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
到了宋代（960–1279年），惊鸿舞逐渐演变为一种更为精致的艺术形式，融入了诗歌和书法元素。它成为画家和诗人喜爱的题材，他们试图通过作品捕捉其空灵之美（张伟 2020, 76）。明清时期，惊鸿舞进一步被保留下来，并融入地方风格和戏剧表演中。&lt;br /&gt;
&lt;br /&gt;
== '''舞蹈特点''' ==&lt;br /&gt;
惊鸿舞以其独特的动作和象征意义著称：&lt;br /&gt;
1.水袖：舞者通过长袖的摆动模拟鸿雁展翅的姿态，水袖的流动为舞蹈增添了视觉上的美感，凸显舞者的优雅与灵动（李渔 2015, 115）。&lt;br /&gt;
&lt;br /&gt;
[[File:sx3.jpeg]]&lt;br /&gt;
&lt;br /&gt;
2.细腻步法：舞步轻盈而精准，仿佛鸿雁掠过水面的瞬间。步法常以圆形或波浪形为主，呼应飞行的自然韵律（王晓雨 2018, 50）。&lt;br /&gt;
&lt;br /&gt;
[[File:hy4.jpg]]&lt;br /&gt;
&lt;br /&gt;
3.诗意表达：舞蹈不仅是肢体表演，更是一种叙事艺术。舞者通过表情和肢体语言传递情感，如思念、喜悦或忧伤（张伟 2020, 80）。&lt;br /&gt;
4.象征意义：鸿雁在中国文化中被视为忠贞（因鸿雁终身配偶）和季节更替（因迁徙习性）的象征，舞蹈常以此为主题，讲述爱情与离别的故事（王晓雨 2018, 52）。&lt;br /&gt;
&lt;br /&gt;
== '''文化意义''' ==&lt;br /&gt;
惊鸿舞在中国文化中具有重要地位，原因如下：&lt;br /&gt;
艺术传承：它是唐代艺术的活态见证，将音乐、诗歌与舞蹈融为一体（李渔 2015, 120）。&lt;br /&gt;
哲学深度：舞蹈体现了道家与儒家的理念，如“天人合一”和“礼”的重要性（张伟 2020, 85）。&lt;br /&gt;
现代复兴：近年来，惊鸿舞在电视剧（如《甄嬛传》）和文化节庆中重新焕发生机，吸引了新一代观众（王晓雨 2018, 55）。&lt;br /&gt;
&lt;br /&gt;
== '''现代改编''' ==&lt;br /&gt;
如今，惊鸿舞仍在激发艺术家的创作灵感。现代改编版本常融入芭蕾和当代舞元素，同时保留传统精髓。中国歌剧舞剧院等文化机构常将其纳入演出剧目，确保这一艺术形式得以延续（李渔 2015, 125）。&lt;br /&gt;
&lt;br /&gt;
== '''结语''' ==&lt;br /&gt;
惊鸿舞不仅是一种表演，更是连接中国辉煌历史与当代文化的桥梁。其永恒的魅力在于通过动作传递深刻的情感和文化价值。作为优雅与传统的象征，惊鸿舞始终是中国非物质文化遗产中不可或缺的一部分。&lt;br /&gt;
&lt;br /&gt;
== '''术语对照表''' ==&lt;br /&gt;
惊鸿舞 - Flying Wild Goose Dance (Jing Hong Wu)&lt;br /&gt;
唐代 - Tang Dynasty&lt;br /&gt;
水袖 - Flowing Sleeves&lt;br /&gt;
细腻步法 - Delicate Footwork&lt;br /&gt;
诗意表达 - Poetic Expression&lt;br /&gt;
鸿雁的象征意义 - Symbolism of Wild Geese&lt;br /&gt;
古琴 - Guqin&lt;br /&gt;
琵琶 - Pipa&lt;br /&gt;
道家与儒家理念 - Daoist and Confucian Ideals&lt;br /&gt;
中国歌剧舞剧院 - China National Opera &amp;amp; Dance Drama Theater &lt;br /&gt;
&lt;br /&gt;
== '''问题''' ==&lt;br /&gt;
1.惊鸿舞起源于哪个朝代，其创作者是谁？&lt;br /&gt;
2.惊鸿舞的主要特点是什么？&lt;br /&gt;
3.宋代时惊鸿舞有何演变？&lt;br /&gt;
4.惊鸿舞体现了哪些文化价值？&lt;br /&gt;
5.现代对惊鸿舞有哪些改编？&lt;br /&gt;
6.电视剧《甄嬛传》中惊鸿舞扮演了什么角色？&lt;br /&gt;
&lt;br /&gt;
== '''参考文献''' ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168054</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168054"/>
		<updated>2025-06-05T16:02:22Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Luo Sicheng&lt;br /&gt;
= '''Flying Wild Goose Dance''' =&lt;br /&gt;
&lt;br /&gt;
== '''Introduction''' ==&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
[[File:jhw1.jfif]]&lt;br /&gt;
&lt;br /&gt;
== '''Historical Background''' ==&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
&lt;br /&gt;
== '''Characteristics of the Dance''' ==&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).[[File:sx3.jpeg]]&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).[[File:hy4.jpg]]&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
&lt;br /&gt;
== '''Cultural Significance''' ==&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
&lt;br /&gt;
== '''Modern Adaptations''' ==&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
[[File:zhz5.jfif]]&lt;br /&gt;
== '''Conclusion''' ==&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Terms and Expressions'''  ==&lt;br /&gt;
Flying Wild Goose Dance (Jing Hong Wu) - 惊鸿舞&lt;br /&gt;
Tang Dynasty - 唐代&lt;br /&gt;
Flowing Sleeves - 水袖&lt;br /&gt;
Delicate Footwork - 细腻步法&lt;br /&gt;
Poetic Expression - 诗意表达&lt;br /&gt;
Symbolism of Wild Geese - 鸿雁的象征意义&lt;br /&gt;
Guqin - 古琴&lt;br /&gt;
Pipa - 琵琶&lt;br /&gt;
Daoist and Confucian Ideals - 道家与儒家理念&lt;br /&gt;
China National Opera &amp;amp; Dance Drama Theater - 中国歌剧舞剧院&lt;br /&gt;
&lt;br /&gt;
== '''Questions'''  ==&lt;br /&gt;
1.When did the Flying Wild Goose Dance originate, and who is credited with its creation?&lt;br /&gt;
2.What are the key characteristics of the Flying Wild Goose Dance?&lt;br /&gt;
3.How did the dance evolve during the Song Dynasty?&lt;br /&gt;
4.What cultural values does the Flying Wild Goose Dance represent?&lt;br /&gt;
5.How has the dance been adapted in modern times?&lt;br /&gt;
6.What role did the dance play in the TV drama &amp;quot;The Legend of Zhen Huan&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
== '''References'''  ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
= '''惊鸿舞''' =&lt;br /&gt;
== '''引言''' ==&lt;br /&gt;
惊鸿舞是中国古典舞蹈的一种，起源于唐代（公元618–907年）。该舞蹈以鸿雁飞翔的优雅动作为灵感，体现了自然之美和传统中国美学的韵味（王晓雨 2018, 48）。历史上，惊鸿舞曾是宫廷表演的重要组成部分，后来逐渐流传至民间。其特点包括流畅的水袖动作、细腻的步法以及富有诗意的表情，使其成为中国艺术传统的永恒象征。&lt;br /&gt;
[[File:jhw1.jfif]]&lt;br /&gt;
&lt;br /&gt;
== '''历史背景''' ==&lt;br /&gt;
惊鸿舞的历史可追溯至唐代，这是中国艺术与文化的黄金时代。据史料记载，惊鸿舞最初由唐玄宗非常宠爱的一位妃子——杨贵妃创作，她以美貌和艺术才华闻名（李渔 2015, 112）。舞蹈的灵感来源于鸿雁的迁徙，象征着自由、忠诚与自然的和谐。在唐代，惊鸿舞常作为宫廷娱乐和庆典活动的一部分，伴奏乐器包括古琴和琵琶等。&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
到了宋代（960–1279年），惊鸿舞逐渐演变为一种更为精致的艺术形式，融入了诗歌和书法元素。它成为画家和诗人喜爱的题材，他们试图通过作品捕捉其空灵之美（张伟 2020, 76）。明清时期，惊鸿舞进一步被保留下来，并融入地方风格和戏剧表演中。&lt;br /&gt;
&lt;br /&gt;
== '''舞蹈特点''' ==&lt;br /&gt;
惊鸿舞以其独特的动作和象征意义著称：&lt;br /&gt;
1.水袖：舞者通过长袖的摆动模拟鸿雁展翅的姿态，水袖的流动为舞蹈增添了视觉上的美感，凸显舞者的优雅与灵动（李渔 2015, 115）。[[File:sx3.jpeg]]&lt;br /&gt;
2.细腻步法：舞步轻盈而精准，仿佛鸿雁掠过水面的瞬间。步法常以圆形或波浪形为主，呼应飞行的自然韵律（王晓雨 2018, 50）。[[File:hy4.jpg]]&lt;br /&gt;
3.诗意表达：舞蹈不仅是肢体表演，更是一种叙事艺术。舞者通过表情和肢体语言传递情感，如思念、喜悦或忧伤（张伟 2020, 80）。&lt;br /&gt;
4.象征意义：鸿雁在中国文化中被视为忠贞（因鸿雁终身配偶）和季节更替（因迁徙习性）的象征，舞蹈常以此为主题，讲述爱情与离别的故事（王晓雨 2018, 52）。&lt;br /&gt;
&lt;br /&gt;
== '''文化意义''' ==&lt;br /&gt;
惊鸿舞在中国文化中具有重要地位，原因如下：&lt;br /&gt;
艺术传承：它是唐代艺术的活态见证，将音乐、诗歌与舞蹈融为一体（李渔 2015, 120）。&lt;br /&gt;
哲学深度：舞蹈体现了道家与儒家的理念，如“天人合一”和“礼”的重要性（张伟 2020, 85）。&lt;br /&gt;
现代复兴：近年来，惊鸿舞在电视剧（如《甄嬛传》）和文化节庆中重新焕发生机，吸引了新一代观众（王晓雨 2018, 55）。&lt;br /&gt;
&lt;br /&gt;
== '''现代改编''' ==&lt;br /&gt;
如今，惊鸿舞仍在激发艺术家的创作灵感。现代改编版本常融入芭蕾和当代舞元素，同时保留传统精髓。中国歌剧舞剧院等文化机构常将其纳入演出剧目，确保这一艺术形式得以延续（李渔 2015, 125）。&lt;br /&gt;
[[File:zhz5.jfif]]&lt;br /&gt;
== '''结语''' ==&lt;br /&gt;
惊鸿舞不仅是一种表演，更是连接中国辉煌历史与当代文化的桥梁。其永恒的魅力在于通过动作传递深刻的情感和文化价值。作为优雅与传统的象征，惊鸿舞始终是中国非物质文化遗产中不可或缺的一部分。&lt;br /&gt;
&lt;br /&gt;
== '''术语对照表''' ==&lt;br /&gt;
惊鸿舞 - Flying Wild Goose Dance (Jing Hong Wu)&lt;br /&gt;
唐代 - Tang Dynasty&lt;br /&gt;
水袖 - Flowing Sleeves&lt;br /&gt;
细腻步法 - Delicate Footwork&lt;br /&gt;
诗意表达 - Poetic Expression&lt;br /&gt;
鸿雁的象征意义 - Symbolism of Wild Geese&lt;br /&gt;
古琴 - Guqin&lt;br /&gt;
琵琶 - Pipa&lt;br /&gt;
道家与儒家理念 - Daoist and Confucian Ideals&lt;br /&gt;
中国歌剧舞剧院 - China National Opera &amp;amp; Dance Drama Theater &lt;br /&gt;
&lt;br /&gt;
== '''问题''' ==&lt;br /&gt;
1.惊鸿舞起源于哪个朝代，其创作者是谁？&lt;br /&gt;
2.惊鸿舞的主要特点是什么？&lt;br /&gt;
3.宋代时惊鸿舞有何演变？&lt;br /&gt;
4.惊鸿舞体现了哪些文化价值？&lt;br /&gt;
5.现代对惊鸿舞有哪些改编？&lt;br /&gt;
6.电视剧《甄嬛传》中惊鸿舞扮演了什么角色？&lt;br /&gt;
&lt;br /&gt;
== '''参考文献''' ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168048</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=168048"/>
		<updated>2025-06-05T15:57:51Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Luo Sicheng&lt;br /&gt;
= '''Flying Wild Goose Dance''' =&lt;br /&gt;
&lt;br /&gt;
== '''Introduction''' ==&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
[[File:jhw1.jpg]]&lt;br /&gt;
&lt;br /&gt;
== '''Historical Background''' ==&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
&lt;br /&gt;
== '''Characteristics of the Dance''' ==&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).[[File:sx3.jpg]]&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).[[File:hy4.jpg]]&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
&lt;br /&gt;
== '''Cultural Significance''' ==&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
&lt;br /&gt;
== '''Modern Adaptations''' ==&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
[[File:zhz5.jpg]]&lt;br /&gt;
== '''Conclusion''' ==&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Terms and Expressions'''  ==&lt;br /&gt;
Flying Wild Goose Dance (Jing Hong Wu) - 惊鸿舞&lt;br /&gt;
Tang Dynasty - 唐代&lt;br /&gt;
Flowing Sleeves - 水袖&lt;br /&gt;
Delicate Footwork - 细腻步法&lt;br /&gt;
Poetic Expression - 诗意表达&lt;br /&gt;
Symbolism of Wild Geese - 鸿雁的象征意义&lt;br /&gt;
Guqin - 古琴&lt;br /&gt;
Pipa - 琵琶&lt;br /&gt;
Daoist and Confucian Ideals - 道家与儒家理念&lt;br /&gt;
China National Opera &amp;amp; Dance Drama Theater - 中国歌剧舞剧院&lt;br /&gt;
&lt;br /&gt;
== '''Questions'''  ==&lt;br /&gt;
1.When did the Flying Wild Goose Dance originate, and who is credited with its creation?&lt;br /&gt;
2.What are the key characteristics of the Flying Wild Goose Dance?&lt;br /&gt;
3.How did the dance evolve during the Song Dynasty?&lt;br /&gt;
4.What cultural values does the Flying Wild Goose Dance represent?&lt;br /&gt;
5.How has the dance been adapted in modern times?&lt;br /&gt;
6.What role did the dance play in the TV drama &amp;quot;The Legend of Zhen Huan&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
== '''References'''  ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
= '''惊鸿舞''' =&lt;br /&gt;
== '''引言''' ==&lt;br /&gt;
惊鸿舞是中国古典舞蹈的一种，起源于唐代（公元618–907年）。该舞蹈以鸿雁飞翔的优雅动作为灵感，体现了自然之美和传统中国美学的韵味（王晓雨 2018, 48）。历史上，惊鸿舞曾是宫廷表演的重要组成部分，后来逐渐流传至民间。其特点包括流畅的水袖动作、细腻的步法以及富有诗意的表情，使其成为中国艺术传统的永恒象征。&lt;br /&gt;
[[File:jhw1.jpg]]&lt;br /&gt;
&lt;br /&gt;
== '''历史背景''' ==&lt;br /&gt;
惊鸿舞的历史可追溯至唐代，这是中国艺术与文化的黄金时代。据史料记载，惊鸿舞最初由唐玄宗非常宠爱的一位妃子——杨贵妃创作，她以美貌和艺术才华闻名（李渔 2015, 112）。舞蹈的灵感来源于鸿雁的迁徙，象征着自由、忠诚与自然的和谐。在唐代，惊鸿舞常作为宫廷娱乐和庆典活动的一部分，伴奏乐器包括古琴和琵琶等。&lt;br /&gt;
[[File:ygf2.jpg]]&lt;br /&gt;
到了宋代（960–1279年），惊鸿舞逐渐演变为一种更为精致的艺术形式，融入了诗歌和书法元素。它成为画家和诗人喜爱的题材，他们试图通过作品捕捉其空灵之美（张伟 2020, 76）。明清时期，惊鸿舞进一步被保留下来，并融入地方风格和戏剧表演中。&lt;br /&gt;
&lt;br /&gt;
== '''舞蹈特点''' ==&lt;br /&gt;
惊鸿舞以其独特的动作和象征意义著称：&lt;br /&gt;
1.水袖：舞者通过长袖的摆动模拟鸿雁展翅的姿态，水袖的流动为舞蹈增添了视觉上的美感，凸显舞者的优雅与灵动（李渔 2015, 115）。[[File:sx3.jpg]]&lt;br /&gt;
2.细腻步法：舞步轻盈而精准，仿佛鸿雁掠过水面的瞬间。步法常以圆形或波浪形为主，呼应飞行的自然韵律（王晓雨 2018, 50）。[[File:hy4.jpg]]&lt;br /&gt;
3.诗意表达：舞蹈不仅是肢体表演，更是一种叙事艺术。舞者通过表情和肢体语言传递情感，如思念、喜悦或忧伤（张伟 2020, 80）。&lt;br /&gt;
4.象征意义：鸿雁在中国文化中被视为忠贞（因鸿雁终身配偶）和季节更替（因迁徙习性）的象征，舞蹈常以此为主题，讲述爱情与离别的故事（王晓雨 2018, 52）。&lt;br /&gt;
&lt;br /&gt;
== '''文化意义''' ==&lt;br /&gt;
惊鸿舞在中国文化中具有重要地位，原因如下：&lt;br /&gt;
艺术传承：它是唐代艺术的活态见证，将音乐、诗歌与舞蹈融为一体（李渔 2015, 120）。&lt;br /&gt;
哲学深度：舞蹈体现了道家与儒家的理念，如“天人合一”和“礼”的重要性（张伟 2020, 85）。&lt;br /&gt;
现代复兴：近年来，惊鸿舞在电视剧（如《甄嬛传》）和文化节庆中重新焕发生机，吸引了新一代观众（王晓雨 2018, 55）。&lt;br /&gt;
&lt;br /&gt;
== '''现代改编''' ==&lt;br /&gt;
如今，惊鸿舞仍在激发艺术家的创作灵感。现代改编版本常融入芭蕾和当代舞元素，同时保留传统精髓。中国歌剧舞剧院等文化机构常将其纳入演出剧目，确保这一艺术形式得以延续（李渔 2015, 125）。&lt;br /&gt;
[[File:zhz5.jpg]]&lt;br /&gt;
== '''结语''' ==&lt;br /&gt;
惊鸿舞不仅是一种表演，更是连接中国辉煌历史与当代文化的桥梁。其永恒的魅力在于通过动作传递深刻的情感和文化价值。作为优雅与传统的象征，惊鸿舞始终是中国非物质文化遗产中不可或缺的一部分。&lt;br /&gt;
&lt;br /&gt;
== '''术语对照表''' ==&lt;br /&gt;
惊鸿舞 - Flying Wild Goose Dance (Jing Hong Wu)&lt;br /&gt;
唐代 - Tang Dynasty&lt;br /&gt;
水袖 - Flowing Sleeves&lt;br /&gt;
细腻步法 - Delicate Footwork&lt;br /&gt;
诗意表达 - Poetic Expression&lt;br /&gt;
鸿雁的象征意义 - Symbolism of Wild Geese&lt;br /&gt;
古琴 - Guqin&lt;br /&gt;
琵琶 - Pipa&lt;br /&gt;
道家与儒家理念 - Daoist and Confucian Ideals&lt;br /&gt;
中国歌剧舞剧院 - China National Opera &amp;amp; Dance Drama Theater &lt;br /&gt;
&lt;br /&gt;
== '''问题''' ==&lt;br /&gt;
1.惊鸿舞起源于哪个朝代，其创作者是谁？&lt;br /&gt;
2.惊鸿舞的主要特点是什么？&lt;br /&gt;
3.宋代时惊鸿舞有何演变？&lt;br /&gt;
4.惊鸿舞体现了哪些文化价值？&lt;br /&gt;
5.现代对惊鸿舞有哪些改编？&lt;br /&gt;
6.电视剧《甄嬛传》中惊鸿舞扮演了什么角色？&lt;br /&gt;
&lt;br /&gt;
== '''参考文献''' ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=File:Hy4.jpg&amp;diff=168032</id>
		<title>File:Hy4.jpg</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=File:Hy4.jpg&amp;diff=168032"/>
		<updated>2025-06-05T15:50:04Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=File:Sx3.jpeg&amp;diff=168031</id>
		<title>File:Sx3.jpeg</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=File:Sx3.jpeg&amp;diff=168031"/>
		<updated>2025-06-05T15:49:49Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=File:Ygf2.jpg&amp;diff=168030</id>
		<title>File:Ygf2.jpg</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=File:Ygf2.jpg&amp;diff=168030"/>
		<updated>2025-06-05T15:49:31Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=167819</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=167819"/>
		<updated>2025-06-05T11:26:41Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Luo Sicheng&lt;br /&gt;
= '''Flying Wild Goose Dance''' =&lt;br /&gt;
&lt;br /&gt;
== '''Introduction''' ==&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Historical Background''' ==&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
&lt;br /&gt;
== '''Characteristics of the Dance''' ==&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
&lt;br /&gt;
== '''Cultural Significance''' ==&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
&lt;br /&gt;
== '''Modern Adaptations''' ==&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
&lt;br /&gt;
== '''Conclusion''' ==&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Terms and Expressions'''  ==&lt;br /&gt;
Flying Wild Goose Dance (Jing Hong Wu) - 惊鸿舞&lt;br /&gt;
Tang Dynasty - 唐代&lt;br /&gt;
Flowing Sleeves - 水袖&lt;br /&gt;
Delicate Footwork - 细腻步法&lt;br /&gt;
Poetic Expression - 诗意表达&lt;br /&gt;
Symbolism of Wild Geese - 鸿雁的象征意义&lt;br /&gt;
Guqin - 古琴&lt;br /&gt;
Pipa - 琵琶&lt;br /&gt;
Daoist and Confucian Ideals - 道家与儒家理念&lt;br /&gt;
China National Opera &amp;amp; Dance Drama Theater - 中国歌剧舞剧院&lt;br /&gt;
&lt;br /&gt;
== '''Questions'''  ==&lt;br /&gt;
1.When did the Flying Wild Goose Dance originate, and who is credited with its creation?&lt;br /&gt;
2.What are the key characteristics of the Flying Wild Goose Dance?&lt;br /&gt;
3.How did the dance evolve during the Song Dynasty?&lt;br /&gt;
4.What cultural values does the Flying Wild Goose Dance represent?&lt;br /&gt;
5.How has the dance been adapted in modern times?&lt;br /&gt;
6.What role did the dance play in the TV drama &amp;quot;The Legend of Zhen Huan&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
== '''References'''  ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
= '''惊鸿舞''' =&lt;br /&gt;
