China Studies Wiki - User contributions [en]

User:Miao Yunlong

2025-06-14T04:40:04Z

Miao Yunlong:

[https://bou.de/u/wiki/Chinese_Language_and_Culture,_Spring_2025 Link to Course Homepage] [https://bou.de/u/wiki/Chin_Lang_Cult_Fin_Exam_Spring_2025 Link to List of final exam chapters]

='''Nvshu (Womens’ Script)'''=

Nvshu (also known as Women’s Script) is a unique syllabic phonographic writing system. It was first invented by women living in Jiangyong County, Hunan Province and represents the sounds of a local variant of the Chinese dialect and has existed for hundreds of years. This script is chiefly employed to transcribe the Jiangyong County-town dialect, a linguistic variety categorized under the Yong-Quan cluster within the Xiang language family. Nvshu works are inscribed on exquisitely crafted cloth-bound handwritten books (used as wedding gifts), fan surfaces, cloth handkerchiefs, and paper slips, which are respectively called “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding), “Geshan” (folding fans inscribed with musical repertoire written in Nvshu), “Pashu”, and “Zhiwen” . Some are embroidered onto handkerchiefs, known as “Xiuzi” .In accordance with Wikipedia, due to severe damage inflicted upon Nvshu during the Cultural Revolution, coupled with the passage of time, societal development, and population outflow, it is now on the verge of being lost (2025).

[[File:Nvshu.png|300px|]]

=='''Linguistic Characters of Nvshu'''==

The Nvshu script is characterized by its distinctive elongated rhomboid-shaped characters, exquisitely slender and graceful strokes, and peculiar visual forms, earning it the nickname “mosquito-shaped script.” Approximately 2,000 characters have been documented to date. The entire writing system consists of only four basic strokes: dots, vertical lines, slanted lines, and curved arcs. These characters can be chanted or sung in the local Jiangyong vernacular (belonging to the Yong-Quan subgroup of the Xiang language family).
The key difference between Nvshu and Chinese characters lies in their writing systems: Nvshu is a syllabic phonographic script, where each character represents a distinct syllable (sound). Currently, some 700 Nvshu characters have been documented through historical and contemporary research. While the glyph structures of Nvshu characters draw inspiration from Chinese characters, there is no inherent logical or structural correlation between the two systems. Beyond its role as a written language for daily communication, Nvshu also serves as an ornamental motif woven into clothing or fabric belts. This functional duality has influenced the evolution of Nvshu, which often exhibit curvilinear, flowing forms adapted to the flexibility of textile patterns rather than the rigid grid-based structure of traditional Chinese characters.

[[File:Nvshu_forms.png|300px|]]

=='''The Emergence of Nvshu'''==

The era of the creation of Nvshu has always been a “Sphinx’s riddle” that puzzles the academic community. Scholars have used different methods from various perspectives and drawn a wide variety of conclusions and speculations. Xie Zhimin believes that, based on the fact that a large number of borrowed characters from oracle bone inscriptions are retained in modern Nvshu characters, the latest lower limit of the era when Nvshu was created could not be later than the Shang Dynasty (1991, 59). Gong Zhebing, according to the fact that the transmission of Nvshu characters and the inheritance of Nvshu items can be traced back to the Xianfeng period at the earliest, speculate that the occurrence period of Nvshu was approximately from the late Ming Dynasty to the middle of the Qing Dynasty (1992, 59-63). Generally speaking, the path of the emergence of Nvshu has undergone 5 phases，namely, the matriarchal clan, the social transformation, the marginalized roles, the anomie (Anomie refers to the state of disruption or tension between the cultural goals advocated by society and the legitimate institutionalized means to achieve these goals), and the resistance (2011, 12-23).

=='''The Decline of Nvshu'''==

Since the founding of the Republic of China, especially after the May 4th Movement, Nvshu began to decline. After the founding of the People's Republic of China, the pace of the decline of Nvshu accelerated. There were only 64 inheritors of Nvshu at that time. In the 1980s, when Nvshu was rediscovered by the academic community, it was already in a serious state of decline, with very few inheritors left. In 2004, the passing away of the last natural inheritor, the elderly Yang Huanyi, marked the formal end of the use of Nvshu as a written language (2005, 120-130).

=='''The Form and Content of Nvshu'''==

==='''Form'''===

In the patriarchal past, numerous talented local women employed Nvshu—a script indecipherable to men—as a clandestine medium for emotional and intellectual exchange, weaving their innermost thoughts, confessions, and poetic expressions into daily objects through embroidery, engraving, stamping, and handwriting. The collected Nvshu corpus, comprising nearly 200,000 characters, overwhelmingly adopts lyrical song forms (geshu), transmitted through four primary carriers: paper slips, bound books, fan surfaces, and textile accessories (handkerchiefs, sashes, and garments) ( “zhi” “shu” “shan” and “jin” in Chinese respectively ). Regardless of medium, Nvshu creators demonstrated a meticulous commitment to formal aesthetics:
Paper slips and bound books (“zhi” and “shu”) were often adorned with floral borders at the four corners, framing the text within botanical elegance.
Fans (“shan”) integrated ornate avian-floral motifs into the layout, merging calligraphy with naturalist painting.
Embroidered textiles (“jin”)—such as handkerchiefs, sashes, and clothing bands—transformed Nvshu into wearable art, with each stitch embodying the pinnacle of women’s needlework craftsmanship.
These artifacts transcend mere linguistic communication; they represent a convergence of textuality, materiality, and gendered creativity, where women subverted patriarchal literacy norms by reappropriating domestic objects as vehicles for subversive self-expression.

==='''Content'''===

The primary subjects of Nvshu works encompass marriage and family life, social interactions, clandestine yearnings, village folklore, ballads, and riddles. Some Nvshu texts were also transcribed into vernacular Chinese-language songbooks for broader circulation. While the narrative content documented in Nvshu is not exclusively female-authored, these stories—once transmitted orally and recontextualized through the lens of Nvshu—evolve into projections of women’s inner worlds. Employing a starkly realist style, the texts articulate women’s self-lamentations over their ambitions thwarted by fate (“high aspirations, fragile destinies”), their bitter struggles as aspirations dissolve into futility under patriarchal oppression, and their invocation of folkloric deities to seek divine intervention against misfortune.
The female protagonists in these works transcend conventional gender stereotypes, emerging as assertive “heroines” who vociferously demand egalitarian status with men while vehemently rejecting and scorning the worldly ambitions (careerism, wealth, and status) valorized by patriarchal society.

[[File:Nvshu_inheritence.png|300px|]]

=='''The Publication and Literary works on Nvshu'''==
''The World's Sole Female Script - Nvshu''

Compiled by Zhou Yetao and Gong Butan, published by Minghua Press in February 2009, this book meticulously documents the discovery of Nvshu in 1982, exploring its emotional expressions, cultural beliefs, and artistic manifestations. It delves into the transmission and preservation of Nvshu, as well as women-centered customs intertwined with this script. The work is structured thematically, introducing renowned Nvshu transmitters, scholars, and calligraphers, while also shedding light on several unidentified scripts newly discovered in Hubei Province.

''Snow Flower and the Secret Fan''

American Chinese author Lisa See’s novel Snow Flower and the Secret Fan unfolds in a Yao ethnic village of Jiangyong County, Hunan Province, during the Daoguang era (1821–1850) of the late Qing Dynasty. In this patriarchal society, where women’s lives were defined by marital destiny (seeking a “good match”) and lifelong service to their husbands’ families, the protagonists—Lily (“Baihe” in Chinese) (portrayed by Chinese actress Li Bingbing in the film adaptation) and Snow Flower (“Xuehua”) (played by South Korean actress Jun Ji-hyun)—forge a lifelong bond through Nvshu-inscribed folding fans, a testament to the script’s profound role in shaping female existence.

=='''The Revealed Female Consciousness and Female Cultural Colors of Nvshu Literature'''==

Nvshu literature is a special form of “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) created by working women. Working women are not only the creators of Nvshu, but also the singers and disseminators. It expresses the sufferings and pursuits of ordinary peasant women, as well as the deep friendship among sisters.
Nvshu literature reflects the hazy understanding of their own fate and the initial awakening of self-awareness among working women. The content is not merely about narrating the injustices and miseries that women have endured, but also a form of accusation and resistance against the dark society, as well as a rebellion against the feudal ethical code.

=='''References'''==

[1]Nvshu (Ed.). (2025, April 23). In Wikipedia. https://zh.wikipedia.org/wiki/%E5%A5%B3%E4%B9%A6

[2]He X.L(2011). Multiple Perspectives of Nvshu and the Culture Studies[Docotor dissertation, Central China Normal University].

[3]Xie Z.M. (1991). Nvshu is the remnant and evolution of the ancient characters of the Shang Dynasty, which has a close relationship with oracle bone inscriptions. Journal of Minzu University of China (Philosophy and Social Sciences), (06), 59-64+73-66.

[4]Gong Z.B. (1992). An Examination of the Era of Nvshu. Journal of Central China University (Humanities and Social Sciences), (05), 59-63.

[5]Liu Z.H. (2005). A Miracle in the Boudoir: Nvshu of China. Heilongjiang: Heilongjiang People’s Publishing House.

=='''Terms and Expressions'''==

Nvshu 女书

“Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding) 三朝书

Sphinx’s riddle 斯芬克斯之谜

folding fan 折扇

oracle bone inscription 甲骨文

anomie 失范

women’s needlework craftsmanship 女红工艺品

“Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) “歌堂文学”

=='''Questions'''==

1.Is Nvshu literature a special form of “Ge Tang literature” ?

2.What literary works are related to Nvshu?

3.What are the four main carriers of the Nvshu?

4.What’s the name of last natural inheritor of Nvshu?

5.Where did the origin of Nvshu lie?

=='''Answers'''==

1. Yes, it is.

2. ''The World's Sole Female Script - Nvshu'' and ''Snow Flower and the Secret Fan''.

3. paper slips("zhi"), bound books("shu"), fan surfaces("shan"), and textile accessories("jin").

4. Yang Huanyi.

5. It was originated in Jiangyong County, Hunan Province.

='''女书'''=

女书是一种女性专用的汉语方言音节表音文字，其起源于湖南江永县，存在已超过数百年。其一般用于书写属于湘语永全片的江永城关方言。女书作品书写在精制布面手写本（婚嫁礼物）、扇面、布帕、纸片上，分别叫作“三朝书”“歌扇”“帕书”“纸文”。有的绣在帕子上，叫“绣字”。据维基百科词条，由于女书在文化大革命期间被严重破坏，再加上随着时代的发展及人口外流，现在女书正濒临失传（2025）。

[[File:Nvshu.png|300px|]]

=='''女书的文字特点'''==

女书文字的特点是书写呈长菱形，字体秀丽娟细，造型奇特，也被称为“蚊形字”。搜集到的有近2000个字符，所有字符只有点、竖、斜、弧四种笔划，可采用当地的江永土话（属湘语-永全片）吟诵或咏唱。
与汉字不同的地方是：女书是一种标音文字，每一个字所代表的都是一个音。现时文献搜集到的女书文字约有七百个。女书的字型虽然参考汉字，但两者并没有必然的关系。由于女书除了日常用作书写以外，也可以当成花纹编在衣服或布带上，所以字型或多或少也有所迁就，变成弯曲的形状。

[[File:Nvshu_forms.png|300px|]]

=='''女书的形成'''==

女书的创制时代一直是困扰学术界的“斯芬克斯”之谜学者们从不同的角度运用不同的方法得出了各种各样的结论和猜测。谢志民先生根据现代女字中保留有大量的甲骨文借字，认为女字创制的时代下限最迟不会晚于殷商（1991, 59）；宫哲兵先生“根据女书文字传授和女书物品传承最早可以追溯到咸丰年间，推测女书的发生期大约是明末清代中期这个时期（1992, 59-63）。但大体上来说，女书生成的路径有五个阶段——母系氏族，社会转型，边缘化角色，失范（失范是社会所倡导的文化目标与现实这些目标的合法的制度化手段之间的断裂或紧张状态），反抗（2011, 19-23）。

=='''女书的消亡'''==

自民国以来特别是“五四”运动以后女书开始走向衰落解放以后女书衰落的步伐加快，女书传人只有64人，20世纪80年代当女书被学术界重新发现时它已处于严重的衰亡状态，女书传人寥剩无几，2004年最后一位自然传承人阳焕宜老人去世，标志着女书作为文字的使用已正式寿终就寝（2005, 120-130）。

=='''女书的形式和内容'''==

==='''形式'''===

旧时当地不少才情女子采用这种男人不识的女书互通心迹，诉说衷肠，将其刺绣、刻划、戳印、书写于纸扇巾帕女红。搜集到的近20万字的“女书”作品，绝大部分为歌体，其载体分纸、书、扇、巾四大类。无论哪种承载方式，都十分讲究形式美。如写在纸张上的四角多配花纹，写于纸扇上的多插绘花鸟图案，而织绣在巾帕花带和服饰上的，则是精美的女红工艺品。

==='''内容'''===

女书作品主要内容是写婚姻家庭、社会交往、幽怨私情、乡里逸闻、歌谣谜语等。也有的编译成汉字的唱本。女书记载的叙事作品就内容而言，并非女性所独创，但通过口头传承进入女书后，便成了女性心灵世界的投影。作品完全用写实手法自叙自叹心比天高、命如纸薄，美好意愿在黑暗中化作泡影的悲苦境遇，并请出民间传说中的神灵帮助逢凶化吉。这些作品的女主人公不仅都是个性张扬的“女强人”，强烈要求和男性地位平等，而且她们极端厌弃鄙视男性所热衷的功名富贵。

[[File:Nvshu_inheritence.png|300px|]]

=='''有关女书的出版物和文学创作'''==

''《世界唯一的女性文字——女书》''
该书由周冶陶、宫步坦编著，明华印书馆2009年2月版，本书详细记录了女书1982年被发现的经过，女书中的情感、信仰与艺术，女书的传承与保护，与女书有关的女性习俗等内容，并分篇介绍了著名的女书传人、著名的女书研究专家和著名的女书书法家，还对湖北新发现的几种未识别文字进行了介绍。

''《雪花秘扇》''
美国华裔作家邝丽莎（Lisa See）所著之《雪花秘扇》，便是以晚清道光年间，湖南省江永县的瑶族村落为故事背景。在这个男性作为社会主干、女性的人生任务就是找得好归宿，为夫家奉献一生的时代中，两女主角百合（电影版由中国女艺人李冰冰饰演）与雪花（电影版中由韩国女艺人全智贤饰演）透过写上女书的折扇展开了足以影响她们一生的重要情谊。书中描述了女书作为女性间的专属文字，对于妇女的生活甚至人生的重要性。

=='''女书文学及其透露出来的女性意识和女性文化色彩'''==

女书文学是劳动妇女“歌堂文学”（在特定的场所，如歌堂中，人们通过唱歌的方式来创作、传承和传播的文学作品）的一种特殊形式。劳动妇女既是女书的创作者，有时演唱者、传播者。表达了普通农妇的苦难和追求，以及姊妹间深厚的情谊.
女书文学体现了劳动妇女对自己命运的朦胧认识和自我意识的初步觉醒。女书内容不仅仅是诉说女性遭遇的不公和悲苦，更是对黑暗社会的控诉和反抗、对封建礼教的叛逆。

=='''参考文献'''==

[1]Nvshu (Ed.). (2025, April 23). In Wikipedia. https://zh.wikipedia.org/wiki/%E5%A5%B3%E4%B9%A6

[2]贺夏蓉.多重视角下的女书及女书文化研究[D].华中师范大学,2011. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsmocI5hAGn0ewc2W6RFZoO-XKGxbbxWpe43B7_X8pbRnLywIIQ1KwSHN0Zk4mj9nPpQ4GgDw9gEs7XqCw_YzUqxbUNy0fjDcB2RIUV1df7YKtzSiLTbglup57aqsn6N7ZWrfhzX372_jueyieS3wMeB5--DiryWqwsnDqJbni1B1mpja0OBxWa64hjJZITgVk=&uniplatform=NZKPT&language=CHS.

[3]谢志民.“女书”是一种与甲骨文有密切关系的商代古文字的孑遗和演变[J].中央民族学院学报,1991,(06):59-64+73-66.DOI:10.15970/j.cnki.1005-8575.1991.06.012.

[4]宫哲兵. 女书时代考[J]. 华中师范大学学报(哲学社会科学版), 1992, (05): 59-63.https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsi-VVvHrXidt4JZrsZuCpMDLsLkrcB2ZQ4zGakIKrqsc1cOuZZBFuV3UavLi5Ae6A9X2V7VIAId-WNgfSN2t_egHytwRLvMObv-BVF9RvhBBIY6Y2T3Rw09DZ7OS0EoOsCllTZMm6MD_Vp9JqYz5yqq16-6xy1yo_EEQywyz3MLTzz9SLUDgD0&uniplatform=NZKPT&language=CHS.

[5]刘忠华.《闺中奇迹———女书》[M]. 黑龙江：黑龙江人民出版社，2005.

=='''术语和表达'''==

女书 Nvshu

三朝书 “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding)

斯芬克斯之谜 Sphinx’s riddle

折扇 folding fan

甲骨文 oracle bone inscription

失范 anomie

女红工艺品 women’s needlework craftsmanship

“歌堂文学” “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls)

=='''问题'''==

1. 女书属于一种特殊的“歌堂文学”吗 ?

2. 与女书相关的文学作品有哪些?

3. 女书有哪四种主要的载体?

4. 女书的最后一位传人是谁?

5. 女书的发源地是哪里?

=='''答案'''==

1. 属于。

2. 《世界唯一的女性文字——女书》和《雪花秘扇》。

3. 纸、书、扇、巾。

4. 阳焕宜。

5. 湖南江永县。

='''AI Statement'''=

I hereby guarantee that I have not used the help of AI to write my final paper in this course.

User:Miao Yunlong

2025-06-14T04:39:10Z

Miao Yunlong:

User:Miao Yunlong

2025-06-06T13:07:57Z

Miao Yunlong:

User:Miao Yunlong

2025-06-06T13:05:20Z

Miao Yunlong:

[https://bou.de/u/wiki/Chinese_Language_and_Culture,_Spring_2025 Link to Course Homepage] [https://bou.de/u/wiki/Chin_Lang_Cult_Fin_Exam_Spring_2025 Link to List of final exam chapters]

='''Nvshu (Womens’ Script)'''=

Nvshu (also known as Women’s Script) is a unique syllabic phonographic writing system. It was first invented by women living in Jiangyong County, Hunan Province and represents the sounds of a local variant of the Chinese dialect and has existed for hundreds of years. This script is chiefly employed to transcribe the Jiangyong County-town dialect, a linguistic variety categorized under the Yong-Quan cluster within the Xiang language family. Nvshu works are inscribed on exquisitely crafted cloth-bound handwritten books (used as wedding gifts), fan surfaces, cloth handkerchiefs, and paper slips, which are respectively called “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding), “Geshan” (folding fans inscribed with musical repertoire written in Nvshu), “Pashu”, and “Zhiwen” . Some are embroidered onto handkerchiefs, known as “Xiuzi” .In accordance with Wikipedia, due to severe damage inflicted upon Nvshu during the Cultural Revolution, coupled with the passage of time, societal development, and population outflow, it is now on the verge of being lost (2025).

[[File:Nvshu.png|300px|]]

=='''Linguistic Characters of Nvshu'''==

The Nvshu script is characterized by its distinctive elongated rhomboid-shaped characters, exquisitely slender and graceful strokes, and peculiar visual forms, earning it the nickname “mosquito-shaped script.” Approximately 2,000 characters have been documented to date. The entire writing system consists of only four basic strokes: dots, vertical lines, slanted lines, and curved arcs. These characters can be chanted or sung in the local Jiangyong vernacular (belonging to the Yong-Quan subgroup of the Xiang language family).
The key difference between Nvshu and Chinese characters lies in their writing systems: Nvshu is a syllabic phonographic script, where each character represents a distinct syllable (sound). Currently, some 700 Nvshu characters have been documented through historical and contemporary research. While the glyph structures of Nvshu characters draw inspiration from Chinese characters, there is no inherent logical or structural correlation between the two systems. Beyond its role as a written language for daily communication, Nvshu also serves as an ornamental motif woven into clothing or fabric belts. This functional duality has influenced the evolution of Nvshu, which often exhibit curvilinear, flowing forms adapted to the flexibility of textile patterns rather than the rigid grid-based structure of traditional Chinese characters.

[[File:Nvshu_forms.png|300px|]]

=='''The Emergence of Nvshu'''==

The era of the creation of Nvshu has always been a “Sphinx’s riddle” that puzzles the academic community. Scholars have used different methods from various perspectives and drawn a wide variety of conclusions and speculations. Xie Zhimin believes that, based on the fact that a large number of borrowed characters from oracle bone inscriptions are retained in modern Nvshu characters, the latest lower limit of the era when Nvshu was created could not be later than the Shang Dynasty (1991, 59). Gong Zhebing, according to the fact that the transmission of Nvshu characters and the inheritance of Nvshu items can be traced back to the Xianfeng period at the earliest, speculate that the occurrence period of Nvshu was approximately from the late Ming Dynasty to the middle of the Qing Dynasty (1992, 59-63). Generally speaking, the path of the emergence of Nvshu has undergone 5 phases，namely, the matriarchal clan, the social transformation, the marginalized roles, the anomie (Anomie refers to the state of disruption or tension between the cultural goals advocated by society and the legitimate institutionalized means to achieve these goals), and the resistance (2011, 12-23).

=='''The Decline of Nvshu'''==

Since the founding of the Republic of China, especially after the May 4th Movement, Nvshu began to decline. After the founding of the People's Republic of China, the pace of the decline of Nvshu accelerated. There were only 64 inheritors of Nvshu at that time. In the 1980s, when Nvshu was rediscovered by the academic community, it was already in a serious state of decline, with very few inheritors left. In 2004, the passing away of the last natural inheritor, the elderly Yang Huanyi, marked the formal end of the use of Nvshu as a written language (2005, 120-130).

=='''The Form and Content of Nvshu'''==

==='''Form'''===

In the patriarchal past, numerous talented local women employed Nvshu—a script indecipherable to men—as a clandestine medium for emotional and intellectual exchange, weaving their innermost thoughts, confessions, and poetic expressions into daily objects through embroidery, engraving, stamping, and handwriting. The collected Nvshu corpus, comprising nearly 200,000 characters, overwhelmingly adopts lyrical song forms (geshu), transmitted through four primary carriers: paper slips, bound books, fan surfaces, and textile accessories (handkerchiefs, sashes, and garments) ( “zhi” “shu” “shan” and “jin” in Chinese respectively ). Regardless of medium, Nvshu creators demonstrated a meticulous commitment to formal aesthetics:
Paper slips and bound books (“zhi” and “shu”) were often adorned with floral borders at the four corners, framing the text within botanical elegance.
Fans (“shan”) integrated ornate avian-floral motifs into the layout, merging calligraphy with naturalist painting.
Embroidered textiles (“jin”)—such as handkerchiefs, sashes, and clothing bands—transformed Nvshu into wearable art, with each stitch embodying the pinnacle of women’s needlework craftsmanship.
These artifacts transcend mere linguistic communication; they represent a convergence of textuality, materiality, and gendered creativity, where women subverted patriarchal literacy norms by reappropriating domestic objects as vehicles for subversive self-expression.

==='''Content'''===

The primary subjects of Nvshu works encompass marriage and family life, social interactions, clandestine yearnings, village folklore, ballads, and riddles. Some Nvshu texts were also transcribed into vernacular Chinese-language songbooks for broader circulation. While the narrative content documented in Nvshu is not exclusively female-authored, these stories—once transmitted orally and recontextualized through the lens of Nvshu—evolve into projections of women’s inner worlds. Employing a starkly realist style, the texts articulate women’s self-lamentations over their ambitions thwarted by fate (“high aspirations, fragile destinies”), their bitter struggles as aspirations dissolve into futility under patriarchal oppression, and their invocation of folkloric deities to seek divine intervention against misfortune.
The female protagonists in these works transcend conventional gender stereotypes, emerging as assertive “heroines” who vociferously demand egalitarian status with men while vehemently rejecting and scorning the worldly ambitions (careerism, wealth, and status) valorized by patriarchal society.

[[File:Nvshu_inheritence.png|300px|]]

=='''The Publication and Literary works on Nvshu'''==
''The World's Sole Female Script - Nvshu''

Compiled by Zhou Yetao and Gong Butan, published by Minghua Press in February 2009, this book meticulously documents the discovery of Nvshu in 1982, exploring its emotional expressions, cultural beliefs, and artistic manifestations. It delves into the transmission and preservation of Nvshu, as well as women-centered customs intertwined with this script. The work is structured thematically, introducing renowned Nvshu transmitters, scholars, and calligraphers, while also shedding light on several unidentified scripts newly discovered in Hubei Province.

''Snow Flower and the Secret Fan''

American Chinese author Lisa See’s novel Snow Flower and the Secret Fan unfolds in a Yao ethnic village of Jiangyong County, Hunan Province, during the Daoguang era (1821–1850) of the late Qing Dynasty. In this patriarchal society, where women’s lives were defined by marital destiny (seeking a “good match”) and lifelong service to their husbands’ families, the protagonists—Lily (“Baihe” in Chinese) (portrayed by Chinese actress Li Bingbing in the film adaptation) and Snow Flower (“Xuehua”) (played by South Korean actress Jun Ji-hyun)—forge a lifelong bond through Nvshu-inscribed folding fans, a testament to the script’s profound role in shaping female existence.