== '''引言''' ==&lt;br /&gt;
惊鸿舞是中国古典舞蹈的一种，起源于唐代（公元618–907年）。该舞蹈以鸿雁飞翔的优雅动作为灵感，体现了自然之美和传统中国美学的韵味（王晓雨 2018, 48）。历史上，惊鸿舞曾是宫廷表演的重要组成部分，后来逐渐流传至民间。其特点包括流畅的水袖动作、细腻的步法以及富有诗意的表情，使其成为中国艺术传统的永恒象征。&lt;br /&gt;
&lt;br /&gt;
== '''历史背景''' ==&lt;br /&gt;
惊鸿舞的历史可追溯至唐代，这是中国艺术与文化的黄金时代。据史料记载，惊鸿舞最初由唐玄宗非常宠爱的一位妃子——杨贵妃创作，她以美貌和艺术才华闻名（李渔 2015, 112）。舞蹈的灵感来源于鸿雁的迁徙，象征着自由、忠诚与自然的和谐。在唐代，惊鸿舞常作为宫廷娱乐和庆典活动的一部分，伴奏乐器包括古琴和琵琶等。&lt;br /&gt;
到了宋代（960–1279年），惊鸿舞逐渐演变为一种更为精致的艺术形式，融入了诗歌和书法元素。它成为画家和诗人喜爱的题材，他们试图通过作品捕捉其空灵之美（张伟 2020, 76）。明清时期，惊鸿舞进一步被保留下来，并融入地方风格和戏剧表演中。&lt;br /&gt;
&lt;br /&gt;
== '''舞蹈特点''' ==&lt;br /&gt;
惊鸿舞以其独特的动作和象征意义著称：&lt;br /&gt;
1.水袖：舞者通过长袖的摆动模拟鸿雁展翅的姿态，水袖的流动为舞蹈增添了视觉上的美感，凸显舞者的优雅与灵动（李渔 2015, 115）。&lt;br /&gt;
2.细腻步法：舞步轻盈而精准，仿佛鸿雁掠过水面的瞬间。步法常以圆形或波浪形为主，呼应飞行的自然韵律（王晓雨 2018, 50）。&lt;br /&gt;
3.诗意表达：舞蹈不仅是肢体表演，更是一种叙事艺术。舞者通过表情和肢体语言传递情感，如思念、喜悦或忧伤（张伟 2020, 80）。&lt;br /&gt;
4.象征意义：鸿雁在中国文化中被视为忠贞（因鸿雁终身配偶）和季节更替（因迁徙习性）的象征，舞蹈常以此为主题，讲述爱情与离别的故事（王晓雨 2018, 52）。&lt;br /&gt;
&lt;br /&gt;
== '''文化意义''' ==&lt;br /&gt;
惊鸿舞在中国文化中具有重要地位，原因如下：&lt;br /&gt;
艺术传承：它是唐代艺术的活态见证，将音乐、诗歌与舞蹈融为一体（李渔 2015, 120）。&lt;br /&gt;
哲学深度：舞蹈体现了道家与儒家的理念，如“天人合一”和“礼”的重要性（张伟 2020, 85）。&lt;br /&gt;
现代复兴：近年来，惊鸿舞在电视剧（如《甄嬛传》）和文化节庆中重新焕发生机，吸引了新一代观众（王晓雨 2018, 55）。&lt;br /&gt;
&lt;br /&gt;
== '''现代改编''' ==&lt;br /&gt;
如今，惊鸿舞仍在激发艺术家的创作灵感。现代改编版本常融入芭蕾和当代舞元素，同时保留传统精髓。中国歌剧舞剧院等文化机构常将其纳入演出剧目，确保这一艺术形式得以延续（李渔 2015, 125）。&lt;br /&gt;
&lt;br /&gt;
== '''结语''' ==&lt;br /&gt;
惊鸿舞不仅是一种表演，更是连接中国辉煌历史与当代文化的桥梁。其永恒的魅力在于通过动作传递深刻的情感和文化价值。作为优雅与传统的象征，惊鸿舞始终是中国非物质文化遗产中不可或缺的一部分。&lt;br /&gt;
&lt;br /&gt;
== '''术语对照表''' ==&lt;br /&gt;
惊鸿舞 - Flying Wild Goose Dance (Jing Hong Wu)&lt;br /&gt;
唐代 - Tang Dynasty&lt;br /&gt;
水袖 - Flowing Sleeves&lt;br /&gt;
细腻步法 - Delicate Footwork&lt;br /&gt;
诗意表达 - Poetic Expression&lt;br /&gt;
鸿雁的象征意义 - Symbolism of Wild Geese&lt;br /&gt;
古琴 - Guqin&lt;br /&gt;
琵琶 - Pipa&lt;br /&gt;
道家与儒家理念 - Daoist and Confucian Ideals&lt;br /&gt;
中国歌剧舞剧院 - China National Opera &amp;amp; Dance Drama Theater &lt;br /&gt;
&lt;br /&gt;
== '''问题''' ==&lt;br /&gt;
1.惊鸿舞起源于哪个朝代，其创作者是谁？&lt;br /&gt;
2.惊鸿舞的主要特点是什么？&lt;br /&gt;
3.宋代时惊鸿舞有何演变？&lt;br /&gt;
4.惊鸿舞体现了哪些文化价值？&lt;br /&gt;
5.现代对惊鸿舞有哪些改编？&lt;br /&gt;
6.电视剧《甄嬛传》中惊鸿舞扮演了什么角色？&lt;br /&gt;
&lt;br /&gt;
== '''参考文献''' ==&lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=167817</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=167817"/>
		<updated>2025-06-05T11:08:18Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Luo Sicheng&lt;br /&gt;
= '''Flying Wild Goose Dance''' =&lt;br /&gt;
&lt;br /&gt;
== '''Introduction''' ==&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Historical Background''' ==&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
&lt;br /&gt;
== '''Characteristics of the Dance''' ==&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
&lt;br /&gt;
== '''Cultural Significance''' ==&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
&lt;br /&gt;
== '''Modern Adaptations''' ==&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
&lt;br /&gt;
== '''Conclusion''' ==&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
&lt;br /&gt;
== '''Terms and Expressions'''  ==&lt;br /&gt;
Hairpin flowers 簪花&lt;br /&gt;
&lt;br /&gt;
Temple flowers 鬓花&lt;br /&gt;
&lt;br /&gt;
Head flowers 头花&lt;br /&gt;
&lt;br /&gt;
Phoenix coronet and ceremonial robes 凤冠霞帔&lt;br /&gt;
&lt;br /&gt;
Dragons and phoenixes bring auspiciousness 龙凤呈祥&lt;br /&gt;
&lt;br /&gt;
Kingfisher-feather technique 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Gold-silver hairpin flowers 金银簪花&lt;br /&gt;
&lt;br /&gt;
Cultural inheritance 文化传承&lt;br /&gt;
&lt;br /&gt;
Cultural and creative products 文创产品&lt;br /&gt;
&lt;br /&gt;
Traditional handicrafts 传统手工艺&lt;br /&gt;
&lt;br /&gt;
== '''Questions'''  ==&lt;br /&gt;
1.What are the main materials used for making hairpin flowers in ancient times?&lt;br /&gt;
&lt;br /&gt;
2.What symbolic meanings do hairpin flowers carry in traditional weddings according to Chinese culture?&lt;br /&gt;
&lt;br /&gt;
3.What are the key steps in making hairpin flowers? Please give examples.&lt;br /&gt;
&lt;br /&gt;
4.List two ways of inheriting and promoting hairpin flower culture in modern society.&lt;br /&gt;
&lt;br /&gt;
5. Which ancient references mentions the use of hairpin flowers?&lt;br /&gt;
&lt;br /&gt;
== '''References'''  ==&lt;br /&gt;
[1]Li Y. A history of ancient Chinese jewelry [J]. Fashion Guide, 2020, 9(4): 118.&lt;br /&gt;
&lt;br /&gt;
[2]Jin A Q. Research on gold and silver hair ornaments in the Song Dynasty [D]. Dalian: Liaoning Normal University, 2024. (Supervisor: Xu X L.)&lt;br /&gt;
&lt;br /&gt;
[3]Zhao Y. On the inspiration of ancient Chinese arts and crafts to contemporary art design [J]. Art Literature, 2021(2): 134-135. DOI: 10.16585/j.cnki.mswx.2021.02.064.&lt;br /&gt;
&lt;br /&gt;
[4]Zhou X L, Zhang C Y. Research on the application of traditional handicrafts in modern fashion design [J]. Light Textile Industry and Technology, 2025, 54(1): 106-108.&lt;br /&gt;
&lt;br /&gt;
[5]Huang Q M. The culture of ancient Chinese men's hairpins [J]. Journal of Xinjiang Arts University, 2023, 21(2): 58-63.&lt;br /&gt;
&lt;br /&gt;
[6] Han X Y. Research on the living inheritance of traditional handicrafts from the perspective of cultural expression: A case study of Hangzhou Living Handicraft Exhibition Hall [J]. Western Leather, 2021, 43(21): 34-35. DOI: 10.20143/j.1671-1602.2021.21.019.&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=File:Changsha_Stinky_Tofu.pptx&amp;diff=167814</id>
		<title>File:Changsha Stinky Tofu.pptx</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=File:Changsha_Stinky_Tofu.pptx&amp;diff=167814"/>
		<updated>2025-06-05T10:50:51Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: Luo Sicheng uploaded a new version of &amp;amp;quot;File:Changsha Stinky Tofu.pptx&amp;amp;quot;&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=File:Changsha_Stinky_Tofu.pptx&amp;diff=167812</id>
		<title>File:Changsha Stinky Tofu.pptx</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=File:Changsha_Stinky_Tofu.pptx&amp;diff=167812"/>
		<updated>2025-06-05T10:46:57Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: Luo Sicheng uploaded a new version of &amp;amp;quot;File:Changsha Stinky Tofu.pptx&amp;amp;quot;&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=166903</id>
		<title>User:Luo Sicheng</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=User:Luo_Sicheng&amp;diff=166903"/>
		<updated>2025-05-28T01:03:28Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Flying Wild Goose Dance&lt;br /&gt;
Introduction&lt;br /&gt;
The Flying Wild Goose Dance, or &amp;quot;Jing Hong Wu&amp;quot; , is a classical Chinese dance that originated during the Tang Dynasty (618–907 AD). Inspired by the elegant movements of wild geese in flight, this dance embodies the beauty of nature and the grace of traditional Chinese aesthetics. Historically, it was performed in imperial courts and later popularized in folk culture. The dance is characterized by its flowing sleeves, delicate footwork, and poetic expressions, making it a timeless representation of Chinese artistic heritage.&lt;br /&gt;
Historical Background&lt;br /&gt;
The Flying Wild Goose Dance traces its roots to the Tang Dynasty, a golden age for Chinese arts and culture. According to historical records, the dance was first created by Emperor Xuanzong's consort, Yang Guifei, who was renowned for her beauty and artistic talents (Wang Xiaoyu 2018, 48). The dance was inspired by the migratory patterns of wild geese, symbolizing freedom, loyalty, and harmony with nature. During the Tang Dynasty, it was performed as part of court entertainment and ceremonial events, often accompanied by traditional instruments like the “Guqin” and “Pipa” (Li Yu 2015, 112).&lt;br /&gt;
By the Song Dynasty (960–1279 AD), the dance had evolved into a more refined art form, incorporating elements of poetry and calligraphy. It became a favorite subject for painters and poets, who sought to capture its ethereal beauty (Zhang Wei 2020, 76). The Ming (1368–1644) and Qing (1644–1912) dynasties further preserved the dance, adapting it to regional styles and theatrical performances.&lt;br /&gt;
Characteristics of the Dance&lt;br /&gt;
The Flying Wild Goose Dance is distinguished by its unique movements and symbolic meanings:&lt;br /&gt;
1.Flowing Sleeves: The dancers use long, billowing sleeves to mimic the wings of wild geese in flight. The sleeves create a visual spectacle, emphasizing the dancer's grace and agility (Li Yu 2015, 115).&lt;br /&gt;
2.Delicate Footwork: The steps are light and precise, resembling the gentle landing of geese on water. The footwork often follows circular or undulating patterns, reflecting the natural rhythms of flight (Wang Xiaoyu 2018, 50).&lt;br /&gt;
3.Poetic Expression: The dance is not merely a physical performance but also a narrative art. Dancers convey emotions such as longing, joy, and melancholy through facial expressions and body language (Zhang Wei 2020, 80).&lt;br /&gt;
4.Symbolism: The wild goose is a revered symbol in Chinese culture, representing fidelity (as geese mate for life) and the changing seasons (as they migrate). The dance encapsulates these themes, often telling stories of love and separation (Wang Xiaoyu 2018, 52).&lt;br /&gt;
Cultural Significance&lt;br /&gt;
The Flying Wild Goose Dance holds a special place in Chinese culture for several reasons:&lt;br /&gt;
Artistic Heritage: It is a living testament to the sophistication of Tang Dynasty arts, blending music, poetry, and dance into a harmonious whole (Li Yu 2015, 120).&lt;br /&gt;
Philosophical Depth: The dance reflects Daoist and Confucian ideals, such as harmony with nature and the importance of ritual(Zhang Wei 2020, 85).&lt;br /&gt;
Modern Revival: In recent years, the dance has been revived in contemporary performances, including television shows and cultural festivals. For example, it was featured in the popular drama “The Legend of Zhen Huan”, where it captivated audiences with its elegance (Wang Xiaoyu 2018, 55).&lt;br /&gt;
Modern Adaptations&lt;br /&gt;
Today, the Flying Wild Goose Dance continues to inspire new generations of artists. Modern adaptations often incorporate elements of ballet and contemporary dance, while preserving the traditional essence. Cultural institutions, such as the China National Opera &amp;amp; Dance Drama Theater, frequently include the dance in their repertoires, ensuring its legacy endures (Li Yu 2015, 125).&lt;br /&gt;
Conclusion&lt;br /&gt;
The Flying Wild Goose Dance is more than a performance; it is a bridge between China's illustrious past and its vibrant present. Its enduring appeal lies in its ability to convey profound emotions and cultural values through movement. As a symbol of grace and tradition, the dance remains a cherished part of China's intangible cultural heritage.&lt;br /&gt;
References &lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;br /&gt;
&lt;br /&gt;
惊鸿舞&lt;br /&gt;
引言&lt;br /&gt;
惊鸿舞是中国古典舞蹈的一种，起源于唐代（公元618–907年）。该舞蹈以鸿雁飞翔的优雅动作为灵感，体现了自然之美和传统中国美学的韵味（王晓雨 2018, 48）。历史上，惊鸿舞曾是宫廷表演的重要组成部分，后来逐渐流传至民间。其特点包括流畅的水袖动作、细腻的步法以及富有诗意的表情，使其成为中国艺术传统的永恒象征。&lt;br /&gt;
历史背景&lt;br /&gt;
惊鸿舞的历史可追溯至唐代，这是中国艺术与文化的黄金时代。据史料记载，惊鸿舞最初由唐玄宗非常宠爱的一位妃子——杨贵妃创作，她以美貌和艺术才华闻名（李渔 2015, 112）。舞蹈的灵感来源于鸿雁的迁徙，象征着自由、忠诚与自然的和谐。在唐代，惊鸿舞常作为宫廷娱乐和庆典活动的一部分，伴奏乐器包括古琴和琵琶等。&lt;br /&gt;
到了宋代（960–1279年），惊鸿舞逐渐演变为一种更为精致的艺术形式，融入了诗歌和书法元素。它成为画家和诗人喜爱的题材，他们试图通过作品捕捉其空灵之美（张伟 2020, 76）。明清时期，惊鸿舞进一步被保留下来，并融入地方风格和戏剧表演中。&lt;br /&gt;
舞蹈特点&lt;br /&gt;
惊鸿舞以其独特的动作和象征意义著称：&lt;br /&gt;
1.水袖：舞者通过长袖的摆动模拟鸿雁展翅的姿态，水袖的流动为舞蹈增添了视觉上的美感，凸显舞者的优雅与灵动（李渔 2015, 115）。&lt;br /&gt;
2.细腻步法：舞步轻盈而精准，仿佛鸿雁掠过水面的瞬间。步法常以圆形或波浪形为主，呼应飞行的自然韵律（王晓雨 2018, 50）。&lt;br /&gt;
3.诗意表达：舞蹈不仅是肢体表演，更是一种叙事艺术。舞者通过表情和肢体语言传递情感，如思念、喜悦或忧伤（张伟 2020, 80）。&lt;br /&gt;
4.象征意义：鸿雁在中国文化中被视为忠贞（因鸿雁终身配偶）和季节更替（因迁徙习性）的象征，舞蹈常以此为主题，讲述爱情与离别的故事（王晓雨 2018, 52）。&lt;br /&gt;
文化意义&lt;br /&gt;
惊鸿舞在中国文化中具有重要地位，原因如下：&lt;br /&gt;
艺术传承：它是唐代艺术的活态见证，将音乐、诗歌与舞蹈融为一体（李渔 2015, 120）。&lt;br /&gt;
哲学深度：舞蹈体现了道家与儒家的理念，如“天人合一”和“礼”的重要性（张伟 2020, 85）。&lt;br /&gt;
现代复兴：近年来，惊鸿舞在电视剧（如《甄嬛传》）和文化节庆中重新焕发生机，吸引了新一代观众（王晓雨 2018, 55）。&lt;br /&gt;
现代改编&lt;br /&gt;
如今，惊鸿舞仍在激发艺术家的创作灵感。现代改编版本常融入芭蕾和当代舞元素，同时保留传统精髓。中国歌剧舞剧院等文化机构常将其纳入演出剧目，确保这一艺术形式得以延续（李渔 2015, 125）。&lt;br /&gt;
结语&lt;br /&gt;
惊鸿舞不仅是一种表演，更是连接中国辉煌历史与当代文化的桥梁。其永恒的魅力在于通过动作传递深刻的情感和文化价值。作为优雅与传统的象征，惊鸿舞始终是中国非物质文化遗产中不可或缺的一部分。&lt;br /&gt;
References &lt;br /&gt;
Li, Yu. 李渔. (2015) 中国古典舞蹈艺术[Culture and Art Publishing House] 北京Beijing 文化艺术出版社[The Art of Chinese Classical Dance]&lt;br /&gt;
Wang, Xiaoyu.王晓雨.(2018). 传统中国舞蹈中鸿雁的象征意义[The Symbolism of Wild Geese in Traditional Chinese Dance] 中国文化研究期刊[Journal of Chinese Cultural Studies] 12(3), 45-60&lt;br /&gt;
Zhang, Wei. 张伟.(2020). 从唐代到现代舞台：惊鸿舞的演变[From Tang Dynasty to Modern Stage: The Evolution of Jing Hong Wu] 上海音乐出版社[Shanghai Music Press]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=File:Changsha_Stinky_Tofu.pptx&amp;diff=166843</id>
		<title>File:Changsha Stinky Tofu.pptx</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=File:Changsha_Stinky_Tofu.pptx&amp;diff=166843"/>
		<updated>2025-05-26T08:57:20Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&amp;diff=166546</id>
		<title>Chin Lang Cult Fin Exam Spring 2025</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&amp;diff=166546"/>
		<updated>2025-05-09T06:55:09Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Final Exam Paper Titles&lt;br /&gt;
#https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Zang Flowers ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zeng_Zhi 手串文化  Bead Bracelet Culture ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)&lt;br /&gt;
#https://bou.de/u/wiki/User:Liu_Qi  劝酒文化 Drinking Persuasion Culture ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book&lt;br /&gt;
#https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book&lt;br /&gt;
#https://bou.de/u/wiki/User:Huang_Yixuan2 傩戏 Nuo Opera ok, but check if not yet in the textbook&lt;br /&gt;
#https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳八卦 ''The Book of Changes''and Yin-Yang ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Liao_Dan  吊脚楼 Stilted Building&lt;br /&gt;
#https://bou.de/u/wiki/User:Zheng_Jinlian 陈皮 Dried Orange Peel ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Flower ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Song_Xin  剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects&lt;br /&gt;
#https://bou.de/u/wiki/User:Cao_Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Jin_Yichen 吴越文化 Wuyue Culture ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Ye_Sitong 温州话 Wenzhou Dialect ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Xiao_Luyu 封神演义 Chinese classical novel The Investiture of the Gods ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zhang_Qi 福建线面 Fujian Thin Noddles ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zheng_Kaiwu 工夫茶 Kanghu tea ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Luo_Jingyan 油纸伞 Oil-paper Umbrellas no, this is already in the text book&lt;br /&gt;
#https://bou.de/u/wiki/User:Luo_Sicheng 惊鸿舞 Flying Wild Goose Dance ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Liu_Jianan 禅文化 Zen Culture （Chan Culture）Please check. I think it is already in the text book.&lt;br /&gt;
#https://bou.de/u/wiki/User:Chen_Lin 服美役 beauty duty ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Tang_Yan 道州理学文化 Neo-Confucian Culture in Daozhou ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Geng_Hongmei 花鼓戏 flower-drum opera Please check if it is already in the text book.&lt;br /&gt;
#https://bou.de/u/wiki/User:Qin_Yi 胶东花饽饽 Jiao Dong Huabobo ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Chen_Zhen 玄奘 Xuanzang ok, but please check if it is already in the text book.&lt;br /&gt;
#https://bou.de/u/wiki/User:Ou_Huang 浏阳花炮制作技艺 Liuyang Fireworks Making Technique ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Luo_Yan 成人礼：冠礼和笄礼 Traditional Chinese coming-of-age ceremony：Guan Li and Ji Li ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Lv_Jiahao 越剧 Opera:Yue Opera Pleaes check if it is already in the text book.&lt;br /&gt;
#https://bou.de/u/wiki/User:Wang_Yuxin 中国古法酿酒  Traditional Chinese Brewing Techniques ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Dai_Yexun 粤剧 Opera:Cantonese opera Please check if it is already in the text book.&lt;br /&gt;
#https://bou.de/u/wiki/User:Yan_Jidong 闽南文化 Hokkien culture ok.&lt;br /&gt;
#https://bou.de/u/wiki/User:Qiu_Ping 重阳节 Chung Yeung Festival ok&lt;br /&gt;
#https://bou.de/u/wiki/User:He_Yunfeng 献哈达 Tibetan Etiquette:Offering Hada(Khata)&lt;br /&gt;
#https://bou.de/u/wiki/User:Zhou_Le 榨辣椒 Pressing pepper&lt;br /&gt;
#https://bou.de/u/wiki/User:Huang_Qiaoqiao 咏春 Wing Chun&lt;br /&gt;
#https://bou.de/u/wiki/User:Duan_Binyao 古诗十九首 Nineteen Old Poems&lt;br /&gt;
#https://bou.de/u/wiki/User:Li_Linyao 泼水节 The Water-Splashing Festival&lt;br /&gt;
#https://bou.de/u/wiki/User:Xiao_Yikang 江西地方端午节传统习俗 Local Dragon Boat Festival traditions of Jiangxi&lt;br /&gt;
#https://bou.de/u/wiki/User:Gao_Xiaoqing 粽子 Zongzi&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&amp;diff=166544</id>
		<title>Chin Lang Cult Fin Exam Spring 2025</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&amp;diff=166544"/>
		<updated>2025-05-09T06:52:55Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Final Exam Paper Titles&lt;br /&gt;
#https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Zang Flowers ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zeng_Zhi 手串文化  Bead Bracelet Culture ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)&lt;br /&gt;
#https://bou.de/u/wiki/User:Liu_Qi  劝酒文化 Drinking Persuasion Culture ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book&lt;br /&gt;
#https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book&lt;br /&gt;
#https://bou.de/u/wiki/User:Huang_Yixuan2 傩戏 Nuo Opera ok, but check if not yet in the textbook&lt;br /&gt;
#https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳八卦 ''The Book of Changes''and Yin-Yang ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Liao_Dan  吊脚楼 Stilted Building&lt;br /&gt;
#https://bou.de/u/wiki/User:Zheng_Jinlian 陈皮 Dried Orange Peel ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Flower ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Song_Xin  剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects&lt;br /&gt;
#https://bou.de/u/wiki/User:Cao_Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Jin_Yichen 吴越文化 Wuyue Culture ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Ye_Sitong 温州话 Wenzhou Dialect ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Xiao_Luyu 封神演义 Chinese classical novel The Investiture of the Gods ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zhang_Qi 福建线面 Fujian Thin Noddles ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zheng_Kaiwu 工夫茶 Kanghu tea ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Luo_Jingyan 油纸伞 Oil-paper Umbrellas no, this is already in the text book&lt;br /&gt;
#https://bou.de/u/wiki/User:Luo_Sicheng 惊鸿舞 Flying Wild Goose Dance ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Liu_Jianan 禅文化 Zen Culture （Chan Culture）Please check. I think it is already in the text book.&lt;br /&gt;
#https://bou.de/u/wiki/User:Chen_Lin 服美役 beauty duty ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Tang_Yan 道州理学文化 Neo-Confucian Culture in Daozhou ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Geng_Hongmei 花鼓戏 flower-drum opera Please check if it is already in the text book.&lt;br /&gt;
#https://bou.de/u/wiki/User:Qin_Yi 胶东花饽饽 Jiao Dong Huabobo ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Chen_Zhen 玄奘 Xuanzang ok, but please check if it is already in the text book.&lt;br /&gt;
#https://bou.de/u/wiki/User:Ou_Huang 浏阳花炮制作技艺 Liuyang Fireworks Making Technique ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Luo_Yan 成人礼：冠礼和笄礼 Traditional Chinese coming-of-age ceremony：Guan Li and Ji Li ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Lv_Jiahao 越剧 Opera:Yue Opera Pleaes check if it is already in the text book.&lt;br /&gt;
#https://bou.de/u/wiki/User:Wang_Yuxin 中国古法酿酒  Traditional Chinese Brewing Techniques ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Dai_Yexun 粤剧 Opera:Cantonese opera Please check if it is already in the text book.&lt;br /&gt;
#https://bou.de/u/wiki/User:Yan_Jidong 闽南文化 Hokkien culture ok.&lt;br /&gt;
#https://bou.de/u/wiki/User:Qiu_Ping 重阳节 Chung Yeung Festival ok&lt;br /&gt;
#https://bou.de/u/wiki/User:He_Yunfeng 献哈达 Tibetan Etiquette:Offering Hada(Khata)&lt;br /&gt;
#https://bou.de/u/wiki/User:Zhou_Le 榨辣椒 Pressing pepper&lt;br /&gt;
#https://bou.de/u/wiki/User:Huang_Qiaoqiao 咏春 Wing Chun&lt;br /&gt;
#https://bou.de/u/wiki/User:Duan_Binyao 古诗十九首 Nineteen Old Poems&lt;br /&gt;
#https://bou.de/u/wiki/User:Li_Linyao 泼水节 The Water-Splashing Festival&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&amp;diff=166464</id>
		<title>Chin Lang Cult Fin Exam Spring 2025</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&amp;diff=166464"/>
		<updated>2025-05-05T01:37:30Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Final Exam Paper Titles&lt;br /&gt;
#https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Zang Flowers ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zeng_Zhi 手串文化  Bead Bracelet Culture ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)&lt;br /&gt;
#https://bou.de/u/wiki/User:Liu_Qi  劝酒文化 Drinking Persuasion Culture ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book&lt;br /&gt;
#https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book&lt;br /&gt;
#https://bou.de/u/wiki/User:Huang_Yixuan2 傩戏 Nuo Opera ok, but check if not yet in the textbook&lt;br /&gt;
#https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳八卦 ''The Book of Changes''and Yin-Yang ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Liao_Dan  剪纸 Paper-cutting no, this is already in the text book&lt;br /&gt;
#https://bou.de/u/wiki/User:Zheng_Jinlian 陈皮 Dried Orange Peel ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Qin_Yi 八仙文化 The Culture of the Eight Immortals no, this is already in the text book&lt;br /&gt;
#https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Luo_Yan 针灸 Acupuncture no, I think this is already in the text book, if not, it is ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Flower ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok&lt;br /&gt;
#https://bou.de/u/wiki/User:Song_Xin  剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects&lt;br /&gt;
#Cao Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city&lt;br /&gt;
#Jin Yichen 吴越文化 Wuyue Culture&lt;br /&gt;
#Ye Sitong 温州话 Wenzhou Dialect&lt;br /&gt;
#Xiao Luyu 封神演义 Chinese classical novel The Investiture of the Gods&lt;br /&gt;
#Zhang Qi 福建线面 Fujian Thin Noddles&lt;br /&gt;
#Zheng Kaiwu 工夫茶 Kanghu tea&lt;br /&gt;
#Luo Jingyan 油纸伞 Oil-paper Umbrellas&lt;br /&gt;
#Luo Sicheng 惊鸿舞 Flying Wild Goose Dance&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&amp;diff=165240</id>
		<title>Chinese Language and Culture, Spring 2025</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&amp;diff=165240"/>
		<updated>2025-02-22T05:01:05Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!&lt;br /&gt;
&lt;br /&gt;
=Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=&lt;br /&gt;
&lt;br /&gt;
==What we learn in this class==&lt;br /&gt;
*We learn about Chinese culture from international, especially Western perspective. &lt;br /&gt;
*We learn about cultural phenomena, traditional Chinese culture.&lt;br /&gt;
*We learn English and Chinese terminology in the area of Chinese culture.&lt;br /&gt;
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.&lt;br /&gt;
*We learn how to determine the location and role of Chinese culture within global culture.&lt;br /&gt;
*We learn basics of theories and models of intercultural communication and comparison.&lt;br /&gt;
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.&lt;br /&gt;
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).&lt;br /&gt;
&lt;br /&gt;
==Students' contribution==&lt;br /&gt;
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. &lt;br /&gt;
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.&lt;br /&gt;
*For the final exam, you write another chapter of the textbook in both Chinese and English, with &amp;quot;Terms and Expressions&amp;quot;, References, Questions and Answers, Statement regarding AI&lt;br /&gt;
&lt;br /&gt;
==Textbook==&lt;br /&gt;
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.&lt;br /&gt;
&lt;br /&gt;
==Agreement on use of classroom time==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
==Homework for every session==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
==Teacher presentation: Introduction to Culture==&lt;br /&gt;
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Homework for Session 2==&lt;br /&gt;
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &amp;quot;Wang Jianguo&amp;quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &amp;quot;wikicaptcha&amp;quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&amp;quot;Teacher presentation&amp;quot;). &lt;br /&gt;
&lt;br /&gt;
Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!&lt;br /&gt;
&lt;br /&gt;
1.	Geographic Nature as a Basis for Cultural Development	17&lt;br /&gt;
&lt;br /&gt;
2.	Aesthetic ideals and social customs: Chinese Marriage Customs	22&lt;br /&gt;
&lt;br /&gt;
3.	Aesthetic ideals and social customs: Habits, Ways of Contacting	31&lt;br /&gt;
&lt;br /&gt;
4.	Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan	40&lt;br /&gt;
&lt;br /&gt;
5.	Aesthetic ideals and social customs: Crying Marriage of Tujia	49&lt;br /&gt;
&lt;br /&gt;
6.	Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China	63&lt;br /&gt;
&lt;br /&gt;
7.	Animals: Panda	71&lt;br /&gt;
&lt;br /&gt;
8.	Architecture	78&lt;br /&gt;
&lt;br /&gt;
9.	Architecture: The Forbidden City 	89&lt;br /&gt;
&lt;br /&gt;
10.	Architecture: Four Famous Bridges	102&lt;br /&gt;
&lt;br /&gt;
11.	Architecture: Four Great Pavilions	113&lt;br /&gt;
&lt;br /&gt;
12.	Architecture: Shengjing Imperial Palace	124&lt;br /&gt;
&lt;br /&gt;
13.	Architecture: Three Great Towers in China	131&lt;br /&gt;
&lt;br /&gt;
14.	Architecture: Fengshui in Chinese Architecture	145&lt;br /&gt;
&lt;br /&gt;
15.	Army and weapons: Chinese Ancient Weapons	154&lt;br /&gt;
&lt;br /&gt;
16.	Army and weapons: Terracotta Army	163&lt;br /&gt;
&lt;br /&gt;
17.	Astrology: Chinese Astrology	170&lt;br /&gt;
&lt;br /&gt;
18.	Astrology: Calendar, The 24 Solar Terms	178&lt;br /&gt;
&lt;br /&gt;
19.	Astrology: Twelve Animals of the Chinese Zodiac	188&lt;br /&gt;
&lt;br /&gt;
20.	Beverages: Milk Tea	197&lt;br /&gt;
&lt;br /&gt;
21.	Beverages: Tea	203&lt;br /&gt;
&lt;br /&gt;
22.	Beverages: The Liquor Culture of Ancient China	209&lt;br /&gt;
&lt;br /&gt;
23.	Body movement performance: Chinese Lion Dancing 	218&lt;br /&gt;
&lt;br /&gt;
24.	Body movement performance: Stilts	223&lt;br /&gt;
&lt;br /&gt;
25.	Body movement performance: Traditional Chinese Dance	230&lt;br /&gt;
&lt;br /&gt;
26.	Chinese Writing: Ancient Writing and Painting Tool, Writing Brush	236&lt;br /&gt;