=='''The Revealed Female Consciousness and Female Cultural Colors of Nvshu Literature'''==

Nvshu literature is a special form of “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) created by working women. Working women are not only the creators of Nvshu, but also the singers and disseminators. It expresses the sufferings and pursuits of ordinary peasant women, as well as the deep friendship among sisters.
Nvshu literature reflects the hazy understanding of their own fate and the initial awakening of self-awareness among working women. The content is not merely about narrating the injustices and miseries that women have endured, but also a form of accusation and resistance against the dark society, as well as a rebellion against the feudal ethical code.

=='''References'''==

Nvshu (Ed.). (2025, April 23). In Wikipedia. https://zh.wikipedia.org/wiki/%E5%A5%B3%E4%B9%A6

He X.L(2011). Multiple Perspectives of Nvshu and the Culture Studies[Docotor dissertation, Central China Normal University].

Xie Z.M. (1991). Nvshu is the remnant and evolution of the ancient characters of the Shang Dynasty, which has a close relationship with oracle bone inscriptions. Journal of Minzu University of China (Philosophy and Social Sciences), (06), 59-64+73-66.

Gong Z.B. (1992). An Examination of the Era of Nvshu. Journal of Central China University (Humanities and Social Sciences), (05), 59-63.

Liu Z.H. (2005). A Miracle in the Boudoir: Nvshu of China. Heilongjiang: Heilongjiang People’s Publishing House.
=='''Terms and Expressions'''==

Nvshu 女书

“Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding) 三朝书

Sphinx’s riddle 斯芬克斯之谜

folding fan 折扇

oracle bone inscription 甲骨文

anomie 失范

women’s needlework craftsmanship 女红工艺品

“Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) “歌堂文学”

=='''Questions'''==

1.Is Nvshu literature a special form of “Ge Tang literature” ?

2.What literary works are related to Nvshu?

3.What are the four main carriers of the Nvshu?

4.What’s the name of last natural inheritor of Nvshu?

5.Where did the origin of Nvshu lie?

=='''Answers'''==

1. Yes, it is.

2. ''The World's Sole Female Script - Nvshu'' and ''Snow Flower and the Secret Fan''.

3. paper slips("zhi"), bound books("shu"), fan surfaces("shan"), and textile accessories("jin").

4. Yang Huanyi.

5. It was originated in Jiangyong County, Hunan Province.

='''女书'''=

女书是一种女性专用的汉语方言音节表音文字，其起源于湖南江永县，存在已超过数百年。其一般用于书写属于湘语永全片的江永城关方言。女书作品书写在精制布面手写本（婚嫁礼物）、扇面、布帕、纸片上，分别叫作“三朝书”“歌扇”“帕书”“纸文”。有的绣在帕子上，叫“绣字”。据维基百科词条，由于女书在文化大革命期间被严重破坏，再加上随着时代的发展及人口外流，现在女书正濒临失传（2025）。

[[File:Nvshu.png|300px|]]

=='''女书的文字特点'''==

女书文字的特点是书写呈长菱形，字体秀丽娟细，造型奇特，也被称为“蚊形字”。搜集到的有近2000个字符，所有字符只有点、竖、斜、弧四种笔划，可采用当地的江永土话（属湘语-永全片）吟诵或咏唱。
与汉字不同的地方是：女书是一种标音文字，每一个字所代表的都是一个音。现时文献搜集到的女书文字约有七百个。女书的字型虽然参考汉字，但两者并没有必然的关系。由于女书除了日常用作书写以外，也可以当成花纹编在衣服或布带上，所以字型或多或少也有所迁就，变成弯曲的形状。

[[File:Nvshu_forms.png|300px|]]

=='''女书的形成'''==

女书的创制时代一直是困扰学术界的“斯芬克斯”之谜学者们从不同的角度运用不同的方法得出了各种各样的结论和猜测。谢志民先生根据现代女字中保留有大量的甲骨文借字，认为女字创制的时代下限最迟不会晚于殷商（1991, 59）；宫哲兵先生“根据女书文字传授和女书物品传承最早可以追溯到咸丰年间，推测女书的发生期大约是明末清代中期这个时期（1992, 59-63）。但大体上来说，女书生成的路径有五个阶段——母系氏族，社会转型，边缘化角色，失范（失范是社会所倡导的文化目标与现实这些目标的合法的制度化手段之间的断裂或紧张状态），反抗（2011, 19-23）。

=='''女书的消亡'''==

自民国以来特别是“五四”运动以后女书开始走向衰落解放以后女书衰落的步伐加快，女书传人只有64人，20世纪80年代当女书被学术界重新发现时它已处于严重的衰亡状态，女书传人寥剩无几，2004年最后一位自然传承人阳焕宜老人去世，标志着女书作为文字的使用已正式寿终就寝（2005, 120-130）。

=='''女书的形式和内容'''==

==='''形式'''===

旧时当地不少才情女子采用这种男人不识的女书互通心迹，诉说衷肠，将其刺绣、刻划、戳印、书写于纸扇巾帕女红。搜集到的近20万字的“女书”作品，绝大部分为歌体，其载体分纸、书、扇、巾四大类。无论哪种承载方式，都十分讲究形式美。如写在纸张上的四角多配花纹，写于纸扇上的多插绘花鸟图案，而织绣在巾帕花带和服饰上的，则是精美的女红工艺品。

==='''内容'''===

女书作品主要内容是写婚姻家庭、社会交往、幽怨私情、乡里逸闻、歌谣谜语等。也有的编译成汉字的唱本。女书记载的叙事作品就内容而言，并非女性所独创，但通过口头传承进入女书后，便成了女性心灵世界的投影。作品完全用写实手法自叙自叹心比天高、命如纸薄，美好意愿在黑暗中化作泡影的悲苦境遇，并请出民间传说中的神灵帮助逢凶化吉。这些作品的女主人公不仅都是个性张扬的“女强人”，强烈要求和男性地位平等，而且她们极端厌弃鄙视男性所热衷的功名富贵。

[[File:Nvshu_inheritence.png|300px|]]

=='''有关女书的出版物和文学创作'''==

''《世界唯一的女性文字——女书》''
该书由周冶陶、宫步坦编著，明华印书馆2009年2月版，本书详细记录了女书1982年被发现的经过，女书中的情感、信仰与艺术，女书的传承与保护，与女书有关的女性习俗等内容，并分篇介绍了著名的女书传人、著名的女书研究专家和著名的女书书法家，还对湖北新发现的几种未识别文字进行了介绍。

''《雪花秘扇》''
美国华裔作家邝丽莎（Lisa See）所著之《雪花秘扇》，便是以晚清道光年间，湖南省江永县的瑶族村落为故事背景。在这个男性作为社会主干、女性的人生任务就是找得好归宿，为夫家奉献一生的时代中，两女主角百合（电影版由中国女艺人李冰冰饰演）与雪花（电影版中由韩国女艺人全智贤饰演）透过写上女书的折扇展开了足以影响她们一生的重要情谊。书中描述了女书作为女性间的专属文字，对于妇女的生活甚至人生的重要性。

=='''女书文学及其透露出来的女性意识和女性文化色彩'''==

女书文学是劳动妇女“歌堂文学”（在特定的场所，如歌堂中，人们通过唱歌的方式来创作、传承和传播的文学作品）的一种特殊形式。劳动妇女既是女书的创作者，有时演唱者、传播者。表达了普通农妇的苦难和追求，以及姊妹间深厚的情谊.
女书文学体现了劳动妇女对自己命运的朦胧认识和自我意识的初步觉醒。女书内容不仅仅是诉说女性遭遇的不公和悲苦，更是对黑暗社会的控诉和反抗、对封建礼教的叛逆。

=='''参考文献'''==

[1]Nvshu (Ed.). (2025, April 23). In Wikipedia. https://zh.wikipedia.org/wiki/%E5%A5%B3%E4%B9%A6

[2]贺夏蓉.多重视角下的女书及女书文化研究[D].华中师范大学,2011. https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsmocI5hAGn0ewc2W6RFZoO-XKGxbbxWpe43B7_X8pbRnLywIIQ1KwSHN0Zk4mj9nPpQ4GgDw9gEs7XqCw_YzUqxbUNy0fjDcB2RIUV1df7YKtzSiLTbglup57aqsn6N7ZWrfhzX372_jueyieS3wMeB5--DiryWqwsnDqJbni1B1mpja0OBxWa64hjJZITgVk=&uniplatform=NZKPT&language=CHS.

[3]谢志民.“女书”是一种与甲骨文有密切关系的商代古文字的孑遗和演变[J].中央民族学院学报,1991,(06):59-64+73-66.DOI:10.15970/j.cnki.1005-8575.1991.06.012.

[4]宫哲兵. 女书时代考[J]. 华中师范大学学报(哲学社会科学版), 1992, (05): 59-63.https://kns.cnki.net/kcms2/article/abstract?v=tMRSZR5ycIsi-VVvHrXidt4JZrsZuCpMDLsLkrcB2ZQ4zGakIKrqsc1cOuZZBFuV3UavLi5Ae6A9X2V7VIAId-WNgfSN2t_egHytwRLvMObv-BVF9RvhBBIY6Y2T3Rw09DZ7OS0EoOsCllTZMm6MD_Vp9JqYz5yqq16-6xy1yo_EEQywyz3MLTzz9SLUDgD0&uniplatform=NZKPT&language=CHS.

[5]刘忠华.《闺中奇迹———女书》[M]. 黑龙江：黑龙江人民出版社，2005.

=='''术语和表达'''==

女书 Nvshu

三朝书 “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding)

斯芬克斯之谜 Sphinx’s riddle

折扇 folding fan

甲骨文 oracle bone inscription

失范 anomie

女红工艺品 women’s needlework craftsmanship

“歌堂文学” “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls)

=='''问题'''==

1. 女书属于一种特殊的“歌堂文学”吗 ?

2. 与女书相关的文学作品有哪些?

3. 女书有哪四种主要的载体?

4. 女书的最后一位传人是谁?

5. 女书的发源地是哪里?

=='''答案'''==

1. 属于。

2. 《世界唯一的女性文字——女书》和《雪花秘扇》。

3. 纸、书、扇、巾。

4. 阳焕宜。

5. 湖南江永县。

User:Miao Yunlong

2025-06-06T11:25:40Z

Miao Yunlong: /* Terms and Expressions */

='''Nvshu (Womens’ Script)'''=

Nvshu (also known as Women’s Script) is a unique syllabic phonographic writing system. It was first invented by women living in Jiangyong County, Hunan Province and represents the sounds of a local variant of the Chinese dialect and has existed for hundreds of years. This script is chiefly employed to transcribe the Jiangyong County-town dialect, a linguistic variety categorized under the Yong-Quan cluster within the Xiang language family. Nvshu works are inscribed on exquisitely crafted cloth-bound handwritten books (used as wedding gifts), fan surfaces, cloth handkerchiefs, and paper slips, which are respectively called “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding), “Geshan” (folding fans inscribed with musical repertoire written in Nvshu), “Pashu”, and “Zhiwen” . Some are embroidered onto handkerchiefs, known as “Xiuzi” .In accordance with Wikipedia, due to severe damage inflicted upon Nvshu during the Cultural Revolution, coupled with the passage of time, societal development, and population outflow, it is now on the verge of being lost (2025).

[[File:Nvshu.png|300px|]]

=='''Linguistic Characters of Nvshu'''==

The Nvshu script is characterized by its distinctive elongated rhomboid-shaped characters, exquisitely slender and graceful strokes, and peculiar visual forms, earning it the nickname “mosquito-shaped script.” Approximately 2,000 characters have been documented to date. The entire writing system consists of only four basic strokes: dots, vertical lines, slanted lines, and curved arcs. These characters can be chanted or sung in the local Jiangyong vernacular (belonging to the Yong-Quan subgroup of the Xiang language family).
The key difference between Nvshu and Chinese characters lies in their writing systems: Nvshu is a syllabic phonographic script, where each character represents a distinct syllable (sound). Currently, some 700 Nvshu characters have been documented through historical and contemporary research. While the glyph structures of Nvshu characters draw inspiration from Chinese characters, there is no inherent logical or structural correlation between the two systems. Beyond its role as a written language for daily communication, Nvshu also serves as an ornamental motif woven into clothing or fabric belts. This functional duality has influenced the evolution of Nvshu, which often exhibit curvilinear, flowing forms adapted to the flexibility of textile patterns rather than the rigid grid-based structure of traditional Chinese characters.

[[File:Nvshu_forms.png|300px|]]

=='''The Emergence of Nvshu'''==

The era of the creation of Nvshu has always been a “Sphinx’s riddle” that puzzles the academic community. Scholars have used different methods from various perspectives and drawn a wide variety of conclusions and speculations. Xie Zhimin believes that, based on the fact that a large number of borrowed characters from oracle bone inscriptions are retained in modern Nvshu characters, the latest lower limit of the era when Nvshu was created could not be later than the Shang Dynasty (1991). Gong Zhebing, according to the fact that the transmission of Nvshu characters and the inheritance of Nvshu items can be traced back to the Xianfeng period at the earliest, speculate that the occurrence period of Nvshu was approximately from the late Ming Dynasty to the middle of the Qing Dynasty (1992). Generally speaking, the path of the emergence of Nvshu has undergone 5 phases，namely, the matriarchal clan, the social transformation, the marginalized roles, the anomie (Anomie refers to the state of disruption or tension between the cultural goals advocated by society and the legitimate institutionalized means to achieve these goals), and the resistance (2011).

=='''The Decline of Nvshu'''==

Since the founding of the Republic of China, especially after the May 4th Movement, Nvshu began to decline. After the founding of the People's Republic of China, the pace of the decline of Nvshu accelerated. There were only 64 inheritors of Nvshu at that time. In the 1980s, when Nvshu was rediscovered by the academic community, it was already in a serious state of decline, with very few inheritors left. In 2004, the passing away of the last natural inheritor, the elderly Yang Huanyi, marked the formal end of the use of Nvshu as a written language (2004).

=='''The Form and Content of Nvshu'''==

==='''Form'''===

In the patriarchal past, numerous talented local women employed Nvshu—a script indecipherable to men—as a clandestine medium for emotional and intellectual exchange, weaving their innermost thoughts, confessions, and poetic expressions into daily objects through embroidery, engraving, stamping, and handwriting. The collected Nvshu corpus, comprising nearly 200,000 characters, overwhelmingly adopts lyrical song forms (geshu), transmitted through four primary carriers: paper slips, bound books, fan surfaces, and textile accessories (handkerchiefs, sashes, and garments) ( “zhi” “shu” “shan” and “jin” in Chinese respectively ). Regardless of medium, Nvshu creators demonstrated a meticulous commitment to formal aesthetics:
Paper slips and bound books (“zhi” and “shu”) were often adorned with floral borders at the four corners, framing the text within botanical elegance.
Fans (“shan”) integrated ornate avian-floral motifs into the layout, merging calligraphy with naturalist painting.
Embroidered textiles (“jin”)—such as handkerchiefs, sashes, and clothing bands—transformed Nvshu into wearable art, with each stitch embodying the pinnacle of women’s needlework craftsmanship.
These artifacts transcend mere linguistic communication; they represent a convergence of textuality, materiality, and gendered creativity, where women subverted patriarchal literacy norms by reappropriating domestic objects as vehicles for subversive self-expression.

==='''Content'''===

The primary subjects of Nvshu works encompass marriage and family life, social interactions, clandestine yearnings, village folklore, ballads, and riddles. Some Nvshu texts were also transcribed into vernacular Chinese-language songbooks for broader circulation. While the narrative content documented in Nvshu is not exclusively female-authored, these stories—once transmitted orally and recontextualized through the lens of Nvshu—evolve into projections of women’s inner worlds. Employing a starkly realist style, the texts articulate women’s self-lamentations over their ambitions thwarted by fate (“high aspirations, fragile destinies”), their bitter struggles as aspirations dissolve into futility under patriarchal oppression, and their invocation of folkloric deities to seek divine intervention against misfortune.
The female protagonists in these works transcend conventional gender stereotypes, emerging as assertive “heroines” who vociferously demand egalitarian status with men while vehemently rejecting and scorning the worldly ambitions (careerism, wealth, and status) valorized by patriarchal society.

[[File:Nvshu_inheritence.png|300px|]]

=='''The Publication and Literary works on Nvshu'''==
''The World's Sole Female Script - Nvshu''

Compiled by Zhou Yetao and Gong Butan, published by Minghua Press in February 2009, this book meticulously documents the discovery of Nvshu in 1982, exploring its emotional expressions, cultural beliefs, and artistic manifestations. It delves into the transmission and preservation of Nvshu, as well as women-centered customs intertwined with this script. The work is structured thematically, introducing renowned Nvshu transmitters, scholars, and calligraphers, while also shedding light on several unidentified scripts newly discovered in Hubei Province.

''Snow Flower and the Secret Fan''

American Chinese author Lisa See’s novel Snow Flower and the Secret Fan unfolds in a Yao ethnic village of Jiangyong County, Hunan Province, during the Daoguang era (1821–1850) of the late Qing Dynasty. In this patriarchal society, where women’s lives were defined by marital destiny (seeking a “good match”) and lifelong service to their husbands’ families, the protagonists—Lily (“Baihe” in Chinese) (portrayed by Chinese actress Li Bingbing in the film adaptation) and Snow Flower (“Xuehua”) (played by South Korean actress Jun Ji-hyun)—forge a lifelong bond through Nvshu-inscribed folding fans, a testament to the script’s profound role in shaping female existence.

=='''The Revealed Female Consciousness and Female Cultural Colors of Nvshu Literature'''==

Nvshu literature is a special form of “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) created by working women. Working women are not only the creators of Nvshu, but also the singers and disseminators. It expresses the sufferings and pursuits of ordinary peasant women, as well as the deep friendship among sisters.
Nvshu literature reflects the hazy understanding of their own fate and the initial awakening of self-awareness among working women. The content is not merely about narrating the injustices and miseries that women have endured, but also a form of accusation and resistance against the dark society, as well as a rebellion against the feudal ethical code.

=='''Terms and Expressions'''==

Nvshu 女书

“Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding) 三朝书

Sphinx’s riddle 斯芬克斯之谜

folding fan 折扇

oracle bone inscription 甲骨文

anomie 失范

women’s needlework craftsmanship 女红工艺品

“Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) “歌堂文学”

=='''Questions'''==

1.Is Nvshu literature a special form of “Ge Tang literature” ?

2.What literary works are related to Nvshu?

3.What are the four main carriers of the Nvshu?

4.What’s the name of last natural inheritor of Nvshu?

5.Where did the origin of Nvshu lie?

6.What are the similarities and differences between Nvshu and Chinese characters?

='''女书'''=

女书是一种女性专用的汉语方言音节表音文字，其起源于湖南江永县，存在已超过数百年。其一般用于书写属于湘语永全片的江永城关方言。女书作品书写在精制布面手写本（婚嫁礼物）、扇面、布帕、纸片上，分别叫作“三朝书”“歌扇”“帕书”“纸文”。有的绣在帕子上，叫“绣字”。据维基百科词条，由于女书在文化大革命期间被严重破坏，再加上随着时代的发展及人口外流，现在女书正濒临失传（2025）。

[[File:Nvshu.png|300px|]]

=='''女书的文字特点'''==

女书文字的特点是书写呈长菱形，字体秀丽娟细，造型奇特，也被称为“蚊形字”。搜集到的有近2000个字符，所有字符只有点、竖、斜、弧四种笔划，可采用当地的江永土话（属湘语-永全片）吟诵或咏唱。
与汉字不同的地方是：女书是一种标音文字，每一个字所代表的都是一个音。现时文献搜集到的女书文字约有七百个。女书的字型虽然参考汉字，但两者并没有必然的关系。由于女书除了日常用作书写以外，也可以当成花纹编在衣服或布带上，所以字型或多或少也有所迁就，变成弯曲的形状。

[[File:Nvshu_forms.png|300px|]]

=='''女书的形成'''==

女书的创制时代一直是困扰学术界的“斯芬克斯”之谜学者们从不同的角度运用不同的方法得出了各种各样的结论和猜测。谢志民先生根据现代女字中保留有大量的甲骨文借字，认为女字创制的时代下限最迟不会晚于殷商（1991）；宫哲兵先生“根据女书文字传授和女书物品传承最早可以追溯到咸丰年间，推测女书的发生期大约是明末清代中期这个时期（1992）。但大体上来说，女书生成的路径有五个阶段——母系氏族，社会转型，边缘化角色，失范（失范是社会所倡导的文化目标与现实这些目标的合法的制度化手段之间的断裂或紧张状态），反抗（2011）。

=='''女书的消亡'''==

自民国以来特别是“五四”运动以后女书开始走向衰落解放以后女书衰落的步伐加快，女书传人只有64人，20世纪80年代当女书被学术界重新发现时它已处于严重的衰亡状态，女书传人寥剩无几，2004年最后一位自然传承人阳焕宜老人去世，标志着女书作为文字的使用已正式寿终就寝（2004）。

=='''女书的形式和内容'''==

==='''形式'''===

旧时当地不少才情女子采用这种男人不识的女书互通心迹，诉说衷肠，将其刺绣、刻划、戳印、书写于纸扇巾帕女红。搜集到的近20万字的“女书”作品，绝大部分为歌体，其载体分纸、书、扇、巾四大类。无论哪种承载方式，都十分讲究形式美。如写在纸张上的四角多配花纹，写于纸扇上的多插绘花鸟图案，而织绣在巾帕花带和服饰上的，则是精美的女红工艺品。

==='''内容'''===

女书作品主要内容是写婚姻家庭、社会交往、幽怨私情、乡里逸闻、歌谣谜语等。也有的编译成汉字的唱本。女书记载的叙事作品就内容而言，并非女性所独创，但通过口头传承进入女书后，便成了女性心灵世界的投影。作品完全用写实手法自叙自叹心比天高、命如纸薄，美好意愿在黑暗中化作泡影的悲苦境遇，并请出民间传说中的神灵帮助逢凶化吉。这些作品的女主人公不仅都是个性张扬的“女强人”，强烈要求和男性地位平等，而且她们极端厌弃鄙视男性所热衷的功名富贵。

[[File:Nvshu_inheritence.png|300px|]]

=='''有关女书的出版物和文学创作'''==

''《世界唯一的女性文字——女书》''
该书由周冶陶、宫步坦编著，明华印书馆2009年2月版，本书详细记录了女书1982年被发现的经过，女书中的情感、信仰与艺术，女书的传承与保护，与女书有关的女性习俗等内容，并分篇介绍了著名的女书传人、著名的女书研究专家和著名的女书书法家，还对湖北新发现的几种未识别文字进行了介绍。


''《雪花秘扇》''
美国华裔作家邝丽莎（Lisa See）所著之《雪花秘扇》，便是以晚清道光年间，湖南省江永县的瑶族村落为故事背景。在这个男性作为社会主干、女性的人生任务就是找得好归宿，为夫家奉献一生的时代中，两女主角百合（电影版由中国女艺人李冰冰饰演）与雪花（电影版中由韩国女艺人全智贤饰演）透过写上女书的折扇展开了足以影响她们一生的重要情谊。书中描述了女书作为女性间的专属文字，对于妇女的生活甚至人生的重要性。

=='''女书文学及其透露出来的女性意识和女性文化色彩'''==

女书文学是劳动妇女“歌堂文学”（在特定的场所，如歌堂中，人们通过唱歌的方式来创作、传承和传播的文学作品）的一种特殊形式。劳动妇女既是女书的创作者，有时演唱者、传播者。表达了普通农妇的苦难和追求，以及姊妹间深厚的情谊.
女书文学体现了劳动妇女对自己命运的朦胧认识和自我意识的初步觉醒。女书内容不仅仅是诉说女性遭遇的不公和悲苦，更是对黑暗社会的控诉和反抗、对封建礼教的叛逆。

=='''参考文献'''==

Nvshu (Ed.). (2025, April 23). In Wikipedia. https://zh.wikipedia.org/wiki/%E5%A5%B3%E4%B9%A6
He X.L(2011). Multiple Perspectives of Nvshu and the Culture Studies[Docotor dissertation, Central China Normal University].
Xie Z.M. (1991). Nvshu is the remnant and evolution of the ancient characters of the Shang Dynasty, which has a close relationship with oracle bone inscriptions. Journal of Minzu University of China (Philosophy and Social Sciences), (06), 59-64+73-66.
Gong Z.B. (1992). An Examination of the Era of Nvshu. Journal of Central China University (Humanities and Social Sciences), (05), 59-63.
Liu Z.H. (2005). A Miracle in the Boudoir: Nvshu of China. Heilongjiang: Heilongjiang People’s Publishing House.

=='''术语和表达'''==

女书 Nvshu

三朝书 “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding)

斯芬克斯之谜 Sphinx’s riddle

折扇 folding fan

甲骨文 oracle bone inscription

失范 anomie

女红工艺品 women’s needlework craftsmanship

“歌堂文学” “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls)

=='''问题'''==

1.女书属于一种特殊的“歌堂文学”吗 ?

2.与女书相关的文学作品有哪些?

3.女书有哪四种主要的载体?

4.女书的最后一位传人是谁?

5.女书的发源地是哪里?

6.女书和汉字的异同有哪些?

User:Miao Yunlong

2025-06-06T11:22:45Z

Miao Yunlong: /* References */

='''Nvshu (Womens’ Script)'''=

Nvshu (also known as Women’s Script) is a unique syllabic phonographic writing system. It was first invented by women living in Jiangyong County, Hunan Province and represents the sounds of a local variant of the Chinese dialect and has existed for hundreds of years. This script is chiefly employed to transcribe the Jiangyong County-town dialect, a linguistic variety categorized under the Yong-Quan cluster within the Xiang language family. Nvshu works are inscribed on exquisitely crafted cloth-bound handwritten books (used as wedding gifts), fan surfaces, cloth handkerchiefs, and paper slips, which are respectively called “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding), “Geshan” (folding fans inscribed with musical repertoire written in Nvshu), “Pashu”, and “Zhiwen” . Some are embroidered onto handkerchiefs, known as “Xiuzi” .In accordance with Wikipedia, due to severe damage inflicted upon Nvshu during the Cultural Revolution, coupled with the passage of time, societal development, and population outflow, it is now on the verge of being lost (2025).

[[File:Nvshu.png|300px|]]

=='''Linguistic Characters of Nvshu'''==

The Nvshu script is characterized by its distinctive elongated rhomboid-shaped characters, exquisitely slender and graceful strokes, and peculiar visual forms, earning it the nickname “mosquito-shaped script.” Approximately 2,000 characters have been documented to date. The entire writing system consists of only four basic strokes: dots, vertical lines, slanted lines, and curved arcs. These characters can be chanted or sung in the local Jiangyong vernacular (belonging to the Yong-Quan subgroup of the Xiang language family).
The key difference between Nvshu and Chinese characters lies in their writing systems: Nvshu is a syllabic phonographic script, where each character represents a distinct syllable (sound). Currently, some 700 Nvshu characters have been documented through historical and contemporary research. While the glyph structures of Nvshu characters draw inspiration from Chinese characters, there is no inherent logical or structural correlation between the two systems. Beyond its role as a written language for daily communication, Nvshu also serves as an ornamental motif woven into clothing or fabric belts. This functional duality has influenced the evolution of Nvshu, which often exhibit curvilinear, flowing forms adapted to the flexibility of textile patterns rather than the rigid grid-based structure of traditional Chinese characters.

[[File:Nvshu_forms.png|300px|]]

=='''The Emergence of Nvshu'''==

The era of the creation of Nvshu has always been a “Sphinx’s riddle” that puzzles the academic community. Scholars have used different methods from various perspectives and drawn a wide variety of conclusions and speculations. Xie Zhimin believes that, based on the fact that a large number of borrowed characters from oracle bone inscriptions are retained in modern Nvshu characters, the latest lower limit of the era when Nvshu was created could not be later than the Shang Dynasty (1991). Gong Zhebing, according to the fact that the transmission of Nvshu characters and the inheritance of Nvshu items can be traced back to the Xianfeng period at the earliest, speculate that the occurrence period of Nvshu was approximately from the late Ming Dynasty to the middle of the Qing Dynasty (1992). Generally speaking, the path of the emergence of Nvshu has undergone 5 phases，namely, the matriarchal clan, the social transformation, the marginalized roles, the anomie (Anomie refers to the state of disruption or tension between the cultural goals advocated by society and the legitimate institutionalized means to achieve these goals), and the resistance (2011).

=='''The Decline of Nvshu'''==

Since the founding of the Republic of China, especially after the May 4th Movement, Nvshu began to decline. After the founding of the People's Republic of China, the pace of the decline of Nvshu accelerated. There were only 64 inheritors of Nvshu at that time. In the 1980s, when Nvshu was rediscovered by the academic community, it was already in a serious state of decline, with very few inheritors left. In 2004, the passing away of the last natural inheritor, the elderly Yang Huanyi, marked the formal end of the use of Nvshu as a written language (2004).

=='''The Form and Content of Nvshu'''==

==='''Form'''===

In the patriarchal past, numerous talented local women employed Nvshu—a script indecipherable to men—as a clandestine medium for emotional and intellectual exchange, weaving their innermost thoughts, confessions, and poetic expressions into daily objects through embroidery, engraving, stamping, and handwriting. The collected Nvshu corpus, comprising nearly 200,000 characters, overwhelmingly adopts lyrical song forms (geshu), transmitted through four primary carriers: paper slips, bound books, fan surfaces, and textile accessories (handkerchiefs, sashes, and garments) ( “zhi” “shu” “shan” and “jin” in Chinese respectively ). Regardless of medium, Nvshu creators demonstrated a meticulous commitment to formal aesthetics:
Paper slips and bound books (“zhi” and “shu”) were often adorned with floral borders at the four corners, framing the text within botanical elegance.
Fans (“shan”) integrated ornate avian-floral motifs into the layout, merging calligraphy with naturalist painting.
Embroidered textiles (“jin”)—such as handkerchiefs, sashes, and clothing bands—transformed Nvshu into wearable art, with each stitch embodying the pinnacle of women’s needlework craftsmanship.
These artifacts transcend mere linguistic communication; they represent a convergence of textuality, materiality, and gendered creativity, where women subverted patriarchal literacy norms by reappropriating domestic objects as vehicles for subversive self-expression.

==='''Content'''===

The primary subjects of Nvshu works encompass marriage and family life, social interactions, clandestine yearnings, village folklore, ballads, and riddles. Some Nvshu texts were also transcribed into vernacular Chinese-language songbooks for broader circulation. While the narrative content documented in Nvshu is not exclusively female-authored, these stories—once transmitted orally and recontextualized through the lens of Nvshu—evolve into projections of women’s inner worlds. Employing a starkly realist style, the texts articulate women’s self-lamentations over their ambitions thwarted by fate (“high aspirations, fragile destinies”), their bitter struggles as aspirations dissolve into futility under patriarchal oppression, and their invocation of folkloric deities to seek divine intervention against misfortune.
The female protagonists in these works transcend conventional gender stereotypes, emerging as assertive “heroines” who vociferously demand egalitarian status with men while vehemently rejecting and scorning the worldly ambitions (careerism, wealth, and status) valorized by patriarchal society.

[[File:Nvshu_inheritence.png|300px|]]

=='''The Publication and Literary works on Nvshu'''==
''The World's Sole Female Script - Nvshu''

Compiled by Zhou Yetao and Gong Butan, published by Minghua Press in February 2009, this book meticulously documents the discovery of Nvshu in 1982, exploring its emotional expressions, cultural beliefs, and artistic manifestations. It delves into the transmission and preservation of Nvshu, as well as women-centered customs intertwined with this script. The work is structured thematically, introducing renowned Nvshu transmitters, scholars, and calligraphers, while also shedding light on several unidentified scripts newly discovered in Hubei Province.

''Snow Flower and the Secret Fan''

American Chinese author Lisa See’s novel Snow Flower and the Secret Fan unfolds in a Yao ethnic village of Jiangyong County, Hunan Province, during the Daoguang era (1821–1850) of the late Qing Dynasty. In this patriarchal society, where women’s lives were defined by marital destiny (seeking a “good match”) and lifelong service to their husbands’ families, the protagonists—Lily (“Baihe” in Chinese) (portrayed by Chinese actress Li Bingbing in the film adaptation) and Snow Flower (“Xuehua”) (played by South Korean actress Jun Ji-hyun)—forge a lifelong bond through Nvshu-inscribed folding fans, a testament to the script’s profound role in shaping female existence.

=='''The Revealed Female Consciousness and Female Cultural Colors of Nvshu Literature'''==

Nvshu literature is a special form of “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) created by working women. Working women are not only the creators of Nvshu, but also the singers and disseminators. It expresses the sufferings and pursuits of ordinary peasant women, as well as the deep friendship among sisters.
Nvshu literature reflects the hazy understanding of their own fate and the initial awakening of self-awareness among working women. The content is not merely about narrating the injustices and miseries that women have endured, but also a form of accusation and resistance against the dark society, as well as a rebellion against the feudal ethical code.

=='''Terms and Expressions'''==

Nvshu 女书

“Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding) 三朝书

Sphinx’s riddle 斯芬克斯之谜

folding fan 折扇

oracle bone inscription 甲骨文

anomie 失范

women’s needlework craftsmanship 女红工艺品

“Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) “歌堂文学”

=='''Questions'''==

1.Is Nvshu literature a special form of “Ge Tang literature” ?

2.What literary works are related to Nvshu?

3.What are the four main carriers of the Nvshu?

4.What’s the name of last natural inheritor of Nvshu?

5.Where did the origin of Nvshu lie?

6.What are the similarities and differences between Nvshu and Chinese characters?

='''女书'''=

女书是一种女性专用的汉语方言音节表音文字，其起源于湖南江永县，存在已超过数百年。其一般用于书写属于湘语永全片的江永城关方言。女书作品书写在精制布面手写本（婚嫁礼物）、扇面、布帕、纸片上，分别叫作“三朝书”“歌扇”“帕书”“纸文”。有的绣在帕子上，叫“绣字”。据维基百科词条，由于女书在文化大革命期间被严重破坏，再加上随着时代的发展及人口外流，现在女书正濒临失传（2025）。

[[File:Nvshu.png|300px|]]

=='''女书的文字特点'''==

女书文字的特点是书写呈长菱形，字体秀丽娟细，造型奇特，也被称为“蚊形字”。搜集到的有近2000个字符，所有字符只有点、竖、斜、弧四种笔划，可采用当地的江永土话（属湘语-永全片）吟诵或咏唱。
与汉字不同的地方是：女书是一种标音文字，每一个字所代表的都是一个音。现时文献搜集到的女书文字约有七百个。女书的字型虽然参考汉字，但两者并没有必然的关系。由于女书除了日常用作书写以外，也可以当成花纹编在衣服或布带上，所以字型或多或少也有所迁就，变成弯曲的形状。

[[File:Nvshu_forms.png|300px|]]

=='''女书的形成'''==

女书的创制时代一直是困扰学术界的“斯芬克斯”之谜学者们从不同的角度运用不同的方法得出了各种各样的结论和猜测。谢志民先生根据现代女字中保留有大量的甲骨文借字，认为女字创制的时代下限最迟不会晚于殷商（1991）；宫哲兵先生“根据女书文字传授和女书物品传承最早可以追溯到咸丰年间，推测女书的发生期大约是明末清代中期这个时期（1992）。但大体上来说，女书生成的路径有五个阶段——母系氏族，社会转型，边缘化角色，失范（失范是社会所倡导的文化目标与现实这些目标的合法的制度化手段之间的断裂或紧张状态），反抗（2011）。

=='''女书的消亡'''==

自民国以来特别是“五四”运动以后女书开始走向衰落解放以后女书衰落的步伐加快，女书传人只有64人，20世纪80年代当女书被学术界重新发现时它已处于严重的衰亡状态，女书传人寥剩无几，2004年最后一位自然传承人阳焕宜老人去世，标志着女书作为文字的使用已正式寿终就寝（2004）。

=='''女书的形式和内容'''==

==='''形式'''===

旧时当地不少才情女子采用这种男人不识的女书互通心迹，诉说衷肠，将其刺绣、刻划、戳印、书写于纸扇巾帕女红。搜集到的近20万字的“女书”作品，绝大部分为歌体，其载体分纸、书、扇、巾四大类。无论哪种承载方式，都十分讲究形式美。如写在纸张上的四角多配花纹，写于纸扇上的多插绘花鸟图案，而织绣在巾帕花带和服饰上的，则是精美的女红工艺品。

==='''内容'''===

女书作品主要内容是写婚姻家庭、社会交往、幽怨私情、乡里逸闻、歌谣谜语等。也有的编译成汉字的唱本。女书记载的叙事作品就内容而言，并非女性所独创，但通过口头传承进入女书后，便成了女性心灵世界的投影。作品完全用写实手法自叙自叹心比天高、命如纸薄，美好意愿在黑暗中化作泡影的悲苦境遇，并请出民间传说中的神灵帮助逢凶化吉。这些作品的女主人公不仅都是个性张扬的“女强人”，强烈要求和男性地位平等，而且她们极端厌弃鄙视男性所热衷的功名富贵。

[[File:Nvshu_inheritence.png|300px|]]

=='''有关女书的出版物和文学创作'''==

''《世界唯一的女性文字——女书》''
该书由周冶陶、宫步坦编著，明华印书馆2009年2月版，本书详细记录了女书1982年被发现的经过，女书中的情感、信仰与艺术，女书的传承与保护，与女书有关的女性习俗等内容，并分篇介绍了著名的女书传人、著名的女书研究专家和著名的女书书法家，还对湖北新发现的几种未识别文字进行了介绍。


''《雪花秘扇》''
美国华裔作家邝丽莎（Lisa See）所著之《雪花秘扇》，便是以晚清道光年间，湖南省江永县的瑶族村落为故事背景。在这个男性作为社会主干、女性的人生任务就是找得好归宿，为夫家奉献一生的时代中，两女主角百合（电影版由中国女艺人李冰冰饰演）与雪花（电影版中由韩国女艺人全智贤饰演）透过写上女书的折扇展开了足以影响她们一生的重要情谊。书中描述了女书作为女性间的专属文字，对于妇女的生活甚至人生的重要性。

=='''女书文学及其透露出来的女性意识和女性文化色彩'''==

女书文学是劳动妇女“歌堂文学”（在特定的场所，如歌堂中，人们通过唱歌的方式来创作、传承和传播的文学作品）的一种特殊形式。劳动妇女既是女书的创作者，有时演唱者、传播者。表达了普通农妇的苦难和追求，以及姊妹间深厚的情谊.
女书文学体现了劳动妇女对自己命运的朦胧认识和自我意识的初步觉醒。女书内容不仅仅是诉说女性遭遇的不公和悲苦，更是对黑暗社会的控诉和反抗、对封建礼教的叛逆。

=='''参考文献'''==

Nvshu (Ed.). (2025, April 23). In Wikipedia. https://zh.wikipedia.org/wiki/%E5%A5%B3%E4%B9%A6
He X.L(2011). Multiple Perspectives of Nvshu and the Culture Studies[Docotor dissertation, Central China Normal University].
Xie Z.M. (1991). Nvshu is the remnant and evolution of the ancient characters of the Shang Dynasty, which has a close relationship with oracle bone inscriptions. Journal of Minzu University of China (Philosophy and Social Sciences), (06), 59-64+73-66.
Gong Z.B. (1992). An Examination of the Era of Nvshu. Journal of Central China University (Humanities and Social Sciences), (05), 59-63.
Liu Z.H. (2005). A Miracle in the Boudoir: Nvshu of China. Heilongjiang: Heilongjiang People’s Publishing House.

=='''Terms and Expressions'''==

女书 Nvshu

三朝书 “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding)

斯芬克斯之谜 Sphinx’s riddle

折扇 folding fan

甲骨文 oracle bone inscription

失范 anomie

女红工艺品 women’s needlework craftsmanship

“歌堂文学” “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls)

=='''问题'''==

1.女书属于一种特殊的“歌堂文学”吗 ?

2.与女书相关的文学作品有哪些?

3.女书有哪四种主要的载体?

4.女书的最后一位传人是谁?

5.女书的发源地是哪里?

6.女书和汉字的异同有哪些?

User:Miao Yunlong

2025-05-30T13:47:42Z

Miao Yunlong:

='''Nvshu (Womens’ Script)'''=

Nvshu (also known as Women’s Script) is a unique syllabic phonographic writing system. It was first invented by women living in Jiangyong County, Hunan Province and represents the sounds of a local variant of the Chinese dialect and has existed for hundreds of years. This script is chiefly employed to transcribe the Jiangyong County-town dialect, a linguistic variety categorized under the Yong-Quan cluster within the Xiang language family. Nvshu works are inscribed on exquisitely crafted cloth-bound handwritten books (used as wedding gifts), fan surfaces, cloth handkerchiefs, and paper slips, which are respectively called “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding), “Geshan” (folding fans inscribed with musical repertoire written in Nvshu), “Pashu”, and “Zhiwen” . Some are embroidered onto handkerchiefs, known as “Xiuzi” .In accordance with Wikipedia, due to severe damage inflicted upon Nvshu during the Cultural Revolution, coupled with the passage of time, societal development, and population outflow, it is now on the verge of being lost (2025).

[[File:Nvshu.png|300px|]]

=='''Linguistic Characters of Nvshu'''==

The Nvshu script is characterized by its distinctive elongated rhomboid-shaped characters, exquisitely slender and graceful strokes, and peculiar visual forms, earning it the nickname “mosquito-shaped script.” Approximately 2,000 characters have been documented to date. The entire writing system consists of only four basic strokes: dots, vertical lines, slanted lines, and curved arcs. These characters can be chanted or sung in the local Jiangyong vernacular (belonging to the Yong-Quan subgroup of the Xiang language family).
The key difference between Nvshu and Chinese characters lies in their writing systems: Nvshu is a syllabic phonographic script, where each character represents a distinct syllable (sound). Currently, some 700 Nvshu characters have been documented through historical and contemporary research. While the glyph structures of Nvshu characters draw inspiration from Chinese characters, there is no inherent logical or structural correlation between the two systems. Beyond its role as a written language for daily communication, Nvshu also serves as an ornamental motif woven into clothing or fabric belts. This functional duality has influenced the evolution of Nvshu, which often exhibit curvilinear, flowing forms adapted to the flexibility of textile patterns rather than the rigid grid-based structure of traditional Chinese characters.

[[File:Nvshu_forms.png|300px|]]

=='''The Emergence of Nvshu'''==

The era of the creation of Nvshu has always been a “Sphinx’s riddle” that puzzles the academic community. Scholars have used different methods from various perspectives and drawn a wide variety of conclusions and speculations. Xie Zhimin believes that, based on the fact that a large number of borrowed characters from oracle bone inscriptions are retained in modern Nvshu characters, the latest lower limit of the era when Nvshu was created could not be later than the Shang Dynasty (1991). Gong Zhebing, according to the fact that the transmission of Nvshu characters and the inheritance of Nvshu items can be traced back to the Xianfeng period at the earliest, speculate that the occurrence period of Nvshu was approximately from the late Ming Dynasty to the middle of the Qing Dynasty (1992). Generally speaking, the path of the emergence of Nvshu has undergone 5 phases，namely, the matriarchal clan, the social transformation, the marginalized roles, the anomie (Anomie refers to the state of disruption or tension between the cultural goals advocated by society and the legitimate institutionalized means to achieve these goals), and the resistance (2011).

=='''The Decline of Nvshu'''==

Since the founding of the Republic of China, especially after the May 4th Movement, Nvshu began to decline. After the founding of the People's Republic of China, the pace of the decline of Nvshu accelerated. There were only 64 inheritors of Nvshu at that time. In the 1980s, when Nvshu was rediscovered by the academic community, it was already in a serious state of decline, with very few inheritors left. In 2004, the passing away of the last natural inheritor, the elderly Yang Huanyi, marked the formal end of the use of Nvshu as a written language (2004).

=='''The Form and Content of Nvshu'''==

==='''Form'''===

In the patriarchal past, numerous talented local women employed Nvshu—a script indecipherable to men—as a clandestine medium for emotional and intellectual exchange, weaving their innermost thoughts, confessions, and poetic expressions into daily objects through embroidery, engraving, stamping, and handwriting. The collected Nvshu corpus, comprising nearly 200,000 characters, overwhelmingly adopts lyrical song forms (geshu), transmitted through four primary carriers: paper slips, bound books, fan surfaces, and textile accessories (handkerchiefs, sashes, and garments) ( “zhi” “shu” “shan” and “jin” in Chinese respectively ). Regardless of medium, Nvshu creators demonstrated a meticulous commitment to formal aesthetics:
Paper slips and bound books (“zhi” and “shu”) were often adorned with floral borders at the four corners, framing the text within botanical elegance.
Fans (“shan”) integrated ornate avian-floral motifs into the layout, merging calligraphy with naturalist painting.
Embroidered textiles (“jin”)—such as handkerchiefs, sashes, and clothing bands—transformed Nvshu into wearable art, with each stitch embodying the pinnacle of women’s needlework craftsmanship.
These artifacts transcend mere linguistic communication; they represent a convergence of textuality, materiality, and gendered creativity, where women subverted patriarchal literacy norms by reappropriating domestic objects as vehicles for subversive self-expression.

==='''Content'''===

The primary subjects of Nvshu works encompass marriage and family life, social interactions, clandestine yearnings, village folklore, ballads, and riddles. Some Nvshu texts were also transcribed into vernacular Chinese-language songbooks for broader circulation. While the narrative content documented in Nvshu is not exclusively female-authored, these stories—once transmitted orally and recontextualized through the lens of Nvshu—evolve into projections of women’s inner worlds. Employing a starkly realist style, the texts articulate women’s self-lamentations over their ambitions thwarted by fate (“high aspirations, fragile destinies”), their bitter struggles as aspirations dissolve into futility under patriarchal oppression, and their invocation of folkloric deities to seek divine intervention against misfortune.
The female protagonists in these works transcend conventional gender stereotypes, emerging as assertive “heroines” who vociferously demand egalitarian status with men while vehemently rejecting and scorning the worldly ambitions (careerism, wealth, and status) valorized by patriarchal society.

[[File:Nvshu_inheritence.png|300px|]]

=='''The Publication and Literary works on Nvshu'''==
''The World's Sole Female Script - Nvshu''

Compiled by Zhou Yetao and Gong Butan, published by Minghua Press in February 2009, this book meticulously documents the discovery of Nvshu in 1982, exploring its emotional expressions, cultural beliefs, and artistic manifestations. It delves into the transmission and preservation of Nvshu, as well as women-centered customs intertwined with this script. The work is structured thematically, introducing renowned Nvshu transmitters, scholars, and calligraphers, while also shedding light on several unidentified scripts newly discovered in Hubei Province.

''Snow Flower and the Secret Fan''

American Chinese author Lisa See’s novel Snow Flower and the Secret Fan unfolds in a Yao ethnic village of Jiangyong County, Hunan Province, during the Daoguang era (1821–1850) of the late Qing Dynasty. In this patriarchal society, where women’s lives were defined by marital destiny (seeking a “good match”) and lifelong service to their husbands’ families, the protagonists—Lily (“Baihe” in Chinese) (portrayed by Chinese actress Li Bingbing in the film adaptation) and Snow Flower (“Xuehua”) (played by South Korean actress Jun Ji-hyun)—forge a lifelong bond through Nvshu-inscribed folding fans, a testament to the script’s profound role in shaping female existence.

=='''The Revealed Female Consciousness and Female Cultural Colors of Nvshu Literature'''==

Nvshu literature is a special form of “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) created by working women. Working women are not only the creators of Nvshu, but also the singers and disseminators. It expresses the sufferings and pursuits of ordinary peasant women, as well as the deep friendship among sisters.
Nvshu literature reflects the hazy understanding of their own fate and the initial awakening of self-awareness among working women. The content is not merely about narrating the injustices and miseries that women have endured, but also a form of accusation and resistance against the dark society, as well as a rebellion against the feudal ethical code.

=='''Terms and Expressions'''==

Nvshu 女书

“Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding) 三朝书

Sphinx’s riddle 斯芬克斯之谜

folding fan 折扇

oracle bone inscription 甲骨文

anomie 失范

women’s needlework craftsmanship 女红工艺品

“Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) “歌堂文学”

=='''Questions'''==

1.Is Nvshu literature a special form of “Ge Tang literature” ?

2.What literary works are related to Nvshu?

3.What are the four main carriers of the Nvshu?

4.What’s the name of last natural inheritor of Nvshu?

5.Where did the origin of Nvshu lie?

6.What are the similarities and differences between Nvshu and Chinese characters?