&lt;br /&gt;
27.	Chinese Writing: Calligraphy	246&lt;br /&gt;
&lt;br /&gt;
28.	Chinese Writing: The Evolution of Calligraphy	252&lt;br /&gt;
&lt;br /&gt;
29.	Chinese Writing: Chinese Characters	262&lt;br /&gt;
&lt;br /&gt;
30.	Chinese Writing: Chinese Characters and Scripts	276&lt;br /&gt;
&lt;br /&gt;
31.	Clothing: Chinese Clothing	283&lt;br /&gt;
&lt;br /&gt;
32.	Clothing: Batik (Lanran)	291&lt;br /&gt;
&lt;br /&gt;
33.	Clothing: Cheongsam	301&lt;br /&gt;
&lt;br /&gt;
34.	Confucianism: Confucian Culture	309&lt;br /&gt;
&lt;br /&gt;
35.	Confucianism: Chinese Traditional Culture-Five Constant Virtues	324&lt;br /&gt;
&lt;br /&gt;
36.	Confucianism: Classical Philosophy - Confucius and Confucianism	332&lt;br /&gt;
&lt;br /&gt;
37.	Confucianism: Classical Philosophy - Reading The Analects	339  (Duan Binyao)&lt;br /&gt;
&lt;br /&gt;
38.	Education: Ancient Chinese Education	350&lt;br /&gt;
&lt;br /&gt;
39.	Education: Historical Figures, The Four Talented Women of Ancient China	361&lt;br /&gt;
&lt;br /&gt;
40.	Education: Modern Chinese Education System	371&lt;br /&gt;
&lt;br /&gt;
41.	Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties	386&lt;br /&gt;
&lt;br /&gt;
42.	Education: Yuelu Academy (One of the Four Most Prestigious Academies)	395&lt;br /&gt;
&lt;br /&gt;
43.	Facial Make-up	406&lt;br /&gt;
&lt;br /&gt;
44.	Facial Make-up: Cosmetics, Traditional Chinese Make-Up	413&lt;br /&gt;
&lt;br /&gt;
45.	Facial Make-up: Face Changing in Sichuan Opera	431&lt;br /&gt;
&lt;br /&gt;
46.	Fine Arts: Painting	440&lt;br /&gt;
&lt;br /&gt;
47.	Fine Arts: Bada Shanren and Qi Baishi	445&lt;br /&gt;
&lt;br /&gt;
48.	Fine Arts: Painting Riverside Scene at Tomb Sweeping Day	452&lt;br /&gt;
&lt;br /&gt;
49.	Fine Arts: Seal-cutting	459&lt;br /&gt;
&lt;br /&gt;
50.	Games: Go 围棋 	462&lt;br /&gt;
&lt;br /&gt;
51.	Games: Kite Flying	468&lt;br /&gt;
&lt;br /&gt;
52.	Games: Mahjong: An Ancient Chinese card play	476&lt;br /&gt;
&lt;br /&gt;
53.	Garden Culture: Gardens	505&lt;br /&gt;
&lt;br /&gt;
54.	Garden Culture: Bonsai (Penjing) 	511&lt;br /&gt;
&lt;br /&gt;
55.	Garden Culture: The Summer Palace	519&lt;br /&gt;
&lt;br /&gt;
56.	Garden Culture: Qingming Riverside Landscspe Garden	526&lt;br /&gt;
&lt;br /&gt;
57.	Gender: Wu Zetian: The Only Female Emperor of Imperial China	535&lt;br /&gt;
&lt;br /&gt;
58.	History: Carl and Cixi	548&lt;br /&gt;
&lt;br /&gt;
59.	Interieur: The Folding Screen	552&lt;br /&gt;
&lt;br /&gt;
60.	Landscapes and Tourism: Four Buddhist Shrines	561&lt;br /&gt;
&lt;br /&gt;
61.	Landscapes and Tourism: Four State-Level Cultural Relics	573&lt;br /&gt;
&lt;br /&gt;
62.	Landscapes and Tourism: Landscape, Five Famous Mountains	585&lt;br /&gt;
&lt;br /&gt;
63.	Landscapes and Tourism: Mogao Grottoes	593&lt;br /&gt;
&lt;br /&gt;
64.	Landscapes and Tourism: The Culture of Mount Tai	606&lt;br /&gt;
&lt;br /&gt;
65.	Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal）	621&lt;br /&gt;
&lt;br /&gt;
66.	Landscapes and Tourism: The Ancient Tea Horse Road	635&lt;br /&gt;
&lt;br /&gt;
67.	Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties	642&lt;br /&gt;
&lt;br /&gt;
68.	Language: Chinese Language	649&lt;br /&gt;
&lt;br /&gt;
69.	Language: Chinese Dialects	660&lt;br /&gt;
&lt;br /&gt;
70.	Language: Chinese Folk Argot	669&lt;br /&gt;
&lt;br /&gt;
71.	Literature: Ancient literature - Chinese Classical Fairy Tales	681&lt;br /&gt;
&lt;br /&gt;
72.	Literature: Ancient literature - Chinese Mythology	688&lt;br /&gt;
&lt;br /&gt;
73.	Literature: Ancient literature - Classical Literature	699&lt;br /&gt;
&lt;br /&gt;
74.	Literature: Ancient Literature - Four satirical novels in ancient China	706&lt;br /&gt;
&lt;br /&gt;
75.	Literature: Ancient literature: Four Folk Stories of Ancient China	715&lt;br /&gt;
&lt;br /&gt;
76.	Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China	725  (Duan Binyao)&lt;br /&gt;
&lt;br /&gt;
77.	Literature: Ancient Literature: The Classic of Mountains and Seas	748&lt;br /&gt;
&lt;br /&gt;
78.	Literature: Ancient literature: Yuefu	765&lt;br /&gt;
&lt;br /&gt;
79.	Literature: Premodern literature - China's Four Great Classical Novels	773 (Duan Binyao)&lt;br /&gt;
&lt;br /&gt;
80.	Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations	780&lt;br /&gt;
&lt;br /&gt;
81.	Literature: Premodern literature: Strange Stories from a Chinese Studio	786&lt;br /&gt;
&lt;br /&gt;
82.	Literature: Premodern literature: Tang-Song	794&lt;br /&gt;
&lt;br /&gt;
83.	Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty	823&lt;br /&gt;
&lt;br /&gt;
84.	Literature: Modern Literature	832&lt;br /&gt;
&lt;br /&gt;
85.	Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu)	841&lt;br /&gt;
&lt;br /&gt;
86.	Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy	848&lt;br /&gt;
&lt;br /&gt;
87.	Literature: Contemporary Literature	859&lt;br /&gt;
&lt;br /&gt;
88.	Martial Arts: Huo Yuanjia	865&lt;br /&gt;
&lt;br /&gt;
89.	Martial Arts: Qigong	868&lt;br /&gt;
&lt;br /&gt;
90.	Martial Arts: Taiji (Tai Chi) Shadow Boxing	873&lt;br /&gt;
&lt;br /&gt;
91.	Martial Arts: Wushu	885&lt;br /&gt;
&lt;br /&gt;
92.	Martial Arts: Frolics of the Five Animals (Wuqinxi)	890&lt;br /&gt;
&lt;br /&gt;
93.	Medicine: Traditional Chinese Medicine (TCM)	900&lt;br /&gt;
&lt;br /&gt;
94.	Medicine: TCM - Acupuncture and Moxibustion	907&lt;br /&gt;
&lt;br /&gt;
95.	Medicine: TCM - Diagnosis and Pharmacology	912&lt;br /&gt;
&lt;br /&gt;
96.	Medicine: TCM - The Development of Chinese Medicine	917&lt;br /&gt;
&lt;br /&gt;
97.	Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing	924&lt;br /&gt;
&lt;br /&gt;
98.	Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority	934&lt;br /&gt;
&lt;br /&gt;
99.	Minority cultures: The Ethnic Minorities’ Costumes	941&lt;br /&gt;
&lt;br /&gt;
100.	Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty)	952&lt;br /&gt;
&lt;br /&gt;
101.	Money culture: The tradition of Red Envelope and Lucky Money 	962&lt;br /&gt;
&lt;br /&gt;
102.	Music and instruments: Guzheng	975&lt;br /&gt;
&lt;br /&gt;
103.	Music and instruments: Pipa	986&lt;br /&gt;
&lt;br /&gt;
104.	Mythology: Gods and Immortals	996&lt;br /&gt;
&lt;br /&gt;
105.	Mythology: Huli-jing	1005&lt;br /&gt;
&lt;br /&gt;
106.	National Symbols: National Anthem	1018&lt;br /&gt;
&lt;br /&gt;
107.	National Symbols: National Flag	1026&lt;br /&gt;
&lt;br /&gt;
108.	Opera: Peking Opera	1035&lt;br /&gt;
&lt;br /&gt;
109.	Opera: Peking Opera Acrobatics	1043&lt;br /&gt;
&lt;br /&gt;
110.	Opera: Peking Opera Actor Mei Lanfang	1050&lt;br /&gt;
&lt;br /&gt;
111.	Opera: Tea-picking Opera	1055&lt;br /&gt;
&lt;br /&gt;
112.	Opera: Hunan Flower-drum Opera (Huagu Opera)	1064&lt;br /&gt;
&lt;br /&gt;
113.	Philosophical Schools: Four Main Philosophical Schools	1076&lt;br /&gt;
&lt;br /&gt;
114.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism	1087&lt;br /&gt;
&lt;br /&gt;
115.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching	1093&lt;br /&gt;
&lt;br /&gt;
116.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng	1099&lt;br /&gt;
&lt;br /&gt;
117.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living	1106&lt;br /&gt;
&lt;br /&gt;
118.	Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 	1119&lt;br /&gt;
&lt;br /&gt;
119.	Philosophy: Chinese Traditional Cultivation Culture	1129&lt;br /&gt;
&lt;br /&gt;
120.	Religion: Traditional Chinese Funeral Culture	1141&lt;br /&gt;
&lt;br /&gt;
121.	Religion: Buddhism	1155&lt;br /&gt;
&lt;br /&gt;
122.	Religion: Daoism	1170&lt;br /&gt;
&lt;br /&gt;
123.	Religion: Christianity	1175&lt;br /&gt;
&lt;br /&gt;
124.	Religion: Islam	1181&lt;br /&gt;
&lt;br /&gt;
125.	Science and Technology: Ancient Science and Technology	1185&lt;br /&gt;
&lt;br /&gt;
126.	Science and Technology: China's Four New Inventions	1191&lt;br /&gt;
&lt;br /&gt;
127.	Science and Technology: Compass	1217&lt;br /&gt;
&lt;br /&gt;
128.	Science and Technology: TikTok (Douyin)	1226&lt;br /&gt;
&lt;br /&gt;
129.	Science and Technology: Three Giant Home Appliance Enterprises In China 	1235&lt;br /&gt;
&lt;br /&gt;
130.	Science and Technology: Four Domestic Mobile Phone Companies	1257&lt;br /&gt;
&lt;br /&gt;
131.	Silk and porcelain: Silk	1272&lt;br /&gt;
&lt;br /&gt;
132.	Silk and porcelain: Porcelain	1277&lt;br /&gt;
&lt;br /&gt;
133.	Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词	1283&lt;br /&gt;
&lt;br /&gt;
134.	Silk Road - by land and by sea: Zhang Qian and the Silk Road	1291&lt;br /&gt;
&lt;br /&gt;
135.	Silk Road - by land and by sea: Zheng He and the Maritime Silk Road	1296&lt;br /&gt;
&lt;br /&gt;
136.	Silk Road - by land and by sea: Zheng He's Voyages	1300&lt;br /&gt;
&lt;br /&gt;
137.	Social: The Long-life Lock	1308&lt;br /&gt;
&lt;br /&gt;
138.	Social: Round Table Culture	1317&lt;br /&gt;
&lt;br /&gt;
139.	Stage entertainment: Crosstalk 相声	1325&lt;br /&gt;
140.	Stage entertainment: Shadow Play	1332&lt;br /&gt;
&lt;br /&gt;
141.	Traditional Crafts: Carving	1340&lt;br /&gt;
&lt;br /&gt;
142.	Traditional Crafts: Chinese Jade Culture	1348&lt;br /&gt;
143.	Traditional Crafts: Cloisonne	1363&lt;br /&gt;
&lt;br /&gt;
144.	Traditional Crafts: Embroidery	1369&lt;br /&gt;
&lt;br /&gt;
145.	Traditional Crafts: Shu Embroidery (Sichuan Embroidery)	1373&lt;br /&gt;
&lt;br /&gt;
146.	Traditional Crafts: Xiang Embroidery	1386&lt;br /&gt;
&lt;br /&gt;
147.	Traditional Crafts: Folk Art - Chinese Paper-cutting	1400&lt;br /&gt;
&lt;br /&gt;
148.	Traditional Crafts: Handcraft - Chinese Knots	1409&lt;br /&gt;
&lt;br /&gt;
149.	Traditional Crafts: Lacquerware	1418&lt;br /&gt;
&lt;br /&gt;
150.	Traditional Crafts: The Kingfisher Craft点翠	1423（Chen Lin）&lt;br /&gt;
&lt;br /&gt;
151.	Traditional Cuisine: Chinese Dining Etiquette	1436&lt;br /&gt;
&lt;br /&gt;
152.	Traditional Cuisine: Chopsticks	1450&lt;br /&gt;
&lt;br /&gt;
153.	Traditional Cuisine: Eight Major Cuisines of China	1456&lt;br /&gt;
&lt;br /&gt;
154.	Traditional Cuisine: Four Distinct Regional Cuisines	1473&lt;br /&gt;
&lt;br /&gt;
155.	Traditional Cuisine: Breakfast Culture of Wuhan	1480&lt;br /&gt;
&lt;br /&gt;
156.	Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick	1491&lt;br /&gt;
157.	Traditional Cuisine: Hotpot	1501&lt;br /&gt;
&lt;br /&gt;
158.	Traditional Cuisine: The Art of Chinese Cooking	1508&lt;br /&gt;
&lt;br /&gt;
159.	Traditional Cuisine: Two Famous Dishes	1514&lt;br /&gt;
&lt;br /&gt;
160.	Traditional Festivals	1518……&lt;br /&gt;
&lt;br /&gt;
161.	Traditional Festivals: Lattice on Ancient Chinese Windows	1525&lt;br /&gt;
&lt;br /&gt;
162.	Traditional Festivals: Spring Festival Couplets	1538&lt;br /&gt;
&lt;br /&gt;
163.	Westernization: The Eastward Spread of Western Learning	1544&lt;br /&gt;
&lt;br /&gt;
164.	Westernization: The Westernization Movement	1550&lt;br /&gt;
&lt;br /&gt;
165.	Worship: Chinese Incense Culture	1558&lt;br /&gt;
&lt;br /&gt;
166.	Economy: Chinese Currency Changes	1569&lt;br /&gt;
&lt;br /&gt;
167.	History: Wang Shouren	1573&lt;br /&gt;
&lt;br /&gt;
168.	Martial Arts: Chinese Swordsman Spirit	1582&lt;br /&gt;
&lt;br /&gt;
169.	Cuisine: Luosifen	1593 （Zeng Zhi）&lt;br /&gt;
&lt;br /&gt;
170.	Fine Arts: Chinese Paper Cutting	1601&lt;br /&gt;
&lt;br /&gt;
171.	Science and Technology: Taobao(淘宝) 	1611&lt;br /&gt;
&lt;br /&gt;
172.	Traditional Craft: Bronze	1623&lt;br /&gt;
&lt;br /&gt;
173.	Entertainment: Deyunshe 德云社	1631&lt;br /&gt;
&lt;br /&gt;
174.	Traditional Cuisine: Jiaozi	1644&lt;br /&gt;
&lt;br /&gt;
175.	Aesthetic ideals and social customs: the Photo Retouching Culture in China	1655&lt;br /&gt;
&lt;br /&gt;
176.	Traditional Crafts: Handcraft - Oil-paper Umbrella	1664&lt;br /&gt;
&lt;br /&gt;
177.	stage entertainment:Yuan drama	1676&lt;br /&gt;
&lt;br /&gt;
178.	Music and instruments: Erhu	1685&lt;br /&gt;
&lt;br /&gt;
179.	Traditional and Modern Views on Marriage and Love	1694&lt;br /&gt;
&lt;br /&gt;
180.	Traditional Cuisine: Tangyuan	1701&lt;br /&gt;
&lt;br /&gt;
181.	Animals：Golden Monkey	1712&lt;br /&gt;
&lt;br /&gt;
182.	Chinese Economy: rich businessmen	1719&lt;br /&gt;
&lt;br /&gt;
183.	Opera: Chinese Local Operas	1727&lt;br /&gt;
&lt;br /&gt;
184.	The Chinese tradition of ancestor worship	1740&lt;br /&gt;
&lt;br /&gt;
185.	Opera: Huangmei opera	1752&lt;br /&gt;
&lt;br /&gt;
186.	The “reference” of Chinese Music	1759&lt;br /&gt;
&lt;br /&gt;
187.	Chinese Folk Art:Lion Dance	1767&lt;br /&gt;
&lt;br /&gt;
188.	Science and Technology: Mobile Games（手游）	1783&lt;br /&gt;
&lt;br /&gt;
189.	Clothing: Vintage Clothing	1790&lt;br /&gt;
&lt;br /&gt;
190.	Fine arts:Kunqu Opera	1798&lt;br /&gt;
&lt;br /&gt;
191.	Aesthetic ideals and social customs: The Culture of Flowers	1807&lt;br /&gt;
&lt;br /&gt;
192.	National Belief: the Chinese Dream	1818&lt;br /&gt;
&lt;br /&gt;
193.	Science and Technology: Buytogether（PDD) 	1825&lt;br /&gt;
&lt;br /&gt;
194.	Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People	1845&lt;br /&gt;
&lt;br /&gt;
195.	Sports: Cuju (蹴鞠) 	1845&lt;br /&gt;
&lt;br /&gt;
196.	Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车	1845&lt;br /&gt;
&lt;br /&gt;
197.	Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花	1845&lt;br /&gt;
&lt;br /&gt;
198.	Stage entertainment: Northeast Errenzhuan (二人转) 	1845&lt;br /&gt;
&lt;br /&gt;
199.	Traditional Crafts: Dough Sculpture 面塑	1845&lt;br /&gt;
&lt;br /&gt;
200.	Nanchang Relic Museum for Haihun Principality of Han Dynasty	1845&lt;br /&gt;
&lt;br /&gt;
201.	The culture of Grass cloth 夏布	1845 (Huang Qiaoqiao)&lt;br /&gt;
&lt;br /&gt;
202.	The Legend of Zhen Huan 《甄嬛传》	1845  （Xing Xueqing）&lt;br /&gt;
&lt;br /&gt;
203.	Chinese horror movies 中式恐怖片	1845&lt;br /&gt;
&lt;br /&gt;
204.	Stand-up comedy 单口喜剧	1845&lt;br /&gt;