='''女书'''=

女书是一种女性专用的汉语方言音节表音文字，其起源于湖南江永县，存在已超过数百年。其一般用于书写属于湘语永全片的江永城关方言。女书作品书写在精制布面手写本（婚嫁礼物）、扇面、布帕、纸片上，分别叫作“三朝书”“歌扇”“帕书”“纸文”。有的绣在帕子上，叫“绣字”。据维基百科词条，由于女书在文化大革命期间被严重破坏，再加上随着时代的发展及人口外流，现在女书正濒临失传（2025）。

[[File:Nvshu.png|300px|]]

=='''女书的文字特点'''==

女书文字的特点是书写呈长菱形，字体秀丽娟细，造型奇特，也被称为“蚊形字”。搜集到的有近2000个字符，所有字符只有点、竖、斜、弧四种笔划，可采用当地的江永土话（属湘语-永全片）吟诵或咏唱。
与汉字不同的地方是：女书是一种标音文字，每一个字所代表的都是一个音。现时文献搜集到的女书文字约有七百个。女书的字型虽然参考汉字，但两者并没有必然的关系。由于女书除了日常用作书写以外，也可以当成花纹编在衣服或布带上，所以字型或多或少也有所迁就，变成弯曲的形状。

[[File:Nvshu_forms.png|300px|]]

=='''女书的形成'''==

女书的创制时代一直是困扰学术界的“斯芬克斯”之谜学者们从不同的角度运用不同的方法得出了各种各样的结论和猜测。谢志民先生根据现代女字中保留有大量的甲骨文借字，认为女字创制的时代下限最迟不会晚于殷商（1991）；宫哲兵先生“根据女书文字传授和女书物品传承最早可以追溯到咸丰年间，推测女书的发生期大约是明末清代中期这个时期（1992）。但大体上来说，女书生成的路径有五个阶段——母系氏族，社会转型，边缘化角色，失范（失范是社会所倡导的文化目标与现实这些目标的合法的制度化手段之间的断裂或紧张状态），反抗（2011）。

=='''女书的消亡'''==

自民国以来特别是“五四”运动以后女书开始走向衰落解放以后女书衰落的步伐加快，女书传人只有64人，20世纪80年代当女书被学术界重新发现时它已处于严重的衰亡状态，女书传人寥剩无几，2004年最后一位自然传承人阳焕宜老人去世，标志着女书作为文字的使用已正式寿终就寝（2004）。

=='''女书的形式和内容'''==

==='''形式'''===

旧时当地不少才情女子采用这种男人不识的女书互通心迹，诉说衷肠，将其刺绣、刻划、戳印、书写于纸扇巾帕女红。搜集到的近20万字的“女书”作品，绝大部分为歌体，其载体分纸、书、扇、巾四大类。无论哪种承载方式，都十分讲究形式美。如写在纸张上的四角多配花纹，写于纸扇上的多插绘花鸟图案，而织绣在巾帕花带和服饰上的，则是精美的女红工艺品。

==='''内容'''===

女书作品主要内容是写婚姻家庭、社会交往、幽怨私情、乡里逸闻、歌谣谜语等。也有的编译成汉字的唱本。女书记载的叙事作品就内容而言，并非女性所独创，但通过口头传承进入女书后，便成了女性心灵世界的投影。作品完全用写实手法自叙自叹心比天高、命如纸薄，美好意愿在黑暗中化作泡影的悲苦境遇，并请出民间传说中的神灵帮助逢凶化吉。这些作品的女主人公不仅都是个性张扬的“女强人”，强烈要求和男性地位平等，而且她们极端厌弃鄙视男性所热衷的功名富贵。

[[File:Nvshu_inheritence.png|300px|]]

=='''有关女书的出版物和文学创作'''==

''《世界唯一的女性文字——女书》''
该书由周冶陶、宫步坦编著，明华印书馆2009年2月版，本书详细记录了女书1982年被发现的经过，女书中的情感、信仰与艺术，女书的传承与保护，与女书有关的女性习俗等内容，并分篇介绍了著名的女书传人、著名的女书研究专家和著名的女书书法家，还对湖北新发现的几种未识别文字进行了介绍。


''《雪花秘扇》''
美国华裔作家邝丽莎（Lisa See）所著之《雪花秘扇》，便是以晚清道光年间，湖南省江永县的瑶族村落为故事背景。在这个男性作为社会主干、女性的人生任务就是找得好归宿，为夫家奉献一生的时代中，两女主角百合（电影版由中国女艺人李冰冰饰演）与雪花（电影版中由韩国女艺人全智贤饰演）透过写上女书的折扇展开了足以影响她们一生的重要情谊。书中描述了女书作为女性间的专属文字，对于妇女的生活甚至人生的重要性。

=='''女书文学及其透露出来的女性意识和女性文化色彩'''==

女书文学是劳动妇女“歌堂文学”（在特定的场所，如歌堂中，人们通过唱歌的方式来创作、传承和传播的文学作品）的一种特殊形式。劳动妇女既是女书的创作者，有时演唱者、传播者。表达了普通农妇的苦难和追求，以及姊妹间深厚的情谊.
女书文学体现了劳动妇女对自己命运的朦胧认识和自我意识的初步觉醒。女书内容不仅仅是诉说女性遭遇的不公和悲苦，更是对黑暗社会的控诉和反抗、对封建礼教的叛逆。

=='''References'''==

Nvshu (Ed.). (2025, April 23). In Wikipedia. https://zh.wikipedia.org/wiki/%E5%A5%B3%E4%B9%A6
He X.L(2011). Multiple Perspectives of Nvshu and the Culture Studies[Docotor dissertation, Central China Normal University].
Xie Z.M. (1991). Nvshu is the remnant and evolution of the ancient characters of the Shang Dynasty, which has a close relationship with oracle bone inscriptions. Journal of Minzu University of China (Philosophy and Social Sciences), (06), 59-64+73-66.
Gong Z.B. (1992). An Examination of the Era of Nvshu. Journal of Central China University (Humanities and Social Sciences), (05), 59-63.
Liu Z.H. (2005). A Miracle in the Boudoir: Nvshu of China. Heilongjiang: Heilongjiang People’s Publishing House.

=='''Terms and Expressions'''==

女书 Nvshu

三朝书 “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding)

斯芬克斯之谜 Sphinx’s riddle

折扇 folding fan

甲骨文 oracle bone inscription

失范 anomie

女红工艺品 women’s needlework craftsmanship

“歌堂文学” “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls)

=='''问题'''==

1.女书属于一种特殊的“歌堂文学”吗 ?

2.与女书相关的文学作品有哪些?

3.女书有哪四种主要的载体?

4.女书的最后一位传人是谁?

5.女书的发源地是哪里?

6.女书和汉字的异同有哪些?

User:Miao Yunlong

2025-05-30T13:41:17Z

Miao Yunlong:

='''Nvshu (Womens’ Script)'''=

Nvshu (also known as Women’s Script) is a unique syllabic phonographic writing system. It was first invented by women living in Jiangyong County, Hunan Province and represents the sounds of a local variant of the Chinese dialect and has existed for hundreds of years. This script is chiefly employed to transcribe the Jiangyong County-town dialect, a linguistic variety categorized under the Yong-Quan cluster within the Xiang language family. Nvshu works are inscribed on exquisitely crafted cloth-bound handwritten books (used as wedding gifts), fan surfaces, cloth handkerchiefs, and paper slips, which are respectively called “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding), “Geshan” (folding fans inscribed with musical repertoire written in Nvshu), “Pashu”, and “Zhiwen” . Some are embroidered onto handkerchiefs, known as “Xiuzi” .In accordance with Wikipedia, due to severe damage inflicted upon Nvshu during the Cultural Revolution, coupled with the passage of time, societal development, and population outflow, it is now on the verge of being lost (2025).

[[File:Nvshu.png|300px|]]

=='''Linguistic Characters of Nvshu'''==

The Nvshu script is characterized by its distinctive elongated rhomboid-shaped characters, exquisitely slender and graceful strokes, and peculiar visual forms, earning it the nickname “mosquito-shaped script.” Approximately 2,000 characters have been documented to date. The entire writing system consists of only four basic strokes: dots, vertical lines, slanted lines, and curved arcs. These characters can be chanted or sung in the local Jiangyong vernacular (belonging to the Yong-Quan subgroup of the Xiang language family).
The key difference between Nvshu and Chinese characters lies in their writing systems: Nvshu is a syllabic phonographic script, where each character represents a distinct syllable (sound). Currently, some 700 Nvshu characters have been documented through historical and contemporary research. While the glyph structures of Nvshu characters draw inspiration from Chinese characters, there is no inherent logical or structural correlation between the two systems. Beyond its role as a written language for daily communication, Nvshu also serves as an ornamental motif woven into clothing or fabric belts. This functional duality has influenced the evolution of Nvshu, which often exhibit curvilinear, flowing forms adapted to the flexibility of textile patterns rather than the rigid grid-based structure of traditional Chinese characters.

[[File:Nvshu_forms.png|300px|]]

=='''The Emergence of Nvshu'''==

The era of the creation of Nvshu has always been a “Sphinx’s riddle” that puzzles the academic community. Scholars have used different methods from various perspectives and drawn a wide variety of conclusions and speculations. Xie Zhimin believes that, based on the fact that a large number of borrowed characters from oracle bone inscriptions are retained in modern Nvshu characters, the latest lower limit of the era when Nvshu was created could not be later than the Shang Dynasty (1991). Gong Zhebing, according to the fact that the transmission of Nvshu characters and the inheritance of Nvshu items can be traced back to the Xianfeng period at the earliest, speculate that the occurrence period of Nvshu was approximately from the late Ming Dynasty to the middle of the Qing Dynasty (1992). Generally speaking, the path of the emergence of Nvshu has undergone 5 phases，namely, the matriarchal clan, the social transformation, the marginalized roles, the anomie (Anomie refers to the state of disruption or tension between the cultural goals advocated by society and the legitimate institutionalized means to achieve these goals), and the resistance (2011).

=='''The Decline of Nvshu'''==

Since the founding of the Republic of China, especially after the May 4th Movement, Nvshu began to decline. After the founding of the People's Republic of China, the pace of the decline of Nvshu accelerated. There were only 64 inheritors of Nvshu at that time. In the 1980s, when Nvshu was rediscovered by the academic community, it was already in a serious state of decline, with very few inheritors left. In 2004, the passing away of the last natural inheritor, the elderly Yang Huanyi, marked the formal end of the use of Nvshu as a written language (2004).

=='''The Form and Content of Nvshu'''==

==='''Form'''===

In the patriarchal past, numerous talented local women employed Nvshu—a script indecipherable to men—as a clandestine medium for emotional and intellectual exchange, weaving their innermost thoughts, confessions, and poetic expressions into daily objects through embroidery, engraving, stamping, and handwriting. The collected Nvshu corpus, comprising nearly 200,000 characters, overwhelmingly adopts lyrical song forms (geshu), transmitted through four primary carriers: paper slips, bound books, fan surfaces, and textile accessories (handkerchiefs, sashes, and garments) ( “zhi” “shu” “shan” and “jin” in Chinese respectively ). Regardless of medium, Nvshu creators demonstrated a meticulous commitment to formal aesthetics:
Paper slips and bound books (“zhi” and “shu”) were often adorned with floral borders at the four corners, framing the text within botanical elegance.
Fans (“shan”) integrated ornate avian-floral motifs into the layout, merging calligraphy with naturalist painting.
Embroidered textiles (“jin”)—such as handkerchiefs, sashes, and clothing bands—transformed Nvshu into wearable art, with each stitch embodying the pinnacle of women’s needlework craftsmanship.
These artifacts transcend mere linguistic communication; they represent a convergence of textuality, materiality, and gendered creativity, where women subverted patriarchal literacy norms by reappropriating domestic objects as vehicles for subversive self-expression.

==='''Content'''===

The primary subjects of Nvshu works encompass marriage and family life, social interactions, clandestine yearnings, village folklore, ballads, and riddles. Some Nvshu texts were also transcribed into vernacular Chinese-language songbooks for broader circulation. While the narrative content documented in Nvshu is not exclusively female-authored, these stories—once transmitted orally and recontextualized through the lens of Nvshu—evolve into projections of women’s inner worlds. Employing a starkly realist style, the texts articulate women’s self-lamentations over their ambitions thwarted by fate (“high aspirations, fragile destinies”), their bitter struggles as aspirations dissolve into futility under patriarchal oppression, and their invocation of folkloric deities to seek divine intervention against misfortune.
The female protagonists in these works transcend conventional gender stereotypes, emerging as assertive “heroines” who vociferously demand egalitarian status with men while vehemently rejecting and scorning the worldly ambitions (careerism, wealth, and status) valorized by patriarchal society.

[[File:Nvshu_inheritence.png|300px|]]

=='''The Publication and Literary works on Nvshu'''==
''The World's Sole Female Script - Nvshu''

Compiled by Zhou Yetao and Gong Butan, published by Minghua Press in February 2009, this book meticulously documents the discovery of Nvshu in 1982, exploring its emotional expressions, cultural beliefs, and artistic manifestations. It delves into the transmission and preservation of Nvshu, as well as women-centered customs intertwined with this script. The work is structured thematically, introducing renowned Nvshu transmitters, scholars, and calligraphers, while also shedding light on several unidentified scripts newly discovered in Hubei Province.

''Snow Flower and the Secret Fan''

American Chinese author Lisa See’s novel Snow Flower and the Secret Fan unfolds in a Yao ethnic village of Jiangyong County, Hunan Province, during the Daoguang era (1821–1850) of the late Qing Dynasty. In this patriarchal society, where women’s lives were defined by marital destiny (seeking a “good match”) and lifelong service to their husbands’ families, the protagonists—Lily (“Baihe” in Chinese) (portrayed by Chinese actress Li Bingbing in the film adaptation) and Snow Flower (“Xuehua”) (played by South Korean actress Jun Ji-hyun)—forge a lifelong bond through Nvshu-inscribed folding fans, a testament to the script’s profound role in shaping female existence.

=='''The Revealed Female Consciousness and Female Cultural Colors of Nvshu Literature'''==

Nvshu literature is a special form of “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) created by working women. Working women are not only the creators of Nvshu, but also the singers and disseminators. It expresses the sufferings and pursuits of ordinary peasant women, as well as the deep friendship among sisters.
Nvshu literature reflects the hazy understanding of their own fate and the initial awakening of self-awareness among working women. The content is not merely about narrating the injustices and miseries that women have endured, but also a form of accusation and resistance against the dark society, as well as a rebellion against the feudal ethical code.

=='''Terms and Expressions'''==

Nvshu 女书

“Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding) 三朝书

Sphinx’s riddle 斯芬克斯之谜

folding fan 折扇

oracle bone inscription 甲骨文

anomie 失范

women’s needlework craftsmanship 女红工艺品

“Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) “歌堂文学”

=='''Questions'''==

1.Is Nvshu literature a special form of “Ge Tang literature” ?

2.What literary works are related to Nvshu?

3.What are the four main carriers of the Nvshu?

4.What’s the name of last natural inheritor of Nvshu?

5.Where did the origin of Nvshu lie?

6.What are the similarities and differences between Nvshu and Chinese characters?

='''女书'''=

女书是一种女性专用的汉语方言音节表音文字，其起源于湖南江永县，存在已超过数百年。其一般用于书写属于湘语永全片的江永城关方言。女书作品书写在精制布面手写本（婚嫁礼物）、扇面、布帕、纸片上，分别叫作“三朝书”“歌扇”“帕书”“纸文”。有的绣在帕子上，叫“绣字”。据维基百科词条，由于女书在文化大革命期间被严重破坏，再加上随着时代的发展及人口外流，现在女书正濒临失传（2025）。

[[File:Nvshu.png|300px|]]

=='''女书的文字特点'''==

女书文字的特点是书写呈长菱形，字体秀丽娟细，造型奇特，也被称为“蚊形字”。搜集到的有近2000个字符，所有字符只有点、竖、斜、弧四种笔划，可采用当地的江永土话（属湘语-永全片）吟诵或咏唱。
与汉字不同的地方是：女书是一种标音文字，每一个字所代表的都是一个音。现时文献搜集到的女书文字约有七百个。女书的字型虽然参考汉字，但两者并没有必然的关系。由于女书除了日常用作书写以外，也可以当成花纹编在衣服或布带上，所以字型或多或少也有所迁就，变成弯曲的形状。

[[File:Nvshu_forms.png|300px|]]

=='''女书的形成'''==

女书的创制时代一直是困扰学术界的“斯芬克斯”之谜学者们从不同的角度运用不同的方法得出了各种各样的结论和猜测。谢志民先生根据现代女字中保留有大量的甲骨文借字，认为女字创制的时代下限最迟不会晚于殷商（1991）；宫哲兵先生“根据女书文字传授和女书物品传承最早可以追溯到咸丰年间，推测女书的发生期大约是明末清代中期这个时期（1992）。但大体上来说，女书生成的路径有五个阶段——母系氏族，社会转型，边缘化角色，失范（失范是社会所倡导的文化目标与现实这些目标的合法的制度化手段之间的断裂或紧张状态），反抗（2011）。

=='''女书的消亡'''==

自民国以来特别是“五四”运动以后女书开始走向衰落解放以后女书衰落的步伐加快，女书传人只有64人，20世纪80年代当女书被学术界重新发现时它已处于严重的衰亡状态，女书传人寥剩无几，2004年最后一位自然传承人阳焕宜老人去世，标志着女书作为文字的使用已正式寿终就寝（2004）。

=='''女书的形式和内容'''==

==='''形式'''===

旧时当地不少才情女子采用这种男人不识的女书互通心迹，诉说衷肠，将其刺绣、刻划、戳印、书写于纸扇巾帕女红。搜集到的近20万字的“女书”作品，绝大部分为歌体，其载体分纸、书、扇、巾四大类。无论哪种承载方式，都十分讲究形式美。如写在纸张上的四角多配花纹，写于纸扇上的多插绘花鸟图案，而织绣在巾帕花带和服饰上的，则是精美的女红工艺品。

==='''内容'''===

女书作品主要内容是写婚姻家庭、社会交往、幽怨私情、乡里逸闻、歌谣谜语等。也有的编译成汉字的唱本。女书记载的叙事作品就内容而言，并非女性所独创，但通过口头传承进入女书后，便成了女性心灵世界的投影。作品完全用写实手法自叙自叹心比天高、命如纸薄，美好意愿在黑暗中化作泡影的悲苦境遇，并请出民间传说中的神灵帮助逢凶化吉。这些作品的女主人公不仅都是个性张扬的“女强人”，强烈要求和男性地位平等，而且她们极端厌弃鄙视男性所热衷的功名富贵。
有关女书的出版物和文学创作

[[File:Nvshu_inheritence.png|300px|]]

''《世界唯一的女性文字——女书》''
该书由周冶陶、宫步坦编著，明华印书馆2009年2月版，本书详细记录了女书1982年被发现的经过，女书中的情感、信仰与艺术，女书的传承与保护，与女书有关的女性习俗等内容，并分篇介绍了著名的女书传人、著名的女书研究专家和著名的女书书法家，还对湖北新发现的几种未识别文字进行了介绍。


''《雪花秘扇》''
美国华裔作家邝丽莎（Lisa See）所著之《雪花秘扇》，便是以晚清道光年间，湖南省江永县的瑶族村落为故事背景。在这个男性作为社会主干、女性的人生任务就是找得好归宿，为夫家奉献一生的时代中，两女主角百合（电影版由中国女艺人李冰冰饰演）与雪花（电影版中由韩国女艺人全智贤饰演）透过写上女书的折扇展开了足以影响她们一生的重要情谊。书中描述了女书作为女性间的专属文字，对于妇女的生活甚至人生的重要性。
女书文学及其透露出来的女性意识和女性文化色彩
女书文学是劳动妇女“歌堂文学”（在特定的场所，如歌堂中，人们通过唱歌的方式来创作、传承和传播的文学作品）的一种特殊形式。劳动妇女既是女书的创作者，有时演唱者、传播者。表达了普通农妇的苦难和追求，以及姊妹间深厚的情谊.
女书文学体现了劳动妇女对自己命运的朦胧认识和自我意识的初步觉醒。女书内容不仅仅是诉说女性遭遇的不公和悲苦，更是对黑暗社会的控诉和反抗、对封建礼教的叛逆。

=='''References'''==

Nvshu (Ed.). (2025, April 23). In Wikipedia. https://zh.wikipedia.org/wiki/%E5%A5%B3%E4%B9%A6
He X.L(2011). Multiple Perspectives of Nvshu and the Culture Studies[Docotor dissertation, Central China Normal University].
Xie Z.M. (1991). Nvshu is the remnant and evolution of the ancient characters of the Shang Dynasty, which has a close relationship with oracle bone inscriptions. Journal of Minzu University of China (Philosophy and Social Sciences), (06), 59-64+73-66.
Gong Z.B. (1992). An Examination of the Era of Nvshu. Journal of Central China University (Humanities and Social Sciences), (05), 59-63.
Liu Z.H. (2005). A Miracle in the Boudoir: Nvshu of China. Heilongjiang: Heilongjiang People’s Publishing House.

=='''Terms and Expressions'''==

女书 Nvshu

三朝书 “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding)

斯芬克斯之谜 Sphinx’s riddle

折扇 folding fan

甲骨文 oracle bone inscription

失范 anomie

女红工艺品 women’s needlework craftsmanship

“歌堂文学” “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls)

=='''问题'''==

1.女书属于一种特殊的“歌堂文学”吗 ?

2.与女书相关的文学作品有哪些?

3.女书有哪四种主要的载体?

4.女书的最后一位传人是谁?

5.女书的发源地是哪里?

6.女书和汉字的异同有哪些?

File:Nvshu forms.png

2025-05-30T13:39:29Z

Miao Yunlong:

User:Miao Yunlong

2025-05-30T13:39:11Z

Miao Yunlong:

='''Nvshu (Womens’ Script)'''=

Nvshu (also known as Women’s Script) is a unique syllabic phonographic writing system. It was first invented by women living in Jiangyong County, Hunan Province and represents the sounds of a local variant of the Chinese dialect and has existed for hundreds of years. This script is chiefly employed to transcribe the Jiangyong County-town dialect, a linguistic variety categorized under the Yong-Quan cluster within the Xiang language family. Nvshu works are inscribed on exquisitely crafted cloth-bound handwritten books (used as wedding gifts), fan surfaces, cloth handkerchiefs, and paper slips, which are respectively called “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding), “Geshan” (folding fans inscribed with musical repertoire written in Nvshu), “Pashu”, and “Zhiwen” . Some are embroidered onto handkerchiefs, known as “Xiuzi” .In accordance with Wikipedia, due to severe damage inflicted upon Nvshu during the Cultural Revolution, coupled with the passage of time, societal development, and population outflow, it is now on the verge of being lost (2025).

[[File:Nvshu.png|300px|]]

=='''Linguistic Characters of Nvshu'''==

The Nvshu script is characterized by its distinctive elongated rhomboid-shaped characters, exquisitely slender and graceful strokes, and peculiar visual forms, earning it the nickname “mosquito-shaped script.” Approximately 2,000 characters have been documented to date. The entire writing system consists of only four basic strokes: dots, vertical lines, slanted lines, and curved arcs. These characters can be chanted or sung in the local Jiangyong vernacular (belonging to the Yong-Quan subgroup of the Xiang language family).
The key difference between Nvshu and Chinese characters lies in their writing systems: Nvshu is a syllabic phonographic script, where each character represents a distinct syllable (sound). Currently, some 700 Nvshu characters have been documented through historical and contemporary research. While the glyph structures of Nvshu characters draw inspiration from Chinese characters, there is no inherent logical or structural correlation between the two systems. Beyond its role as a written language for daily communication, Nvshu also serves as an ornamental motif woven into clothing or fabric belts. This functional duality has influenced the evolution of Nvshu, which often exhibit curvilinear, flowing forms adapted to the flexibility of textile patterns rather than the rigid grid-based structure of traditional Chinese characters.

=='''The Emergence of Nvshu'''==

The era of the creation of Nvshu has always been a “Sphinx’s riddle” that puzzles the academic community. Scholars have used different methods from various perspectives and drawn a wide variety of conclusions and speculations. Xie Zhimin believes that, based on the fact that a large number of borrowed characters from oracle bone inscriptions are retained in modern Nvshu characters, the latest lower limit of the era when Nvshu was created could not be later than the Shang Dynasty (1991). Gong Zhebing, according to the fact that the transmission of Nvshu characters and the inheritance of Nvshu items can be traced back to the Xianfeng period at the earliest, speculate that the occurrence period of Nvshu was approximately from the late Ming Dynasty to the middle of the Qing Dynasty (1992). Generally speaking, the path of the emergence of Nvshu has undergone 5 phases，namely, the matriarchal clan, the social transformation, the marginalized roles, the anomie (Anomie refers to the state of disruption or tension between the cultural goals advocated by society and the legitimate institutionalized means to achieve these goals), and the resistance (2011).

=='''The Decline of Nvshu'''==

Since the founding of the Republic of China, especially after the May 4th Movement, Nvshu began to decline. After the founding of the People's Republic of China, the pace of the decline of Nvshu accelerated. There were only 64 inheritors of Nvshu at that time. In the 1980s, when Nvshu was rediscovered by the academic community, it was already in a serious state of decline, with very few inheritors left. In 2004, the passing away of the last natural inheritor, the elderly Yang Huanyi, marked the formal end of the use of Nvshu as a written language (2004).

=='''The Form and Content of Nvshu'''==

==='''Form'''===

In the patriarchal past, numerous talented local women employed Nvshu—a script indecipherable to men—as a clandestine medium for emotional and intellectual exchange, weaving their innermost thoughts, confessions, and poetic expressions into daily objects through embroidery, engraving, stamping, and handwriting. The collected Nvshu corpus, comprising nearly 200,000 characters, overwhelmingly adopts lyrical song forms (geshu), transmitted through four primary carriers: paper slips, bound books, fan surfaces, and textile accessories (handkerchiefs, sashes, and garments) ( “zhi” “shu” “shan” and “jin” in Chinese respectively ). Regardless of medium, Nvshu creators demonstrated a meticulous commitment to formal aesthetics:
Paper slips and bound books (“zhi” and “shu”) were often adorned with floral borders at the four corners, framing the text within botanical elegance.
Fans (“shan”) integrated ornate avian-floral motifs into the layout, merging calligraphy with naturalist painting.
Embroidered textiles (“jin”)—such as handkerchiefs, sashes, and clothing bands—transformed Nvshu into wearable art, with each stitch embodying the pinnacle of women’s needlework craftsmanship.
These artifacts transcend mere linguistic communication; they represent a convergence of textuality, materiality, and gendered creativity, where women subverted patriarchal literacy norms by reappropriating domestic objects as vehicles for subversive self-expression.

==='''Content'''===

The primary subjects of Nvshu works encompass marriage and family life, social interactions, clandestine yearnings, village folklore, ballads, and riddles. Some Nvshu texts were also transcribed into vernacular Chinese-language songbooks for broader circulation. While the narrative content documented in Nvshu is not exclusively female-authored, these stories—once transmitted orally and recontextualized through the lens of Nvshu—evolve into projections of women’s inner worlds. Employing a starkly realist style, the texts articulate women’s self-lamentations over their ambitions thwarted by fate (“high aspirations, fragile destinies”), their bitter struggles as aspirations dissolve into futility under patriarchal oppression, and their invocation of folkloric deities to seek divine intervention against misfortune.
The female protagonists in these works transcend conventional gender stereotypes, emerging as assertive “heroines” who vociferously demand egalitarian status with men while vehemently rejecting and scorning the worldly ambitions (careerism, wealth, and status) valorized by patriarchal society.

[[File:Nvshu_inheritence.png|300px|]]

=='''The Publication and Literary works on Nvshu'''==
''The World's Sole Female Script - Nvshu''

Compiled by Zhou Yetao and Gong Butan, published by Minghua Press in February 2009, this book meticulously documents the discovery of Nvshu in 1982, exploring its emotional expressions, cultural beliefs, and artistic manifestations. It delves into the transmission and preservation of Nvshu, as well as women-centered customs intertwined with this script. The work is structured thematically, introducing renowned Nvshu transmitters, scholars, and calligraphers, while also shedding light on several unidentified scripts newly discovered in Hubei Province.

''Snow Flower and the Secret Fan''

American Chinese author Lisa See’s novel Snow Flower and the Secret Fan unfolds in a Yao ethnic village of Jiangyong County, Hunan Province, during the Daoguang era (1821–1850) of the late Qing Dynasty. In this patriarchal society, where women’s lives were defined by marital destiny (seeking a “good match”) and lifelong service to their husbands’ families, the protagonists—Lily (“Baihe” in Chinese) (portrayed by Chinese actress Li Bingbing in the film adaptation) and Snow Flower (“Xuehua”) (played by South Korean actress Jun Ji-hyun)—forge a lifelong bond through Nvshu-inscribed folding fans, a testament to the script’s profound role in shaping female existence.

=='''The Revealed Female Consciousness and Female Cultural Colors of Nvshu Literature'''==

Nvshu literature is a special form of “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) created by working women. Working women are not only the creators of Nvshu, but also the singers and disseminators. It expresses the sufferings and pursuits of ordinary peasant women, as well as the deep friendship among sisters.
Nvshu literature reflects the hazy understanding of their own fate and the initial awakening of self-awareness among working women. The content is not merely about narrating the injustices and miseries that women have endured, but also a form of accusation and resistance against the dark society, as well as a rebellion against the feudal ethical code.

=='''Terms and Expressions'''==

Nvshu 女书

“Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding) 三朝书

Sphinx’s riddle 斯芬克斯之谜

folding fan 折扇

oracle bone inscription 甲骨文

anomie 失范

women’s needlework craftsmanship 女红工艺品

“Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) “歌堂文学”

=='''Questions'''==

1.Is Nvshu literature a special form of “Ge Tang literature” ?

2.What literary works are related to Nvshu?

3.What are the four main carriers of the Nvshu?

4.What’s the name of last natural inheritor of Nvshu?

5.Where did the origin of Nvshu lie?

6.What are the similarities and differences between Nvshu and Chinese characters?

='''女书'''=

女书是一种女性专用的汉语方言音节表音文字，其起源于湖南江永县，存在已超过数百年。其一般用于书写属于湘语永全片的江永城关方言。女书作品书写在精制布面手写本（婚嫁礼物）、扇面、布帕、纸片上，分别叫作“三朝书”“歌扇”“帕书”“纸文”。有的绣在帕子上，叫“绣字”。据维基百科词条，由于女书在文化大革命期间被严重破坏，再加上随着时代的发展及人口外流，现在女书正濒临失传（2025）。

[[File:Nvshu.png|300px|]]

=='''女书的文字特点'''==

女书文字的特点是书写呈长菱形，字体秀丽娟细，造型奇特，也被称为“蚊形字”。搜集到的有近2000个字符，所有字符只有点、竖、斜、弧四种笔划，可采用当地的江永土话（属湘语-永全片）吟诵或咏唱。
与汉字不同的地方是：女书是一种标音文字，每一个字所代表的都是一个音。现时文献搜集到的女书文字约有七百个。女书的字型虽然参考汉字，但两者并没有必然的关系。由于女书除了日常用作书写以外，也可以当成花纹编在衣服或布带上，所以字型或多或少也有所迁就，变成弯曲的形状。

=='''女书的形成'''==

女书的创制时代一直是困扰学术界的“斯芬克斯”之谜学者们从不同的角度运用不同的方法得出了各种各样的结论和猜测。谢志民先生根据现代女字中保留有大量的甲骨文借字，认为女字创制的时代下限最迟不会晚于殷商（1991）；宫哲兵先生“根据女书文字传授和女书物品传承最早可以追溯到咸丰年间，推测女书的发生期大约是明末清代中期这个时期（1992）。但大体上来说，女书生成的路径有五个阶段——母系氏族，社会转型，边缘化角色，失范（失范是社会所倡导的文化目标与现实这些目标的合法的制度化手段之间的断裂或紧张状态），反抗（2011）。

=='''女书的消亡'''==

自民国以来特别是“五四”运动以后女书开始走向衰落解放以后女书衰落的步伐加快，女书传人只有64人，20世纪80年代当女书被学术界重新发现时它已处于严重的衰亡状态，女书传人寥剩无几，2004年最后一位自然传承人阳焕宜老人去世，标志着女书作为文字的使用已正式寿终就寝（2004）。

=='''女书的形式和内容'''==

==='''形式'''===

旧时当地不少才情女子采用这种男人不识的女书互通心迹，诉说衷肠，将其刺绣、刻划、戳印、书写于纸扇巾帕女红。搜集到的近20万字的“女书”作品，绝大部分为歌体，其载体分纸、书、扇、巾四大类。无论哪种承载方式，都十分讲究形式美。如写在纸张上的四角多配花纹，写于纸扇上的多插绘花鸟图案，而织绣在巾帕花带和服饰上的，则是精美的女红工艺品。

==='''内容'''===

女书作品主要内容是写婚姻家庭、社会交往、幽怨私情、乡里逸闻、歌谣谜语等。也有的编译成汉字的唱本。女书记载的叙事作品就内容而言，并非女性所独创，但通过口头传承进入女书后，便成了女性心灵世界的投影。作品完全用写实手法自叙自叹心比天高、命如纸薄，美好意愿在黑暗中化作泡影的悲苦境遇，并请出民间传说中的神灵帮助逢凶化吉。这些作品的女主人公不仅都是个性张扬的“女强人”，强烈要求和男性地位平等，而且她们极端厌弃鄙视男性所热衷的功名富贵。
有关女书的出版物和文学创作

[[File:Nvshu_inheritence.png|300px|]]

''《世界唯一的女性文字——女书》''
该书由周冶陶、宫步坦编著，明华印书馆2009年2月版，本书详细记录了女书1982年被发现的经过，女书中的情感、信仰与艺术，女书的传承与保护，与女书有关的女性习俗等内容，并分篇介绍了著名的女书传人、著名的女书研究专家和著名的女书书法家，还对湖北新发现的几种未识别文字进行了介绍。


''《雪花秘扇》''
美国华裔作家邝丽莎（Lisa See）所著之《雪花秘扇》，便是以晚清道光年间，湖南省江永县的瑶族村落为故事背景。在这个男性作为社会主干、女性的人生任务就是找得好归宿，为夫家奉献一生的时代中，两女主角百合（电影版由中国女艺人李冰冰饰演）与雪花（电影版中由韩国女艺人全智贤饰演）透过写上女书的折扇展开了足以影响她们一生的重要情谊。书中描述了女书作为女性间的专属文字，对于妇女的生活甚至人生的重要性。
女书文学及其透露出来的女性意识和女性文化色彩
女书文学是劳动妇女“歌堂文学”（在特定的场所，如歌堂中，人们通过唱歌的方式来创作、传承和传播的文学作品）的一种特殊形式。劳动妇女既是女书的创作者，有时演唱者、传播者。表达了普通农妇的苦难和追求，以及姊妹间深厚的情谊.
女书文学体现了劳动妇女对自己命运的朦胧认识和自我意识的初步觉醒。女书内容不仅仅是诉说女性遭遇的不公和悲苦，更是对黑暗社会的控诉和反抗、对封建礼教的叛逆。

=='''References'''==

Nvshu (Ed.). (2025, April 23). In Wikipedia. https://zh.wikipedia.org/wiki/%E5%A5%B3%E4%B9%A6
He X.L(2011). Multiple Perspectives of Nvshu and the Culture Studies[Docotor dissertation, Central China Normal University].
Xie Z.M. (1991). Nvshu is the remnant and evolution of the ancient characters of the Shang Dynasty, which has a close relationship with oracle bone inscriptions. Journal of Minzu University of China (Philosophy and Social Sciences), (06), 59-64+73-66.
Gong Z.B. (1992). An Examination of the Era of Nvshu. Journal of Central China University (Humanities and Social Sciences), (05), 59-63.
Liu Z.H. (2005). A Miracle in the Boudoir: Nvshu of China. Heilongjiang: Heilongjiang People’s Publishing House.

=='''Terms and Expressions'''==

女书 Nvshu

三朝书 “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding)

斯芬克斯之谜 Sphinx’s riddle

折扇 folding fan

甲骨文 oracle bone inscription

失范 anomie

女红工艺品 women’s needlework craftsmanship

“歌堂文学” “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls)

=='''问题'''==

1.女书属于一种特殊的“歌堂文学”吗 ?

2.与女书相关的文学作品有哪些?

3.女书有哪四种主要的载体?

4.女书的最后一位传人是谁?

5.女书的发源地是哪里?

6.女书和汉字的异同有哪些?

User:Miao Yunlong

2025-05-30T13:38:05Z

Miao Yunlong:

='''Nvshu (Womens’ Script)'''=

Nvshu (also known as Women’s Script) is a unique syllabic phonographic writing system. It was first invented by women living in Jiangyong County, Hunan Province and represents the sounds of a local variant of the Chinese dialect and has existed for hundreds of years. This script is chiefly employed to transcribe the Jiangyong County-town dialect, a linguistic variety categorized under the Yong-Quan cluster within the Xiang language family. Nvshu works are inscribed on exquisitely crafted cloth-bound handwritten books (used as wedding gifts), fan surfaces, cloth handkerchiefs, and paper slips, which are respectively called “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding), “Geshan” (folding fans inscribed with musical repertoire written in Nvshu), “Pashu”, and “Zhiwen” . Some are embroidered onto handkerchiefs, known as “Xiuzi” .In accordance with Wikipedia, due to severe damage inflicted upon Nvshu during the Cultural Revolution, coupled with the passage of time, societal development, and population outflow, it is now on the verge of being lost (2025).

[[File:Nvshu.png|300px|]]

=='''Linguistic Characters of Nvshu'''==

The Nvshu script is characterized by its distinctive elongated rhomboid-shaped characters, exquisitely slender and graceful strokes, and peculiar visual forms, earning it the nickname “mosquito-shaped script.” Approximately 2,000 characters have been documented to date. The entire writing system consists of only four basic strokes: dots, vertical lines, slanted lines, and curved arcs. These characters can be chanted or sung in the local Jiangyong vernacular (belonging to the Yong-Quan subgroup of the Xiang language family).
The key difference between Nvshu and Chinese characters lies in their writing systems: Nvshu is a syllabic phonographic script, where each character represents a distinct syllable (sound). Currently, some 700 Nvshu characters have been documented through historical and contemporary research. While the glyph structures of Nvshu characters draw inspiration from Chinese characters, there is no inherent logical or structural correlation between the two systems. Beyond its role as a written language for daily communication, Nvshu also serves as an ornamental motif woven into clothing or fabric belts. This functional duality has influenced the evolution of Nvshu, which often exhibit curvilinear, flowing forms adapted to the flexibility of textile patterns rather than the rigid grid-based structure of traditional Chinese characters.

=='''The Emergence of Nvshu'''==

The era of the creation of Nvshu has always been a “Sphinx’s riddle” that puzzles the academic community. Scholars have used different methods from various perspectives and drawn a wide variety of conclusions and speculations. Xie Zhimin believes that, based on the fact that a large number of borrowed characters from oracle bone inscriptions are retained in modern Nvshu characters, the latest lower limit of the era when Nvshu was created could not be later than the Shang Dynasty (1991). Gong Zhebing, according to the fact that the transmission of Nvshu characters and the inheritance of Nvshu items can be traced back to the Xianfeng period at the earliest, speculate that the occurrence period of Nvshu was approximately from the late Ming Dynasty to the middle of the Qing Dynasty (1992). Generally speaking, the path of the emergence of Nvshu has undergone 5 phases，namely, the matriarchal clan, the social transformation, the marginalized roles, the anomie (Anomie refers to the state of disruption or tension between the cultural goals advocated by society and the legitimate institutionalized means to achieve these goals), and the resistance (2011).

=='''The Decline of Nvshu'''==

Since the founding of the Republic of China, especially after the May 4th Movement, Nvshu began to decline. After the founding of the People's Republic of China, the pace of the decline of Nvshu accelerated. There were only 64 inheritors of Nvshu at that time. In the 1980s, when Nvshu was rediscovered by the academic community, it was already in a serious state of decline, with very few inheritors left. In 2004, the passing away of the last natural inheritor, the elderly Yang Huanyi, marked the formal end of the use of Nvshu as a written language (2004).

=='''The Form and Content of Nvshu'''==

==='''Form'''===

In the patriarchal past, numerous talented local women employed Nvshu—a script indecipherable to men—as a clandestine medium for emotional and intellectual exchange, weaving their innermost thoughts, confessions, and poetic expressions into daily objects through embroidery, engraving, stamping, and handwriting. The collected Nvshu corpus, comprising nearly 200,000 characters, overwhelmingly adopts lyrical song forms (geshu), transmitted through four primary carriers: paper slips, bound books, fan surfaces, and textile accessories (handkerchiefs, sashes, and garments) ( “zhi” “shu” “shan” and “jin” in Chinese respectively ). Regardless of medium, Nvshu creators demonstrated a meticulous commitment to formal aesthetics:
Paper slips and bound books (“zhi” and “shu”) were often adorned with floral borders at the four corners, framing the text within botanical elegance.
Fans (“shan”) integrated ornate avian-floral motifs into the layout, merging calligraphy with naturalist painting.
Embroidered textiles (“jin”)—such as handkerchiefs, sashes, and clothing bands—transformed Nvshu into wearable art, with each stitch embodying the pinnacle of women’s needlework craftsmanship.
These artifacts transcend mere linguistic communication; they represent a convergence of textuality, materiality, and gendered creativity, where women subverted patriarchal literacy norms by reappropriating domestic objects as vehicles for subversive self-expression.

==='''Content'''===

The primary subjects of Nvshu works encompass marriage and family life, social interactions, clandestine yearnings, village folklore, ballads, and riddles. Some Nvshu texts were also transcribed into vernacular Chinese-language songbooks for broader circulation. While the narrative content documented in Nvshu is not exclusively female-authored, these stories—once transmitted orally and recontextualized through the lens of Nvshu—evolve into projections of women’s inner worlds. Employing a starkly realist style, the texts articulate women’s self-lamentations over their ambitions thwarted by fate (“high aspirations, fragile destinies”), their bitter struggles as aspirations dissolve into futility under patriarchal oppression, and their invocation of folkloric deities to seek divine intervention against misfortune.
The female protagonists in these works transcend conventional gender stereotypes, emerging as assertive “heroines” who vociferously demand egalitarian status with men while vehemently rejecting and scorning the worldly ambitions (careerism, wealth, and status) valorized by patriarchal society.

[[File:Nvshu_inheritence.png|300px|]]

=='''The Publication and Literary works on Nvshu'''==
''The World's Sole Female Script - Nvshu''

Compiled by Zhou Yetao and Gong Butan, published by Minghua Press in February 2009, this book meticulously documents the discovery of Nvshu in 1982, exploring its emotional expressions, cultural beliefs, and artistic manifestations. It delves into the transmission and preservation of Nvshu, as well as women-centered customs intertwined with this script. The work is structured thematically, introducing renowned Nvshu transmitters, scholars, and calligraphers, while also shedding light on several unidentified scripts newly discovered in Hubei Province.

''Snow Flower and the Secret Fan''

American Chinese author Lisa See’s novel Snow Flower and the Secret Fan unfolds in a Yao ethnic village of Jiangyong County, Hunan Province, during the Daoguang era (1821–1850) of the late Qing Dynasty. In this patriarchal society, where women’s lives were defined by marital destiny (seeking a “good match”) and lifelong service to their husbands’ families, the protagonists—Lily (“Baihe” in Chinese) (portrayed by Chinese actress Li Bingbing in the film adaptation) and Snow Flower (“Xuehua”) (played by South Korean actress Jun Ji-hyun)—forge a lifelong bond through Nvshu-inscribed folding fans, a testament to the script’s profound role in shaping female existence.

=='''The Revealed Female Consciousness and Female Cultural Colors of Nvshu Literature'''==

Nvshu literature is a special form of “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) created by working women. Working women are not only the creators of Nvshu, but also the singers and disseminators. It expresses the sufferings and pursuits of ordinary peasant women, as well as the deep friendship among sisters.
Nvshu literature reflects the hazy understanding of their own fate and the initial awakening of self-awareness among working women. The content is not merely about narrating the injustices and miseries that women have endured, but also a form of accusation and resistance against the dark society, as well as a rebellion against the feudal ethical code.

=='''Terms and Expressions'''==

Nvshu 女书

“Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding) 三朝书

Sphinx’s riddle 斯芬克斯之谜

folding fan 折扇

oracle bone inscription 甲骨文

anomie 失范

women’s needlework craftsmanship 女红工艺品

“Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) “歌堂文学”

=='''Questions'''==

1.Is Nvshu literature a special form of “Ge Tang literature” ?

2.What literary works are related to Nvshu?

3.What are the four main carriers of the Nvshu?

4.What’s the name of last natural inheritor of Nvshu?

5.Where did the origin of Nvshu lie?

6.What are the similarities and differences between Nvshu and Chinese characters?

='''女书'''=

女书是一种女性专用的汉语方言音节表音文字，其起源于湖南江永县，存在已超过数百年。其一般用于书写属于湘语永全片的江永城关方言。女书作品书写在精制布面手写本（婚嫁礼物）、扇面、布帕、纸片上，分别叫作“三朝书”“歌扇”“帕书”“纸文”。有的绣在帕子上，叫“绣字”。据维基百科词条，由于女书在文化大革命期间被严重破坏，再加上随着时代的发展及人口外流，现在女书正濒临失传（2025）。

[[File:Nvshu.png]]

=='''女书的文字特点'''==

女书文字的特点是书写呈长菱形，字体秀丽娟细，造型奇特，也被称为“蚊形字”。搜集到的有近2000个字符，所有字符只有点、竖、斜、弧四种笔划，可采用当地的江永土话（属湘语-永全片）吟诵或咏唱。
与汉字不同的地方是：女书是一种标音文字，每一个字所代表的都是一个音。现时文献搜集到的女书文字约有七百个。女书的字型虽然参考汉字，但两者并没有必然的关系。由于女书除了日常用作书写以外，也可以当成花纹编在衣服或布带上，所以字型或多或少也有所迁就，变成弯曲的形状。

=='''女书的形成'''==

女书的创制时代一直是困扰学术界的“斯芬克斯”之谜学者们从不同的角度运用不同的方法得出了各种各样的结论和猜测。谢志民先生根据现代女字中保留有大量的甲骨文借字，认为女字创制的时代下限最迟不会晚于殷商（1991）；宫哲兵先生“根据女书文字传授和女书物品传承最早可以追溯到咸丰年间，推测女书的发生期大约是明末清代中期这个时期（1992）。但大体上来说，女书生成的路径有五个阶段——母系氏族，社会转型，边缘化角色，失范（失范是社会所倡导的文化目标与现实这些目标的合法的制度化手段之间的断裂或紧张状态），反抗（2011）。

=='''女书的消亡'''==

自民国以来特别是“五四”运动以后女书开始走向衰落解放以后女书衰落的步伐加快，女书传人只有64人，20世纪80年代当女书被学术界重新发现时它已处于严重的衰亡状态，女书传人寥剩无几，2004年最后一位自然传承人阳焕宜老人去世，标志着女书作为文字的使用已正式寿终就寝（2004）。

=='''女书的形式和内容'''==

==='''形式'''===

旧时当地不少才情女子采用这种男人不识的女书互通心迹，诉说衷肠，将其刺绣、刻划、戳印、书写于纸扇巾帕女红。搜集到的近20万字的“女书”作品，绝大部分为歌体，其载体分纸、书、扇、巾四大类。无论哪种承载方式，都十分讲究形式美。如写在纸张上的四角多配花纹，写于纸扇上的多插绘花鸟图案，而织绣在巾帕花带和服饰上的，则是精美的女红工艺品。

==='''内容'''===

女书作品主要内容是写婚姻家庭、社会交往、幽怨私情、乡里逸闻、歌谣谜语等。也有的编译成汉字的唱本。女书记载的叙事作品就内容而言，并非女性所独创，但通过口头传承进入女书后，便成了女性心灵世界的投影。作品完全用写实手法自叙自叹心比天高、命如纸薄，美好意愿在黑暗中化作泡影的悲苦境遇，并请出民间传说中的神灵帮助逢凶化吉。这些作品的女主人公不仅都是个性张扬的“女强人”，强烈要求和男性地位平等，而且她们极端厌弃鄙视男性所热衷的功名富贵。
有关女书的出版物和文学创作

[[File:Nvshu_inheritence.png]]

''《世界唯一的女性文字——女书》''
该书由周冶陶、宫步坦编著，明华印书馆2009年2月版，本书详细记录了女书1982年被发现的经过，女书中的情感、信仰与艺术，女书的传承与保护，与女书有关的女性习俗等内容，并分篇介绍了著名的女书传人、著名的女书研究专家和著名的女书书法家，还对湖北新发现的几种未识别文字进行了介绍。


''《雪花秘扇》''
美国华裔作家邝丽莎（Lisa See）所著之《雪花秘扇》，便是以晚清道光年间，湖南省江永县的瑶族村落为故事背景。在这个男性作为社会主干、女性的人生任务就是找得好归宿，为夫家奉献一生的时代中，两女主角百合（电影版由中国女艺人李冰冰饰演）与雪花（电影版中由韩国女艺人全智贤饰演）透过写上女书的折扇展开了足以影响她们一生的重要情谊。书中描述了女书作为女性间的专属文字，对于妇女的生活甚至人生的重要性。
女书文学及其透露出来的女性意识和女性文化色彩
女书文学是劳动妇女“歌堂文学”（在特定的场所，如歌堂中，人们通过唱歌的方式来创作、传承和传播的文学作品）的一种特殊形式。劳动妇女既是女书的创作者，有时演唱者、传播者。表达了普通农妇的苦难和追求，以及姊妹间深厚的情谊.
女书文学体现了劳动妇女对自己命运的朦胧认识和自我意识的初步觉醒。女书内容不仅仅是诉说女性遭遇的不公和悲苦，更是对黑暗社会的控诉和反抗、对封建礼教的叛逆。

=='''References'''==

Nvshu (Ed.). (2025, April 23). In Wikipedia. https://zh.wikipedia.org/wiki/%E5%A5%B3%E4%B9%A6
He X.L(2011). Multiple Perspectives of Nvshu and the Culture Studies[Docotor dissertation, Central China Normal University].
Xie Z.M. (1991). Nvshu is the remnant and evolution of the ancient characters of the Shang Dynasty, which has a close relationship with oracle bone inscriptions. Journal of Minzu University of China (Philosophy and Social Sciences), (06), 59-64+73-66.
Gong Z.B. (1992). An Examination of the Era of Nvshu. Journal of Central China University (Humanities and Social Sciences), (05), 59-63.
Liu Z.H. (2005). A Miracle in the Boudoir: Nvshu of China. Heilongjiang: Heilongjiang People’s Publishing House.

=='''Terms and Expressions'''==

女书 Nvshu

三朝书 “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding)

斯芬克斯之谜 Sphinx’s riddle

折扇 folding fan

甲骨文 oracle bone inscription

失范 anomie

女红工艺品 women’s needlework craftsmanship

“歌堂文学” “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls)

=='''问题'''==

1.女书属于一种特殊的“歌堂文学”吗 ?

2.与女书相关的文学作品有哪些?

3.女书有哪四种主要的载体?

4.女书的最后一位传人是谁?

5.女书的发源地是哪里?

6.女书和汉字的异同有哪些?

User:Miao Yunlong

2025-05-30T13:37:26Z

Miao Yunlong:

='''Nvshu (Womens’ Script)'''=

Nvshu (also known as Women’s Script) is a unique syllabic phonographic writing system. It was first invented by women living in Jiangyong County, Hunan Province and represents the sounds of a local variant of the Chinese dialect and has existed for hundreds of years. This script is chiefly employed to transcribe the Jiangyong County-town dialect, a linguistic variety categorized under the Yong-Quan cluster within the Xiang language family. Nvshu works are inscribed on exquisitely crafted cloth-bound handwritten books (used as wedding gifts), fan surfaces, cloth handkerchiefs, and paper slips, which are respectively called “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding), “Geshan” (folding fans inscribed with musical repertoire written in Nvshu), “Pashu”, and “Zhiwen” . Some are embroidered onto handkerchiefs, known as “Xiuzi” .In accordance with Wikipedia, due to severe damage inflicted upon Nvshu during the Cultural Revolution, coupled with the passage of time, societal development, and population outflow, it is now on the verge of being lost (2025).

[[File:Nvshu.png|300px|]]

=='''Linguistic Characters of Nvshu'''==

The Nvshu script is characterized by its distinctive elongated rhomboid-shaped characters, exquisitely slender and graceful strokes, and peculiar visual forms, earning it the nickname “mosquito-shaped script.” Approximately 2,000 characters have been documented to date. The entire writing system consists of only four basic strokes: dots, vertical lines, slanted lines, and curved arcs. These characters can be chanted or sung in the local Jiangyong vernacular (belonging to the Yong-Quan subgroup of the Xiang language family).
The key difference between Nvshu and Chinese characters lies in their writing systems: Nvshu is a syllabic phonographic script, where each character represents a distinct syllable (sound). Currently, some 700 Nvshu characters have been documented through historical and contemporary research. While the glyph structures of Nvshu characters draw inspiration from Chinese characters, there is no inherent logical or structural correlation between the two systems. Beyond its role as a written language for daily communication, Nvshu also serves as an ornamental motif woven into clothing or fabric belts. This functional duality has influenced the evolution of Nvshu, which often exhibit curvilinear, flowing forms adapted to the flexibility of textile patterns rather than the rigid grid-based structure of traditional Chinese characters.