&lt;br /&gt;
205.	Bride-price（彩礼）	1845&lt;br /&gt;
&lt;br /&gt;
206.	Chinese science fiction movies 中国科幻片	1845&lt;br /&gt;
&lt;br /&gt;
207.	Shandong cuisine鲁菜	1845&lt;br /&gt;
&lt;br /&gt;
208.	Chinese traditional ornament: Buyao （步摇）	1845&lt;br /&gt;
&lt;br /&gt;
209.	Tofu meatball with pig blood (猪血丸子) 	1845&lt;br /&gt;
&lt;br /&gt;
210.	Sunzi’s Art of War: Source for All Books on War (孙子兵法) 	1845&lt;br /&gt;
&lt;br /&gt;
211.	The Temple of Heaven：Reverence with Awe and Gratitude（天坛）	1845&lt;br /&gt;
&lt;br /&gt;
212.	Education：training Schools （教育：补习班）	1845&lt;br /&gt;
&lt;br /&gt;
213.	Chinese Dreamcore (中式梦核) 	1845&lt;br /&gt;
&lt;br /&gt;
214.	Lu Ban, China’s inventor（中国发明家——鲁班）	1845&lt;br /&gt;
&lt;br /&gt;
215.	Live Streaming E-commerce（直播电商）	1845&lt;br /&gt;
&lt;br /&gt;
216.	The Story of Ming Lan（知否知否，应是绿肥红瘦）	1845&lt;br /&gt;
&lt;br /&gt;
217.	Cha Bai Xi/Tea Latte Art (茶百戏) 	1845&lt;br /&gt;
&lt;br /&gt;
218.	Guangdong Herbal tea（广东凉茶）	1845&lt;br /&gt;
&lt;br /&gt;
219.	Chinese traditional art form：Seal carving（篆刻）	1845(Huang Qiaoqiao)&lt;br /&gt;
&lt;br /&gt;
220.	Rice cake (年糕) 	1845&lt;br /&gt;
&lt;br /&gt;
221.	Zhongyuan festival	1845&lt;br /&gt;
&lt;br /&gt;
222.	Dulong: Facial tattoo (独龙族：纹面) 	1845&lt;br /&gt;
&lt;br /&gt;
223.	The Return of the Pearl Princess（还珠格格）	1845&lt;br /&gt;
&lt;br /&gt;
224.	Chinese Food：Jiangxi Cuisine（赣菜）	1845&lt;br /&gt;
&lt;br /&gt;
225.	&amp;quot;Cun Chao&amp;quot;: China's village football league（“村超”：中国乡村足球联赛）	1845&lt;br /&gt;
&lt;br /&gt;
226.	Landscapes and Tourism: Junshan Island (君山岛) 	1845&lt;br /&gt;
&lt;br /&gt;
227.	Chinese Bossy Fictions &amp;amp; Micro-drama（中国式霸总小说&amp;amp;短剧）	1845&lt;br /&gt;
&lt;br /&gt;
228.	Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构）	1845&lt;br /&gt;
&lt;br /&gt;
229.	Jingdezhen Porcelain	1845&lt;br /&gt;
&lt;br /&gt;
230.	Gayageum（伽倻琴）	1845&lt;br /&gt;
&lt;br /&gt;
231.	The plaque and couplet in Chinese garden（园林匾额对联）	1845&lt;br /&gt;
&lt;br /&gt;
232.	Sun Wukong（孙悟空）	1845&lt;br /&gt;
&lt;br /&gt;
233.	Traditional Chinese Pigments（中国传统颜料）	1845&lt;br /&gt;
&lt;br /&gt;
234.	Dragon Lantern Dance（舞龙灯）	1845&lt;br /&gt;
&lt;br /&gt;
235.	Bamboo Weaving (竹编）	1845&lt;br /&gt;
&lt;br /&gt;
236.	Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 	1845&lt;br /&gt;
&lt;br /&gt;
237.	Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 	1845&lt;br /&gt;
&lt;br /&gt;
238.	Three Famous Chinese Mountains(中国三山) 	1845&lt;br /&gt;
&lt;br /&gt;
239.	Female Emperor---Wu Zetian	1845&lt;br /&gt;
&lt;br /&gt;
240.	Clay sculpture (泥塑）	1845&lt;br /&gt;
&lt;br /&gt;
241.	Abacus (中国珠算）	1845&lt;br /&gt;
&lt;br /&gt;
242.	Hunan Rice Noodles（湖南米粉）	1845 &lt;br /&gt;
&lt;br /&gt;
243.	Chinese name（中国姓名文化）	1845 &lt;br /&gt;
&lt;br /&gt;
244.	Chinese popular viral memes (中国网络社交媒体“热梗”）	1845(Xiao Yikang)&lt;br /&gt;
&lt;br /&gt;
245.	Douzhi (豆汁) 	1845&lt;br /&gt;
&lt;br /&gt;
246.	New Year Wood-block Paintings (木版年画）	1845&lt;br /&gt;
&lt;br /&gt;
247.	Carved lacquer（雕漆）	1845&lt;br /&gt;
&lt;br /&gt;
248.	Jing Gang Mountain (井冈山）	1845&lt;br /&gt;
&lt;br /&gt;
249.	Intangible Cultural Heritage: Tongguan Kiln （铜官窑）	1845&lt;br /&gt;
&lt;br /&gt;
250.	Language: Hakka Dialect（客家话）	1845&lt;br /&gt;
&lt;br /&gt;
251.	Rice noodle roll（肠粉）	1845 ( Li Mingfeng )&lt;br /&gt;
&lt;br /&gt;
252.	Traditional Cuisine: Northeastern Chinese Cuisine(东北菜）	1845&lt;br /&gt;
&lt;br /&gt;
253.	Yuelu Mountain (岳麓山) 	1845&lt;br /&gt;
&lt;br /&gt;
254.	Traditional Crafts：Tie-Dye（扎染）	1845&lt;br /&gt;
&lt;br /&gt;
255.	Chinese-style sun protection (中式防晒）	1845&lt;br /&gt;
&lt;br /&gt;
256.	Danmu (弹幕）	1845 (Zhou Le)&lt;br /&gt;
&lt;br /&gt;
257.	Yangshao Culture（仰韶文化）	1845&lt;br /&gt;
&lt;br /&gt;
258.	Indigo Dyeing (蓝染) 	1845&lt;br /&gt;
&lt;br /&gt;
259.	Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua	1845&lt;br /&gt;
&lt;br /&gt;
260.	Wedding dress in the Song Dynasty (宋代婚服) 	1845 (Liu Chao) &lt;br /&gt;
&lt;br /&gt;
261.	The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 	1845&lt;br /&gt;
&lt;br /&gt;
262.	The Four Pillars of Destiny (八字) 	1845&lt;br /&gt;
&lt;br /&gt;
263.	Shaolin Temple (少林寺) 	1845&lt;br /&gt;
&lt;br /&gt;
264.	Single bamboo drifting（独竹漂）	1845&lt;br /&gt;
&lt;br /&gt;
265.	Cuisine: Changde spicy salted duck 酱板鸭传说的由来	1845 （Xing Xueqing）&lt;br /&gt;
&lt;br /&gt;
266.	Hui Culture (徽文化)	1845(Liu Jianan)&lt;br /&gt;
&lt;br /&gt;
267.	Ma Zu Culture (妈祖文化)	1845 (Yan Jidong)&lt;br /&gt;
&lt;br /&gt;
268.	Table Manners 	1845&lt;br /&gt;
&lt;br /&gt;
269.	Music of the Mongol nationality (蒙古族音乐)	1845&lt;br /&gt;
&lt;br /&gt;
270.	The Yingge Dance（英歌舞）	1845&lt;br /&gt;
&lt;br /&gt;
271.	Palace Lantern（宫灯）	1845&lt;br /&gt;
&lt;br /&gt;
272.	Chinese Term of Endearment（中国亲昵称谓）	1845&lt;br /&gt;
&lt;br /&gt;
273.	Changsha Stinky Tofu（长沙臭豆腐) 	1845(Luo Sicheng)&lt;br /&gt;
&lt;br /&gt;
274.	God of Wealth(财神) 	1845 （Zeng Zhi）&lt;br /&gt;
&lt;br /&gt;
275.	Zhuazhou（抓周）	1845&lt;br /&gt;
&lt;br /&gt;
276.	Nail art（美甲）	1845&lt;br /&gt;
&lt;br /&gt;
277.	Mirror (镜子) 	1845&lt;br /&gt;
&lt;br /&gt;
278.	The Beef Board Noodle (牛肉板面) 	1845&lt;br /&gt;
&lt;br /&gt;
279.	Huo Qubing (霍去病）	1845 （Luo Jingyan）&lt;br /&gt;
&lt;br /&gt;
280.	Chinese Courtyard Houses（中国四合院）	1845&lt;br /&gt;
&lt;br /&gt;
281.	Music and instruments: Yangqin（扬琴）	1845&lt;br /&gt;
&lt;br /&gt;
282.	Black Myth: Wukong（黑神话 悟空）	1845&lt;br /&gt;
&lt;br /&gt;
283.	Guangdong Morning Tea Culture （广东早茶文化）	1845&lt;br /&gt;
&lt;br /&gt;
=Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
==Teacher presentation: Introduction to Culture==&lt;br /&gt;
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Topics for today==&lt;br /&gt;
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)&lt;br /&gt;
&lt;br /&gt;
=Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
清明节4月4日——4月6日&lt;br /&gt;
=Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
劳动节5月1日——5月5日&lt;br /&gt;
=Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
端午节5月31日——6月2日&lt;br /&gt;
=Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=&lt;br /&gt;
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&amp;diff=165237</id>
		<title>Chinese Language and Culture, Spring 2025</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&amp;diff=165237"/>
		<updated>2025-02-22T04:48:50Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: /* Homework for Session 2 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!&lt;br /&gt;
&lt;br /&gt;
=Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=&lt;br /&gt;
&lt;br /&gt;
==What we learn in this class==&lt;br /&gt;
*We learn about Chinese culture from international, especially Western perspective. &lt;br /&gt;
*We learn about cultural phenomena, traditional Chinese culture.&lt;br /&gt;
*We learn English and Chinese terminology in the area of Chinese culture.&lt;br /&gt;
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.&lt;br /&gt;
*We learn how to determine the location and role of Chinese culture within global culture.&lt;br /&gt;
*We learn basics of theories and models of intercultural communication and comparison.&lt;br /&gt;
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.&lt;br /&gt;
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).&lt;br /&gt;
&lt;br /&gt;
==Students' contribution==&lt;br /&gt;
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. &lt;br /&gt;
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.&lt;br /&gt;
*For the final exam, you write another chapter of the textbook in both Chinese and English, with &amp;quot;Terms and Expressions&amp;quot;, References, Questions and Answers, Statement regarding AI&lt;br /&gt;
&lt;br /&gt;
==Textbook==&lt;br /&gt;
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.&lt;br /&gt;
&lt;br /&gt;
==Agreement on use of classroom time==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
==Homework for every session==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
==Teacher presentation: Introduction to Culture==&lt;br /&gt;
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Homework for Session 2==&lt;br /&gt;
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &amp;quot;Wang Jianguo&amp;quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &amp;quot;wikicaptcha&amp;quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&amp;quot;Teacher presentation&amp;quot;). &lt;br /&gt;
&lt;br /&gt;
Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!&lt;br /&gt;
&lt;br /&gt;
1.	Geographic Nature as a Basis for Cultural Development	17&lt;br /&gt;
&lt;br /&gt;
2.	Aesthetic ideals and social customs: Chinese Marriage Customs	22&lt;br /&gt;
&lt;br /&gt;
3.	Aesthetic ideals and social customs: Habits, Ways of Contacting	31&lt;br /&gt;
&lt;br /&gt;
4.	Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan	40&lt;br /&gt;
&lt;br /&gt;
5.	Aesthetic ideals and social customs: Crying Marriage of Tujia	49&lt;br /&gt;
&lt;br /&gt;
6.	Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China	63&lt;br /&gt;
&lt;br /&gt;
7.	Animals: Panda	71&lt;br /&gt;
&lt;br /&gt;
8.	Architecture	78&lt;br /&gt;
&lt;br /&gt;
9.	Architecture: The Forbidden City 	89&lt;br /&gt;
&lt;br /&gt;
10.	Architecture: Four Famous Bridges	102&lt;br /&gt;
&lt;br /&gt;
11.	Architecture: Four Great Pavilions	113&lt;br /&gt;
&lt;br /&gt;
12.	Architecture: Shengjing Imperial Palace	124&lt;br /&gt;
&lt;br /&gt;
13.	Architecture: Three Great Towers in China	131&lt;br /&gt;
&lt;br /&gt;
14.	Architecture: Fengshui in Chinese Architecture	145&lt;br /&gt;
&lt;br /&gt;
15.	Army and weapons: Chinese Ancient Weapons	154&lt;br /&gt;
&lt;br /&gt;
16.	Army and weapons: Terracotta Army	163&lt;br /&gt;
&lt;br /&gt;
17.	Astrology: Chinese Astrology	170&lt;br /&gt;
&lt;br /&gt;
18.	Astrology: Calendar, The 24 Solar Terms	178&lt;br /&gt;
&lt;br /&gt;
19.	Astrology: Twelve Animals of the Chinese Zodiac	188&lt;br /&gt;
&lt;br /&gt;
20.	Beverages: Milk Tea	197&lt;br /&gt;
&lt;br /&gt;
21.	Beverages: Tea	203&lt;br /&gt;
&lt;br /&gt;
22.	Beverages: The Liquor Culture of Ancient China	209&lt;br /&gt;
&lt;br /&gt;
23.	Body movement performance: Chinese Lion Dancing 	218&lt;br /&gt;
&lt;br /&gt;
24.	Body movement performance: Stilts	223&lt;br /&gt;
&lt;br /&gt;
25.	Body movement performance: Traditional Chinese Dance	230&lt;br /&gt;
&lt;br /&gt;
26.	Chinese Writing: Ancient Writing and Painting Tool, Writing Brush	236&lt;br /&gt;
&lt;br /&gt;
27.	Chinese Writing: Calligraphy	246&lt;br /&gt;
&lt;br /&gt;
28.	Chinese Writing: The Evolution of Calligraphy	252&lt;br /&gt;
&lt;br /&gt;
29.	Chinese Writing: Chinese Characters	262&lt;br /&gt;
&lt;br /&gt;
30.	Chinese Writing: Chinese Characters and Scripts	276&lt;br /&gt;
&lt;br /&gt;
31.	Clothing: Chinese Clothing	283&lt;br /&gt;
&lt;br /&gt;
32.	Clothing: Batik (Lanran)	291&lt;br /&gt;
&lt;br /&gt;
33.	Clothing: Cheongsam	301&lt;br /&gt;
&lt;br /&gt;
34.	Confucianism: Confucian Culture	309&lt;br /&gt;
&lt;br /&gt;
35.	Confucianism: Chinese Traditional Culture-Five Constant Virtues	324&lt;br /&gt;
&lt;br /&gt;
36.	Confucianism: Classical Philosophy - Confucius and Confucianism	332&lt;br /&gt;
&lt;br /&gt;
37.	Confucianism: Classical Philosophy - Reading The Analects	339  (Duan Binyao)&lt;br /&gt;
&lt;br /&gt;
38.	Education: Ancient Chinese Education	350&lt;br /&gt;
&lt;br /&gt;
39.	Education: Historical Figures, The Four Talented Women of Ancient China	361&lt;br /&gt;
&lt;br /&gt;
40.	Education: Modern Chinese Education System	371&lt;br /&gt;
&lt;br /&gt;
41.	Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties	386&lt;br /&gt;
&lt;br /&gt;
42.	Education: Yuelu Academy (One of the Four Most Prestigious Academies)	395&lt;br /&gt;
&lt;br /&gt;
43.	Facial Make-up	406&lt;br /&gt;
&lt;br /&gt;
44.	Facial Make-up: Cosmetics, Traditional Chinese Make-Up	413&lt;br /&gt;
&lt;br /&gt;
45.	Facial Make-up: Face Changing in Sichuan Opera	431&lt;br /&gt;
&lt;br /&gt;
46.	Fine Arts: Painting	440&lt;br /&gt;
&lt;br /&gt;
47.	Fine Arts: Bada Shanren and Qi Baishi	445&lt;br /&gt;
&lt;br /&gt;
48.	Fine Arts: Painting Riverside Scene at Tomb Sweeping Day	452&lt;br /&gt;
&lt;br /&gt;
49.	Fine Arts: Seal-cutting	459&lt;br /&gt;
&lt;br /&gt;
50.	Games: Go 围棋 	462&lt;br /&gt;
&lt;br /&gt;
51.	Games: Kite Flying	468&lt;br /&gt;
&lt;br /&gt;
52.	Games: Mahjong: An Ancient Chinese card play	476&lt;br /&gt;
&lt;br /&gt;
53.	Garden Culture: Gardens	505&lt;br /&gt;
&lt;br /&gt;
54.	Garden Culture: Bonsai (Penjing) 	511&lt;br /&gt;
&lt;br /&gt;
55.	Garden Culture: The Summer Palace	519&lt;br /&gt;
&lt;br /&gt;
56.	Garden Culture: Qingming Riverside Landscspe Garden	526&lt;br /&gt;
&lt;br /&gt;
57.	Gender: Wu Zetian: The Only Female Emperor of Imperial China	535&lt;br /&gt;
&lt;br /&gt;
58.	History: Carl and Cixi	548&lt;br /&gt;
&lt;br /&gt;
59.	Interieur: The Folding Screen	552&lt;br /&gt;
&lt;br /&gt;
60.	Landscapes and Tourism: Four Buddhist Shrines	561&lt;br /&gt;
&lt;br /&gt;
61.	Landscapes and Tourism: Four State-Level Cultural Relics	573&lt;br /&gt;
&lt;br /&gt;
62.	Landscapes and Tourism: Landscape, Five Famous Mountains	585&lt;br /&gt;
&lt;br /&gt;
63.	Landscapes and Tourism: Mogao Grottoes	593&lt;br /&gt;
&lt;br /&gt;
64.	Landscapes and Tourism: The Culture of Mount Tai	606&lt;br /&gt;
&lt;br /&gt;
65.	Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal）	621&lt;br /&gt;
&lt;br /&gt;
66.	Landscapes and Tourism: The Ancient Tea Horse Road	635&lt;br /&gt;
&lt;br /&gt;
67.	Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties	642&lt;br /&gt;
&lt;br /&gt;
68.	Language: Chinese Language	649&lt;br /&gt;
&lt;br /&gt;
69.	Language: Chinese Dialects	660&lt;br /&gt;