=='''The Emergence of Nvshu'''==

The era of the creation of Nvshu has always been a “Sphinx’s riddle” that puzzles the academic community. Scholars have used different methods from various perspectives and drawn a wide variety of conclusions and speculations. Xie Zhimin believes that, based on the fact that a large number of borrowed characters from oracle bone inscriptions are retained in modern Nvshu characters, the latest lower limit of the era when Nvshu was created could not be later than the Shang Dynasty (1991). Gong Zhebing, according to the fact that the transmission of Nvshu characters and the inheritance of Nvshu items can be traced back to the Xianfeng period at the earliest, speculate that the occurrence period of Nvshu was approximately from the late Ming Dynasty to the middle of the Qing Dynasty (1992). Generally speaking, the path of the emergence of Nvshu has undergone 5 phases，namely, the matriarchal clan, the social transformation, the marginalized roles, the anomie (Anomie refers to the state of disruption or tension between the cultural goals advocated by society and the legitimate institutionalized means to achieve these goals), and the resistance (2011).

=='''The Decline of Nvshu'''==

Since the founding of the Republic of China, especially after the May 4th Movement, Nvshu began to decline. After the founding of the People's Republic of China, the pace of the decline of Nvshu accelerated. There were only 64 inheritors of Nvshu at that time. In the 1980s, when Nvshu was rediscovered by the academic community, it was already in a serious state of decline, with very few inheritors left. In 2004, the passing away of the last natural inheritor, the elderly Yang Huanyi, marked the formal end of the use of Nvshu as a written language (2004).

=='''The Form and Content of Nvshu'''==

==='''Form'''===

In the patriarchal past, numerous talented local women employed Nvshu—a script indecipherable to men—as a clandestine medium for emotional and intellectual exchange, weaving their innermost thoughts, confessions, and poetic expressions into daily objects through embroidery, engraving, stamping, and handwriting. The collected Nvshu corpus, comprising nearly 200,000 characters, overwhelmingly adopts lyrical song forms (geshu), transmitted through four primary carriers: paper slips, bound books, fan surfaces, and textile accessories (handkerchiefs, sashes, and garments) ( “zhi” “shu” “shan” and “jin” in Chinese respectively ). Regardless of medium, Nvshu creators demonstrated a meticulous commitment to formal aesthetics:
Paper slips and bound books (“zhi” and “shu”) were often adorned with floral borders at the four corners, framing the text within botanical elegance.
Fans (“shan”) integrated ornate avian-floral motifs into the layout, merging calligraphy with naturalist painting.
Embroidered textiles (“jin”)—such as handkerchiefs, sashes, and clothing bands—transformed Nvshu into wearable art, with each stitch embodying the pinnacle of women’s needlework craftsmanship.
These artifacts transcend mere linguistic communication; they represent a convergence of textuality, materiality, and gendered creativity, where women subverted patriarchal literacy norms by reappropriating domestic objects as vehicles for subversive self-expression.

==='''Content'''===

The primary subjects of Nvshu works encompass marriage and family life, social interactions, clandestine yearnings, village folklore, ballads, and riddles. Some Nvshu texts were also transcribed into vernacular Chinese-language songbooks for broader circulation. While the narrative content documented in Nvshu is not exclusively female-authored, these stories—once transmitted orally and recontextualized through the lens of Nvshu—evolve into projections of women’s inner worlds. Employing a starkly realist style, the texts articulate women’s self-lamentations over their ambitions thwarted by fate (“high aspirations, fragile destinies”), their bitter struggles as aspirations dissolve into futility under patriarchal oppression, and their invocation of folkloric deities to seek divine intervention against misfortune.
The female protagonists in these works transcend conventional gender stereotypes, emerging as assertive “heroines” who vociferously demand egalitarian status with men while vehemently rejecting and scorning the worldly ambitions (careerism, wealth, and status) valorized by patriarchal society.

[[File:Nvshu_inheritence.png]]

=='''The Publication and Literary works on Nvshu'''==
''The World's Sole Female Script - Nvshu''

Compiled by Zhou Yetao and Gong Butan, published by Minghua Press in February 2009, this book meticulously documents the discovery of Nvshu in 1982, exploring its emotional expressions, cultural beliefs, and artistic manifestations. It delves into the transmission and preservation of Nvshu, as well as women-centered customs intertwined with this script. The work is structured thematically, introducing renowned Nvshu transmitters, scholars, and calligraphers, while also shedding light on several unidentified scripts newly discovered in Hubei Province.

''Snow Flower and the Secret Fan''

American Chinese author Lisa See’s novel Snow Flower and the Secret Fan unfolds in a Yao ethnic village of Jiangyong County, Hunan Province, during the Daoguang era (1821–1850) of the late Qing Dynasty. In this patriarchal society, where women’s lives were defined by marital destiny (seeking a “good match”) and lifelong service to their husbands’ families, the protagonists—Lily (“Baihe” in Chinese) (portrayed by Chinese actress Li Bingbing in the film adaptation) and Snow Flower (“Xuehua”) (played by South Korean actress Jun Ji-hyun)—forge a lifelong bond through Nvshu-inscribed folding fans, a testament to the script’s profound role in shaping female existence.

=='''The Revealed Female Consciousness and Female Cultural Colors of Nvshu Literature'''==

Nvshu literature is a special form of “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) created by working women. Working women are not only the creators of Nvshu, but also the singers and disseminators. It expresses the sufferings and pursuits of ordinary peasant women, as well as the deep friendship among sisters.
Nvshu literature reflects the hazy understanding of their own fate and the initial awakening of self-awareness among working women. The content is not merely about narrating the injustices and miseries that women have endured, but also a form of accusation and resistance against the dark society, as well as a rebellion against the feudal ethical code.

=='''Terms and Expressions'''==

Nvshu 女书

“Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding) 三朝书

Sphinx’s riddle 斯芬克斯之谜

folding fan 折扇

oracle bone inscription 甲骨文

anomie 失范

women’s needlework craftsmanship 女红工艺品

“Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) “歌堂文学”

=='''Questions'''==

1.Is Nvshu literature a special form of “Ge Tang literature” ?

2.What literary works are related to Nvshu?

3.What are the four main carriers of the Nvshu?

4.What’s the name of last natural inheritor of Nvshu?

5.Where did the origin of Nvshu lie?

6.What are the similarities and differences between Nvshu and Chinese characters?

='''女书'''=

女书是一种女性专用的汉语方言音节表音文字，其起源于湖南江永县，存在已超过数百年。其一般用于书写属于湘语永全片的江永城关方言。女书作品书写在精制布面手写本（婚嫁礼物）、扇面、布帕、纸片上，分别叫作“三朝书”“歌扇”“帕书”“纸文”。有的绣在帕子上，叫“绣字”。据维基百科词条，由于女书在文化大革命期间被严重破坏，再加上随着时代的发展及人口外流，现在女书正濒临失传（2025）。

[[File:Nvshu.png]]

=='''女书的文字特点'''==

女书文字的特点是书写呈长菱形，字体秀丽娟细，造型奇特，也被称为“蚊形字”。搜集到的有近2000个字符，所有字符只有点、竖、斜、弧四种笔划，可采用当地的江永土话（属湘语-永全片）吟诵或咏唱。
与汉字不同的地方是：女书是一种标音文字，每一个字所代表的都是一个音。现时文献搜集到的女书文字约有七百个。女书的字型虽然参考汉字，但两者并没有必然的关系。由于女书除了日常用作书写以外，也可以当成花纹编在衣服或布带上，所以字型或多或少也有所迁就，变成弯曲的形状。

=='''女书的形成'''==

女书的创制时代一直是困扰学术界的“斯芬克斯”之谜学者们从不同的角度运用不同的方法得出了各种各样的结论和猜测。谢志民先生根据现代女字中保留有大量的甲骨文借字，认为女字创制的时代下限最迟不会晚于殷商（1991）；宫哲兵先生“根据女书文字传授和女书物品传承最早可以追溯到咸丰年间，推测女书的发生期大约是明末清代中期这个时期（1992）。但大体上来说，女书生成的路径有五个阶段——母系氏族，社会转型，边缘化角色，失范（失范是社会所倡导的文化目标与现实这些目标的合法的制度化手段之间的断裂或紧张状态），反抗（2011）。

=='''女书的消亡'''==

自民国以来特别是“五四”运动以后女书开始走向衰落解放以后女书衰落的步伐加快，女书传人只有64人，20世纪80年代当女书被学术界重新发现时它已处于严重的衰亡状态，女书传人寥剩无几，2004年最后一位自然传承人阳焕宜老人去世，标志着女书作为文字的使用已正式寿终就寝（2004）。

=='''女书的形式和内容'''==

==='''形式'''===

旧时当地不少才情女子采用这种男人不识的女书互通心迹，诉说衷肠，将其刺绣、刻划、戳印、书写于纸扇巾帕女红。搜集到的近20万字的“女书”作品，绝大部分为歌体，其载体分纸、书、扇、巾四大类。无论哪种承载方式，都十分讲究形式美。如写在纸张上的四角多配花纹，写于纸扇上的多插绘花鸟图案，而织绣在巾帕花带和服饰上的，则是精美的女红工艺品。

==='''内容'''===

女书作品主要内容是写婚姻家庭、社会交往、幽怨私情、乡里逸闻、歌谣谜语等。也有的编译成汉字的唱本。女书记载的叙事作品就内容而言，并非女性所独创，但通过口头传承进入女书后，便成了女性心灵世界的投影。作品完全用写实手法自叙自叹心比天高、命如纸薄，美好意愿在黑暗中化作泡影的悲苦境遇，并请出民间传说中的神灵帮助逢凶化吉。这些作品的女主人公不仅都是个性张扬的“女强人”，强烈要求和男性地位平等，而且她们极端厌弃鄙视男性所热衷的功名富贵。
有关女书的出版物和文学创作

[[File:Nvshu_inheritence.png]]

''《世界唯一的女性文字——女书》''
该书由周冶陶、宫步坦编著，明华印书馆2009年2月版，本书详细记录了女书1982年被发现的经过，女书中的情感、信仰与艺术，女书的传承与保护，与女书有关的女性习俗等内容，并分篇介绍了著名的女书传人、著名的女书研究专家和著名的女书书法家，还对湖北新发现的几种未识别文字进行了介绍。


''《雪花秘扇》''
美国华裔作家邝丽莎（Lisa See）所著之《雪花秘扇》，便是以晚清道光年间，湖南省江永县的瑶族村落为故事背景。在这个男性作为社会主干、女性的人生任务就是找得好归宿，为夫家奉献一生的时代中，两女主角百合（电影版由中国女艺人李冰冰饰演）与雪花（电影版中由韩国女艺人全智贤饰演）透过写上女书的折扇展开了足以影响她们一生的重要情谊。书中描述了女书作为女性间的专属文字，对于妇女的生活甚至人生的重要性。
女书文学及其透露出来的女性意识和女性文化色彩
女书文学是劳动妇女“歌堂文学”（在特定的场所，如歌堂中，人们通过唱歌的方式来创作、传承和传播的文学作品）的一种特殊形式。劳动妇女既是女书的创作者，有时演唱者、传播者。表达了普通农妇的苦难和追求，以及姊妹间深厚的情谊.
女书文学体现了劳动妇女对自己命运的朦胧认识和自我意识的初步觉醒。女书内容不仅仅是诉说女性遭遇的不公和悲苦，更是对黑暗社会的控诉和反抗、对封建礼教的叛逆。

=='''References'''==

Nvshu (Ed.). (2025, April 23). In Wikipedia. https://zh.wikipedia.org/wiki/%E5%A5%B3%E4%B9%A6
He X.L(2011). Multiple Perspectives of Nvshu and the Culture Studies[Docotor dissertation, Central China Normal University].
Xie Z.M. (1991). Nvshu is the remnant and evolution of the ancient characters of the Shang Dynasty, which has a close relationship with oracle bone inscriptions. Journal of Minzu University of China (Philosophy and Social Sciences), (06), 59-64+73-66.
Gong Z.B. (1992). An Examination of the Era of Nvshu. Journal of Central China University (Humanities and Social Sciences), (05), 59-63.
Liu Z.H. (2005). A Miracle in the Boudoir: Nvshu of China. Heilongjiang: Heilongjiang People’s Publishing House.

=='''Terms and Expressions'''==

女书 Nvshu

三朝书 “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding)

斯芬克斯之谜 Sphinx’s riddle

折扇 folding fan

甲骨文 oracle bone inscription

失范 anomie

女红工艺品 women’s needlework craftsmanship

“歌堂文学” “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls)

=='''问题'''==

1.女书属于一种特殊的“歌堂文学”吗 ?

2.与女书相关的文学作品有哪些?

3.女书有哪四种主要的载体?

4.女书的最后一位传人是谁?

5.女书的发源地是哪里?

6.女书和汉字的异同有哪些?

User:Miao Yunlong

2025-05-30T13:18:53Z

Miao Yunlong:

='''Nvshu (Womens’ Script)'''=

Nvshu (also known as Women’s Script) is a unique syllabic phonographic writing system. It was first invented by women living in Jiangyong County, Hunan Province and represents the sounds of a local variant of the Chinese dialect and has existed for hundreds of years. This script is chiefly employed to transcribe the Jiangyong County-town dialect, a linguistic variety categorized under the Yong-Quan cluster within the Xiang language family. Nvshu works are inscribed on exquisitely crafted cloth-bound handwritten books (used as wedding gifts), fan surfaces, cloth handkerchiefs, and paper slips, which are respectively called “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding), “Geshan” (folding fans inscribed with musical repertoire written in Nvshu), “Pashu”, and “Zhiwen” . Some are embroidered onto handkerchiefs, known as “Xiuzi” .In accordance with Wikipedia, due to severe damage inflicted upon Nvshu during the Cultural Revolution, coupled with the passage of time, societal development, and population outflow, it is now on the verge of being lost (2025).

[[File:Nvshu.png]]

=='''Linguistic Characters of Nvshu'''==

The Nvshu script is characterized by its distinctive elongated rhomboid-shaped characters, exquisitely slender and graceful strokes, and peculiar visual forms, earning it the nickname “mosquito-shaped script.” Approximately 2,000 characters have been documented to date. The entire writing system consists of only four basic strokes: dots, vertical lines, slanted lines, and curved arcs. These characters can be chanted or sung in the local Jiangyong vernacular (belonging to the Yong-Quan subgroup of the Xiang language family).
The key difference between Nvshu and Chinese characters lies in their writing systems: Nvshu is a syllabic phonographic script, where each character represents a distinct syllable (sound). Currently, some 700 Nvshu characters have been documented through historical and contemporary research. While the glyph structures of Nvshu characters draw inspiration from Chinese characters, there is no inherent logical or structural correlation between the two systems. Beyond its role as a written language for daily communication, Nvshu also serves as an ornamental motif woven into clothing or fabric belts. This functional duality has influenced the evolution of Nvshu, which often exhibit curvilinear, flowing forms adapted to the flexibility of textile patterns rather than the rigid grid-based structure of traditional Chinese characters.

=='''The Emergence of Nvshu'''==

The era of the creation of Nvshu has always been a “Sphinx’s riddle” that puzzles the academic community. Scholars have used different methods from various perspectives and drawn a wide variety of conclusions and speculations. Xie Zhimin believes that, based on the fact that a large number of borrowed characters from oracle bone inscriptions are retained in modern Nvshu characters, the latest lower limit of the era when Nvshu was created could not be later than the Shang Dynasty (1991). Gong Zhebing, according to the fact that the transmission of Nvshu characters and the inheritance of Nvshu items can be traced back to the Xianfeng period at the earliest, speculate that the occurrence period of Nvshu was approximately from the late Ming Dynasty to the middle of the Qing Dynasty (1992). Generally speaking, the path of the emergence of Nvshu has undergone 5 phases，namely, the matriarchal clan, the social transformation, the marginalized roles, the anomie (Anomie refers to the state of disruption or tension between the cultural goals advocated by society and the legitimate institutionalized means to achieve these goals), and the resistance (2011).

=='''The Decline of Nvshu'''==

Since the founding of the Republic of China, especially after the May 4th Movement, Nvshu began to decline. After the founding of the People's Republic of China, the pace of the decline of Nvshu accelerated. There were only 64 inheritors of Nvshu at that time. In the 1980s, when Nvshu was rediscovered by the academic community, it was already in a serious state of decline, with very few inheritors left. In 2004, the passing away of the last natural inheritor, the elderly Yang Huanyi, marked the formal end of the use of Nvshu as a written language (2004).

=='''The Form and Content of Nvshu'''==

==='''Form'''===

In the patriarchal past, numerous talented local women employed Nvshu—a script indecipherable to men—as a clandestine medium for emotional and intellectual exchange, weaving their innermost thoughts, confessions, and poetic expressions into daily objects through embroidery, engraving, stamping, and handwriting. The collected Nvshu corpus, comprising nearly 200,000 characters, overwhelmingly adopts lyrical song forms (geshu), transmitted through four primary carriers: paper slips, bound books, fan surfaces, and textile accessories (handkerchiefs, sashes, and garments) ( “zhi” “shu” “shan” and “jin” in Chinese respectively ). Regardless of medium, Nvshu creators demonstrated a meticulous commitment to formal aesthetics:
Paper slips and bound books (“zhi” and “shu”) were often adorned with floral borders at the four corners, framing the text within botanical elegance.
Fans (“shan”) integrated ornate avian-floral motifs into the layout, merging calligraphy with naturalist painting.
Embroidered textiles (“jin”)—such as handkerchiefs, sashes, and clothing bands—transformed Nvshu into wearable art, with each stitch embodying the pinnacle of women’s needlework craftsmanship.
These artifacts transcend mere linguistic communication; they represent a convergence of textuality, materiality, and gendered creativity, where women subverted patriarchal literacy norms by reappropriating domestic objects as vehicles for subversive self-expression.

==='''Content'''===

The primary subjects of Nvshu works encompass marriage and family life, social interactions, clandestine yearnings, village folklore, ballads, and riddles. Some Nvshu texts were also transcribed into vernacular Chinese-language songbooks for broader circulation. While the narrative content documented in Nvshu is not exclusively female-authored, these stories—once transmitted orally and recontextualized through the lens of Nvshu—evolve into projections of women’s inner worlds. Employing a starkly realist style, the texts articulate women’s self-lamentations over their ambitions thwarted by fate (“high aspirations, fragile destinies”), their bitter struggles as aspirations dissolve into futility under patriarchal oppression, and their invocation of folkloric deities to seek divine intervention against misfortune.
The female protagonists in these works transcend conventional gender stereotypes, emerging as assertive “heroines” who vociferously demand egalitarian status with men while vehemently rejecting and scorning the worldly ambitions (careerism, wealth, and status) valorized by patriarchal society.

[[File:Nvshu_inheritence.png]]

=='''The Publication and Literary works on Nvshu'''==
''The World's Sole Female Script - Nvshu''

Compiled by Zhou Yetao and Gong Butan, published by Minghua Press in February 2009, this book meticulously documents the discovery of Nvshu in 1982, exploring its emotional expressions, cultural beliefs, and artistic manifestations. It delves into the transmission and preservation of Nvshu, as well as women-centered customs intertwined with this script. The work is structured thematically, introducing renowned Nvshu transmitters, scholars, and calligraphers, while also shedding light on several unidentified scripts newly discovered in Hubei Province.
''Snow Flower and the Secret Fan''

American Chinese author Lisa See’s novel Snow Flower and the Secret Fan unfolds in a Yao ethnic village of Jiangyong County, Hunan Province, during the Daoguang era (1821–1850) of the late Qing Dynasty. In this patriarchal society, where women’s lives were defined by marital destiny (seeking a “good match”) and lifelong service to their husbands’ families, the protagonists—Lily (“Baihe” in Chinese) (portrayed by Chinese actress Li Bingbing in the film adaptation) and Snow Flower (“Xuehua”) (played by South Korean actress Jun Ji-hyun)—forge a lifelong bond through Nvshu-inscribed folding fans, a testament to the script’s profound role in shaping female existence.

=='''The Revealed Female Consciousness and Female Cultural Colors of Nvshu Literature'''==

Nvshu literature is a special form of “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) created by working women. Working women are not only the creators of Nvshu, but also the singers and disseminators. It expresses the sufferings and pursuits of ordinary peasant women, as well as the deep friendship among sisters.
Nvshu literature reflects the hazy understanding of their own fate and the initial awakening of self-awareness among working women. The content is not merely about narrating the injustices and miseries that women have endured, but also a form of accusation and resistance against the dark society, as well as a rebellion against the feudal ethical code.

='''女书'''=

女书是一种女性专用的汉语方言音节表音文字，其起源于湖南江永县，存在已超过数百年。其一般用于书写属于湘语永全片的江永城关方言。女书作品书写在精制布面手写本（婚嫁礼物）、扇面、布帕、纸片上，分别叫作“三朝书”“歌扇”“帕书”“纸文”。有的绣在帕子上，叫“绣字”。据维基百科词条，由于女书在文化大革命期间被严重破坏，再加上随着时代的发展及人口外流，现在女书正濒临失传（2025）。

[[File:Nvshu.png]]

=='''女书的文字特点'''==

女书文字的特点是书写呈长菱形，字体秀丽娟细，造型奇特，也被称为“蚊形字”。搜集到的有近2000个字符，所有字符只有点、竖、斜、弧四种笔划，可采用当地的江永土话（属湘语-永全片）吟诵或咏唱。
与汉字不同的地方是：女书是一种标音文字，每一个字所代表的都是一个音。现时文献搜集到的女书文字约有七百个。女书的字型虽然参考汉字，但两者并没有必然的关系。由于女书除了日常用作书写以外，也可以当成花纹编在衣服或布带上，所以字型或多或少也有所迁就，变成弯曲的形状。

=='''女书的形成'''==

女书的创制时代一直是困扰学术界的“斯芬克斯”之谜学者们从不同的角度运用不同的方法得出了各种各样的结论和猜测。谢志民先生根据现代女字中保留有大量的甲骨文借字，认为女字创制的时代下限最迟不会晚于殷商（1991）；宫哲兵先生“根据女书文字传授和女书物品传承最早可以追溯到咸丰年间，推测女书的发生期大约是明末清代中期这个时期（1992）。但大体上来说，女书生成的路径有五个阶段——母系氏族，社会转型，边缘化角色，失范（失范是社会所倡导的文化目标与现实这些目标的合法的制度化手段之间的断裂或紧张状态），反抗（2011）。

=='''女书的消亡'''==

自民国以来特别是“五四”运动以后女书开始走向衰落解放以后女书衰落的步伐加快，女书传人只有64人，20世纪80年代当女书被学术界重新发现时它已处于严重的衰亡状态，女书传人寥剩无几，2004年最后一位自然传承人阳焕宜老人去世，标志着女书作为文字的使用已正式寿终就寝（2004）。

=='''女书的形式和内容'''==

==='''形式'''===

旧时当地不少才情女子采用这种男人不识的女书互通心迹，诉说衷肠，将其刺绣、刻划、戳印、书写于纸扇巾帕女红。搜集到的近20万字的“女书”作品，绝大部分为歌体，其载体分纸、书、扇、巾四大类。无论哪种承载方式，都十分讲究形式美。如写在纸张上的四角多配花纹，写于纸扇上的多插绘花鸟图案，而织绣在巾帕花带和服饰上的，则是精美的女红工艺品。

==='''内容'''===

女书作品主要内容是写婚姻家庭、社会交往、幽怨私情、乡里逸闻、歌谣谜语等。也有的编译成汉字的唱本。女书记载的叙事作品就内容而言，并非女性所独创，但通过口头传承进入女书后，便成了女性心灵世界的投影。作品完全用写实手法自叙自叹心比天高、命如纸薄，美好意愿在黑暗中化作泡影的悲苦境遇，并请出民间传说中的神灵帮助逢凶化吉。这些作品的女主人公不仅都是个性张扬的“女强人”，强烈要求和男性地位平等，而且她们极端厌弃鄙视男性所热衷的功名富贵。
有关女书的出版物和文学创作

[[File:Nvshu_inheritence.png]]

''《世界唯一的女性文字——女书》''
该书由周冶陶、宫步坦编著，明华印书馆2009年2月版，本书详细记录了女书1982年被发现的经过，女书中的情感、信仰与艺术，女书的传承与保护，与女书有关的女性习俗等内容，并分篇介绍了著名的女书传人、著名的女书研究专家和著名的女书书法家，还对湖北新发现的几种未识别文字进行了介绍。

''《雪花秘扇》''
美国华裔作家邝丽莎（Lisa See）所著之《雪花秘扇》，便是以晚清道光年间，湖南省江永县的瑶族村落为故事背景。在这个男性作为社会主干、女性的人生任务就是找得好归宿，为夫家奉献一生的时代中，两女主角百合（电影版由中国女艺人李冰冰饰演）与雪花（电影版中由韩国女艺人全智贤饰演）透过写上女书的折扇展开了足以影响她们一生的重要情谊。书中描述了女书作为女性间的专属文字，对于妇女的生活甚至人生的重要性。
女书文学及其透露出来的女性意识和女性文化色彩
女书文学是劳动妇女“歌堂文学”（在特定的场所，如歌堂中，人们通过唱歌的方式来创作、传承和传播的文学作品）的一种特殊形式。劳动妇女既是女书的创作者，有时演唱者、传播者。表达了普通农妇的苦难和追求，以及姊妹间深厚的情谊.
女书文学体现了劳动妇女对自己命运的朦胧认识和自我意识的初步觉醒。女书内容不仅仅是诉说女性遭遇的不公和悲苦，更是对黑暗社会的控诉和反抗、对封建礼教的叛逆。

=='''References'''==

Nvshu (Ed.). (2025, April 23). In Wikipedia. https://zh.wikipedia.org/wiki/%E5%A5%B3%E4%B9%A6
He X.L(2011). Multiple Perspectives of Nvshu and the Culture Studies[Docotor dissertation, Central China Normal University].
Xie Z.M. (1991). Nvshu is the remnant and evolution of the ancient characters of the Shang Dynasty, which has a close relationship with oracle bone inscriptions. Journal of Minzu University of China (Philosophy and Social Sciences), (06), 59-64+73-66.
Gong Z.B. (1992). An Examination of the Era of Nvshu. Journal of Central China University (Humanities and Social Sciences), (05), 59-63.
Liu Z.H. (2005). A Miracle in the Boudoir: Nvshu of China. Heilongjiang: Heilongjiang People’s Publishing House.