&lt;br /&gt;
70.	Language: Chinese Folk Argot	669&lt;br /&gt;
&lt;br /&gt;
71.	Literature: Ancient literature - Chinese Classical Fairy Tales	681&lt;br /&gt;
&lt;br /&gt;
72.	Literature: Ancient literature - Chinese Mythology	688&lt;br /&gt;
&lt;br /&gt;
73.	Literature: Ancient literature - Classical Literature	699&lt;br /&gt;
&lt;br /&gt;
74.	Literature: Ancient Literature - Four satirical novels in ancient China	706&lt;br /&gt;
&lt;br /&gt;
75.	Literature: Ancient literature: Four Folk Stories of Ancient China	715&lt;br /&gt;
&lt;br /&gt;
76.	Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China	725  (Duan Binyao)&lt;br /&gt;
&lt;br /&gt;
77.	Literature: Ancient Literature: The Classic of Mountains and Seas	748&lt;br /&gt;
&lt;br /&gt;
78.	Literature: Ancient literature: Yuefu	765&lt;br /&gt;
&lt;br /&gt;
79.	Literature: Premodern literature - China's Four Great Classical Novels	773 (Duan Binyao)&lt;br /&gt;
&lt;br /&gt;
80.	Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations	780&lt;br /&gt;
&lt;br /&gt;
81.	Literature: Premodern literature: Strange Stories from a Chinese Studio	786&lt;br /&gt;
&lt;br /&gt;
82.	Literature: Premodern literature: Tang-Song	794&lt;br /&gt;
&lt;br /&gt;
83.	Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty	823&lt;br /&gt;
&lt;br /&gt;
84.	Literature: Modern Literature	832&lt;br /&gt;
&lt;br /&gt;
85.	Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu)	841&lt;br /&gt;
&lt;br /&gt;
86.	Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy	848&lt;br /&gt;
&lt;br /&gt;
87.	Literature: Contemporary Literature	859&lt;br /&gt;
&lt;br /&gt;
88.	Martial Arts: Huo Yuanjia	865&lt;br /&gt;
&lt;br /&gt;
89.	Martial Arts: Qigong	868&lt;br /&gt;
&lt;br /&gt;
90.	Martial Arts: Taiji (Tai Chi) Shadow Boxing	873&lt;br /&gt;
&lt;br /&gt;
91.	Martial Arts: Wushu	885&lt;br /&gt;
&lt;br /&gt;
92.	Martial Arts: Frolics of the Five Animals (Wuqinxi)	890&lt;br /&gt;
&lt;br /&gt;
93.	Medicine: Traditional Chinese Medicine (TCM)	900&lt;br /&gt;
&lt;br /&gt;
94.	Medicine: TCM - Acupuncture and Moxibustion	907&lt;br /&gt;
&lt;br /&gt;
95.	Medicine: TCM - Diagnosis and Pharmacology	912&lt;br /&gt;
&lt;br /&gt;
96.	Medicine: TCM - The Development of Chinese Medicine	917&lt;br /&gt;
&lt;br /&gt;
97.	Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing	924&lt;br /&gt;
&lt;br /&gt;
98.	Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority	934&lt;br /&gt;
&lt;br /&gt;
99.	Minority cultures: The Ethnic Minorities’ Costumes	941&lt;br /&gt;
&lt;br /&gt;
100.	Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty)	952&lt;br /&gt;
&lt;br /&gt;
101.	Money culture: The tradition of Red Envelope and Lucky Money 	962&lt;br /&gt;
&lt;br /&gt;
102.	Music and instruments: Guzheng	975&lt;br /&gt;
&lt;br /&gt;
103.	Music and instruments: Pipa	986&lt;br /&gt;
&lt;br /&gt;
104.	Mythology: Gods and Immortals	996&lt;br /&gt;
&lt;br /&gt;
105.	Mythology: Huli-jing	1005&lt;br /&gt;
&lt;br /&gt;
106.	National Symbols: National Anthem	1018&lt;br /&gt;
&lt;br /&gt;
107.	National Symbols: National Flag	1026&lt;br /&gt;
&lt;br /&gt;
108.	Opera: Peking Opera	1035&lt;br /&gt;
&lt;br /&gt;
109.	Opera: Peking Opera Acrobatics	1043&lt;br /&gt;
&lt;br /&gt;
110.	Opera: Peking Opera Actor Mei Lanfang	1050&lt;br /&gt;
&lt;br /&gt;
111.	Opera: Tea-picking Opera	1055&lt;br /&gt;
&lt;br /&gt;
112.	Opera: Hunan Flower-drum Opera (Huagu Opera)	1064&lt;br /&gt;
&lt;br /&gt;
113.	Philosophical Schools: Four Main Philosophical Schools	1076&lt;br /&gt;
&lt;br /&gt;
114.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism	1087&lt;br /&gt;
&lt;br /&gt;
115.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching	1093&lt;br /&gt;
&lt;br /&gt;
116.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng	1099&lt;br /&gt;
&lt;br /&gt;
117.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living	1106&lt;br /&gt;
&lt;br /&gt;
118.	Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 	1119&lt;br /&gt;
&lt;br /&gt;
119.	Philosophy: Chinese Traditional Cultivation Culture	1129&lt;br /&gt;
&lt;br /&gt;
120.	Religion: Traditional Chinese Funeral Culture	1141&lt;br /&gt;
&lt;br /&gt;
121.	Religion: Buddhism	1155&lt;br /&gt;
&lt;br /&gt;
122.	Religion: Daoism	1170&lt;br /&gt;
&lt;br /&gt;
123.	Religion: Christianity	1175&lt;br /&gt;
&lt;br /&gt;
124.	Religion: Islam	1181&lt;br /&gt;
&lt;br /&gt;
125.	Science and Technology: Ancient Science and Technology	1185&lt;br /&gt;
&lt;br /&gt;
126.	Science and Technology: China's Four New Inventions	1191&lt;br /&gt;
&lt;br /&gt;
127.	Science and Technology: Compass	1217&lt;br /&gt;
&lt;br /&gt;
128.	Science and Technology: TikTok (Douyin)	1226&lt;br /&gt;
&lt;br /&gt;
129.	Science and Technology: Three Giant Home Appliance Enterprises In China 	1235&lt;br /&gt;
&lt;br /&gt;
130.	Science and Technology: Four Domestic Mobile Phone Companies	1257&lt;br /&gt;
&lt;br /&gt;
131.	Silk and porcelain: Silk	1272&lt;br /&gt;
&lt;br /&gt;
132.	Silk and porcelain: Porcelain	1277&lt;br /&gt;
&lt;br /&gt;
133.	Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词	1283&lt;br /&gt;
&lt;br /&gt;
134.	Silk Road - by land and by sea: Zhang Qian and the Silk Road	1291&lt;br /&gt;
&lt;br /&gt;
135.	Silk Road - by land and by sea: Zheng He and the Maritime Silk Road	1296&lt;br /&gt;
&lt;br /&gt;
136.	Silk Road - by land and by sea: Zheng He's Voyages	1300&lt;br /&gt;
&lt;br /&gt;
137.	Social: The Long-life Lock	1308&lt;br /&gt;
&lt;br /&gt;
138.	Social: Round Table Culture	1317&lt;br /&gt;
&lt;br /&gt;
139.	Stage entertainment: Crosstalk 相声	1325&lt;br /&gt;
140.	Stage entertainment: Shadow Play	1332&lt;br /&gt;
&lt;br /&gt;
141.	Traditional Crafts: Carving	1340&lt;br /&gt;
&lt;br /&gt;
142.	Traditional Crafts: Chinese Jade Culture	1348&lt;br /&gt;
143.	Traditional Crafts: Cloisonne	1363&lt;br /&gt;
&lt;br /&gt;
144.	Traditional Crafts: Embroidery	1369&lt;br /&gt;
&lt;br /&gt;
145.	Traditional Crafts: Shu Embroidery (Sichuan Embroidery)	1373&lt;br /&gt;
&lt;br /&gt;
146.	Traditional Crafts: Xiang Embroidery	1386&lt;br /&gt;
&lt;br /&gt;
147.	Traditional Crafts: Folk Art - Chinese Paper-cutting	1400&lt;br /&gt;
&lt;br /&gt;
148.	Traditional Crafts: Handcraft - Chinese Knots	1409&lt;br /&gt;
&lt;br /&gt;
149.	Traditional Crafts: Lacquerware	1418&lt;br /&gt;
&lt;br /&gt;
150.	Traditional Crafts: The Kingfisher Craft点翠	1423（Chen Lin）&lt;br /&gt;
&lt;br /&gt;
151.	Traditional Cuisine: Chinese Dining Etiquette	1436&lt;br /&gt;
&lt;br /&gt;
152.	Traditional Cuisine: Chopsticks	1450&lt;br /&gt;
&lt;br /&gt;
153.	Traditional Cuisine: Eight Major Cuisines of China	1456&lt;br /&gt;
&lt;br /&gt;
154.	Traditional Cuisine: Four Distinct Regional Cuisines	1473&lt;br /&gt;
&lt;br /&gt;
155.	Traditional Cuisine: Breakfast Culture of Wuhan	1480&lt;br /&gt;
&lt;br /&gt;
156.	Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick	1491&lt;br /&gt;
157.	Traditional Cuisine: Hotpot	1501&lt;br /&gt;
&lt;br /&gt;
158.	Traditional Cuisine: The Art of Chinese Cooking	1508&lt;br /&gt;
&lt;br /&gt;
159.	Traditional Cuisine: Two Famous Dishes	1514&lt;br /&gt;
&lt;br /&gt;
160.	Traditional Festivals	1518……&lt;br /&gt;
&lt;br /&gt;
161.	Traditional Festivals: Lattice on Ancient Chinese Windows	1525&lt;br /&gt;
&lt;br /&gt;
162.	Traditional Festivals: Spring Festival Couplets	1538&lt;br /&gt;
&lt;br /&gt;
163.	Westernization: The Eastward Spread of Western Learning	1544&lt;br /&gt;
&lt;br /&gt;
164.	Westernization: The Westernization Movement	1550&lt;br /&gt;
&lt;br /&gt;
165.	Worship: Chinese Incense Culture	1558&lt;br /&gt;
&lt;br /&gt;
166.	Economy: Chinese Currency Changes	1569&lt;br /&gt;
&lt;br /&gt;
167.	History: Wang Shouren	1573&lt;br /&gt;
&lt;br /&gt;
168.	Martial Arts: Chinese Swordsman Spirit	1582&lt;br /&gt;
&lt;br /&gt;
169.	Cuisine: Luosifen	1593 （Zeng Zhi）&lt;br /&gt;
&lt;br /&gt;
170.	Fine Arts: Chinese Paper Cutting	1601&lt;br /&gt;
&lt;br /&gt;
171.	Science and Technology: Taobao(淘宝) 	1611&lt;br /&gt;
&lt;br /&gt;
172.	Traditional Craft: Bronze	1623&lt;br /&gt;
&lt;br /&gt;
173.	Entertainment: Deyunshe 德云社	1631&lt;br /&gt;
&lt;br /&gt;
174.	Traditional Cuisine: Jiaozi	1644&lt;br /&gt;
&lt;br /&gt;
175.	Aesthetic ideals and social customs: the Photo Retouching Culture in China	1655&lt;br /&gt;
&lt;br /&gt;
176.	Traditional Crafts: Handcraft - Oil-paper Umbrella	1664&lt;br /&gt;
&lt;br /&gt;
177.	stage entertainment:Yuan drama	1676&lt;br /&gt;
&lt;br /&gt;
178.	Music and instruments: Erhu	1685&lt;br /&gt;
&lt;br /&gt;
179.	Traditional and Modern Views on Marriage and Love	1694&lt;br /&gt;
&lt;br /&gt;
180.	Traditional Cuisine: Tangyuan	1701&lt;br /&gt;
&lt;br /&gt;
181.	Animals：Golden Monkey	1712&lt;br /&gt;
&lt;br /&gt;
182.	Chinese Economy: rich businessmen	1719&lt;br /&gt;
&lt;br /&gt;
183.	Opera: Chinese Local Operas	1727&lt;br /&gt;
&lt;br /&gt;
184.	The Chinese tradition of ancestor worship	1740&lt;br /&gt;
&lt;br /&gt;
185.	Opera: Huangmei opera	1752&lt;br /&gt;
&lt;br /&gt;
186.	The “reference” of Chinese Music	1759&lt;br /&gt;
&lt;br /&gt;
187.	Chinese Folk Art:Lion Dance	1767&lt;br /&gt;
&lt;br /&gt;
188.	Science and Technology: Mobile Games（手游）	1783&lt;br /&gt;
&lt;br /&gt;
189.	Clothing: Vintage Clothing	1790&lt;br /&gt;
&lt;br /&gt;
190.	Fine arts:Kunqu Opera	1798&lt;br /&gt;
&lt;br /&gt;
191.	Aesthetic ideals and social customs: The Culture of Flowers	1807&lt;br /&gt;
&lt;br /&gt;
192.	National Belief: the Chinese Dream	1818&lt;br /&gt;
&lt;br /&gt;
193.	Science and Technology: Buytogether（PDD) 	1825&lt;br /&gt;
&lt;br /&gt;
194.	Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People	1845&lt;br /&gt;
&lt;br /&gt;
195.	Sports: Cuju (蹴鞠) 	1845&lt;br /&gt;
&lt;br /&gt;
196.	Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车	1845&lt;br /&gt;
&lt;br /&gt;
197.	Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花	1845&lt;br /&gt;
&lt;br /&gt;
198.	Stage entertainment: Northeast Errenzhuan (二人转) 	1845&lt;br /&gt;
&lt;br /&gt;
199.	Traditional Crafts: Dough Sculpture 面塑	1845&lt;br /&gt;
&lt;br /&gt;
200.	Nanchang Relic Museum for Haihun Principality of Han Dynasty	1845&lt;br /&gt;
&lt;br /&gt;
201.	The culture of Grass cloth 夏布	1845 (Huang Qiaoqiao)&lt;br /&gt;
&lt;br /&gt;
202.	The Legend of Zhen Huan 《甄嬛传》	1845  （Xing Xueqing）&lt;br /&gt;
&lt;br /&gt;
203.	Chinese horror movies 中式恐怖片	1845&lt;br /&gt;
&lt;br /&gt;
204.	Stand-up comedy 单口喜剧	1845&lt;br /&gt;
&lt;br /&gt;
205.	Bride-price（彩礼）	1845&lt;br /&gt;
&lt;br /&gt;
206.	Chinese science fiction movies 中国科幻片	1845&lt;br /&gt;
&lt;br /&gt;
207.	Shandong cuisine鲁菜	1845&lt;br /&gt;
&lt;br /&gt;
208.	Chinese traditional ornament: Buyao （步摇）	1845&lt;br /&gt;
&lt;br /&gt;
209.	Tofu meatball with pig blood (猪血丸子) 	1845&lt;br /&gt;
&lt;br /&gt;
210.	Sunzi’s Art of War: Source for All Books on War (孙子兵法) 	1845&lt;br /&gt;
&lt;br /&gt;
211.	The Temple of Heaven：Reverence with Awe and Gratitude（天坛）	1845&lt;br /&gt;
&lt;br /&gt;
212.	Education：training Schools （教育：补习班）	1845&lt;br /&gt;
&lt;br /&gt;
213.	Chinese Dreamcore (中式梦核) 	1845&lt;br /&gt;
&lt;br /&gt;
214.	Lu Ban, China’s inventor（中国发明家——鲁班）	1845&lt;br /&gt;
&lt;br /&gt;
215.	Live Streaming E-commerce（直播电商）	1845&lt;br /&gt;
&lt;br /&gt;
216.	The Story of Ming Lan（知否知否，应是绿肥红瘦）	1845&lt;br /&gt;
&lt;br /&gt;
217.	Cha Bai Xi/Tea Latte Art (茶百戏) 	1845&lt;br /&gt;
&lt;br /&gt;
218.	Guangdong Herbal tea（广东凉茶）	1845&lt;br /&gt;
&lt;br /&gt;
219.	Chinese traditional art form：Seal carving（篆刻）	1845(Huang Qiaoqiao)&lt;br /&gt;
&lt;br /&gt;
220.	Rice cake (年糕) 	1845&lt;br /&gt;
&lt;br /&gt;
221.	Zhongyuan festival	1845&lt;br /&gt;
&lt;br /&gt;
222.	Dulong: Facial tattoo (独龙族：纹面) 	1845&lt;br /&gt;
&lt;br /&gt;
223.	The Return of the Pearl Princess（还珠格格）	1845&lt;br /&gt;
&lt;br /&gt;
224.	Chinese Food：Jiangxi Cuisine（赣菜）	1845&lt;br /&gt;
&lt;br /&gt;
225.	&amp;quot;Cun Chao&amp;quot;: China's village football league（“村超”：中国乡村足球联赛）	1845&lt;br /&gt;
&lt;br /&gt;
226.	Landscapes and Tourism: Junshan Island (君山岛) 	1845&lt;br /&gt;
&lt;br /&gt;
227.	Chinese Bossy Fictions &amp;amp; Micro-drama（中国式霸总小说&amp;amp;短剧）	1845&lt;br /&gt;
&lt;br /&gt;
228.	Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构）	1845&lt;br /&gt;
&lt;br /&gt;
229.	Jingdezhen Porcelain	1845&lt;br /&gt;
&lt;br /&gt;
230.	Gayageum（伽倻琴）	1845&lt;br /&gt;
&lt;br /&gt;
231.	The plaque and couplet in Chinese garden（园林匾额对联）	1845&lt;br /&gt;
&lt;br /&gt;
232.	Sun Wukong（孙悟空）	1845&lt;br /&gt;
&lt;br /&gt;
233.	Traditional Chinese Pigments（中国传统颜料）	1845&lt;br /&gt;
&lt;br /&gt;
234.	Dragon Lantern Dance（舞龙灯）	1845&lt;br /&gt;
&lt;br /&gt;
235.	Bamboo Weaving (竹编）	1845&lt;br /&gt;
&lt;br /&gt;
236.	Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 	1845&lt;br /&gt;
&lt;br /&gt;
237.	Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 	1845&lt;br /&gt;
&lt;br /&gt;
238.	Three Famous Chinese Mountains(中国三山) 	1845&lt;br /&gt;
&lt;br /&gt;
239.	Female Emperor---Wu Zetian	1845&lt;br /&gt;
&lt;br /&gt;
240.	Clay sculpture (泥塑）	1845&lt;br /&gt;
&lt;br /&gt;
241.	Abacus (中国珠算）	1845&lt;br /&gt;
&lt;br /&gt;
242.	Hunan Rice Noodles（湖南米粉）	1845 (Luo Sicheng)&lt;br /&gt;
&lt;br /&gt;
243.	Chinese name（中国姓名文化）	1845 &lt;br /&gt;
&lt;br /&gt;
244.	Chinese popular viral memes (中国网络社交媒体“热梗”）	1845&lt;br /&gt;
&lt;br /&gt;
245.	Douzhi (豆汁) 	1845&lt;br /&gt;
&lt;br /&gt;
246.	New Year Wood-block Paintings (木版年画）	1845&lt;br /&gt;
&lt;br /&gt;
247.	Carved lacquer（雕漆）	1845&lt;br /&gt;
&lt;br /&gt;
248.	Jing Gang Mountain (井冈山）	1845&lt;br /&gt;
&lt;br /&gt;
249.	Intangible Cultural Heritage: Tongguan Kiln （铜官窑）	1845&lt;br /&gt;
&lt;br /&gt;
250.	Language: Hakka Dialect（客家话）	1845&lt;br /&gt;
&lt;br /&gt;
251.	Rice noodle roll（肠粉）	1845 ( Li Mingfeng )&lt;br /&gt;
&lt;br /&gt;
252.	Traditional Cuisine: Northeastern Chinese Cuisine(东北菜）	1845&lt;br /&gt;
&lt;br /&gt;
253.	Yuelu Mountain (岳麓山) 	1845&lt;br /&gt;
&lt;br /&gt;
254.	Traditional Crafts：Tie-Dye（扎染）	1845&lt;br /&gt;
&lt;br /&gt;
255.	Chinese-style sun protection (中式防晒）	1845&lt;br /&gt;
&lt;br /&gt;
256.	Danmu (弹幕）	1845 (Zhou Le)&lt;br /&gt;
&lt;br /&gt;
257.	Yangshao Culture（仰韶文化）	1845&lt;br /&gt;
&lt;br /&gt;
258.	Indigo Dyeing (蓝染) 	1845&lt;br /&gt;
&lt;br /&gt;
259.	Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua	1845&lt;br /&gt;
&lt;br /&gt;
260.	Wedding dress in the Song Dynasty (宋代婚服) 	1845 (Liu Chao) &lt;br /&gt;
&lt;br /&gt;
261.	The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 	1845&lt;br /&gt;
&lt;br /&gt;
262.	The Four Pillars of Destiny (八字) 	1845&lt;br /&gt;
&lt;br /&gt;
263.	Shaolin Temple (少林寺) 	1845&lt;br /&gt;
&lt;br /&gt;
264.	Single bamboo drifting（独竹漂）	1845&lt;br /&gt;
&lt;br /&gt;
265.	Cuisine: Changde spicy salted duck 酱板鸭传说的由来	1845 （Xing Xueqing）&lt;br /&gt;
&lt;br /&gt;
266.	Hui Culture (徽文化)	1845&lt;br /&gt;
&lt;br /&gt;
267.	Ma Zu Culture (妈祖文化)	1845 (Yan Jidong)&lt;br /&gt;
&lt;br /&gt;
268.	Table Manners 	1845&lt;br /&gt;
&lt;br /&gt;
269.	Music of the Mongol nationality (蒙古族音乐)	1845&lt;br /&gt;
&lt;br /&gt;
270.	The Yingge Dance（英歌舞）	1845&lt;br /&gt;
&lt;br /&gt;
271.	Palace Lantern（宫灯）	1845&lt;br /&gt;
&lt;br /&gt;
272.	Chinese Term of Endearment（中国亲昵称谓）	1845&lt;br /&gt;
&lt;br /&gt;
273.	Changsha Stinky Tofu（长沙臭豆腐) 	1845&lt;br /&gt;
&lt;br /&gt;
274.	God of Wealth(财神) 	1845 （Zeng Zhi）&lt;br /&gt;
&lt;br /&gt;
275.	Zhuazhou（抓周）	1845&lt;br /&gt;
&lt;br /&gt;
276.	Nail art（美甲）	1845&lt;br /&gt;
&lt;br /&gt;
277.	Mirror (镜子) 	1845&lt;br /&gt;
&lt;br /&gt;
278.	The Beef Board Noodle (牛肉板面) 	1845&lt;br /&gt;
&lt;br /&gt;
279.	Huo Qubing (霍去病）	1845 （Luo Jingyan）&lt;br /&gt;
&lt;br /&gt;
280.	Chinese Courtyard Houses（中国四合院）	1845&lt;br /&gt;
&lt;br /&gt;
281.	Music and instruments: Yangqin（扬琴）	1845&lt;br /&gt;
&lt;br /&gt;
282.	Black Myth: Wukong（黑神话 悟空）	1845&lt;br /&gt;
&lt;br /&gt;
283.	Guangdong Morning Tea Culture （广东早茶文化）	1845&lt;br /&gt;
&lt;br /&gt;
=Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
==Teacher presentation: Introduction to Culture==&lt;br /&gt;
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Topics for today==&lt;br /&gt;
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)&lt;br /&gt;
&lt;br /&gt;
=Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
清明节4月4日——4月6日&lt;br /&gt;
=Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
劳动节5月1日——5月5日&lt;br /&gt;
=Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
端午节5月31日——6月2日&lt;br /&gt;
=Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=&lt;br /&gt;
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&amp;diff=165236</id>
		<title>Chinese Language and Culture, Spring 2025</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&amp;diff=165236"/>
		<updated>2025-02-22T04:48:03Z</updated>

		<summary type="html">&lt;p&gt;Luo Sicheng: /* Homework for Session 2 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!&lt;br /&gt;
&lt;br /&gt;
=Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=&lt;br /&gt;
&lt;br /&gt;
==What we learn in this class==&lt;br /&gt;
*We learn about Chinese culture from international, especially Western perspective. &lt;br /&gt;
*We learn about cultural phenomena, traditional Chinese culture.&lt;br /&gt;
*We learn English and Chinese terminology in the area of Chinese culture.&lt;br /&gt;
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.&lt;br /&gt;
*We learn how to determine the location and role of Chinese culture within global culture.&lt;br /&gt;
*We learn basics of theories and models of intercultural communication and comparison.&lt;br /&gt;
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.&lt;br /&gt;
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).&lt;br /&gt;
&lt;br /&gt;
==Students' contribution==&lt;br /&gt;
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. &lt;br /&gt;
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.&lt;br /&gt;
*For the final exam, you write another chapter of the textbook in both Chinese and English, with &amp;quot;Terms and Expressions&amp;quot;, References, Questions and Answers, Statement regarding AI&lt;br /&gt;
&lt;br /&gt;
==Textbook==&lt;br /&gt;
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.&lt;br /&gt;
&lt;br /&gt;
==Agreement on use of classroom time==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
==Homework for every session==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
==Teacher presentation: Introduction to Culture==&lt;br /&gt;
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Homework for Session 2==&lt;br /&gt;
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way &amp;quot;Wang Jianguo&amp;quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &amp;quot;wikicaptcha&amp;quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&amp;quot;Teacher presentation&amp;quot;). &lt;br /&gt;
&lt;br /&gt;
Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!&lt;br /&gt;
&lt;br /&gt;
1.	Geographic Nature as a Basis for Cultural Development	17&lt;br /&gt;
&lt;br /&gt;
2.	Aesthetic ideals and social customs: Chinese Marriage Customs	22&lt;br /&gt;
&lt;br /&gt;
3.	Aesthetic ideals and social customs: Habits, Ways of Contacting	31&lt;br /&gt;
&lt;br /&gt;
4.	Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan	40&lt;br /&gt;
&lt;br /&gt;
5.	Aesthetic ideals and social customs: Crying Marriage of Tujia	49&lt;br /&gt;
&lt;br /&gt;
6.	Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China	63&lt;br /&gt;
&lt;br /&gt;
7.	Animals: Panda	71&lt;br /&gt;
&lt;br /&gt;
8.	Architecture	78&lt;br /&gt;
&lt;br /&gt;
9.	Architecture: The Forbidden City 	89&lt;br /&gt;
&lt;br /&gt;
10.	Architecture: Four Famous Bridges	102&lt;br /&gt;
&lt;br /&gt;
11.	Architecture: Four Great Pavilions	113&lt;br /&gt;
&lt;br /&gt;
12.	Architecture: Shengjing Imperial Palace	124&lt;br /&gt;
&lt;br /&gt;
13.	Architecture: Three Great Towers in China	131&lt;br /&gt;
&lt;br /&gt;
14.	Architecture: Fengshui in Chinese Architecture	145&lt;br /&gt;
&lt;br /&gt;
15.	Army and weapons: Chinese Ancient Weapons	154&lt;br /&gt;
&lt;br /&gt;
16.	Army and weapons: Terracotta Army	163&lt;br /&gt;
&lt;br /&gt;
17.	Astrology: Chinese Astrology	170&lt;br /&gt;
&lt;br /&gt;
18.	Astrology: Calendar, The 24 Solar Terms	178&lt;br /&gt;
&lt;br /&gt;
19.	Astrology: Twelve Animals of the Chinese Zodiac	188&lt;br /&gt;
&lt;br /&gt;
20.	Beverages: Milk Tea	197&lt;br /&gt;
&lt;br /&gt;
21.	Beverages: Tea	203&lt;br /&gt;
&lt;br /&gt;
22.	Beverages: The Liquor Culture of Ancient China	209&lt;br /&gt;
&lt;br /&gt;
23.	Body movement performance: Chinese Lion Dancing 	218&lt;br /&gt;
&lt;br /&gt;
24.	Body movement performance: Stilts	223&lt;br /&gt;
&lt;br /&gt;
25.	Body movement performance: Traditional Chinese Dance	230&lt;br /&gt;
&lt;br /&gt;
26.	Chinese Writing: Ancient Writing and Painting Tool, Writing Brush	236&lt;br /&gt;
&lt;br /&gt;
27.	Chinese Writing: Calligraphy	246&lt;br /&gt;
&lt;br /&gt;
28.	Chinese Writing: The Evolution of Calligraphy	252&lt;br /&gt;
&lt;br /&gt;
29.	Chinese Writing: Chinese Characters	262&lt;br /&gt;
&lt;br /&gt;
30.	Chinese Writing: Chinese Characters and Scripts	276&lt;br /&gt;
&lt;br /&gt;
31.	Clothing: Chinese Clothing	283&lt;br /&gt;
&lt;br /&gt;
32.	Clothing: Batik (Lanran)	291&lt;br /&gt;
&lt;br /&gt;
33.	Clothing: Cheongsam	301&lt;br /&gt;
&lt;br /&gt;
34.	Confucianism: Confucian Culture	309&lt;br /&gt;
&lt;br /&gt;
35.	Confucianism: Chinese Traditional Culture-Five Constant Virtues	324&lt;br /&gt;
&lt;br /&gt;
36.	Confucianism: Classical Philosophy - Confucius and Confucianism	332&lt;br /&gt;
&lt;br /&gt;
37.	Confucianism: Classical Philosophy - Reading The Analects	339  (Duan Binyao)&lt;br /&gt;
&lt;br /&gt;
38.	Education: Ancient Chinese Education	350&lt;br /&gt;
&lt;br /&gt;
39.	Education: Historical Figures, The Four Talented Women of Ancient China	361&lt;br /&gt;
&lt;br /&gt;
40.	Education: Modern Chinese Education System	371&lt;br /&gt;
&lt;br /&gt;
41.	Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties	386&lt;br /&gt;
&lt;br /&gt;
42.	Education: Yuelu Academy (One of the Four Most Prestigious Academies)	395&lt;br /&gt;
&lt;br /&gt;
43.	Facial Make-up	406&lt;br /&gt;
&lt;br /&gt;
44.	Facial Make-up: Cosmetics, Traditional Chinese Make-Up	413&lt;br /&gt;
&lt;br /&gt;
45.	Facial Make-up: Face Changing in Sichuan Opera	431&lt;br /&gt;
&lt;br /&gt;
46.	Fine Arts: Painting	440&lt;br /&gt;
&lt;br /&gt;
47.	Fine Arts: Bada Shanren and Qi Baishi	445&lt;br /&gt;
&lt;br /&gt;
48.	Fine Arts: Painting Riverside Scene at Tomb Sweeping Day	452&lt;br /&gt;
&lt;br /&gt;
49.	Fine Arts: Seal-cutting	459&lt;br /&gt;
&lt;br /&gt;
50.	Games: Go 围棋 	462&lt;br /&gt;
&lt;br /&gt;
51.	Games: Kite Flying	468&lt;br /&gt;
&lt;br /&gt;
52.	Games: Mahjong: An Ancient Chinese card play	476&lt;br /&gt;
&lt;br /&gt;
53.	Garden Culture: Gardens	505&lt;br /&gt;
&lt;br /&gt;
54.	Garden Culture: Bonsai (Penjing) 	511&lt;br /&gt;
&lt;br /&gt;
55.	Garden Culture: The Summer Palace	519&lt;br /&gt;
&lt;br /&gt;
56.	Garden Culture: Qingming Riverside Landscspe Garden	526&lt;br /&gt;
&lt;br /&gt;
57.	Gender: Wu Zetian: The Only Female Emperor of Imperial China	535&lt;br /&gt;
&lt;br /&gt;
58.	History: Carl and Cixi	548&lt;br /&gt;
&lt;br /&gt;
59.	Interieur: The Folding Screen	552&lt;br /&gt;
&lt;br /&gt;
60.	Landscapes and Tourism: Four Buddhist Shrines	561&lt;br /&gt;
&lt;br /&gt;
61.	Landscapes and Tourism: Four State-Level Cultural Relics	573&lt;br /&gt;
&lt;br /&gt;
62.	Landscapes and Tourism: Landscape, Five Famous Mountains	585&lt;br /&gt;
&lt;br /&gt;
63.	Landscapes and Tourism: Mogao Grottoes	593&lt;br /&gt;
&lt;br /&gt;
64.	Landscapes and Tourism: The Culture of Mount Tai	606&lt;br /&gt;
&lt;br /&gt;
65.	Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal）	621&lt;br /&gt;
&lt;br /&gt;
66.	Landscapes and Tourism: The Ancient Tea Horse Road	635&lt;br /&gt;
&lt;br /&gt;
67.	Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties	642&lt;br /&gt;
&lt;br /&gt;
68.	Language: Chinese Language	649&lt;br /&gt;
&lt;br /&gt;
69.	Language: Chinese Dialects	660&lt;br /&gt;
&lt;br /&gt;
70.	Language: Chinese Folk Argot	669&lt;br /&gt;
&lt;br /&gt;
71.	Literature: Ancient literature - Chinese Classical Fairy Tales	681&lt;br /&gt;
&lt;br /&gt;
72.	Literature: Ancient literature - Chinese Mythology	688&lt;br /&gt;
&lt;br /&gt;
73.	Literature: Ancient literature - Classical Literature	699&lt;br /&gt;
&lt;br /&gt;
74.	Literature: Ancient Literature - Four satirical novels in ancient China	706&lt;br /&gt;
&lt;br /&gt;
75.	Literature: Ancient literature: Four Folk Stories of Ancient China	715&lt;br /&gt;
&lt;br /&gt;
76.	Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China	725  (Duan Binyao)&lt;br /&gt;
&lt;br /&gt;
77.	Literature: Ancient Literature: The Classic of Mountains and Seas	748&lt;br /&gt;
&lt;br /&gt;
78.	Literature: Ancient literature: Yuefu	765&lt;br /&gt;
&lt;br /&gt;
79.	Literature: Premodern literature - China's Four Great Classical Novels	773 (Duan Binyao)&lt;br /&gt;
&lt;br /&gt;
80.	Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations	780&lt;br /&gt;
&lt;br /&gt;
81.	Literature: Premodern literature: Strange Stories from a Chinese Studio	786&lt;br /&gt;
&lt;br /&gt;
82.	Literature: Premodern literature: Tang-Song	794&lt;br /&gt;
&lt;br /&gt;
83.	Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty	823&lt;br /&gt;
&lt;br /&gt;
84.	Literature: Modern Literature	832&lt;br /&gt;
&lt;br /&gt;
85.	Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu)	841&lt;br /&gt;
&lt;br /&gt;
86.	Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy	848&lt;br /&gt;
&lt;br /&gt;
87.	Literature: Contemporary Literature	859&lt;br /&gt;
&lt;br /&gt;
88.	Martial Arts: Huo Yuanjia	865&lt;br /&gt;
&lt;br /&gt;
89.	Martial Arts: Qigong	868&lt;br /&gt;
&lt;br /&gt;
90.	Martial Arts: Taiji (Tai Chi) Shadow Boxing	873&lt;br /&gt;
&lt;br /&gt;
91.	Martial Arts: Wushu	885&lt;br /&gt;
&lt;br /&gt;
92.	Martial Arts: Frolics of the Five Animals (Wuqinxi)	890&lt;br /&gt;
&lt;br /&gt;
93.	Medicine: Traditional Chinese Medicine (TCM)	900&lt;br /&gt;
&lt;br /&gt;
94.	Medicine: TCM - Acupuncture and Moxibustion	907&lt;br /&gt;
&lt;br /&gt;
95.	Medicine: TCM - Diagnosis and Pharmacology	912&lt;br /&gt;
&lt;br /&gt;
96.	Medicine: TCM - The Development of Chinese Medicine	917&lt;br /&gt;
&lt;br /&gt;
97.	Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing	924&lt;br /&gt;
&lt;br /&gt;
98.	Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority	934&lt;br /&gt;
&lt;br /&gt;
99.	Minority cultures: The Ethnic Minorities’ Costumes	941&lt;br /&gt;
&lt;br /&gt;
100.	Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty)	952&lt;br /&gt;
&lt;br /&gt;
101.	Money culture: The tradition of Red Envelope and Lucky Money 	962&lt;br /&gt;
&lt;br /&gt;
102.	Music and instruments: Guzheng	975&lt;br /&gt;
&lt;br /&gt;
103.	Music and instruments: Pipa	986&lt;br /&gt;
&lt;br /&gt;
104.	Mythology: Gods and Immortals	996&lt;br /&gt;
&lt;br /&gt;
105.	Mythology: Huli-jing	1005&lt;br /&gt;
&lt;br /&gt;
106.	National Symbols: National Anthem	1018&lt;br /&gt;
&lt;br /&gt;
107.	National Symbols: National Flag	1026&lt;br /&gt;
&lt;br /&gt;
108.	Opera: Peking Opera	1035&lt;br /&gt;
&lt;br /&gt;
109.	Opera: Peking Opera Acrobatics	1043&lt;br /&gt;
&lt;br /&gt;