=='''Terms and Expressions'''==

Nvshu 女书
“Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding) 三朝书
Sphinx’s riddle 斯芬克斯之谜
folding fan 折扇
oracle bone inscription 甲骨文
anomie 失范
women’s needlework craftsmanship 女红工艺品
“Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) “歌堂文学”

=='''Questions'''==

1.Is Nvshu literature a special form of “Ge Tang literature” ?
2.What literary works are related to Nvshu?
3.What are the four main carriers of the Nvshu?
4.What’s the name of last natural inheritor of Nvshu?
5.Where did the origin of Nvshu lie?
6.What are the similarities and differences between Nvshu and Chinese characters?

File:Nvshu inheritence.png

2025-05-30T13:16:17Z

Miao Yunlong:

File:Nvshu.png

2025-05-30T13:15:48Z

Miao Yunlong:

User:Miao Yunlong

2025-05-30T13:12:44Z

Miao Yunlong:

='''Nvshu (Womens’ Script)'''=

Nvshu (also known as Women’s Script) is a unique syllabic phonographic writing system. It was first invented by women living in Jiangyong County, Hunan Province and represents the sounds of a local variant of the Chinese dialect and has existed for hundreds of years. This script is chiefly employed to transcribe the Jiangyong County-town dialect, a linguistic variety categorized under the Yong-Quan cluster within the Xiang language family. Nvshu works are inscribed on exquisitely crafted cloth-bound handwritten books (used as wedding gifts), fan surfaces, cloth handkerchiefs, and paper slips, which are respectively called “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding), “Geshan” (folding fans inscribed with musical repertoire written in Nvshu), “Pashu”, and “Zhiwen” . Some are embroidered onto handkerchiefs, known as “Xiuzi” .In accordance with Wikipedia, due to severe damage inflicted upon Nvshu during the Cultural Revolution, coupled with the passage of time, societal development, and population outflow, it is now on the verge of being lost (2025).

=='''Linguistic Characters of Nvshu'''==

The Nvshu script is characterized by its distinctive elongated rhomboid-shaped characters, exquisitely slender and graceful strokes, and peculiar visual forms, earning it the nickname “mosquito-shaped script.” Approximately 2,000 characters have been documented to date. The entire writing system consists of only four basic strokes: dots, vertical lines, slanted lines, and curved arcs. These characters can be chanted or sung in the local Jiangyong vernacular (belonging to the Yong-Quan subgroup of the Xiang language family).
The key difference between Nvshu and Chinese characters lies in their writing systems: Nvshu is a syllabic phonographic script, where each character represents a distinct syllable (sound). Currently, some 700 Nvshu characters have been documented through historical and contemporary research. While the glyph structures of Nvshu characters draw inspiration from Chinese characters, there is no inherent logical or structural correlation between the two systems. Beyond its role as a written language for daily communication, Nvshu also serves as an ornamental motif woven into clothing or fabric belts. This functional duality has influenced the evolution of Nvshu, which often exhibit curvilinear, flowing forms adapted to the flexibility of textile patterns rather than the rigid grid-based structure of traditional Chinese characters.

=='''The Emergence of Nvshu'''==

The era of the creation of Nvshu has always been a “Sphinx’s riddle” that puzzles the academic community. Scholars have used different methods from various perspectives and drawn a wide variety of conclusions and speculations. Xie Zhimin believes that, based on the fact that a large number of borrowed characters from oracle bone inscriptions are retained in modern Nvshu characters, the latest lower limit of the era when Nvshu was created could not be later than the Shang Dynasty (1991). Gong Zhebing, according to the fact that the transmission of Nvshu characters and the inheritance of Nvshu items can be traced back to the Xianfeng period at the earliest, speculate that the occurrence period of Nvshu was approximately from the late Ming Dynasty to the middle of the Qing Dynasty (1992). Generally speaking, the path of the emergence of Nvshu has undergone 5 phases，namely, the matriarchal clan, the social transformation, the marginalized roles, the anomie (Anomie refers to the state of disruption or tension between the cultural goals advocated by society and the legitimate institutionalized means to achieve these goals), and the resistance (2011).

=='''The Decline of Nvshu'''==

Since the founding of the Republic of China, especially after the May 4th Movement, Nvshu began to decline. After the founding of the People's Republic of China, the pace of the decline of Nvshu accelerated. There were only 64 inheritors of Nvshu at that time. In the 1980s, when Nvshu was rediscovered by the academic community, it was already in a serious state of decline, with very few inheritors left. In 2004, the passing away of the last natural inheritor, the elderly Yang Huanyi, marked the formal end of the use of Nvshu as a written language (2004).

=='''The Form and Content of Nvshu'''==

==='''Form'''===

In the patriarchal past, numerous talented local women employed Nvshu—a script indecipherable to men—as a clandestine medium for emotional and intellectual exchange, weaving their innermost thoughts, confessions, and poetic expressions into daily objects through embroidery, engraving, stamping, and handwriting. The collected Nvshu corpus, comprising nearly 200,000 characters, overwhelmingly adopts lyrical song forms (geshu), transmitted through four primary carriers: paper slips, bound books, fan surfaces, and textile accessories (handkerchiefs, sashes, and garments) ( “zhi” “shu” “shan” and “jin” in Chinese respectively ). Regardless of medium, Nvshu creators demonstrated a meticulous commitment to formal aesthetics:
Paper slips and bound books (“zhi” and “shu”) were often adorned with floral borders at the four corners, framing the text within botanical elegance.
Fans (“shan”) integrated ornate avian-floral motifs into the layout, merging calligraphy with naturalist painting.
Embroidered textiles (“jin”)—such as handkerchiefs, sashes, and clothing bands—transformed Nvshu into wearable art, with each stitch embodying the pinnacle of women’s needlework craftsmanship.
These artifacts transcend mere linguistic communication; they represent a convergence of textuality, materiality, and gendered creativity, where women subverted patriarchal literacy norms by reappropriating domestic objects as vehicles for subversive self-expression.

==='''Content'''===

The primary subjects of Nvshu works encompass marriage and family life, social interactions, clandestine yearnings, village folklore, ballads, and riddles. Some Nvshu texts were also transcribed into vernacular Chinese-language songbooks for broader circulation. While the narrative content documented in Nvshu is not exclusively female-authored, these stories—once transmitted orally and recontextualized through the lens of Nvshu—evolve into projections of women’s inner worlds. Employing a starkly realist style, the texts articulate women’s self-lamentations over their ambitions thwarted by fate (“high aspirations, fragile destinies”), their bitter struggles as aspirations dissolve into futility under patriarchal oppression, and their invocation of folkloric deities to seek divine intervention against misfortune.
The female protagonists in these works transcend conventional gender stereotypes, emerging as assertive “heroines” who vociferously demand egalitarian status with men while vehemently rejecting and scorning the worldly ambitions (careerism, wealth, and status) valorized by patriarchal society.

=='''The Publication and Literary works on Nvshu'''==
''The World's Sole Female Script - Nvshu''

Compiled by Zhou Yetao and Gong Butan, published by Minghua Press in February 2009, this book meticulously documents the discovery of Nvshu in 1982, exploring its emotional expressions, cultural beliefs, and artistic manifestations. It delves into the transmission and preservation of Nvshu, as well as women-centered customs intertwined with this script. The work is structured thematically, introducing renowned Nvshu transmitters, scholars, and calligraphers, while also shedding light on several unidentified scripts newly discovered in Hubei Province.
''Snow Flower and the Secret Fan''

American Chinese author Lisa See’s novel Snow Flower and the Secret Fan unfolds in a Yao ethnic village of Jiangyong County, Hunan Province, during the Daoguang era (1821–1850) of the late Qing Dynasty. In this patriarchal society, where women’s lives were defined by marital destiny (seeking a “good match”) and lifelong service to their husbands’ families, the protagonists—Lily (“Baihe” in Chinese) (portrayed by Chinese actress Li Bingbing in the film adaptation) and Snow Flower (“Xuehua”) (played by South Korean actress Jun Ji-hyun)—forge a lifelong bond through Nvshu-inscribed folding fans, a testament to the script’s profound role in shaping female existence.

=='''The Revealed Female Consciousness and Female Cultural Colors of Nvshu Literature'''==

Nvshu literature is a special form of “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) created by working women. Working women are not only the creators of Nvshu, but also the singers and disseminators. It expresses the sufferings and pursuits of ordinary peasant women, as well as the deep friendship among sisters.
Nvshu literature reflects the hazy understanding of their own fate and the initial awakening of self-awareness among working women. The content is not merely about narrating the injustices and miseries that women have endured, but also a form of accusation and resistance against the dark society, as well as a rebellion against the feudal ethical code.

='''女书'''=

女书是一种女性专用的汉语方言音节表音文字，其起源于湖南江永县，存在已超过数百年。其一般用于书写属于湘语永全片的江永城关方言。女书作品书写在精制布面手写本（婚嫁礼物）、扇面、布帕、纸片上，分别叫作“三朝书”“歌扇”“帕书”“纸文”。有的绣在帕子上，叫“绣字”。据维基百科词条，由于女书在文化大革命期间被严重破坏，再加上随着时代的发展及人口外流，现在女书正濒临失传（2025）。

=='''女书的文字特点'''==

女书文字的特点是书写呈长菱形，字体秀丽娟细，造型奇特，也被称为“蚊形字”。搜集到的有近2000个字符，所有字符只有点、竖、斜、弧四种笔划，可采用当地的江永土话（属湘语-永全片）吟诵或咏唱。
与汉字不同的地方是：女书是一种标音文字，每一个字所代表的都是一个音。现时文献搜集到的女书文字约有七百个。女书的字型虽然参考汉字，但两者并没有必然的关系。由于女书除了日常用作书写以外，也可以当成花纹编在衣服或布带上，所以字型或多或少也有所迁就，变成弯曲的形状。

=='''女书的形成'''==

女书的创制时代一直是困扰学术界的“斯芬克斯”之谜学者们从不同的角度运用不同的方法得出了各种各样的结论和猜测。谢志民先生根据现代女字中保留有大量的甲骨文借字，认为女字创制的时代下限最迟不会晚于殷商（1991）；宫哲兵先生“根据女书文字传授和女书物品传承最早可以追溯到咸丰年间，推测女书的发生期大约是明末清代中期这个时期（1992）。但大体上来说，女书生成的路径有五个阶段——母系氏族，社会转型，边缘化角色，失范（失范是社会所倡导的文化目标与现实这些目标的合法的制度化手段之间的断裂或紧张状态），反抗（2011）。

=='''女书的消亡'''==

自民国以来特别是“五四”运动以后女书开始走向衰落解放以后女书衰落的步伐加快，女书传人只有64人，20世纪80年代当女书被学术界重新发现时它已处于严重的衰亡状态，女书传人寥剩无几，2004年最后一位自然传承人阳焕宜老人去世，标志着女书作为文字的使用已正式寿终就寝（2004）。

=='''女书的形式和内容'''==

==='''形式'''===

旧时当地不少才情女子采用这种男人不识的女书互通心迹，诉说衷肠，将其刺绣、刻划、戳印、书写于纸扇巾帕女红。搜集到的近20万字的“女书”作品，绝大部分为歌体，其载体分纸、书、扇、巾四大类。无论哪种承载方式，都十分讲究形式美。如写在纸张上的四角多配花纹，写于纸扇上的多插绘花鸟图案，而织绣在巾帕花带和服饰上的，则是精美的女红工艺品。

==='''内容'''===

女书作品主要内容是写婚姻家庭、社会交往、幽怨私情、乡里逸闻、歌谣谜语等。也有的编译成汉字的唱本。女书记载的叙事作品就内容而言，并非女性所独创，但通过口头传承进入女书后，便成了女性心灵世界的投影。作品完全用写实手法自叙自叹心比天高、命如纸薄，美好意愿在黑暗中化作泡影的悲苦境遇，并请出民间传说中的神灵帮助逢凶化吉。这些作品的女主人公不仅都是个性张扬的“女强人”，强烈要求和男性地位平等，而且她们极端厌弃鄙视男性所热衷的功名富贵。
有关女书的出版物和文学创作

''《世界唯一的女性文字——女书》''
该书由周冶陶、宫步坦编著，明华印书馆2009年2月版，本书详细记录了女书1982年被发现的经过，女书中的情感、信仰与艺术，女书的传承与保护，与女书有关的女性习俗等内容，并分篇介绍了著名的女书传人、著名的女书研究专家和著名的女书书法家，还对湖北新发现的几种未识别文字进行了介绍。

''《雪花秘扇》''
美国华裔作家邝丽莎（Lisa See）所著之《雪花秘扇》，便是以晚清道光年间，湖南省江永县的瑶族村落为故事背景。在这个男性作为社会主干、女性的人生任务就是找得好归宿，为夫家奉献一生的时代中，两女主角百合（电影版由中国女艺人李冰冰饰演）与雪花（电影版中由韩国女艺人全智贤饰演）透过写上女书的折扇展开了足以影响她们一生的重要情谊。书中描述了女书作为女性间的专属文字，对于妇女的生活甚至人生的重要性。
女书文学及其透露出来的女性意识和女性文化色彩
女书文学是劳动妇女“歌堂文学”（在特定的场所，如歌堂中，人们通过唱歌的方式来创作、传承和传播的文学作品）的一种特殊形式。劳动妇女既是女书的创作者，有时演唱者、传播者。表达了普通农妇的苦难和追求，以及姊妹间深厚的情谊.
女书文学体现了劳动妇女对自己命运的朦胧认识和自我意识的初步觉醒。女书内容不仅仅是诉说女性遭遇的不公和悲苦，更是对黑暗社会的控诉和反抗、对封建礼教的叛逆。

=='''References'''==

Nvshu (Ed.). (2025, April 23). In Wikipedia. https://zh.wikipedia.org/wiki/%E5%A5%B3%E4%B9%A6
He X.L(2011). Multiple Perspectives of Nvshu and the Culture Studies[Docotor dissertation, Central China Normal University].
Xie Z.M. (1991). Nvshu is the remnant and evolution of the ancient characters of the Shang Dynasty, which has a close relationship with oracle bone inscriptions. Journal of Minzu University of China (Philosophy and Social Sciences), (06), 59-64+73-66.
Gong Z.B. (1992). An Examination of the Era of Nvshu. Journal of Central China University (Humanities and Social Sciences), (05), 59-63.
Liu Z.H. (2005). A Miracle in the Boudoir: Nvshu of China. Heilongjiang: Heilongjiang People’s Publishing House.

=='''Terms and Expressions'''==

Nvshu 女书
“Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding) 三朝书
Sphinx’s riddle 斯芬克斯之谜
folding fan 折扇
oracle bone inscription 甲骨文
anomie 失范
women’s needlework craftsmanship 女红工艺品
“Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) “歌堂文学”

=='''Questions'''==

1.Is Nvshu literature a special form of “Ge Tang literature” ?
2.What literary works are related to Nvshu?
3.What are the four main carriers of the Nvshu?
4.What’s the name of last natural inheritor of Nvshu?
5.Where did the origin of Nvshu lie?
6.What are the similarities and differences between Nvshu and Chinese characters?

User:Miao Yunlong

2025-05-22T07:46:49Z

Miao Yunlong:

Nvshu (Womens’ Script)

Nvshu (also known as Women’s Script) is a unique syllabic phonographic writing system. It was first invented by women living in Jiangyong County, Hunan Province and represents the sounds of a local variant of the Chinese dialect and has existed for hundreds of years. This script is chiefly employed to transcribe the Jiangyong County-town dialect, a linguistic variety categorized under the Yong-Quan cluster within the Xiang language family. Nvshu works are inscribed on exquisitely crafted cloth-bound handwritten books (used as wedding gifts), fan surfaces, cloth handkerchiefs, and paper slips, which are respectively called “Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding), “Geshan” (folding fans inscribed with musical repertoire written in Nvshu), “Pashu”, and “Zhiwen” . Some are embroidered onto handkerchiefs, known as “Xiuzi” .In accordance with Wikipedia, due to severe damage inflicted upon Nvshu during the Cultural Revolution, coupled with the passage of time, societal development, and population outflow, it is now on the verge of being lost (2025).

Linguistic Characters of Nvshu
The Nvshu script is characterized by its distinctive elongated rhomboid-shaped characters, exquisitely slender and graceful strokes, and peculiar visual forms, earning it the nickname “mosquito-shaped script.” Approximately 2,000 characters have been documented to date. The entire writing system consists of only four basic strokes: dots, vertical lines, slanted lines, and curved arcs. These characters can be chanted or sung in the local Jiangyong vernacular (belonging to the Yong-Quan subgroup of the Xiang language family).
The key difference between Nvshu and Chinese characters lies in their writing systems: Nvshu is a syllabic phonographic script, where each character represents a distinct syllable (sound). Currently, some 700 Nvshu characters have been documented through historical and contemporary research. While the glyph structures of Nvshu characters draw inspiration from Chinese characters, there is no inherent logical or structural correlation between the two systems. Beyond its role as a written language for daily communication, Nvshu also serves as an ornamental motif woven into clothing or fabric belts. This functional duality has influenced the evolution of Nvshu, which often exhibit curvilinear, flowing forms adapted to the flexibility of textile patterns rather than the rigid grid-based structure of traditional Chinese characters.

The Emergence of Nvshu
The era of the creation of Nvshu has always been a “Sphinx’s riddle” that puzzles the academic community. Scholars have used different methods from various perspectives and drawn a wide variety of conclusions and speculations. Xie Zhimin believes that, based on the fact that a large number of borrowed characters from oracle bone inscriptions are retained in modern Nvshu characters, the latest lower limit of the era when Nvshu was created could not be later than the Shang Dynasty (1991). Gong Zhebing, according to the fact that the transmission of Nvshu characters and the inheritance of Nvshu items can be traced back to the Xianfeng period at the earliest, speculate that the occurrence period of Nvshu was approximately from the late Ming Dynasty to the middle of the Qing Dynasty (1992). Generally speaking, the path of the emergence of Nvshu has undergone 5 phases，namely, the matriarchal clan, the social transformation, the marginalized roles, the anomie (Anomie refers to the state of disruption or tension between the cultural goals advocated by society and the legitimate institutionalized means to achieve these goals), and the resistance (2011).

The Decline of Nvshu
Since the founding of the Republic of China, especially after the May 4th Movement, Nvshu began to decline. After the founding of the People's Republic of China, the pace of the decline of Nvshu accelerated. There were only 64 inheritors of Nvshu at that time. In the 1980s, when Nvshu was rediscovered by the academic community, it was already in a serious state of decline, with very few inheritors left. In 2004, the passing away of the last natural inheritor, the elderly Yang Huanyi, marked the formal end of the use of Nvshu as a written language (2004).

The Form and Content of Nvshu
Form
In the patriarchal past, numerous talented local women employed Nvshu—a script indecipherable to men—as a clandestine medium for emotional and intellectual exchange, weaving their innermost thoughts, confessions, and poetic expressions into daily objects through embroidery, engraving, stamping, and handwriting. The collected Nvshu corpus, comprising nearly 200,000 characters, overwhelmingly adopts lyrical song forms (geshu), transmitted through four primary carriers: paper slips, bound books, fan surfaces, and textile accessories (handkerchiefs, sashes, and garments) ( “zhi” “shu” “shan” and “jin” in Chinese respectively ). Regardless of medium, Nvshu creators demonstrated a meticulous commitment to formal aesthetics:
Paper slips and bound books (“zhi” and “shu”) were often adorned with floral borders at the four corners, framing the text within botanical elegance.
Fans (“shan”) integrated ornate avian-floral motifs into the layout, merging calligraphy with naturalist painting.
Embroidered textiles (“jin”)—such as handkerchiefs, sashes, and clothing bands—transformed Nvshu into wearable art, with each stitch embodying the pinnacle of women’s needlework craftsmanship.
These artifacts transcend mere linguistic communication; they represent a convergence of textuality, materiality, and gendered creativity, where women subverted patriarchal literacy norms by reappropriating domestic objects as vehicles for subversive self-expression.
Content
The primary subjects of Nvshu works encompass marriage and family life, social interactions, clandestine yearnings, village folklore, ballads, and riddles. Some Nvshu texts were also transcribed into vernacular Chinese-language songbooks for broader circulation. While the narrative content documented in Nvshu is not exclusively female-authored, these stories—once transmitted orally and recontextualized through the lens of Nvshu—evolve into projections of women’s inner worlds. Employing a starkly realist style, the texts articulate women’s self-lamentations over their ambitions thwarted by fate (“high aspirations, fragile destinies”), their bitter struggles as aspirations dissolve into futility under patriarchal oppression, and their invocation of folkloric deities to seek divine intervention against misfortune.
The female protagonists in these works transcend conventional gender stereotypes, emerging as assertive “heroines” who vociferously demand egalitarian status with men while vehemently rejecting and scorning the worldly ambitions (careerism, wealth, and status) valorized by patriarchal society.

The Publication and Literary works on Nvshu
The World's Sole Female Script - Nvshu
Compiled by Zhou Yetao and Gong Butan, published by Minghua Press in February 2009, this book meticulously documents the discovery of Nvshu in 1982, exploring its emotional expressions, cultural beliefs, and artistic manifestations. It delves into the transmission and preservation of Nvshu, as well as women-centered customs intertwined with this script. The work is structured thematically, introducing renowned Nvshu transmitters, scholars, and calligraphers, while also shedding light on several unidentified scripts newly discovered in Hubei Province.
Snow Flower and the Secret Fan
American Chinese author Lisa See’s novel Snow Flower and the Secret Fan unfolds in a Yao ethnic village of Jiangyong County, Hunan Province, during the Daoguang era (1821–1850) of the late Qing Dynasty. In this patriarchal society, where women’s lives were defined by marital destiny (seeking a “good match”) and lifelong service to their husbands’ families, the protagonists—Lily (“Baihe” in Chinese) (portrayed by Chinese actress Li Bingbing in the film adaptation) and Snow Flower (“Xuehua”) (played by South Korean actress Jun Ji-hyun)—forge a lifelong bond through Nvshu-inscribed folding fans, a testament to the script’s profound role in shaping female existence.
The Revealed Female Consciousness and Female Cultural Colors of Nvshu Literature
Nvshu literature is a special form of “Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) created by working women. Working women are not only the creators of Nvshu, but also the singers and disseminators. It expresses the sufferings and pursuits of ordinary peasant women, as well as the deep friendship among sisters.
Nvshu literature reflects the hazy understanding of their own fate and the initial awakening of self-awareness among working women. The content is not merely about narrating the injustices and miseries that women have endured, but also a form of accusation and resistance against the dark society, as well as a rebellion against the feudal ethical code.