110.	Opera: Peking Opera Actor Mei Lanfang	1050&lt;br /&gt;
&lt;br /&gt;
111.	Opera: Tea-picking Opera	1055&lt;br /&gt;
&lt;br /&gt;
112.	Opera: Hunan Flower-drum Opera (Huagu Opera)	1064&lt;br /&gt;
&lt;br /&gt;
113.	Philosophical Schools: Four Main Philosophical Schools	1076&lt;br /&gt;
&lt;br /&gt;
114.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism	1087&lt;br /&gt;
&lt;br /&gt;
115.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching	1093&lt;br /&gt;
&lt;br /&gt;
116.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng	1099&lt;br /&gt;
&lt;br /&gt;
117.	Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living	1106&lt;br /&gt;
&lt;br /&gt;
118.	Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 	1119&lt;br /&gt;
&lt;br /&gt;
119.	Philosophy: Chinese Traditional Cultivation Culture	1129&lt;br /&gt;
&lt;br /&gt;
120.	Religion: Traditional Chinese Funeral Culture	1141&lt;br /&gt;
&lt;br /&gt;
121.	Religion: Buddhism	1155&lt;br /&gt;
&lt;br /&gt;
122.	Religion: Daoism	1170&lt;br /&gt;
&lt;br /&gt;
123.	Religion: Christianity	1175&lt;br /&gt;
&lt;br /&gt;
124.	Religion: Islam	1181&lt;br /&gt;
&lt;br /&gt;
125.	Science and Technology: Ancient Science and Technology	1185&lt;br /&gt;
&lt;br /&gt;
126.	Science and Technology: China's Four New Inventions	1191&lt;br /&gt;
&lt;br /&gt;
127.	Science and Technology: Compass	1217&lt;br /&gt;
&lt;br /&gt;
128.	Science and Technology: TikTok (Douyin)	1226&lt;br /&gt;
&lt;br /&gt;
129.	Science and Technology: Three Giant Home Appliance Enterprises In China 	1235&lt;br /&gt;
&lt;br /&gt;
130.	Science and Technology: Four Domestic Mobile Phone Companies	1257&lt;br /&gt;
&lt;br /&gt;
131.	Silk and porcelain: Silk	1272&lt;br /&gt;
&lt;br /&gt;
132.	Silk and porcelain: Porcelain	1277&lt;br /&gt;
&lt;br /&gt;
133.	Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词	1283&lt;br /&gt;
&lt;br /&gt;
134.	Silk Road - by land and by sea: Zhang Qian and the Silk Road	1291&lt;br /&gt;
&lt;br /&gt;
135.	Silk Road - by land and by sea: Zheng He and the Maritime Silk Road	1296&lt;br /&gt;
&lt;br /&gt;
136.	Silk Road - by land and by sea: Zheng He's Voyages	1300&lt;br /&gt;
&lt;br /&gt;
137.	Social: The Long-life Lock	1308&lt;br /&gt;
&lt;br /&gt;
138.	Social: Round Table Culture	1317&lt;br /&gt;
&lt;br /&gt;
139.	Stage entertainment: Crosstalk 相声	1325&lt;br /&gt;
140.	Stage entertainment: Shadow Play	1332&lt;br /&gt;
&lt;br /&gt;
141.	Traditional Crafts: Carving	1340&lt;br /&gt;
&lt;br /&gt;
142.	Traditional Crafts: Chinese Jade Culture	1348&lt;br /&gt;
143.	Traditional Crafts: Cloisonne	1363&lt;br /&gt;
&lt;br /&gt;
144.	Traditional Crafts: Embroidery	1369&lt;br /&gt;
&lt;br /&gt;
145.	Traditional Crafts: Shu Embroidery (Sichuan Embroidery)	1373&lt;br /&gt;
&lt;br /&gt;
146.	Traditional Crafts: Xiang Embroidery	1386&lt;br /&gt;
&lt;br /&gt;
147.	Traditional Crafts: Folk Art - Chinese Paper-cutting	1400&lt;br /&gt;
&lt;br /&gt;
148.	Traditional Crafts: Handcraft - Chinese Knots	1409&lt;br /&gt;
&lt;br /&gt;
149.	Traditional Crafts: Lacquerware	1418&lt;br /&gt;
&lt;br /&gt;
150.	Traditional Crafts: The Kingfisher Craft点翠	1423（Chen Lin）&lt;br /&gt;
&lt;br /&gt;
151.	Traditional Cuisine: Chinese Dining Etiquette	1436&lt;br /&gt;
&lt;br /&gt;
152.	Traditional Cuisine: Chopsticks	1450&lt;br /&gt;
&lt;br /&gt;
153.	Traditional Cuisine: Eight Major Cuisines of China	1456&lt;br /&gt;
&lt;br /&gt;
154.	Traditional Cuisine: Four Distinct Regional Cuisines	1473&lt;br /&gt;
&lt;br /&gt;
155.	Traditional Cuisine: Breakfast Culture of Wuhan	1480&lt;br /&gt;
&lt;br /&gt;
156.	Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick	1491&lt;br /&gt;
157.	Traditional Cuisine: Hotpot	1501&lt;br /&gt;
&lt;br /&gt;
158.	Traditional Cuisine: The Art of Chinese Cooking	1508&lt;br /&gt;
&lt;br /&gt;
159.	Traditional Cuisine: Two Famous Dishes	1514&lt;br /&gt;
&lt;br /&gt;
160.	Traditional Festivals	1518……&lt;br /&gt;
&lt;br /&gt;
161.	Traditional Festivals: Lattice on Ancient Chinese Windows	1525&lt;br /&gt;
&lt;br /&gt;
162.	Traditional Festivals: Spring Festival Couplets	1538&lt;br /&gt;
&lt;br /&gt;
163.	Westernization: The Eastward Spread of Western Learning	1544&lt;br /&gt;
&lt;br /&gt;
164.	Westernization: The Westernization Movement	1550&lt;br /&gt;
&lt;br /&gt;
165.	Worship: Chinese Incense Culture	1558&lt;br /&gt;
&lt;br /&gt;
166.	Economy: Chinese Currency Changes	1569&lt;br /&gt;
&lt;br /&gt;
167.	History: Wang Shouren	1573&lt;br /&gt;
&lt;br /&gt;
168.	Martial Arts: Chinese Swordsman Spirit	1582&lt;br /&gt;
&lt;br /&gt;
169.	Cuisine: Luosifen	1593 （Zeng Zhi）&lt;br /&gt;
&lt;br /&gt;
170.	Fine Arts: Chinese Paper Cutting	1601&lt;br /&gt;
&lt;br /&gt;
171.	Science and Technology: Taobao(淘宝) 	1611&lt;br /&gt;
&lt;br /&gt;
172.	Traditional Craft: Bronze	1623&lt;br /&gt;
&lt;br /&gt;
173.	Entertainment: Deyunshe 德云社	1631&lt;br /&gt;
&lt;br /&gt;
174.	Traditional Cuisine: Jiaozi	1644&lt;br /&gt;
&lt;br /&gt;
175.	Aesthetic ideals and social customs: the Photo Retouching Culture in China	1655&lt;br /&gt;
&lt;br /&gt;
176.	Traditional Crafts: Handcraft - Oil-paper Umbrella	1664&lt;br /&gt;
&lt;br /&gt;
177.	stage entertainment:Yuan drama	1676&lt;br /&gt;
&lt;br /&gt;
178.	Music and instruments: Erhu	1685&lt;br /&gt;
&lt;br /&gt;
179.	Traditional and Modern Views on Marriage and Love	1694&lt;br /&gt;
&lt;br /&gt;
180.	Traditional Cuisine: Tangyuan	1701&lt;br /&gt;
&lt;br /&gt;
181.	Animals：Golden Monkey	1712&lt;br /&gt;
&lt;br /&gt;
182.	Chinese Economy: rich businessmen	1719&lt;br /&gt;
&lt;br /&gt;
183.	Opera: Chinese Local Operas	1727&lt;br /&gt;
&lt;br /&gt;
184.	The Chinese tradition of ancestor worship	1740&lt;br /&gt;
&lt;br /&gt;
185.	Opera: Huangmei opera	1752&lt;br /&gt;
&lt;br /&gt;
186.	The “reference” of Chinese Music	1759&lt;br /&gt;
&lt;br /&gt;
187.	Chinese Folk Art:Lion Dance	1767&lt;br /&gt;
&lt;br /&gt;
188.	Science and Technology: Mobile Games（手游）	1783&lt;br /&gt;
&lt;br /&gt;
189.	Clothing: Vintage Clothing	1790&lt;br /&gt;
&lt;br /&gt;
190.	Fine arts:Kunqu Opera	1798&lt;br /&gt;
&lt;br /&gt;
191.	Aesthetic ideals and social customs: The Culture of Flowers	1807&lt;br /&gt;
&lt;br /&gt;
192.	National Belief: the Chinese Dream	1818&lt;br /&gt;
&lt;br /&gt;
193.	Science and Technology: Buytogether（PDD) 	1825&lt;br /&gt;
&lt;br /&gt;
194.	Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People	1845&lt;br /&gt;
&lt;br /&gt;
195.	Sports: Cuju (蹴鞠) 	1845&lt;br /&gt;
&lt;br /&gt;
196.	Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车	1845&lt;br /&gt;
&lt;br /&gt;
197.	Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花	1845&lt;br /&gt;
&lt;br /&gt;
198.	Stage entertainment: Northeast Errenzhuan (二人转) 	1845&lt;br /&gt;
&lt;br /&gt;
199.	Traditional Crafts: Dough Sculpture 面塑	1845&lt;br /&gt;
&lt;br /&gt;
200.	Nanchang Relic Museum for Haihun Principality of Han Dynasty	1845&lt;br /&gt;
&lt;br /&gt;
201.	The culture of Grass cloth 夏布	1845 (Huang Qiaoqiao)&lt;br /&gt;
&lt;br /&gt;
202.	The Legend of Zhen Huan 《甄嬛传》	1845  （Xing Xueqing）&lt;br /&gt;
&lt;br /&gt;
203.	Chinese horror movies 中式恐怖片	1845&lt;br /&gt;
&lt;br /&gt;
204.	Stand-up comedy 单口喜剧	1845&lt;br /&gt;
&lt;br /&gt;
205.	Bride-price（彩礼）	1845&lt;br /&gt;
&lt;br /&gt;
206.	Chinese science fiction movies 中国科幻片	1845&lt;br /&gt;
&lt;br /&gt;
207.	Shandong cuisine鲁菜	1845&lt;br /&gt;
&lt;br /&gt;
208.	Chinese traditional ornament: Buyao （步摇）	1845&lt;br /&gt;
&lt;br /&gt;
209.	Tofu meatball with pig blood (猪血丸子) 	1845&lt;br /&gt;
&lt;br /&gt;
210.	Sunzi’s Art of War: Source for All Books on War (孙子兵法) 	1845&lt;br /&gt;
&lt;br /&gt;
211.	The Temple of Heaven：Reverence with Awe and Gratitude（天坛）	1845&lt;br /&gt;
&lt;br /&gt;
212.	Education：training Schools （教育：补习班）	1845&lt;br /&gt;
&lt;br /&gt;
213.	Chinese Dreamcore (中式梦核) 	1845&lt;br /&gt;
&lt;br /&gt;
214.	Lu Ban, China’s inventor（中国发明家——鲁班）	1845&lt;br /&gt;
&lt;br /&gt;
215.	Live Streaming E-commerce（直播电商）	1845&lt;br /&gt;
&lt;br /&gt;
216.	The Story of Ming Lan（知否知否，应是绿肥红瘦）	1845&lt;br /&gt;
&lt;br /&gt;
217.	Cha Bai Xi/Tea Latte Art (茶百戏) 	1845&lt;br /&gt;
&lt;br /&gt;
218.	Guangdong Herbal tea（广东凉茶）	1845&lt;br /&gt;
&lt;br /&gt;
219.	Chinese traditional art form：Seal carving（篆刻）	1845(Huang Qiaoqiao)&lt;br /&gt;
&lt;br /&gt;
220.	Rice cake (年糕) 	1845&lt;br /&gt;
&lt;br /&gt;
221.	Zhongyuan festival	1845&lt;br /&gt;
&lt;br /&gt;
222.	Dulong: Facial tattoo (独龙族：纹面) 	1845&lt;br /&gt;
&lt;br /&gt;
223.	The Return of the Pearl Princess（还珠格格）	1845&lt;br /&gt;
&lt;br /&gt;
224.	Chinese Food：Jiangxi Cuisine（赣菜）	1845&lt;br /&gt;
&lt;br /&gt;
225.	&amp;quot;Cun Chao&amp;quot;: China's village football league（“村超”：中国乡村足球联赛）	1845&lt;br /&gt;
&lt;br /&gt;
226.	Landscapes and Tourism: Junshan Island (君山岛) 	1845&lt;br /&gt;
&lt;br /&gt;
227.	Chinese Bossy Fictions &amp;amp; Micro-drama（中国式霸总小说&amp;amp;短剧）	1845&lt;br /&gt;
&lt;br /&gt;
228.	Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构）	1845&lt;br /&gt;
&lt;br /&gt;
229.	Jingdezhen Porcelain	1845&lt;br /&gt;
&lt;br /&gt;
230.	Gayageum（伽倻琴）	1845&lt;br /&gt;
&lt;br /&gt;
231.	The plaque and couplet in Chinese garden（园林匾额对联）	1845&lt;br /&gt;
&lt;br /&gt;
232.	Sun Wukong（孙悟空）	1845&lt;br /&gt;
&lt;br /&gt;
233.	Traditional Chinese Pigments（中国传统颜料）	1845&lt;br /&gt;
&lt;br /&gt;
234.	Dragon Lantern Dance（舞龙灯）	1845&lt;br /&gt;
&lt;br /&gt;
235.	Bamboo Weaving (竹编）	1845&lt;br /&gt;
&lt;br /&gt;
236.	Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 	1845&lt;br /&gt;
&lt;br /&gt;
237.	Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 	1845&lt;br /&gt;
&lt;br /&gt;
238.	Three Famous Chinese Mountains(中国三山) 	1845&lt;br /&gt;
&lt;br /&gt;
239.	Female Emperor---Wu Zetian	1845&lt;br /&gt;
&lt;br /&gt;
240.	Clay sculpture (泥塑）	1845&lt;br /&gt;
&lt;br /&gt;
241.	Abacus (中国珠算）	1845&lt;br /&gt;
&lt;br /&gt;
242.	Hunan Rice Noodles（湖南米粉）	1845 (Luo Sicheng)&lt;br /&gt;
&lt;br /&gt;
243.	Chinese name（中国姓名文化）	1845 &lt;br /&gt;
&lt;br /&gt;
244.	Chinese popular viral memes (中国网络社交媒体“热梗”）	1845&lt;br /&gt;
&lt;br /&gt;
245.	Douzhi (豆汁) 	1845&lt;br /&gt;
&lt;br /&gt;
246.	New Year Wood-block Paintings (木版年画）	1845&lt;br /&gt;
&lt;br /&gt;
247.	Carved lacquer（雕漆）	1845&lt;br /&gt;
&lt;br /&gt;
248.	Jing Gang Mountain (井冈山）	1845&lt;br /&gt;
&lt;br /&gt;
249.	Intangible Cultural Heritage: Tongguan Kiln （铜官窑）	1845&lt;br /&gt;
&lt;br /&gt;
250.	Language: Hakka Dialect（客家话）	1845&lt;br /&gt;
&lt;br /&gt;
251.	Rice noodle roll（肠粉）	1845 ( Li Mingfeng )&lt;br /&gt;
&lt;br /&gt;
252.	Traditional Cuisine: Northeastern Chinese Cuisine(东北菜）	1845&lt;br /&gt;
&lt;br /&gt;
253.	Yuelu Mountain (岳麓山) 	1845&lt;br /&gt;
&lt;br /&gt;
254.	Traditional Crafts：Tie-Dye（扎染）	1845&lt;br /&gt;
&lt;br /&gt;
255.	Chinese-style sun protection (中式防晒）	1845&lt;br /&gt;
&lt;br /&gt;
256.	Danmu (弹幕）	1845 (Zhou Le)&lt;br /&gt;
&lt;br /&gt;
257.	Yangshao Culture（仰韶文化）	1845&lt;br /&gt;
&lt;br /&gt;
258.	Indigo Dyeing (蓝染) 	1845&lt;br /&gt;
&lt;br /&gt;
259.	Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua	1845&lt;br /&gt;
&lt;br /&gt;
260.	Wedding dress in the Song Dynasty (宋代婚服) 	1845 (Liu Chao) &lt;br /&gt;
&lt;br /&gt;
261.	The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 	1845&lt;br /&gt;
&lt;br /&gt;
262.	The Four Pillars of Destiny (八字) 	1845&lt;br /&gt;
&lt;br /&gt;
263.	Shaolin Temple (少林寺) 	1845&lt;br /&gt;
&lt;br /&gt;
264.	Single bamboo drifting（独竹漂）	1845&lt;br /&gt;
&lt;br /&gt;
265.	Cuisine: Changde spicy salted duck 酱板鸭传说的由来	1845 （Xing Xueqing）&lt;br /&gt;
&lt;br /&gt;
266.	Hui Culture (徽文化)	1845&lt;br /&gt;
&lt;br /&gt;
267.	Ma Zu Culture (妈祖文化)	1845&lt;br /&gt;
&lt;br /&gt;
268.	Table Manners 	1845&lt;br /&gt;
&lt;br /&gt;
269.	Music of the Mongol nationality (蒙古族音乐)	1845&lt;br /&gt;
&lt;br /&gt;
270.	The Yingge Dance（英歌舞）	1845&lt;br /&gt;
&lt;br /&gt;
271.	Palace Lantern（宫灯）	1845&lt;br /&gt;
&lt;br /&gt;
272.	Chinese Term of Endearment（中国亲昵称谓）	1845&lt;br /&gt;
&lt;br /&gt;
273.	Changsha Stinky Tofu（长沙臭豆腐) 	1845&lt;br /&gt;
&lt;br /&gt;
274.	God of Wealth(财神) 	1845 （Zeng Zhi）&lt;br /&gt;
&lt;br /&gt;
275.	Zhuazhou（抓周）	1845&lt;br /&gt;
&lt;br /&gt;
276.	Nail art（美甲）	1845&lt;br /&gt;
&lt;br /&gt;
277.	Mirror (镜子) 	1845&lt;br /&gt;
&lt;br /&gt;
278.	The Beef Board Noodle (牛肉板面) 	1845&lt;br /&gt;
&lt;br /&gt;
279.	Huo Qubing (霍去病）	1845 （Luo Jingyan）&lt;br /&gt;
&lt;br /&gt;
280.	Chinese Courtyard Houses（中国四合院）	1845&lt;br /&gt;
&lt;br /&gt;
281.	Music and instruments: Yangqin（扬琴）	1845&lt;br /&gt;
&lt;br /&gt;
282.	Black Myth: Wukong（黑神话 悟空）	1845&lt;br /&gt;
&lt;br /&gt;
283.	Guangdong Morning Tea Culture （广东早茶文化）	1845&lt;br /&gt;
&lt;br /&gt;
=Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
==Teacher presentation: Introduction to Culture==&lt;br /&gt;
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Topics for today==&lt;br /&gt;
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)&lt;br /&gt;
&lt;br /&gt;
=Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
清明节4月4日——4月6日&lt;br /&gt;
=Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
劳动节5月1日——5月5日&lt;br /&gt;
=Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
=Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=&lt;br /&gt;
端午节5月31日——6月2日&lt;br /&gt;
=Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=&lt;br /&gt;
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]&lt;/div&gt;</summary>
		<author><name>Luo Sicheng</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&amp;diff=165235</id>
		<title>Chinese Language and Culture, Spring 2025</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&amp;diff=165235"/>
		<updated>2025-02-22T04:46:30Z</updated>

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