女书
女书是一种女性专用的汉语方言音节表音文字，其起源于湖南江永县，存在已超过数百年。其一般用于书写属于湘语永全片的江永城关方言。女书作品书写在精制布面手写本（婚嫁礼物）、扇面、布帕、纸片上，分别叫作“三朝书”“歌扇”“帕书”“纸文”。有的绣在帕子上，叫“绣字”。据维基百科词条，由于女书在文化大革命期间被严重破坏，再加上随着时代的发展及人口外流，现在女书正濒临失传（2025）。
女书的文字特点
女书文字的特点是书写呈长菱形，字体秀丽娟细，造型奇特，也被称为“蚊形字”。搜集到的有近2000个字符，所有字符只有点、竖、斜、弧四种笔划，可采用当地的江永土话（属湘语-永全片）吟诵或咏唱。
与汉字不同的地方是：女书是一种标音文字，每一个字所代表的都是一个音。现时文献搜集到的女书文字约有七百个。女书的字型虽然参考汉字，但两者并没有必然的关系。由于女书除了日常用作书写以外，也可以当成花纹编在衣服或布带上，所以字型或多或少也有所迁就，变成弯曲的形状。
女书的形成
女书的创制时代一直是困扰学术界的“斯芬克斯”之谜学者们从不同的角度运用不同的方法得出了各种各样的结论和猜测。谢志民先生根据现代女字中保留有大量的甲骨文借字，认为女字创制的时代下限最迟不会晚于殷商（1991）；宫哲兵先生“根据女书文字传授和女书物品传承最早可以追溯到咸丰年间，推测女书的发生期大约是明末清代中期这个时期（1992）。但大体上来说，女书生成的路径有五个阶段——母系氏族，社会转型，边缘化角色，失范（失范是社会所倡导的文化目标与现实这些目标的合法的制度化手段之间的断裂或紧张状态），反抗（2011）。
女书的消亡
自民国以来特别是“五四”运动以后女书开始走向衰落解放以后女书衰落的步伐加快，女书传人只有64人，20世纪80年代当女书被学术界重新发现时它已处于严重的衰亡状态，女书传人寥剩无几，2004年最后一位自然传承人阳焕宜老人去世，标志着女书作为文字的使用已正式寿终就寝（2004）。
女书的形式和内容
形式
旧时当地不少才情女子采用这种男人不识的女书互通心迹，诉说衷肠，将其刺绣、刻划、戳印、书写于纸扇巾帕女红。搜集到的近20万字的“女书”作品，绝大部分为歌体，其载体分纸、书、扇、巾四大类。无论哪种承载方式，都十分讲究形式美。如写在纸张上的四角多配花纹，写于纸扇上的多插绘花鸟图案，而织绣在巾帕花带和服饰上的，则是精美的女红工艺品。
内容
女书作品主要内容是写婚姻家庭、社会交往、幽怨私情、乡里逸闻、歌谣谜语等。也有的编译成汉字的唱本。女书记载的叙事作品就内容而言，并非女性所独创，但通过口头传承进入女书后，便成了女性心灵世界的投影。作品完全用写实手法自叙自叹心比天高、命如纸薄，美好意愿在黑暗中化作泡影的悲苦境遇，并请出民间传说中的神灵帮助逢凶化吉。这些作品的女主人公不仅都是个性张扬的“女强人”，强烈要求和男性地位平等，而且她们极端厌弃鄙视男性所热衷的功名富贵。
有关女书的出版物和文学创作
《世界唯一的女性文字——女书》
该书由周冶陶、宫步坦编著，明华印书馆2009年2月版，本书详细记录了女书1982年被发现的经过，女书中的情感、信仰与艺术，女书的传承与保护，与女书有关的女性习俗等内容，并分篇介绍了著名的女书传人、著名的女书研究专家和著名的女书书法家，还对湖北新发现的几种未识别文字进行了介绍。
《雪花秘扇》
美国华裔作家邝丽莎（Lisa See）所著之《雪花秘扇》，便是以晚清道光年间，湖南省江永县的瑶族村落为故事背景。在这个男性作为社会主干、女性的人生任务就是找得好归宿，为夫家奉献一生的时代中，两女主角百合（电影版由中国女艺人李冰冰饰演）与雪花（电影版中由韩国女艺人全智贤饰演）透过写上女书的折扇展开了足以影响她们一生的重要情谊。书中描述了女书作为女性间的专属文字，对于妇女的生活甚至人生的重要性。
女书文学及其透露出来的女性意识和女性文化色彩
女书文学是劳动妇女“歌堂文学”（在特定的场所，如歌堂中，人们通过唱歌的方式来创作、传承和传播的文学作品）的一种特殊形式。劳动妇女既是女书的创作者，有时演唱者、传播者。表达了普通农妇的苦难和追求，以及姊妹间深厚的情谊.
女书文学体现了劳动妇女对自己命运的朦胧认识和自我意识的初步觉醒。女书内容不仅仅是诉说女性遭遇的不公和悲苦，更是对黑暗社会的控诉和反抗、对封建礼教的叛逆。

References
Nvshu (Ed.). (2025, April 23). In Wikipedia. https://zh.wikipedia.org/wiki/%E5%A5%B3%E4%B9%A6
He X.L(2011). Multiple Perspectives of Nvshu and the Culture Studies[Docotor dissertation, Central China Normal University].
Xie Z.M. (1991). Nvshu is the remnant and evolution of the ancient characters of the Shang Dynasty, which has a close relationship with oracle bone inscriptions. Journal of Minzu University of China (Philosophy and Social Sciences), (06), 59-64+73-66.
Gong Z.B. (1992). An Examination of the Era of Nvshu. Journal of Central China University (Humanities and Social Sciences), (05), 59-63.
Liu Z.H. (2005). A Miracle in the Boudoir: Nvshu of China. Heilongjiang: Heilongjiang People’s Publishing House.

Terms and Expressions
Nvshu 女书
“Sanchao Shu” (referring to a precious gift presented to the bride by her female relatives and friends on the third day after the wedding) 三朝书
Sphinx’s riddle 斯芬克斯之谜
folding fan 折扇
oracle bone inscription 甲骨文
anomie 失范
women’s needlework craftsmanship 女红工艺品
“Ge Tang literature” (literary works that people create, inherit and disseminate through the way of singing in specific places, such as singing halls) “歌堂文学”

Questions
1.Is Nvshu literature a special form of “Ge Tang literature” ?
2.What literary works are related to Nvshu?
3.What are the four main carriers of the Nvshu?
4.What’s the name of last natural inheritor of Nvshu?
5.Where did the origin of Nvshu lie?
6.What are the similarities and differences between Nvshu and Chinese characters?

Chin Lang Cult Fin Exam Spring 2025

2025-04-21T08:32:41Z

Miao Yunlong:

Final Exam Paper Titles
#Liu Chao 簪花 ok
#Tao Yao 拔罐
#Zeng Zhi 手串文化
#Zhang Jiaxin 哪吒
#Li Ting2 湘西赶尸
#Liao Zuoyun 湘菜
#Liu Qi 劝酒文化
#Zhang Huifang 蔡伦与造纸术
#Cheng Sixiang 月饼
#Miao Yunlong 女书

Chinese Language and Culture, Spring 2025

2025-03-01T06:24:18Z

Miao Yunlong: /* Topics for today */

--[[User:Miao Yunlong|Miao Yunlong]] ([[User talk:Miao Yunlong|talk]]) 13:12, 24 February 2025 (UTC)[[Media:Example.ogg]]Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!

=Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=

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

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*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.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are 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.

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

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

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]

==Homework for Session 2==
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation").

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!

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246 (Tang Yan)

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339

38. Education: Ancient Chinese Education 350

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

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

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

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

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

56. Garden Culture: Qingming Riverside Landscspe Garden 526

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

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

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

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

63. Landscapes and Tourism: Mogao Grottoes 593

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

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

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

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

101. Money culture: The tradition of Red Envelope and Lucky Money 962

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

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

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

126. Science and Technology: China's Four New Inventions 1191

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277

133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317

139. Stage entertainment: Crosstalk 相声 1325

140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348

143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456（Xiao Zixin）

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

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

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491

157. Traditional Cuisine: Hotpot 1501

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573 Lv Jiahao

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685 （Lu Wei）

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701（Liu Shutian）

181. Animals：Golden Monkey 1712（Xiao Yawen）

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

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790.(Chen Sisi)

190. Fine arts:Kunqu Opera 1798

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

192. National Belief: the Chinese Dream 1818

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

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

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

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

197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 （Chu Hanqi）

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 （Wang Xinyu）

201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)

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

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

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

205. Bride-price（彩礼） 1845 （Wu Jiating）

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

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

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

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

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

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

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

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

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

221. Zhongyuan festival 1845 （Ou Huang）

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

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

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

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

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

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

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

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

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

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

232. Sun Wukong（孙悟空） 1845 （Li Yuan2）

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

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

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

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

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

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

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

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

241. Abacus (中国珠算） 1845

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

243. Chinese name（中国姓名文化） 1845

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

245. Douzhi (豆汁) 1845(Li Linyao)

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

247. Carved lacquer（雕漆） 1845 （Liu Qi）

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

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

250. Language: Hakka Dialect（客家话） 1845

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

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

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

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

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

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845（Yang Jing)

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

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

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

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

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

264. Single bamboo drifting（独竹漂） 1845

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

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

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

268. Table Manners 1845（Luo Yan）

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

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

271. Palace Lantern（宫灯） 1845

272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Cheng Sixiang)

273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)

274. God of Wealth(财神) 1845 （Zeng Zhi）

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）
277. Mirror (镜子) 1845 (Cheng Sixiang)

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

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

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

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

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

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

=Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=
==Teacher presentation: Introduction to Culture==
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]

https://zoom.us/j/5739416744?pwd=c3h5L0NnY0xCWjlEMWhuNTBMbE92UT09#success

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

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

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

27. Chinese Calligraphy (Tang Yan)

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

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

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

85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]
Tea Latte Art (Xiang Jianning)

Topic 7

Topic 8

Topic 9

Topic 10

=Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=
=Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=
=Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=
=Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=
=HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=
清明节4月4日——4月6日
=Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=
=Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=
=Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=
242. Hunan Rice Noodles (湖南米粉） 1845 (Gong Wei)
167. History: Wang Shouren 1573 (Lv Jiahao)

=HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=
劳动节5月1日——5月5日
=Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=
Wang Yuxin

=Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=
=Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=
=Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=
端午节5月31日——6月2日
=Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]

File:Qian Zhongshu Miao Yunlong.pptx

2025-03-01T06:21:35Z

Miao Yunlong: Miao Yunlong uploaded a new version of "File:Qian Zhongshu Miao Yunlong.pptx"

Chinese Language and Culture, Spring 2025

2025-03-01T02:28:29Z

Miao Yunlong: /* Topics for today */

--[[User:Miao Yunlong|Miao Yunlong]] ([[User talk:Miao Yunlong|talk]]) 13:12, 24 February 2025 (UTC)[[Media:Example.ogg]]Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!

=Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=

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

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*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.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are 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.

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

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

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]

==Homework for Session 2==
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation").

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!

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246 (Tang Yan)

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339

38. Education: Ancient Chinese Education 350

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

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

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

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

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

56. Garden Culture: Qingming Riverside Landscspe Garden 526

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

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

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

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

63. Landscapes and Tourism: Mogao Grottoes 593

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

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

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

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

101. Money culture: The tradition of Red Envelope and Lucky Money 962

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

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

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

126. Science and Technology: China's Four New Inventions 1191

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277

133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317

139. Stage entertainment: Crosstalk 相声 1325

140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348

143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456（Xiao Zixin）

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

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

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491

157. Traditional Cuisine: Hotpot 1501

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573 Lv Jiahao

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685 （Lu Wei）

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701（Liu Shutian）

181. Animals：Golden Monkey 1712（Xiao Yawen）

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

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790.(Chen Sisi)

190. Fine arts:Kunqu Opera 1798

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

192. National Belief: the Chinese Dream 1818

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

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

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

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

197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 （Chu Hanqi）

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 （Wang Xinyu）

201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)

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

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

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

205. Bride-price（彩礼） 1845 （Wu Jiating）

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

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

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

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

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

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

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

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

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

221. Zhongyuan festival 1845 （Ou Huang）

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

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

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

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

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

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

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

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

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

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

232. Sun Wukong（孙悟空） 1845 （Li Yuan2）

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

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

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

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

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

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

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

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

241. Abacus (中国珠算） 1845

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

243. Chinese name（中国姓名文化） 1845

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

245. Douzhi (豆汁) 1845(Li Linyao)

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

247. Carved lacquer（雕漆） 1845 （Liu Qi）

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

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

250. Language: Hakka Dialect（客家话） 1845

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

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

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

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

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

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845（Yang Jing)

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

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

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

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

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

264. Single bamboo drifting（独竹漂） 1845

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

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

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

268. Table Manners 1845（Luo Yan）

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

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

271. Palace Lantern（宫灯） 1845

272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Cheng Sixiang)

273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)

274. God of Wealth(财神) 1845 （Zeng Zhi）

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）
277. Mirror (镜子) 1845 (Cheng Sixiang)

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

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

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

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

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

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

=Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=
==Teacher presentation: Introduction to Culture==
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]

https://zoom.us/j/5739416744?pwd=c3h5L0NnY0xCWjlEMWhuNTBMbE92UT09#success

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

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

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

27. Chinese Calligraphy (Tang Yan)

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

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

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

85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Modern Literature:Qian_Zhongshu - Miao_Yunlong.pptx]]

Tea Latte Art (Xiang Jianning)

Topic 7

Topic 8

Topic 9

Topic 10

=Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=
=Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=
=Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=
=Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=
=HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=
清明节4月4日——4月6日
=Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=
=Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=
=Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=
242. Hunan Rice Noodles (湖南米粉） 1845 (Gong Wei)
167. History: Wang Shouren 1573 (Lv Jiahao)

=HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=
劳动节5月1日——5月5日
=Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=
Wang Yuxin

=Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=
=Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=
=Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=
端午节5月31日——6月2日
=Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]

File:Qian Zhongshu Miao Yunlong.pptx

2025-02-28T06:40:02Z

Miao Yunlong: Miao Yunlong uploaded a new version of "File:Qian Zhongshu Miao Yunlong.pptx"

File:Qian Zhongshu Miao Yunlong.pptx

2025-02-28T06:32:21Z

Miao Yunlong:

Chinese Language and Culture, Spring 2025

2025-02-27T14:50:12Z

Miao Yunlong:

--[[User:Miao Yunlong|Miao Yunlong]] ([[User talk:Miao Yunlong|talk]]) 13:12, 24 February 2025 (UTC)[[Media:Example.ogg]]Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!

=Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=

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

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*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.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are 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.

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

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

<nowiki>Insert non-formatted text here</nowiki>==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]

[[File:Example.jpg]]==Homework for Session 2==
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation").

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!

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246 (Tang Yan)

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339

38. Education: Ancient Chinese Education 350

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

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

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

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

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

56. Garden Culture: Qingming Riverside Landscspe Garden 526

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

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

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

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

63. Landscapes and Tourism: Mogao Grottoes 593

64. Landscapes and Tourism: The Culture of Mount Tai 606

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

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

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

101. Money culture: The tradition of Red Envelope and Lucky Money 962

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

126. Science and Technology: China's Four New Inventions 1191

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277

133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317
139. Stage entertainment: Crosstalk 相声 1325
140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348
143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Zhang Huifang)
157. Traditional Cuisine: Hotpot 1501 (Zheng Kaiwu)

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644

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

176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 (Tao Yao)

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701（Liu Shutian）

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825

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

195. Sports: Cuju (蹴鞠) 1845

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

197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 （Chu Hanqi）

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 （Wang Xinyu）

201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)

202. The Legend of Zhen Huan 《甄嬛传》 1845 （Xing Xueqing）

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

204. Stand-up comedy 单口喜剧 1845

205. Bride-price（彩礼） 1845 （Wu Jiating）

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845(Liu Peini)

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

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

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

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

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

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

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

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

220. Rice cake (年糕) 1845(Li Linyao)

221. Zhongyuan festival 1845 （Ou Huang）

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

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

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

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

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

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

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

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

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

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

232. Sun Wukong（孙悟空） 1845

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

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

235. Bamboo Weaving (竹编） 1845

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

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

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

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

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

241. Abacus (中国珠算） 1845

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

243. Chinese name（中国姓名文化） 1845 (Yang Jing)

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

245. Douzhi (豆汁) 1845

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

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

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

250. Language: Hakka Dialect（客家话） 1845

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

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

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

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

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

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

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

263. Shaolin Temple (少林寺) 1845

264. Single bamboo drifting（独竹漂） 1845

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

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

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

268. Table Manners 1845（Luo Yan）

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

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

271. Palace Lantern（宫灯） 1845

272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Cheng Sixiang)

273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)

274. God of Wealth(财神) 1845 （Zeng Zhi）

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）

277. Mirror (镜子) 1845 (Cheng Sixiang)

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

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

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

281. Music and instruments: Yangqin（扬琴） 1845

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

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

=Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=
==Teacher presentation: Introduction to Culture==
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]

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

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

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

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

=Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=
=Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=
=Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=
=Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=
=HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=
清明节4月4日——4月6日
=Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=
=Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=
=Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=
=HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=
劳动节5月1日——5月5日
=Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=
=Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=
=Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=
=Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=
端午节5月31日——6月2日
=Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]

Chinese Language and Culture, Spring 2025

2025-02-27T04:22:54Z

Miao Yunlong:

--[[User:Miao Yunlong|Miao Yunlong]] ([[User talk:Miao Yunlong|talk]]) 13:12, 24 February 2025 (UTC)[[Media:Example.ogg]]Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!

=Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=

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

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*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.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are 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.

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

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

<nowiki>Insert non-formatted text here</nowiki>==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]

[[File:Example.jpg]]==Homework for Session 2==
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation").

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!

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71 （Liu Yunxi）

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339

38. Education: Ancient Chinese Education 350

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

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

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

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

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

56. Garden Culture: Qingming Riverside Landscspe Garden 526

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

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

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

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

63. Landscapes and Tourism: Mogao Grottoes 593

64. Landscapes and Tourism: The Culture of Mount Tai 606

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

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

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

101. Money culture: The tradition of Red Envelope and Lucky Money 962

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

126. Science and Technology: China's Four New Inventions 1191

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277 （Dai Shiru）

133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317
139. Stage entertainment: Crosstalk 相声 1325
140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348
143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

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

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450 (Tang Yan)

153. Traditional Cuisine: Eight Major Cuisines of China 1456

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Zhang Huifang)
157. Traditional Cuisine: Hotpot 1501 (Zheng Kaiwu)

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644

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

176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 (Tao Yao)

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701（Liu Shutian）

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Zhang Mai)

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825

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

195. Sports: Cuju (蹴鞠) 1845

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)

202. The Legend of Zhen Huan 《甄嬛传》 1845 （Xing Xueqing）

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

204. Stand-up comedy 单口喜剧 1845

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845(Liu Peini)

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

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

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

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

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

217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 (Tao Yao)

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

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

220. Rice cake (年糕) 1845(Li Linyao)

221. Zhongyuan festival 1845 （Ou Huang）

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

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

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

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

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

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

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

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

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

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

232. Sun Wukong（孙悟空） 1845

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

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

235. Bamboo Weaving (竹编） 1845

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

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

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

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

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

241. Abacus (中国珠算） 1845

242. Hunan Rice Noodles（湖南米粉） 1845

243. Chinese name（中国姓名文化） 1845 (Yang Jing)

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

245. Douzhi (豆汁) 1845

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

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

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

250. Language: Hakka Dialect（客家话） 1845

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

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

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

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

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

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

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

263. Shaolin Temple (少林寺) 1845

264. Single bamboo drifting（独竹漂） 1845

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

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

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

268. Table Manners 1845（Luo Yan）

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

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

271. Palace Lantern（宫灯） 1845

272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Cheng Sixiang)

273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)

274. God of Wealth(财神) 1845 （Zeng Zhi）

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）

277. Mirror (镜子) 1845 (Cheng Sixiang)

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

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

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

281. Music and instruments: Yangqin（扬琴） 1845

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

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

=Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=
==Teacher presentation: Introduction to Culture==
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]

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

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

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

=Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=
=Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=
=Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=
=Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=
=HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=
清明节4月4日——4月6日
=Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=
=Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=
=Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=
=HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=
劳动节5月1日——5月5日
=Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=
=Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=
=Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=
=Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=
端午节5月31日——6月2日
=Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]

Chinese Language and Culture, Spring 2025

2025-02-24T13:12:17Z

Miao Yunlong:

--[[User:Miao Yunlong|Miao Yunlong]] ([[User talk:Miao Yunlong|talk]]) 13:12, 24 February 2025 (UTC)[[Media:Example.ogg]]Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!

=Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=

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

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*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.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are 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.

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

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

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]

[[File:Example.jpg]]==Homework for Session 2==
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation").

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!

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71 （Liu Yunxi）

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339 (Duan Binyao)

38. Education: Ancient Chinese Education 350

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

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

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

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

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

56. Garden Culture: Qingming Riverside Landscspe Garden 526

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

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

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

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

63. Landscapes and Tourism: Mogao Grottoes 593

64. Landscapes and Tourism: The Culture of Mount Tai 606

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

79. Literature: Premodern literature - China's Four Great Classical Novels 773 (Duan Binyao)

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

101. Money culture: The tradition of Red Envelope and Lucky Money 962

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

126. Science and Technology: China's Four New Inventions 1191

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

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

132. Silk and porcelain: Porcelain 1277 （Dai Shiru）

133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317 (Li Jiayi)

139. Stage entertainment: Crosstalk 相声 1325
140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348
143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423（Chen Lin）

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450 (Li Jiayi)

153. Traditional Cuisine: Eight Major Cuisines of China 1456(Liu peini)

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491
157. Traditional Cuisine: Hotpot 1501 (Zheng Kaiwu)

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593 （Zeng Zhi）

170. Fine Arts: Chinese Paper Cutting 1601 （Luo Jiaxin）

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644

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

176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 (Tao Yao)

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694 （Jin Yichen）

180. Traditional Cuisine: Tangyuan 1701（Liu Shutian）

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767（Gao Xiaoqing）

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825

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

195. Sports: Cuju (蹴鞠) 1845

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)

202. The Legend of Zhen Huan 《甄嬛传》 1845 （Xing Xueqing）

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

204. Stand-up comedy 单口喜剧 1845

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

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

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

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

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

217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 (Tao Yao)

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

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

220. Rice cake (年糕) 1845

221. Zhongyuan festival 1845 （Ou Huang）

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

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

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

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

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

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

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

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

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

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

232. Sun Wukong（孙悟空） 1845

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

234. Dragon Lantern Dance（舞龙灯） 1845

235. Bamboo Weaving (竹编） 1845

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

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

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

239. Female Emperor---Wu Zetian 1845

240. Clay sculpture (泥塑） 1845

241. Abacus (中国珠算） 1845

242. Hunan Rice Noodles（湖南米粉） 1845 （Ou Huang）

243. Chinese name（中国姓名文化） 1845 (Yang Jing)

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

245. Douzhi (豆汁) 1845 (Chen Zhen)

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

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

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

250. Language: Hakka Dialect（客家话） 1845

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

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

253. Yuelu Mountain (岳麓山) 1845

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

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

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

262. The Four Pillars of Destiny (八字) 1845 （Ou Huang）

263. Shaolin Temple (少林寺) 1845

264. Single bamboo drifting（独竹漂） 1845

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

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

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

268. Table Manners 1845（Luo Yan）

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

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

271. Palace Lantern（宫灯） 1845

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

273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)

274. God of Wealth(财神) 1845 （Zeng Zhi）

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）

277. Mirror (镜子) 1845

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

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

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

281. Music and instruments: Yangqin（扬琴） 1845

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

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

=Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=
==Teacher presentation: Introduction to Culture==
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]

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

=Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=
=Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=
=Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=
=Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=
=HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=
清明节4月4日——4月6日
=Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=
=Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=
=Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=
=HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=
劳动节5月1日——5月5日
=Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=
=Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=
=Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=
=Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=
端午节5月31日——6月2日
=Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]

Chinese Language and Culture, Spring 2025

2025-02-24T13:11:02Z

Miao Yunlong:

[[Media:Example.ogg]]Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!

=Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=

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

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*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.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are 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.

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

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

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]

[[File:Example.jpg]]==Homework for Session 2==
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation").

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!

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71 （Liu Yunxi）

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339 (Duan Binyao)

38. Education: Ancient Chinese Education 350

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

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

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

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

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

56. Garden Culture: Qingming Riverside Landscspe Garden 526

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

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

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

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

63. Landscapes and Tourism: Mogao Grottoes 593

64. Landscapes and Tourism: The Culture of Mount Tai 606

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

79. Literature: Premodern literature - China's Four Great Classical Novels 773 (Duan Binyao)

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

101. Money culture: The tradition of Red Envelope and Lucky Money 962

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

126. Science and Technology: China's Four New Inventions 1191

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

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

132. Silk and porcelain: Porcelain 1277 （Dai Shiru）

133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317 (Li Jiayi)

139. Stage entertainment: Crosstalk 相声 1325
140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348
143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423（Chen Lin）

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450 (Li Jiayi)

153. Traditional Cuisine: Eight Major Cuisines of China 1456(Liu peini)

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491
157. Traditional Cuisine: Hotpot 1501 (Zheng Kaiwu)

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593 （Zeng Zhi）

170. Fine Arts: Chinese Paper Cutting 1601 （Luo Jiaxin）

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644

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

176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 (Tao Yao)

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701（Liu Shutian）

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767（Gao Xiaoqing）

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825

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

195. Sports: Cuju (蹴鞠) 1845

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)

202. The Legend of Zhen Huan 《甄嬛传》 1845 （Xing Xueqing）

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

204. Stand-up comedy 单口喜剧 1845

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

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

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

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

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

217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 (Tao Yao)

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

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

220. Rice cake (年糕) 1845

221. Zhongyuan festival 1845 （Ou Huang）

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

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

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

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

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

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

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

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

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

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

232. Sun Wukong（孙悟空） 1845

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

234. Dragon Lantern Dance（舞龙灯） 1845

235. Bamboo Weaving (竹编） 1845

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

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

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

239. Female Emperor---Wu Zetian 1845

240. Clay sculpture (泥塑） 1845

241. Abacus (中国珠算） 1845

242. Hunan Rice Noodles（湖南米粉） 1845 （Ou Huang）

243. Chinese name（中国姓名文化） 1845 (Yang Jing)

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

245. Douzhi (豆汁) 1845 (Chen Zhen)

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

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

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

250. Language: Hakka Dialect（客家话） 1845

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

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

253. Yuelu Mountain (岳麓山) 1845

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

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

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

262. The Four Pillars of Destiny (八字) 1845 （Ou Huang）

263. Shaolin Temple (少林寺) 1845

264. Single bamboo drifting（独竹漂） 1845

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

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

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

268. Table Manners 1845（Luo Yan）

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

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

271. Palace Lantern（宫灯） 1845

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

273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)

274. God of Wealth(财神) 1845 （Zeng Zhi）

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）

277. Mirror (镜子) 1845

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

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

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

281. Music and instruments: Yangqin（扬琴） 1845

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

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

=Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=
==Teacher presentation: Introduction to Culture==
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]

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

=Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=
=Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=
=Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=
=Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=
=HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=
清明节4月4日——4月6日
=Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=
=Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=
=Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=
=HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=
劳动节5月1日——5月5日
=Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=
=Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=
=Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=
=Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=
端午节5月31日——6月2日
=Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]